I was inspired by the great illustrators, like Alphonse Mucha and Maxfield Parrish, then by SF artists – by sixteen my bedroom was wallpapered with Boris Vallejo- and then by the comic artists who were known for their “Good Girl Art”, which does not mean art of good girls.
I believe the golfing flapper above dates from Spring 1983, when I had dropped out of Stuyvesant and was taking figure drawing classes at The Art Student’s League of New York, waiting to be old enough to matriculate at Parsons. Before I discovered comics in Fall 1984, I wanted to be a newspaper fashion illustrator, which was a total real job then!
This drawing of a futuristic sex worker, in an imagined 2001, is probably from late 1982 or early 1983.
I can date most of my old drawings pretty well by what I had learned of my craft at that point! This drawing shows the street-hustling sex worker (although that term didn’t exist then) checking in with her boss via a little Bluetooth type headset, and dosing herself with drugs via a push-button in her hand that goes to her arm. Not a judgment – I just knew a lot of sex workers who were junkies in my teens, and I thought it would be nice if it was convenient for them. It looks like I designed it to be safe and prevent overdoses.
I loved lingerie sooo much as a teen. Garters and stockings and merry widows!
I think it may have been one of the portfolio drawings I used to get into Parsons – you were supposed to do an illustration from a book and I did The Story of O. Yup, I got into Parsons School of Design with a GED and a bunch of smutty pinups.
Because it’s signed. I didn’t sign most work until the 90s, except when giving it as a gift. Why didn’t I sign my art? Because it wasn’t good enough to meet my own standards yet most of the time. It didn’t look like what I saw in my head yet.
And I was really IN the process of learning to get better, and really just working the process. Some days I still am!
From Fall 1988.
Also probably from 1988.
Again I’m thinking 1988, based on the delicate Pentel rollerball inking.
I am incredibly grateful to my Patreon Patrons, whose monthly financial support makes it possible for me to take time to document my art archives.
Until today, no modern media record of these drawings existed – if we had a fire or flood they would just be gone forever.