Some addtl. details, this is the hero banner for the top of the article and when I sketched it, I kind of hated it but it quickly became my favorite of the set. Something about the comp, textures & colors just worked so well. Honestly really proud of this one despite it being so simple. Read here:
As our IGN First exploration of Dragon Age: The Veilguard comes to a close, we go inside BioWare to see how it was able to reset Dragon Age: The Veilguard after a tumultuous decade and finally get it ...
it sucks that this is the way it works! it shouldn't require having friends or family to treat people as people! but this is how it works for many folks and that's why it's so important to make sure trans people are visible and celebrated and able to feel like they can be who they really are
Tolkien: listen, assholes, i got into fantasy for exactly 3 reasons: Tolkien: sexy hobbit feet Tolkien: feasts Tolkien: and fuckin' tom bombadil! Sanderson: tom bombadil? Tolkien: he's only the most important thing in middle earth! Tolkien: that capering buffoon of a wifeguy holds it all together!!
If you can bear it — More classic Hurrell portraits with a familiar partner: Jean Harlow, Ann Sheridan, Lupe Velez and Edwina Booth. “I actually began to hate the popularity of that rug,” said Hurrell later. “I thought it was artificial.”
One last take of Veronica by Hurrell. Paramount knew they had a star in the making but despite being the primary focus of the studio publicity and advertising art for I Wanted Wings (1941), Veronica ended up being billed sixth. That would, of course, change quickly.
“NEW BLONDE SCREEN SENSATION — Hollywood believes a new Harlow, or Clara Bow, has been brought to the front in the person of sultry, blonde Veronica Lake, sensational find featured in Paramount’s I Wanted Wings (1941).” — press snipe
A quick change of outfit and Veronica and Hurrell create another set of memorable publicity photos most likely from the same session at his personal studio, 1941.
Another from the 1941 Hurrell session with Veronica (and flipped, right). If you look closely you can see the bearskin that she’s sprawled on, both left and right. Another helpful ID clue is in the Paramount publicity # in the lower right linking this pic to the same shoot.
While these photos are sometimes ID’ed as a Eugene Robert Richee session, it’s the familiar Hurrel studio staple — the bearskin rug — that gives it away.
Another take of Veronica by Hurrell in what turned out to be a fairly extensive publicity shoot for her first featured screen role in Paramount’s I Wanted Wings (1941). I wasn’t sure these pics were by Hurrell until I noticed what she was leaning on.
