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rad-roche · 6 months

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Pulp Covers And How To Paint Them

With the rise of cheap printing in the early twentieth century, mass-marked paperbacks swept the world, each offering lurid thrills for obscenely low prices. Sex, sadism, and incredible violence for as little as ten cents. An easy purchase to slot in between fifty cigarettes a day and enough bourbon slugs to kill a small garden.

Pulp fiction is where some of the greats of American literature cut their teeth, including the big three, Raymond Chandler, Ross MacDonald and Dashiell Hammett. The contents of these stories, both the dizzyingly good and astoundingly terrible, have been absorbed and digested and remixed and regurgitated in nearly every permutation imaginable, fuelling pop culture some one hundred years on. This isn't an essay on that. Nobody likes to open a tutorial and be greeted with a wall of text. The history is for another time.

But it is about how to paint it.

Don't let the pre-amble intimidate you, it's not as hard as it sounds. You will need:

Painting software with some image editing capabilities. You don't need all the bells and whistles of Photoshop, but I wouldn't recommend something like MSPaint, at least not to start with. I'm using Clip Studio Paint.

A really beat-up paper texture. The grungier, the better.

A lightly-textured brush. Here are the specific brushes I use, 99% of which is the well-named rough brush. Try and avoid anything with any impasto elements.

Go to your colour-picking tool and use the 'select from layer' option. Doing all the painting on a single layer is going to make your life easier.

A complete willingness to make mistakes and, instead of erasing, painting over them. It generates much more colour variation and interest! Keep your finger off the E key.

Good reference! That painting is a master copy of Mitchel Hooks' art for Day of the Ram. Find a style you really love and want to learn? Have no clue where to begin? Do direct studies!

Let's not worry about whatever is happening in the background. It's probably fine. Let's get started! Pulp magazine art is a lot more varied than you might first think, so don't agonize over having a style that 'fits' or not. I'm also specifically aiming for something you'd see on the cover after printing, not the initial painting they would use for printing. The stuff I'll show here is a pretty narrow band of it, but here are some general commonalities. This is a painting by Tom Lovell.

Let's dig into this.

The colours are very bright and saturated, but the actual values, the relative lightness and darkness of them, are actually grouped very simply! You can check this by filling a layer full of black, putting it on top and setting its mode to colour. If the value of a painting looks good, you actually get a lot of leeway with colour. But here's what I think is the most important thing to keep in mind.

The darks aren't that dark, and the lights aren't all that light! Covers are paintings reproduced on cheap paper. Anything you wouldn't want to happen in the printing process, you lean into. Value wash-outs, lower contrast, colours getting a weird wash to them, really gritty texturing. So let's get painting! Here's my typical setup.

That bottom folder is the painting itself. The screen layer is the grungy paper texture. To get the effect you want, put it down, invert its colour, then set it to screen. That washes out your painting far, far too much, so to compensate, I put a contrast layer up on top. Fiddle around with the settings, but this is where mine ended up sitting.

Note I'm saying this before even starting the painting: you want to do this as early as possible. This is where the 'select from layer' colour picker comes in handy. You can paint without worrying about the screen or contrast layer. Something not looking right? Enable your value check layer and keep painting. When you turn it off, it'll still be in colour. Here's a timelapse so you can see what that looks like.

And when you check the values...

They're pretty simple! This isn't a be all and end all, but I hope it serves as a decent primer. I want thirty dames on my desk by Monday!

#rochedotpng #art tutorial #art resources #couldn't find a thing online about this style so here's how i do it #pulp #it's how i did the death shroud one more or less

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gardenschedule · 6 months

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Paul trying and sometimes failing to be chill about Yoko

“I told John on the phone the other day that at the beginning of last year I was annoyed with him. I was jealous because of Yoko, and afraid about the break-up of a great musical partnership.”

1970, Paul to Ray Connolly in the Evening Standard

I’d been able to accept Yoko in the studio, sitting on a blanket in front of my amp. I’d worked hard to come to terms with that. But then when we broke up and everyone was now flailing around, John turned nasty. I don’t really understand why. Maybe because we grew up in Liverpool, where it was always good to get in the first punch of a fight.

The Lyrics: 1956 to the Present

"It just became impossible for me to work with Yoko sitting there watching us," says Paul. "I wanted to write simple things like 'I love you girl' and every time I knew she was listening I felt I had to come out with someone clever and avant garde! "I'm not blaming Yoko -- I'm blaming me. It was no more John's fault for falling in love with Yoko than it was mine for falling in love with Linda. It just meant that we didn't work together anymore. We tried but it didn't work."

Paul McCartney, in his first magazine interview since the split, tells FLIP's Keith Altham... "THE BEATLES ARE FINISHED!"

We didn’t accept Yoko totally, but like I say, how many groups do you know, these days [who would]? I mean, it’s a joke. It’s like Spinal Tap! I mean, it’s Spinal Tap! A joke!

September, 1986 (MPL Communications, London)

And in John’s thing, you know, when as – you obviously know – he was going through a lot of pain when he said a lot of that stuff. And he felt that we were, um, being kind of vindictive towards him and Yoko. In actual fact I just answered a question on an American TV thing – I think we were quite good, looking back on it, and knowing people in life. Many people would’ve just downed tools with a situation like that and just have said: “Look man, she’s not sitting on our amps while we’re making a film.” I mean, that wouldn’t be unheard of. I mean, Sean Penn... do you know what I mean? Most people would just say, “We’re not having this person here. Don’t care how much you love her.”

But we were actually quite supportive. Not supportive enough, you know; it would have been nice to have been really supportive because then we could look back and say, “Weren’t we really terrific?” But looking back on it, I think we were okay. We were never really that mean to them. But I think a lot of the time John suspected meanness where it wasn’t really there.

September, 1986 (MPL Communications, London)

I’ve already mentioned how in September 1969 we were in a meeting and talking about future plans, and John said, ‘Well, I’m not doing it. I’m leaving. Bye.’ In the ensuing moments, he was giggling and saying how this felt really thrilling, like telling someone you’re going to divorce them and then laughing. At the time, obviously, that was wildly hurtful. Talk about a knockout blow. You’re lying on the canvas, and he’s giggling and telling you how good it feels to have just knocked you out. It took a while, but I suppose I eventually got with the programme. This was my best mate from my youth, the collaborator with whom I’d done some of the best work of the twentieth century (he said, modestly). If he fell in love with this woman, what did that have to do with me? Not only did I have to let him do it, but I had to admire him for doing it. That was the position I eventually reached. There was nothing else I could do but be cool with it.

Paul McCartney, on “Get Back”. In The Lyrics (2021).

MANSFIELD: But, you know, [after John showed me the pictures of himself and Yoko nude for the album cover of Two Virgins], I asked Paul about this. And this, to me, is indicative of their relationship, maybe as much as anything I [had] ever heard. I said, “Paul, you know, what do you think about this?” And Paul says, “I don’t know.” He said, “I don’t really agree with John. But I just am going to figure that John’s ahead of me on this, and that someday I’ll understand and I’ll catch up. So, you know, I’m okay.” ROSEN: And what did that reaction tell you about their relationship? MANSFIELD: That it was an extremely deep relationship.

Ken Mansfield (record label executive and Apple Records U.S. manager), interview w/ James Rosen for Fox News. (December 4th-5th, 2007)

John and Yoko had to visit Sir Joseph Lockwood of EMI with the nude photos to ensure that he would allow their use and there wouldn’t be any censorship problems. Although he personally didn’t like the album or photographs, Paul accompanied the two of them to their meeting. Sir Joseph thought that the fans would be outraged and the Beatles’ reputation would be damaged, but Yoko told him: ‘It’s art.’ Lockwood said: ‘Well, I should find some better bodies to put on the cover than your two. They’re not very attractive. Paul McCartney would look better naked than you.”

The Paul McCartney Encyclopedia by Bill Harry. (also... rekt lmao)

So that – I think, in order to kind of say to Yoko, “Look, my life is now yours,” he had to say things like, “The Beatles were bastards, we were total jerks, we never wrote anything good…” Which I think was rubbish, basically. And as I say, you have to realize that some of that time he was on heroin – so he’s not going to be just talking absolutely lucidly all the time, there. Some of the times, he was having other sorts of problems…

1989, Paul

And I think we would all have continued the Beatles, but Yoko came along, John fell wildly in love with her, he needed a big, big change in his life and he got it! He came to live in New York, he kind of threw over all his English [pause] contacts and everything. And, you know, can’t blame him! If that’s what he wants to do in his life! So we had to kind of, fade into the background to allow them to have their relationship. What were we gonna do, ringin’ him up? ‘Hey John, you know, hey, come and see me! Leave Yoko!’ No, that obviously never gonna happen. [pause] See, you had to let him do what he wanted, and he- he did you know… And he enjoyed it.

Paul McCartney on John’s early 70′s attacks as a sign of his feelings towards him. Interviewed by Bob Costa, 1991.

“. . . I mean, I think really what it was, really all that happened was that John fell in love. With Yoko. And so, with such a powerful alliance like that, it was difficult for him to still be seeing me. It was as if I was another girlfriend, almost. Our relationship was a strong relationship. And if he was to start a new relationship, he had to put this other one away. And I understood that. I mean, I couldn’t stand in the way of someone who’d fallen in love. You can’t say, “Who’s this?” You can’t really do that. If I was a girl, maybe I could go out and… But you know I mean in this case I just sort of said, right – I mean, I didn’t say anything, but I could see that was the way it was going to go, and that Yoko would be very sort of powerful for him. So um, we all had to get out the way.”

Paul McCartney, interview with German tv program Exclusiv, April 1985.

PAUL: ‘Cause she’s very much to do with it from John’s angle, that’s the thing, you know. And I – the thing is that I – there’s— Again, like, there’s always only two answers. One is to fight it, and fight her, and try and get The Beatles back to four people without Yoko, and sort of ask her to sit down at the board meetings. Or else, the other thing is to just realize that she’s there, you know. And he’s not gonna sort of – split with her, just for our sakes.

Twickenham, January 13th, 1969

PAUL: Yeah, see, that’s the thing. The only one time we’ve actually done it, she’s agreed. She really is alright. It’s like, it’s the thought of her being there when some of— [faltering] And then you don’t talk to John, so then he doesn’t talk to you, you know. And it’s like, you can screw it up just as much because she’s there, as – as John’s relying on her because she’s there. So that’s the thing. You know, but I mean, like, you’ll notice, if John – if you’re onto a beam with John about something, then he really isn’t, you know, he really won’t let Yoko talk about it. Because he knows when you’re on a beam, and he knows about it, and you’ll – you can talk straighter to him.

Twickenham, January 13th, 1969

‘All new wives don’t like their husband’s old friends or cronies,’ he replies. ‘I don’t think [Yoko] liked Paul. I think Paul was ready to like Yoko. Maybe she saw Paul as a threat. It was a partnership. The partnership should have been John and Yoko, not John and Paul. I am not saying it was a deliberate process, but it was a natural process. John had a new partner: she. Yoko Ono. It was going to be John and Yoko’s songs and not Paul and John’s songs.’

Don Short (newsman), c/o Sandra Shevey, The Other Side of Lennon.(1990)

As the meeting was drawing to a weary close, John, not this day with Yoko, who hadn’t seemed particularly connected with what was going on, said he wanted to play us a tape he and Yoko had made. He got up and put the cassette into the tape machine and stood beside it as we listened. The soft murmuring voices did not at first signal their purpose. It was a man and a woman but hard to hear, the microphone having been at a distance. I wondered if the lack of clarity was the point. Were we even meant to understand what was going on, was it a kind of artwork where we would not be able to put the voices into a context, and was context important? I felt perhaps this was something John and Yoko were examining. But then, after a few minutes, it became clear. John and Yoko were making love, with endearments, giggles, heavy breathing, both real and satirical, and the occasional more direct sounds of pleasure reaching for climax, all recorded by the faraway microphone. But there was something innocent about it too, as though they were engaged in a sweet serious game. John clicked the off button and turned again to look toward the table, his eyebrows quizzical above his round glasses, seemingly genuinely curious about what reaction his little tape would elicit. However often they’d shared small rooms in Hamburg, whatever they knew of each other’s love and sex lives, this tape seemed to have stopped the other three cold. Perhaps it touched a reserve of residual Northern reticence. After a palpable silence, Paul said, “Well, that’s an interesting one.” The others muttered something and the meeting was over. It occured to me as I was walking down the stairs that what we’d heard could have been an expression of 1960s freedom and openness but was it more likely that it was as if a gauntlet had been thrown down? “You need to understand that this is where she and I are now. I don’t want to hold your hand anymore.”

Michael Lindsay-Hogg (filmmaker), Luck and Circumstance: A Coming of Age in Hollywood, New York, and Points Beyond. (2011)

“Paul, in his usual way, tried to be the nice guy and was open-minded about John’s weird choice,” says Brown. “He invited them to stay at [his house in] Cavendish Avenue for a while.” The day after Cynthia’s return, they moved into the second-floor guest bedroom and made themselves at home. “But the problem was that Yoko wasn’t a very warm person—not even able to say thank you in response to anything Paul did for them. And he went miles out of his way to make them feel welcome, being a nice guy. So that didn’t last very long.”

The Beatles – Bob Spitz

Examples of failure to be chill:

PAUL: But it’s just funny to sort of realise that after this is all over, you’ll be off in a black bag somewhere – on the Albert Hall, you know. JOHN: Yes. PAUL: And sort of doing shows and stuff, and you know, digging— JOHN: Yeah, but I— PAUL: —digging that thing of it.

January 25th, 1969 (Apple Studios, London)

Yoko had evidently approached Paul McCartney about appearing in the film, as the Beatles' road manager Mal Evans penned in his diary: "PAUL HAS APPOINTMENT WITH JAPANESE LADY WHO WANTS TO PHOTOGRAPH HIS BOTTOM." Presumably Paul declined, and one must wonder if the same invitation might have been extended to John.

Chip Madinger, Lennonology Volume 1: Strange Days Indeed. (2015) (note: unforgivable rudeness on Paul's part to both Yoko and all of us who would have benefited from him featuring in "Bottoms")

“I was in India meditating about the album, when it suddenly hit me. I wrote Yoko telling her that I planned to have her in the nude on the cover. She was quite surprised, but nowhere near as much as George and Paul. “Paul gave me long lectures about it, and said ‘Is there really any need for this? ‘It took me five months to persuade them.

NEW MUSICAL EXPRESS, JUNE 7, 1969

He wasn’t happy. But the big things that were driving him mad were beyond me. He kept on working and writing, but when John came over, all he could talk about was how much he loved Yoko. That disturbed Paul. In spite of John’s obvious happiness, Paul stifled his jealousy with not-very-cute bursts of racist crap.

Francie Schwartz - Body Count

John & Yoko's perspective:

It’s the same. You can quote Paul, it’s probably in the papers, he said it many times at first he hated Yoko and then he got to like her. But, it’s too late for me. I’m for Yoko. Why should she take that kind of shit from those people? They were writing about her looking miserable in the Let It Be film, but you sit through 60 sessions with the most bigheaded, up-tight people on earth and see what its fuckin’ like and be insulted — just because you love someone — and George, shit, insulted her right to her face in the Apple office at the beginning, just being ‘straight-forward,’ you know that game of ‘I’m going to be up front,’ because this is what we’ve heard and Dylan and a few people said she’d got a lousy name in New York, and you give off bad vibes. That’s what George said to her! And we both sat through it. I didn’t hit him, I don’t know why.

I was always hoping that they would come around. I couldn’t believe it, and they all sat there with their wives, like a fucking jury and judged us and the only thing I did was write that piece (Rolling Stone, April 16th, 1970) about “some of our beast friends” in my usual way — because I was never honest enough, I always had to write in that gobbly-gook — and that’s what they did to us.

Ringo was all right, so was Maureen, but the other two really gave it to us. I’ll never forgive them, I don’t care what fuckin’ shit about Hare Krishna and God and Paul with his “Well, I’ve changed me mind.” I can’t forgive ’em for that, really. Although I can’t help still loving them either.

John Lennon: The Rolling Stone Interview, Part One

JOHN: But I understand how they felt, because if it had been Paul or George and Ringo that had fallen in love with somebody and gotten totally involved, suddenly… It wasn’t like, you know, somebody – George coming in and saying, “I’m going to work with Eric Clapton in a band now, and screw you.” It wasn’t that kind of thing at all. It was just suddenly this involvement.

December 6th, 1980: Andy Peebles talks to John and Yoko

“Lennon stated that “there’s some underlying thing about Yoko in [Get Back]”, saying that McCartney looked at Yoko Ono in the studio every time he sang “Get back to where you once belonged””

David Sheff, All We are Saying: The Last Major Interview with John Lennon and Yoko Ono

TRYNKA: ‘The Ballad of John And Yoko’, with Paul playing drums and bass, seemed like Paul’s tribute to you. Was that the case? YOKO: Yeah. I thought that was beautiful. Paul was trying to be diplomatic about the situation, try to make it well... He meant well. There were other instances where he’d do things that were meant well.

Yoko Ono, interview w/ Paul Trynka for MOJO. (May, 2003)

YOKO: Even now, I just read that Paul said, “I understand that he wants to be with her, but why does he have to be with her all the time?” JOHN: Yoko, do you still have to carry that cross? That was years ago. YOKO: No, no, no. He said it recently. I mean, what happened with John is that I sort of went to bed with this guy that I liked and suddenly the next morning I see these three guys standing there with resentful eyes. SHEFF: Do you think that kind of attitude from people was also jealousy? JOHN: It’s a kind of jealousy. People can’t stand people being in love. They absolutely can’t stand it. They want to pull you down in the hole they’re in.

John Lennon and Yoko Ono, interview w/ David Sheff for Playboy. (September, 1980)

‘He wanted me to be part of the group,’ Yoko says. ‘He created the group, so he thought the others should accept that. I didn’t particularly want to be part of them… I couldn’t see how I would fit in, but John was certain I would. He kept saying, ‘They’re very sensitive … Paul is into Stockhausen… They can do your thing…’ He thought the other Beatles would go for it; he was trying to persuade me.’”

Philip Norman’s 2008 biography Lennon

After the initial embarrassment, that how Paul is being very nice to me, he’s nice and a very, str- on the level, straight, sense, like wherever there’s something like happening at the Apple, he explains to me, as if I should know. And also whenever there’s something like they need a light man, or something like that he asks me if I know of anybody, things like that. And like I can see that he’s just now suddenly changing his attitude, like his being, he’s treating me with respect, not because it’s me, but because I belong to John. I hope that’s what it is because that would be nice. And I feel like he’s my younger brother or something like that. I’m sure that if he had been a woman or something, he would have been a great threat, because there’s something definitely very strong with me, John, and Paul.

Revolution Chaos Tape – Yoko Ono, June 4, 1968

"The line [the walrus was Paul] was put in partly because I was feeling guilty because I was with Yoko and I was leaving Paul. It's a very perverse way of saying to Paul: 'here, have this crumb, this illusion, this stroke - because I'm leaving.'" -John

Playboy, 1980

JOHN: And throwing in the line “the Walrus was Paul” just to confuse everybody a bit more. And because I felt slightly guilty because I’d got Yoko, and he’d got nothing, and I was gonna quit. [laughs; bleak] And so I thought ‘Walrus’ has now become [in] meaning, “I am the one.” It didn’t mean that in the song, originally. It just meant I’m the – it could have been I’m the – “I’m The Fox Terrier,” you know. I mean, it’s just a bit of poetry.

August, 1980: John talks to Playboy writer David Sheff about ‘Glass Onion’.

“Still, the real reason that people disliked Yoko was because she ordered them about and sent them on errands in a particularly rude way; she was brought up with servants, and that’s how she treated the staff of Apple. George found it particularly galling that she never gave the Beatles their definite article. He told me, ‘She would say, “Beatles do this” and “Beatles do that”, and we would say, “Uh, it’s the Beatles actually, love.” She’d look at you and say, “Beatles do this.”’ And he laughed and shrugged his shoulders. Whether Yoko was ever aware of the disruption her presence caused to the Beatles’ working practices I don’t know. Some people thought she was so involved in her own work and self-interest that she didn’t notice; others thought that it was a deliberate ploy to separate John off from the others.”

Barry Miles, The Zapple Diaries. (2015)

#the beatles #paul mccartney #john lennon #mclennon #he could only play nice for so long #the bag thing pissed him off too much

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random-brushstrokes · 5 months

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Thea Proctor (Australian, 1879-1966)

Alethea Mary Proctor's life as an artist encompassed more than half of the twentieth century. Born in Armidale in 1879 to parents who were soon to divorce, she weathered a disrupted childhood and a choppy education before beginning art study under Julian Ashton in Sydney when she was sixteen. At the Ashton school her fellow students included George Lambert, with whom she was to be closely associated in public and private over the next thirty years. In 1903, burning with a need to learn to draw, she travelled to London, where Lambert and his family were established. She became one of his favourite models, a regular in his household, and his pupil. Although she was desperately poor, her beauty and livery nature allowed her to meet many of the leading figures of the fin de siecle art world, and all her life she was to carry with her the modernist precepts and influences she absorbed from figures such as Clive Bell, spectacles such as the Ballets Russes and exhibitions such as the post-Impressionist show at the Grafton Galleries in 1910-11. Aside from a return to Australia in 1913-14, she was to remain in England throughout her twenties and thirties. Upon her return to Australia in 1921, which coincided with Lambert's, she immediately came to occupy a significant role in Sydney's volatile art world, and to disseminate her very strong ideas on modern art, interior decorating, fashion, costume, ballet and matters of taste in articles, lectures, formal classes, sketch clubs and at all conceivable social and artistic events. Strikingly beautiful, she never married, but supported herself into her eighties through art alone. She lived in a tiny rented flat in Double Bay, but until the early 1960s she was also able to maintain a studio in George Street, where she had lived before World War 2. In the inner city and the Eastern suburbs she became a familiar figure as immaculately dressed in brilliant purples, fuchsia and petunia shades she made her stately progress, parasol in gloved hand, seeking out the beautiful. (source)

The scenes of female intimacy in many of Proctor’s works have always been open to lesbian and queer readings. Women gaze intently at each other holding unfurled fans or proffering roses, symbols associated with female sexuality. Proctor moved in queer circles in Sydney in the 1920s and 1930s and was a valuable ally. JS MacDonald, the Art Gallery’s extremely conservative director from 1928 to 1936, wrote in 1934 of ‘the emergence of numbers of what the Americans call “pansies” … They rule the art world today, and, unless real painters speak up for themselves and right art, the women and their near-men abettors will ruin both.’ (source)

#women painters #thea proctor #australian art

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whiskeylover75 · 11 days

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There are several versions of the story behind a series of promotional photos taken in 1951 of Marilyn Monroe wearing a potato sack dress.

The best one involves a party at the Beverly Hills Hotel in which Monroe, then 24, allegedly showed up in a revealing red dress that a columnist declared “cheap and vulgar,” adding she would have been better served wearing “a potato sack.” The Twentieth Century Fox PR department then capitalized on the moment by putting her in one.

The less colorful version of the story is that the studio was simply hoping to drum up some publicity by suggesting their starlet was so beautiful, she could even make a potato sack look good — which she indubitably does.

#marilyn monroe #norma jean baker #norma jeane mortenson #40's #50's #vintage #pinup #celebrity #old hollywood #glamour #vintage glamour #pinup girl #american pin up #pinup model

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themousefromfantasyland · 8 months

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A Fairy Tale Rabbit Hole

Snow White and the Seven Dwarfs is the movie that it started it all for Disney Animation and it's the most influential fairy tale movie ever. Its tropes and its tone still inspires fairy tale media to this day, either as parodies, or homages.

But what less people know is that Walt Disney was inspired to make this movie because of a peculiar silent movie that he watched when he was a teenager.

That movie was Snow White from 1916. Its writer, Winthrop Ames, adapted it from his own Broadway play. An example of American fairy tale theater.

This kept me thinking.

The Wizard of Oz is one of the most iconic fantasy films of all time, and it was made in direct response to Snow White. What people don't know is that the scene where Glinda saves the gang from the deadly poppies with a snowstorm came straight from a fairy tale musical from 1902. It came from The Wizard of Oz, a fairy tale musical "extravaganza", with direct input from L. Frank Baum, only two years after the original novel.

Actually, stage musicals seem to take a slight part in the creation of Oz. The Marvellous Land of Oz, the sequel, seems to be inspired by this stage culture. General Jinjur and her army dresses like chorus girls, Ozma/Tip may be inspired by the crossdressing in children roles, and this was the book's dedication:

"To those excellent good fellows and comedians David C. Montgomery and Frank A. Stone whose clever personations of the Tin Woodman and the Scarecrow have delighted thousands of children throughout the land, this book is gratefully dedicated by THE AUTHOR"

These were actors of the 1902 stage show.

Two years later, on 1904 Peter and Wendy premiered. This play is also one of the most famous children stories ever. Walt Disney himself acted as Peter in a local production of it and Tinkerbell quickly became a mascot for the studio.

This all led me to think more about fairy tale theater specifically.

Since the ending of the 18th century and through the 19th century, a genre of stage show developed through Europe. It was mostly comedic and light-hearted, mainly inspired by fairy tales, and it was geared towards children and families. It involved lavish fantasy spectacles told through operas, ballets, and what we today would call "musical theater".

It had many different names and variations depending on the country.

On England, it evolved through the pantomimes and it became a Christmas tradition.

In Russian, it was mainly through ballet, called the ballet-féerie, often considered a lower-class, more commercialized entertainment than traditional ballet. Tchaikovsky's Sleeping Beauty and The Nutcracker are among some of them. Sleeping Beauty would later inspire Disney's telling of the story.

In France they were called Féerie, and it was a mix of music, dancing, pantomime, acrobatics, and stage effects. It influenced the development of burlesque, musical comedy and film.

From Wikipedia:

With his 1899 film version of Cinderella, Georges Méliès brought the féerie into the newly developing world of motion pictures. The féerie quickly became one of film's most popular and lavishly mounted genres in the early years of the twentieth century, with such pioneers as Edwin S. Porter, Cecil Hepworth, Ferdinand Zecca, and Albert Capellani contributing fairy-tale adaptations in the féerie style or filming versions of popular stage féeries like Le Pied de mouton, Les Sept Châteaux du diable, and La Biche au bois. The leader in the genre, however, remained Méliès,[37] who designed many of his major films as féeries and whose work as a whole is intensely suffused with the genre's influence.[38]

Once you realize a huge chunk of fairy tale media has roots in family friendly stage shows from 19th century, a lot of it started making sense.

The focus on romance, the focus on damsels in distress, prevalence of lighter tones, the everlasting connection to music and dance.

They may be the main reason why some fairy tales are more famous than others. Some became source material for a continuous stream of operas, operettas, musical extravaganzas, ballets, plays, and others simply not.

And besides the Victorian Era storybooks that bowdlerized fairy tales for children, I think this whole genre of the theater was responsible to firmly establish fairy tales as a child friendly media, decades before Disney ever released Snow White to cash in that nostalgia.

If you have something to add or if I just got something wrong, feel free to correct me.

@ariel-seagull-wings @princesssarisa @adarkrainbow @the-blue-fairie @theancientvaleofsoulmaking @natache @tamisdava2 @thealmightyemprex

#fairy tales #stage shows #ballet #opera #pantomime #19th century

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poetryincostume · 1 year

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A ribbon corset has been on my list to make for a good few years now. In 2020 I was full steam ahead to make a Helga Sinclair (Atlantis) cosplay. Life, pandemic, work, and endless distractions means we’re still not quite there yet, but in dribs and drabs I’m tackling elements of the costume as I’m still sitting on the majority of the materials.

This was when when I was in the depths of being very taken with making costumes from the skin out; fit, silhouette and sharp clean lines are my priority when making and where I find great satisfaction. To achieve a perfect shape, you need the perfect structure to build on.

Playing with undergarments creates further opportunity to explore character and the setting, historical or fictional, in a fun intimate way. Fabric choices, actual garment choices, shooting for a silhouette that is easily drawn but harder to achieve in the flesh. This led to me deciding that Helga would need a full set of pseudo-historical undergarments.

With references to the Kaiser, the overall steampunk aesthetic, and the silhouettes featured in the Washington DC-set opening scenes, Atlantis is clearly set in the early 1910s before the outbreak of World War I. Helga's design, however, drew heavily on Hollywood starlets of the '30's and '40's, most notably Veronica Lake and her career making hair. Withn the film, Helga remained highly individual, and was exclusively animated at Disney's French Studio by Japanese animator Yoshimichi Tamura for maximum sex appeal that Burbank animators apparently just can't get right.

This gave me a lovely big window of around 30 years to play and pick and choose from for possible undergarments which led me to: the ribbon corset.

Ribbon corsets emerged alongside sports and 'health' corsets at the turn of the twentieth century. These developed out of a growing engagement with sports and exercise in the leisure classes, the burgeoning Dress Reform movement that advocated the abandonment of the corset. Particularly in the case of the pretty ribbon corset there was also the influence of the late Victorian aesthetic movement that favoured loose, diaphonous romantic garments.

These corsets sat under the bust and had boning at the centre front, back and sides and no more and rested on the high hip. This allowed maximum movement for the active lady, gently supporting the torso in the fashionable flat fronted shaped with little restircution. The body of the corset was otherwise was made up, as in the name, of strips of ribbon.

When looking for discussion of how to construct one of these, all pointers led to Sidney Eileen's perfectly detailed tutorial, which I do recommend reading through. To my eye it is a very modern approach that I didn't quite agree with so I used it as a jumping off point along with the patterns in Corsets & Crinolines, and Corsets - Historical Patterns and Techniques.

To draft up the pattern was very simple: I marked out my desired waist measure, then measured up my centre front and centre back lengths (averaged out from the various patterns in my references compared against myself). I then used my ribbon - 50mm jacquard - to map out my body layout.

When it came time to construct I realised that my ribbon - so abstractly bought years ago - just didn't have the body to take this structure. Much too flimsy, much too synthetic. Fortunately I had a 50mm green grosgain in large quantity in my ribbon drawer. Given the merc-for-hire miliatry drab favoured by Helga, I thought the green alongside the pretty shell coloured floral made a lovely character juxtaposition.

I mounted my jacquard onto the grosgrain, creating a nice delicate border. If you look closely you'll see that actually there are too shades of green grosgrain here as I was about a metre shy of my preferred colour, but i figured it was close enough and minimally to just fake through.

These newly formed ribbons were laid out on my pattern, stitched carrfully together and then tacked all over to stop any irritating movement when working.

The boned panels - side, back and front - were two layers of herrinbone couil, trimmed with grosgrain and covered with main ribbon. The ribbon panels were first stitched to one layer of coutil, as you would with any garment. The ribbons were then quilted neatly and vertically across the width of the coutil panel to make sure that they are entirely secured. This was repeated for all panels; the side panel has two layers of quilte ribbon as a result.

As no extant example that I have seen to date has binding on these boned panels - naturally, it would add bulk and distract from the clean lines of ribbons - I decided that this would mean that I would sandwich and hem my boned panels for security. Each boned panel had its grosgrain trim and top ribbon tacked in placed, the the second layer of coutil was stitched and turned to the inside, folding the quilted ribbon very neatly inside. Boning was then inserted from the side and stitched into place rather than inserted into channels.

A lovely ivory powder-coated busk, and stitched over eyelets and Helga's vaguely turn of the century ribbon corset is all done!

References:

Underwear Fashion in Detail, 2010, Eleri Lynn

Corsets - Historical Patterns & Techniques, 2008, Jill Salen

Corsets & Crinolines, 2017, Norah Waugh

The Making of Atlantis - https://youtu.be/tvR9Zdp74fY?si=5mMV1AH6HLir2rNZ

How To Make A Basic Ribbon Corset, Sidney Eileen - http://sidneyeileen.com/sewing-2/sewing/corset-making/basic-ribbon/

An Edwardian Ribbon Corset, History Wardrobe - https://historywardrobe.wordpress.com/2014/04/10/an-edwardian-ribbon-corset/

#project: Helga Sinclair #project: ribbon corset #media: atlantis #cosplay #historical sewing #costume #historical dress #historical costume #Edwardian #making of #project wip #poetry in costume #long post

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