Putting a New Spin on the Tradition of Pinup: Meet Girls Drawin Girls

By Bubbles von BonBon

The female form has always been emulated in art with the artists of each period dictating what should be stylized and celebrated in these figures. Traditionally, with the emergence of comic art and design, the predominantly male profession of illustration has often left their female peers to try to reconcile their own artistic desires with the rules already in place regarding what women should look like in a fantasy world of idealized proportions. Essentially, men have been making the rules governing how women should be represented in pinup art.

Animators, artists, and designers have joined forces to form the all female collective Girls Drawin Girls within the visual arts community to change the norms associated with pinup imagery in comics. And they’re showing off their T&A in the process—a girl can get real far these days with Talent and Ambition.  Co-founded by Melody Severns of Simpsons fame and storyboard artist Anne Walker in 2006, Girls Drawin Girls has emerged into pinup art culture through varied channels. Organizing events in southern California to showcase their works and collaborating on themed print pinup books, the group seeks to inform us what the female artistic eye beholds as beauty while supporting each of their members’ pursuit of their place in the art world. Their blog features drawings from members old and new, artist spotlights, and links and information for what the girls do outside of their pinup work. Beyond bettering and advancing their own craft and recognition within the field, Girls Drawin Girls makes an effort to contribute to the betterment of the world around them by offering their works and time to charitable causes such as the Pasadena Chalk Festival and GDG’s recent fundraiser for American Red Cross aid in Haiti. While the girls don’t always receive monetary compensation, they are making a bold statement to the world: female artists hold an equally impactful place in the community of visual art.

The approximately 35 artists come from a wide scope of industries with a heavy concentration in the animation field. They share a common goal, proving the prowess of female artists in a male-dominated profession. And their common tastes run toward a more naturally rendered form—after all, don’t we prefer that even boob jobs look lush and appealing with feminine curves, rather than the bulbous forms sometimes inked by their male counterparts? But here’s another thing cool about these girls: even if they are women united in a common art with a common goal, each artist puts such a unique spin on what they believe is beautiful in the female form that it’s like seeing the women that surround you every day in a whole new light. You start looking for superheroes in the supermarket and wondering if the girl you see at the bar secretly likes to wear gardening gloves and a flirty apron. (See here, here, and here for some of my favorites on their blog.)

Female artists have long struggled to gain the recognition they deserve. From Artemesia Gentileschi gaining entrance as the first female artist into the Accademia di Arte del Disegno in the early Baroque period—painting imagery of strong female Biblical heroines typically ignored by her male peers, to the trivialized and still largely unrecognized “Ink and Paint Girls” of Walt Disney Animation that devoted countless hours to adding the extra sparkle and necessary color to produce the dream-like reality of Disney’s full length feature animation in the 1930s and 40s, women have been forced to fight hard against discrimination from their male colleagues, who were often resistant to accepting their artistic contributions. But you cannot complain about exclusion if you are not willing to do the steps necessary to establish yourself in a field, and like female artists of the past, GDG has joined together to prove that the viewer deserves to encounter a variety of aesthetic interpretations, regardless of gender, race, or any other factor related to the artist. They don’t seek recognition as female artists, but rather just as artists—equal to their male counterparts and with images just as powerfully appealing.

The 1940s and 50s are the periods most frequently associated with pinup art. However, unwilling to pigeonhole the pinup form to one particular decade or look, GDG’s first print volume featured the theme, A Girl in Time, offering diverse visions of the female form through the decades and even into the future. What makes their pinup art stand apart from that which is typically associated with mid-twentieth century drawn female forms is that there has been a power exchange. Now rather than women being merely the object of pinup interpretation, they become the subject of an aesthetic statement as women artists look into their own minds to decide what is attractive and illustrate that which allows their female figures the simultaneous opportunity to be both sexy and powerful. Pinup as a medium becomes an evolving art as female artists bring their own set of ideals to the table of artistic discussion. In a similar stance of taking control of how women are portrayed, the second volume by GDG showcased Once upon a Girl, a reinterpretation of fairytales that once again allows the artists to decide what fantasy should look like. If female viewers are the primary audience for fairytales, then female artists should have the opportunity to dictate the imagery associated with those stories.

Reinterpretation to put a female-positive spin on art forms that have been regarded as objectifying to some feminists is similar to another art form enjoying a great resurgence—burlesque. Just as the reemergence of striptease as a form of performance art has increasingly gained popularity among female fans, pinup art offers an opportunity to female artists to take charge of what they want portrayed as beauty in the public eye. Women enjoy sexual arts; but it’s altogether much more satisfying when they have a say in what is being sold as sexy. By choosing what they want to see in female forms, GDG is providing an entirely new and different canon of imagery for female artists after them. Relying on their pens and paints and laptops to illustrate pinups is more than just creating pretty girls to look at; it’s creating new tenets and options for what should be looked at as pretty.

Female artists may submit their portfolios for review to gain entrance to GDG, and a few of the seasoned artists and animators provide feedback for all submissions even if they are not deemed ready to join. There is a strong dedication here to encourage all artists who are searching for the right inspiration or support.  Once they are part of the collective, the artists make a commitment to spend time creating images that work toward originating or establishing their own particular brand of pinup art.

The girls are based all over the country, with the majority found along the west coast. They communicate mostly through newsletters and emails, and they work together to produce their shows, printed volumes, and the blog. But there is no hard and fast rule of aesthetic that is accepted into GDG. As they set out to diversify the look of female characters in drawn and animated art, they do not discriminate against variety within their own ranks. This acknowledgment that each of the artists is allowed to embrace what she deems as beautiful in the female form frees each of the artists to embrace making a world as they wish to draw it, unrestrained by any rules except those that they form for themselves.

In terms of what they contribute to art and animation society as a whole, Girls Drawin Girls offers a forum to showcase a variety of female artists around a common theme that doesn’t limit the space for individual interpretation. For some there is a tendency toward strong superhero women, the likes of which haven’t found a strong foothold yet in comics and animation.  For others, they turn to classic poses and shapes, yet there is often a tendency to better balance out those more naturalistically drawn bosoms with realistic hips and thighs…even when the small waists still take center stage. In some instances, body shape is not as relevant, the artists deciding instead to bring focus to facial features or a sense of emotion, their pinups evoking more than just a physical presence on the page. GDG gives each of their artists the space and opportunity to present what they see as pinup in its ultimate style. A growing force in the field of pinup art, Girls Drawin Girls is reshaping the lines of illustrative norms, in a way that is proving both fun for its members and highly effective—or addictive—to their fans and viewers.

Brooklyn, New York’s Paigey Pumphrey, pin-up and comic book artist extraordinaire sits down to talk Ed Emberley, superheroines, Mary Jane, curvy gals, and sausage fests.

Interview: Shoshana. Illustrations: Paigey. Photograph of artist: Atomic Cheesecake Studios

Q: In your blog, you credit Ed Emberley with teaching you to draw. How serious are you about this claim, or is it more tongue and cheek?

Oh I was indeed serious! Ed Emberley provided me with the foundation for which all my drawing skills have been based on. He taught me at an early age to break down something visually into simple objects to better process them from eye to hand to paper. Without him providing such early guidance I probably would have had a lot of trouble later on with learning basic anatomy and composition. I’m still a hardcore Emberley fan to this day. One of my next tattoos I’m planning to get is the werewolf from his Big Drawing Book of Weirdos. There’s even a documentary currently being filmed about his Make a World book. If there’s a child in your life who has an interest in drawing I highly suggest picking up a book or two of his, they go for pretty cheap and you never know- they might be an investment in that kid’s future.
 
Q: When did your love of comics begin?

I started out originally wanting to be a Disney animator til about sixth grade when I discovered my brother’s issue of Uncanny X-Men #236. That’s the one from the ‘80s where it opens up with Wolverine and Rogue fighting in Genosha against tons of armed guards — completely naked. Then I had no idea what I was reading, it was a terrible jumping-on point. But it was so exciting and sexy and dramatic and it was like a big budget movie being played out right in my hands. That issue inspired me to delve further into comics, starting with my brother’s stash of X-Men and Conan the Barbarians laying around the house and eventually I started buying and drawing my own comics from 7th grade on. 
 
Q: What have been some of your favorite illustration collaborations to date?

At the risk of sounding corny, I’d have to say my boyfriend, Phil Balsman, aka Ballsy is one of my favorite collaborators. Not only is he a great illustrator, but he also does about 95% of my lettering, typography and title treatments for my pieces. We both attended the Joe Kubert School of Cartoon and Graphic Arts back in 99-01, though back then we were just friends.

A former letterer for DC Comics and now an Art Director/Designer for Del Rey manga, he creates the perfect marriage of type to my pictures. We started working together about a year into going out on a series of old EC-style comic covers that were used in group art shows. I’ll create a ‘cover illustration’ based on that criteria, then Ballsy will come in and do the title block and any word balloons or sound effects. There’s few people if any I have that complete of a trust with regarding my artwork, he is definitely one of them. 
 
Q: How does your love of comics translate to pin-ups?

 I’ve always had a fascination with drawing pretty girls. My definition of ‘pretty girls’ however has changed throughout the years, it’s evolved from generic spandex-clad superheroine to straight up heroin chic through my teens and twenties to the plumper, softer, bubblier girls I draw now. I think it has to do with what artists look to for inspiration.

When I was drawing nothing but superheroes, that was because that was all I was reading and for the most part the only artwork I was exposed to that caught my interest. This was also during the big 90’s comic book boom when everyone was drawing more ‘extreme’ than the next guy and female points of view in the comic realm were so much harder to find. Then I drew these super-skinny, miserable-looking heroin chic girls in the late 90’s, when I started getting my influences from fashion and club culture, especially raves, gothic industrial clubs and Gregg Araki movies.

 I think it’s always been that I draw the kind of girl I’d want to live vicariously through. Now it’s these perpetually giddy girls with hips and thighs and tummies and smiles that are dancing and eating bon bons and having a great old time. The stuff I do now seems to make people happy. When I see people flip through my art book or portfolio they’re always smiling, and I like seeing that. 

Q: You now have a resin figurine Miss Mary Jane, obviously inspired by a love for pot and pin-up, available via pre-order through Patch Together. This super cute figure even wears a plastic baggy inspired hoodie! Explain the process from sketchbook to completed toy available for purchase.

Miss Mary Jane started out in 2007 as a little doodle I sketched out during lunch at my day job shortly after I moved to New York. I used to smoke ALOT, about 3-4 years ago and had kicked the idea around in my head for awhile. And it just came out one day, and I took it to finishes and it became one of the more popular pieces in my portfolio. A girl back in Maryland even got her tattooed on her arm.

It’s always a bit of a ‘test’ with those who see it, as it’s about a 60-40 split between those who think she’s a broccoli girl/ the Jolly Green Giant’s wife and those who realize she’s a girl made out of weed. It’s kind of like my little test to see who’s a stoner. Though as soon as anyone realized she’s a weed girl everything starts falling into place- the green tint to her skin, the hair texture, the plastic baggy hoodie with the multicolored seal/zipper.

I entered her into Patch Together’s ongoing design contest primarily for shits and giggles. I’m a big fan of Miss Monster and have both her Foo Dog and Tentatiger toys, and thought I’d give a shot submitting and thought nothing of it. I was accepted and started getting votes and after it was approved for preorder I was all ‘Oh crap- this is real now.’

Seeing my artwork interpreted as a 3D sculpture and ultimately having my own toy out on the market is so surreal and awesome at the same time, and this is definitely not the last collaboration I plan on doing with Patch Together. The journey of making Miss Mary Jane into a toy has been a tremendous learning experience. The sculptor I worked with- Miller, has done an amazing job and had nothing less than the utmost patience with my 8 million revisions going back and forth. Kudos and high fives all around! 

Q: Roller derby, pin-up, and burlesque seem to be reoccurring themes in your comic book characters. All three have experienced cult revivals over the past five years. What is it about these particular muses that have you so captivated?

I think that all three are so inspiring to me. Roller derby because I love the names and personas those involved all have. I insist on calling those involved by their derby names, mostly because they’re easier to remember, but also cuz it’s so damn cool. It’s like knowing a superhero. 

It’s also a great jumping-off place as an artist to get recognized locally for your talents. My first derby experience was the inaugural bout Charm City Roller Girls in Baltimore and was inspired. I started emailing them, offering my artistic services and would show up to practices for impromptu life drawing. I started doing portraits of all the first season lineups, which got me some recognition in the Baltimore art scene and the beginnings of my portrait commission business. I owe a lot to them for helping me launch my artistic career.

Pin-up was a natural transition from my time going to comic book and anime conventions as a fan and taking part in ‘cosplay’, where I and several other girls I knew would dress up in homemade costumes of different characters and run around the con floor getting our pictures taken. I was actually getting pictures taken of myself in pinup style before it dawned on me to draw like that as well. Once I started drawing my girls cuter and bubblier people really started taking notice, and my work was progressively more well-received.

It was then I found my artistic niche and I’ve been running with it ever since. With burlesque, I was only recently introduced to this amazing subculture a little over a year ago, shortly after I moved to New York City. I barely knew anything about it until I moved here, let alone that there was a whole revival. I think my first real exposure to it was through Dr Sketchy’s Anti Art School, which is a life-drawing session in a bar with a burlesque performer as a model. I was blown away, I started going to shows, making friends with performers.  

Now I can’t get enough! I love it, it’s so appealing to me on so many levels. I’ve even taken a few classes at NY School of Burlesque. If I had more time between drawing and my day job I’d be up on stage myself. 
 
Q: You spend a lot of time on the comic book circuit. Is it still a male dominated scene, or are female artists more prevalent now?

It’s getting better, but there’s still a pretty strong ’sausage party’ vibe, which can work both for and against you when you’re female. If you play your cards right you can definitely get a little extra attention from passerby in the Artist Alleys section of the con, where the up-and-comers usually hang out and hock their wares. I always dress up for conventions, so I can work as basically my own ‘booth babe’.

Instead of the fans talking to a paid representative of said company/artist, they actually get to talk to the artist herself, being me. Plus with my 6+ years of retail experience I feel I get the best response from customers and hopeful future fans when I’m standing at their level, making eye contact and greeting them as they enter my ’store’, aka the front of my booth.

There’s so many times going to comic cons as a fan that I’ve found myself in Artist Alley and have a whole ‘Don’t look in their eyes!’ moment. I hate when artists are pushy pitchmen over their work. I’ve left Artist Alley way too many times as a fan with books and ashcans and such I didn’t even want in the first place, but was guilted into buying or taking, and I end up throwing them away only days later.

As an artist, I try to just be friendly and personable, and barely even mention my work, even though it’s displayed all around my table. I let my work speak for itself, and I only talk about it to folks that seem interested. As it should be, I’d much rather 20 people take my card of their own free will with them back to their house than see 100 cards I’ve pushed on people ending up on the floor or trash can.
 
Q: What does the future hold for Paigey?

In the next year I’m hoping to hit at least 5 east coast comic conventions between Baltimore and New York. The plan is to do as many cons as I can on the east coast that I don’t need a hotel room or crazy travel expenses for. And since I live in Brooklyn and my folks live in Baltimore I’ve got a nice centralized area to work within the con circuit.

Hopefully, all that will be able to pay for me to head out to the BIG one, San Diego Comiccon, in 2011. I recently joined up with an art collective called Girls Drawin’ Girls, a group of 40+ all-female pin-up and girlie artists, primarily based out of southern California. Through them, I’ve been able to get some much-needed west coast exposure and they have a table at SDCC every year that I’ll work at when I go.
I also plan on doing more toys through Patch Together, including an original roller girl character I created and hopefully I’ll have enough material to release a new artbook by the end of 2010.
 
-Paigey! xoxo

“Comics, Commissions and Camaraderie!”

You can view more of Paigey’s work at www.theartofpaigey.blogspot.com

Corset designer Jennifer Gonzalez of Jupiter Moon 3 talks shop discussing corsets, time management, Aqua Teen Hunger Force, and evolution.

Q: What’s the story behind the name- Jupiter Moon 3?

It’s a long story.  When I was starting out part time, as a hobbyist, I went through several company names.  Nothing ever felt right, and nothing stuck.  But all of the names I came up with had something to do with planets, I’m not sure why.  I was “Triptych Moon” for a short while, then “Eight Thirty and Earth” after an exciting Burning Man experience in 1999.  Then one night, in 2002, I had a dream that I was on Jupiter with my family.  I looked out at the horizon, as the sun was setting behind me, and in the sky I saw nine of Jupiter’s moons cascading in each others partial eclipse, one behind the other, in a sort of orange-yellow spiral.  It’s the most beautiful thing I have ever dreamed up!  I need to paint that some day!  Why I chose to add the “3″ is a mystery to me.  It’s my lucky number, maybe that’s why.  However, I may drop the 3 eventually, people rarely know it’s part of the name.

Q: Tell us about the early days of Jupiter Moon 3, how did you get your start?

My mom taught me to sew at an early age.  But when it came to corsets, I had to start almost from scratch.  I think it was fate; I was a poor starving artist!  I couldn’t afford to buy a corset.   I was going to college at the time in the Bay Area in California when I got started, in 1997.  I fell in love with Romantasy corsets in San Francisco, and couldn’t afford to indulge.  But I was determined to have a corset, so I started creating my own patterns for simple waist cinchers, it was more affordable.  Gradually I moved on to more intricate underbusts and overbusts.  It was a difficult process, and it took me many years to perfect.  I’m still perfecting my designs, it’s a never ending process.

Q: How did you take your corset making business from a hobby to your full time job?

When I started making corsets and costumes, my designs caught the eye of my friends.  A few of them placed orders with me, then friends of friends, then people who heard of me through word of mouth.  After I moved to Texas in 2000, I started selling as a very part time income, just for fun.  I never thought I could make a career out of it.  After I started selling online in early 2004, my designs were selling like hotcakes, and I was able to make Jupiter Moon 3 my full time career.  I was almost forced to; I was receiving so many orders, I didn’t have time for a “regular” job anymore!

Q: The rewards are often obvious, but what are some of the biggest challenges you face as a small business owner?

I do everything for my business.  Designing, sewing, secretarial work, web design, promotions, everything.  I do this so I can keep my costs down for my clients by not paying someone else to do all of these things for me.  But it creates problems at the same time.  One of my biggest challenges is keeping up with all of those tasks and still finding time to actually sew.  I work about 60 hours a week on average.  Sometimes a lot less, sometimes more.  A 14 hour shift is quite normal for me.  I try to keep my clients happy, and not let them feel neglected, but answering the plethora of emails I receive is increasingly difficult with more and more orders being placed.  It’s something I’m still adjusting to after all this time!  I do find my balance, it just means more hours.  I have to turn down orders occasionally, otherwise I would get too backed up, and orders would just take too long.  But the positives greatly outweigh the negatives, I work at home, I make my own hours, and I don’t have to ask the boss if I can go on vacation, so I don’t complain too often!

Q: What are the have been the biggest evolutions or revelations in your work?

Every day is an evolution.  Every corset brings new challenges, new ideas, new revelations, and my work is constantly evolving, improving, and changing.  I look at corsets I made several years ago, and I can pinpoint every little detail that I have worked through, changed, and improved on with more recent corsets.  I am always adding new details, new support methods, anything to help my corsets and my skills improve.  I will never plateau with my work, it’s a constant challenge to make them better and better.

Q: You have done custom corset and costume creations for some of the biggest names in the industry including Masuimi Max and Angela Ryan. What has been your funniest custom order? Which has been your most challenging?

My funniest costume order has nothing to do with corsets.  When we were dating, my husband asked me to make him a Master Shake costume for Halloween, from Aqua Teen Hunger Force.  It turned out so much better than I could have imagined, and it was hilarious!  He has worn it on three different Halloweens now.   I joined him two years ago as Frylock, with high heels, black hose and garters, since I couldn’t float or make my legs invisible!  It was my first un-corseted costume in more years than I can remember.

My most challenging piece was a costume I recently completed for Masuimi Max.  She wanted a circus costume, and putting together all of my ideas was like putting together a puzzle with no picture to refer to!  I had all of the components in my head, five pieces, but no idea if they would look good together when it was completed.  I challenged myself and went for it anyway.  The skirt in itself was a challenge, the finished edge was over 65 yards of organza with a rolled hem.  It was also the most crystals I have ever added to a piece.  The costume turned out to be my favorite creation yet!  A close second is the Snow Queen costume for Angela Ryan!

Q: Without giving away any trade secrets, can you take us through your creative process? What makes your work so unique & of such high quality?

My creative process is an assembly line.  Most people would probably work on one corset at a time to avoid the monotony.  Not me!  I work on four or five corsets at a time.  On day one, I will iron and interface all of the fabric, then pattern and cut out each one.  On day two or three, I will sew all of the pieces together, including bone accents, making a sort of corset shell.  Then I will cut and tip all of the bones.  I will sew in trims and other accessories.  After that, I will sew each shell to it’s lining and finish the fabric part.  Then I sew on lace, glue crystals, sew on bead work, and whatever else my client wants, those are my crafty days!  On the last day, I will grommet all of the corsets.  This whole process can take days or weeks, depending on the intricacy of the orders, and how many corsets I am working on at the time.

My corsets are quality because I try to pay attention to every stitch.  My corsets are original, and will remain so, because I design my own patterns, and because I taught myself how to make them.  No other designer sews corsets the way I do.  I have a very different process than other corset makers.  All of these details keep my work unique, and I pride myself on quality and dedication to my work.

Q: What should women look for in a quality corset?

The most important factor in a corset is having it made custom.  It’s very difficult for a woman to find an off the rack corset that fits her perfectly.  It does happen, but custom is perfection.  If her grommets are closed at the bottom and open at the top, or vice versa, or even closed in the middle and open at the top and bottom, it’s a bad fit.  She would be so much happier in a custom corset.

Another important thing to look for are the supplies.  Steel boning is a must.  Plastic boned corsets shouldn’t even be considered corsets, in my corset-snob opinion!

Denton-based crafter, hot-rod enthusiast, and army wife Dakota Darling talks sewing, Day of the Dead, and pop culture.

Interview: Shoshana Photographs: Courtesy of Dakota Darling

Q: Tell us about the birth of Dakota Darling Designs. How did you get your start and what’s the story behind the name?

I’ve always been crafty! My father is an artist and a photographer, so I grew up in a home with a darkroom and a closet full of art supplies at my fingertips, and my grandmother insisted that I learn to sew before I was even old enough to see over the top of the table!

Selling my art started in high school and trickled into college, but I never really worked at it very hard-life got in the way!  I decided to start re-working my designs and selling my goods on a more serious level about a year ago when  I was asked to be one of the darlings for Hot Rods and Heels. Since then, I’ve opened an Etsy store and I have a website dedicated solely to my work! When I’m not working my day job teaching art, I work on my designs and my inventory for upcoming events.

I grew up in a small town in North Dakota and I’m always very proud to say that I’m from there. I was struggling with what to call my new “company” and my best friend came up with Dakota Darling. I loved it! It really suits me, I think!
 
Q: When did your love affair with sewing and knitting begin?

Oh, goodness…I can’t remember NOT knowing how to sew. I was so young when my grandmother started to teach me, it’s just what we did together. It’s something that really spoke to me. I have some really funny “clothes” that I made for my dolls when I was about 6. They are hand sewn and made from some of the ugliest polyester pants you could imagine! My mother also has a pillow that I made out of an old sweater when I was about the same age.

I started designing and making clothes for myself when I got my first Singer sewing machine for Christmas. I think I was around 11 years old.  Once I had my own machine, that’s all I wanted to do!

Knitting and other fiber art came WAY later. Over the last ten years or so, I’ve challenged myself to learn a new craft every year. About 4 years ago, it was knitting. I bought myself the first Stitch N’ Bitch book, a set of needles, and a ball of pink yarn to get myself started. The moment I figured it out, it was like dancing! I love the clicking of the needles and the methodical nature of the beast. The only time I am sitting still for longer than 15 minutes is when I’m knitting. I can’t get enough of it!!
 

 
Q: You’ve become known for your Dia de los Muertos inspired purses, which are popular year around. What’s behind the current fascination with calaveras?

 I’m not really sure, but I think the state of the nation has something to do with it, to be honest. With the influx of the Mexican population comes the influence of the Mexican culture. People who have never been exposed to the celebrations and art that coincides with the Mexican culture are starting be exposed to it and its beauty. Here, locally, they are starting to appreciate it more and more.  Also, with hot rod culture on the up and up, skulls in general are becoming very popular. The idea of Calaveras and “hot rod art” becoming pop culture is kind of crazy to me…

Q: When not creating art, how do you spend your free time?

 I have two young boys to wrangle!! My kids keep me so busy! As I mentioned before, I’m an art teacher, so I’m at school from 7:30 until around 5:00 Monday through Friday and I do crazy stuff with my kids most weekends. My husband works out of town, so I am a married single mom rearing my boys practically on my own! When he’s home, we do things as a family, so there is really no such thing as free time!
 
Q: What does the future hold for Dakota Darling Designs? Any upcoming projects or events our readers should know about?

 I try not to look too far into the future. I am enjoying the ride!! My art and photography is starting to make its way here and there, so we’ll see, I suppose! I will have some handmade ornaments (and possibly some other art) on display at the Oxide gallery in Denton in November and December and the next show that I will be doing is the Gifts and Garters show on December 5th in Dallas. Holiday shopping season is around the corner, so I’m rolling up my sleeves and stocking up on yarn and fabric!!

Find out more about where to find Dakota’s goods at www.dakotadarling.com.

Night of Mourning (Noche de Duelo) Designs’ mastermind Angie Wood discusses Guatemala, Buddy Holly, her grandmother, and her artistic aspirations.

Interview: Divertida Devitchka Photographs: courtesy of Angie Wood

You state in your Myspace profile that you were “raised to embrace (your) culture even though at times (you) didn’t.” How and when did you not embrace your culture, and what brought about your decision to begin incorporating it into your art?

My mom, brother and I were all born in Guatemala. I wasn’t raised there as they were. Going back to visit wasn’t a big deal for me until after high school. I didn’t remember those people so to me it wasn’t like I was missing anything. By that time it had been two years since I’d been back and by then my grandmother had passed away. I have great memories of her – staying up late, eating candy and decorating for the holidays. My first taste of tequila was with her in Guatemala City. Maybe it’s just a lot of guilt for not really caring about my heritage growing up, but every time I craft or decorate it’s like I’m young again, getting ready for the holidays.

From what influences do you draw to create your art? It’s apparent that el Día de los Muertos is a big factor.

Life experiences and remembering history. My most recent shrine was of Buddy Holly after a night of listening to my Crickets record. So much history and ideology comes to my head when I hear his music. Lots of beauty and irony.

Your profile also says that you honor life and death and that they are the only things that are certain. Is your art your way of honoring life and death?

I think it is. There’s always some theme or idea behind my work, or at least I try to have one. Last year I did an altar honoring my mother who is living and my grandmother who is not. Almost always I’ll try to have it balanced – yin and yang.

How long have you been creating art and jewelry?

About 2 years as a seller on Etsy. Even if I sell 3 things a year to me it’s meditation and to someone else it might be art or a new favorite item.

Tell me more about your creations. Do you primarily create shrines and altars? What made you decide that there was a market for that type of art?

I make more jewelry throughout the year; more folks seem interested in a one of a kind necklace they can wear out. I don’t think Dallas has a market for shrines/altars just yet. Most people forget about Day of the Dead until the month of. Right now I’m working with small coffin boxes and zebra print. All items are one of a kind, and if there is a duplicate I have it but it will never be exactly the same. For Christmas and birthdays I do custom work.

Any big developments or events on the horizon for you and/or your art?

Doing more shows! I’ve done a few hot rod shows and did a burlesque show. I participated with my husband in two Day of the Dead art shows last year and I’m hoping for the opportunity to do it again this year.

What are your aspirations as an artist?

To make beautiful items that people will not want to throw away when they have to move, haha. Right now I just do it for fun. I try to keep a nostalgic feel to the necklaces I make. I’d eventually like to have my own line of jewelry picked up by Daddy-O’s, Sourpuss or Pinup Girl Clothing.

Anything you’d like to add?

Thanks a lot for checking out my stuff. I look forward to meeting more people who share the passion of doing it yourself. Without Discrimination Death Takes Us All.

Pastie maker extraordinaire …Laura, darling is originally from New Orleans, though she now calls Dallas home.

Interview: Shoshana Photographs: Courtesy of …..Laura, darling

A pastie is a bit unusual for a first love in the realm of the arts. What is your arts/crafts background?

I can’t remember a time in my life that I wasn’t drawn to making costumes & fashion.  When I was 3, I made my first ensemble- a red string bikini-a la Charlie’s Angels made out of paper and twine and colored with crayons. I think my mom still has it. I was always in art classes in grammar and high school and for a while I was a jewelry major in college.  I graduated with a degree in fine arts and ended up in the fashion industry designing print and patterns for women’s career wear. I pretty much get paid to draw. I love it.

When did you begin designing and making pasties? What fueled your start?

Being from New Orleans originally, pasties and exotic costumes have
always been a fascination. I started collecting pasties about 8 years
ago- my first pair were from Bourbon Street. Just this past May I was
asked to create an apron for the charity event benefiting DIFFA (Design Industry Foundation Fighting AIDS). They were pale pink rhinestone, and making them was so much fun, I started making more.

Without giving away any trade secrets, can you describe your process?

My pasties are made of over 300 rhinestones per pair for the ultimate
sparkle. I bring my knowledge and passion for color and pattern to each
pair. Every stone is hand-picked and placed individually so they are
perfect. The tassels are hand sewn and fixed with glass beads so that
they really give you a good spin. I strive to make each pastie worthy of
Saks Fifth Avenue.

Where do you seek inspiration for your elegant designs?

Having a job in the fashion industry gives my access to the latest trends and runway shows. I find inspiration from the newest couture designs and from vintage and antique fashion and from our local burlesque dancers.

Do you welcome custom orders? Describe some of your most memorable special orders.

I love special orders. I’ve made apple shaped pasties for a fabulous
local burlesque dancer and I’m currently working with a lady in New
Jersey to make her very first pair.

What makes your pasties unique?

My pasties are all rhinestone and all sparkle. They are exactly what I
would want to wear on stage.  I try to imagine what would create the most impact- and that’s what I make.

What does the future hold for Laura Darling? Any upcoming events/projects we should know about?

This is just the beginning of Laura Darling- expect great things! I have a few tricks up my sleeve, I have a list of styles that will be 100% unique to Laura Darling just waiting to be made.  Costumes are a passion of mine so I’m hoping to work with some local dancers to create a complete look. I plan to start branching out into making full costumes & collaborating with other designers to make some outstanding ensembles.

Look for my booth at local burlesque events. I keep my Etsy store & Face Book page updated, so keep checking and my website should be fully functional within the next 6 months.

www.lauradarling.com
www.lauradarlingdeluxe.etsy.com

Jonathon Kimbrell is a Dallas based artist, his latest pin-up inspired work is featured along with artist Erik Jones at the Soda Gallery in the Bishop Arts District throughout the month of August. Kimbrell sits down with Pin Curl to talk Dylan, hair dye, and Rita Hayworth.

What is the inspiration behind current exhibition Between a Real Blonde and a Fake ? Where did the title come from?
 
Bob Dylan has and continues to be a pretty resourceful influence on my art, and i find that I usually work best to his music, (or Nine Inch Nails). When I was trying to come up with a title for the show, I was spinning Dylan’s “Time Out Of Mind” album, listening to the last track called “Highlands.” As I listened, I heard these great lyrics: “I don’t want nothing from no one, ain’t that much to take. Wouldn’t know the difference between a real blonde and a fake. Feel like a prisoner in a world of mystery. I wish someone would come and push back the clock for me.”

That sounded brilliant, of course, coming from a writer like Dylan, and I figured that would make a great title. I could see a connection where things don’t appear genuine anymore, in this time, as opposed to the ‘golden age’ of 20th century America, when things were made with pride, things were real and not overly processed. Can you tell the difference between a real blonde and a fake these days? I can’t…
 
You use the tagline “pin-up artwork” in your promo materials for the show. What does the term “pin-up” mean to you? What is alluring about the style?

I’ve had a love affair with pinups since I was a kid, especially Betty Page and Rita Hayworth. I’m enamored with pinup art from WWII, especially bomber nose art. Gil Elvgren is my favorite artist of them all. There is something really interesting about that art. It was risqué at the time, but pretty tame to today’s standards. It’s classic, it’s beautiful, it’s brilliant. I think if it weren’t for the pinups of WWII, giving GIs hope of returning home to their girlfriends and wives, we may all be speaking German right about now.

The Soda Gallery, where you are art director, recently hosted several Dr. Sketchy’s Dallas sessions. Has the growing pin-up and burlesque community in Dallas influenced your recent work?
 
I think so. It would be a lie to say it hasn’t. I wasn’t really aware of the growing community of pinup girls, burlesque dancers and related culture until Dr. Sketchy approached us at The Soda Gallery and Broomstick Comics about hosting some mini drawing sessions. I have to admit, after the first session with Ginger Valentine, I was hooked. I’ve been toying with the idea of creating more pinup artwork anyway, but having all of these lovely pinups around the gallery lately has really inspired me to get on the ball and create more pinup themed art.
 
You have become known for your Pop Art style, one of the best examples may be your 2007 Buy War Bonds series. Is your current work in the same vein? How has your work evolved?
 
The “Buy War Bonds” series has been something I always come back to. It actually started back in 2002, when I was still an undergrad student at McMurry University. I’m entertained by the juxtaposed idea of the positive ideology of supporting the war effort during WWII with bonds and stamps, and the more negative and dark connotations that war brings about through media to the masses.  It’s interesting to see how things have changed in the world through media over the last 60 or so years. A lot of my newer ideas are coming full circle to the look and feel of those “Buy War Bond” pieces from before. I’m happy to see my work evolve the way it has, from mimicking the styles of Andy Warhol and Roy Lichtenstein, to start coming into my own pop/contemporary look. I still have a long way to go though, before I’m completely satisfied with how it’s all coming together.
 
When not working (in that one free hour per week you have), how do you spend your time?

Ha ha…good question — I had almost forgot what ‘free time’ actually is. Aside from being an art junky, I pride myself on being an audiophile. I buy and listen to a lot of records. I listen to a lot of pre and post-war blues, classic rock and roll, rockabilly, swing, jazz, bluegrass and folk. Robert Johnson, Muddy Waters, John Lee Hooker, The Beatles, Bob Dylan, Lou Reed, Tom Waits, Johnny Cash and Hank Williams get some heavy rotation on my iPod and turn table.
 
What does the future hold for Jonathon Kimbrell? Any upcoming projects we should know about?

I’m actually in the middle of several projects right now. The biggest is “Telephone Print Company”, an offshoot of my Napkin Art Studios that specializes in hand-printed clothing, album artwork and limited edition art pieces.

Since I’m getting more into silk screening and letterpress printing, I wanted to take the plunge creating tee shirt designs influenced by pop art and music, and hopefully create more album covers and show posters for bands. It’s always been a running joke that I’m actually a designer trapped in a painter’s body.

Jennifer Harrison of Masks by Jen sits down with Pin Curl to talk about life before the Internet, leather, alcohol, video games, and art. You can find Jennifer and her masks this month at the Mid-Summer Masquerade hosted by Bewitching Burlesque.

Describe how you fell in love with masks. What drew you to them?

I saw a leather mask at Scarborough Faire one year.  I don’t remember the maker, but I do remember the mask.  It was a bat-wing mask, with ribs along the wings to accentuate the ‘bones’ inside.  I was intrigued by the whole idea, so I decided to make one myself. 

It wasn’t so much that I fell in love with masks.  It’s more like I fell in love with leather.  I’d been making small bags from leather for a while, and found that I just didn’t have the patience.  When I started making masks from leather, I really got into the whole sculptural process of working the leather and shaping it.

You mention that you learned to make masks through trial and error. Can you briefly describe your creative process?

I started making masks back in 1997 or so.  There was no Internet to research the techniques, so I really had to make it up as I went along.  I got some leather, and made my first mask.  Then I made another mask to figure out what didn’t work with the first mask, and then another mask to try out a different weight of leather…

I really like the medium, because it combines sculpture with painting.  Making masks involves so many different activities — planning the mask, creating the pattern, sculpting the leather, painting the leather — that there’s always something to interest me.  If I get bored with sculpting, I can go paint.  Or vice versa. 

And I have very little patience for a project that takes several weeks!  Making a mask can take me a couple of weeks, or it can take me a couple of days.  Sometimes I design a mask, then discover after I’ve made it that something doesn’t work right, so I have to start over.  I build some time into every project so that I have that flexibility.

Tell us about the birth of Masks by Jen. How did you get your start?

There’s a fantastic woman I know named Lori Thomson.  Every year, Fort Worth has Gallery Night, which is kind of a posh little clique-ish thing that the galleries put on.  Lori saw that a lot of fringe artists were being excluded, so she decided to set up a tent and have her own show, called ‘Untitled.’  She was looking for artists, so I said ‘Sure!’  I think I had maybe five masks at the time.  I sold four of them.  I was flabbergasted.  It had never occurred to me that I could create art and sell it to people who liked it.  So Lori is really how I got my start in the art world!

Where do you seek inspiration?

Alcohol.  And television.  Video games… And books… it all mixes together in my head, and then something will pop out.  I have come up with some excellent ideas while sitting at the bar, talking with my friends or sketching in my sketchbook.  I’ve also come up with great ideas while sitting at home, watching a movie.  My mask designs are as much about what the leather can do as what’s in my head.  Organic curves and swirls work really well in leather.  Some of my best masks have come from directly sketching on the leather itself.

You note that each mask is a one of a kind creation. In a world of mass production and cost reigning king over quality, do you find that people recognize the value and beauty of a one of a kind creation as much as you would like?

Leather masks are an odd market.  Most people look at the masks, and don’t realize what they’re seeing.  They like them, but they have no idea how much time I spend on each one, or how much work went into designing each one.  That doesn’t really bother me.  I had no idea until I started making masks how complicated it can be.  What makes it all worthwhile is the few people who really get into masks and enjoy them. 

What would be your dream assignment?

I’d love to do movie or theater work.  I’ve made masks for a couple of theater groups, but it’s always been a one-time deal.  I’d like to make masks for a movie that really pushes the envelope of mask ideas.

Our readers know alot about following their passions. How do you balance your time between your love for making art pieces with your 9-5 job?

I was diagnosed with multiple sclerosis in 2007.  I had already begun selling my masks at festivals, and trying to start an online business, as well as working my 9-5 job.  (actually 12 to 8, but close enough)  Then the disease hit, and everything changed.  Now I feel like I need to use the time I have to be as creative as possible; make the most out of what I can do, while I can do it.  Sometimes I’m not always able to be creative.  My brain stops working, or fatigue sets in and all I can do is sleep.  But it’s motivation to do the work when I feel up to it – because I know that I might not have the chance in the future.

Hot Rods and Heels Texas Hair and Makeup Artist of the Year Rocio Vielma sat down with us to discuss Vi-Ve, NYC fashion week, artistry, and common makeup mistakes.

Did you always know you wanted a career in the arts?

Absolutely! My first passion was architecture (which I still love), then I was introduced to contemporary dance and fell in love. I have always been exposed to the arts.

What’s your training background? Did you attend school, apprentice someone, both?

I attended cosmetology school in Dallas back in ’03, learned hair (all about the “pin curls”) among many other things I am able to use now.

For Makeup I must say, besides the little they covered in school, I am pretty much self taught .

How did you make the transition to a full time hair & make-up artist? Describe how you got your start.

Always wanted to become a makeup artist! Always!!

Almost four years ago I told myself to go for it whatever it would take to get where I hope one day I can be , so far it has worked and I am so fortunate to have come across wonderful people that had helped me tremendously along this ride.

When did you found Vi-Ve Makeup and what’s the story behind the name?

Vi-Ve makeup was founded on August of 2005 almost 4 years ago.

As many people may know , I was born and raised in Monterrey, Mexico. We do use our full names including father’s and mother’s first last names , which in my case my last names are Vielma Vera, therefore, I took the first syllables from each last name and became Vi-Ve, I thought it would make my parents happy…and it worked!

What’s the best thing about owning your own business? What’s the hardest thing?

The hardest is the scheduling, being a mother of three wonderful cubs and trying my hardest to juggle all their activities and my work!

The easiest is not only being your own boss, to me is to be able to really do what you love to do , being aware of the challenges and still have the motivation to keep going since this is what I wanted to do when I grew up after all

You go out of your way not to pigeon-hole yourself as only doing one particular style of hair & make-up (ie. just pin-up). Why is diversity so important?

What a blessing for those who are willing to step out of the box and take risks to be able to grow professionally why not?! It is phenomenal!

If I only did pinup I wouldn’t be represented by an agency that’s just the plain truth, I wouldn’t be able to get all the work I do, doing Hair and Makeup has most definitely helped to increase my work .

As I stated before, “do not limit yourself , this beautiful profession is a never ending learning process, embrace it.”

Where do you get your inspiration?

Everywhere and everything! The internet is such a fantastic fountain of information nowadays for example, you can go and watch NY fashion week as its happening! I read a lot read, read, read, and more reading. Trust me, we need to study everything that can help us make our job easier.

What is your dream assignment?

Assignments! Haha !

The day I get to do Helena Bonham Carter, Cate Blanchett, Monicca Belucci, Audrey Tautou, Natalie Portman, Winona Ryder’s hair or makeup , that will be the day I will be in heaven!!!

What’s one common make-up mistake that women make?

I’ll give you a few:
-Fall for just one brand name.
-Being convinced that a makeup artist can make you look like the “A-lister” that looks nothing like you.
-Getting stuck in the best decade of your life.

How important are brand names? Is it important to get a certain brand of makeup?

Today we are exposed to so many different brands, and some of them have an amazing networking power over the general public, however doesn’t necessary means it is the best. Let me just take a minute to give advice about the true meaning of a freelancer, it means they work on their own , not for a brand name , when you come across with someone mentioning “I am a freelancer for X brand name”, no, there’s no such a thing! That person works for a company therefore they will do their best to sell you that brand , if you come across a true freelancer , they wont try to sell you anything! They will offer a general brand outlook and advice.

What is your advice for gals (and guys) who want to pursue a career as a hair & make-up artist for print work?

When I joined the cosmetology school I recall the teacher asking everyone of us what we wanted to do after graduation. After all, people change opinions and goals all the time and is valid, when it was my turn I said “I want to do makeup” everyone of course laughed and the teacher said what are you doing here? I said, “I want to be able to offer as much diversity on my work as I can if I can offer hair and makeup I will be able to get more work.”

From my entire class (36 people), I am one of three people who are still fulfilling our goal!

You will find so many challenges; be ready for them and take them as another class; in this never ending learning experience is a beautiful career!

What does the future hold for Vi-Ve Makeup and Rocio?

Hey I am just a makeup artist not a psychic! Hopefully we keep growing professionally and as a person so I can take anything and still act chilled about it …

We sat down with Tara Tonini in her studio to talk about her company Tara to the T, fashion design, feathers, flight attendants, and daydreaming.

Interview & Cover Photograph: Shoshana of Through the Looking Glass. Article Photograph with Car: Scott Hunter Smith

Tell us about the birth of Tara to the T. How did you get your start?

I’m originally from California and I attended the Fashion Institute in Los Angeles. After working in the fashion industry for a while I was hired by a large corporate company. They snatched me up and moved me to big ‘ol Texas. Tara to the T started out as my hobby, just a way for me to express my creativity and design things that I wanted to make, rather than what I had to design at my 8-5 job. Then in January 2009 I started running my business full time.

What were some of your favorite inspirations in your early hair accessory designs?

In the beginning all of my inspiration came from fashion of the 1920’s through 1960’s. I constructed lots of pillbox hats and fun 1920’s inspired oversized fascinators. 

What were some of your most memorable early evolutions?

I participated as a designer in the 2008 Pin Show. The Pin show is a local fashion show that features independent Texas designers. The experience was amazing and it made me very motivated to take my then “hobby” to the next level.

What do you think is secret to your amazing success with the Tara to the T line of hats and hair accessories?

I am an extremely hard worker; I think it runs in my Italian blood, ha-ha. I have also taken several years to create my technique of design and my product is of high quality. I travel the world collecting unique materials and findings to make my designs original. My goal is to create a shopping experience. I have so many retuning customers because they like to hear the inspiration and story behind each design.

Your newest line, Sky Girls is your first full clothing line. How did you make the leap from hats and hair accessories to a full clothing line?

In college I studied apparel, and I always knew in the back of my mind I would enter that market again. So at the 2009 Pin Show I débuted my Sky Girls collection. 

What is the inspiration & concept behind Sky Girls?

My Great Aunt was a stewardess during the Golden Age and when she passed away, I was given her vintage Valentino jacket. After doing some research, I discovered that Valentino designed TWA’s uniforms for several years. So my research continued and my Sky Girls line was created.

I wanted to recapture the image of the 1960’s stewardess. She was fun and playful, yet she was a professional and able to travel the world. All of the Sky Girls dresses are 60’s inspired silhouettes, but they are created with modern fabrications. The dresses are designed out of knit, so they are very easy to wear and super comfortable.
 
In January, you began pursuing your art full time. Please describe your experiences thus far as a full time small business owner.

It has been an interesting six months to say the least. I have managed to launch a clothing line and take my company on the road. Sky Girls is available for sale in San Francisco, Los Angeles, Austin and in New York very shortly. I’m a strong believer that a small business can survive in this day and age, the business owner just has to be creative in a slow economy.

I am extremely fortunate to be surrounded by my very talented and supportive friends; this transition wouldn’t have been possible without them.

With so many projects: the Tara to the T hair accessories and hats line, your Steam Punk line, your burlesque inspired line with Ginger Valentine, and Sky Girls, do you ever find time for yourself? What is your method for juggling so many projects?

I do find time for myself; I just don’t sleep much these days ha-ha. My number one hobby is daydreaming. My boyfriend, Joey Seeman is a very talented artist and we spend most of our time daydreaming and brainstorming. This fuels my fire and gets me behind my sewing machine so I can execute my ideas from my head through my fingertips.

My second hobby is dressing up. By designing everything from retro dresses to Steam Punk accessories, I get a chance to dress up and be creative with the entire process.

As for juggling it all, everyone who knows me knows that I live out of my calendar. My key is to mark everything in pencil so that I can be flexible.. I also lock myself if my studio twice a week, to give myself alone time to be creative and stay focused.

Speaking of your partnership with burlesque entertainer Ginger Valentine, what is the name of the line and describe the concept.  What are your thoughts on the relatively recent popularity of the Burlesque revival movement?

While living in Los Angeles, I was fortunate enough to see some very talented burlesque entertainers perform. My favorite book is Pretty Things by Liz Goldwyn and I was able to meet and chat with Miss Goldwyn at a vintage store in Los Angeles one day. So long story short I’ve been a fan of burlesque, its history and most of all it’s costuming for quite some time.

A fellow artist friend recently introduced me to Ginger Valentine and we immediately hit it off! Miss Valentine is an amazing entertainer, her fun and flirty personality shines in all of her performances. I am designing Ginger’s costumes for several upcoming performances and we have launched our Ginger Valentine burlesque starter kit. It débuted at Hot Rods and Heels and we an instant hit for so many of my customers. Inside you get the tips and treats to do a little burlesque of your own. The kits are available on-line June 1st and of course they will be for sale wherever Miss Valentine performs.

What does the future hold for Tara?

My Sky Girls swimsuit line will be for sale in June, I’m very excited about that. I am also having a Carnival theme launch party on Friday June 12th at the Lizard Lounge in Dallas, TX.
 
What’s the biggest piece of advice you can give to a woman looking to open her own business in a arts related field?

Do what you love in order to live your dream. When there is passion in your heart and a supportive community around you, the possibilities are endless.