Classic, vintage, sexy, and sexual pin up poses for photographers and models.
Explore ondiraiduveau's 47583 photos on Flickr!
Classic, vintage, sexy, and sexual pin up poses for photographers and models.
Big news! If you like the pin-up style and want to learn ways how to achieve this glamorous look, then read this article showing tips on how to do so.
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Betty Boop is the most iconic pinup character, but she isn't the only one. Black pinup models have always existed, but are often erased.
Classic, vintage, sexy, and sexual pin up poses for photographers and models.
Pin Up Girl Elvgren Art Print - 8 in x 10 in - Matted to 11 in x 14 in - Mat Colors Vary
Illustration: Earl Moran
Inside Story Pin-Up Girl Gil Elvgren Print - 8 in x 10 in- Unmatted, Unframed
Classic, vintage, sexy, and sexual pin up poses for photographers and models.
Erin in a WW2 pinup set.
In honor of Marilyn Monroe's birthday, FN rounded up some of the style icon's best shoe moments over the years on and off the silver screen.
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Ultra Premium Photo Paper Printed for Highest Quality Size 11 x 14" An exceptional gift
Classic, vintage, sexy, and sexual pin up poses for photographers and models.
Ultra Premium Photo Paper Printed for Highest Quality Size 11 x 14" An exceptional gift
Classic, vintage, sexy, and sexual pin up poses for photographers and models.
Marilyn Conover was a very successful illustrator during the '60s and '70s. About four years ago, when she was 84, I interviewed her over the phone. Her frank, forthright and often intensely negative recollections of her career startled me. In all the interviews I'd conducted to that point (and since) I'd never encountered anything like it. My intention this week is not to cast a pall over a time many of us hold up as the last great era in illustration, but rather to honestly share a different perspective of someone who lived and worked in those times. For better or for worse here is Marilyn Conover; unvarnished, unsentimental, and unapologetic. ~ Leif LP: Can you recall what year it was when you and your husband [Hendrick Conover] moved to New York? MC: '61. LP: Ok, so that's around the same time you got the Reader's Digest job that I have... MC: Oh, it's in there some place. Yes! I remember I was doing one of the illustrations on a packing box in my studio. So yeah, that was '61, '62. LP: Marilyn, I'm glad I found you and I really, really appreciate you taking the time to tell me all these details... MC: Well bless your heart. They were a wonderful bunch; Joyce Ballantyne was a darling, Gil Elvgren was a darling, I mean we used to be up at their houses all the time. He was a sweetheart but they all drank like crazy. MC: Oh my god... but generous - at thirty five he was taking everybody in the studio to lunches at one of the jazzy restaurants all the time. I mean he lived like a little chubby king and he had these little chubby hands of his and he'd paint these beautiful girls! LP: (Laughing) Wow! MC: And you say his originals are now going for two hundred -- I hope to god his two boys reaped some reward from that - no, I bet they belong to the, uh... LP: Brown & Bigelow? The calendar company? MC: Oh my god. And his kids are probably just making an average living. And they [Elvgren's originals] sell for up to three hundred thousand? LP: Yeah, he's one of the most collected pin-up artists in the world now. There are several giant, heavy coffee table books of his pin-ups now, and every year they reprint them on all kinds of calendars and other merchandise. MC: And that crappy work to look at?! To be buying and hanging those paintings?! Where would you put them? In your bar? In your bathroom?! LP: Well, there's a lot of interest and affection in a nostalgic way for that era. I mean that's part of the reason I like it. I admire the quality of the work that was done back then. MC: What is the point of your obsession? I mean what are you doing with it? Just to do it? LP: I do it because I discovered there were all these people like yourself who came before me in this profession who did amazing work but are largely forgotten and I just didn't think that was right. I thought it was a shame that people like myself who were graduating out of art school had never heard of Al Parker or Joe Bowler or any of these artists. MC: Joe Bowler was another guy who did just incredible work. LP: Oh yeah. MC:I knew him as well, in New York. (Below, Joe Bowler illustration, Saturday Evening Post, 1962) LP: Yeah, well, so I figured, if I hadn't heard of these guys then I knew for a fact most of my peers wouldn't have heard of them either and... I wanted to correct that. I wanted to make sure that all the people like you and all these others - MC: Well what are you gonna do, write a book? LP: No, no, I write about it every day on the internet, on my blog. MC: Well good luck honey. And what do you do for a living? You're an illustrator? LP: I'm an illustrator, yeah. I do finished illustration and storyboards. Now I do mostly storyboards because there's not that huge of a market for finished illustration anymore. MC: No there isn't. There isn't. You look in your magazines and you don't see illustration anymore. LP: No. No, most of us who are able to make a pretty good living at it now do what's broadly called "concept art." Every sort of artwork you can imagine for the preparatory stage of something else, whether it's an ad or a movie or a video game... all that stuff has to be visualized before they do the final version of it. MC: I see. Well bless your heart. Well good luck with all you're doing and um... I don't think I could be of much help anymore. I think I told you everything. Unless you have something very specific you can call me. But I don't want to go back there. Ugh. You have no idea how funny I feel physically right now. Ugh. LP: Really? I'm sorry... MC: No! Isn't that funny? Because it brought up those difficult years - I mean for me. It was the pressure - I mean, with all those competitors, you had to be good. You had to be. And the cream of it was, at that time illustrators were working for Time magazine, doing covers and that I was very proud of. I was separated by then and worked alone so much that when my first cover - you wouldn't even know him - the energy czar from the '60s - it was my first Time cover. And I even got called by one of the older illustrators to tell me what he thought of the integrity of the painting and "blah, blah, blah," you know. MC: So one day I just got on the train from Westport and went in to New York and walked all around Grand Central Station and saw my painting on every newsstand. I just thought, "I'll be damned." And I didn't really feel anything... because of all the difficulties I'd been through. And I looked around and I just thought, "well, there it is, that's that." And I just got on the train and went back home. LP: Wow... that was William Simon. MC: How'd you know? LP: I just looked it up on the internet. I just typed your name into Google Image Search and one of the first images that came up was that Time magazine cover. MC: You mean you can see the picture? LP: Yeah, I'm looking at it right now. It's got a bright orange background... MC: And there was also one when Patty Hearst went missing - I did the Patty Hearst... LP: Oh, well I'll search for that one as well. MC: ...and then the other one was the gal who wrote... oh my god, she wrote one of the big books at the time... oh well, it doesn't make any difference. [Marilyn was thinking of Colleen McCullough, author of The Thornbirds. I was unable to locate a scan or photo of that cover ~ L] MC: Well, honey, if you need anything specific, if you think I can help, I'd be happy to. Ok? LP: Thank you so much, Marilyn. You have a great day. MC: Ok, you too, bye bye. * The original paintings from Marilyn Conover's three Time magazine covers were donated by the publisher to the Smithsonian Portrait Gallery. Thanks to Heritage Auctions for allowing me to use some of the Gil Elvgren scans from their site in today's post.
Earl Moran - Girls of 1955 Calendar Illustration from Brown & Bigelow Calendar Co.
Beautiful '1940s Pin up ' Poster Print by Fionn Christ ✓ Printed on Metal ✓ Easy Magnet Mounting ✓ Worldwide Shipping. Buy online at DISPLATE.
Enjoy a selection of illustrations, sketches, model sheets and tutorials by various artists, collected by Character Design References™ and shown here for educational and inspirational purposes only. Please follow the links to discover all the names, websites, online stores and Patreon pages of the i
Through the 40s, 50s & 60s, you'd see a new set of vintage calendar girls & pin-ups in garages, diners and dens each year. Take a look back!
Gil Elvgren 1914-1980 | American Partial Coverage Signed “Elvgren” (lower right) Oil on canvas The iconic illustrations of Gil Elvgren have become an irreplaceable facet of the American artistic landscape. Flirtatious beauties in light-hearted situations were the dominant subject matter for this intuitive artist, whose eloquent brush strokes dutifully captured the innocent sensuality of the mischievous girl next door. Partial Coverage, originally published in the 1956 Brown & Bigelow calendar, epitomizes the coquettish spirit of his beauties, whose nostalgic glamor give us a glimpse into a simpler time in American history. Elvgren is considered to be the greatest American pin-up and glamor artist. The majority of his work was done for the famed Brown & Bigelow, though at various points in his career he also worked for magazines such as The Saturday Evening Post and Good Housekeeping, as well as large corporations including Sealy Mattresses, General Electric and Coca-Cola. Born in St. Paul, Minnesota, Elvgren began his artistic education at the Minneapolis Art Institute, and later the American Academy of Art. His first job upon graduation was at the Chicago advertising firm of Stevens and Gross, working directly under Haddon Sundblom, famous for his Coca-Cola Santas. Elvgren would soon become his star pupil, contributing much to the Coca-Cola campaigns and eagerly learning techniques that he would carry into his famed pin-ups. After completing several special commissions with rave reviews, Elvgreen began doing pin-up work in 1937 for the Louis F. Dow Calendar Company, the biggest retailer of calendars of its day. Almost overnight, the artist became one of the most respected and successful commercial artists of his generation. More commissions followed, and, along with his work for Dow, Elvgren found himself booked solid at least one year ahead of his output. It was in 1944 that Brown & Bigelow approached him with an offer for a staff position. From that point on, for the next 30 years, Elvgren enjoyed tremendous commercial success unlike any other American artist of his day. Circa 1956 Canvas: 30 1/8“ high x 24 1/8” wide Frame: 33 3/4“ high x 27 7/8” wide x 1 1/2“ deep Literature: Charles G. Martignette and Louis K. Meisel, Gil Elfgren: All His Glamorous American Pin-Ups, Taschen, 1997, fig. 352.
1957, Gil Elvgren. Copyright Brown & Bigelow.
Pin-ups are a classic American art form that have enthralled several generations since first gaining widespread popularity in the 1920s. Today, internationally acclaimed photographer Celeste Giuliano has developed a style of photography that masterfully pays homage to the sweet and sexy look of the classic pin-up girl illustrations from WWII America. With a focus on details, authenticity, lighting, studio techniques, and poses, she has made a career of transforming everyday women into pin-up queens and making both men and women alike fall in love with their classic beauty all over again. In this, her first definitive collection, Celeste reminds us why men "pinned up" these lovely ladies and why their timeless beauty is still as sexy as ever. Each of the 130 portraits takes you back to the time when a flirtatious smile or a peek at a garter was what made the girl next door the ultimate bombshell.
Prepare to be hypnotized by these GIFs.
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