career karma – Tom Tierney
If you have any interest in paper dolls, you have encountered the work of Tom Tierney. Mr. Tierney is the quintessential 20th century paper doll artist, perhaps the only paper doll artist in the world who has created a name known outside the world of niche collectors. His prolific body of work covers vast swathes of popular culture – film stars, politicians, literary and historical figures, mythological creatures, the camp, and the bizarre. If a human-shaped subject could possibly be adapted to the paper doll form, Mr. Tierney has probably already done it.
Now in his eighties, Mr. Tierney lives and works in Texas and from everything I’ve read about him, he is a charming man with tremendous enthusiasm for what he does. Recently, he suffered a stroke, which must be a very frustrating experience for someone who lives to draw – and yet he has a wonderful sense of humour, is constantly working on new projects, and radiates inspiring vitality through his correspondence.
Before his iconic contribution to the world of paper dolls, Tierney was a commercial fashion illustrator in the 1950s and 1960s, when fashion illustration was still considered a necessary – and therefore even lucrative – aspect of the fashion industry. The nature of this career couldn’t possibly be more different now than it was then, and it’s fascinating to get even a small glimpse into that lost world. I am honoured that Mr. Tierney agreed to share some of his significant experience with me. Below, he offers his thoughts on creating paper dolls, and his passion for his work.
How do you choose a subject for your paper dolls, and subsequently research and choose the poses and items? Are the subjects inspired by popular demand, or your own interests?
As for choosing a subject for my paper dolls, I will have to give you a rather nebulous answer. Sometimes I will contact my editor at my publishers and suggest an idea for a paper doll book. Generally I do not get an answer right away because he then presents the idea to their editorial board for their approval. Sometimes the answer is “yes”, others “no”. Sometimes they come back to me with suggestions for changes in direction and if I agree then a contract is in the offing. Sometimes the editor will come to me with an idea and if I think I can do it justice, then we will go to a contract. Actually, if someone in the general public wants to see me do a book on a subject dear to their heart, it would be better to write the editor of the publisher and suggest the idea and that it be done by me (if they want me to do it, that is). Just remember that often the idea might already be copyrighted and owned by someone else! “Superman, for instance”.
Are there any “rules” for creating paper dolls? What do you believe are the defining characteristics of an excellent paper doll?
So far as I know there are no “rules” for making paper dolls. In fact when I first started making my own paper dolls and started putting a colored columnar base behind the legs, I got several rather uncomplimentary letters saying that I was wrong and breaking tradition in doing so, because there would be no shoes to put on the dolls. I tried politely to say that shoes and hats were the first thing lost once the doll was cut out, and further if people did not like what I was doing, they had the option of not buying them! Perhaps the only valid “rule” is that the clothes fit the doll and the tabs are in the right places.
So far as I know, there are no Paper Doll Police!
As to defining characteristics for an excellent paper doll, I really know of none. They are as varied as the artist and the viewer. After all, some people prefer Rembrandt and others like Picasso!
Can you describe your studio environment and how you like to work? What types of media and techniques do you use to create paper dolls? How long does it take you to develop a paper doll book from start to finish?
My studio is rather spacious as it is the 2nd floor mezzanine of an old 1894 building. I have divided it into two sections with the front 2/3s as a display area for my art and the back 1/3 as my actual work space which has a drawing table, a large table sized paper cutter, a desk with my computer, and shelves all around for storing art materials, folios filled with my finished art, and book collection. The furniture in the display area is mostly Victorian, including a 2-3 hundred year old wooden painter’s mannequin, a couple of antique music boxes, and a large Victorian styled doll house and several metal doll houses of the 1940-50s era. As to media, I prefer to draw and paint on Bristol surfaced 2ply illustration board in colored inks. I usually work about 1/4th larger than the printed work. I generally draw everything out on tracing paper (to be sure the costumes fit) and then transfer them to the illustration board. The longest part of doing a book is the research which can take a week or two. The actual rendering of the book is about two more weeks, give or take.
You have an enviable background as a fashion illustrator at a time when there was much more practical demand and professional validation of the craft than there is now. Can you describe what it was like to work as a freelance fashion artist for department stores and other clients in the 1950s and 1960s? What would a typical work day be like?
Doing free lance fashion (and movie poster) illustration in the 1950s & ‘60s was oft times pretty grueling for me. I was a greedy little cuss and often put in 12 to 18 hours a day, often 7 days a week. I was lucky to always have a rather large studio, first a loft on the lower East Side and later my own brownstone with a floor through studio and four floors of living space for me and my family. I had several agents in the years I was in Manhattan so I had little contact with my clients except through my agent who was responsible for pick-ups and deliveries, etc. My Father was my business manager and he and my mother lived with me, freeing me to do little else than draw, and draw, and draw. Usually my agent would arrive in the afternoon with the merchandise and layouts around four in the afternoon all of which would be due back to the store the next afternoon. There were days when I would turn out as many as eight fashion figures a day, sometimes more before Christmas and holidays. When I was doing movie posters I had more time and they were fitted in between fashion jobs. Fortunately there were slow times during the year when you could get out and meet people and do other things than just draw. I guess I have always been somewhat a workaholic.
After a successful career as a freelance illustrator, you have managed to establish a well-earned reputation in a very specific niche. What do you think are the qualities and circumstances that have allowed you to not only make a living from your passion, but thrive on it?
I suppose that the secret to my success, such as it is, is that I love to draw. There are times when I feel rather naked if I don’t have a pencil or a brush in my hand. Also, I love the research and “getting to know” my subjects, if they are historic, down to studying their body language and incorporate that in my paper dolls… Right now I am in a bit of a pickle due to a recent stroke. My drawing hand is still a bit weak, but improving daily, and hopefully I will soon be back in the saddle again.
Thank you Mr. Tierney for sharing your time with me. Wishing you a speedy recovery!