Norman Adams (American artist)
Norman Adams (October 3, 1933 in Walla Walla, Washington – July 4, 2014) was an American commercial artist and illustrator.
Norman Adams began to fascination and paint as soon as he was still a child. He collected pictures from every type of magazine and record he could locate and next found ways of improving them. He was especially captivated by the trompe-l'œil realism of artists subsequent to William Harnett, John F. Peto and John Haberle.[citation needed]
He studied art at the Los Angeles Art Center School in the prematurely 1950s. While he was in Los Angeles he spent months painting a portfolio in which he used his trompe-l'œil realism to persuade the managers of the largest illustration agencies in NY that he could accomplish what no supplementary artist/illustrator could. The three largest agencies in NY wanted to employ him. He chose to bill for the Charles E Cooper Studio.
While Adams was energetic in NY he met his idol Robert Fawcett at a Society of Illustrators exhibition.
Like most acknowledged Illustrators at the become old Norman Adams considered Robert Fawcett to be: "The Illustrator's Illustrator." When Norman Adams finally met Robert Fawcett, he, Fawcett, was therefore impressed past Adams' paintings that he considered Norman to be a Babe Ruth of Illustration, perhaps because Norman worked for the "New York Yankees" of Illustration at the time: the "preeminent" Charles E Cooper Studio.
Another more obvious defense Fawcett might have referred to Adams as Cooper's Babe Ruth was his versatility. When Adams was committed for Cooper unaided Don Crowley could paint realistically sufficient to be versatile. All of Cooper's extra illustrators, like Murray Tinkelman, Coby Whitmore, and James Bama were too specialized to be versatile. Not by yourself were they specialized but they were specialized for as a result long that they would not pull off jobs outside their “specialty.”
What divided Adams's paintings from others was the trompe-l'œildetail he routinely put into his paintings. It was this further detail that made his paintings stand out, especially to professions following Cooper and Fawcett.
Illustrators took for established that it was a waste of get older to put detail into their originals that would be floating in the published reproduction. Adams as a consequence knew this, but what he did not accept for granted: although much of the trompe-l'œil detail he put into his originals would be loose in reproduction, it was this detail that would get him extra jobs that other illustrators would not get. It was whatever these new jobs that made him Cooper's “Babe Ruth.”
Adams' illustrations included works for Reader's Digest, Boys' Life, Harpers, National Geographic, TV Guide, Saturday Evening Post, Argosy, Sports Afield, Field and Stream, Business Week, Cabela's, and new paperback covers. He after that authored a textbook now in its 30th Edition, Drawing Animals. When the magazines started to fail the Charles E Cooper Studio had to downscale. This prompted Norman Adams to associate an elite activity of illustrators at Artists Associates.
In 1980 Lenox hired him to get a unquestionably limited edition Lenox Collection of 12 unique plates that were released in 1982 called The American Wildlife Plates by Norman Adams. In the mid-1980s, Adams was unconditional an opportunity to paint for the 1988 Minnesota Wildlife Art Show. His perform was a life-sized Golden Eagle in a Grand Canyon setting. For years he sold his wildlife and animal paintings in galleries in Scottsdale, Arizona, and Jackson Hole, Wyoming.