lioverresa: vintage valentines fabric

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The purpose of the art I create is not to be ponderous, but rather to heighten and light up it's surroundings. I want it to be fun to look at, I wish people to care about the painting and use it as something to make them feel good.

Miller Vintage Valentines
430 × 322 - 48k - jpg

vintage Valentine's fabric
337 × 450 - 78k - jpg

Valentine" fabric from RJR
350 × 367 - 48k - jpg

Valentine's Day Fabric Michael
720 × 480 - 172k - jpg

vintage-style Valentine fabric
399 × 500 - 182k - jpg

In preparation for Valentine's
396 × 379 - 221k - jpg

my 43 vintage valentine
450 × 337 - 88k - jpg

Morrow was a graduate of the Parsons School of Design in Greenwich Village, New York City. He began his career as a book illustrator; his best known work in that field was the 1961 children's book Time for Bed, by Inez Bertail. By the mid-1950s, Morrow had already turned to the design of Broadway theatre advertisements. Early examples, such as his posters for the play Auntie Mame (1955) and the musical Candide (1956), already displayed the lively, colourful and almost expressionist style that would characterise his work for the next three decades. He devised many particularly memorable images that become well-known through their use on posters, Playbills, sheet music and on the record sleeves of original cast albums. These included stylised depictions of Gwen Verdon (in her 1959 show, Redhead), Tammy Grimes (The Unsinkable Molly Brown, 1960) and Lucille Ball (Wildcat, 1960). His sexy logo for the 1958 musical Oh, Captain!, depicting a young woman wearing only an apron and a captain's hat, has been credited with increasing the advance ticket sales for what otherwise proved to be a mediocre and short-lived show. Morrow's subsequent association with producer/director Harold Prince saw him design some of the most memorable Broadway logos of the 1960s, including the Cupid motif from She Loves Me (1963), the Chagall-influenced peasant village scene from Fiddler on the Roof (1964), the crowded nightclub from Cabaret (1966) and the handstand male figure from Zorba (1968). Morrow also produced the series of paintings that was used in the title sequence of Prince's 1970 feature film, Something for Everyone.