Four years later it had already been through six printings, and he followed up over the next two decades with a series of even more successful how-to books that remain the gold standard for artists to this day.Creative Illustration is considered Loomis's magnum opus, which was aimed primarily at the professional-level illustrator. Divided into seven sections: Line, Tone, Color, Telling the Story, Creating Ideas, Fields of Illustration, and Experimenting and Studies, this book is filled with instructions, tips, insider experiences, and incredible illustrations.

    He experimented ceaselessly with new ways of seeing - using photograms, photomontages, film and kinetic sculpture. In his photography he tried to use new angles of view and composition, and he recorded the effects of light on film that only the camera lens could capture. This book contains colour work which has never been published before.

    His olfactory sense would make a hyena laugh, his sense of touch is inferior to that of a whirligig beetle. This unbalance, the author believes, was brought on in no small degree by the sort of clothes we wear, and the misconceptions attached to them. In our society, the naked body is believed to be incomplete--a body minus clothes. It is the packaged body that we take for the man and the woman. Regarding as we do our body coverings a utility or a convention, we generally ignore their powers to stimulate the nervous system.To better size up the causes of our sensual atrophy, the author sets out to examine the maze of prejudices and inhibitions that entrap the human body. He appraises woman's emotional need to reveal her charms, and the role of shame traditionally imposed on her. He comments on the American's infatuation with the female breast (a consequence, he suspects, of the national habit of drinking milk long after infancy); he draws attention to that little understood expedient of dress, the décolletage, especially its lesser known forms, the artful tear and the multiple windows for breasts, elbow tips and knee caps. Nor does he forget the codpiece, tabooed in our days of uncertain masculinity.A short review of deformations and mutilations, from ritual head flattening to the addiction to biting off one's lover's eyelashes, leads to another fascinating subject, usually passed over in silence, the enjoyment of discomfort. Hair shirts and assorted penitential garments are discussed as tools of self-gratification, and so is women's captive footgear--the stilts, portable pedestals and high-heeled shoes. For want of corsets and hobbleskirts, today, Mr. Rudofsky maintains, we seek sources of voluptuous sensations in multiple belts, straps, and playful riggings of cords and chains.Occasionally, agreeable fantasies are induced by fancy dress and by epidermal contact with garments symbolizing erotic savoir-faire. Yet, asks the author, has there ever been a psychiatrist known to employ sartorial therapy, that is, to prescribe disguises for his patients, to lessen their real or imagined sufferings? Although he is chary of prophesies on the post-paradisiacal Adam and Eve's full rehabilitation, he does hold out hope for a happier relationship between mind and body.Contents: 9 Foreword15 The birth of clothes25 Anatomy of modesty77 A portfolio of monsters93 The fashionable body125 The decorative arts151 Cut and dry goods175 Dress reform and reform dress199 Sartoriasis237 Garments for two246 Clothes and the artist282 Text references286 Index288 Photographers' credits