We added a few new Pinup images to our web-site. Think Zombies.
So What do you think? Enough Gore? We created these images to honor Zombie month – October.
We added a few new Pinup images to our web-site. Think Zombies.
So What do you think? Enough Gore? We created these images to honor Zombie month – October.
If you will be clear-coating the decal you may wish to give the decal two THIN coats of rustoleum clear coat so that the decal will not react with the clear coat you will be using, this is especially important if your clear coat is acetate based as acetate does dissolve plastics. Not certain you want to clear-coat your decal? Check out our other guide on clear-coating here.
The simple answer is… It depends on where you will be applying the decal and how permanent you want the decal to be. If you will be applying your decal to an item that will be exposed to the elements such as a vehicle, then the answer is absolutely!!! But what about a guitar, do you need to clear-coat over the decal? Once again, the answer is… It depends on where you will be applying the decal and how permanent you want it to be. If the item is in an area that will get a lot of friction, handling or sweaty hands then you may opt to clear-coat the decals. However if you want to be able to change out the look of your guitar in the future then clear-coating may not be the appropriate option for you. Incidentally, Fender’s custom shop does not clear-coat over their decals.
So once you’ve determined that you will be clear-coating, how do you do this? Truth be known, I’m not a luthier… I produce decals. So, I contacted my good friend Drew Basford of Saloon Door Guitars and asked him to help me out when asked about apply clear-coating over a guitar guard: Tell your customer he should take the guard off the guitar and spray the whole decal and guard with a rattle-can of nitro-cellulose clear paint. VHT make these cans and you can get them in most auto accessories stores. You gotta spray light coats – the more light coats the better – 8 to 10 light coats is enough. Give it a day to cure. He should then carefully and gently wet sand the guard starting with 800 grit paper, taking care over the decal. Finish with 1200 or 1500. He can then polish as much as he wants. If he tries polishing the decal without the protective clear-coats, it will come right off.
To make the decal permanent, however, he should have sanded the guard first with 400 or 600 grit paper. Then he should spray the whole guard with 2 or 3 coats of clear nitro – once this has dried, he wet and dries those coats till smooth and then he applies the decal. The decal sits better on a few coats of nitro and will not “lift” down the track…He should then overcoat the whole guard with the 8 – 10 light coats and wetsand/polish – the plastic pickguards are generally too smooth for a decal to adhere to properly, and the waterslides always need to be applied over nitro and then coated over with more nitro to seal them in permanently. If he got multiples of the same design I’d suggest he scrapes off the first one and start again.
You can get some pretty dramatic results.
I hope you found this review helpful.
You would NEVER get this look with a vinyl decal. What’s more, did you know that vinyls can damage the finish of some guitars? The adhesive in the sticker has a solvent in it that actually attacks a nitrocellulose finish. Most manufacturers with the exception of Gibson have moved away from nitrocellulose so the high risk guitars would be vintage guitars.
Waterslides never damage the finish of a guitar because they use a natural vegetable gum for an adhesive. The only way you would have damage on a finish of a guitar involving a waterslide is if you actually leave the guitar in direct sunlight for extended periods of time. The reality is that the finish under the waterslide remains protected while the remainder of the guitar becomes sun bleached. Kind of like applying sunscreen and forgetting to do the back of your neck, your neck fries while the rest of your body remains protected.
Peter Driben may be one of my favorite artists for creating decals, the images are well drawn, proportional and a bit naughty while at the same time looking like the girl next door.
(October 22, 1903 – September, 1968), an American pin-up artist, was perhaps one of the most productive pin-up artists of the 1940s and 1950s. Although both Alberto Vargas and Gil Elvgren have extensive catalogues of work, neither came close to the output of Driben. Driben’s pinups delighted the American public from the beginning of World War II until the great baby boom of the 1950s.
Born in Boston, Driben studied at Vesper George Art School before moving to Paris (circa 1925). While taking classes at the Sorbonne in 1925, he began a series of highly popular pen-and-ink drawings of the city’s showgirls. His first known pin-up was the cover to Tattle Tales in October 1934, and by 1935 he was producing covers for Snappy, Pep, New York Nights, French Night Life and Caprice. Driben’s popularity continued to rise in the late thirties with covers for Silk Stocking Stories, Gay Book, Movie Merry-Go-Round and Real Screen Fun.
Driben’s career expanded into advertising with his move to New York in late 1936. He created original three-dimensional die-cut window displays for Philco Radios, Cannon Bath Towels, and the Weber Baking Company. Perhaps his most famous work being the original posters and publicity artwork for The Maltese Falcon. Peter Driben was also a close friend of publisher Robert Harrison, and in 1941 was contracted to produce covers for Harrison’s new magazine Beauty Parade. Driben went on to paint hundreds of covers for that publication and for the other seven titles Harrison was to launch - Flirt, Whisper, Titter, Wink, Eyeful, Giggles, and Joker. Driben would often have as many as six or seven of his covers being published every month. Driben’s work for Harrison established him as one of America’s most recognized and successful pin-up and glamour artists. Just before he began to work for Harrison, Driben married the artist, actress and poet, Louise Kirby.
In 1944 he was offered the unusual opportunity, for a pin-up artist, of becoming the art director of the New York Sun, a post he retained until 1946. During the war, his popular painting of American soldiers raising the flag at Iwo Jima sparked a considerable amount of media attention.
In 1956, Driben and Louise moved to Miami Beach, where he spent his retirement years painting portraits (including one of Dwight D. Eisenhower) and other fine-art works, which were organized into successful exhibitions by his wife. Driben died in 1968, Louise in 1984.
Below are some Driben images we’ve made into decals
Lately I have been posting a new pin-up with a background to greet the day on Facebook and posted just such a pinup on Memorial Day. I also sell on eBay and am active on a few forums there. This last Monday I posted my Facebook posting to the forum on eBay. It was of a well known pinup that I had placed on the Liberty Bell clad in an American flag. The background was a faded picture of the Riverside national cemetery with an American flag placed at each grave site. Kneeling next to one of the grave sites was a soldier dressed in fatigues paying tribute to a fallen comrade, I thought it a fitting tribute to those who have made the ultimate sacrifice. The reception to my posting was very positive with one exception, one person felt it was disrespectful to place “a half necked woman” on the American flag.
I and others posted numerous examples of traditional Bomber Art to try to educate this person on the use of Pin-ups as a part of history. Posted below is our tribute, what do you think… disrespectful or not?
When I first started selling decals I was contacted by a man in Norway by the name of Steinar Gregertson and asked to do some custom decals for him. We hit it off and stayed in contact. He played a mean slide guitar and I loved his music…. He loved my decals. He sent me one cd and I ordered the other one. Time passed and I hadn’t heard from him for a while so I dropped onto his facebook page and found myself confused by what I was reading, much of which was in Norwegian. It appeared that Steinar had passed away rather suddenly, he posted 2/22/12 and he was gone by 2/29/12.
I still cherish the music he sent me, one of my favorites was his version of Bad Moon Rising. I couldn’t find that piece on youtube, but did find a piece he did called Northern Lights. I hope you enjoy it
I put together this image in his memory and I hope he would have enjoyed it.
I recently was perusing the internet and found a post in a forum from some guitar owners expressing their dissatisfaction on white decals for dark surfaces, they weren’t our decals that were mentioned but the facts are the same. I felt compelled to answer the post and this is generally what I ended up posting:
I actually may be able to shed a little bit of light on the white decal situation. The problem with waterslides is that currently there is no economical way to print in white so opaque decals are achieved by printing on white paper. It is possible for manufacturers of waterslide decals to die-cut their waterslides, but they would be much more expensive to produce. As everyone knows the more expensive something is to manufacture, the more expensive they are for the consumer. The manufacturer of the decals you purchased have some nice images and though they are a tad more expensive than we are, their pricing structure is not out of line at all.
The great part about waterslides is that they are very thin which makes them great if you will be lacquering over them… no prominent ridge. That having been said, it is not necessary to lacquer over waterslides, even Fender’s custom shop does not lacquer over their waterslide decals. The rule of thumb for waterslides is… water on, water off. Since most of you will not be placing your guitars into situations where they will come in contact with water, it is a safe bet that your decals will be safe unless they are in an area that will be getting a lot of surface friction. A few years ago we did a great project for Gibson Guitars for their limited edition Steve Jones Les Paul and I do know that they did coat over the decals, of course they did quite a relic job on our decals as well. So, if ever you see a limited edition Steve Jones Les Paul, just know that that cute little record girl pinup decal and well as the ukulele cowgirl pin-up decal are ours.
If I might also make a few suggestions if your guitar is dark and you do need to order the white decals. When we have customers who contact us and let us know they will be placing the pinups on a dark surface.
First, we do recommend that they stay away from images that have thin objects protruding beyond the body of the image. We have a number of decals that have bow strings or fishing poles or lettering and these are difficult to trim and many times not all of the image survives the transfer. Though waterslides are pretty durable once they have dried, they are pretty tender when being applied.
Second, we actually recommend very sharp scissors and not an xacto knife to trim the decals. Save the Xacto knife to trim out any tight little corners that you couldn’t get with the scissors.
Third, to get rid of that prominent white around the edge of the decal, go to your local office supply store and purchase a marker similar in color to your guitar. Once your waterslide has dried, carefully trace around the decal and then wipe off any excess from the guitar.
Look at it this way, you have a well loved piece of equipment that you want to dress up a bit with a decal, that decal whether you clear-coat or not is probably going to last you for years to come. Take your time and do it right. I know it isn’t fun to trim those decals, but even if it were to take you several minutes look at what you have once it is finished. With a sharp pair of scissors I can generally trim any of my white waterslides in less than 5 minutes.
I do hope some of this helped. I went ahead and uploaded a cigar box purse that I did with one of the white decals. The box had a dark finish so I had to use the white. I did end up lacquering it but I did NOT use the marker method that I recommended in this post. I don’t really think it looks bad.
I thought it would be fun to show some of Elvgren’s original models next to the art he produced. As I was writing this post all I could think of was Queen’s
Bohemian Rhapsody…..”Is it the real thing? Is this just fantasy? I hope you enjoy them.
Once again position is key, notice that the actual model seems a bit awkward while the drawing does not.
Many of Elvgren’s models are not what I would consider particularly “pretty” models, just gals with great bodies and presence. This model I thought was an exception to this statement.
Elvgren again shows his ability to improve on the real thing. The picture of the model seems somewhat trampy and seedy while Elvgren’s picture has the flair of the 50′s pin-up… Sexy while still remaining playful and fun.
Elvgren has a certain “look” to his Pin Ups, the round cheeks, the twinkle in the eye with the raised brow. As you can see from comparing model to finished picture, Elvgren took artistic license with most of his pictures… This picture is an exception with the ending result be a “photo” likeness.
We have quite a few other pictures to add to the gallery, but that is for another day.
Born in Arequipa, Peru, Joaquin Alberto Vargas y Chávez moved to the United States in 1916 after studying art in Europe prior to World War I. He was the son of noted Peruvian photographer Max T. Vargas. His early career included work as an artist for the Ziegfeld Follies and for many Hollywood studios. He became famous in the 1940s as the creator of iconic World War II era pin-ups for Esquire magazine known as “Vargas Girls.” The nose art of many World War II aircraft was adapted from these Esquire pin-ups.
In 2004, Hugh Hefner, the founder and Editor-in-Chief of Playboy, who had previously worked for Esquire, wrote that “The US Post Office attempted to put Esquire out of business in the 1940s by taking away its second-class mailing permit. The Feds objected, most especially, to the cartoons and the pin-up art of Alberto Vargas. Esquire prevailed in the case that went to the Supreme Court, but the magazine dropped the cartoons just to be on the safe side” A legal dispute with Esquire over the use of the name “Varga” resulted in a judgement against Vargas and he struggled financially until the 1960s when Playboy magazine began to use his work as “Vargas Girls.” His career flourished and he had major exhibitions of his work all over the world. The death of his wife Anna Mae in 1974 left him devastated and he stopped painting. Not only was Anna Mae his wife, but she was his model and his business manager. The publication of his autobiography in 1978 renewed interest in his work and brought him partially out of his self-imposed retirement to do a few works, such as album covers for Bernadette Peters and The Cars. He died of a stroke on 30 December 1982, at the age of 86.
His work was typically a combination of watercolor and airbrush. His mastery of the airbrush is acknowledged by the fact that the highest achievement in the community of airbrush artistry is the Vargas Award, awarded annually by Airbrush Action Magazine. Despite always using figure models, his images would often portray elegantly dressed, semi-nude to nude women of idealized proportions. Vargas’ artistic trait would be slender fingers and toes, with nails often painted red.
My personal favorite of Alberto Vargas’ works would probably be an earlier work he did of Ziegfeld girl Olive Thomas called…. Memories of Olive