^

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 C RE ATIVE
ILLUSTRATION

And,rew Loomis

THE VIKING PRESS NEW YORK

1947
 To the furtherance

of our craft of illustrating

as a profession for young Americans,

this volume

is respectfully dedicated
 ACKNOWLEDGMENT

May I express here my appreciation of and gratitude for

the valuable help given me in the preparation of this vol-

ume by my beloved wife, Ethel O. Loomis.

 CONTENTS, INCLUDING ILLUSTRATIONS
(The illustration pages are indicated by italics)

Opening Chat 17 Find Eye Level of Copy and Make

Figures Coincide 43
The Form Principle as a Basis of Approach 21
Approaching the Subject in Different Ways 44
PART ONE: LINE Perspective Alone May Add Variety 45

Frontispiece 24 Using Line to Produce a Focal Point

in Subject 46
There Abe Seven Primary Functions
9
of Line 25 Providing an "Eye Pathtvay in Composition 47
Line 1$ More Than Merely "Outline"! 26 Attention Devices 48

Line 1$ Proportion with Imagination 27 Get Attention by Building Contrast

of Line or Shape 49
Line Produces Formal Design 28

Line Produces Informed Design 29 The Relationship of Line to Emotional

Response 50
Overlapping Line and Areas the First
Principle of Composition 30 Bad Composition Brings Negative Response 51

Various Types of Vignettes 52

Using the First Function of "Line for Itself
for Composition 31 A Vignette Is a Design Pure and Simple 53

Composition May Be Based on Letters Simple Line Combines Effectively with

and Symbols 32 Solid Blacks 54

Composition May Be Based on Combining Pen Line Treatment with

Geometric Forms 33 Black Areas 55

The "Fulcrum-Lever" Principle Applied to Pen Drawing Is Built on a Principle 56

Composition 34
Fen Drawing Is Concerned Mostly with
Use Formal Subdivision for Symmetrical Shadow 57
Composition 35
Pen-and-ink Procedure 58
Introducing Informal Subdivision 36
Follow the Form with the Pen Strokes 59
A Demonstration of Informal Subdivision 37
60
Decorative Treatment in Line
Figure Compositions Based on
The Brush Used Like a Pen 61
Informal Subdivision 38
Dry Brush 62
Informal Subdivision Is Purely Creative,
Not Mechanical 39 Adding "Spatter" to Line Mediums 64

Perspective Guide Lines Help You to Dry Brush and Black Pencil on
Composition 40 Grained Paper 65

Everything You Draw Is Related to an Black Ink, Black Pencil, and

Eye Level 41 Poster White on Coquille Board 66

Eye Level, Camera Level, and Horizon There Are New Possibilities in
Mean the Same 42 This Combination 67
9
 CONTENTS, INCLUDING ILLUSTRATIONS
Sanguine on Grained Paper 68 Old Mother Hubbard Is Your Problem 97
Black Pencil on Grained Paper 69 Technique in Tonal Mediums 98
Drawing Procedure 70 Formulating an Approach 99
Drawing, Above All Else, Puts You Over 71 Technical Approach 100

Black and White Pencils on Grey Paper 72 Detail 101

Poster White and Black Ink on Grey Paper 73 The Treatment of Edges 102

Charcoal on Grey Paper 74 Where to Look for Soft Edges 103

Dry Brush on Grey Paper with Whites 75 The Lens Sees Too Much 104
9
"Scratch Board' 76 The Eye Selects 105
Craftint 78 Stressing the Planes and Accents 106

Breaking Up the Too-Smooth Tones 108

Adjusting Tone and Pattern 110

PART TWO: TONE
The "Big Tone" Approach 112
Frontispiece 80
The Direct Approach 114
There Are Four Essential Properties
The Soft Approach 116
of Tone 81
The Brittle Approach 118
Basic Intensities of Light Versus Shadow 82
The "Blocky" Treatment and Others 120
The Four Properties of Tone Explained 83
The "Blocky" Treatment 121
Setting up a Consistent Relationship of
Light to Shadow 84 Painting Down or Across the Form 122

The Meaning of Key and Value "Scumbling" 123

Manipulation 85 The Tonal Mediums 124
The Four Properties of Tone Charcoal as a Tonal Medium 125
Explained (continued) 86
Charcoal and Chalk on Grey Paper 126
A Simple Lesson in Value Relationships 87
Grey Paper with Other Mediums 127
Composition by Tone or Pattern 88
Carbon Pencil as a Tonal Medium
There are Four Basic Tonal Plans 89 (Smooth Bristol) 128
How to Look for the "Meat" in Your Subject 90 Carbon Pencil on Regular Bristol 129
If It's Worth Painting, It's Worth Planning 91
Carbon Pencil on Illustration Board 130
tt
Thumbnail" Planning of Tonal Pattern or
Wash with Dry Brush 131
Arrangement 92
Wash as a Tonal Medium 132
The Subject Itself Often Suggests the
Tonal Plan 93 Wash Is One of the Best Mediums
for Reproduction 133
Four of the Thumbnaib Transposed to
Black-and-White Oil 94 Opaque Water Color as a Tonal Medium 134
The Completed Sketch 95 Thin Black-and-White Oil Scumble 135
Suppose We Take a Subject and Work It Out 96 Howard Pyue 136
10 '

.
 CONTENTS, INCLUDING ILLUSTRATIONS
Comments on Howard Pyle's Theory Outdoor and Indoor Color 170
of Approach 138
How to Experiment with Color 171
Tonal Sketches of Some of Pyle's Pictures 141
Experimental Color Roughs Worked Out 172
The Relationship of Tone to Color 142
A SubjectWorked Out in Color from
The Form Principle Applied 143 Black-and-White Copy 173

Preparing Samples in Tone 144 What Is Color Charm, and

Submitting Samples 145

How Can We Know It? 174

Should We Eliminate Black from

Our Palette? 175
PART THREE: COLOR

Frontispiece 146

A New Approach 147 PART FOUR: TELLING THE STORY

Presenting the Spectrum as Related to
Frontispiece 176
Light and Shadow 148
Tkehe Are Five Essentials 177
Color 149
^A> ^L ^^F

What Is Illustration? 178

All Color Is Relative to Surrounding
Influence 150 The Essentials of Telling the Story 179

Color Is Strongest in the Light 151 Staging Your Subject 180

Color Is More Than Local Color 152 "Thumbnail" Settings 181

Look for Color on the Edge of Light 153 Huw to Get Suggestions from Clippings 182

The Limitation of Color in Pigment 154 Figures Suggested on Tracing Paper 183

Relating Color by Tonal Influence 155 Planning Dramatic Action and Poses 184

Toning the Spectrum or Palette 156 Establish the Action Before Hiring a Model 185
Four Subjects in "Toned Color* 157 The Essential Arrangement 186

Don't Be Afraid of the Greys of Nature 158 Arrangements Based on One of the
Previous Roughs 187
Blue Green, Yellow, and Cool Red
as a Scheme 159 Em hcl 1 ishment 188
Painted with Yellow as a "Toner' 160 Using the Camera to Obtain Working
1 Material 189
Color Considered as "Tone "'
in Its
Natural Relationship 161 The Illustrator's Scaling Screen 190

Color, Its Function and Charm 162 The Scaling Screen and Camera Distortion 192
The Primary Color Groups 165 Camera Distortion 193

The Primary Color GroupsColor Shades 166 Drawing to Avoid Photographic Distortion 194
Color Selection and Background 167 Camera Dramatics 195

What to Do When Your Picture Is A Single Lighting Works Out Best 196
Dead in Color 168
Use Your Camera to Catch Emotion and
The Emotional Effects of Color 169 Expression 197
11
 CONTENTS, INCLUDING ILLUSTRATIONS
Studying the CJmracter 198 PART SIX: FIKLDS OF ILLUSTRATION
There Is No End to Facial Expression and
Frontispiece 224
Character 199
The Magazine Ad 226
Manufacturing Convincing Emotion 200
The Approach to Good Advertising
Expressions Tell the Story 201
Illustration 227
Loss and Gain in Backgrounds 202
Using Your Freedom 228
Examples of Background Loss and Gain 203
Twenty-Four Types of Ads 228
What Is Faking, and What Is Imagination 204
Types of Magazine Ads 230
Never Guess When You Can Find Out 205
Relating Your Illustration to the Whole Ad 236
An Imaginative Subject Need Not Be
Developing the "Co-ordination Sense" 237
"Faked" 206
A Typical Magazine Ad Assignment 238
The Originality Is Within the Conception 207
A Typical Agency Layout 239

Rough Compositions for the Picture 240

PART FIVE: CREATING IDEAS Final Arrangement Based on Photos Taken 241

The Finished Advertising Illustration 242

Frontispiece 208
What Is the Future in Magazine
A Logical Method 209 Advertising? 243

The Plan of Working Up a Questionnaire 210 Better Taste in Magazine Advertising 244
Searching Basic Appeals for Ideas 211 The Outdoor Poster 245
A Sample Questionnaire 212 How a Poster Is Divided into Sheets 246
Rough Ideas Developed from the Typical Poster Arrangements 247
Questionnaire 213
A Typical Poster Assignment 249
A Different Approach from the Same The Idea Roughed Out 250
Questionnaire 214
Halftones of the Color Rouglis 251
Creating Ideas from Basic Appeals 215
The Finished Poster 252
Scribble While You Think:
Think While You Scribble 216 Display Advertising 253

Your Scribbles Are More Original Displays Are "Point of Sale" Merchandising 254
Than Your Camera 217
Working Up Ideas for Displays 255
Get Used to Sketching from Life 218
Types of Lithographic Displays 256
You Get Something the Camera
Working with Display Lithographers 258
Cant Give You 219
Calendar Advertising 259
Sentiment the Keynote of Illustration 220
Basic Appeals Applied to Calendars 260
Psychology Applied to Covers and
Calendars 221 A Calendar Can Be Anything That Is Good 261

There Is Even Psychology in Comic Ideas 222 Essentials of Good Calendar Illustration 262

Ideas in General 223 Painting for Calendar Reproduction 263

12
 CONTENTS, INCLUDING ILLUSTRATIONS
Covers and Jackets 264 PART SEVEN: EXPERIMENT AND STUDY
Some Jacket Arrangements 266 Frontispiece 284
JStoby Illustration 268 Exi'ERIMENT AND STUDY 286
What Do the Magazines Want? 269 Finding Subjects for Experiment and Study 287
Putting the Fundamentals to Work 270 Your Pencil Can Keep Busy 288
Exciting and Unusual Arrangement 271 Practice Heads All You Can 289
Style and Technique in Story Illustration 272 Study of an Old Man 290
Illustrations That Sell the Story 273 A Sample Illustration 291
Questionnaire for Starting an Illustration 274 Sketching 292
Working Out a Typical Story Illustration 275 Figure Painting 293
Miniature Roughs for the Illustration 276 Outdoor Sketch in Color 294
Developing the Actual-Size Rough 277 Portrait Sketch in Color 295
Photo of the Model 278

Study from tlie Photo 279

The Final Interpretation 280

Head Studies for Illustrations 281 Closing Chat 296

Getting into Story Illustration 282 Answers to Queries 299

13
 OPENING CHAT
Dear Reader : fort* I do not contend that anyone can draw or
With the wonderful response given my earlier paint. I do contend that anyone who can draw or

efforts, I believe that through this volume I shall paint can do it better with more knowledge to
be greeting many of The ac-
you as old friends. work with*
ceptance of my last book, Figure Drawing for All Let us assume, then, that you have ability you
It*$ Worth, has encouraged me to continue, for wish to put into practical channels. You want to
there is still much worth-while knowledge in the know how to set You want to paint pic-
about it.

field of illustration, beyond the actual drawing of tures for magazine stories and advertising, for
figures, that can be set forth. It is one thing to billboards, window displays, calendars and cov-
draw the figure well, but quite another to set that ers. You want every possible chance for success.

figure into a convincing environment, to make it Let us not be under any illusions. At the start I
tell a story, and to give it personality and dramatic must admit that there is no exact formula that
interest. In short, the figure means little as a good can assure success. But there axe unquestion-
drawing only. It must accomplish something- ably forms of procedure that can contribute a
sell a product, or give realism and character to a great deal toward it. Such a formula might be
story; its personality must so impress the beholder possible if the character, technical appreciation,
that he is moved to a definite response emotion- and emotional capacity of the individual were not
ally. so much a part of the ultimate results* For that
My purpose is to present what, in my experi- reason, art cannot possibly be reduced to exact
ence, have proved to be the fundamentals of illus- formulas devoid of personality. Devoid of per-
tration* To the best of my belief, such funda- sonality, creative art would have little reason for
mentals have not been -organized and set forth existence* In fact, the individual expression is its

before. So I have attempted to assemble this greatest value, the thing that forever lifts it above
much-needed information, trusting that my own picture-making achieved by mechanical means. I

efforts in the active fields of illustration qualify shall not presume to quarrel with the camera. But
me to do so. I shall try to make clear the funda- I contend that even with all its mechanical per-
mentals that apply to the whole pictorial effort fection, the real value of photography is in the
rather than to specific draftsmanship of the figure individual perception of the cameraman and not
or other units. I shall assume that you can already in technical excellence alone. If art were only per-
draw with considerable ability and have some fection of precise detail, the camera would dis-
background of experience or training. In this pense with the need for artists. But until we have
sense the book will not be built around the early a lens endowed with emotion and individual per-
effort of the beginner, nor is it for those interested ception, or having the power of discriminating
only in drawing as a hobby. It will be for those between the significant and the irrelevant, the
having a bona fide desire for a career in art and artist will always dominate the situation. The
the determination to give it all the concentration camera must accept the good with the bad, take
and effort such a career calls for. Success in art is it or leave itmust reproduce the complete un-
by no means easy, or a matter of puttering at it in emotional and literal appearance of whatever is

odd moments. There is no "gift" or talent so great placed before it.

that it can dispense with the need for fundamental May I impress upon every reader that illustra-
knowledge^ much diligent practice, and hard ef- tion is life as you perceive and interpret it. That
17
 OPENING CHAT
is your heritage as an artist and is the quality rector prefer a photo to a well-executed painting.
which will be most sought for in your work. Try The difficulty lies in getting the painting or draw*
never to lose it or subordinate it to the personality ing that is good enough.
of another. As far as you and your work are con- If we are to carry our craft forward, increasing
cerned, life is line, tone, color, and design plus the volume of good art to anything like the pro-
your feelings about it. These are some of the tools portionate use of photography or meeting the
with which we all work and which I shall try to indisputable demand, it be through
will not
enable you to use. You will work with these tools the imitation of photography, nor even through
as you see fit, but my hope is that from this book greater technical ability. It will come through
you may gain added knowledge of how to use the greater scope of the imagination on the part
them. of artists. It will come also through greater tech-
Throughout my own early career I felt an ur- nical freedom leaning away from the merely pho-
gent need for just this kind of help. The need is tographic, and through greater individuality. To
still evident, and I have taken the problem upon try to compete with the camera on its own ground
myself. My ability as an author can be set aside as is futile. We -cannot match its precision of detail.
of little importance. We have the common ground For straight values and local color ( which we will
of knowing that the things I shall attempt to talk hear more of, later) there is little we can add.
about are of tremendous importance to both of But for real pictorial worth, the gates are wide
us, to our mutual success since I intend to re- open.
main as active as possible in the field. I wish you You may be certain that the greatest pictorial
to succeed as much as I wish to succeed myself, value lies in all the things the camera cannot do.
for the sake of our craft, which is more important Let us turn our attention to design, looseness and
than we are. freedom of technical rendering, character drama, ,

If illustration is expression, it becomes a trans- inventiveness of layout, the "lost and found" of
position of thought. So it is thought transposed to edges, subordination of the inconsequential, and
an illusion of reality. Suppose I speak of a man accentuation of the important. Let us incorporate
with a face as hard as flint* A mental image is con- the emotional qualities so sadly lacking in photo-
jured up in your imagination. However, the image graphic illustration. Let our product be as differ-

is not yet sharp and clear. This quality of hardness, ent from the photo as our individual handwriting
a subconscious interpretation you feel, must be is from printed type. If we make the drawing, the
combined with realism. The result will not be a values, and the color sound and convincing, from
copy of a photo nor of a living model. It is a there on we need not compete. From that point
transposition of your individual conception to a on there is nothing to stop us, and from that point
face. You work with your tools of line, tone, and on the public actually prefers art to photography.
color to produce that quality. Devoid of feeling, The drawing, values, and color are only the
you could hardly paint that head. stock-in-trade, the jumping-off place. That much
Drawing for mere duplication has little point is expected and taken for granted. What we do
to You may do it better with your camera.
it. beyond these will determine how far we go in
Drawing as a means of expression is the justifica- illustration.

tion of art over photography. Art directors have Drawing as drawing alone is not too difficult.

told me that they use photography only because Drawing, for the most part, is setting down con-
of the mediocrity of available artists. The demand tour in correct proportion and spacing. Spaces
for good work far exceeds the supply. Therefore can be measured, and there are simple ways and
commercial art has had to lap over into photog- means of measuring them. Any old line around a
raphy as the next best bet. Rarely does an art di- contour may be correctly spaced. You can square
18
 OPENING CHAT
off by eye, or project it, and get
copy, measure analysis of his work, for your analysis might be
that kind of drawing. But real drawing is an inter- better than mine. Method and procedure are the

pretation, selection, and statement of a contour only sound basis of teaching, for without them
with the greatest possible meaning. Sometimes creative ability has no chance. I dare not incor-
drawing is not the actual contour at all, but the porate even the work of contemporary illustra-

one that will express the grace, character, and tors, since each would be infinitely more quali-

charm of the subject. Until the artist begins to fied to speak for himself. I shall leave out all past
think in line, think of expressing in this way the performances of my own with the rest, for we are
things he wants to say, he has not elevated him- not as interested in what I have done as in what
self much beyond his pantograph, projector, or you are going to do, working with the same tools.

other mechanical devices. How can he hope to be There is but one course open for me if I am to stay
creative if he depends entirely upon them? Re- on solid ground, that of sharing my experience
sorting to their use in place of drawing for self- with you for whatever value it has. You will thus

expression is a confession of lack of faith in his have the chance to select what is of use to you,
ability, He must realize that his own interpreta- and to discard that with which you do not agree.
tion, even if not quite so literally accurate, is his

only chance to be original, to excel a thousand The art of illustration must logically begin with
others who also can use mechanical devices. Even line. There is so much more to line than is con-

a poor drawing exhibiting inventiveness and some ceived by the layman that we must start out with
originality is better than a hundred tracings or a broader understanding of it. Whether con-
projections. sciously or not, line enters every phase of pictorial

If I am going to give you information of value, effort, and plays a most important part. Line is the
it must come from actual practice and from con- first approach to design, as well as the delineation
tact with the actual field. Naturally I am limited of contour, and ignorance of its true function can
to my own viewpoint. But, since the fundamentals be a great impediment to success. So our book

that go into my own work are for the most part will start with line.

the same as those used by others, we cannot be Tone comes next. Tone is the basis of the ren-

too far from a common goal. So, I use examples dering of form in its solid aspect. Tone is also the

of my work here, not as something to be imitated, basis of a three-dimensional effect of form in

but rather to demonstrate the basic elements that space. A truthful representation of life cannot be
I believe must go into all successful illustration. made without a clear understanding of tone. Line
By showing you the means of expression rather and tone are interdependent, and this relation-
than the expression itself, I leave you free to ex- ship must be understood.
press yourselves individually. To line and tone is added color. Again the re-
My approach will strip itself as far as possible lationship becomes inseparable, for true color

from the theory of imitation as a means of teach- depends almost entirely upon good tonal or value
ing. For this reason the approach must vary con- relationship. We may draw an illustration in line
siderably from the usual art text formula. We only, and it stands complete pictorially. But the
shall have no examples of Old Masters, for, minute we go beyond line as contour only, we
frankly, what methods and procedures they used start to deal with light and shadow, or tone. We
are virtually unknown. You can see great pictures are therefore plunged immediately into the com-
everywhere; you probably have your files full of plex laws of nature, since only by light and
them. Unless I could tell you how an Old Master shadow, or tonality, is form apparent to us. The
arrived at his great painting, I could add nothing step from tone to color is not nearly so great,
of value. I cannot presume to give you even an since the two are closely related.

19
 OPENING CHAT
Granted that we can comprehend the basic Finally, we must separate the various fields into
fundamentals of line, tone, and color, there is still a variety of approaches, each tuned to its partic-

more to encompass* All three must be united to a ular purpose. In each field there is an individual
pictorial purpose* There are arrangement and basic approach which the successful artist must
presentation, even more important than the sub- know. To do an outdoor poster is one thing, and
ject matter. There is organization of area and a magazine ad another. All these points I hope to

tonal mass or pattern in order to create good pic- make clear.

tures. To these ends we shall work. There is the matter of experiment and study,
Beyond the technical rendering comes the dra- which can contribute so little or so much to your

matic interpretation. In the final analysis the il- ultimate success. This can assure freshness and
lustrator is holding a mirror to life, and expressing progress in your work as can nothing else; it is

his feelings about it. He may paint a pot of flowers the thing that you out of the rut of daily rou-
lifts

beautifully, but it can by no stretch of the imag- tine, and places you head and shoulders above
ination be called an illustration. Illustration must your associates. It is the biggest secret of success.
encompass emotion, the lifewe live, the things I have searched out to the best of my ability

we do, and how we feel. So we shall devote a part the workable truths. I have organized these into
of the book to the "telling of the story/* what I shall call the "Form Principle." Within this
If we are to illustrate, we must create ideas. is the whole basis of approach to the material of

Illustration delves into psychology for basic ap- this book. These truths have existed long before

peals, to create ideas that must reach into the me, and will continue ever after. I have simply
personality of the reader, compelling definite tried to gather them They are the things
together.

responses. We need to understand the develop- which are present in all good art, and should be a
ment of ideas as the basis of advertising, too, so part of all you do. They spring from the laws
that

that our work may find a market in that field, and of nature, which I believe is the only sound basis

be suited to its special needs. Therefore a part of for a book of this kind. So let us get on with our

the book will be given over to this subject. work.

20
 :

THE FORM PRINCIPLE

AS A BASIS OF APPROACH

No matter what subject the artist uses or what day, produces an effect of softness and subtle
medium he works in, there is but one solid basis gradation of light to dark* In the studio the same
of approach to a realistic interpretation of life relative effects are produced by artificial light for

to the representation of the natural appearance definition and by the natural north daylight for
of existing forms. I cannot lay claim to being the the soft gradation.
first to perceive the truths which underlie this The direction or position of the light source,
approach* You will find them exemplified in all then, determines what planes shall be in the light,
good art. They existed long before me, and will halftone, or shadow. Texture is more apparent in
continue as long as there is light, I shall attempt a direct or bright light than in a diffused light* The
only to organize these truths so as to make them planes of the form are also more apparent in bril-

workable for you in study and practice, in every- liant light.

thing you do, To the organization of these basic This brings us to the next truth
truths I have given a name : the Form Principle. The lightest areas of the form will he within
This principle is the basis for everything which those planes lying most nearly at right angles to
will be discussed in this book; and it is my hope the direction of the light. The halftone planes will
that you will adopt it and use it for the rest of your he those obliquely situated to the direction of the

lives* Let us start out by defining the Form Prin- light. The shadow planes will be those planes
ciple: lying in or beyond the direction of light so that

The Form Principle is the rendering of form as the light of the original source cannot reach them,
to its aspect at any given moment with regard The cast shadows are the results of the light hav-

to its lighting, its structure and texture, together ing been intercepted, and the shape of such inter-

with its true relationship to its environment. cepting form is projected to other planes. In dif-
Now let us see what this means. Any pictorial fused light there is little or no cast shadow. In
effect that will present a convincing illusion of brilliant light or direct tight there is always cast
existing form must do so first by the rendering of shadow.
light on that form. Without light, as far as we So you will see that the kind of light immedi-
are concerned, form ceases to exist. The first truth ately has to do with the approach to your subject
of the Form Principle that we are concerned with and the ultimate effect. Having less definition, the

is: diffused or over-all light will be most difficult. For

It must he determined at once what kind of "snap/' take direct light. For softness and sim-
light we are working with, for its nature and qual- plicity, use sky light. Direct light produces con-
ity and the direction from which it comes will trast, sky light produces closeness of value.
affect the entire appearance of the form. Direct light produces much more reflected

I If it is impossible to render form without light, light, and this is most apparent within the shad-
then it follows that the nature of the form becomes ow. The amount of reflected light reaching the
visible because of light. A brilliant light produces shadow will determine its value. Everything upon
Well-defined light, halftone, and shadow. A dif- which the light falls becomes a secondary source
fused light, such as the light of the sky on a grey of reflected light and will light shadow planes in
21
 THE FORM PRINCIPLE
the same manner as the original source, being Faked lighting breaks down every other good
brightest on the planes at right angles to such quality.

reflected light All things represented within a given light

Light can operate in only one manner. It hits bear a relationship of tone and value to one
the top planes squarely and brightly, then slides another.
around the form as far as it can go. However, in If this relationship is not maintained, then the
the shadow, the source being of less brilliancy, form cannot be true. Every tiling has its "local"

reflected light can never be as light as the original value, that is, its surface tone appears to be some-
source. Therefore no area in the shadow can be as where in the scale from black to white. Bright
light as the areas in the light. light can raise the value, and dim light can lower
More art falls apart for this reason than for any it. But the light raises or lowers all other surround-
other* Both light and shadow areas must be sim- ing values correspondingly, so that the value of
plified and painted in the fewest possible values* the subject holds a constant relationship to other
The object is to make all the lighted areas hold values. It will remain, in any light, so much lighter

together as one group, as opposed to the shadow or darker than its neighbors. For instance, a man's
areas as another group. If the values of the two shirt may be so much lighter than his suit. In

groups are not thus separated and held apart, the any light this relationship holds good. Therefore,

subject isbound to lose solidity and form no mat- ?

whether in deep shadow or bright light, we can-
ter how well modeled and how well drawn. Much not change the value difference between the two.
of the reason for pictures* falling apart is also The object is to raise both or lower both but to

because simple light and shadow is not given a keep the approximate difference. The relation-

chance. Such relationship is destroyed by insert- ship of things to one another will be the same
ing several sources of light. Thus where halftone always, either in light or in shadow.
and shadow should be to give the true character A single source of light is best for our purpose
of the form, by other lighting, and the
it is lost and produces the best effect pictorially. This also

values become a hodgepodge of middle tones, gives us reflected light. We can use a reflector
highlights, and accents. There cannot be a white (usually a white board) to reflect the original
in the shadow area. There can hardly be a pure light with beautiful effect. This, when working on
black in the light area. A safe approach is to make the shadow side.
all the areas in the light a little lighter than you Relationship of values fa more correct in natu-

think you see them, and all the areas in the shadow ral light than in any other.
a little darker. You will probably come out with a Sunlight and daylight are the perfect lights for
better thing than the other way round. true rendering of form. You simply cannot beat
All forms within your picture should appear to them with all the trick lighting possible.

be lighted by the sums source and be lighted con- Overmodeling comes from incorrect values.
sistently with one another t If, to make the form go round, we exaggerate
This does not mean that light cannot travel in we use up the rather limited range be-
the values,
different directions, such as the light around a tween black and white, so we do not have left
lamp, the light of two windows, reflected lights, the proper and lower values for the shadow. The
etc. But the light must be a true effect of light, picture becomes dull and lifeless, since we have
such as sunlight, sky light, moonlight, twilight, used values that do not belong to the light and
artificial light, etc*, in its real effect and relation- could not be in relationship, The opposite is true
ship* There is only one way to get this right* Do it when we put lights into the shadows that could
by studying from life the true aspect, or take a not be, destroying the big relationship between
photo which will give it to you. It cannot be faked. the whole light and the whole shadow.

22
 THE FORM PRINCIPLE
The big form makes the subject carry and ap- ments of lights, intervening tones, and darks, or
pear solid, not the incidental surface forms. else linear arrangements.

Many of the small and intricate forms must be You cannot avoid making your subject either

subordinated to keep the big form solid. Folds, a tonal statement or a linear statement. You can
for instance, can ruin the effect of underlying combine both, but you cannot get away from one
form and break it up. Draw only the folds that of these. If you do not understand tonal relation-

express form and the natural drape of the mate- ship you cannot secure a feeling of "existence.

rial, not every fold just because it is there on the Line is contour; tone is form, space, and the

model or in the copy. third dimension.

The best pictures run to a few simple values. Get this clearly in your mind.
This will be taken up later on. Contour cannot be continuously defined all

The design makes the picture, not the subject around and a sense of space be achieved.
all units

or material Contour becomes lost and found and inter-

Almost any subject can be used with charm laced or woven into other areas in nature. If

through the help of design and arrangement. the edge is kept hard all around, it cannot avoid

Presentation is more vital than subject matter. sticking to the picture plane, losing the feeling

The same form may be presented with great of space, or one edge in back of another. Edges
variety by a careful arrangement of lighting. Just will be taken up in more detail later.

any light will riot do. It must be the best of sev- The fundamentals are the same in all mediums.
ered experiments. Each medium has an inherent quality of its
A landscape beautiful in early morning or eve- own. Once you master the Form Principle, only
ning light may be dull and uninteresting at noon- the peculiarities of the medium remain to be

day. A charming head may be ugly in bad light- mastered. You will simply have to find out how
ing. The best plan is always to choose the lighting to express a sharp edge, a soft edge, light, halftone

that tends to big simple form, not form too broken and shadow, in the medium, which is a purely

up in light and shadow. technical matter. But you will render form in

Light and shadow in itself produces design. essentially the same way in all mediums.
The plainest of subjects can be made artistic The darkest part of the shadow appears near-

by weaving patterns of light and shadow through between the halftone of the light and
est the light,

it the reflected light within the shadow.

Value relationships between objects produce This is called the' 'ridge" or "hump" by the illus-
design. trator, and is most important It keeps the shadow
For example, a dark object placed against a luminous and the form round*
light one, and both against a grey field, would be The Form Principle is the co-ordination of all

design. Units may be placed against close values factors dealing with line, tone, and color.
or contrasting values, thereby getting subordina- This book is laid out on the Form Principle,

tion in the first instance and accentuation in the since il enters into everything you will ever do, or

second. The planning or composition of the sub- see, in the field of illustration. We shall attempt
ject is really dealing with the relationships of to clarify its various applications as we go along,

the values of certain units as combined with or I suggest that you come back to these funda-

opposed to others. This results in "pattern," and mental truths often, for they are the answer to

can be further combined with lighting. most of your problems.

Ml pictures are fundamentally either arrange- So we start with line!

23
 PART ONE

uruzy
THERE ARE SEVEN PRIMARY FUNCTIONS OF LINE
1. To convey its own intrinsic beauty.

2. To
To
divide or limit an area or space. AOD1
3. delineate a thought or symbol.

4. To define form by edge or contour.

5. To catch and direct the eye over a given course.

6. To produce a grey or tonal gradation.

7. To create design or arrangement. lilPgl

ven if it may seem a bit obvious, let us start function and purpose. I want you to think of it in
the book with the very beginning of artistic ex- that light. Everything from this day forward that
pression, that of line. There is truly much more to you do artistically will bear a relationship to line,
line in the mind of the artist than in that of the lay- either good or bad. You can either make line an
man. To the latter, line is but a mark of a pencil asset to your work, or you can let its importance
or a mere scratch of a pen. To the true artist, lino slide by you. But if you choose lo ignore the func-
can reach great heights, require exhaustive skill, tions of line, your work will make a bad statement
and convey unlimited beauty. Line in its various of your ability. Linebound to enter your work
is

functions has contributed as much to human for better or worse. You cannot escape it.
progress as fire or steam. All line should have Let us see what can be done about it,
25
 Ltte

\_yREATiVE. ART BEGIN/ WITH CREATIVE

LINE* CREATIVE LINE CAN ONLY BE THE
LINE A/ YOU JBB IT AND PREFER TO DRAW IT.
PROJECTING LITERAL CONTOUR/ BY ANY
ARTIFICIAL MEAN/ CAN ONLY RESULT IN
5TI FLING YOUR MO/T VALUABLE AJ/ET
INDIVIDUALITY. DRAW FROM COPY AJXOU
WOULD FROM LIFE. HAVE ALWAYJ* THE
COURAGE. TO* DRAW XT YOUR./EUF,

THtX BOOK Hk/ E.CN DE/lCNED TO CARRY FORWARD THE FUN DAM ENTALJ XM-T FORTH iM
^FIGURE DRAWING FOR ALL WJ WORTH? IT MULTT BE A//UMED YOU HAVE AN UNDERSTANDING
26
 LINE IS PROPORTION WITH IMAGINATION

CAN YOU CONSTRUCT A MEAD IN ANY PO/E ?

A PLAN OF HEAD CONSTRUCTION HA/ BEL&N
S ET FORTH IN "PUN WITH A PENCI L*.

OF THE PROPORTION AND CONSTRUCTION OF THE HUMAN FIGURE. IT J" MY PURPOSE MOW TO HELP
I

YOU DEVELOP THE FIGURE PICTORI ALLY TO PRACT1 CAL COAL/ ANP TO A LIVELIHOOD-WORK!
27
 LINE PRODUCES FORMAL DESIGN

xubchvij'ion by diagonal/, vertical** and horizontal/ pitoDuce; unlimited ob/icn* TRY it

CHOOXE ANY POINTJ*, B&lNd CAREFUL TO REPEAT THE DIAGONAL &ETWEEM ALL JirtlLCiR PO|NTX.

TH\f PAGE lJ*To IMpRE/J UPON YOU THE SAXJC

RELATIONSHIP OF LINE. TO DE/ICN. DIVIDING

rt tt

J>ace pquAti-Y produce; formal dexicn,

IF A DRAWING IJ" BAfED UPON UNDERLYING THERE FOR^IMFORMAL DEXIGN \S BY UNEGtUAL

LINEAR DEJ"lCN t
lT WILL PARTAKE OfMTT UNITY DIVISION. COMPOSITION tXONE OR THE OTHER.
28
 LINE PRODUCES INFORMAL DESIGN

INTERLACED COMBINING HORIZONTAL/ AND O6LI0.U& LINE/ INTERLACED.

A&CJ PERPENDICULARS WITH CURVE/.

OVERLAPPING OVAL/ OVBRLAPPI NQ CIRC LBS OVERLAPPING SQUARE/ QVE-RLAPPLNC TRI ANCLE/

^^

/
1

HS /\
f \f ^f

7^
:
\\^

r^* . i_^Z

OVERLAPPING RADII OVERLAPPING WAVY PARALLELS OVERLAPPING ANGLE/*

OVERLAPPING /P1RAL/ OVERLAPPING R&CTANCL HORIZONTAL/ AND PERPENDICULAR/

29
 OVERLAPPING LINE AND AREAS THE FIRST PRINCIPLE OF COMPOSITION

THE PRINCIPLE OFOVtRLAPPlNo AQEA.T, FOftHj; &HD CONTOUR/ \S THE &AX1J* OF ALL PICTORIAL
CREATION. f\ NCE LINE IS OUR FIR/T MEAN^ OF DEFINING THE^E ,THEH LINEAR ARRANGEMENT
BECOME/ OUR. FlRXT CONJ" DERATION THCRE ARE NjANY WAYJ" TD <jO ABOUT IT, JO LtT VJ JYART-
I

Nature is one vast panorama of contours and artist s approach, almost anything is picture mate-

spaces. Everything is form, set into space. If we rial, since it is design and arrangement that
were to cut a rectangular opening in a piece of makes pictures, regardless of subject. Cut a card-
cardboard and look through it 3 nature would board so as tomake a "picture finder." An opening
present us with a picture. Within the four limits of three by four inches is large enough. Look
of the opening, the space would become divided through it, Jot down, in miniature compositions,
by spaces and contours. To that spacing and the linear arrangements you find. Your sense of
arrangement of contours we will give everlasting arrangement is the first real indication of your ere-
attention, for it is the basis of all pictorial ap- ativeness. Walk about the house or grounds with

proach. The novice snaps his camera carelessly at a small sketch pad. Don't go any farther until you
nature. The artist seeks to arrange it. From the have done a dozen or two small roughs.
30
USING THE FIRST FUNCTION OF "LINE FOR ITSELF" FOR COMPOSITION
COMPOSITION MAY BE BASED ON LETTERS AND SYMBOLS
 COMPOSITION MAY BE BASED ON GEOMETRIC FORMS

th
histrftrm

/ J?

'

-i

HI

33
 THE "FULCRUM-LEVER" PRINCIPLE APPLIED TO COMPOSITION

To he pleasing, the material within a picture each side). If two forms are equal, let one over-
needs balance, or should seem to be pleasantly lap the other so as to change the contour. Variety
reposing within the picture limits. Balance is ob- is the spice of composition* We make a small

viously "off" when we feel that the limits would weight balance a heavier one by placing it farther

seem better if moved over, or more space added away from the middle of the subject, or the ful-
or cut away. This is we have, for
the best guide crum, which is the middle point of balance. Bal-
there are no infallible rules of composition. About ance in composition is a sense of equilibrium be-
the only rule is that we give the greatest variety tween the masses of light and dark, or of the area

of spaces possible, no two duplicating one another and bulk of one thing balancing another. The
in size or shape ( except in strictly formal arrange- heavier the mass, the nearer the middlethe small-
ments, where all things are balanced equally on er the mass, the nearer the edgeis a good axiom.

34
 USE FORMAL SUBDIVISION FOR SYMMETRICAL COMPOSITION
......

3 \ / 3 *
\

/\ \
\
i

FORMAL DIVISION APPLIED BEJT TO JUBJECTJ' OP A P1GNIFID OR, R.E.LIG IOUJ~ NATURE
There are times when we wish to achieve great serenity. Formal balance was almost the only
dignity of arrangement. Since the Creator's basic approach in earlier times, and great compositions
design for animate form is the duplication of one have been built with it. It is largely the formal-
side by the other, such as the two sides of the ity of design which lends such magnificence
human body, arrangement based on the same to the work of Michelangelo, Rubens, and
plan takes on the same sort of dignity, It does not Raphael
mean that each side must duplicate exactly, but Formal subdivision may also be used infor-
there should be a feeling of complete equaliza- mally if one is adept enough. I have introduced
tion of the units or masses, the line and spaces, on the next page another method, quite apart
of one side with the other. Church murals invari- from either formal division of space or dynamic
ably follow this plan. It may be used to great symmetry, I have never found either as satisfac-

advantage in symbolical subjects, appeals for tory as this new approach, and I hope it will

charity, heroic subjects, or to suggest peace and prove of great benefit to others.
35
 J

INTRODUCING INFORMAL SUBDIVISION

ADL> MOk^ NEW

Ajr you CHOoj p.

EYTUlJKINiD
OF DIVISION
NO TWO JVAtej

AREDUVLiCATEy,

NOTTQDWlDfci
AMY JWyCE U tb
TH I

BUILP INYOUM. JUB J eCT BYAPHFRltt^AT

MUCH AS POXJMBLE TO iViE JTldUCTURM^"
UHHX YOU HAVE CREATED- DON'T UP
/ XL Jl LA GIVE

This is a plan of subdivision of my own. It offers space. Two diagonals crossing like an X would
greater freedom to the artist. Study it* It will help divide the rectangle equally, which we do not

yoii to divide space unequally and interestingly. want. Now you may draw horizontals or perpen-

Start by dividing the whole space unequally with diculars at any intersection, thus making more
a single ( optional ) line. It is best to avoid placing rectangles to divide by diagonals again. In this

the line at a point which
third, or one-fourth of the
draw one diagonal
onally opposite corners.
diagonal and your
line across the space.
of the resulting rectangles,
would be one-half, one- manner you will never break up the same shape
whole space, Then twice in the same way. It offers a great deal of
of the whole space from diag- suggestion for the placement of figures, spacing,
At the intersection of the and contours, with no two spaces being exactly
first line, draw a horizontal equal or duplicated, except the two halves on
Now draw diagonals in any each side of the single diagonal If you have a
but only one to a subject in mind you will begin to see it develop.

36
 A DEMONSTRATION OF INFORMAL SUBDIVISION
l
HAP ONLY AN IDEA M MlNp OF SHOWING" A LOT OE- UTtUE
.l f

SffNOMEJ PLAVrMG WITHAPBN* SOFAR HAP NO tOEAOFHQW

\

;;(WO0LD AliliANGE THEM* DIVIDED MY/PACE AJ" JHOWN-

THE ABSTRACT XHAPfcJ" THOS SUGGEST ED THB COM POJlTlOf^.

fROM THU PRELIMINARY WORK, THE. FINIJHED FRONTISPIECE TO PACT ONE WAX CHEATED

37
FIGURE COMPOSITIONS BASED ON WORMAL SUBDIVISION
 INFORMAL SUBDIVISION IS PURELY CREATIVE, NOT MECHANICAL

fc. *"'^~fi i
r ^n rrr; ,
*

/
\1 _i^^^"
^jf

'MR
.MM"! / V
t yi
TfamA\ m
RL^n i#n
1

J ''* ^

\vy h\ l/
ri v mK
Urfltftn 4
V I tMj. J
i i
i

J '
II Fifii'ilii
U" i m i v J HI i
/
it ttf ranwrnim'."
1 1
(
[Wfjil
IB
II" |U|i 1 11 I <

>
\yi

If
1,
1 ifflL i 111 I'll

li

1
N !

'
i llftlllluHll
1

1 ru^Jl 111 ^t wt I

:
I
1
I;
i

%XM
MAKE THUMBNAIL/. THE DIVI/IONJ" HERE JUOO^ST^D THE SUBJECT/ AND ARRANGEMENTS.

Since, when a space is divided in tlie manner ing up ideas, layouts, small compositions. As the
shown in these pages, selection plays a great part, ideas develop they can be carried out with mod-
and invention the rest, it cannot avoid being crea- els, clippings, and so forth. When the original

tive, That is its strongest recommendation, in subdividing lines are erased, it is amazing how
comparison with forms of subdivision that start well the composition balances or "hangs to-

you out with a "set" or formal arrangement to gether/' I urge you not to pass this up without a
begin with. You start inventing with your first tryout. It has often saved the day for me, and 1

line when you use informal subdivision. It helps admit that even in my own work I am often so

to get you over the emptiness of blank paper be- "stymied" for a good arrangement that I turn to

fore you, without an idea in your head. That, I it in groat relief. While all of the compositions of

assure you, is the feeling most of us experience, the book are not so based, many of them arc, and
and you probably already know what I mean. If in my estimation the better ones. Any one of the

you have a subject in mind, it will develop with arrangements on this or the preceding pages

one or two tries. If you have no subject in mind, would be intriguing to do as a painting, and I only
pretty soon the lines will start suggesting some- wish I had the space. Most artists develop an eye
thing, as these did in the little drawings above* In for composition eventually, but this device will

starting out I had no intimation of what the sub- get you well on the way. Draw the dividing lines

jects would be. This method is invaluable in work- lightly so they can be easily erased.
39
 XIVI

TWO VANISHING POINTS P^RnXpecT i\/e ON VANjJ"HlNCT POINT PERjpECTlVE

A PA*ST WAV TO COMPOJ-lTiON. MARX TAKE A FOlNTON THE, HQfeiZON, J3RAW
OFF EVEN J*PACJT DOWW EACH XL DB , RAP) Art IMG LLMEX IN ALL Df^ECTIONX
R.UN UNEJ OUTTO YANl-THJIslC POINTS, FROM IT, YOU CAN NOW UlLDONTHOXE
THU PlCTUR-EL. YOG CAN NOW U^ETOOft, UNEJ 6Y CHOICE. OF COURJH YOU NEEQ
aye, filling .trace ax deji^ed. TO KNOW PCR.J-PECT1V& TO DO IT.

*oi*i*:on

THE -TAME APPM^T TO INTE^IOf^^. ALIO OKE POiMT FOR, INTERIOR,/,

THE, PERXP&CTIVE LINE/ ^RE MEfcELY CTLHDK LINE/ TO HE: LP THE. E.YB,

PLAN YOUR PICTURE; |N MINIATURE THIl WAY, YOU C^N LATER. J"OUAR,e IT Ot=P
FOR ENLARGEMENT, UJ^rHU" PLAN A LOT TO GET WCHT INTO A GIVEN JUSjeCT.
*

thij is a mojt practical procedure, now if you donot unperjtano

PEEL/FECTlVe. .YOU'D BETTER JTUDY IT YOU CANKOT GET ATSV WHERE WITHOUT IT,
,

40
 )

EVERYTHING YOU DRAW IS RELATED TO AN EYE LEVEL

It is impossible to draw correctly and intelli- ists go into the field of illustration and commercial
gently without the consideration of a viewpoint art woefully lacking in a knowledge of simple

and an eye level. The viewpoint is what is known perspective. becomes apparent when the artist
It

as the station point in perspective. However, that has obviously worked from two clippings or
is really the spot on the ground plane where you photos, each having a different eye level. You may
are standing. Artistically, the viewpoint is the be certain two clips will seldom be in agreement

center of the field of vision and is not to be with each other in this respect,

confused with the vanishing points. If we look Perspective must be understood by the artist.

straight out at eye level, the viewpoint will be It applies to every bit of copy he uses. He can

exactly opposite a point located in the middle of start with one thing, for instance a photo of a
die horizon. The horizon is the eye level. Think piano. That will establish the horizon of his pic-

of a great fan-shaped sheet of glass starting at a ture.Then everything else, including figures,
point just back of our two eyes and spreading out must be drawn to the same eye level. He must
at our eye level and reaching as far as we could redraw the perspective so that the vanishing
sec. This entire sheet of glass would be the picture points will fall in the same horizon set by the
horizon. No picture can have more than one hori- piano- Or, selecting a figure, he may adjust the
zon. It follows that all receding lines parallel to perspective of the piano to fit the figure. The best

the ground plane that recede from points above way to do this is to make small sketches so that

the horizon must slant downward pictorially and wide vanishing points may be used. Use a large

end in the horizon. Then all lines below the hori- tissue pad. Then square off the small sketch and

zon, also parallel to the ground plane, must slant enlarge to the size you want.

upward to the horizon. Our viewpoint, then, de- To learn perspective means only a small invest-
termines the horizon. ment at the bookstore, and only a few evenings
Since a picture may not, and seldom does, rep- set aside to learn it once and for all. Why an art-

resent the whole field of vision, the horizon may ist will jeopardize his whole output and a life-

cross the picture plane, or be above the picture time of effort by a lack of such knowledge is be-

or below it. Suppose you have a large photo of a yond me, For some reason, the man who does not
group of buildings. Without changing the hori- know perspective imagines it is much more diffi-
zon or perspective lines, you might crop out any cult than it really is. It is just one of those things,

small section of the photo for your picture. But like the study of anatomy, which an artist may
no matter what part you take, the relationship to keep putting off eternally and suffer for lack of,

the original eye level (or viewpoint of the cam- every day. Perspective is a part of every form
era) is apparent* You or the camera look down tinder every condition and cannot be avoided. It

on everything below the picture horizon or up at affects your very next job and every one there-
anything above it, All tilings will show only their you are working from a single photo the
after. If

top surface when below the eye level or picture camera may do it for you. But if you change or
horizon. We can look into things only when add one single unit to your photographic copy,
the eye is above them. Round lines like a belt you will not be able to do it correctly unless you
around a waistline must curve up when below understand this principle of eye level and view-

the horizon, and down when above. But how point If you do not understand perspective, by
many times we see this truth disregarded! How means drop everything else and get it at once.
all

often do we see necks, shoulders, paying no You will never draw until you do. (There are so
attention to an eye level, roofs slanting down or many good texts on perspective that it would be
up when the reverse should be the case! It must superfluous to give further space to it here.

be stated here that too large a percentage of art- Your bookstore can help you,
41
EYE LEVEL, CAMERA LEVEL, AND HORIZON MEAN THE SAME
Perspective and foremost means of
is the first

depicting space on a flat picture plane and the

natural or normal aspect of things, If modern art
chooses to ignore it, modern art chooses to suf-
fer the negative response thereby evoked. But in
illustration we cannot ignore it and make our
work appeal with any conviction of reality.

You can easily check any copy to find the hori-

zon. Simply carry any receding straight lines back
EYE LEVEL WITHIN THE Pic VURE
until they meet in a point. These lines, of course,

should be parallel to the ground plane, like two

floor boards, two ceiling lines, two parallel sides

of a table, or the top and bottom lines of a door

or windows. The point at which such lines meet
will fall in the horizon. Draw a horizontal line
straight across through such a point and that is

it, When you have your horizon, note where it

cuts across the figure. Then it must so cut across

all other figures, at the waist, breast, head, or
wherever it comes. All added units must have
EYE LFVE L 0&LOW THU PICTURE their vanishing points in the same horizon. Sup-
pose you have a clipping of an interior. By finding

the horizon you can estimate the height of the

EYE LEVEL. ABOVE HP
J PlClUfcE
camera. By adjusting the figure you may wish to
draw within that same interior with this camera
level,you can make the figure seem to fit in per-
spective. Cameras arc usually at breast level, so
see that the horizon cuts through the figures prop-
erly, This is about the only way there is to insert

figures properly, so that they will all seem to be

standing on the same floor.

Another advantage: if you know beforehand

about how high the horizon appears above the
floor in the intended copy, you can then adjust
EYE: LEVEL ABOVE. THE PICTURE your camera to that height when taking pictures
of the models whom you intend to use in the pic-

ture. You cannot shoot at just any level and make

it fit your copy.
When redrawing copy to fit a new eye level,

first find something of known measurement in the

copy. For instance, a chair seat is about eighteen
inches off the floor. Draw a perpendicular at the
corner of the chair and measure it Then
off in feet.

you can take any point in the ground plane. The

 FIND EYE LEVEL OF COPY AND MAKE FIGURES COINCIDE
perpendicular acts as a measuring line for up-
rights, Draw a line from the bottom of the meas-
uring line, through the chosen point on the
ground plane to the horizon. Then cany the line

back to the measuring line at whatever height

desired. Erect a perpendicular at the chosen

point, and the similar height is now carried back

to the place you want it. This is exactly the same

principle as placing figures on the same ground
plane.
The accompanying sketches will serve to illus-

trate the various placements of the eye level or

horizon (which is the same thing) and the rela- CLJPJ"
tionship of one unit to another, To make it a little

clearer I have drawn the artist outside his picture,

representing you and your viewpoint, I have then XlNCe NONE OF THE/E HAVE TH& Jl^iAB LYE LEV&L
ONE N1UXT OE, /ELftCTCP AND TUB OTHER/ ADJUSTED
squared off the picture material. These will show TO IT* FlftJ-T U&T US TAKE. THE. PI i\NO AX JHOWK .

why the horizon may be at any height in a pic-

ture, and also that it is determined by the height AMY PHOTO WlLj-EJTA5U,fH
and point from which viewed. rrx OWN EYE LEVEL
piano and some figures showing
(TRACfNo)
I have taken a

Jiow they must be related. I have also tried to

demonstrate the variety of effect to be got out of

any subject by using different eye levels. This
opens up a world of opportunity for crcativeness.
A subject rather ordinary at ordinary eye level
may become quite startling when viewed from
above or from down low. ... A high eye level is

good when you want to break down into text

space. A ground-level viewpoint is good when CAMW

L&VSLJ- OP COPY,
THE DIMiMi-THlNa PIS. R-fP ACTIVE U NfiJ OUT UHTTLtHEY
you want a horizontal base line.
MET m A POINT THAT POINT 5 ON THE HOR.IXON- HOW
1

Understanding perspective in the figure, you &RAW THE WOWZONTAL LINE AC*Oj\TTHK GO FV\

can transpose figure copy to various eye levels,

thus permitting you to use copy which you other-

wise could not, So long as you have drawn your
figure differently and in your own way, no one
can object This is not always easy. It is really

pay a model, pose her as you wish, and

better to
work the thing out on your own, if you can afford
it. Money spent on models is the best investment

you could make as a creative artist. Your picture

then is indisputably your own*

CORRECT PCRJ^ECTlVt Af AGOlDfe

 APPROACHING THE SUBJECT IN DIFFERENT WAYS

HttTT ROUGH /KETCH FOR,

FOLLOW (IHQ PIANO COPY.

VP

5^CONO fctOUQH jKercH

FOJ.WWIP4G pe.lj pec rive

xa&Mr j
rv?At>p MQ(q= charm.

44
 PERSPECTIVE ALONE MAY ADD VARIETY

THIRD [^OUGH /KETCH ^OLU)WLNC

ALTO AW iMf^ROVfcM&MT UVf-i^, rE

PlfUT ROUGH AR.R.ArlCEH&NT',

vp mtmmm mm

IT* J AN EXCEULENT JOEA TO SUBJECT PROM piFPe^eNT *Yfc OR CAMERA LBV EJ,J> YOU C^N OCTEH
"TOY OUT &.IHY

MfcKEJOMETHING JT&RTUWC OUTOF JO^tTHlNCORDIN^ftY, IP YOuDONt KNOW PEftJ*PECT V P^, OONT PUT LTOPF, I

It will always be the problem of the artist to chologically by this means. Too often ordinary
take his subject and approach it as differently as pictures are ordinary because no thought has been

possible. There is no doubt that if thought is given to an eye level.

given in this direction, something unusual can To illustrate a child's story, tremendous sig-

result, John Jones sees almost everybody at about nificance can be given the illustrations by draw-
his own eye level Raise the figures and lower ing the pictures at the child's eye level* To the

John Jones, and you have him looking up to your little child everything is so high up, so big. Dad
characters. There is a certain grandeur and dig- towers over him like some great No won-
giant.

nity thus given them, something of what we feel der he must somehow put over his own impor-
when looking up to an orator, a minister in the tance.
pulpit, or an actress ori the stage. That is good Using different eye levels breaks up your pic-

psychology to remember, and it may be used ture areas in very different patterns. It is wise to
to good advantage. try out small suggestions in this way. This is one
Opposed to this is the sense of superiority af- method of testing your inventiveness, and when
forded the reader when made to feel that he is you get something unusual it pays good divi-

looking down on our characters. How much more dends. In story illustration as well as magazine-
beautiful a ballroom filled with figures looks from advertising illustration, something rather drastic

the balcony than from floor level! How we like has to be done to get attention, or "impact/* as
to climb the hill or mountain and look down on illustrators love to call it. Here is one way to go
the landscape! The greatest thrill of flying is that after it. Get a stepladder and try it out. Or lie on
sense of height. You can lift your observer psy- the floor and sketch.
45
 USING LINE TO PRODUCE A FOCAL POINT IN SUBJECT

^ I
".l'l !"
l'l

ANY 03MMON JUNCTION OP UM/ PflODUCE/ A ^OC6L PQ NT, 8UTNEVBRPLACE A FOCAL POfNT fi /ACT LY IN THE CeNTeC
l

ANY LINfcJ POINTS NO TO A VAN JHlhlC POLtslT QQ. JgNCT ION H4KE OF* YOUR. PICTURE Aft^A- IT ALSO WRLLTO-AVOID UJfNG
I 5"
i

A FOCAL PQ(f4-r. A HeAP MAY WELL B Pt-Acmo AT-TuCH A POi NT, DIAGONAL* TH^T lj"eCT TMCCORNEftJ ^
MAIN LiNe/,

IN FOkMALP&JICN PLACE: TMEPOCALWNl 4OVE* THt-T BA/IC ARRANGEMENT CAN e^ UJBO F=OR HA^Y
OP- 0&LO\NTHEMfDPLE, HEREIN ACoOD kAYOUt V&S CJn J\ SU LO YOU K /US J ECT AJ YOU WlJ"H
f I
t

JPIRAL J MAY ALJO &E U/ED TQ ^OCU S ATT^NT loN TAlCfe 17 AJ A^UkS
,

that LINE J SHOULD LBAD TO AND CROJXAT THE MAIN TOtNT OF INTE&EJT.

VOU WILL OFT&N WONDER HOW TQ FOCUT ATTENTION AMD

1MTECEJT UPON A CERTAIN HEAPtP^U^E OGL JPOT JTUPY THLf
PAGE. CARBFUL-LY. EVERY <SOOP PICTURE SHOULD HAVE.
THfi VAN^HING POINT \S THfi A MAIN FOCAL POINT AND ALL LINE/ J~HOULD DRAWTriEEYH
*pojmQN OF HONOR" PiCTOI^4LLX TOWARD THAT SPOT. TH& OLD JAYJNG *ALL ROAD^ LEAD TO ROME*
IT /MOULD <IOTO MAIN CHARACTER.* 15 HJNPA MENTAL IN GOOD COM PO/ IT OH .YOUR ROAD/ ARE LI UBS,
f

46
 PROVIDING AN "EYE PATHWAY" IN COMPOSITION
^>.v

AhiALY-H f

JHOULD B^ A PLANNtxP EAJY AND NATURAL PATH

THEfcE LLNEJ* LEADING OL^OPTHE SUBJECT SHOULD BE JTOPPED
FORTHEeyeTDTRAVELIN EVERY GOOD PICTURE 6Y JOME DEVICE OR ANOTHER UNE. LEADING THE EYE BACK

CATCH E^ftANP /

5TTSP
**L 7/ UJ- FOCAL
^_ Li.==4=M 1

STOP

STbP
ROAD J10PPEP

the. eve jholjlo enter at the bottom and emerce ARe eyerfiAP^'' &ec6u^E ofthejr junctjonj^try
,fcS

At THE TOP MBVfcR.ATTHe*flPEr, rtNCfe COfeNEfc/ TD LEAD THE BY6 AVVAY FROM Oft AfeOuNO THM.

YOU CANi MAKE THE EYE FOLLOW CTI V &N fi\ |T WITH A /POT OF INTEREST AND THEN ALLOW
COURSE ALMO/T AJYQUWI5H BY JKILLFUL IT TO PA J* OUT. IT J"HOUU> 6E A PLEADING PATH
J"

Ufl= OF UM&^ tEADTHEEYEIN, ENTERTAIN AND NOT OBJ"TRUCTD ORGIVEN TWO WAYJ^ TO CO.
47
 ATTENTION DEVICES
EYE-CATCHINQ 3U8JECTJ"

'WARWELL
KNIT3
ANY KINDS OF CONFLICT radiating corves To^ic*upaiNT jpot JfeQveice tdfocau pqimt
-

***v rHiM^^HAT \m uu* pomr

ANYTHiNIG J*HOWtNCJXpeED ^UMH OR FMRis. hr(OTHF ANY ^OPT 0*= e^x P'i-c? j- i o is( F*o <rs(Te,fc

PP-nj- r*i^^^ m-i J--. of^v

T^Nf>
PACKER J
FALLING, DlVi MQ R.*=UCiHT wing ofc\rv^&ep motjp 3PIDER. W.B KlOTlF PD MTI&6C
i

fmPE.ND\rsic DLO"Ai:T"Eute. ANY iFI[eALMOT|*s ftAPlATlON OP LICTHT f^OTlF" H SUl.l.S EYE'^O'TIP fPOINT&a)
48
 GET ATTENTION BY BUILDING CONTRAST OF LINE OR SHAPE

TUG, JTRAIGHT CONrR^&*5TBP

VrflVM INJTA&I1.ITY * * BV CONTRACT TO CJR.Cl_,f WITH H.HYTHMIC LiNPU

3u lit

:
c?r lb2
future
.._K /
\^
V=W
TCBzgew^W

w/^
t#Vk. 'OiM 4^uM4
>L... V j*

ClR-CLe M6PE PoweitFUL BY HORIZONTAL CONTftA^T&D -r.IAKlC^LfE OJNTItAJTeP DlAGONAL POJ" T JON Cr^QO A fc
I

TO fceCTANCTLS-T WITH V*nCALS ANfrHOftJZONtAU

A^

ioaoTYi & j

ftA&M ACAiNl ANYTHING ORCLR 'WE-RJO/ *tCT4N<r^.r Ov^L Pl^CkP AT NT E REJECT *OM
1 AftCJ VtftJ 1
^ ^ECrAhlCLe.y

-
"PFTFP
SMITH
chic:

IRAOI I V8JU J TWE ft.\ O d

i OVALI VtRJUJ ^CCTANCLE J
WW// /T
OBLIQUE VEfcJuI felCJD OBLIQUE VtfeJu J HORIZONTAL

49
 .

THE RELATIONSHIP OF LINE TO EMOTIONAL RESPONSE

W6\J KMt OCf ttTlON^CQlfKJjiOHi HORIZON r^UT **3#- Ta^f^X&.CAUH, rao for. qlory advert (on o urv
perm* Hi flee .-srAeiHTV h
awe. QULETU DC PEACE,
, TRAH^Lf L T Y,I 1
i r

PATRIOT LJM , ^ <

ITY AM Bt T K? K,*^69Wt
,
,

ft AD AT O N FOK .fHOC K, *TT ENflOH

L J J PI *AU *W t-KJTttfH ,
TOWfHM-XClTE^WT TRIAMG LW" N?R PERM A M NCE, .TeCO RlTY RH Yr H M FOR, CCACe t
O*ARM ,MOVSM HHT.

UGflT FOft HOPE [_0V, AWBlTrON. &ROlttMiHAPEJ'IHfrABHirf -IrtttBRTAllilY OOLIOUEf COMBAT- OWfUflON- GUSH RftUNtiLtf -5TIU1 Y-.TONOTN-UK1TY
h

CIRCLES* I Ht^JHX VAST HEf^EfcHiTY OVALS FEHtNlN TY-CREATW*ftfcfJ INFOCMAL SUBDIVISION- ACTIVITY FOfcMAL DIVI JIOH- DIGNITY 'UNITY
motion -EQUALITY -OGJ-IVEPANCE . SbUSHOSITY GRACE PERPETUATION EXCITEMENT- ELA5TL CITY' PROi&SS BALANCE FORMALITY -jTJLENtfTtf *

50
 BAD COMPOSITION BRINGS NEGATIVE RESPONSE

1-t*DONT GIVE THEEYerwO PATUWA.Y5, NOW THE EYE fS LEO TOTHEF/CUl2-B*nOP5 WBMAV H^WE A BETTER: COMPOSITION
3'4-5-6-TOO CEHTEEt)*JTftA^HT FRONT PUT (M ON UNEJ* WHICH WOULD CARRY EY& S^ WAVfNfG THE LITTLE QfR,L CLOSER.
POJT-GaD. 5'k-TOO AUKE6UD EQUAL OUT. POJE MORE fN KG EPING WTH JUG J CT TOPOMiN&T THE L,NU5CAPS;,
.

1/DONT POINT THlNCf OUT OF PICTURE. JL.ONEEYfefWH MOW. 2 POINTING INWARD YOU CAN TEJT ANY COM POJ HI ON I^Y #
fc*3-Too EQUAL JMPOKT4NCEAFL0WU .5. COP* GCOUPED 4.FL0WER5 GDRfcECTED
IN tracing W^PACtJ BErWEENTHfNGJ
POINTING V^ONfG WAY, 5^TWO EYEP4TH J 5 -YOU NOW KMOWTHEY AfcB COOtOEJ.OeiTEfc* AND FlLtlN XEE fFTH&Y Ma<E A GOOD VKt GN,

HERE WE HAVE MUCH THAT ^5 JO^ETlMfi* ATseXlCN f^lAY

Ml5 f!NC 1*4 OUiLT M
2,H6VER JPUl A HE*D WITH ANf UNfc, thelothe* picture. Nothing competent OP HEADJ4LDNC AND WITHOUT WWJNC
COf^tNC INTO T,3*P0NT USETHEEDG6 with head. nothing j cente^ed thb THE HEADJ COM FLfeT THE. PfCTCf fee
t ,

OP THE PiCTUft* TO COINCIDE WtH ^ balance op the Subject \s pleajimc, MAY 3E MUCH MO^S A affi^T P^CT i

UN6 INTHR PtCTOttE- (WINDOW
4*4-7*6 -too cewifeg.ED.PLbg *ao 3*
CUTOFF. MS*LINE TOO LOW ANP TOO
NAJt tSOTTOM RDCTI M6NJ GAZ BAP*
PRAMe) ACCEJVOfclEJ HAVE MOGE CHAWl"ALtr? THAN IP Two ENTIRE HEADS WBC.fi
NaUPJ CQULP JltfT A J WILLHAVE SEEN PLACED $HOwN,ejPECiALLY [PTHETWO
ACAiWiYA^OBi PLEjIJjNG BACCtfftOOHD HEAPS WRG A300T EQUAL LN JtZa
TOY TO P^N ^V fcRVT H M<7 YO W DO. OflAJlEA AMDSVENL.Y JPACfttX,
t

51
 VARIOUS TYPES OF VIGNETTES

11

FLOAT! Ntf*Ofc FfcE OF THE /PACE LI MITX Tf H> TO TWO OR. MO&E J7 DE5" YOU CAN USE. IfiFORMAL -TUBWVI/ION

4r 1

4\

rA---^:=^j
s&^ifi^ ^"
^Wf
A ^
/.-'
"/' ^ ^ Ol

T
JV * *'* _ f&

OPEtt XPACE TJED TOGETHER, BY CONNECTED ViCNETTE- 5PQTX TIED TO I^AlN VIGNETTE

MM /,
Fa ll .Sno imrj
;
i/l'i"

-dfrr ttGrttfff* ;** TrfirT

w J 11 I1VJ L-

A"
-4
V,- -
^
^ fi ,

MAKING THE WHITE _TPACE PART OF THE PICTURE .VERY UTEFUL.

*A

BOi^OEE. VIGNETTE
52
 A VIGNETTE IS A DESIGN PURE AND SIMPLE
"^kuMOMM44UJU jgS=_
<M>fcA<

ATLANTIC CITY Q4KEDOKE

PIPF TOBACCO
VJLHOUETTE ViCNETTE * RELIEF" VIGNETTE SKETCHY* VIGNETTE.
(dAGlK MAJ7 ACTA NJT UGHT)
1 (LIGHT MAJ"jTA<7AINJTDAlly ANY SIMPLE MASSEf V5.EACH OTHER.

VOim HEALTH 15 THfcL NATIONS WEALTH

.3,

iMi E ID I OIL T^EiFARd H OF AM f CI CA :

^wqm
COMBINATION VIGNETTE WITH A J"OLI D PICTURE AS DOMINANT . VtCNETTE TIED TO PRODUCT.

1*1 fWWhWNwU

COMBINATION VIGNETTE DOMINATING OV BR J"GUAR,E UN tTj". VIGNETTE TID TO COPY JPAC

53
SIMPLE LINE COMBINES EFFECTIVELY WITH SOLID BLACKS

54
 COMBINING PEN LINE TREATMENT WITH BLACK AREAS

PEJ'IGNBOBYJNFORMAL JUBDfVl/lON' &LACKT APP&P WITH BROTH --TAME PEN wA/ U/ED THROUGHOUT*
NOTfc ATTENTION BROUGHT TO MAIM FIGURE BY WHITE/ AND USB OF^X* IN THE, PO.T E: BLACK / HELP-

55
 PEN DRAWING IS BUILT ON A PRINCIPLE

Vh p
GtVH ME NftTMRE^NCIMG BUTTEfePLlE/ A^D T^ErM MINT IN THE: Atfc,

THE WORKING PRINCIPLE Or P^ DRAWING [J THE DEVELOPMENT Of TQNF. BYA MIXTURE OF THE LIGHT OP THE WHITE, PAP^^
WITH THE DAR.K OF Llttfc, It JJ" LIKE A W| |?E ,fCP.EE.N INAWl NDOW. THE H^Avi E,R rH WiCE AMD TH^. CW/ER.THEME/H,
T MOfiE IT DAfeliEW/ THE LIGHT' /O /ETAISOOT TO PRODUCE. A ClVENVALUfi BY THE: AMOUNT OF WH ITE, THAT COMIJ"
p

TW ROUGH. YOU CAN MAK& A*JCAL*QF P&M VAUJEX TO VSJHlCH YOU CAM ALWiY/ REFER.' THEN YOU KNOW A&OUT HOW t-ICHT OR HEAVY
TO MAKE YOUR. UNEJ-jAL/Q HOW C^O-TB 'TOq-TKE^ THRV JHOUID fgltTKE TONE OR. VALUE YOU WANT. FOLLOW THE FOR-M^I TH
Wn
L\NGTHWlxe Oft, ACftO/J* iTjWlTtf YQOfo >rTft.OKE.f, TRY TO KGP Od^HlTE J*PAC AJ A PART Of* THE P^-HCTN, DfcAW MOsTTUy"
WE /HApOW^-'tONE AlLOVER U ve^Y&lFFicULT-PUW JTROK.EX CA^G FULLY OUT INK THEM tN Cm^^CTJuY" ^N& FREELY*
f

56
 PEN DRAWING IS CONCERNED MOSTLY WITH SHADOW

TH^ CJENERAL APPfO^C H TO PENDRAWINQ

\S TH&J*AME Aj- AJ.LOTH&R MDIUMJ"-THE,

RNDeaiNG OF LIGHT AHDJ-H&OOW. THG

ONLY DlFFR.EWCe \S L&ff MOQRUNG |H
THE i-\CHTX. K&EPTHfeM VEW.Y /IMPLE.
DON'T WORRY JO MUCH OVER. XntOKCJ^AJ" OV&fc THE JT^T ^{vi e NT OP COOO WHiTEj,CEYi ^PBUCK
,

57
 PEN-AND-INK PROCEDURE

J TART WITH AJTKONGLY

LIGHTED P1EC& OF
COPY- CLEAR. LIC NT
AKip J~H ADO W, NOT
GREY AND JUI3TLC ,

f*V*KEA PRELIMINARY RJOUGH, JfeTT NC DOWN "THE

I

JTATEMENTOFMA/J ARJiANCJSMfiNT N THE-HMPLe/T

I

PQfS\QL TERMf. DO NOT WO RAY VBTASQUT TCCHKLQUg.

CONCERN YOURSELF WITH OejKJN OF B|ACKJ,QR6V5,WH1TEJ.
TH\S WILL PRODUCE A GUI D TO VGLUEJ" TOBEPUTlNrHe
FINAL WORK AND THE VATTRR^eFFeCT OFTH6 WHOLE.

COOD PREPARATION U MO BE THAN HALF THE BATTLE,

MAKE STUDIES OF THE HEAD

OQ.OTHER, IMPORTANT PARTJ,
IN OfcDHR.TO PLAN YOUfc JTROKEJ.
(THl/ JAVEjT MUCH Gfcl EF )
J
R^TTONE
SECC*NL~>^TDNI

YOU CAN MODEL Wl

A TOK BVCROJTJTfcOtce

WHEN YOU KNOW WHAT THE VALUC.T ARE GOING TO BE, IT \5 EAJIEE TO PUT THEM DOWN NXTTIM f

58
FOLLOW THE FORM WITH THE PEN STROKES

XUNOAY APTEMOOtJ
59
 DECORATIVE TREATMENT IN LINE

COH31N&TION PEH UNf AND 8R.UJ"H ONWHH6 SMOOTH STRATHfrOtt BRISTOL. HAN Y GOOD EFFBcrj 4RE
POJ\nBUE BY THIS COM S3 WAT* ON, THE D XI CN WAJ WORfc0 OUT BY CtftNC INFORMAL J~06DiVlJ~IOH-
60
 THE BRUSH USED LIKE A PEN

n i m i.HiBM m l' i *44itW ^^H^ ^ ^i fc

*->^-r-t. ^V " -

3R.U/H DRAWING OH JTPATHtfO&E Bfe^TOL BOARD. COKlPO/fTIOfl BAJBD ON CIRCULAR ARRANGEMENT WITH A
'^RADIANT UGHT*BEHiND HEAP, 7W rtB.VBti.FMlS TO*PULL THE BYB tHJO YOUG JU&JECT* DRAW RADII P\ -S r*

61
 DRY BRUSH

,U G a wA T COWJR. BRUJM jW OT TOO LAR5E Ot_OT <S/TQPW^KJTROKP-"
OF TH*. SROJrt JQTHAT J-tlV fcRAL LINE/ CAM 8E DRAWN ATOMO&
KROW BftU/H OW BWttTIMG PAP^- FLATTEN ^fWNT
IN A WORK FOR MA/XJLT Of UOHT.&BEV AHOW*K,
62
DRY BRUSH

11
*:/:/r:-,::':

jfr --r.tr- Z*.%

63
ADDING "SPATTER" TO LINE MEDIUMS

TO UYA/PATTEB.TACK A/HEElT OP
TttClNC TI//UEOVBR ^YOUft t>RAWH*Cj,
TH&NWlTHARA-iOft BuA^t.CUT AWAY
THE PORT JO Hf TO BE .TATTCRED, U/E
A TOOTH BfeU/H OR A /TIFF BRITTLE ONt
NOT TOO LARGE. /PATTER. 0Y PULLtNC
BRJ/TUE/ fcACK ANI> REUF A/tNd WTtlR
l/A GOOD WAY TO ABP VAft.1 &TY AND A
BIT OF /PAHKLE TO A DRAWING. TRY *T

64
DRY BRUSH AND BLACK PENCIL ON GRAINED PAPER

vi.^\
65
BLACK INK BLACK PENCIL, AND POSTER WHITE
r
ON COQUILLE BOARD

66
 THERE ARE NEW POSSIBILITIES IN THIS COMBINATION

DRAWN WITH PR1JMACOLOR fcLACK &35 PENCIL ON BAlNBR-IDQE CO^UJLLE BOARD ND- 2. .

PLACKJ ARE PAINTED |N WITH HlGtfhMJ SLACK PRAWINCI INK. TH*/ COMBINATION MAKE/
A FULL RAMCK OF \fb\JUS FftjOrl -SOLID BLACK TO YrfHTTG. IT PSRMlT-T LINE. REPRODUCTION
BUT CIVEJ A HALFTONE SPFBCT. FlNC POR JTUHNlNG EFFtCT/ WITH CHEAP PRINTING ON PULP
PAPERJV IT 1/ WORTH EXPCRimCNTlNC WJTH. *APR IX JDO J"OFT FOR A PEN* U/E A AfiLUTtt.
67
 'SANGUINE" ON GRAINED PAPER

0*

SAHtiUlltfc U A OLACK CRAYON WHICH C&VIRX

IN /aVAac /TICK/, IT HAf NO/HIHI.ITC4W Oe
ftUBaEOORWOT- MIX tWWINfl ON BAlNlMWCl
"COflUI LLE* HO, 3- WITHOUT iKV RurjiiiwC ^o*
LfcWB (UL^ftO^UCTIOH. BtMOUCTrONOHE H4luF

68
 BLACK PENCIL ON GRAINED PAPER

-
"A .AkW^.-^r:.:--.-
DR*V*H WITH WU/MACOCOR. UkCK PENCIL ON
eAIN&RJDCE COauJLLE*. TH\f PRODUCE/
4 HALFTONE EFFECT FOR LINE REPRODUCTION.
DRAW WCHTLY (N OUTUNE. WHEN IT 1/ SATIS-*
FACTORY, ADD GREY/ AMD PARKXCONOTERA-TE-
/
69
 i E
DRAWING PROCEDURE

TOUfSTH J-TAG6.
ADDITION OFTKE
/- HIGHUGHTJ" AND
*

ACCEWTJ"

THIRD JTAGC
MODELING OF
PLANE J"

GLT GOOD COPY.BUT- .;- ? V.j g#i? SECOND /TAG

DONTJ1AVJ/HLY COPY IT
p^|~\fEPARATiON OF
Sfijjrf LIGHT ANOJUAOOW
THER& WAY/ TO PRAW
ARt- r-lANY

DRAW YO^B WAY, GUT MAKE- IT

i.
Mi
A LOG CA L T^OCEPURE- DONT"
I

TRY TO 00 EVERYTHING A|THE (J

^KG nME.ALL DRAWING JJ~

PRO PORT ION - IT I J" E.ITHH-P,JUJT

FIRJT /TAGE
LIN ORLTKe R.EJHE>e.R.lNa-* Q *= OUTLINE
LICHT ON FORM. Every &RCA
HA5 >TCT OWN PROPERTY QT BEING
ClTHfc IN UCHT,HALFTONfe OR
W&OW.YOU .MU^TWaCtWHItH' ^r-

70
DRAWING, ABOVE ALL ELSE, PUTS YOU OVER

l HAVE LtFT THI/ DRAWING INCOMPLETE

JO IT Wlt-LJTHOW TWEPROCRCMJKE. CfeT tK.l&
OF CfE&WlMCj CRUTCHEX ANP PAAKE. YDUK-T&LF
DO IT ALL. THE ONLY WAY ONE. CAN DRAW tf TO
PEAW CONTINUALLY. WHEN YOU 00 IT, YOU GMN
MOMENTUM- IF YOU CHEAT AT IT YCXJLOTE.
71
 BLACK AND WHITE PENCILS ON GREY PAPER

r *r /. rmsr "jearrdF .-
.jr. wwav-^r. JEs&di
ONtOF TM6 DEVT Wflr/ TO M4KE PRELIM f+ART J1UQIES. fclrt THB.TOWK OF THK PftPCft PO*?lfi LICHTATMB Pi"CILl/FOiL-rw
I

HALKTQHfej" AMO PAJ*KV". Wri|T^ Af*c UTPD ONLY fQH HidhUo^T/ OR WHitc Aft**- CHaftCOAL i^O CffaLK-MltEQuALLVCOOP,
1
"-

72
 POSTER WHITE AND BLACK INK ON GREY PAPER

^\^

ANYTHING CAN HAPPEN !

DONT Ml//" THE OPPORTUNITY

AFFORDED 6YTKE U/EOFLlNE
AND WHITE OKI GREY PAPER,
PRY BRU/H.C&AYON^CHARCOAL,
PA /TEL. JAN O U N t CONT E AND
I ,

OTHER BLACK CRAYON/ CARBON ,

AND OTHER BLACK PENClLf-ALL

ARC EFFECTIVE. YOU MAY JUJT

HAPPEN TO HIT -TOMETH I NC
VERY UNIQUE AND ORIGINAL

73
CHARCOAL ON GREY PAPER

IHt/ UftU/^lAH CHARCOAL WHICH

COM*/ IN PRE/yco JTICKX, V* HIT*/

Aftfc H, IffdNX. WHJT* IHK. TMB

CHAftCOAL CAH#tftuBlt& OR woT .

WAY MiKiNC JTU&it-T. JUJY

DR&W HALFTONB/4NP JHADOW/
4L|.OWI*e THJ8 M,P TO 0E "THB
LICHT- WmflJ R3A HiQMLLCHTJ- Q
WHITE MATEttAL IN Tut Ul C MT*

asssm /

74
DRY BRUSH ON GREY PAPER WITH WHITES

75
 "SCRATCH BOARD"

'
VOU WQfLK With
WHITE ACAr/r BLACfe..
/WILL IN JHAQOWf WITH JOLIE?
black: vjltw dcu/K-Thek -nt&fiTCH,

76
 1

"SCRATCH BOARD"
*!*

/S ( ^ -->N \
s -'

/,-
'" f

j^S
'
\
.v

-' t
,"'/ .

i-

v 4'
4; ''
i
(*.
ii
ft
i-

/! n
^
f

/
**

-;r"
^ /-"

LW OUr YOUR /UWCCT (PftNCJk)

PRAW HALFTONE/ WITH P&N- PAINT

IN XOUID /H^DOV/I C^&LL B1U/h)

TO DRAW ON ROXr(/<^ATCH) OAR,p 1/ AfMl^fLUlNC

WV&NTURE.if tX & COMB.D ftOAW O^FER.?fMQ MUCH
VARIETY OF HWATMENT, EWPEIttKiftNT WITH JT J

WITH J"HARP POJNT.(PEN KNIFE)

t+tr*
 CRAFT1NT

PATTERN 209 GQUBJ-mTOH*

TAkB TUB PlACft O* BHH PAYX.

CMTTIHT 1XyOM.THNG tOWHOUlD CBT ACOUA.NTeP WITH. TEJCWH/
y OU Mft * TH M HMKT OHW * CMlNAkOUWina ^JlM-lX PHOTUM IN CKVtLMR* WHICH
fcBNPE* T*. RE6r VISIBLE. THi BoA*PXCM & 1
W< LL
"ftfclETY OF FIHE *K P COAWfc pATTfcRH S WITH
HltfCiNj INK, -mYTHl J\
E1THEA A /INCLCTOHe Oft. POii fe LtWC CFFBCT. *L-fcCKf &*E AOPfcP WITH
78
 CRAFTINT

YQ O CAU HAVE A l&T OF Pi>K

WITH THLT NfcW MEDIUM,

I* YOU PRAWINQ COM lCJ~ OP- ANY

AfcE LWT|5R.EJ"TEP FN NEWSPAPER.
h

FlCLD WHfftE QRlQIN&LITY WfTH J-PBELO COOMTJ-*X WELL A/ANY

TYW or FA/T MRCHAHICAk RKNPtRING, TOO W1U- PiNO CQAPTlNT AN
INNOVATION. iP YQcift DEALEL CANT /Cjl*lLY YOJ,THE ADDRf//
U CRAFT* MT MF"Cj. CO.^HO W^CLEVEJ-ANQ, OHIO,
/T. CLAlR. AVJ^.jN ,

A-TK FOB. THEl*^ pft/<wfTive uaeftAToiM. you'll like lt .

79

 .

PART TWO

ESSENTIAL PROPERTIES OF TONE

1 Intensity of light fn relation to shadow.

2- Relationship of value Lo all adjacent tones.

3. Identification of the nature and quality of light.

4. Incorporation of the influence of reflected light.

is the degree of value between while

TbNE and so forth? Thus dark skin in bright light might
and black-the lightness or darkness of a appear very light, or light skin very dark if in
value in relationship to oilier values. Tome shadow or silhouetted against bright light, We
itbt; visual appearance "of the moment" as af- speak of a dress as Tightpmk, middle grey, or dark
jpd by tight and reflected light on a surface, or blue. We
are speaking then of local value or color
jy
lack of light, producing darkness. Everything and not of tone. In tone value the same dress
sits own or "local value/' which can he bright- might be any one of the three values according to
"or darkened !>v light or the lack of The die conditions of the
it,
moment or "Influence" of
Bninter is interested only in the effect of light or light, .shadow, or reflected light. When drawing or
rarfawss on the local value, and not In the local painting, we therefore look for the effect, regard-
lvalue itself. So when we speak of tone we mean: less of what it is known to us to be "locally."
Al-
ww light or dark is ft in relation to other things? most the only time the local value and the tone
low Jjght is the face? in Irghtas compared with the value are the same is in a neutral diffused day-
[fee* in shadow and with the background, coat. light.

81
 BASIC INTENSITIES OF UGHT VERSUS SHADOW
FIR./T INTENSITY JECOND INT6NJ1TY THJR.D INTRN/11
LIGHT (vs.)JHAOOW LIGHT JHAOOW Light sut

_
1TONE jffPARATION -a. V* SH. 2.TOHF J REPARATION 3TQNEJ" /EPARA'
DIFFUJ'eD LIGHT HAZV JUNllCHT FULL JUM LIGHT
FOURTH INTENSITY FIFTH JNTEM/ITV LIMIT OF INTEN/Il

A TONE:J .SEPARATION 5 TONE/ JEPAR&riON FULL J"ER&RAT ION I

StrOnQ artific \L MCHt f "POTLUjWT TN PARK PRACT CALL.Y BLACK S4H
I

82
 THE FOUR PROPERTIES OF TONE EXPLAINED
He Wv that so-called "white" skin is not really are the extremes of the intensities. So there is no
it-e. However, it may appear white in a photo, such thing a fixed relationship of light to
as
jehuwit is not Mack, though shadow can be shadow. Local value has little to do with it, and
black on flesh in photographs. The camera all belongs to the Form Principle, the "aspect of
men a, theoretically, recording tone, the "hiflu- the moment, in relationship to its environment."
mxot the moment." It is true that film and paper
Relationship of value to all adjacent tones.
Wt always record tone truthfully or as the eye
2.

In any given light, all things are so much lighter

if, but it is tone nevertheless.
what they appear against, or what
or darker than
We can take photos or draw and paint pictures
surrounds them. Thus the "patterns" or areas
tfie same subject in many different seis of
within a picture bear a relationship to one an-
uts according to lighting conditions.
other. If one area, for example, is two tones
So this brings us to the first property of tone.
darker than smother, it has a two-tone-darfcer
relationship. Tt is tin's relationship diat must be
Bjttenrity of light in relation to shadow.
All light and shadow bears relationship. The
held. We can
then place them anywhere in the
|
scale so long as we keep them tw o tones apart. r
Brighter die light the darker the shadow appears,
Thus we can key
contrast. The lower the light the more nearly
all the values high or low and
still maintain the relationship. It is like mi to sol
|
Ik shadow approaches the value appearing in
in the musical scale,
which can be played high up
felt In a Mused light, the lights and shad-
or low down on the whole keyboard. Another il-
PR become diffused also. In a dim hazy Tight the
lustration might be the making of a light or darker
Bib and shadows are very close in value. So we
print of a photo, all the values going up or down
^ra that the relationship of light to shadow de-
together but maintaining the tonal relationship to
jKpds entirely upon the intensity of light.
one another. That is what we mean by "key* in a
^Ekn the preceding page are set up basic inteosi-
picture. If such a relationship of out; tone to an-
Efc. Now it is true that whatever degree of dif-
other is not held, then the subject falls apart, Toses
Mpwe there is between the light and shadow will
met the lights arid shadows consistently
all
all brilliancy and relationship, and becomes what
Bfoughout the subject. If the
'^ known as "muddy" in value. This is the reason
shadow, for exam-
for dullness.
Ik only one Lone darker than tire light, then
is

wry shadow, barring reflected light, would be 3. Identification of the quality of light
he tone darker than the tone in the light, all By the kind and relationship of values the pic-
pough the subject. If the light is stronger, there ture takes on the kind and quality of light. If the
buy he two tones of difference. Then, whatever values are right tfee subject appears to be in sun-
tee we paint in the light, we must paint the light, daylight, or night light as the case nifty be.
Ibdaw two tones darker. The basic difference You may be certain that the quality of light you
fees on to about six intensities, for that is about get into the subject goes a long way making m
III the values we have between black and white. the picture beautiful and having a "quality of
my more would hardly show separation in the existence." One part of a picture with wrong
age reproduction. On the next page you will values may Suggest a strong light another part,
9 a subject worked out in four o the .six inten- a diffused light. This sets up an inconsistency with
ps. On a black night a figure in a searchlight nature and makes a hodgepodge of vour picture.
old appear to have black or nearly black shad- All lighting must he consistent throughout, which
Huoughout. B ut In a diffused light on a cloudy means values must
all fall within one of the inten-
() the same figure would have shadows so close sitiesdescribed and also he consistent, for only
ivalue as to be hardly discernible. These, then. with true values can we paint lightr

i S3
 SETTING UP A CONSISTENT RELATIONSHIP OF LIGHT TO SHADOW!
PROPPED ONE TOME IN d
THE VALUE/ UTEDBEU3WF0RTHE LIGHT REMAIN CON/TANT, JHWXWJ

2* lTUEUmY SHADOW/ J"ETZTOtCf PARKER 3** INTENSITY"- NOW ALL JHAOOWJ"^

n&wwmvEwKw theTight. three toue; parkertmanvalof-iniJ

4 NTEIU \Tf*Smtm 4 TOKEJ- DARKER

I
.
5 MTEN/ITYWIWOW 5TOH&; PA|
ARE*AfeKENEP,THOOGH ACTUALLYT
NOTE THAT LIGHT APPEAR/ XTRONGER Af JHADOWJ j
WE <*j
MIX A rCALE OF EIGHT VALUEjT FROM WHITE TO BLACK FOR ANY EFFECT OP LIGHT,
.

BRILLfANOr BYCONj
WORK POWN FROM WHITE TO DARK. THEREFORE WE OiN ONLY
ATTAIN

RELATIONSHIP OF UGHTTOJW
FOR HIGH-KEYED AWU DELICATE LIGHT, USE ACLOtt:

FOR BRILLIANCY AND FOftCE,U*E A FOUR OR FlYE TONE JEPARATION. REMEffl

ALL THE LlGHTXAUt>JHAPO\N/ NUTT HAVE A CONSISTENT TONAL /EPARATtON EXj

WHEN A JHAPOW IXO&VIOUSLY LIGHTENED BY fcEASON OF REFLECTED
L\&
84
 THE MEANING OF KEY AND VALUE MANIPULATION
ATMK VALUE/ IN BOTH LIGHTAIHD J-HAOOW AREl RAIDED OR. LOWe RED TG CHANGE THE; k&Y

[HCN MAIN VALUE t ARE AT THE TOP

OF r HE /C ALE THE JAHE AELATIONWPJ MAY ALL BE DfcOPPED
TMAVBECALLfeDWORKlNQlNaHlGH KEY." ATONE Ofc IWO-THi/ r/ CALLED* MlPOkE k^

ICW THE -TAME RELAT* Q N J"H PS

DROPPtLD TO
I
H&RE WE HAVE INTEKTJONAU FORCING OF
THE &0fTOM QF THE JCALE ARE*LOW KEY 7 -'.
RANC? TO 1MCL-UOE THE FULL/CALE,

[RJR.CIKGOP THE DARK AOAJSU^T LlOWT. FOR.CINC OFTHE Li <JHT Ac7A(NJri?ARK

OtMOH/rRATIMCTHE ^XT^NOHDViMtiETY ^KETCHS/ OR THOMBHA! l/bEFORr CQINQ
OF TREATMENT OF VALUE/ AT Yo U D f- ra, J A HEAD WITH Fl NAL WORK rsfOTE THE DRAM-
r

W/&L WHEN WORKING WITH ACQRRJECT ATIC EFFE CT OF THE LA ffTWO* YOU NEVER.
IWJDE^/riMDlNC OF'klEY^MD^lMTENJ'ITY? KMOW WHATPOXXrBJLITfEJ- LIE IN YSuR SUB-
HO TV^) OF TH E J"1X TREATMENT/ -AttE ALI KE. JECT UNTIL YOU REALLY EXPERIMENT N I

IHI/ l/A REAL REA.TON FOR MAklNC/MALL OTHE.R WOfiLDj" IT^ P|_Al N THlNKtMC i [ !

85
 THE FOUR PROPERTIES OF TONE EXPLAINED
4, Incorporation of the influence of appear, your form loses solidity and

reflected light. "dead" in the shadow. It appears tookfflil*

Now when we speak of a basic intensity of no light and air. Reflected light has a wayofj
light, we must take iflto consideration the fact ing things appear to be round to exist

that shadows* besides having an intensity rela- three-dhm:nsional aspect.

tionship to light which puts thorn so many tones A certain amount of manipulation of i
below, are also subject to other influence. Every- possible when we know what we are doing!
thing upon which the light shines gives off some purpose is not always to catch the effect ad

of that light in reflected light. So shadows cannot but rather the most dramatic effect possibff
be made to fit any rule entirely. If light is shining ehanges fast when we are sketching. Dun"
on a white background, naturally some of that sitting we may have many varying eSeca
light will reflect into the shadows of objects near often the sun starts out bright and thesf

by. So the shadow of the same object En the same under way. We try to state the effect. tH

light might be lighter or darker because of re- sun goes under and stays under. The only
flected light, of according to what die influence to do is to set the sketch aside, for if we

is from its environmenl. Nearly all shadows con- it have the same aspect* nor vM\
will not

tainsome reflected light in any daytime or natural true to the fundamental approach to val

light In artificial light the shadows may appear a new one* smaller if the time is short, a

quite dark (and photograph as black) unless we for another sunny day for the other,

supply eidier some reflected light or a so-called moves too, and ihc shadows change. Sofi

"fill-in" liqht But the fill-in light should he soft sketch smalt and simple and work fast if you

and of less intensity, for we are really substituting want to get an effect. A barn might he

for the normal effects nature would give us. Sun- a dozen ways, by manipulation alone. It is

light itself needs no fill-in light to be right and better to make several small sketches orl
beauLiful, though all kinds of reflectors are used the effects. Then make a careful drawingj

in outdoor motion-picture setups. If the fill-in material. Armed with these effects, you

light principle is not understood, the result looks back and patnt your subject at leisure-

faked and* rather than adding realism and charm, It is permissible to do anything you

it may actually detract. paint. Nobody stops you- One can only likej
Reflected light, then, is a "plus factor" to the like what you do. If you base your pichH

basic intensity* and must be so understood. Re- basic truths and understanding you will <io

flected light is really luminosity within the shad- ones. If you sit and putter with effects, aw

ow. However, the edge of the shadow nearest the yourself to guess rather than going out to.

light will usually keep the intensity relationship. truths you want, you will do bad ones.
By taking the reflected light away, the shadow Wo must understand that nature ha?

drops to the basic intensity relationship. So watch wider scale from her brightest light to

for this. You might look at it this way; "This shad- dark than from our white to black. So 1

ow would have the tonal difference of all the either seek subjects within our value m
other shadows, were it not for the particular re- adjust them as best we can. The camera R
flected light raising it" So some shadows may and- white photography has the same fc
eatch more reflected light than others within the of value, so photography at least tells u$

same picture. The truth is that if you do not in- how far we can go in the way of value

clude the reflected light where it would normally black and white.

bG
 A SIMPLE LESSON IN VALUE RELATIONSHIPS
bHl)t TIF VAi.be/ T--^t>M HCHT To D$t<Ar TWE^T

r *
/r

T^ tlfcrt-*T-.i.-
5
 COMPOSITION BY TONE OR PATTERN
By this time
must be evident that we can
it

render nothing pietorially without making some

subject, and the flat or general statement J
picture. We have only about eight separate^
sort of a linear statement. Now we can also state to work with in all. We shall need at lease a I

thai nothing can be rendered in the eflect of light or two to round the form, in whatever valufl
and shadow without tone. Line becomes tone flat tone appears. Allowing two tones for;
eventually when
enough together, and one
close pattern gives us four patterns. Therefore ws
merges with dig other. Tone still has contour, build pictures with a white pattern, a ligra
which is related lo line, or area, also related to a dark grey, and a black pattern. That h at]
line. There is linear feeling in tonal arrangement all we really need; in fact, that is all there
Sueh IJ
bounded by contours, being of differ-
urea,
pattern can he varied one tone without
ent values becomes "pattern/' Pattern is an ar- into and mixed up with another pattern.
rangement, then, of line and tone. In the early On the following page we find that by J
part of the book we based composition on line, these four values we get four basic tonal]
and now we can begin the other way round, bas- preaches, in each case one is chosen for thef
ing it on tone. Tone really represents the
volume era! or background tone and the three ronaij
and mass of form, and the space between solid are placed against it. Each plan will have]
things. Therefore it represents the visible appear- visibility and vitality. Any picture or poster j
ance of our environment as revealed by Ifgbt
to us in this way will have "punch" as far as fl
ft substantiates the surface or character of what and pattern are concerned.
we see within contours or edges. This is some- It is best to have one of the four values-
thing line cannot do unless line is made a medium inate the others in actual area or spaced
of tone. We may call it "shading." meaning just we can nse white as a background* and plal
turning the form, or we may call it "jaodding," in greys and darks against it with perhaps!
its true tonal aspect and relationship with other white also as a part of pictorial matter. Or we]
things around it. Too many young
artists only have a light grey as the dominant tone, wiffl
"shade" their drawings and paintings, without grey, black, and white playing
strongly a]9
getting any real solidity or conviction. Every bit it.Either the dark grey or black as the
of so-called shading must fall eorrectly into
the ground is very telling and powerful as a
value scale from black to white, or "miss the boat"
tonal arrangement. Many subjects may be J
entirely. Shadows rendered in the same value
all out in several ways, and many subjects fall;
can give little more than a so-called embossed rally into one Or another of the four plans. |

effect, something bulging out a Ifttle from the present

I this plan of tonal arrangements
picture plane, but with none of the appearance
cause ft seems characteristic of beginners oq_
of life.
professional work to be disorganized as to pal
So all things have a value between black and and values, resulting En a hodgepodge of nej
white. All things have a value according to
light tones, or tones so scattered and broken up as
and shadow. \
All things .separate
from one another to have the much-needed impact
within our field of vision because of values. So
It will be seen at a glance what a powerful]
we can begin with these value shapes, stated as organized effect tonal arrangement can hail
flatly and simply as possible, and practically de-
void of modeling or surface detail.
based on one of the above four plans. S Mm
Having such simple areas of related values, we
of tone is by no means compulsory, since we J
have predetermined a subject as being dosej
can later build up the particular character of the value and within a narrow range. But when]
su rface or form. This si mple s tatement is our val
ue vitality and strength of value is required oi
pattern, which will build up the big masses of the
sired, phis carrying power and contrast, thai!
88
 THJiRE ARE FOUR BASIC TONAL PLANS

j grey/ amd black on white. 3. BLfrCKjWHITE^LT.GREYON OK. GREY.

Rack, white, dk. grey on lt.crey. 4.GR&YJ AND WHITE ON BLACK,

He of a basic tonal plan is your best answer. iF one does not* then you arc hardly on your way
[ The whole theory of pictorial design is organ!- to a good picture. There is an "all busy/' or mo-
EtiOD of line and tone, and (later) color, The saic, type of picture, which might be likened to
Rbes will be more telling iF organized into sim- an Oriental rug it* design, Or there might easily
I pie groups that will hold up in mass one against be, in an otherwise simple* design, one "busy" pat-
|
tk other, Scattered and confused small patches tern, broken into bits of pattern, stripes, or

I
has the opposite effect, of breaking down the car- patches- This is often desirable and effective.
I Eying effect of tone. Military camouflage makes More pictures are bad because no attempt at tone
lure of this prjnci pie. organization has been made than for any other
There are really IV: w subjects which when reason. It is to get rid of the weak, washed-out
thought about will not lend themselves to such effects, or the dull, heavy, and muddy use of
| ample arrangement. You can be almost sure that values, that this approach is ofiered.

89
 ^

HOW TO LOOK FOR THE "MEAT" IN YOUR SUBJECT

It can be taken as a sound rule that the simpler &fcy> a broad stretch of water, dark nigW
the presentation of a subject, the bettor it will be space, or a floor, we can seize immediate
pictorially, A simple presentation technically that expanse as our dominant tone. Such can

resolves itself into a few .simple organized areas set up a mental image of tone. We can thai]
of a few values. To prove lny point, suppose we stirtctively turn to the basic plan most cH

enter a room with papers, clothing, or other mate- allied to the image. That leaves us mainlyl

rial representing contrast, strewn or scattered planning or arrangement of the rest of the]

about. We have the immediate reaction of want* jct:t in .some .sort of design against the On
ing either to clean up the place or to escape from tone, or larger areas.
it. We speak of a place as being 'littered" with To give you some examples, let me suggest]
trash. What really happens is that ft is littered following:
with contrasts or confusion of tone and the effect
is unpleasant. Pictures can just as easily be lit-
Dark figures hi a snow scene: the mm
A man with a lantern: the fourth plan,!
tered and Just as unpleasant So if the first glance
A light boat in the open sea; die se
can find no reason for a bewildering a nay of
third plan.
tones, the eye will pass up your picture for a more
Figures on a sunny beach: the first or
Organized one. This was the main secret of the '

p'ari 1
great Howard Pylc: his simplicity and organisa-
tion of tone. We shall speak more of him later. Beyond the well-defined four approach!
This is the secret of good advertising material or have a few variations. We may take two in
any subjects seeking to command attention. for the interest and play them against tinea

Let us comprehend that it is more pleasing to two, instead of three against one. Or we roajS
look at the extreme contrast of black and white one or two values and spot or interlace!

if supported by easy natural sequences of grey. through wider areas. T have given you a sextl
Thc eye will automatically seek the darks and small pictorial arrangements just to get vernal

lights placed within the greys. For the eye sees ed. The basic tonal arrangements are so mo
contrast instinctively. Therefore the spot of inter- otis as to be almost inexhaustible, once yaii

est should be afforded contrast with its environ- derstand the method. I have transposed sod
ment. Note how in the second, third, and fourth the first pencil roughs to larger hlauk-and-v
plans the eye goes at once Lo the white area. In oils, then selected one of these for a fullfl

the first plan it seems to go to the black. Black and sketch. But it goes on and on. Why? Be

white used together against areas of grey will nature and life fall .so naturally into orgaffl

always command immediate attention- tone as almost to pick out the plan for you.S
It really does not matter much which plan is nature is inexhaustible for suggesting
used so long as the areas of the four values do not ment and inventiveness. That is why I shall kd
become too equalized or the whole thing too urging you to go to the real source for youfl
broken up. Subjects which must be taken in See if you can't stay oif the other man's backn
quickly, such as posters or disjilays, should be En have eyes and inventiveness too. Take a fig

the simplest possible tonal arrangement. Subjects and a pad and pencil almost every where!
that have more time to he looked at can be a little keep busy. You will set: tonal plans all am
more intricate,, if need be. you, and the whole approach suddenly be*
Every subject can first be analyzed for the so- clear, I can assure you there is no better-

called tonal "meat" in it. By that we mean: what ftvery good artist uses it.

are the tonal possibilities here? If the subject has The tonal plan offers many opportunities!
something of broad expan.se of tone, such as snow, variety in the same subject. Often the mafi

90
 IF IT'S WORTH PAINTING, ITS WORTH PLANNING
can be changed about in great variety. Suppose everything in the way of form can be tied together
I tthavc a head and shoulders of a girl to draw, or interlaced with other space or form to produce
I We can in a small rough get the effect bt how the good, even unusual, design, regardless of its com-
tftfurc might be built with middle tone, greys plete or identifying con Lour. By identifying con-
dm! black, against a very light background. In tour I mean a shape which might identify itself as

j
1

that ense we would naturally give her dark hair. a flat silhouette. A hog in silhouette might not be
r We would probably light it from the back, throw* the most beautiful design as a separate and com-

I fog
her face into halftone or shadow. We could plete thing. But a bog contour can be most beau-
: Are tar in dark grey to complete the four gen* tiful as a line related to other lines, a shape inter-
(Til values. Suppose we choose a black Geld. Then mingling with other shapes you will design, Sun-
:
iw might make her a blonde, using the light Lo light and shadow can play across a hog with in-
':
the front or three-quarter front. The light and triguing beauty, as well as value or color. A couple
iihatfcnv would produce the greys we want against of hogs could be the subject of a masterpiece.
; the <Urk. The point is, tl is not the hog at all, it is the inven-
Sometimes the areas of pattern can be switched tiveness and charm with which you portray it.

bout. The figure might be a light one or dark So many of us attach so much to the material
Out; we can try it out as light against dark or the and subject, so little to the design and arrange-
jeverse. A sky might he bright or dark, or trees, ment of it. We accept so easily without planning.

buildings, and other material might be fried both We are so eager to find the prettiest model (or
ways. What we are after primarily is striking do- dress, or shoes } and then paste her onto some sort
jign if possible, and it is .so much more important of flatness and try to call it a picture. J cannot cen-
than the subject or material itself. Being a pic- sor you for it, for it is typical. But I can point out
torial inventor is just as interesting, perhaps oven that the one hope of producing belter work is

moreso, than the actual rendering of the subject through the conception, not the material. One art-
pem we have decided on something. Strangely ist told rne he thought his work bad never reallv
enougfa, if you have really conceived your own clicked because he had never run across quite the
design and subject you will find yourself doubly prettiest girl that be thought he might be able to
interested in carrying it out. Having conceived draw. So I recommended my best model, with no
ft, it becomes relatively simple to work it out with better luck for him. 1 bad not the heart to tell him
lights and a model. But starting out with no con- the real reason, for who can be too sure that his
ccptvoa^'bor depending upon "snapping up" some- own work is not often wanting iai design and con-
thing as yon go along, is mighty poor procedure ception? It is not easy, and it demands the utmost
and has two strikes against it at the outset With- of your time. Design is always there to experiment
out the tonal plan you will find yourself falling with, to allow you to express yourself In your own
into the l>ad 1 1 abit of making most of your pictures way. It is the thing that makes you or breaks you>
alike, even lighting your figures the same way. when everything else is said and done.
depending on the merits of the models face or I cannot urge you half enough to give thought
Jigtire to get you by. It can get very boresorne to and planning to the merest sketch > the smallest
readers. Design i.s the best bet. Design is rarely job. At least be certain you know no other or bet-
i complete accident. It has to be balanced sim- > ter way. Ifyou have not tried any other way how
plified or stripped to essentials, and usually tried can you be sure? A page of thumbnails takes much
in several ways to arrive at the best one. Almost less time than you waste with a bad start

91
 THUMBNAIL" PLANNING OF TONAL
PATTERN OR ARRAKClJ

,'
wu it fcj flno W.tJ AC-c CM t r-U> rs* P&H.K V"

92
 THE SUBJECT ITSELF OFTEN SUGGESTS THE TONAL PLAN

Tl li.frjpc- -all J *JttTUHAUt IHTO TOt FilUT TONAL PifrW THlXONC iM Cl mr^TW B Jt^HP OP.T^I^ r-T-f-UlL. '"LA N

TWIJ" C&fi'h/ POli TMr. FO-t.lGtTH PLAN JCOP4D IUiN - TH f J il U &kV F- YOO* JTJ&JECr IN MINIifLlRltr

Oft
FOUR OF THE THUMBNAILS TRANSPOSED TO BLACK-AND-WHITE 01
THE COMPLETED SKETCH
 ,

SUPPOSE WE TAKE A SUBJECT AND WORK TV OUT

dress, the shadows, or in whatever way wej
Old Mother Hubbard The first temptation would be to run andm
Went to the cupboard Mother Goose book. Why? Because we i
To get her poor dog a bone> see what somebody else did. We lack any
When she got there
dence in ourselves and hope to get some \i

The cupboard was bare,

That's one way. That is the worst way, the?1
And so will ours be, unless we
original way, and the one thing not to dot
do something about it
Mother Hubbard is Just as much yours as I

The subject, the simplest nursery rhyme* The or anyone else's. Who
knows when, he^jj

picture, no easy matter. Now, what is your con- where she lived, and who cares? Mother Hub) I

ception? Yours and mine are going to be very is just so much design, so much character,
different.Who was Old Mother Hubbard? What much story. If we have to be too authentic

will delve into history, spend a lot of time,

did she look like? How was she dressed? Where
x'i

did she live? How? What was the interior? What ing in more than we already have
little fcffl

What is the drama or action? How with. Maybe we could come out with an auj]
kind of a dog?
tic dress. But we are not making a picture m
can we tell the story?
The first thing I'm going to do is go sit in the or stress a dress. Let us make it to suit us be4

corner and think for a little while. I see a little old only real value is in what we do with it.
lady with a full skirt, a white kerchief and bonnet, Let us conceive our subject, then look ab<

hobbling about with a cane. She could be ragged to find a face which spells Old Mother Hub]

and unkempt or neat and clean. I choose the lat- as she fits our conception. I have worked out

ter. The dog is a big dog, a sort of old spotted arrangements. These were without mock

hound. In the kitchen 1 see an old hand water- copy, for just now I'm not interested in an)

pump in the sink. I see crisscross window panes in but the design and story. Of the four, I lil

last one. It would not be very diificult nowfl

the window over and the open cupboard
the sink,
alongside. I see her telling the dog there is none a model, and the costume, even the dog, ad
ahead. It would be interesting to go on and]
and the old hound seeming to understand, even
a lot in the subject. Now, the picture. But the important part is doi
forgive. Yes, there is

how do you see it? I am not really as concerned here with sbfl

in relation to a tone plan. It you a finished job as in showing you how I

Let us think of it is

have approached this commission, were it al

obviously an interior, and that would probably
mission. I can just imagine what fun N^
be grey. At least I see it as grey. So that eliminates
both the white and black as the dominant tones, Rockwell would have with this, and what ai

throwing us into the second or third tonal plan. tif ul thing he would end up with to show m
Grey is melancholy like the subject, which helps. I'm sure he would do every inch of it on

Now, already* here is black and white against That is what made him great. Start out by;

grey, a sound approach. If we dressed her in grey, yourself the same chance.
then the interior could be dark, or dark shadows Get out your pad and pencil and begii
might be introduced. To get a white pattern we Jack Spratt instead of Old Mother Hub!

can have the window, her bonnet and apron, a any one of a hundred others. But take od
partly white dog- Maybe something white as an try it, for perhaps the first time, and make uj

accessorya pitcher, a bowL The black pattern mind now that you will do it that way froqj
or spots will be taken care of by the old lady's on.

96
OLD MOTHER HUBBARD IS YOUR PROBLEM

" i I

or
^M
 IN TONAL MEDIUM
Technique is a very controversial subject at best After all, every drawing is a statement, ei|

There are perhaps as many viewpoints regarding convincing or not. If we do not convince $K
technique as there are individuals applying it. It not expect interest or response. In the long
there no real substitute for truth andfo
is not my purpose here to "favor" one technical is

approach over another, or to attempt to steer you quite so lasting, For that reason I feel qfc
away from an individual application of mediums, tain that realism in the sense of a "quality^

for therein lies your own personalized style. If ence" will outlast any other form of art, to
you do not allow yourself to be too much influ- not convince the beholder that what ap|ear|

enced by some single idol, you will develop your him as distortion of truth is right and proper.i|
bound tell him the truth as he knows it and glorif| ib
own technique in spite of yourself ; it is to

be a part of your personal characteristics just as he meets you more than halfway.
is your handwriting. My intent here is to stress There is only one way to assure consJM
the general method, and the reasoning back of it, good work. That is consistently thorough 'gbpf
rather than to say how it shall be applied. When I tion. The prdiminary visualization or conpepa

speak of technique here I am thinking of qualities is, I believe, done better without mo&fefl

that should be incorporated into good technique; copy. It leaves you freer to express your$H

those qualities being the sound rendering of form having formulated, even crudely, your id^o
in true values, the consideration of edges and expression, then by all means take every
accents from an artistic point of view, the design avoid faking or guessing in its final exeii

and balance, contrast, subordination and accen- While there may be pride in doing without
tuation. If you can achieve these, it will not and copy, there is no point in it. If the best arffl

matter how you do it invariably prepare the best possible worki

I wish also to point out certain characteristics terial in the way of working from life,

of the mediums themselves, and the inherent camera shots and studies, how can the
qualities of each which are not always obtainable fakes and works blindly, hope to comj

in another. It is hardly necessary to go into the The first matter for your consideration 9
formulas for materials, paint-mixing, and so forth, development of a thorough approach. Call iti

since this has been expertly covered by other tine if you will; IM rather think of it as gc
writers. The permanence of your materials I do Start with the tissue pad, but before you

not consider especially important at this point, too many cuppings, see if you cannot visi

since die problems presented here may he looked thing from a standpoint of mass and design, I

upon as practice and exercise or experiment on haps you do not yet know the details or niffl
your part the accessories. But make little suggestig

Most of the elements of good technique lie in figures going through the action and s<

individual interpretation of the qualities of die spotted into interesting masses of whit

mediums. You may use a stick of crayon in any and blade. You can think of something lafeejW

way you wish, but the values, the proportions, the make up the masses. It may turn out to be ffll
contours and edges, are more or less limited to of dark or light furniture, a mass of fohagt

good and bad drawing. Drawing can be really what not.But work for your own design.
bad for only one reason: that it fails to carry con- The procedure of copying and finishing aft
viction to the beholder. and then tiying to fill the spaces left aroj

98
 FORMULATING AN APPROACH
t of background usually results in work be better
will if you will form the habit of
irrangernent or none at all. It is very roughing the idea out
first For yourself. After your
ry. Think of an environment* if any is thumbnails have !>een planned, after you have
and then find ways to place your your dips, photos, or studies, make some sort of
'""
K&fc- Think of light and shadow per- a tentative statement of the whole thing as you
lading ih^jpboe and falling upon the units wfth-
want to work it out. This gives
you every chance
improve from the
(I I b||er, actually, to think of the setting be-
to start; it shows up the diffi-
ci tlttes, if there are to be any; and changes
will not
It. -.
mink of the figure, or of the design or have to be made on the finished product, perhaps
itaptf thatihe figure will eventually be a part of. after hours or days of work. Maybe the figure
'Suppose we draw, from a clip, a bathing beauty should be moved over, or raised or dropped. May-
rob the dead center of white space and
-!:"i
be the girl should have a dress of a different value.
- -fitting I almost from top to bottom. Then
suppose Perhaps the pose might be better. You never know
it start if ticking of background. What is there these things until they have been stated. You don't
Irft to do^bjut fill tip the two empty sides with make good pictures by changing your mind in the
bcaditer, and sky? Naturally as a design it's middle of the procedure. No medium looks as
fptg <o f>e a dud. We gave design no chance. good worked over as it docs when planned and
,.r
-.^osc we make .some patterns of dark
:,
put down fresh, to stay that way. It takes a long
some greys { eventually shad*
rocks),
time to learn this, and some of us never will. It is
r, or sky), and some whites (eventually
comparable to the advantages of a well-planned
e soon find the spot for the bathing speech over an impromptu one Settle all the argu-
|rfey might be a wave breaking, the foam ments with your picture before you stretch the
^iitEv|^tteni, with the girl iu a light or a dark finalcanvas or before you spoil that nice big sheet
Jurt tffipl into the design. She might be sitting, of expensive water-color hoard. It pays!
^g Jpvn; a pattern might turn into a cape
If there is time it is better lo make a first study
Mraimp white spot might be a gull. She might
of a figure, then work from the study rather than
lWui fight and half in shadow. A thousand from the original copy, or from the figure into the
find wpfimgs can happen to make it interesting. final, I realize this is not always possible. But it
mean by "approach." Give your in-
Ttorefthatl
pays out in directness, freshness, and looseness.
-rapiwshalf a chance and you will create. Or It is hard to make it free and spontaneous the first
jvu wearily stifle by jumping unthinkingly to
it
time. We all struggle to get the drawing, values,
iheMt effort, trusting to luck. If you Just find form, and design all down at once, and it is quite
copy and reproduce it literally, or oven just sit impossible to do it every time. It makes more
dosviK^bd copy a photograph you have taken work, but it makes your best work. So the best
^N how can you possibly go the next man habit is the thumbnail, the rough, the studies,
r? All you can do is possibly to make a then the final It is a combination others will find
iter copy, and it end* right there. You hard to l>cat. If you can make the study in the
If given your client much to choose from. .samemedium, so much the better, for you will
i;nest trme the other man will copy better have worked out the problems in advance.
jp and you will be out. As have indicated, your particular technical
I

jvereativeness is in the planning, pure and approach, your mannerisms, your style, must be
the rest is good carpenter work. Consider your own* something which cannot be deter-
Iways In your approach. mined ot even guided by anyone else. But we can
p- next consideration \$ the rough sketch. discuss some of the means at your disposal, some-
Eve the client does not ask for one, your final thing of the attitudes toward your work that
99
 H
TECHNICAL APPROACH
whatever it the basis of art, but rather selection, accentktifl j
must be incorporated into your style,

consideration that of detail subordination. Making all things through y*|

is. The first is

picture equaDy important is like playing all I

notes of a composition with monotonous .and!
THE PROBLEM OF*HOW MUCH DETAIL
in the equal intensity, without accent or modulation!
This is something that you will decide,
almost certain that you picture rendered in this way never seems tocljil
end, for yourself. It is

begin with the ability to give com- that "Ah-h-h!" It can so easily lack vitality
will have to

pleteness or "finish*' to your work when expected

spirit.

Detail can be shown in things close uj|H

of you. And by nature you may prefer a closely
accurate and finished type of work. There is noth-
make things recede, form must resolve itself m
will into plane and mass as it goes back. That is 4
ing wrong in working that way, and there
always be a place for such a method. However,
happens in our vision. We do not see eySH^
ten or twelve feet, nor tiny face wrinkly
since photography does the same thing so
well,

from the not see the slight variance of small surface f<|
I myself prefer art that gets as far away

photographic as possible granting at the same We see just light, halftone, and shadow. Ij
enough back, we see just light and shaifcv.
time that this is not always possible. I shall en-
Much of the error of too much detail is';

deavor to give you throughout this book examples

true that mitted thoughtlessly. The artist takesmlj
carried out in each direction, since it is

than looseness and free- of a model, and then places that detail toj
more clients prefer finish
back in his picture. Again, it must be refe|
dom. As you already know, I believe the future
and to the camera lens is much sharper than tteeya
in art lies in individuality of conception,
sharper to a greater depth of focus. Th|
me, greater individuality is expressed by a big
be believed you make the followfflg &
until
broad interpretation than by being too accurate
experiment. Hold up one finger at annj^H
and literal. But the early work of any artist known *

that he front of you. Look at the fingernail

for breadth and looseness usually shows
he could subordinate can you see detail in back of it, whileligpj
had to master detail before
nail? Everything behind it becomes j$W
and eliminate it-
that the step from detail, is seen in a double image. Now concentrate ll
It must be admitted
distance behind it, and you will see t^) fi|
once mastered, to looseness and suggestion, is
Closing one eye, you see as the camera
extremely difficult. It is really much harder to
way two> eyes cannot focus on two distan^m
paint loosely than tightly for doing it either

must carry conviction and truth* if not literal same time. You may think the whole field of 1
truth. Tightness begins with being so concerned is sharp. To prove it is not, ask a person tT

and mass, and so his hand a few indies to the right or left
j
with surface that we lose plane
Now concentrate on the center 6$M
conscious of contour and edge that we do not face.

soften or lose it. A round form can be so smoothed

While looking at the chin, how clearly ca|
loses all character. One see his hand? When you are looking It his
in gradation of tone that it

may see the turning of the form in a series of sev- how clear are the features in his kcef Tb
The better artist models that form in is that that marvelous instrument thefeye is
eral tones.
stantly making focal adjustments, an<i^
but two or three planes. The fewer the planes
that the whole field of vision appears^
the broader die work, for breadth of execution
see an edge possible for the eyes to covtcmim
is realty breadth of vision. One may
since it is

only one distance at a time, if a pictura

sharp and defined. Well and good, but he need
not dig out edges that he cant see and sharpen a point of focal interest, with material ou
be that area slightly subordinated and sljgffl
and define those also. Definition will never
100
j
 DETAIL
1130 '.the frame* then the whole effect is less the planes (meaning less halftone), the less
ly mor e than complete detail all over, I reflection in shadows, the flatter statement of
mot ml* i that there should be a circle of sharp- simple light and shadow. The distance can be-
^^Binded by haziness, but that as you go come almost poster in effect. Try it, and amaze
H frOTCthe focal point more detail can be yourself with the three-dimensional quality it

borcfiuMsd and more softness permitted with a gives. This is especially tme in outdoor subjects.
-ifaHjpedistic effect. It concentrates atten- Theme is a clock about ten or twelve feet from
tion uprm^-and enhances, the detail where you where I sit. f know that grey spot at the top of the
^Iropil will firtd this in Rembrandt, Velas- dial, is an X and two f s, But the clock realty ap-
^ncr> Titian,,. Gainsborough, Boxnney, Sargent, pears to have spots of grey around the dial. If I

Eahins, .Alexander, and a host of others. You need were to paint this setting and put the numerals
i
i
!
..! :3ny word for it. Degas was a master of clearly on the clock I would sacrifice any feeling
tion and subordination of detail, phis of the distance between, and the clock would sit
Sideration for design and arrangement right up on the front plane, like a watch in my
Ig illustrator can profit by studv of his hand. Yet in most of our present-day illustration
(ftV work was complete enough, but sel- done Over and over, and by good men. Thev
this is

are putting down what they know to be there, but

au all over the picture is shown as it would not as they truly see it. It is thoughtless and erron-
up, then everything is brought for- eous, and easily so proved, once pointed out. The
fcthe front plane of the picture, or to the artist must make an heroic attempt to disentangle
naceof the paper or canvas. This much own mind and
is detail and tone in his vision. He
escope or opera glasses in bringing a must realize that bis vision is a thousand times
ird. Technically, then, your picture more beautiful than the camera's he
if will but
i-.vHpf.a sheet of detail; all things lying right on trust it. If he is to obtain that greater beauty, he
'it, *i|jput a feeling of space between tine various must combat the too-great detail registered by his
dtfffiK&.as wc go back. Unless the detail of the camera rather than abide by it slavishly. It will
l^tewBidis subordinated to the foreground, all be better he learns camera
if to trust the less and
will ^rh to he sticking together in a single plane, believe more in his own inventiveness and feel-
regardless of perspective and diminishing size. ing, trying to see with reason and imagination-
Ttrc answer is that surface detail should become Only in this way can his work soar to heights un-
submerged in tone as it goes back. For example, attainable mechanically.
Ihc weave of a sweater is apparent only for a few Perhaps an artist has not yet reasoned that
feet, |ftcrt3)at, the sweater becomes simple tone. any goalbeyond and
there is detail finish, Then
\k giinportant are the weave, the tiny folds, or let him look at the landscape on a misty day and
1DV ;

the small details, anyway? The big forms see the real beauty of subordination. )-<>t him
tat we are concerned with. To add detail study outdoors in twilight against a flaming sky,
; could not see is as false as to define con- the mystery of moonlight compared to midday.
* cannot see. The fact that the camera can Let him drape a figure in gauze* look at the reflec-
Me aorc sharply than wc can does not make it tions in water, look beyond falling snow, or even
it better as a picture. We arc painting to scrape off his sharp picture with a palette knife,
an illusion of life as we sec it, not some finding infinitely more beauty than he had before.
liton of mechanical sight. So the farther There is a door open to all of us, if we will but
i less modeling, the simpler the lone, the pass through.

101
 :

THE TREATMENT OF EDGES

that is all we are going to see. How ma -ofi
Perhaps the most important element in obtain-
ever really look for softness, for mer
ing freedom and looseness is found in the treat-
a "lost and found" of for tones being lost into and enveloped
ment of edges. There is

ow? Yet these are the qualities that we

edges as they truly appear in space. But the eye
work of the really great artists. If we
must educate itself to see it. You may not belive the
hardly ap- the sharpness in life, we may see only
this quality exists in nature, for it Es

There may be obvious ness in great pictures. When we find thereg

parent until you seek it.

softness, we find they also have it. We firft|

softness of edge, as, for instance, the hairline
a balance of sharpness and softness all t|
around the face, or the f uzzy edge of a fur cape, is

through, neither alt hard or all woolly.

but softness does occur even on hard edges-
tures realty differ in quality from the
edges which really are a line or a hard surface,
a square polished table, or not so much in medium and dexterity as
like the four sides of

edges which are hard to the sense of touch. Un-

We have not developed that vision to a
and mosdy because we have
thinkingly we may put them into our work as
extent,

putting down make equal contact with the truth of

something hard all around. That is

what we know is there but not seeing it. Look at self. We do not develop vision if we do
Your camera and your projector are n<
the real table top and you will find the edges are
to develop your vision. They will hi
different all the way round. The four edges will
weight upon without your even rea
pass by some tones that seem to merge with them.
it

this Because the quality of "lost a

so.
In other places they will stand out sharply in re-
is

may have reflections of light which, in edges has so much to do with vision
lief. The top
ner feeling of the artist, it cannot be i

running to the edge, will be sharp, and dark re-

formula. But believe I can guide you
which may make the edge undefined. So
I
flections
the instances where you are apt to fir
edges are a part of the Form Principle, since they
will but look with your own eyes. Let us 3d|
are relative to the surrounding tones and
influenc-
several kinds of soft edges.
ed by their environment. The same edge may he
sharp or soft according to the conditions of the
1. For the first, let us take the softness prfl
moment,
Look about you where you are sitting right ed by "halation" of light. Halation is the iM
now. The first edges you are conscious of are the ing of light from a particular source ri

ones where there is considerable contrast of value

surrounding tone, like the blur around a WM
That halation does exist is t proved
-light against dark or the reverse. Then you will flame.

some that are not quite as insistent. blur produced in a photograph around 'M
find there are

In painting you could start softening these some-

source such as a bright window or lamp. A
obtained by softening the to
^
what They arc to be quieted down, because they ness like diis is

way wheal compared to the strong outside the contour, as, for example, beyond I
reallv are that

ones. Next, you will find there are edges which inside edge of the tight of the window.
M
You want a light to appeal' brilliant, let a little <jf
are enveloped by and merged into shadow.
them.. Finally, I hope light travel across or into the surrounding*.
have to look hard to see
there will be some you actually cannot see but will The edge itself may be held fairly definite, |

only know are there. These are the edges to be there is a raising of the values touching tiiM
In painting we also have w^hat is known d
lost entirely in painting- It is by studied treat-
"passage" from one tone to another. An ed^j
ment of the edges that we get the illusion of

space. appear hard and insistent against its neif

If we look only for sharpness and delineation,, We want accentuation somewhere elss

102
 :

r
WHERE TO LOOK FOR SOFT EDGES
WftiJd lik^to subordinate this edge. This often when a line of a hill crosses behind a head, soften
happens ^th. the shoulders and anus of a por- the lino of the where
hill especially it meets the
trait. To soften or subordinate such edges* we may head. It need not be miles back of the head;, soft-
tiring thctvitt tones closer in value at their meet' en even the line of the back of a chair as it meets
tig, leltiag-one tone fade into the larger adjacent the head, or the contour of any form passing be-
r-.i=,.- Q^IM The edge may still be held, not hind another contour. It keeps them from stick-
sueare er. In effect ft is like extending die ing together.
tone for a little way into the other.
f, a light background would In.: dark- 6. There can be softness and diffusion incor-
when approaching a dark edge or porated for purely artistic presentation* to get rid
^somewhat when approaching a light of harshness and o% crinsistence.
r
A tree in the dis-
S-pufcs less attention on it, but still holds tance naturally would be painted with more soft-
lyrithout making a garment, for example, ness than one in the foreground > to get it back
"ussy wool. where it belongs and to create the illusion of
space. The sense of space is actually more impor-
ijext kind of soft edge is much more ob- tant than the tree. Painting both trees sharp
fttis where the material itself is 50ft and would bring both into the front focus and up to
mixture of itself with what is behind the picture plane, which is false.
lple, tlie edge of a man s beard, a wisp Do not interpret this as meaning you must
sfine twigs oF a tree, lace and transpar- paint everything in the front as hard and sharp
rialSj mist, clouds, spray, and so forth. and everything in die hack as fuzzy and out of
focus. There should be a certain consistency of
I M? nex t kind of edge is soft because of vision about the whole tiling not as though the
JuHfiflg^es, when the edge becomes the same beholder were nearsighted. The changes should
rcliKps-.tliat value which it appears against. IF be gradual and subtle,, not too obvious. There can
Iheym^uite close anyway, it is safe to lose them be softness in the dose edges too, mingled with
ftliltj^more. You can use the sharpness else- the crispness, and some sharpness in the edges
wlicrgwhcre it does more good. This is really farther back. The picture should have feeling of
whcffirjlght appears against light, grey against the subtle ""interlacing" of masses so the different
piey. and dark against dark, areas do not separate themselves too distinctly as
would the countries on a map. Following any
: the turn of die form presents a grada- edge around should give it "lost and found" quali-
ijone approaching the value behind it. Ex* ty, with more of the subordination in things at a
flight on hair turning to meet the light. distance than those close up. All sharp is bad. All
fuzzy is bad. The beauty lies in playing one
^kbove four are natural or actual causes of against the other. Study some fine art from this
rojfees. Now let us consider deliberate instan- standpoint and it will open your eyes. But mainly
r. ffliere it enhances the pictorial qualities to try to see it in life for yourself. It is there, but so
so/ 1 an edge.
1

subtly that it must be stressed. Nature already has

space, but we have only a one-plane surface to
cases where two sharp edges occur and work upon and must do something almost drastic
jjione behind the other,, theoretically soften to get rid of drings seemingly pasted on and stick-
the djife in back as it meets the front one. Example ing there. Too much illustration is just that-

103
L 1
'
 THIi LENS SEES TOO MUCH

I present here a photo which I shall endeavor what simplify and glorify the rest. This comes!

to paint from in as finished a maimer as possible. near to 'photographic" painting as I would a

I shall try to hold the values and the very smooth want to go. I have included it to show that etf

modeling of the form. Frankly, this will be of the the finis! ied and exact need not be harsh and hag

so-called "slide* type of painting, which never- The: softnesses save it. I. hope. Please notice

theless holds a place in our craft The painting I have sought no edges that are not there,

will appeal to a great majority of (Stents who real- have Subordinated many that are in the coj]

ly like the slkikuess. Hut even here we can beat Study both closely, area for area. I do not si

the mechanical and exact image presented by the gest that you paint this way; it is but one
lens. We can at least subordinate the overabund- You will paint your own way, as you prefer

ance of detail. esptxHaNy In the dress, and some- paint.

104
 THfi EYE SELECTS

People will often unknowingly praise an artist sliall be and what shall not. If die values and
by Idling him, "Thai looks just like a photo, how planes go in well, if the softness and sharpness are
wonderful!" These are sad words io the conscien- taken care of, such irrelevant detail will not be
tious craftsman. Yet as an illustrator we must face missed- We can beat the camera, because the
the fact that a large percentage of people are camera cannot choose nor subordinate^ thank
detail-conscious, that detail pleases them. We can Heaven.
due them detail when we have to, even if it hurts MoU: the number of soft edges, without produc-
a little. But at least we can choose what detail we ing a fuzzy or woolly effect. It will be interesting
are going to give, subordinating what we do to note that yon will find softness opposed to
not like Kvery photo is full of unpleasant detail, sharpness all through, not all one nor the other.
aad every photo has the possibilities of something This for the young artist who sees everything hard
charming. So we must study hard to decide what and britde.

105
 STRESSING THE PLANES AND ACCENTS

Here T give; you my photographic: copy. Inci- inate competing interest, concentrating wheifl

<\<'.i\U\\\y r it takfts courage to lay yourself open will. I have stressed the erispness oF the

thus. But am going to teach it is only fair to let

if I and accents* losing only the edges thatactij
you see what I am working from. In this photo l appear to be lost in the copy. We have attaine
deem the background meaningless, irrelevant; believe, shaqjness without harshness. The foil
tu id superfluous. So why not eliminate the whole complete without being "petted" and "boo

thing and give only enough to keep the figure out. In each area you will Jind a simple* arJ
from being pasted on a white page? At least there light against simple halftone and merging I
should he some feeling of the figure's beinj; in almost flat and simple shadow. I have tried tag

Spare.The interesting thing to me here is the a minimum of strokes to get the biggest posd

form, and secondly the character. There is so statement of the plane. There will always 1
much intricate form in the garment itself, it is demand for this concentrated and clean-cut]

quite enough for the eye to take in. of approach, ft lends itself admirably to alltflj

Again wo boa* the camera because we can elim- of illustration.

106
en/
 BREAKING UP THE TOO-SMOOTH TONES

Here is another photo selected as copy. One; often areas painted too flat and smoodi wilM
of the main things that identify a photo as apholo pear "tinny" and monotonous. Some chang
is the ultra-smoothness of the tones, In working tone within a tone, to break it up slightly, si

from this copy, I have broken up some? of the to add vitality where there is none. If posstb
tones, alsosome of the edges, The intricate detail arc: i should always look pain ted not , pasted;]
of the dress hm been subordinated. The couch is one of the ways to do it. Note the accents pla
has been made relatively of less importance than here and there of dark against light, to add puJ
the figure, therefore wilh less definition. The big The lights have been forced somewhat to olj

planes of the figure are stressed* I have tried to extra briJIi&ncy. The background has beenn
avoid as much as possible the flatness of the tones. irtcd in spots to avoid the monotony of tora

While there are times when, flatness is desirable. the photo-

10S
 ADJUSTING TONE AND PATTERN

Here we have a photo, rather ordinary in design photographic look. The lighter tone of the*
and lacking the contrast arid brill fancy neeess&ry keeps the dress from being quite so isolated)

fargood reproduction. To follow it too closelv separate unit and seems to interlace it with]
would produce a dull picture. So a livelier pattern other tonal areas. I believe the do Lai! is suQm
is introduced into the background, and the curves to satisfy almost any client liking a "finished"!
of the couch seem to give it more variety, The con- iu the art he buys. It can look much mare finis]
trasts are stressed by adding a darker pillow than it really is, so long as the values arc im
against the white dress, and the intensity of light and pleasing. In this case we could not have til
to shadow is somewhat increased, At the same ii 1 9 ted a background,, for the dress would haul
time some of llie edges are softened or modulated. contrast to speak of with u white buckgroixdi
The softnesses introduced do much to relieve the we had to invent one to suit.

110
 THE "BIG TONE" APPROACH
I chose to call this approach the "big tone** insight or perception? At least I urge you yo
approach, for that is exactly what it is. It could artists, before you go too far into the abstract:;

just as well be named the 'pattern approach.'* incomprehensible, to think hard before you
We shall aim to set down the big tonal patterns of card the wealth of material nature has 1

our subject as simply as possible. Pattern* after upon you. You cannot live without light-S
all, is big-tone effect, one area opposed to another neither can your art.
in value and all working together to produce some On the opposite page we have taken a shfl
sort of a design. There is really design, either good figure subject. I believe my demonstration S
or bad, whenever we put areas of variable tones be perfectly understandable to you. I attempt I
together. It dawns on us as painters that the effect show the power of simple light, halftone; jH
of the arrangement of such tones is really more shadow, as allied to the Form Principle. You caJ
important pictoriaHy than the subject or the be a good painter going no farther than this, b]

things we are painting. getting these tones and simple forms rjghfl
Here is another reason for the not-too-literal drawing, values, in relationship with one anotbi
interpretation of nature's complex forms and sur- according to the light, and in relationship wit
faces, but rather the seeking of design through surrounding elements.
the material nature presents to us. You can in- It is really so simple that the general lacM
stantly see how this involves taste, selection, and understanding of it is amazing* Most of thediffl

inventiveness. Such an approach, then* is creative

and not a passive acceptance of fact. You are add-
culty, I think, arises from the fact that copy J
seldom made, or models posed, in simple ligj

ing the intelligence of vision so sadly lacking in and shadow. Naturally if you break up these
your camera. inal simple tones, which are the best you coiw
Sometimes the simple postery statement is bet- possibly have, with a half-dozen other lightsfl
ter than the more finished thing, for it is conceived have no form left, nor any opportunity to stall
and executed in truth truth in the larger sense You find yourself trying to duplicate a myriad I
rather than a minute inspection of truth. One big meaningless tones to no good purpose. YouOT
truth is more understandable than a lot of little break up form as easily with lights as you 1
i""
!".

ones ( with, perhaps through ignorance or incom- break up a town meeting with cross-purposesjS H"W

prehension, some of the more important ones left body gets anywhere and the result is nil.

out). So close do some of the abstract artists come Ahead of anything else, choose simple ligbffl
to it, yet just missing the elements that might to start with, if you are ever to paint You oa
make them so much greater* an alliance with crea- light your subject from back or front, fl
tion itself. It does not seem possible that anything reflect it back if you wish, but use one tofcjjB
that works out as weD as the great natural laws, whenever possible for the best mterpretatiSB
which have stood for a few billion years and con- form.
trol the very universe, could be quite as wrong as Nature takes care of that, outdoors. We ffl
these artists contend. Could it not be a lack of things up when we take over inside, 1

112
 m /

115
 THE SOFT APPROACH
This is a delightful way to paint It is closely proach or making it grow tiresome to your public
edited with the "big tone*" approach. However, You will note mat in the first stage of this head
instead of painting the large tones in to a sharp a fairly careful charcoal drawing was made. Then
edge and softening them later, the large tones are the large tones were laid in over the fixed char^
set in and immediately softened* The surface de- coal. Even in the first statement there is a feeling
tail is added then to the soft tones in overpaying of the light and form. This is heightened in the
while the paint is wet The edges are defined next stage by only a few strokes laid over. With
where neededj leaving the general softness as the detail of the features and some more light and
desired. This is one of the best ways to combat dark accents, it becomes completed. In order to

hardness or tightness in painting. Tightness show yon the stages I had to make four separate
comes from small forms, too much precision, and subjects. With you it would be but one. But by

everything filled in to a sharply defined edge making the four, the last one was painted in I
everywhere. very short time, since I had had the experience
I believe this approach will come as a revela- of the others. Tliis approach is quite direct, audi

tion to many young painters who have not tried if possible should be completed while the paint

it or do not lenow about it. It results in a feeling iswet By adding some poppy oil to your turpeffl^
of much more quality, and at thesame time adds tine when painting in oil, you can slow down the

a three-dimensional effect to one*s work if it has drying.

been persistently sticking to the front or picture, This approach would apply better to opaque
plane. It eliminates much of the "pasted on" effect water color than to transparent. It is quite a trick

of the units of your picture. Try to hold as much to keep it wet long enough to get the softness, but

of the softness as possible. A few dexterous strokes it can be done. Crayon and charcoal are admir-

may add all the finish you want I feel quite cer- able for this approach, or any medium that can

tain this must have been the approach of both be rubbed, then picked out with an eraser. 1
Sargent and Anders Zorn, whose paintings reflect So many students hope to watch a professional!
the kind of quality this approach gives. It applies to learn technique. Technique is your own. Metta
to solidly painted pictures better than others, but od or approach is always a matter of knowledge,
can be effectively used in sketches, vignettes, and There is no reason for any artist who has the good
almost any type of illustration. of his craft at heart to keep such things a mys-
It will be well worth your while to make some tery. Technique cannot be learned by watching,

experiments along this line. I never believed In only by doing. If an artist can tell you how it $.

confining one's approach to a single method. I done, it is so much better than watching him, or

love to experiment with everything I can mink even than copying his efforts.

of, or that may be suggested to me wherever I Try out the soft approach if you like it If you

see it, I like to use a method or medium as much do not like the effects in it, then pass it up. How-

in tune with the subject as I can. Some things ever, it is a very, very good way to beat old man
seem to call for "brittle" treatment, while others camera, or projector. We can't trace fuzzy im-

call for "delicate and soft" While you are learn- ages. Maybe you can fuzzy up the hard ones and

ing, learn to express yourself widely. There is not then bring them back. I don't know* I do it with

so much danger then in "burning out" your ap- eyes, hands, and (I hope) thinking.

116
 .

THE BRITTLE APPROACH

When things are in a sharp strong light, or when painting it so* There are many subjects wh
the subject itself seems to call for a certain crisp crispness is the aim. So experiment. The
or brittle quality, I want you to he able to think crisp effects can be obtained by painting li|
in these terms* Usually this sharpness would be in over a dark but dry undertone* Sometimes an ol

subjects of good contrast, using plenty of good canvas is perfect for this type of approach. Or

lights and darks. can stain a new canvas with a tone and thin

Here we have a brunette in a black-and-white pentine and let it dry. Opaque water color is excel
striped dress. The dress is "perky" and the stripes lent for a brittle or crisp effect One well-knc

can't see this subject painted artist works his opaque right over regular he&\
give it "snap/* I just

in mystery and softness* So we put the black hair board, painting in all the white later with opaqu*

against practically a white, carry the crispness Pastel has some of the crisp brittle quality

into the background and all through the dress. used over toned papers or boards and not rubbei
Because the dress is busy in pattern it seems to It can be done very beautifully and with

ask for simplicity elsewhere, So we do not fill ing effect. The more rubbing you do with
up the picture with too much other pattern. the more softness, so it is open to either approa<

Almost all edges are defined here, though if However, pastel being a grainy or chalky
the dress were a single tone the edge would be diurn to start with, most of its charm lies in hax

too hard But the stripes break up the area, pull- ing the pastel pretty much as it goes down
ing the eye within the contours rather than mak- out rubbfng. It can get so smoothed out thatS

ing one conscious of them. This was overpainted loses its character entirely aud ends up as a mqg
quite a lot on dry paint, a method which is the or less unidentifiable medium after reproduc

opposite of the preceding soft approach, and Any medium should retain some of its own chra

which adds the very quality of brittleness which acter. It should not look like something eke.

we tried to avoid in die other instance. Remember, crispness seems to apply mosij

Most young artists paint rather to the hard than to bright light Remember, too, that crispness aim
to the soft anyway, so this will not need much softness combine beautifully together, are betg
explanation. About you can do with this
all combined than either by itself. So do not dt

approach is to paint up to your edges, and stop to go all to the hard, ever, because that is rightl

which most of you do, But it is not without value back where you started* We all start out "the
and charm when incorporated into the right sort way."
of subject. Note that this painting is not entirely withtiffl

Light and shadow really looks brittle out in the softness. It needs the few soft edges to establim
bright sunlight, and there is no reason for not crispness by contrast

118
 m
I \*tt~:
 THE "BLOCKY" TREATMENT AND OTHERS
While I believe the method of applying pig- There are other treatments. One is the

ment should be left to the individual, there is no small strokes following crosswise to the t
harm m calling attention to various treatments which enhances the structural appearance

which come under the head of general procedure, Such treatment adds softness to pain
solidity.

with a variety of effect At times die subject itself whereas painting down the form defines it
seems to call for a certain type of handling to be sharply with a hard edge, since the brush f Wi

in spirit with the thing. Every artist seems to be- the edge of the contour. It could be taken as^
come afflicted at some period with a tendency to axiom that if you want it sharp and defined, paint
paint things too round and slick to give the vital- down along the edge. If you want softness, p|M
ity to his work that he desires, but Is quite una- across the form to the edge, or actually beyond!

ware of what he can do about it. One of the best the edge.

ways to give added form and structure to already The big- or wide-stroke painters usually naiirtl
smooth forms is the *blocky" treatment. up and down the form, as witness Sargent, ZbrnJ
'

This is achieved mainly by transposing monot- and Sorolla. Without loss of vitality we fetl
onous curving contours and forms to a series of examples of the "cross-form painters in sj^I
straight lines and by painting straighter and flat- strokes'* in Ettore Tito, Childe Hassam, Dafiefl

ter planes. Strangely enough, the form retains its Garber, Edmund Tarbell, Zuloaga, and rAfny|

delicacy, but seems possessed of a stronger feeling others. This form of painting has the added^dJ
of bulk and solidity when treated this way. The vantage of using much more color within the s&nel
plane is carried as far as possible in one value and area, and often "broken color," which started wiih]
then given over to the next. Care must be exer- the French Impressionists.
1

cised not to smooth the planes too much one into We also have what is known as "scumbling, ']

the next as you go round. The beginning of the which is done mostly with the side of the biiusli]

shadow can be held fairly distinctly as a tone instead of the end, with very soft and beautifdl

wilh an edge just beyond the halftone. The con- results. Very little of the effect of the straight fe
tours may he accented with bits of straight out- ties of the brush is left in the paint Finally, t|crd

line. The values themselves are held to the true is palette-knife painting, perhaps the loosest on

values without undue "forcing," If you will study all, which can be combined with the brush or]

the accompanying plate I believe this text will treated as an entire approach. I
,1
become clear. I have given a few examples of these tri3>

The blocky treatment applies especially well ments here and elsewhere in the book, and I thinkj
when painting heads, particularly when there is they will identify themselves to you. I believf allj

not much bone structure, resulting in extreme of these are worthy of experimentation, 9
smoothness. Baby heads respond beautifully to assure you that there are many good painters of]

this approach. It is about the only way of giving each type. Such techniques can be applied to allj

extra vitality to a rather slick subject. It applies tonal mediums. It is interesting to set up a sfflfl
to flrapery, rocks, clouds, or almost any form, jeet and paint it in various ways, or even a p&toj
and helps to eliminate the photographic look of and interpret it in many ways. Then the photo]
painting. It is well worth experiment. works for you, not you for the photo.

120
THL: "BLOCKY" TRHATMEWT
 PAINTING DOWN OR ACROSS THE FORM

flBOVE,TMB OIRECTIQH QPTHO-

JTROKB/ ARE* WITH* Ott*BOWM'
IMC FO*M. Btl.OW,rHCf[ltClKE/
Aftt" aowwt"oh Vrow" ike.
FOBiM. IT iy /UdCfcJ"TED THAT
VOO ETtOfrftlMENTBOrH WAV/.

122
"SCUMBLING"
 :

THE TONAL MEDIUMS

types will be much easier. But do what ytim
Any medium which will produce a scale of values
between black and white may be regarded as a in die way of mediums: they are all yours to-

tonal medium- Such mediums call for a screen or periment with, and to help you find yourself.
When drawing for I do not believe in isolating one medium
halftone process to reproduce.
reproduction on cheap paper or newsprint, good working in that alone for the rest of your cart

contrast is necessary. For the finer papers more Proficiency in one helps in another. I believe
pencil has helped me to paint, more than aas
subtle gradation can be achieved by a finer
thing else. Certainly it is easier to do a good pi
screen. So if you use a grey slock, or any greys
within the picture, it will be more expensive to drawing when you can state simple lighflm

reproduce than the so-called line cuts. The excep- shadow well in otheT mediums. Tonal medium
of the drawing type all help mediums considerJ
tions are the Ben Day or Craftint screen, or a

grained surface like the Coquille board, which as painting. But make up your mind that til
produces a series of fine black dots which whole thing is all one, and that with experimel
really

will reproduce by the line cut process. and practice you can say what you are able to sal
There is such a thing as a highlight halftone in any medium. That is the way it should |T

which omits an overall screen so that the whites will broaden your whole scope of pictorials

come up pure white. But this belongs to the half- and not only keep you going longer, but
tone type. you unconfmed pleasure in your work.
series of subjects to identify the Such versatility is not nearly as amazing^
I shall make a
medium only. I suggest you try them out. It will might appeaT, when the fundamental thirij

really quite thrilling to trai

not be accomplished in a day. Every medium, applied. It is

though conforming to the basic approach of the subject from one medium to another. Very;
Form Principle, will have its peculiar characteris- tile preliminary work may be done in
tics. What you should really attempt to do in mas-
dium, when the artist is working with good

tering a medium is to be able first to state your mentals, then transposed to another, without.anj

planes and values correctly. Then learn to make a conscious effort. I

sharp or soft edge. Learn to achieve a soft grada* There is no harm in studying the work of <M
tion of tone when wanted, or a crisp and blocky men in various mediums, even copying it (for
practice only, of course) if you feel that yoii can
or sculptural effect. Learn to place accents of light
learn something thereby. But anything yb| fo
and dark. That is all there is in any medium, but it
from your own, and I really believe it I ty;|
is not as easy as it sounds. I think wash and water
life is

most difficult mediums of far the best plan. You are then developing:^
color are just about the
all, but two of the most beautiful when handled own approach from the start, and it may turn out
well. It is odd that most artists start in water color to be something most distinctive and original!"
as first choice* It seems to me that crayon, char- Get some tonal mediums and start doing some--
carbon pencil, dry brush, and similar me- thing on your own with them, the very besB
coal,

diums, all offer much simpler opportunity to ex- can. Technique has a way of taking care of ot

press yourself in tone. Then the step to other Your case will be no exception. 1

M
I
124
 CHARCOAL AS A TONAL MLDIUM

^-H OujJiAH tHWio*. OS J'St'KMuKB QR.I/IOL. LS' l'0"T IO* OvrR >nt
BI*.Rl,30E0'l t0. LiV m HCJ/U OF CftEY/ AND ft&RKS. PlCXOOT t'O-K Wl 1 B
Hmcfba^'d ciuvcc&ai-i/Boi-a.intA*. *o '-> midium. h is ko*t ettecTive
.*..

HlA-H LIKiAH QUAI.il> 6/ t COMQIXtC WITH TONE. II tHE WiWIX IIT(10UMD'

HrO&PK>*OCIUOM)C .OOX WHICH /HOULD f AVCIDFO. M&XB IT4TOSHIW4WINC'
 GREY PAPER WITH OTHER MEDIUMS

| 8E U>W_ P6NC . CHAKacTER.ZATlONx TOR ^OVE SKETCH .

 CHARCOAL AND CHALK ON GRF.Y PAPER

TON&L PROBLEM/ WOftKED OUT

IN A PRELIMINARY CHARCOAL

J7UDY MAY RE./ULT IN A MOftE.

DlQetTAWCsj-pOHrAMEOU^ FINAL
P&INTINc/l-r PAYJ-TOPLAM IT*
CARBON PENCIL AS A TONAL MEDIUM (SMOOTH BRISTOL)

CftV-QON PENCIL AMP PE.LICHTPUL MEDIUM FOR THE

iJ~A Fft/T
ILLU/TRATCfiL. WHEM R.OBS&0 ITOIVE^THE eFFECTOF
IT iy

*/&SHB IT CAN BE UfBQ OH -TM0OTK OR GftAI MY PAPER/ W ITH

AVAftlftTY OP erFECT/ THI/DRAWIWCr WAr MAPEO N y>100TH
/TftATHMORE BRISTOL WITH A XON CKAftON V90 PENCIL.
V
THERE. A1 AL/O THE FAMOU,T WOLFF'cA^gU Pe.e4ClLr.
CARBON PENCIL <?IV/A WlOE RANGE OP VALUE/ W^Th <jOOD
&LACK/ AND NO .THINE, H&KIWG" IT EXCELLENT FOR REP fcO
DUCTION. BY ALL MEAN/ fiXP&R iMtNT WITH THI.T MEOIUM .

VOU WILL FINp YOUIl OWrj WAY OFEXPRS//ION! BUT KE6P

IT FREC AWP CMRECT. IT 1/ HOTA/O^PlCU'LT TOHANOLC Ai WATH.

128
CARBON PENCIL ON REGULAR BRISTOL

\*&W'
 CARBON PENCIL ON ILLUSTRATION BOARD

CMAffOM WO

ONTHEJHARP pftTAIL WO Wrti PlHB " IJ

1
"MUfc WITW* |
CO ASTER THE F Or* t HOLDlMC BACK

130
WASH WITH DRY RHUSH
WASH AS A TONAL MUD1UM

tfc
 .

WASH IS ONE OF THE BEST MEDIUMS FOR REPRODUCTION

WCAKINC PROCEDURE FOR WAJ*H DRAWING j*orr JwsoeoEooof

r 1 7^** Aopdpovq* dry

It<n*is

ALUmeto TOMIK.
^19 Vrf? wwc i

U JPf ILL Vrt-T QYUlt WHCJUC TDHB ALLOVMC& YOD-fttf

area, -rower itiw
. fler CT\c jownct next,
U/S K&ijT 'VOW BLACK WAVING. CO LOA.
WfJPAtfSOH it-UJ/WVf ION OAHP.
fiWBCT/
WJft A5FT

D
wtY pap* r^ fi nj r Te/cr ^ re woitTHV op practice ro mo our how -to oo it.

WA/H DRAWING.
i
WA/H PflAWlHG iJ"THE MO-TF ^PONTAWEOU/ AWO DIRECT J'TUOY YOUR /OBJECT CAREFULLY WKEftE THE taODEL-
HCPJOM OF ALL. IT 1/ THERETO RE 1HE MO/T DIFFtCOLT- SN<3 OREPtfE 1/.TOFTWORK mtQ A WETJXJRFACE. WHEN
UNTll YOU DEVELOP A WORKING PLAN FORTHE MEPiUM. /HARP^AJTHC COBC ABOVE) WORK OH A DRY J\J RFAC ,

JT W Bi/gD OH THE .TAME^FOfcM PRlMCI P^E^Of ALL OTHfiR
MEDIUM/ THC TON, THE PLANE ANfc THEEO^S.
lUE BOVE WILL /HOW HO** TO PR<SDUCC EACH OF
THE VbRtQUJ EFFECT/; F YOU WILL JTU VY THiJ
1
WAWINC7/VDO WILL FIND TH C EPFtCT/APPLliP,
.A J7GOE INTO WET J^/OrT^/TRCKE IMTQ PRY l/CGJJF*
/OME CHANGING CAN 0E DONE VfJpOnGtHG OOT OR 6Y
/^dO&OJNia WITH SRU/H ANP CLEAN WATER ANPeLOmNC,
*A WAfH FON. A PLAHeV tfOOO PROCEDURE. SON T/TIPPtE-
Y/A/H J-HOULP SE A/ FREE.&ftOAO AND DIRECT 4/ PO//I OLE .

133
OPAQUL WATER CO! .OK AS A I ONAL MEDIUM
THIN BUCK-AMJ-WHTra
OIL SnLIMBU

.-
1
 I.

HOWARD PYLE
Fortunately I am able to give you, in his own By virtue of shadow all objects of natureuK
words, the general theory of approach used by sume form or shape, for if tlxere were no shadow
Howard Pyle, as it was given out to his students. all would be a flat glare of light, color and-tBt

It has been copied and handed down from artists tare. '. , But when tlw shadow appears, tlte am
of one generation to another, I must frankly admit feet takes form and shape.
that it has passed through many hands, so there is If the edges of an object are rounded, then the

nothing to verify its absolute authenticity, but in edges of the shadow become softened; if t J
substance it is as Pyle himself wrote it down. My edges of an object are sharp, then tlie shadow is
copy was given to me some twenty years ago correspondingly acute. So, by means of the stfm

cannot now recall by whom. Since Pyle has been ness or acuteness of the shadow, t\\e roundness ot
revered as the "Father of American Illustration," sharpness of the solid object is made manifest.*
and since he gave this out freely, I believe it is Hence, it would follow tJiat the province of

proper that it should be recorded permanently shadow is to produce form and shape, and-fhat
for the sake of the craft. There may be very few, in itself it possesses no power of conveuinjjB
if any, other existing copies by now. There are impression of color or texture,
but few of his students living. Unless they like- I have tried to state these two facte because
wise set down his message, it could be lost for- they are the foundation of all picture making: for
ever. I feel fortunate in being able thus to pass in the corresponding mimic separation of light

on his words, and I assure you that you are equal- and dark, the mimic image of Nature is iniffl
ly fortunate in having them. manifest. So the function of all art instruction
should be to teach the pupil to analyze oridjw
separate the lights from the darks, not technicmt
AS TO ELEMENTARY INSTRUCTION
but mentally. That which a pupil most needs^
AS TO COLOR AND FORM
the beginning is not a system of arbitrary ri$
Light AU objects of nature are made visible and methods for imitating the shape of an ohj
to the sight by the light of the sun shining upon that which he needs to be taught is the habit of

them. The result is that by means of this we see analyzing lights and shadows and of representym
tlte colors and textures of the various objects of them accordinghj.
nature.
From this it may be seen that color and texture
HALFTONES
are the property of Ugjht and that they do not
enter the property of shadow. For shadow is 1* Halftones that carry an impression of
darkness and in darkness there is neither form nor ture and color should be relegated to the provir*

color. of light, and should be made brighter than flt|

Hence form and color belong distinctly to light appear to be.

ShadowAs the object illuminated by the sun 2. Halftones tlmt carry an impression of forM
i$ more or less opaque, so when the light of the should be relegated to the province of shadct
sun is obscured by that object, the shadow which and should be much darker than they appear!

results is more or less black and opaque, being be.

illuminated only by the light reflected into it by This is the secret of simplicity in art. The
surrounding objects. tion might he represented thus:

136
 HOWARD PYLE
LIGHT SHADOW come so confirmed, that it takes oftentimes sev-
pL^t'exture, quality, (le. form and solidity) eral years to teach them analysis and simplifica-
color)
tion, yet without this power of analysis and sim-
Higblighr-Tint- HalftcneBeflection-
plification, it is, as I say, impossible to produce
S 2
Halftone
and truly perfect any work of art. For that separa-
Shadow
S 1
tion is fundamental to the hw of Nature, and un-
becomes a habit of thought, no spontaneous
til it

K$,: as I said, the foundation of technical work of art can be produced.

M And, untU the pupil is entirely able to sepa-
me those two qualities of light and shadow from It is suggested that you read and reread this
m another in his perception, he should not be many times for your own interpretation. While it
SpancM beyond regon of elementary in-
the becomes perfectly clear in time, I, by experiment,
MictMr^no matter how clever and "fetching* have found that it talces a considerable period Jo
hfcwot&matj appear to be. And, during this prog' register in one*$ mind as to actual practice. That
tbs of instruction the pupU should be constantly this is not unusual is verified by Pyle'& own state-
mouraged with the assurance that what he is ment that it "takes oftentimes several years" be-
^K&not mere drudgery but is the necessary fore it is fuEy comprehended.
tmosssby means of whichand only by means Because of the profoundness of this theory, and
<m>htchrhe may be able to manifest the beau- the inexperience of most students in the applica-
mi thoughts that lie dormant in his imagination. tion of it, I shall presume to carry the explanation
I may say
< here, in this connection, that the of it somewhat further, with due apologies and
jmils who come to me are always so confused with the reservation that such interpretation may
<wp those two qualities of light and shadow, and be at fault because of lack of comprehension on
f/Br habit of exaggerating the halftones has be- my own part

137
 I

COMMENTS ON HOWARD PYLFS THEORY OF APPROACH

Howard Pyle is dead, but he left this treasure ment to the craft, any more than it would be
behind him. It is perhaps the greatest bequest, sible to omit the basic ingredients of, say, tfjfl

beyond the wealth in bis paintings, that our craft piece of metal. jl

could have had bestowed upon it. It is part of bis Lack of space, pressure of production time,

great mind, which has had such a profound influ- the need of the startling, the different, of shock*

ence upon American illustration. If it may seem producing effects, have had their influence jM
to the young artists of today that illustration has introduction of the candid camera and higher;

taken on different trends, let us understand that sensitivity of film, allowing the camera so tW
the difference does not lie in any change of the more latitude, has also had an effect BubiM
fundamental thoughts he has here given us. The product is no better than his, not even as

thing; be has observed and set down for us are Such changes have not lessened the validity of

without question basic truths, and it is true that his principles or their value to the artist. In^ad,

good pictures can be built in no other way. Time the good illustrations today are his principles

cannot efface those basic truths any more than walking around in new clothes.

time can efface the laws of nature, for they are Howard Pyle's mind was so analytical, so easily
one and the same. If there is any apparent differ- capable of grasping truth, that his theory as set

ence between his work and the present trend, the down probably appeared completely obvious to

difference lies in changes in concept or presenta- him. Yet I find that in most cases it is difficuH

tion rather than in changes of working knowl- grasp the bigness of it in actual practice, even to

edge. In our day a single head against a white or hope to see with anything like the understanding
tonal fiat background may be construed as an he speaks of. I admit I have read it perhaps a vM
illustration* but as such it is simply a short cut to dred times, at various periods of personal prac-

effectiveness, with most of the infinite care, the and each time there seems to be a new glim-
tice,

greatness of conception and execution, character- mering of meaning which comes out of the appli-
istic own effort, virtually absent.
of his cation I have made of it Perhaps you will get I

There is not much latitude left for the fullest faster than I. For those who do not, I offer here my
expression when all the finer qualities of com- guidance as to what was his full intent and mean-

position, tone, and pattern, light, color, and tex- ing. My interpretation is, of course, subjeeffl

ture are deleted from illustration. I cannot believe argument, and I urge you, if you believe it inoj
illustration can hold much expansion, progress, rect, to make your own. Or, you may q:

or betterment without them. Those illustrators whether it needs interpretation at all. But hay|

having the ability to express truth in beautiful worked with students, I know the danger
terms of tone, color, and design will always be suming that facts which seem quite obvious t

the ones sought out, and will stand head and you as an instructor, with a background of

shoulders above the lethargic camera copyist, or rience, will be equally obvious to the studen
the mere imitator of his neighbor's product. Our fact, he may even believe he understands
interest in Howard Pyle is not for his name or per- his own effort proves he does not. The da
sonal greatness alone, but also for the great things of a truth comes with its actual application,

he stood for. For sheer draftsmanship, keen in- the day it is heard. And at enlarges in m
sight in character portrayal, the sense of the dra- with self-discovery of its merits in its app L

matic, interpretation of mood, and the ability to His treatise begins with the statement
set his figures into an expressive and convincing things are made by the fight of the i
visible

environment, it must be honestly admitted that shining upon them* This is not meant literally, M
there is no one to equal him today. None of these even a cloudy day is lighted by the sun penenS
qualities can be dispensed with without detri- ing the white clouds, but the effect is totally ffl

138
I
I
COMMENTS ON HOWARD FYLFS THEORY OF APPROACH
m that produced by full bright sunlight. will present a very different color aspect to the
(And |toce this is a different quality of light, the same landscape than wfll midday or a grey day.
Ireati^nt of light and shadow will be correspond- All things within that light will partake of and
ingly characteristic. These statements of his we add to their local color the color of the light. The
!yze. Again, he assumes that we are intel- soil thatwould be a neutral grey on a cloudy day
tgenf|enough to reason that any light produces may become red-orange in that light. The hills
g on form, whether it cotnes from the sun, and foliage become golden, and lost in deep violet
I a epdle, or a modern electric bulb. He is speak- shadow, that earlier appeared blue-green against
g truth in very general terms, and we must blue shadow. I believe Pyle intended that we
WcnE* to light its various qualities without taking analyze our subject for these truths and abide
Btwexception to his statement by what we find to be true. He would, I am sure,
In &e next paragraph he states that color and encourage us to show all the purity of color with-
tatwjs do not enter the property of shadow, in the light that is consistent with truth, and
JTablitoo literally, that would mean that all shad- would want us to keep it in the light where it be-
B lb devoid of color and texture. Then all longs, I am equally certain that he would have
j^danrc would be neutral grey or black and per- us see shadow as it appears to us, and consistent
fatly Hat To prove he does not mean it literally, with the color as we see it. Nothing can so dull
1 sp&ks of reflected light, and admits that light our eiTort as lack of vision coupled with blind
fas f|e property of color and texture. Therefore adherence to formula. I would say to any student;
_Ked light can project color and texture into If you cannot see that which is prescribed in a
8k shadow. What I believe he wants us to under* formula, you either are not ready for it or, as far
f&nikclearly is and texture are most
that color as you are concerned, formula is worthless. For
j&riUisnt within the light, and those qualities must your vision and inteipretation come ahead of
* reduced or subordinated when entering shad- anything else in determining your place in art
ow since the main function of shadow is not to What you do in the beginning confirms neither
tttnvey the impression of color or texture, but pri- the right or wrong
what you stand for. Your
of
vily to define form. My contention, then subsequent development and perception will de-
vfcicixwiH be taken up later that color is reduced termine that. It is well to give careful attention
I intensity in the shadow, is backed up by How- to all instruction and give it a fair trial. And it is

md Fyle s own theory, winch should bring con- well, also, to give your vision every chance, un-
viction to the reader. The local color, in reduced derstanding that you do not read* a solution at
intensity, is obviously within the shadow. A red the outset of any problem. You are not in a posi-
dress is red in either light or shadow, but admit- tion to condemn instruction without trial.
Bis brighter red in the light Also, that shadow Pyle tells us that halftones belonging to the
may be influenced in color by the color of reflected light should be painted lighter than they appear
ras for example the blue of die sky. Howard to be, while those in the shadow should be painted
1-
J does not question this in his- own work, and darker, This is perfectly true. Recognizing the
k asks us to make a similar analysis. limited range of value at our disposal as compared
Since the visual qualities of color and surface with actual light, we see that it is not possible to
texture are subject to the nature and color quali- set down the full range of lightness to darkness
^f various kinds of light, it follows that both that may appear In nature. For the pictorial effect
and shadow are dependent upon light and it is necessary, as far as possible, to hold the whole
ted light, plus their color influence on local mass or contrast of light versus shadow, and to
/for the pictorial color we interpret. The keep them in simple mass relationship. Otherwise
or orange light of the late afternoon sun they may become hopelessly lost in our short
139
 '

COMMENTS ON HOWARD PYLE'S THEORY OF APPROACH

subject can become stops at the lighted surface and rests
value range. The easily

"washed out" from lack of contrast, or muddy opposite is true of shadows. We do see

because the light and shadow are too close in ows. The shadow is actually in front of
value. Pyle is saying that we cannot hope to paint
having been cast by a turn in the form orj

pictures in their true aspect if we disregard this effect of light. One is a perfect lor

natural truth. Experience convinces us that he is other, any way you take it But though
you do not believe this, try it for your- the illusion of mystery and darkness, inde|m
right. If

self.The overall relationship of light to shadow of surface and form lying deep within it, they J
than the particu- still the only transparent areas withm a?|^H
is much more true and important

lar aspect of a value which, if followed accurately, How I wish, Howard Pyle, you might speak to
J
would rob us of the feeling of light- on this point! I cannot believe that, with the gl

Suppose we compare an underexposed nega- mastery you showed in handling the trausparenj

and print with a properly exposed pair. The of shadow in your own work, you intended us ;

tive
interpret "more or less opaque" as meaning
underexposed set does not bring the values in the
light out bright enough in the black-and-white
transparency can be completely omitted. &
nor the darks low enough; the effect is dull not say "opaque," so at least you leave the doJ
scale,
open-which in itself is characteristic olyal
and lifeless. It therefore lacks proper contrast of 3

greatness. '

light to shadow.
The opportunity to study Howard PyW3[
There is only one point he makes that I have
limited, since it is becoming increasingly di
never been quite able to agree with. This is that
is

Most of the original worker

cult to find.
shadows are more or less opaque, not being in full
My con- bought up privately, and even his reprod'
light and lighted only by reflected light.
The lights have been purchased for private files. My i

tention is that just the opposite is true.

are opaque and the shadows are transparent. My may not have the privilege of being familiar]
argument is that anything in the light stops the it. do not believe either originals or plates
I

light and reflects it back at you. The only time be secured to be included here, and I th
transparent is when it can penetrate the have made a page of tonal roughs to give
light is
or idea of the excellence of his tonal arranj
material, such as water or other liquid, glass
We cannot see past or Perhaps these may suffice. I apologize for
other transparent material.
on opaque objects; our vision his work, even roughly.
beyond the light

140
TONAL SKETCHES OF SOME OF PYLE'S PICTURES

141
 THE RELATIONSHIP OF TONE TO COLOR
Before leaving the subject of tone and getting which must be adhered to if the result is to

into color, there are things of importance to be good. Outdoor color is different because of
considered. First is the relationship of tone to ent influences, such as the sky and the sun,
color. If you will think of the black-and-white being a source of color and affecting the su
value scale, then try thinking of a color arranged much differendy from the way the same sub
in the same manner from something as light as we would appear indoors in a cold light, or art
can make it down to a value almost as dark as light.

black, you will understand what is meant by Color* then, is not something in a pot or pu
"value/* or is sometimes referred to as "tone to be lightened with white, as can be done w
value" in color. Later on I shall attempt to show we arc painting in black and white. If we
you exactly how such a scale in every color can be do a study in black and white and do a good thj
accomplished. For the present, let me say that it from the standpoint of values, we certainly d
will be more than a matter of taking a color and not do it better in color just because it is

lightening it with white. Color starts in the mid- Lack of understanding of the foregoing is exa
dle of the value scale, with the strongest intensity, what makes so much tawdry and eheap-1lool.
being diluted as it lightens, or mixed with a color work in our magazines. It cannot be b
"toner" to make it relative to a whole scheme. upon the engraver; it must be dropped right in-
Then to darken it we start again at the middle of Jap of the artists, where the error truly be!
the scale, and add black, its complement, or some Most of the bad effect comes about from the t
additional mixture, to lower its value. That is why ing" of color when the painter has not the fai
good color is not so easy as good black and white. idea as to what the fundamental color truths r
If it were true that a pale-blue dress were simply are.
blue and white mixed in the light, with the pure The Form Principle is built on values, at
dark blue in the shadow, color would be easy. But cannot get anywhere without them, even in
we will find that this is not true: the pale-Hue When painting in color from a black-and-whit
dress is also a pale-blue dress in its shadow, the photo, the fundamental values that are in the

value being lowered by some means which will photo must somehow also be got into the color.
|

not destroy the "identity" of the original color- do not mean that the camera completely
is ac
will notmake it look as though the dress might rate as to values, and that because the shaita
have been made up of two shades of blue. appear black in the photograph our shadows mi
We cannot adhere to the Form Principle until be painted black also. On the contrary, we can
we can render form tones truthfully in color, as something to correct the unrelieved darkness
we do in black and white* The flesh, for instance, these shadows, throwing reflected light or "fill-

is the same kind of flesh in shadow as it is in light. lights" to bring them out of their inky blackn*
So we cannot paint it pink flesh where the light When photos are taken outdoors, the valuesj
fallsand orange flesh where it is in shadow. If fairly true and light as they should be with proj
the shadows are lighted up with a warm light, er exposure and printing, of course. If you alreac
that is a different matter, for then all the shadows have a preconceived theory that flesh in the Ik
willbe so lighted throughout the subject. Shad- is so-and-so and that shadows are some othei mi
ows can be either warmer or cooler than the light, ture, forget it at once. Flesh can be painted fr

according to the conditions we are working with. almost any palette so that the value is rightJW
The point I am trying to make is that we cannot the color consistent with the surrounding I
possibly put color into a formula of always being ments.
so-and-so. Every color subject imposes a set of The best way in the world to learn values
conditions of light, color, and reflected color well as color is to work from life. If you are wor
142
 THE FORM
ing *-*-* pah* *. We
"'Mlygoingtohave to take those things
, yo
before
PRINCIPLE APPLIED
^^^
fee squares. That is what fa meant by
r ^^
p
><! fblch are in nature s colors and
black-and-white values. You
with amcentratton and

better
study that
transpose
will find
you will do it
tionship of things to
the three squares were
one mother.
three cubes of the
valuerelationship* the three
same
the rela-
Now appose

paper squares. You

than will your films and
sensitized paper. would then have
Alwaji look for the lightest to take that relationship
thing in the light and into
m* it with the darkest
thing also in the light
light, halftone, and shadow,
deahng with solids. All the
since you would be
not i^heshadow. sides in light would
Then look for thelightest thing
still be two
tones apart, the sides
WPfV and
"P" AifaJt
Mm shadows. In manner
I the
jt
would keep the same two tones
in halftone
of separation be-
this you think of tween one another, and the
>ps of values, those in the shadows would aJso
light as opposed
shil be two tones
m the shadow. They must
not so "over-
apart on each cube. Such
rela-
tionsh.p would be set
get mixed into one of the light
do up and lost, becoming neither intensi-
ties as described previously.
- the other. The lights must
hold together The biggest obstacle to good
'ole group, while
the group of shadows work is the lack of
consistency in these
should be stepped down" enough relationships. If you work
so they also n-om life you will gradually
stem to hang together. see the truth about
values. Photos, however,
Every bit of the form especially those in which
should instantly identify
, Mm belonging to one group or
the other. Con-
a half-dozen sources of
fully mixed up in this
light exist, can get

respect.
woe-
ner your halftones always as a part of the light In other than a
sing e source of
1

Pa the planes between

the brightest light
anything in value and all
light, our cubes could get to be
the edge of the mixed up for relation-
| shadow. If you let those h3f-
^
WB get too dark, you
;.l'|* the picture
cannot hold the whole
ship. I th e same
way> so
and anything else in our
heads
pictures.
dothes ^
together-as opposed to
the You may be
effect of shadow. certain that relationship
1|| The same of values
<NBr. If you let the reflected
true of the
is
vM be more correct in a natural source
lights within the of Mela
than any other. You may
"#** too light, your picture gets mixed up be certain that if you
point the natural relationship
Unlty a " d briUiaD of value between
<*> for the over-
"Of
<^fe<*of shadowmust
things you will have a better picture.
be lower, or darker, than
So before leaving
overall effect
of light. Note that I black-and-white study (in
do not say a fact, you will
shadow value cannot never leave it), try to
be lighter in value than understand
that form is truth of tone
southing else might be in light. and nothing
else Good .
Flesh, for exam- color
faay be lighter in the shadow
(not much)
is also truth of tone rather
than brightness
Ha dark suit would be in
the light. But then
of pigment. There are
so
over faults in color work
many ways to "slick

I F* suft ag"t that flesh in shadow would that often they are not
apparent Set up a still life.
bapracticaUy black.The relationship of things Make a small black-
to and-white study. Then try
aother is the same it in color. You will
always, either in light
or thus understand
Aedow.Thot relationship must what I am talking about better
be maintained
amall circumstances. than through any language
at my disposal. You
may beheve you are good in color
Jo-make
square of
te dear - * Appose you put a value relationships, but
and also
when you really begin
in
paper on a board. Next to to
H>
pita grey one two
tones
it you see these dungs as ihey
are in Nature, you will
darker, and a third two tad many errors in your work.
tones darker than the second.
Now, you can put We
all do. Correct
values can make a picture
"Wd in any light, or turn it into shadow, have that "quality of
'
but existence."
148
 PREPARING SAMPLES IN TONE
I have tried to cover most of the tonal mediums, A few good samples will make a better impres-
and die various effects to be had out of each. sion than a lot of mediocre ones. Try not to few

However, I am limited in these to my own ap- two samples very much alike. Two or three fl
proach, as you will be to yours. If you will really rious types of heads are enough. They will show
make the effort to work in as many of them as what you can do. Babies and children alwa)ijj

possible* you will find that what you do in one make good samples. Most art directors have a

really does help you in another. You will eventu- hard time finding artists who can do them well
ally find yourself doing the same things in any Don't make great big samples, with large pack
medium that you will put into each all the
is, ages to open on the art director's time, Carry i

understanding you have of values, drawing, and portfolio that can be opened easily by untying

other qualities. Your work will take on an individ- not something that will be done up in yards o|
uality all your own, which will be evident in any cracldy brown paper, to clutter up his place. Tliaj
medium. is irritating. If you carry canvases, have theffl

There is room for good pen-and-ink men, and I framed lightly and neatly. A single piece of eorro
am quite sure that this medium is coming back gated board tied around them is best.
very strong* There is not half enough good char- For subjects, try hard to figure what yourpiotf
coal work, or carbon-pendlwork. There are only pective client would be most likely to use. School

a few really good black-and-white-wash illustra- work, unless applicable to his regular needs, wii

tors. Black-and-white oil will always be practical not interest him, especially life drawings. Donl
and desirable. Perhaps you can work m a com- take minute and careful pencil drawings around

bination of mediums to produce a new and un- as samples. Pencil drawings, unless practical fix

usual effect. Dry brush is one of die coming me- reproduction (meaning good blacks, notco
diums for newspapers as well as magazines. shiny ) are bad. However, pencil drawings sufc

One thing I would like to impress continually mitted as layout or compositional work, or even

upon every reader of this book: There is no espe- roughs and sketches, are excellent. But use acbjj

cial way that illustration is supposed to be done. fat black-looking pencil if you want to impress
Occasionally an art director will drag out another him. The work should look as if it were Sane

man's work and say to you> "Now, this is it/' After easily and fast.

things are all finished and approved, it is very easy If you use a medium that rubs, be sure it is fixe^
to say, "Do it like that!" But if you do one that is or put a sheet of tissue over it* Mat your sample
liked, someone will be telling the next fellow to do drawings and make them as neat and clean as jwtf
it your way, I repeat: There is no better way than sible. Have your name and address on the back

the way you do it best, and that is bound to be of every sample so that if an art director wishes h
yottr way, with your own taste and ability at bold it, there will be no trouble in finding you, I

work. in returning it I have seen a man lose out cm an

In the preparation of samples, do not base your order simply because the director forgot who he

work on pictures by other artists. There is noth- was and therefore could not look him up v Roat
ing wrong in working from almost any photo- expect him to remember names; he is too biis(
graphic copy for samples as long as these are not with everything else.

to be sold. The magazines are full of material The best market of all is for good drawings i
which may be used in this way. But it is better to girls. Character subjects are also good. If you lib
take your own photos, or use your own model, to work with square or compositional subject
and work up samples from these. If you look at include some as samples. If you feel you don't
nature you certainly can call whatever you do do them well, stick to heads, figures, and yi :

your own, and it is by far the best policy. nettes. If interested in still life, draw some food, or
144
 SUBMITTING SAMPLES
something packaged-something that looks as if to a purpose. That will be true of everything you
I wer|selling a product, not just a vase of flowers, ever sell. I am sure that most young artists, if they
orfru% or a few books and some eyeglasses. really thought about it, could be much better
A gipd procedure is to select an actual product salesmen than they appear to be* If you wished to
that is advertised and make your own version of sell a man a suit of clothes you would not bring
an advertising illustration for it. You can lay out in an ice box. But I have seen aspiring young art-
4e wfiole ad as a rough, using the correct name ists take "a yard of pansies," or subjects equally
plate or logotype. It looks businesslike to an art inappropriate, around to all the important art
director. directors. There is a place for calendars, fashion
La^r in the book we are going into the prepara- drawings, posters, dramatic illustrations, pretty
tion of work for the various fields of illustration, girls, foodstuffs and still life, children, or almost
[suggest you finish the book before you get too anything you want to do. But make it fit. A good
eager ito get into actual work, if you are not sample can be wrong or right according to where
already in it. it is shown. A bad sample will never be good no
I ha>e always believed that when you are in matter where shown.
yae phase of the commercial type of work, you Try not work too
to small. Make the sample
iboulclhave a weather eye out for the next. Per- as impressive as is compatible with convenience
laps you are already employed. Keep making
in carrying. Tiny heads have little appeal. Make
>etter and better samples, no matter
what you your sample from one and a half to two times
gding. They will come in handy and may the probable size of any final reproduction
Ipou along right in your own place, by le tting larger still in the case of paintings. Present
ur employers know what you can do beyond neither broadsides nor postcards. Work on good
pour regular job. If you want to be an illustrator, materials, good bristol or illustration board,
^rain be working at it all the time in your never on thin crumply paper* except in the case of
Rtime, going to school, experimenting with layouts and sketches. These are better, on a good
ediums, practicing all you can. If you have good bond layout paper so that they will not be trans-
ibits ready when opportunity knocks, you parent and show one drawing through another.
ZO up fast. If you have not taken that extra Sometimes young artists ask whether names
you will not be thought of as being ready have anything to do with getting a start. Most of
g more than the job you are doing reg- the time an need not worry about his sur-
artist

name. If you happen to have one that is very dif-

y men stay in mediocre jobs because they remember, Adolphus Hockenspieler, for
ficult to
avc really done little or nothing to get
up out example, adopt a simple one that is easier for
.Your samples are salesmen. If you have everybody. Perhaps just a part of it, like "Dolph
ed down at a place, how up again in Hocker/* Many artists use a single name, usually
ths with some new samples,
the surname, for this reason.
showing your samples around, you find The point to remember is: Do everything with-
y cause little favorable reaction at the first in your power to simplify things for the art di-
places, better get rid of them and do some rector when you approach himyour choice of
es. Good work is liked, and bad work dis- subjects,your work, your attitude, your inter-
In almost all places. Do not keep showing view, and even your name if must be. Above all,
mat has frankly been considered bad by a do not "talk up" your work or your ability. He can
esentative art buyers, decide about that for himself. You do not sell your
g in is largely adaptability. Granted you merits they sell themselves.
ility, it is a matter of adjusting that ability Now let us look at color.
145
v> **'
ft i
 PART THREE

A NEW APPROACH

J Ufc>m%/
LET US, FOR ONCE, APPROACH
COLOR AS ALSO BELONGING
TO NATURE'S GREAT PLAN
THAT ALL THINGS SHALL
EXIST IN AND BE A PART OF
ATMOSPHERE AND LIGHT.
 PRESENTING
THE SPECTRUM, AS RELATED TO LIGHT AND SHADOW
BASED ON STANDARD FOUR-COLOR PROCESS PRINTINC

This gives you the colors with the values extended from lightest

light to darkest shadow in a neutral light and without other

influence or color reflection. Consider this as "local color."

 COLOR
PttesENiiNC my readers with the problems of in their purest possible state. To these we add
ftor, Ibelieve a new approach is necessary. So white to lighten and produce tints, and black or
in ray own experience I have found that color other mixture to darken the pure colors. By the
usJiiajy approached in the sense of something intermixture of red, yellow, and blue, coupled
ichedi as some sort of special science. The dif- with black and white, it is possible to produce
of such an approach, as far as the student
Ity almost every conceivable color that will stay in
ned, lies in transposing the theory to harmony within our picture. Basically, red, yel-
life, the things about him, and applying low, and blue are used to produce every color we
Hectical way. We know that aD pictorial set down, even to the earth colors, burnt sienna,
roach: is subject to the basic truths raw sienna, and the ochres.
concern- Now let us look at the
ton| light, and shadow. If color also subject
H natural laws governing tone,
is

light, and
possibilities of the three primaries, plus black

and white. You must understand that in color

idow|which unquestionably is, then the only
it
printing our white only substitutes for white
ilori& approach to color which can be of
real paper, that the thinned-out dot on the white
lue must incorporate these principles. In fact, paper of the stronger basic color is the printer's
color without encompassing its rela- only means of getting light tints by the four^color
not only to light and shadow but halftone process. So our tints
also may not be repro-
rect of atmosphere and reflected color, is duced with absolute accuracy, since our white
us dangling in mid-air, for these things
L
may cool the color somewhat more than the white
ery color that we set down pictorially. paper mixture with the pure color. In the case of
so subject to natural laws of light and water color, where no white is used, the repro-
ig influence that it cannot be consid- duction will be more exact.
:ately as a matter of science, tempera- The three primaries, red, yellow, and blue, by
taste. To do us any good, the study of mixing in pairs produce the secondary colors of
t be closely allied to all other funda- green, violet, and orange. These, with the pri-
of art. It is so much a part of tone values maries, give us the six full-strength colors of the
as to be inseparable from them. Color spectrum. They are arranged in sequence in a
finitely a part of the Form Principle, circle. Then by mixing each with its neighbor,
may be beautiful to our esthetic sense, we get six more colors, called the tertiary colors.
le when placed within our picture. Pic- These are red orange, yellow orange, yellow
a color is beautiful only because of its green, blue green, blue violet, and red violet. We
"
ip to other color, and such relationship now have twelve colors of maximum intensity
p understood. So to pick a color from an and brilliance. Adding black and white we have
ag|eolor chart has little practical value, for our full color and color value scale.
odds are that will be totally unrelated
it
and Beginning with the pure color we can add *

orially false.
white to produce a series of tints of the pure color,
CbIo|can be bought in many hues and shades, from full strength to palest tint Beginning with
it without much real value to us at the outset. the pure color we can carry the color down to
fe test first understand that the basis of all darkness, by adding black or by mixing with the
te color we shall ever need lies in the three pri- complement, which we will speak of later.
^m red, yellow, and blue. We start with these This is where our approach will differ from the
149
 Y
ALL COLOR IS RELATIVE TO SURROUNDING INFLUENCE
FAL/E COLOR usual one. We will set about to carry any col

through all the steps from the lightest light

utter darkness. This is something of real nceesril

lo the student, but which often, lo my knowledj

has been grossly ignored. So we come to ourfe

axiom. A color is relative first to the amount

light sliming upon it which gives it lightness M
darkness. By way ol illustration, we may have
girl in a yellow dress. She may be in a bright lid

or a low light. She may be in sunlight or shadoi

THE /HADOW COIOR Therefore what we use for the color will havel
IN NATURAL LICHTCAN- come out of a scale of light to dark with due CO
NOT BE A COLOR WHICH sidcration of all other color influence. The dresi
COHTAltif NONE OFTHF
not just yellow but tones of yellow grading upai
ORIGINAL. HOWEVER.
down. Tf she were in the shadow, with the
ALL /HA DOW l/J~UB-
bit

JECTTOTHtr INFLUFNCE light of the sky as the only source of light it

OF OTHER COLOR THAT could not possibly paint the dress with onlyr*
MAY BE REFLECTED INTO yellow. So we have another axiom. Color is rd(
IT AND TUUJ MIXING WITH live tu ull surrounding color Influence. Suixkb
THE ORIGINAL COLOR.
we have color in a warm light. The warm cola

get more intense, and the colors on the cool si

tend to become more neutralized. In a cool lid

the tendency is reversed. Nature uses her thre

primaries (u product grey. Yet by the same jiroc

<*ss a great number of other colors nro produce

when the proportions arc unequal. Mixing thesj

with white, the "soft" greyed colors arc produced

In fact, with the addition of black or white to thq
/O IN THE CUBE ATTOC*
tonal colors, practically any color or tint imaf
A 6L0E LIGHT REFLECTEO
innblc can be reached. The main object in sdec
THE/HAOOWWOULD
IMTO
PRODUCE A GREEN. tion of pigment lies in brilliance and ability

mix toward the warm or cool. Since no priraarf

colors can perfectly do this, we use a "warm

cool" of each. If the color itself is warm, such a
cadmium red or vermilion, wc know it cannot

produce a good purple by mixture with Hut

Therefore we must, if a brilliant purple is nee
use a cool red like alizarin crimson with a cool,

blue like ultramarine. Always paint your subject|

TRUE as brilliantly ns possible, and
WITHOUT OTHER COLOR let the engraver
l"FLUENCE,THEJHM)OW the best he can with it, If you give him d?ad
WOULD THEN BETHE/AflE he cant make
color, any better.
it
COLO(l(OARKER)BurALJO
REDUCED I N IHTEN/I T
All colors as we see them are colors modified bv
ey \r's complement orgrey. the "conditions of the moment." Warm light givttj

ISO
 COLOR IS MORF. THAN LOCAL COLOR
;i shadow without some vellow in it. On the oilier

hand, a pink cube cannot have a red shadow,

since the local color must be consistent in either

light or shadow. No coior in shadow can hate

brighter color intensity than the same color would}
have in the light We cannot change the identity
of the local color.

In our chart yon also find a black-and-white

scale. If in your black-and-white copy the arei

you intend to paint is of a certain value, then the

color should be matched somewhere close to that

value, or you will upset the natural sequence of]

values which the light gave to the units in your
copy. The color in that instance may be of voiir

choice but the value is more or less lived to he in

scale with the rest of your picture, and should lie

SHOWING MOW BRILLIANCY MAY BEADOEO
so considered. The intensity relationship of light
BY IMTENSI TYING THCCOLOR ON THE EDGE
and shadow should be planned as carefully in

OP THELIGHTAREA NEXT TO THE ZHAO OW. color subjects as you would in black-and-white

6v mixing ltano/mdw BY INTENSIFYING HPT. renderings. Color can be made to fall into "pat-
LT UH 5 MOW LT MFT SHADOW tern." A certain value can be repeated with great

variety, holding the value but changing the color.

If the color in the shadow cannot exceed i

brilliance the local color as seen in tlie li^ht, (lie

it follows that the purest and most intense colors;

belong to the light. Note the black line in the

chart, dividing the color range into light and

/HOWING HOW DIFFERENT WHENTHE HALFTONE shadow, So die axiom, all colors in their greatest

1/MftDE BRIGHTER COLOR RATHER THAN BV intensity or tints of the pure color should ho tefe-l

/IMPLY MIXING THE COLOI2 INTHE LlCHT gated to the lights and halftones. When reaching I

WITH THE COLOR INTHE J"HADOW TO MAKE the shadow these colors are reduced or greijed,or\

THE HALFTONE. WE CANNOT* JUfT RUB* the color changed by influence of other color\

THE LIGHT AND SHADOW TOGETHER AND reflecting into the shadow.
PRODUCE ANYTHING BUT DULL COLOR. It is not necessarily true that the color in the

6UT SOMEHOW MO/TOFtj/JTILLDOIT. brightest light isalways the strongest color. Light,

being white, can dilute color, just as can the white

on your palette. In order to reach the high value

we may be forced to lighten the color. Yet on the

next planes, which are the halftone planes, color

may be more intense, being still in light. So then,

may contain
'

the halftones the most brilliant and

pure color. Color can greatly lose its [oca! color in
j

highlights, which become the white or eo!or ot the

PROVtNGTHE SAME COLOR APPEAR/ TO light source. Working directly into or against the

BE BRIGHTER AGAIN/T AGREYEDCOLOP,.

152
 COLOR IS STRONGEST IN THE LIGHT
a greater brilliancy to warm color. It subtracts
FAL/E COLOR
|
brilliancy from a cold color. Lack of light lowers

|
the tonality, bright light raises it. We call the
original color tf an object the "local" color. We
: paint local color only in neutral light.

We must look upon our chart as local or unin-

|
fluenced color. The shadow colors arc reprcsenta-
tire ol uninfluenced shadows-shadows that do
not have any other color reflected into them, in a

jatutral north light your shadows would come

[quite close to those represented, provided they
THtf l/NEITHER A
|were not otherwise affected by other influence.

chart at least will give

PINKNORAREDCUBE
This you a practical basis
by which to approach your subject. If you arc at-
ON LY A TRANSPARENT
MATERIAL COULD HAVE
tempting lc paint in color from black-and-white COLOR LIKE THI/ ( PLA/TIC,
copy, il will help a great deal. Rut in the back of GLA//.GELATINE, ETC.
as a /olio /uB-rr/Nce
lycur mind keep the following truth. AW colors be- THE COLOR IS FA L./E.
l come a source of reflected color when in light and
ms&l reflect themselves To this we
into lesser light.
adil another, All colors in shadow become rcciui-
Wt of other refected color and will change ac-
cofdinghj. This means that you must consider
each plane of the shadow area, and whether it

|
would catch the color of something else. This not
I only makes the units of your picture seem to be-
long together, it also produces harmony between
f jour color masses. It brings us to another color
THir IfAPINKCUBE
truth. Any two colors will be harmonious when COLOR CANNOT EC PURER
OO /rROMGER IMTHE/HAO
|
oneor both contain some of the other. That is why OW UNUzX/ A/IMILARffH-
ourspectrum is harmonious all the way around. ORHA/OCC* REFLECTED
INTO THAT J"HADOW,CAUJiNC
Atmosphere has its effect upon color. Colors as
AUOITJONAL BWILHANCY.
i they recede tend toward the color of the atmos-
phere. On a "blue day" they get cooler. On a i^rev
day they become greyer. On a misty day they
become tempered and finally lost in the atmos-
phere. Color on a cloudy day is much different
than on a sunny day. But whatever the condition,
nature lends some of its atmosphere to all the
colors and they thus become related. We will dis-
cuss later how you can take one color or influence
and mix it through all your colors.
We come
THI/irAREDCUBE.
to another truth. The local color
THIJ"AMDTHE PfMKCUoE
should never completely lose its identity in the LEAVE NO DOUBT AJ ro
thadow. For instance, IHF COIOOOFIha/o(.io.
a yellow cube cannot have

151
 LOOK FOR COLOR ON THE EDGE OF THE LIGHT
light forces us to put our most brilliant color in colors to look bright against Grey colors are
theghadow; since the lights are so diluted with **tonal colors,"
h'g% the shadows are our only chance. But even I have stated that the pure colors and pure tints
here we are working in reflected light against the are to be a part of the light. That is true, but it
dominant light, and much color is apparent, does not mean that aD color in the light is pure
Jjiigh not as bright as it would be with the light color, since not all local color is pure color. All
dus. our tints of the pure colors can be greyed, which
is one of the best ways in the world to increases our range of color to the skies, meaning
brilliancy of color: Keep your color most that there can be thousands of variations. For
on the edges of the limited areas, wJtere instance, we have a pure pink. But we may also
wges into shadow. This seems to cast an aura convert it to a grey pink, a dusty pink, an orange
aditional color over the whole lighted area. pink, a lavender pink, a brown pink, and so on,
J
Jtaking a local color of the light and rubbing and each may be made to run the scale from light
jto a darker color of the shadow (which most to darkness. A dusty pink dress may have to be
sdo, most of the time) produces no brilliancy, rendered all the way from bright light to deep
apt to be Just color in the light, then mud, shadow and still look like a dusty pink dress all
reduced color in the shadow. This is one of the way through. This can be done only by correct
known and least practiced truths, values and a careful adjustment of the color evi-
we come to a surprising fact. Most of the dent in the light, this being carried into the shad-
color of nature? toe find* is not pure color, ow and at the same time being lowered in tone by
from brilliant flowers, and even there to greys or neutralization.
e extent, we find that a color is tempered with Since pigment is already limited in brilliancy
color,, is greyed or influenced in some way compared with transparent or projected color,
tit is not an even flat color throughout. That tones that are grey in the light offer the biggest
our purest color for edges, accents, and problem. There is only one remedy used by most
manipulation to enhance the softer greyer good painters to keep their canvases from getting
of nature. For this reason, we cannot paint unwholesomely grey, and that is, if the color in the
ire from a tube or a pot We must relate our grey or greyed, then the color toward
light is

f- by intermixture, subordinate or intensify which the grey leans may be intensified in the
w it is most effective. In fact, we cannot sim~
halftones and also in the shadow. This amounts to
P^copy in co^ or - We must, to a large extent, cre- making the shadow slightly warmer or cooler than
iilgeolor through the truths nature gives An the color in the light. For instance,
us. we may have a
of color is much more true and effective if it grey white tone in the light. The shadow, then, in-
10 tes some of its next-door neighbors. For stead of being a mere black-and-white grey, will
ee, rather than a some of the blue
flat blue, take on more color than the light, being warmer or
and blue violet next door can be associated, Thus the shadow on white might lean to-
cooler.
d of a flat yellow, some yellow orange and ward the warmer tones of green, yellowish or
green can invade the flat color. This is an- orange grey, or lean the other way to the blues
bit of painting knowledge that can enliven and lavenders, according to the quality of the
work. Since nature is largely grey, don't be light and environment, A warm grey can thus be
of natures greys. Brightness is relative. A painted somewhat cooler in the shadow, or a cool
will be brighter against a greyed color than grey slightly warmer. This phenomenon seems to
against another bright one. Fine artists say exist in nature, possibly due to reflected color
t the greys make the picture, meaning that which is not always obvious. At any rate, it adds
j? greys are the necessary foil for the bright life to painting.

153
PAINTED WITH YELLOW AS A "TONER"

160
 )

THE LIMITATION OF COLOR IN PIGMENT

Let us understand that, after all, color is the bine to produce white in light. In pigment
most lenient and unformulated of all the funda- produce grey or brown. So colors tend to neutr
mentals. You have greater liberty here for your ize and dull one another unless considered ( I
individual feeling than in other departments of value, (2) by related harmony, (3) by color con]
your craft Good color cannot be achieved with- trast Pictures built on a few basic values, a ligh|

out intelligent approach; at the same time, good one or two middle values, and a dark, seldom g3
color, so long as all other things are well, such as dead. In the second instance, pictures built a,

drawing and tonal values, may be achieved and color sequence can hardly go dead. When color
still be wholly apart from literal fact. Indeed, if thus related it cannot neutralize itself. In the
the value is right, it may almost be stated that instance, the picture remains basically alive
the color will not look bad. It is values and tonal reason of complementary color. A color cannot
relationships that spoil more color than anything dead against its complement. (See Pages 164-1(8

else. Color is just as certainly correlative of tone for fuller discussion of related color and comp'
as tone is of line; all three are one and a part of mentary color.)

one another. All the visual effects of nature are It is when a painting becomes a hodgepodge
seen as color or as greys that can be produced by values, colors indiscriminately placed against
color. Black and white is mans invention, and another, all vying with one another for attenti
simply represents the color s value without the that the whole brilliancy is cut down. You
color. Seeing without color is either lack of per- be sure that one primary plus its neighbors,
ception or actually defective vision* opposed by its complement, will never go d
Since light has a greater range of brightness These, supported by greyed colors, with a
and darkness than pigment, then color also lias and white introduced, will always be brilli

greater brilliance in life tJian we can reach in pig- is a safe rule not to have all three primaries in
ment. Therefore we must work within the value pure state in any one picture. Tone one or
limitations of pigment, or between white, color, them with some of the other. Grey one by addin g]
and black. There is nothing else we can do about a little of its complement (a mixture of the othei

But the limitations are not as bad as they seem,

it. two). Do something so that you do not haVu
once we understand what it is all about. No color large mass of each fighting with the others. Tffl
can be made brighter than its fvR strength. It can do fight, because none of the primaries in thei

only be made lighter or darker, or less intense by original state have any ingredients in comma
mixture. It can be made to vary in hue by adding We create harmony. Until we produce a pleastnM
other colors* warmer or cooler, but nothing yet mixture, the primaries in themselves have J
known can make it brighter than white paint or harmony.
paper unless by actual additional light thrown Color may be related by painting into an
upon it Purity of pigment is not the whole objec- over undertone. In the four examples sho
tive of the painter; tone and harmony come first. yellow, a grey blue, a red orange, and a grifl
Vitality in painting comes from value relation- undertone were used. This principle applies only
ships, not the untouched rawness of pigment. to mediums that are wet, so that as we addtfl
Contrast between strong colors cannot be the overlaying colors some of the undertone become*
whole aim, for contrast is greatest when the strong mixed into them. This produces an "influenced
is pitted against the weak. all the colors, drawing them into relationship and
It is natural to assume that the picture contain- harmony. It is an excellent plan for making;
ing the largest number of colors will be the bright- thumbnails and small color sketches, and
est picture. Unfortunately, color does not work and beautiful way of producing harmony,
out that way. The reason is that all colors com- any color may be painted into the tone, so long as
154
1
 RELATING COLOR BY TONAL INFLUENCE

ICOLOR PUNTED INTO A WET YELUDW UNDERTONE SHOWING INFLUENCE QFA BtU^-aREV UN0ER-ONE

HED OR4NGE U/EO A/ iN UNDERTONE COLOR PAtNTEO INTOfi WET CTRE.EN UNDERTONE
lit takes up some of the undertone. Other good dominant characteristics of one parent; yellow
!
efftcts are obtainable with dry undertone iF some green is more like the other. When a group of col-
Hme undertone is allowed to show through. ors all contain some of one particular color or "in-

[
When we speak of color as "related" we mean fluence," then it is like n group of more distant
I that it actually contains some of the pigment of the relatives. The spectrum is like a family with three
color or colors it is put with. This is like a Mood parents. Yellow as the father would have the
relationship among humans. Green Ls like the son orange children from the red wife, and the green
fflfvrllmv and blue, being a half mixture of each. children from the blue wife. Rather complicated,
A blue green is like a child that has taken the pre- but so is color.

155
 TONING THE SPECTRUM OR PALETTE

PLU/ YEILOW

PUUJ- BLUE

PLU/ OrtEILM

Hete is another way to relate all the colors of stays pure, and so will the colors which cunbfl

your palette. Choose one color of the spectrum. the toning color. The opposite colors change.!

Mix some of it into every other color. You can have painted four heads in four schemes to show

make up to about one-

a very delicate mixture, or tliat it is possible to paint ilesh in any influence

third . The more you add, the more you are cutting Stick to your scheme when you start it. Wlicnifi

down the brilliancy of all the colors which nor- all done, you may add a touch or two of pure cold
mally contain none of the color you are adding. outside the scheme if you arc so tempted BuU

But your color will all retain its "identity," though more often you will lite it better as it was. Vyj

brought into closer harmony. The above are about beautiful color may be arrived at in this mannm

the limit of mixture. Note in each group one color My examples are only a hint of its possibilities.!

158
 FOUR SUBJECTS IN "TONED COLOR"

RED TONER
oluc ton er<
ORANGE
DON'T BE AFRAID OF THE GREYS OF NATURE

L5S
BLUE GREEN, YELLOW, AND COOL RED AS A SCHEME
COLOR CONSIDERED AS "TONE" IN ITS NATURAL RELATIONSHIP
 COLOR, ITS FUNCTION AND CHARM
Color is very much like a bank account. If you maries to anything containing the third primary,

dip into it too much soon you have none. To the and the tendency will be toward even lessM*
layman color seems quite limited, just the six pure liancy, reaching toward the greys or browr^
colors of the spectrum. He is therefore tempted to rather than making the color appear any brighter.

get all six into his subject to get what he thinks So in the primaries we really have all thte M- >

of as "full color/ He thinks in terms of so many Jiancy there is in pigment. Assuming that we start I

pans or tubes of color, using this one for this and with the brightest possible red, yellow, atiGJplu^

that one for that. If he runs out of colors then he and go from the intermixture of any two of 'these j

goes and buys some more tubes containing some- around the circle, we lay out the full gamut of I

thing still different, like a tube of magenta, so-called pure color, with all the brilliancy a* owl

maroon, or brown pink. Color is anything but disposal.

that. I shall try to point out that color works out Instead of thinking of color as being limjBl to.

in just the opposite manner. the six colors of the spectrum, think of these as

The most colorful and beautiful paintings often the heads of six great families, like six pion%r set- J
come from the restriction of color, rather than the tiers who are the foundation of the whole pppuk-
profuse application of it. Let us understand that tton to follow. Some of the strains stay pure| as for;

the color in the spectrum is really white light example all colors which have the mflttjE&ce ofi

broken down into its elements. Things have color yellow evident, or blue, or any of the six. thcui
Hi-

only because certain surfaces have the power of become so interrelated that the color becoines al-
absorbing some of the elements, and reflecting most nameless as color, and so other nan^s aw
back the others. Were there no color in light, tacked on for identification, either telling wtati
there could be no color in anything. True enough, they are made of or suggesting somethingtk)^

we can buy colors; but these are pigments, which look like. Into this group fall yellow ochOThe|
have in themselves such power of absorption or umbers, burnt sienna, cobalt, manganese, Or ceru-
reflection. Take away all light and they are color- lean blue, rose madder, crimson lake, alizaria

less and, so far as we are concerned, could all be crimson, vermilion, Venetian and Indifuh red,

so much black. gamboge, Mars yellow, and others. These are H

So to produce good color we go to the funda- ments which vary from the original primaries of

mental laws of color, that each of the primaries is the spectrum. Then we have such names as feupe,
an element of light itself. Since we cannot see chartreuse^ beige, sage, maroon, cerise, kve^der,
color beyond the spectrum with the naked eye, lemon, and others, which are mixtures whi^Saa
such as infra red, or ultra violet, color is limited be approximated in the mixtures of the primaries,
to the three elements that we can see. In pigment, This great array of names is simply confusing and
since it is not actually light, but matter, the inter- does not belong in the basic theory of color, or

mixture of red, yellow, and blue cannot produce as far as we as artists are concerned is simply, rei
white, as does light, and so produces sediment. yellow, blue, black, and white. We can staler
The colors being neutralized by one another, the subject with any red, amj yellow, or any blue of

result is darkness, either in greys, brown, or black. our choice, with good and interesting results.,

The tendency then of pigmentary color m mixing However, we are working for reproduction
if it is

is to reduce in intensity the three primaries. The logical that we start with primaries as close I
secondary mixtures of green violet and orange possible to those the printer works with. I1M&
are not quite as strong and bright as the red, yel- cure uniform results these have had to be standJ
low, and blue of the primaries. The third mixture, ardized, and so are known as standard primaries,]

called the tertiaries, becomes even less intense. They are as given in our standard color wheel

Now begin to add one color containing two pri- on page 148, and will act as a guide for you. j
162
1
 COLOR
n do nojmean that you cannot use color in any expected him to pep it up. The only way he can
m yovmish, or out of any tube with any name pep up your picture is to subtract neutralizing
opt I olily wish to point out that the engraver color.
can give you only colors that are the result of the One thing- 1 want to stress is that you cannot
nnnixQjire of the colors he must work with. If make a subject colorful by using all pure color,
hi cannot mix a color that you are using out of that k, all primary and secondary color. Color is
Bar three primaries, you can be certain he can- a plus and minus proposition. We need greyness
Et either, and softness as a foil for the brilliant areas. Every
SWhen die color of any picture comes from a part of the picture should be a part of a whole con-
rfc so|rce of a few primaries, it automatically ception, with the purest and brightest concen-
fiablishes harmony and a basic relationship of trated where it do most good Note in the
will
neto another. It can't help it, because all contain frontispiece of the book that the bright color has
ita s imei elements or ingredients, and relation- been concentrated about the girl's head, and the
is no different than in a human fam- other color is softer and more muted by intermix-
its and characteristics of the orignal ture. To keep forcing all the areas toward the six
carried into the offspring, spectrum colors sets up competition which in the
word "few" above because we can end is vying for attention and results in
'

less bril-
more latitude, if need be, than only liancy for any one area. Then there is no way to
yellow, and one blue. While I fully gain any more color. The color can be set down
t procedure, because of the fact that stronger as color, but often less beautiful. Nature
actual mixture of the ink except in is seldom one flat bright pure color anywhere. In
lying in close proximity to one anoth- made up of variety all through,
Nature, colors are
^rlapping one another, the printer s color which means warm and cool variations, or colors
,te as neutralized by mixture as our broken or blended together. The sky is not one
e we may use two of each pri- blue, the ground not one green or brown or grey.
and cool of each. This means one The foliage in the distance is quite different in
way around the circle. Therefore we color than that close by. The charm of color lies
yellow leaning toward the orange as in warm and cool variation* in the greyed or
and one toward the green as
yellow, muted color along with the pure and brilliant. If
a admium lemon. For the blue we can use a co- you can put three reds together they are more
or Ifrulean or even a little viridian mixed beautiful than one red, and this is possible by let-
nth blue for the warm blue leaning toward the ting the red lean to the warm and cool within the
green. Tjie other blue leaning toward the violet same area. It is the same with every color in the
fiuld V? an ultramarine blue. The warm red universe. Note how the color varies in a flower,
racadmium red or vermilion and the cool and how the color carried into the foliage
is and
an a|izarm crimson. Now, using the double stem. Note the great varieties of greens we have
1 1 primaries with black and white, almost any an the same subject outdoors. This does not mean
hue, or tint under die sun can be approxi- a great array of tubes of color: simply intermix-
mated, Ttese can run into thousands of variations ture of what we started with, toward the warm
m make it unnecessary for the artist even to and cool I have tried to play warm with cool
pry about anything else. Some of the brilliancy color in the frontispiece of Part Three of this book.
By be lost in reproduction, but it s better to give J

This is difficult to make clear to the student and

g Jgraver brilliancy plus, than brilliancy oftentimes to a ch'ent. Brilliance reaches a point
Bflus. He may swear at you a little, but he would of saturation beyond which there is no more. We
k m [der if you gave him a dull painting and can say that sugar is at its maximum of sweetness
163
.
 )
COLOR
in its raw state. In the same way, color is at its same is true then of each of the other two
maximum of brightness in its raw state. Too much ries* In their purest state the related grou|
raw sugar is sickening, it must be balanced with given below- But the colors may be greyedj

something else. And so is color. We can bear raw more, and as long as they contain a commqOT
bright color only so long* As, with edges, charm gredient they will be related. So the groujM
lies in the softness contrasted with the sharp, so in as follows: I
color it is the bright contrasted with the softer and

greyer colors. The greyed and more subtle color THE YELLOW GROUP
1
will be associated with good taste, just as it is in Yellow (the strain) The same effect
other uses, with now and then a splurge of color Yellow Orange duced by painting
Bed Orange yellow ( wet }un
to relieve the monotony.
Yellow Green or by mixing s

Green low into every

COLOR CONTRAST Blue Green or of your palette,;

For those who do not understand the meaning Plus any greyed color

of pigmentary complementary color, let me point containing some yellow

out that the primary complement of a color is that This produces a picture in a yellowish key
color which is farthest removed from it by mix- pervaded by a yellow light.

ture, or containing none of the original color* Thus

the complement of a primary would be a mixture THE RED CROUP
of the other two, They line up as follows: Red (the strain) Bed undertone
Red Orange influence.
PRIMARY COMPLEMENT Orange
Red Green (yellow plus blue) Yellow Orange
Yellow Violet (red plus blue) Red Violet
Blue Orange (red plus yellow) Violet
Blue Violet
The secondary complements are those con- Plus any greyed color
taining a like strain but farthest removed by mix- containing some red
ture. They line up:
THE BLUE GROUP
SECONDARY COMPLEMENT Blue (the strain) Blue undertone oS ^
Yellow Green Red Violet (both contain blue) Blue Green influence.

Blue Green Red Orange ( both contain yellow Green

Blue Violet Yellow Orange (both contain red Yellow Green
Blue Violet
The secondary complements are even more Violet
beautiful because they are related, and not quite Red Violet

at the extreme of color contrast. Plus any greyed color

containing some blue

COLOR HARMONY OB BELATED COLOR The above as applied to painting aii a.f

Since we know that we can relate any two col- "color key" for a picture. So you can paton
ors by mixing some of one with the other^ the col- yellow, red, or blue key with a wide variety off
j

ors of the spectrum fall into three groups in which feet. Or for other subjects you can go a stiOT j

each is related to the other because each contains ther and key or influence all your colors will i SHY

some of the same primary. Thus all colors con- single color* For example, blue green might H !

taining yellow are related by the yellow* The the dominant strain or inHuence througl

164
 THE PRIMARY COLOR CROUPS

THE 0LUE CTHOUP color raaiNTEDiNToacfief uNogriToNB

165
 THE PRIMARY COLOR GROUPS COLOR SHADES
the color of a moonligK^tibject, meaning not green and blue green are shades of green,
that all colors are bmfe&reen but that they are shade varying only because the proportion
tempered or Influenced by blue green. The yellow to blue is different, since both shades
effect of sn^refitionship of color is extremely tain the same ingredients. But there are raaj

beautiful So long as the dominant color is or can more shades of green, meaning that red enters
be inked from the standard primaries, it is per- mixture. We may have olive green, grey
fectly possible to reproduce it by the standard brown greens, sea green going on almost in
four-color process. nitely* These are all composed of the same i

It follows that to produce harmony and beauty friends, yellow and blue, with various p
of relationship of color throughout your subject of redj black, and white. It is obvious that all
you have the choice of them by (1) a
relating ments of a given color do not match we ha
common ingredient, (2) mixing into a wet under- great variety and assortment of them, but
tone, (3) intermixture of the color of one area cannot be inserted harmoniously into a su
into another, (4) painting the subject out of one that did not start with them in the original p
of the groups, (5) using as a palette for your sub- or the three chosen primaries of the picture.
ject any three colors each of which will contain this clear: There are three primaries of the
some of one of the three different primaries. Thus trum, but you chose your own three primaries 1

the three primaries may not need to be pure. You your picture and paint the whole thing with
can take almost any combination you choose, if and those three primaries are the parents
one contains yellow, another blue, and the third your color. They are not to be confused wi
red, in either pure or adulterated state. This re- spectrum primaries, since diey may contain
sults in what is known as "Triads." Triads are real- ingredients of the primaries. They are call
ly a means of removing color from its pure raw maries only because they are the primary
state. Thus a combination of yellow orange for to all further mixture. If you will understa
one, blue green instead of blue for number two, you will never have to worry about relating
and red violet instead of red, would be a "triad/' One remember is that pure colt
thing to
You can make a triad of secondary or tertiary col- brightened only by light itself, not white pa
ors,you can use one primary with two secondary, that is why color belongs to the light. Since it
or practically any combination you choose, so intensity in proportion to the light taken
long as they come from mixtures with the three it, we must cut down its brilliancy when w|
primaries. If you chose three colors all too close painting it in shadow, or it will be false. If
together in the spectrum wheel, such as blue, picture is bad in color by using a three-color
green blue, and blue violet, you would be so limit- it is not the fault of the color, but of value!
ed as to not have any complementary contrast, relationships of the color to light or shadow
and though the result might still be beautiful to reflected light and color.
through close relationship, it would appear "all We must distinguish "local** color as cqIot
to the blue" and the color range would be very influenced. If we throw an orange light on 3
short. It would be a beautiful combination in a or wish to make the green appear in our
fabric, but scarcely enough range for a picture. as if it were in an orange light, we must cm
This will indicate the very great variety of ap- the local color to what it appears by
proach there can be to color. orange. This is where color adheres to
What is meant by color shades is of vast impor- Principle, being color in the "aspect of
w
tance and should be clarified here. The shade of ment and influenced by its environment,
a color is the result of the proportion of its ingre- the light be cool, we would naturally add t|
dient colors, or a color plus. For instance, yellow the color.

166
 COLOR SELECTION AND BACKGROUND
iicolor of your picture should be chosen after the eye it will need startling contrast of color,
SI deliberation as to the nature of your sub- which means a play of complements. As a
really
I ject. If it must reach out and catch the eye with general rule posters, covers, and window dis-
! color, especially in competition with other plays can be built upon the principle of a primary
^cotor, then it should begin with the primaries or against its complement, or using the secondary
I color in its pure state. Purity and strength stay in complementaries. But again the subject has to do
thcRQlor longest when it contains fewest ele- with the choice of color. Some subjects that are
ments Therefore, ,
when two colors contain the bright and happy naturally call for bright color.
sanffiplements, like blue, blue green, green, and A picture of an inmate of a concentration camp
Jjlue violet, all of which contain blue* they may be would hardly be painted with bright snappy color.
r
iaiJfcwithout much loss of brilliancy. But when By understanding the mixture of color we can ap-
|
redgfcorange starts mixing into them they tend to proach its function. We can make color enter a
i neutralized, and with enough of the com- key, a mood, or reflect the spirit of the task. Know-
plementary red or orange, finally turn to browns, ing relationship , you will not paint a bright yellow
Mwbrs when mixed with their complements moon in pure blue skies. Pure or bright color blar-
became brown or grey in proportion to the amount ing out falsely in relationship does not increase
t>fm complementary added. All equal mixtures the effectiveness of an ad, even if those who do
of complements end up as the same brown when not understand color believe it does. A beautiful
mxsdfrom the same palette, for we are arriving relationship will always create better response.
ot S equal mixture of the same yellow, red, and Beautiful relationships are none the less brilliant;
hkt4$Q, in adding yellow to purple, you make the it is simply knowing how to arrive at brilliancy.
totdjmixture red plus blue plus yellow; and you If your client asks you to follow a sketch that is
are going the same thing when you add red to raw and ugly in relationship, make him a thumb-
greSi, for the sum total is then yellow plus blue nail ofa related scheme where one area partakes
jpluped, which adds up to the same thing and the of another, with a single area left pure, and let
saneeolor. Therefore all your variety of color lies him see it. The difference should convince him.
wequal mixtures of the pure or plus black or
fn
Besides color itself, every color has a value.
:<tAM- and with such understanding color be- Naturally colors close in value will tend to merge,
;<fiimunlimited, with the possibility of hundreds like a red on a green of about the same value, Tlie
df variations. yellows are in the high values > also tints of the
Here enters the important element of sim- other two, but the purples, reds, browns, and dark
plitty. We found with tone that a few simple blues hover about the same low values. So, if
all
'values make the best picture; it turns out that contrast is needed, first see that there is contrast
^ color acts the same way, for color and tone are in value,and then contrast in color will be easily
dosely allied. This is the main reason for a simple reached. Backgrounds affording contrast to ma-
palette. How simple it can be has been shown us terial in front of them must be selected this way.
ty lie great Velasquez, and Zom, Sargent, and If the contrast of value is there, the color contrast
: Zorn used a vermilion, a blue black, and
others. need not be greatly separated. Therefore a line of
ayeUowochre for many of his pictures with amaz- dark green lettering might be fine on a creamy or
ing brilliancy. This means one pure and two tan background. Most wide expanses of color
greyed colors. The brilliancy lies in the relation- should be toned down with complement or grey,
value and tone as much as in color We do to ^ive other color a chance. "The larger the area,
wt paint bright by the number of colors, but by the softer the color" is a good axiom. Avoid pri-
Ihe masses and values.
mary colors for backgrounds. Keep your bright
insider your subject and its purpose. To catch colors on your units of interest.

167
 }

WHAT TO DO WHEN YOUR PICTURE IS DEAD IN COLOR

It is important to stress here the fact that color areas fn the light. See that all three primaric

in a miniature sketch may be quite arresting and not appear in their raw state within the same pic-
pleasing because it is small. In fact, the smaller ture. If they are there, that is most of your trouble.
the area, the brighter the color that can be used. Tone two of them with the third one.

But you may find that in the final work, when the Sometimes introducing a neutral grey, a black,

sketch has been greatly enlarged, the color begins or white, or any or all of them into a subject otffl

to get a bit raw. The reason is that the color cones wise full of color will snap it up, both from a valua-
in the retina of the eye are limited. We have only standpoint and by providing suitable contrast for
so many of each that register the different color the brilliancy elsewhere. This means that you will

vibrations. The eye when taking in a large area have to sacrifice color in one place for the sake ofc

of pure color quickly tires, and to defend the color more brilliancy elsewhere.
nerves the opposite color sensation is set up. Stare If the subject persistently refuses to comd
at a bright red spot for a minute and then look at around, it means that the values are somewhere ]

a white sheet. A bright green spot will develop* "out," or that something could not be in such;

Ifyou stare at a blue spot, the image will be yel- value relationship under the existing conditions.,

low or orange. In each case it will be the comple- It means that the overall relationship of light w
mentary of the color, or the color which would shadow is bad somewhere. Remember a , color \

tone down or neutralize the original color which cannot be right witil the value is right. Also re-
1

is tiring those nerves* So the longer we look at a member, color cannot be purer and stronger hi

bright color the duller it seems to get. We can tlie sliadow than the same color appears to be m
learn from this that if we provide rest for the the light. Pictures cannot hold up if the lights are;
nerves in associating balancing colors within the cool and the shadows warm on one thing, with the
same picture, all the colors will stay bright longer. reverse of warm lights and cool shadows on an-

We therefore can associate a bright area with other within the same subject, unless by soma
greyed or muted color, or else complementary reason of reflected light and color. You can't have,
color to obtainand hold brilliancy* a hot shadow on a face that should be lighted by

When your picture is dead or unpleasant, the the blue of the sky, nor cool under planes that.

fault is usually too much raw unrelated color, should be lighted by the warm reflection of sun-

rather than not enough. It does not help to try to lit ground. Think always of the possibility offfl
pile still raw colors into the
brighter or different color of one area shining into and influencin|

thing* A battery of primary and secondary colors another.

all vying with one another can completely vitiate Overstatement of modeling or of values thatj

the whole color effect. Following are some reme- are in the light will naturally also loweT the vain*

dies for bad color* of your color and make it appear muddy. See that
Try greying all but two colors or mixing a single the lights are kept simple in relationship to simpld
two of the others, and see
color into all but one or shadows, and of consistent intensity throughout
what happens* Also look at your subject on the See that reflected lights in the shadows are not.

basis of a simpler tone plan, arranging it into a overstated or too light in value, destroying the. ;

pattern of light, middle tone, and dark* If this mass effect of the shadow as opposed to
^
cannot be done, your subject may be too broken light.

up in masses, which is just as important to color as There are a few instances where the picture i

to tone. Try reducing your whole color scheme to at fault because all the color is too grey. The on!/]
three or four basic colors from which you will mix remedy there is to intensify color at the edges 1
all the rest Take very bright and raw color out of wherever else possible* But a more common faults
your shadows. Get your brightest colors into the is too much color.
168
 THE EMOTIONAL EFFECTS OF COLOR
you are planning a subject that
must be hot metal and the bright yellow
Dv|d with for a long time, of a log fire. Cold
use the soft or tonal is blue and grey
c# unless the picture is quite small A large and and violet like the shadows on
white snow. Then think whether
very bright picture, after the color really af-
newness is gone, fects you or not
lends to get on one's nerves. Pictures
for repro^ Subjects generally cannot be painted
duction in advertising and all to one
story illustration are
for more or Jess momentary
side of the spectrum. We need some warmth
interest and therefore to balance the cool,
lend themselves to brighter
and vice versa. While either
treatment, which

& '1
Yet even here a quiet,
scheme may attract
soft,and restful
attention by deviation
is might predominate, we find
by the other. The play of warm against
in color is the source of
great charm.
that one is enhanced

cool, then,

.the usual bright color in This does not

company with it mean hot against cold or the extremes of comple-
Murals and pictures for the walls are
usually mentaries, but something varying
Wpleasing the shade of a
if held in a light high key and
color as it covers an area or
jgjfeyed in color.
comes next to another
area. For example, an otherwise flat
Psychologists tell us that yellow might
different colors do have a play of delicate pinks,
My affect us emotionally.
greens, pale orange

|
feflv
others irritate, we
and physically to some. Reds and
Some can
being almost allergic

yel-
please tints, and even blues

into it to give
and lavenders,
great charm. This does not
it

that you put colored spots

introduced
mean
all over another color.
- to excite. Greens, blues,
and greys, or The value of the original tone
[venders and purples, are more soothing must be closely
and matched and the color handled with
jrB(f|l Perhaps the quiet and restful subtlety. Too
colors of much of the complementary
color will tend to
jtoture have a lot to do
with resting our frayed mute the undercolor. If overdone,
by a vacation to the country. the purity of
Combining color will go and turn to
colors with exciting line
brown or mud. You can
(See Part One), play like colors together
c" t with wonderful effects
colors with restful line,
becomes per- such as warm greens with cool greens, warm reds
lination of line and color. Nature
with cool reds, and so on.
tonal
Keep your colors neigh-
greyed colors for the permanent
borly, or living close to
(tb greys, browns, tans,
one anotherin the spec-
greens. Her bright trum, and they will not vitiate
jwlDrg fleeting. It one another. That
reserved for flowers, skies,
is
is one reason the
color wheel looks so
iKis> insects, the glory of autumn, fresh and
fruits, and bright,because the transition from
S-things which will not be with one color to
us long, another is gradual
a great truth for art.
Speaking of transition, there is
then think of color as having what is known
emotion. as transitional color.
ly color into a lively
That is obtained by placing
subject, a red on the colors thatnormaliy fall
^skiis. If it between two colors in the
is to be two lovers in the moon- wheel at theedges between
|jet the color run to blues, these two color areas
greens, pinks, and Suppose we have then an area
H peace and quiet, let the color run
to rather bright yellow in
of red and one of
the same picture and
^s| Imagine Whistler's "Mother"
painted in touching each other. Then
igh|red or yellow! Stop the edge of the red
and think how color would be painted an orange
as it touches the
=c|^u,Thirn\ofthedarkg^ yellow Thus the
my* of a cloudy day at mid-ocean. Think of transition is made from one to
the other with great
fresh
beauty instead of harshness.
greens of spring and the pink of fruit Color offers the greatest
opportunity for the

p isoms after

H^un
a long cold winter. Think
color of ripe wheat, the

after a rain.
of the
full glory of the
Think of the red gJow of
creative part of you and
for the expression of
individual feelings. There
you must do, I am suggesting
k no law
your
to say. what
what you can do.
169
 OUTDOOR AND INDOOR COLOR
Outdoor color varies from indoor color main- lean to the warm keys with almost an all-

ly in the basic approach. In outdoor sunlight the effect of warmth. Night subjects outdoors can
light is warm, especially toward the end of the warm lights with deep blues and purples in
day. The blue sky reflecting into the shadows shadows except where such shadows are re
causes them to be generally cooler than the lights. ing warm reflected light. Lamplight and fireli
So for outdoors the effect for the most part is are unquestionably warm.
warm and cool shadows. Now, indoors, by
lights There are too many instances of illustra
studio skylight, which usually is turned to the paying no attention whatever to this phase
north as the most even and constant or unchang- color, whereby much is lost, both to them as
ing light, just the opposite is true. The room being ists and to the reader in his response. It must
lighted by the cool blue of the sky, the lights are remembered that color has a psychological efftil

cooland by contrast the shadows appear warm. upon the reader whether he is conscious of i

There should be no hard and fast rules, however, not He has sensed for himself subconsciously tl

in either ease, since in certain instances white and difference between outdoor and indoor co
dazzling sunlight may appear quite cool against perhaps without ever having analyzed it. It is

shadows reflecting considerable warm light from hard to prove the truth of this difference be
the ground. Indoors, we may actually get the sun indoor and outdoor color. One Sunday af
or reflection from other warm sources. So the only sketching outdoors will convince the artist
thing to do is to follow warm and cool color as outdoor color is nothing like the color he
you see it and feel it to be. his studio. But if he remains ignorant of this tru
We can follow the general idea that warm he can go on the rest of his life making the
lights and cool shadows give an "outdoor effect," mistakes and not knowing it
while the opposite gives one of indoors. The main Sunlight has a crispness, not only of light
thing is not to paint a girl on the beach in which shadow, but of color also, in the play of warm
painting the color appears to be indoors* Nor cool. The studio light is soft, with gentle mer
would we paint her sitting indoors with cold blue of light and shadow, and it pays to get out
shadows for no good reason. If you have an out- and find out more about it. Indoor color has
door subject it will help a great deal to make a supplied in the local color of things. Yet ou
quick outdoor study for color. There is no better even the grey things like an old weatherbea
way to sense the difference between the two. barn get full of color from the sun, the sky,
To be a good illustrator, you should get this dif- reflected warmth, plus the color they have;
ference of the qualities of your color into your their own. Rocks indoors would never look
work when needed. If you know that the subject the same rocks outdoors in color unless it

or incident is outdoors, you can contribute a great on a cloudy day.

deal more conviction and feeling to it if you place Color can be faked, but it must be un
it outside by the color you use. and worked with intelligently or it can q
Subjects indicative of night by all means should become a mess. So many artists seem to
be placed under artificial light to draw or paint a color formula, this for flesh and this for
or even photograph. The effect of a close-up arti- shadow, and so on. Nothing could be more,o
ficial light is very different from daylight or sun- track. Every subject has its own particular H
light.Night light gives a strong contrast of light aspect, and the only way to achieve the
to shadow, and this must be carried out in color, t0 g* get ^ f*om the thing itself. If we have to
in the proper set-up of values, A night subject color from black-and-white photography, we can
with and transparent shadows is most
airy, light, never do well until we have
it looked a lot at

unconvincing and false. Night subjects indoors life and Nature's color.

170
 HOW TO EXPERIMENT WITH COLOR
starting the final work in color on any
s
# ct>
Set to* habit
mfosteiy statement of
of setting down the general
ject to this
kind of approach, since they
often displayed against middle
are more
tone or dark than
it in a very small rough,
light. The outdoor billboard
N|dimension need be more than always has a white
three or four
margin or "blanking space."
pes. Flat tones are better for
this than an in-
Stating this general effect
cite statement. Try out some schemes should not mean
which more than a few minutes of work
yoMml would be related to the subject matter, per rough. Even
ifyou spend a few hours in planning
better to lay out three or four of color, it pays
these. In one
m i tonal color scheme, or all the colors contain-
good dividends. If every artist
the point of real enthusiasm
will sell himself to

Ra little of one single color. Try

one or two of
toward his subject
by such planning, it will certainly
th#olor groups, as an experiment leave its imprint
Try reducing m his work. Starting
Bthe colors with a anything i the nature of
little grey or black, saving
final work with doubt or
mor two areas to go You can try one of
in pure.
misgivings, with curi-
osity as to how another
str<pg intensity (See Part Two), or one approach might have
more worked or even with the thought
out,
bgfitnd airy, according to the that if
subject. Too much you don't like an effect it can
fijighand detail here lost
be subsequently
is motion. You are sim-
changed, all tends to produce
ply jinking of color and general worked-ovcr and
values, and it is uninspired results.
Hbecessary to go
Too many of these are very
into a lot of extra work in the bad for you,
wajrof form
and you are really working against
and drawing,
yourself as well as your
fe up your sketches and step back several feet.
client.

1 give you a page of

Jpde which one seems to your problem best.
fit
preliminary color roughs
carried a step further than
||u are undecided between
two, take the one
the original roughs, on
the page which follows.
Mb carries best at a distance.
When the effect
This would be a second
operation, or a further
#*mall rough good from a distance, you can
is
development of a very first
guite certain you have the most important
conception. My
thought was to work out
some
m worked out. The larger
one should carrv
ele- little figures undersea,
and I could have enjoyed
doing any one of them for the
*k> if you will hold
to your masses and sim-
final. You will note
that I did not confine
pfeMtement as much myself literally to the sketch
as possible,
In fact, I wonder if
pour final subject, when reproduced, the little sketch is not almost
is to be
better than the final?
You will find the charcoal
W* a white J?*&> or surrounded bv white mar- study of the figure in Part
I
m
s Sh U,d
a rough for a story
ako be
illustration,
fnc,ud ^ your rough
patches^
Two.
There is nothing so discouraging
have aas to
subject returned to
W^ey should be placed in approximate loca- you to be "pepped up" in
color, after you have put every
|tosimulate the effect of blocks bit of brightness
of text or script
you know how into it. Most of
Be story. With a rough for a magazine ad, the the time dull color
comes from not having planned
ppa spotting of headings, text, it. This is the real
nameplate, and advantage of roughs. You know
g
*m
elements should be
suggested. Thus you
work out and what is not. You
what is going to
for a whole effect m miniature and simpli-
roughs to your hearts content,
can change your
fied-statement. This may but be decided
alleviate much disap- when you approach your final.
pointment when the finished thing appears, No one can ever
be sure of an effect of color
"jleed subjects, or those until he has set it down
running to the edgQ of
and looked at it Instructions
|P*ge with no margins,
should be approxi- sometimes have a
way of sounding wonderful,
against dark tones, since but looking awful
the space beyond
J
^dge of the magazine
page most often appears
when first tried out. If the
plan is not goine
to work out, find out early
1 Boughs for lithograph
displays also are sub-
and do something
about it.
&
171
EXPERIMENTAL COLOR ROUGHS WORKED OUT
 A SUBJECT WORKED OUT IN COLOR FROM BI.ACK.AND.WHTO COPY

Li * *

i.
 WHAT IS COLOR CHARM, AND HOW CAN WE KNOW IT?

Charm in color springs from several sources. color must either be a complement ( or close to it)
Even ahead of personal taste I should put the to its background or contain the ingredients that

working knowledge of color. First and foremost are somewhat present in its surroundings. Any-

comes color relationship! which I believe has been thing becomes obnoxious when too completely

fairly well worked out here. Now personal taste dissociated from its environment. That is simply

comes along. Taste in color seems to develop the very foundation of good taste.
from extreme rawness to the more subtle gradua- Suppose a person says. "I like bright red." That
tion of color. We start out as children loving by no means indicates bad taste. But suppose he
bright red, yellow, and blue, the primaries, as it says, "I like pure red with pure yellow with pure

is logical to do, because these colors get attention blue." That would indicate a completely undevel-
among the greys of everything else. Then we be- oped color sense. Any one of the three can be

gin to love the pure tints, or the primaries diluted beautiful in a rose garden, balanced by the color

with white. So a little girl begins to love pale of its environment. Standing alone, they are raw
pinks, yellows, blues, for her dresses and hair and completely dissociated. If the brightness of

ribbons , while the boy continues with his full- a color is pleasing to us it indicates it is being seen
strength colors. He likes bright red in his sweat- in appropriateness and within a proper color set-

ers; and blues, green, and blacks. But he also likes ting. If it seems unpleasant, the trouble lies in tie
the little blond girl in her pastel shades. The sec- setting, not the color. There is nothing wrong with
ond step in the development of color taste begins bright color, we all love it. But we do not paint

to include "association," or the fitting color for its our houses with the same color we like in flowers,

purpose. The boy will wear a red sweater but not nor would we pick a suit of the same material vk
a red suit; now wants tweeds, tans or browns
he We like a red motor ear, but w-
like in a necktie.

or dark blue. The girl begins to like plaids, stripes, abhoi the same red as blood. We love a red car*
and figured material, or something having more nation, and hate red flannel underwear.

than one color. Learn to trust your instinctive feelings about J

Certain color characteristics stay on through color. When you do not like a color, do something
life in line with individual characteristics, A gay with it until you do. Grey it, tone it, change it,

person will like gay colors, a sedate and somber make a tint of it, change the value. If it is pure

individual will express himself in greyed or neu- and does not seem bright enough, you can't make

tral color selection. But assuming that we are it any brighter. So grey the colors around it until

neither all gay, nor completely sedate, most of it takes on relative brightness.

us find a logical place for each. Charm is not always brilliancy. Charm may lie
So color charm lies in the appropriate, in rela- in quiet unobtnisivencss. It may lie in variation,

tion to its purpose and its environment. I believe in subtle repetition, and in reserve. Charm in color
that much of what seems inherent bad taste in is like charm in a person, A loud blatant person
color is really lack of workable knowledge of the is hardly charming, yet a charming person may
application and association of color. have force and conviction in the right place. I

bad is usually only "out of place/*

Color that is have noticed that persons possessed of seemingly
In simple terms, that means it is dissociated bad taste in other directions invariably have bad
from and unrelated to its surroundings. The same taste in color. One who dispels all dignity and
color can be made beautiful through relationship convention, who interrupts in conversation, wbo
either by changing the surroundings or by mak- leads a generally disorganized life, would paiqt

ing a slight adjustment in the color itself. A in that kind of color.

174
 .

SHOULD WE ELIMINATE BLACK FROM OUR PALETTE?

I believe that the use of blade on the palette It is not my intention here to take issue with the
Bepe# on the craftsman's ability. There cannot
pure color theorists. I believe that in art we
should
J* a rule set up either for or against.
When your be free to follow the dictates of our vision and
picture is reproduced, you may be sure that feeling, and
black does the job better in our
if
blade plays an important part in the
final result. estimation there is no reason for not using
it. If
used intelligently as a toning agent can
Black
be the use of it, after reasonable experiment, seems
post wonderful. But the misuse of it can
certainly to work against one, by all means
dispose of it, and
produce a dull, lifeless effect.
substitute anything else that will work out
us understand that black theoretically
First let
Black considered as darkness, and not
color, is
presents darkness and loss of brilliancy.
It there- really the opposite of considering
our white as
to belongs more to shadow than to light. Rut light. The color theorists cannot dispense
with
Still there can be greyness in light, and used
white and reach the needed values. If they
can
there, its purpose is the silencing of overinsistent
produce the blacks with color, fine; but neverthe-
plor, putting it in reserve and relegating it to lessthey are still using black, whether
they mix it
per importance. Many fine painters have used themselves by neutralizing strong
colors with one
black in this way with great success. There are another, or use it ready mixed.
MgW> say blade does not exist in life and of producing the extreme darks
The one advantage
with color
fclure. That
is that
is true when speaking of black as a if we can reach the low value it need not be black.
But lack of color, greyness, and darkness
eclor.
Color if dark enough will appear black anyway.
Woes exist in Nature. To say black does not
exist I do this whenever possible,
but I still may use
jy to shadow and darkness does not exist
say that
the tube black as a toning
agent to lower the
Rail color were truly that which comes
out of our value of a color, for you may
thus hang onto the
Hjp would oe one Aing. But a tube color is
identity of a color longer than
you can by mixing
|eldom right in color, value, or tone.
Painting is it with other color.
lo much subordination as well as brilliancy.
The important thing is not how you do it,
I The greatest danger of black in the but
hands of whether you can do it. If you can
Be novice reduce a color
he makes the value with black
is that
without making it another color, throwing a
fed adds a little color. This produces an effect
known'color into shadow and making
fcucflike transparent color washed
it look like
over a black- that same color in shadow, then
fcd-|hite photograph.
any way under
The result is that all his the sun you can do it is right.
Shadows are black,
and the same black for every-
One thing you cannot do is use the pure strong
png: The good use of black never lets the
black color as shadow, simply diluting
erpower the color it is toning, or allows
the color with
the color white for the area in light. Thiswill always keep
lose its identity.
There must be some color in your color false and. cheap-looking.
^shadow, even though it gets very low in Toning color
tone, down through eight values is certainly
myjng warm colors deep in shadow is an impor-
difficult tant part of your equipment
and has much to do
ith fclack, since the mixture of black may pro- with your success as a colorist.
ice a certain coldness. In that case, a burnt sien- Nature's color most beautiful
ka should be added to the black.
is if we can but
However, you see and understand it You
Bill note in
go to her source to
our color wheel that the lowest
dark express the truth as you see it
kms to fall into place without
So you are a part
obvious change of color also. Now let us take
if color.
up other important
qualities of good pictures.

175
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.".-.?*>* -a
 PART FOUR

THERE ARE FIVE ESSENTIALS

1* Visualization

2. Dramatization
3. Characterization
4. Arrangement
5. Embellishment
 WHAT IS ILLUSTRATION?
Thehe is no better way to approach any task than the complete story without a title, text, or
to have a clear understanding of what is expected written message to help. This type you find on

of you. Just what is the need and purpose of an covers, posters using only a trade name, book jack-
illustrator? Let us understand that the primary ets, displays, or calendars. The client, therm
function of illustration is to make a graphic inter- depending entirely upon you to put over an iaS
pretation of an idea. The idea to be interpreted or arouse a desired response. Your work will tlo

must be thoroughly visualized. A completely the whole job.

abstract idea can thus be given the semblance of The second kind is that which illustrates a title,,
reality. Therefore a picture without an idea or or which visualizes and carries forward a capi*
defined purpose can hardly be thought of as an line, a slogan, or some written message used in

illustration. conjunction with the picture. Its function is to

The beginning, then, of every illustration is lend force to the message. In this group are most
really a mental procedure on the part of some- often subjects which carry brief copy for limiffl

bodyan author, a copywriter, or the artist him- reading time, such as posters, car cards, display

self. Some sort of a mental image is present and and magazine advertising. The story and picture;
transmitted to the artist, or else one is conjured function together as a complete unit.
up in his own imagination. With his knowledge The third kind is that in which the story told;
of form, light, color, and perspective, he is the by the picture is incomplete, its obvious intention
only one in the group who is able to make that heing to arouse curiosity, in short, to intrigue th$
graphic interpretation, though it may be quite reader to find the answer in the text. The third

dear in the minds of the others. Therefore, the type of illustration might be called "come on" or
illustrator's true function is to be able to grasp "guess what" pictures. Many advertisements arq

that image, or create one, and bring it to life, car- built on this plan, to insure the reading of the

rying through the intent and purpose of the idea. copy. If the story were completely told it migl^
The illustrator subordinates himself to such pur- fail in its purpose, and the script or text could!

pose, yet lends his creative skill to carrying for- easily be passed up. Unfortunately, this hap-

ward that purpose. It is important that every pens too often, and when it does, the fault liesj

young person entering the field of illustration in the conception of the picture. It may take three-
have the understanding that his job is truly one quarters of a story to get the heroine into the

of co-operation. Most successful illustrators make hero's arms, but if the reader is informed of this

every possible effort to co-operate, and to make happy result immediately through the illustra-'i

those with whom they are dealing feel that co- tion, the whole attempt of the author to maintain-

operation. This is of great importance to your suc- suspense is spoiled. Your picture may be beauts
cess as an illustrator. fully done, but utterly worthless if it gives the

story away. An artist must keep this in mind and;

THE THREE CROUPS OF ILLUSTRATION
recognize the need of co-operation. A picture;

Illustrationmay be divided into three broad which "tattles" is just as undesirable as a person:

groups. You may be called upon to do your part in who does.

any one of the groups, and you must be ready. In all art, all things work together, and *Sthe
The first kind of illustration is that which tells essentials of telling the story pictorially all blend
J

178 I
 I THE ESSENTIALS OF TELLING THE STORY
lad are dependent upon one another. It is hard
to poses or gestures, expressions and suggestion.
You
Rparate them completely, so wc shall cover the
iern might get up in front of a mirror and act the thing
foughly at first and go into more detail Inter. out, just as the characters might do. Seldom will
a passive interpretation of character
VISUALIZATION with no
emotion on your part secure more than a passive
Visualization is building up a concrete image
!

response. Every character should be as

interest-
from an abstract one. First we must endeavor to ing as possible, and his action planned.
Make
get all the facts, and then embellish those facts some little skeleton poses for gesture and try to
Kith our own imagination. After establishing our reason out the action of one character with
an-
subject as belonging to one of the three groups, let other, and the position on the floor
or a setting as
us find out the point and purpose of what we arc itwould be in a good play or movie. The artist
about to do Let us discern what the mood and
r
must be an actor at heart if he would make his
flavor of the subject is to be. Is it happy? Is it characters act in his pictures.
action, violence-busy, vital? Or is it to be sooth- The eye level chosen will determine much of
ing, restful, relaxing, consoling, or somber in its the dramatic effect. Shall we look up at them,
broach? Our subsequent decisions as to inter- down on them, or straight at them? You can jug-
pretation will depend much on
what we thus gle these characters about for space in
your pic-
determine the 'big idea" to be. Read or get the ture area, making them
good design. Remem-
fit a
Bole story before you attempt anything. Find ber that each character should have an
individual
out what the characters are like,
the setting, gen- and different pose of some kind. Don't give two
|ri accessories, and the costumes. In fact, you characters approximately the same amount of
but setting the stage for the scene, and looking
!

area in your composition if you can help

Don't it
the characters to play the parts. Can the story
i.
put your characters into the composition in
un-
\
told bestby the environment and the charac- comfortably crowded placement, or at the sides
:in it, or is it something that should
depend on with a hole in the middle of the picture.
The cen-
res and facial expression, necessitating ter area of your picture is the place
of honor, pic-
se ups" of the characters with probably only
torially, and should be given to the most impor-
it of background? In modern illustration the tant character when possible.
icters come first and the setting next. You can Drama is something you feel, and I cannot tell
getting busy with some tiny little roughs, you how to pose a model. N or would you want
T

ig things out as they suggest themselves. You me to. Dramatization is most creative on your
not hiring models yet, you want to find out part and is a chance to express your originality.
it to do with them when you do get them. Let us realize that truly to observe and appreciate
the drama of life as it is enacted we must
JUIAMATIZATION con-
sciously set ourselves apart as observers.
can We
;re is usually a dramatic way to tell a story be so much a part of it as to miss it entirely.
The
)U will think it out The first thing we think farmer sees no drama in his routine, but the play-
likely to be just about what everybody else wright does. Nellie the shop girl does not know
|uld think of. To tell it differently, don't accept she is a character full of subtle drama,
but the
.obvious thing immediately. If the story
itself author does. Drama is everywhere, and it lies
in
foot interesting, perhaps it can be made so by naturalness and truth more than in fancy.

179
 STAGING YOUR SUBJECT I

You are in the position of the motion picture haps she registers interest in the main character.

director. Suppose you lay out a little ground plan A man holds a cigarette lighter for the lady,
of the setting where the action is taking place. gers the cocktail glassanything but stiff-n

Suppose it is in a room. Place the furniture, the poses.The author or copywriter seldom gives
doorways, windows, and so forth. If you have se- anything to go by for dramatization, mainly thej

lected an interior to follow, draw the ground plan conversation, and a hint of the setting. But feB
of that. Then, to get the "feel" of the action, real fun for you, if you will get interested enough
place your figures in likely spots. in it. And it all makes "pull" and interest in your
You can turn the ground plan about for a view- pictures.

point Perhaps you want a hit of the fireplace, or CHARACTERIZATION

you want to see a face from a certain angle. On Casting the play is an important part of the^

die next page I have laid out such a plan. Then director's job, and it must be of yours, too. Y
you can drop or project the floor plan into a little try to visualize the characters as vividly as possi-

perspective elevation of furniture, interior, and ble. Sometimes you will change the character
figures. It is hardly necessary to go into compli- your model to suit the character in your story
cated perspective for such little roughs. By squar- to hunt up suitable models. It is too easy to use I

ing off the floor you can locate the units or mate- the same model two or three times in the same;]

rial. subject by just changing from blonde to bruneJ

As the movie director would do, you must de- or using a different costume. This is the lazy

cide on what he would call the "camera angle." and it is costly in the long run* If you contin

You can try the angles all around and see what show good characterization it will lend vari
you get. Shift things around at will until an your work. In the end it will keep you going wK
arrangement you like comes to light. It is a good your competitor is all through. I never beli

plan when you go to the next movie to watch the trying to make a matron out of an eighteen-yejfl
pattern compositions constantly changing before old girl by painting streaks of grey in her
you, and the placement of figures, the action and Characterization for the most part is getting

gestures. Motion pictures are in a very high sense able facts. What does an old lady's bony

the same sort of dramatization you are going really look like? How does she do her hair?
alter. If you are just sitting there following the are the planes in the jowls of an old hard-fistedl

story and constantly looking at the faces you may gambler? You cannot fake these things, and t
miss the whole good it can do you as an illustrator. tell so much when they are right There can
You may be sure the director would not let his character in an old shoe, things spread out

characters stand stiffly about as if waiting for a table in fact, all the accessories may tell a
cue to recite their lines. The ease and natural- of the life that is going on in your subject. If

ness that the actors display in their roles is half character is tired and worn, the clothes can sug-

the battle in making good motion pictures. Watch gest it. Don't be afraid of creases and wri
what the other characters are doing as the main anything but a fashion plate* Make them fall
character goes along in his part. Characters can urally into place, stressing the form more than the J

be grouped into units of pattern for your com- garment Watch for "lost and found" edges, fl
position. Some sort of emphasis may be placed on to interlace the figure with its background wherJ
certain characters by contrast of value, by lines ever possible so that the contour is not com;
leading through other characters, by color, or by defined all around. (See The Treatmen
the attention of faces turned toward them. Let Edges. ) This relieves "stiffness" of figures in
them do natural things, A girl might be taking off composition. Do not make all figures eqd
her gloves or daubing on some lipstick,, or per- important.

180
 THUMBNAIL" SETTINGS

l/T>f?AW AJM4LL CftOUNO PLAN .

4b PLAC6. FtcTOPrex AND FURNITURE,

A/IMPLE AND PRACTICAL WAYTD VI/OALIZE A /OWEa.

7HI/I_f
fTCAKfQHTYOO
/r^TED WITH A /ENXE OF REALITY. VOL) CAN LAY OUT A JHtt
PLACEMENT/ AND RCOKE ACTION, AND VIEW IT
W.TH
PROM ANY
WANCLE_
LOC.CAL

181
 HOW TO GET SUGGESTIONS FROM CLIPPINGS

Above is n typical photographic interior as it ing interiors with figures is an excellent forml

might be clipped from any one of a number of practice in dramatization and in the setting*

magazines on the market. You will need a pad of figures into an environment with respect to pe

transparent tissue paper. The object here is to spective and lighting. Establish a lighting onyj

help you visualize a situation on the tracingpapcr. rough suggestions of the figures by studying tl

Von can move the tracing paper about and, allow- lighting of the photo. You can in turn put sw

ing for perspective, thus move the furniture about lighting on your model, and set the camera!

if you wish. I do not suggest, of course, that you eye level to be consistent with the eye \e\

make a complete copy of any copyrighted mate- apparent there.

rial, but since the magazine is published to give Tf you have difficulty in placing figures !

one information and ideas as to interior decora- imagination, it is suggested that you study n

tion, there should be no objection to using it as a earlier book Figure Drawing for All It's Wort
source of information and suggestion. The point in which I have tried to give just this t\pe(
is that the clipping should not be a "swipe. "Draw- information.

182
 FIGURES SUGGESTED ON TRACING PAPER

IP-' ", ' *'*" ' *

183
 PLANNING DRAMATIC ACTION AND POSES

'
'I^Mto

184
H ESTABLISH THE ACTION BEFORE HIRING A MODEL

i nil \
l
i i ^ je^
 THE ESSENTIAL ARRANGEMENT
The manner in which a picture is conceived will The one advantage in making an absfcj

vary with every artist. In advertising commissions pattern arrangement first is that itmay s
the subject often comes to you in layout form, so much of the rest of the picture. You get i

already visualized by an artist in connection with from these abstractions as you try them out..(

the agency. These men for the most part are example* you have a dark pattern here. It

exceptionally skilled in the general presentation suggest that you use a figure in a dark
of an idea. As a general rule, however, they are the pattern is of a certain shape, it may su

interested more in placement and mass, and the some accessory, or some unit to go in the sub

detail or final interpretation of the idea is left to The pattern may even suggest the lighting, a
you. The purpose of the layout or sketch has been arrangement of figures, or shadow, a windtf
to visualize the idea generally for their own client hilt, or what not, so long as it is an int

to obtain a "go ahead'' from him before going into design. Any subject not limited in the beg
expensive art costs. Also the layout covers the to certain material or copy should alway?

entire ad, indicating main copy and placement of worked out in miniature roughs for tonal
all units to appear. Considerable latitude may be ment. May I say that the reason for the la

allowed as to poses, clothing, accessories, types, this essential arrangement in our everyday a

and dramatization. So the work I am laying out because it is not sufficiently considered by
here applies from the first rough idea, whether artist. He has a thing and copies it and puts
your own or whether turned over to you to be thing around it and calls it a job. Admittin

carried forward. subjects are not given latitude in this respect^

Arrangement as discussed here can take place can do at least the best you can, if only int

only after the idea becomes definite, supported placement of your material.
by such facts as will lend themselves pictorially. The most important element in your work*
You will begin to see how all the essentials are the thing that moves you ahead fastest, is the i

interdependent with one another and are all ception of your subjects, and it is therefore WJ
directed toward a single purpose. It is important while to give it the time it deserves. You
to have the poses fairly well conceived in rough exercise your inventive faculty if you woulde
form. The setting, if any, should also be decided truly excel. The more jobs you leave it out of
upon. At this early stage we begin to think about longer the journey.
pattern and tonal arrangement. Some artists start Thumb through a magazine. Put a check oat
with the figures and action, and develop a setting illustrations that seem to appeal to you
with them] while some even start with abstract including photos or anything else. Now go
patterns, adjusting the figure to the pattern. It and with a piece of tracing paper rough
matters little how you arrive at good design. You mass arrangement evident in the ones you
may go at it differently each time; the important You are really subconsciously partial to g
thing is the conception of your picture. The ar- sign and arrangement, and so is everybody a
rangement and design should be considered care- Design is the one way to get away from the
fully. There is no law governing arrangement; you nary. We all think we can't design, but so
must simply do what you think looks best after we do. Often design comes by seizing uponJ
trying several arrangements and selecting the one accidental. We seem to get ^hunches/' and
you feel is most suitable. Personally, I like to start are days when we design better. All we can
with a design first and adhere to it as much as to adapt the units which we have to work wi
possible. pleasingly as possible*

186
 u

ARRANGEMENTS BASED ON ONE OF THE PREVIOUS ROUGHS

irw
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WMNCT FROM THIt prey lot./ s ROUGH. TURNING THE FIGURE* AROUND AS EXPERIMENT.

fftyiNc? the. fktuiie; cioi'e up? mprov0. GE/T eeCAU/E OF DESIGN, /"TORY O0NCEHTRffrP 4

KRE NO OOUBT THAT THE CONCEPTION

If
GREY AN p PARK AREA* TOGETHER SO THAT
*A/UJECT 1/ OF CaEATER IMPORTANCE THE PICTURE 1/ BALANCED AND /POTTED
**< ANYTHING ELJE. IT PAY/ T0 XPEND CON-
INTERE/TINCLY. THE/E ROUGH/ ARE PROM
.TERaPLE TIME,OVER ROUGH* UNTIL, You THE LAYOUT PAD AND JHOW HOW ONE CAN EX-
KEL THAT YOU H^V AQOOD ARRANGEMENT PERUVTENT WITH PO/EJ, IT WOULD NOW 0E
WAN EFFECTIVE DRAMATISATION OF WE MUCH EA/IERTO PROCEED WITH THE MODEU
fejeCT. IF YOU CAN /HOW THE PACE ITU HAVING A CLEAR APPROACH IN NVlND. THE
TTER TO DO JO, TRY TO WE&VE THE LIGHT, FIR/TROUGH 1/ /ELDOM JU/T PUC7WT,
187
 EMBELLISHMENT
Embellishment as applied here is the carrying day, you badly need to explore the wealth of

forward to completion of the preliminary material things at your disposal. There is enough to spenq

you have worked out. You now seek to give your a lifetime of experiment. Do not believe yora

conception actuality. For your figures, you will approach is something narrowly limited. It isoira

go to life for character, good drawing, and the limited by keeping it so.

things which lend reality. For the tonal qualities When you are fairly well decided upon whffl

of form, go to real form. For the effects of light you would like to do with a subject, and you ha
and shadow you should look first at existing light spent some good thought over your roughs, then

and shadow. Set up your image in real life as far get out your camera and work intelligently wiLh

as possible. The mental image you have he en it. You can make it work for you in expressing

playing with must be made consistent with truth your thoughts, rather than the other way rouri,

if the thing you do is to have that "quality of of your simply accepting what it tells you.

existence" without which your work is bound to If you can get your models interested by shflffl
suffer. It is no easier to fake the truth in art than iug them the preliminary roughs and explaining

anywhere else. the story, they will do better work. Let them art
Every subject is, of course, an individual prob- out the idea before you click the shutter. Youca

lem, and should be approached for its own possi- get enthusiastic support from them by letting

bilities. Some subjects seem to call for a specific them know how important they are to the succ^
medium, or even a specific technique. Some of this effort,

should be treated delicately and others with great I personally prefer the miniature type of cam-

vitality. Herein lies the charm of embellishment. era, using the regular 35 mm. film. I like the pal

That artist is so much greater who can change chromatic or color-corrected types of film. I bs
pace, give a mood to his work, treat one thing lieve it is best for the artist to learn to take his owi

tenderly and another with power and impact. pictures rather than to depend on the commercial

That is my main reason for devoting so much of variety, because the right lighting is so impor-

this book to a variety of approach. You can keep tant. I do not like to argue with a man who knew
your work out of a rut, and ever new and inviting. his business in his own field but cannot undfl
Coupled with the variety of mediums and tech- stand that the artist's approach may be sometbhij
nique at your disposal, you have different keys else. I prefer very simple lighting to preserve the
of values, different kinds of light, such as soft, dif- form, and it's hard for those fellows not to wart

fused, or brilliant and sharp. You have the strong to insert half a dozen lights. Its even harder'
intensities of light to shadow, with little reflected explain that such copy is not worth a damn toth;
light, or the airy luminosity of the higher relation- artist who is form-conscious, and that those lights

ships, with much lighting of the shadows. You break up the very beauty that a good drawing or
have pure and intense color schemes, tonal color painting depends upon. *

schemes, and soft related schemes. You have the Make every effort that is humanly possible!
possibilities of line treatment, tone treatment, or get all the form you are going to paint, registered

a combination of the two. There is really so much in the picture you take. Form is registered trjffl

to work with in the way of approach if we will when one light shines upon the same area or sur-

but think. If you find yourself working in one face . Two lights on the same area are bound 1

medium only, doing the same things with it every destroy the solidity of the planes.

188
 USING THE CAMERA TO OBTAIN WORKING MATERIAL
Anyone working with a camera experiences the darker values of the figure against the light.
"certain disappointment at times when a .subject Strong lights placed too close to the model "burn"
(hat looked so beautiful while you were taking it your negative to dead white in the print. Move
ars quite different in the black-and-white them back, since you cannot secure such bril-
foto. Much of the loss is color and value* as the liancy anyhow, because nolhing can be lighter
tyesecs it. Much, too, is lost because the camera than the white of your printing paper.
not see in the same proportions find perspeo Unless you want very intense contrast of light
veas do the two human eyes. The three-dimen- and shadow, as for instance some copy for a black-
srortat effect is gone except in the case of a stere- and-white line drawing, it is usually necessary in
ticon camera. Objects diminish in size by indoor photography to lighten your shadows with
on of distance much more acutely in the lens a "fill hi." light, daylight, or some manner of re-
than to the eye. This will give a feeling of distor- flected light. The fluorescent lights are good for
tion, especially if (he subject has been taken at tin's, since they do not make sharp cast .shadow
close range. The values you get are the res all of within the shadow, which does not happen in na-
jhe actinic qualities of the light and film and may ture. If your subject is supposed to be Outdoors,
m quite different from the way you saw them, by all means go outdoors to take it. Nature sets
ings appeared so colorful and brilliant
that up perfect values and relationships.
ve a way of going quite dead. Then there is the Clippings seldom work out from a lighting and
verpowering array of sharp detail, which has not value relationship when von are trying to asso-
e softness as seen by the eve. ciate the materia] from one clipping into another.
For the foregoing reasons it is much better, Lighting must be consistent throughout a good
en making black-and-white copy, to choose picture, and the chances arc slim that two clips
idlings for a variety of value rather than color, will have anything like the same lighting. This Es
at is why your small pattern arrangements the main reason for securing your own "props"
onfd be well worked out beforehand. Get the whenever possible. Starting with a clip which has
ind back of and around your model
of values in a distil jet lighting, you can always adjust the light-
laid out m your toner plan. Have on hand ing in your photos to correspond
a very when you pre-
fit drape, one of light tone, a middle tone, a pare further material that must appear along with
ktone, and a black. Pin up such drapes behind the material in the clip.
r model so that the right values come to the Get the right costume if possible. Material is
t edges on the model according to your com- very hard to fake, especially folds, as you prob-
ition. If the head is to be against dark, put it ably already know. If it is not possible, get a cos-
itist dark in your copy. The values in a head tume as near to what you need as you can, at least
ipear different according to the value they are so that you won't have to fake the material, form,
against. The same values may appear dark or drape.The pattern of the costume can be
gainst light, or light against dark. changed more easily than the forms.
If you intend to show some tiling against a Indit It is wonderful practice to take some interiors,
ce, or as looking into the light, about the only draw them in pencil, and then introduce figures
y you can get good copy without fogging your of your own into the subject. Study the interior
jjjrtive is to throw a strong light on a white back- For its light tug and then try to suggest a consistent
und and then pose the figure against it r being lighting on the figures. In this way you get the
pareful to keep that light off the figure. A "fill in" "feel" of what happens to figures set into a defi-
of lower intensity can then be thrown on the nite environment under prescribed conditions of
Sgure, keeping it low enough to hold the mass of lighting and space.

1S9
 THE ILLUSTRATOR'S SCALING SCREEN '
]
Here is a simple prop for the illustrator who draw the figure proportionately. Since these
draws from photos. It is easy to build and of laid out in feet, you can also measure app
tremendous help in drawing in good proportion. mately the dimensions of material in your
Build the screen in three wings or four, at a height pings to malce the figure the right proportion |

above the average camera shot. It can be made of be within such an environment.
beaver board or any light wallboard that can be For your information, the average chair seat

painted white. Use thin black lines to mark off the eighteen inches off the floor, or one and one half
square feet as shown in the illustration. Such a of our blocks. Table height is about twenty-eight
screen will also provide a good surface over which to thirty inches, or about two and a half squares

drapes can be thrown or onto which they can be high. A standing girl is about five and one Half

thumbtacked. Then the drapes may be taken blocks and a man six. This will be clear to vou

down and an automatically scaled photograph only if you understand perspective; as I haj
taken of the subject. This gives you at once com- already warned you, without that knowledge p
plete information for setting a figure into a com- are only handicapping your future opportuniti
position. As we know, every figure should be re- All drawing is proportion and measuremeS
lated to an eye level. You can always determine first, and a statement of spaces and contour. The
the eye level in your photo by turning one of the scaling screen will help you in that, though there

end wings toward the camera. The eye level will is nothing so good as training your eyes to dffl

be on a line where the lines of the side wing con- tances and relative sizes. With some artists

verge to a point. (See Drawing.) It is simpler comes easily, others take considerable time to|
get

to find the line on the side screen that appears it, and some unfortunately never are able torn
to be most nearly horizontal. it. Hence all the artificial means of pantagraphs,
If your rough or copy determines an eye level, projectors, and other devices. But with the scalij
then set your camera up to a similar height. ( See screen, you still are doing the drawing and train

Perspective, Part I. ) It must be clear that the ma- ing yourself at the same time. You can use it m
terial from two photographs having different eye out undermining your natural ability or creatti

levels cannot be set into the same picture with- ness, and therefore it has a place here.
out adjustment and appear correct. Many art- Most artists are fairly good carpenters, buB
ists continue to disregard the simple rule that the you cannot build such a screen yourself, it would

horizon must cut across all similar figures stand- be wise to have one made, which can be don
ing on the same ground plane in the same place, quite reasonably. The screen serves other
same distance up on the figure from the
or at the purposes about a studio, such as shutting off

ground level. So if you know the horizon of your normal background when you are paint
copy would cut across the figure at the shoulders, directly from a model. The drawings on the tM
then set the camera at the line at the level of her page should clarify the use of this screen.
shoulders, and make sure it cuts all figures of your The scaling screen amounts to about the same
composition relatively. Should a figure be sitting thing as squaring off a study for enlargement, as

at a certain distance beneath the horizon, then all all artists have been doing since art began, ty
sitting figures would bear the same relation to it. have substituted the photo, to a large extent, for

The squared-off screen now gives you the rela- the preliminary studies of the Old Masters, vM
tive size of your subject throughout, making it perhaps might have used such short cuts also, had
easy to determine the proportion of one part to they been available. The main thing is not Id

another. The squares may be still further sub- let the camera habituate us to the least possib*
divided on the photo, and you can lay out a set effort. We must exercise our drawing sense or

of squares on your drawing by which you can eventually lose it.

190
 CAMERA DISTORTION

PWIORTION U/UL1INO FROMCAtlEftA 6E.NC TOO

ClOflE. CAMERA MOVED WAY BACH *NO,
FOCAL DEPTH MUCH TOO SHOOT. MOIC flZeoTHANO. UBj EC T ENLARceO.
"ANBJWtRCKfiPriN/flMEPOJ-JTiON. BETTER?

>
n /h^p ER; le;/ hair^no modeling of torm appear/' flatter".
WMY TH C "CLO/EUP"cAMeRA Dl^TORTJ".

AYCU3JB H4<moe CAMERA CA4HOT -/E6 PAIT

LI NE A .ORTHC PULL WIOTHOF
HeAOfLINEV)
FROil A GREAT E.R PIJTANCE THE FULL WIDTH
IS VIJ"| 6i_e JTOPY THIJ C.LOJTSLY.
.

THE DIFFICULT! EX OF DISTORTION LIE

NOr/OMUCM INTHE CAMERA AJ IN
NOT KNOWING rTJ- LIMITATION/.
/ORRY TO UP/ETTHE TH60RY THAT ANY PHOTO l/TPUE A",
e^CT BECALM .T/APHOTO.
 )

DRAWING TO AVOID PHOTOGRAPHIC DISTORTION

Perhaps the examples of photographic distor-

emotional qualities, must be present to make it

tion I have given you may seem a bit exaggerated art. Otherwise we could be content just to go on

and obvious. But I assure you that compared to clicking shutters. Again I want to impress upon

much yet to the young artist that art is not necessarily a framed
the way we see things in life, there is

be done in camera lenses. Since the miniature picture hanging in a museum or a private colleoJ

lens in tion. Art is all around us, for art is the expression,
camera has such a proportionately large
cuts down dis- in one way or another, of individual concept. The
relation to the pictorial film area, it

tortion greatly. But the examples here were taken smallest and cheapest commercial drawing can

be art has those qualities. Art is not imitatiof

with the best of cameras and lenses of that type, if it

proving distortion is still possible when working nor duplication, and that is why the mechanical

too close. There is distortion in the average photo camera can never become a means of produciii|

which is not obvious, but which, if followed too art. Art must flow through the camera, not into ilj

photographic look to your it starts behind it, not out in front.

closely, gives that
have pointed out these faults of the camera
work. When the squares in your scaling screen do I

not register as squares in your photo, it proves here and elsewhere so that you may watch fi|

that distortion exists and that this distortion is them and recognize them. I do not quarrel wffl

affecting the subject as much as the lines on the its limitations, for there is no question that it!

scaling screen. a marvelous instrument. But I do insist that since;

Drawing directly from life will always be the these limitations exist, they should be made

soundest approach artistically, for it takes on a known to the student. Photographs cannot fl
quality of proportion you never can get with the considered an easy way out of good draftsman's
any sense a substitution for The
a camera. I do not know enough ship, nor in it.
single lens of

about optics to explain why things at a short dis- camera should be a part of your equipment, (The
tance from the line diminish faster or get smaller projector is another matter, and I hesitate to en

than they do in the same distance from the eye. dorse it same degree, although I can
in the

There are such things as telescopic lenses, wide- dispute its value when exact and minute duplica

angle lenses, and so forth, that are more nearly tion of copy becomes necessary. But when ill

true in this respect, but when we have such per- merely a crutch, with so much potential loss of

fect instruments as our own eyes, why should we individuality at stake t I would prefer to see ftj

not train them to do the work in every case where thrown out the window.
it is possible? I grant that at times we must catch You may be sure every figure will photograph;
fast movement, expressions, or poses too diffi- somewhat shorter and thicker through the middle-;
cult to hold long enough to draw. Then let us than it really is. The proportion of the head add

use the camera. shoulders at one end of the body and the legs ad

make clear that because a photo was feet at the other will not photograph truly in
I wish to
taken from life, it must not be assumed that it is case of a standing figure unless at considerab

a perfect interpretation of life. It is not perfect more distance than we usually set the camera
from the standpoint of contour, perspective, or Always remember that the camera is totally i
tonal value. If a perfect duplication of what the partial to the good and bad in front of it, with a

eye sees were possible, would not be art. So

it still selection or discrimination. The photograph e

perfect duplication of a photo on the part of the only a record of an instant. For this it is valuab

Individual crea- Without a well-developed ability to draw

artist cannot be construed as art.

tiveness must play some part; organization and can copy distortion without realizing it, a
design, accentuation and subordination, the qual- unconsciously add a photographic look vM

ities of tone and individual technique, and the breaks down other good qualities.

194
 If CAMERA DRAMATICS
By the time you are ready for the aid of the demanded. A pretty girl may be handing you a
jjjttfiiera in dramatic interpretation you have given glass of beer from a poster, a charity appeal might
arary other consideration to your subject You have a heacl looking at you, saying, "Will you do
ikve a fairly clear idea of what you want. You your part?" This is called "direct" appeal.
lave an action or gesture in mind, or a particular Overacting is worse than not enough. Agoniz-
facial expression. Now let us talk about the actual ing over a trivial matter, or exploding with joy
dramatic interpretation. over a toothpaste, is just not natural or in good
A model is usually one of two extremes. Either taste, and the response could be negative. To get
ihehas difficulty in acting at all, or is inclined to at the most telling dramatic effect, one has sim-
overact, getting a little grotesque with her dra- ply to think of what he would do himself or what
matic sense. We may borrow the first principle of any normal intelligent and well-bred person
good acting from the dramatic schools. That is would do. There is not one set of manners for life
the unwritten law of naturalness. Only natural- and another for the stage, screen, or illustration;
ness can carry conviction, and it marks the best they all are based upon a convincing interpreta-
factor. If tins principle is true on the stage or tion of life. If bad manners are the basis of the
screen, it is also true in illustration. The action or story, then that is something else.
function should be carried completely through the Underacting may be analyzed as "stiffness,"
?lgure in the whole pose and not expressed just by This actually means rigidity of body, face, and
king faces, or "mugging," as they call it in action. So the next law of good dramatics is utter
hjmlion pictures. relaxation. The only tension present must arise
There is a good rule in dramatics that the actor from the emotional situation in the story. People
^'should never look at the audience as long as there are stiff only when dead or frightened. Hence the
is any action going on, especially when other expression of "being scared stiff," or the slang ref-
actors are on the stage. The invisible "fourth wall" erence to a corpse as a "stiff." Never let a model
^Separating players from audience lends reality pose "straight all over" that is, with head in a
I the play; you become lost in the story, totally straight line on shoulders that make a T with her
unconscious of yourself. If the actor looks at you, line of vision, no bending of spine, or turning of
you feel a certain self-consciousness, something hips, and with the weight resting equally on both
like being caught looking into a window of a feet. If you have not told her the drama you want,
place where you do not normally belong. Your that is invariably what she will do. Drop a
rcaction is that the actor is acting at you radier shoulder, twist her, turn a hip, bend a knee, get
Ifcati being a part of a story wholly separate from lier as relaxed as possible. Sitting poses straight
you. So let us make a rule. If the reader is not part in a chair with feet and knees together and arms
ejthe dramatic action, never let a character look doing the same thing on each side can be insuffer-
directly at him. ably stiff. It's up to you to get that quality out
Now we take the other extreme. Suppose we of the model, and that is the reason for planning
hrant to make a direct appeal to the observer. In poses in advance.
that case the reverse is true. The character looks Act it out as you would on the stage or as if
directly at you, with the intention of making you you were a director, for that is what you really
self-conscious to the appeal in mind. Everybody are. Otherwise you will transmit such stiffness to
Jwmembers James Montgomery Flagg's poster your work, and no matter how well you draw and
'Uncle Sam Wants You," the finger as well as the paint, nobody will forgive you for it. Believe me,
^es pointed straight at you. It was tremendously I know. Pay especial attention to the hands make :

effective* Therefore this principle is used in ad- them express the emotion of the face, make them
fVertising when character-to-reader attention is, belong in some way to the story.
19*
 PART FIVE

LOGICAL METHOD
i

1. Evolve interesting questions *

2. Answer them effectively

3. Base on desires and appeals

.
A SIMCLE LIGHTING WORKS OUT BEST
USE YOUR CAMERA TO CATCH EMOTION AND EXPRESSION
STUDYING THE CHARACTER
 THERE IS NO END TO FACIAL EXPRESSION AND CHARACTER

priKPAEZ/tON OTHER THAN A NATUftdL Qfc*& LAXEQ "ONE; EMPHA/I/ IN THE SHADOW/. KEEP THE WHOLE MAf/ OF THE LtftfT A NP
1*WT PRACTICAL TO U/E A CAMERA TOENAIL H DOWN! HO HALFTONE WILL SEPARATED FftOM TMfi SHADOW AT A MA/A REMEMBER
Ml ON HOLD AN IDENTICAL EXPOES/ION FOR MORE THAN A FEW SHADOWS ARE USUALLY DARKEST AT TH^HUMP'ORTURN O* THE FORM,
ffltt DRAW NO FAC'AL CKPRE//ION GOB/ RIffHT AACX TO THC CRl/PAGCENT/OF PARK ARE EVIDENT WHEREVER TWE FORM 1/
r

JRW PRINCIPLE '-ONCE IT J/ FORM JN THE*A/FeCTOF THi PEEPLY RCCE//EO A/ * ROUND THE EYELIDS AND CORNER/, AROUHP
IT AMOUNT/ TO CAREFUL DRAWJNC OF THE HALF TONE THE NOSTRILS, ANO CKtASBS. NO TWO FACE/ AftE ALIKE CM PORM/
LIP/,

BOW /HAPE/ THft /HAPfi ITJE LF MU/T BE RIGHT THOUCH IT
I E PtLLED I" FftHELY. ALL THESE SHAPE/SHGULO FALL INTO
A4D FIT TOGETHER LIKE THE PIECE/ OP* JIO*/AW PU*-
fftETCH (NYOURFIR/T CONTOUR/ VERY LIOHTLY, THSN THE
IJHAPES. EVERY AftEA BELONGS DEFINITELY TO CllLltfHT,
EFT0HI OftCsJ/NAOOV^- THI VALOC RANCi OM 6UCK
EuiTft f/ NOT AS CTftCAT *N PENCIL A/ TWE RANGE Of A PHOTO,
Bt? UR HALFTONE/ LI CHT, THUS ALLOWING PLENTY OF
ANO THERE POae THE TMAL SHAPES OR PLANES OFlHB FORM ILL W
ALWftY/ BE ANEW AHPPISTfNCT PROBLEM- IF YOU DO NOT STICK TO A
SIMPLE LIGHTING THE FORM OETS BROKEN OP IN TONE AND WILL
GE MORE DIFFICULT. FORM if ALWAYS OE/T IN ITS VtJRE* SIMPLE,
SOLID, Oft ^SCULPTURAL* ASPECT. A SIMPLE LIGHT rs HOST SOLI Op IF
SHADOW/ ARE TOO OLACK, REFLECT THE SAME UCHT BACK WITH A
4VHITE BOARD. TRY DRAWINC THE JNTERE/TINO CHARACTER. ' TNfi
pRECEOJNtf PHOTO/. OONT /TOP THERE, DRAW MMIV fAC WdN^OOROWrf,

inn
 MANUFACTURING CONVINCING EMOTION
Emotional gesture is a very subtle and individ- to do in that case is to walk away from your cam-
ual thing. It stands to reason that you are not era, not letting her know her smile is expression

going to be on hand to catch the genuine uncon- less. Get a cigarette, offer her one, tell her son*

scious and unaffected emotion very often. It is thing funny. The main thing is to transmit a mood
something that for the most part is going to be and it can be easily done. You are really the udot
manufactured to suit the occasion. You will find and the model is the medium, just as much a
that a great deal of it must come from yourself, your paints and materials, through whom
working through the model and the camera. This create drama and characterization. You can't n
is a technique used by many motion picture direc- at her with a "dead pan" face and tell her to smilr.

tors. I find out that if you are not self-conscious in It makes the difference between an average

acting things out for the model, she in turn will and one with that indefinable spark. Tec
not be as self-conscious in acting for you. Above an expression is nothing more than form
all, do not in any way ridicule or belittle your light, halftone, and shadow on it. But the ttffl

models* efforts. If they do not at first succeed in who will look at your picture sees a face, human

transmitting the mood and expression, tell them and expressive. I

encouragingly that they "almost have it." Repeat Imagination is contagious, mood is contagkm
the performance again, talking about the feeling and the spirit behind a picture is ninety per em
vou have about the situation, never about what of the picture. You can be alert for drama aDra
they are doing with their features* If you want time. Watch what people do, watch their hanfl
the eyebrows lifted do it with your own, saying, their eyes and mouths, their unconscious pns.
"You arc more anxious, more alarmed you are It is amazing, the changes that can come into!

Mrs. Potter of the story, wondering and fearing single face, and how expressions become
what has happened to her daughter/' It is never ciated with thoughts. It is not a bad plan to

a simple "Raise your eyebrows, please." a lot of self -posed expressions in a mirror,

If you have a radio or phonograph about, try shoot them with your camera. Find out wtnl

to have some music going akin to the mood you makes one expression dour, another elated,

want. You can also set the emotional tempo by and another frightened. All is a subtfj
horrified,

reading the copy or story aloud. If possible, let movement of the facial forms and lines. Try
her read it to you. She then instinctively becomes to draw a face that does not seem to be thi

a part of it. something.

A giggly nervous temperament is characteris- Expression is very hard to capture when
tic of so many young girls, and this is the hardest ing from life, but if you can keep the sitter inj

mood to combat to catch dramatic expression. spired and interested you can get it. I have

Once you let the giggling start, it gets worse. The large mirror on casters that can be set up beh
best way to make them snap out of it is to say: me so when I am working directly from t

"Now look, Miss So-and-so, this is no funny busi- model, she can watch the progress of the painti
ness. It's a matter of bread and butter, a job for This eliminates the tediousness of the long
vou and one for me, I picked you from a long list of sitting still. This seems especially to interest]

of models because I think you have what it takes, men, and elderly people who like to sit anywtjr

and there isn't time to start all over with some- but at the same time like to have something
body else. Let's get this thing right. Forget the occupy them.
giggles." Perhaps this may help to convince you tfatj

The other type, who cannot smile genuinely you are important to your picture. You are m
when it is needed, is another problem. Nothing relation to every part of your work. It is the net

falls so flat as an artificial smile. The t>est thing result of many things, and most of them are yo<L

200
EXPRESSIONS TELL THE STORY

/INCE DRAWING EXPRE/J-

'ON 1/ REALLY CAREFULLY
RENDERING THE FORM, DON'T
ATTEMPT TO FAKE IT. CATCH
IT FIRJT WITH A CAM.ERA.
 LOSS AND GAIN IN BACKGROUNDS
Often the question comes up as to whether or to seize upon the advantages and to allevi

not a background is advisable. Since this concerns disadvantages.

both the camera and the painted subject, a few The first thing we should look Into is tMW
suggestions here might help. within the subject which is to be cut out oq
There arc good argument. on both sides of the 1
* A distinct gain or loss of vitality may be

problem, the difficulty being mostly in the deci- expected result if no thought is given these-

sion as to when a background \$ better and when lies. If what we arc cutting out is already fl

it is not. For tin? best answer we must look to the with only delicate greys and darks to sap

subject itself, whites, the result will be negative on a

A subject cut out or vignetted against a flat background. Going back to our four basic

white background, provided that background is plans, we recall that the greatest vitality is

kept simple and uncluttered by other units, has in llie four basic tones. On the next page the

a tremendous advantage. White space is often at the top distinctly loses in punch and vital!

more telling on a page than tone. It makes a de- being placed against a white background,
sign of white area to support other design in the light m itself, the subject drops the lower
pictorial unit Jt isolates the important material the much-needed value scale, having no
.so that it can be seen easily. White space is often blacks for contrast. I should say that the

referred to as "breathing space/ It is not often head has about four times the punch when
that on a magazine page* either for story illustra- placed against the dark background, whi
tion Or for advertising, the artist may be liberal creases the attention value and gives depth t&:
with white spate. In the first pi act*, space is expen- subject.

sive on any page and it is something like asking The head at the bottom of the page will

& merchant to put but a single product in his the reverse. It is soft and grey in its envi

window, when he has fifty to sell But a single of grey background; distinct gain in vi

product well displayed in A window would prob- evident by placing the same head against vM
ably cause more comment and get more atten- What we have done here is the same thing

tion than the fifty all displayed together. did in the first instance, that of completing;!

An argument against cutting away the back- value range to take in the whole scale from
ground is that much of the three-dimensional to white. This becomes middle tone and dB
quality may be lost. The subject gets a "pasted against white* whereas the first became urfdH

on" look and sticks to the picture plane without tone and light against dark. Both,, then, accol
any feeling of recession. There is no doubt that a plish the same purpose-
feeling of depth draws the eye into a subject, just As far as the cut-out, pas ted -on effect iscfl

as the eye is instinctively drawn to a mirror, a ccrncd, much can be dune by the artist toldg
window an open door, or even a hole in the
1
some soft edges, or to carry the white ha

ground or walL The subject if cut out with a ground into the subject in some way. Thus I

sharp hard contour all around, may make the eye subject can become "interlaced" with its bi

conscious of the edge at the expense of the form; ground as all good vignettes and drawings duni
a certain cheapness may result when the subject So the subject does determine what can

is taken away from its normal relationship with done, and knowledge of these facts can
its setting. Such harshness may seem out of place ample basis for a good decision. This little pd
and irritating- A "scissors" type of edge ha-S no I em come up to greet you many times oved
will

place in art. you know how to solve it, you will often be
Jt follows, then, that if you keep the two ex- abled to make a striking thing out of some
tremes in mind, much can be done in either case that otherwise would he quite ordinary.

202
EXAMPLES OF BACKGROUND LOSS AND GAIN

203
 n
1
WHAT IS FAKING, AND WHAT IS IMAGINATION
Many students become totally confused by the effect we want without use of model or
being told at one time never to fake and at another then by all means I say to do it, 1 believe fa-jnuk*

to use their imagination. The subject is worth ing most of the preliminary work composition,
discussion here. Pictures , to be creative, call for sketches and so forth without materia! hclp^ ]

imagination; yet the things that make pictures believe the finished thing is more likely to bt cre-

great are their adherence to the laws of Nature ative. Then we can go get the facts we need to
and truth. I think the confusion can be cleared up apply where we feel the need. We also have the

and a workable basis of approach secured. means of gathering all the facts first, in stadia

Pictures may be conceived from many sources. from life, photos, outdoor color sketches, pencil

Sometimes the subject is something that has been sketches, etc. From these we may do the Uml

laid out before us in life that we recognize as being thing without further reference to them, earn-

a subject and one which we would like to do. At ing in our minds what we have learned andst-Uipg
another time a picture may be conceived to fill a it down from the imagination. You would not

need, with nothing but the imagination to start be faking a figure after the same thing had
with. Sometimes a picture is an occurrence that worked out from fact, even if you buried
can be dramatized and set forth. Or a picture may studies. Either way is perfectly sound.
be a record of something that to us is beautiful The point is, if you know a thing well enoi
and worth preserving for all to see. Sometimes a you are not "faking." A man who knows airplane)
picture is a message to reach others where words can paint one in the skies and not l>e falri

fail. Sometimes it might be just a design that has man who knows horses can paint them in
its own intrinsic beauty, as would a fine piece of And if we know the figure, we are not really fal
jewelry or other example of craftsmanship. There ing. We are setting down the culmination ofl

is such great latitude in art. great deal of study. Faking is truly bad only wid
I would say that we 'Take" things only when we do not know what we are doing. If we do ml
we are starting. It is the beginning of the setting know what the form is, we cannot hope to Aw
down of the things in our imagination. We are try- it correctly.

ing to pull something out of a state of nonexist- Color may come purely from the imaginatigl

ence into actuality. So when we "fake" a figure, and, so long as the value and relationship fl
it is to a purpose. We are taking the fastest means good, may be even more beautiful than in life.
1

of capturing the thing in mind. Once the idea is do not consider that faking. That is understa
established, we should go to real fact, and bring color.

the original conception to life by working from a Not long ago a student brought his drawings to

live model or other reality. me and exhibited a great deal of pride over the I

Whether it is faking or not depends upon what fact that he had "drawn everything out of

the artist is going after. He should not attempt head/' Considering his work from that s

to fake the effect of light on form. But I would point, it would call for considerable praise,

say that if he is trying to work out a pattern and notwithstanding his heroic attempt to lie what
arrangement, he should not always accept things thought was purely original, the drawings
as they are. He must decide whether what he is not done well enough to stand up against a pi

doing calls for a literal statement of fact or not. of really good draftsmanship. He could not h
He must look for facts and use them at his dis- to compete with those who are taking every
cretion, not just because they are facts. The artist vantage of model and copy, for he could not
has the privilege of sifting and sorting the wealth his drawings as being done without help or shi
he has to work with. He cannot use it all, nor does He might even have superior knowledge over
he want it all. If we honestly think we can get man who used a model T but it would be inevita
204
 I NEVER GUESS WHEN YOU CAN FIND OUT
th.it he would lose out against him. Perhaps a invent flora and fauna, textures, or anything else,
self-taught man should be given a great deal more without being questioned as to our imaginative
credit than a university graduate. But how we right. The only things we need be concerned
things is of less importance than the ultimate with are the misstatements, things meant to be
tBpf what we
_ do. In the final analysis the right that through our ignorance are not We can
mecUt lies only in the achievement. idealize, glorify, even distort, in art, completely
Be best artist does not fake if there is any within our rights as creative people, if our aim is
pos^sblc way to avoid it, because he has learned individual expression. Whether such liberty is
the truth itself is better than the semblance accepted by others has no bearing on the right
truth. We are limited at best in our ability to or wrong of it, for each has his right to bis own
apprehend the truth, and why burden our work taste as much as to his own religion. Every change
H ^necessary bungling? Drawing from life from the orthodox may bring about dispute, and
dres not make our work any the less original If may lessen the chance of acceptance. But setting
It have conceived a pose or even photographed aside commercial considerations, the individual's
Kind made sure that conception is well founded right to creativeness cannot be disputed.
fact, the result is none the less our own. The artist may well think of coupling his imag-
I Someone had told this particular student that ination with fact, using one or the other to best
felling from a photo was cheating. I feel that it advantage. It is certain that art lies in the imag-
no more cheating than for a carpenter to work ination as much as or more than does
it in fact.
torn a blueprint. It could only be cheating if the To deal only with fact would be to base our
Oto were essentially the property of someone thinking at the camera level
mt Even then it would be more aptly called If imagination can be cloaked with reality, it
baling, Were he to trace or directly project the would seem the logical manner of approaching
Koto onto his drawing surface, I can see some the realistic-minded, so that through this reality
Jpfe for the charge, but using a photo as a source we may carry them into our imagination. If, on
d information is parallel to a lawyers building the other hand, we give something totally impos-
I
sp bis case from his law books. sible to their own imagination, we can hardly ex-
The answer to faking lies clearly in the simple pect acceptance. We then have the choice of
wolve not to guess when you can find out. You working only to please ourselves, or of seeking
cannot argue against the man who has the facts some new means of understanding on their part.
I
djtyou have not. If the subject is to be a repre- There is nothing to stop us, for example, from
ptatioa of truth, it cannot succeed except by such innovations as Gauguin painted on his trop-
1

king true. ical island, if we are willing to segregate o m selves

lit must be remembered that any picture is an from society.
Irion to a certain extent, but it is an illusion of Perhaps Newton's laws were a departure, but
pit in space, with an imparted sense of reality, a departure conceived in truth. A steam engine
tit may be the opposite, a thing not concerned was unheard of, but based on fundamental fact.
reality, a product purely of the imagination. Its merit became a thing of purpose and value.
Hitter may in a sense have to be faked ( if we That the way
( is I like to think of the right kind
to use die word), but I prefer to think of of imagination in art* "Faking" is not the word
sort of approach as something
i feit
else. To set for it. Perhaps the best guide is to ask yourself
km one's thoughts can scarcely be construed as whether the truth that you feel inwardly is more
pbterfuge. We could paint our conception
of than you see visually, W hen you are convinced
T

lit would be like on the planet Mars. We can

it
that imagination is greater than fact, by all means
lent forms without need of censorship. We
can use it
205
AN IMAGINATIVE SUBJECT NEED NOT BE "FAKED"
 THE ORIGINALITY IS WITHIN THE CONCEPTION

A^fl Jk\

^
r

^ 4
^^. .^bi
m*
yfa^
\*W|
M ^1
1.G, %>-

iA
//
 THE PLAN OF WORKING UP A QUESTIONNAIRE
There is nothing that is quite so difficult for energy as our theme. What are its possihili

the artist as to sit down before a blank sheet of New questions come to mind. Who of the f;

paper or canvas and produce an idea. Ideas have is most in need of energy and vitality? When

a way of seemingly coming from nowhere, or as come down to hard facts, Dad's energy Is mad
the result of an experience or other suggestion. important, since the welfare of the whole fro
But there is at least a proved way which can lead depends upon him. Now, is Dad practical n
one by directing the mind into appro-
to ideas, theme in a woman's magazine? I believe so, steal

priate channels of thought and by first conceiving any wife is instinctively interested in keepf

a purpose, then attempting to meet that purpose. husband well and healthy. In fact, hero i

An idea without a purpose would seem more or rather new and different approach. By actual awl
less inane and ill conceived at best, so let us seek trast to the material usually associated with sua]

the purpose, and the idea will follow in its wake. magazines, our series must attract constdo^H

Assuming that intelligent questions will evoke attention and interest.

intelligent answers, we can begin with a ques- Now how can we show "new energy for Daffl
Take a sheet of paper and down the left
tionnaire. Suppose we show a little insert of Dad as hensd
margin write every word that you can think of to be, and a big picture of how he is now. Lei tbt

that might be the beginning of a question, or even big picture l>e full of action. From one answer if
a group of words that would Ik? the start of a ques- find he has "energy to spare," Fine! Now welhbi!
tion. Let us assume we are searching for ways and of showing energy to spare. How about played

means to advertise a product. Fill in every con- ball with the kids, when he used to mopr in a ham-
ceivable question you could ask about the prod- mock? Maybe he is springing past us on a hik^

uct. When you can think of no more, then pro- or out-hiking the kids even pushing the bbj

ceed to answer your own questions, or at least buggy. Now we have something to work wi4

try to get the information that would answer and ideas begin to take shape. Copy falls bill

them. Your subject, the theme and its pictorial line with the theme and we are all set. So gm I

presentation, is invariably hidden in the answers. you the series of layouts on page 213.

This is a means of developing and when you facts, Now suppose we get the reaction from our I
have the facts they are tangible things to work attempt that the fact that the product is a

with. Illustration of tangible facts becomes com- too subordinated, not stressed enough? Howcvq

paratively easy. It is a means of taking abstract the client likes the theme. Can we hold to lb

thought into concrete thought. theme, but stress the product more? That is ib

Facts bring up mental images. If I say the pie. We can show some delicious-looking foot

product makes one healthy, you conjure up in and subordinate the figures using them to deco-

your mind a picture of health. If I say the product rate the page. We still have something differed

makes one active, you think of activity in one form Dad can push the lawn mower, Mother thevd
or another. So that is the way the questionnaire um cleaner. We get out a recipe book and findiitf

works. Now your pencil has something to get busy what tastes good if made with cream cheese, antl

over. Little suggestions l>egin to evolve out of the again we are all set.
answers. The food pages would be best if done in cokt

In the fictitious and sample questionnaire I since black-and-white food has little appetiJi

shall give you here, I have purposely taken a appeal. Out of the same answers we could tat
taken other approaches the fine cattle, theui*
product which offhand would seem anything but
inspiring or romantic, just a hunk of plain cheese. tary production, the flavor of the cheese, U
In my answers I found myself continually but un- many vitamins and other healthful qualities.it

consciously stressing energy. So suppose we take variety of uses-

210
 SEARCHING BASIC APPEALS FOR IDEAS
Here is the almost universal procedure adopted Perhaps here and there might be a mother who
r most agencies and creative advertising depart- for some reason does not love her children. But
Advertisements are based primarily upon
its.
since the vast majority do, we cannot go wrong
>logy. Human psychology has been put with an appeal which touches upon that love for
igh such intensive tests that it becomes nri- them. Any way that such a response can be
ssary to question the theory of basic appeals, secured is almost "sure fire" This is true of so
is been proved beyond a doubt that there are many basic instincts that no thinking man need
wit in all of us basic desires and instincts, and ever say there is no basis of approach for creating
when we are reached through appeals to The
ideas. air is full of them when subjects are
we make certain definite and
ins I i nets pre- reduced to plain terms of human behavior.
ible responses. No proof is needed that a nor- The variety in humans is largely a variety of
I woman wants to be as attractive as possible, experiences and purpose. That we differ in super-
it a business executive wants efficiency, that makeup
ficial is of no great importance. One wants
llof us want more freedom. Along with the to sing, another to dance, and another to make the
Bgs people like and want, we know the things music, but want attention and
all praise. That a
normally irritate thern, or from which they man does not carry out these desires does not
it like to escape. Such things can also be mean that the basic impulse is not there, for one
iftalized upon by suggesting the avenue of man may only dream of doing while the other
ipe-for example, even a partial escape from does We have only to look analytical fy at
it. our
?fio!d drudgery for the average housewife. own desires to come fairly close to the other per-
[ On page 215 I have prepared some examples of son's. We wish to excel, to shine, and so does he-
'ideas may be developed from basic appeals. perhaps in a different manner, but just as much.
type of appeal is selected first, and then you We do not like ridicule nor chastisement, and
to think of ways that might express This neither does he. We
it.
resent too much authority:
Flhcmost direct and positive way to get reader We
lie also. both have pride. He lives much the
e, and provides a broad approach to orig- same, eating the same things, enjoying the same
litvawl creativeness. things, even, in a general way, thinking the same
things, so (hat any basis of approach that would
GENERAL APPEALS create a response in ourselves would very likely
do the same with him.
Each of these might head a whole column, but
we will but study carefully our
If acquaint-
(yarc given here merely as a jumping-off place
ances, we will have a fairly good cross section of
: others,
I people at large. A gathering in your home will not
iThe maternal instinct 8. The desire to attract differ greatly from one in mine, except in names
Hie instinct of self- 9. Love of praise and personalities. As a group they will act pretty
innervation 10. The desire to excel much the same If an idea appeals to six out of ten,
The instinct of pro- [[, Pride of ownership
it very likely will appeal to sixty out of a hundred,
Mi<m 12. The desire for atten-
or you can carry it up to thousands with approxi-
, The desire to Uee lion
mately the same percentage, presuming that al!
[Hie instinct of fear 13. The desire to domi-
iTlit! desire to be free nate are typical of normal or average people.
from pain M. The desire to In general, human emotion is fairly consistent.
1 Hie d es i re to poss ess profi t All of us register, as does a thermometer, the highs
and lows between the extremes of emotion. The
|
As long as we stick to known qualities of the important thing is to draw out the desired emo-
i ego, we can't miss by a very great margin. tion by means of basic appeals.

211
 A SAMPLE QUESTIONNAIRE
qOBSTlOKNAlRE FOR DAIfiXOOLD
(A fictitious product)

Why $hl$..7i&&Tt?L...z Because It lo pure and germ-proteetri*

v
who jAA^t..Jfem^fe4 The man who has no energy*

What K^rfA-r-.-^JT.. .?&...*. .. Supplies essential vitamins.

When All the time, if you want to be acti*.

How ..^.?.^..^fefe^
'
In many delicious ways. 1
.here &#&..&..?&!&...&?* The greatest dairy state.
7.
nri. ^...^...gftft*. Because of its richness.

It what tine *^....^..Vrt....... When tired, it brings energy to spaxej

How often At meals or between meals.

Does ***. . .jfcMfe* . .ft&-. Everybody loves it.

Should ^..^MX.e.^Vn.e.^wVfti.*.. If you want to keep up full steam*

Can .AfMMfA..Af^....^...?... Xes, young and old.

will ut.ik..-^mv4^J lea, because it's so nourishing*

Shall ^...*V^..^tJ-... By all means, for new energy.

la there *^^itVt^..^i^.^- Hot with such flavor and richness*

In what way WfcMr; . *4\ . - AflkftvL*.. All the good fats are left in.

Which 4ffi&4T.Ak*ftf&f*.A!iih*ff~{ Trults, vegetables, and starches*

Are mk$&.W&te.M*3j>J^fttto^ *
Xes, but in greater quantity.

If %^.!ltjhjt^.^^.2.^f7^^ Ion will accomplish more,

do MfA^.ft^.^.:^.?> Uore popular every day.

May ft&&4^.JtM... &.? :

Children need it.

How about a(^*JlM^f..-. Easily digested, gives them energy.

so how .4a..?....^...:# Just ask for it at your grocer* s*

But what ^^..^^..h^/^ T Send us hi 3 name, we will send it.

How much 1 A,. .-&*' Ho higher in price.

Does it . *! . *Jri . . rvi ~i > **.**. Its airtight germproof wrapping

keeps it fresh until gone*

212
 ROUGH IDEAS DEVELOPED FROM THE QUESTIONNAIRE
XM!

Dfld.our fo 'ear old lyini tip s4or] WJiflti happened -to Dad?

lAIRYCOLD DAIRY GOLD

cu&Ant ensiaj ijl

HlfiD/ EN tRQY, /d A CONTINUITY If WORKED OUT CENTERED AROUND DAD^Vcw' VITALITY.

How docs h<? doit? No ma id, no mat tor!

DAIRYGOUD OAfftrYCOLD
CREAM CH)i/
.

[PRODUCT FICTITVOUJ* BUT THE APPROACH TO THE IDEA/ 1//OOND, DAD/ VITALITY
If
IJ-

JftiTYTOTHCHOMfc. WHATHOU/eWfFe WOULD MOT BE iNTEREJTCDf Ott

WHAT HU/OANDt
213
 '

A DIFFERENT APPROACH FROM THE SAME QUESTIONNAIRE

C>*'w fo<- Me tuhoh fo>tly /news \//6a/thi ita/trf.

i'

t I

DAIRY CO LP t>AIKV<?OLD .

Cfc*AMCH&re

;/

/< Otai Sckoc/iwtcfft

L ** rtrf't^fcifcii

214
 CREATING IDEAS FROM BASIC APPEALS
I

BQNT CKY MY DAfcLIMO i>

KEW TUkfeM WAEM AtHlPXAFS

IWfnSITTLNE
^ --

fiEKfrilNClAMCSWimL
1

I- Hill: MATCfCNAL fN/riNCT IN/TH4CT TO PROTECT TME PE/1RETO ATTRACT

pAlLYLASC
WtC*OF -TE.LF-PRE/ERVATION THE DE/IRE TO E*CEL THE DEJlRE TO PftOFlT

%/ '&
&OAMBR

end'w/tafa bftftJfy

kTiOM IK
Urgentine
FOR QUICK PTEUEF
CALIFORNIA FROM /UNBURN
tin tftn\PULAUTOce^.

I DETlftE TO F|_EE FREEDOM FROM PAIN THE OE/IRE TO PO/IEff

r 215
 SCRIBBLE WHILE YOU THINK: THINK WHILE YOU SCRIBBLE

:--">

216
YOUR SCRIBBLES ARE MORE ORIGINAL THAN YOUR CAMERA
GET USED TO SKETCHING FROM LIFE

218
YOU GET SOMETHINC THE CAMERA CAN'T GIVE YOU
 SENTIMENT THE KEYNOTE OF ILLUSTRATION
Hardly is there a man or woman without senti- Breakfast food Vigor t
health, efficiency m
ment, even though it be hidden and masked over work, appetite
in defense. Let us assume that no ones life seems Vacuum cleaners Efficiency, labor saving, li

just a bed of roses. Sentiment is the bulwark that for other things

we lean upon, that makes us able to take the inev- Medicines Freedom from pain, vital

itable monotony and commonplace of life in its instinct of survival

stride. There is maudlin sentiment, of course, and Banks Security, freedom from win
sentiment dragged in by the heels. Sentiment can home, preparedness, an
be used subtly and with tact and be made a tre- tectiou

mendous asset; or it can lie like waving the flag Motors Relaxation, efficiency, hroou

after a bad vaudeville! act to get applause that travel, possession, safety

is not merited by the performance. Sentiment Furniture Beauty, design, efficiency,

must ring true to be effective. A search for real home, pride

sentiment will bring up treasures,
It follows that certain subjects will align them-
The list can go on indefinite! y. Approaching p

selves with certain psychological appeals, another

your subject in this way is ,s imply finding warn
word for sentiment. For example, a toilet soap
and means to interpret the various appeals, fbaq
associates itself with glamour, freshness the
it becomes a matter of co-ordinating the pictoriu
preservation of, or contribution toward, beauty.
fundamentals to fit the purpose, doing back own
Youth, romance, loveliness, then* is the senti-
the above list, many thoughts and pictorial soK
mental approach. Switching to a laundry soap, jects will take shape. It would not he a had \&tm
we have the sentiment of the home, the maternal
to make some little roughs of what comes toimmL]
love expressed in clean, fresh and sweet-smelling
dresses for the little girL We have the efficiency
REVAMPINC; OLD IDEAS
of the home, the economy of labor, a thousand
and one instances where the use of plain soap Here is a gold mine if approached intelligently]

expresses sentiment of some kind. Sentiment is and ethically. There is an old saying that then

attached to the cigarette through the pretty girl is nothing new under the sun. There will alwayi

and romance. Another approach is the instinct of he similar situations, similar products, and similar
self-preservation, claiming less irritation to your approaches. No one need resort to plain "swipes."
throat; the appeal of quality, claiming the best Suppose in an old magazine we find what web*
tobacco, and so on. Selling flour would naturally lieve is basically a good idea. With a new head 1

he aligned with appetite appeal, tempting food, line, a new composition or presentation, sudi

nourishing qualities, and resultant good health. revamping is done every day. Good sportsman-

After a little experience we find that psychol- ship will stop us from becoming plagiarists. Yet

ogy is definitely the basis of creative ideas. Recog- since life continues in much the same way, then

nizing the psychological realm to which a product is bound to be duplication. Seeing a picture oli]

belongs becomes almost automatic. Our real mother bathing her baby might give us a similar

problem lies in the presentation. Here are a few idea for an illustration. Such a subject could

examples of appeals and approaches: hardly be considered anyone's private properly/

But for our own pride we would present the suk

Perfume Rom an ce , a hi re
I , sedu ct i ve- ject as originally as possible- Viewed in this wajr,

ness, the sensuous, sex old magazines are a great storehouse of ideas, and

Milk Health, maternal appeal, ap- since the subjects have proved themselves worlhj
petite, home in the past, they probably will be good again.
220
 ,,

PSYCHOLOGY APPLIED TO COVERS AND CALENDARS

ideas, unless the subject is quite a gen- use of basic appeals and the questionnaire plan.
anc with possibilities for wide variation, For example, we want an idea for a cover of a
be let alone after having once appeared. boy's magazine. The questions might starts What
!f e has already shown Grandma blowing does a boy like to do most? Answer: Build things,
es football,
[dtunfc that is a specific incident Question: What does he build? Answer: Air-
t up by one particular artist, and any eth- planes, dams in brooks, huts in trees, rafts, etc.
tompetitor must regard it as his property, Suppose we take the but in the tree. Here is excel-
be repeated, However, a subject such as a lent material for experimental work. Or we could
skiis is so general that the idea itself may show the boys on a raft playing pirate. Soon we
time and again, have a sound idea.
ideas to be acceptable must be original Covers should usually be submitted in sketch
Hon, be timely t and have genera] op- form, since the subject itself may not be accept-
They should reflect popular interests such able. Covers are not easy to sell, and that is why
fashion, and other current activities, an idea should be submitted in rough form before
abould invariably display good humor and any great amount of time and effort has been put
teste. They should be free from prejudice, into it. If interested, the magazine will encourage
sectarian religion, racial intolerance, you; if not, you will soon know. If you see that
,
or bad example of any sort. If the basis the same artist is doing several covers for a maga-
idea is a prank, it should l>e wholesome zine, you may be fairly certain he is under special
t malice or abuse, arrangement or contract and that, therefore, there
rs may be based on what people like to do, is no opening for you.

they would like to be, how they live, and Color photography for covers has all but
they love. In some cases covers can be repre- crowded out the artist. However, I believe the
tive of the spirit of the magazine or even of chief reason is the dearth of good pictorial offer-
cular contents. By familiarizing yourself ings. As art really develops in tins country, I be-
the cover styles of leading magazines you will lieve we more and more of the
will see artist's
that they lean to different subjects. While work on magazine covers.
Invariably uses a pretty girl head, another
prefer the American scene. And, by the way, CALENDAR IDEAS
girl heads have been done so many times Since I intend to take up calendars as a field for
you will have a better chance if you intrc- discussion later on, I believe it will suffice here to
some new angle or idea into yours, mention the important part psychological appeal
irs fall into two broad groups: general plays in calendar art. Calendar subjects are usu-
and specific incident. All the basic appeals ally of broad appeal and only seldom use specific
be applied for sentimental response, A cover incident. The main reason is that a specific inci-
Od a broad psychological appeal has much dent, a prank, a bit of concentrated action or
chance of being accepted than one which story, is very apt to get tiresome after having been
around a specific incident. A lovely mother looked at for some months. Suspended action, in
t child, for example, is a subject of broad my opinion, is not too good for a calendar. I get
,
while a little girl playing with a lipstick a little tired of the dog retrieving the quail, of
jpecific incident. There is no basis of objec- waiting for the bass to be landed, the Indian to fall

to the first, while there might be to the off the horse, and so on, There is great room for
d. improvement in calendar illustration. I look upon
however, you wish to do a "specific inci- it as one of the great opportunities for the artist
:"
cover, you can also develop this through of tomorrow.

221
 :

THERE IS EVEN PSYCHOLOGY IN COMIC IDEAS

Sentiment may be applied in comics in for- My personal experience in comic fields

ward gear or the reverse We can appeal to sym- most limited, but I number several well-kn(

pathy and human understanding, or we can make comic artists among my acquaintances. Strangely

light of it, even to the point of ridicule. No one can enough, I find that the producer of comics 3
prescribe an exact formula for comics, since the rather serious by nature, until called upon to tell

humor rests in the specific interpretation of an a story, when the rare ability comes Out I would:
idea, but formula is used, consciously or subcon- say that the comic field, above all others, calls f 3
by the best humorists, and it is all based
sciously, individuality and originality. Plain exaggeration 1

on human psychology. of drawing is not enough for comedy approach;;

Some tried and true formulas may be listed: keen observation of human traits and responses is
1. Outraged dignity 8. Unexpected oppor- wrapped up in good comics. The idea is of morej

2. Creating the unex- tunity to get even importance than the drawing. In fact, some S
pected 9> Flouting convention our best comic artists are not good draftsmen
3. Making the serious 10, Reversing logical all, and are funnier because they are not
ridiculous outcome there is no doubt that characterization can
4. Making the ridicu- 11. Slapstick
a part in pictorial humor, and I do not believe a 1

Ions serious 12, Getting out of a pre-

knowledge of construction, even composition^
5. The weak outsmart- dicament
ing die strong 13. The pun (play on can hurt a good humorist.
Comics may be sold
'

6. "The transgressor words) direct, or, as in the case oi

coming to grief 14, Tlie gag (funny lii- newspaper cartoonists, through a syndicate,
7> Turning the tables cident) order to sell a daily strip, several months of

The psychology behind getting a laugh is a strips must be prepared in advance. Some
quick twist of the emotions, a surprise maneuver, toonists are kept on salary by the newspaper*:
a sudden reversal of thought. It has been said by themselves. Others work as free-lance cartoons
humorists that there are only about a dozen basic selling where they wish. Information as to
jokes, and the joker works with new variants of location and names of syndicates may be had
these. Wisecracks are so familiar that they can writing to newspaper offices.
almost all be sorted into types, yet they go on Many artists treat comics as a sort of side iss
making fortunes for the wisccrackers. Much cap- because of the highly speculative nature of
ital is made of the fact that there is something field- A comic artist must be unusually good
funny in seeing the other fellow suffer-^jerhaps get into a syndicate, but Jf he does, it can
an outlet for a rather sadistic streak in humans. highly remunerative even one of the highest-;

To see a chair break under a person, even if he paying branches of the craft.

gets a splinter in his 'posterior, can be uproari- Comic drawings should be kept simple, with?
ously funny to everybody but the owner of the out a great deal of complicated tone or moc
posterior. To slip and fall down In a mud puddle of form. They should be held mostly to

is nothing short of a side show for the onlookers, Elaboration tends to reduce the comic fla\

especially if the unlucky victim falls face down. rather than enhance it. The drawings should
To bend over and have a seam burst is terrific, kept "open" and capable of considerable reck<
even though it happens to a good suit. Once I saw tion. There can be various degrees of exag
a man snipping off Christmas neckties at the knot, tk>n, though I think it will be conceded that

with everybody loving it but the gentlemen so comic drawing should contain some distortion

snipped. All such things are comic ideas, A laugh exaggeration. Otherwise, it remains a seri

comes from a comic idea, or a predicament, or drawing which, in spite of a humorous idea,

from a twist of the serious to the ridiculous. likely to be accepted without a smile.
222
 IDEAS IN GENERAL
As one becomes experienced in various
fields 9, Has been noticed and commented upon
it
of illustration, it becomes apparent that ideas are without your calling attention to it?
often closely related. An
idea for a magazine ad 10. Can you honestly say it is all your own?
may very well !>e incorporated into a poster or dis-
play. The variation is in the presentation. Time The foregoing test may be considered some-
is the factor which really determines how an idea what severe, but
you have the satisfaction of
fc to be reiidered-not how long yon can work at knowing that if your idea can pass it, you
are on
it, but the time which the observer will likely solid ground, ft is much better to
put your ideas to
kveat his disposal to take in your idea. Sitting in the test yourself while there is still time to remedv
an easy chair with reading time virtually unlim- defects, than to have the defects come back at
ited, he will respond to a magazine ad with a great you. All ideas must go through the in ill of criti-
deal more would be put into a poster
in it thai
cism and opinion, whether we like it or not. Criti-
which must be comprehended in a few seconds. cism is hard to take at best, so it Is wise to antici-
Magazine pictures permit more elaboration
of pate the unsolicited criticism which seems
inevi-
environment, back-ground, and extra interest
than table and be your own severest critic. You can
does the poster. The streetcar card has a little judge fairly well if criticism from others is un-
more reading time than the poster, so can carry
it biased, or prompted by personal motives. An-
a longer text message than a poster, but still not other artist may not be quite as good a critic as a
so much as the magazine. The illustration for the layman, for it is difficult for an artist not to see
;
card should be simple and to the point.
"tireetcar
a subject as he would do it himself. Since you
Hie drugstore display may be given
anything cannot work his way, you should weigh the
criti-
from a passing glance to a few minutes.
But there cism carefully. He may be giving
you some good
should be simplicity Jierc also. pointers. It best to seek criticism from people
is
Any picture idea can be put through the fob
representative of the general public and
its taste.
lowing test to find out if it is practical for its Much early attention which is ordinarily omit-
purpose:
ted could profitably be given an idea.
Many of us
1. Can it be seen and read within the allotted could move ahead much faster if we would do
time?
more thinking in advance of the job, rather than
2. Is its presentation stripped to maximum wailing until it is half finished. We can be our

3.
simplicity?
Can anything more be taken away without
own "I told you so V
and it docs not hurt nearly
as much from that source. No matter
how good
hurting its effectiveness? we betrome technically, our conception, ideas,
4. Is the idea consistent with the medium in and presentation are all that will carry us for-
which it will appear? ward.
Example-For a woman's magazine, will It is only natural that we should be concerned
it appeal especially to women? principally with technical execution.
But plan-
ExampJe-As a poster, is the appeal uni- ning things out carefully is the only way we can
versal?
give that technical ability half a chance. You may
5. If the idea must sell something, does
it? think, when a layout is first handed you, that there
6. If it must be seen at a distance, does its is no room left in it for personal ideas; but you will
detail carry?
invariably find there some way to do it a little
is
7. Would seven people out of ten think it better than expected. If you never
get a chance
good?
at creating ideas, create some
anyway and show
8. Does the picture itself express the idea, or them to the boss or the client. Someone will
even-
must it carry a .supplementary explanation?
tually take notice.

223
 PART SIX

1. The Magazine Ad

2. The Outdoor Poster

3. Display Advertising

4. Calendar Advertising

5. Covers and Jackets

6. Story Illustration
 THE MAGAZINE AD
There is such an overabundance of material ever tureF More often the picture should amplify asd
present for the study of advertising page arrange- interpret the text than depend upon the text to

ment that it seems to me I may safely approach explain the picture. A good illustration can hold
the subject in a more or less general way. There- up a poor ad much better than a good ad can hold
fore I shall confine myself to types of magazine up a poor picture. You might think of the picture
ads, rather than a host of specific and actual as the show window to the meaning of the ad, if

examples. The basic laws of

good arrangement it does not attract, all else fails.
should always apply, I believe if an artist can pro- Let us proceed, then, with a clear idea of whi
duce good spacing, distribution of mass, balance, your mission is, how you can co-operate to maH
and interest pictorial ty, he will be able also to your advertiser's success your success. Good intofl
produce good arrangement for the whole page. prctation your law. There are
is first two ways fl
Page arrangement really amounts to the setting interpret, the lazy way and die inspired wav. The
of given units into a given space as pleasingly and lazy way is always the easy way, the explicit foj
interestingly as possible. lowing of instructions with the least possiba
For the most part, arrangement the province
is effort; the attitude of only "This is what he askJ
of the advertising agency, and the illustrator has for, so this is what he gets/' This amounts to]
little voice in such planning. Because other ele- complete subordination of any enthusiasm, ij
ments may be present in a layout, such as con- dividuality, or inventiveness which you may pel
formity to a series, emphasis on given units, selec- sess all qualities of paramount importance td

tion of type faces, eta, it is often best that these your success.
be worked out by the layout men of the agency. The right way is to search deeply for the psJ
But nevertheless the illustrator who is smart will chological appeal, the impelling motive, and the

not completely divorce himself from page layout. desired response. If you understand these,
|
His illustration must fall into place in the whole will help you tremendously. If vou have beta
design of the page, which design should be under- asked to portray a mother and child, you arerealf
standable to him, and toward which be must he working toward the deep and vital maternal a
sympathetic and co-operative. He should take peal. Every quality which makes motherho
advantage of the opportunity for good arrange- idealistic and beautiful to you should be inca
ment which the layout offers him, or, if need be, porated. It might be easier, even more pi
do what he can to give better arrangement to a ant, to call in that petite little ninetcen-year-oll
poor conception. blonde who registered the other day and use h
Tile success of the illustration lies greatly in for the mother. But can she typify motherho
the success of die appearance of the whole ad. The
convincingly? right way is to hunt up
If the reader is intrigued by your illustration into mother, as "ideal" as possible, and use her wi
reading the copy, the illustration takes on added her own child you can. There
if will be a s
meaning, and you benefit thereby. If the reader there that may make your picture. If you cann
looks at your picture and skips the rest, the whole do that, don't haul an oversized doll out of
structure falls apart and the ad fails. cupboard and make it suffice for the baby. Gcttf
So your first approach to good advertising illus- real baby. Such co-operation is not only fair,
tration is: "How muck of the meaning of the text wise for your own sake. If you are building a rep
and purpose of the ad can I transpose to mtj pith tation, build it solidly and intelligently.
226
 THE APPROACH TO GOOD ADVERTISING ILLUSTRATION
Of second importance to the interpretation of possible. If working in water color, sponge it
I the text is taking the greatest possible pains to down to the paper. -If working in oil, take your
|sccure the best possible working material. If a turpentine and a rag, after scraping with a palette
rprice on the final work has been agreed upon, the knife, and wipe it down to the canvas. If the under
ould be willing, if necessary, to pay out at paint is dry, it can be gone over with fresh paint,
en per cent of it in models, props, photos, but it never looks quite as fresh as the first paint-
ftooSer working material In the long run such an ing on the canvas. Sargent painted every area in a
^investment will pay large dividends, much better single attempt, or wiped if out and tried it again.
paritehy other type of investment
you need to If Probably much of his directness came from doing
tent a dress, do it, rather than fake it. Get other same head over and over until it was so thor-
tlie

Accessories when possible, for it adds consider- oughly fixed in his mind that he could do it in a
ably to the ultimate value of your work. I have great economy of strokes. Light paint will never
!$ proved over and over> Two artists may cover dark paint as effectively as dark over light.
be of equal ability. However, one fakes, In time the dark will muddy the lighter paint
jjvhil|; the other conscientiously supplies himself above it, even if it has not already done so in the
Mi the best of everything to work with. The lat- first attempt.
per will win out, every time. Every bit of working When working under pressure it is always a
prom life is adding to your general knowledge, temptation to jump right into the final thing. But
while every bit of faking keeps you at a standstill, my experience has always been that there is no
for even- drags you backward. You cannot learn time saved in the process. Getting something out
|cept from observation and study. Even a bit of the mire may take
much more time than would
jrf authentic still life in your subject is also authen- have been required to make some sketches and
tic study studies. "Worrying through" apicture is bad busi-
Your third and very important approach to ness. There is enough worry at best, and it should
od work lies in working out your problem in be planned out well enough so that change of
rough or sketch form, even when such sketches pose, different costume, or change of models will
ecljhot he submitted. Find your troubles before never have to be attempted in die middle of the
fcev $nd you. A pencil study from your copy, if final work. It is better to admit that you made a
pi are working from a photo, will be Letter to hasty and bad start, and then start over.
| from in your final stage than the photo it- I know one illustrator who made a habit of
self. You will find yourself working more freely stretching two canvases for each job. He did all
jnd expressively* Much of your pencil study can the experimenting, fussing, and fuming on the
actually be transposed to the final medium with first canvas. When he thought he had it nailed
As long as the photo hangs next to the
(good effect* down, he proceeded to do the thing very directly
Binalwork, the final work will appear unfinished
on the second canvas. It took one- quarter to one-
comparison, unfortunately encouraging you
ty half the time. It was the secret of the ever fresh
to match the finish and slickness of the photo- and spontaneous quality of his work. In reality he
graph. If, instead, your preliminary
work is hang- was no more direct and certain at the start than
Dg about you, you are improving on what you
the rest of us. Instead of slowing him down, this
Tpto it rather than what the camera saw* approach seemed to speed him up, and he thus
Enlarge by squaring things off. That keeps you capitalized on the credit of being a very direct
wing, not tracing. Plan your color before
and accurate painter. Had I not been a close
ching the final work. Changes are unsatisfac- friend I might never have known, and since I do
y many medium. If you have to make a change, not disclose his name, he
I feel that is making a
jet down to as nearly clean a working surface as contribution to us by his good example.
227
 USING YOUR FREEDOM
Unfortunately most artists are really given followed literally. I well remember an art diret
more freedom than tliey take. Fear of being wrong who had a habit of clipping magazines and pa
can stifle ingenuity and spoil initiative. Try to ing the clips into layouts. He would tell the

analyze the intent and purpose of your instruc- to give him something equally good. One earae

tions. If you wish to deviate from them consid- young illustrator, doing bis first job for him,
erably, a telephone call may be all that is neces- a perfect swipe. He brought it back with the
sary. You may be certain that even if your work all gone, the deadline at hand, and a frantic:

is well known no art director can possibly visual-

, director.

ize just what you are going He is taking ato do. Build up your files of clipped information'

chance on you, on the Oasis of your past work. He as many subjects as you think you will ever ne
has to. Nor can you, when you take a fob, see the not what you need just now. It takes years
finished thing in your mind exactly as it is going make a good file, and you might as well st

to be. The reason is that the whole thing is a early. As you go along in advertising you
creative process. Little is really going to be said begin to recognize certain types of ads. Try .a

in advance about pose, costume, etc> unless you wc may to be different and original, most ads
are handed actual photographic copy to work fall into one or more of these types. I have laictn
from. Advertising agencies seldom supply the as examples twenty-four fictitious ads which!

artist with any tiling more than the idea and a lay- believe cover most of the types. The variance

out. Your art director is not expected to supply you course would be in the layout and arrange
with copy. If he does, End out then and there how These may servo as general ideas for approa

much leeway you have. Copy may be in the na- though the ads must not be actually copied,
ture of suggestion only and not intended to he the same slogans, titles* or catchlines used*

TWENTY-FOUR TYPES OF ADS

L With "Pictorial Interest" Dominating 4. Interest Centered on ike Product

In this type the picture is almost everything. The purpose of this type of ad is to impress l!2

The illustrator is of primary importance and is actual product on the memory of the public]
picked for his ability. One half, three quarters, oilers great variety*

and at times, a full page is allotted to him* It is

( 5. Romance
therefore his whole responsibility to tell the story,
Romance is as eternal as the appetite. It ffi

to get attention and response. Such an ad is about

always be the problem of the illustrator.
the greatest opportunity for an illustrator that

there is. That is why much of the material of this 6. Home and Family

book is laid out as it is, for here real responsibility Over and over this type of ad appears, y

is going to rest on your broad shoulders. there is always some new angle.

7. Historical Biographical
2. Interest Centered on a Large Head
and the Always presenting opportunity for interest, are
Here is where character, expression,
thoroughly enjoyed by the illustrator.
ability to portray personality come in. A. largo

head, when well done, makes a good ad- B. "Before and After' Subjects
A well-worn hut perfectly sound approach,
3, The "Eternal Appetite" Appeal
our job to 9. Prediction of the Future I
People will always be hungry. It is

make them hungry for what wc have to sell. If it can be made convincing ( and sometima
228
 GENERAL TYPES OF MAGAZINE ADS
tastic) it will almost guarantee attention and 21. "Kid Stuff'- One of the Best Sellers
st Who can forget childhood? What parent is not
interested? There is practically no limit to ideas
0. The Cartoon Type
along this line. Children should be portrayed as
The cartoon approach is good because of its
realistically and naturally as possible, and not
trast to the prevailing seriousness of its neigh-
too dressed up. Child appeal lies more in whole-
tors. It acts as a change of pace, and gets atten-
someness than in being beautiful.

22. "Mother and Child" Subjects

. The Extreme Close-Up
Very effective for otherwise dull subjects. Fits
When well done they will always appeal.

ry thing from hous erlies to eyelashes. 23. "Luxury" Appeal

2, The "Group Picture" Type Such an appeal is best in times of plenty, when
Sometimes a group of pictures has an advan- quality and good taste have a chance. Such ap-
over a single picture in story- telling value, peal might also be listed as desire for prestige or

or example; several uses for the same product. distinction, and pride of ownership,
f
fi& The Picture Continuity Type 24. The "Pureltf Imaginative"
Borrowed from the comic strip. Tells a story in This is your one chance to go a little crazy, and
[pictures. Here the artist must be able to repeat most illustrators welcome it.

pis characters under varying conditions. This type

perns to be losing punch, since there has been
ISO much of it. But maybe its still good, who My readers' attention is called to the books

I0WS? by Frank Young on advertising layout. Mr.

Young's authority on the subject is Inryond ques-
til The "Action " Type
tion. My personal acquaintance with Mr. Young
Good action is always an eye-catcher.
and his work has been of great profit to mc in the
& "Sex Appeal" Type field, though I confess I cannot hope to compete
It will always be with us. with his knowledge and experience in the subject
of layout. I believe every illustrator should study
\I6. The Sketchy Type
his works thoroughly, and I take this opportunity
There is a power in sketches often missed in to thank him for his inspiration and guidance in
[labored work. It offers real advertising value, the past. I have made no attempt to teach layout
lould he used more, in this volume, since it has been so expertly done
elsewhere. For this reason I speak of the general
p. "Fear" Subjects
types of ads only, realizing that as layouts they
Based on the instinct of self-preservation, and
potent for certain types of advertising.
may be open to considerable criticism. Frankly, I
Should not be too obvious or grotesque.
am not a layout man, and I only wish I were better
at it.

Symbolical Subjects
[IS.
May I also call your attention to a recent book
Unlimited in opportunity for originality. on modern layout entitled Advertising Layout,
). "Baby" Subjects The Projection of an Idea, by Richard S. Che-
nault This book is expertly done under the capa-
Will always stay.
ble direction of a well-known and practicing art
20. "Character" Subjects director, and will clearly demonstrate essentials
Real opportunity. of real importance.

229
 '
"TCPES OF MAGAZINE ADS

C/oh
i : fr#JTti\

WHITE C0TTAGF
%* &te efamt &g/mxJ&x/ COFFEE
i,. VSf l"TH PiCTORIAt IN* REyr OOraiNATllvjC, . i NTGRe/T CENTERED ON A LA^oe wcaJ

was^/awwc/lyMfare .

/^7 wiftf&eift&

TO MAI
KETCHUP]
Cramwetljr
foams TrwAesitrast^er/eclA

3, THI ET6ftNAL APPeTlTE-APPsAi..
4. mtE/T CENTER6P ON THE PROI
230
I
TYPES OF MAGAZINE ADS

. HOME AND FAMILY

/&r/?wrtt a/tearjftF/fiisT
OF ZW/W **&***# JftmAfi*-

TT^a LONG Wfc MAKE/ IT C04"f LE//.

i,/ /fe-cr j=y* mr

%
8- OCPOR APiO ftFTBftVu OJECTA
231
 TYPES OF MAGAZINE ADS

TOlVfORR-OWS TRAFFIC

TONES WA1TE1).
(Bis car wouuwr)

REPAlHAT-rilE

COMMANDER K5S3 TDDAV it* alvwj AUTO-PARTS INC. ASEHV

9. PREDICTION OF THE. FUTUAR. fO- THE CARTOON TYPE.

KEEPYOUREYEON
.:

ilEETCARJl
Mr :^u\

M-SlQNEW
MOTOR./ .C4>.9S&$ \ ,\|

iIliI!l!lllES
II. THE EXTREME CLOZE UP. 12. THP GROUP PICTUR.E. TYPE.

232
 TYPES OF MAGAZINE ADS
I

m (MJatMltf co4$<mw(ffi a mate f

w Ear "*"
^S^MIH

%'

\rw*\
^4s^\^P^

14. THE ACT<ON TYPE

Today Popthttew away the

COAL 5HOVE!*!

MINUTEWARM HEATER.
APPCAL TYPfi. ICi. THE- /KBTCHY TY**R

ANAHR/,CA*^"Ow^-4WOIOAXJNTHI/yTeRierCANNOT t U^D COM MCRO ALLY ffKCCPT YARftANC*ftftNr WITH IKE AUTHOR.
1 233
 TYPES OF MAGAZINE ADS

Ues, you could have mfared- TOEMNlg^Hii'piiNT

Jken /
\
rj for ifesre yj&f Uq fitfft

EVB&YMAN NEEPf fAf/Vt&lflfcE

MUST fell INXJW iFRO^iTlit Hi RtfO^U ril'LJJjftUJ!

7 1AMF.
PUBLIC MUTUAL LIFE '
CO. 1BI V tiTMPNl COinVCIlrOF AJVTL Kl CA

IT. *P4R* /UBJECT/. IS, -TYM SOLI CAL ajbjCi\t

I

^'/
Ljou kaven '{ It ved uHiit
( t
you've landed a hia ox.

VACATION IN CAL1FORNT

"B

K>. * BABY " SU& J ^CTf W" LL ALWAY/ JTAY, 20. CHARACTER /UBJECT/.
234 1
I TYPES OF MAGAZINE ADS

ivme
a bowl
ihif big,
Mom/

Collins Lod JivcrOil

22 , MOTH E R AN D C Hf J_D /(J O J ECTJ\ (m ATCRNi L APPEAL.)

Jcktuiy doc a tt'i- jlbtf li vo iu the Boo tfy Man

any moms. 5o noW iMr. Boogy isout of luck!

-Jo would tuc bo, if youctkfit't bdicve inu5. Our

earnest desire h to servo youlwt^ aJtwnys
ASSOCIATE!} DRUG 5TORX5.
24. THE " PURELY IMAGINATIVE",
235
 RELATING YOUR ILLUSTRATION TO THE WHOLE AD
Even though you arc not called upon to lay out in planning your illustration. If your layout bac
the whole page arrangement of a magazine ad, it ground is white, play some strong greys and dar
is, as I have indicated, of considerable concern against it, and also carry some of the whites <

to you. Much depends upon your carrying the background into the illustration. If by chan

through the general scheme of layout as well as your layout is to carry an overall grey or bla

your execution of the pictorial idea. I will en- background, work to the other plans. The poi
deavor to give yon a few pointers which may help is to put lights against grays and darks, or

in the ultimate result. reverse. Attention to this factor makes all

If your layout is already "busy" with compli- difference between an ordinary thing and a tru

cated and space- filling material elsewhere , try outstanding ad.

to treat your illustration with as much open space The material in a photograph must ordinari

as possible, keeping the masses simple, or not too be accepted and put into a layout as is, althou

broken up in light and shadow, In planning the sometimes an enterprising layout man will cuto
subject, indicate the general masses or patterns the figures or material in a photo as you woul

of value on tracing paper and lay it over the paper doll, thereby getting away from the grey-
layout. You will find that much can be eliminated. ness or drabness of a subject. But it looks hard

In a complicated and busy layout the illustration and "pasted on," and has not the value of a good

will look better if almost flat and postery, with sketch or vignette with planned lost and fou
little or no background, and utilizing the white edges which would interlace the subject with i

space to give the illustration "air." A so-called background. Such interlacing is necessary to gi

"spotty" picture does not belong in a "spotty" the unity of effect which is so important.
layout. No matter how well done, the effect is In delivering your picture, it is well to point ou
unpleasant and the advertising value lost. Every that you have considered the effect of the who
illustration should offer contrast to its surround- arrangement, perhaps taking along some of the

ings to secure attention. preliminary material by which you arrived at your

The same is true of the "grey" layout, or one presentation. Not having the rest of the la

which contains large areas of small text or type around it, your original may possibly appear a
matter. Unless a somber or "moody" effect is overpowering or even a bit weak, and if this

desired, the illustration should not also be too commented upon, you arc ready with substan-
grey in appearance. It calls for the largest possible tial reasons. This situation seldom occurs, ho
areas of snappy blacks and whites, against which ever, for comments usually hinge about the merits
the grey of the text will appear beautiful. of the picture itself.

If the layout has good open areas of white If the product appears in the layout but outsi

space, you are most fortunate. Advertising men your illustration, try by all means to carry the e

have been hounding their clients for years to see through your picture toward it, or at least in
die advantage in attention value of white space. general direction, by providing a route for thee
But unfortunately space is expensive, and the ten- to follow through the design of masses, edges,
dency by the man who is footing the bill is to fill lines. This will be greatly appreciated by the art

the space to overflowing. In the long run he is director. Sometimes the product may be sup
paying twice as much, since such an ad is only imposed, or so placed that it overlaps into 1

half as effective, if even that, White space can illustration. In that case, supply suitable con
make or break an ad. In such a layout you can go in that area to make the product separate in val
the pictorial limit, getting at least four good con- so that it stands forward in relief. If the produc
trasting values in your picture. appears within the illustration, make it the poi
You can go back to the original four tonal plans of interest by leading all possible lines to it.

236
 !

DEVELOPING THE "CO-ORDINATION SENSE"

It is admittedly difficult for the artist with enhance it. Advertising fails with respect to color
(little experience at once to co-ordinate his efforts when it insists that color lies only in primary or
SiitO full swing with the advertising or com- spectrum color, with one fighting another. In the
Shercial approach. Often the beginner will hear end, such an Attempt only publishes, on a grand
fate "We are not looking for high art
phrase: scale, the advertiser's inherently bad taste. IF the
lerewhat we want is good advertising/' It is advertiser does not believe color lies in tones and
[Unfortunate that a separation between art and beautiful relationships, let him attend any techni-
advertising exists in the minds of advertisers, for color movie. It is more brilliant than his primaries.

it can be conclusively pointed out that all the Advertising fails sometimes because the people
progress in art illustration that has been made in who are given authority to plan and order pic-
(he past twenty years has boon in the direction of tures may lack the fundamentals of pictorial
fine art. A study of the Art Directors Annual, cov- knowledge and hence may give out directions
,

ering a period, I believe, of more than twenty-five that are totally inconsistent with good advertising
rears, will prove it. Advertising is constantly ap- art. Oddly enough, the less a man knows, the
proaching fine art, and it is my opinion that it has more orders he is apt to give. The ablest art direc-
fought up with and in many cases is surpassing tors, recognizing ability, give it every freedom
ucli of the so-called "fine art" of the country. In possible. They get consistently be tier results.
tome cases advertisers have singled out the best The best way to got the "feel" of advertising
ists in the country from that standpoint, paying presentation is thumb through a magazine.
to

in)' price to get their work. No advertiser will ever Take an ad, and on your pencil pad start moving
object to fine drawing, good values, arrangement, the units about in a new arrangement. Eliminate
color, and conception. There can be no line of dis- some of the 'do ad wood" for white space. You
tinction drawn between advertising art and "high simply make blocks, lines, and white spaces in
>rt" Either is only good or bad. The basic dif- miniature pattern in a design of whites, greys,
ference between the twu has nothing to do with and blacks. Out of ordinary layouts can come
paint, medium, or technique. The advertising gems if thought is given to balance and design.
ipproach leans more to the telling of the story, the Before long such experiment will begin to express
.virology of appeal, attention value, and re- itself in a good spotting and arrangement
flair for

sponse. High art may be anything that has its Co-ordination between artist and advertiser
own intrinsic beauty and is created for no other lies in mutual understanding of intent and pur-
purpose, pose. He contributes the merchandising theory
Where advertising art may suffer by compari- and the spacer as well as a reputable product. You
son is in the inconsistencies permitted, "Blurbs" contribute your understanding of light, form, de-

I Of ''balloons" may be bono wed from the comic sign, and dramatic interpretation. It cannot all
Istrip and inserted into a finely executed painting, come from either side, and your contribution is

lirith no better result than to become incongruous even greater than his, for your particular knowl-
kid show extremely bad taste. When taste is sac- edge is even more difficult to acquire.

Hrificed for attention, what good is the attention, The best commercial artist is by no means the
if drawn only to bad taste? Who can display bad complete "yes" man. But he is willing to listen
manners anywhere and benefit by the attention and co-operate in every way short of producing
sSO obtained? Advertising falls short of the mark illustrations or art that he feels would actually do
icontinually by the erroneous idea that tight and his reputation more harm than good. Rather than
,'erinsistent detail makes the best picture. The deliberately make a very bad thing, him have
let

chances are thai such detail will draw attention the courage to refuse the job. When the j'ob means
away from the idea and product more than it will only the fee, forget it.

237
 A TYPICAL MAGAZINE AD ASSIGNMENT
Let us assume that a call has come from the You will note in the final illustration an ati
art director of an advertising agency. We find that to get away from hard photographic derail. Edgjjjj

he wants an illustration in black and white for are considered carefully. A back lighting
general use in the magazines. On die next page I chosen, since it would be logical to light the

give you a layout in approximation of a typical over one's shoulder, but also it gives us g<

agency layout* We assume the layout is to be fol- opportunity for reflection and luminosity wit
lowed for space allotted to each unit. The account the shadow. When there is no color to support!

is a company that manufactures heat control subject, it depends entirely on values for pi

units. The headline is tobe "Perfect Weather In- effect Every subject should be studied
side * We agree that the idea is rather novel and for a good balance of darks, greys, and whites,

interesting. The psychological appeal is "freedom black-and-white interpretation. The one thing

from cold." Coupled with this would he love of avoid in black and white is a feeling of heavu
home and family, and desire for security and and darkness, especially in a cheerful subj<

comfort. We note that the contrast, or "before Values are so related to mood that soi

and after," is to be supplied by the small line when not considered in that light, a picture ml
drawing of a man in an overcoat subjected to a unfortunately present a mood wholly in 0]

blast of cold wind (The art director tells us that Hon to the idea expressed.

this line drawing will be handled inside their own I believe it will become more clear, the fa

art department. ) Thinking further about the psy- you get in the craft, that the individual feel

chological angles* we find that "freedom from and personality of the artist is most ii
care/' "desire for relaxation " and many others, Pictures are so much more than filled-in out

are implicit in this subject. All of this points to of something, and the only place to find

what we can do with the illustration. sion is in the interpretation of the sourcewl
Let us show the father free to give his time to means nature, light and form, plus your ii

his litde daughter, the mother affectionately hov- ual feeling about it

ering over them and interested. It is logical to So much of advertising has so little personalit

entertain the child with a story book in the eve- so much formula. There is such a tendency to
ning, when man is most apt to be home, and when tare, so little invention on the part of art direclc

the outdoors is coldest The busy art director may and artist. It is not surprising that often, wi
not go into any more detail than to say: "We want the extreme tension and pressure all have to
a sweet little family group, all happy and warm. under, little thought is turned toward these thin|
We want it well done, and we need it in a hurry." The answer is not in your competitor's approat
(Everything having to do with advertising is But so few of us exhibit any courage in striving

always in a hurry, ) He says he will not need a for individual expression* And yet if it never
comprehensive sketch, but would like to sec some a chance, it never can really come out into
roughs for general composition. light!

Following you will find the roughs as they Let us start believing that our eyes t not
might be submitted, or which a conscientious ears, are as good as the other fellow's. Let us
would make anyway before hiring models.
artist lieve we have as much right to expression as

One of these is selected as coming closest to the If we do not know what to put down, it is becai
purpose, and the models are called in and photo- we have not dug deep enough into the subject i

graphed in the poses wanted. Several lightings into ourselves. If nothing in the world inter*

are tried out, and many attempts are made to get us,we would have no ideas. As long as there
as closely as possible the expressions that will tell something that does, we have a basis for expre
the story. sion of our feelings about it.

238
 A TYPICAL AGENCY LAYOUT

5rt0 *Ofc Mfce.{Oi>k:iEr

AKRON 3KMO STATS

j*#

239
 ROUGH COMPOSITIONS FOR THE PICTURE

AFTER CAREFUL CONSIDERATION OF THE AGENCY LAYOUT WE BELIEVE WE

MAKE THE SUBJECT SETTER &Y CROPPING ,GI VI NC? LARGER. HEADS* &5 GiV
TOUT THE FIGURED FACE OUT OFTrlE AD. IT J*EEM/ To DRAW THE ATTENTI
AWAY FROM THE PRODUCT, RATHER THAN TOWARD IT. JO WE TRY TURNlh
1
THE FIGURES AROUND. WE CHECK THIS WITH THE ART DIRECTOR BY PHONE*
SHOVM1NC THE BOUGHT* WE. ARE NOW READY TO CALL IN MODEL; FOR PHQll
Oft STOOIES. HAVING THESE ROUGHJ" WILL MAKE TH CAMERA WORK THINfl
OUT OUR WAY INXTCAP OP OUR, WORKING FOR THE CAMERA. TRY IT OUT
1
240
I FINAL ARRANGEMENT BASED ON PHOTOS
TAKEN

241
THE FINISHED ADVERTISING ILLUSTRATION

242
 WHAT IS THE FUTURE IN MAGAZINE ADVERTISING?
It would seem that magazine advertising has j*et over to the advertiser, but the effectiveness of
e almost every tiling possible, lliat we have it, once tried, is proved over and over again. I
ached the place where duplication is inevitable think of a Coca-Cola poster with the single word
any approach. Hut magazine advert wing must "Yes" On it, as a single girl figure in it proffers a

On, and unless wo artists <\\n contribute son ic- hot tie of the product. I think of a Campbell Soup

ing more it would seem that it is destined to go ad showing the lie: ad and shoulders of a bov who
in much the same way. holds out a howl , with the title "More/' White
foneaf the greatest drawbacks to good taste in space enveloping a bit of bright color in the first

vertising is the clamor for attention. Types gel example, a flat green enveloping a large head. I

vfer and bolder, Color gets louder. Space gets think of a jewelry firm showing a single piece of
nmed. Space gels more expensive, and as It |evol ry in the middle of a black page. T think of

es ?
more has lo go into it. Every artifice to force the simple effectiveness of the McClelland Bar-
tentiou is naturally seized upon. Tt in much like clay Fisher Body ads which are still advertising

group of people in a room. One talks louder history. 1 <*)uld go on with many more instances,
an another, forcing the next man to raise his proving that all the boldface and blaring types
ice also. Perhaps someone booms on the radio, of approach never equaled these in selling the
(i soon everyone is shouting, The quiet cligni- product and the advertiser's name-
d person is hopelessly lost. A magazine ad Since we cannot put neon lights on a magazine
/on hi he a wonderful thing if it could he handled page (even this has been tried, as far as the pic-

A the basis of "Let's everybody be quiet but me/* torial effect could reach! ), it would seem obvious
a little boy once said. It reverts to the philoso- that shouting and screaming is not the answer.
liy that "If every l>otly insists upon being loud, Granted that contrast is valuable and necessary
Lai am I do hut shout?" when pes si bit 5, may it not be that the best pos-
But fortunately Hie printed word cannot shout, sibility felt for contrast is good manners against
here is a misguided concept ion of what boldface bad? Can we not lend distinction through sim-

-pe, gaudy color, blurbs, and script oan do. Tho plicity, sweeping up the clutter of bad advertising

ry clement of contrast winch make* these things with good white space?
in attention, can make them inaudible by lack if advertising is to progress, is there miich more
contrast when everything else on the page that can be done with copy and text? Are there
shouts." Just as quiet in a room lends distinction any superlatives left? Not so many years ago the

& single modulated voice, so can simplicity urn;] magazines produced the bleed page. Tins allowed
ipacc lend attention lo a charming presciilalioii. an inch or so more of space on each side. Every-
oklfuctf type eats up the very space an ad must body seized upon it who could a fiord it, for was
Rave to be fully effective. Clashing color destroys it not more space that could he filled up? It made
jotli itself and that very quiet and contrast which one ad a little larger than another, but to what
iritliant color demands. purpose? The beauty of the white margin which
Suppose we have a floor strewn and cluttered gave effectiveness was finally pushed oft the p^ge,

rith everything under the sun. We sweep a so that the ad merged with the carpet. Size, when
square of open space and set an orange or an ap- crowded, has so little to do with effectiveness, J.

)lc in the middle of it. That, to me, is the principle call the reader's attention lo the fact that no mat-
of focusing at tent ion. If we had dumped a crate ter how big or small a face may be on the movie

of oranges among the rest of the confusion, it screen, we are never conscious of its being any-
would not have gained as one-tenth as much thing more than the face of a human being. Size
attention, only permits us to see the same thing, in close-up

This is the "most difficult fact in the world to appearance, from a greater distance. When such

24 O
 BETTER TASTE IN MAGAZINE ADVERTISING
an effect is an asset, it is valuable in advertising* Can one doubt the effectiveness if one of our ^

But size is always obtained at the expense of mar- magazines were to reproduce a Sargent water,
ginal isolation or "breathing space," When size color, or one of his amazing charcoal heads?
laps over the edges it ceases to function, just as a What, after all, holds advertising on a lower pit>:

man can get too fat for comfort and appearance. torial level, but the art we produce for it?

An ad can spill over its space as easily as a fat man No, my dear reader, magazine advertising s
over a chair. Little lias been gained by the bleed far from having done everything possible. It will-.

page, except to the very smart advertiser who align itself with the best ability we can produce.
takes it as breathing space, the extra room being When we get good enough, it will stop telling us *

worth the extra cost. The bleed page is like an what to do. It has its own department of good

unframed picture. taste to clean up, in layout and presentation, but

If advertising cannot get louder and bigger, that is far less to acomplish than the task which

what is left? There is but one answer: better taste. lies before us. We must put the fundamentals to

Better taste in art, copy, and presentation. Adver- work as has never been done before. We must not
tising has grown out of its old clothes. They will regard a year or two in art school as all the study
not do forever. Instead of shunning good art, it we need. Such study is only the apprenticeship to
must finally seek it. The things that have made the the individual study we will have to do for our-
greatest art will make the greatest ads the selves.

straightforward presentation of truth, embel- There is new forms of advertis-

no doubt that

lished widi imagination and taste, simplicity of ing may spring up with new inventions. Publicity
approach, subordination of the trite and irrele- is publicity, whether we stng it, say it, picture it,,

vant, and the inexhaustible reaching for the ideal. or act it. Advertising is any way in the world to

There are possibilities for art in advertising that get people to look or listen.

have not yet been explored. But such develop- When we think of an increase in taste as the-

ments must come from the realm of art itself, not only answer to the future of advertising, let us

from the ad man's The advertiser cannot,

desk. consider the average motion picture of twenty
nor ever could, tell us how to do it. fie tries to tell years ago as compared with the present. Compare
us what he wants, but he has to take what we can the acting, the presentation, the creativeness all

give him. He is more limited than we. That is why the way through. The hero and heroine of yester-
we must not limit our individuality or ability to day could not possibly "get by" today, nor could

the things requested of us. We must give him the producer.

more than he asks for. We can look at architecture, industrial design,
There ts no other course open than to produce engineering every one has progressed along the

better layout men, better artists, and better copy- lines of greater simplicity and good taste. Adver-

writers, for magazine advertising can never be tising cannot be the unique profession which does
anything more than the co-operation of the three. not need to change its course.

If possible, we must strive to eliminate the distinc- To prepare for the advertising of tomorrow, do
tion between art for advertising and fine art. It not look too much at today s ads, but look rather
does not seem quite logical to starve in order to at life, nature, form, color, and design. Go to the

produce fine art, at the same time keeping aloof only source that can give your work the fine qual-
from advertising. Instead of the "fine" artist's ities that are so needed. Paint heads as if you were
"lowering himself" to advertising, why should he painting a fine portrait, paint form as carefully as
not lift it up to the highest possible level? Cannot you would sculpt it. Look for the beauty of tone
the observer enjoy a good thing as much from a and color that would go into an exhibition paint-
printed page as from an exhibition wall? ing. There is no better way.
244
 THE OUTDOOR POSTER
.The relation of reading time to advertising has and vertical arrangement of competing posters.
? already been pointed out. Nowhere is this con- Dropping the top line of the poster background a
'sideration more important than in planning the little and then letting the pictorial unit reach

outdoor poster. It among poster authori-

is agreed above it is also good. This makes a dip in the line

ties that ten seconds is the maximum reading time. of other posters and is a device for getting atten-

Therefore, the poster must be planned on that tion. A line of lettering is often used above a post-

basis. Now, ten seconds is very little,, and even er background for this reason. The four basic

that would be quite too long to take one's eyes tonal arrangements given earlier in the book are

;off the road when driving a car. In order to give almost indispensable to a good poster. Posters

maximum reading time and at the same time must be clean-cut, sharp, and in good contrast.

cut down danger to the motorist, two plans for The layout of poster sheets on the following

poster display are followed when possible. One page should be carefully studied, so that you will

s to place the board at an angle so that it can be not plan posters with the edges of the sheets cut-

Seen for some distance ahead. This accounts for ting through eyes, fingers, or even through a head,

le zigzag arrangement often seen in billboards. if these can be placed on a single sheet. Do not let

The other is wherever possible to place the bi li- a sheet cut lengthwise through a line of small let-

re! in front of the driver and in such a position tering. If the bill poster is pasting on a windy day

hat the line of vision is in line with the traffic. The it is almost impossible to match or fit the sheets

number of words is cut to the minimum and the together exactly. Every bit you can help the

jesters arrangement is the simplest possible, de- lithographer in reproducing your design results

igned to carry the maximum distance. Take it as in a better job for both of you.
id axiom then, that a poster must be simple, direct
t
Note that the half sheets may be placed either

n appeal, and capable of being quickly read. at the top or bottom, or above or below the two
A large head probably holds first place in poster larger sheets. This permits a good deal of latitude
lanningor if not a head, dien a large single unit in your design, and you should be able to place

t of some kind. A single figure, especially if it can your material so that unfortunate cutting through
Reinserted lengthwise, is good. If half figures are important elements can be avoided.
sed perpendicularly, more figures can be used. Posters are sometimes syndicated, with space

ic poster seldom attempts the solid picture rim- left for imprint of the dealers name. In that case,
ling to four corners, unless the subject is extreme- such space must be planned into the original post-
simple. er. Posters, even more than other illustration ma-
Eight words on a whole poster is about all that terial, need to be planned carefully. You are usu-

lould be used, including the name of the prod- ally asked to make a comprehensive sketch be-
uct, and every word that can be further elimi- fore making the final, and that is a good thing, for
lted will be so much to the good. A poster with a good poster is seldom guess work.
>ut one word is the dream of every poster man. There are several more or less "stock" arrange-
Advertising agencies accustomed to preparing ments of posters which should be familiar to you.

)py for magazine advertising often miss badly It is really hard to get very far away from them

n planning posters. and produce a good one. The horizontal

still

Flat or very simple backgrounds are almost a shape of the poster is not easy to fill with good
:ssity. Some sort of a diagonal arrangement is design, and is different from the usual shape of

1, since it contrasts with the usual horizontal any other type of illustration. Experiment with it.

245

HOW A POSTER fS DIVIDED INTO SHEETS
>-

*
i A

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-- ^ *'*.. 3Hff-ff.rj ^C/S-O/J

e tyrw-i ^W**-^.-AWflr rfxd f #MV.*-<L-!-K M-\> -.-|
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r m :-*wvt^rv*-T*mi**KrMTC^-y*rr*l? *c i*t t> WRWtrrV"> "*f^^r f---i-v^- ir-r: ;- -!"? *: >-:>- -'

ft ALP J

S- "jfirfiT'J.

USYOOT OP OUTDOOR POSTfcfc JHEBTJ.

'\^
t3T P^N \0->fiL

<j AT T01

Ka&prNcr the

^>oa SfeTNNft&H
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-* >,-> V'-7 - -%* W-i 3-TJ* r*tv^-AJr.4.WA.r.lV>M-Y-**->^H**> w'nA*...*"'.- jw*#>- -

PLAN YOUR- POHH

A CAM JUJT AJ EAJILY BE PLANNED K\aHT FOR THE LITHOG-
PO.TTE.R.

RAPHER AND PA ST ER.. AVOID H AVI NG THEETJ" CUT THROUGH EYEJ",

MOUTH J, JHEETJ* WERE
FINGE.RT ETC. WHICH WOULD LOOK 0AD IF
PAXTED /LIGHTLY QOT Q ALIGNMENT. J"UCH CUT_T ARE BAD FOR
THE LITHOGRAPHED. IF YOU CAN^GET THE FEAYUREf WITHIN
THE JHEET. WATCH THAT THE LATERAL CUT/ DO NOT J* EPA ATE*] ft.

OR CUT THROUGH A 1-1 NE OF XMALL LETTERING. THE BETTERFOfc

THE PLATEMAKERJHE BETTER THE PLATER." PO IT RJCTHT,;
246
 !

TYPICAL POSTER ARRANGEMENTS

or

UHRATlVE NTERr=/r ON ONE J\ DE A HO

WEET-FRY
M FjV4C,PftODUC T AND NAME OH1WQTMK* ,'hdTb LftttOUTOF'Kter/

HAC0N&L. ARRANGEMENT OETVf&EN NAME AND CAPTION, CAN BE DlACToNaU EITHER WAY- CATCH6J 6YE.

LLU/TRATlOH OWBOTW J"ID/. AREA/ LEFT FOR CAPTSOn.NAME OR PaoOuct. CAM BE. A JOLID PICTURE,
247
 TYPICAL POSTER ARRANGEMENTS

ink about -

CENTERED tMTEftE/T, LETTERINQ AT tfPEX.

WHal /U13JECT OVER HAM

FIVE MINUTES TO

CAPTION OVERTOP.
248
 A TYPICAL POSTER ASSIGNMENT
Let us suppose we have been commissioned to promising I have worked out two a little more
en outdoor poster. We will take a fictitious complete in the size of four by nine inches. These
inxluct and I shall try lo carry it through to coin- must be reduced a little to fit our book page size.
iletion exactly as I would were it an actual prob- From these I have worked out two color roughs.
lem. Suppose we take a soft drink, a lime drink. Since these are for genera! effect and color choice,
Be will call it "Zip," since I know of no actual I have made them as simple in treatment as pos-
xluet by that name. Now, if it is a lime drink, sible. Were T lo submit an actual color sketch, I

re may be some people who do not like a drink would carry it farther and make the sketch ten
sour; so the problem might easily be to pro- by twenty-two and a half inches in size.

jioe an attractive poster emphasi7ing the point Choosing one of the sketches, T now call in a
lat "it is as sweet as you like it." This calls to model and set up the pose the best can. I would .1

Bind .several captions: either work from life or take photos, I want an
ft-eet as tjou like it Couklnt be sweeter animated smile, and want to nail it down, and
sweet enough Sweet as can be since I have worked out a fairly good color
it? last one is probably the best. Tt calls to scheme, I take a photo based on the roughs.
jnijid a sweet young girl, but since the drink is Selecting (be best print, T proceed with the
lined "Zip." she should have a poppy breezy final The painting will be in the proportion
work.
uality about her too. We must show the bottle of twenty by forty- five inches. The reproduction
sd perhaps a glass. If we show her in action, will be made from this large painting* 1 now lay
be bottle and glass would have to be separate. out the poster in charcoal. First I lay out the
J in order to tic the figure directly to trie product, sheets. I find that, by using the half sheet at the
us show her holding the bottle and perhaps a to j) on the left side of the poster, I can bring the
pearly filled glass. Since this is not very active, girl's face completely within the second sheet
will go to the other extreme. She is dressed in down. Also it brings the caption onto the half
ly clothes, has been active by suggestion, and sheets at top. Satisfied that everything is going to
Is now relaxing after exercise on some sort of an work out Tor the lithographer, I start the final

Outdoor lounge. painting. The background is painted in first, then

I should say that she should be looking out and the red lounge. The background is a color made
tiling at you (it will ever be thus). The poster, up of the color in blouse, lounge, and the white
eing long in shape compared to height, is ideal, shorts. The white shorts have been related with a
en, for the subject. little of the other colors.
The product name or trade-mark would have to The picture has been completed and the paint
in corpora ted into such a poster. So we will allowed to dry, i now add the lettering and some
ei'ign one here, though in a real order it would final touches to the whole thing to bring it all to

Jready be worked out. T have never been an completion at the same time. A white margin was
sport letterer, and that part has always been left around the painting to simulate the blanking
ken care of either by a lettering man under my space of white which is around every lithograph
lire or by someone who is buying the poster. So, outdoor poster.
hen though some may find my lettering at fault, Tli ere has been a hue and cry against outdoor
[will do die best I can, and ask your indulgence posters as defacing the beauty of our cities and
that part of it. countryside. In the open country they may be
June just drawn a few pencil roughs for gen- an eyesore, it is true; but just as often they may
arrangemenl, very small. For lack of space, screen dilapidated buildings or empty lots heaped
since all but two were discarded, T will not with rubbish, With better art they need not be
produce them. However, from the two most ugly. It's up to you.
249
 THE IDEA ROUGHED OUT
i

AGOOD ARRANGEMENT. HOWEVER THE ClStCS LEG \ SAPTTO PULL ATTENTION

AWAY PaOM H-AMBPUVTEjOR OUT OF THE POITER . fO W WILL TRY ACTAlM,

0000 OUT MOW THE LE<TX ARE TOO /OOORD tN ATED- THE AN/WER LlEJBETWEEN Tti

TWO /KETCHE/, PRO&ABLV IN WOPPlMC THE KNEE OF THE GIRL IN TOP fcOOGH,
AFTE.R/eVERALXMALLER RO QGHf THBfE fEBMEP MOfT PROMIi"JN<4 AND WERE
DRAWN UP MORE CAfcE FOLLY, REVEAL1 NC7 A TECH N ICA L PfFFlCOLTY IT
WOULD HAVE BEEN BAD NOTTOHAVE Dl/COVEREP JUCH ERPQR EAR.LY IM
THE WHOLE PROCEDURE ,PROVlNG THE VALUE OF CAREFUL PLAN N UQ \ .

FROM TH\f POINT ON,THE ARTt-TT WOULD BEGIN TO THINK OF COLORyJTAfcTlNG

WITH JOWE TINY ROOCH/, W4JEN HE GTS A COOD ONE HE CAN LAY CO AD fij
RIGHT OVEfL THE XELECTED PENCIL R.OOCH.OR MAKE SEVERAL QO ICK |

ROUCHJ OF DIFFERENT JCHE ME LARCE ENOUCH TO CAR.R.Y -ACROJJ THE. ROOM,

250
1
 HALFTONES OF THE COLOR ROUGHS
uat

[THE COLOR ROUGH/ CAN BE DONE FROM MODEL OR* PHOTO, OR7HEY
MM BE DONE WITHOUT DATA, IF NOT TO BE JOBM ITTEP, JUCH ROUGH/ AJ
|"HE/E ARE FOR THE ARTUTJ OWN EXPERJM ENT ANP SATl/FACTION, IT AMOUNT/
i
THE 4//URANCE THAT ALL 1/ WELL (OR OTHE.RWI/E), -/ATi/FIED HE WAY CO
,

JHEAO WITH THE FINAL WORK. J"OCH ROUCTHJJ"flOOLD ^E LOOKED UPON A/

lUALLY IMPORTANT A/ THE FINAL WORK AND A PART OF IT, FOR. IT VNILL
^CORPORATE THE BIG THING/ THAT ULTIMATELY MAKE A GOOD POJTTER.,

261
 THE FINISHED POSTER

Here wo have- ihe finished poster, and il could have been any one of a half-dozen ideas or schemes.

252
 DISPLAY ADVERTISING
^ograph cut- outs and displays may be consid- Another type of display is the three- wing vari-
red as having somewhat more reacting time than ety, set up as you would a three-wing screen, or
utdoor posters. However, such reading time is having the wings locked into place by locking
t always leisure as in the case of magazine read- devices. Jt therefore stands without back support,
pig. Tn fact, most displays must he seen when and its advantage is that it may be set at the back
people are in a hurry, passing windows, shopping of the window or against the wall on a shelf, with
Ur lunching or going to and from work. Therefore, products displayed in front of it. It is usually
Hie display should be planned for brevity of text, planned with the middle panel largest and carry-
Tbnplicity of pictorial elements, and directness ing the main pictorial interest. The side panels
of appeal, may be used for the products, or for the adver-
First let us consider the various types of dis- tising message.
J

ays. The most consistently used type is the The "two-plane" type of display is usually die-
iigle panel, with lettering or message on the cut on the front plane with some sort of opening
picture, above or below it. may be supported
This to the back plane, providing a permanent back-
ty
an "easel" in back, or be made to hang on the ground for the pictorial matter, since a single-
all. Sometimes some sort of a base is used to plane cut-out might appear against any back-
maud and sometimes the actual product or
it on, ground, often losing thereby hi effectiveness. The
package is displayed upon this base or step. There back plane may be pasted onto the front in a box-
re single-sheet displays and posters made to be like arrangement so that it will fold flat for ship-
pasted, tacked, or hung up. Such single-sheet ment. Tlie effect is that of making the cut-out
posters are not mounted on stiff board as are all material seem to stand out in space, and with
n there. (In most cases the mounting is done after the added rounded ness of modeling by values, a
fee printing.) very lifelike may be achieved. This
appearance
I
With other types of displays, all sorts of ingenu- illusion of reality adds so much in attention value
ity is used in die-cutting, and in experimenting that it merits additional expense in producing
with various folding and interlocking devices for such an effect. A display like this should be made
Stability, Almost anything can be built of card- in miniature and discussed carefully with the
board in this manner, often producing a three- client, who when he sees the enhanced effect is

dimensional effect and giving great latitude for more apt to feel that the extra expense is justified.
Beativeness not present in other forms of adver- A very popular type of display is the large cut-
tising. A figure or group may be cut out and out figure which stands around the store in con-
placed in front of a background. Displays can be spicuous places. Artists have nicknamed these the
lost intriguing and tricky, Intricate die-cutting "Oh, pardon me" type, for people are always
k expensive, however, and therefore such die- bumping into them and taking them for real peo-
,
{lifting is held to a minimum. Cutting is usually ple. In such a display the legs and feet are a prob-
jiUnned for the outer contour, without inside lem , for a fairly wide and quite solid base must
j

lots, such as a space between the elbow and the be provided. Small feet would break off, and the
i Such holes require separate dies. The dies
tody. thing would always be falling over. Long dresses
prmot cut extremely sharp points and angles, so of course are the best answer, and when you are
lay serrations and intricate outline should be not able to use one, the only thing left is to put
[raided. The die is a steel band which must be something in the way of a background behind the
{ set or bent around the outline. legs, or just some dark color.

253
 DISPLAYS ARE "POINT OF SALE" MERCHANDISING i

The greatest value in display advertising is that ter art pays, and attracts, and sells. We do not
ft is displayed where the product is sold, and, seen need the gaudy stuff to sell. 1
by die customer, becomes a direct salesman. It It cannot be denied that brilliancy of color is

does not need so much "memory value"; rather good in a display, but lithographers apparently do
it is "on-the-spot" selling. Therefore a good dis- not yet know of "relative brilliancy " and that it

play should not be general selling, but a positive is really more brilliant and beautiful than the

person-to-person type of selling. The word "you" everlasting combination of raw primaries. lira

is excellent in displays. Let us say that the objec- raphers have shied from tonal or greyed
tive can be summed up in these phrases: 'Here a horse shies from a snake, not realizing thatiffl

it is, buy it"; "Try it now"; "Take it with you"; support of such color makes the brilliant offl

"It's good, buy it," sing.They do not know that pure yellow robs^
Often a good display may be built around its pure red robs blue, and by their very fighting fjieji

use or application. A huge toothbrush may be give most of us a negative response amounting to
brushing huge teeth, a large lipstielt might he an acute pain in the stomach. The public is not

touching full large lips. Large hands may be sold when nauseated, and some clay there will be

applying nail polish on large fingernails. Or we a law against concocting poisonous color for {ot
may show the inevitable pretty girl using or apply- lie consumption just as there is against concocting

ing the product. As in outdoor posters, die large poisonous food. Both can make one sick. The OT
head seems to be most effective* In fact, anything den of responsibility falls on you, young artira

may be enlarged to gain attention, to begin the crusade of good color. I think you

Basic appeals apply to displays as much as to do it, I wish I could paste up a huge sign in

any other advertising. Sometimes displays are a lithograph plant; "If you use one ftiU~$trength

final co-ordination of other advertising into a primary, for Petes sake tone the other hM
direct consumer appeal That is all it needs- And you can tone them with

Let me say that in displays the advertising pos- a bit of the full-strength one. It is as simple as

sibilities and opportunities for the artist are hardly that. i

touched. We have had, of course, millions of dis- There is so much opportunity still left for orig-

plays. Unfortunately the full value artistically is inality in displays. Instead of the hard*ed

seldom reached. In recent years the lithographer's pasted-on type of illustration, so much can-

customer has been encouraged to buy some of the done with quality painting wherein values, sc

best art talent in the country, and for this reason nesses, and beautiful tone all play a part
some displays are beautiful. There is still much cannot a display be done in the manner
of the garish and gaudy, the cheap and tawdry. lovely portrait instead of a pasted-up p
But the field is steadily improving, with better graphic thing on which all modeling has
conception and better execution. There no rea-
is bleached out for the sake of so-called
son why a display cannot be as fine a work of art color*? Clean color is a delusion for instance,
as any museum painting. I am sure the crudity lies idea that flesh can contain nothing but red
in the conception rather than in the demand or yellow. Clean color lies in the true value and no
interest of the public. Why must die belief persist ing else. There is no real reason for Iithograp

that people cannot appreciate good art? lagging behind the other fields in art prod
I am sure that misconception lias been a part With better art understanding, lithography
of the lithographic field too long. The better well lead the pack. But many iEs must first

lithographers are proving every day that the bet- cured.

254
 : :

WORKING UP IDEAS FOR DISPLAYS

Let us suppose wc are .searching for an idea for
on the display, or be designed
to exhibit
a display. As pointed out, ideas spring
from facts tlie actual product,
about the product which can be related
to psycho- b. If the package is small, it should be shown
logicalappeal To make the appeal, we
either enlarged enough to secure attention
make a promise that will bring and
satisfaction, we identification.
satisfy a desire, or we seek to alleviate a situation 4. Any argument should be based upon a
sales
that is unpleasant. Naturally our basic
intent is to sound appeal and the merit of the
interest. the customer in, and product
to sell, the product. should be made as evident as
Fitting the basic appeals to the possible.
product, it then a. most effective with person-to-person
It is
itaomes a matter of evolving material
that will copy so that customer is personally
tarry through the complete ad-
purpose and intent. dressed.
To assure us that our idea and
approach is sound b. If general appeal is used, make sure that
[we can the elements that should be
Jist
incor- it isdirected to the average person.
porated into a good display, and
make an analysis c. If the appeal is specifically to
[of the material to see one sex,
if it comes reasonably within
make sure the appeal is a logical one for
pbese requirements. It must be realized that no
that sex.
matter how beautiful the art work, if the function 5 It must be brief and to the point.
of the display fails, all
Therefore it
i s lost, including our effort should
land our clients investment.
Therefore it is well a. Assume that the customer is in a hurry.
to check with the following
| requirements when b. Incite curiosity and interest.
preparing a display.
c. Create a desire for the product.

ESSENTIALS AND FUNCTIONS OF A GOOD DISPLAY

From the above you will note that display
fl It must establish contact with the
purchaser at advertising follows in a general
the point of sale.
way the typical
routine of all good advertising.
a. It must be seen
The main differ-
clearly from the sidewalk
ence is that instead of striving for
or at considerable distance an impression
in a large upon the memory, it calls for immediate response.
store.
In the selection of material we should weigh
b. To be seen and this
to carry well, it must be carefully. Does it concern the reader specifically
of simple design and good color. or generally? Let me illustrate the difference in
c. It must call the customer's attention to
the two following catch lines: "How
the product. is your
breath this moment?" This
It must conclude a sale,
for immediate reac-
2. if possible, on the spot. tion as opposed to Takes away unpleasant
Therefore
breath/' which does not lead the
customer to
a. It should contain a convincing sales argu-
question his own breath or assume
that he needs
ment of some kind.
the product.
b. The pictorial content should amplify
such It is good to make
the preliminary roughs for
argument
displays on a two- or three-ply bristol so they can
c. For required visibility, such pictorializa- be cut out and set up in miniature. You
tion should
may not
be composed of large units, have much to do with the idea and
text at first,
stated simply and with good
contrast to but by proving to the you understand
client that
background.
the whole set-up you will
become more and more
U, It should identify the name, package or wrap- valuable to him and will be granted
ping, and the oppor-
use. Therefore;
tunity to exercise more of your
a. It should picture the package
own taste and
somewhere judgment with each commission.
255
TYPES OF LITHOGRAPHIC DISPLAYS

tub. HANCT &\%

256
 TYPES OF LITHOGRAPHIC DISPLAYS

"H+ICie-BL WING Pf/PLA^

th TWO PLAHE.

257
 WORKING WITH DISPLAY LITHOGRAPHERS
In fairness it must be pointed out that for the and reputable houses seldom ask him to do so>

artist the display field is highly speculative. Un- If the artist is striving to make a reputation,

like the other fields, the lithograph salesman will such a gamble may be sound from a business

rarely come to you at the outset with the order standpoint. Getting a good display reproduced

for tlie final picture. He is ordinarily competing has a compensating value in publicity for him.
with several others and while he , is willing to However, if the artist's time can be otherwise so
spend money to get the final order, he cannot '
filled that he is not called upon to speculate, then

guarantee you that there ever will be an order it is fair that one client should pay as much for his

for the final work, since the display may go to time as another, with no special privileges to the

some other lithographer. All competing salesmen lithographer.

are going to make the best preliminary showing If he works for an agreed price, to be paid in

possible. To outdo one another some will submit full only if a final painting is made, the artist can

finished paintings, which makes it difficult for the speculate with a preliminary sketch at a reason-
others. Since the lithographer may have only one able cost, and this can be submitted with full-size

chance in five or ten, he may hesitate to order and tinted photostasttc copies. In the case of better

pay full price for a finished painting. Each would artists, even the sketch and the "blow-up" accom-
he content to submit roughs if sure that all the panying it stand a good chance against other fin-

others would follow suit, but until lithographers ished work. Then if the sketch docs not get the

get together and agree upon ethical tactics with order, it does not represent heavy loss on the part
one another, this situation will continue. Thus of either artist or lithographer.

the salesman is rather up against it. If the sales- You can hardly blame the lidiographer for
man can land one order out of four, he is indeed wanting finished work if he can get it, without
a good one. going the full limit of cost. Nor can you blame the
On the other hand, there is no reason why the artist for not wanting to shoulder the whole gam-
artist should bear the burden of this speculation bleby doing a finished painting for nothing if the
by producing a finished picture that has such odds order goes elsewhere. You can make your own
against it without any guarantee of a selling price. deal, but remember that if your work is consid-

Every lithography house accumulates a "morgue" ered good enough to submit, then it is too good

of unsold paintings, and the paid-out value runs to do for nothing. Do not accept a "double or

high. If a salesman can "resurrect" or revamp an nothing" proposition, for it does not stack up with
old picture, either yours or his, this is one way the odds of less than a one-to-four chance of sell-

of cuttingdown sales cost. If a new picture is ing. If the art were the only tiling that sells a

needed, he may come to you with any kind of a display, the odds might be better. But poorer art

proposition to hold his costs down, since he does than yours might still get the order if it were

not want to hurt his prestige by adding to die coupled up with a better idea, and the idea may
morgue. not be the artist's at all

I contend that the fairest arrangement is fifty- I have had instances where the lithographer has
fifty. The artist may gamble half the sale price voluntarily added money to my when the
bill

with the lithographer. If the job sells, he gets the order has been secured, or when some litho-
other half and sometimes a bonus. If it does not graphic work purchased in the past turned out to
land the order, he is entitled to half the original be a "bell-ringer" It proves that, while struggling
price for his time and labor. Under no circum- hard to make a profit, they will share it when
stances should the artist take the whole gamble, they do.

258
 CALENDAR ADVERTISING
theory of calendar illustration is just the of illustrations. Suspended action can get mighty
se of displays. The appeal is general rather boring when you wait three hundred and sixty-
mspeeific. A calendar mu.st fit almost any prod- four days for some trivial thing to happen. It is

Therefore there is seldom any direct connec* something like the effect of a motion picture get*
between the picture and product, and unless ting stuck in the projector, with the resultant boo-
jedaBy prepared the picture would not contain ing and catcalls from the audience.
specific product The product of course could be Much of the appeal in calendars is by associa-
fcoerjalized, such as beer, bread* or something tion with present and past life, recalling pleasant
Did under many names, or it could be planned memories, or making a picture "strike home" to
an industry, such as automobiles, hardware, one who has gone throughmuch the same
dries, and bakeries. However, the purpose of the experience. Calendar pictures may be those which
lar is directed toward good will and con* provide an escape from the monotonous routine
iued patronage, stressing service, quality, and of life into fanciful dreaming. Psychologists point
jonomy. The object of the calendar is to pro- out that we all have two little worlds to live in,

file friendliness and good feeling. the world as it is and the world as we would like
It is important that the illustrator sense the dif- it to be. The latter is the one of dreams, ambi-
lce of psychological appeal in the calendar as tions, and the escape from reality. The calendar
mipared with other types of advertising. Calen- illustrator has much to learn from psychology.
are coupled with indirect selling, selling the Relief from tedium is sure-fire appeal. Make a pic-
or business rather than a specific product ture a man or woman can dream in, or escape into,
lis is known as "institutional advertising" Since and you can hardly miss,
same product might be bought at a hundred I believe this factor accounts for the tremen-
if the calendar assumes importance in the dous popularity of the Maxficld Parrish calendars
itionship of dealer to consumer. Or, in the case of the past He provided the dream Castles, blue
f a calendar advertising a specific product, it skies with billowy clouds, children and lovely
ieomes an appeal of die dealer to buy that ladies out of another world. But there was another
jductfrom him. A dealer imprint space is there- thing he gave it all a sense of reality. So we can
left on nearly every calendar, whether the make fancy real. We can provide trips to moun-
Ivcrtising is specific or general. tain streams that people love but cannot reach.
> As a result of this difference in approach, calen- We can glory in the outdoors, and the activities
fcr illustration leans to general human interest most of us would dream about. We can sail blue
Objects, ideas that appeal to the emotions, creat- waters with billowy sails, provide adventure, love,
[g sentimental response. The calendar does not romance, appeal to patriotism, glorify the home
iite to action, curiosity, or the urge to buy. and simple life* We can seek out the things that
ither, it creates satisfaction, lends tranquillity, would give pleasure, relief, and relaxation. The
jgs contentment. I do not mean that a calendar pretty girl of the calendar may give a man an
portray action. Sometimes action is very imaginary romance, his "dream girl,"* so to speak.
jod, as in calendars depicting sports, or in sub- We can give youth to the old, romance to the for-
that are action within themselves. But it gotten, vitality to the weak, broad worlds to the
ist be remembered that a calendar must be narrow. No wonder calendars go on year after
lived with a long lime compared with other types year as a permanent institution.
259
I
 BASIC APPEALS APPLIED TO CALENDARS
My feeling, just as with displays, is that the cal- that there somewhere a lack of ability, a lack
is

endar opportunity has hardly been touched. Cal- of good taste, and a lack of understanding. There
endars offer to an even greater degree a channel is no reason why we should consider the public

for really fine art Unfortunately, much of it has as lacking in appreciation and good taste. There

been cheap, tawdry, and with maudlin sentiment is no proof whatever that there is not apprecia*
The chief worry of the calendar house will always tion, but, on the contrary, plenty of proof that

be subjects. The next worry is finding artists with there is. There is proof that the public taste leans
enough ability to do them* When the artist can do toward sentimentality, but that is nothing against

more thinking, better calendars will be with us. it. By vote, during the Century of Progress Expo-
The day of the inane pretty girl holding a pet is sition at Chicago, Breton's "Song of the Lark," a

almost over. peasant girl with a sickle at twilight, Whistler's

Let us look at the green pastures open to us. *M other,'* that grand old lady, and similar sub*

Again, the basic appeals hold good. The home, jeets led all others in popularity. That means they

the soil, children, animals, serenity, security, pa- would still sell as calendars. It also means that

triotism, religion, are just a few. In addition to sentiment need not be dragged in by the heels*

that approach, there is everything of general and Summing tilings up, calendar appeal should be
popular interest, as the Boy and Girl Scouts, com- colorful but with some dignity, alive but not

munity activities, youth movements, military in- jumping off the walls. There is room for good

terest, school, sports, charities, recreation, church, taste in subject, sentiment, design, color, and
vocational enterprises, and many others. Almost execution. That is not an easy order, but it is what
any example of valor, generosity, kindliness, is really needed. You may be certain that truly

thoughtfulness, faith, confidence, patriotism, cour- good calendar subjects and ideas will find a mar-
tesy, neighborliness, courage in short, all the ket. Much of the bad stuff you see is used because

finer qualities of humansis good calendar ap- there really is not enough of the good to fill the

peal, Simple, homely ideas take on just as much demand. Calendar houses are combing every
greatness as more grandiose ones. place, all the time, for good material, and only a

I have noted that many individuals tear off the small portion of what they find is really good. It

calendar pad and use that alone. Inquiring why, is a mistake to think that pictures turned down for
I found the answers interesting and revealing. every other purpose will finally sell as calendars.

Here are some of the reasons. One man remarked While it is true that pictures which would be good
that the picture was so sexy that it reflected back elsewhere might also make good calendars, the

on his business and personal character. Being a . converse is far from true. Calendars offer oppor-
respected person himself, he wanted nothing to tunities for fine work not always present in other

injure that reputation. Another said, "It's so gaudy fields, and for the very finest kind of reproduction
you can't see anything else in the room, and I be- and printing. Good calendar paintings are by no
lieve my other things reflect good taste," Another means cheap in price. Some of the highest-paid
said, "Why should I use my home as an ad for artists are commissioned yearly at top prices to

some garage? If the lettering were not so big, Td do the best calendars. Keep your eye on the cal-

have kept it" Another said, "Im sick of bird endar market.
dogs." Still another, "That isn't the way the out- Calendar houses, if a man is good, may offer

doors looks to me, there is something wrong with exclusive contracts or arrangements. The artist

the colors."Whatever the reason, if they keep the must decide whether he wants to work that way
pad and throw away the picture, the artist, calen- I myself have never liked exclusive arrangements.
dar house, and advertiser have all failed. It shows I prefer to keep the door open.

260
 s

A CALENDAR CAN BE ANYTHINC THAT IS GOOD

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just wonftY about rne picture, they do the rejt.

261
 ESSENTIALS OF GOOD CALENDAR ILLUSTRATION
It is useless to try to "fake" calendar pictures.
1. It must create enough of a response that one
will want to look at, hang it, and keep it for You will only them back. Calendar houses are;?
get

its own sake, as well as for die convenience too aware of good art and good craftsmanship;

of the calendar pact. Do not copy any picture of a motion picture star?
2. Its subject and meaning should be clear to and expect to sell it as a calendar. Such a project^

anyone. would require a special release from die subject!

3. By preference it should be soothing, relax- In fact, you cannot use any printed copy as calen-J

ing, restful, since it must be looked at for a dar copy* Subject and material must be all your;

long time. own, so you can release it with a guarantee thai*

"
4- If it can provide an "escape from boredom there can be no claims against the calendar housejl

so much the better. Any material submitted should be securely!

5- If it contains action, let it be of the lively, wrapped and postage paid both ways*
healthy sort intended to release pent-up Any color medium may be used for calendar!
energy, nothing to induce emotional unrest. reproduction. Here is a good market for pastell

6. The color should by all means be harmonious 1 believe oil is preferred rather than water color;!

if it is to keep its place on the wall Raw colors though I see no reason why a water color would!

eventually irritate. not be used, if good enough.

7* The sales or merchandising approach should The full composition, or picture carried out!

be indirect* to the four corners or at least with color back*

8* Sentiment should be genuine and convincing ground, seems to fare better in selling calends
and not overdone* people* But this is just an opinion, and I think

9. It should not be too seasonal if this can be really depends on subject and execution, no mat-1
avoided. ter what the subject or medium* Wit and good
10. It should show die better human character- humor play a strong part in calendars, though II
istics. know of no calendar house that actually buyd
11. It should not show cruelty, racial prejudice, comic drawings.
malice, or other negative traits. The calendar, like the poster or display, can]

12. Mode or style should be generalized enough very well adhere to the four basic tonal plans,
to be good for some time. must be seen, and must carry, as far as possil

13. It should have full meaning with or without and there is no better way to get this quality. 1

a title. may find calendars with delicate subjects, but l\

14. It should be entirely original, containing believe I am safe in saying that those with

nothing that could be considered as copied contrasting values and arrangement stand thel

from other work or copyrighted material. best chance. Related color will always apply bej]

15. Its design should give it carrying power or cause it is good color. The calendar people

attention value across a normal-sized room tamly want vitality, or brilliance, in their subject^
or store* This means simplicity* and at times overstep the limit into bizarre atic

gaudy color. One thing is certain: they are ni^

Calendar subjects may be sold for "calendar interested in drab and muddy pictures,

rights" only, retaining the original. Or the sale will inevitably come back unsold* Figure sul

may be outright, the picture becoming the undis- jects must have some story or meaning, and nc

puted property of the calendar house. Some firms be simply portraits of people* Even finely pail
require a release from the artist of any further heads will be returned if they have no sentiment
claim* If a calendar has been sold once, it cannot appeal to the public* Some calendar houses have

be sold again for the same purpose. "line committees" which pass on all subjects.

262
 PAINTING FOR CALENDAR REPRODUCTION
Calendar reproduction should be considered in transparent glazes of one color over another.
a different light from reproduction for magazine Such an effect is almost impossible, since the color
pages. The latter must be printed at terrific speed must be one thing or another in any given spot to
and dry very fast. The ink cannot contain the make good plates. Many of the Old Masters are
nt of pigment used by the calendar printer; very difficult to reproduce because the many
iifact, it must be diluted to a large extent with coats of varnish givethem a very yellow hue,
ain fillers to make it flow easily and dry fast, which must be counteracted by the engraver*
ndar printing is largely by lithography. In- Give your engraver a clean, simple color
d of the three color plates and black, there scheme, starting with a few colors, and you will
iy be six or more colors used* It amounts to a get good reproduction. Your paint may be applied
fgat and dark of the basic colors, including a light thickly or thinlyand they will get that effect.
:ey, light brown, and others. Thus a richer effect Some lithographers go so far as actually to emboss
Kjf color is possible. The calendar is printed on fine the paper to give the effect of thick paint, making
gjpek, where the magazine must often use the it difficult to tell the reproduction from an orig-
of-the-mill and cheapest papers. inal oil painting.
This concerns the artist and work consid-
his The one greatest opportunity I see in calendar
bly. Much more delicacy of color and value illustration is to take the many neglected phases
possible in calendar illustration. More subtle of American life and develop them. There in so
gradations and softness of edges may be used, much that is untouched. Many calendars develop
onal qualities of color, or color varied to the into a series which has year-after-year possibili-
rarm and cool, are not the problem to the calen- ties. I have two such series which have been going
(ar printer that they are to the calendar printer right along for several years and which get more
irinter. Ordinarily much more time is spent over interesting all the time. Educational subjects find
alendar color plates, since it is not a matter of a market with schools, banks, and many other
meeting weekly or monthly closing dates. sorts of institutions.
I In painting for calendars a full palette may be The so-called popular, or pretty, subjects could
fot, using two yellows, two reds, and two blues, very easily give over to things of greater character
Jueaning a warm and cool of each. In fact, there and deeper meaning. There are many more sub-
|s hardly any limit In the way of color to the artist; jects to be had, but it is up to the artists to take
is free to do almost anything he wishes, with the fresh viewpoint to the calendar bouses, not
e single exception of too much widely contrast- wait for them to come to you.
broken color/' "Broken color" means small Check among people all you can as to the kinds
es of varying or contrasting patches of color of things that interest them. In this way
new ideas
bid side by side as did the French Impression- and approaches will become possible* What do
Its. That is evety plate-maker's problem, and it people love to do with their spare time? What
6 very hard to reproduce. The difficulty is in arriv- are their hobbies? What do they day dream
ing at tlie identical values* about? Deep down are many psychological an-
The artist rarely plans the complete calendar, swers to the things they really want
Deluding mats, frames or borders* Your picture Calendar ideas may be submitted in sketch
tty be put to a variety of purposes, and be form if the calendar house is familiar with your
pped to fit various sizes. For this reason, calen- final work. If not, some proofs or examples of your
people like plenty of extra cropping space finished work should be submitted along with
und a subject. your sketches. Sometimes an idea may be accept-
The principle of glazing in painting is not too able as idea alone, in which case it may be bought
d for lithographic reproduction. This means for development by another artist.

263
 COVERS AND JACKETS
The magazine cover field at the present time ap- magazines make a heroic away from
effort to get

pears to me as most wide open for improvement the pretty girl entirely. Most, not knowing what

of any of the art fields. For a good many years to do, stick to the photogenic, relying on hats and

photography has practically usurped this field, whatnots to put them over. The idea of a cover

with the result that we have been surfeited with subject is still present on only a very few maga-
covers very ordinary in conception and monoto- zines. By "subject" I mean an appealing and story-
nous Through this period there have
in execution. telling idea. We may all be grateful to Norman

been a few stalwart magazines that have stuck Rockwell for holding the line, and every indica-

to the belief that art is better as a magazine cover tion points to the fact that what he stands for in

than photography. Sonic have straddled the the wav of covers is most loved by the public. It

fence, some have gone over completely to the idea is granted that all magazines are not interested in
that photography, all in all, docs a better job. telling stories on their covers, but it is also true

However, this is not surprising in view of the de- that modern dress and charm could be more beau-
velopment of color photography and the errone- tifully presented in fine art than by photography.

ous belief that photographic detail is superior to What we need most is the artist who can deliver,

art and its appeal. The fly in the ointment has I thoroughly believe that with the advent of bet-

been that there is so little to distinguish one color ter artists, the magazines will be quick to seize

photograph from another, so little individuality upon such ability. I also believe that the very

and personality. One cover could be switched to reason so much photography has been used is the
another magazine by simply changing the name, dearth of comparable production in the way of

without noticeable difference. art. When as a group we outshine the camera, we

The truth is that all idealism has been sacrificed won't have to worry about being used. But if

to fact. Instead of the ideal girl, we have one who we make photography our goal and limit, we are

looks like an individual belonging to somebody going to lag hopelessly behind it. It would be the
else, with a definite address, and working for a best thing that could happen to artists and art

definite model agency. She may lie on this maga- generally if every camera were taken away for a
zine this month, and on another next month* The few years and we were forced to create with our
faces become as well known as movie stars'. She eyes, hands, and brains. We will never arrive at

ceases to be you)' dream or mine, and becomes art through photography.

as unattainable as any famous movie star. The As the field stands today, our opportunity is

famous Gibson girl of the past was a conception, limited. The chances of selling a cover are indeed

not a fact. She belonged to all. The Christy girl, slim. The reasons as they stand are:
the Flagg girl, the Harrison Fisher girl, were all

dream girls of their era., and the public went mad L Few magazines can depend upon the unso-
over them. We cannot go mad over the cover girls licited submission of material.
of today there are too many, and they are too 2. The artists used are generally working close

obviously picked for their photogenic quality out to the magazine, some by contract.

of our own ranks, not out of the imagination of $, With the necessity of complete speculation,
an artist. the use of photography, and the continued use
Because of the very deluge of photogenicity, of a few artists, the average artist is discour-

covers are passively accepted, although some aged.

264
 I. COVERS AND JACKETS
'i 4 The desire to couple the cover with the con- help immensely in the conception of your jacket
tents of the issue. design. It is questionable whether even the best
K.5. The relative disinterest of the magazines in jacket can sell a poor book, or whether a good
the production of good American art. book might not sell in spite of the jacket. How-
ever, it is somewhat like putting a good product
About all you can do to sell a cover is to send
in a good package. There will be many instances
in an idea in sketch form, or take a chance with a
where it attracts one to the product and therefore
finished painting. You will probably get it back.
makes a sale. Let us set down the essentials and
But I am thoroughly convinced that more and
functions of the book jacket:
.more ait will be purchased for covers, as fast as
the good becomes and that some day
available,
1. It must be quickly seen, and the title read.
photography will be frowned upon as the cheap-
2. Title is more important than anything else,
est of art. At present it would be a bit foolhardy
3. Expensive color plates should l>e avoided if
to specialize in covers alone. If you are a good
possible.
artist in other fields, there is nothing to stop you,
4. Flat postery treatment is most desirable.
when you get a good idea, from working it out as
5. It must carry for some distance.
aside issue and taking a chance on it. But if you
a. Since yellow carries farther than any
are new to the field, depending upon an income
other color, it is good for jackets.
from covers might result in very slim pickings.
b. Red is powerful, especially with black
Ifyou can get a steady arrangement with the
and white.
smaller magazines, it might be quite worth while.
c. Almost any jacket needs at least one
THE BOOK JACKET primary color.

Here is a field wide open. The book jacket is a 0, The jacket should be as exciting as possible,
challenge to the ingenuity and cleverness of the a. It should awaken curiosity.
artist and therefore is interesting and exciting to b. It should stimulate interest.

do. To keep it simple and effective is not so easy* c. It should promise entertainment or in-
Publishers like rather short titles. They do not formation,
always get them. Title and title space on the 7. All possible contrast of color and value should
jacket is of first importance, more important than be utilized to gain attention.
the illustrative space (if any is left). But illustra- 8. Sometimes a printing can be saved by using a
tion has a place on the jacket, and can contribute colored stock.
largely to the attention and interest in the jacket 9. Here is good opportunity for the attention
and the ultimate sale of the book. As a general devices spoken of in Part I.

rule, jackets must be printed fairly cheaply so 10. Small figures are not effective on book jackets.
that flat color in postcry effects is desirable. If the Half figures and large heads are good.
jacket can be done in two or three printings, that 11. Expressed action is good. Anything for atten-
(
is in its favor, for a few pennies saved in publish- tion.

ing a single unit may run into sizable amounts in 12. Make a rough of your idea. Wrap it around a
;the run of thousands of copies. book and set the book among others with the
In function the book jacket is much like the brightest possible competition. This is the
display. In fact, it does display the product at the best way to judge.
point of sale. As usual, simplicity is the keynote. 13. Submit sample jackets to publishers. If inter-
Punch-crisp sharp treatment, with few values ested, they will contact you- Getting in with
and colors is die soundest approach. To get a several publishers will bring you consider-
clear idea of the function of the book jacket will able income.

265
 SOME JACKET ARRANGEMENTS
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266
 SOME JACKET ARRANGEMENTS
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HELENA ROBERTS
 STORY ILLUSTRATION
Illustrators whose work appears in the leading pay as much as advertisers. The answer is that to

magazines are a rather small group. It is only fair the magazine illustration is more? in the nature of
to the reader to advise him that he must develop production cost, while to the advertiser it is

considerable ability to get into that group. I do investment. Frankly, the magazine's real income^
not wish to imply that story illustration is the top is from the sale of advertising space. The maga-
of the ladder, though it must ho admitted it is zine in the largest sense becomes a medium for
near it. Nor is it the highest-paid of the illustrative advertisers. What is done in the magazine itself i\

fields. Since there are but a few magazines of is to create the largest possible circulation, there-

national circulation, and since each can use but a by giving value to the space sold* If the magazii
comparatively few artists, the group represented fails us a magazine it also fails as an aclvertisi
must necessarily In? small I should sav that vour medium.
chances of becoming a well-known story illus- The advertiser, on the other hand, is promoting
trator are about equal to your chances of becom- sales of a product, and the best art work he can
ing a well-known author or actor. But the chance buy is to his advantage. Therefore, since there arefl
is always there* and somebody does it all the time. more advertisers than magazines, he must com-1
New names arc constantly appearing, and old pete with others for the artist's time, which natu-
names drop out. At any rate the magazines are rally sends the prices up. In this sense the artists

constantly searching for new ability, and if you compete with one another to get into the maga-
have what they want you will get in. zine section, while the advertisers compete with!
Most illustrators come up the hard way. For one another to get the artist. If and when the

the most part they have proved their ability in magazines must compete for the artist also, then

other fields before they get their first story. Many his price will move up. It is the old law of supply
have come from the fields of advertising illustra- and demand.
tion, since the two are so closely related. Many Xqw, you may question why the artist, if paid]
work in both fields. It is more often that illus- less for magazine illustration, sometimes chooses
trators come up from lesser importance than to work for the magazine in preference to adver---jj

down from the fields of fine art to illustrate, Yet tising. The answer is twofold. First, he will he
some illustrators arc taking their places in the smart not to have all his eggs in one basket. The
fields of fine art, and arc capable of producing magazine illustration adds prestige in other fields,

pictures worthy of fine art exhibitions. So there and also there is that little matter of pride of
are no rules except that your work must be prac- accomplishment entering in. The good artist can-
tical for what is needed. not measure either his ability or interest In terms
The chances are that you will not make the big of dollars. All jobs will be his best at any price.
magazines in one quick stride. But even if you Illustration is a challenge that the artist who is

never make them, it does not necessarily discount not afraid of work likes. So much more is left to

your ability. Every field demands the best of him, and he accepts the responsibility with a cer-

ability, and if your chance is not here, it can very tain pride. Perhaps, since his name is allowed to

well be there. Few of us know at the start where appear (though pitiably small), he feels that the
our particular talents may lie. The main thing is to public may be a w hit more conscious of his efforts
r

try to be good, and never stop trying. to please them. Perhaps he senses a bit of glory
You may question why the magazines do not in his efforts.

268
 WHAT DO THE MAGAZINES WANT?
Illustration unquestionably takes more of your To you exactly what the magazines
try to tell

time, even at a lesser fee. Unlike the advertising want would be little short of mind reading. But
commission, you must, for the most part, do your there are general specifications which apply most
Own planning, thinking, and execution. About all of the time, and these can be listed.

you get from the magazine is the manuscript, or 1. A beautiful heroine, plus a manly hero.
fin some cases a rather fantastic rough, or a very 2< Good characterization all the way through.
'simple layout showing little more than the space 3. Strong dramatic interest.
allotted. At best you cannot count upon the assist- 4. Exciting and unusual arrangement
ance that you get from the average advertising (impact).

r agency in the way of conception. Many maga- 5. Strong accent on mode or fashion, good
zines request the layout or rough from you, which taste in accessories.

shows the importance of being able to create for 6. Interesting technique but thoroughly un-

yourself; and they request not one situation but derstandable.

several, to choose from. Some allow you to pick 7. Variety in medium and individuality of

Situations for illustrations, some ask you to take a style.

given situation. But they usually want some idea S. Illustrations that sell the story.

in advance as to what you intend to do. All this 9. Inventiveness of conception.

[involves time and effort, and much of it is des- 10. Striking color but in good taste.

tined for the wastebasket. Let us approach each of these separately and
But since so much is left to you, I suppose that discuss them.

jfe why you work so hard at it The opportunity for

-expression is infinitely greater. You make
THE BEAUTIFUL C1RL OF THE MAGAZINES
your composition,
;
you select your character's, and Make no mistake about it, she is of first impor-
u tell the story. You make your own research for tance. This means a careful study of head con-
data and material, you assemble it, and make the struction. It means learning the planes and values
[most of it. If, when it is all done, it is good, you in the head under different lighting. It means to

may take full credit. place the features in the head correctly, as well as
It may be interesting to know that many art drawing them attractively. The treatment of the
directors of magazines have served their appren- hair is very important, both as to mode of hair
ticeship in other fields. The magazines in compe- dress and technically. Hair should be painted not
itition have given more and more attention to lay- many thousand hairs, but as to the forms into
as so

out and physical appearance. One of the great which the hair falls, with just as much thought as
Sims is variety, or "change of pace," evident as to plane and value as you would put into die forms
;cme thumbs through, to alleviate monotony and of the face.
keep the material ever fresh and inviting. The You will hardly ever find the perfect model for

general layout of each issue is handled within the any heroine. Much idealization will be yours. You
and you do not see it until published.
gazine, will be called upon to do heads close up, and also

Your picture may be cropped, ait out, or changed half and full-length figures. You will have to study
as the art director sees fit* It may be enlarged* the current fashion magazines to keep her dressed
ith just the main interest of your picture used; it properly to suit any occasion. She should be more
may be changed from full color to something else. than prettyshe should be both well-bred and
fact, you will never know what may happen. striking. So you will experiment with expression
'jnetimes you are delighted. Sometimes you are and gesture. You will probably develop a type
greatly disappointed. But you eventually learn very much your own, try as you may to make your
to take it in your stride or else blow up and quit. heroines individual and different* If you came up
269
 PUTTING THE FUNDAMENTALS TO WORK
through the advertising school, you will have camera tests as they do in the movies. Try to inter-
been developing pretty-girl types along the way. pret the following moods:

When you arc successful with the beautiful girl

Fear Hate Suspicion
in advertising, you have gone a long way toward Anxiety Anger Selfishness
success in story illustration. Surprise Coyness Defiance
Adoration Doubt Self-pity
THE HERO Hope Interrogation Envy
First of all, he must never be effeminate. That Joy Impending Love
Bewilderment disaster Greed
again means head study especially the anatomy
,

Frustration Hilarity Conceit

of the male head. Regular fellows, lean and mus-
Jealousy Intoxication
cular, win out. Clean-cut square jaws, full lips,

heavy eyebrows, prominence of bone at the Figure out some situations. Decide on the mood
brows, well-defined cheekbones, leanness be- called for. Try to get the model to live the part.

tween cheekbone and nostril, rather deep-set If the model is totally unresponsive and cann

eyes, make up the ideal type. Yours will vary from act, get another. It's too important to do without;

mine, but neither of us will ever make him fat or The last tiling you want to do is to create "dead-

round-faocd or characterless. When he makes pan" characters.

love, never let his pose be of the flowery matinee- Just now the magazines are leaning very r

idol kind. He may even he a bit awkward, but he to "close-ups," with the pose and facial expres

crushes her with a good deal of determination. sions telling most of the story. The dramatic inter
Dress him stylishly and neatly, but no patent- est should he as concentrated as possible. If a par

leather hair oil. The smooth- shaven face goes best, of a Ogure will tell the story just as well, cut it

but give his jaws enough tone so that he appears down to that. But continue to practice with
to have a beard, even if smoothly shaven. His ex- larger scene, setting figures convincingly int<

pression is important. If he sits down, dont put environments of all kinds, for fashions in illustnv

his knees together, and if he stands, dou't put his tion are constantly changing.

hand on his hip unless with closed fist. One bit of Much can be done with lighting to enhance the
effeminacy and the cause is lost. Study the heroes dramatic If you have a strong emotional situa-

of other illustrators, but best look around until tion, find ways and means to concentrate the read-
you find that rugged but cultured type and use er's attention on the important character. Muc

him. can also be done by layout or arrangement.

GOOD CHARACTERIZATION using a vignette, conflicting interest can be elim

Once in a while you will find a character nearly ina ted and dramatic force given the pose. The
perfect, but most of the time you will have to add main character or head can be given the greatest
your bit* Apply your conception of the proper contrast of background, can even be cut out

type to the best model you can find. At least have against white paper. Study the dramatic when-

the values and planes of a head to work from, and ever you find it. Study real joy, real sorrow, arid

build the character into the model, various moods as they happen in real life.

The best way to practice is to make small pencil

STRONG DRAMATIC INTEREST visualizations of stories you read that have not

Study your story. Act it out yourself. Plan it in been illustrated. If you get something that looks

little manikin roughs. Even if you cannot act, you promising it might he worth while to work

can express yourself through the model- In order up into a sample illustration. But make si

to practice dramatic interpretation, get out your is an illustration and not just a single figure doit

camera and your Favorite model and make some nothing,

270
 EXCITING AND UNUSUAL ARRANGEMENT
It is really more important that the story illus- why they have been made the basis of this book.
trator consider the whole page arrangement than Out of tonal arrangement can come many sur-
that the advertising illustrator do so. In fact, the prises. Suppose we do a whole page all very light,

story illustrator will have considerably more to then wham! ) a little saucy dark hat in the middle
{

do with it. In planning your miniature roughs, of it. Maybe the whole thing is grey in feeling,
always deal with the whole page or the spread then out pops a concentrated spot of black and
of two pages t may be. Blocks of grey
as the case white placed together. Wonderful things can
text should be indicated. Some illustrators paste evolve out of a black gown or coat, thrown against

actual text into a rough to get the effect of type brilliant color. Values can be full of impact and

set around the proposed illustration. I know a surprises; in fact, that is where impact for the

prominent illustrator who paints his rough in most part comes from, especially when tied up
opaque oil right over a page of text matter torn with color. Your inventiveness nearly always
out of a magazine, to get the desired effect The comes out of the subject and its interpretation,

placement of title, blurb* catchlme, text, and rather than from stock layout tricks. The stock

white space should all be laid out. That the art tricks usually are the props of the imitators,

director may not follow it does not matter. It is

your business to design a good-looking page.

ACCENT ON FASHION

To make a page different, exciting, and unusual In selecting styles for illustrative purposes, an
is by no means easy. But the man who can achieve important consideration is their relation to value

this, plus good drawing and color, is the man most and mass. That a dress is stylish is hardly enough.
sought after. This is one of the qualities that It may be a good style, but not a good value or

makes Al Parker outstanding as an illustrator. color for your subject. Your preliminary composi-

Very often the whites of the paper can be pulled tion and pattern arrangement is more important

into the subject. An unusual viewpoint may help. than the dress. Do you want a simple tone, or a
The selection of accessories is vital The spotting busy tone? Do you want it light, middle tone, or
of unusual color, die unexpected in pose and ges- dark? Will you break it up in light and shadow or
ture, the originality in telling the story, all play a keep it almost flat, with a front or back lighting?

part. Make every possible experiment you can Would stripes or a figured pattern go well, or not?
think of. "Impact" is vitality, and vitality is sim- That is the way to pick a costume. If you want a
plicity with force. The character expressed is im- figure soft in its environment, then you would

portant. You may be sure that if your subject is pick a value for the dress close to what is planned
complicated, indirect, cluttered, and ambiguous, for the back^ound. If the figure is to stand out

it cannot be very exciting. If the characters are forcibly, then a good contrast would be your se-

ordinary, without anything unusual in looks, pose, lection. The dress will appear twenty times as

r
or costume, no one will be terribly excited. It may attractive if planned to fit the whole scheme. Just

that everything has been done, but such because came out of a late fashion magazine, or
it

rvention comes from the subject plus the ingenu- just because it looks good on the model, is not

ity in telh'ng the story. No two stories are exactly enough. But keep the fashion magazines on your
-alike, nor two situations or characters. For an Al subscription list Few of us are good enough to

! Parker, there is always a way that is different. invent styles.

You have linear arrangement, tonal arrange- Practice drawing costumes from fashion maga-
ment, color, and the story. They can be juggled zines, just in soft pencil on layout paper, trying
about forever. Anything that is to be new, differ- especially to catch the drape and smartness. This
ent, and exciting must grow out of these; that is will be easier for women than for men.

271
 STYLE AND TECHNIQUE IN STORY ILLUSTRATION
Since the magazines are thoroughly conscious nique is always in a man's favor, yet it can be so
of fashion, ft is an important basis for criticism of flat and smooth as to be oppressive, lacking char-
your work. Use the simplest terms of the prevail- acter and the feeling of medium manipulation
ing modes, however, rather than the extremes, which should always be present. If you cannot
Trimncss and neatness will outweigh the highly tell what it was done with, you can be fairly cer-

ornate. Avoid if possible the "too fussy" in style tain that it is not very good. Tricks of technique
which is present in some form every season. It is should never become more important to you than
usually found in the overornamentat, extreme good honest craftsmanship. I remember a student
tig fitness in conspicuous places, too many ruffs who came to me He
glowing with enthusiasm.
and ruffles, flounces, loud pattern, and so forth. thought he had found the key to originality. When
Many models lean to extremes* If three-inch heels I asked him what the great discovery was, he con-
are worn, they wear four-inch Tf skirts are short, fided that he had invented a "basket weave" tech-
theirs are shorter. If hair-do's are high, they go nique. Leaving him to his own resources was the
higher; if hats are wide, they can hardly get in kindest thing to do. Unfortunately his drawing,
the door. The artist can easily be taken in if he values, and color were all bad, and without these
does not know. The only way he can know is to his "basket weave" had no chance. The best way
find out by the magazines and style exhibitions. to get technique is to worry about everything else.
In good magazines and shops you will also find
information about accessories. Everything avail- VAIUETY CJ MEDIUM AND INWVIDUAUTY
able to one illustrator is available to another. The IN STYLE

difference lies in the greater pains one will go to Your medium will have much to do with effects.
in the way of research and information, Each medium has its own peculiarities under
Hats will always be a problem. The illustrator your individual manipulation. Every medium
will do best by getting advice, for who can pos- holds possibilities for your own original applica-
sibly keep up with them? I avoid the use of a hat tion of it. Try never to work in one medium all

at all, wherever possible, since tbey are subject the time. Use pencil and crayon for studies if not
to such a great variety of taste- for finals. When practicing, try the same subject
I believe hair styles should be determined not in different mediums. In this way you find the
entirelyby the mode of the moment, but also by one most expressive.
die personality of the character. A young sweet Magazines are always interested in new treat-
thing looks younger and sweeter in a loose soft ments of medium so long as they are practical for
hairdress. A sophisticated person looks more reproduction and effective on the page. There are
sophisticated in a severe and upswept hairdress. untried possibilities of medium combinations, so
It is therefore a matter of judgment, and the the artist should be continually experimenting
model .should he willing to adjust her hair dress to with new effects. It is very easy to get into a rut
requirements at all times, with too much similarity of treatment. We are not
going to change around much unless we do some-
TECHNIQUE thing about it, and we cant experiment too much
Technique is yours. In general, the only time with bona fide jobs. The experiment can be done
technique will be complained about will be when separately, then shown as a possibility. You may
it is too "fussy," or when a muddiness of value is get a chance to use it.

produced. Bad technique is ordinarily the result If you can't afford models for such experimen-
of poor grounding in fundamentals, for almost tation, work from some of the excellent material
any application of medium will look good when in the fashion magazine. Work for effects rather
the fundamentals are right. Simplicity of tech- than faithfulness to copy.
272
 ILLUSTRATIONS THAT SELL THE STORY
How often the illustrator hears people say, "If Inventiveness and conception will always come

I like the pictures, I read the story!" That is the ahead of execution. It will forever be impossible
keynote of the illustrator's job, to sell the story to tell an inventor how to invent But if he senses
just ashe would any product. You can do it first a need and purpose first, this will help carry him
by gaining attention, secondly by awakening curi- to an idea, I think a lack of inventiveness may
osity, thirdly by the promise of entertainment or come more from a lack of the ability to analyze

interest in the material you are illustrating. Thus than from a dearth of ideas. Sometimes inven-
part of it is visual and part emotional or mental tiveness in illustration does not come from de-
That is why illustration must be approached from tailed description within the story at all. The illus-
more than the technical angle. All factors must trator analyzes what might have taken place in

work together to function properly- It is this fact the situation in real life that was not made appar-
that thins down the ranks of good illustrators. ent by the author. The author probably tells us
Many can draw and paint well, but since the "he kissed her full on the lips," and lets it go at
emotional qualities must be so thoroughly a part that. The illustrator decides whether he lifts her

of practical application, and the imagination must face up to him, whether her head is tipped back
be set free, the demand upon the artist is great. or laid on bis shoulder, whether she wears a
I do not think it would be unusual for the good smart little hat or a beret, and whose face is to

illustrator to be a fairly good actor, to be able to be partly hidden.

write a good yarn, or to express himself in other If they "clinch" at a railroad station, perhaps
creative ways* Because, after all, story illustration the author did not mention their baggage, nor the
is more completely the individual interpretation fact that a bag is toppling over or falling in mid-
and expression of the man than is the case in any air* The author may not have described the grin-
other illustrative field. ning gateman. That is inventionplausible analy-
The magazine cannot tell you how to make an sis of the situation to make your conception inter-

illustration that will sell the story. They can only esting and original. Originality is not dealing with
sense your ability to do it. No one can tell you. facts alone, but building things reasonable out of
But if the story is interesting ( and sometimes even the facts. Every story can have a story within a

when not), there is bound to be an approach of story. Your illustration is the story you tell about
some kind that has never been used in exactly the the story.
same manner. Even few hundred "clinches"
if a
have been used as illustrations, the two clinching
STIUXIN'C COLOR AND GOOD TASTE

are never exactly alike, nor do they clinch in exact- Alt the things discussed in our Part Three deal-

ly same way, under the same circumstances.

the ing with color may find expression in story illus-

Nor do they have to be put on the page in the tration. Tonal color schemes have a great place.
same manner. Something can always be added. Related color can be snappy and do wonders for
If the subject is trite or a bit hackneyed, there a page. But the magazines do not want color for
is always design, spotting and color, types and the sake of gaudiness. Remember, the magazine
accessories. Movies have been ending with is sold closed up. The color does not have to reach

day they began, yet these are

clinches since the across a ten- or fifty-foot space only from the lap

never completely tiresome if approached with to the eyes. Screaming color is woefully out of
finesse and intuition. Any subject under the sun place. You would therefore approach a magazine
can be approached interestingly; it all depends on illustration differently from a bill poster, calendar,

how much interest the artist himself has in it. A or display. Brilliancy is all right, but brilliancy
picture can always be made that will sell the supported by diarming companions of tone and
story. color.

273
 QUESTIONNAIRE FOR STARTING AN ILLUSTRATION
Since good illustration is good analysis, the take, considering his character, mode of life, cul-

following questions may develop an approach, ture, background, habits, emotions?

and help yon toward sometliing effective: What about costume? Is there a chance for
What is the nature of my subject? anything that would help you to a striking effect?
Has it a mood? Is it powerful, average, or weak? Can the costumes be made a part of an interesting
Should it be color? If so, should it be bright, or composition?
somber and grey? Can you embellish the characters by the envi-
Is it indoors, outdoors, day or night? What kind ronment, or do they stand up without placing
of light? them against a background?
Can anything be done with the lighting? Can you add to the drama by the .background-
Bright, diffused, dark, shadowy? using accessories, neatness, clutter, richness, bare-
For action, what would you do under the same ness, or anything else?

circumstances? Into what category would you put tills situa-

Can the story be told in more than one way? tion?

What are the choices? Old, new, cheap, smart, tawdry, un whole-
Can you tell anything that the manuscript some, clean, orderly, unusual, average, cost-

omits? ly, healthy, dirty, vile, wholesome, modern,

What can you do to enhance each character? Victorian, antiquated, good taste, bad taste,

Has die setting character? Can you add some? rural, urban, clear, foggy, dank, musty, fresh,
What have been the action and circumstances bright.

leading up to the moment illustrated? If it falls into one or more of the foregoing, how
What possibilities of emotional contrasts are can you incorporate those qualities into it?

there? Now can you make some small roughs of what

Is the situation dependent upon facial expres- has come to mind?
sions? After laying out your rough, would it be better

Which figure is most important? Can this im- if reversed on the page?
portance be concentrated? Have you reread the manuscript and noted all

Which of the accessories are most important? the facts?

i

Can you eliminate things of unimportance!? Will your composition have to be cropped to

Is it possible to express a feeling of linear or fit the page* leaving room for title, text, and blurb?
mass movement in your composition, even though Will the gutter cut through things of impor-
these in themselves ai"e static? tance, such as faces?

Does your subject lend itself to pattern? How Have you tried out more than one tonal plan?
can you arrange it? Can it be in more than one color scheme?
What is the dominant thought of your picture? Can the subjects be stripped of any tiling with-
Can you give it one? out hurting the drama, the composition?
Can the thought be dramatized? someone else had had this assignment, do
If

Can you employ geometrical shapes, line, or you think he would have done it just as you have
informal subdivision here? planned it? Is there no other way?
Can you create a focal point with line, with Have you really planned this independently?
contrast, with direction of gaze, color, or in any How many examples of others are yon following?
other way? Could you just as well put them away and start
What about the poses and gestures? Can you over?
add anything of your own? Is the artist you are imitating really capable of

"What pose would the character be likely to better thinking than you are?

274
 WORKING OUT A TYPICAL STORY ILLUSTRATION
At this point it may prove of value to you if \vc Our paragraph is quite specific about details,

take an actual situation and illustrate it. For the even to the pose. There are perhaps a thousand
although there are several char- interpretations possible. I hope that yours will be
sake of simplicity,

acters in our story, we will build a picture about quite different from mine.

the heroine only, assuming that a large close-up I see the girl, before I begin, with her head
of the girl will have greater impact than would a slightly drooped but looking straight at the reader
whole setting with .several figures. You will recall ( one of the rare occasions ) because we want that ,

I have said that in modem illustration, simplicity allure to reach the reader, almost as if he were

is the keynote; our first problem of this kind will the character talking to her. Should we show a

be handled with more regard for the page effect man, she would be unconscious of the presence of

than for the complete illustrating of the incident. anyone else. Sensuous eyes, however, are twice as

We shall assume that the following paragraph is sensuous turned upon you as upon someone else,

the one chosen to he illustrated. Let us capitalize upon that fact.

Now, the dress was only specifically red, not any

She had the allure of ancient Egypt, all the mys- specific material. That helps, for it leaves us to
tery of the Pyramids, the sensuousness of a sultry
our own taste so long as our illustration shows a
summer night on the Nile. She belonged to no era;
low-cut dress. If the writer had said velvet, for
she was ageless as the Sphinx. Her were as
full lips
example, we might have had to go to no cud of
scarlet as the gown that bordered her white bosom.
Dark eves like hers had looked upon the Pharaohs. trouble securing a dress of that material. For rest

The black lines of her hrows seemed to reach out assured, if we are concentrating on a single
nearly to touch, at her temples, the wealth of ebony- close- up figure, whatever she wears must not be
black hair I hat crowned her head. She sal, one shoul- faked, .since the writer has given her dress con-
der drooping, a cigarette poised in her slender fin-
siderable importance.
gers. She spoke slowly, evenly, deliberately. "Is there
As to her hair style, when we read of a "wealth
no love beyond marriage?'
of hair," we do not think of it as close to the head.

Now, if the above: paragraph does not stir some- Rather it would be full, loose, and soft about the

tiling in your imagination, stick to advertising. I face.

see a very sensuous, provocative creature, not nec- On the next page I will proceed to rough out

essarily Egyptian but of a type that bespeaks the in miniature some poses and patterns. I would like
spirit of Egypt- We need not put her in a boat on tohave you do the same, diverging as much as
the Nile, nor even ring in the Pyramids or the you possibly can from the way 1 have worked it
stars. We should not make her just a bobby-socks out. Juggle I lie four values about. But remember,

modern high school girl with black hair, but a the red dress is equal to a dark grey in the black-

type, an unusual one if possible, that will catch and-white scale. Her hair must be very black; the
the reader with a sort of Oriental beauty. A scar- skin, white. Take a soft pencil and a tissue layout

let low-cut dress is going to look good on a page. pad. Keep the first sketches small. Think, think,

Her ebony-black hair and white skin add two think at the very start, and once you get going,

important values to the four- value scheme. We the rest will fall in line.

can add a light tone, and more darks and lights to you prefer a new subject, select a paragraph
If

go with the others. The four-simple-value plan is from some story and rough out your version of it.
most important to us even before we start out, The only way to learn to illustrate is to start now
because it will be the basis of our pattern, and of to call upon your own imagination and inventive-
the miniature roughs in which we attempt to ness. Story illustration was never learned over-
arrange the masses. night.

275
 MINIATURE ROUGHS FOR THE ILLUSTRATION

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276
 DEVELOPING THE ACTUAL-SIZE ROUGH
The preceding page of miniature roughs has A word should be added here stressing the im-

been done mainly to get at a satisfactory place- portance of a model file as well as a file of general

ment of the figure and a spotting of the general data that is likely to be needed. As an illustrator

masses, I have made the choice indicated mainly yon never know what is likely to come up, or the
because of the movement in the design, with all type of story that will be given you to illustrate. I

lines The white

carrying the eye to the head. have found it worth while to take 'tests" of mod-
bosom and shoulders are supported by a dark would be done in motion pictures. Try them
els as

shadow, and the bright red dress will come next out for dramatic ability and expression. Have
to white. Back of the head will come a low tone some typical heads, full-length, and costumed
and dark shadow, both of which should enhance po.ses on file. Your file should be as complete as
the very light and very dark value which will be possible, with men, young men, women, young
in the head itself. women, and children. It is expensive to call in a
The problem now is to make up an actual -size model and find out after she gets there that her
rough which would be submitted to the magazine shoulders are too bony for the evening dress, that
editor. This could be done in pencil, charcoal, or she is knock-kneed in a bathing suit, or that she is

colored crayons. When the magazine is thor- short and thick- thigh od, which the head photo on
oughly familiar with your work, elaborate roughs file would not indicate. The photographs models
are not as necessary as during your first assign- leave on file have usually been retouched, some-
ments. Sometimes two or three roughs are asked times almost beyond recognition. You should
for, often of different situations, Normally, these know what she looks like in front of your camera,
roughs should be done in color, but for purposes when you are working with your individual
of this book, this rough can be illustrated just as apparatus.

well in black and white. Tor the most part, models are disappointing in

If the situation , as in this case, has already been one vviiv or another. It seems that no model was
chosen, then it is advisable to call in your model ever meant to be perfect, with both a fine figure

even for the rough, for you will then be able to and a fine head, [f they are beautiful they may be
follow up in the final with much the same char- unable to act. You may be almost certain that you
dress, and so forth. It is also advantageous yourself will have to contribute much in theway
Iaeter,
to thus familiarize yourself with the type you are of imagination to any photographic pose. Where
going to paint; the rough acts as a preliminary the model is most necessary Is for the contribu-

study for yourself as well as for the magazine tion of character, "something for the light to fall

editor. You can make the rough direct from

either upon," as one artist put it. Models give you an
the model or get your camera out and take some indication of form in light, and color, telling you
poses. You may find new suggestions when set- where die planes are, and the relationship of val-

ting up the subject before yon that will be better ues. I do not believe any artist is so good that he
tli an any of your first vizualizations. It matters can dispense with models.
little how you arrive at what you are going to do, Your data file should contain, mainly, the mate-
so long as you eventually make up your mind that rial to be used in backgrounds and settings, since

it is the best approach you can think of. But once you cannot copy actual poses of people. Try to

you start the final picture, everything should be keep up on interior decoration, modern furniture,

well decided, so that there will be no changing of current fashions and accessories. But there is also

horses in midstream. A color sketch for your own the life of the past, the small town and farm life,

satisfaction is well worth the time it takes, and for outdoor material, horses and other animals, cos-
this I shall make one, even though we do not tumes of various periods, stores and shops, night
reproduce it. clubs sports,
s
and almost every phase of life.

277
PHOTO OF THE MODEL
STUDY FROM THE PHOTO

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279
 THE FINAL INTERPRETATION I
I liave reproduced the photograph posed ac- uality. The physical appearance of the contents
cording to my selection in miniature rough. This will be closely allied with the personal likes anc
young lady was selected mainly l>ccause she dislikes of the art director. There arc art directors
appealed to me as being an unusual type. I am who seem to have very decided preferences as
deliberately seeking to get away from the stand- both artists and types of illustration. One may like
ardized cover girl type, or the so-called photo- the "cIosc~up" type of picture showing large heads
genic model. Her slanted eyes and brows, the and expression. Another may prefer the "full

fullness of her mouth, together with the smooth picture type/' showing the characters in a setting.
neck and shoulders, seemed to coincide with the Any art director strives to produce a variety o

authors description. The charcoal study of the approach throughout the magazine. This is oftei

photograph was done mainly to sec if I could the reason for the cropping of a Full-size painting,
bring out these qualities without literally copying for he may not wish to have two similarly treated
the photograph. Were this a definite commission, Subjects close together. There arc those art dfo

I would send the charcoal drawing to the editor, tors who lean toward certain mediums, perha
accompanied by comments about what I had in preferring water color to oil; or crayon, charcoa
mind as to the illustration, the color, and anything dry brush, and similar mediums to the so-cal
else that might make my intentions perfectly heavy mediums. It is a good plan at the start

clear. familiarize yourself as much as possible with

The art director would in turn submit this to types of illustrations most generally used by ea
the other officials of the magazine and return it magazine. If you have any new or inventive a
to me with their comments as to the possibilities. proach in mind, it is better to submit something
This might save a great deal of lost motion. If the along this line at an early stage rather th

magazine were not in sympathy with my ap- attempt to surprise the magazine with an u
proach, or had any objections, this would be made pected technique on a final assignment.
clear before the start of the final work. If the char- All in all, the whole procedure should be 01

coal study is approved, the illustrator can pro- of closest co-operation. The art director is just

ceed with confidence that all is well. This proce- eager as you are to give his magazine distinction

dure is most practical for all concerned. Each by any means possible, but he must know his

issue of the magazine has a definite closing date ground from start to finish as far as your ability

by which time all work must be satisfactorily is concerned. This is why a certain amount of your
completed. The average monthly magazine s clos- time should be set aside for experiment and study,
ing date is three months in advance of publica- so that you can keep your ability and approach
tion. The illustrator should try to have his work and dynamic. You can keep liim informed
flexible

completed ten days before the deadline. It is very of any new ideas you have, and this may often
bad to force the magazine to use your work, be- pave the way to new opportunities if the maga-
cause of the shortage of time, when it is unsatis- zine is willing to experiment with you.
factory. For the most part, criticisms from the Since the final interpretation of our subject is

magazine are warranted and would not be forth- in color, it is necessary to place the picture among
coming unless deemed absolutely necessary. The other color plates in this book. The reproduction
last thing an art director wants to do is to delay of the painting will be found on page 291, entitled
publication. He will therefore appreciate early A Sample Illustration. I suggest that the reader

delivery upon your part, which will give him an review the paragraph which we have taken as our
opportunity of making changes without causing problem, and then decide whether, in his judg-

delays. ment I have caught the dramatic and emotional

You will find that each magazine has an individ- qualities suggested.

280
i
 HEAD STUDIES FOR ILLUSTRATIONS

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281
 GETTING INTO STORY ILLUSTRATION
This volume would hardly be complete without ion, other people's opinion, and one must labor
a discussion of how you can get into story illustra- almost in spite of it. Opinions are something that
tion and what preparation you must have. To dis- we get more of with less effort than anything in
cuss it frankly is not meant to be discouraging nor the world* If anything else is given as freely as
disillusioning, but to lay before you some of the opin tons, especially negative ones, I cannot imag-
undisputed requirements. Seldom does an illus- ine what it can he. Yet we must to a large extent
trator of magazines get there without art training. abide by what others think of our work. They can
Whether the training is in schools or by dint of make or break us.
his own hard effort, the training is a necessary Illustration will always be subject to public
adjunct to his native talent. opinion. But opinions need not cause us to break
It is likely that most of you, as young artists, faith with truth as we see it. And opinion on the
even as skilled and trained artists, cherish this whole is not only apt to be fair, thank Heaven, but
ambition, I wish to go on record as stating that most of the time it proves itself right. Public opin-
the opportunity is always there. Whether you can ion is far more in accord with present-day illus-

make it a reality depends on many "if s."

tration than with modem art. I have every reason
First of all, you will need to be skilled in life to believe it will stay that way, for both illustra-

drawing and anatomy, perspective, composition, tion and public opinion spring from the same
and color. But you will also need that rare sense source, the reaction to life itself.

of the appropriate, and die ability to tell a story Therefore it is my plea that illustration be kept
pictorially. Illustration may be thought of as rational, in keeping with good taste and the better
belonging to two classes: the idealistic, for one, things of life. In helping you to chose a path to

and the interpretation and characterization of life illustration, I would beg of you to keep your two
as it is, for the other. Illustration in the highest feet firmly grounded in reason and truth as it

sense is not a matter of drawing pretty girls and appears to you. There are so many blind alleys,

pink hair ribbons. The Second World War has whetting our curiosity and glowing with specula-
brought forth much that is new and forceful in the tions that prove to lead to nowhere, that I feel you

way of illustration. Illustration is holding the mir- should give much consideration before tossing out
ror up to life, and the best of it carries the strong- the dictates of your own personality and ability*

est message of life itself. Much of our present-day I contend that art is not imitation nor duplica-
illustration cannot but appear insipid as com- tion of realism, but an expression of the individual,
pared with the work of Howard Pyle. He has left based on truth. Such a definition is neither narrow
a record of early Americana that excels all others. nor confining. It is as wide open as the blue skies.

That spirit should go on. It will go on in some of I have stated that you cannot be a finished illus-
you, who perhaps are still in your teens, but who trator in one jump. The main reason is that you
have overpowering ambition and strength of pur- cannot take in life in one glance, one day, or one
pose. But it will not come by dreaming. Every year. It is far better to seek your development
day wiD have to contribute a small part to your through the channels that point to your goal than
ultimate goal. to try to make one leap to the goal. All commercial
Art is an exacting mistress. Her rewards are art is illustration, and all of it gives you equal
great, but they are for a chosen few. Yet art is opportunity to progress. Be content for awhile
one of the few vocations where success lies wholly with die little jobs, knowing that it is all training
in the effort and character of the individual- for the big job later on. When you have a chance
granted first of all, of course, that he has talent. to draw a a character, a figure, try to think
face,
There are no strings to pull, no favors to be of it as illustrating one of the best stories in the
granted. Art is thoroughly subject to public opin- best magazines; do it that well. Do it as though

282
 GETTING INTO STORY ILLUSTRATION
your whole future depended upon it. Actually, interpretation of the fundamentals here. The
your whole future could easily depend upon it, for main object has been to make you think and to

this very sample might interest another person do for yourself, to believe in yourself. There is

with a bigger opportunity to offer, and that might only one other course open and that is to go out

bring another, and so on. You never know what and imitate the other fellow. It is granted that

a good job may do for you; but a slighted one, a such a course might bring insome return, but it
lazy one, a disinterested one, leaves an impression seems to mc that if you are good enough to get
hard to shake off. there by imitation, you are certainly good enough
When your work in other fields becomes notice- to get there on your own. The imitator is not going

able, the chances arc that somebody will find you. to outlast by very long the imitated. Suppose there
There are artists' agents constantly on the look- are also five thousand others imitating the same

out for talent, just as there are movie scouts. If man you are. Suppose by the time you are ready
your daily work is not providing you with avenues your idol has already been imitated to death, the
pointing toward your goal, there is nothing to do whole vogue has passed, and someone new is

but make your own opportunity. Take a story there in your idol's place. After your idol is out,

and illustrate it Show your work to others. If they what chance have you?
respond Favorably, maybe Mary Jones the maga- Young people imitate thoughtlessly. They like

zine subscriber might like it. I would not submit to be led, rather than take responsibility based on
illustrations to the top magazines until you have and decisions. But
their own perceptions, beliefs,

developed a background of experience and are the young people who forge ahead are those who
making a success in other fields. Send your work take the reins and do their own driving. They
to reputable agents first; they can advise you must realize this is their world, not ours in which
intelligently, and even submit your work to the they are always to be told what to do. We would
magazines if it seems promising. Such work may much rather have them do it, giving what assist-
be sent periodically. You will probably get in ance we can, than to do it for them. It is not imi-
faster through a good agent than by trying to go tating when you work with line, tone, and color,
directly to the magazine. However, if something and produce form. It is not imitating to work from
unusually good is sent to a magazine, they will a photo you have conceived and posed. Nor is it

contact you quickly enough if they like it. imitating when you are practicing. It is imitating

But you may be sure they are all getting a when you tack a successful job by another artist
deluge of mediocre work submitted by every un- on your drawing l>oard and copy it for profes-

qualified Tom, Dick, and Harry, and only once sional use. It is imitating when you try to sell
in a very great while does an unheard-of novice something you have not in any way created.

break directly into the magazines. There is no There is a vast difference.

rftual to be performed; anything can happen. But If you are really ready for the magazines, you
a logical step-by-step procedure to your goal is will not have to worry. You will get in. Worry just
the best bet in the long run. about getting ready, so you can then worry about
I have tried my utmost in this volume to give staying in when you get there. But worry can be
you a working basis and suggest the things you lots of fun, when its over something we love to
will need. But you will naturally make your own do anyway!

233
PART SEVEN
 EXPERIMENT AND STUDY
There is no greater impetus to a successful career ing, both indoors and out. It's a shame to shut it

in creative illustration than experiment and out to sleep. If Sunday is your golf day, then play
study. In the earlier years of actual professional only eighteen holes and work Sunday afternoon
practice, I would recommend a continuance of or every other Sunday. If Sunday is your church
school study in the night classes, You will find that day, then no artist will suffer by developing his
after having some practical experience in the field soul. Work Saturday afternoon. It's up to you and
you will learn twice You are more enlight-
as fast. the Missus when you will study, and if she is not
ened as to what yqu want* and perhaps your weak enthusiastic, try painting her and the kids. It does
points have begun to show up. But whether an art not matter how you work it out, but it is impor-
school is available or not, you can set up an organ- tant that you do work it out.
ized routine of further study for yourself, A good Set up subjects for still life. They are not boring
way is for a group of commercial artists to set up at all when you really begin to see tone and color
a by themselves, calling in models and draw-
class design. Make outdoor sketches while the young-
ing and painting them. If such a class cannot be sters wade and Mother reads a magazine. Put
organized, then set up a space at home where you your sketch box in the car and go out and try it.

can work evenings, Saturday afternoons, or Sun- Painting from life is refreshing after a harrowing
days. T do not mean that you should not take time week on the job. It stimulates you to good color
out for relaxation, but the faster you get over the and freshness in your work. You will find that
ground in developing yourself, the sooner you shadows are light and airy, that the blue of the
are going to get there. There is a course of study sky really gets into them. You get away from the
for each individual, and sometimes he can lay reds, browns, and oranges that we all seem to use
out such a course for himself better than someone when faking. Seldom do we find an artist who
else can prescribe it for him. fakes in delicate greys and cool colors. In fact,

There is one thing not to do, and that is simply these soft tones and colors rarely enter the mind
to drift along with the daily routine, making no of the artist until he has come to know the beauty
extra effort. You will soon find yourself middle- of them. In the studio, color is thought of in terms
aged, having done nothing more than routine of tubes and pots; when you look for the same
jobs, and being little farther along than you were colors in nature they do not seem to be there.

years ago. The extra effort is the difference be- Nature looks quite dull at first, but when you set

tween the great mass of mediocre artists and the down her tonal and greyed colors you are sur-

comparatively small group of very good ones. prised to find that they are much more beautiful
It will take a great deal of concentration and than the contents of the pots and tul>es. }

determination to get over the first hump. If you So many of us never take the trouble to really
do not really know anatomy, that is a good place get acquainted with old Mother Nature, and then
to start. It can be done at home in a few evenings wc wonder why our progress is so slow. She is the
a week. Perspective is another thing that you one real source, and the more you neglect her, the
might as well get at and learn. It will not take farther you stray from home. Most of us do not
long. Practicing composition is something you take the trouble to go sketching, feeling that
need not go to school for. Practicing pen and ink, where we live there is nothing in the way of a sub-
crayon, and charcoal can all !>c done in leisure ject. That can hardly be true. Even a back alley
time. Color should be practiced in the daytime, of a slum can be wonderful material if seen with
in good light. No light is nicer than Sunday morn- an artists eyes.

286
 FINDING SUBJECTS FOR EXPERIMENT AND STUDY
River towns, mill towns, old towns, even prairie This is something no art school can give you, and
towns, always present material. There is bleak it's you can get.
closer to real art than anything

drama as well as exciting drama, and it is all If that front lawn needs mowing, get up early

part of the American scene* Those funny rococo and do it, but don't let it rob you of your chance
houses are great subjects. Art does not have to be to study. Anyway, it is not enough reason for not

"pretty." Pretty art has troubled this country too studying. Keep a sketch pad and a sharpened soft
long already. Artists are seeing for the first time pencil in your pocket. Get used to noting things

America as it is, and some wonderful things are quickly and setting them down. That is where
being done, pictorial ideas come from. The merest notation
I do not mean that we deliberately set out to may later become the basis of a great picture
paint the grotesque and ugly. The point is that you never know.
all things have form, tone, and color arid it is It seems strange that most of us need to be sold
quite amazing what that form and color might on the world we live in. We do not know how
think that having the ultra good it is until we are in danger of losing it. The
look like in paint. I

and super of everything thrown at us so long has average artist is living in such a wealth of material

rather blinded us to the beauty of the common- that he cannot see it He is too close. Main Street
place. It makes us think that everything must be may not mean much to you, but it does to the
more apt Saturday Evening Post if it is seen with sympa-
polished and shiny and new. Beauty is

barns on a farm thetic and understanding eyes. "Hie world wants

to lie in character. Just the old
vision and interpretation of the life it lives, and
have character.
Values, tone color, design! All have charm, our life is just as vital to us as the life of the

whether they occur in Peoria or on Fifth Avenue. French court and nobility, or the life depicted by

That little patch of garden back of Joe Melon's Gainsborough, was to painters of those eras. Poor

old house takes on tremendous meaning in New Velasquez, living in sunny Spain with all its color,

York. Americans are becoming more and more its winding streets, its blue Mediterranean, had to

aware of the significance of our national back- stay in the house and paint noblemen. He died
ground^that we are all a single people with dif- young, probably needing fresh air. He must have
ferent addresses. squinned at times and been ghastly sick of it. But
There is no valid reason why you cannot study he left us masterpieces.

on your own, benefit by it r and enjoy it. Set up Subjects are in the mind of the artist, the quick
that bunch of cut flowers. See if you can paint it eye, and the interested hand. Were there a great

loosely and artistically. Sketch funny Mrs. Hig- .canvas called "Sunday Afternoon in the Park,"

gins, who you always thought was quite a sketch painted in any small town in the eighties, people

anyway. Make a pencil study of that gnarled old would swarm to see it today. It would make any

treeyou have admired down on Sawyer Avenue magazine if well done. Think of the quaint cos-

where the cars turn. Take a look at the children tumes, the life of our grandfathers made vivid

next door in terms of planes, color, and personal- today! The same thing will be true in the year

ity. They are probably as real kids as any ever 2000 a.d., which is really not very far off. People

painted. Horses, dogs, cats, old folks, snow, bams, will be just as interested then. The American life

lumber yards, of today and what is left of yesterday will soon

interiors, buildings, mines, canals,

docks, bridges, boats, vegetables, fruits, bric-a- disappear. Catch it while you can. We are com-

brac, country roads, wooded hills, skies, the old ing very definitely into a new era. So work hard,

swimming hole. There are subjects galore if you young artist, with your eyes open.
will recognize them and try them out. This is all If you have no subjects to paint, you are going

learning and material for the future. about blindfolded or totally unconscious.
material for
287
 YOUR PENCIL CAN KEEP BUSY

kOTHCMQ QUITE SO PLEA-TAINT A/TO -TPENO AN EVENINCT WITH A PENCIL

|/

AMP A DOa. IF BRONO }J" SLEEPY H IJ- A GOOD rrc>OEL. BJLOCK |N BIG FORM/
FIRJTANPTHEN WITH THE /lOEOFTHE LEAP LAY IIS TH E. HAiFTOKEf ANDDA KKJ\
288
 PRACTICE HEADS ALL YOU CAN
!

JTAT A /KETCH BOOK

NOW OF PRACTICE MEAC&j
DRAW /OME FROM LIFE
OTHER/ FROM CLiPPlHUfi
Nothing can help you
MORE. pRAW ONE A DAY,
F(LlYour book.

PRAW ALL TYPE/

ANP CHARACTER/, THEY ARE
All aout you.wilunc to Pore

289
STUDY OF AN OLD MAN

Wt/
A SAMPLE ILLUS'I RATION
 SKETCHING
It is important that the artist fix firmly in his the mind's eye" is a bit more picturesque as a
mind the basic difference of altitude in a sketch phrase than it is in actuality. We do not truly see
as compared with final work. Logically consid- the thing until wc have mastered the problems
ered, a sketch is a search for information that will attached to it.

be transposed later on to the final thing. It is the many effects of life and nature are fleeting.
So
"n;i] ling down" of essentials that yon deem impor- So we make "notes." The camera has helped to
tant. Every sketch should have a definite some- catch many of the changeable aspects of life. But
tiling that you are going after. A sketch presup- the camera cannot supplant the vivid mental im-

poses action, mass arrangement, light, shadow,, pression one needs to produce a good picture. By
and color, without intricate detail. If you are actually coming to grips with the subjects you are

searching for potent detail, you would think of drawing upon your taste and selection, and yon
such preliminary work as a stud v. are filled with an inward excitement over what
A sketch i nay be for design or arrangement the subject contains. The whole conception is
alone,, and the decisoii as to a color approach. more apt to be creative and original by starting
Such a sketch is a "color composition," with your own first interpretation rather than
Tn commercial work there Js what is known as a with a photo.
"comprehensive sketch." Such a sketch mighl be The time element in sketching is important
quite finished. Usually it is the actual size of the Nature changes so fast we have not time to be-
intended reproduction (except in the case of dis- come absorbed in little things. That is why so
plays and posters). The purpose here, of course, many fail completely in the ability to make a
is to give the client a fairly accurate idea of what sketch from life. But suppose the drawing is a bit

you intend to do with the subject, its color ar- out? A sketch is not a demonstration of the things
rangement a] id general effect. Suc:li a sketch is you can do with time. 13 ig shapes, big tones, big
nsuallv done from the material that won hi be used relationships are what you are after. If you want
in the final work, and its purpose is to elear up to carry awav the detail, take along your camera;
any difficulties or objections that otherwise might that is what it is for. But the detail will not make
carry over into the final work. the final work any better as a picture. The tonal

Make up your mind as to the intent and pur- color and mass will be better than anything your
pose of the sketch. Here is the real joy of sketch- camera can capture.
ing. In a sense you cast off the meticulous labor The ability to make a good and even fast sketch
for an im inhibited expression of the thing in mind. will make a better artist of you in the end. Sketch-

We know more about an artist from his sketches ing should not be neglected nor underestimated.
than from his finished work- That is the reason The main value lies in the freshness and spon-
sketches are often more interesting and beautiful, taneity it will eventually give you.

being of simpler statement and far more expres- Sketching should be done in almost every me-
sive. After having made such an analysis and dium, under every kind of circumstances, and of

statement, the final work is much more apt to all kinds of subjects. If you would illustrate, you
carry the emotions of the artist into ft. will prepare yourself to draw anything and every-

In the biggest sense, sketching is on experiment thing. That is not so difficult as it sounds, for
with the pictorial material, searching out the usa- everything is simply line, tone, and color. Form
ble facts and assembling them for effect. You are is always expressed in plain light, halftone, and
meeting and getting acquainted with your sub- shadow.
ject. The mental conception of a subject is always Your ske telling outfit can bring you more real

abstract. We cannot know what the visual effect pleasure than any other part of your equipment,
will be until we set it down. "Seeing a picture in especially if you sketch with a purpose.

292
 FIGURE PAINTING
1 would like to discuss frankly the importance and value. After painting flesh, be finds that he
of figure painting to the average: craftsman in approaches all things in a new light, or with new
illustration. All too often a student leaves the art vision.

school having had hut a meager start at it, and, The next great value of it is the correlation of
anxious to get into remunerative fields, discounts chawing, tone, value, and color, all of which are
the real value of it as applied to everyday work. present in the figure. We can paint one apple too
True enough, the paid -tor picture is seldom a red, and it does not matter. But a forehead or
nude, and it may he hard to understand what real cheek too red and only slightly too red can he
connection it could have with other work. Since \ety had. Almost any other thing can be too much,
in most instances it would be actually unlawful to a sky too blue, grass too green, a dress too yellow,
paint a nude figure into an advertisement, why a shadow too warm or too cool. But not flesh.
bother with figure study? It is with difficulty that Good flesh tones must be true in tone value and
the average young wife can appreciate its real im- color, or they do not have the quality of flesh.

portance to her artist husband's career. T hope Commercial artists who have spent little time at
she will take inv word for it here that it is vcrv serious figure painting have a common habit of
important. But far more important is her hus- painting flesh on the "hot"' side, with red, yellow,
band's genuine and honest attitude toward it. It and while, in light or shadow. Tt makes much of
is, frankly, a delicate situation which should be the cheap -looking art work we see.

met frankly and openly. If you can truly develop your sense of value
Figure painting in the beginning should be and color, coupled with the subtlety of plane and
done in class in association with other painters. construction that is evident in the nude, you can
This, mainly for ihe reason that one learns faster tackle almost anything else with considerable
in co-operation with others. If possible the study assurance of getting these qualities. A combina-
should be under a good instructor, I really feel tion of figure and still life painting, first one and
that the night class is best at the start, since the then the other, over and over again, offers you the
artificial light more clearly defines die form, pro- best possible chance to develop the best qualities
ducing definite light and shadow. Daylight is of painting. Because you draw well is no real
most subtle and quite difficult. However, it is assurance that you can also paint, for the simple
most beautiful. reason of values and relationships. The only way
There is a difference between life drawing and you can get them is to paint, and paint with a
painting. Tn drawing we are dealing with line and great deal of conscientious study. The reason for
tone in a black medium. In painting there is sel- working in a group is that values, good or bad, are
dom a real black on all of the flesh. It means that more apparent in the other fellow's work than on
the artist must raise his values tremcndouslv. 13 e- the model. You learn from his errors as well as
cause he has been used to setting down black and from his advancement over you.
white tones in drawing, the student's first paint- Go also to the art galleries and museums and
ings are usually overly dark, heavy, with opaque- study the way flesh tones are handled. It will help
ness in tile shadows. The planes in the light are you sec them for yourself.
mostly ovennodeled, often too brown. Here is Learning to paint flesh well is not easy, and it

one of tile most important qualities he can add does not happen overnight. 1 1 is not surprising
to his daily or routinework from the experience that, of all things, flesh is the most difficult to
of figure painting. Flesh tones and modeling are paint, for, of all things, flesh is per I taps the most
the most subtle and delicate of all form, Thev are beautiful. May we not be thankful that it, rather
much like the modeling of clouds in light. It than the hides and furs of the lower animals, was
forces one to get up into a fresh high key in color given to us! Let us appreciate it and respect it.

293
OUTDOOR SKETCH IN COLOR

291
PORTRAIT SKETCH IN COLOR
 CLOSING CHAT
It is with a feeling of regret that I come to the wore tactfully pointed out. Art buyers as a rule are
closing pages of this effort. It is something like not artists, and it is up to the artist to sell his

the parting of father and .son. We have heed close knowledge and good taste wherever possible.

companions, this book and I, over a period of You can give the buyer what tie wants, and still

manv months. I can scarcely leave it and you lie giving hhn what he should have. Yon would
without touching upon a few of the more personal not sell a man a bad anything just because he did
things that are bound to make up your life as not know it was bad,
an artist and illustrator. If you find that you seem to antagonize your

First of all, may I impress upon you the impor- clients repeatedly, it is better to get a representa-
tance of developing the ability to make decisions. tive, or work through an agent who knows how
Hardly a day goes by that you cfo not have to to deal with art buyers. Artists are not always
decide something- Making decisions is the high- good salesmen. Bad salesmanship can stand in

road to ereativeness. Every bit of art that you do the way of your progress. If you fail, it should be
is a collection of little decisions. From the single because of your work, not because of lack of

plan of approach to a single subject, to the whole salesmanship^ If art work is good, somebody can
plan of approach to your ultimate goal, and the always sell it

carrying through of that plan, all is decision. It. The essence of good salesmanship on the part
is obvious that the artist must be agreeable and of the artist is the evidence of real enthusiasm
co-operative in order to succeed, hut there is over the job. If you like to work for a man, tell
<c '

such a thing as being a little too much of a yes him so. But never criticize the ideas of a buyer.
mam Yon can easily get so used to following direc- That buyer may end up as the art director of the
tions and instructions that von cease to exercise agency or magazine that later on you might want
your best faculties. There are many proper and most lo sell. Again, every man i.s entitled to his
legitimate ways of projecting your personality ideas; the fact that you do not always agree, docs
into the things you di\ while still continuing to not necessarily mak<: the idea unsound.
meet the demands of your assignment. By real It is so easy, after a prolonged struggle,, for the

analysis, you will find the average assignment first successes of a young artist to "go to his head."

wide open lo ereativeness. 1 should say that if Often this can be a great and unsuspected detri-

you have a job that never allows a decision or ment to success, I have vet to see the artist who is
opinion on your part, get out of it, for yon can infallible. The way up is long and slow, hut the
only move upward by adding something of your trip down can he like greased lightning- I have
individuality to any job. always contended that the man who is big on the
Perhaps it is just as bad to want to do every- outside must be equally big inside. People are
thing in your way and yours alone. There may be sensitive the world over. No one is big enough to

very sound and practical reasons for certain in- belittle the other fellow. It cuts deep, and the
structions which happen to "go against the grain" wound is lasting. In ray day I have seen many of

with you artistically. Often it is the other way the little fellows overtake and pass the big ones,

round, since the instructions may have been pre- making the "big shots" eat their words. There is

pared by those who really have no sense of the an old saying in Hollywood, "Be nice to people
artistic, and who would lie agreeable to change on the way up, for you may meet the same people
if the practical reasons from the artist's viewpoint on the way down."
296
 CLOSING CHAT
3
I spoke of making decisions. There are many color? '
"Should I quit a steady job to draw and
kinds. On the negative side there are lazy ones, paint?" One eliap actually wrote, "Shall I get a
intolerant ones, procrastinating ones, impatient divorce and have the freedom to follow up mv
>s
ones, indifferent ones, inadequate ones, and im- arl? Many ask if they arc too old to begin, what
pulsive ones. Then there are those that contribute work in, where do you get work, and how
cities to

so much. There are those blessed with humility, much do you get?
determination, thought fulness, intelligence, and May 1 say that most advice is conservative.
perseverance. There can be the decision each day Most people do not want to shoulder the respon-

lo make that day count in some way toward your sibility of another s choice, suceess. or failure.

big goal. Art lakes so much time that waste of Asking for advice seldom brings the advice you
precious time is cosily. You must not just try to want. Too often advice is negative. Nobody wants
find time for study, you must somehow make it. to make your decision, and nobody ever will.
And. in art study can never stop. You will find I cannot recommend one art school over an-

sketches galore in the studio of the good man, other, for several reasons. One is that it is impos-
with the paint quite fresh. The mediocre or fists sible to he familiar with the courses and instruc-
.sketches ore old and dustv. I have seen so manv tors of every school. Tt is manv vears since I

middle-aged artists si ill hop i tig, who.se samples may

attended anv art school, and since then each
are f raved at the edges, and thumb-marked with have changed and probably has a completely new
time. Sometimes it has been a mutter of years personnel. To recommend a school I would have
si] ice they sat down and actually did some thing to be familiar with your work, sympathetic with
to give? their hopes any promise. They are plod- your particular ambitions, and probably knowing
ding their awav at something thev hate, and
lives sonic thing of your personality, character, perse-
doing nothing about it. These are the men who verance, and adaptability. It is too much to ask,

never seem to have had a chance. The truth is, and 1 do not feel qualified to answer.
they never seized a chance. Seek the school which shows evidence of the

There is a difference in working "at" a thing, things you would like to do. A school cannot make
or working "for"' it. We can really study, or we you a good student, hut you can be a good student
can putter. The "for" should be definite before in any school. School is mainly the opportunity tor

von sit down. You are working for a bettor knowl- you to work things out for yourself under the best
edge of anatomy, perspective, values, or some of conditions, with space, models , and instruc-
definite objective. You are training your eye for tion .supplied. But you will .still have to do your
proportion, or lo see the lost and found of edges, may be a bit harsh, but true, that the aver-
job. It

you are developing your vision and technique for age school is much better than the average stu-
more looseness and expression. Tf you do not seek, dent, and it would be better if the school could
how can you possibly find? Tf you feel that you pick the student, rather than the student the
are making many errors t that is good. That vou school. Some schools require entrance examina-
can sense them is so much better than if vou tions, and if so, you need not vvorrv about the
could not. .school.

II is most natural to seek advice on important T wish it were possible to li.st places to sell your
questions. lint do not get the habit of going to work. But your experience will probably be some-
otfiers for your decisions. So manv artists have thing like mine. After winning an art school schol-
written to me for decisions that neither f nor any- arship with a figure painting, my first job was to
one else could possibly make for them. "Shall T paint a ketchup bottle. I found there was a lot

lake up art?*' "Would I be a better illustrator or more to painting a ketchup bottle, for advertis-
poster artist?" "Should I work in oil or water ing than I ever dreamed. Then one day I painted
297
 CLOSING CHAT
a Santa Clans. An art director saw it, told some- this is the real reason for the trend of fine art today
one who was looking for talent about it. Tt got me to diverge from the idealistic toward the spectac-
a try out in a Studio, That led to other work, which ular, from the tangible to the abstraet. This is the

opened up further opportunities. That is about only door that seems to be open.
the way it works out. You cannot be good in art Let us remember the influence exerted upon
in this country very long l>t; fore someone begins the average individual by pictures. From the cra-

lo take notice. Antl von can see

-r"
to it that your r*
dle he learns to love them. Pictures of one kind or
work is noticed, by sending it about. another do much to shape the pattern of everyday
If you intend writing me, as se many have done. life. Pietures suggest the clothes people w ear,
r
the

I must apologize here for not being able to answer interiors they live iii ? the things they buy. Pictures
more than a fraction of vour letters. My routine visualize the present, the past, and the future. Still

work demands most of my time, and T do not be- more, art brings to life the nonexistent, enables
lieve in form letters or secretarial answers. I have the eye to see the product of the imagination. Art
tried to steer you lo the best of my ability in this can be faet or fiction, personal or impersonal,
book, and, though I tremendously appreciate per- truth or distortion, dynamic or static, concrete or
sonal contact with my readers, 1 find it impossible abstract, fundamental or flamboyant . . . it's what
to make personal answers to their queries. l r or vou make it. Where else in the world is there less

this reason f have set up Anxwfirs to Queries in the limitation?

back of this book. Perhaps you can find your Let us as artists, then, feci that we have a trust
answer there, or at least it may indicate where Let us be sincere, if for no other reason than to

the decision must be your own, I shall, however, give our craft eharaeter. Let us choose to repro-
appreciate letters, especially those that do not duce beaut v rather than the sordid, if Onlv to ele-

request advice in personal matters f whieh in the vate the standards of beautv. If we seek an audi-
long run will be better if worked out by yourself. ence to our way of expression, let us make the

The most important thought f wish to leave things we have lo say worth while. When we have
with you, aside from making big and little every- a choice, let us build, not tear down. Tf we are
day decisions, is the great worthiness of our craft. endowed with the vision to encompass beauty, let
If you succeed in it, the world holds high respect us- be grateful, but not selfish about it. To live and
for your accomplishment. There seems to be a work only to please one's self, using art as a means
certain reverence for good art in all walks of life. of display for uncontrolled temperament and un-
Just because art is mfide for industrial or commer- disciplined license, for divorcing oneself from the
cial use, there need be no sligma attached to it. normal and ethical standards of life, to my mind
The fine artist works for a living also, and his pic- is wrong. Art belongs to life, and essentially lo the
tures may be reproduced and sold for profit. I can common, everyday man.
see little difference between painting a portrait Art is essentially giving. Ability of high order is

for a fee and painting anything else for a fee. Such rare. The successful may well rejoice that they
difference lies only in the skill of the artist, and few, among the many, have been given the eves
there is nothing to limit skill in eommereial art. that see, the hand to set down, the perception to

For this reason eommereial art has by far the grasp, and the heart to understand, the big truth.
greatest future, si nee it is open to greater and What we take, in, we can strive to give back in
greater ability; whereas in the fields of line art greater perfection. It seems to me that this would
there has been such perfection as to leave a not be possible without patience, humility, and
very narrow margin to be surpassed. I believe respect for life and mankind.

298
 ANSWERS TO QUERIES
1. would not advise the student just out of art school
I and submitted, whether accepted for final work or not.
to set up an immediate free-lance studio. Gel a steady Sketches may be included in the final price. Ptice for
job, if possible, in an art department or organization. You filial work should be agreed upon before work is started.

need a period of practical application of your work.

will
lfi. If your sketch is gi\-en to another artist for com*
Work among other artists. One learns from another.
pletion of the final work, you should be paid for the
2. Begin to work to a specified delivery date as soon as -sketch. This should be deducted from the final price paid
possible. Do not let work dally along. Finish one thing to the second artist and paid to you.
before you start another,
17.Request written orders for your work, duly author-
3. Please do not ask me to hunt up books for you. Most ized by a responsible signature. It is within your right.
art books can be purchased by proper inquiry from a
book dealer, who carries lists of publications and pub- 1R. Changes or corrections of a nature not in the orig-

lishers. You can go to the Library and have hooks looked inal request or understanding, and changed through no
up for you. Art magazines also usually have a book fault of yours, should be paid for. Corrections made to

service. bring the work up to a required or worthy standairl

should be at the artist s expense. If changes or corrections
4. Do not ask me what books to read. Bead
you can all
arc simply a matter of opinion, such expense, any extra, if
afford to buy. Start now to build a library of your own. should be agreed upon before changes are made. Do not
Do not be satisfied with any one book to cover a subject. bill a client for extra fees unless so agreed. Stick to your

5. Do not send me checks or money orders* since the original price if you possibly can, for this may have been

author has nothing to do with the sale of his books. Write quoted elsewhere.
direct to the publisher.
19. Jf you have made a finished picture on order and
6. Please do not ask me to supply you with informa- it is rejected, it is fair to ask for an adjustment, if not the

tion concerning art materials. Art supply dealers are lull price, according to your time and expense. If yon are

listed in most Every city has them. Spe-

art magazines. a well-known and established artist, your client is ex-
cific materials can be located by inquiry of a good dealer. pected to be familiar enough with your work to give you
a bona fide guarantee of payment, whether accepted in
7. What school? You must decide. Art schools are ad-
turn by his client or not. Ordinarily the artist should make
vertised in art magazines and listed under vocational any reasonable concessions, lie should consider carefully
training elsewhere. Send for the prospectus,
whether the work truly represents his best. If not> be
S. What course? You must decide. should do it over at the original price without extra fee.
All artists have a few do-overs. It die client is reputable
9. What mediums? You must decide. Try tbem all. All
and fair, his future business is worth the extra effort, and
are practical except pastel. Even this can be used If fixed
he will not be without appreciation of your fairness. He
and shipped carefully. Use a pastel (not charcoal)
cannot pay you twice for the same job- If he will not give
fixative,
you the second chance to redeem yourself, then he should
10. What city to work in? You must decide. New York pay a fair price for the expense and effort you have gone
and Chicago are the largest art centers. Every city has to. If he wants you to do it over without changing orig-

possibilities. inal instructions you should do so at no extra ice. But

>

doing it over to fit new circumstances, through no fault

11. You cannot copy pictures from the magazines and
of your own, should be paid for at a price agreeable and
sell them. All printed pictures carry a copyright. Espe-
understood previous to the final execution.
cially do not copy pictures of movie stars or other indi-
viduals. You must have a release or written permission. 20. Never sue a client without having a previous bona
fide order and an agreement as to price, also evidence
12. Names of models appearing in my books cannot
diat you have satisfactorily delivered equally important
be given out.
work to other clients. Your work is likely to be passed on
13- There is no specific price for model time. She may bv a competent jury, usually artists of note. It is better to
work at any price agreeable to both parties, unless other- forget it if you are certain the work has not been, and
wise specified by her agent or agency. Model fees should will not be, used. Maybe it really is too bad to accept. At
be paid at onoe^ without waiting for publication. any rate, if you sue and win, you may be sure you are
through, at least with that client. Few good artists have
14. An art diploma is not needed in commercial and
law suits over their work. In the case of long or extended
illustrative fields.
work,, that is different If part of the work was acceptable
15. you or a purchaser may set the price.
Either and used, that should be paid for. If a contract was made,

Sketches should be paid for if they have been ordered your client should be held liable.

299
 ANSWERS TO QUERIES:
21 p Advertising illustration normally pays a higher 83. Please do not send me your work for personal
price than story illustration* criticism and appraisal I have given you everything I can
in (be book, and cannot extend such service to my read*
22. Do not sign an indefinite or lifelong agreement
erx, though it is much to my regret.
witli any awpvesfciitfltjve or agent or broker of any kind*
You may be paying for the rest of your
on everything
life 34. Please do not a$k for letters of introduction or tw-
fiM do, whether it is secured by that agent or not, It must ouiirititKiutHH), If your work is good you won't need them,
bo specified that you pay a commission only on such work I hesitate to deprive an artist friend of time, for that is

as that agent has sold for you,, and for a limited period* what he values most. If I would not do it, I cannot ask
If all is satiffactnry you can renew the agent, while if it him to give yum time. Some day you will understand.
is not you can go elsewhere.
35. I were possible to give you personal inter-
wish it

23. Tire agent's commission should not exceed 25%. A views, but I am in the same boat as ray artist friend.
lesser rate may be expected as you become well known, When working to a filled schedule, there just is not time.
since it will be less difficult to sell yon. The artist ha* sold his time and it belongs tr> his clients*
It is not his to give.
21. A fine art dealer's
commission is Anything you mu-
tually agree upon. Sonic go as high as 50%* 36. The time given to this book has been given at con-
expense and loss of other work, I can think of
si derable
25, You cannot* without postal authority, send nude
nothing more that I could tell you personally. I urge you
photos through the mail. Any published mides muxt paws
aud row it with all your might
to get in that boat of yours
ccmsctfship, unless unquestionably considered fti a*t sub-
Don't ask for personal decisions. You wtll find it is better
jects, or used in conjunction with art text.
to make them yuurxelf ami s#e them through.
6. Allwork submitted on speculation should b<* ao
$?,Whatever your problem* there has been the same
companion! by return postage or fees. No maga^tac will
problem over and over for everybody else. Sonic have
be liable for return or loss.
licked it, so can you.
27. The author docs not select the illustrator.
38. I do not conduct any classes nor try to give indi-
28. You cannot force anyone to publish your work, vidual instruction* because T want to remain active in
even if paid for. the Held as long as I can. I could start a school, 1 suppose*
but Td rather paint. When Tin ready to quit the field,
29. Please do not ask roc for uddre^es (if uiiy kind.
then I hope to feel that 1 have earned my right to what
90. Please do not ask for original sketches and paint* lime is left work for the sheer pleasure of it. The fan
to
ings, since I cannot possibly meet the number of requests. will always be in the doing, and I'd much rather be t
student always.
31. Please do act ask for autographs. While J am
pleased, f honestly have not time to repack and mail your 39. I do appreciate letters, especially those that do
books. For this accept my apologies and sincere rcgrcts- not ask me to make decisions.

32. cannot possibly sell your work for you on com-

1 wish to assure you that in art there
40. In closing* I is

missi on, nor buy pictures, nor can I hire artist* or repre- truly a reward waiting for all who have the courage it

sent th-eiTL demands.

300