To: pml1@yahoogroups.com
Subject: [PML1] Classic Centerfold: Julia Lyndon
From: Mark Tomlonson
Date: Thu, 03 Jul 2003 13:33:55 -0400

When photography was introduced, many felt that painting would
disappear. Photography produced a much more accurate image much more
quickly. What has happened instead is that painters are now free to
explore other elements of visual expression besides literal
representation. Artists working in pastels and watercolors, whole
capable of great realism, try to capture the subtlest and lightest
shadings of color. In Julie Lyndon's Classic Centerfold of August
1977, Philip Dixon has tried to emulate those same, subtle, almost
transparent colors.

First, let's consider the underlying structure: the form of an
"X". Moving from upper left to lower right we find Julia's face, torso
and the bunched bed quilt, and from upper right to lower left, the
light from the window cast on the wall. Julia's left thigh and her
right calf. Of lesser importance is the almost horizontal line at
mid-section formed by the top of the radiator and the top of the
bed. This "X" gives a strong feeling of stability and repose so that
when Julia leans just slightly forward to give her breasts a more
rounded an full shape she can do so without looking like she's about
to tip over.

Her breasts are given further accent by the placement of her right arm
and the halo effect of her sweater. Color, too plays a role in drawing
our eye. The delicate shadings of the window frame reinforce the hues
of Julia's breasts. The sweater, by its darker color, also draws our
eyes to her breasts. By the choice of shoe and the placement of the
left leg the roundness and fullness of her thighs and calves are
emphasized as well. As thin as Julia's face is, Dixon has still
managed to capture a sense of lushness and fullness, with those
lovely, lovely large eyes and full, kissable lips.

The implied situation tells us we're at some point prior to a romantic
encounter. It's hard to place it exactly, but Julia's costume would
indicate we're not too far away. Captured on Julia's sculptured face
is a look of uncertainty. It makes it easy for me to imagine that the
two of us have snuck up to a room in her parent's house. Also unclear
is how far in this romantic encounter Julia will be willing to go. She
does seem open to the idea of negotiation or gentle persuasion.

But those colors! For most of the seventies chic style was defined by 
strong-value, fluorescent colors, but in this centerfold the production 
staff have created a unified, pastel color palate rarely seen in a 
Playboy centerfold in the seventies or any other time. While controlled 
color in a centerfold is a Playboy hallmark, it's usually done with 
full, rich, solid tones. The use of color in and of itself would make 
this centerfold a Classic. Throw in the breathtaking Julia and it would 
seem to me that the debate has ended.

This amazing, unified color scheme keys off the grey of Julia's eyes. 
This grey is matched in the centerfold by her sweater and the stripes on 
her discarded shirt now laying on the radiator. It's echoed in the 
background on the blouse. We avoid the mundane once again with tan 
appearing as the secondary color in the foldout. There is the dark tan 
of the bedstead, the lighter tan of the floor, the still lighter tan of 
the window frame and then the tanish pale of Julia's almost luminescent 
skin. The light tan and grey are blended together in the wall covering, 
providing a strong tie and a reference point for everything in the 
photo. The light tan evolves into white in Julia's eyes, socks and 
shoes, the bed sheets and the radiator. Dark brown or black is only used 
sparingly, both for balance and to provide an accent on the lovely 
Julia, the centerfold centering on the almost unbearable lightness of 
the delicate pastels.

We may not notice at first glance how well the lighting is crafted in 
this photo, how the light on Julia and the light on the background are 
so deftly balanced, how well the colors fit together, how well the 
colors of the set serve so completely to compliment the model. But I 
noticed, and the results of combining Julia's patrician and overwhelming 
beauty with the outstanding craftsmanship of the production have made 
this one of my favorite centerfolds, even among all that I call 
"Classic" since I first opened this gatefold 25 years ago.

Mark Tomlonson
Kalamazoo MI