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Shangri-La, July 1941
Page 8
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--------------------------------------------------------------------- PAGE 8 SHANGRI-LA --------------------------------------------------------------------- bizzarreness which comes out fresh everytime, because he does not fit into the stereotype illustration school. There's something about his work which makes it appear alive and realistic though retaining "other worldliness." The interior artists on these two magazines don't stack up quite so well over the same period. The Isip's Kramer, Kolliker and the reserected Orban haven't yet attained perfection with their fresh styles that the Old Guard had become so accomplished with. R. Islip leads the field so far, with Schneeman, using a new style, close behind. You may remember that Campbell asked for reaction on the latter's illustrations for "Gray Lensman." Schneeman made the grade and stayed, the Institutions did not and went. Those new artists just had to come in if Street & Smith hoped to retain leadership of the field. Obviously, as they had changed the fundamental basis of the literature they were using, it wouldn't do to retain any vestige of the old fashioned days. I applaud the entire efforts made in both the literary and illustrative standards under the Campbell regime. Meanwhile, Brown, over on the "Standard" group, has been going downhill rapidly. It may be through editorial requirements or through the color schemes he has recently employed. At any rate, he is now nowhere near the standard he was during 1936-38. Wesso, also mainly over at "Standard" keeps much to his old style. He doesn't improve or change at all, and I doubt if even his most ardent admirers can now rave over his work. Paul, freelancing here, there and everywhere, still draws the oldtme readers and a large number of newer readers who have been led to believe that Paul stands for the all-highest in fantasy art. This appears to me as a fantasy in itself. Ever since the year Paul had been mass-producing his illustrations; everyone practically the same. They become as boring as the stilted sameness of Krupa and company, although considerably better. As for Finlay, I feel that he would do best to stick to weird illustrating -- if there is sufficient to keep him occupied. There is not a lot of clever art in Virgil's work, as anyone will discover if they make a careful study of his work. The disguise comes in the variety of stippled backgrounds he uses. It gives the desired effect of weirdness and bizarreness that was a refreshing change from the rut WEIRD TALES had also got into. But it doesn't wear well -- and it certainly doesn't come out well in science fiction. In fact, after a short while it looks somewhat of a mess. Now, that makes it tough on Finlay -- his best out so far is the Munsey group, and perhaps he will make a
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--------------------------------------------------------------------- PAGE 8 SHANGRI-LA --------------------------------------------------------------------- bizzarreness which comes out fresh everytime, because he does not fit into the stereotype illustration school. There's something about his work which makes it appear alive and realistic though retaining "other worldliness." The interior artists on these two magazines don't stack up quite so well over the same period. The Isip's Kramer, Kolliker and the reserected Orban haven't yet attained perfection with their fresh styles that the Old Guard had become so accomplished with. R. Islip leads the field so far, with Schneeman, using a new style, close behind. You may remember that Campbell asked for reaction on the latter's illustrations for "Gray Lensman." Schneeman made the grade and stayed, the Institutions did not and went. Those new artists just had to come in if Street & Smith hoped to retain leadership of the field. Obviously, as they had changed the fundamental basis of the literature they were using, it wouldn't do to retain any vestige of the old fashioned days. I applaud the entire efforts made in both the literary and illustrative standards under the Campbell regime. Meanwhile, Brown, over on the "Standard" group, has been going downhill rapidly. It may be through editorial requirements or through the color schemes he has recently employed. At any rate, he is now nowhere near the standard he was during 1936-38. Wesso, also mainly over at "Standard" keeps much to his old style. He doesn't improve or change at all, and I doubt if even his most ardent admirers can now rave over his work. Paul, freelancing here, there and everywhere, still draws the oldtme readers and a large number of newer readers who have been led to believe that Paul stands for the all-highest in fantasy art. This appears to me as a fantasy in itself. Ever since the year Paul had been mass-producing his illustrations; everyone practically the same. They become as boring as the stilted sameness of Krupa and company, although considerably better. As for Finlay, I feel that he would do best to stick to weird illustrating -- if there is sufficient to keep him occupied. There is not a lot of clever art in Virgil's work, as anyone will discover if they make a careful study of his work. The disguise comes in the variety of stippled backgrounds he uses. It gives the desired effect of weirdness and bizarreness that was a refreshing change from the rut WEIRD TALES had also got into. But it doesn't wear well -- and it certainly doesn't come out well in science fiction. In fact, after a short while it looks somewhat of a mess. Now, that makes it tough on Finlay -- his best out so far is the Munsey group, and perhaps he will make a
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