28th February 2020 see a new collection launched: the 'Glen Orbik - Pulp Noir Series' and is taken from his 'Vintage Book Cover Collection.'
This posthumous collection of four cinematic inspired limited editions blends his love of cinematic Film Noir of the 1940s and they have a Dick Tracey feel of early American detective shows – with Chiaroscuro black and white contrasts, giving the art ... read more
This posthumous collection of four cinematic inspired limited editions blends his love of cinematic Film Noir of the 1940s and they have a Dick Tracey feel of early American detective shows – with Chiaroscuro black and white contrasts, giving the art a moody, emotive feel.
Glen Orbik (1963-2015) was a much loved illustrator known for creating a plethora of book and comic book covers and remembered fondly for his noir designs. He would later go on teach figure drawing classes in California, keen to pass his artistic skill on to others.
While still a child in the 1970s, Glen moved with his mother to Nevada and would go on to graduate from the Douglas High School (DHS) in Minden, Nevada.
Glen would continue his studies at the California Art Institute & became a student of its founder Fred Fixler (1923-2010), classes the Orbik would end up taking over…until his untimely passing. Under the legendary illustrator Fixler, Glen was really able to fully develop as an artist and arrive at a stylisation that he felt comfortable with.
**Clip from one of Glen's head drawing classes:
He had some famous followers: fellow illustrator Alex Ross, author Stephen King & screenwriter Ray Bradbury owned various paintings; he actually created many of Stephen's book covers and 'Joyland' springs to mind, which he created jointly with Robert McGinnis.
Orbik has left an important legacy in Comic Books, doing covers for Superman, Batman and various imagery for both DC and Warner Bros Comics.
The artwork has an interesting backstory, to create each Glen would use his stable of friends (e.g. for lighting) & models (for the scene) from screen & fashion; he would scour Los Angeles prop houses for the outfits and any objects needed for the scene.
Glen would take various photos and drawings, making sure the scene fitted with the story within any book cover he was creating and only then would he begin the final oil painting. Such care and attention to detail was undoubtedly a key factor in his artistic success.