Elwood Smith

This edition of Profiles brings a bit of cheer for your new year with a sampling of images from the ProFile Stock Library of Elwood Smith.

With his illustrations appearing regularly in publications like the Wall Street Journal and the New York Times as well as in major advertising campaigns, you’re probably already familiar with the whimsical work of Elwood Smith.

Elwood is an undisputed master of humorous illustration, deftly handling the toughest assignments with his unmistakable wit and gleeful style. His images pack a potent combination of smart and funny whether he’s illustrating the collapse of the real estate market or illuminating the finer points of poop*.

ProFile Stock provides a convenient way to search and license images from the archives of Elwood Smith and many other leading illustrators. If you have a need for something more specific, I encourage you to contact Elwood or any of the artists at ProFile Stock to create a custom solution. Thank you for supporting artist-friendly stock.

*The Truth About Poop illustrated by Elwood H. Smith and Susan E. Goodman.

Please note: All images are copyright © Elwood Smith and may not be used in any form without the consent of the artist.

Visualizing healthcare

When it comes to the debate over universal healthcare coverage no one can accuse Americans of being apathetic. Your readers are passionate about the subject, and powerful illustrations can illuminate the issue in a way that typical, overused stock just can’t match.
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This issue of Profiles features a selection of healthcare-related images that are anything but typical and they’re available for licensing from the artists at ProFile Stock. And if you have a need for something more specific, I encourage you to work with any of the artists at ProFile Stock to create a custom solution.
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Thank you for supporting artist-friendly stock.
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Jonathan Twingley

Twingley

Brad Holland

Holland

Elizabeth Sayles

Sayles

Elwood Smith

Smith

Cynthia Turner

Turner

Dugald Stermer

Stermer

Nigel Buchanan

Buchanan

Chris Short

Short

Edmond Alexander

Alexander

Jay Montgomery

Montgomery

Jon Krause

Krause

James O’Brien

Obrien

Randall Enos

Enos

© 2010. All images are copyrighted and may not be used in any way without the express written consent of the artist.

CA winners

Each year the Communication Arts CA coverIllustration Annual produces one of the premier showcases of the best and brightest in contemporary illustration. The 2009 edition is no exception and it’s no surprise that the issue is loaded with work by ProFile Stock illustrators. In fact nearly 10 percent of the pieces selected for this prestigious publication were done by the six artists featured in this issue of Profiles.

The award-winning illustrators featured here are just a few of the artists who offer uncompromising quality stock images at ProFile Stock. No other venue offers you access to the work of so many leading illustrators with one easy search.

You don’t do ordinary design—don’t settle for ordinary stock. Check out the archives of the worlds best illustrators at www.profilestock.com.

Chris Lyons

Lyons 1

Lyons 2

Lyons 3

Brad Holland

Holland 1

Holland 2

Holland 3

Nigel Buchanan

Buchanan 1

Buchanan 2

Buchanan 3

C.F. Payne

Payne 1

cf3

cf1

Jon Krause

Krause 1

Krause 2

Krause 3

Krause 4


Edel Rodriguez

Edel 1

Edel 2

Edel 3

Among the “200 Best Illustrators Worldwide”

The latest edition of 200 Best Illustrators Worldwide from Lürzer’s Archive just arrived in my mailbox. True to form, this new volume full of amazing images and I’m especially impressed by the broad range of work represented. I also can’t help but notice how many of our ProFile Stock members are included. I counted at least 21 pieces by ProFile artists in the issue including the cover image by Edel Rodriguez. We take great pride in the fact that ProFile Stock is the only stock resource where you’ll find the archives of so many of the world’s top illustrators and it’s gratifying to see that confirmed by this well-respected publication.
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In honor of those who’ve been recognized by Lürzer’s as the world’s best I thought I’d use this issue of Profiles to show you a few examples of their work.

Paola Piglia

Paola2

Paola1

paola4


Edel Rodriguez

edel1

edel3

edel2


James O’Brien

James1

James2

James3


Jon Krause

jon1

Jon2

Jon3


The art of baseball

In celebration of Major League Baseball’s opening day, this issue of Profiles features illustrations of America’s national pastime. Take a short break and let these images bring back the nostalgia, the drama, and the simple joy of the game.

You’ll find ProFile Stock is loaded with premium illustrations like these by many the world’s most respected illustrators—including a few inductees to the Society of Illustrators Hall of Fame. And, unlike typical stock venues, you won’t have to slog through pages of mind-numbing, look-alike, clip art to find something worthwhile.

If you’d rather drive rusty x-acto blades under your fingernails than use mediocre, overused stock, give the artists at ProFile Stock a try. It may be just what you’re looking for.

Try ProFile Stock this month and pocket a cool $40.00

Just license at least one image (min. $100) before April 30 and we’ll send you a check for $40.00. It’s that easy. No rebate forms. No coupon codes. Check it out.

Bart Forbes

Bart Forbes

Jackie Robinson by Bart Forbes

Jackie Robinson by Bart Forbes

Stan Musial by Bart Forbes

Stan Musial by Bart Forbes

Joe DiMaggio by Bart Forbes

Joe DiMaggio by Bart Forbes

Neal Aspinall

Neal Aspinall

Ken Dubrowski

Ken Dubrowski

Christy Mathewson by Dugald Stermer

Christy Mathewson by Dugald Stermer

Dugald Stermer

Dugald Stermer

Roberto Clemente by Dugald Stermer

Roberto Clemente by Dugald Stermer

Honus Wagner by Dugald Stermer

Honus Wagner by Dugald Stermer

C. F. Payne

C. F. Payne

Marc Phares

Marc Phares

Chris Lyons

Chris Lyons

Illustrators cover the hot topics

The images featured in this issue of Profiles demonstrate illustration’s unique ability provide both timely and timeless insight on current events. When today’s hot topics require fresh, intelligent concepts, good illustration can deliver thoughtful, witty, even shocking, visual solutions with up-to-the minute relevance.

As host to many of the world’s most renowned illustrators, ProFile Stock gives you instant access to extraordinary visual commentary on current events – powerful images that you won’t find anywhere else.

I hope you enjoy this sampling of images from www.profilestock.com that are especially relevant at the moment.

 

Jon Krause

Jon Krause

 

 

Chris Lyons

Chris Lyons

Chris Short

Chris Short

 

 

 

Dugald Stermer

Dugald Stermer

 

    

Elwood Smith

Elwood Smith

 

 

 

 

    

Elwood Smith

Elwood Smith

Jon Krause

Jon Krause

 

 

 

 

 

 

      

Jonathan Twingley

Jonathan Twingley

Kyle Webster

Kyle Webster

 

 

 

 

 

 

      

Dan Vasconcellos

Dan Vasconcellos

 

 

 

 

 

 

      

Marc Phares

Marc Phares

 

 

 

 

 

 

Gordon Studer

Gordon Studer

      

Edel Rodriguez

Edel Rodriguez

 

 

 

 

 

 

Jim Tsinganos

Jim Tsinganos

Randall Enos

Randall Enos


        

Dan Vasconcellos

Dan Vasconcellos

 

 

 

 

Bart Forbes

forbes_jackieWhile ProFile Stock hosts the archives of many legendary illustrators, I try not to use the “legend” label too liberally. However, with 60 Awards of Excellence from the Society of Illustrators, titles such as “Sports Artist of the Year” and “Official Artist for the Summer Olympics”, and numerous commissions for leading publications like Sports Illustrated and Time Magazine, Bart Forbes has undeniably earned a solid “legend” status.

Forbes is renowned for his paintings of sports—from fly fishing to the Indianapolis 500—and is perhaps best known for his golfing images. But no matter the subject, a common thread in Bart’s paintings is the sense of respect and dignity with which his characters are portrayed.

I hope you’ll take a moment to reacquaint yourself with one of America’s most distinguished illustrators. He may be just the legend you need working with you on your next project.

forbes_pomegranitesHow did you first become interested in illustration as a career?

I have always loved to draw. I cannot remember when I was not obsessed with making pictures. When I was a small child I would draw in the fly-leaf pages in my children’s books because paper was not readily available to me. Many years later I had the opportunity to attend the Art Center School in L.A. not knowing what I wanted to do career-wise. I just knew I wanted to be an artist. I quickly realized that illustration was what I really wanted to do for a living.

Do you remember your first illustration job?

The first assignment I was paid to do was a portrait of a “Betty Crocker”  type for an electric company newspaper ad. I had a job with a small design studio in Dallas at the time where I did everything from ad layouts to story boards,  with an occasional illustration thrown in. After about two years I decided to begin a free-lance career as an illustrator and started building a portfolio and working toward a style of painting that might be marketable. I did a lot of work in the Dallas area until I felt confidant enough with my portfolio to try going to New York. With the help of an artist’s agent I began to get work in that market and with it came national exposure.

forbes_golfWho or what were/are your influences?

Growing up my influence was the Saturday Evening Post.  Rockwell, Dohanos and the other cover artists were my heroes since I had never been to an actual museum of gallery. When I was in art school I was introduced to the work of the French Impressionists and still find inspiration from the painters of that era. I have always liked Pierre Bonnard’s work, as well, for his vocabulary of color and design—a great painter. There are many others as well—the portraits of Nicolai Fechin and Andrew Wyeth,  for the subtle storytelling quality of his brilliant paintings. But I am influenced by a lot of different visual stimuli and I never miss a chance,  when traveling,  to visit local art museums.

How has your approach to image making evolved over the years?

forbes_jordanMy approach has evolved quite a bit. I developed a style of painting in watercolors that became what I was known for for many years. I eventually wanted to work larger and actually had an assignment for six very large paintings that I could not do in watercolor due to the size. So I painted them in oils and found a new direction in that medium. People frequently think my current paintings are watercolor (since I paint in transparent glazes) but I have painted in oils for a good many years. For a long time I was dependent upon photo reference for my work but in recent years I find that I am able to create other effects in my work by drawing from memory. I have also begun working on textured surfaces and experimenting with the palette knife as well as combining opaque painting with the transparent glazes. I believe that, for an artist to grow, he must constantly be trying new ways of working and thinking.

You’ve worked with many high-profile projects and prestigious clients. Is there a particular project that you’re especially proud of?

forbes_roosterI don’t know that I have any one project that is more memorable than any other. I always feel that the next one is going to be the best I have done—and on and on. That’s another way, I suppose, of saying that I’m never really completely satisfied with my work. I did enjoy being asked to do the Lou Gehrig postage stamp a number of years ago as well as a poster that was used to market the stamp. I am a huge baseball fan and that one meant a lot. But I think I take the most pride not in my art but in our two children, Ted and Sarah, (who are adults now). Both of them are very successful in their own creative fields.

You were selected as the official artist for the 1988 Olympic Games in Seoul. What was that assignment like?

Being selected to paint the Olympic Games in Seoul was quite an honor. I made two trips to Korea – one before the games and one during. The assignment was to create a series of 31 paintings that would depict each of the Olympic sports. I took a sketch book and tried to create studies that I could work from but, with the large crowds everywhere I went, I could not get the privacy I needed to sketch. I soon decided to just depend on my camera and telephoto lens to compile the reference I needed. Being able to take my wife and two children along made it a memorable experience for the whole family.

What do you do for fun or to relax?

I enjoy playing golf in my spare time—once or twice a week. My wife and I like to travel and one of the things I enjoy doing on trips are watercolor sketches. (Again, the obsession with making pictures.)  But it is relaxing and a great way to remember what I saw as compared to just taking snapshots. I also find that listening to music while I am working relaxes me—and it’s almost always jazz—I am a great fan of Pat Metheney, among many others.

forbes_angelsDescribe the distinction between your gallery painting and illustration.

My gallery painting is quite different from my illustration work. I decided a few years ago that to have any success as a gallery painter I would have to develop a direction apart from the Illustration style. So I began by creating abstract textural surfaces that I work on top of, resulting in a more tactile way of painting. And I only do landscape or still-life—nothing figurative at all. These paintings are in oils, as are my illustrations, but they have a different feel. I spend about 20%—30% of my time on the gallery paintings with the rest of my time spent on commissioned work. Interestingly enough, much of the illustration work I do now consists of paintings for display and not for reproduction which, I suppose, would fall into the gallery category as well.

What is the most satisfying or enjoyable aspect of being an illustrator?

I have always thought the most satisfying part of what I do is just being able to earn a living doing the one thing I really enjoy. Unlike many people, I don’t dread mondays and look forward to the weekends. And, after some 40 years of being an illustrator, I still look forward to working on what ever the next project might be. The downside is I can probably never retire—but I wouldn’t want to because, as I said before, I continue to be obsessed with making pictures.

forbes_derby

Any news or new projects you’d like to share?

I have recently been working on a project for John Snow at the PGA Tour that involves a number of mural sized paintings, from 10′ to 14′ wide—much larger than I am accustomed to working. They absolutely fill up my studio but they’ve been a great challenge and something I have really enjoyed doing. I have had to become accustomed to standing a lot when working at that size—and have had to buy bigger brushes than I normally use. The paintings are all golf scenes that hang on the walls of the new PGA clubhouse at the TPC Sawgrass course in Ponte Vedra, Florida. To date there are six of them already framed and installed and I am now working on the seventh painting.

Search Bart Forbes’ stock archives at forbes.profilestock.com

Visit Bart Forbes’ web site at www.bartforbes.com

All images copyright © 2008 Bart Forbes. All rights reserved.