Much More from Mitchell Hooks

Society of Illustrators Hall of Fame inductee (for 1999) Mitchell Hooks passed away last weekend. Here are some examples of his tremendous talent, from various volumes of Readers Digest Condensed Books from the '60s, '70s and '80s.








































* Much more of Mitchell Hooks artwork in my Mitchell Hooks Flickr set.

Good-bye Mitchell Hooks (1923 - 2013)

A couple of days ago on Facebook, Dan Zimmer of Illustration Magazine shared some sad news: last weekend, Mitchell Hooks passed away.



How particularly strange to hear Mitch was gone, having just featured his work once again only a couple of weeks ago right here on the TI blog. I had some wonderful phone conversations with Mitch and, in 2010, I actually got to meet him, talk with him in person over a long lunch at the Society of Illustrators and shake the hand of one of my illustration idols. I will always cherish those memories. Mitchell Hooks was a spectacularly talented artist and a warm, humble and generous person.



The illustration at the top was published in Redbook magazine in July 1961. The one immediately below in April '61.



Here are a few more pieces by Mitchell that I haven't previously presented. These are from Reader's Digest Condensed Books, circa 1980.






In Mitchell's memory, I'm re-presenting Part 1 of my interview from 2008...


Mitchell Hooks: "I always drew..."
(First presented on Tuesday, September 09, 2008)

Mitchell Hooks was born in 1923 in Detroit. He didn't come from a particularly artistic family, though he did have an uncle whom he describes as 'quite a good self-taught artist' who encouraged his interest in art. Says Mitch, "I always drew."


His earliest influences were the adventure strips in the newspaper, especially Alex Raymond's Flash Gordon, Jungle Jim and Secret Agent X-9. "As a boy, I followed Raymond's work avidly," chuckles the artist today, "even to the point of clipping out the strips and keeping them in a scrapbook. I'd meticulously cut out the figures of Flash, Dale and Dr. Zarkov."

"I've always had an affinity for anatomical drawing and, in retrospect, I can attribute my abilities to the long hours spent studying Raymond's beautiful drawings."


Mitch attended CAS Technical High School in Detroit, "A marvelous school," that had been created for those city kids who really had no hope of ever attending college."The way we grew up," says Mitch, "we didn't even know how to spell 'college'."



"CAS was loaded with professional illustrators, designers and such, just great people, who taught us everything we needed to know to get a job in the profession."

"I was thrown in with a bunch of kids who were really enthusiastic about illustration. We all knew what was going on out there in the magazines... knew about Al Parker and the Cooper guys and all that, and CAS prepared us to go out in the field - and we did - we all went out and got jobs in the field, straight out of high school!"



"CAS was where I made my big leap from Alex Raymond to wanting to be a professional illustrator, and I knew I wanted to be in New York."



When Mitch graduated from CAS he first found a job at General Motors. The war was on, GM had been converted to supplying the American army with equipment, and Mitch was assigned to take two dimensional blueprints and convert them to three dimensional drawings. "It was important work," says Mitch, "and I hated it."



Hated it so much that just a couple of years later, when he joined the army, he made sure they knew nothing about his artistic abilities. "I was so afraid that they'd assign me to do more of those drawings that I intentionally flunked any tests that might reveal my skills." Mitch decided he's rather risk the shooting war than get stuck doing any more dreaded blueprint drawings! He became an infantryman in 1944 - and served as a second lieutenant with the U.S. occupation forces in Germany after the war ended.



Upon his return to the States, he made his way to New York. He had freelanced in Detroit for a year or so after leaving GM, and had diligently prepared a portfolio of samples he hoped would land him the sort of work he wanted to do. A previous visit to the the Big Apple before his army service had resulted in an opportunity with a minor studio called T.J. Peters. "Peters had a small bullpen of artists and I got on staff there," says Mitch. But all the while he was looking for something bigger, and that came in the form of freelance work done on the side for Al Chaite.



Chaite would go on to form, with artist Harry Fredman, one of the major players in the New York commercial art scene: the high-profile Fredman/Chaite Studios... but for now he was managing a smaller operation called Trager-Phillips. Mitch, while working at Peters, found plenty of freelance opportunities with Trager-Phillips, and "it caused a small conflict with my boss at T.J. Peters."



You can read what became of that conflict - and much, much more - in the remaining three instalments of my 2008 interview with Mitchell Hooks:

Part 2

Part 3

Part 4

* Tomorrow I'll present a raft of illustrations by Mitchell from Reader's Digest Condensed Books.

*More art in my Mitchell Hooks Flickr set.

A Visit with Mitchell Hooks, Part 5

In 1988 Gary Lovisi of Gryphon Books visited Mitchell Hooks at his Manhattan home/studio. He then published the resulting interview in Paperback Parade #7. With Gary's permission I'm presenting that interview this week, broken into five daily instalments... this being the conclusion. ~ Leif Peng

GL: Which paperback illustrators, either past or present, do you especially admire?

MH: Well, that's pretty easy; I like Bob McGinnis. He's a friend of mine and I think he's just a fine artist.

(Below, Robert McGinnis cover from 1960, courtesy of Ken Steacy)


MH: In the early days I admired James Avati very much. He's still working, by the way. He's well into his seventies and he's still putting out the paintings. I think those would be the two names I'd pick.

(Below, James Avati cover from 1954)


MH: Barye Phillips was also a unique one all by himself. He was terrifically productive, and could put out three times as much as I could. He made a lot of money because he got paid the same and he was very fast.

(Below, Barye Phillips cover from 1957)


MH: Also Sandy Kossin, another friend, and whom I think is a wonderful artist.

(Below, Sandy Kossin cover from 1960)


GL: What did they pay you in those days?

MH: The figure $300 comes to mind and I think that was standard for a long time. You had to hire models out of that, pay photography, and pay for costumes. I sure never got rich doing covers, but it paid the rent.



GL: What's your biggest challenge as a paperback illustrator/ Either in general, or is there a particular book that really challenged you?

MH: It wouldn't have been a particular book. For most of the time, my assignments didn't come too easily. I always had to work very hard to get my ideas worked out. It's funny, in recent years it's become much easier. I suppose you get wiser and finally figure out what things are all about. So I find it fairly easy now. It wouldn't have been a particular book. The hardest problem always was to get the right idea for a cover, and trying to get it as good as I could do it. That was always very hard for me. I'd read the book and worry about it. Make sketches, worry some more. Make sketches again and often have them changed.

(Below, book cover sketches by Mitchell Hooks, American Artist magazine, Summer 1957)


MH: But in the last six or eight years it's gotten a lot easier and it's just got to be that as you get older you start to figure things out.

(Below, Mitchell Hooks promo page from his rep, Joe Mendola, 1985)


GL: What do you see in the future as trends or styles in paperback illustrating? I know you touched on realism in illustration. Do you see any other things that might be big in the future/ I see a lot of design today.

MH: Very much, especially in the typography of the cover. There's no doubt that a Baroque kind of design is popular with all the paperback publishers. They're outdoing each other for highly ornate lettering in the titles, complicated type design in the cover design.



GL: What projects can we look forward to from you in the future? You've already mentioned the detective covers you're doing for Ballantine.



GL: Are you still doing magazine illustration?

MH: Sure, but it depends on the jobs that come in. I have an agent, we have calls, we do a lot of promotions of my work and color brochures and that sort of thing.

(Below, Mitchell Hooks promo pages from his rep, Joe Mendola, 1988, 1990 respectively)


MH: The work that's been steady has been work for Ballantine Books, I do work for Doubleday's Literary Guild, and their Book-of-the-Month Club brochures. I'm doing work for Good Housekeeping magazine, and quite a lot of work for Avon Cosmetics which is never seen. They're a bit fashion-oriented, though they're not strictly fashion drawings.



GL: So you're doing a lot of different things now.

MH: Well, I don't do as many paperbacks as I once did. For about 15 or 20 years that's all I did. There wasn't much other work around, but in recent years I've sort of evolved away from there and it's kind of nice, I get to do a variety of work.


* Thanks again to Gary Lovisi for allowing me to transcribe his interview with Mitchell Hooks this week! The text above is copyright 1988 & 2013 by Gary Lovisi and originally appeared in Paperback Parade #7 (Gryphon Books)

Gary's website: www.gryphonbooks.com

* Thanks to UK Vintage for the use of his vintage paperback cover scans in today's post.