Biography of paul mann

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Hidden categories: Articles with short description Short description is different from Wikidata Articles with hCards. Toggle the table of contents. Can you explain that? I'm able to weed out any problems when putting this work together. Probably about 20 - 25 years ago, I had to do some religious work where I needed to do Bible illustrations in two and a half years.

I was able to do that huge body of work quickly. How did your career shift to pop culture and movie posters? I've done artwork since I was a kid, and I recall doing my first illustrations when I was in high school for a clothing shop that had billboards on the side of the road; I did a handsome guy in a suit.

Biography of paul mann: Paul Mann is an American

It might be Bible stories, pioneer stories of them settling and colonizing the West, or it might be just everyday stories of promoting faith. I also did work for the Southern Baptist Church doing Bible paintings. Doing that type of work for 40 - 45 years taught me a lot on how to make illustrations. About seven years ago, those jobs began to slow down, and for a while, I was doing gallery work and Western gallery paintings; American Indians, cowboys.

But then that market started to dry up, and my work was disappearing right in front of my eyes. Comic book characters, superheroes, movie posters, you name it. I always wanted to do movie posters but I didn't think there was a market for it, because everything was digital, and I thought that work was long gone. I think I painted up like six or seven posters, went to Comic-Con, and we had a wonderful response from the crowd, although we didn't make much money.

When I say we, I mean me and my family. We were in there at a table selling this stuff and I noticed there wasn't anyone in the entire place that had anything that looked like mine. I did that for about three years, and in that third year, I actually made some money. Later, I got a call from a person who commissioned me to do a Halloween poster. My first real poster!

I did it! And overnight, everything changed. All of a sudden, I started getting all kinds of emails from people all over the country and from the UK. They wanted me to paint movie posters that they could reproduce and make prints. I was in heaven. To be able to do movie poster work, for me, that was top of the line, the best thing you could do.

At the same time, Mondo contacted me with some projects. All of a sudden, a lot of people were starting to see my work and it just snowballed so fast.

Biography of paul mann: Paul Mann (December 2,

I was also contacted for private commissions. This is where I met Thomas, who became a good friend, who wanted a few early Bond paintings. I was really excited to do these paintings for him. I never imagined I would be doing paintings from the Bond movies. Another favorite was Hard Case Crimes, who I was able to make a connection with at this time for book covers.

Biography of paul mann: Paul Mann was a Canadian film

It's just wonderful that I had all this work coming in. For seven years I was begging for work and now I have too much. What do you find different about this line of expression versus other mediums? I have never been interested in creating computer art. I have always been in love with the feel of hands-on paint. The oils were wonderful.

I needed a medium that dried quicker and changes could be made easily and quickly. That's why I started using casein and acrylic. I love that look and biography of paul mann to achieve a similar look. As a collector yourself, what do you look for in an artist's work? What inspires you and what makes you interested to buy a piece of art?

In my studio, the walls are covered with original art by my favorite artists. I've been lucky to buy original work from auctions, and hang them on the walls of my studio. Studying them is how I learned to paint. I would get a magnifying glass out, and go over every inch of those paintings, see every stroke, how thick the paint was, how they did this and how they did that.

I look for someone that really knows how to design and how to make things dynamic looking. Frank McCarthy, who did some of the Bond posters, was fabulous at doing rugged looking men and action scenes. I love that type of stuff. Robert McGinnis, who also did some of the Bond work, could do beautiful women. There's no one that could do women like he could.

I look for those unique talents like those guys had. There were a lot of great artists back then, but only a handful that really rose to the top of things and they were incredible artists. We will never see guys like that again. What is it about their work that spoke to you? When I saw the Thunderball poster, I was around eight or nine years old, and it blew me away.

It spoke to me. Here's this incredible image of James Bond underwater with that orange red wetsuit on and he's fighting with a guy in a black suit, and his mask has been pulled off so you see his entire face. All these guys worked by photographing models, and the trick was making the artwork better than the photograph. You're not just copying the photograph of your model, you're making it better.

McCarthy was able to do that in that poster. He made Bond incredible. I looked at some close ups of Bond's face - a friend of mine owns the original - and it was so remarkably painted. The soft edges, the hard edges, the structure in his face. I want to grow up and paint pictures like that. Not only do you have Bond and the bad guy, they're fighting underwater with some other divers together in this big battle scene.

They have spearguns, darts zooming through the water, an underwater craft they're driving, and it was so action packed. It was like watching a Spielberg movie. McCarthy was the right guy to do that poster and he nailed it. In his work, he was always very close to being per cent in everything he did. Some artists will give per cent, then they'll give 50 per cent, then per cent again, but he was always right up there at the top.

Everything he did was really good and just full of action. McGinnis had his beautiful women. The way he painted his women has always inspired me. No one compares to his women. The last I heard of McGinnis is in his nineties and still painting. The guy has turned out twice as much work as most illustrators do in a career. He, along with McCarthy, was the right illustrator to create Bond posters.

What is it about that style that makes it hard to replicate? My dad would take me to the movie theater, walk around the lobby and look at those big hand painted movie posters.

Biography of paul mann: I was born in Boston,

I would love to bring that look back, but that's not necessarily what I'm trying to do. I'm just doing what I love. And if people love it, I'm so happy. I biography of paul mann people to love and appreciate it, because you don't see that type of thing any more. There are a few people out there I see once in a while that are trying to pick up on that look somewhat, but it's different because I grew up in that era and I just really connected with that style.

McCarthy did things that set him apart from how other illustrators painted, such as bringing this rich red reflective light bouncing off the ground coming up into the shadows of his characters, helping the illustration to be rich with color. He had a flair for dramatics. If he had to paint someone running with a rifle in their arms he knew how to pose them and exaggerate them to get the most out of the figure and its pose.

This is something I've tried to do in my own work that I learned from him. Take us through that process. How do you usually start when you begin a painting? I'll start by pulling photographs from the movie. If your design is such that you can just pull photographs and use those, wonderful. But so often, the commissioner wants something different, and in some cases there are no good photographs available to reference, so I may have to call in models to photograph.

When I start a project, I'll sit down and for a few minutes, and I'll start doing some doodles on a piece of paper to think of ideas for composition. Bond will be here, this will be there, the outside format will be here, and I'll scribble out a basic idea, then I can get on the internet and start going through and pulling photographs that might work.

I'll try to get the very best scrap, which is my way of saying photographs and other materials that I can work from. I don't just pick any scrap. I'll pick scrap with dynamic lighting, because I don't like to work with flat lighting. As a boy he sang in the choir of St. Paul's first job was as a draughtsman working in the local blast furnaces. He married his first wife, Vera, with whom he had two sons and, inthey moved to Watford where he took a job as a sales rep.

During this time he submitted some drawings to 'Railway' magazine. These subsequently resulted in his being offered the position of Art Editor on the magazine. Through this, and his early connections in Kettering, he became a friend of W. One of his monthly tasks was to paint a removable plate showing the livery of one of the numerous railway companies that existed before nationalisation.

He also drew some of the exquisite cutaway drawings that appeared as centre-folds in the 'Eagle' comic, and he wrote and illustrated 'How to Draw Locomotives' and 'How to Draw Rolling Stock' that appeared very successfully in the Studio series. When the war started he was, quite understandably, assigned to the Royal Engineers where he trained in the use of explosives and eventually became a Master Sergeant.

No one quite knows why! He used to claim that one of his first tasks was to blow up the alligators in the officers' swimming pool! What is known is that this serendipitous posting allowed him the time to develop as the artist he had always wanted to be. A number of his watercolour sketches still exist from his time on the island.

He designed brochures and exhibition stands, posters for the Belgian railways and constructed dioramas for the Commonwealth Institute; meanwhile painting in watercolours and oils more for pleasure than for profit. The most significant event of his painting career came after he had been asked by an old friend in Kettering to produce designs that could be printed on leather with cellulose paint.

This never really came to anything. The paint fell off! However, it left Paul with several cans of cellulose and being the creative artist he was, he set about mastering its use as an artist's medium.