^
^B
'
^BW
!
C RE ATIVE ILLUSTRATION And,rew Loomis
THE VIKING PRESS
•
NEW YORK
•
1947
To
the furtherance
of our craft of as a profession for
this
is
illustrating
young Americans,
volume
respectfully dedicated
ACKNOWLEDGMENT May I express
here
my appreciation of and
the valuable help given
me
ume by my beloved wife,
gratitude for
in the preparation of this vol-
Ethel O. Loomis.
CONTENTS, INCLUDING ILLUSTRATIONS (The
illustration
Opening Chat
pages are indicated by
italics)
Find Eye Level of Copy and Make
17
Approaching the Subject
PART ONE: LINE
Perspective Alone
24
Frontispiece
43
Figures Coincide
The Form Principle as a Basis of Approach 21
in Different
Ways
May Add Variety
45
Using Line to Produce a Focal Point
46
in Subject
There Abe Seven Primary Functions of Line
44
9
25
Providing an "Eye Pathtvay in Composition
47
26
Attention Devices
48
Line 1$ Proportion with Imagination
27
Line Produces Formal Design
28
Get Attention by Building Contrast of Line or Shape
49
Line Produces Informed Design
29
The Relationship
Line 1$
More Than Merely "Outline"!
of Line to Emotional
Response
50
Overlapping Line and Areas the First
30
Principle of Composition
Using the First Function of "Line for Itself for
31
Composition
Composition
May Be Based on
Letters
32
33
34
Use Formal Subdivision for Symmetrical
Composition
36
A Demonstration of Informal Subdivision
37
Figure Compositions Based on
38
Informal Subdivision Is Purely Creative,
39
Everything You
the
Fen Drawing Is Concerned Mostly with Shadow
57
Pen-and-ink Procedure
58
Follow the Form with the Pen Strokes
59
Decorative Treatment in Line
60
The Brush Used Like a Pen
61
Dry Brush
62
Adding "Spatter" to Line Mediums
64
Poster White on Coquille Board
41
Same
56
65
Black Ink, Black Pencil, and
There Are New Possibilities in This Combination
Eye Level, Camera Level, and Horizon
Mean
55
Pen Drawing Is Built on a Principle
Grained Paper
40
Draw Is Related to an
Eye Level
54
Dry Brush and Black Pencil on
Guide Lines Help You to
Composition
53
35
Introducing Informal Subdivision
Perspective
A Vignette Is a Design Pure and Simple
Black Areas
to
Composition
Not Mechanical
52
Combining Pen Line Treatment with
Geometric Forms
Informal Subdivision
Various Types of Vignettes
Solid Blacks
May Be Based on
The "Fulcrum-Lever" Principle Applied
51
Simple Line Combines Effectively with
and Symbols Composition
Bad Composition Brings Negative Response
42
9
66
67
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
73
The Treatment
of
Charcoal on Grey Paper
74
Where
for Soft
Dry Brush on Grey Paper with Whites
75
The Lens Sees Too Much
104
"Scratch Board'
76
The Eye Selects
105
Craftint
78
Stressing the Planes
Poster
White and Black Ink on Grey Paper
to
Look
Edges
102
Edges
103
9
Breaking
PART TWO: TONE Frontispiece
80
There Are Four Essential Properties of Tone Basic Intensities of Light Versus
Shadow
The Four Properties of Tone Explained up a Consistent Relationship of Light to Shadow
Up
and Accents
106
the Too-Smooth Tones
108
Adjusting Tone and Pattern
110
The "Big Tone" Approach
112
The Direct Approach
114
The
Soft
116
The
Brittle
Approach
81
Approach
118
82
The "Blocky" Treatment and Others
120
The "Blocky" Treatment
121
83
Setting
The Meaning
of
Painting
84
Key and Value
Manipulation
85
The Four Properties
of
Tone
Explained (continued)
A Simple Lesson in Value
Relationships
Composition by Tone or Pattern
Down or Across the Form
"Scumbling"
123
The Tonal Mediums
124
Charcoal as a Tonal
Medium
125
86 87
Charcoal and Chalk on Grey Paper
126
Grey Paper with Other Mediums
127
128 129
88
There are Four Basic Tonal Plans
89
Carbon Pencil as a Tonal Medium (Smooth Bristol)
How to Look for the "Meat" in Your Subject
90
Carbon Pencil on Regular
If It's tt
Worth
Painting,
It's
Worth Planning
Thumbnail" Planning of Tonal Pattern or Arrangement
The Subject
Itself
91
Carbon Pencil on
Bristol
Illustration
Board
130
Wash with Dry Brush
131
Wash as a Tonal Medium
132
92
Often Suggests the
Tonal Plan
122
Wash Is One of the Best Mediums
93
for Reproduction
Four of the Thumbnaib Transposed to
133
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
Black-and-White Oil
10 '
.
CONTENTS, INCLUDING ILLUSTRATIONS Comments on Howard Pyle's Theory of Approach Tonal Sketches of
The Relationship The Form
Some of of
Tone
Pyle's Pictures
to
Color
Principle Applied
Preparing Samples in
138 141
Outdoor and Indoor Color
170
How to Experiment with
171
Experimental Color Roughs
142
A
Worked Out in Color from Black-and-White Copy
What
144
Submitting Samples
Worked Out
172
Subject
143
Tone
Color
Is
Color Charm, and
How Can We Know It?
145
Should
We Eliminate
Our
173
174
Black from
175
Palette?
PART THREE: COLOR Frontispiece
146
A New Approach
147
PART FOUR: TELLING THE STORY
Presenting the Spectrum as Related to
Shadow
Light and
Color
149 ^A>
All Color Is Relative to
Frontispiece
176
Tkehe Are Five Essentials
177
What
178
148 ^L ^^F
Surrounding
Is
Illustration?
150
The
151
Staging Your Subject
180
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
155
Planning Dramatic Action and Poses
184
Toning the Spectrum or Palette
156
Establish the Action Before Hiring a
Four Subjects in "Toned Color*
157
The
158
Arrangements Based on One of the
Influence
Color Is Strongest in the Light Color Is
More Than Local Color
Relating Color
Don't
by Tonal Influence
Be Afraid
of the Greys of
Blue Green, Yellow, as a
Nature
Painted with Yellow as a "Toner'
Color Considered as
"Tone
Model
Arrangement
159
Em hcl
160
Using the Camera
1
in Its
185 186
187
ishment
188 to
Obtain Working
Material
1
"'
Essential
179
Previous Roughs
and Cool Red
Scheme
Essentials of Telling the Story
189
161
The
162
The Scaling Screen and Camera Distortion
192
The Primary Color Groups
165
Camera
193
The Primary Color Groups—Color Shades
166
Drawing
167
Camera Dramatics
195
A Single Lighting Works Out Best
196
Natural Relationship Color, Its
Function and
Color Selection
Charm
and Background
What to Do When Your Picture Dead in Color The Emotional
Effects of Color
Is
168
Illustrator's Scaling
Distortion to
Expression
11
190
Avoid Photographic Distortion 194
Use Your Camera
169
Screen
to
Catch Emotion and 197
CONTENTS, INCLUDING ILLUSTRATIONS No End
There Is
PART
198
Studying the CJmracter to Facial Expression
and
SIX:
Frontispiece
224
The Magazine Ad
226
199
Character
Manufacturing Convincing Emotion
200
The Approach Loss and Gain in Backgrounds
202
Examples of Background Loss and Gain
203
Is
Faking, and
What
Is
Imagination
Never Guess When You Can Find Out
An
Imaginative Subject
204 205
Advertising
Illustration
227
Using Your Freedom
228
Twenty-Four Types of Ads
228
Types of Magazine Ads
230
Whole Ad
236
Developing the "Co-ordination Sense"
237
A Typical Magazine Ad Assignment
238
A Typical Agency Layout
239
Rough Compositions for
240
206
Originality Is Within the Conception
207
PART FIVE: CREATING IDEAS Frontispiece
208
A
209
Logical Method
The Plan
Good
Relating Your Illustration to the
Need Not Be
"Faked"
The
to
201
Expressions Tell the Story
What
FIKLDS OF ILLUSTRATION
Working Up a Questionnaire
the Picture
Final Arrangement Based on Photos Taken
241
The Finished Advertising
242
What
Is the
Illustration
Future in Magazine
Advertising?
243
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
Typical Poster Arrangements
247
A Typical Poster
249
of
Rough Ideas Developed from
the
213
Questionnaire
A Different Approach from the Same
The Idea Roughed Out
250
Halftones of the Color Rouglis
251
The Finished Poster
252
Display Advertising
253
Displays Are "Point of Sale" Merchandising
254
Working Up Ideas for Displays
255
Types of Lithographic Displays
256
Working with Display Lithographers
258
Calendar Advertising
259
Basic Appeals Applied to Calendars
260
221
A Calendar Can Be Anything That Is Good
261
222
Essentials of
223
Painting for Calendar Reproduction
214
Questionnaire
Creating Ideas from Basic Appeals
While You Think: Think While You Scribble
Assignment
215
Scribble
216
Your Scribbles Are More Original Than Your Camera
217
Get Used
218
to Sketching
from Life
You Get Something the Camera Cant Give You Sentiment the Keynote of Illustration
219 220
Psychology Applied to Covers and Calendars
There
Is
Even Psychology
Ideas in General
in
Comic Ideas
12
Good Calendar
Illustration
262 263
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
269
Finding Subjects for Experiment and Study 287
Work
270
Your Pencil Can Keep Busy
288
and Unusual Arrangement
271
You Can
289
What Do
the Magazines
Want?
Putting the Fundamentals to Exciting Style
and Technique
Illustrations
That
in Story Illustration
Sell the Story
273
A
Working Out a Typical Story
275
Miniature Roughs for the Illustration
276
Developing the Actual-Size Rough
277
Photo of the Model
278
tlie
Photo
All
Study of an Old
274
Study from
Heads
272
Questionnaire for Starting an Illustration Illustration
Practice
Sample
Man
290
Illustration
291
Sketching
292
Figure Painting
293
Outdoor Sketch
Color
294
Portrait Sketch in Color
295
in
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
:
With the wonderful response given believe that through this
efforts, I
many
my earlier
volume
paint.
paint can do
I shall
The acceptance of my last book, Figure Drawing for All be greeting
there
much
is still
figures, that
me
draw the figure
to continue, for
well,
It is
a convincing environment, to
figure into
set that
make
In short, the figure means
drawing only. sell
It
is
moved
ence,
is
To
to
and character
So
no exact formula that
great deal toward
to a
it.
Such a formula might be
possible
a
and emotional capacity of the individual were not
definite response emotion-
to present what, in
my
the best of
I
my
belief,
have attempted
to
and
so. I shall try to
make
be reduced to exact
would have
little
greatest value, the thing that forever
my own
me to do
shall not
clear the funda-
I
presume
to quarrel with the
contend that even with
all its
rather than to specific draftsmanship of the figure
individual perception of the
or other units. I shall
in technical excellence alone. If art
assume that you can already
and have some
background of experience or training. In
book
effort of the
will not
is it
above
pense with the need for
this
I
camera. But
photography
is
in the
cameraman and not were only per-
fection of precise detail, the camera artists.
But
would
until
dis-
we have
a lens endowed with emotion and individual per-
be built around the early
beginner, nor
lifts it
is its
mechanical per-
fection, the real value of
ability
reason for
picture-making achieved by mechanical means.
mentals that apply to the whole pictorial effort
draw with considerable
For that
results*
existence* In fact, the individual expression
this
the active fields of illustration qualify
a part of the ultimate
sonality, creative art
set forth
efforts in
the character, technical appreciation,
formulas devoid of personality. Devoid of per-
illus-
assemble
much
if
reason, art cannot possibly
experi-
such funda-
much-needed information, trusting that
sense the
start I
must so impress the beholder
mentals have not been -organized before.
At the
ably forms of procedure that can contribute a
as a
have proved to be the fundamentals of
tration*
is
illusions.
must accomplish something-
little
so
purpose
it.
must admit that there
ally.
My
about
can assure success. But there axe unquestion-
a product, or give realism
he
to
good
story; its personality
that
to set
Let us not be under any
it
a story, and to give it personality and dramatic
interest.
more knowledge
You want to paint pictures for magazine stories and advertising, for billboards, window displays, calendars and covers. You want every possible chance for success.
one thing to
but quite another to
better with
with*
know how
beyond the actual drawing of
can be set forth.
it
Let us assume, then, that you have ability you wish to put into practical channels. You want to
worth-while knowledge in the
of illustration,
field
work
as old friends.
Worth, has encouraged
It*$
tell
you
of
do not contend that anyone can draw or I do contend that anyone who can draw or
ception, or having the
for those interested
power
of discriminating
only in drawing as a hobby. It will be for those
between the
having a bona fide desire for a career in art and
artist will
the determination to give
camera must accept the good with the bad, take
and
effort
such a career
it
all
the concentration
calls for.
Success in art
it
is
by no means easy, or a matter of puttering at it in odd moments. There is no "gift" or talent so great that it can dispense with the
and the
irrelevant, the
always dominate the situation. The
or leave it—must reproduce the complete un-
emotional and
placed before
literal
appearance of whatever
is
it.
May I impress upon every reader that illustra-
need for fundamental
knowledge^ much diligent practice, and hard
significant
tion
ef-
17
is life
as
you perceive and
interpret
it.
That
OPENING CHAT your heritage as an
is
which
and
artist
be most sought for
will
never to lose
it
or subordinate
in
it
is
the quality
rector prefer a photo to a well-executed painting.
your work. Try
The difficulty lies
to the personality
ing that
and your work are concerned, life is line, tone, color, and design— plus your feelings about it. These are some of the tools of another. As far as you
we
with which
you see
fit,
my hope
but
the
that from this
is
you may gain added knowledge of how
my own
gent need for just evident,
the imitation of
book
to use
and
I
nical
have taken the problem upon
try to
main as
active as possible in the field. I wish
to succeed as
much
we
than
which
is
it is
value
more important
becomes a
realism.
camera cannot do.
the emotional qualities so sadly lacking in photo-
speak of a
you
feel,
result will
graphic illustration. Let our product be as
It is
Devoid of
is
the drawing, the
sound and convincing, from
not compete. us,
From
point
little
is
What we do how far we go in
will
determine
illustration.
Drawing
have
as
drawing alone
Drawing, for the most part, tour in correct proportion
is
is
not too
setting
difficult.
down
con-
and spacing. Spaces
can be measured, and there are simple ways and
far exceeds the supply. Therefore
means
commercial art has had to lap over into photog-
an
That much
expected and taken for granted.
beyond these
The demand
bet. Rarely does
that point
and from that point
stock-in-trade, the jumping-off place.
use photography only because
raphy as the next best
we need
we make
on the public actually prefers art to photography. The drawing, values, and color are only the
and
feeling,
tion of art over photography. Art directors
artists.
color
If
on there is nothing to stop
You may do it better with your camera. Drawing as a means of expression is the justifica-
of the mediocrity of available
and the
there on
a
it.
me that they
from printed type.
values,
that head.
mere duplication has
differ-
ent from the photo as our individual handwriting
must be not be a
tools of line, tone,
color to produce that quality.
you could hardly paint
and
A mental image is con-
The
You work with your
good work
in all the things the
edges, subordination of the inconsequential,
transposition of your individual conception to a
for
lies
certain that the greatest pictorial
accentuation of the important. Let us incorporate
I
copy of a photo nor of a living model.
told
wide
man
a subconscious interpretation
to
can add.
inventiveness of layout, the "lost and found" of
trans-
not yet sharp and clear. This quality of hardness,
for
we
Let us turn our attention to design, looseness and
jured up in your imagination. However, the image
Drawing
is little
which we will
real pictorial worth, the gates are
You may be
you
thought transposed to
Suppose
with a face as hard as flint*
face.
there
(
,
illusion of reality.
combined with
of, later)
local color
freedom of technical rendering, character drama,
position of thought. So
is
To
open.
are.
If illustration is expression, it
an
But for
as I wish to succeed myself,
for the sake of our craft,
greater individuality.
We -cannot match its precision of detail.
hear more
our mutual success— since I intend to re-
also through greater tech-
and through
For straight values and
both of
to
come
compete with the camera on its own ground
is futile.
that the things I shall attempt to talk
about are of tremendous importance
come through imagination on the part
freedom leaning away from the merely pho-
tographic,
is
My ability as an author can be set aside as of little importance. We have the common ground knowing
be through photography, nor even through will not
it
the greater scope of the
early career I felt an ur-
kind of help. The need
this
anything like the pro-
art to
greater technical ability. It will
myself.
us, to
volume of good
of artists. It will
Throughout
of
are to carry our craft forward, increasing
indisputable demand,
them.
still
we
good enough.
is
portionate use of photography or meeting the
work and which I shall try to You will work with these tools
all
enable you to use. as
If
draw*
in getting the painting or
of measuring them.
Any
old line around a
contour may be correctly spaced. You can square
art di-
18
OPENING CHAT by eye, or project it, and get that kind of drawing. But real drawing is an inter-
off
analysis of his work, for your analysis
copy, measure
and statement
pretation, selection,
of
better than mine.
not the actual contour at
is
creative ability has
one that will express the grace, character, and
charm of the subject. Until the
artist
way
he has not elevated him-
much beyond
pantograph, projector, or
self
his
other mechanical devices. creative
expression
you are going
if
realize that his
own
on
is
originality is better
tact
quali-
all
past
in
what
working with the same
tools.
to select
to discard that with
it
my
has.
what
is
am to stay
if I
experience
You
will thus
of use to you,
which you do not agree.
The art of illustration must logically begin with line. There is so much more to line than is conceived by the layman that we must start out with a broader understanding of it. Whether con-
and some
than a hundred tracings or
sciously or not, line enters every phase of pictorial
am going
to give
you information of value,
effort,
must come from actual practice and from con-
it
more
his
projections. If I
illustra-
have done as
I
ground, that of sharing
solid
and
can use mechanical devices. Even
a poor drawing exhibiting inventiveness
to do,
have the chance
only chance to be original, to excel a thousand others who also
infinitely
with you for whatever value
self-
interpreta-
not quite so literally accurate,
dare not incor-
There is but one course open for me
a confession of lack of faith in his
He must
even
tion,
is
are the
my own with the rest, for we are
not as interested in what
How can he hope to be
use in place of drawing for
I
speak for himself. I shall leave out
performances of
he depends entirely upon them? Re-
if
sorting to their
ability,
fied to
the
things he wants to say,
each would be
tors, since
begins to
think in line, think of expressing in this
no chance.
porate even the work of contemporary
but the
all,
Method and procedure
only sound basis of teaching, for without them
a contour
with the greatest possible meaning. Sometimes
drawing
might be
with the actual
Naturally
field.
I
am
first
and plays a most important part. Line is the
approach to design, as well as the delineation
and ignorance of its true function can great impediment to success. So our book
of contour,
limited
my own viewpoint. But, since the fundamentals that go into my own work are for the most part the same as those used by others, we cannot be too far from a common goal. So, I use examples of my work here, not as something to be imitated,
be a
to
will start with line.
Tone comes
next.
dering of form in
its
Tone
is
the basis of the ren-
solid aspect.
Tone
is
basis of a three-dimensional effect of
space.
but rather to demonstrate the basic elements that
also the
form
in
A truthful representation of life cannot be
successful illustration.
made without a clear understanding of tone. Line
By showing you the means of expression rather
and tone are interdependent, and this relationship must be understood. To line and tone is added color. Again the re-
I
believe
must go into
than the expression
all
itself, I
leave you free to ex-
press yourselves individually.
My approach will For
this
shall
reason the approach must vary con-
relationship.
from the usual art text formula.
We
only,
have no examples of Old Masters,
for,
minute
siderably
frankly,
what methods and procedures they used
are virtually
them. Unless I could
tell
We may draw an illustration in line stands complete pictorially. But the
it
contour only,
we
with light and shadow, or tone.
We
we go beyond
line as
are therefore plunged immediately into the com-
plex laws of nature, since only
of
you how an Old Master
arrived at his great painting, I of value. I
files full
and
start to deal
unknown. You can see great pictures
everywhere; you probably have your
for true color
depends almost entirely upon good tonal or value
from the theory of imitation as a means of teaching.
becomes inseparable,
lationship
strip itself as far as possible
shadow, or
tonality,
is
cannot presume to give you even an
since the
19
two are
light
form apparent to
step from tone to color
could add nothing
by
is
us.
and
The
not nearly so great,
closely related.
OPENING CHAT Granted that
we
can comprehend the basic
fundamentals of line, tone, and
more
color, there is
Finally,
a variety of approaches, each tuned to
still
encompass* All three must be united to a
to
pictorial purpose*
ular purpose. In each field there
There are arrangement and
basic approach
To
these ends
matic interpretation. In the lustrator
about it.
beautifully, but
it
illustration. Illustration
we do, and how we feel. If
book
we
tine,
must
I
create ideas.
must reach
We
ideas as the basis of advertising, too, so
that our
work may find
be suited
a market in that field,
to its special needs.
little
or so
much
work
to
to your
as can nothing else;
It is
it is
the biggest secret of success.
have searched out to the best of
will continue ever after. I
my
ability
have simply
They are the things which are present in all good art, and should be a tried to gather
need to understand the develop-
ment of
hope
you out of the rut of daily rouand places you head and shoulders above
me, and
into the
personality of the reader, compelling definite responses.
I
what I shall call the "Form Principle." Within this is the whole basis of approach to the material of this book. These truths have existed long before
psychology for basic ap-
peals, to create ideas that
one thing, and
the workable truths. I have organized these into
to the "telling of the story/*
Illustration delves into
must
lifts
your associates.
life
we must
artist
the matter of experiment and study,
the thing that
we live, the things So we shall devote a part
are to illustrate,
is
progress in your
can by no stretch of the imag-
be called an
an individual
ultimate success. This can assure freshness and
il-
He may paint a pot of flowers
encompass emotion, the of the
the
partic-
clear.
which can contribute so
the dra-
holding a mirror to life, and expressing
is
his feelings
ination
make
There
final analysis
is
its
a magazine ad another. All these points
we shall work.
Beyond the technical rendering comes
is
which the successful
know. To do an outdoor poster
more important than the subject matter. There is organization of area and tonal mass or pattern in order to create good pic-
presentation, even
tures.
we must separate the various fields into
them
together.
you do. They spring from the laws of nature, which I believe is the only sound basis for a book of this kind. So let us get on with our part of
and
Therefore a part of
work.
the book will be given over to this subject.
20
all
that
—
:
THE FORM PRINCIPLE AS A BASIS OF APPROACH No matter what
subject the artist uses or
medium he works
in,
approach to a
of
there
is
You
good
art.
appearance
which underlie
them exemplified
will find
They
relative effects are
definition
cannot lay claim to being the
to perceive the truths
continue as long as there
is light,
I shall
only to organize these truths so as to
The
this
This principle will
that you will
Let us
:
the
make them
Form
this
book; and
it is
out by defining the
The
to
my hope
to its lighting, its structure
with
its
us see
effect that will
light
and
what
this
Prin-
light.
on that form. Without
are concerned,
of the
The
regard
form ceases to
Form Principle
that
exist.
shadows are the
is
to the direction of the
results of the light hav-
and the shape of such
is little
brilliant light or direct tight there is
we
So you will see that the kind of light immedi-
The first truth
ately has to
we are concerned with
ity
are working with, for
its
do with the approach to your subject
and the ultimate effect. Having less
affect the entire If it is
it
comes
definition, the
most difficult. For
"snap/' take direct light. For softness
nature and qual-
and the direction from which
always cast
shadow.
must he determined at once what kind of
light we
inter-
or no cast shadow. In
diffused or over-all light will be It
he within
projected to other planes. In dif-
fused light there
is:
I
cast
cepting form
by the rendering of light, as far as
will
The shadow planes will be those planes in or beyond the direction of light so that
ing been intercepted,
texture, together
means. Any pictorial
first
form
the light of the original source cannot reach them,
present a convincing illusion of
form must do so
bril-
The halftone planes will
he those obliquely situated
true relationship to its environment.
Now let existing
moment with
lightest areas of the
the direction of the light.
the rendering of form as
aspect at any given
its
in
those planes lying most nearly at right angles to
lying is
more apparent
This brings us to the next truth
ciple:
The Form Principle
is
liant light.
Principle.
Form
what planes shall be in the light,
planes of the form are also more apparent in
adopt it and use it for the rest of your start
for
a direct or bright light than in a diffused light* The
attempt
the basis for everything which
is
be discussed in
lives*
name
have given a
artificial light for
direction or position of the light source,
halftone, or shadow. Texture
will
you do, To the organization of these basic
truths I
produced by
and by the natural north daylight
then, determines
workable for you in study and practice, in everything
subtle
the soft gradation.
in all
and
existed long before me,
and
gradation of light to dark* In the studio the same
realistic interpretation of life
of existing forms. I
approach*
day, produces an effect of softness
but one solid basis
to the representation of the natural
first
what
plicity,
will
trast,
appearance of the form.
use sky
light.
Direct light produces con-
sky light produces closeness of value.
Direct light produces
impossible to render form without light,
light,
and sim-
and
this is
much more
reflected
most apparent within the shad-
then it follows that the nature of the form becomes
ow. The amount of reflected light reaching the
A brilliant light produces halftone, and shadow. A dif-
shadow will determine its value. Everything upon which the light falls becomes a secondary source of reflected light and will light shadow planes in
visible
because of light.
Well-defined light,
fused light, such as the light of the sky
on a grey
21
THE FORM PRINCIPLE same manner as
the
Faked
the original source, being
brightest on the planes at right angles to such
bear a relationship of tone and value to one
It hits
the top planes squarely and brightly, then slides
around the form
as far as
another.
can go. However, in
it
If this relationship is
the shadow, the source being of less brilliancy,
can never be as light as the original
source. Therefore no area in the
shadow can be as
plified
The
Both
light
object
is
surface tone appears to be some-
together as one group, as opposed to the
in the scale
values. It will remain, in
or darker than
two
shirt
may be
bound to lose solidity and form no matter how well modeled and how well drawn. Much
whether
of the reason for pictures* falling apart
The
?
because simple light and shadow chance. Such relationship
ing several sources of
is
light.
and shadow should be
is
it is
also
all
little
the
mean
etc.
But the
light
such as sunlight, sky
light,
ship*
There
is
only one
source of light
best for our purpose
is
effect pictorially. This also
We
can use a reflector
when working on
fa
more
correct in natu-
than in any other.
You simply cannot beat
trick lighting possible.
to
make
the form go round,
we
exaggerate
we use up the rather limited range between black and white, so we do not have left the values,
the proper
lights,
and lower values for the shadow. The
picture becomes dull
and
lifeless,
since
we have
used values that do not belong to the light and
relation-
get this right*
relation-
Overmodeling comes from incorrect values.
moonlight, twilight,
way to
can-
to raise both or lower both but to
them with all the
around a
and
is
true rendering of form.
effect of light,
artificial light, etc*, in its real effect
we
Sunlight and daylight are the perfect lights for
that light cannot travel in
must be a true
light,
shadow side.
If,
lamp, the light of two windows, reflected
object
ral light
t
different directions, such as the light
deep shadow or bright
Relationship of values
you
be lighted by the sums source and be lighted conThis does not
in
light with beautiful effect. This,
You will probably come out with a than the other way round.
with one another
lighter than his suit. In
(usually a white board) to reflect the original
All forms within your picture should appear to
sistently
much
gives us reflected light.
darker.
better thing
so
and produces the best
think you see them, and all the areas in the shadow
a
neighbors. For instance, a man's
light this relationship holds good. Therefore,
A single
A safe approach is to make lighter than
its
always, either in light or in shadow.
Thus where halftone
little
lighter
ship of things to one another will be the same
destroyed by insert-
to give the true character
the areas in the light a
any light, so much
keep the approximate difference. The
not given a
lost
black in the light area.
other surround-
all
not change the value difference between the two.
by other lighting, and the values become a hodgepodge of middle tones, highlights, and accents. There cannot be a white in the shadow area. There can hardly be a pure of the form,
from black to white. Bright
But the light raises or lowers
any
is
"local"
can raise the value, and dim light can lower
groups are not thus separated and held apart, the subject is
its
the subject holds a constant relationship to other
shadow
areas as another group. If the values of the
is, its
Every tiling has
ing values correspondingly, so that the value of
the lighted areas hold
all
value, that
it.
in the fewest possible values*
make
to
than for any
and shadow areas must be sim-
and painted
true.
light
art falls apart for this reason
not maintained, then the
form cannot be
where
light as the areas in the light.
other*
every other good
All things represented within a given light
Light can operate in only one manner.
More
down
quality.
reflected light
reflected light
lighting breaks
Do it
could not be in relationship,
The
when we put
shadows that could
lights into the
opposite
is
true
not be, destroying the big relationship between
by studying from life the true aspect, or take a photo which will give it to you. It cannot be faked.
the whole light and the whole shadow.
22
THE FORM PRINCIPLE ments of
The big form makes the subject carry and apsmall and intricate forms
You cannot avoid making your
must be
Draw
up.
not every fold just because
model or
The
of these. If
only the folds that
ship
form and the natural drape of the mate-
express rial,
it
it is
you do not understand tonal
you cannot secure a
Line
there on the
contour; tone
is
best pictures run to a
up
few simple
Get
values.
this clearly in
all
laced or
woven
through the help of design and arrangement.
the edge
is
vital
your mind. all
units
Almost any subject can be used with charm
more
form, space, and the
is
and a sense of space be achieved. Contour becomes lost and found and inter-
around
picture, not the subject
or material
is
feeling of "existence.
Contour cannot be continuously defined
later on.
The design makes the
Presentation
relation-
third dimension.
in the copy.
This will be taken
You can
combine both, but you cannot get away from one
can ruin the effect of underlying
form and break
subject either
a tonal statement or a linear statement.
subordinated to keep the big form solid. Folds, for instance,
and darks, or
else linear arrangements.
pear solid, not the incidental surface forms.
Many of the
intervening tones,
lights,
into other areas in nature. If
kept hard
all
around,
it
cannot avoid
sticking to the picture plane, losing the feeling
than subject matter.
of space, or
The same form may be presented with great variety by a careful arrangement of lighting. Just
will
one edge
be taken up
in
in
more
back of another. Edges detail later.
of sev-
The fundamentals are the same in all mediums.
A landscape beautiful in early morning or eve-
Each medium has an inherent quality of its own. Once you master the Form Principle, only
any light will
riot
do. It
must be the best
ered experiments.
medium remain
ning light
the peculiarities of the
day.
mastered. You will simply have to find out
ing.
may be dull and uninteresting at noonA charming head may be ugly in bad light-
The
best plan
is
up in
light
The
and shadow,
not form too broken
shadow
in itself
made
The darkest part
artistic
Value relationships between objects produce
trator,
design.
may be
second.
This book
ject
is
or composition of the sub-
really dealing
with the relationships of
the values of certain units as
since
in the
The planning
of the
form
It
Principle
is
near-
keeps the shadow
the co-ordination of
il
is
laid out
enters into everything
to clarify I
its
you
Principle,
will ever do, or
We shall attempt
various applications as
suggest that you
come back
we go
along,
to these funda-
opposed to others. This results in "pattern," and
mental truths often, for they are the answer
can be further combined with lighting.
most of your problems. So
either arrange-
23
we
start
with
line!
all
and color.
on the Form
see, in the field of illustration.
combined with or
Ml pictures are fundamentally
in
mediums.
shadow appears
factors dealing with line, tone,
or contrasting values, thereby getting subordina-
and accentuation
in all
and is most important
The Form
would be
placed against close values
tion in the first instance
will render
luminous and the form round*
For example, a dark object placed against a field,
you
a purely
is
est the light,
it
and both against a grey
how
between the halftone of the light and the reflected light within the shadow. This is called the' 'ridge" or "hump" by the illus-
by weaving patterns of light and shadow through
design. Units
medium, which
same way
essentially the
produces design.
plainest of subjects can be
light one,
in the
technical matter. But
and shadow.
Light and
be
to express a sharp edge, a soft edge, light, halftone
always to choose the lighting
that tends to big simple form,
to
to
PART
ONE
uruzy THERE ARE SEVEN PRIMARY FUNCTIONS OF LINE 1.
To convey
2.
To
divide or limit an area or space.
3.
To
delineate a thought or symbol.
4.
To
define form
5.
To
catch and direct the eye over a given course.
6.
To produce
7.
To
its
own
intrinsic beauty.
by edge
or contour.
a grey or tonal gradation.
let
function and purpose. I
us start
the book with the very beginning of artistic ex-
line in the
man. or a
To
There
is
is
much more
truly
mind of the artist than in
the latter, line
lilPgl
create design or arrangement.
ven if it may seem a bit obvious,
pression, that of line.
AOD1
you do
to
either
but a mark of a pencil
and convey unlimited beauty. Line functions has contributed as
to
in
bear a relationship to either
your work, or you can
make
let its
line,
line
an
importance
by you. But if you choose lo ignore the functions of line, your work will make a bad statement
skill,
bound to enter your work for better or worse. You cannot escape it. Let us see what can be done about it, of your ability.
human
progress as fire or steam. All line should
it
slide
in its various
much
artistically will
good or bad. You can
asset to
artist, lino
can reach great heights, require exhaustive
to think of
that light. Everything from this day forward that
that of the lay-
mere scratch of a pen. To the true
want you
have
25
Line
is
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 H£k/ ©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 YOU DEVELOP THE FIGURE PICTORI ALLY TO PRACT1 CAL COAL/ ANP TO A LIVELIHOOD-WORK! 27 I
LINE
PRODUCES FORMAL DESIGN
xubchvij'ion by diagonal/, vertical** and
CHOOXE ANY
POINTJ*,
horizontal/ pitoDuce; unlimited ob/icn* TRY
B&lNd CAREFUL TO REPEAT THE
DIAGONAL &ETWEEM ALL JirtlLCiR
TH\f
PAGE
lJ*To
it
PO|NTX.
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"
LINEAR DEJ"lCN
t
BAfED UPON UNDERLYING
THERE FOR^IMFORMAL DEXIGN
\S
WILL PARTAKE OfMTT UNITY
DIVISION. COMPOSITION tXONE
OR THE OTHER.
lT
28
BY UNEGtUAL
LINE
A&CJ
COMBINING HORIZONTAL/ AND PERPENDICULARS WITH CURVE/.
INTERLACED
OVERLAPPING OVAL/
HS
/\
f
\f
PRODUCES INFORMAL DESIGN
OVBRLAPPI NQ CIRC LBS
/
1
O6LI0.U& LINE/ INTERLACED.
OVERLAPPING SQUARE/
QVE-RLAPPLNC
TRI ANCLE/
^^
^f
7^ :
\\^ r^*
.
i_^Z
OVERLAPPING RADII
OVERLAPPING
WAVY
PARALLELS
OVERLAPPING ANGLE/*
1
f
I
OVERLAPPING /P1RAL/
OVERLAPPING R&CTANCL 29
HORIZONTAL/ AND PERPENDICULAR/
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
Nature
is
one vast panorama
spaces. Everything
were
to cut
is
of contours
form, set into space.
and
If
artist s
we
rial,
approach, almost anything
since
nature would
board so
present us with a picture. Within the four limits
of three
would become divided
through
of the opening, the space
by spaces and
To that spacing and we will give everlasting
it is
the basis of
all pictorial
proach.
The novice snaps his camera
nature.
The
artist
seeks to arrange
From
make a "picture finder." An opening by four inches is large enough. Look
as to
it,
Jot
down, in miniature compositions,
arrangement is the first real indication of your ereativeness.
ap-
Walk about
the house or grounds with
a small sketch pad. Don't go any farther until you
carelessly at it.
design and arrangement that
the linear arrangements you find. Your sense of
contours.
arrangement of contours attention, for
it 3
is
picture mate-
makes pictures, regardless of subject. Cut a card-
a rectangular opening in a piece of
cardboard and look through
it
is
have done a dozen or two small roughs.
the
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?
'
r
-i
]
HI
1
33
THE "FULCRUM-LEVER" PRINCIPLE APPLIED TO COMPOSITION
To he
each side).
pleasing, the material within a picture
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
viously "off"
seem
better
when we feel if moved over,
that the limits
or
is
ob-
would
the only rule
is
is
that
away from
more space added
of spaces possible,
in size or shape
ments, where
(
all
ance
a small it
farther
the middle point of balance. Bal-
composition
and bulk
no two duplicating one another strictly
in
is
tween the masses of
give the greatest variety
except in
make
the middle of the subject, or the ful-
crum, which
the best guide
we
We
weight balance a heavier one by placing
we have, for there are no infallible rules of composition. About
or cut away. This
the spice of composition*
is
a sense of equilibrium be-
light
and dark, or
of the area
of one thing balancing another.
The
formal arrange-
heavier the mass, the nearer the middle—the small-
on
er the mass, the nearer the edge—is a good axiom.
things are balanced equally
34
USE FORMAL SUBDIVISION FOR SYMMETRICAL COMPOSITION ......
\
3
\
3
/
*
\
f
i
/\
\
FORMAL DIVISION APPLIED BEJT TO JUBJECTJ' OP A P1GNIFI£D There are times when
we wish
OR, R.E.LIG IOUJ~
NATURE
serenity.
Formal balance was almost the only
dignity of arrangement. Since the Creator's basic
approach
in earlier times,
design for animate form
have been built with
side
by the
is
to
achieve great
the duplication of one
other, such as the
two
sides of the
human body, arrangement based on the same plan takes on the same sort of dignity, It does not mean
that each side
must duplicate
there should be a feeling of
of one side with the other.
ably follow this plan. It
may
the
work
It is largely
the formal-
which lends such magnificence of
Rubens, and
Michelangelo,
if
one
is
may
also be used infor-
adept enough.
I
have introduced
on the next page another method, quite apart
from either formal division of space or dynamic
invari-
symmetry,
be used to great
advantage in symbolical subjects, appeals for charity, heroic subjects, or to suggest
to
mally
and spaces,
Church murals
of design
Formal subdivision
complete equaliza-
tion of the units or masses, the line
ity
it.
and great compositions
Raphael
exactly, but
I
tory as this
peace and
have never found either
new
approach, and
prove of great benefit to others.
35
i
\
I
as satisfac-
hope
it
will
i
J
INTRODUCING INFORMAL SUBDIVISION
ADL>
MOk^ NEW
you CHOoj p.
Ajr
EYTUlJKINiD OF DIVISION NO TWO JVAtej AREDUVLiCATEy,
NOTTQDWlDfci
AMY JWyCE U tb TH I
BUILP
YOUM. JUB J eCT BYAPHFRltt^AT AS POXJMBLE TO iViE JTldUCTURM^"
IN
MUCH
UHHX YOU HAVE CREATED- DON'T / Jl XL
LA
This
is
a plan of subdivision of my own. It offers
greater freedom to the yoii to divide space
Start
Study
artist.
it*
It will
space.
(
optional
)
want.
unequally and interestingly.
line. It is
the line at a point which
third, or one-fourth of the
draw one diagonal diagonal and your
not
or perpen-
making more
rectangles to divide by diagonals again. In this
manner you
one-half, one-
will never
break up the same shape
twice in the same way.
whole space, Then
It offers
a great deal of
suggestion for the placement of figures, spacing,
At the intersection of the
and contours, with no two spaces being exactly equal or duplicated, except the two halves on
draw a horizontal draw diagonals in any
first line,
line across the space.
intersection, thus
would
whole space from diag-
of the
onally opposite corners.
any
X
UP
we do
Now you may draw horizontals
diculars at
best to avoid placing
would be
diagonals crossing like an
divide the rectangle equally, which
help
by dividing the whole space unequally with
a single
Two
GIVE
Now
of the resulting rectangles,
each side of the single diagonal
but only one to a
subject in
36
mind you
If
you have a
will begin to see
it
develop.
A DEMONSTRATION OF INFORMAL SUBDIVISION HAP ONLY AN IDEA M MlNp OF SHOWING" A LOT OE- UTtUE SffNOMEJ PLAVrMG WITHAPBN* SOFAR HAP NO tOEAOFHQW ;;(WO0LD AliliANGE THEM* DIVIDED MY/PACE AJ" JHOWNl
.l
f
\
»
THE ABSTRACT XHAPfcJ" THOS SUGGEST ED THB COM POJlTlOf^.
fROM THU PRELIMINARY WORK, THE.
FINIJHED FRONTISPIECE TO PACT
37
ONE WAX CHEATED
FIGURE COMPOSITIONS BASED
ON WORMAL
SUBDIVISION
INFORMAL SUBDIVISION
/
\1
r
*"'^~fi
fc.
^n rrr;
IS
NOT MECHANICAL
PURELY CREATIVE,
*
,
i
_i^^^"
^jf
'MR .MM"!
/
t
J
h\
\vy
m
yi
V
1
^
''*
l/
TfamA\ RL^n i#n v
ri
mK
IB
Urfltftn 4 I tMj. J
V
i i
II Fifii'ilii
i J
'
U"
m
i
i
v
J HI i
ttf ranwrnim'." (
it
/
1
If
[Wfjil
1
II"
ifflL
1
|U|i
1
\yi
1,
i
11
111
I
<
>
I'll
1
li
N
1
1 !
i
'
llftlllluHll
ru^Jl 111
1
^t
wt
: 1
I
%XM
i
I;
I
MAKE THUMBNAIL/.
Since,
when
THE
a space
is
DIVI/IONJ"
divided in
HERE JUOO^ST^D THE SUBJECT/ AND ARRANGEMENTS.
tlie
ing up ideas, layouts, small compositions. As the
manner
ideas develop they can be carried out with
shown in these pages, selection plays a great part, and invention the rest, tive,
That
is
its
it
cannot avoid being crea-
els,
clippings,
you out with a "set" or formal arrangement
gether/'
line
start inventing
when you use informal
to get
to
of
assure you,
is
know what
mind,
will
I
I
it
in
one or two
you have no subject
urge you not to pass
in
amazing how
day
in groat relief.
While
all of
in
If
my estimation
arrangements on
for I
me, and
am
1
often so I
turn to
the compositions of
many
of
the better ones. this
to-
up without a
this
my own work
the book are not so based,
develop with
you have a subject
it
mean.
the original
"stymied" for a good arrangement that
the feeling most of us experience,
and you probably already
I
admit that even
blank paper be-
without an idea in your head. That,
it is
tryout. It has often saved the
first
subdivision. It helps
you over the emptiness
fore you,
with your
When
composition balances or "hangs
the
well
You
so forth.
subdividing lines are erased,
strongest recommendation, in
comparison with forms of subdivision that start
begin with.
and
mod-
them
arc,
Any one
and
of the
or the preceding pages
in
mind,
pretty soon the lines will start suggesting
some-
would be intriguing to do as a painting, and I only wish I had the space. Most artists develop an eye
drawings above* In
for composition eventually, but this device will
tries. If
thing, as these
did in the
little
get you well on the way.
had no intimation of what the subjects would be. This method is invaluable in work-
starting out I
lightly so they
39
Draw
the dividing lines
can be easily erased.
XIVI
TWO VANISHING POINTS P^RnXpecT i\/e A PA*ST WAV TO COMPOJ-lTiON. MARX OFF EVEN J*PAC£JT DOWW EACH XL DB POINTS,
ON£ VANjJ"HlNCT POINT PERjpECTlVE TAKE A FOlNTON THE, HQfeiZON, J3RAW RAP) Art IMG LLMEX IN ALL Df^ECTIONX FROM IT, YOU CAN NOW ©UlLDONTHOXE
NOW U^ETOOft, deji^ed.
UNEJ 6Y CHOICE. OF COURJH YOU NEEQ TO KNOW PCR.J-PECT1V& TO DO IT.
,
R.UN
UNEJ OUTTO
YANl-THJIslC
TH£U PlCTUR-EL. YOG CAN aye, filling .trace ax
*oi*i*:on
THE -TAME APPM^T TO INTE^IOf^^. THE,
ALIO
OKE POiMT
FOR, INTERIOR,/,
PERXP&CTIVE LINE/ ^RE MEfcELY CTLHDK LINE/ TO HE: LP THE.
E.YB,
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, PLAN
*
,
40
)
EVERYTHING YOU impossible to
It is
draw
correctly
DRAW and
IS
RELATED TO AN EYE LEVEL ists
intelli-
The viewpoint
level.
what
is
is
becomes apparent when the artist has obviously worked from two clippings or
known
perspective.
as the station point in perspective. However, that is
really the spot
center of the field of vision and
If
we
be
The horizon
is
start
at our sec.
with one thing, for instance a photo of a
we could
redraw the perspective so that the vanishing
same horizon
points will fall in the
piano- Or, selecting a figure,
than one hori-
zon. It follows that all receding lines parallel to
perspective of the piano to
the ground plane that recede from points above
way
zon, also parallel to the
ground plane, must
upward
Our viewpoint,
to the horizon.
whole
resent the
may not, and seldom field of vision,
cross the picture plane, or
or below
it.
does, rep-
may
ist
cult than like the
But
it
really
is. It is
the original eye level (or viewpoint of the cam-
every day. Perspective
apparent*
You
or the
camera look down
on everything below the picture horizon or up anything above top surface horizon.
the eye
All tilings will
when below
We is
it,
show only
affects
life-
is
be-
one
of those things,
is
and
may
artist
suffer for lack of,
a part of every
form
and cannot be avoided.
It
your very next job and every one there-
you are working from a single photo the camera may do it for you. But if you change or
after. If
their
the eye level or picture
add one
can look into things only when
above them. Round
off eternally
tinder every condition
at
just
study of anatomy, which an
keep putting
is
small sketch and
whole output and a
will jeopardize his
no matter what part you take, the relationship to
era)
off the
yond me, For some reason, the man who does not know perspective imagines it is much more diffi-
you might crop out any
small section of the photo for your picture.
be used. Use a large
time of effort by a lack of such knowledge
be above the picture
group of buildings. Without changing the horilines,
he may adjust the the figure. The best
small sketches so that
may
Then square
by the
To learn perspective means only a small investment at the bookstore, and only a few evenings set aside to learn it once and for all. Why an art-
then, de-
Suppose you have a large photo of a
zon or perspective
make
fit
set
enlarge to the size you want.
slant
the horizon
this is to
tissue pad.
termines the horizon. Since a picture
do
to
wide vanishing points
downward pictorially and Then all lines below the hori-
slant
end in the horizon.
can
two eyes and spreading out
No picture can have more
must
He
ture.
This entire sheet of glass would be the picture
the horizon
artist.
Then everything else, including figures, must be drawn to the same eye level. He must
eye level and reaching as far as
horizon.
this respect,
piano. That will establish the horizon of his pic-
the eye level. Think
of a great fan-shaped sheet of glass starting at a
point just back of our
agreement
every bit of copy he uses.
It applies to
exactly opposite a point located in the middle of die horizon.
in
You may
Perspective must be understood by the
look
straight out at eye level, the viewpoint will
seldom be
clips will
with each other in
not to be
is
confused with the vanishing points.
be certain two
the
is
It
photos, each having a different eye level.
on the ground plane where you
are standing. Artistically, the viewpoint
a knowledge of simple
art woefully lacking in
gently without the consideration of a viewpoint
and an eye
go into the field of illustration and commercial
you
lines like a belt
single unit to
will not
understand
be able
to
your photographic copy,
do
it
correctly unless
eye level and view-
when below the horizon, and down when above. But how many times we see this truth disregarded! How often do we see necks, shoulders, paying no attention to an eye level, roofs slanting down or up when the reverse should be the case! It must
superfluous to give further space to
be stated here that too large a percentage of
Your bookstore can help you,
around a waistline must curve up
point
If
this principle of
you
you do not understand perspective, by
means drop everything else and get it at once. You will never draw until you do. (There are so many good texts on perspective that it would be all
art-
41
it
here.
EYE LEVEL,
CAMERA
LEVEL,
AND HORIZON MEAN THE SAME and foremost means of depicting space on a flat picture plane and the natural or normal aspect of things, If modern art Perspective
the
is
chooses to ignore
first
it,
modern
thereby evoked. But in
fer the negative response
we
illustration
chooses to suf-
art
cannot ignore
and make our
it
work appeal with any conviction of
You can
easily
zon. Simply carry
EYE LEVEL WITHIN THE Pic VURE
until they
meet
check any copy to find the hori-
any receding straight
in a point.
should be parallel
two
floor boards,
reality.
These
lines, of course,
ground plane,
to the
two
ceiling lines,
back
lines
like
two
parallel sides
and bottom lines of a door windows. The point at which such lines meet
of a table, or the top or
will fall in the horizon.
Draw
a horizontal line
and that
is
you have your horizon, note where
it
straight across through such a point it,
When
cuts across the figure. all
it
comes. All added units must have
it
their vanishing points in the
same horizon. Sup-
pose you have a clipping of an
EYE LEVEL. ABOVE HP J
must so cut across
other figures, at the waist, breast, head, or
wherever
EYE LFVE L 0&LOW THU PICTURE
Then
interior.
By
finding
the horizon you can estimate the height of the PlClUfcE
camera.
By
adjusting the figure you
draw within
that
same
may wish
with
interior
this
to
camera
you can make the figure seem to fit in perspective. Cameras arc usually at breast level, so
level,
see that the horizon cuts through the figures prop-
This
erly,
is
about the only way there
figures properly, so that they will all
standing on the same
seem
to
be
you know beforehand
if
how
high the horizon appears above the
floor in the
intended copy, you can then adjust
about
LEVEL ABOVE. THE PICTURE
to insert
floor.
Another advantage:
EYE:
is
your camera of the models
to that height
whom
you intend
ture.
You cannot shoot at
it fit
your copy.
When first
find
when
to use in the pic-
any level and make
just
redrawing copy to
taking pictures
fit
a
new eye
level,
something of known measurement in the
copy. For instance, a chair seat inches off the floor.
Draw
about eighteen
a perpendicular at the
Then ground plane. The
corner of the chair and measure
you can take any point
is
in the
it
off in feet.
AND MAKE
FIND EYE LEVEL OF COPY
FIGURES COINCIDE
perpendicular acts as a measuring line for uprights,
Draw
uring
line,
a line from the bottom of the meas-
through the chosen point on the
ground plane back
measuring
to the
Then cany the
to the horizon.
line
whatever height
line at
desired. Erect a perpendicular at the chosen
and the
point,
to the place
similar height
you want
it.
now
is
This
is
carried back
same
exactly the
on the same ground
principle as placing figures plane.
The accompanying sketches
placements of the eye level or
trate the various
horizon (which tionship of clearer
I
squared
is
the
one unit
to
same thing) and the relaanother, To make it a little
have drawn the
representing off
will serve to illus-
outside his picture,
artist
you and your viewpoint,
I
have then
the picture material. These will
why
the horizon
ture,
and
may be
also that it
is
at
show
have taken
a
determined by the height
.
AMY PHOTO WlLj-EJTA5U,fH rrx
piano and some figures showing
Jiow they must be related.
XlNCe NONE OF THE/E HAVE TH& Jl^iAB LYE LEV&L ONE N1UXT OE, /ELftCTCP AND TUB OTHER/ ADJUSTED TO IT* FlftJ-T U&T US TAKE. THE. PI i\NO AX JHOWK
any height in a pic-
and point from which viewed. I
CLJPJ"
have
I
OWN EYE LEVEL (TRACfNo)
also tried to
demonstrate the variety of effect to be got out of
any subject by using different eye
This
levels.
opens up a world of opportunity for crcativeness.
A
subject rather ordinary at ordinary eye level
may become
quite startling
above or from
down
A
A high
low. ...
good when you want space.
when viewed from
to
break
down
ground-level viewpoint
you want a horizontal base
eye level
is
into text
good when
is
line.
CAMW
L&VSLJ- OP COPY, PIS. R-fP ACTIVE U NfiJ OUT UHTTLtHEY
THE DIMiMi-THlNa ME£T m A POINT THAT POINT 5 ON THE HOR.IXON- HOW &RAW THE WOWZONTAL LINE AC*Oj\TTHK GO FV\ 1
Understanding perspective
in the figure,
can transpose figure copy to various eye thus permitting
you
to
can object This
and is
levels,
use copy which you other-
drawn your
wise could not, So long as you have figure differently
you
own way, no one
in your
not always easy.
It
is
really
pay a model, pose her as you wish, and work the thing out on your own, if you can afford it. Money spent on models is the best investment better to
you could make as a creative then
is
artist.
Your picture
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
44
j
rv?At>p
MQ(q= charm.
ALONE MAY ADD VARIETY
PERSPECTIVE
THIRD [^OUGH /KETCH
^OLU)WLNC
ALTO AW iMf^ROVfcM&MT UVf-i^, r«E PlfUT ROUGH AR.R.ArlCEH&NT',
vp
mm
mtmmm
SUBJECT PROM piFPe^eNT *Yfc OR CAMERA LBV EJ,J> YOU C^N OCTEH MfcKEJOMETHING JT&RTUWC OUTOF JO^tTHlNCORDIN^ftY, IP YOuDONt KNOW PEftJ*PECT V P^, OONT PUT LTOPF, IT* J
AN EXCEULENT JOEA TO
"TOY
OUT
&.IHY
I
always be the problem of the
It will
take his subject
There
possible.
and approach
it
if
thought
given to an eye
is
To
given in this direction, something unusual can result,
his
John Jones sees almost everybody at about
own
characters.
There
a certain grandeur
is
nity thus given them, something of
when
up
looking
pulpit, or
an
actress ori the stage. it
good
may be
used
to this
forded the reader looking
is
down on our
characters.
to feel that
hill or
the landscape!
The
sense of height.
is
he
some great
somehow put
No wonown impor-
giant.
over his
levels breaks
up your
method
it
wise to
way. This
of testing your inventiveness,
you get something unusual
is
is
pic-
is
one
and when
pays good
divi-
dends. In story illustration as well as magazine-
from
advertising illustration, something rather drastic
How we
greatest thrill of flying lift
the
Dad
so high up, so big.
ture areas in very different patterns. It
has to be done to get attention, or "impact/* as
like
mountain and look down on
You can
To
How much more
the balcony than from floor level!
climb the
like
Using different eye
the sense of superiority af-
when made
by draw-
illustrations
try out small suggestions in this
beautiful a ballroom filled with figures looks
to
be given the
sig-
tance.
good advantage.
Opposed
a child's story, tremendous
child everything
der he must
feel
is
That
means. Too often ordinary
level.
towers over him
an orator, a minister in the
to
psychology to remember, and to
little
and dig-
what we
this
ing the pictures at the child's eye level*
your
to
illustrate
nificance can
eye level Raise the figures and lower
John Jones, and you have him looking up
by
pictures are ordinary because no thought has been
as differently as
no doubt that
is
chologically
artist to
is
illustrators love to call
after
that
it.
45
Here
Get a stepladder and
the floor and sketch.
your observer psy-
it.
is
try
one way
to
go
Or
lie
on
it
out.
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 ANY LINfcJ POINTS NO TO A VAN JHlhlC POLtslT QQ. JgNCT ION H4KE OF* YOUR. PICTURE Aft^A- IT ALSO WRLLTO-AVOID UJfNG 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/, l
I
i
5"
^
FOkMALP&JICN PLACE: TMEPOCALWNl 4©OVE* 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
IN
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. ,
WONDER HOW TQ FOCUT ATTENTION AMD 1MTECEJT UPON A CERTAIN HEAPtP^U^E OGL JPOT JTUPY THLf PAGE. CARBFUL-LY. EVERY
THfi
VAN^HING POINT
\S
THfi
*pojmQN OF HONOR" PiCTOI^4LLX IT
/MOULD
A MAIN FOCAL POINT AND ALL LINE/ J~HOULD DRAWTriEEYH TOWARD THAT SPOT. TH& OLD JAYJNG *ALL ROAD^ LEAD TO ROME* 15 HJNPA MENTAL IN GOOD COM PO/ IT OH .YOUR ROAD/ ARE LI UBS, 46 f
PROVIDING AN "EYE PATHWAY" IN COMPOSITION ^>.v
AhiALY-H f
JHOULD B^ A PLANNtxP EAJY AND NATURAL PATH FORTHEeyeTDTRAVELIN EVERY GOOD PICTURE THEfcE
LLNEJ* LEADING 6Y JOME DEVICE
OL^OPTHE SUBJECT SHOULD BE JTOPPED OR ANOTHER UNE. LEADING THE EYE BACK
CATCH E^ftANP
/
5TTSP
**L
^_ Li.==4=M
1
7/ UJ- FOCAL
STOP STbP ROAD J10PPEP
eve jholjlo enter at the bottom and emerce THE TOP— MBVfcR.ATTHe*flPEr, rtNCfe COfeNEfc/
the.
At
YOU CANi MAKE THE EYE FOLLOW CTI V &N COURSE ALMO/T AJYQUWI5H BY JKILLFUL Ufl= OF UM&^ tEADTHEEYEIN, ENTERTAIN
ARe eyerfiAP^'' &ec6u^E ofthejr junctjonj^try TD LEAD THE BY6 AVVAY FROM Oft AfeOuNO TH£M. ,fcS
WITH A /POT OF INTEREST AND THEN ALLOW IT TO PA J* OUT. IT J"HOUU> 6E A PLEADING PATH AND NOT OBJ"TRUCT£D ORGIVEN TWO WAYJ^ TO CO. |T
fi\
J"
47
ATTENTION DEVICES EYE-CATCHINQ 3U8JECTJ"
'WARWELL KNIT3
ANY KINDS OF CONFLICT
ANYTHiNIG J*HOWtNCJXpeED
radiating corves To^ic*upaiNT jpot JfeQvei«ce tdfocau pqimt -
^UMH OR
FMRis. hr(OTHF
ANY ^OPT
0*= e^x P'i-c?
j-
i
o
***v
rHiM^^HAT \m uu*
pomr
F*o
is(
PP-nj-
r*i^^^
m-i J--.
of^v
T^Nf>
PACKER J FALLING, DlVi
fmPE.ND\rsic
MQ
©R.*=UCiHT
DLO"Ai:T"Eute.
wing ofc\rv^&ep motjp
ANY iFI[eALMOT|*s
3PIDER. W£.B KlOTlF
ftAPlATlON OP LICTHT f^OTlF"
48
PD MTI&6C i
H SUl.l.S
EYE'^O'TIP fPOINT&a)
GET ATTENTION BY BUILDING CONTRAST OF LINE OR SHAPE
TUG, JTRAIGHT CONrR^&*5TBP
INJTA&I1.ITY
VrflVM
*
BV
* »
CONTRACT TO
3u
WITH H.HYTHMIC
CJR.Cl_£,f
LiNPU
lit
c?r :
lb2
future
/
.._K
V=W w/^
\^
TCBzgew^W
t#Vk.
ClR-CLe
M6PE PoweitFUL BY
HORIZONTAL CONTftA^T&D
-r«.IAKlC^LfE
>L...
V
j*
'OiM 4^uM4
OJNTItAJTeP
TO fceCTANCTLS-T
AGONAL POJ" T JON Cr^QO A fc£ WITH V«*nCALS ANfrHOftJZONtAU Dl
I
A^
ioaoTYi & j
ftA&M ACAiNl
ANYTHING
ORCLR
'WE-RJO/ *tCT4N
Ov^L Pl^CkP AT NT E REJECT *OM 1
AftCJ VtftJ
1
^ ^ECrAhlCLe.y
"PFTFP
-
SMITH chic:
WW// /T IRAOI
I
V£8JU J TWE
ft.\
O d i
OVALI VtRJUJ ^CCTANCLE J
49
OBLIQUE
VEfcJuI felCJD
OBLIQUE
VtfeJu J HORIZONTAL
.
THE RELATIONSHIP OF LINE TO EMOTIONAL RESPONSE
W6\£J KMt
OCf ttTlON^CQlfKJjiOHi
perm* Hi flee .-srAeiHTV
ft
AD AT O N FOK .fHOC K, *TT ENflOH L
J
UGflT FOft
CIRCLES*
I
HOPE
[_0V£,
AWBlTrON.
J PI *AU
*W t-KJTttfH
,
h
**3#- Ta^f^X&.CAUH, TRAH^Lf L T Y, PEACE, QULETU DC
HORIZON r^UT
awe.
,
TRIAMG LW" N?R
TOWfHM-XClTE^WT
I
1
PERM A M£ NCE, .TeCO RlTY
&ROlttMiHAPEJ'IHfrABHirf -IrtttBRTAllilY
OOLIOUEf COMBAT- OWfUflON-
OVALS FEHtNlN »TY-CREATW*ftfcfJ SbUSHOSITY GRACE PERPETUATION
INFOCMAL SUBDIVISION-
for. qlory advert (on o urv PATRIOT LJM ITY AM Bt T K? K,*^69Wt
rao
i
r
,
RH Yr H M
^
<
FOR, CCACe
,
,
t
O*ARM ,MOVSM HHT.
GUSH
RftUNtiLtf -5T«£IU1 Y-.TONOTN-UK1TY
ACTIVITY
FOfcMAL
h
Ht^JHX VAST HEf^EfcHiTY
motion -EQUALITY -OGJ-IVEPANCE
.
EXCITEMENT- ELA5TL CITY' PROi&SS
50
DIVI JIOH-
DIGNITY 'UNITY
BALANCE FORMALITY
-jTJLENtfTtf
*
BAD COMPOSITION BRINGS NEGATIVE RESPONSE
DONT GIVE THEEYerwO PATUWA.Y5, NOW THE EYE fS LEO TOTHEF/CUl2-B*nOP5 WBMAV H^WE A BETTER: COMPOSITION PUT (M ON UNEJ* WHICH WOULD CARRY EY& S^ WAVfNfG THE LITTLE QfR,L CLOSER. 3'4-5-6-TOO CEHTE£Et)*JTftA^HT FRONT OUT. POJE MORE fN KG EPING WTH JUG J £CT TOPOMiN&T£ THE L£,NU5CAPS;, POJT£-GaD. 5'k-TOO AUKE6UD EQUAL 1-t*
.
1/DONT POINT THlNCf OUT OF PICTURE. JL.ONEEYfefWH MOW. 2 POINTING
INWARD
YOU CAN TEJT ANY COM POJ HI ON I^Y # tracing W^PACtJ BErWEENTHfNGJ
JMPOKT4NCEAFL0W£U .5. COP* GCOUPED 4.FL0WER5 GDRfcECTED POINTING V^ONfG WAY, 5^TWO EYEP4TH J 5 -YOU NOW KMOWTHEY AfcB COOtOEJ.OeiTEfc* AND FlLtlN XEE fFTH&Y Ma
fc*3-Too
EQUAL
IN
«
2,H6VER JPUl A
HE*D WITH
ANf UNfc,
USETHEEDG6 COINCIDE W»tH ^
COf^tNC INTO »T,3*P0NT
OP THE PiCTUft* TO
UN6 INTHR
PtCTOttE- (WINDOW
PRAMe)
4*4-7*6 -too cewifeg.ED.PLbg *ao« 3*
MS*
NaUPJ
LINE TOO LOW ANP TOO N€AJt tSOTTOM RDCTI M6NJ GAZ£ BAP*
CUTOFF.
M
OUiLT JO^ETlMfi* ATseXlCN f^lAY OP HEADJ4LDNC AND WITHOUT WWJNC thelothe* picture. Nothing competent with head. nothing j cente^ed thb THE HEADJ COM FLfeT £ THE. PfCTCf fee balance op the Subject \s pleajimc, MAY 3E MUCH MO^S A affi^T P^CT HERE WE HAVE MUCH THAT t
^5
Ml5 f!NC »
1*4
,
i
ACCEJVOfclEJ HAVE MOGE CHAWl"©ALtr? THAN IP Two ENTIRE HEADS WBC.fi 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£
4r
OF THE /PACE
LI
MITX
Tf
H> TO
TWO OR. MO&E J7 DE5"
YOU CAN
USE.
IfiFORMAL -TUBWVI/ION
1
4\
rA---^:=^j s&^ifi^ T
OPEtt
JV
*
*'*
_
/.-' "/'
^
^
5PQTX TIED TO I^AlN VIGNETTE
Fa
/,
ll .Sno imrj
;
i/l'i" -dfrr
ttGrttfff* ;** TrfirT
w
J 11 I1VJ
L-
A" -4
V,^
^
fi ,
Ol
f&
XPACE TJED TOGETHER, BY CONNECTED ViCNETTEMM
^Wf A ^
^"
-
MAKING THE WHITE _TPACE PART OF THE PICTURE .VERY UTEFUL. 52
*A
BOi^OEE.
VIGNETTE
A VIGNETTE
IS
A DESIGN PURE AND SIMPLE
fcA<
ATLANTIC CITY VJLHOUETTE ViCNETTE (dAGlK MAJ7 ACTA NJT UGHT)
RELIEF" VIGNETTE (LIGHT MAJ"jTA<7AINJTDAl£ly
*
1
VOim HEALTH
jgS=_
"^kuMOMM44UJU«
15 THfcL
Q4KEDOKE PIPF TOBACCO
SKETCHY* VIGNETTE. ANY SIMPLE MASSEf
V5.EACH
OTHER.
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
COMBINATION VIGNETTE DOMINATING OV BR J"GUAR,E UN
53
tTj".
fWWhWNwU
VIGNETTE TI£D TO COPY JPAC£
SIMPLE LINE COMBINES EFFECTIVELY
54
WITH SOLID BLACKS
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 / HELP55 «
PEN DRAWING
GtVH
V»h p
IS
BUILT
ON A
ME NftTMRE^NCIMG BUTTEfePLlE/ A^D
PRINCIPLE
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" 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££ Od^HlTE J*PAC£ AJ A PART Of* THE P^-HCTN, DfcAW MOsTTUy" L£\NGTHWlxe Oft, ACftO/J* iTjWlTtf YQOfo >rTft.OKE.f, TRY TO KG£P f WE /HApOW^-'tONE AlLOVER U ve^Y&lFFicULT-PUW JTROK.EX CA^G FULLY OUT INK THEM tN Cm^^CTJuY" ^N& FREELY* p
Wn 56
PEN DRAWING
IS
CONCERNED MOSTLY WITH SHADOW
TH^ CJENERAL APPf«O^C H TO PENDRAWINQ \S TH&J*AME Aj- AJ.LOTH&R M£DIUMJ"-THE, R£NDeaiNG OF LIGHT AHDJ-H&OOW. THG ONLY DlFF£R.EWCe \S L&ff MOQRUNG |H
THE
i-\CHTX.
DON'T
K&EPTHfeM VEW.Y /IMPLE.
WORRY JO MUCH
OVER. XntOKCJ^AJ" OV&fc THE JT^T ^{vi e NT OP
57
COOO WHiTEj,C«EYi ^PBUCK ,
PEN-AND-INK PROCEDURE J TART WITH AJTKONGLY
LIGHTED P1EC&
OF
COPY- CLEAR. LIC NT AKip J~H ADO W, NOT GREY AND JUI3TLC
,
A PRELIMINARY RJOUGH, JfeTT NC DOWN "THE JTATEMENTOFMA/J ARJiANCJSMfiNT N THE-HMPLe/T 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. f*V*KE
I
I
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 Gfcl EF )
MUCH
R^TTONE
J
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 N£XTTIM£ 58
f
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 WORfc£0 OUT BY CtftNC INFORMAL J~06DiVlJ~IOH60
THE BRUSH USED
n
*->^-r-t.
i
LIKE
m i.HiBM
m
l'
i
A PEN
*44itW
^^H^
^
^i
fc
^V " -
3R.U/H DRAWING OH JTPATHtfO&E Bfe^TOL BOARD. COKlPO/fTIOfl BAJBD ON CIRCULAR ARRANGEMENT WITH A '^RADIANT UGHT*BEHiND HEAP, rtB.VBti.FMlS TO*PULL THE BYB tHJO YOUG JU&JECT* DRAW RADII P\ ®-S r*
7W
61
DRY BRUSH
«
QPW^KJTROKP-" KROW BftU/H OW BWttTIMG PAP^- FLATTEN ^fWNT WORK FOR MA/XJLT Of UOHT.&BEV AHOW*K,
,U G a wA T COWJR. BRUJM jW OT TOO LAR5E Ot_OT «
62
IN
A
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&N»WlTHARA-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
66
ON COQUILLE BOARD
THERE ARE
NEW
DRAWN WITH PR1JMACOLOR
POSSIBILITIES IN THIS
COMBINATION
&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\JU£S 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. *AP£R IX JDO J"OFT FOR A PEN* U/E A AfiLUTtt. fcLACK
.
67
'SANGUINE"
ON
GRAINED PAPER
0*
SAHtiUlltfc
U A OLACK CRAYON
WHICH C&VIRX
/aVAac /TICK/, IT HAf NO/HIHI.ITC4W Oe ftUBaEOORWOT- MIX t»WWINfl ON BAlNlMWCl "COflUI LLE* HO, 3- WITHOUT iKV RurjiiiwC ^o* IN
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
E
i
DRAWING PROCEDURE
TOUfSTH J-TAG6. ADDITION OFTKE /-
HIGHUGHTJ" AND
*»
ACCEWTJ"
THIRD
JTAGC
MODELING OF PLANE J"
GLT
GOOD COPY.BUT.;- ? V.j
DONTJ1AVJ/HLY COPY IT
THER&
ARt- r-lANY
WAY/ TO PRAW
DRAW YO^B WAY, GUT MAKE- IT A LOG CA L T^OCEPURE- DONT"
SECOND /TAG
g#i?
p^|~\fEPARATiON OF LIGHT ANOJUAOOW Sfijjrf
Mi
i.
I
(J
TRY TO 00 EVERYTHING A|THE
^KG nME.ALL DRAWING PRO PORT ION
-
IT
I
J"
JJ~
E.ITHH-P,JUJT
FIRJT LIN£ ORLTKe
R.EJHE>e.R.lNa-*
Q *=
/TAGE
OUTLINE
LICHT ON FORM. Every &RCA HA5
>TCT
OWN PROPERTY QT BEING
ClTH£fc IN UCHT,HALFTONfe
OR
^r-
W&OW.YOU .MU^TWaCtWHItH' 70
DRAWING, ABOVE ALL
l
ELSE,
PUTS
YOU OVER
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
r *r ONtOF
/.
rmsr "jearrdF
.-
.jr.
ON GREY
PAPER
wwav-^r. JEs&di
TM6 DEVT Wflr/ TO M4KE PRELIM f+ART J1UQIES. fclrt THB.TOWK OF THK PftPCft PO*?l«fi LICHTATMB Pi"CILl/FOiL-rw» HALKTQHfej" AMO PAJ*KV". Wri|T^ Af*c UTPD ONLY fQH HidhUo^T/ OR WHitc Aft**- CHaftCOAL i^O CffaLK-MltEQuALLVCOOP, I
"-
1
72
AND BLACK
POSTER WHITE
^\^
ANYTHING CAN HAPPEN
!
DONT Ml//" THE OPPORTUNITY AFFORDED 6YTKE U/EOFLlNE
AND WHITE
GREY PAPER,
OKI
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
INK
ON GREY
PAPER
CHARCOAL ON GREY PAPER
IHt/ UftU/^lAH
COM*/ Aftfc
H,
IN
CHARCOAL WHICH
PRE/yco JTICKX,
IffdNX.
V* HIT*/
WHJT* IHK.
CHAftCOAL CAH#tftu»Blt&
TMB 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
/,-
-'
'"
j^S
\
f
\
'
.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
t+tr*
KNIFE)
CRAFT1NT
PATTERN 209
G»QUBJ-mTOH*
TAkB TUB PlACft O* BHH PAYX. CMTTIHT 1XyOM.TH»NG tOWHOUlD CBT ACOUA.NTeP WITH. T»EJCW«H/ W< LL * CMlNAkOUWina ^JlM-lX PHOTUM IN CKVtLMR* WHICH y OU Mft «* TH £M HMKT OH "ftfclETY OF FIHE *K P COAWfc pATTfcRH S WITH fcBNPE* T*. «RE6«r VISIBLE. THi BoA*PXC©M & 1« HltfCiNj INK, -mYTHl J\ E1THEA A /INCLCTOHe Oft. POii fe LtWC CFFBCT. *L-fcCKf &*E AOPfcP WITH 78
W
CRAFTINT
YQ O CAU HAVE A l&T OF Pi>K WITH THLT NfcW MEDIUM,
PRAWINQ COM lCJ~ OP- ANY COOMTJ-*X WELL A/ANY TYW or FA/T MRCHAHICAk RKNPtRING, TOO W1U- PiNO CQAPTlNT AN INNOVATION. iP YQcift DEALEL CANT «/Cjl*l»LY YOJ,THE ADDRf//
I*
YOU
AfcE LWT|5R.EJ"TEP FN NEWSPAPER.
»
h
FlCLD WHfftE QRlQIN&LITY WfTH J-PBELO
U CRAFT* MT MF"Cj. CO.^HO
W^CLEVEJ-ANQ, OHIO, A-TK FOB. THEl*^ pft/
,
.
79
»
.
PART
TWO
ESSENTIAL PROPERTIES OF TONE
TbNE itbt;
is
1
Intensity of light fn relation to
2-
Relationship of value Lo
3.
Identification of the nature
4.
Incorporation of the influence of reflected
the degree of value
between while
and quality of light.
value in relationship to oilier values.
shadow
visual
Tome
appearance "of the moment" as
Bninter
is
rarfawss
lvalue itself.
local value,
So when
ww light or dark
we
is ft
and not
The
light,
if in
We
same
dress to
moment
or "Influence" of
.shadow, or reflected light.
When drawing or
we therefore look for the effect, regardless of what it is known to us to be "locally." Alpainting,
we mean:
most the only time the
compared with the
shadow and with the background,
tone. In tone value the
die conditions of the
in relation to other things?
low Jjght is the face? in Irghtas
very dark
might be any one of the three values according
In the local
speak of tone
might
or silhouetted against bright light,
and not of
interested only in the effect of light or
on the
light, or light skin
We
own or "local value/' which can he brightit,
in bright light
speak of a dress as Tightpmk, middle grey, or dark blue. are speaking then of local value or color
af-
producing darkness. Everything
"or darkened !>v light or the lack of
light.
and so forth? Thus dark skin appear very
lack of light, jy
[fee* in
adjacent tones.
all
and black-the lightness or darkness of a
jpd by tight and reflected light on a surface, or sits
shadow.
value are the
coat.
light.
81
same
local value
is in
and
the tone
a neutral diffused day-
BASIC INTENSITIES FIR./T INTENSITY LIGHT (vs.)JHAOOW
OF UGHT VERSUS SHADOW
JECOND INT6NJ1TY
THJR.D INTRN/11
JHAOOW
LIGHT
Light
sut
1
4
_ 1TONE jffPARATION -a. V* SH. DIFFUJ'eD LIGHT
2.TOHF J REPARATION
HAZV JUNllCHT
FOURTH INTENSITY
FIFTH JNTEM/ITV
A TONE:J .SEPARATION StrOnQ artific «\L MCHt
5 TONE/ JEPAR&riON f
"POTLUjWT TN
82
PARK
•3TQNEJ" /EPARA'
FULL JUM LIGHT LIMIT OF INTEN/Il
FULL J"ER&RAT ION I PRACT CALL.Y BLACK S4H I
THE FOUR PROPERTIES OF TONE EXPLAINED He
Wv that so-called "white" skin However,
it-e.
jehuwit
on
black
men
is
it
may appear white
shadow can be photographs. The camera
flesh in
recording tone, the "hiflu-
mxot the moment." It is
true that film
but
We can
it is
such thing
take photos or
draw and paint
many
different seis of
all
belongs to the
2.
All light
no
Principle, the "aspect of
environment."
its
Relationship of value to all adjacent tones. In any given light, all things are so much lighter
what they appear against, or what surrounds them. Thus the "patterns" or areas within a picture bear a relationship to one an-
one
other. If
|
Form
the moment, in relationship to
area, for example,
property of tone.
Bjttenrity of light in relation to
is
as
or darker than pictures
according to lighting conditions.
So this brings us to the first
So there
a fixed relationship of light to shadow. Local value has little to do with it, and
tone nevertheless.
same subject in
tfie
are the extremes of the intensities.
and paper
always record tone truthfully or as the eye
if,
uts
a photo,
in
not Mack, though
a, theoretically,
Wt
not really
is
shadow.
and shadow bears relationship. The
two tones
is
darker than smother,
it
relationship. Tt
relationship diat
is tin's
has a two-tone-darfcer
must be
We can
held.
then place them anywhere in the scale so long as we keep them tw o tones apart. r
» |
The lower the
contrast.
shadow appears, light the more nearly
the darker the
Brighter die light
Ik shadow approaches the value appearing
felt In a Mused
light,
dim hazy
Bib and shadows are very close in ^ra
that the
relationship of light to
jKpds entirely upon the
still
Now
it is
true that
lustration
So we
mi
to sol
all
the values going
up or down
together but maintaining the tonal relationship to one another. That is what we mean by "key* in a
intensity of light.
picture. If such a relationship of out; tone to an-
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 brilliancy
all
'^
Bfoughout the subject. If the
It is like
might be the making of a light or darker
print of a photo,
shadow de-
whatever degree of
maintain the relationship.
which can be played high up or low down on the whole keyboard. Another il-
^Ekn the preceding page are set up basic inteosiEfc.
the values high or low and
in the musical scale,
Tight the
value.
all
in
the lights and shad-
PR become diffused also. In a
Thus we can key
shadow, for exam-
known
and
relationship,
"muddy"
as
in value.
and becomes what This
is
the reason
for dullness.
Ik only one Lone darker than tire light, then wry shadow, barring reflected light, would be is
he
darker than the tone in the light,
tone
pough
the subject. If
the light
is
3. Identification of the quality of light
By
all
stronger, there
we paint
in the light,
we must
and
relationship of values the pic-
ture takes on the kind and quality of light. If the values are right tfee subject appears to be in sun-
buy he two tones of difference. Then, whatever tee
the kind
paint the
light, daylight, or
night light as the case nifty be.
Ibdaw two tones darker. The basic difference
You may be
fees on to
get into the subject goes a long way making the picture beautiful and having a "quality of
about six intensities, for that
we have between black and
white.
would hardly show separation
in the
the values
III
my more
age reproduction.
9 a subject
ps. On old
worked out
a black
existence."
the next page you will in four o£ the
.six
values
ivalue as
i
to
would have shadows so
part of a picture with wrong
Suggest a strong light— another part,
All lighting must he consistent throughout, which
B ut In a diffused light on a cloudy
the same figure
may
One
a diffused light. This sets up an inconsistency with nature and makes a hodgepodge of vour picture.
inten-
night a figure in a searchlight
appear to have black or nearly black shad-
Huoughout. (£)•
On
you
m
about
is
certain that the quality of light
means
close
all
values must
fall
within one of the inten-
described and also he consistent, for only with true values can we paint lightr sities
be hardly discernible. These, then.
S3
SETTING UP A CONSISTENT RELATIONSHIP OF LIGHT TO SHADOW! PROPPED ONE TOME IN d THE VALUE/ UTEDBEU3WF0RTHE LIGHT REMAIN CON/TANT, JHWXWJ
2*
3** INTENSITY"- NOW ALL JHAOOWJ"^ three toue; parkertmanvalof-iniJ
lTUEUmY SHADOW/ J"ETZTOtCf PARKER
n&wwmvEwKw theTight.
5™ MTEN/ITYWIWOW 5TOH&; PA| NTEIU \Tf*Smtm 4 TOKEJ- DARKER ARE*AfeKENEP,THOOGH ACTUALLYT NOTE THAT LIGHT APPEAR/ XTRONGER Af JHADOWJ
4™
.
I
j
WE <*j MIX A rCALE OF EIGHT VALUEjT FROM WHITE TO BLACK FOR ANY EFFECT OP LIGHT, .
ATTAIN WORK POWN FROM WHITE TO DARK. THEREFORE WE OiN ONLY
BRILLfANOr BYCONj
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 L\& WHEN A JHAPOW IXO&VIOUSLY LIGHTENED BY fcEASON OF REFLECTED 84
THE MEANING OF KEY AND VALUE MANIPULATION ATMK VALUE/
IN
BOTH LIGHTAIHD J-HAOOW AREl RAIDED
MAIN VALUE t ARE AT THE TOP
OF r HE /C ALE TMAVBECALLfeDWORKlNQlNaHlGH KEY."
[»HCN
ICW THE -TAME RELAT* Q N J"H PS
DROPPtLD TO &0fTOM QF THE JCALE ARE*LOW KEY 7 I
THE
-'.
[RJR.CIKGOP
THE
DARK
AOAJSU^T LlOWT.
THE ^XT^NOHDViMtiETY OF TREATMENT OF VALUE/ AT Yo U D fW/&L WHEN WORKING WITH ACQRRJECT ra,
J
IWJDE^/riMDlNC OF'klEY^MD^lMTENJ'ITY? HO TV^) OF TH E J"1X TREATMENT/ -AttE ALI KE. IHI/
l/A
REAL REA.TON FOR
MAklNC/MALL 85
LOWe RED TG CHANGE THE; k&Y
THE JAHE AELATIONWPJ MAY ALL BE DfcOPPED ATONE Ofc IWO-THi/ r/ CALLED* MlPOkE k£^
H&RE WE HAVE INTEKTJONAU FORCING OF RANC?£ TO 1MCL-UOE THE FULL/CALE,
FOR.CINC
OtMOH/rRATIMC
OR.
OFTHE
Li
^KETCHS/ OR THOMBHA! l/bEFORr CQINQ A HEAD WITH Fl NAL WORK rsfOTE THE DRAMATIC EFFE CT OF THE LA ffTWO* YOU NEVER. KMOW WHATPOXXrBJLITfEJ- LIE IN YSuR SUBJECT UNTIL YOU REALLY EXPERIMENT N OTHE.R WOfiLDj" IT^ P|_Al N THlNKtMC i r
I
[
!
THE FOUR PROPERTIES OF TONE EXPLAINED 4,
Incorporation of the influence of
appear, your form loses solidity and
reflected light.
"dead"
Now when we light,
we must
speak of a basic intensity of
take
iflto
consideration the fact
that shadows* besides having an intensity rela-
in the
shadow.
It
appears
tookfflil*
no light and air. Reflected light has a wayofj ing things appear to be round— to exist three-dhm:nsional aspect.
A
below, are also subject to other influence. Every-
possible
amount of manipulation of i when we know what we are doing!
some
purpose
is
tionship to light
thing
which puts thorn so many tones
upon which the
light shines gives off
shadows cannot
of that light in reflected light. So
be made to fit any rule entirely. If light is shining on a white background, naturally some of that light will reflect into the shadows of objects near by. So the shadow of the same object En the same light
flected light, of according to is
from
its
because of re-
lighter or darker
might be
what
environmenl. Nearly
all
die influence
sitting
and of less
light should
intensity, for
beauLiful,
needs no
though
all
fill-in
would give
light to
we
light principle
is
the
a
is
fill-in
sunny day
is
short, a
for the other,
and ihc shadows change.
effect.
A
fast
Sofi
you
if
barn might he
dozen ways, by manipulation
back and patnt your subject
alone.
It is
at leisure-
permissible to do anything you
It is
Nobody stops you- One can only likej like what you do. If you base your pichH
paint. is
a "plus factor" to the
basic truths and understanding you ones. If
really luminosity within the shad-
truths
keep the intensity relationship.
taking the reflected light away, the
you
sit
and putter with
will
effects, aw
you want, you
Wo must
shadow
will
do bad ones.
understand that nature ha?
drops to the basic intensity relationship. So watch for this. You might look at it this way; "This shad-
wider scale from her brightest
ow would
either seek subjects within our value
have the tonal difference of
other shadows, were
it
So some shadows
picture.
The
truth
is
that
clude the reflected light where
if
may
it
you do not
m
them as best we can. The camera R and- white photography has the same fc of value, so
eatch more reflected light than others within the
same
1
adjust
not for the particular re-
flected light raising it"
light to
dark than from our white to black. So
the
all
yourself to guess rather than going out to.
ow. However, the edge of the shadow nearest the
By
too,
the time
if
make several small sketches orl the effects. Then make a careful drawingj material. Armed with these effects, you
and must be so understood. Re-
light will usually
one* smaller
better to
not understood, the result looks
Reflected light, then,
flected light
new
want to get an
may actually detract.
basic intensity*
a
sketch smalt and simple and work
soft
faked and* rather than adding realism and charm, it
will not
moves
be right and
If
it
for another
kinds of reflectors are used
outdoor motion-picture setups.
in
tH
have the same aspect* nor vM\ true to the fundamental approach to val
Sun-
us.
to state the effect.
sun goes under and stays under. The only to do is to set the sketch aside, for if we
we are really substituting
for the normal effects nature light itself
he
We try
under way.
supply eidier some reflected light or a so-called fill-in
when we are sketching. Dun" we may have many varying eSeca
often the sun starts out bright and thesf
some reflected light in any daytime or natural light In artificial light the shadows may appear
liqht But the
effect ad
ehanges fast
tain
"fill-in"
not always to catch the
but rather the most dramatic effect possibff
shadows con-
quite dark (and photograph as black) unless
certain
how
in-
far
we
photography can go
black and white.
would normally
bG
in the
at least
way
tells u$
of value
A SIMPLE LESSON bHl)t» T»IF VAi.be/
T--^t>M
r /r
HCHT
To
D£$t
IN
TWE^T
*•£
\ T^ »«tlfc«rt-*T-.i.5
VALUE RELATIONSHIPS
COMPOSITION BY TONE OR PATTERN By
time
must be evident that we can render nothing pietorially without making some this
sort of
it
a linear statement.
Now we can
also state
J
subject,
and the
picture.
We have only about eight separate^
flat
or general statement
work with in all. We shall need at lease a or two to round the form, in whatever valufl to
I
thai nothing can
be rendered
and shadow without eventually
when
tone.
in
the eflect of light
Line becomes tone
enough together, and one merges with dig other. Tone still has contour, which is related lo line, or area, also related to line.
There
Sueh
urea,
is
close
linear feeling in tonal
arrangement
it
on
tone.
Tone
really represents the
volume and mass of form, and the space between solid things. Therefore
it
to us
substantiates the surface or character of
ft
we
see within contours or edges. This
thing line cannot do unless line of tone.
We may
call it
is
made
a
is
it.
can give effect,
little
way
vitality.
Each plan
will have]
Any picture or poster
have "punch" as
will
far as
j
fl
best to have one of the four values-
nse white as a background* and plal
and darks
against
light grey as the
it
with perhaps!
dominant
tone,
wiffl
and white playing
out in several rally into
Many subjects may be J ways, and many subjects fall;
one Or another of the four
plans. |
Ifttle
from the
I
present
cause
between black and
and
and
it.
tonal arrangement.
ft
this
plan of tonal arrangements
seems characteristic of beginners oq_
professional
work
and values,
resulting En a
to
be disorganized as to pal
hodgepodge
tones, or tones so scattered
All things .separate
possible,
for thef
strongly a]9 Either the dark grey or black as the ground is very telling and powerful as a
rendered in the same value more than a so-called embossed
and simply as
tonal]
it.
from one another within our field of vision because of values. So we can begin with these value shapes, stated as flatly
chosen
J
background tone and the three ronaij
grey, black,
white. All things have a value according to light
and shadow.
that by
get four basic is
IJ
without™
pattern.
we find
preaches, in each case one
have a
all
things have a value
we
there
white also as a part of pictorial matter. Or we]
Too many young
something bulging out a
all
these four values
greys
life.
So
the following page
we can
picture plane, but with none of the appearance of
is all
inate the others in actual area or spaced
getting any real solidity or conviction. Every bit of so-called shading must fall eorrectly into the value scale from black to white, or "miss the boat"
Shadows
On
It is
artists only "shade" their drawings and paintings, without
entirely.
ws
and pattern are concerned.
"shading." meaning just
and relationship with other
that
and mixed up with another
in this
medium
true tonal aspect
things around
into
some-
we may call it "jaodding," in
its
in fact,
pattern can he varied one tone
visibility
what
turning the form, or
we really need;
are placed against
by Ifgbt
for;
build pictures with a white pattern, a ligra a dark grey, and a black pattern. That h at]
era! or
represents the visible appear-
ance of our environment as revealed
tone appears. Allowing two tones
pattern gives us four patterns. Therefore
all
bounded by contours, being of different values becomes "pattern/' Pattern is an arrangement, then, of line and tone. In the early part of the book we based composition on line, and now we can begin the other way round, basing
flat
to
of nej
and broken up as \
have the much-needed impact It will be seen at a glance what a powerful]
organized effect tonal arrangement can based on one of the above four plans. S
practically de-
hail
Mm
void of modeling or surface detail.
of tone
Having such simple areas of related values, we can later build up the particular character of the
have predetermined a subject as being
is
by no means compulsory,
since we
J
dosej
value and within a narrow range. But when]
su rface or form. This si mple s tatement is our val ue pattern, which will build up the big masses of the
and strength of value is required oi phis carrying power and contrast, thai!
vitality
sired,
88
THJiRE ARE
FOUR BASIC TONAL PLANS
amd black on white.
j grey/
3.
4.GR&YJ AND WHITE ON BLACK,
Rack, white, dk. grey on lt.crey.
He of a [
basic tonal plan
The whole theory of pictorial design
EtiOD
of line
and tone, and
Rbes will be more I pie
|
your best answer.
is
tk
telling iF
groups that will other,
has the
is
iF
organ!-
(later) color,
to
The
not* then
of tone. Military
tern,
the car-
|
design,
Or
camouflage makes
is
bits
effects,
or the dull, heavy, and
You can be almost
or
More pictures are bad because no attempt at tone organization has been made than for any other
about will not lend themselves to such
ample arrangement.
stripes,
often desirable and effective.
It is to
subjects
one "busy" pat-
of pattern,
reason.
IV:
busy/' or mo-
there might easily
which when
There are really thought
it*
broken into
patches- This
lure of this prjnci pie.
w
"all
be, in an otherwise simple* design,
Scattered and confused small patches
Eying effect
an
is
type of picture, which might be likened to
I
I
you arc hardly on your way
a good picture. There
an Oriental rug
hold up in mass one against
down
one does
saic,
organized into sim-
opposite effect, of breaking
BLfrCKjWHITE^LT.GREYON OK. GREY.
get rid of the weak, washed-out
values, that this approach
sure that
89
is
muddy
ofiered.
use of
^
HOW TO It
LOOK FOR THE "MEAT"
can be taken as a sound rule that the simpler
the presentation of a subject, the bettor
A
pictorially,
simple presentation
few
resolves itself into a
of a
few
enter a
values.
be
will
it
&fcy>
room with papers, clothing,
set
we
or other mate-
We speak
trash.
What
jct:t
happens
is
that
unpleasant. Pictures can just as easily be
and
tered
Just as
unpleasant So
if
the
first
in
.some
Dark
lit-
That leaves us
cH
mainlyl
rest of the]
On
of design against the
.sort
examples, let
A
snow
figures hi a
A man with a
glance
a nay
can find no reason for a bewildering
We can thai]
me suggest]
following:
with contrasts or confusion of tone and the effect is
tone.
can
to the basic plan most
To give you some
littered
ft is
image of
a mental
tone. Such
tone, or larger areas.
of a place as being 'littered" with really
dominant
planning or arrangement of the
ing either to clean up the place or to escape from it.
can seize immediate™
allied to the image.
We have the immediate reaction of want*
about.
up
stirtctively turn
representing contrast, strewn or scattered
rial
we
that expanse as our
technically
lny point, suppose
a broad stretch of water, dark nigW
space, or a floor,
.simple organized areas
To prove
YOUR SUBJECT
IN
scene: the
mm
lantern: the fourth plan,!
open
light boat in the
sea; die se
of third plan.
up your picture
tones, the eye will pass
for a
more
Figures on a sunny beach: the
first
or
Organized one. This was the main secret of the
'
1
p'ari
Howard
great
tion of tone.
This
is
Pylc: his simplicity
We
and organisa-
speak more of him
shall
Beyond
later.
the secret of good advertising material or
any subjects seeking
to
command
the well-defined four approach!
We
have a few variations. for the interest
attention.
may
take two in
and play them against
tinea
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!
Let us comprehend that
if
it is
more pleasing
through wider areas.
supported by easy natural sequences of grey.
Thc eye lights
will automatically
small pictorial arrangements just to get
seek the darks and
placed within the greys. For the eye sees
ed.
The
be almost inexhaustible, once
otis as to
est should
derstand the method.
ment. Note
how
its
in the second, third,
environ-
and fourth
the
plans the eye goes at once Lo the white area. In the
first
plan
it
seems
to
oils,
go to the black. Black and
It
yaii
have transposed sod
pencil roughs to larger hlauk-and-v
But
nature and
always
I
then selected one of these for a
sketch.
white used together against areas of grey will
command immediate attentionreally does not matter much which
first
vernal
basic tonal arrangements are so mo
contrast instinctively. Therefore the spot of inter-
be afforded contrast with
have given you a sextl
T
it
goes on and on.
life fall .so
fullfl
Why?
naturally into
Be
orgaffl
tone as almost to pick out the plan for you.S
plan
nature
is
is
inexhaustible for suggesting
thing too
ment and inventiveness. That is why I shall kd 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
the simplest possible tonal arrangement. Subjects
and a pad and
pencil almost every where!
that have
keep busy. You
will set: tonal plans all
used so long as the areas of the four values do not
become too equalized or the whole
more
more time
intricate,, if
he looked at can be a
to
need
Every subject can
little
be analyzed
for the so-
can assure you there
clear,
I
By that we mean: what
ftvery
good
are the tonal possibilities here? If the subject has
The
called tonal "meat" in
it.
Take
a
fig
am
you, and the whole approach suddenly be*
be.
first
too.
something of broad expan.se of tone, such as snow,
artist uses
90
same
no
better-
it.
tonal plan offers
variety in the
is
many
subject.
opportunities!
Often the
mafi
IF IT'S
I tthavc
a
head and shoulders of a
everything
how the
ense
that
r
we would naturally give her dark
:
tour
a
hair.
We would probably light it from the back, throw*
her face into halftone or I fog
Are
tar in dark
(Til values.
shadow.
We
we choose a black
the front or three-quarter front.
':
iihatfcnv
would produce the greys
The
Then
light
we can
Out;
try
it
might be a
and
buildings,
What we are
jign
possible,
than the torial
and
after primarily it is .so
is
just as interesting,
moreso, than the actual
and
We
design
carrying
Being a pic-
ft, it
out.
perhaps oven
lights
out the
tonal plan
into the l>ad
strikes against
1
1
you
it
at the outset
told rne
draw. So
I
own work ception?
With-
he thought
readers.
you by.
Design
i.s
It
his
i complete accident. It
way.
ways
I
job.
has to be balanced sim-
bad not the heart
reallv
to
not easy, and
it
iai
design and con-
demands the utmost
always there to experiment
the thing that
everything else
him
can be too sure that his
not often wanting
is
to tell
is
own
makes you or breaks you> said
and done.
cannot urge you half enough to give thought
At
least
to the
merest sketch > the smallest
be certain you know no other or bet-
you have not tried any other way how can you be sure? A page of thumbnails takes much ter way. If
>
to arrive at the best one.
is
and planning
rarely
and usually
work bad never
recommended my best model, with no
It is
It is
when
can get very boresorne to
or stripped to essentials,
several
same way. models face or
is
is
One art-
with, to allow you to express yourself In your
most of your pictures
the best bet. Design
can point out
be thought he might be able
of your time. Design
even lighting your figures the
to get
I
cannot cen-
hope of producing belter work
prettiest girl that
will find yourself falling
abit of making
But
J
sort
clicked because he had never run across quite the
mighty poor procedure
depending on the merits of the
in
own
depending upon "snapping up" someis
and arrange-
through the conception, not the material. ist
it.
to the material
a picture.
typical.
it is
who
two
plified
for
the real reason, for
and has
Jigtire
it,
call it
and a model. But starting out with no con-
yon go along,
the inven-
and then paste her onto some
1
thing as
alike,
}
better luck for him.
ccptvoa^'bor
it is
to the design
little
out with
it
hog at all,
are so eager to find the prettiest model (or
that the one
Having conceived
becomes relatively simple to work
in-
We accept so easily without planning.
it.
sor you for
rendering of the subject
it
not the
of flatness and try to
and subject you will find yourself doubly
interested in
of
dress, or shoes
striking do-
you have really conceived your
subject, so
ment
trees,
pem we have decided on something. Strangely •enougfa, if
is
tl
So many of us attach so much
much more important
subject or material itself.
inventor
is
Sun-
A couple
and charm with which you portray
tiveness
and other material might be fried both
ways. if
be switched
he bright or dark, or
will design,
of hogs could be the subject of a masterpiece.
one or dark
light
bog contour can be most beau-
triguing beauty, as well as value or color.
out as light against dark or the
A sky might
jeverse. •
figure
as
might not be
and shadow can play across a hog with
The point is,
The
bout.
itself
as a line related to other lines, a shape inter-
light
we want against
Sometimes the areas of pattern can
in silhouette
mingling with other shapes you
the
;
A hog
com-
identifying con-
a shape which might identify
silhouette.
flat
tiful
iw might make her a blonde, using the light Lo
:
mean
plete thing. But a
could
Geld.
I
its
the most beautiful design as a separate and com-
grey to complete the four gen*
Suppose
By
plete or identifying con Lour.
dm! black, against a very light background. In j
way of form can be tied together
good, even unusual, design, regardless of
might be built with middle tone, greys
1
in the
or interlaced with other space or form to produce
draw,
girl to
I We can in a small rough get the effect bt tftfurc
WORTH PLANNING
PAINTING, ITS
about in great variety. Suppose
be changed
can
WORTH
tried
Almost
less time than
91
you waste with a bad start
•THUMBNAIL" PLANNING OF TONAL PATTERN OR ARRAKClJ I
,' wu it fcj
flno £W.tJ AC-c
CM t r-U>
rs*
P&H.K
V"
92
THE SUBJECT ITSELF OFTEN SUGGESTS THE
T»l li.frjpc-
-all J *JttTUHAUt IHTO TOt FilUT
TWIJ" C&fi'h/
POli TMr. FO-t.lGtTH
TONAL
PifrW
PLAN
THlXONC
iM Cl
mr^TW B Jt^HP OP.T^I^
J£COP4D I»UiN - TH f J Oft
TONAL PLAN
il
U &kV £ F-
YOO* JTJ&JECr
r-T-f-UlL.
'"LA N
IN MINIifLlRltr
FOUR OF THE THUMBNAILS TRANSPOSED TO BLACK-AND-WHITE 01
THE COMPLETED SKETCH
,
WE TAKE A
SUPPOSE
SUBJECT
AND WORK
dress, the
Went to the cupboard To get her poor dog a bone>
And
see
in ourselves
Mother Hubbard
The
subject, the simplest nursery
picture,
no easy matter. Now, what
your con-
just so
is
Who was Old Mother Hubbard? What did she look like? How was she dressed? Where
much
What
ing in
different.
How? What was
kind of a dog?
can
we tell
The
first
the interior?
corner and think for a
lady with a full
little
go
sit in
while. I see a
little
ter.
The dog
or neat is
and
story. If
design, so
we have
is
in
as she
fits
copy, for just
I
have worked
now
I
story.
Of the
would not be very
am
you a finished job as
is
in
this
Rockwell would have with
That
black and white against
doi» sbfl
it al
what fun N^
this,
and what ai
I'm sure he would do every inch of
which helps.
is
thing he would end up with to show
tif ul
throwing us into the second or third tonal plan.
is
nowfl
diificult
commission, were
mission. I can just imagine
already* here
lil
showing you how I
be grey. At least I see it as grey. So that eliminates both the white and black as the dominant tones,
Now,
four, I
not really as concerned here with
have approached
like the subject,
out
I'm not interested in an)
obviously an interior, and that would probably
Grey is melancholy
to suit us be4
the picture. But the important part
Now,
in relation to a tone plan. It
it
a model, and the costume, even the dog, ad ahead. It would be interesting to go on and]
how do you see it? it
make
our conception.
last one. It
Let us think of
x'i
arrangements. These were without mock
an old hand water-
a lot in the subject.
lot of time,
what we do with it.
and the open cupboard alongside. I see her telling the dog there is none and the old hound seeming to understand, even is
authentic
Let us conceive our subject, then look ab< to find a face which spells Old Mother Hub]
the sink,
forgive. Yes, there
be too
to
fcffl
but the design and
window over
as I
little
pump in the sink. I see crisscross window panes in the
yours
much character,
spend a
only real value
clean. I choose the lat-
1 see
much
old
a big dog, a sort of old spotted
hound. In the kitchen
much
to dot
Who
else's.
or stress a dress. Let us
hobbling about with a cane. She could be ragged
and unkempt
Just as
the
a white kerchief and bonnet,
skirt,
is
\i
more than we already have with. Maybe we could come out with an auj] tic dress. But we are not making a picture m
the story? is
some
the worst way, the?1
is
will delve into history,
What is the drama or action? How
thing I'm going to do
to get
any
I
ception? Yours and mine are going to be very
did she live?
and hope
i™
knows when, he^jj where she lived, and who cares? Mother Hub) or anyone
rhyme* The is
Because we
way, and the one thing not
original
do something about it
andm
run
We lack
That's one way. That
we
to
else did.
what somebody
dence
bare,
so will ours be, unless
Why?
Mother Goose book.
there
The cupboard was
shadows, or in whatever way wej
The first temptation would be
Old Mother Hubbard
When she got
OUT
TV
is
what made him
it
m
on
great. Start out by;
can have the window, her bonnet and apron, a partly white dog- Maybe something white as an
same chance. Get out your pad and pencil and begii Jack Spratt instead of Old Mother Hub! any one of a hundred others. But take od try it, for perhaps the first time, and make uj
accessory—a pitcher, a bowL The black pattern
mind now that you will do
yourself the
grey, a sound approach. If we dressed her in grey,
then the interior could be dark, or dark shadows
might be introduced. To get a white pattern
or spots will
be taken care of by the old
we
on.
lady's
96
it
that
way froqj
OLD MOTHER HUBBARD
"
i
IS
YOUR PROBLEM
I
^M or
TONAL MEDIUM
IN Technique is a very
After
controversial subject at best
all,
every drawing
is
a statement,
ei|
$K
There are perhaps as many viewpoints regarding
convincing or not. If we do not convince
technique as there are individuals applying
not expect interest or response. In the long
is
not
my purpose
it.
It
here to "favor" one technical
approach over another, or to attempt to steer you away from an individual application of mediums, for therein lies your
own
there
be a part is
;
it is
bound
My
intent here
the general method, and the reasoning back of rather than to say how
it
speak of technique here
shall be applied. I
art,
to
him as distortion of truth is right and proper.i| tell him the truth as he knows it and glorif| ib he meets you more than halfway. There is only one way to assure consJM
to
good work. That is consistently thorough 'gbpf tion. The prdiminary visualization or conpepa
it,
When I
am thinking of qualities
is,
I believe,
done better without
mo&fefl
copy. It leaves you freer to express your$H
good technique; those qualities being the sound rendering of form that should be incorporated into
in true values, the consideration of edges
qfc
not convince the beholder that what ap|ear|
to stress
is
I feel
ence" will outlast any other form of
of your personal characteristics just as
your handwriting.
for truth andfo
tain that realism in the sense of a "quality^
personalized style. If
in spite of yourself
no real substitute
quite so lasting, For that reason
you do not allow yourself to be too much influenced by some single idol, you will develop your
own technique
is
having formulated, even crudely, your id^o expression, then
and
by
all
means take every
accents from an artistic point of view, the design
avoid faking or guessing in
and balance, contrast, subordination and accentuation. If you can achieve these, it will not
While there may be pride in doing without™
matter how you do it
invariably prepare the best possible worki
and copy, there is no point in terial in
I wish also to point out certain characteristics of the
mediums
qualities of
themselves,
is
The
hardly necessary to go into the
writers.
The permanence
by
as practice
and
exercise or experiment
lie
9 iti
IM rather think of it as gc you
thing from a standpoint of mass and design, I
haps you do not yet know the details or niffl
on
make
little
figures going through the action
in
suggestig
and
s<
spotted into interesting masses of whit
individual interpretation of the qualities of die stick of
life,
matter for your consideration
the accessories. But
Most of the elements of good technique
arffl
too many cuppings, see if you cannot visi
your part
mediums. You may use a
of working from
Start with the tissue pad, but before
do
not consider especially important at this point, since die problems presented here may he looked
upon
first
tine if you will;
other
of your materials I
If the best
development of a thorough approach. Call
formulas for materials, paint-mixing, and so forth, since this has been expertly covered
way
it.
camera shots and studies, how can the fakes and works blindly, hope to comj
and the inherent
each which are not always obtainable
in another. It
the
its final exeii
and blade. You can think
crayon in any
of something lafeejW
may turn out to be ffll
way you wish, but the values, the proportions, the
make up the masses.
and edges, are more or less limited to good and bad drawing. Drawing can be really bad for only one reason: that it fails to carry con-
of dark or light furniture, a mass of fohagt
viction to the beholder.
and then tiying
contours
It
But work for your own design. The procedure of copying and finishing aft
what
98
not.
to
fill
the spaces left aroj
FORMULATING AN APPROACH t
of background usually results in
irrangernent or ry.
none at
all. It is
Think of an environment*
and then
ways
find
if
very
any
to place
your
K&fc- Think of light and shadow perlading ih^jpboe and falling upon the units wfth-
It.
mink
-.
of the figure, or of the design or
itaptf thatihe figure will 'Suppose
eventually be a part
we draw, from a
clip,
of.
a bathing beauty
rob the dead center of white space and - -fitting I almost from top to bottom. Then suppose -!:"i
it start
ticking of
do^bjut
to
Irft
if
background.
What
is
there
two empty sides with
tip the
fill
bcad®iter, and sky? Naturally as a design fptg :,
We gave
a dud.
e
it's
design no chance.
-.^osc we make .some patterns of dark
,.r
some greys { eventually shad* r, or sky), and some whites (eventually rocks),
e soon find the spot for the bathing |rfey might
with the
^iitEv|^tteni, tffipl into
Jurt
^g
girl iu
a light or a dark
the design. She might
be
sitting,
l«Wui fight
spot might be a gull. She might
and half
shadow. A thousand
in
wpfimgs can happen
to
make
it
interesting.
jvu wearily stifle
iheMt effort,
it
dosviK^bd
^N£
how can you
iter
possibly go the next
All you can
copy,
and
do it
given your client
i;nest jp
or oven just
the rest
will
is
possibly to
make
a
comparable
will
docs
copy better
the
in
looks as
when planned and way.
a long
It takes
and some of us never
will. It is
advantages of a well-planned
speech over an impromptu one Settle all the arguments with your picture before you stretch the canvas or before you spoil that nice big sheet of expensive water-color hoard. It pays! final
If there is
time
it is
better lo
make
a
study
first
of a figure, then work from the study rather than from the original copy, or from the figure into the
is
not always possible. But
in directness, freshness,
hard to make
it
free
is
it
it
As
it
looseness.
and spontaneous the first
We all struggle to get all
and
down
the drawing, values,
at once,
and
it is
quite
every time. It makes more
makes your best work. So
the best
the thumbnail, the rough, the studies, It is
to l>cat. If
a combination others will find
you can make the study
in the
medium, so much the better, for you have worked out the problems in advance.
will
have indicated, your particular technical approach, your mannerisms, your style, must be
planning, pure and
good carpenter work. Consider
\$
this,
to the
then the final
choose from.
it
No medium
fresh, to stay that
time to learn
habit
be out.
next consideration
down
put
.same
man
by changing your mind
good worked over as
hard
to
pictures
middle of the procedure.
work, but
I
your own* something which cannot be determined ot even guided by anyone else. But we can
Iways In your approach.
Eve
make good
impossible to do
man
the figure
Perhaps the pose might be better. You never know these things until they have been stated. You don't
form, and design
sit
Maybe
should be moved over, or raised or dropped. Maybe the girl should have a dress of a different value.
much
jvereativeness is in the
p-
after hours or days of work.
end* right there. You
trme the other
and you
is
out. This gives
it
improve from the
time.
Just find
form the habit of
you every chance start; it shows up the diffici tlttes, if there are to be any; and changes will not have to be made on the finished product, perhaps
It
copy a photograph you have taken
r?
If
literally,
it
you
work
to
pays out
by jumping unthinkingly to
trusting to luck. If
and reproduce
copy
want
final, I realize this is
mean by "approach." Give your in-•rapiwshalf a chance and you will create. Or
Ttorefthatl
will
your dips, photos, or studies, make some sort of a tentative statement of the whole thing as you
Jpvn; a pattern might turn into a cape
Mraimp white find
be a wave breaking, the foam
you
if
first For yourself. After your thumbnails have !>een planned, after you have
to
I b||er, actually, to think of the setting be-
be better
will
roughing the idea out
is
'""
(I
work
the rough sketch.
discuss some of the
™ the client does not ask for one, your final
means
at
your disposal, some-
thing of the attitudes toward your work that
99
H TECHNICAL APPROACH must be incorporated into your is.
The first
consideration
is
style,
whatever
it
that of detail
the basis of art, but rather selection, accentktifl j subordination. Making all things through y*| picture
THE PROBLEM OF*HOW MUCH DETAIL This is something that you will decide, end, for yourself.
It is
have
in the
almost certain that you
to
accurate and finished type of work. There is nothwill ing wrong in working that way, and there
always be a place for such a method. However, well, since photography does the same thing so from the I myself prefer art that gets as far away photographic as possible— granting at the same time that this is not always possible. I shall en-
more
clients prefer finish
it is
true that
than looseness and free-
dom. As you already know,
I
believe the future
in art lies in individuality of conception,
and
to
me, greater individuality is expressed by a big broad interpretation than by being too accurate and literal. But the early work of any artist known that he for breadth and looseness usually shows
had
to master detail before
and eliminate itIt must be admitted
he could subordinate
that the step from detail,
once mastered, to looseness and suggestion, is extremely difficult. It is really much harder to paint loosely than tightly for doing
it
either
must carry conviction and
if
not
»
truth. Tightness begins
truth*
way
literal
with being so concerned
and mass, and so conscious of contour and edge that we do not soften or lose it. A round form can be so smoothed
with surface that
we
lose plane
in gradation of tone that
may see the eral tones.
it
loses all character.
One
turning of the form in a series of sev-
The
that "Ah-h-h!" It can so easily lack
Detail can be
vitality
shown
in things close
uj|H
make things recede, form must resolve itself m into plane
happens
and mass as
in
our vision.
it
goes back. That
is
4
We do not see eySH^
ten or twelve feet, nor tiny face wrinkly
not see the slight variance of small surface f<|
We
see just light, halftone, and shadow. Ij
enough back, we see just light and shaifcv.
Much
The
in his picture.
the camera lens
is
Again,
it
detail
is';
takesml«j
artist
and then places
of a model,
back
much
of the error of too
mitted thoughtlessly.
that detail
toj
must be refe|
much sharper than tteeya Th|
sharper to a greater depth of focus.
you make the followfflg & experiment. Hold up one finger at annj^H
be believed
until
*
front of you.
Look at the
fingernail
can you see detail in back of it, whileligpj nail? Everything behind it becomes
j$W
is
seen in a double image.
distance behind
it,
Now concentrate ll
and you
will see t^)
fi|
Closing one eye, you see as the camera
distan^m
two> eyes cannot focus on two
same time. You may think the whole field of 1 is
sharp.
his
To prove
it is
hand a few indies
face.
not, ask
a person t«T
to the right or
Now concentrate on
the center
j
left
6$M
While looking at the chin, how clearly ca| see his hand? When you are looking It his how clear are the features in his kcef Tb«
better artist models that form in
is
that that marvelous instrument thefeye
making
stantly
the broader die work, for breadth of execution see an edge is realty breadth of vision. One may
that the
since
whole
it is
focal adjustments, field
is
an
of vision appears^
possible for the eyes to covtcmim
only one distance at a time,
sharp and defined. Well and good, but he need not dig out edges that he cant see and sharpen define those also. Definition will never
.and!
spirit.
but two or three planes. The fewer the planes
and
I
all
equal intensity, without accent or modulation! picture rendered in this way never seems tocljil
deavor to give you throughout this book examples carried out in each direction, since
like playing
is
notes of a composition with monotonous
begin with the ability to give completeness or "finish*' to your work when expected of you. And by nature you may prefer a closely will
equaDy important
if
a pictura
a point of focal interest, with material ou that area slightly subordinated and sljgffl
be
100 j
DETAIL '.the
1130
mor
ly
mot
ml*
frame* then the whole effect
e than complete detail that there should
i
be a
is
all over, I
circle of sharp-
^^Binded by haziness, but that as you go frOTCthe focal point more detail can be borcfiuMsd and more softness permitted with a
H
-ifaHjpedistic effect.
^Iropil will
word
:«3ny
..!
!
for
it.
(ftV
detail, phis
and arrangement
work was complete enough, but
is
shown as
up, then everything fcthe
it
sel-
would
brought
wc go
tine
various
back. Unless the detail of the
of perspective
answer
is
submerged in tone as
weave of a sweater |ftcrt3)at,
size.
become
goes back. For example,
is
we
cannot see.
aorc sharply it
better as
liton of less
is
The
than
I
and the clock would
hand. Yet in most of our present-day
To add
sit
my
front plane, like a watch in
illustration
done Over and over, and by good men. Thev are putting down what they know to be there, but this is
not as they truly see
it.
It is
thoughtless
detail
easily so proved,
and tone
in his
trust
it.
If
he
is
and erron-
once pointed
to disentangle
own mind and is
The
out.
He
vision.
a thousand times if
he
will
but
to obtain that greater beauty,
he
must combat the too-great detail registered by his camera rather than abide by it slavishly. It will be better believe
if
he learns
more
to trust the
own
in his
inventiveness
ing, trying to see with reason
Only
in this
camera
less
and
and feel-
and imagination-
way can his work soar
to heights un-
attainable mechanically.
let
is
artist
has not yet reasoned that
any goalbeyond
him look
detail
at the landscape
and
finish,
Then
on a misty day and
see the real beauty of subordination.
)-<>t
him
detail
study outdoors in twilight against a flaming sky,
as false as to define con-
the mystery of moonlight compared to midday.
fact that the
wc can
a picture.
an illusion of
i
up on the
right
there
anyway? The big forms
are concerned with.
could not see *
and put the numerals would sacrifice any feeling
of the distance between,
Perhaps an
the sweater becomes simple tone.
the small details,
;
clearly on the clock
apparent only for a few
giinportant are the weave, the tiny folds, or
tat
Me
it
plane,
and diminishing
that surface detail should
all
I
to paint this setting
beautiful than the camera's
^rh to he sticking together in a single
;
were
more
on
realty ap-
pears to have spots of grey around the dial. If
realize that bis vision
space between
it
the top of the
two f s, But the clock
must
regardless
1DV
X and
Technically, then, your picture
l^tewBidis subordinated to the foreground,
\k
know that grey spot at
must make an heroic attempt
much
and amaze
a clock about ten or twelve feet from
artist
is
it,
outdoor subjects.
in
and
*i|jput a feeling of
feet,
tme
especially
escope or opera glasses in bringing a
•dtfffiK&.as
Ihc
Try
eous,
is
i-.vHpf.a sheet of detail; all things lying right
Ttrc
in effect.
distance can be-
for-
ird.
will
The
front plane of the picture, or to the
naceof the paper or canvas. This
'it,
is
an
can profit by studv of his
au all over the picture
Theme
is
dial, is
Sideration for design Ig illustrator
gives. This
Rembrandt, Velas-
Degas was a master of
statement of
flatter
yourself with the three-dimensional quality
I sit. f
and subordination of
tion
come almost poster
where
and a host of others. You need
Eahins, .Alexander,
simple light and shadow.
where you
Gainsborough, Boxnney, Sargent,
^ncr> Titian,,.
i
in
firtd this
shadows, the
reflection in
concentrates atten-
uprm^-and enhances, the detail
tion
i
It
planes (meaning less halftone), the less
less the
life as
mechanical
camera can
does not
make
Let him drape a figure tions in water, look
it
in gauze* look at the reflec-
beyond
falling
snow, or even
We
arc painting to
scrape off his sharp picture with a palette knife,
we
sec
some
finding infinitely more beauty than he had before.
sight.
it,
not
So the farther
There
modeling, the simpler the lone, the
is
a door open to
pass through.
101
all
of us,
if
we
will
but
:
THE TREATMENT OF EDGES Perhaps the most important element in obtaining freedom and looseness is found in the treat-
ment of edges. There
is
a "lost
and found" of
edges as they truly appear in space. But the eye
must educate
itself to
see
it.
You may not
this quality exists in nature, for
parent until you seek
it.
it
Es
belive
hardly ap-
There may be obvious
softness of edge, as, for instance, the hairline around the face, or the f uzzy edge of a fur cape,
but softness does occur even on hard edgesedges which really are a line or a hard surface, like the four sides of
a square polished
table, or
edges which are hard to the sense of touch. Unthinkingly we may put them into our work as
something hard
what we know
all is
around. That
is
putting
there but not seeing
it.
down
Look
at
that
we
is all
How ma
are going to see.
ever really look for softness, for mer for tones being lost into and enveloped
the
we If we
these are the qualities that
ow? Yet
really great artists.
work of the
the sharpness in
life,
we may
ness in great pictures. softness,
we
see only
When we have
find they also
find thereg it.
We
a balance of sharpness and softness all t| through, neither alt hard or all woolly. tures realty differ in quality from the
not so much in
medium and dexterity as
We have not developed that vision to a and mosdy because we have
extent,
make equal
contact with the truth of
We do not develop vision if we do
self.
Your camera and your projector are
pass by some tones that seem to merge with them. In other places they will stand out sharply in re-
weight upon
The
top
may have reflections of
light which,
running to the edge, will be sharp, and dark reflections
which may make the edge undefined. So
They
to develop your vision.
without your even rea
it
Because the quality of "lost a edges has so much to do with vision
this in
is
so.
ner feeling of the formula. But
I
artist, it
cannot be
ed by their environment. The same edge may he sharp or soft according to the conditions of the
several kinds of soft edges.
will
find there are
some
that are not quite as insistent.
In painting you could start softening these somewhat They arc to be quieted down, because they reallv are that
ones. Next,
way wheal compared
to the strong
will find there are
edges which
you
are enveloped by and merged into shadow.
have to look hard to see
them.. Finally, I
You
know
ment
of the edges that
we
by studied
we
eyes. Let us 3d|
us take the softness prfl«
light.
Halation
the
is
iM
WM
t« That halation does exist is blur produced in a photograph around 'M source such as a bright window or lamp. A proved
flame.
^
ness like diis
is
obtained by
softening the to
outside the contour, as, for example, beyond I inside edge of the tight of the window.
M
want a
light to appeal' brilliant, let a
little
light travel across or into the surrounding*.
hope
The edge there
is
itself
may be
held
fairly definite,
we
also have w^hat
is
"passage" from one tone to another. appear hard and insistent against
get the illusion of
We
look only for sharpness and delineation,,
102
|
a raising of the values touching tiiM
In painting
treat-
space. If
let
own
fir
ing of light from a particular source ri« surrounding tone, like the blur around a
are there. These are the edges to be
lost entirely in painting- It is
For the first,
ed by "halation" of
there will be some you actually cannot see but will
only
but look with your
1.
i
believe I can guide you
the instances where you are apt to
moment,
n<
will hi
edges are a part of the Form Principle, since they influencare relative to the surrounding tones and
Look about you where you are sitting right now. The first edges you are conscious of are the ones where there is considerable contrast of value -light against dark or the reverse. Then you will
firft|
is
the real table top and you will find the edges are different all the way round. The four edges will
lief.
-ofi
known d
An ed^j its
want accentuation somewhere
neif elss
:
r WHERE TO LOOK FOR SOFT EDGES lik^to subordinate this edge. This often
WftiJd
happens ^th. the shoulders trait.
To soften or subordinate such edges* we
tiring thctvitt
tone fade into the larger adjacent
Q^IM The
sueare
er.
edge
In effect
tone for a f,
may
tones closer in value at their meet'
leltiag-one
tig,
r-.i=,.-
and anus of a por-
a
may ft is
little
still
like
way
be held, not
extending die
In.:
^somewhat when approaching a attention
lyrithout
on
head.
It
it,
but
making a garment,
still
light
holds
for example,
"ussy wool.
fttis
where the material
mixture of
rialSj
and
itself is 50ft
with what
twigs oF a tree, lace
mist, clouds, spray,
it
meets the
head;, soft-
back of a chair as
meets
it
It
keeps them from
stick-
ing together.
6.
There can be softness and diffusion incor-
porated for purely
is
behind
and
transpar-
and so
r
get rid
A tree in the dis-
tance naturally would be painted with more softness than one in the foreground
>
to get
it
back
belongs and to create the illusion of
it
The sense
of space
is
actually
more impor-
tant than the tree. Painting both trees sharp
would bring both
into the front focus
the picture plane, which
Do
and up
to
is false.
not interpret this as meaning you must
paint everything in the front as hard and sharp
and everything
forth.
artistic presentation* to
of harshness and o% crinsistence.
edge of a man s beard, a wisp
lple, tlie
sfine
itself
much more ob-
is
line of the
hind another contour.
where
kind of soft edge
where
the head, or the contour of any form passing be-
space. £ijext
hill especially
need not be miles back of the
en even the
dark-
when approaching a dark edge or S-pufcs less
the lino of the
soften
into the other.
background would
light
when a line of a hill crosses behind a head,
in die
hack as fuzzy and out of
because of
There should be a certain consistency of vision about the whole tiling not as though the
becomes the same
beholder were nearsighted. The changes should
focus.
M?
I
nex t kind of edge
JuHfiflg^es,
when
the edge
value which
rcliKps-.tliat
it
is
soft
appears against.
IF
m^uite close anyway, it is safe to lose them liltj^more. You can use the sharpness elsewlicrgwhcre it does more good. This is really
be gradual and
subtle,,
not too obvious. There can
Ihey
be
ft
the crispness, and some sharpness in the edges
appears against light, grey against
whcffirjlght piey.
and dark against dark,
softness in the
farther back.
ijone
the turn of die form presents a grada-
on hair turning to meet the
it.
Ex*
ffliere it
r.
so/
1
distance than those close up. All sharp
light.
is
consider deliberate instan-
try to see
it
space, but
the djife in
L
where two sharp edges occur and
behind the
'
will
open your
in life for yourself.
eyes. It is
But mainly
there, but so
other,, theoretically
we have
only a one-plane surface to
work upon and must do something almost drastic to get rid of drings seemingly pasted
soften
back as it meets the front one. Example
ing there.
103 1
it
subtly that it must be stressed. Nature already has
1
jjione
bad. All
The beauty lies in playing one other. Study some fine art from this
standpoint and
enhances the pictorial qualities to
is
bad.
against the
an edge.
cases
countries on a map. Following any
with more of the subordination in things at a
fuzzy
Now let us
picture should have feeling of
edge around should give it "lost and found" quality,
^kbove four are natural or actual causes of rojfees.
mingled with
areas do not separate themselves too distinctly as
approaching the value behind
flight
too,
the subtle ""interlacing" of masses so the different
would the :
The
dose edges
Too much
illustration
is
on and stick-
just that-
THIi
I
present here a photo which
to paint
from
I shall try to
in as finished
I shall
what simplify and
endeavor
near
this will
appeal to
our craft
the mechanical
we
I
detail.
go. I
have included
it
to
show
it.
I.
a
that etf
hope. Please notice
have sought no edges that are not
have Subordinated many that are Study both
can beat
You
esptxHaNy In the dress, and some-
will paint
paint.
104
way;
it is
your own way,
as
there,
in
closely, area for area. I
gest that you paint this
and exact image presented by the
We can at least subordinate the overabund-
ance of
'photographic" painting as I would
The: softnesses save
which never-
ly like the slkikuess. Hut even here
glorify the rest. This comes!
the finis! ied and exact need not be harsh and hag
be of the
The painting a great majority of (Stents who real-
theless holds a place in
to
want to
hold the values and the very smooth
so-called "slide* type of painting,
lens.
TOO MUCH
a maimer as possible.
modeling of the form. Frankly,
will
LENS SEES
the
do
coj]
not si
but one
you
prefer
THfi EYE
People will often
1
by Idling
These are sad words
craftsman. Yet as
the fact
that
an
io the
illustrator
we must
due them detail
when we have to, even
are
But at least
we can choose what
going to give, subordinating
not like
Kvery photo
aad every photo charming.
So
how
taken care missed-
face
is
full of
we
such irrelevant detail
will
not be
can beat the camera, because the
ing a fuzzy or woolly effect.
what we do
has the possibilities of something to decide
the softness and sharpness are
MoU: the number of soft edges, without produc-
unpleasant detail,
we must study hard
We
and
Heaven.
hurts
detail
of,
if
shall not. If die values
camera cannot choose nor subordinate^ thank
We can
if it
be and what
planes go in well,
a large percentage of people are that detail pleases them.
little.
sliall
conscien-
detail-conscious,
a
artist
him, "Thai looks just like a photo,
wonderful!" tious
unknowingly praise an
SELECTS
to note that
yon
sharpness
through, not
all
and
105
britde.
will
be interesting
will find softness
This for the young artist
what
It
all
opposed to
one nor the
other.
who sees everything hard
STRESSING THE PLANES
Here
T give;
<\<'.i\U\\\y r
thus.
deem tu id
takfts
it
my
inate competing interest, concentrating
photographic: copy. Inci-
courage
to lay yourself
open
will. I
am going to teach it is only fair to let what I am working from. In this photo
But
you see
you
if
and
I
the background meaningless, irrelevant;
to
out. In
lost in
the copy.
each area you
almost
in
flat
a minimum of strokes
much
demand
quite
form in the garment
enough for the eye
Again
itself,
it
The foil "boo
will Jind a simple*
and simple shadow.
The interesting thing to me here is the form, and secondly the character. There is so
Spare.
intricate
We have attaine
arJ
simple halftone and merging I
light against
least there
should he some feeling of the figure's beinj;
the
complete without being "petted" and
keep the figure
from being pasted on a white page? At
wheifl
accents* losing only the edges thatactij
believe, shaqjness without harshness.
So why not eliminate the whole
and give only enough
thing
have stressed the erispness oF
appear to be
l
superfluous.
AND ACCENTS
I
have
tried tag
to get the biggest posd
statement of the plane. There will always 1
is
for this concentrated
of approach,
to take in.
wo boa* the camera because we can elim-
ft
of illustration.
106
lends
itself
and
clean-cut]
admirably
to
alltflj
en/
BREAKING UP THE
Here
is
another photo selected as copy. One;
of the main things that identify a photo as is
TOO-SMOOTH TONES
often areas painted too
apholo
pear "tinny" and monotonous. Some
the ultra-smoothness of the tones, In working
from
this
copy,
I
tone within a tone, to break
have broken up some? of the
to
some of the edges, The intricate detail of the dress hm been subordinated. The couch tones, also
has been
made
less definition.
planes of the figure are stressed*
avoid as
much as possible
I
have
The
is
i
where there
is
it
up
,
to
The
tried to
lights
do it. Note the accents pla
10S
to
add puJ to
olj
The background has beenn
irtcd in spots to avoid the
the photo-
si
pasted;]
have been forced somewhat
extra briJIi&ncy.
flatness is desirable.
chang
none. If posstb
should always look pain ted not
one of the ways
wilM
slightly,
here and there of dark against light,
big
the flatness of the tones.
While there are times when,
add vitality
arc:
relatively of less importance than
the figure, therefore wilh
and smoodi
flat
monotony
of
tora
ADJUSTING TONE AND PATTERN
Here we have a photo, rather ordinary in design
and lacking the
contrast arid
brill fancy
neeess&ry
good reproduction. To follow it too closelv would produce a dull picture. So a livelier pattern far
is
trasts
are stressed
shadow
is
somewhat
increased,
isolated)
separate unit and seems to interlace
it
with]
believe the do Lai!
is
suQm
iu the art
pillow
than
against the white dress, and the intensity of light to
keeps the dress from being quite so
to satisfy almost
The con-
by adding a darker
of the*
other tonal areas.
introduced into the background, and the curves
of the couch seem to give it more variety,
photographic look. The lighter tone
it
ii
1
9 ted
any client liking a
he buys.
really
is,
and pleasing. In
At the same
I
It
"finished"!
can look much mare finis]
so long as the values arc im this
case
we
could not have til
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
we had
softnesses introduced
do much
to relieve the
110
to invent
one
to suit.
THE I
chose
to call this
approach, for that just as well
is
"BIG
approach the "big
exactly
what
it is. It
be named the 'pattern
TONE" APPROACH
tone**
insight or perception?
could
artists,
approach.'*
At
least I
urge you yo
before you go too far into the
abstract:;
incomprehensible, to think hard before you
We shall aim to set down the big tonal patterns of
card the wealth of material nature has
our subject as simply as possible. Pattern* after
upon you. You cannot
all, is
big-tone effect, one area opposed to another
in value
and all working together to produce some
sort of a design.
There is really design, either good
or bad, whenever
we put
areas of variable tones
together. It dawns on us as painters that the effect
of the arrangement of such tones
is really
more
important pictoriaHy than the subject or the
we
things
Here
is
neither can your art.
On
we have
the opposite page
figure subject. I believe
my
taken a shfl
demonstration
be perfectly understandable
to you. I attempt I
show
light, halftone;
the
shadow,
power of simple
as allied to the
Form Principle. You caJ
be a good painter going no farther than
this, b]
and simple forms rjghfl
drawing, values, in relationship with one anotbi
complex forms and sur-
according to the light, and in relationship wit™
how this involves
inventiveness.
You can inselection, and
taste,
Such an approach, then* is creative
surrounding elements. It is really
so simple that the general
understanding of
it is
culty, I think, arises
amazing* Most of
lacM
thediffl
from the fact that copy
and not a passive acceptance of fact. You are add-
seldom made, or models posed, in simple
ing the intelligence of vision so sadly lacking in
and shadow. Naturally
your camera.
inal
Sometimes the simple postery statement is betthan the more finished thing, for it is conceived
and executed
ones
is (
more understandable than a
Ahead
reflect
works out as weD as the great natural laws,
it
you are ever
!".
and con-
is nil.
to
paint You oa
your subject from back or it
back
if
front,
fl
you wish, but use one tofcjjB
whenever possible
for the best mterpretatiSB
form.
very universe, could be quite as wrong as
these artists contend. Could
1
i""
of anything else, choose simple ligbffl
to start with, if
tion itself. It does not seem possible that anything
trol the
yourself trying to duplicate a myriad I
body gets anywhere and the result
light
billion years
to stall
H«"W
yet just missing the elements that might
which have stood for a few
nor any opportunity
break up a town meeting with cross-purposesjS
with, perhaps through ignorance or incom-
make them so much greater* an alliance with creathat
left,
break up form as easily with lights as you
lot of little
some of the more important ones left out). So close do some of the abstract artists come it,
you break up these™
meaningless tones to no good purpose. YouOT
prehension,
to
ligj
possibly have, with a half-dozen other lightsfl
You find
One big
if
J
simple tones, which are the best you coiw
have no form
in truth— truth in the larger sense
rather than a minute inspection of truth. truth
jH
another reason for the not-too-literal
the material nature presents to us.
ter
S
getting these tones
but rather the seeking of design through
stantly see
without light-S
live
are painting.
interpretation of nature's faces,
1
Nature takes care of
not be a lack of
things
112
that, outdoors.
up when we take over inside,
We ffl 1
m
115
/
THE SOFT APPROACH closely
proach or making it grow tiresome to your public
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^
This
a delightful
is
with the "big
edited
way tone*"
to paint It
is
set in
and immediately softened* The surface de-
tail is
added then to the soft tones in overpaying
while the paint
is
wet The edges
are defined
where neededj leaving the general softness as desired. This is one of the best ways to combat hardness or tightness in painting. Tightness
comes from small forms, too much precision, and everything filled in to a sharply defined edge everywhere. believe this approach will
I
tion to it
many young
painters
or do not lenow about
of much
it.
more quality, and
as a revela-
who have not
It results in
dark accents,
a feeling
is
possible should
quite direct, audi
is
be completed while the
This approach would apply better to opaque It is quite a
water color than to transparent.
of the
to
keep it wet long enough
it
can be done. Crayon and charcoal are
A few dexterous strokes
may add all the finish you want
I feel
quite cer-
paint
drying.
plane. It eliminates
of the softness as possible.
to
wet By adding some poppy oil to your turpeffl^ tine when painting in oil, you can slow down the
to the front or picture,
much of the "pasted on" effect units of your picture. Try to hold as much
becomes completed. In order
of the others. Tliis approach if
same time adds one*s work if it has
it
show yon the stages I had to make four separate subjects. With you it would be but one. But by making the four, the last one was painted in I very short time, since I had had the experience
tried
at the
a three-dimensional effect to
been persistently sticking
come
Even in the first statement there is a feeling of the light and form. This is heightened in the next stage by only a few strokes laid over. With the detail of the features and some more light and coal.
trick
to get the softness, but
able for this approach, or any
medium
admir-
that can
Sargent and Anders Zorn, whose paintings reflect
be rubbed, then picked out with an eraser. 1 So many students hope to watch a professional!
the kind of quality this approach gives. It applies
to learn technique.
tain this
must have been the approach of both
Technique is your own. Metta
can be effectively used in sketches, vignettes, and
od or approach is always a matter of knowledge, There is no reason for any artist who has the good
almost any type of
of his craft at heart to keep such things a mys-
to solidly painted pictures better
It will
than others, but
illustration.
be well worth your while
experiments along
this line. I
to
make some
never believed
tery.
only by doing. If an
In
confining one's approach to a single method. I
of, or that
see
it,
may be
suggested to
I like to use a
me
wherever
method or medium
do not
things
ever,
seem to
while others
and soft" While you are
ing, learn to express yourself widely.
so
much danger then
There
much better soft
ages.
tell
watching,
you how
than watching him,
approach it,
you
way to
it
up. How-
beat old man
can't trace fuzzy
Maybe you can fuzzy up
eyes, hands,
in "burning out" your ap-
116
or
like it If you
then pass
a very, very good
We
if
and (I hope)
im-
the hard ones and
then bring them back. I don't know* I do
not
it £$.
his efforts.
like the effects in
it is
can
artist
camera, or projector.
learnis
so
Try out the
much
as
Some
call for "delicate
it is
even than copying
I
in tune with the subject as I can. call for "brittle" treatment,
done,
mink
love to experiment with everything I can
Technique cannot be learned by
thinking.
it with
.
THE BRITTLE APPROACH When things are in a sharp strong light, or when the subject
itself
seems
to call for
a certain crisp
or brittle quality, I want you to he able to think in these terms* Usually this sharpness
subjects of lights
and
good
contrast, using plenty of
striped dress.
in
good
in a black-and-white
The dress is "perky" and the stripes
it "snap/* I just
can't see this subject painted
mystery and softness* So
crispness
we put
the black hair
into the background
and
Because the dress
busy in pattern
is
all
through the dress.
ask for simplicity elsewhere, So
it
seems to
we do
not
fill
up the picture with too much other pattern. all
if
the dress were a single tone the edge would be too
hard But the
up the
stripes break
area, pull-
canvas is perfect for
new
artist
works
explanation.
approach
is
to
all
right over regular he&\
used over toned papers or boards and not rubbei It can be done very beautifully and with ing effect.
The more rubbing you do with
more softness, so it is open
diurn to start with, most of
ing the pastel pretty
its
It
Any medium should
go
retain
bright sunlight,
and
there
is
no reason
crispness
118
its
own
either
by
together, are
itself.
So do not
the hard, ever, because that
all to
softness. It
for not
after reproduc
some of
combine beautifully
Note that out in the
down
chra
Remember, too, that crispness aim
way."
brittle
goes
it
hax
aud ends up as a mqg
medium
and charm when incorporated of subject.
lies in
crispness seems to apply mosij
combined than to
charm
should not look like something eke.
to bright light softness
its
as
character entirely
back where you started*
Light and shadow really looks
approa<
can get so smoothed out thatS
or less unidentifiable
acter. It
much
which most of you do, But it is not without value into the right sort
to either
However, pastel being a grainy or chalky
Remember,
you can do with this paint up to your edges, and stop—
About
well-knc
Pastel has some of the crisp brittle quality
we tried to avoid in die other instance. Most young artists paint rather to the hard than to the soft anyway, so this will not need much
One
board, painting in all the white later with opaqu*
loses
which
Opaque water color is excel
opaque
his
was overpainted quite a lot on dry paint, a method which is the opposite of the preceding soft approach, and brittleness
canvas with a tone and thin
lent for a brittle or crisp effect
out rubbfng.
which adds the very quality of
type of approach. Or
this
pentine and let it dry.
ing the eye within the contours rather than making one conscious of them. This
The
the aim. So experiment.
is
be obtained by painting li| over a dark but dry undertone* Sometimes an ol
the
edges are defined here, though
There are many subjects wh
crisp effects can
against practically a white, carry the crispness
Almost
it so*
can stain a
darks.
Here we have a brunette give
would be in
painting
this
betg dt
is rightl
We all start out "the
painting
is
not entirely
withtiffl
needs the few soft edges to establim
by contrast
m I
\*tt»~:
THE "BLOCKY" TREATMENT AND OTHERS While
I believe
ment should be left to the individual, there is no harm m calling attention to various treatments which come under the head of general procedure, with a variety of effect At times die subject itself seems to
a certain type of handling
call for
in spirit with the thing.
come
afflicted at
Every
artist
to
be
seems to be-
some period with a tendency
to
paint things too round and slick to give the vitality to his
work
he
that
desires,
ware of what he can do about
it.
'
This
is
is
small strokes following crosswise to the t
which enhances the
structural appearance
Such treatment adds softness to pain whereas painting down the form defines it
solidity.
the edge of the contour. It could be taken as^
axiom that if you want it sharp and defined, paint
down along the edge.
If
of the best
the edge.
to already
series of
and by painting straighter and flatStrangely enough, the form retains its
The big- or wide-stroke painters usually naiirtl up and down the form, as witness Sargent, ZbrnJ and Sorolla. Without loss of vitality we fetl examples of the "cross-form painters
straight lines
strokes'* in Ettore Tito,
ter planes.
Garber,
delicacy, but seems possessed of a stronger feeling
is
treated this way.
carried as far as possible in one value
cised not to
smooth the planes too much one
the next as
you go round. The beginning
line.
The
with
bits
approach. It
is
of the
is
results.
known
1
as "scumbling, ']
and
is
biiusli]
beautifdl
Very little of the effect of the straight fe is left
in the
paint Finally,
t|crd
palette-knife painting, perhaps the loosest on
all,
which can be combined with the brush
treated as an entire approach.
have given a few examples of these
or]
I ,1 tri3>
ments here and elsewhere in the book, and I thinkj they will identify themselves to you.
I believf
of these are worthy of experimentation,
you
that there are
many good
beautifully to
assure
way
each type. Such techniques can be applied
of giving
tonal
mediums.
any form,
jeet
and paint
it
to eliminate the photographic look of
and
interpret
it
is
is
done mostly with the side of the
the brush
ties of
applies especially well
to flrapery, rocks, clouds, or almost
painting. It
what
instead of the end, with very soft
extra vitality to a rather slick subject. It applies
and helps
and often "broken color," which started wiih]
which
I
about the only
form of painting has the added^dJ
We also have
into
when painting heads, particularly when there is not much bone structure, resulting in extreme this
rAfny|
the French Impressionists.
of straight out-
Baby heads respond
and
Tarbell, Zuloaga,
area,
the accompanying plate I believe this text will
smoothness.
Dafiefl
and
undue "forcing," If you will study
become clear. The blocky treatment
Childe Hassam,
vantage of using much more color within the s&nel
values themselves are held to the true
values without
sj^I
in
The
shadow can be held fairly distinctly as a tone wilh an edge just beyond the halftone. The con-
may he accented
Edmund
others. This
then given over to the next. Care must be exer-
tours
you want softness, p|M
One
onous curving contours and forms to a
plane
Wi
sharply with a hard edge, since the brush f
across the form to the edge, or actually beyond!
achieved mainly by transposing monot-
when
the
quite una-
the *blocky" treatment.
of bulk and solidity
is
Is
but
ways to give added form and structure smooth forms
There are other treatments. One
the method of applying pig-
in various ways, or
in
120
to
of]
allj
up a sfflfl
even a p&toj
many ways. Then
works for you, not you for the photo.
well worth experiment.
9
painters
It is interesting to set
allj
the photo]
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 Any medium which will produce a scale of values between black and white may be regarded as a tonal
medium- Such mediums call
halftone process to reproduce.
for a screen or
When drawing for
reproduction on cheap paper or newsprint, good contrast
necessary.
is
For the
finer
papers more
be achieved by a finer screen. So if you use a grey slock, or any greys within the picture, it will be more expensive to subtle gradation can
reproduce than the so-called line cuts. The exceptions are the Ben Day or Craftint screen, or a
in die
is
such a thing as a highlight halftone
which omits an
overall screen so that the whites
come up pure white. But this belongs
to the half-
medium
to-
cart
me
pencil has helped
thing
else.
Certainly
to paint,
it is
more
than aas
do a good pi
easier to
drawing when you can state simple lighflm shadow well in otheT mediums. Tonal medium
mediums considerJ But make up your mind that til
of the drawing type all help
is all
one, and that with experimel
and practice you can say what you are able to sal in any medium. That is the way it should |T will
broaden your whole scope of
pictorials
and not only keep you going longer, but you unconfmed pleasure in your work.
tone type. I shall
yours
Proficiency in one helps in another. I believe
whole thing
There
all
working in that alone for the rest of your
produces a series of fine black dots which
reproduce by the line cut process.
they are
periment with, and to help you find yourself. I do not believe in isolating one medium
as painting.
will
But do what ytim
easier.
way of mediums:
grained surface like the Coquille board, which really
much
types will be
make a
Such
series of subjects to identify the
you
only. I suggest
try
them
out. It will
versatility is
not nearly as
amazing^
might appeaT, when the fundamental
not be accomplished in a day. Every medium, though conforming to the basic approach of the
applied. It
Form Principle, will have its peculiar characteristics. What you should really attempt to do in mastering a medium is to be able first to state your planes and values correctly. Then learn to make a
tile
is
thirij
really quite thrilling to trai
medium to another. Very; work may be done in
subject from one
preliminary
dium, when the artist is working with good mentals, then transposed to another, without.anj
conscious
I
effort.
sharp or soft edge. Learn to achieve a soft grada* tion of tone when wanted, or a crisp and blocky
There is no harm in studying the work of
or sculptural effect. Learn to place accents of light
practice only, of course)
and dark. That is all there is in any medium, but it is not as easy as it sounds. I think wash and water
learn something thereby.
color are just about the all,
but two of the most beautiful
well. It is
as
most difficult mediums of
first
coal,
when handled
odd that most artists start in water color
choice* It seems to
me
from
all offer
much
Then
You
you
feel that yoii
can
But anything yb| I really
believe
it
fo
I ty;|
are then developing:^
own approach from the start, and it may turn out to
that crayon, char-
be something most distinctive and original!" Get some tonal mediums and start doing some--
thing on your can.
simpler opportunity to ex-
press yourself in tone.
if
your own, and
far the best plan.
carbon pencil, dry brush, and similar me-
diums,
life is
•
with them, the very besB
Technique has a way of taking care of ot
Your case
the step to other
own
will
be no exception.
1
M I
124
^•-H
CHARCOAL AS A TONAL MLDIUM
OujJiAH tHWio*. OS J'St'KMuKB QR.I/IOL.
B£«I£*.Rl,30E0™'l» «t0. LiV
Hmcfba^'d
m HCJ/U
LS' • l'0"T IO*« OvrR >nt
OF CftEY/ AND ft&RKS. PlCXOOT t'O-K Wl 1 B
ciuvcc&ai-i/Boi-a.intA*. «*o '->• midium. h is ko*t ettecTive LIKiAH QUAI.il> 6/ «t COMQIXtC WITH TONE. II tHE WiWIX IIT(10«UM»D' HrO«&PK>*OCIUOM)C .OOX WHICH /HOULD «f AVCIDFO. M&XB IT4TOSHIW4WINC'
HlA-H
.*..
GREY PAPER WITH OTHER MEDIUMS
|
8E
U>W_ P6NC „. CHAKacTER.ZATlONx
TOR
^OVE SKETCH
.
CHARCOAL AND CHALK ON
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*
GRF.Y PAPER
CARBON PENCIL AS A TONAL MEDIUM (SMOOTH BRISTOL)
AMP PE.LICHTPUL MEDIUM FOR THE R.OBS&0 ITOIVE^THE eFFECTOF IT BE UfBQ OH -TM0OTK OR GftAI MY PAPER/ W ITH */&SHB£ CAN AVAftlftTY OP erFECT/ THI/DRAWIWCr WAr MAPEO N y>100TH /TftATHMORE BRISTOL WITH A £»XON CKAftON V90 PENCIL. CftV-QON
PENCIL
ILLU/TRATCfiL.
iJ~A Fft/T
WHEM
IT iy
V
THERE. A1££ AL/O THE FAMOU,T WOLFF'cA^gU Pe.e4ClLr. CARBON PENCIL
IT
FREC AWP
CMRECT. IT 1/
128
HOTA/O^PlCU'LT TOHANOLC
Ai
WATH.
CARBON PENCIL ON REGULAR BRISTOL
\*&W'
CARBON PENCIL ON ILLUSTRATION BOARD
CMAffOM
CO ASTER THE
F Or»* t HOLDlMC BACK
ONTHEJHARP
130
pftTAIL
WO Wrti PlHB "
WO IJ
1
"MUfc WITW* |
WASH WITH DRY RHUSH
WASH
AS
A TONAL MUD1UM
tfc
.
WASH
IS
ONE OF THE
BEST MEDIUMS FOR REPRODUCTION
j*orr JwsoeoEooof
WCAKINC PROCEDURE FOR WAJ*H DRAWING
1
r
7°^**
I
Aopdpovq* dry
t
^ ALUmeto TOMIK.
U JPf ILL Vrt-T
QYUlt WHCJUC area, -rower itiw .
fiWBCT/ wtY pap* r^ fi nj r WJft A5FT
D
JT
Vrf«?
wwc
i
YOD-fttf
jownct next,
U/S K&ijT 'VOW BLACK WAVING. CO LOA. WfJPAtfSOH it-UJ/WVf ION «OAHP.
practice ro
mo our how
-to
oo
it.
WA/H DRAWING.
i UNTll
fler CT\c
T«e/cr ^ re woitTHV op
WA/H PflAWlHG iJ"THE MO-TF ^PONTAWEOU/ HCPJOM OF ALL. IT
TDHB ALLOVMC&
19
1/
AWO DIRECT
THERETO RE 1HE MO/T DIFFtCOLT-
YOU DEVELOP A WORKING PLAN FORTHE MEPiUM.
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
1
133
J'TUOY SN<3
YOUR /OBJECT CAREFULLY WKEftE
OREPtfE 1/.TOFTWORK
/HARP^AJTHC COBC ABOVE) .A
THE taODEL-
mtQ A WETJXJRFACE. WHEN WORK OH A DRY J\J RFAC£ ,
J7GO«E 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/TIPPtEY/A/H J-HOULP SE A/ FREE.&ftOAO AND DIRECT 4/ PO//I OLE .
OPAQUL WATER CO! .OK AS A
I
ONAL MEDIUM
THIN BUCK-AMJ-WHTra OIL SnLIMBU
.1
I.
HOWARD Fortunately
I
am
able to give you, in his
own
words, the general theory of approach used by
Howard Pyle, as It
it
was given out
has been copied and handed
to his students.
down from
artists
of one generation to another, I must frankly admit that
it
has passed through
nothing to verify substance
its
copy was given to cannot
tare. '.
me some
down.
proper that
it
My
edges of an object are sharp, then ness or acuteness of the shadow,
if
Hence,
it is
There may be very few,
in itself
but few of his students
down
by now. There are
living.
be
t\\e
shadow is
of the stfm
roundness ot
it
would follow
is to it
tJiat
the province
of
produce form and shape, and-fhat
possesses no
power of conveuinjjB
impression of color or texture,
like-
I have tried to state these two facte because
lost for-
they are the foundation of all picture making: for
Unless they
his message, it could
am
sharpness of the solid object is made manifest.*
shadow
any, other existing copies
wise set
believe
tlie
means
Since Pyle has been
I
tlte
J
should be recorded permanently
for the sake of the craft.
But when tlw shadow appears,
,
correspondingly acute. So, by
out freely,
natureuK
objects of
form and shape. If the edges of an object are rounded, then the edges of the shadow become softened; if t
revered as the "Father of American Illustration," this
all
twenty years ago—
now recall by whom.
and since he gave
shadow
feet takes
absolute authenticity, but in it
virtue of
sume form or shape, for if tlxere were no shadow all would be a flat glare of light, color and-tBt
many hands, so there is
as Pyle himself wrote
it is
By
PYLE
mimic separation
ever. I feel fortunate in being able thus to pass
in the corresponding
on his words, and I assure you that you are equal-
and dark, the mimic image of Nature is iniffl manifest. So the function of all art instruction
ly fortunate in having them.
of
light
should be to teach the pupil to analyze oridjw separate the lights from the darks, not technicmt
AS TO ELEMENTARY INSTRUCTION AS
but mentally. That which a pupil most needs^
TO COLOR AND FORM
the beginning
Light— AU objects of nature are made to the sight
by the
them. The result tlte
colors
and
light of the
is
that
this
not a system of arbitrary ri$
and methods for imitating the shape of an ohj
visible
sun shining upon
by means of
is
that which he needs to be taught
we see
is
the habit
of
analyzing lights and shadows and of representym
them accordinghj.
textures of the various objects of
nature.
From this it may be seen that color and texture are the property of Ugjht
and
that they
enter the property of shadow. For
HALFTONES
do not
shadow
1*
is
Halftones that carry an impression of
darkness and in darkness there is neither form nor
ture and color should be relegated to the
color.
of light,
Hence form and color belong distinctly to light Shadow—As the object illuminated by the sun i$ more or less opaque, so when the light of the
appear to
sun is obscured by that object, the shadow which
and should be much darker than they
results is
more or
illuminated only
less black
by the
2.
light reflected into
it
and should be made brighter than
Halftones tlmt carry an impression of forM to the
province of shadct appear!
be.
This is the secret of simplicity in art. The
by
tion might he represented thus:
surrounding objects.
136
flt|
be.
should be relegated
and opaque, being
provir*
HOWARD LIGHT
SHADOW
pL^t'exture, quality,
(le. form
and
PYLE
come
solidity)
tion,
plification, it
2
Halftone
Shadow
S
1
takes oftentimes sev-
them analysis and simplificayet without this power of analysis and sim-
Halftcne—Beflection-
S
it
eral years to teach
color)
Higblighr-Tint-
so confirmed, that
is,
as I say, impossible to produce
and truly perfect any work of art. For that separation is fundamental to the
hw of Nature, and un-
becomes a habit of thought, no spontaneous work of art can be produced.
til it
K$,: as I said, the foundation of technical
M And, untU the pupil
is entirely
able to sepa-
me those two qualities of light and shadow from
m
another in his perception, he should not be
SpancM beyond
It is
suggested that you read and reread this
many times for your own interpretation. While it
regon of elementary inMictMr^no matter how clever and "fetching*
becomes perfectly clear in time, I, by experiment, have found that it talces a considerable period Jo
hfcwot&matj appear to be. And, during this prog'
register in one*$
the
tbs of instruction the
pupU should be constantly
mouraged with the assurance that what he is ^K¬ mere drudgery but is the necessary by means of which—and only by means htchrhe may be able to manifest the beaumi thoughts that lie dormant in his imagination.
this is
may say
jmils
<
here, in this connection, that the
who come
to
me
are always so confused
of exaggerating the halftones has be-
137
not unusual
ment that
it
is
That
as to actual practice.
verified
by Pyle'& own
state-
"takes oftentimes several years" be-
fore it is fuEy comprehended.
tmosss
I
mind
Because of the profoundness of this theory, and the inexperience of most students in the application of
of
it
it,
I shall
somewhat
presume to carry the explanation further, with
due apologies and
with the reservation that such interpretation
be
at fault
may
because of lack of comprehension on
my own part
I
COMMENTS ON HOWARD PYLFS THEORY OF APPROACH Howard
Pyle
behind him.
is
It is
ment to the craft, any more than
perhaps the greatest bequest,
sible to omit the basic ingredients of, say, tfjfl
beyond the wealth in bis paintings, that our craft could have had bestowed upon it. It is part of bis great mind,
which has had such a profound
ence upon American to the
illustration. If
the difference does not
it
may seem
us understand that
let
any change of the
lie in
fundamental thoughts he has here given
be has observed and
set
down
without question basic truths, and
good pictures can be
influ-
that illustration has
young artists of today
taken on different trends,
thing;
built in
The
us.
for us are
true that
it is
no other way. Time
cannot efface those basic truths any more than time can efface the laws of nature, for they are
one and the same.
If there is
any apparent
differ-
it
jl
piece of metal.
Lack of space, pressure of production producing
effects,
jM
have had
their influence
introduction of the candid camera and sensitivity of film, allowing the
more
latitude, has also
product
his,
not even as
Such changes have not lessened the good
the
today are his
illustrations
walking around
in
new
background
illustration*
may be
but as such
effectiveness, with
it is
simply a short cut to
most of the
greatness of conception
construed as an
and execution,
character-
own effort, virtually absent. There is not much latitude left for the
istic
the
infinite care,
of his
when
expression
and
position, tone,
ture are deleted illustration
all
the finer qualities of com-
pattern, light, color,
from illustration.
can hold
fullest
much
I
and
tex-
cannot believe
expansion, progress,
or betterment without them. Those illustrators
principles
clothes.
Howard Pyle's mind was so analytical, so easily capable of grasping truth, that his theory
grasp the bigness of
hope
as
set
completely obvious
him. Yet I find that in most cases
edge. In our day a single head against a white or
validity of
his principles or their value to the artist. In^ad,
difference lies in changes in concept or presenta-
working knowl-
tW
had an effect BubiM
no better than
is
higher;
camera so
down probably appeared
tion rather than in changes of
time,
the need of the startling, the different, of shock*
ence between his work and the present trend, the
tonal fiat
™
would be
dead, but he left this treasure
difficuH
it is
in actual practice, even
it
he speaks of.
I
admit I have read
it
perhaps a
dred times, at various periods of personal
vM
prac-
and each time there seems to be a new glimmering of meaning which comes out of the application I have made of it Perhaps you will get I tice,
faster than
I.
For those who do not, I offer here my
guidance as to what was his
My
ing.
interpretation
argument, and rect, to
whether
I
is,
urge you,
and mean-
full intent
of course, subjeeffl if
you believe
make your own. Or, you may needs interpretation at
it
inoj
it
q:
But hay|
all.
terms of tone, color, and design will always be the ones sought out, and will stand head and
you
shoulders above the lethargic camera copyist, or
rience, will
to express truth in beautiful
the mere imitator of his neighbor's product. interest in
Our
Howard Pyle is not for his name or per-
for.
For sheer draftsmanship, keen
his
set his figures into
environment, there
is
it
no one
qualities
mood, and the
today.
His
ability to
be equally obvious to the studen
comes with
it is
heard.
its
And
treatise begins
its
actual application, at
enlarges in
merits in
its
m
app
L
with the statement
by the fight of the i shining upon them* This is not meant literally, even a cloudy day is lighted by the sun penenS things are
made
visible
M
None of these
can be dispensed with without
with a background of
with self-discovery of
must be honestly admitted that
him
instructor,
he may even believe he understands own effort proves he does not. The da
the day
in-
an expressive and convincing
to equal
an
of a truth
sight in character portrayal, the sense of the dra-
matic, interpretation of
as
t
fact,
sonal greatness alone, but also for the great things
he stood
to
with anything like the understanding
to see
worked with students, I know the danger suming that facts which seem quite obvious
having the ability
to
ing the white clouds, but the effect
detri-
is
totally ffl
138
I
COMMENTS ON HOWARD FYLFS THEORY OF APPROACH
I
m that produced by full bright sunlight. (And |toce
this is a different quality
Ireati^nt of light
and shadow will be correspond-
characteristic.
ingly
!yze.
of light, the
These statements of his
we
Again, he assumes that we are intel-
tgenf|enough to reason that
any
light
produces
g on form, whether it cotnes from the sun,
a very different color aspect
will present
same landscape than
wfll
to the
midday or a grey day.
All things within that light will partake of
and
add
The
to their local color the color of the light.
would be a neutral grey on a cloudy day may become red-orange in that light. The hills and foliage become golden, and lost in deep violet soil that
I a epdle, or a modern electric bulb. He is speakg truth in very general terms, and we must
shadow, that
WcnE* to light its various qualities without taking
analyze our subject for these truths and abide
Btwexception to his statement
by what we
In
&e next paragraph he states
that color
do not enter the property of shadow,
tatwjs
JTablitoo literally, that
B lb
would mean that all shad-
devoid of color and texture. Then
j^danrc would be neutral grey or black
Hat To prove he does not mean
fatly
and
all
f|e
be
find to
encourage us to show in the light that
is
longs, I
am
with the color as
we
and texture are most j&riUisnt within the light, and those qualities must
true. all
He would, I am
we
sure,
the purity of color with-
consistent with truth,
and
equally certain that he would have
it literally,
that color
Pyle intended that
would want us to keep it in the light where it beit
_Ked light can project color and texture into 8k shadow. What I believe he wants us to under* is
I believe
us see shadow as
property of color and texture. Therefore
f&nikclearly
blue shadow.
appeared blue-green against
and per-
1 sp§&ks of reflected light, and admits that light fas
earlier
our
appears to us, and consistent it.
Nothing can so dull
eiTort as lack of vision
coupled with blind
see
adherence to formula.
I
would say to any student;
you cannot see that which
If
is
prescribed in a
formula, you either are not ready for
you are concerned, formula
as
is
it or,
as far
worthless. For
* reduced or subordinated when entering shad-
your vision and inteipretation come ahead of anything else in determining your place in art
ow since the main function of shadow
What you do
is
not to
tttnvey
the impression of color or texture, but pri-
vily
to define form.
vfcicixwiH
My
own
intensity, is
is
The
backed up by How-
local color, in
all
A red
1-
by the color of reflected sky.
light
Howard
J does not question this in his- own work,
texture
the visual qualities of color
are subject to the nature
and
fair trial.
tells
You
and surface
and shadow are dependent upon
light
ted light, plus their color influence
it is
instruction without
trial.
us that halftones belonging to the
should be painted lighter than they appear
with actual
is
be painted
perfectly true. Recognizing the
light,
we see that it is
compared
not possible to
down the full range of lightness to darkness that may appear In nature. For the pictorial effect set
and
it is
on local
interpret.
And
are not in a posi-
limited range of value at our disposal as
and color quali-
we
condemn
darker, This
^f various kinds of light, it follows that both
/for the pictorial color
a
to be, while those in the shadow should
k asks us to make a similar analysis. Since
it
your vision every chance, un-
the outset of any problem.
Pyle
example the blue of die
well to give careful attention
derstanding that you do not read* a solution at
Bis brighter red in the light Also, that shadow ras for
of
and give
well, also, to give
tion to
may be influenced in color
is
instruction
red in either light or shadow, but admit-
dress is
beginning confirms neither
what you stand for. Your subsequent development and perception will deto
reduced
obviously within the shadow.
wrong
termine that. It
theory, winch should bring con-
to the reader.
viction
then—
be taken up later— that color is reduced
I intensity in the shadow, md Fyle s
contention,
the right or
in the
necessary, as far as possible, to hold the whole
mass or contrast of light versus shadow, and to keep them in simple mass relationship. Otherwise
The
or orange light of the late afternoon sun
they
139
may become
hopelessly lost in our short
'
COMMENTS ON HOWARD value range.
The
subject can
become
easily
"washed out" from lack of contrast, or muddy because the light and shadow are too close in value. Pyle is saying that we cannot hope to paint pictures in their true aspect
if
we
disregard this
he
natural truth. Experience convinces us that right. If
this, try it for
you do not believe
is
your-
The overall relationship of light to shadow than the particuis much more true and important
self.
lar aspect of
a value which,
if
followed accurately,
would rob us of the feeling of lightSuppose we compare an underexposed negative
and print with a properly exposed
pair.
The
underexposed set does not bring the values in the light out bright enough in the black-and-white nor the darks low enough; the effect is dull and lifeless. It therefore lacks proper contrast of
scale,
light to
and lighted only by
tention
is
light
and
light
is
reflected light.
that just the opposite
are opaque
argument
ows.
true.
is
and the shadows are
is
The shadow is actually in front of
having been cast by a turn in the form orj effect of light.
One
is
a perfect
lor
any way you take it But though the illusion of mystery and darkness, inde|m of surface and form lying deep within it, they still the only transparent areas withm a?|^H
other,
J
How
I
wish,
Howard Pyle, you might speak to
My con-
The lights
transparent.
My
that anything in the light stops the
reflects it
transparent
mastery you showed in handling the trausparenj
shadow in your own work, you intended us interpret "more or less opaque" as meaning
of
transparency can be completely omitted.
not say "opaque," so at least you leave the doJ
open-which
in itself is characteristic
olyal 3
back is
at you.
when
it
The
only time
can penetrate the
'
The opportunity is
limited, since
to
it is
study
Howard PyW3[
becoming
increasingly
Most of the original worker bought up privately, and even his reprod' have been purchased for private
files.
My
do not believe either originals or plates be secured to be included here, and I th have made a page of tonal roughs to give it.
I
Perhaps these may suffice. I apologize for
on opaque
objects;
our vision
i
may not have the privilege of being familiar]
We cannot see past or
other transparent material.
di
cult to find.
idea of the excellence of his tonal arranj
light
;
&«
or material, such as water or other liquid, glass
beyond the
J
on this point! I cannot believe that, with the g«l
only one point he makes that I have
is
never been quite able to agree with. This is that shadows are more or less opaque, not being in full light
and rests opposite is true of shadows. We do see stops at the lighted surface
greatness.
shadow.
There
THEORY OF APPROACH
PYLE'S
his work,
140
even roughly.
TONAL SKETCHES OF SOME OF
141
PYLE'S PICTURES
THE RELATIONSHIP OF TONE TO COLOR Before leaving the subject of tone and getting into color, there are things of importance to
considered. First color. If
you
be
you
black,
to
a value almost as dark as
understand what
is
sometimes referred to as "tone
is
show
you exactly how such a scale in every color can be accomplished. For the present,
let
me say
that
it
be more than a matter of taking a color and
lightening
it
with white. Color
starts in the
mid-
dle of the value scale, with the strongest intensity,
being diluted as "toner" to
Then
to
make
darken
the scale, and
it
it
mixed with a a whole scheme.
lightens, or
it
relative to
we
start
add black,
again at the middle of
its
additional mixture, to lower
complement, or some its
value.
That
is
why
good color is not so easy as good black and white. If it were true that a pale-blue dress were simply blue and white mixed in the
light,
much
differendy from the
would appear indoors
way
the
same sub
in a cold light, or art
light.
meant by
value" in color. Later on I shall attempt to
will
different because of
being a source of color and affecting the su
will
"value/* or
is to
will think of the black-and-white
down
it
is
the result
ent influences, such as the sky and the sun,
same manner from something as light as we
can make
good. Outdoor color
if
the relationship of tone to
is
value scale, then try thinking of a color arranged in the
which must be adhered to
Color* then,
not something in a pot or pu
is
to be lightened with white, as can
we arc painting in black and
white. If
we
do a study in black and white and do a good thj from the standpoint of values, we certainly d not do
better in color just because
it
it is
Lack of understanding of the foregoing
exa
is
what makes so much tawdry and eheap-1lool. color work in our magazines. It cannot be b upon the engraver; Jap of the
it
must be dropped
where the error
artists,
right in-
truly be!
Most of the bad effect comes about from ing" of color
when
the
the painter has not the
fai
are.
The Form
on
Principle is built
values, at
dark blue in the shadow, color would be easy. But
cannot get anywhere without them, even in
we
When
dress
is
also a pale-blue dress in
value being lowered
its
pale-Hue
shadow, the
by some means which
will
t
idea as to what the fundamental color truths r
with the pure
will find that this is not true: the
w
be done
painting in color from a black-and-whit
photo, the fundamental values that are
photo must somehow also be got into the
in
the
color. |
not destroy the "identity" of the original color-
make it look as though the dress might have been made up of two shades of blue. will not
We cannot adhere to the Form Principle until we can render form tones truthfully in color, as we do in black and white* The flesh, for instance, is
the same kind of flesh in
So
we
cannot paint
it
shadow as it is
do not mean
that the
rate as to values,
camera
and
completely
is
that because the shaita
appear black in the photograph our shadows mi
be painted black also.
On the contrary, we can
something to correct the unrelieved darkness these shadows, throwing reflected light or lights" to bring
in light.
When
pink flesh where the light
them out of
photos are taken outdoors, the valuesj
er exposure and printing, of course. If you
that is a different matter, for then all the
have a preconceived theory that
fairly true
shadows
be so lighted throughout the subject. Shadows can be either warmer or cooler than the light, will
is
I
am
trying
and
light as they
should be— with proj
so-and-so and that shadows are
ture, forget it at once. Flesh
we are working with. to make is that we cannot
according to the conditions
"fill-
their inky blackn*
and orange flesh where it is in shadow. If the shadows are lighted up with a warm light, falls
The point
ac
alreac
flesh in the Ik
some othei
can be painted
almost any palette so that the value
is
ments.
Every color subject imposes a set of conditions of light, color, and reflected color
The
so-and-so.
best
well as color
142
way is
to
in the
world to learn
fr
rightJW
the color consistent with the surrounding
possibly put color into a formula of always being
mi
I
values
work from life. If you are wor
THE FORM
*-*-* pah* *. We
ing
,
yo„
"'Mlygoingtohave to take those things
p
„^^^
PRINCIPLE APPLIED
„
fblch are in nature s colors and transpose
£>
tionship of things to
black-and-white values. You will find with amcentratton and study that
you
do
will
it
™m*
and ««« «» AifaJt "P" WPfV Mm shadows. In manner jt
I
the
this
you think of
of values, those in the light as opposed the shadow. They must not so "overget mixed up and lost, becoming neither do - the other. The lights must hold together 'ole group, while the group of shadows •>ps
m
should
be stepped down" enough so they also
stem to
,
hang
together.
Every bit of the form should instantly identify belonging to one group or the other. Conner your halftones always as a part of the light the planes between the brightest light the edge of the shadow. If you let those h3fget too dark, you cannot hold the whole »;.l'|* the picture together-as opposed to the
Mm Pa | 1
WB
«1||
effect
of shadow.
The same
true of the If you let the reflected lights within the is
"#»** too light, your picture gets mixed up Unlty a " d briUiaD <*> for the overbe lower, or darker, than
"Of <^fe<*of shadowmust overall effect
of light. Note that I do not say a shadow value cannot be lighter in value than southing else might be in light. Flesh, for
faay
Ha
exam-
be lighter in the shadow (not much) dark suit would be in the light. But then
I F* suft ag»»"t that flesh in shadow would bapracticaUy black.
The relationship of things to a«other is the same always, either in light or Aedow.Thot relationship must be maintained
amall circumstances. Jo-make
te
dear -
* «• Appose you put a
square of
paper on a board. Next to H> pita grey one two tones darker,
tones
darker than the second.
and a
it
you
third
two
Now, you can put
«"Wd in any light, or turn it into shadow,
but
148
one mother.
the rela-
Now appose
the three squares were three cubes of the same valuerelationship* the three
better
than will your films and sensitized paper. Alwaji look for the lightest thing in the light and it with the darkest thing also in the light not i^heshadow. Then look for thelightest thing
^^
r
fee squares. That is what fa meant by
before
would then have light, halftone,
paper squares. You
to take that relationship into
and shadow,
since you would be deahng with solids. All the sides in light would still be two tones apart, the sides in halftone would keep the same two tones
of separation be-
tween one another, and the shadows would aJso shil be two tones apart on each cube. Such relationsh.p would be set into one of the light intensities
as described previously.
The biggest obstacle to good
work is the lack of consistency in these relationships. If you work n-om life you will gradually see the truth about values. Photos, however,
especially those in which a half-dozen sources of light exist, can get woefully mixed up in this respect.
sing e source of
light,
In other than a our cubes could get to be
anything in value and all mixed up for relationship. I„ th e same way> so heads dothes and anything else in our pictures.
^
^
You may be
vM be more
certain that relationship of values correct in a natural source of Mela
than any other. You may be certain that if you point the natural relationship of value between things
you will have a better picture.
So before leaving black-and-white study (in fact,
you
that form color
is
will is
never leave
truth of tone
it), try to
understand
and nothing
else Good also truth of tone rather than brightness
of pigment. There are so
many ways
.
to "slick
over faults in color work that often they are not apparent Set up a still life. Make a small blackand-white study. Then try it
thus understand
what
I
am
in color.
You
will
talking about better
than through any language at
my
may
disposal.
You
beheve you are good in color and also value relationships, but when you really begin
in to
see these dungs as ihey are in Nature, you will tad many errors in your work. all do. Correct values can make a picture have that "quality of ' existence."
We
TONE
PREPARING SAMPLES IN I have tried to cover most of the tonal
and die various effects However, I am limited
A few good samples will make a better impres-
mediums,
be had out of each.
to
my own
in these to
sion than a lot of mediocre ones.
two samples very much
ap-
Try not
Two
alike.
to few
or three fl
They will show
proach, as you will be to yours. If you will really
rious types of heads are enough.
make
what you can do. Babies and children
work
the effort to
possible*
you
many
in as
them as
of
make good
what you do in one another. You will eventu-
will find that
really does help
you
samples. Most art directors have
hard time finding
artists
a
who can do them well
Don't make great big samples, with large pack
doing the same things in any
ally find yourself
medium— that
in
alwa)ijj
you will put into each all the understanding you have of values, drawing, and
ages to open on the art director's time, Carry
other qualities. Your work will take on an individ-
not something that will be done up in yards o|
uality
all
is,
your own, which
portfolio that can
be evident in any
will
cracldy
medium. There
am
very strong* There
is
medium
is
by
untying
you carry canvases, have
theffl
framed lightly and neatly. A single piece of eorro
room for good pen-and-ink men, and I
quite sure that this
easily
brown paper, to clutter up his place. Tliaj
is irritating. If is
be opened
coming back
gated board tied around them
not half enough good char-
For subjects,
try
is
best.
hard to figure what yourpiotf
coal work, or carbon-pendlwork. There are only
pective client
a few really good black-and-white-wash
work, unless applicable to his regular needs,
tors.
Black-and-white
and
desirable. Perhaps
oil will
illustra-
always be practical
you can work
i
would be most likely
not interest him, especially
m a com-
life
to use. School wii
drawings. Donl
take minute and careful pencil drawings
around
mediums to produce a new and unusual effect. Dry brush is one of die coming me-
as samples. Pencil drawings, unless practical
diums for newspapers as well as magazines.
shiny ) are bad. However, pencil drawings
sufc
like to impress continually
mitted as layout or compositional work, or
even
no espe-
roughs and sketches, are excellent. But use
acbjj
bination of
One
thing I
would
upon every reader cial
way
of this book:
that illustration
There
is
reproduction
supposed to be done.
is
fat black-looking pencil if
Occasionally an art director will drag out another
man's work and say
to
you> "Now, this
things are all finished and approved, it to say, liked, it
"Do
like that!"
I repeat:
way you do
yottr
But
if
After
you do one
that
it
There
best,
way, with your
is
If you
own
taste
bound
is
and
to
you want
look as
if
it
not«co
to impress
were
Sane
fast.
use a medium that rubs, be sure it is fixe^
or put a sheet of tissue over
is
it*
Mat your sample
drawings and make them as neat and clean as jwtf
no better way than
and that
and
easily
very easy
is
The work should
him.
someone will be telling the next fellow to do
your way,
the
it
is it/'
(meaning good blacks,
fix
sible.
be
Have your name and
of every sample so that
bold
ability at
work.
it,
there will be
in returning it I
if
address on the
back
an art director wishes h
no trouble
in finding you, I
have seen a man
lose out cm an
order simply because the director forgot who
In the preparation of samples, do not base your
he
ing wrong in working from almost any photo-
was and therefore could not look him up v Roat expect him to remember names; he is too biis(
graphic copy for samples as long as these are not
with everything
work on
to
be
pictures
sold.
by other
The magazines are
which may be used take your
artists.
own
in this
There
full
way. But
and work up samples from nature you certainly can
noth-
The
of material
it is
photos, or use your
is
better to
own
girls.
best market of
all is for
good drawings i
Character subjects are also good. If you lib
work with square or compositional subject include some as samples. If you feel you don't
model,
to
you look at whatever you do
these. If
call
else.
do them
your own, and it is by far the best policy.
well, stick to heads, figures, and
nettes. If interested in still life,
144
yi£ :
draw some food, or
SUBMITTING SAMPLES something
packaged-something that looks as
if
I wer|selling a product, not just a vase of flowers, orfru% or a
few books and some
A gipd procedure is that
advertised
is
to select
plate
an actual product
it.
You can
lay out
as a rough, using the correct
or logotype. It looks businesslike to
name an art
director.
work for the various
of
[suggest
you
fields of illustration,
the book before you get too
finish
get into actual work,
eager ito
already in
if
you are not
it.
when you
are in
phase of the commercial type of work, you
yae
have a weather eye out for the next. Perlaps you are already employed. Keep making >etter and better samples, no matter what you iboulcl
They
gding.
will
come
handy and may
in
Ipou along right in your own place, by le tting
know what you can do beyond
employers
ur
pour regular job. If
you want
^rain be working at
Rtime, going
to
it all
be an
the time in your
to school, experimenting with
ediums, practicing all you can. If you
ready
ibits
ZO
up
when opportunity
fast. If
illustrator,
have good
knocks,
you have not taken that
you
extra
you will not be thought of as being ready
g more than the job you are doing regy men stay avc really
done
in
mediocre jobs because they or nothing to get
about
it,
sell
an
in
ists
man
a
much
could be
salesmen than they appear to be*
If
better
you wished to
a suit of clothes you would not bring
ice box.
But I have seen aspiring young art-
take "a yard of pansies," or subjects equally
inappropriate, around to all the important art
There
is
a place for calendars, fashion
drawings, posters, dramatic illustrations, pretty girls,
and
foodstuffs
children, or almost
still life,
anything you want to do. But
make
it fit.
sample can be wrong or right according it is
ha>e always believed that
I
sell.
directors.
La^r in the book we are going into the preparation
ever
really thought
and make your own version of
an advertising illustration for
4e wfiole ad
eyeglasses.
That will be true of everything you I am sure that most young artists, if they
to a purpose.
shown.
A good
to
where
A bad sample will never be good
no
matter where shown.
Try not
to
work too
as impressive as in carrying.
is
small.
Make
the sample
compatible with convenience
Tiny heads have
little
appeal.
Make
your sample from one and a half to two times the probable size of any final reproduction— larger
still
in
the case of paintings. Present
neither broadsides nor postcards. materials,
good
bristol
or
Work on good
illustration
board,
never on thin crumply paper* except in the case of layouts
and sketches. These are
better, on
a good
bond layout paper so that they will not be transparent and show one drawing through another. Sometimes young artists ask whether names have anything to do with getting a start. Most of the time an
need not worry about his surname. If you happen to have one that is very difartist
remember, Adolphus Hockenspieler, for example, adopt a simple one that is easier for ficult to
up out Your samples are salesmen. If you have ed down at a place, «how up again in ths with some new samples,
everybody. Perhaps just a part of it, like "Dolph Hocker/* Many artists use a single name, usually
showing your samples around, you find
The point to remember is: Do everything with-
little
.
the surname, for this reason.
y cause little favorable reaction at the first
in your
places, better get rid of
them and do some
rector
and bad work
subjects,
es.
Good work
is
liked,
In almost all places.
Do
not keep showing
largely adaptability.
ility, it is
when you approach him—your
choice of
do not "talk up" your work or your ability. He can decide about that for himself. You do not sell your
esentative art buyers, is
to simplify things for the art di-
your work, your attitude, your interview, and even your name if must be. Above all,
dis-
mat has frankly been considered bad by a
g in
power
Granted you
merits— they sell themselves.
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 my readers
PttesENiiNC ftor,
Ibelieve a
new
with the problems of approach is necessary. So
own experience I have found
in ray
that color
approached in the sense of something
usJiiajy
some sort of special science. The difof such an approach, as far as the student
tints,
and black or
other mixture to darken the pure colors. intermixture of red, yellow,
and
By
the
blue, coupled
Ity
almost every conceivable color that will stay in harmony within our picture. Basically, red, yel-
transposing the theory to
lies in
the things about him,
and applying
Hectical way. We know that
aD
roach: is subject to the basic truths
ton| light, and shadow. If color
H
natural laws
idow|which
is
lue
raw sienna, and the ochres.
and
it
must incorporate these principles. In color without encompassing
not only to light and rect
fact,
its
rela-
shadow but
also
of atmosphere and reflected color,
is
us dangling in mid-air, for these things
L
ery color that
we
set
down
pictorially.
so subject to natural laws of light ig
influence that
of
be closely art. It is
as to
cannot be consid-
To do us any good,
taste.
and
a matter of science, tempera-
:ately as
t
it
so
the study of
allied to all other
funda-
much a part of tone values
be inseparable from them. Color a part of the
finitely
Form
Principle,
may be beautiful to our esthetic sense, le when placed within our picture. Pica color "
beautiful only because of
is
ip to other color,
p understood. So
and such
to pick
and blue are used to produce every color we down, even to the earth colors, burnt sienna,
concern-
light,
its
relationship
possible to produce
low, set
also subject
governing tone,
it is
pictorial
unquestionably is, then the only ilori& approach to color which can be of real
Now let us look at the
possibilities of the three primaries, plus black
and white. You must understand that
in color
printing our white only substitutes for white paper, that the thinned-out dot on the white
paper of the stronger basic color is the printer's only means of getting light tints by the four^color halftone process. So our tints
may
not be repro-
duced with absolute accuracy, since our white may cool the color somewhat more than the white paper mixture with the pure color. In the case of water
color,
duction will
The
where no white be more exact.
is
used, the repro-
three primaries, red, yellow,
and
blue,
by
mixing in pairs produce the secondary colors of green, violet, and orange. These, with the primaries, give us the six full-strength colors of the
spectrum. They are arranged in sequence in a circle. Then by mixing each with its neighbor,
we
get six
more
colors, called the tertiary colors.
These are red orange, yellow orange, yellow green, blue green, blue violet, and red violet. We now have twelve colors of maximum intensity
a color from an
and
•ag|eolor chart has little practical value, for
our
odds are that
Beginning with the pure color we can add white to produce a series of tints of the pure color,
it
will
be
totally unrelated
and
orially false.
CbIo|can be bought in
te
we add
these
with black and white,
life,
fe
white to lighten and produce
To
ichedi as
ned,
it
in their purest possible state.
without
test color
^m
much
first
we
many hues and shades,
understand that the basis of
shall ever
red, yellow,
need
lies in
full
from
real value to us at the outset.
Adding black and white we have color and color value scale.
brilliance.
full strength to palest tint
the pure color
we can
Beginning with
carry the color
down
to
by adding black or by mixing with the complement, which we will speak of later. This is where our approach will differ from the darkness,
all
the three pri-
and blue. We start with these
149
*
ALL COLOR
Y RELATIVE
IS
TO SURROUNDING INFLUENCE
FAL/E COLOR
We
usual one.
through
about
will set
utter darkness. This
something of
is
the student, but which often, lo
lo
A
color
light sliming
upon
By way
darkness. girl in
relative
is
which gives
it
may
we
may be
be
THE
Therefore what
IN
come out of a scale of light
/HADOW COIOR NATURAL LICHTCANNOT BE A COLOR WHICH COHTAltif NONE OFTHF ORIGINAL.
real nceesril
to ourfe
the amount
to
ol illustration,
a yellow dress. She
or a low light. She
first
col
light
my knowledj
we come
has been grossly ignored. So
axiom.
any
to carry
the steps from the lightest
all
it
lightness M
we may
have
in a bright
lid
in sunlight or shadoi
use for the color will havel to
dark with due CO
sidcration of all other color influence. The dresi
not just yellow but tones of yellow grading upai
HOWEVER.
down.
ALL /HA DOW l/J~UB-
Tf
she were
the shadow, with the
in
bit
JECTTOTHtr INFLUFNCE
light of the
OF OTHER COLOR THAT MAY BE REFLECTED INTO
could not possibly paint the dress with onlyr* yellow. So
we have another axiom.
AND TUUJ MIXING WITH
live tu ull
surrounding color Influence. Suixkb
IT
THE ORIGINAL COLOR.
sky as the only source of
we have color
in a
warm
light.
light
Color
it
is rd(
The warm
cola
get more intense, and the colors on the cool si
tend to
become more
the tendency
is
neutralized. In a cool
reversed. Nature uses her
primaries (u product grey. Yet by the same <*ss
a great
when
number
lid thre jiroc
of other colors nro produce
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* A 6L0E LIGHT REFLECTEO
tonal colors, practically
THE/HAOOWWOULD PRODUCE A GREEN.
tion of
innblc can be reached.
IMTO
pigment
any color or
The main
lies in brilliance
mix toward the warm or colors can perfectly
do
we
no
is
warm,
wc know
or vermilion,
in sdec
ability priraarf
use a "warm
cool" of each. If the color itself
cadmium red
and
cool. Since
this,
tint imaf
object
it
such
a
cannot
produce a good purple by mixture with Hut Therefore
we must,
a brilliant purple
if
is
nee
use a cool red like alizarin crimson with a
blue like ultramarine. Always paint your
TRUE WITHOUT OTHER COLOR
as brilliantly ns possible,
l"FLUENCE,THEJHM)OW WOULD THEN BETHE/AflE
the best he can with color,
COLO(l(OARKER)BurALJO REDUCED I N IHTEN/I T ey \r's complement orgrey.
he cant make
All colors as
and If
let
the engraver
you give him
d?ad
any better. we see them are colors modified bv it
the "conditions of the
ISO
it,
cool,
subject|
moment."
Warm light
givttj
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
No
shadow.
light or
brighter color intensity
have in the light
in either
shadow can hate than the same color would}
coior in
We cannot change the identity
of the local color.
In our chart yon also find a black-and-white scale. If in
you intend
your black-and-white copy the to paint
color should be
arei
of a certain value, then
is
matched somewhere close
the
to that
value, or you will upset the natural sequence of]
values which the light gave to the units
The
copy.
choice but the value scale
SHOWING MOW BRILLIANCY MAY BEADOEO BY IMTENSI TYING THCCOLOR ON THE EDGE OP THELIGHTAREA NEXT TO THE ZHAO OW. 6v
mixing ltano/mdw
UH
LT
5
MOW
MFT
with the
The
more or less
is
rest of
so considered.
color subjects as
tern."
you would
the color
in
it
follows that the purest to the light.
changing
and most
Note
great
the
color.
exceed
1/MftDE
BRIGHTER COLOR RATHER THAN BV
SOMEHOW
colors;
light and
all
intensity or tints of the
pure color should ho
colors in their greatest
When
tefe-l
reaching
I
the shadow these colors are reduced or greijed,or\ the color changed by influence of other reflecting into the
PRODUCE ANYTHING BUT DULL COLOR. 6UT
range into
i
(lie
in the
shadow, So die axiom,
gated to the lights and halftones.
/IMPLY MIXING THE COLOI2 INTHE LlCHT WITH THE COLOR INTHE J"HADOW TO MAKE THE HALFTONE. WE CANNOT* JUfT RUB* THE LIGHT AND SHADOW TOGETHER AND
intense
the black line
chart, dividing the color
/HOWING HOW DIFFERENT WHENTHE HALFTONE
in
to fall into "pat-
be repeated with
shadow cannot
the
light
carefully
brilliance the local color as seen in tlie li^ht,
belong
in
in black-and-white
made
A certain value can
variety, holding the value but If
voiir
lived to he
intensity relationship of
renderings. Color can be
SHADOW
your
in
be of
your picture, and should lie
and shadow should be planned as
BY INTENSIFYING HPT. LT
may
color in that instance
not necessarily true that the color
in the
brightest light isalways the strongest color.
Light,
being white, can dilute color, just as can the
white
It is
MO/TOFtj/JTILLDOIT.
color\
shadow.
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,
then,
the halftones
may contain
being
still
in light.
So
'
the most brilliant and
pure color. Color can greatly lose
its [oca! color in j
highlights,
PROVtNGTHE SAME COLOR APPEAR/ TO BE BRIGHTER AGAIN/T AGREYEDCOLOP,.
which become the white or eo!or ot the
light source.
152
Working
directly into or against
the
COLOR greater brilliancy to
a
brilliancy
from a cold
warm
color. It subtracts
Lack
color.
|
bright light raises
the tonality,
color
it.
:
chart at least will give
This
provided they
you a
copy,
will
il
help a great deal. Rut
and whether
area,
something
else.
makes the units of your picture seem
long
together,
it
also produces
jour color masses. It brings
Any two colors
oneor both contain |
ourspectrum
is
us to another color
some of the other. That its
effect
all
the
upon
is
why
THir
IfAPINKCUBE
COLOR CANNOT EC PURER OO /rROMGER IMTHE/HAO
OW
UNUzX/ A/IMILARffH-
ORHA/OCC* REFLECTED
way around.
INTO THAT J"HADOW,CAUJiNC
color. Colors as
AUOITJONAL BWILHANCY.
recede tend toward the color of the atmos-
phere.
On
a "blue
day" they get cooler.
become
day they
greyer.
On
Color on a cloudy day
on
On a
i^rev
a misty day they
become tempered and finally lost phere.
than
to be-
harmony between
be harmonious when
will
harmonious
Atmosphere has
it
This not
only
they
and
To this we shadow become rcciui-
shadow
the
would catch the color of
truth.
PLA/TIC,
GLA//.GELATINE, ETC.
as a /olio /uB-rr/Nce THE COLOR IS FA L./E.
refected color and will change ac-
each plane of
i
in light
MATERIAL COULD HAVE COLOR LIKE THI/ (
This means that you must consider
cofdinghj.
f
AW colors be-
when
ON LY A TRANSPARENT
into lesser light.
another, All colors in
Wt of other
at-
the back of
in
lycur mind keep the following truth.
ms&l reflect themselves
you arc
If
from black-and-white
come a source of reflected color
THtf l/NEITHER A PINKNORAREDCUBE
practical basis
which to approach your subject.
tempting lc paint in color
I
do
not otherwise affected by other influence.
|were
|
that
shadows would come
close to those represented,
[quite
adil
We
chart as local or unin-
shadows-shadows
north light your
jatutral
l
call the
The shadow colors arc reprcsenta-
uninfluenced
ol
FAL/E COLOR
have any other color reflected into them, in a
not
by
upon our
look
fluenced color. tire
THE LIGHT
color only in neutral light.
paint local
We must |
We
an object the "local" color.
t»f
IN
of light lowers
|
original
STRONGEST
IS
is
in
the atmos-
much
different
sunny day. But whatever the condition,
a
some of its atmosphere to all the and they thus become related. We will dis-
nature lends colors
cuss later
and
mix
how you can
it
through
We come
to
all
take one color or influence
your
colors.
THI/irAREDCUBE.
another truth. The local color
THIJ"AMDTHE PfMKCUoE
should never completely lose its identity in the
thadow. For instance,
LEAVE NO DOUBT AJ ro 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
theghadow; since the lights are so diluted with h'g% the shadows are our only chance. But even here
we are working in reflected light against the
dominant light,
and much
Jjiigh not as bright as it
color
apparent,
is
would be with the
light
dus.
one of the best ways
in the
Keep your
brilliancy of color:
on the edges of the limited
world to
color most
areas, wJtere
wges into shadow. This seems to cast an aura
whole lighted
aditional color over the Jtaking jto
area.
a local color of the light and rubbing
a darker color of the
shadow (which most
sdo, most of the time) produces
no
brilliancy,
apt to be Just color in the light, then
reduced color in the shadow. This
mud,
one of
is
known and least practiced truths, we come to a surprising fact. Most of the and even there
to
we find that a color is tempered with is greyed or influenced in some way
not an even flat color throughout. That
manipulation to enhance the softer greyer of nature.
For
this reason,
from a tube or a pot
we
cannot paint
We must relate our
by intermixture, subordinate or intensify it is most effective. In fact, we cannot sim~
P^copy in co^ or iilgeolor
10
-
We must, to a large extent, cre-
through the truths nature gives
of color tes
is
much more
true
us.
and effective
An if it
some of its next-door neighbors. For
rather than a
some of the blue and blue violet next door can be associated, d of a flat yellow, some yellow orange and ee,
flat
blue,
green can invade the bit of painting
flat color.
is
is
an-
largely grey, don't
of natures greys. Brightness will
This
does not
mean
true,
that aD color in the light
color, since not all local color is tints of
is
the pure colors can
pure
but
is
it
pure
color. All
be greyed, which
increases our range of color to the skies,
meaning
that there can
be thousands of variations. For instance, we have a pure pink. But we may also convert
it
to a grey pink, a dusty pink,
pink, a lavender pink, a
and each may be made
an orange
brown pink, and so
on,
to run the scale from light
to darkness.
A dusty pink dress may have to
rendered
all
the
shadow and
still
way from
be
bright light to deep
look like a dusty pink dress
all
the way through. This can be done only by correct values and a careful adjustment of the color evi-
dent
in the light, this
being carried into the shad-
is
relative.
be
A
the picture,
meaning
already limited in brilliancy color,
tones that are grey in the light offer the biggest
problem. There
is
good painters
keep
to
only one remedy used by most their canvases
from getting
unwholesomely grey, and that is, if the color in the grey or greyed, then the color toward which the grey leans may be intensified in the
light is
halftones and also in the shadow. This amounts to
making the shadow slightly warmer or cooler than the color in the light. For instance,
we may have a
grey white tone in the light. The shadow, then, instead of being a take on
mere black-and-white
grey, will
more color than the light, being warmer or
Thus the shadow on white might lean toward the warmer tones of green, yellowish or cooler.
and environment,
A warm grey can thus
be
painted somewhat cooler in the shadow, or a cool grey slightly warmer. This phenomenon seems to
against another bright one. Fine artists say
make
is
compared with transparent or projected
light
be brighter against a greyed color than
the greys
Since pigment
orange grey, or lean the other way to the blues and lavenders, according to the quality of the
knowledge that can enliven
work. Since nature
j?
are to be a part of the light. That
greys or neutralization.
brilliant flowers,
our purest color for edges, accents, and
t
have stated that the pure colors and pure tints
from
tit is
w
I
ow and at the same time being lowered in tone by
color,,
f-
colors are
color of nature? toe find* is not pure color,
e extent,
ire
Grey
**tonal colors,"
our
is
J
colors to look bright against
exist in nature, possibly
which
that
greys are the necessary foil for the bright
is
reflected color
not always obvious. At any rate,
life to painting.
153
due to
it
adds
PAINTED WITH YELLOW AS A "TONER"
160
)
THE LIMITATION OF COLOR Let us understand
mentals.
You have
all
the value
is
right, it
may
literal fact.
else.
Color
as tone
is
thus related
if
more
is
values
and
line; all
one another. All the visual Black and white
for fuller discussion of related color
and a part of
mentary
effects of nature are
It is
mans
values, colors indiscriminately placed against
vying with one another for attenti
all
simply represents the color s value without the
that the
whole
color.
Seeing without color
is
be sure
either lack of per-
ment. Therefore
life tJian
limitations of pigment, or
and
black.
There
is
nothing else
is a safe
cut down. You
its
complement,
its
will
neighbors,
never go
d
will
always be
in
any one
picture.
them with some of the other.
color,
we can do about
a
little
brilli
rule not to have all three primaries in
pure state
within the value
between white,
is
one primary plus
and white introduced,
color also lias
we can reach in pig-
we must work
brilliancy
These, supported by greyed colors, with a
Since light has a greater range of brightness
greater brilliance in
that
opposed by
ception or actually defective vision*
and darkness than pigment, then
and comp'
when a painting becomes a hodgepodge
another,
invention,
164-1(8
color.)
and
is
A color cannot
dead against its complement. (See Pages
seen as color or as greys that can be produced by color.
When color
cannot neutralize itself. In the
reason of complementary color.
tonal
color than anything
three are one
it
go dead.
a,
instance, the picture remains basically alive
just as certainly correlative of tone
is
of
color sequence can hardly
almost be stated that
the color will not look bad. It relationships that spoil
Indeed,
I
dead. In the second instance, pictures built
other things are well, such as
be wholly apart from
(
by related harmony, (3) by color con] trast Pictures built on a few basic values, a ligh| one or two middle values, and a dark, seldom g3
drawing and tonal values, may be achieved and still
to neutr
value, (2)
out intelligent approach; at the same time, good all
In pigment
ize and dull one another unless considered
greater liberty here for your
your craft Good color cannot be achieved with-
long as
light.
produce grey or brown. So colors tend
the funda-
individual feeling than in other departments of
color, so
PIGMENT
bine to produce white in
that, after all, color is the
most lenient and unformulated of
IN
of
its
Do
Tone one or Grey one by addin g]
complement (a mixture of the
othei
something so that you do not haVu
But the limitations are not as bad as they seem, 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.
do
two).
it.
It
can
because none of the primaries
fight,
in thei
made lighter or darker, or less intense by mixture. It can be made to vary in hue by adding other colors* warmer or cooler, but nothing yet known can make it brighter than white paint or paper unless by actual additional light thrown
original state
upon it Purity of pigment is not the whole objec-
over undertone. In the four examples sho
only be
have any ingredients
in
comma
We create harmony. Until we produce a pleastnM mixture, the primaries in themselves have J harmony. Color
may be
related
by painting
into an
tive of the painter; tone
yellow, a grey blue, a red orange, and a grifl
Vitality in
undertone were used. This principle applies only
and harmony come first. painting comes from value relation-
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
whole aim, for contrast is greatest when the strong
mixed into them. This produces an "influenced
is
pitted against the weak. It is natural to
all
assume that the picture contain-
some of the undertone
the colors, drawing
harmony.
It is
become*
them into relationship and
an excellent plan
for making;
ing the largest number of colors will be the bright-
thumbnails and small color sketches, and
work
and beautiful way of producing harmony,
com-
any color may be painted into the tone, so long as
est picture. Unfortunately, color does not
out that way.
The reason
is
that all colors
154
1
RELATING COLOR BY TONAL INFLUENCE
PUNTED
ICOLOR
HED OR4NGE lit takes efftcts
!
INTO A WET YELUDW UNDERTONE
U/EO A/ iN UNDERTONE
up some of
I
the undertone.
are obtainable
Hme undertone
is
that
or colors
relationship
fflfvrllmv
A
blue
it is
iF
some
we mean
among humans. Green
is like
a
green
is
ors
contain
all
WET
more like the other.
fluence," then
some of the pigment of the
put with. This
INTOfi
CTRE.EN
UNDERTONE
dominant characteristics of one parent; yellow
show through.
color as "related"
actually contains
it
color
to
COLOR PAtNTEO
Other good
with dry undertone
allowed
When we speak of
[
SHOWING INFLUENCE QFA BtU^-aREV UN0ER-ONE
relatives.
Mood
some it is
of
When a group of col-
one particular
like n
The spectrum
parents. Yellow as the
is
color or "in-
group of more distant like
a family with three
father
would have the
son
orange children from the red wife, and the green
and blue, being a half mixture of each.
children from the blue wife. Rather complicated,
green
is
like
Ls
like the
a child that has taken the pre-
but so
155
is color.
TONING THE SPECTRUM OR PALETTE
PLU/ YEILOW
*
PUUJ-
BLUE
PLU/ OrtEILM Hete your
is
another way to relate
palette.
Mix some of
make third
.
down
Choose one it
all
stays pure,
the colors of
into every other color.
all
tliat it is
all
mally contain none of the color you are adding. its
"identity,"
more
Note in each group one
My
color
158
in
four schemes to show
scheme when you
start
it.
Wlicnifi
may add a touch or two of pure cold scheme
if
you arc so tempted
often you will lite
beautiful color
brought into closer harmony. The above are about the limit of mixture.
done, you
outside the
though
which cunbfl
opposite colors change.!
possible to paint ilesh in any influence
Stick to your
the colors which nor-
But your color will all retain
will the colors
The
have painted four heads
You can
up to about oneThe more you add, the more you are cutting a very delicate mixture, or
the brilliancy of
and so
the toning color.
color of the spectrum.
it
better as
may be arrived at
examples are only a hint of
it
BuU
was. V«yj
in this
mannm
its possibilities.!
FOUR SUBJECTS
RED TONER
ORANGE
IN
"TONED COLOR"
oluc ton er<
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, Color
is
very much
dip into
it
too
like
FUNCTION AND CHARM
ITS
a bank account. If you
much soon you have
none.
To
the
layman color seems quite limited, just the six pure colors of the spectrum. He is therefore tempted to get
all six into his
of as "full color/
He
thinks in terms of so
pans or tubes of color, using
one
that
what he
subject to get
for that. If
this
one
still
maroon, or brown pink. Color that. I shall try to point
in just the opposite
rather than making the color appear any brighter.
for this
and he
around the
into
its
tiers
is
really
tton
example
white light
look
so
much So
to
©thcui
made
like.
of or suggesting somethingtk)^
Into this group fall yellow ochOThe|
alizaria red,
ments which vary from the original
to the funda-
the spectrum. Then
is
H
primaries of
we have such names as feupe,
beyond the spectrum with the naked eye,
lemon, and others, which are mixtures whi^Saa
to the three elements that it is
not actually
be approximated
violet, color is limited
we can see. In pigment,
light,
white, as does light,
as far as
and so produces sediment.
m mixing
called the tertiaries,
logical
Now begin to add one
ardized,
They
less intense.
two
of
results.,
if
it is
I1M&
cure uniform results these have had to be standJ
The third mixture,
color containing
or
We can staler
possible to those the printer works with.
as the red, yel-
becomes even
®
we are working for reproduction that we start with primaries as close I
However,
secondary mixtures of green violet and orange
low, and blue of the primaries.
and white.
our choice, with good and interesting
reduce in intensity the three primaries. The
and bright
simply confusing and
subject with any red, amj yellow, or any blue
result is darkness, either in greys, brown, or black.
are not quite as strong
is
we as artists are concerned is simply, rei
yellow, blue, black,
another, the
The tendency then of pigmentary color
mixtures of the primaries,
does not belong in the basic theory of color,
but matter, the inter-
The colors being neutralized by one
in the
This great array of names
mixture of red, yellow, and blue cannot produce
to
six.
chartreuse^ beige, sage, maroon, cerise, kve^der,
light itself. Since
such as infra red, or ultra
is
as
mflttjE&ce ofi
gamboge, Mars yellow, and others. These are
we cannot
to.
see
an element of
since
which have the
crimson, vermilion, Venetian and Indifuh
black.
mental laws of color, that each of the primaries
color
all colors
lean blue, rose madder, crimson lake,
color-
are concerned, could all be
we go
I
umbers, burnt sienna, cobalt, manganese, Or ceru-
such power of absorption or
produce good color
of
become so interrelated that the color becoines almost nameless as color, and so other nan^s aw tacked on for identification, either telling wtati
in light,
Take away all light and they are
j
Hi-
we can buy colors; but these are pigments, which
we
lay out the full gamut
yellow evident, or blue, or any of the
elements. Things have color
they are
and, so far as
atiGJplu^
who are the foundation of the whole pppukto follow. Some of the strains stay pure| as for;
there could be no color in anything. True enough,
less
we
I
the heads of six great families, like six pion%r set- J
Let us understand that
back the others. Were there no color
reflection.
Assuming that we start
Instead of thinking of color as being limjBl
absorbing some of the elements, and reflecting
in themselves
circle,
>
disposal.
only because certain surfaces have the power of
have
M-
all thte
the six colors of the spectrum, think of these
the color in the spectrum
down
have
so-called pure color, with all the brilliancy a* owl
The most colorful and beautiful paintings often come from the restriction of color, rather than the
broken
really
and go from the intermixture of any two of 'these
out that color works out
it.
in the primaries
with the brightest possible red, yellow,
manner.
profuse application of
we
Jiancy there is in pigment.
anything but
is
toward the greys or browr^
many
a tube of magenta,
different, like
liancy, reaching
primary,
be toward even lessM*
will
So
goes and buys some more tubes containing something
and the tendency
thinks
colors then
he runs out of
maries to anything containing the third
162
primaries,]
are as given in our standard color
on page
pri-
and so are known as standard
148,
wheel
and will act as a guide for you. j
1
COLOR n do nojmean that you cannot use color in any
m yovmish, or out of any tube with any name opt I can
only colors that are the result of the
One thing- 1 want to stress is that you cannot make a subject colorful by using all pure color,
he must work with.
you can be
If
certain
he can-
rfc
any picture comes from a
few primaries, it automatically harmony and a basic relationship of
so|rce of a
fiablishes
neto another. It can't help it, because imei
all
contain
elements or ingredients, and relationis its
no different than in a human famand characteristics of the orignal
carried into the offspring,
yellow, t
and one blue. While
I fully
procedure, because of the fact that
actual mixture of the ink except in lying in close proximity to
one anoth-
^rlapping one another, the printer s color as neutralized
,te
e
we may
and
by mixture
as our
use two of each pri-
cool of each. This
way around
means one
the circle. Therefore
we
yellow leaning toward the orange as
and one toward the green as admium lemon. For the blue we can use a coyellow,
or Ifrulean or nth blue for the Tjie other
even a
warm
viridian
little
mixed
blue leaning toward the
blue leaning toward the violet
V? an ultramarine blue.
The warm red
racadmium red or vermilion and the cool an a|izarm crimson. Now, using the double 1 1 primaries with black and white, almost any hue, or tint
under die sun can be approxiTtese can run into thousands of variations
m make
and secondary
a plus and minus proposition.
color.
Color
We need greyness
it
unnecessary for the
trated
where
frontispiece
do most good Note in the of the book that the bright color has it
artist
will
been concentrated about the other color is softer ture.
end
girl's
head, and the
and more muted by
To keep forcing sets
all
intermix-
the areas toward the six
up competition which
in the '
is
vying for attention and results in
liancy for
any one
less bril-
Then there is no way to The color can be set down
area.
gain any more color.
stronger as color, but often less beautiful. Nature is
seldom one
flat
bright pure color anywhere. In
made up of variety all through, which means warm and cool variations, or colors Nature, colors are
broken or blended together. The sky blue, the ground not
The
not one
one green or brown or grey.
foliage in the distance is quite different in
color than that close by. in
is
warm and
muted
The charm of
color lies
cool variation* in the greyed or
color along with the pure
and
brilliant. If
you can put three reds together they are more beautiful than one red, and this is possible by letting the red lean to the
same
same with every
color in the
Note how the color varies
in a flower,
area. It
universe.
warm and cool within the
and how the
is
the
color
is
carried into the foliage
stem. Note the great varieties of greens an the
and
we have
same subject outdoors. This does not mean
a great array of tubes of color: simply intermixture of what we started with, toward the warm
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
This is difficult to make clear to the student and
J
g Jgraver Bflus.
k m
brilliancy
plus,
than brilliancy
oftentimes to a ch'ent. Brilliance reaches a point
He may swear at you a little, but he would [der if
of saturation beyond which there
you gave him a dull painting and
can say that sugar is at
163 .
is
part of the picture should be a part of a whole conception, with the purest and brightest concen-
spectrum colors
word "few" above because we can more latitude, if need be, than only
mated,
that k, all primary
and softness as a foil for the brilliant areas. Every
die color of
SWhen
fiuld
to subtract neutralizing
is
give you
Et either,
green.
The only way he can
color.
Bar three primaries,
a
pep up your picture
up.
olily
hi cannot mix a color that you are using out of
s
it
wish to point out that the engraver
nnnixQjire of the colors
ita
expected him to pep
its
is
no more.
We
maximum of sweetness
«
)
COLOR raw
in its
In the same way, color
state.
at its
is
maximum of brightness in its raw state. Too much raw sugar is
sickening,
something else.
it
must be balanced with
And so is color.
We can bear raw
bright color only so long* As, with edges, lies in
charm
the softness contrasted with the sharp, so in
same ries*
is
true then of each of the other
two
In their purest state the related grou|
given below- But the colors
may be
greyedj
more, and as long as they contain a commqOT gredient they will
be
related.
So the groujM
I
as follows:
color it is the bright contrasted with the softer and
greyer colors.
The greyed and more
be associated with good
will
now and
other uses, with
taste, just as it is in
then a splurge of color
to relieve the monotony.
COLOR CONTRAST For those who do not understand the meaning of pigmentary complementary color, let
which
is
farthest
removed from
it
is
by mix-
ture, or containing none of the original color*
the complement of a primary of the other two,
that
Yellow Orange
Bed Orange
yellow ( wet }un
Yellow Green
or
Green Blue Green
low into every
by mixing
or of your
s
palette,;
Plus any greyed color containing
some yellow
This produces a picture in a yellowish key
pervaded by a yellow
light.
Thus THE RED CROUP
would be a mixture
They line up as follows:
Bed undertone
Red (the strain) Red Orange
COMPLEMENT
PRIMARY
1
The same effect duced by painting
Yellow (the strain)
me point
out that the primary complement of a color color
THE YELLOW GROUP
subtle color
influence.
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 taining a like strain but farthest ture.
are those con-
Plus any greyed color
removed by mix-
containing
some red
They line up: THE BLUE GROUP
COMPLEMENT
SECONDARY
Blue Green
Red Violet (both contain blue) Red Orange ( both contain yellow
Blue Violet
Yellow Orange (both contain red
Yellow Green
Blue (the strain)
Blue undertone oS
Blue Green
influence.
^
Green Yellow Green Blue Violet
The secondary complements
more
are even
beautiful because they are related,
and not quite
Violet
Red
Violet
Plus any greyed color
at the extreme of color contrast.
containing
COLOR HARMONY OB BELATED COLOR Since ors
we know that we
some blue
The above
can relate any two col-
by mixing some of one with the other^ the col-
as applied to painting
"color key" for a picture.
aii
a.f
So you can paton
yellow, red, or blue key with a wide variety off j
ors of the spectrum fall into three groups in
each
is
which
feet.
j
your
all colors
con-
the yellow*
The
the dominant strain or inHuence througl
some of the same primary. Thus
by
you can go a stiOT
and key or influence all single color* For example, blue green ther
related to the other because each contains
taining yellow are related
Or
for other subjects
164
colors will
i
SHY
might H !
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 that
colors are
all
bmfe&reen but that they are
tempered or Influenced by blue green. The effect of
sn^refitionship of color
is
extremely
beautiful So long as the dominant color
be inked from the standard primaries, fectly possible to reproduce
it
is
or can
it is
per-
by the standard
four-color process.
harmony and beauty
follows that to produce
It
green and blue green are shades of green,
shade varying only because the proportion yellow to blue is different, since both shades tain the
same
But there are
ingredients.
raaj
more shades of green, meaning that red enters mixture.
We
may have
olive green, grey
brown
greens, sea
green— going on almost in
nitely*
These are
all
composed of the same
and blue, with various p and white. It is obvious that all
friends, yellow
of relationship of color throughout your subject
of redj black,
you have the choice of
them by (1) a common ingredient, (2) mixing into a wet undertone, (3) intermixture of the color of one area
ments of a given color do not match— we ha
into another, (4) painting the subject out of
that did not start with
relating
one
of the groups, (5) using as a palette for your subject
any three
colors
each of which
will contain
some of one of the three different primaries. Thus the three primaries
ly
state.
its
one, blue green instead of blue for
and red
violet instead of red,
for
1
own three primaries
your picture and paint the whole thing with
you will never have
One
may
contain
They are
call
to
you
will understa
worry about relating
remember is that pure colt brightened only by light itself, not white pa
"triad/'
you can use one primary with two secondary, or practically any combination you choose, so
thing to
that is why color belongs to the light. Since it
ors,
intensity in proportion to the light taken
long as they come from mixtures with the three
you chose
There are three primaries of the
to all further mixture. If
You can make a triad of secondary or tertiary col-
primaries. If
this clear:
maries only because they are the primary
number two,
would be a
or the three chosen primaries of the picture.
ingredients of the primaries.
pure raw
Thus a combination of yellow orange
them in the original p
spectrum primaries, since diey
known as "Triads." Triads are real-
a means of removing color from
cannot be inserted harmoniously into a su
and those three primaries are the parents your color. They are not to be confused wi
if
one contains yellow, another blue, and the third red, in either pure or adulterated state. This results in what is
and assortment of them, but
trum, but you chose your
may not need to be pure. You
can take almost any combination you choose,
great variety
it,
three colors all too close
we must
cut
down
its
shadow, or
brilliancy
when w|
painting
it
together in the spectrum wheel, such as blue,
picture
bad in color by using a three-color
green blue, and blue violet, you would be so limit-
it is
ed as
relationships of the color to light or shadow
to not
have any complementary
and though the
result
might
through close relationship,
it
still
contrast,
be beautiful
would appear
fabric,
and
or wish to
but scarcely enough range for a picture.
as if
it
make
were
in
proach there can be to color.
orange. This
What is meant by color shades is of vast imporits
is
light,
we
™
must cm
what it appears by where color adheres to
Principle, being color in the "aspect of
w
The shade of
the result of the proportion of
false. If
color.
an orange
the local color to
is
be
the green appear in our
This will indicate the very great variety of ap-
a color
will
We must distinguish "local** color as cqIot influenced. If we throw an orange light on 3
"all
and the color range would be very would be a beautiful combination in a
tance and should be clarified here.
it
not the fault of the color, but of value!
to reflected light
to the blue" short. It
is
in
ment and influenced by its environment, the light be cool, we would naturally add t|
ingre-
dient colors, or a color plus. For instance, yellow
the color.
166
i
COLOR SELECTION AND BACKGROUND iicolor
deliberation as to the nature of your sub-
SI I
ject.
If it !
must reach out and catch the eye with
color, especially in
then
^cotor,
of your picture should be chosen after
I color in its
competition with other
should begin with the primaries or
it
pure
state.
thcRQlor longest
ments Therefore, ,
Purity and strength stay in
when it contains fewest elewhen two colors contain the
sanffiplements, like blue, Jjlue violet,
of which contain blue* they may be
iaiJfcwithout
r
|
all
much loss
redgfcorange starts i
blue green, green, and
of brilliancy. But
when
mixing into them they tend to
neutralized,
and with enough of the com-
plementary red or orange, finally turn to browns,
Mwbrs when
mixed with
the eye
which
it
need
will
startling contrast of color,
means a play of complements. As a general rule posters, covers, and window displays can be built upon the principle of a primary really
against
its
complement, or using the secondary
complementaries. But again the subject has to do with the choice of color. Some subjects that are bright
and happy naturally
A picture
call for
bright color.
of an inmate of a concentration
camp
would hardly be painted with bright snappy color.
By understanding the mixture of color we can approach
its
We
function.
can make color enter a
key, a mood, or reflect the spirit of the task.
Know-
ing relationship , you will not paint a bright yellow
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 of complements end up as the same brown when
the effectiveness of an ad, even
not understand color believe
mxsdfrom the same
relationship will always create better response.
ot
their
palette, for
we are arriving
S equal mixture of the same yellow, red, and
hkt4$Q, in adding yellow to purple,
red plus blue plus yellow; and you
totdjmixture are
going the
greSi, for
the
same thing when you add red
sum
total is
jpluped, which adds saneeolor.
you make the
up
to
then yellow plus blue
to the
same thing and the
Therefore all your variety of color lies
it
if
those
does.
who do
A beautiful
Beautiful relationships are none the less brilliant; it is
If
simply knowing
your
client asks
raw and ugly
how
you
to arrive at brilliancy.
to follow a sketch that
in relationship,
is
make him a thumb-
a related scheme where one area partakes of another, with a single area left pure, and let nail of
him see it. The difference should convince him.
wequal mixtures of the pure or plus black or :
Naturally colors close in value will tend to merge,
;
like a
df variations.
yellows are in the high values > also tints of the
fn
Here enters the important element of simplitty.
found with tone that a few simple
make the best
'values ^
We
color acts
the
dosely allied. palette.
picture;
same way,
This
is
and tone are
the main reason for a simple
How simple it can be has been shown us
ty lie great Velasquez, :
for color
every color has a value.
red on a green of about the same value, Tlie
hover about the same low values. So, if contrast is needed, first see that there is contrast all
and then contrast in color will be easily reached. Backgrounds affording contrast to main value,
terial in front
and Zom, Sargent, and
itself,
other two, but the purples, reds, browns, and dark blues
turns out that
it
Besides color
them must be selected
of
If the contrast of
value
is
this
way.
there, the color contrast
Zorn used a vermilion, a blue black, and ayeUowochre for many of his pictures with amaz-
need not be greatly separated. Therefore a line of dark green lettering might be fine on a creamy or
This means one pure and two
tan background. Most wide expanses of color
others.
ing brilliancy.
greyed colors.
value
The
brilliancy lies in the relation-
and tone as much as
in color
wt paint bright by the number of Ihe masses and values.
colors,
insider your subject and its purpose.
should be toned
down with complement or
We do
to ^ive other color a chance.
but by
the softer the color"
To catch 167
is
"The
grey,
larger the area,
a good axiom. Avoid pri-
mary
colors for backgrounds.
colors
on your
Keep your
units of interest.
bright
}
WHAT TO DO WHEN YOUR It is
PICTURE
may be quite arresting and
pleasing because
it is
small. In fact, the smaller
the area, the brighter the color that can
be used.
not appear in their raw state within the same picture. If they are there, that
Tone two of them with
But you may find that in the final work, when the
many
so
The eye when
We have only
A
have
taking in a large area
around,
down
is tiring
It
seems to
it
learn from this that
we
if
means
shadow
comd
that the values are somewhere
something could not be
at a
member,
We
can
tlie
light
,
w
color
is right. Also
be purer and
1
re-
stronger
hi
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
We
other within the same subject, unless by soma
therefore can associate a bright area with
is
usually too
much raw
should be lighted by the
unrelated color,
thing* all
lit
raw colors into the A battery of primary and secondary colors
still
bad
warm
an-
You can't have, lighted by that.
reflection of sun-
one area shining into and
influencin|
another.
Overstatement of modeling or of values
vying with one another can completely vitiate
dies for
cool shadows on
ground. Think always of the possibility offfl
color of
brighter or different
the whole color effect. Following are
and
the blue of the sky, nor cool under planes
rather than not enough. It does not help to try to pile
lights
a hot shadow on a face that should be
and hold brilliancy* When your picture is dead or unpleasant, the
color to obtain
fault
warm
reason of reflected light and color.
greyed or muted color, or else complementary
\
sliadow than the same color appears to be m
the light. Pictures cannot hold
provide rest for the
conditions.,
bad somewhere. Remember a
color cannot
]
in such;
that the overall relationship of
is
we look get.
means
cannot be right witil the value
or neutralize the original color which
bright color the duller
for the sake ofc
value relationship under the existing
which would
those nerves* So the longer
it
"out," or that
bright green spot will develop*
you stare at a blue spot, the image will be yellow or orange. In each case it will be the completone
one place
If the subject persistently refuses to
a minute and then look at
color, or the color
to sacrifice color in
more brilliancy elsewhere.
If
mentary of the
black,
by providing suitable contrast for the brilliancy elsewhere. This means that you will
nerves the opposite color sensation is set up. Stare
a white sheet.
grey, a
standpoint and
of pure color quickly tires, and to defend the color
at a bright red spot for
the third one.
wise full of color will snap it up, both from a valua-
of each that register the different color
vibrations.
most of your trouble.
or white, or any or all of them into a subject otffl
The reason is that the color cones
in the retina of the eye are limited.
is
Sometimes introducing a neutral
sketch has been greatly enlarged, the color begins to get a bit raw.
COLOR
IN
areas fn the light. See that all three primaric
important to stress here the fact that color
in a miniature sketch
DEAD
IS
are in the light will naturally also loweT the
some reme-
of your color and
color*
Try greying all but two colors or mixing a single
thatj
vain*
make it appear muddy. See that
the lights are kept simple in relationship to simpld
two of the others, and see what happens* Also look at your subject on the
shadows, and of consistent intensity throughout are
not.
basis of a simpler tone plan, arranging
overstated or too light in value, destroying
the.
color into all but one or
pattern of light, middle tone,
cannot be done, your subject
and
it
into
See that reflected
a
mass
dark* If this
may be
too broken
shadow
as
opposed
There are a few instances where the
Try reducing your whole color scheme to three or four basic colors from which you will mix to tone.
the rest
effect of the
shadows
to
;
^
light.
up in masses, which is just as important to color as
all
lights in the
Take very bright and raw color out of
all
remedy
to intensify color at the edges
is
168
too grey. The on!/]
at fault because there
wherever
your shadows. Get your brightest colors into the
picture i
too
is
the color
else possible*
much color.
is
1
But a more common faults
THE EMOTIONAL EFFECTS OF COLOR you are planning a subject that must be Dv|d with for a long time, use the soft or tonal
c# unless the picture is quite small A large and bright picture, after the
very
newness
is
gone,
get on one's nerves. Pictures for repro^ duction in advertising and story illustration are for more or Jess momentary interest and therefore lend themselves to brighter treatment, which
hot metal and the bright yellow of a log fire. Cold is blue and grey and violet like the shadows
on
white snow. Then think whether color really affects
you or not
lends to
& '1
is
Yet even here a quiet,
scheme
may
attract
and restful attention by deviation
.the usual bright color in
company with
Wpleasing
held in a light high key and
if
in color.
|
affect
us emotionally.
others irritate,
feflv [venders
Some can
do
please
we
being almost allergic and physically to some. Reds and yel-
-
to excite. Greens, blues,
and greys, or
and purples, are more soothing and
Perhaps the quiet and restful colors of jtoture have a lot to do with resting our frayed by a vacation to the country. jrB(f|l
Combining
colors with exciting line (See Part c" t colors with restful line,
One),
becomes per-
lination
of line and color. Nature
tonal
greyed colors for the permanent (tb greys, browns, tans, greens. Her bright jwlDrg fleeting. It
iKis> insects,
reserved for flowers, skies, the glory of autumn, fruits, and is
S-things which will not be with us long, a great truth for art. then think of color as having emotion. ly color into a lively subject, a red on the
^skiis. If it
is
to
be two lovers
in the
moon-
|jet the color run to blues, greens, pinks,
H peace and
and
quiet, let the color run to ^s| Imagine Whistler's "Mother" painted in
igh|red or yellow! Stop
and think how
color
=c|^u,Thirn\ofthedarkg^
my* of a cloudy day at mid-ocean. Think of fresh
greens of spring
p H^un
and the pink of
fruit
isoms after
a long cold winter. Think of the color of ripe wheat, the full glory of the after
a
We
to balance the cool,
rain.
While either that one is enhanced
we find by the other. The play of warm against cool, then, in color is the source of great charm.
mean hot against cold
This does not
or the extremes of comple-
mentaries, but something varying the shade of a color as it covers an area or
comes next
to another
For example, an otherwise flat yellow might
have a play of delicate pinks, greens, pale orange tints, and even blues and lavenders, introduced
into
it
to give
great charm. This does not that you put colored spots all over another it
The value of the original tone must be matched and the color handled with
mean color.
closely
subtlety.
much
Too
of the complementary color will tend to mute the undercolor. If overdone, the purity of color will go and turn to brown or mud.
You can
play like colors together with wonderful effects such as warm greens with cool greens,
warm
reds
with cool reds, and so on. Keep your colors neighborly, or living close to one another
in the spectrum, and they will not vitiate one another. That is one reason the color wheel looks so
fresh
and
bright,
because the transition from one color to another is gradual
Speaking of
transition, there is
as transitional color. That colors thatnormaliy fall
is
what
is
known
obtained by placing
between two colors in the wheel at theedges between these two color areas Suppose we have then an area of red and one of rather bright yellow in the same picture and touching each other. Then the edge of the red would be painted an orange as
yellow Thus the
transition
is
it
touches the
made from one
to
the other with great beauty instead of harshness. Color offers the greatest opportunity for the creative part of you and for the expression of your individual feelings. There
you must do, I am suggesting
169
one
versa.
k no law
Think of the red gJow of
all to
need some warmth
and vice
might predominate,
area.
Psychologists tell us that different colors
My
it
and pictures for the walls are usually
Murals
jgjfeyed
soft,
Subjects generally cannot be painted side of the spectrum.
to say. what
what you can do.
OUTDOOR AND INDOOR COLOR Outdoor color
varies
from indoor color main-
ly in the basic approach. In
warm,
especially
light
is
day.
The blue sky
outdoor sunlight the
toward the end of the
shadows
reflecting into the
warm
lean to the
lights
with deep blues and purples
shadows except where such shadows are
causes them to be generally cooler than the lights.
ing
So
are unquestionably
for outdoors the effect for the
warm
most part
is
all-
warmth. Night subjects outdoors can
effect of
warm
keys with almost an
in
re
warm reflected light. Lamplight and fireli warm.
and cool shadows. Now, indoors, by studio skylight, which usually is turned to the
There are too many instances of illustra paying no attention whatever to this phase
north as the most even and constant or unchang-
color,
lights
ing light, just the opposite
is
true.
The room being
ists
whereby much
and
both to them as
is lost,
to the reader in his response. It
must
lighted by the cool blue of the sky, the lights are
remembered
and by contrast the shadows appear warm. There should be no hard and fast rules, however,
upon the reader whether he is conscious of not He has sensed for himself subconsciously
cool
in either ease, since in certain instances
dazzling sunlight
shadows
may appear
white and
quite cool against
warm
reflecting considerable
light
from
that color has a psychological
i
perhaps without ever having analyzed
you see
his studio.
We lights
and
feel it to be.
can follow the general idea that
is
not to paint a
girl
on the beach
indoor and outdoor color.
outdoor color
One Sunday
af artist
But if he remains ignorant of this tru rest of his life
making the
mistakes and not knowing it
The main
Sunlight has a crispness, not only of light
which
shadow, but of color also, in the play of warm
in
painting the color appears to be indoors*
Nor
The studio
cool.
light
with gentle mer
is soft,
would we paint her sitting indoors with cold blue shadows for no good reason. If you have an out-
of light
door subject
supplied in the local color of things. Yet ou
it
will help a great deal to
quick outdoor study for color. There
is
and shadow, and
it
pays to get out
and find out more about it. Indoor color has
make a
no better
even the grey things
like
an old weatherbea
way to sense the difference between the two. To be a good illustrator, you should get this dif-
reflected
ference of the qualities of your color into your
their
work when needed.
the same rocks outdoors in color unless
If
you know
barn get
that the subject
or incident is outdoors, you can contribute a great deal it
by the
color
you
ficial light is
means should
have;
own. Rocks indoors would never look it
it
must be un
intelligently or
it
can
q
draw or paint
become a mess. So many artists seem to a color formula, this for flesh and this for
The effect of a close-up arti-
shadow, and so on. Nothing could be more,o
very different from daylight or sun-
track.
Night light gives a strong contrast of light to shadow, and this must be carried out in color, light.
in the proper set-up of values,
with
warmth, plus the color they
and worked with
artificial light to
or even photograph.
of color from the sun, the sky,
Color can be faked, but
use.
Subjects indicative of night by all
be placed under
full
on a cloudy day.
more conviction and feeling to it if you place
outside
A
is
nothing like the color he
is
he can go on the
and cool shadows give an "outdoor effect,"
while the opposite gives one of indoors. thing
warm
It
it.
hard to prove the truth of this difference be sketching outdoors will convince the
it
tl
between outdoor and indoor co
difference
we may actually get the sun or reflection from other warm sources. So the only thing to do is to follow warm and cool color as the ground. Indoors,
efftil
Every subject has
aspect,
and
the only
its
way
own
particular
H
to achieve the
t0 g°* get ^ f*om the thing itself. If we have to
night subject
color from black-and-white photography,
and transparent shadows is most unconvincing and false. Night subjects indoors airy, light,
never do life
170
it
well until
and Nature's
color.
we have
we can
looked a
lot at
HOW TO starting the final s
#
ct>
Set to* habit
work
of setting
mfosteiy statement of
it
in a
EXPERIMENT WITH COLOR on any
in color
down
ject to this
kind of approach, since they are more often displayed against middle tone or dark than light. The outdoor billboard always has a white margin or "blanking space."
the general
very small rough,
N|dimension need be more than three or four
pes. cite
Flat tones are better for this than statement. Try out some schemes
an
in-
Stating this general effect should not more than a few minutes of work per
which
yoMml would be
rough. Even
related to the subject matter, •better to lay out three or four of these. In one
m
i
you spend a few hours in planning color, good dividends. If every artist will if
little
scheme, or all the colors containof one single color. Try one or two of
th#olor groups, as an experiment
Bthe
colors
with a
mor two areas
to
go
Try reducing
You can try one of (See Part Two), or one more
str
in pure.
might have or even with the thought that if you don't like an effect it can be subsequently changed, all tends to produce worked-ovcr and
worked
bgfitnd airy, according to the subject. fijighand detail ply jinking
of color
Hbecessary wajrof form
here
to
go
lost
is
Too much motion. You are sim-
and general
and
values,
into a lot of extra
work
Mb
guite certain
When
feet.
good from a distance, you can you have the most important is
W* a white J?*&> or surrounded bv white marSh ° U,d
ako be
fnc,ud
^ ™ your rough
a rough for a story illustration,
patches^
W^ey should be placed in approximate loca|tosimulate the effect of blocks of text or script
Be
story.
With a rough
ppa
g *m
for
a magazine ad, the
spotting of headings, text, nameplate, elements should be
for
a whole effect
fied-statement.
pointment
This
when the
m
may
much
In fact,
I
wonder if
the
better than the final?
little
You
sketch
study of the figure in Part Two. There is nothing so discouraging subject returned to color, after
you
disap-
finished thing appears,
"jleed subjects, or those running to the edgQ of |P*ge with no margins, should be approxiagainst dark tones, since the space beyond ^dge of the magazine page most often appears 1 Boughs for lithograph displays also are sub-
J
171
is
not almost
will find the charcoal
as to
have a to be "pepped up" in
you have put every
bit of brightness
you know how into it. Most of the time comes from not having planned it.
and
suggested. Thus you miniature and simpli-
alleviate
My
thought was to work out some little figures undersea, and I could have enjoyed doing any one of them for the final. You will note that I did not confine myself literally to the sketch
as possible,
pour final subject, when reproduced, is to be
I m
conception.
sim-
much
working against
would be a second development of a very first
the effect
*k>
really
the page which follows. This operation, or a further
worked out. The larger one should carrv if you will hold to your masses and
s
and you are
these are very
preliminary color roughs carried a step further than the original roughs, on
ele-
pfeMtement as
for you,
Too many of
yourself as well as your client. 1 give you a page of
your problem best. are undecided between two, take the one
#*mall rough
m
bad
fit
carries best at a distance.
out,
uninspired results.
and drawing,
Jpde which one seems to ||u
it is
in the
fe up your sketches and step back several
pays
m
grey or black, saving
little
it
sell himself to the point of real enthusiasm toward his subject by such planning, it will certainly leave its imprint his work. Starting anything i„ the nature of final work with doubt or misgivings, with curiosity as to how another approach
tonal color
Ra
mean
This
advantage of roughs. You know what
dull color is
is
the real
going to
work out and what is not. You can change your roughs to your hearts content, but be decided when you approach your final. No one can ever be sure of an effect of color until
and looked
he has set it down
at it Instructions sometimes have a
way of sounding wonderful, but when first tried out. If the
plan
to
work
about
it.
out, find out early
looking awful is
not goine
and do something &
EXPERIMENTAL COLOR ROUGHS
WORKED OUT
A
SUBJECT
WORKED OUT
IN
COLOR FROM BI.ACK.AND.WHTO COPY
Li
i.
*
*
WHAT Charm
in color springs
from several sources.
personal taste I should put the
Even ahead of
working knowledge of
color. First
and foremost
comes color relationship! which I believe has been
worked out here.
fairly well
comes along. Taste
HOW CAN WE KNOW
COLOR CHARM, AND
IS
Now
in color
personal taste
seems to develop
color must either be a to
We
bright red, yellow, is
dissociated from
among
and blue, the primaries,
says, "I like
the greys of everything else.
gin to love the pure
with white. So a
tints,
Then we
or the primaries diluted
little girl
begins to love pale
,
blue."
He
likes bright
red
girl in
ond step
in the
development of color taste begins
her pastel shades. The sec-
to include "association," or the fitting color for
of
its
pure
Any one
sense.
of the three can be color
environment. Standing alone, they are raw
ting. If it
setting,
gay
colors,
with
gay
it
takes
lies in
purpose and
environment.
I
what seems inherent bad
really lack of
brighter.
on
Charm
tone
If
is
it is
it,
pure
can't make
So grey the colors around it
until
relative brightness.
Charm may lie
not always brilliancy.
may
lie in variation,
in subtle repetition, and in reserve.
believe
about
change
it,
change the value.
in quiet unobtnisivencss. It
the appropriate, in rela-
its
it,
it,
and does not seem bright enough, you
gay, nor completely sedate, most of
and
flannel underwear.
you do. Grey
a tint of
any
So color charm
paint
we pick a suit of the same material vk
until
it
make
a sedate and somber
us find a logical place for each.
application
But we do not
it.
When you do not like a color, do something
color.
it
of
love
and hate red
nation,
But assuming that we are
tral color selection.
much
all
We like a red motor ear, but wabhoi the same red as blood. We love a red car*
individual will express himself in greyed or neu-
its
we
like in a necktie.
more
A
set-
not the color. There is nothing wrong with
nor would
on through
in line with individual characteristics,
all
color
Learn to trust your instinctive feelings
Certain color characteristics stay
like
and within a proper
our houses with the same color we like in flowers,
its
than one color.
person will
If the brightness of
seems unpleasant, the trouble lies in tie
bright color,
he
figured material, or something having
is
But suppose he
pure red with pure yellow with
in appropriateness
The boy will wear a red sweater but not
suit;
color
taste.
beautiful in a rose garden, balanced by the
now wants tweeds, tans or browns or dark blue. The girl begins to like plaids, stripes,
that
bad
That would indicate a completely undevel-
oped color
sweat-
in his
blond
tion to
indicates
a color is pleasing to us it indicates it is being seen
little
neither
simply
full-
the
life
is
while the boy continues with his
and blues, green, and blacks. But he also likes
and
environment. That
and completely dissociated.
ers;
a red
too completely
hair
strength colors.
purpose.
when
and
pinks, yellows, blues, for her dresses
ribbons
it
be-
its
surroundings. Any-
its
Suppose a person says. "I like bright red." That
by no means
as
in
that
the very foundation of good taste.
start out as children loving
because these colors get attention
logical to do,
somewhat present
thing becomes obnoxious
from extreme rawness to the more subtle graduation of color.
complement ( or close to it)
background or contain the ingredients
its
are
IT?
charm
a person,
A
Charm in color
loud blatant person
taste in
is
like
workable knowledge of the
is
hardly charming, yet a charming person may
in
have force and conviction
association of color.
in the right place.
I
bad is usually only "out of place/* In simple terms, that means it is dissociated
have noticed that persons possessed of seemingly
from and unrelated to its surroundings. The same
taste in color.
Color that
color
is
bad
can be made beautiful through relationship
either
by changing
the surroundings or
ing a slight adjustment in the color
convention,
A
in that kind of color.
174
have bad
One who dispels all dignity and who interrupts in conversation, wbo
leads a generally disorganized
by makitself.
taste in other directions invariably
life,
would
paiqt
J
.
SHOULD WE ELIMINATE BLACK FROM OUR PALETTE? believe that the
I
use of blade on the palette
Bepe# on
the craftsman's ability. There cannot a rule set up either for or against. When your
J*
picture is
reproduced, you
may be
sure that
plays an important part in the final result.
blade
used intelligently as a toning agent can be post wonderful. But the misuse of it can certainly Black
produce a dull, lifeless effect.
us understand that black theoretically presents darkness and loss of brilliancy. It thereFirst let
to belongs Still
more
to
shadow than
to light.
Rut
can be greyness in light, and used purpose is the silencing of overinsistent
there
there, its
plor,
putting
it
in reserve
and
relegating
to
it
per importance. Many fine painters have used black in this
way with
great success. There are
MgW> say blade does not fclure. That
is
true
exist in life
when speaking
and
of black as a
But lack of color, greyness, and darkness Woes exist in Nature. To say black does not exist eclor.
shadow and darkness does not exist Rail color were truly that which comes out of our would oe one Aing. But a tube color is jy
to
say that
Hjp
|eldom right in color, value, or tone. Painting lo much subordination as well as brilliancy.
I
is
The greatest danger of black in the hands of
Be novice
he makes the value with black fed adds a little color. This produces an effect fcucflike transparent color washed over a blackis
that
fcd-|hite photograph.
The
result is that all his
Shadows are black,
and the same black for everypng: The good use of black never lets the black erpower the color it is toning, or allows the color lose its identity.
There must be some color in ^shadow, even though it gets very low in tone, myjng warm colors deep in shadow is difficult
since the mixture of black
ith
fclack,
ice
a certain coldness.
ka should be added
may pro-
In that case, a burnt sien-
to the black.
However, you
Bill note in
kms if
to
our color wheel that the lowest dark fall into place without obvious change
color.
It is not
pure color theorists. I believe that in art we be free
to follow the dictates of
feeling,
and
should
our vision and
black does the job better in our estimation there is no reason for not using it. If the use of
if
it,
after reasonable experiment,
seems
to work against one, by all means
dispose of it, and
substitute anything else that will
work out
Black considered as darkness, and not color, is really the opposite of considering our white as light.
The
white and
color theorists cannot dispense with reach the needed values. If they can
produce the blacks with
color, fine;
but neverthe-
they are still using black, whether they mix it themselves by neutralizing strong colors with one another, or use it ready mixed. The one advantage less
of producing the extreme darks with color if
is
that
we can reach the low value it need not be black.
Color
if
dark enough will appear black anyway.
I do this whenever possible, but I still may use the tube black as a toning agent to lower the value of a color, for you may thus hang onto the identity of a color longer than you can by mixing it with other color.
The important thing is not how you do it, but whether you can do it. If you can reduce a color without making
it
another color, throwing a
known'color into shadow and making that
same
the sun
color in shadow, then
you can do
it is
it
look like
any way under
right.
One thing you cannot do is
use the pure strong
color as shadow, simply diluting the color with white for the area in light. This
will always keep your color false and. cheap-looking. Toning color down through eight values is certainly an important part of your equipment and has much to do with your success as a colorist.
Nature's color
is
most beautiful
if
we can but
see and understand it You go to her source to express the truth as you see it So you are a part of color also. Now let us take up other important qualities of
175
my intention here to take issue with the
good
pictures.
"
& ..r-
k-,
--V.*l,s
y.
ii -^m ..?
3*
v*;
;?s
j
;
"v
a*U
.sai
$
•
*,
,jW'
-r'\-
;
-.-V-:-
'.
J**
.-s%iM
* M' h\
.TO --r '
!>.
I-
.
.- :*i .:!
'c*
to* "mrr — :*.s.?I
2£& FJi*
BW:-.« h-7;
7#*
Si
?w
if
^
.v::S
/w
*:M
m-
.ij-j
'^
11 ^r-i. •'
:•::*
y^
-;' •
:#"• •;?>
na
•£$&
n.jLzjiihc&'i
•'
t>;
:
:?.ii
# :--:-
«%#" S^"?'" "r'rrlrT'?
W?F
3m?/ .".-.?*>*
-a
PART FOUR
THERE ARE FIVE ESSENTIALS 1*
Visualization
2.
Dramatization
3.
Characterization
4.
Arrangement
5.
Embellishment
WHAT
ILLUSTRATION?
IS
Thehe is no better way to approach any task than to have a clear understanding of what is expected of you. Just what is the need and purpose of an
the complete story without a
written message to help. This type you find
function of illustration pretation of an idea.
is
to
The
ets, displays,
make a graphic inter-
A
visualized.
abstract idea can thus
be given the semblance of
The
completely
conjunction with the picture.
transmitted to the
up
in his
own
imagination.
and
only one in the group
With
who
minds of the
illustrator's true
function
that image, or create one,
is
present
is
he
is
make
may
to
is to
lend force to the message. In this group are
most
often subjects which carry brief copy for
limiffl
reading time, such as posters, car cards,
display
advertising.
The story and picture;
the that
heing to arouse curiosity, in short, to intrigue th$ reader to find the answer in the
The
text.
"guess what" pictures.
on
built
car-
Many
advertisements
this plan, to insure the
reading of
rying through the intent and purpose of the idea.
copy. If the story were completely told
The
fail in its
illustrator
subordinates himself to such pur-
pose, yet lends his creative
skill to
carrying for-
ward that purpose. It is important young person entering the field of have the understanding that of co-operation.
his job
Most successful
whom
operation. This cess as
an
is
easily
arq the
it
migl^
purpose, and the script or text
could!
be passed up. Unfortunately,
this hap-
that every
pens too often, and when
illustration
in the conception of the picture. It may take three-
is
truly
illustrators
every possible effort to co-operate, and to those with
third
type of illustration might be called "come on" or
be able to grasp life,
function
Its
The third kind is that in which the story told; by the picture is incomplete, its obvious intention
be quite
and bring it to
in
function together as a complete unit.
others. Therefore, the is
a slogan, or some written message used
and magazine
knowledge
his
able to it
and
conjured
is
perspective,
graphic interpretation, though in the
the artist him-
or else one
artist,
of form, light, color,
dear
is
mental procedure on the part of some-
body—an author, a copywriter, or self. Some sort of a mental image
tlo
or which visualizes and carries forward a capi*
illustration.
really a
will
The second kind is that which illustrates a title,, line,
beginning, then, of every illustration
work
the whole job.
defined purpose can hardly be thought of as an
The
therm
client,
or arouse a desired response. Your
Therefore a picture without an idea or
reality.
or calendars.
depending entirely upon you to put over an iaS
idea to be interpreted
must be thoroughly
on
covers, posters using only a trade name, book jack-
Let us understand that the primary
illustrator?
or £
title, text,
one
it
does, the fault
quarters of a story to get the heroine into
make make
hero's arms, but
happy
they are dealing feel that co-
result
tion, the
of great importance to your suc-
suspense
illustrator.
THE THREE CROUPS OF ILLUSTRATION
if
the reader
is
informed
immediately through the
whole attempt of the author to is
spoiled.
the this
illustra-'i
maintain-
Your picture may be beauts
fully done,
but utterly worthless
story away.
An artist must keep this in mind and;
may be divided into three broad groups. You may be called upon to do your part in
which
any one of the groups, and you must be ready. The first kind of illustration is that which tells
In
who
"tattles"
is
gives the
if it
recognize the need of co-operation. Illustration
of
liesj
A
just as undesirable as
a
picture; person:
does. all art, all
things
work
together,
and *Sthe
essentials of telling the story pictorially
all blend
J
178
I
THE ESSENTIALS OF TELLING THE STORY
I
lad are dependent upon one another. It is hard to Rparate them completely, so wc shall cover the iern foughly at
first
and go
more
into
detail Inter.
poses or gestures, expressions and suggestion. You might get up in front of a mirror and act the thing out, just as the characters a
VISUALIZATION Visualization
!
is
building up a concrete image
from an abstract one. First get all
the facts,
Kith our
own
subject as us find
and then embellish those
action,
and purpose
let
what we arc
of
do Let us discern what the mood and r
happy?
to be. Is it
is
violence-busy, vital?
restful, relaxing,
ing,
facts
belonging to one of the three groups,
of the subject
flavor
to
imagination. After establishing our
out the point
about to
we must endeavor
Or
is it
consoling, or
to
Is it
in its
broach? Our subsequent decisions as to interpretation will depend much on what we thus determine the 'big idea" to be.
Read or get the
Bole story before you attempt anything. Find out what the characters are like, the setting, gen|ri accessories,
but setting the stage for
!
i.
\
and the costumes.
the characters to
In fact,
you
the scene, and looking
play the parts.
Can
the story
by the environment and the charac:in it, or is it something that should depend on best
told
and
res se
background? In modern
icters
come first and
getting ig things
necessitating
to
illustration the
the setting next.
busy with some tiny
little
You can
models
yet,
you want
ing as possible, and his action planned.
some
and
try to
would be in a good play or movie. The artist must be an actor at heart if he would make his characters act in his pictures.
The eye
level chosen will
the dramatic effect. Shall
much
determine
we
of
look up at them,
down on
them, or straight at them? You can juggle these characters about for space in your picture area,
making them
good design. Remember that each character should have an individual and different pose of some kind. Don't give two fit
a
characters approximately the
area in your composition
if
same amount of
you can help
Don't put your characters into the composition in uncomfortably crowded placement, or at the sides it
with a hole in the middle of the picture. The center area of your picture is the place of honor, pictorially,
and should be given
tant character
Drama to.
is
when
something you
to pose
a model.
Dramatization is
to the
most impor-
possible.
is
feel,
and
I
cannot
tell
N or would you want T
most creative on your
a chance to express your originality.
Let us realize that truly the drama of
JUIAMATIZATION
Make
it
part and
do with them when you do get them.
no
reason out the action of one character with another, and the position on the floor or a setting as
me
to find out
skeleton poses for gesture
little
you how
roughs,
out as they suggest themselves. You
not hiring it
expression,
ups" of the characters with probably only
of
it
facial
will
passive interpretation of character with
emotion on your part secure more than a passive response. Every character should be as interest-
be sooth-
somber
might do. Seldom
life
as
to observe
it is
enacted
and appreciate
we must
con-
sciously set ourselves apart as observers. can be so much a part of it as to miss it entirely.
We
;re is
)U will
usually a dramatic think
likely to |uld
be
think of.
it
out The
just
way
first
to
tell
thing
a story
we
The
think
farmer sees no drama
about what everybody else
To tell it
interesting,
differently, don't accept
perhaps
it
can be
made
but the play-
wright does. Nellie the shop girl does not know she is a character full of subtle drama, but the author does. Drama is everywhere, and it lies
.obvious thing immediately. If the story itself foot
in his routine,
in
so by
naturalness and truth
179
more than
in fancy.
STAGING YOUR SUBJECT You are director.
in the position of the motion picture
Suppose you lay out a little ground plan
of the setting where the action
Suppose
it is
taking place.
is
in a room. Place the furniture, the
you have se-
doorways, windows, and so
forth. If
lected an interior to follow,
draw the ground plan
The author or copywriter seldom gives anything to go by for dramatization, mainly
poses.
conversation,
in
to see
die next page I have laid out such a plan.
you can drop or project the
floor
plan into a
little
perspective elevation of furniture, interior, figures. It
is
fun for you,
and
hardly necessary to go into compli-
cated perspective for such little roughs.
By squar-
you will get interested enough
if
And it all makes "pull" and interest in your
it.
pictures.
CHARACTERIZATION
On
Then
Casting the play director's job,
and
an important part
is
it
must be of yours,
ble.
Sometimes you
will
to
hunt up suitable models.
same model two or
It is too
As the movie director would do, you must decide on what he would call the "camera angle." You can try the angles all around and see what
or using a different costume. This
arrangement you plan
like
when you go to
comes
an
to light. It
is
a good
the next movie to watch the
and
by just changing from blonde
it is
easy to
three times in the
subject
will until
is
costly in the long run* If you contin
show good characterization it will lend vari your work. In the end it will keep you going wK your competitor is
all
through. I never beli
make a matron out of an eighteen-yejfl by painting streaks of grey in her
trying to
you, and the placement of figures, the action and
Characterization for the most part is getting
the
same
alter. If
you are going
sort of dramatization
you are
just sitting there following the
same;]
the lazy
old
Motion pictures are in a very high sense
use I
to bruneJ
pattern compositions constantly changing before
gestures.
Y«
your model to suit the character in your story
rial.
around at
too.
change the character
the
get. Shift things
of the^
try to visualize the characters as vividly as possi-
ing off the floor you can locate the units or mate-
you
thej
and a hint of the setting. But feB
fireplace, or
a face from a certain angle.
character.
gers the cocktail glass—anything but stiff-n
place your figures in likely spots.
you want
main
A man holds a cigarette lighter for the lady,
real
point Perhaps you want a hit of the
interest in the
haps she registers
of that. Then, to get the "feel" of the action,
You can turn the ground plan about for a view-
I
girl
What
able facts.
really look like?
does an old lady's bony
How does she do her hair?
are the planes in the jowls of an old hard-fistedl
and constantly looking at the faces you may miss the whole good it can do you as an illustrator.
gambler? You cannot fake these things, and t
You may be
character in an old shoe, things spread out
story
sure the director would not
characters stand
cue to recite
stiffly
about as
their lines.
if
tell
let his
of the
natural-
ness that the actors display in their roles
is
much when
table— in
waiting for a
The ease and
so
character
half
Watch the main
the accessories
fact, all
life
that is
they are right There can
going on in your subject.
is
and worn, the
tired
gest
what the other
anything but a fashion plate*
characters are doing as
If
clothes can
sug-
Don't be afraid of creases and wri
the battle in making good motion pictures.
it.
may tell a
Make them fall
character goes along in his part. Characters can
urally into place, stressing the form more than
be grouped into units of pattern
garment Watch
position.
Some
sort of
certain characters
by
for
your com-
leading through other characters,
by
by
its
edges,
background wherJ
defined
by
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.
her gloves or daubing on some
important.
lipstick,,
fl
ever possible so that the contour is not com;
lines
color, or
and found"
to interlace the figure with
emphasis may be placed on contrast of value,
for "lost
or per-
180
Do
not
make
the J
all figures
eqd
THUMBNAIL" SETTINGS
l/T>f?AW 4b
AJM4LL CftOUNO PLAN
PLAC6. FtcTOPrex
.
AND FURNITURE,
A/IMPLE AND PRACTICAL WAYTD VI/OALIZE A /OWEa. fTCAKfQHTYOO /r^TED WITH A /ENXE OF REALITY. VOL) CAN LAY OUT A JHtt W.TH
7HI/I_f
PLACEMENT/ AND RCOKE ACTION, AND VIEW
181
IT
W PROM ANY
ANCL£E_
LOC.CAL
HOW TO
Above
GET SUGGESTIONS FROM CLIPPINGS
n typical photographic interior as
is
ing interiors with figures
it
practice in dramatization
magazines on the market. You
figures into
transparent tissue paper.
The
will
need a pad of
object here
is
an
excellent forml
and
in the setting*
is
might be clipped from any one of a number of
an environment with respect
to pe
spective and lighting. Establish a lighting onyj
to
help you visualize a situation on the tracingpapcr.
rough suggestions of the figures by studying
Von can move the tracing paper about and, allow-
lighting of the photo.
ing for perspective, thus if
you wish.
make rial,
I
a complete
course, that
is
one information and ideas as
Tf
as a
earlier
The point the clipping should not be a "swipe. "Draw-
source of information and suggestion. is
that
you have
imagination,
to interior decorait
and set the
camera! \e\
apparent there.
published to give
should be no objection to using
tl
in turn put sw
eye level to be consistent with the eye
you
copy of any copyrighted mate-
but since the magazine
tion, there
lighting on your model,
move the furniture about
do not suggest, of
You can
in
difficulty is
in
placing figures
suggested that you study
!
n
book Figure Drawing for All It's Wort have tried to give just this t\pe( I
which
information.
182
it
FIGURES SUGGESTED
IP-'
",
'•
£*«'*" '
*
183
ON TRACING
PAPER
PLANNING DRAMATIC ACTION AND POSES
'
•'I^Mto
^
184
H
ESTABLISH THE ACTION BEFORE HIRING
i
nil
l
\
i
i
«^
A MODEL
je^
THE ESSENTIAL ARRANGEMENT The one advantage
The manner in which a picture is conceived will vary with every artist. In advertising commissions the subject often
comes
already visualized
by an artist in connection with
to
men
the agency. These
you
in layout form,
for the
most part are
pattern arrangement
so
much
making an
in
that
first is
may s You get
it
of the rest of the picture.
from these abstractions as you
them
try
suggest that you use a figure in a dark
of an idea. As a general rule, however, they are
the pattern
more
placement and mass, and the
in
detail or final interpretation of the idea
you.
is
left to
The purpose of the layout or sketch has been
own client
to visualize the idea generally for their
a "go ahead'' from him before going into
to obtain
expensive art costs. Also the layout covers the entire ad, indicating all
main copy and placement of
units to appear. Considerable latitude
allowed as
to poses, clothing, accessories, types,
and dramatization. So the work here applies from the
own
your
may be
first
I
am
laying out
rough idea, whether
or whether turned over to
you
to
be
Arrangement as discussed here can take place only after the idea becomes definite, supported
You
begin to see
will
how
all
the essentials are
directed toward a single purpose. It
have the poses
form.
The
upon. At
to
is
all
important
well conceived in rough
fairly
setting, if any,
this early stage
should also be decided
we begin to
pattern and tonal arrangement.
arrangement of or
hilt,
design.
what
Any
not, so long as
to certain material or
copy should
Some
think about
ment.
May
say that the reason for the
I
thing
is
start
with abstract
how you arrive at good design. You differently
each time; the important
the conception of your picture.
The
ar-
rangement and design should be considered carefully.
There is no law governing arrangement; you
must simply do what you think looks best trying several arrangements
arrangement in our everyday
because
not sufficiently considered by
artist.
it is
possible.
a
He has a thing and copies it and puts
thing around
can do at
it
and
a
calls it
job. Admittin
least the best
you
can,
first
after
and adhere
to
The most important element
as
much
in
int
your work*
the thing that moves you ahead fastest,
ception of your subjects, and
it is
while to give
deserves.
it
the time
it
exercise your inventive faculty truly excel.
The more
jobs
if
is
the
i
therefore WJ
You
you woulde
you leave
it
out of
longer the journey.
Thumb through a magazine. Put a check oat
and with a piece
seem
to appeal to else.
you
Now
go
of tracing paper rough
mass arrangement evident
in the ones
you
You
are really subconsciously partial to g sign and arrangement, and so is everybody a
Design nary.
we
is
We all
do. Often design
are days
as
to
way to get away from the think we can't design, but so
the one
accidental.
I like to start
it
only
if
placement of your material.
and selecting the one
you feel is most suitable. Personally, with a design
la
this essential
artists start
patterns, adjusting the figure to the pattern. It
it
alway?
worked out in miniature roughs for tonal
including photos or anything
at
int
subject not limited in the beg
with them] while some even
may go
in the sub
an
it is
illustrations that
little
go
su
shadow, a windtf
figures, or
with the figures and action, and develop a setting
matters
may
it
The pattern may even suggest the lighting, a
facts as will lend themselves pictorially.
interdependent with one another and are
to
some accessory, or some unit
It
subjects are not given latitude in this respect^
carried forward.
by such
of a certain shape,
is
i
out..(
example* you have a dark pattern here.
exceptionally skilled in the general presentation
interested
absfcj
comes by seizing uponJ
We seem to get ^hunches/' and
when we
design better. All
adapt the units which we have to work wi
pleasingly as possible*
186
we can
u
ARRANGEMENTS BASED ON ONE OF THE PREVIOUS ROUGHS irw •** -1
-
-"'
.t
-
--
.
"*.33-:.-
*
ir
WMNCT FROM
fftyiNc?
KRE
the.
rr
rfr 'm
m rn r 'i^ n
THIt
r
ifiw
»i 'i*l' li
''' i
--«
'
-
'
,,—
:
-
,
prey lot./ s ROUGH.
•
.-
.a*.
.
-
.
i
TURNING THE FIGURE* AROUND AS EXPERIMENT.
fktuiie; cioi'e up? »mprov£0.
NO OOUBT THAT THE CONCEPTION *A/U©JECT 1/ OF CaEATER IMPORTANCE **< ANYTHING ELJE. IT PAY/ T0 XPEND CONIf
OVER ROUGH* UNTIL, You KEL THAT YOU H^V£ AQOOD ARRANGEMENT •WAN EFFECTIVE DRAMATISATION OF WE fejeCT. IF YOU CAN /HOW THE PACE ITU TTER TO DO JO, TRY TO WE&VE THE LIGHT, .TERaPLE TIME,
187
GE/T eeCAU/E OF DESIGN,
/"TORY O0NCEHTRffr£P
4
GREY AN p PARK AREA* TOGETHER SO THAT THE PICTURE 1/ BALANCED AND /POTTED INTERE/TINCLY. THE/E ROUGH/ ARE PROM THE LAYOUT PAD AND JHOW HOW ONE CAN EXPERUVTENT WITH PO/EJ, IT WOULD NOW 0E MUCH EA/IERTO PROCEED WITH THE MODEU HAVING A CLEAR APPROACH IN NVlND. THE
FIR/TROUGH
1/
/ELDOM JU/T PUC7WT,
EMBELLISHMENT Embellishment as applied here forward
the carrying
is
completion of the preliminary material
to
you have worked
out.
You now seek
to give
your
conception actuality. For your figures, you will
go
good drawing, and the
to life for character,
things
which lend
to real form.
go
of form,
For the
effects of light
and shadow you should look first at existing light and shadow. Set up your image in real life as far as possible. The mental image you have he en playing with must be if
you do
the thing
made to
is
consistent with truth
have that "quality of
existence" without which your suffer. It
is
anywhere
no
approach
work
is
bound
subjects
medium, or even a
seem
its
own
it.
That
tenderly
this
is
book
I
rut,
and ever new and
Coupled with the variety
of
lieve
it is
of
variety,
light,
tant. I
do not
much
stand that the
tech-
and sharp. You have the strong
artist
work with
but think.
If
in the
you
way
Make
find yourself
medium only, doing the same
get
much we will
really so
of approach
if
working
things with
in it
film. I
his owi
is
so
impor-
man who knew
but cannot undfl
field
approach
may be sometbhij
very simple lighting to preserve the
it's
is
bs
commercial
hard
for those fellows not to wart
dozen
lights. is
Its even harder'
not worth a
damn toth;
form-conscious, and that those
painting depends upon.
possibilities of line treatment, tone treatment, or
to
who
cam-
lights
break up the very beauty that a good drawing or
You
schemes, and soft related schemes. You have the
is
succ^
to the
depend on the
own
explain that such copy
have pure and intense color schemes, tonal color
a combination of the two. There
letting
film. I like the pal
argue with a
artist's
to insert half a
reflected
lighting of the shadows.
like to
his business in his
or the airy luminosity of the higher relation-
ships, with
them by
because the right lighting
form, and
little
35 mm.
pictures rather than to
of values, different kinds of light, such as soft, dif-
shadow, with
explaining
best for the artist to learn to take
else. I prefer
intensities of light to
and
personally prefer the miniature type of
nique at your disposal, you have different keys
fused, or brilliant
you.
chromatic or color-corrected types of
inviting.
mediums and
rouri,
do better work. Let them art
era, using the regular
a variety of approach. You can keep
your work out of a
wiLh
of this effort,
and another with power and impact.
to
then
in expressing
tells
it
them know how important they are
Some
much
what
get enthusiastic support from
charm of embellishment.
reason for devoting so
and you ha™
intelligently
work for you
it
whffl
out the idea before you click the shutter. Youca
much greater who can change mood to his work, treat one thing
my main
subject,
iug them the preliminary roughs
artist is so
pace, give a
That
the
lies
decided upon
you can get your models interested by shflffl
If
should be treated delicately and others with great
Herein
You can make
of your simply accepting
possi-
technique.
It isoira
your thoughts, rather than the other way
to call for a specific
specific
not believe yora
camera and work
get out your
to
of course, an individual prob-
lem, and should be approached for
vitality.
do with a
the story, they will is,
to spenq
spent some good thought over your roughs,
else.
Some
like to
of
it so.
fairly well
you are
you would
enough
something narrowly limited.
is
limited by keeping
When
is
Do
a lifetime of experiment.
easier to fake the truth in art than
Every subject
bilities.
things at your disposal. There
For the tonal qualities
reality.
to explore the wealth
you badly need
day,
all
every effort that
when one face
every
.
is
humanly possible!
the form you are going to paint,
in the picture
one
*
Two
you
take.
light shines lights
Form
is
registered
upon the same area
trjffl
or
sur-
on the same area are bound
destroy the solidity of the planes.
188
registered
1
USING THE CAMERA
TO OBTAIN WORKING MATERIAL
Anyone working with a camera experiences
disappointment
"certain
at
looked so beautiful while
(hat
Much
tyesecs
of the loss
Much,
it.
not see in the
veas do the
you were taking
it
too,
is
is
color
lost
and
value* as the
because the camera
same proportions
gone except
in the case of a stere-
camera. Objects diminish in size by
ticon
on of distance
much more
acutely in the lens
eye. This will give a feeling of distor-
than to the tion,
especially
close
range.
if
The
(he subject has
m quite
been taken
at
values you get are the res all of
qualities of the light
jhe actinic
different
and
film
and may
from the way you saw them,
appeared so colorful and brilliant ve a way of going quite dead. Then there is the that
ings
verpowering array of sharp detail, e
softness as
which has not
seen by the eve.
For the foregoing reasons
idlings
for a variety of
at is
onfd
why your
it
is
much to
one of
ktone,
small pattern arrangements
ition. If itist
ipear
middle tone, a
on the model according the head
dark
in
gainst light,
to
to the
your com-
to be against dark, put
your copy. The values
in a
it
a Indit
und and then pose the figure against
tin's,
The
since they
off the figure.
it r
A
some manner of
re-
good
for
fluorescent lights are
do not make sharp
cast .shadow
within the shadow, which does not happen in nature. If
by
your subject
is
supposed
means go outdoors
all
up perfect values and
be Outdoors,
to
to take
it.
Nature
sets
relationships.
Clippings seldom work out from a lighting and value relationship when von are trying to asso-
from one clipping
into another.
the
main reason
for securing
your
whenever possible. Starting with a distil jet lighting,
own
"props"
which has
a clip
you can always adjust the light-
ing in your photos to correspond
when you
pre-
pare further material that must appear along with the material in the clip.
Get the
costume
right
if
possible. Material
very hard to fake, especially ably already know. If
it is
folds, as
so that you won't have
to
is
you prob-
not possible, get a cosas
you can, at least
fake the material, form,
wonderful practice in pencil,
own
to take
some
interiors,
and then introduce
into the subject.
Study the
figures
interior
For its light tug and then try to suggest a consistent
being
"fill
will
and the chances arc slim that two clips have anything like the same lighting. This Es
of your
in"
lower intensity can then be thrown on the keeping it low enough to hold the mass of
of Sgure,
light, daylight, or
flected light.
draw them
to throw a strong light on a white back-
keep that light
"fill hi."
It is
y you can get good copy without fogging your
pareful to
a
The pattern of the costume can be changed more easily than the forms.
or as looking into the light, about the only
jjjrtive is
indoor photography to lighten your shadows with
or drape.
or light against dark.
show some tiling against
usually necessary in
it is
tume as near to what you need
head
The same values may appear dark
you intend to ce,
is
come
different according to the value they are
against.
If
light tone, a
and a black. Pin up such drapes behind
edges
t
and-white line drawing,
for a black-
picture,
value rather than color,
model so that the right values
r
and shadow, as for instance some copy
choose
be well worked out beforehand. Get the
drape,
Unless you want very intense contrast of light
Lighting must be consistent throughout a good
back of and around your model laid out m your toner plan. Have on hand a very fit
than the white of your printing paper.
better,
of values in
ind
them back, since you cannot secure such brilliancy anyhow, because nolhing can be lighter
ciate the materia]
making black-and-white copy,
en
Strong lights placed too close to the model "burn" your negative to dead white in the print. Move
perspeo
find
two human eyes. The three-dimen-
effect is
srortat
a .subject
quite different in the black-and-white
ars foto.
when
times
the darker values of the figure against the light.
lighting
on the
"feel" of
what happens
figures. In this
nite environment
lighting
1S9
way you
to figures set into
get the
a
defi-
under prescribed conditions of
and space.
THE ILLUSTRATOR'S SCALING SCREEN Here
is
who
a simple prop for the illustrator
draws from photos. tremendous help
in
draw
easy to build and of
It is
drawing
in
shot. It
you can
also
pings to malce the figure the right proportion
can be made of
For your information, the average chair
painted white. Use thin black lines to mark off the
eighteen inches off the
square feet as shown in the
of our blocks. Table height
Such a
screen will also provide a good surface over which
to thirty inches, or
drapes can be thrown or onto which they can be
high.
thumbtacked. Then the drapes
blocks and a
down and an
may be
taken
automatically scaled photograph
position.
As
we know,
lated to an eye level.
com-
first,
by turning one of the
to find the line to
is
on the side screen that appears
it, it.
Perspective, Part
I. )
It
must be
(
clear that the
ists
Many
all
This will be clear
to vou
proportion and measuremeS of spaces
you
and
contour. The
in that, though
With some
ness,
are doing the drawing and
still
and therefore
be wise
artists
it
to
has a place here.
are fairly good carpenters, buB yourself,
it
purposes about a studio, such as shutting
copy would cut across the
directly
figure at the shoulders,
then set the camera at the line at the level of her
The
The screen
serves other off
when you are paint model. The drawings on the tM
background from a
page should
and make sure it cuts all figures of your
would
have one made, which can be don
same distance up on the figure from the ground level. So if you know the horizon of your
normal
m
creatti
quite reasonably.
or at the
dffl
train
same time. You can use it
you cannot build such a screen
similar figures stand-
to
and other devices. But with the scalij
you
Most
art-
there
artists
ing on the same ground plane in the same place,
shoulders,
Half
as I haj
out undermining your natural ability or
continue to disregard the simple rule that the
horizon must cut across
and one
and some unfortunately never are able torn Hence all the artificial means of pantagraphs,
ing yourself at the
cannot be set into the same picture with-
five
squares
easily, others take considerable time to| get
ma-
levels
about
relative sizes.
screen,
from two photographs having different eye
out adjustment and appear correct.
and
See
terial
twenty-eight
nothing so good as training your eyes
projectors,
level,
then set your camera up to a similar height.
is
and a statement
comes
simpler
your rough or copy determines an eye
drawing
tances
be most nearly horizontal. If
six.
scaling screen will help
end wings toward the camera. The eye level will be on a line where the lines of the side wing conIt is
about
about two and a half
girl is
man
is
one and one half
you understand perspective;
if
All
You can always determine
verge to a point. (See Drawing.)
standing
floor, or
seat
already warned you, without that knowledge p are only handicapping your future opportuniti
every figure should be re-
the eye level in your photo
A
only
taken of the subject. This gives you at once complete information for setting a figure into a
clarify the use of this screen.
scaling screen amounts to about the same
composition relatively. Should a figure be sitting
thing as squaring off a study for enlargement,
at a certain distance beneath the horizon, then all
all artists
sitting figures
would bear the same
relation to
The squared-off screen now gives you tive size of
The
squares
may be
as
ty
to a large extent,
for
vM
perhaps might have used such short cuts also, had
it
they been available.
The main
let the
camera habituate us
divided on the photo, and you can lay out a set
effort.
We
of squares on your drawing by which you can
eventually lose
still
art began,
the preliminary studies of the Old Masters,
easy to determine the proportion of one part to another.
have been doing since
have substituted the photo,
it.
the rela-
your subject throughout, making
|
be within such an environment.
beaver board or any light wallboard that can be
illustration.
measure app
mately the dimensions of material in your
Build the screen in three wings or four, at a height
above the average camera
the figure proportionately. Since these
laid out in feet,
good proportion.
]
'
further sub-
190
must it.
thing
is
not
Id
to the least possib*
exercise our drawing sense
or
CAMERA DISTORTION
PWIORTION U/UL1INO FROMCAtlEftA 6E.NC TOO ClOflE. FOCAL DEPTH MUCH TOO SHOOT. MOIC flZeoTHANO.
>
n
WMY
CAMERA MOVED WAY BACH *NO, UBj EC T ENLARceO. "ANBJWtRCKfiPriN/flMEPOJ-JTiON.
/h^p ER; le;/ hair^no modeling of
BETTER?
torm appear/' flatter".
TH C "CLO/EUP"cAMeRA Dl^TORTJ".
AYCU3JB H4
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 distortion I have given you may seem a bit exaggerated
and obvious. But the
way we
be done
assure
I
see things in
in
you
life,
compared
that
there
much
is
•
to
yet to
lenses. Since the miniature
camera
camera has such a proportionately large relation to the pictorial film area,
cuts
it
lens in
down dis-
But the examples here were taken
tortion greatly.
with the best of cameras and lenses of that type, proving distortion is still possible when working too close. There
which
is
photo
distortion in the average
is
not obvious, but which,
if
followed too
photographic look to your
closely, gives that
emotional qualities, must be present to make
not register as squares in your photo, that distortion exists
and
proves
that this distortion
much
affecting the subject as
it
as the lines
is
on the
Again
the young artist that art picture hanging in a tion.
Art
in one
art
is
around
directly
soundest approach
from
life will
always be the
artistically, for
it
takes on a
or a private colleoJ
of individual concept. The
has those qualities. Art
why
is
is
it
the mechanical
I
behind
it,
into ilj
not out in front.
have pointed out these
faults of the camera
here and elsewhere so that you
them and recognize them. its
produciii|
Art must flow through the camera, not
starts
can
not imitatiof
camera can never become a means of
limitations, for there
I
is
may
do not
watch
quarrel wffl
no question
But I do
fi|
that it!
insist that
since;
these limitations exist, they should be made known to the student. Photographs cannot fl
quality of proportion
considered an easy
single lens of
ship, nor in
you never can get with the a camera. I do not know enough
to impress upon
and cheapest commercial drawing
if it
on
us, for art is the expression,
nor duplication, and that
art.
go
not necessarily a framed
museum
way or another,
smallest
be
is all
want
I
a marvelous instrument.
scaling screen.
Drawing
we could be content just to
clicking shutters.
When the squares in your scaling screen do
work.
Otherwise
art.
it
way
out of good draftsman's
any sense a substitution
for
it.
The
tance from the line diminish faster or get smaller
camera should be a part of your equipment, (The projector is another matter, and I hesitate to en
than they do in the same distance from the eye.
dorse
about optics
to explain
why
things at a short dis-
There are such things as telescopic
lenses,
wide-
angle lenses, and so forth, that are more nearly
same degree, although I can dispute its value when exact and minute duplica tion of copy becomes necessary. But when ill it
in the
true in this respect, but
merely a crutch, with so
much
fect instruments as
individuality at stake t I
would prefer
not train them to it is
when we have such perour own eyes, why should we
do the work in every case where
we must
catch
movement, expressions, or poses too
diffi-
possible? I grant that at times
fast
cult to hold long
enough
to draw.
Then
let
us
use the camera. I wish to
taken from
make life, it
You may be sure every figure will photograph; somewhat shorter and thicker through the middle-; than it really is. The proportion of the head add shoulders at one end of the body and the legs ad
it is
case of a standing figure unless at considerab
perfect duplication of
not perfect
would not be art. So a photo on the part of the it still
cannot be construed as
must play some
art.
e
only a record of an instant. For
Without a well-developed
Individual crea-
part; organization
truly in
more distance than we usually set the camera Always remember that the camera is totally i partial to the good and bad in front of it, with a selection or discrimination. The photograph this
valuab
it is
ability to
draw
can copy distortion without realizing it, a unconsciously add a photographic look vM
and
design, accentuation and subordination, the qualof tone
photograph
must not be assumed that life. It is
ftj
thrown out the window.
feet at the other will not
eye sees were possible,
ities
to see
was
from the standpoint of contour, perspective, or tonal value. If a perfect duplication of what the
tiveness
loss of
clear that because a photo
a perfect interpretation of
artist
potential
and individual technique, and the
breaks
194
down other good
qualities.
If
CAMERA DRAMATICS
By the time you are ready for the aid of the jjjttfiiera
in
dramatic interpretation you have given
arary other consideration to
what you want. You
lave an action or gesture in
mind, or a particular
facial
expression.
glass of beer
your subject You
ikve a fairly clear idea of
is
ing over a
getting a
two extremes. Either
from the dramatic schools. That is unwritten law of naturalness. Only natural-
would
the
and another
can carry conviction, If tins
factor.
screen,
it is
principle
and
is
it
marks the best
they
true on the stage or
The
also true in illustration.
is
call it in
action.
a good rule in dramatics that the actor
are on the stage.
you become
•unconscious
of yourself. If the actor looks at you,
a certain self-consciousness, something
being caught looking into a
like
rcaction is Ifcati
window
of a
where you do not normally belong. Your
place
you.
lost in the story, totally
that the actor
is
acting at you radier
being a part of a story wholly separate from So let us
ejthe
make a rule.
If the reader is
"stiffness,"
So the next law of good dramatics
The only
tension present
stiff
only
utter
must
arise
People
story.
when dead or frightened. Hence
erence to a corpse as a
pose "straight straight line
is
all
stiff,"
"stiff."
over"— that
or the slang ref-
Never is,
let
a model
with head in a
on shoulders that make a
line of vision,
the
T with her
no bending of spine, or turning of
and with the weight resting equally on both feet. If you have not told her the drama you want, hips,
that
is
invariably
what she
will do.
shoulder, twist her, turn a hip, lier as
Drop a
bend a knee, get
relaxed as possible. Sitting poses straight
not part
in a chair with feet and knees together and arms
dramatic action, never let a character look
doing the same thing on each side can be insufferably stiff. It's up to you to get that quality out
at him.
directly
Now we take the other extreme. Suppose we hrant to make a direct appeal to the observer. In that
analyzed as
expression of "being scared
The invisible "fourth wall"
I the play; you feel
are
other
players from audience lends reality
^Separating
may be
else.
from the emotional situation in the
never look at the audience as long as there
when
something
is
This actually means rigidity of body, face, and
relaxation.
any action going on, especially
actors
upon a convincing interpretabad manners are the basis of the
Underacting
is
life
are based
be carried completely through the the whole pose and not expressed just by "mugging," as they
not one set of manners for
is
for the stage, screen, or illustration;
story, then that
hjmlion pictures.
^'should
all
There
action or
king faces, or
There
do.
tion of life. If
function should ?lgure in
good
ply to think of what he would do himself or what any normal intelligent and well-bred person
good acting
ness
just not natural or in
is
and the response could be negative. To get the most telling dramatic effect, one has sim-
at
We may borrow the first principle of
matic sense.
matter, or exploding with joy
trivial
taste,
grotesque with her dra-
little
a
worse than not enough. Agoniz-
is
over a toothpaste,
ihehas difficulty in acting at all, or is inclined to overact,
may be handing you
from a poster, a charity appeal might
Overacting
Now let us talk about the actual
usually one of
girl
have a heacl looking at you, saying, "Will you do your part?" This is called "direct" appeal.
dramatic interpretation.
A model
A pretty
demanded.
case the reverse
directly
at you,
true.
The
character looks
Act
Montgomery
Sam Wants You,"
are.
It
Therefore this principle
fVertising
when
is
used
I
in ad-
character-to-reader attention
out as you would on the stage or as director, for that
Otherwise you
paint,
was tremendously
effective*
the reason for planning
is
will transmit
what you such
if
really
stiffness to
your work, and no matter how well you draw and
Flagg's poster
the finger as well as the
^es pointed straight at you.
it
you were a
the appeal in mind. Everybody
Jwmembers James
is
poses in advance.
with the intention of making you
self-conscious to
'Uncle
is
of the model, and that
is,
19*
nobody
will forgive
you
for
it.
Believe me,
know. Pay especial attention to the hands make :
them express the emotion of the face, make them belong in some way to the story.
PART FIVE
LOGICAL METHOD
i
.
1.
Evolve interesting questions
2.
Answer them
3.
Base
on
effectively
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, DRAW NO FAC'AL CKPRE//ION GOB/ RIffHT AACX TO THC CRl/PAGCENT/OF PARK ARE EVIDENT WHEREVER TWE FORM 1/ ffltt PEEPLY RCCE//EO A/ * ROUND THE EYELIDS AND CORNER/, AROUHP JRW PRINCIPLE '-ONCE IT J/ FORM JN THE*A/FeCTOF THi r
IT
I
AMOUNT/ TO CAREFUL DRAWJNC OF THE HALF TONE
BOW /HAPE/ THft /HAPfi ITJE LF MU/T BE RIGHT THOUCH IT 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 CKtASBS. NO TWO FACE/ AftE ALIKE CM PORM/ ANO THERE POae THE T©MAL SHAPES OR PLANES OFlHB FORM ILL 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
THE NOSTRILS,
LIP/,
W
MANUFACTURING CONVINCING EMOTION Emotional gesture
a very subtle and individ-
is
you are not
ual thing. It stands to reason that
going to be on hand to catch the genuine unconscious
and unaffected emotion very
something that for the most part
manufactured to
it
is
going to be
is
You
suit the occasion.
that a great deal of
often. It
will find
must come from yourself,
working through the model and the camera. This is
a technique used by
tors. I find
out that
many motion
picture direc-
you are not self-conscious
if
in
acting things out for the model, she in turn will not be as self-conscious in acting for you. all,
do not
models*
in
any way ridicule or
efforts. If
transmitting the
they do not at
mood and
Above
belittle
your
succeed in
first
expression,
encouragingly that they "almost have
tell
it."
them
situation,
never about what
do
it
never
a simple "Raise your eyebrows, please." If
you have a radio or phonograph about,
have some music going akin to the mood you want. You can also set the emotional tempo by to
reading the copy or story aloud.
her read
it
a part of
it.
A
to you.
She then
so
her smile
cigarette, offer her one,
is expression
her son*
tell
whom™
drama and characterization. You can't
at her with a It
"dead pan" face and
tell
makes the difference between an
and one with
is
who
it.
average
But
your picture sees a
will look at
smilr.
nothing more than form
and shadow on
light, halftone,
to
Tec
that indefinable spark.
an expression
her
n
the
ttffl
face, human
I
and expressive. Imagination
and the
spirit
is
contagious,
mood
behind a picture
is
is
contagkm
em
ninety per
You can be alert for drama aDra Watch what people do, watch their hanfl eyes and mouths, their unconscious pns«.
of the picture.
amazing, the changes that can come
It is
single face,
and how expressions become
ciated with thoughts. lot
into!
It is
not a bad plan
to
of self -posed expressions in a mirror,
shoot them with your camera. Find out
makes one expression dour, another
wtnl
elated,
and another frightened. All is a subtfj movement of the facial forms and lines. Try horrified,
becomes
to
that does not
draw a face
seem
to
be
thi
something.
giggly nervous temperament
tic of
create
If possible, let
instinctively
know
your paints and materials, through
a try
her
walk away from your cam-
The main thing is to transmit a mood and it can be easily done. You are really the udot and the model is the medium, just as much a
their
It is
to
is
thing funny.
with your own, saying,
to her daughter/'
that case
Get a
time.
If
"You arc more anxious, more alarmed— you are Mrs. Potter of the story, wondering and fearing
what has happened
less.
you want
they are doing with their features* the eyebrows lifted
do in
era, not letting
Repeat
the performance again, talking about the feeling
vou have about the
to
many young
girls,
and
is
this
is
Expression
characteris-
the hardest
ing from
very hard to capture when
is
life,
but
you can keep the
if
you can get
sitter
inj
mood to combat to catch dramatic expression. Once you let the giggling start, it gets worse. The best way to make them snap out of it is to say:
spired
"Now look,
Miss So-and-so,
model, she can watch the progress of the painti
ness. It's a
matter of bread and butter, a job for
this
is
body
isn't
time to
start all
else. Let's get this
interested
me
no funny busi-
so
when
I
am working
I have
it.
large mirror on casters that can be set
up beh
directly from
t
This eliminates the tediousness of the long
vou and one for me, I picked you from a long list of models because I think you have what it takes, and there
and
of sitting
still.
This seems especially to
men, and elderly people who
interest]
like to sit anywtjr
but at the same time like to have something
over with some-
occupy them.
thing right. Forget the
Perhaps
giggles."
The other type, who cannot smile genuinely when it is needed, is another problem. Nothing falls so flat as an artificial smile. The t>est thing
this
may
you are important
help to convince you
to
your picture. You
relation to every part of your work. It result of
200
many
things,
and most
of
are
m
the net
is
them
tfatj
are yo
EXPRESSIONS TELL THE STORY
/INCE DRAWING EXPRE/J-
'ON
1/
REALLY CAREFULLY
RENDERING THE FORM, DON'T ATTEMPT TO FAKE IT
FIRJT WITH
IT.
CATCH
A CAM.ERA.
LOSS AND GAIN IN BACKGROUNDS Often the question comes up as
background
not a
is
to
whether or
advisable. Since this concerns
The
A distinct
There arc good argument. on both sides of the 1
*
being mostly
in
not.
subject
A
thing
we
should look
when a background \$ better and when For tin? best answer we must look to the
lies. If
if
no thought
white background, provided that background
plans,
is
we
a tremendous advantage. White space
on a page than tone.
It
.so
that
it
can be seen
easily.
that
these-
already fl
is
to sap
be negative on
a
basic
On
is
the next page the
punch and
often
at the top distinctly loses in
makes
a de-
being placed against a white background, light
White space It is
is
m itself, the subject drops the lower
blacks for contrast.
often
should say
I
that the
head has about four times the punch when
not often
on a magazine page* either for story
vital!
the much-needed value scale, having no
important material
referred to as "breathing space/
given
is
oq
is
sign of white area to support other design in the pictorial unit Jt isolates the
be
recall that the greatest vitality
in llie four basic tones.
telling
may
background. Going back to our four
kept simple and uncluttered by other units, has
more
out
what we arc cutting out
whites, the result will flat
tMW
is
be cut
with only delicate greys and darks
itself,
subject cut out or vignetted against a
to
is
Into
gain or loss of vitality
expected result
the deci-
sion as to it is
first
within the subject which
suggestions here might help.
difficulty
to allevi
disadvantages.
both the camera and the painted subject, a few
problem, the
upon the advantages and
to seize
placed against the dark background, whi
illustra-
tion Or for advertising, the artist
may be
liberal
creases the attention value and gives depth t&:
with white spate. In the first
space
is
expen-
subject.
like
asking
The head
put but a single product in his
the reverse.
sive
on any page and
& merchant
to
it is
pi act*,
something
window, when he has
fifty to sell
product well displayed
in
ably cause more
get
more
ground quality
much
that
is
may be
on" look and
any feeling
lost.
away
What we have done
atten-
did
of recession.
is
is
instinctively
no doubt that a
drawn
its
envi
first
here
is
vi
vM
against
the same
thing
instance, that of completing;!
becomes middle first
tone and
became
« dB
urfdH
tone and light against dark. Both,, then, accol
without
draws the eye into a subject,
in
same head
against white* whereas the
subject gets a "pasted
There
the
in
to white. This
of the three-dimensional
The
and grey
will
value range to take in the whole scale from
the back-
sticks to the picture plane
feeling of depth as the eye
against cutting
It is soft
evident by placing the
tion than the fifty all displayed together.
An argument
bottom of the page
of grey background; distinct gain in
But a single
A window would prob-
comment and
at the
plish the
same purpose-
As far as the cut-out, pas ted -on
just
to a mirror, a
much can be dune by
ccrncd,
the
effect iscfl artist
toldg
window an open door, or even a hole in the ground or walL The subject if cut out with a sharp hard contour all around, may make the eye
subject can
become
conscious of the edge at the expense of the form;
ground
good vignettes and drawings duni
some
1
is
its
taken
away from
setting.
and
Jt
its
result
when
A
ha-S
no
you keep the two
ex-
edge
ample
tremes in mind,
if
much can be done
"interlaced" with
Thus its
I
bi
can
basis for a
good decision. This
little
pd
come up to greet you many times oved you know how to solve it, you will often be abled to make a striking thing out of some I
in art.
follows, then, that
some way.
done, and knowledge of these facts can
normal relationship with
"scissors" type of
as all
in
So the subject does determine what
the subject
Such harshness may seem out of place
irritating-
place
may
to carry the white ha
ground into the subject
„
a certain cheapness
soft edges, or
em
will
that otherwise
in either case
202
would he quite
ordinary.
EXAMPLES OF BACKGROUND LOSS
203
AND GAIN
n
WHAT Many
become
students
AND WHAT
FAKING,
IS
the effect we
confused by
totally
then by
being told at one time never to fake and at another
The
to use their imagination.
discussion here. Pictures
to
,
subject
be
make
means
Then we can go
ative.
and
apply where
think the confusion can be cleared
I
and a workable Pictures
up
may be conceived from many sources.
from
something that has been
is
laid out before us in life that we recognize as
we
life,
sketches, etc.
another time a picture
it
and worth preserving picture fail. its
may
Sometimes
it
might be
intrinsic beauty, as
just
The
beautiful
such great latitude I
would say
that
fine piece of
it
ing to pull something out of a state of nonexist-
it is
actuality.
to a purpose.
So when we "fake" a
established,
we
live
model or other
Whether the artist
is
life
if
going
after.
fact,
trying to
is
doing
He must
calls for
He must
a
would
point,
because they are
facts.
to
he want
work with. He cannot use it all.
If
we
if
you buried
perfectly sound.
you know a thing
well enoi
l>e falri
is
truly
bad only wid
purely from the
imaginatigl
beautiful than
in
1
life.
his drawings to
exhibited a great deal of pride over
he had "drawn everything out
it
would
call for
considerable
s
praise, lie
what
not done well enough to stand up against a
is
of really
good draftsmanship. He could
pi
not h
compete with those who are taking every
to
The artist
vantage of model and copy, for he could not his
drawings as being done without help or shi
He might even have superior knowledge over
nor does
we can
the
of
at his dis-
it all,
honestly think
not
thought was purely original, the drawings
has the privilege of sifting and sorting the wealth
he has
is, if
is
even
notwithstanding his heroic attempt to
statement of fact or not.
them
earn-
head/' Considering his work from that
work out a pattern and
look for facts and use
cretion, not just
way
may come
fact that
should not attempt
decide whether what he
literal
fact,
Not long ago a student brought
arrangement, he should not always accept things as they are.
the Uml
color.
by working from a
I
do
do not consider that faking. That is understa
is
and bring
on form. But
we may
the imagination. You would
may be even more
me and
He
these
pencil
correctly.
good,
faking or not depends upon what
it is
he
the idea
in stadia
and, so long as the value and relationship fl
figure,
reality.
to fake the effect of light
say that
Once
should go to real
the original conception to
point
Color
We are taking the fastest means
of capturing the thing in mind.
first,
the
we do not know what we are doing. If we do ml know what the form is, we cannot hope to Aw
when
we are starting. It is the beginning of the setting down of the things in our imagination. We are tryence into
the facts
great deal of study. Faking
'Take" things only
We also have
man who knows horses can paint them in And if we know the figure, we are not really fal ing. We are setting down the culmination ofl
a design that has
in art.
we
get the facts we need to
can paint one in the skies and not
jewelry or other example of craftsmanship. There is
likely to bt cre-
you are not "faking." A man who knows airplane)
Sometimes a
would a
down from
studies. Either
a message to reach others where words
is
own
for all to see.
is
more
]
what we have learned andst-Uipg
worked out from
an occurrence that
be a record of something that to us
is
hclp^
be faking a figure after the same thing had
need, with nothing but the imagination to start
can be dramatized and set forth. Or a picture
all
From
ing in our minds
is
work— composition,
thing without further reference to them,
being
we would like to do. At may be conceived to fill a
Sometimes a picture
1 believe fa-jnuk*
photos, outdoor color sketches,
a subject and one which
with.
it,
feel the need.
means of gathering
basis of approach secured.
Sometimes the subject
say to do
believe the finished thing
pictures
great are their adherence to the laws of Nature truth.
I
sketches and so forth— without materia!
creative, call for
imagination; yet the things that
want without use of model or
ing most of the preliminary
worth
is
all
1
IMAGINATION
IS
man who used a model
get
204
T
but
it
would be inevita
I
he would lose out against him. Perhaps a
th.it
self-taught
man should be given a great deal more But how we
than a university graduate.
credit
things
of less importance than the ultimate
is
tBpf what we
do. In the final analysis the
_
mecUt lies
only in the achievement.
Be best artist pos^sblc
way
does not fake
to avoid
the truth itself is
truth.
We are
it,
there
if
better than the semblance
limited at best in our ability to
why burden our work
H
^necessary bungling? Drawing from
dres
not
make our work any the
life
without being questioned as to our imaginative right. The only things we need be concerned
with are the misstatements, things meant to be right that through our ignorance are not We can
even
distort, in art,
within our rights as creative people, individual expression.
completely
if
our aim
is
liberty
is
Whether such
accepted by others has no bearing on the right or wrong of it, for each has his right to bis own taste as
much as to his own religion. Every change
from the orthodox
may
bring about dispute, and
It have conceived a pose or even photographed
aside commercial considerations, the individual's
Kind made sure
that conception
right to creativeness cannot
fact, the result
is
none the
less
less
well founded
is
The artist may well
our own.
Someone had told this particular student that
no
from a photo was cheating.
Oto were
mt
I feel
that
it
more cheating than for a carpenter to work
torn a blueprint. It
drawing surface,
case
is
but using a photo as a source
parallel to a
lawyers building
from his law books.
when you can find against the man who has
wolve not to guess
argue
djtyou
have not. If the subject
ptatioa of truth,
it
advantage. ination as
To
is
to
out.
You
the facts
be a repre-
cannot succeed except by
If
would seem the
an imparted sense of
reality,
tit may be the opposite, a thing not concerned reality,
a product purely of the imagination.
Hitter may in a sense have to be faked to
i feit
sort
use die word), but of
I
( if
we
prefer to think of
approach as something
else.
To
set
km one's thoughts can scarcely be construed as pbterfuge. We could paint our conception of lit would be like on the planet Mars. We can lent forms without need of censorship. We can it
205
it
would be
does
in fact.
to base
our
logical
reality, it
manner of approaching
the realistic-minded, so that through this reality
we may
carry
them
into our imagination.
If,
on
we give something totally imposto their own imagination, we can hardly ex-
the other hand,
pect acceptance.
We
then have the choice of
working only to please ourselves, or of seeking some new means of understanding on their part. There is nothing to stop us, for example, from such innovations as Gauguin painted on
from
space, with
more than
imagination can be cloaked with
be remembered that any picture is an Irion to a certain extent, but it is an illusion of in
as or
thinking at the camera level
ical island, if
pit
certain that art lies in the imag-
It is
much
king true. lit must
think of coupling his imag-
deal only with fact
sible
simple
be disputed.
ination with fact, using one or the other to best
called
can see some
I
The answer to faking lies clearly in the
cannot
the
to trace or directly project the
Jpfe for the charge,
d information
if
someone
would be more aptly
it
Were he
Koto onto his
sp bis
could only be cheating
essentially the property of
Even then
baling,
(
else,
may lessen the chance of acceptance. But setting
felling
1
invent flora and fauna, textures, or anything
original If
I
I
any
is
OUT
FIND
idealize, glorify,
because he has learned
apprehend the truth, and
I
WHEN YOU CAN
NEVER GUESS
I
his trop-
we are willing to segregate o m selves
society.
Perhaps Newton's laws were a departure, but a departure conceived in truth. A steam engine
was unheard Its
of,
but based on fundamental
merit became a thing of purpose and value.
That
is
the
way
I like to
of imagination in for
fact.
it.
art*
think of the right kind
"Faking"
Perhaps the best guide
whether the truth that you than you see visually, that imagination
use it
is
feel
is
is
not the
word
to ask yourself
inwardly
is
more
W hen you are convinced T
greater than fact,
by all means
AN IMAGINATIVE SUBJECT NEED NOT
BE "FAKED"
THE ORIGINALITY
IS
WITHIN THE CONCEPTION
» Jk\
A^fl
^ ^
«r »•
.^bi
^^.
4 1.G,
m* yfa^
\*W|
M» ^1
%>-
// iA
THE PLAN OF WORKING UP A QUESTIONNAIRE There
is
nothing that
the artist as to
sit
down
energy as our theme. What are
quite so difficult for
is
New questions come
before a blank sheet of
most
to
mind.
need of energy and
its possihili
Who of the
When
paper or canvas and produce an idea. Ideas have a way of seemingly coming from nowhere, or as
is
the result of an experience or other suggestion.
important, since the welfare of the whole
But there
is
at least
in
come down
to
hard
facts,
depends upon him. Now,
a proved way which can lead
Dad's energy
woman's magazine?
theme
a purpose, then attempting to meet that purpose.
husband well and healthy.
to ideas,
An
idea without a purpose would
less
inane and
the purpose,
Assuming
in a
any wife
seem more or
rather
is
magazines, our series must attract constdo^H
that intelligent questions will
evoke
attention
we
and
interest.
Now how can we show "new energy for Daffl
can begin with a ques-
group of words that would Let us assume
to be,
the start of a ques-
Ik?
we are searching for ways and
find
l>e full
mock? Maybe he
answer your own questions, or
try to get the information that
would answer
them. Your subject, the theme and presentation,
is
at least
its
pictorial
a means of developing
paratively easy.
It is
a
Now we
buggy.
when he used to mopr in a hamspringing past us on a
is
have something
you the
series of layouts
on page
If I
the client likes the theme.
say the
pie.
We
and subordinate the
in
the lawn
what
over. Little suggestions l>egin to evolve out of the
again
In the fictitious and sample questionnaire
my answers
I
hunk of
is
to
if
Out
of the
ib
foot deco-
differed
findiitf
made with cream cheese, if
done
many
little appetiJi
same answers we could tat cattle, theui*
vitamins and other healthful
variety of uses-
take
210
antl
in cokt
tary production, the flavor of the cheese,
found myself continually but un-
we
good
taken other approaches— the fine
plain cheese.
consciously stressing energy. So suppose
tastes
appeal.
product which offhand would seem anything but
In
to lb
mower, Mother thevd
since black-and-white food has
I
have purposely taken a
inspiring or romantic, just a
them
something
we are all set. The food pages would be best
answers.
I
hold
um cleaner. We get out a recipe book and
the questionnaire
Now your pencil has something to get busy
you here,
Can we
figures using
Dad can push
shall give
a
is
can show some delicious-looking
makes one active, you think of activity in one form works.
213.
too subordinated, not stressed enough? Howcvq
We still have
way
the bbj
to work wi4
attempt that the fact that the product
rate the page.
If I
hik^
Now suppose we get the reaction from our I
say the product
the
about played
I
abstract
product makes one healthy, you conjure up
is
How
theme, but stress the product more? That
Facts bring up mental images.
or another. So that
Now welhbi!
to spare," Fine!
bill
thought into concrete thought.
your mind a picture of health.
now. Lei tbt
and ideas begin to take shape. Copy falls line with the theme and we are all set. So gm
facts,
means of taking
is
or out-hiking the kids— even pushing
invariably hidden in the answers.
and when you have the facts they are tangible things to work with. Illustration of tangible facts becomes comis
Dad as hensd
of
From one answer if
of showing energy to spare.
ceivable question you could ask about the prod-
can think of no more, then pro-
of action.
he has "energy
ball with the kids,
When you
little insert
and a big picture of how he
to advertise a product. Fill in every con-
This
i
wake.
will follow in
big picture
to
In fact, hero
its
and the idea
that might be the beginning of a question, or even
ceed
believe so, steal
new and different approach. By actual awl
Suppose we show a
uct.
»n
practical
instinctively interested in keepf
Take a sheet of paper and down the left margin write every word that you can think of
means
fro™
trast to the material usually associated with sua]
let
tionnaire.
tion.
I
mad
Is
us seek
conceived at best, so
ill
intelligent answers,
a
Dad
is
by directing the mind into appropriate channels of thought and by first conceiving
one
vitality?
f;
U
qualities.it
SEARCHING BASIC APPEALS FOR IDEAS Here r
the almost universal
is
most agencies
procedure adopted
and creative advertising depart-
Human
>logy.
it
becomes
beyond a doubt
been proved
wit in all
of us basic desires
nri-
secured
many
that there are
and
instincts,
and
we make certain definite and ible responses. No proof is needed that a woman wants
I
it
llof us Bgs
The
which they
escape. Such things can also be
to
like
it
man need
nor-
ficial
makeup
to sing,
music, but
does
'ideas
may be developed from
type of to
appeal
think of
is
selected
ways
Flhcmost direct e,
own
have prepared some examples of
that
first,
and positive way
it.
son's.
and then you
We
to get
and provides a broad approach
This
reader to orig-
litvawl creativeness.
all
we
want attention and
differ in super-
One wants make
the
That a
praise.
only dream of doing while the other
We
have only
come
to look analytical fy at
our
fairly close to the other per-
in a different
do not
like ridicule
neither does he. lie also.
We
manner, but
We
much.
just as
nor chastisement, and
resent too
much
He
both have pride.
lives
authority:
much
the
same, eating the same things, enjoying the same things, even, in a general things, so (hat
GENERAL APPEALS
largely a variety of
is
We wish to excel, to shine, and so does he-
perhaps
it.
behavior.
of no great importance.
is
desires to
basic appeals.
might express
humans
human
does not carry out these desires does not mean that the basic impulse is not there, for one
example, even a partial escape from
I
them when subjects are
man
ipe-for
215
of
for creating
another to dance, and another to
man may
[ On page
full
is
variety in
upon by suggesting the avenue of drudgery for the average housewife.
air
to plain terms of
iftalized
?fio!d
no basis of approach
is
experiences and purpose. That
and want, we know the things
normally irritate thern, or from
basic instincts that no thinking
reduced
want more freedom. Along with the
people like
true of so
pre-
executive wants efficiency, that
a business
is
The
ideas.
be as attractive as possible,
to
almost "sure fire" This
is
ever say there
when we are reached through appeals to ins I i nets
we cannot go wrong
with an appeal which touches upon that love for them. Any way that such a response can be
question the theory of basic appeals,
ssary to
who
not love her children. But
since the vast majority do,
psychology has been put
igh such intensive tests that
some reason does
for
Advertisements are based primarily upon
its.
is
Perhaps here and there might be a mother
any
way, thinking the same
basis of
approach that would
create a response in ourselves
would very
likely
do the same with him. might head a whole column, but (yarc given here merely as a jumping-off place Each of these
:
others,
people
I iThe maternal instinct
Hie instinct
of
self-
innervation The instinct of
pro-
Mi
The desire to
iTlit!
desire to
10.
The desire to attract Love of praise The desire to excel
[[,
Pride of ownership
12.
The desire for atten-
8.
9.
Uee
be
at large.
differ greatly
and
from one
If
free
13.
The
Hie d es i re to poss ess
acquaintsection of
your home
mine, except
an idea appeals
will not
in
names
will act pretty
to six out of ten,
very likely will appeal to sixty out of a hundred,
or you can carry
it
up
to
thousands with approxi-
mately the same percentage, presuming that
desire to domi-
al!
are typical of normal or average people.
nate
M. The
from pain
in
in
As a group they
personalities.
much the same it
A gathering
lion
[Hie instinct of fear
1
we will but study carefully our ances, we will have a fairly good cross If
In general,
desire to
human emotion
All of us register, as
profi t
is
fairly consistent.
does a thermometer, the highs
and lows between the extremes of emotion. The As
we stick to known qualities of the we can't miss by a very great margin.
long as
|
i
ego,
important thing tion
211
by means
is
to
draw out
of basic appeals.
the desired
emo-
A SAMPLE QUESTIONNAIRE qOBSTlOKNAlRE FOR DAIfiXOOLD (A fictitious product)
Why
$hl$..7i&£&Tt£?L...z
who
jA„A^t..Jfem^fe4 K^rfA-r-.-^JT.. .£?&...*.
What
Because It lo pure and germ-proteetri*
v
The man who has no energy* Supplies essential vitamins.
..
When
All the time, if you want to be
..^.?.^..^fefe^ .here &#&..&..?&!&...§&?*
In many delicious ways.
How
acti*.
1
'
The greatest dairy state.
7.
Because of its richness.
nri. ^...^...gftft*.
When tired, it brings energy to
*^....^..V£r£t.......
It what tine
At meals or between meals.
How often **£*.
Does
.
In what way
By all means, for new energy.
Hot with such flavor and richness* All the good fats are left in.
WfcMr; . *4\ . - AflkftvL*..
4ffi&4T.£Ak*ftf&f*.A!iih*ff~{
Which
May
lea, because it's so nourishing*
*^^itVt^..^i^.^-
la there
mk$&.W&te.M*3j>J^fttto^
*
%^.!ltjhjt^.^^.2.^f7^^
MfA^.ft^.^.:^.?>
so how
Just ask for it at your grocer* s*
.4a..?....^...:#»
^^..^^..h^/^ T
How much
1 A,.
.-&»*•'
*! .
*Jri
.
.
»
rvi
Ion will accomplish more,
Easily digested, gives them energy.
a(^*JlM^f..-.
.
Xes, but in greater quantity.
Children need it.
:
But what
Does it
Trults, vegetables, and starches*
Uore popular every day.
ft&&4^.JtM... &.?
How about
steam*
Xes, young and old.
^...*V^..^tJ-...
Shall
do
If you want to keep up full
ut„.ik..-«»^mv4^J
will
If
Everybody loves it.
.AfMMfA..Af^....^...?...
Can
Are
.jfcMfe* . .ft££&-. «
^..^MX.e.^Vn.e.^wVfti.*..
Should
spaxej
Send us hi 3 name, we will send Ho higher in price.
»~i•
»•
>
Its airtight germproof wrapping
*»*.**.»«••
keeps it fresh until gone*
212
it.
ROUGH
IDEAS
DEVELOPED FROM THE QUESTIONNAIRE «XM!
'ear old lyini tip s4or]
Dfld.our fo
WJiflti happened
lAIRYCOLD EN tRQY, /d A CONTINUITY
How docs
h
Dad?
DAIRY GOLD cu&Ant ensiaj
HlfiD/
-to
If
ijl
WORKED OUT CENTERED AROUND DAD^Vcw' VITALITY.
No
doit?
DAIRYGOUD
ma id, no mat tor!
OAfftrYCOLD
CREAM CH)i£/£ .
FICTITVOUJ* BUT THE APPROACH TO THE IDEA/ 1//OOND, DAD/ VITALITY JftiTYTOTHCHOMfc. WHATHOU/eWfFe WOULD MOT BE iNTEREJTCDf Ott
[PRODUCT
If
IJ-
WHAT HU/OANDt
213
'
A DIFFERENT APPROACH FROM THE SAME QUESTIONNAIRE
C>*'w fo<- Me tuhoh fo>t»ly
/news
\//6a/thi ita/trf.
i'
t
I
««
DAIRY CO LP
t>AIKV
.
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 I- Hill:
MATCfCNAL fN/riNCT
^
--
1
fiEKfrilNClAMCSWimL 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
Urgentine kTiOM IK
CALIFORNIA I
r
DETlftE TO F|_EE
FOR QUICK PTEUEF FROM /UNBURN tin
FREEDOM FROM 215
PAIN
tf»tn\PULAUTOce^.
THE OE/IRE TO PO/IEff
SCRIBBLE
WHILE YOU THINK: THINK WHILE YOU
:--">
216
SCRIBBLE
YOUR SCRIBBLES ARE MORE ORIGINAL THAN YOUR CAMERA
GET USED TO SKETCHING FROM
218
LIFE
YOU GET SOMETHINC THE CAMERA CAN'T GIVE YOU
SENTIMENT THE KEYNOTE OF ILLUSTRATION Hardly
is
ment, even though in
man or woman
there a
it
bed of
roses.
we lean upon,
that
ones
Sentiment
is
life
seems
makes us able
to take the inev-
monotony and commonplace of
stride.
There
Vacuum
cleaners
tact
and be made a like waving the
Freedom from
Medicines
is
Banks
to
vital
Security, freedom from
win
home, preparedness, an tectiou
Motors
flag
Relaxation, efficiency,
hroou
travel, possession, safety
that
Furniture
not merited by the performance. Sentiment
must ring true
pain,
instinct of survival
tre-
mendous asset; or it can lie after a bad vaudeville! act to get applause
li
for other things
sentiment dragged in by the heels. Sentiment can
be used subtly and with
m
efficiency
Efficiency, labor saving,
life in its
maudlin sentiment, of course, and
health,
t
work, appetite
the bulwark that
itable
is
Vigor
Breakfast food
be hidden and masked over
defense. Let us assume that no
just a
without senti-
Beauty, design,
efficiency,
home, pride
be effective. A search for real
sentiment will bring up treasures, It
follows that certain subjects will align them-
The
selves with certain psychological appeals, another
word
for sentiment.
For example, a
toilet
with glamour, freshness — the
preservation of,
or contribution toward, beauty.
associates
your subject
soap
itself
is
the senti-
love expressed
in clean, fresh
dresses for the
little
girL
jects will take
shape.
We have
to
make some
and romance. Another approach
is
Here
girl
so on. Selling flour
your
we
would naturally
belongs becomes almost automatic. the presentation.
nothing
in
,
line,
a
new composition is
life
bound
With a new
becoming
much
ject
sudi
plagiarists.
the same way,
Yet
then
be duplication. Seeing a picture
own pride we would
1
sportsman-
hardly be considered anyone's private
sedu ct i ve-
head
or presentation,
done every day. Good
continues in to
idea.
a
idea for an illustration. Such a subject
oli]
similar
could
properly/
present the suk
as originally as possible- Viewed in
this
wajr,
old magazines are a great storehouse of ideas,
and
since the subjects have proved themselves worlhj
Health, maternal appeal, appetite,
a good
mother bathing her baby might give us
real
ness, the sensuous, sex
Milk
alwayi
No one need resort to plain "swipes." an old magazine we find what web*
basically
But for our I
that then
the sun. There will
is
is
Here are a few
a hi re
intelligently]
an old saying
is
new under
approached
lieve
since
examples of appeals and approaches:
,
There
if
ship will stop us from
Recog-
Our
ethically.
revamping
find that psychol-
basis of creative ideas.
Rom an ce
\&tm
roughs of what comes toimmL]
a gold mine
is
Suppose
nizing the psychological realm to which a product
Perfume
a had
approaches.
he aligned with appetite appeal, tempting food, nourishing qualities, and resultant good health.
lies in
would not he
It
he similar situations, similar products, and similar
throat; the appeal of quality, claiming the best
problem
pictorial soK
REVAMPINC; OLD IDEAS
the instinct of
self-preservation, claiming less irritation to
ogy is definitely the
little
thoughts and
the efficiency
is
experience
finding warn
and sweet-smelling
attached to the cigarette through the pretty
little
imply
the purpose, doing back own
many
and
After a
fit
list,
economy of labor, a thousand and one instances where the use of plain soap expresses sentiment of some kind. Sentiment is
and
,s
a matter of co-ordinating the pictoriu
of the home, the
tobacco,
is
becomes
the above
the sentiment of the home, the maternal
way
p
to interpret the various appeals, fbaq
fundamentals to
mental approach. Switching to a laundry soap,
we have
in this
indefinite! y. Approaching
and means it
Youth, romance, loveliness, then*
can go on
list
home
in the past,
220
they probably will be good again.
,,
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, be
alone after having once appeared.
let
e has already
!f
[dtunfc es football,
shown Grandma blowing
that
is
up by one particular
t
must regard
tompetitor
be repeated,
fashion,
reflect
popular interests such
and other current
They should be
sectarian or bad
good humor and
racial
example of any
a prank,
from prejudice,
free
religion,
intolerance,
the basis
sort. If
should
it
activities,
l>e
wholesome
they
would
they love. In tive
like to be,
how
like to do,
they
live,
of the spirit of the
the cover styles of
By
magazine or even of
on a
the boys
many
times
you
intrc-
new angle or idea into yours, fall into two broad groups:
is
excel-
Or we could pirate. Soon we
raft
playing
idea.
form, since the subject able.
may
itself
Covers are not easy to
an idea should be submitted
sell,
in
any great amount of time and into
If interested, the
it.
you;
not,
if
you
same artist
the
will
is
is
no opening
not be accept-
and that
is
why
rough form before has been put
effort
magazine
soon know.
encourage
will
you see that
If
fairly certain
he is under
special
that, therefore, there
for you.
Color photography for covers has
crowded out the chief reason
sketch
in
doing several covers for a maga-
you may be
is
artist.
However,
I
all
but
believe the
the dearth of good pictorial offer-
As
art really
we
will see
develops
in tins
country, I be-
more and more of the work on magazine covers.
artist's
CALENDAR IDEAS
American scene. And, by the way,
if
Here
another
Since I intend to take up calendars as a field for discussion later on,
some
I
believe
it
will suffice here to
mention the important part psychological appeal plays in calendar
general
and specific incident. All the basic appeals
ally of
art.
Calendar subjects are usu-
broad appeal and only seldom use specific
A
cover
incident.
Od a broad psychological appeal has
much
dent, a prank, a bit of concentrated action or
be applied for sentimental response,
chance of being accepted than one which
around a specific incident. t child, for example, ,
while a
little girl
incident.
jpecific to the
:"
in the tree.
Covers should usually be submitted
lieve
you will have a better chance
irs
show
leading magazines you will
heads have been done so
girl
in brooks, huts in trees, rafts, etc.
lent material for experimental work.
ings.
Invariably uses a pretty girl head, prefer the
does he build? Answer: Air-
Suppose we take the but
familiarizing yourself
they lean to different subjects. While
that
dams
planes,
and
some cases covers can be repre-
cular contents.
What
arrangement or contract and
may be based on what people
rs
Question:
zine,
malice or abuse,
t
The questions might starts What to do most? Answer: Build things,
does a boy like
have a sound
abould invariably display
is
may
an idea for a cover of a
boy's magazine.
be acceptable must be original
They should
idea
such as a
a subject
be timely t and have genera] op-
Hon,
,
as his property,
it
and again,
ideas to
teste.
and any eth-
artist,
so general that the idea itself
skiis is
time
However,
a specific incident
we want
For example,
is
story,
A lovely mother
is
my
a subject of broad
no
a
basis of objec-
opinion,
little
is
not too good for a calendar.
tired of the
while there might be to the
d.
improvement
in
however, you wish to do a "specific inci-
it
you can
dog
I
also develop this through
as
get
There
is
great
calendar illustration.
room
fall
for
look
upon
one of the great opportunities for the
artist
of tomorrow.
221
on,
in
retrieving the quail, of
waiting for the bass to be landed, the Indian to
and so
cover,
that a specific inci-
very apt to get tiresome after having been
off the horse,
first,
is
looked at for some months. Suspended action,
playing with a lipstick
There
is
The main reason
I
:
THERE may be
Sentiment
IS
applied
EVEN PSYCHOLOGY IN COMIC IDEAS in comics in forMy personal experience in
ward gear or the reverse We can appeal to sympathy and human understanding, or we can make light of
most
comic
even to the point of ridicule. No one can
it,
humor
rests in the specific interpretation of
but formula
idea,
is
an
by the best humorists, and it is all based on human psychology. Some tried and true formulas may be listed: 2.
Creating the unex-
8.
individuality
3.
Making the
4.
Making the
5.
The weak
ing die strong
13.
all,
"The transgressor
7>
coming to grief Turning the tables
14, Tlie
enough
comedy
for
good comics. The idea artists are
in pictorial
some
fact,
I
do not
believe a
newspaper order to strips
a
cartoonists, through
sell
a daily
strip, several
months
of
must be prepared in advance. Some 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
the joker works with
new
these. Wisecracks are so familiar that they
almost
all
be sorted
making fortunes ital is
made
into types, yet they
of the fact that there
is
as to
and names of syndicates may be had
writing to newspaper offices.
can
Many artists treat comics as a sort of side iss
go on
Much
for the wisccrackers.
where they wish. Information
location
variants of
because of the highly speculative nature of
cap-
something
field-
A
comic
artist
must be unusually good
he
funny in seeing the other fellow suffer-^jerhaps
get into a syndicate, but
an outlet for a rather
highly remunerative— even one of the
To see a
sadistic streak in
gets a splinter in his 'posterior, can
ously funny to everybody but the
if
paying branches of the
he
To bend
if
of form.
simple, with?
They should be held mostly
rather than enhance
to
it.
The drawings
fla\
should
kept "open" and capable of considerable reck<
is terrific,
tion.
There can be various degrees of
a man snipping off Christmas neckties at the knot,
tk>n,
though
with everybody loving
comic drawing should contain some
but the gentlemen so
snipped. All such things are comic ideas,
highest-;
craft.
even though it happens to a good suit. Once I saw
it
can
it
Elaboration tends to reduce the comic
the unlucky victim falls face down.
over and have a seam burst
does,
out a great deal of complicated tone or moc
owner of the
nothing short of a side show for the onlookers,
especially
Jf
Comic drawings should be kept
be uproari-
To slip and fall down In a mud puddle
posterior. is
humans.
chair break under a person, even
oi
a syndicate,
toonists are kept
and
1
'
direct, or, as in the case
quick twist of the emotions, a surprise maneuver,
jokes,
S
can hurt a good humorist.
lii-
is
of morej
is
not good draftsmen
humor, and
Comics may be sold
getting a laugh
approach;;
knowledge of construction, even composition^
(play on
gag (funny
1
no doubt that characterization can
is
a part
cident)
The psychology behind
originality. Plain exaggeration
and are funnier because they are not
there
The pun
in
our best comic
words)
6.
and
all others, calls f
importance than the drawing. In
dicament
outsmart-
tell
3
above
field,
tunity to get even
12, Getting out of a pre-
Ions serious
upon to
the rare ability comes Out I would:
wrapped up
11. Slapstick
ridicu-
3
the producer of comics
Unexpected oppor-
outcome
ridiculous
Strangely
keen observation of human traits and responses is
10, Reversing logical
serious
several well-kn(
nature, until called
of drawing is not
9> Flouting convention
pected
by
say that the comic
sciously,
Outraged dignity
I find that
when
a story,
fields
among my acquaintances.
rather serious
used, consciously or subcon-
1.
artists
enough,
prescribe an exact formula for comics, since the
number
limited, but I
comic
A laugh
I think
it
will
exaggeration. Otherwise,
comes from a comic idea, or a predicament, or
drawing which, in
from a twist of the serious
likely to
to the ridiculous.
222
exag
be conceded
it
spite of a
that
distortion
remains a
seri
humorous
idea,
be accepted without a smile.
IDEAS IN GENERAL As one becomes experienced in various fields of illustration, it
The
play.
An
!>e
fc
to
which
the factor
it,
idea for a magazine ad incorporated into a poster or dis-
variation
is
but the time
the presentation.
in
is
really determines
how
be reiidered-not
kveat
how an
take
The what
idea
your
in
deal
will likely
idea. Sitting in
streetcar card has a
more reading time than the poster, so a longer text so ;
much
message than
as the magazine.
it
cism
The
other
illustration for the
be simplicity Jierc also.
lowing test to find out
if
it is
practical for
it
be seen and read within the allotted
Is its
presentation stripped to
maximum
Can anything more be taken away without hurting
4. Is
its
effectiveness?
the idea consistent with the
which
it
will
it
in
wise to antici-
critic.
You can
from others
is
un-
an
it
artist
not to see
himself. Since
cannot work his way, you should weigh the cism carefully. He may be giving you
you
criti-
some good
best to seek criticism from people representative of the general public and its taste.
Much
is
early attention
which
is
ordinarily omit-
a poster,
women? is
If
6.
If it
wailing until
must be seen at a
in
much
faster if
advance of the
it is
half finished.
V
job, rather than
We
can be our
own "I told you so and it docs not hurt nearly as much from that source. No matter how good we betrome technically, our conception, ideas, and presentation are
all
that will carry us for-
It is
only natural that
we
should be concerned
principally with technical execution.
the appeal uni-
ning things out carefully
is
think,
it?
distance, does
its
detail carry?
Would seven people out
is
left in
it
it
good?
Does the picture itself express the idea, or must it carry a .supplementary explanation?
you, that there
for personal ideas; but you will
invariably find there
of ten think
way we can chance. You may
when a layout is first handed
no room
But plan-
the only
give that technical ability half a
the idea must sell something, does
5.
could move ahead
Many of us we would do
ward.
versal?
8.
a subject as he would do
a woman's magazine, will
appeal especially to
ExampJe-As
medium
appear?
Example-For
7.
difficult for
it is
more thinking
simplicity? 3.
it Is
ted could profitably be given an idea.
Can
time? 2.
so
not. Criti-
prompted by personal motives. Anmay not be quite as good a critic as a
layman, for
its
•purpose: 1.
artist
pointers. It
Any picture idea can be put through the fob
to take at best,
fairly well if criticism
biased, or
"tireetcar
should
hard
we like it or
and be your own severest
judge
not
card should be simple and to the point. Hie drugstore display may be given anything from a passing glance to a few minutes. But there
is
table
little
still
time to remedv
still
pate the unsolicited criticism which seems inevi-
can carry
a poster, but
considered some-
have the defects come back at must go through the in ill of criti-
cism and opinion, whether
Magazine pictures permit more elaboration of environment, back-ground, and extra interest than
The
may be
severe, but
you. All ideas
in it thai
does the poster.
test
defects, than to
would be put into a poster must be comprehended in a few seconds.
which
foregoing
your own?
it is all
the test yourself while there is
with reading time virtually unlimhe will respond to a magazine ad with a great
more
honestly say
you have the satisfaction of knowing that if your idea can pass it, you are on solid ground, ft is much better to put your ideas to
long yon can work at
which the observer
his disposal to
Time
it
Can you
10.
an easy chair ited,
been noticed and commented upon without your calling attention to it?
becomes apparent that ideas are
often closely related.
may very well
Has
9,
some way to do it a little better than expected. If you never get a chance at creating ideas, create some anyway and show them to the boss or the client. Someone will is
even-
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
present for the study of advertising page arrange-
ment
that
it
me
seems to
the subject in a
more
I
may
safely
approach
tureF More often the picture should amplify asd interpret the text than depend upon the text to
explain the picture.
A good
illustration
can
hold
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 as the show window to the meaning of the ad,
ads, rather than a host of specific
examples.
The
and actual
basic laws of
good arrangement should always apply, I believe if an artist can produce good spacing, distribution of mass, balance, and
interest pictorial ty,
he
will
be able
also to
produce good arrangement for the whole page. Page arrangement really amounts to the setting of given units into a given space as pleasingly
and
interestingly as possible.
of the advertising agency,
is
and the
the province
illustrator
has
voice in such planning. Because other ele-
ments
may
be present
in
does not attract,
it
all else fails.
Let us proceed, then, with a clear idea of whi your mission is, how you can co-operate to maH your advertiser's success your success. Good intofl prctation
is
your
first
interpret, the lazy
lazy
way
is
law. There are
way and die
two ways fl
inspired wav. The
always the easy way, the
explicit foj
lowing of instructions with the least possiba
For the most part, arrangement
little
if
a layout, such as con-
effort;
is
what he askJ
gets/' This
amounts to]
the attitude of only "This
for, so this is
what he
complete subordination of any enthusiasm, ij dividuality, or inventiveness
which you may pel
formity to a series, emphasis on given units, selec-
sess— all qualities of paramount importance
tion of type faces, eta,
your success.
it is
often best that these
be worked out by the layout men of the agency. But nevertheless the illustrator who is smart will not completely divorce himself from page layout. His illustration must fall into place in the whole design of the page, which design should be under-
The
right
way
deeply for the psJ
to search
is
td
chological appeal, the impelling motive, and
the
desired response. If you understand these, will help
you tremendously.
If
vou have
|
beta
standable to him, and toward which be must he
asked to portray a mother and child, you arerealf working toward the deep and vital maternal a
sympathetic and co-operative.
peal.
He
should take
advantage of the opportunity for good arrange-
ment which the layout offers him, or, if need be, do what he can to give better arrangement to a poor conception.
Every quality which makes motherho idealistic and beautiful to you should be inca porated. It might
easier,
even more pi
ant, to call in that petite little ninetcen-year-oll
blonde
Tile success of the illustration lies greatly in
be
who registered the other day and use h
for the mother.
But can she typify motherho
the success of die appearance of the whole ad. 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
meaning, and you benefit thereby.
there that
If the
reader
convincingly?
own
child
The if
may make your
do
structure falls
cupboard and make
So your first approach to good advertising illustration
is:
"How muck of the meaning of the
and purpose
of the
ad can
that, don't
real baby.
I transpose to mtj pith
226
it
to hunt up
will
picture. If
it suffice
Such co-operation
tation, build
is
be a
s
you cann
haul an oversized doll out of
wise for your own sake.
text
way
you can. There
looks at your picture
and skips the rest, the whole apart and the ad fails.
right
solidly
If you
for the baby. Gcttf is
not only
fair,
are building a rep
and intelligently.
THE APPROACH TO
GOOD
ADVERTISING ILLUSTRATION
Of second importance to the interpretation of I the text
taking the greatest possible pains to
is
|sccure the best possible
on the final
rprice
working material.
if
necessary, to pay out at
in models, props, photos,
it
pay large dividends, much better investment
you need to tent a dress, do it, rather than fake it. Get other Accessories when possible, for it adds considerIf
the ultimate value of your work. I
proved over and over>
Two
have
may
win out, every time. Every
life is
bit of
working
adding to your general knowledge, of faking keeps you at a standstill,
you backward. You cannot learn from observation and study. Even a bit
even- drags
|«cept
authentic
still life
in your subject
is
also authen-
study
first
paint-
ing on the canvas. Sargent painted every area in a single attempt, or wiped if out and tried it again.
Probably much of his directness came from doing
same head over and over until it was so thoroughly fixed in his mind that he could do it in a tlie
great
economy
of strokes. Light paint will never
it,
even if it has not already done so in the
attempt.
first
When
working under pressure
temptation to jump right into the
it is
always a
But
final thing.
my
experience has always been that there is no time saved in the process. Getting something out of the mire may take
much more time than would have been required to make some sketches and "Worrying through" apicture is bad busiThere is enough worry at best, and it should
and very important approach work lies in working out your problem
Your third
to
ness.
od
in
be planned out well enough so that change of pose, different costume, or change of models will never have to be attempted in die middle of the
ecljhot
fcev
when such
sketch form, even
$nd you.
A pencil study from your copy,
| from in your self.
You
sketches
he submitted. Find your troubles before
pi are working from a photo, final
will
be Letter to
stage than the photo
will find yourself
if
it-
working more freely
Much of your pencil study can transposed to the final medium with
jnd expressively* actually
be
As long as the photo hangs next to the Binalwork, the final work will appear unfinished (good effect*
comparison, unfortunately encouraging
you
match the finish and slickness of the photoinstead, your preliminary
work is hangDg about you, you are improving on what you Tpto it rather than what the camera saw* Enlarge by squaring things off. That keeps you
graph. If,
final
work.
hasty and bad I
know one
stretching
admit that you made a
It is better to start,
and then
illustrator
two canvases
start over.
who made
for
each
job.
first
canvas.
down, he proceeded
on the second canvas. half the time. It
It
down
If
you have
to as nearly clean a
to
make a change,
working surface
was the secret of the ever fresh
and spontaneous quality of his work. In reality he was no more direct and certain at the start than the rest of us. Instead of slowing
approach seemed capitalized
on the
to
him down,
credit of being a very direct
painter.
contribution to us
227
this
speed him up, and he thus
not disclose his name,
as
all
took one- quarter to one-
friend I might never have known,
medium.
did
do the thing very directly
to
ching the final work.
unsatisfac-
He
and fuming on the When he thought he had it nailed
and accurate
Changes are
a habit of
the experimenting, fussing,
wing, not tracing. Plan your color before
y many jet
can be gone over with fresh paint,
studies.
rough or
to
never looks quite as fresh as the
it
it
above
while every bit
ty
but
dry,
the other conscientiously supplies himself
per will
tic
is
be of equal ability. However, one fakes,
artists
Mi the best of everything to work with. The lat-
jrf
paint
cover dark paint as effectively as dark over light. In time the dark will muddy the lighter paint
!$
for
take your
oil,
knife, and wipe it down to the canvas. If the under
paritehy other type of
prom
working in
it
work has been agreed upon, the
If
ftooSer working material In the long run such an
jjvhil|;
to the paper. -If
water color, sponge
turpentine and a rag, after scraping with a palette
en per cent of
ably to
down
in
a
ould be willing,
^investment will
working
possible. If
by
Had I feel
his
I not been
that
and he
is
a
close
since I
do
making a
good example.
USING YOUR FREEDOM Unfortunately most
are really given
artists
more freedom than tliey take. Fear of being wrong can stifle ingenuity and spoil initiative. Try to analyze the intent and purpose of your instructions. If
you wish
deviate from them consid-
to
may be all that is
erably, a telephone call
neces-
You may be certain that even if your work is well known no art director can possibly visualsary.
,
He is taking a chance on you, on the Oasis of your past work. He ize just
has
to.
what you are going
to be.
The reason
is
mind
exactly as
is
really going to
handed actual photographic copy
with copy.
If he does,
much leeway you
director.
Build up your as
ture of suggestion only
Copy may be
many subjects as you think you will ever ne and you might as
well
As you go along in advertising you
be said
begin
to
to
work lay-
fall into
st
recognize certain types of ads. Try
.a
one or more of these types. I have laictn
believe cover most of the types.
The
variance
course would be in the layout and arrange
may
These
servo as general ideas for approa
though the ads must not be actually copied,
he
to
file,
as examples twenty-four fictitious ads which!
in the na-
and not intended
good
wc may to be different and original, most ads
End out then and there how
have.
clipped information'
not what you need just now. It takes years
supply you
to
files of
early.
with any tiling more than the idea and a
Your art director is not expected
out.
young illustrator, doing bis first job for him, a perfect swipe. He brought it back with the all gone, the deadline at hand, and a frantic:
a
is
from. Advertising agencies seldom supply the artist
remember an art diret
a
going
advance about pose, costume, etc> unless you
are
well
make
it is
that the whole thing
creative process. Little in
fob, see the
literally. I
who had a habit of clipping magazines and pa ing the clips into layouts. He would tell the to give him something equally good. One earae
to do.
Nor can you, when you take a
finished thing in your
followed
the
same
slogans, titles* or catchlines used*
TWENTY-FOUR TYPES OF ADS L
With
"Pictorial Interest"
In this type the picture
The
illustrator is of
picked for his
and
(
therefore his
whole
is
One
page
is
an
5.
Here
is
head,
when
The
come
6.
this
is
as eternal as the appetite.
It
ffi
illustrator.
7.
make them hungry for what wc have
appears,
y
Historical— Biographical
thoroughly enjoyed by the illustrator.
largo
B.
"Before and After' Subjects
A well-worn hut perfectly sound approach,
"Eternal Appetite" Appeal It is
Family
Always presenting opportunity for interest, are
and the
in. A.
Home and
Over and over this type of ad there is always some new angle.
well done, makes a good ad-
People will always be hungry.
on the memory of the public]
always be the problem of the
real responsibility
character, expression,
ability to portray personality
to impress l!2
illustrator that
Centered on a Large Head
where
is
Romance
Romance
going to rest on your broad shoulders.
2. Interest
3,
is
about
That is why much of the material of
book is laid out as it is, for here is
is
of this type of ad
oilers great variety*
responsibility to tell the story,
the greatest opportunity for is.
actual product
is
half, three quarters,
allotted to him* It
Centered on ike Product
The purpose
almost everything.
to get attention and response. Such an ad
there
4. Interest
primary importance and
ability.
at times, a full
Dominating
9.
our job to
Prediction of the Future If it
to sell.
228
can be
made
convincing
I (
and sometima
GENERAL TYPES OF MAGAZINE ADS tastic) it will
almost guarantee attention and
Who
st
The cartoon approach trast to
good because
the prevailing seriousness of
acts as
It
tors.
is
along of
a change of pace, and gets atten-
too dressed up. Child appeal
from hous erlies to eyelashes.
When
over a single picture in story- telling value, or
whole-
is
and good
quality
always appeal.
will
Appeal
Such an appeal
Sometimes a group of pictures has an advan-
in
being beautiful.
in
done they
well
23. "Luxury"
The "Group Picture" Type
more
lies
"Mother and Child" Subjects
22.
Very effective for otherwise dull subjects. Fits
2,
limit to ideas
and naturally as possible, and not
neigh-
The Extreme Close-Up
ry thing
no
practically
Children should be portrayed as
this line.
someness than
.
is
not
its
realistically its
What parent is
can forget childhood?
interested? There
The Cartoon Type
0.
"Kid Stuff'- One of the Best Sellers
21.
when
best in times of plenty,
taste
have a chance. Such ap-
peal might also be listed as desire for prestige or
example; several uses for the same product.
distinction,
The Picture Continuity Type
24.
and pride of ownership,
f fi&
Borrowed from the comic [pictures.
Here the
artist
strip.
This
Tells a story in
must be able
to repeat
The "Pureltf Imaginative"
most
is
your one chance to go a
illustrators
welcome
little
crazy,
and
it.
pis characters under varying conditions. This type
perns to be losing punch, since there has been
much of
ISO
it.
But maybe
its
still
good,
My
who
readers' attention
is
called to the books
by Frank Young on advertising
I0WS?
Young's authority on the subject til
The "Action " Type
My personal
tion.
Good action
&
is
"Sex Appeal"
It will
always an eye-catcher.
and
Type
always be with
field,
though
I
Mr.
Inryond ques-
acquaintance with Mr. Young
work has been of great
his
is
layout.
confess
I
profit to
mc in the
cannot hope to compete
with his knowledge and experience in the subject
us.
of layout. I believe every illustrator should study \I6.
The Sketchy Type
There [labored
lould
is
a
power
work.
his
in sketches often
It offers
missed in
real advertising value,
he used more,
the past.
have made no attempt it
to
in
teach layout
has been so expertly done I
speak of the general
may be open to considerable criticism. Frankly, I am not a layout man, and I only wish I were better
not be too obvious or grotesque.
at
Symbolical Subjects
it.
May I
Unlimited in opportunity for originality.
also call
your attention
to a recent
book
on modern layout entitled Advertising Layout, The Projection of an Idea, by Richard S. Chenault This book is expertly done under the capable direction of a well-known and practicing art
"Baby" Subjects
Will always stay. 20.
take this opportunity
types of ads only, realizing that as layouts they
potent for certain types of advertising.
).
I
elsewhere. For this reason
Based on the instinct of self-preservation, and
[IS.
I
thank him for his inspiration and guidance
in this volume, since
p. "Fear" Subjects
Should
to
works thoroughly, and
"Character" Subjects
director,
Real opportunity.
and
will clearly
of real importance.
229
demonstrate essentials
'
"TCPES
OF MAGAZINE ADS
C/oh i
VSf
l"TH
PiCTORIAt
IN*
REyr
OOraiNATllvjC,
was^/awwc/lyMfare
fr£#JTti\
WHITE C0TTAGF COFFEE
%* &te efamt &g/mxJ&x/ i,.
:
£.
i
NTGRe/T CENTERED ON A LA^oe
wcaJ
.
/^7 wift€f&eift&£
•
TO MAI KETCHUP]
Cramwetljr
TrwAesitrast^er/eclA
foams ® 3,
THI
ET6ftNAL APPeTlTE-APPsAi..
4.
230
mtE«£/T CENTER6P ON THE
PROI
I
TYPES OF MAGAZINE ADS
HOME AND FAMILY
£.
/&r/?wrtt
a/tearjftF/fiisT
OF ZW/W
TT^a
%
231
**&***# JftmAfi*-
LONG Wfc MAKE/
i,/
8-
—
/fe-cr
j=y*
OCPOR€ APiO ftFTBftVu OJECTA
IT C04"f LE//.
mr
TYPES OF MAGAZINE ADS
TOlVfORR-OWS TRAFFIC
TONES WA1TE1). (Bis car wouuwr)
REPAlHAT-rilE
COMMANDER K5S3
TDDAV
it*
AUTO-PARTS INC.
alvwj
PREDICTION OF THE. FUTUAR.
9.
fO-
THE CARTOON TYPE.
KEEPYOUREYEON .:
ilEETCARJl
Mr
M-SlQNEW
:^u\
MOTOR./
.C4>.9S&$ \
,\|
i«IliI!l!lllES» II.
THE EXTREME CLOZE
UP.
12.
232
THP
GROUP
PICTUR.E. TYPE.
ASEHV
TYPES OF MAGAZINE ADS
I
m (MJatMltf co4$
Ear
"*"
^S^MIH
%' \rw*\
^4s^\^P^
14.
THE ACT
Today Popthttew away the
COAL 5HOVE!*!
MINUTEWARM HEATER. APPCAL TYPfi.
ICi.
THE-
/KBTCHY
TY**R
ANAHR/,CA*^"Ow^-4WOIO»AXJNTHI/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 7 1AMF. '£ CO.
PUBLIC MUTUAL LIFE IT.
1BI
*P£4R* /UBJECT/.
IS,
fell
INXJW iFRO^iTlit
Hi
RtfO^U ril'LJJjftUJ!
V tiTMPNl COinVCIlrOF AJVTL Kl CA
-TYM SOLI CAL «ajbj£Ci\t
I
^'/ kaven '{ It ved uHiit you've landed a hia ox£.
Ljou
(
VACATION K>. *
BABY " SU& J ^CTf W" LL ALWAY/
IN
t
CAL1FORNT
"B
JTAY,
20.
234
CHARACTER /UBJECT/.
1
I
TYPES OF MAGAZINE ADS
me a bowl iv€
ihif
big,
Mom/
Collins
22
,
MOTH E R AN D C Hf J_D
Jcktuiy doc a tt'i-
/(J
Lod JivcrOil
O J ECTJ\
jlbtf li©
(m ATCRNi L APPEAL.)
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!} 24.
235
DRUG 5TORX5.
THE " PURELY IMAGINATIVE",
TO THE WHOLE AD
RELATING YOUR ILLUSTRATION Even though you
arc not called
upon
out
to lay
to
as I
planning your
it
ground
have indicated, of considerable concern
against
the whole page arrangement of a magazine ad, is,
in
Much depends upon
you.
illustration. If
your layout bac
some strong greys and dar carry some of the whites
white, play
is
and
it,
also
the background into the illustration. If by chan
your carrying
an overall grey or
through the general scheme of layout as well as
your layout
your execution of the pictorial idea.
background, work to the other plans. The poi
en-
I will
deavor to give yon a few pointers which
may help
is
your layout
cated and space- filling material elsewhere to treat your illustration
with as
The
much open space
on tracing paper and
layout. You will find that
lay
paper
much can be eliminated.
tru
material in a photograph must ordinari is,
althou
will
cuto
doll,
thereby getting away from the grey-
But
it
looks hard
and "pasted on," and has not the value
of a good
postery, with
sketch or vignette with planned lost and fou
or no background, and utilizing the white
edges which would interlace the subject with
will look better little
between an ordinary thing and a
ness or drabness of a subject.
In a complicated and busy layout the illustration
and
all
the figures or material in a photo as you woul
over the
it
makes
sometimes an enterprising layout man
subject, indicate the general masses or patterns
of value
darks, or
be accepted and put into a layout as
and shadow, In planning the
light
and
bla
outstanding ad.
try
,
as possible, keeping the masses simple, or not too
broken up in
to carry
lights against grays
difference
already "busy" with compli-
is
put
to
is
reverse. Attention to this factor
in the ultimate result. If
almost
if
flat
A
space to give the illustration "air."
background. Such interlacing
so-called
the unity of effect which
"spotty" picture does not belong in a "spotty" layout.
No
how
matter
well done, the effect
unpleasant and the advertising value illustration
should offer contrast to
lost.
its
is
Every
It calls for
one
presentation.
around
your original
it,
commented upon, you
be too
the largest possible
tial
and whites, against which
who the
space, you are most fortunate. Advertising
If the
men
bit
your
weak, and
arc ready with substan-
seldom occurs, ho
itself.
product appears in the layout but
illustration, try
by all means
through your picture toward
clients for years to see
if this
comments usually hinge about the merits
of the picture
has good open areas of white
rest of the la
may possibly appear a
reasons. This situation
ever, for
the grey of the text will appear beautiful.
have been hounding their
well to point ou
effect of the
Not having the
overpowering or even a
effect is
desired, the illustration should not also
If the layout
it is
arrangement, perhaps taking along some of
text or type
somber or "moody"
areas of snappy blacks
gi
preliminary material by which you arrived at your
which contains large areas of small
grey in appearance.
necessary to
is
i
so important.
you have considered the
that
surround-
true of the "grey" layout, or
matter. Unless a
is
In delivering your picture,
is
ings to secure attention.
The same
it,
outsi
to carry the e
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
to follow
dency by the man who
is
footing the
ten-
bill is to
paying twice as much, since such an ad if
make or break an
ad. In such a layout
illustration.
you can go
your picture.
it
it
stands forward in
of interest
236
1
make the product separate in val relief. If
appears within the illustration,
You can go back to the original four tonal plans
overlaps into
In that case, supply suitable con
in that area to
so that
art
Sometimes the product may be sup
imposed, or so placed that
only
the pictorial limit, getting at least four good contrasting values in
through the design of masses, edges,
This will be greatly appreciated by the
director.
is
White space can
half as effective,
that,
is
lines.
fill
the space to overflowing. In the long run he
even
<
by leading
all
make
the produc it
the poi
possible lines to
it.
!
DEVELOPING THE "CO-ORDINATION SENSE" It
admittedly
is
difficult for the
with
artist
(little
experience at once to co-ordinate his efforts
SiitO
full
swing with the advertising or com-
approach. Often the beginner will hear
Shercial
"We are not looking for high art lere—what we want is good advertising/' It is phrase:
fate
separation between art and
[Unfortunate that a
minds of
advertising exists in the
that has been
progress in art illustration (he
twenty years has boon
past
ering a period, rears, will
ucli
prove
Advertising
it.
and
up with and
in
constantly ap-
cases
is
to get their
surpassing
ference
between the twu has nothing
to
ipproach leans
sponse.
High
may be
art
own intrinsic beauty and
is
and
I
Of
in the inconsistencies
''balloons"
no better result than to become incongruous
and
drawn only to bad taste?
manners sSO
anywhere and
if
icontinually
falls
detail
edge
display bad
chances are thai
picture.
and product more than
it
Eliminate
You
and white spaces
in
of ordinary layouts can is
come
given to balance and design.
flair for
mutual understanding of intent and purcontributes the merchandising theory
and dramatic
You
is
interpretation. It cannot all
either side,
even more
his, for
your particular knowl-
is
by no means the
complete "yes" man. But he
is
willing to listen
his
reputation
deliberately
in every
way
he
only the
237
short of producing
feels
would
actually
do
more harm than good. Rather than
make a
fee, forget
him have When the j'ob means
very bad thing,
the courage to refuse the job.
will
is
difficult to acquire.
illustrations or art that
The
and your contribution
best commercial artist
and co-operate
such detail will draw attention
away from the idea
a
He
The
by the attention short of the mark
makes the best
Out
even greater than
by the erroneous idea that tight and
,'erinsistent
new arrangement.
blocks, lines,
thought
come from
benefit
obtained? Advertising
thumb through a magazine. and on your pencil pad start moving to
is
the spacer as well as a reputable product.
sign,
executed painting,
Who can
to got the "feel" of advertising
contribute your understanding of light, form, de-
kid show extremely bad taste. When taste is sacHrificed for attention, what good is the attention, if
every freedom
get consistently be tier results.
way
make
blacks.
lies in
the comic
lirith
finely
ad,
it
good spotting and arrangement Co-ordination between artist and advertiser
its
and inserted into a
They
best
itself in
re-
Istrip
the
Before long such experiment will begin to express
permitted, "Blurbs"
may be bono wed from
man knows,
of the 'do ad wood" for white space.
gems
by compari-
suffer
good advertising
miniature pattern in a design of whites, greys,
created for no other
may
art
the less a
recognizing ability, give
pose.
Where advertising is
Oddly enough,
simply
purpose,
son
that are totally inconsistent with
some
do with
anything that has
lack the fundamentals of pictorial
the units about in a
dif-
and
may
tures
Take an
more to the telling of the story, the
.virology of appeal, attention value,
his primaries.
are given authority to plan and order pic-
presentation
No advertiser will ever
only good or bad. The basic
him attend any techni-
more brilliant than
is
tones and
Advertising fails sometimes because the people
The
medium, or technique. The advertising
paint,
color movie. It
possible.
drawing, good values, arrangement,
is
lies in
tors,
drawn between advertising art and "high
Either
advertiser does not believe color
taste. IF the
more orders he is apt to give. The ablest art direc-
and conception. There can be no line of dis-
tinction
bad
have singled out the best
work.
with one fighting another. In the
color,
scale, the advertiser's inherently
art.
my opinion that it has
many
primary or
in
,
the country from that standpoint, paying
object to fine
>rt"
is
only
knowledge and hence may give out directions
of the so-called "fine art" of the country. In
in)' price
color,
it is
in
tome cases advertisers ists
in the direction of
with respect to color
end, such an Attempt only publishes, on a grand
who
in
I believe, of more than twenty-five
proaching fine art, fought
made
fails
insists that color lies
it
spectrum
the
all
A study of the Art Directors Annual, cov-
fine art.
when
Advertising
it.
beautiful relationships, let
advertisers, for
be conclusively pointed out that
can
it
enhance
it.
let
A TYPICAL MAGAZINE AD ASSIGNMENT Let us assume that a
call
has
come from the
art director of an advertising agency.
he wants an
illustration in
We find that
black and white for
general use in the magazines.
On
We assume the layout is to be fol-
lowed for space allotted is
to
units.
The headline
side *
We agree that
interesting.
comfort.
and
drawing of a man
this line
in
art director tells
)
we
find that
care/' "desire for relaxation "
is
no color to
support!
for pi
The one
when not considered
line
Hon
a feeling of heavu
mood
that soi
in that light,
unfortunately present a
us that
a picture ml
mood wholly
in 0]
to the idea expressed.
I believe
you get
it
will
become more clear,
the
are implicit in this subject. All of this points to
of something, and the only place to find
what we can do with the
sion
illustration.
entertain the child with a story
book
so
in the eve-
man is most apt to be home, and when the outdoors is coldest The busy art director may ning, when
not go into any more detail than to say:
a sweet
little
family group, all
source—wl
and form, plus your
So much of advertising has so
logical to
is
light
much formula. There is such a tendency to
tare, so little
and
"We want
invention on the part of art
artist. It is
the extreme tension
and pressure all have to
under, little thought is turned toward these thin|
happy and warm.
(Everything having to do with advertising
But so few of us exhibit any courage
says
he
comprehensive sketch, but would
will not
is
need a
like to sec
in
your competitor's approat
for individual expression*
some
a chance,
roughs for general composition.
it
And
yet
if it
striving
never
never can really come out into
Let us
start believing that
good as the other
our eyes t not
might be submitted, or which a conscientious
ears, are as
would make anyway before hiring models. One of these is selected as coming closest to the purpose, and the models are called in and photo-
lieve
graphed in the poses wanted. Several lightings
into ourselves. If nothing in the
artist
If
we have as much
fellow's.
Let us
right to expression as
we do not know what to put down, it is becai
we have not dug deep enough into the subject world
i
inter*
we would have no ideas. As long as there something that does, we have a basis for expre
and many attempts are made to get
as closely as possible the expressions that will
in
light!
Following you will find the roughs as they
are tried out,
direclc
not surprising that often, wi
The answer is not
He
ii
little personalit
We want it well done, and we need it in a hurry." always in a hurry, )
out
ual feeling about it
mother affectionately hov-
ering over them and interested. It
in the interpretation of the
means nature,
Let us show the father free to give his time to his litde daughter, the
is
fa
in the craft, that the individual feel
and personality of the artist is most ii Pictures are so much more than filled-in
others,
thing
especially in a cheerful subj<
Values are so related to
"freedom from
and many
gives us g<
depends entirely on values
and darkness,
Thinking further about the psy-
chological angles*
is
avoid in black and white
drawing will be handled inside their own
art department.
it
there
black-and-white interpretation.
an overcoat subjected to a
wind (The
it
Every subject should be studied for a good balance of darks, greys, and whites,
would he love of
be supplied by the small
to light the
effect
note that the contrast, or "before
after," is to
blast of cold
subject,
and desire for security and
family,
We
this
When
the shadow.
"freedom
is
would be logical
opportunity for reflection and luminosity wit
be "Perfect Weather Inthe idea is rather novel and
The psychological appeal
it
back lighting
over one's shoulder, but also
to
is
from cold." Coupled with
home and
chosen, since
each unit. The account
a company that manufactures heat control
A
are considered carefully.
die next page I
give you a layout in approximation of a typical
agency layout*
You will note in the final illustration an ati to get away from hard photographic derail. Edgjjjj
us,
tell
sion of our feelings about
the story.
238
it.
A TYPICAL AGENCY LAYOUT
5£rt0 *Ofc
AKRON
M£fce.{£Oi>k:iEr
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 AROUND. THE FIGURES WE CHECK THIS WITH THE ART DIRECTOR BY PHONE* SHOVM1NC THE BOUGHT* WE. ARE NOW READY TO CALL IN MODEL; FOR PHQll WILL MAKE TH£ CAMERA WORK THINfl Oft STOOIES. HAVING THESE ROUGH OUT OUR WAY INXTCAP OP OUR, WORKING FOR THE CAMERA. TRY IT OUT J"
1
240
I
FINAL
ARRANGEMENT BASED ON PHOTOS TAKEN
241
•
THE FINISHED ADVERTISING ILLUSTRATION
242
WHAT
THE FUTURE
IS
IN
would seem that magazine advertising has
It
every tiling possible,
e almost
ached the place any approach.
and unless
On, ing
more
in
much
where duplication
the
is
inevitable
it,
vfer
is
that
it is
tentiou
into
it.
Every
group of people in a room. an another, forcing the next
Types gel
soon everyone
(i
d person /on hi
is
is
lost.
boy once
that "If
am
Tt in
One
much
The
A
clay Fisher
like
history.
magazine ad
Since
color, blurbs,
when
and script oan do. Tho
ry
clement of contrast winch make* these things
in
attention, can
make them inaudible by
modulated
ipacc
jotli
to
Suppose rith
)lc
of
of
in
a floor strewn
open space and
the middle of
it.
focusing at tent ion.
oranges
among
set
valuable and necessary
is
not be that the best pos-
it
good manners against
distinction through sim-
sweeping up the
clutter of bad advertising
left?
Not
so
more
there miich
be done with copy and
it
Are there
text?
many
it
who
years ago the
one ad a
little
side.
could a fiord
not more space that could he
filled
it,
up?
Everyfor
It
was
made what
larger than another, but to
the p^ge,
We
so that the ad merged with the carpet. Size,
is
sweep a
crowded, has so
the principle
we had dumped
finally
little to
do with
call the reader's attention lo
a crate
the rest of the confusion,
difficult fact in
pushed
gave effectiveness was
ter
how
screen,
it
much
big or small a face
we
may be on
24 O
J.
the movie
its
being any-
human
being. Size
same
thing, in close-up
appearance, from a greater distance.
the world to
when
the fact that no mat-
thing more than the face of a to see the
oft
effectiveness,
are never conscious of
only permits us the "most
not the answer.
bad? Can we not lend
body seized upon
attention, is
may
is
and cluttered
would not have gained as one-tenth as
This
and screaming
an inch or so more of space on each
an orange or an ap-
That, to me, If
would seem obvious
), it
purpose? The beauty of the white margin which
everything under the sun.
square of
tried, as far as the pic-
magazines produced the bleed page. Tins allowed
urn;]
demands.
we have
been
could reach!
any superlatives
and that very quiet and contrast which
color
a magazine
is
that can
be fully effective. Clashing color destroys
iritliant
this has
if advertising is to progress, is
type eats up the very space an ad must
itself
the boldface and blaring types
sibility felt for contrast
lack
lend attention lo a charming presciilalioii.
oklfuctf
Rave
voice, so can simplicity
advertising
still
with good white space?
when everything else on the page Just as quiet in a room lends distinction
& single
think of
T
go on with many more instances,
all
pes si bit 5,
plicity,
contrast shouts."
which are
ads»
Granted that contrast
loud,
word cannot shout, is a misguided concept ion of what boldface
gaudy
-pe,
showing a single piece of
we cannot put neon lights on
that shouting
said. It reverts to the philoso-
But fortunately Hie printed here
I
product and the advertiser's name-
do hut shout?"
I
first
of approach never equaled these in selling the
quiet cligni-
upon being
Body
proving that
to raise his
torial effect
insists
"More/' White
title
green enveloping a large head.
flat
<*)uld
1
everybody be quiet but me/*
every l>otly
with the
the simple effectiveness of the McClelland Bar-
page (even
if it
who
ad and shoulders of a bov
|evol ry in the middle of a black page.
It
talks louder
man
,
proffers a
it
think of a Campbell Soup
I
think of a jewelry firm
could he handled
he a wonderful thing
a little
Lai
shouting,
hopelessly
A the basis of "Let's
liy
example, a
Perhaps someone booms on the radio,
ice also.
lie:
word
space enveloping a bit of bright color— in the
artifice to force
naturally seized upon.
is
as a single girl figure in
holds out a howl
and bolder, Color gets louder. Space gets
go
it,
ad showing the
destined to go
same way.
lo
proved over and over again. I
is
hot tie of the product.
contribute son ic-
the clamor for attention.
more has
?
tried,
wo
nmed. Space gels more expensive, and as es
once
"Yes" On
artists <\\n
but the effectiveness of
to the advertiser,
think of a Coca-Cola poster with the single
foneaf the greatest drawbacks to good taste in vertising
over
j*et
Hut magazine advert wing must
would seem
it
we have
lliat
MAGAZINE ADVERTISING?
When
such
BETTER TASTE IN MAGAZINE ADVERTISING an
effect is
But size
is
an
asset,
it is
always obtained at the expense of mar-
ginal isolation or "breathing space," laps over the edges
it
Can one doubt
valuable in advertising*
When
lias
What,
a
takes
it
unframed
cost.
who
When we
room being The bleed page is like an
what
holds advertising on a lower
but the art
we produce
that
good enough,
get
to do. It has
grown out of
its
They
old clothes.
not do forever. Instead of shunning good
lies
will
its
— the
and
taste, simplicity
approach, subordination of the
trite
and
will stop telling
own department
us
of
of good
and presentation,
but
before us.
We must put
the fundamentals
to
is
no doubt
that
it,,
get people to look or
There are possibilities for art in advertising that
When we
have not yet been explored. But such develop-
listen.
think of an increase in taste as
only answer to the future of advertising,
not
the-
let us
The advertiser cannot, nor ever could, tell us how to do it. fie tries to tell us what he wants, but he has to take what we can give him. He is more limited than we. That is why
consider the average motion picture of twenty
we must not limit our individuality
day could not possibly "get by" today, nor
from the ad man's
desk.
the things requested of us.
more than he asks There
ts
We
years ago as compared with the present. Compare
the acting, the presentation, the creativeness the
or ability to
must give him to
and better copy-
lines of greater simplicity
magazine advertising can never be
tising
art for advertising
and
fine art, at the
fine art. It
at
its
course.
life,
nature, form, color, and design.
Go
to the
only source that can give your work the fine qual-
same time keeping aloof
from advertising. Instead of the
taste. Adver-
To prepare for the advertising of tomorrow, do not look too much at today s ads, but look rather
does not seem quite logical to starve in order to
produce
and good
the
cannot be the unique profession which does
not need to change
we must strive to eliminate the distinc-
between
could
engineering— every one has progressed along
produce
anything more than the co-operation of the three.
tion
way through. The hero and heroine of yester-
We can look at architecture, industrial design,
better layout men, better artists,
If possible,
all
the producer.
for.
no other course open than
writers, for
*
new forms of advertising may spring up with new inventions. Publicity is publicity, whether we stng it, say it, picture or act it. Advertising is any way in the world to
irrele-
itself,
can produce.
far less to acomplish than the task which
There
vant, and the inexhaustible reaching for the ideal.
ments must come from the realm of art
will-.
selves.
straightforward presentation of truth, embellished widi imagination
it
we
It
we need. Such study is only the apprenticeship to the individual study we will have to do for our-
art, it
the greatest ads
for it?
work as has never been done before. We must not regard a year or two in art school as all the study
must finally seek it. The things that have made the
make
is
pit>:
dear reader, magazine advertising s
taste to clean up, in layout
cannot get louder and bigger,
greatest art will
all,
align itself with the best ability
what is left? There is but one answer: better taste. Better taste in art, copy, and presentation. Advertising has
of our ^
from having done everything possible.
far
picture.
If advertising
my
No,
as breathing space, the extra
worth the extra
after
torial level,
been gained by the bleed
page, except to the very smart advertiser
one
one of his amazing charcoal heads?
color, or
man can get too fat for comfort and appearance. An ad can spill over its space as easily as a fat man over a chair. Little
if
magazines were to reproduce a Sargent water,
size
ceases to function, just as
the effectiveness
ities
"fine" artist's
that are so needed. Paint heads as
if
you were
why should he
painting a fine portrait, paint form as carefully as
not lift it up to the highest possible level? Cannot the observer enjoy a
you would sculpt it. Look for the beauty of tone and color that would go into an exhibition paint-
printed page as
ing.
"lowering himself" to advertising,
good thing as much from a from an exhibition wall?
244
There
is
no better way.
THE OUTDOOR POSTER relation of reading time to advertising has
.The ?
been pointed
already
out.
Nowhere
more important than
'sideration
is
this con-
planning the
in
among poster authorities that ten seconds is the maximum reading time.
outdoor poster. It
agreed
is
must be planned on that Now, ten seconds is very little,, and even
little
er
road
the
when
down danger
cut
when
possible.
place the board at an angle so that
to
s
same time
two plans
to the motorist,
display are followed
poster
at the
some distance ahead. This accounts
Seen for
The other re!
wherever possible
is
in front of
the driver and
hat the line of vision is in line
number of words jesters
is
igned to carry the
is
A large head probably holds
ic
it is
it
as
in
first
A single figure, is
especially
good.
more
If
if it
figures can
is
>ut
one word
so is
much the
)py for n
left for
is
about
all
that
terial,
that can
be further
to the good.
A
elimi-
1,
Some
since
it
the sheets
accustomed
half sheets
may be placed
either
above or below the two
good deal of latitude
and you should be able
to place
even more than other
need to be planned
illustration
carefully.
You
ma-
are usu-
asked to make a comprehensive sketch be-
fore
making the final, and that is
is
a
good thing, for
seldom guess work.
There are several more or less "stock" arrangements of posters which should be familiar to you. It is really hard to get very far away from them
to preparing
produce a good one. The horizontal shape of the poster is not easy to fill with good design, and is different from the usual shape of
backgrounds are almost a arrangement
both of you.
ally
and
sort of a diagonal
for
imprint of the dealers name. In that case,
a good poster
poster with
planning posters.
:ssity.
fit
such space must be planned into the original post-
extreme-
magazine advertising often miss badly
Flat or very simple
let-
Posters are sometimes syndicated, with space
be used.
dream of every poster man.
Advertising agencies
let
important elements can be avoided.
er. Posters,
be
not
your material so that unfortunate cutting through
can
be used, including the name of the prod-
lted will
a better job
in your design,
half figures are
four corners, unless the subject
and every word
Do
pasting on a windy day
larger sheets. This permits a
place in poster
not a head, dien a large single unit
Eight words on a whole poster
uct,
is
at the top or bottom, or
simple.
lould
a single sheet.
almost impossible to match or
Note that the
poster seldom attempts the solid picture rim-
ling to
be placed on
tering. If the bill poster
and capable of being quickly read.
perpendicularly,
these can
even through a head,
lithographer in reproducing your design results
appeal,
sed
will
the simplest possible, de-
maximum distance. Take
Reinserted lengthwise,
layout of poster sheets on the following
a sheet cut lengthwise through a line of small
t
some kind.
contrast.
together exactly. Every bit you can help the
n
of
if
The
axiom then, that a poster must be simple, direct
if
book are
and in good
clean-cut, sharp,
ting through eyes, fingers, or
for
id
lanning—or
basic
the
minimum and
cut to the
arrangement
The four
not plan posters with the edges of the sheets cut-
such a position
with the traffic.
for this reason.
above a post-
page should be carefully studied, so that you
to place the bi liin
background
The
zigzag arrangement often seen in billboards.
le
a device for getting atten-
A line of lettering is often used
must be
can be
it
is
almost indispensable to a good poster. Posters
for
One
and
in the line
tonal arrangements given earlier in the
to take one's eyes
driving a car. In order to give
maximum reading time and
makes a dip
also good. This
of other posters
basis.
;off
it is
background a
line of the poster
letting the pictorial unit reach
and then
above
tion.
would be quite too long
arrangement of competing posters.
vertical
Dropping the top
Therefore, the poster
that
t
and
is
still
any other type of illustration. Experiment with
contrasts with the usual horizontal
245
it.
— HOW
A POSTER
fS
DIVIDED INTO SHEETS >*
A
i
Z>
/
^« *•'*..
-£-
^C/S-O/J
3Hff-ff.rj
e
tyrw-i ^W**-^.-AWflr rfxd
13
sV"
v
1
%
:
,*-_-j
Q
* "J cf
^
f #MV.*-<«L-!-K M-\> -.-|
1
•:
Fl'
i
V IT"
ft
itu-^-i
1
^»h *^M fft
'-
w
r m :-*wvt^rv*-T*mi**KrMTC^-y*rr*l?
ft
USYOOT
f/*£e:rs
L
C
"*f^»^r
*c» i»*t t> WRWtrrV">
ALP
f---i-v™^- ir-r: ™;-™
-'
J
S-
"jfirfiT'J.
OP OUTDOOR
POSTfcfc JHEBTJ.
P^N
£t3T <£j
«-!"? *: >-:>-•
'\^ AT T01
\0«->fiL
Ka&prNcr the
|
^>oa
SfeTNNft&H
V4-H U-f
v
L„i
*
TH !
f'kJ-* Ctt
-* •«>,-> V'-7
^HB4t
CAN
AT IWfTRW
- -%*» W-i 3-TJ*
O
-| i
•
*-..
-P-..
i
$
r -
.-.-..f-r-* ,-
r*tv^-AJr.4.WA.r.lV>M-Y-**->^»H**> w'nA*...*"'.- jw*#>- -
PLAN YOUR-
POH£H
CAM JUJT AJ EAJILY BE PLANNED K\aHT FOR THE LITHOGRAPHER AND PA ST ER.. AVOID H AVI NG THEETJ" CUT THROUGH EYEJ",
A
PO.TTE.R.
WOULD LOOK 0AD
JHEETJ* WERE PAXTED /LIGHTLY QOT Q¥ ALIGNMENT. J"UCH CUT_T ARE BAD FOR
MOUTH J,
FINGE.RT ETC. WHICH
IF
THE LITHOGRAPHED. IF YOU CAN^GET THE FEAYUREf WITHIN THE JHEET. WATCH THAT THE LATERAL CUT/ DO NOT J* EPA ATE*] OR CUT THROUGH A 1-1 NE OF XMALL LETTERING. THE BETTERFOfc THE PLATEMAKERJHE BETTER THE PLATER." PO IT RJCTHT,; ft.
246
!
TYPICAL POSTER ARRANGEMENTS
or
WEET-FRY UHRATlVE «NTERr=/r ON ONE
HAC0N&L.
J\ DE„ A HO
M FjV4C£,PftODUC T AND NAME OH1WQTMK* ,'hdTb LftttOUTOF'Kter/
ARRANGEMENT OETVf&EN NAME AND CAPTION, CAN BE DlACToNaU EITHER WAY- CATCH6J
LLU/TRATlOH OWBOTW
J"ID£/.
AREA/ LEFT FOR CAPTSOn.NAME OR PaoOuct. CAM
247
BE.
6YE.
A JOLID PICTURE,
TYPICAL POSTER ARRANGEMENTS
ink about -
CENTERED
tMTEftE/T,
LETTERINQ AT
WHal FIVE MINUTES TO /U13JECT
tfPEX.
OVER HAM£
CAPTION OVERTOP. 248
A TYPICAL POSTER ASSIGNMENT Let us
we have been commissioned
suppose
We
en outdoor poster. inxluct
and
Be
will call
xluet
£re
an actual prob-
it
take a soft drink, a lime drink.
know
"Zip," since I
it
through to coin-
it
would were
I
we
Suppose
lem.
will take a fictitious
I shall try lo carry
exactly as
iletion
by that name. Now,
if it is
may be some people who do problem might
sour; so the
to
no actual
of
a lime drink,
not like a drink
easily
be
to pro-
an attractive poster emphasi7ing the point
jioe
you
as sweet as
lat "it is
like it."
This calls to
Bind .several captions: as tjou like
ft-eet
last
one
Couklnt be sweeter Sweet as can be
it
a sweet
jnijid
probably the best.
is
young
girl,
lined
"Zip." she should
uality
about her too.
perhaps a glass.
sd
bottle
be
and
order to
J in
us
If
her
go
will
glass. Since this is
to the other extreme.
clothes, has
Outdoor
to
trie
is
product,
ei'ign
be worked out.
sport letterer,
T
we it
by a
part of
June just
I
can,
I
would
on the
fairly
T
good color
proceed with the
left
by using the
I
man under my
lay
lay out the
half sheet at the
side of the poster,
I
can bring the
face completely within the second sheet it
brings the caption onto the half
going to
is
Tor the lithographer, I start the final
The background
is
painted in
The background
The white
shorts have
is
then
first,
a color
made
and the white
been related with a
of the other colors.
picture has been completed and the paint i
now add
the lettering and
touches to the whole thing to bring
completion at the same time. left
now
this large painting* 1
of the color in blouse, lounge,
final
around the painting
space of white which
is
some
it all
to
A white margin was
to simulate the
blanking
around every lithograph
outdoor poster. Tli ere has
and ask your indulgence
been a hue and cry against outdoor
posters as defacing the beauty of our cities
and
may be they may
countryside. In the open country they
it.
drawn
a
few pencil roughs
but two were discarded,
produce them.
find that,
allowed to dry,
will
an eyesore,
for gen-
arrangemenl, very small. For lack of space, since all
down, and
it
take a photo based on the roughs.
be made from
The
to
have never been an
lettering
I
nail
work.
shorts.
who is buying the poster. So, some may find my lettering at fault,
do die best
that
have worked out a
I
want an
or take photos, I
The painting will be in the proportion twenty by forty- five inches. The reproduction
up
poster,
by someone
hen though
since
the red lounge.
and that part has always been
ken care of either or
So
life
animated smile, and want to
little
one here, though in a real order
Jready
work from
work out
to height, is ideal,
into such a poster.
in size.
sheets at top. Satisfied that everything
and
name or trade-mark would have
in corpora ted
[will
compared
The
the sketch ten
.1
down. Also
dressed in
I
Choosing one of the sketches, T now call in a model and set up the pose the best can. I would
girl's
for the subject.
The product
lire
ever be thus).
make
by twenty-two and a half inches
painting.
(it will
farther and
it
in treatment as pos-
submit an actual color sketch,
T lo
would carry
to j)
been active by suggestion, and
long in shape
eing en,
you
Were
sible.
sheets.
lounge.
at
tiling
have worked out two color roughs.
I
out the poster in charcoal. First
not very active,
She
our book page size.
fit
have made them as simple
will
be separate.
should say that she should be looking out
I
I
of
now relaxing after exercise on some sort of an
Is
these
to
Since these are for genera! effect and color choice,
final
in action,
more
little
the size of four by nine inches. These
in
Selecting (be best print,
must show the bottle
the figure directly to
tic
From
is
have a poppy breezy
we show
have worked out two a
I
must be reduced a little
scheme,
to
show her holding the bottle and perhaps a
pearly filled
ly
We
Tt calls
but since the drink
would have
glass
complete
either
sweet enough it?
promising
T will
it is
true;
but just as often
screen dilapidated buildings or empty lots heaped
with rubbish, With better art they need not be
not
However, from the two most
ugly.
249
It's
up
to
you.
i
THE IDEA ROUGHED OUT
GOOD ARRANGEMENT. HOWEVER THE ClStCS LEG AWAY PaOM H-AMBPUVTEjOR OUT OF THE POITER A
\
.
APTTO PULL ATTENTION fO W£ WILL TRY ACTAlM, S
0000 OUT MOW THE LE
Tti£
/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 G£TS 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, AFTE.R
\
.
|
250
1
HALFTONES OF THE COLOR ROUGHS uat
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/ 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.,
[THE
i
,
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 considhaving somewhat more reacting time than
red as
utdoor posters. t
However, such reading time
Another type of display
up
ety, set
the three- wing vari-
is
you would a three-wing screen, or
as
is
having the wings locked into place by locking
always leisure as in the case of magazine read-
devices. Jt therefore stands without back support,
Tn fact,
most displays must he seen when
and
people are in
a hurry, passing windows, shopping
of the
pig.
Ur lunching or going to and from work.
Therefore,
Hie display should be planned for brevity of Tbnplicity of pictorial elements,
and
text,
directness
its
advantage
consider the various types of dis-
First let us
that
it
window or against
may be set at
the
back
the wall on a shelf, with
products displayed in front of
It is usually
it.
planned with the middle panel largest and carrying the main pictorial interest.
may be
of appeal,
is
tising
The
side panels
used for the products, or for the adver-
message.
J
ays.
The most
iigle
panel, with lettering or
above or below
picture,
ty
consistently used type
Sometimes some
the
message on the
may be supported be made to hang on the
it.
an "easel" in back, or
is
This
sort of a base
cut on the front plane with
to the back plane, providing a
ground
usually die-
sort of
opening
permanent back-
for the pictorial matter, since
a single-
and sometimes the actual product or package is displayed upon this base or step. There
ground, often losing thereby hi effectiveness. The
re single-sheet displays and posters made
like
to
be
hung up. Such single-sheet not mounted on stiff board as are all
are
n there.
(In most cases the
I
used
tacked, or
posters
fee
is
on,
it
pasted,
mounting
is
done
after
printing.)
With other types of displays,
various folding
with
all
sorts of ingenu-
used in die-cutting, and in experimenting
ity is
and interlocking devices
Almost anything can be
Stability,
board in this
for
built of card-
manner, often producing a three-
dimensional effect
and giving great
tising.
A
group
figure or
placed in front of a lost intriguing
may be
latitude for
arrangement so that
ment. Tlie effect
the added rounded ness of modeling by values, a
may be achieved. This illusion of reality adds so much in attention value very
lifelike
that
it
appearance
merits additional expense in producing
such an
effect.
in miniature
A display like this should be made
and discussed carefully with the
who when he
more apt
to feel that the extra
"Oh, pardon me" type,
tricky, Intricate die-cutting
is
bumping ple. In
usually
lem
without inside
,
into
Such holes require separate dies. The dies prmot cut extremely sharp points and angles, so
set
or
is
enhanced expense is
effect
is
justified.
is
the large cut-
intricate outline should
for
people are always
them and taking them
for real peo-
such a display the legs and feet are a prob-
for a fairly
wide and quite
be provided. Small
feet
solid base
would break
off,
must
and the
thing would always be falling over.
tody.
die
sees the
spicuous places. Artists have nicknamed these the
such as a space between the elbow and the
The
making the cut-out
background. Displays can be
jiUnned for the outer contour,
[raided.
that of
out figure which stands around the store in con-
and
and
will fold flat for ship-
cut out and
held to a minimum. Cutting
lay serrations
in a box-
material seem to stand out in space, and with
j
lots,
is
it
A very popular type of display
k expensive, however, and therefore such die{lifting is
back plane may be pasted onto the front
client,
Beativeness not present in other forms of adver-
{
some
is
plane cut-out might appear against any back-
maud
i
of display
to
all.
,
The "two-plane" type
of course are the best
Long dresses answer, and when you are
not able to use one, the only thing
be
a steel band which must be
something
bent around the outline.
in the
legs, or just
253
left is to
put
way of a background behind the
some dark
color.
DISPLAYS ARE "POINT OF SALE" MERCHANDISING i
The greatest value in display advertising is that ft is
displayed where the product is sold, and, seen
by die customer, becomes a direct salesman. It does not need so much "memory value"; rather it is
"on-the-spot" selling. Therefore a good dis-
play should not be general
selling,
The word "you"
person-to-person type of selling. is
but a positive
excellent in displays. Let us say that the objec-
tive
can be
summed up
it is,
buy
"It's
good, buy
"Try
it";
it
now"; "Take
with you";
it
use or application.
it
is
really
more
brilliant
and beautiful
everlasting combination of raw primaries. lira
raphers have shied from tonal or greyed
a horse shies from a snake, not realizing support of such color makes the
A
give most of us a negative response amounting to
might he
lipstielt
Large hands
may be Or we
fjieji
an acute pain sold
when
in the
stomach. The public
nauseated, and some clay there
lie consumption just as
ing the product. As in outdoor posters, die large
poisonous food. Both can
be most effective* In
fact,
anything
may be enlarged to gain attention, much
den of do it,
as to
Sometimes displays are a
co-ordination of other advertising into a
direct
is
against concocting
make one sick. The OT on you, young
artira
I
wish
I
could paste up a huge sign
you use one
in
ftiU~$trength
hM
primary, for Petes sake tone the other
Let me say that in displays the advertising postouched.
there
responsibility falls
lithograph plant; "If
That
consumer appeal
sibilities and opportunities for
will be
to begin the crusade of good color. I think you
Basic appeals apply to displays as advertising.
not
is
a law against concocting poisonous color for {ot
may show the inevitable pretty girl using or apply-
final
brilliant offl
huge toothbrush may be
around
built
applying nail polish on large fingernails.
any other
thatiffl
its
may be
full large lips.
to
the
They do not know that pure yellow robs^ pure red robs blue, and by their very fighting
brushing huge teeth, a large
head seems
than
sing.
it,"
Often a good display
touching
'Here
in these phrases:
and attracts, and sells. We do not need the gaudy stuff to sell. 1 It cannot be denied that brilliancy of color is good in a display, but lithographers apparently do not yet know of "relative brilliancy " and that
ter art pays,
is all it
needs-
And you can
a bit of the full-strength one.
the artist are hardly
tone them
with
It is as simple
i
that.
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
customer has been encouraged to buy some of the
done with quality painting wherein values, nesses, and beautiful tone all play a part cannot a display be done in the manner
best art talent in the country, and for this reason
some
displays are beautiful. There
of the garish
But the
is still
much
and gaudy, the cheap and tawdry.
field is steadily
graphic thing on which
no reaa work of art
conception and better execution. There
son why a display cannot be as
fine
interest of the public.
I
am
good
sure that misconception
lias
of the lithographic field too long. lithographers are proving every
day
all
sc
p
modeling has
color*? Clean color is a delusion— for instance,
idea that flesh can contain nothing but red
demand or
yellow. Clean color lies in the true value and no
Why must die belief persist
that people cannot appreciate
can-
bleached out for the sake of so-called
is
as any museum painting. I am sure the crudity lies in the conception rather than in the
much
lovely portrait instead of a pasted-up
improving, with better
ing
else.
There
is
no real reason
for Iithograp
art?
lagging behind the other fields in art prod
been a part
With better art understanding, lithography
The
well lead the pack. But
better
that the bet-
cured.
254
as
many
iEs
must
first
:
:
WORKING UP Let us suppose
wc
are .searching for an idea for
As pointed
a display.
IDEAS FOR DISPLAYS on
the display, or be designed to exhibit tlie actual product,
out, ideas spring
from facts about the product which can be related to psycho-
b. If the
appeal To make the appeal, we either make a promise that will bring satisfaction,
logical
or
we seek to alleviate a situation
Any
4.
argument should be based upon a sound appeal and the merit of the product should be made as evident as possible.
unpleasant. Naturally our basic intent is to interest. the customer in, and to sell, the product. Fitting the basic appeals to the product, it
then
[we can
is
ad-
dressed.
sound
b. If general
pbese requirements.
|
fails, all
i
s lost,
make
realized that no
the art work,
the function
if
ESSENTIALS
5
It
must be
to carry well,
of simple design
must
call
and good
it
c.
Create a desire for the product.
must be
color.
From
the above
It
the customer's attention to
ence
is
if
possible,
on the spot.
upon the memory, carefully.
Does
the
should contain a convincing sales argu-
ment of some b.
kind.
The pictorial content should amplify
such
argument c.
For required
tion
as
visibility,
such pictorializa-
tion should
be composed of large units, stated simply and with good contrast to
background.
ping, a.
and It
will note that display
calls for
it
it
use. Therefore;
should picture the package somewhere
255
immediate response.
we
me
should weigh
this
illustrate the difference in lines:
moment?" This
opposed
an impression
concern the reader specifically
to
for
"How
is
your
immediate reac-
Takes away unpleasant
It is
good
on
to
make
the preliminary roughs for a two- or three-ply bristol so they can
be cut out and set up in miniature. You may not have much to do with the idea and text at
but by proving to the
first,
you understand become more and more valuable to him and will be granted the opportunity to exercise more of your own taste and judgment with each commission. client that
the whole set-up you will
name, package or wrap-
way the typical The main differ-
breath/' which does not lead the customer to question his own breath or assume that he needs the product.
displays
U, It should identify the
you
two following catch
Therefore It
it
interest.
that instead of striving for
breath this
must conclude a sale, a.
and
advertising follows in a general routine of all good advertising.
or generally? Let
the product. 2.
Therefore
that the customer is in a hurry.
In the selection of material
To be seen and It
to the point.
Incite curiosity
store.
c.
and
b.
or at considerable distance in a large b.
brief
when
clearly from the sidewalk
sex,
a logical one for
Assume
AND FUNCTIONS OF A GOOD DISPLAY
must be seen
is
a.
establish contact with the purchaser at the point of sale. It
sure the appeal
well
it is
sure that
should
It must
a.
make
that sex.
including our effort
check with the following requirements
used,
directed to the average person. If the appeal is specifically to one
c.
preparing a display.
fl
is
it is
comes reasonably within
must be
It
how beautiful
display
if it
land our clients investment. Therefore to
appeal
Jist
[of the material to see
of the
most effective with person-to-person copy so that customer is personally It is
will
the elements that should be incorporated into a good display, and make an analysis
matter
sales
a.
tarry through the complete purpose and intent. To assure us that our idea and
approach
should be shown
identification.
that is
itaomes a matter of evolving material that
it
enlarged enough to secure attention and
we
satisfy a desire,
package is small,
TYPES OF LITHOGRAPHIC DISPLAYS
tub.
256
HANCT &\%
TYPES OF LITHOGRAPHIC DISPLAYS
"H+ICie-BL
th£
TWO
WING Pf/PLA^
PLAHE.
257
WORKING WITH DISPLAY LITHOGRAPHERS In fairness
it
must be pointed out that
the display
artist
field is
come
rarely for
picture.
tlie final
He
is
is
willing to
to get the final order,
he cannot
,
spend money
some other
make
'
finished paintings,
pay
five
which makes
or ten, he
full price for
he content others
to
to
it difficult
he
is
would follow
sure that
all
the salesman
is
rather
up
against
it.
is
upon
to speculate, then
one client should pay as much
for his
time as another, with no special privileges
to the
fair that
he works
only
artists,
if
a
an agreed
for
final
painting
is
price, to
be paid
made, the
in
artist can
full-size
even the sketch and the "blow-up" accom-
panying
the
it
stand a good chance against other
ished work. order,
Thus
it
Then
if
fin-
the sketch docs not get the
does not represent heavy loss on the part
of either artist or lithographer.
You can hardly blame the lidiographer for wanting finished work if he can get it, without
If the sales-
can land one order out of four, he
not called
tinted photostasttc copies. In the case of better
but until lithographers
suit,
time can be otherwise so
artist's
able cost, and this can be submitted with
a finished painting. Each would if
a business
speculate with a preliminary sketch at a reason-
may have only one
this situation will continue.
indeed
going the full limit of cost. Nor can you blame the
a good one.
artist
filled that
full
for the
one another,
On
the
If
may hesitate to order and
submit roughs
may be sound from
lithographer.
get together and agree upon ethical tactics with
man
if
it is
another some will submit
others. Since the lithographer
chance in
However,
the best preliminary showing
To outdo one
reputation,
has a compensating value in publicity for him.
lithographer. All competing salesmen
are going to possible.
may go
so>
standpoint. Getting a good display reproduced
guarantee you that there ever will be an order for the final work, since the display
do
to
make a
artist is striving to
such a gamble
salesman will
ordinarily competing
with several others and while he
the
If
at the outset with the order
you
to
Un-
highly speculative.
like the other fields, the lithograph
and reputable houses seldom ask him
for the
the other hand, there
is
no reason
should bear the burden of
by producing a finished picture
why
artist for
the
by doing a finished painting for nothing if the order goes elsewhere. You can make your own ble
this speculation
that has such
not wanting to shoulder the whole gam-
odds
but remember that
your work
against it without any guarantee of a selling price.
deal,
Every lithography house accumulates a "morgue"
ered good enough to submit, then
of unsold paintings, and the paid-out value runs
to
high. If a salesman can "resurrect" or
old picture, either yours or his, this
revamp an is one way
do
for nothing.
Do
if
is
it is
consid-
too good
not accept a "double
nothing" proposition, for
it
or
does not stack up with
the odds of less than a one-to-four chance of
sell-
down sales cost. If a new picture is needed, he may come to you with any kind of a
ing. If the art
proposition to hold his costs down, since he does
than yours might
not want to hurt his prestige by adding to die
coupled up with a better idea, and the idea may
morgue.
not be the
of cutting
I contend that the fairest arrangement fifty.
The
artist
may gamble
with the lithographer.
If
the job
sells,
is
price for his time
and
still
tiling that sells a
better.
But poorer
get the order
if
it
art
were
at all
where the lithographer has
added money
to
order has been secured, or
my
when the when some lithobill
graphic work purchased in the past turned out to
does not
be a "bell-ringer" It proves
entitled to half the original labor.
artist's
voluntarily
he gets the
If it
odds might be
I have had instances
is fifty-
half the sale price
other half and sometimes a bonus.
land the order, he
display, the
were the only
Under no circum-
hard
stances should the artist take the whole gamble,
to
they do.
258
make a
profit,
that,
while struggling
they will share
it
when
CALENDAR ADVERTISING theory of calendar of displays.
se
mspeeific.
illustration
The appeal
A calendar mu.st
Therefore there
is
fit
is
is
just the
general rather
almost any prod-
seldom any direct connec*
between the picture and product, and unless jedaBy prepared the picture would not contain specific product fcoerjalized,
such as beer, bread* or something
some
something like the
trivial
thing to happen. It
effect of
is
a motion picture get*
ting stuck in the projector, with the resultant boo-
ing and catcalls from the audience.
Much
of the appeal in calendars
tion with present
and
past
is
by
associa-
recalling pleasant
life,
an industry, such as automobiles, hardware,
and bakeries. However, the purpose of the
much the same experience. Calendar pictures may be those which
directed toward good will and con*
provide an escape from the monotonous routine
or
it
iued patronage, stressing service, quality,
The
jonomy.
object of the calendar
file friendliness
and good
is
and
to pro-
one
of
who
life
has gone through
into fanciful dreaming. Psychologists point
out that
we
all
the world as
feeling.
important that the illustrator sense the dif-
It is
lce of psychological appeal in the calendar as
mipared with other types of advertising. Calen-
it
to be.
tions,
have two
it is
The
latter is the
and the escape from
illustrator
has
much
or business rather than a specific product
ture a man or woman can
is
and you can hardly
in,
like
one of dreams, ambireality.
The calendar
from psychology.
to learn
Relief from tedium
known as "institutional advertising" Since
worlds to live
little
and the world as we would
are coupled with indirect selling, selling the
lis is
sure-fire appeal.
dream
in,
Make a pic-
or escape into,
miss,
same product might be bought at a hundred
I believe this factor accounts for the tremen-
the calendar assumes importance in the
dous popularity of the Maxficld Parrish calendars
if
itionship of dealer to
consumer. Or,
in the case
calendar advertising a specific product,
f a
ieomes an appeal of die dealer to
jductfrom him. left
buy
it
that
A dealer imprint space is there-
on nearly every calendar, whether the
Ivcrtising
is
specific or general.
illustration leans to general
human
The calendar does not
ither, it
jgs
ladies out of another world.
thing— he gave
make fancy
it all
real.
We can glory in
and lovely
But there was another
a sense of reality. So
We can provide
trips to
we can moun-
but cannot reach.
the outdoors, and the activities
most of us would dream about.
We can sail blue
waters with billowy sails, provide adventure, love,
romance, appeal to patriotism, glorify the
home
We can give youth to the old, romance to the for-
that are action within themselves.
lived
skies with billowy clouds, children
calendars depicting sports, or in sub-
contentment. I do not mean that a calendar portray action. Sometimes action
ist
the dream Castles, blue
very
urge to buy.
creates satisfaction, lends tranquillity,
jod, as in
He provided
and simple life* We can seek out the things that would give pleasure, relief, and relaxation. The pretty girl of the calendar may give a man an imaginary romance, his "dream girl,"* so to speak.
to action, curiosity, or the
iite
interest
ideas that appeal to the emotions, creat-
sentimental response.
of the past
tain streams that people love
As a result of this difference in approach, calen-
Objects,
I
wait three hundred and sixty-
memories, or making a picture "strike home" to
lar is
[g
when you
four days for
The product of course could be
many names,
under
dries,
fcr
boring
could be planned
Did
>
of illustrations. Suspended action can get mighty
is
But
it
be remembered that a calendar must be with a long lime compared with other types
gotten, vitality to the weak, broad worlds to the
narrow.
No wonder
calendars go on year after
year as a permanent institution.
259
BASIC APPEALS APPLIED
My feeling, just as with displays, is that the cal-
somewhere a lack of ability, a lack of good taste, and a lack of understanding. There is no reason why we should consider the public as lacking in appreciation and good taste. There that there
endar opportunity has hardly been touched. Calendars offer to an even greater degree a channel for really fine art Unfortunately,
much
of
it
TO CALENDARS
has
is
no proof whatever that there is not apprecia* tion, but, on the contrary, plenty of proof that
been cheap, tawdry, and with maudlin sentiment
is
The chief worry of the calendar house will always 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 more thinking, better calendars will be with us.
toward sentimentality, but that is nothing
The day
sition at
Chicago, Breton's "Song of the Lark," a
peasant
girl
of the inane pretty
girl
holding a pet
it.
is
almost over.
Let us look at the green pastures open to Again, the basic appeals hold good. the
soil,
The home,
would
activities,
youth movements, military
terest, school, sports, charities, recreation,
vocational enterprises,
any example of
and many
valor,
others.
jumping
in-
finer qualities of
Almost
is
homely ideas take on more grandiose ones.
greatness as I
have noted that many individuals tear
calendar I
just as
pad and use
on
and personal
his business
so sexy that
it
reflected
character.
why,
is
room
is
for good
and
is
really needed.
not an easy order, but
You may be
it is
what
certain that truly
not enough of the good to
is
fill
the
is
really good.
It
a mistake to think that pictures turned down for sell
as calendars.
While it is true that pictures which would be good
make good
elsewhere might also .
respected person himself, he wanted nothing to injure that reputation. Another said, "It's so
There
every other purpose will finally
back
Being a
heels*
dignity, alive but not
small portion of what they find
off the
Here are some of the reasons. One man remarked
was
that
demand. Calendar houses are combing every place, all the time, for good material, and only a
found the answers interesting and revealing.
that the picture
That
there really
much
that alone. Inquiring
means
good calendar subjects and ideas will find a market. Much of the bad stuff you see is used because
calendar ap-
peal, Simple,
some
off the walls.
execution.
short, all the
humans—is good
they
taste in subject, sentiment, design, color,
church,
generosity, kindliness,
courage— in
That means
calendar appeal should be
tilings up,
colorful but with
thoughtfulness, faith, confidence, patriotism, courtesy, neighborliness,
similar sub*
as calendars. It also
still sell
Summing
everything of general and
popular interest, as the Boy and Girl Scouts, com-
munity
and
that grand old lady,
sentiment need not be dragged in by the
triotism, religion, are just a few. In addition to is
with a sickle at twilight, Whistler's
jeets led all others in popularity.
children, animals, serenity, security, pa-
that approach, there
By vote, during the Century of Progress Expo-
*M other,'*
us.
against
converse
is
far
from
tunities for fine
gaudy
fields,
true.
calendars, the
Calendars offer oppor-
work not always present
in other
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
my other things reflect good taste," Another said, "Why should I use my home as an ad for
means cheap
some garage?
do the best
lieve
If
the lettering were not so big,
have kept it" Another dogs."
Still
said,
another, "That
doors looks to me, there
is
"Im
isn't
the
artists
Td
Some
of the highest-paid
are commissioned yearly at top prices calendars.
Keep your eye on the
to
cal-
endar market.
sick of bird
way the
in price.
Calendar houses,
out-
if
a
man
is
exclusive contracts or arrangements.
something wrong with
must decide whether he wants
Whatever the reason, if they keep the pad and throw away the picture, the artist, calendar house, and advertiser have all failed. It shows the colors."
I
to
The
work
that
offer artist
way
myself have never liked exclusive arrangements.
I prefer to keep the door open.
260
may
good,
s
A CALENDAR CAN
BE
ANYTHINC THAT
IS
GOOD
-
*PLUG LINE
"TRADE
HE.fcE'
NAME
-z^^Ec^s^^z^^^r^zssE^^t?.: i'
m
i
PAP—
«W*MI**
t
III
iltiil
I
Ji
mmmmttlmt
aawoaas^nesrflsssmssM^EKL'K
ftttLL
i
V
c^ftObOAfeo.
fs-Lfcrr
."*(%.
^i.f.-^ln—tt-.^*
—
'--
."jt-'-Hj".-
.i.,'.f-i..i.-.-.-.----
--i--i
1—
'-
m m
.-
*==
3ACK3T i*Poruj" hooss,
v_
H_.
1
—-
T>Ap,
'
>
k
;
tf
:
P= £Mf30£J£P
KOUUXNC
just wonftY about rne picture, they do the rejt.
261
GOOD CALENDAR
ESSENTIALS OF
must create enough of a response that one will want to look at, hang it, and keep it for
It is useless to try to "fake"
1. It
own
its
sake, as well as for die convenience
of the calendar pact. 2. Its subject
and meaning should be
clear to
By
preference
it
ing, restful, since
should be soothing, relaxit
must be looked at for a
4- If it
can provide an "escape from boredom
much
so
"
a calendar. Such a project^
special release from die subject!
In fact, you cannot use any printed copy as calen-J
dar copy* Subject and material must be it
all your;
with a guarantee
thai*
there can be no claims against the calendar housejl
material submitted should be securely!
Any
the better.
energy, nothing to induce emotional unrest.
The color should by all means be harmonious
1 believe
contains action, let
it
be of the
lively,
healthy sort intended to release pent-up
if it is
to keep its place
eventually
The sales
7*
to sell it as
wrapped and postage paid both ways* Any color medium may be used for calendar! reproduction. Here is a good market for pastell
5- If it
6.
and expect
get
own, so you can release
long time.
calendar pictures.
them back. Calendar houses are;? too aware of good art and good craftsmanship; Do not copy any picture of a motion picture star?
You will only
would require a
anyone. 3.
ILLUSTRATION
be
Raw colors
on the wall
oil is
though I see no reason not be used,
irritate.
preferred rather than water color;!
The
or merchandising approach should
full
if
why
a water color would!
good enough.
composition, or picture carried out!
to the four corners or at least with color back*
indirect*
8*
Sentiment should be genuine and convincing
ground, seems to fare better in selling calends people* But this
9.
and not overdone* It should not be too seasonal
if
this
can be
10. It should
show
die better
human
character-
istics.
should not show cruelty, racial prejudice,
11. It
malice, or other negative 12.
to 13. It
a 14. It
15.
be good for some time. should have full meaning with
an opinion, and
depends on subject and execution, no mat-1 what the subject or medium* Wit and good
comic drawings. calendar, like the poster or display, can]
The
very well adhere to the four basic tonal plans,
must be seen, and must or without
carry, as far as possil
and there is no better way
may
title.
I think
humor play a strong part in calendars, though II know of no calendar house that actually buyd
traits.
Mode or style should be generalized enough
just
really ter
avoided.
is
should be entirely original, containing
find calendars
believe
I
am
to get this quality. 1
with delicate subjects, but l\
safe in saying that those with
and arrangement stand
nothing that could be considered as copied
contrasting values
from other work or copyrighted material. Its design should give it carrying power or
best chance. Related color will always apply
attention value across a normal-sized or store* This
means
cause
it is
and
simplicity*
may be
color.
The
bej]
calendar people
tamly want vitality, or brilliance, in their subject^
room
at times overstep the limit into bizarre
gaudy Calendar subjects
good
thel
color.
One
thing
interested in drab
sold for "calendar
is
atic
certain: they are ni^
and muddy
come back must have some story
pictures,
will inevitably
unsold* Figure sul
may be outright, the picture becoming the undis-
jects
or meaning, and nc
puted property of the calendar house. Some firms
be simply portraits of people* Even finely pail heads will be returned if they have no sentiment
rights" only, retaining the original.
Or
the sale
require a release from the artist of any further claim* If a calendar has
been sold once,
it
appeal to the public*
cannot
"line committees"
be sold again for the same purpose.
262
Some
calendar houses have
which pass on
all subjects.
PAINTING FOR CALENDAR REPRODUCTION Calendar reproduction should be considered in
transparent glazes of one color over another.
from reproduction for magazine The latter must be printed at terrific speed
Such an effect is almost impossible, since the color must be one thing or another in any given spot to
different light
a
pages.
The
ink cannot contain the
make good
nt of pigment used
by the calendar printer;
very
and dry very fast.
must be diluted
iifact, it
ain fillers to
make
ndar printing
d iy fgat
is
it
to
a large extent with
flow easily and dry
largely
fast,
by lithography.
In-
of the three color plates
be
six
or
more
colors
and dark of the basic
colors, including a light
brown, and others. Thus a richer effect
light
:ey,
and black, there used* It amounts to a
The calendar is printed on
Kjf color is possible.
fine
where the magazine must often use the of-the-mill and cheapest papers.
gjpek,
This concerns the artist bly.
Much more
and
his
possible in calendar illustration.
More
subtle
and softness of edges may be used,
gradations
onal qualities of color, or color varied to the rarm
and
cool, are not the
problem
to the calen-
printer that they are to the calendar printer
(ar
irinter.
much more time
Ordinarily
alendar color plates, since
it is
is
spent over
not a matter of
meeting weekly or monthly closing dates. I
In painting for calendars a full palette
fot,
using two yellows, two reds,
warm and
Jueaning a
free to
e single
es of
That
Its.
way of color
The
to the artist;
much widely contrast-
side as did the
French Impressionit
The difficulty is in arriv-
identical values*
artist rarely
plans the complete calendar,
Deluding mats, frames or borders* Your picture tty
be put
to
a variety of purposes, and be
pped to fit various sizes. For this reason, calenpeople
und a
like
and they will get that effect. Some lithographers go so far as actually to emboss thickly or thinly
the paper to give the effect of thick paint, making it difficult
to tell the reproduction
from an
orig-
inal oil painting.
The one
greatest opportunity I see in calendar
illustration is to take the
of American
life
many
neglected phases
and develop them. There
in
so
much that is untouched. Many calendars develop into a series ties.
which has year-after-year possibiliI have two such series which have been going
right along for several years
and which get more
interesting all the time. Educational subjects find
a market with schools, banks, and
many
other
The so-called popular, or pretty, subjects could
the fresh viewpoint to the calendar bouses, not
wait for them to
"Broken color" means small
6 very hard to reproduce. ing at tlie
good reproduction. Your paint may be applied
get
and deeper meaning. There are many more subjects to be had, but it is up to the artists to take
evety plate-maker's problem, and
is
will
cool of each. In fact, there
varying or contrasting patches of color
by
bid side
scheme, starting with a few colors, and you
sorts of institutions.
do almost anything he wishes, with color/'
many
very easily give over to things of greater character
exception of too
broken
reproduce because the
blues,
|s hardly any limit In the is
to
of the Old Masters are
them a very yellow hue, which must be counteracted by the engraver* Give your engraver a clean, simple color
may be
and two
difficult
Many
coats of varnish give
work consid-
delicacy of color and value
plates.
plenty of extra cropping space
subject.
come
to you.
Check among people all you can as to
the kinds
of things that interest them. In this way
new ideas and approaches will become possible* What do people love to do with their spare time? What are their hobbies? What do they day dream about? Deep down are many psychological answers to the things they really want Calendar ideas may be submitted in sketch form final
if
the calendar house
work.
finished
If not,
is
familiar with your
some proofs or examples of your
work should be submitted along with
your sketches. Sometimes an idea
may be acceptable as idea alone, in which case it may be bought
The principle of glazing in painting is not too d for lithographic reproduction. This means
for
263
development by another
artist.
COVERS AND JACKETS pears to
me
as
magazines make a heroic
most wide open for improvement
the pretty
of any of the art
For a good many years
fields.
photography has practically usurped
we have been
with the result that
this field,
surfeited with
covers very ordinary in conception
and monoto-
whatnots subject
idea of a cover
By "subject" I mean an appealing and storytelling idea. We may all be grateful to Norman
than photography. Sonic have straddled the
the
holding the
for
line,
tion points to the fact that
some have gone over completely to the idea all in all,
The
present on only a very few maga-
is still
Rockwell
that photography,
put them over.
to
zines.
in execution.
fence,
girl entirely.
effort to get
to do, stick to the photogenic, relying on hats and
Through this period there have been a few stalwart magazines that have stuck to the belief that art is better as a magazine cover nous
away from Most, not knowing what
cover field at the present time ap-
The magazine
is
docs a better job.
wav
of covers
granted that
all
is
and every
what he stands
most loved by the
for in
public.
It
magazines are not interested in
on their covers, but
telling stories
indica-
it is
also true
velopment of color photography and the errone-
modern dress and charm could be more beautifully presented in fine art than by photography.
ous belief that photographic detail
What we need most
However,
art
and
this is not surprising in
The
appeal.
its
been that there
is
so
fly in
little to
view of the de-
superior to
is
little
ter artists, the
one color
upon such
individuality
and personality. One cover could be switched
is
the artist
who can
deliver,
I thoroughly believe that with the advent of bet-
the ointment has
distinguish
photograph from another, so
that
reason so
to
magazines
ability.
I also
will
be quick
to seize
believe that the very
much photography has been used is the
another magazine by simply changing the name,
dearth of comparable production in the way
without noticeable difference.
art.
The truth
is
that
all
else,
model agency. She may
lie
on
this
best thing that could
maga-
zine this month, and on another next month*
generally
become as well known as movie stars'. She ceases to be you)' dream or mine, and becomes any famous movie
famous Gibson
of the past
not a
fact.
the Flagg
dream of
She belonged to girl,
girls
over them.
girl
all.
the Harrison Fisher
of their
era.,
art
girl,
slim.
2.
and
art
every camera were taken away for a
and
to create
We will
with our
never arrive
at
stands today, our opportunity
is
brains.
field
are indeed
The
submission of material.
artists
used are generally working
to the magazine,
ranks, not out of the imagination of
$,
With the
some by
Because of the very deluge of photogenicity,
of a
some
few
aged.
264
close
contract.
necessity of complete speculation,
the use of photography,
artist.
covers are passively accepted, although
artists
magazines can depend upon the unso-
licited
obviously picked for their photogenic quality out
an
are
would be the
The chances of selling a cover The reasons as they stand are:
L Few
and the public went mad
We cannot go mad over the cover girls
own
happen to
we
all
today— there are too many, and they are too
of our
It
limited.
girl,
were
it.
limit,
if
through photography.
As the
was a conception,
The Christy
if
eyes, hands,
The
star.
the camera, we
our goal and
few years and we were forced
The
faces
as unattainable as
we outshine
going to lag hopelessly behind
somebody
with a definite address, and working for a
definite
group
we make photography
we have one who
looks like an individual belonging to
as a
won't have to worry about being used. But
idealism has been sacrificed
to fact. Instead of the ideal girl,
When
of
artists,
and the continued use
the average artist
is
discour-
COVERS AND JACKETS
I. 'i
4 The
desire to couple the cover with the con-
tents of the issue.
The
K.5.
help immensely in the conception of your jacket design. It
magazines
relative disinterest of the
the production of
good American
in
jacket can sell a poor book, or
book might not
art.
ever,
About
all
you can do
in
You
finished painting.
But
I
am
be purchased
good becomes
back.
like putting a
a good package. There will be
where
it
attracts
makes a
sale.
one
Let us
good product
many instances and therefore
to the product set
How-
of the jacket.
sell in spite
somewhat
whether a good
down
the essentials
and
functions of the book jacket:
for covers, as fast as
available,
At present
would be a
it
bit
must be quickly seen, and the
1.
It
2.
Title
3.
Expensive color plates should
is
foolhardy
you are a good
specialize in covers alone. If
to
it
and that some day be frowned upon as the cheap-
photography will est of art.
probably get
thoroughly convinced that more and
.more ait will the
will
it is
send
to sell a cover is to
an idea in sketch form, or take a chance with a
in
questionable whether even the best
is
title
more important than anything l>e
read. else,
avoided
if
possible.
other
artist in
fields,
there
nothing to stop you,
is
4.
when you get a good
idea,
from working
new
Flat postery treatment
out as 5. It
aside issue and taking a chance on are
it
it.
But
if
must carry
you
depending upon an income
other color,
from covers might result in very slim pickings.
Red
b.
you can get a steady arrangement with the smaller magazines, it might be quite worth while.
some
most desirable.
distance.
yellow carries farther than any
a. Since
to the field,
for
is
is
it is
good
for jackets.
powerful, especially with black
If
and white. Almost any jacket needs at
c.
THE BOOK JACKET Here
is
primary
wide open. The book jacket
a field
is
a
0,
and cleverness of the artist and therefore is interesting and exciting to do. To keep it simple and effective is not so easy* challenge to the ingenuity
Publishers like rather short
and
always get them. Title
jacket is of first importance, the illustrative tion
space
(if
titles.
They do not
title
space on the
But
is left).
illustra-
and
interest in the jacket
7.
jackets
must be printed postcry effects
that flat color in
jacket (
is
is
cheaply so
8.
9.
10.
display. In fact,
point of sale.
it
As
All possible contrast of color and value should to gain attention.
Sometimes a printing can be saved by using a
Here
is
good opportunity
much
11.
12.
like the
Expressed action
is
is
good. Anything for atten-
Make
best
the keynote.
Wrap it around a book among others with the
a rough of your idea.
brightest possible competition. This
does display the product at the
usual, simplicity
I.
Small figures are not effective on book jackets.
book and set the is
for the attention
tion.
into sizable amounts in
book jacket
in-
Half figures and large heads are good.
run of thousands of copies.
In function the
should promise entertainment or
devices spoken of in Part
a few pennies saved in publish-
may run
ing a single unit
interest.
colored stock.
desirable. If the
can be done in two or three printings, that
in its favor, for
;the
fairly
should stimulate
be utilized
and the ultimate sale of the book. As a general rule,
b. It
as possible,
formation,
has a place on the jacket, and can contribute
largely to the attention
a. It
be as exciting should awaken curiosity.
It
one
color.
jacket should
c.
more important than
any
The
least
13.
way
is
the
to judge.
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.
several publishers will bring
clear
To
get a
idea of the function of the book jacket will
able income.
265
you consider-
SOME JACKET ARRANGEMENTS MWmMIHHiabHWfeMMhtfW
AUTHDR^SPACE
if ft I -ft /A
Aimmn
;
PUIJLI/HEftS SPACE "
'
aawwigasgaga rr
.,v
r
HORTON V
BY VIRGINIA
V *** *** .
"" .
'
'
'
'
**' *
'
*»
*z%mMimgi \l
lu
ll
d
!
"
^rt^ i
ii
nijwf^i
n
if m **m m
.
,
BLANK PLH3LI/H£a
PU 266
Q LI fHER,'
SOME JACKET ARRANGEMENTS .
1
17^ ^*'j.;
B
MAIiWfcJ WiHI iiTIE i^ -
-w
mM^'M^vA^SK
- »-i.ii ..f* '
.^•--v-;.; . •
J- «
-
.
—
i
-^
rr?^:-r
.
«-i- M.ujJn.u—
^jafevv/arj^ ^.i?? ^?* - ^ -
11
HELENA ROBERTS
STORY ILLUSTRATION Illustrators whose work appears
in the leading
magazines are a rather small group.
It is
only fair
him that he must develop
to the reader to advise
considerable ability to get into that group.
not wish to imply that story illustration
though
of the ladder,
near
Nor is
it.
it
I
the top
is
must ho admitted
it
do
it
is
the highest-paid of the illustrative
Since there are but a few magazines of
fields.
and since each can use but a
national circulation,
comparatively few
must necessarily
artists,
the group represented
small
In?
I
should sav that vour
chances of becoming a well-known story trator are
about equal
and somebody does it all the
New names
arc constantly appearing, and old
names drop
out.
new
have what they want you
will get in.
Most
illustrators
come up
ability,
and
if
fields
have come from the tion, since the
work
in
both
down from
advertisers. is
What
done
a magazine
fails us
it
The magamedium for
magazine
in the
If the magazii
medium. advertiser,
on the other hand,
and the best
sales of a product, is
more
promoting
is
work he
art
more often
that
he must com-1
advertisers than magazines, artist's
sends the prices up. In
importance than
fields
of fine
move
Xqw, you may less for
illus-
illustrators arc taking their places in the
time,
this
which
sense the
to
up. It
is
question
magazine
The answer
smart not to have
magazine
why
is
artist also, then
the
artist, if
sometimes chooses
preference to
adds prestige
in other
accomplishment entering in. The good
never make them,
your
ability.
ability,
and
if
well be there.
it
you
try to
will not
stride.
field
your chance
make
But even
demands is
also there is that little matter of pride of artist can-
of dollars. All jobs will be his best at any price.
the big if
you
Illustration
it
be good, and never stop
likes.
artist
So much more
tain pride. Perhaps, since his
name
appear (though pitiably small), he
where
may lie. The main thing is
a challenge that the
who
public
to
You may question why the magazines do not
in his efforts.
268
cer-
allowed
to
feels that the
may be a w hit more conscious of his efforts
to please them.
trying.
is
is
is left to
him, and he accepts the responsibility with a
can very
at the start
is
not afraid of work
the best of
not here,
Few of us know
our particular talents
fields,
not measure either his ability or interest In terms
does not necessarily discount
Every
adver---jj
eggs in one basket. The
are no rules except that your work must be prac-
what is needed.
paid]
twofold. First, he will he
all his
illustration
in
the
the old law of supply
illustration,
work for the magazine
tising.
arc capable of producing
magazines in one quick
artists
and when
artist. If
and
are that
natu-
to get into the maga-
pictures worthy of fine art exhibitions. So there
The chances
can
to his advantage. Therefore, since there arefl
magazines must compete for the
Many
related.
some
tical for
itself i\
also fails as an aclvertisi
one another to get the
the fields of fine art to illustrate, Yet
and
is
by giving value to the space sold*
and demand.
lesser
is
to create the largest possible circulation, there-
fields of advertising illustra-
fields. It is
art,
zine in the largest sense becomes a
his price will
come up from
trators
sale of advertising space.
Many
first story.
two are so closely
it
zine section, while the advertisers compete with!
the hard way. For
before they get their
to
more? in the nature of
is
compete with one another
the most part they have proved their ability in
other
from the
rally
you
that
while to the advertiser
cost,
pete with others for the
At any rate the magazines are
constantly searching for
is
buy
time.
is
investment. Frankly, the magazine's real income^
The
ing a well-known author or actor. But the chance is always there*
production
The answer
advertisers.
the magazine illustration
illus-
your chances of becom-
to
pay as much as
r
Perhaps he senses a
bit of glory
WHAT DO THE MAGAZINES WANT? Illustration
unquestionably takes more of your
even
a lesser fee. Unlike the advertising
time,
at
commission, you must, for the most part,
you exactly what the magazines want would be little short of mind reading. But
do your
Own planning, thinking, and execution. About
try to
tell
there are general specifications
of the time,
all
and these can be
A beautiful heroine, plus a manly hero.
some cases a rather fantastic rough, or a very
2<
Good characterization all
more than the space
3.
Strong dramatic interest.
At best you cannot count upon the assist-
4.
Exciting and unusual arrangement
allotted.
showing
little
is
you get from the average advertising agency in the way of conception. Many magazines request the layout or rough from you, which
5.
shows the importance of being able to create for
6. Interesting
and they request not one
yourself;
several, to
situation but
Illustrations that sell the story.
9.
Inventiveness of conception.
to
what you intend
time and
effort,
much
to do. All this
and much of
it is
is
the story.
10. Striking color
des-
If,
it.
may take
left to
you,
I
directors
itition
Make no
You make your own research for
tance. This
means a
and make the
struction. It
means learning the planes and values
you select your
when
it is
all
;cme
character's,
it,
done,
it is
good, you
interesting to
know
that
many
other
fields.
The magazines
in
variety, or
One
hair
to alleviate
of the great
the art director sees
the
main
is
monotony and
you
will
fit*
It
interest of
never
may be
•to
take
will
in
impor-
head con-
means
to
else
Hair should be painted not
and value as you would put into die forms
will hardly ever find the perfect
model
for
Much idealization will be yours. You
be called upon
to
do heads close up, and
also
You will have to study
the current fashion magazines to keep her dressed
it
properly to suit any occasion. She should be more
something else.
than pretty—she should be both well-bred and
know what may happen.
your stride— or
The treatment of the both as to mode of hair
attractively.
half and full-length figures.
striking.
you are delighted. Sometimes you are disappointed. But you eventually learn
it
first
different lighting. It
technically.
any heroine.
enlarged*
your picture used; to
and
You
and
'jnetimes greatly
of
of the face.
handled within the
may be changed from full color fact,
is
careful study of
very important,
to plane
and you do not see it until published. Your picture may be cropped, ait out, or changed ith just
she
many thousand hairs, but as to the forms into which the hair falls, with just as much thought as
gazine,
as
it,
as so
to lay-
keep the material ever fresh and inviting. The general layout of each issue
is
dress
"change of pace," evident as
thumbs through,
head under
drawing them
art
compe-
have given more and more attention
is
in the
mistake about
place the features in the head correctly, as well as
out and physical appearance. Sims
THE BEAUTIFUL C1RL OF THE MAGAZINES
of magazines have served their appren-
ticeship in
taste.
discuss them.
suppose that
full credit.
may be
It
but in good
Let us approach each of these separately and
and material, you assemble
[most of
individuality of
and
your composition,
;
data
medium and
S.
Variety in style.
why you work so hard at it The opportunity for -expression is infinitely greater. You make tell
technique but thoroughly un-
But they usually want some idea
But since so
u
or fashion, good
derstandable.
tined for the wastebasket.
jfe
mode
7.
advance as
[involves
Strong accent on
Some allow you to pick illustrations, some ask you to take a
given situation. in
way through.
taste in accessories.
choose from.
Situations for
the
(impact).
ance that
•
listed.
1.
'simple layout
r
which apply most
the manuscript, or
you get from the magazine fin
To
So you
gesture.
will
You
experiment with expression
will
probably develop a type
very much your own, try as you
blow up and quit.
may to make your
heroines individual and different* If you
269
came up
WORK
PUTTING THE FUNDAMENTALS TO 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 in
arc successful with the beautiful girl
advertising, you have gone a long way toward
success in story illustration.
THE HERO First of all,
he must never be effeminate. That
again means head study especially the anatomy
Fear
Hate
Suspicion
Anxiety
Selfishness
Surprise
Anger Coyness
Adoration
Doubt
Self-pity
Hope
Interrogation
Envy
Joy
Impending
Love
Bewilderment
Defiance
Greed
disaster
,
and mus-
of the male head. Regular fellows, lean cular,
win
out.
Clean-cut square jaws,
Hilarity
Jealousy
Intoxication
full lips,
Figure out some situations. Decide on the mood
heavy eyebrows, prominence of bone at the brows, well-defined cheekbones, leanness be-
called for.
tween cheekbone and
If the
make up the ideal
eyes,
rather deep-set
nostril,
mine, but neither of us will ever make him
When
never let
love,
idol kind.
his
The
fat or
crushes her with a
good deal
est
have a beard, even
pression his
is
if
important.
knees together, and
hand on
his hip unless
he
if
sits
with closed
effeminacy and the cause
is lost.
fist.
One
find that
most of the
story.
and
tell
r
facial expres
The dramatic inter If
a par
the story just as well, cut
it
But continue to practice with
to that.
all
int<
kinds, for fashions in illustnv
Much can be done with lighting to enhance the
bit of
dramatic
Study the heroes
If
you have a strong emotional
situa-
ways and means to concentrate the readattention on the important character. Muc
tion, find
rugged but cultured type and use
er's
can also be done by layout or arrangement.
Once
in a
perfect, but bit*
GOOD CHARACTERIZATION
using a vignette, conflicting interest can be elim
while you will find a character nearly
ina ted
most of the time you
main character or head can be given the greatest contrast of background, can even be cut out
will
have to add
Apply your conception of the proper
type to the best model you can
find.
the values and planes of a head to
At
least
and dramatic force given the pose. The
against white paper. Study the dramatic when-
have
ever you find
work from, and
various
build the character into the model,
it.
moods
STRONG DRAMATIC INTEREST Study your
story.
Act
it
out yourself. Plan
manikin roughs. Even
if
Study
as they
The best way
little
to create "dead-
tion are constantly changing.
his
him.
your
is
the magazines are leaning very
environments of
of other illustrators, but best look around until
you
do
larger scene, setting figures convincingly
down, dont put
he stands, dou't put
to
should he as concentrated as possible.
down
smoothly shaven. His ex-
If
you want
of a Ogure will
face goes best,
but give his jaws enough tone so that he appears to
now
sions telling
of determination.
The smooth- shaven
to live the part.
important to do without;
to "close-ups," with the pose
Dress him stylishly and neatly, but no patentleather hair oil.
model
unresponsive and cann
totally
is
last tiling
Just
awkward, but he
bit
model
to get the
pan" characters.
he makes
pose be of the flowery matinee-
He may even he a
Try
act, get another. It's too
from
type. Yours will vary
round-faocd or characterless.
Conceit
Frustration
real joy, real sorrow, arid
happen
to practice
visualizations of stories it
been
in
illustrated. If
promising
you cannot act, you
can express yourself through the model- In order
up
to practice dramatic interpretation, get out
is
your
camera and your Favorite model and make some
into a
an
to
sample
life.
make small pencil
you read
that have not
you get something
might he worth while
illustration
nothing,
270
it
is
in real
illustration.
and not
that looks
to
But make
work si
just a single figure doit
AND UNUSUAL ARRANGEMENT
EXCITING more important
It is really
trator consider the
that the story illus-
whole page arrangement than
do
that the advertising illustrator
In
the
fact,
have considerably more to
story illustrator will
do with
so.
In planning your miniature roughs,
it.
why they have been made the basis of this book. Out of tonal arrangement can come many surprises. Suppose we do a whole page all very light, then of
wham! ) a little saucy dark hat in the middle Maybe the whole thing is grey in feeling,
{
it.
always deal with the whole page or the spread
then out pops a concentrated spot of black and
may be. Blocks of grey be indicated. Some illustrators paste
white placed together. Wonderful things can
of
two pages should
text
as the case
t
evolve out of a black gown or coat, thrown against
actual text into a rough to get the effect of type set
around the proposed
prominent
opaque
know
Values can be
surprises; in fact, that
a
full of
impact and
where impact
is
most part comes from, especially when tied up
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
blurb* catchlme, text,
and
rather than from stock layout tricks.
placement of
title,
white space should
may
director
all
be
not follow
That the
laid out.
does not matter.
it
tricks usually are the
art
This
one of the
is
The
is
illustrator.
The
vital
of unusual color, die unexpected in pose
Make
part.
and
is vitality,
You may be
sure that
if
dark? Will you break
ges-
keep
play a
vitality is
sim-
is
cannot be very exciting.
or costume,
for the
It
-alike, !
You have color,
is
always a
way
are exactly
and the
story.
these; that
stand out se-
dress will appear twenty times as fit
the whole scheme. Just
it
Few
of us are
good enough
Practice drawing costumes from fashion zines, just in soft pencil
to
will
is
271
be easier for
women
maga-
on layout paper, trying
especially to catch the drape
to be new, differ-
and exciting must grow out of
planned
invent styles.
is different.
They can be juggled is
The
If the figure is to
is
a good contrast would be your
subscription list
linear arrangement, tonal arrange-
about forever. Anything that ent,
that
and shadow or
came out of a late fashion magazine, or just because it looks good on the model, is not enough. But keep the fashion magazines on your because
nor two situations or characters. For an Al
Parker, there
ment,
No two stories
in light
environment, then you would
attractive if planned to
may
comes from the subject plus the ingenu-
ity in telh'ng the story.
middle tone, or
with a front or back lighting?
back^ound.
lection.
that everything has been done, but such rvention
its
forcibly, then
If the characters are
no one will be terribly excited.
flat,
up
light,
pick a value for the dress close to what
is
ordinary, without anything unusual in looks, pose, r
almost
figure soft in
im-
your subject
it
it
a simple tone, or a
Would stripes or a figured pattern go well, or not? That is the way to pick a costume. If you want a
complicated, indirect, cluttered, and ambiguous, it
Do you want it
and
with force. The character expressed
portant.
Do you want
busy tone?
every possible experiment you can
think of. "Impact" plicity
than the dress.
spotting
ture, the originality in telling the story, all
their relation to value
is
and mass. That a dress is stylish is hardly enough. It may be a good style, but not a good value or color for your subject. Your preliminary composition and pattern arrangement is more important
An unusual viewpoint may help.
selection of accessories
props of the imitators,
important consideration
Very often the whites of the paper can be pulled into the subject.
stock
In selecting styles for illustrative purposes, an
qualities that
makes Al Parker outstanding as an
The
ACCENT ON FASHION
To make a page different, exciting, and unusual is by no means easy. But the man who can achieve this, plus good drawing and color, is the man most after.
interpretation,
its
It is
your business to design a good-looking page.
sought
for the
paints his rough in
who
illustrator
oil right
illustration. I
brilliant color.
and smartness. This
than for men.
STYLE
AND TECHNIQUE
IN
Since the magazines are thoroughly conscious of fashion,
nique
an important basis for criticism of
ft is
STORY ILLUSTRATION
flat
is
always in a man's favor, yet
and smooth
can be so
it
be oppressive, lacking char-
as to
Trimncss and neatness will outweigh the highly
and the feeling of medium manipulation which should always be present. If you cannot tell what it was done with, you can be fairly cer-
ornate. Avoid
tain that
your work. Use the simplest terms of the prevail-
acter
ing modes, however, rather than the extremes,
possible the "too fussy" in style
if
it is
not very good. Tricks of technique
It is
should never become more important to you than
usually found in the overornamentat, extreme
good honest craftsmanship. I remember a student
which
is
tig fitness in
and
some form every
present in
conspicuous places, too
season.
many
who came
loud pattern, and so forth.
ruffles, flounces,
Many models lean to extremes* If three-inch heels wear four-inch
are worn, they
Tf skirts
higher;
if
the door.
I
asked him what the great discovery was, he con-
nique. Leaving
they go
The
can easily be taken in
if
way he can know
only
able to one illustrator
he
is
his
to
is
available to another.
way of research and information, Hats will always be a problem. The
The
Your medium will have much
Each medium has
do best by getting advice, for who can possibly keep up with them? I avoid the use of a hat
holds possibilities for your tion of
wherever possible, since tbey are subject be determined not
sophisticated person looks
and upswept
all
is
more
it is
produced. Bad technique
is
this
same
way you
if
all
not
subject
find the
in
new
treat-
so long as they are practical for
medium
combinations, so
be continually experimenting
new effects. It is very easy to get into a rut with too much similarity of treatment. We are not going to change around much unless we do something about it, and we cant experiment too much with bona fide jobs. The experiment can be done separately, then
shown
get a chance to use
is
ordinarily the result
If
as a possibility.
you can't afford models for such experimen-
tation,
any application of medium
in the fashion magazine.
good when
the fundamentals are right. Simplicity of tech-
work from some of the excellent
than faithfulness
272
You may
it.
of poor grounding in fundamentals, for almost will look
one medium
with
when
of value
mediums. In
the artist should
times,
when a muddiness
in
practicing, try the
untried possibilities of
yours. In general, the only time
too "fussy," or
work
original applica-
reproduction and effective on the page. There are
and the
technique will be complained about will be
When
ments of medium
TECHNIQUE Technique
to
own
Magazines are always interested
model .should he willing to adjust her hair dress to requirements at
peculiarities under
one most expressive.
hairdress.
therefore a matter of judgment,
Try never
in different
by the mode of the moment, but also by die personality of the character. A young sweet thing looks younger and sweeter in a loose soft sophisticated in a severe
it.
for finals.
entirely
A
do with effects.
the time. Use pencil and crayon for studies
taste-
I believe hair styles should
own
its
to
your individual manipulation. Every medium
illustrator
will
a great variety of
technique is to worry about everything else.
VAIUETY CJ MEDIUM AND INWVIDUAUTY IN STYLE
in the
It is
resources was the
and color were all bad, and without these "basket weave" had no chance. The best way
to get
difference lies in the greater pains one will go to
hairdress.
own
values,
artist
information about accessories. Everything avail-
to such
to his
The
by the magazines and style exhibitions. good magazines and shops you will also find
all,
him
kindest thing to do. Unfortunately his drawing,
find out
at
glowing with enthusiasm.
hats are wide, they can hardly get in
does not know.
In
to
fided that he had invented a "basket weave" tech-
are short,
theirs are shorter. If hair-do's are high,
me
He thought he had found the key to originality. When
ruffs
to
copy.
Work
material
for effects rather
ILLUSTRATIONS THAT SELL THE STORY How often the illustrator hears the pictures,
I like
read the story!" That
I
Inventiveness and conception will always come
people say, "If is
ahead of execution.
the
illustrator's job, to sell the story
keynote of the
to tell
It will forever
be impossible
an inventor how to invent But
and purpose
if
help carry him
he would any product. You can do it first by gaining attention, secondly by awakening curi-
a need
by the promise of entertainment or interest in the material you are illustrating. Thus part of it is visual and part emotional or mental
come more from a
That is why illustration must be approached from
tailed description within the story at all.
more than the technical angle. All factors must
trator analyzes
just as
osity, thirdly
work together that thins
to function properly- It
down
good
the ranks of
Many can draw and
is
I
do not think
illustrator to
write a
it
would be unusual
be a
fairly
good yarn, or
good
is
actor, to
or laid
good
be able
smart
to express himself in other
more completely the individual
and expression of the
man
than
is
If
interpretation
air*
tell
you how
do
it.
to
make an
sis
bound
No one to
can
tell
you.
have been used as
in exactly the
is
is trite
Your
Any
a
illustration is the story
story within a
you
tell
about
it
all depends
be made that
may
find expression in story illus-
Tonal color schemes have a great place.
the sake of gaudiness. is
sold closed up.
Remember, the magazine
The color does not have
to reach
across a ten- or fifty-foot space— only from the lap to the eyes. place.
Screaming color
is
woefully out of
You would therefore approach a magazine
illustration differently from a bill poster, calendar,
on
it.
COLOR AND GOOD TASTE
a page. But the magazines do not want color for
subject under the sun
interest the artist himself has in
picture can always
inter-
Related color can be snappy and do wonders for
Movies have been ending with
intuition.
make your conception
but building things reasonable out of
STIUXIN'C
tration.
or a bit hackneyed, there
can be approached interestingly;
how much
of the situation to
ing with color
day they began, yet these are never completely tiresome if approached with
and
not have described the grin-
Alt the things discussed in our Part Three deal-
clinches since the
finesse
toppling over or falling in mid-
a
always design, spotting and color, types and
accessories.
to
the story.
same way, under the same circumstances. Nor do they have to be put on the page in the same manner. Something can always be added. the subject
is
The author may
story.
the
If
a bag
the facts. Every story can have
are never exactly alike, nor do they clinch in exactly
is
they "clinch" at a railroad station, perhaps
few hundred "clinches" illustrations, the two clinching if
whether she wears a
hat or a beret, and whose face
little
facts alone,
be an approach of
some kind that has never been used same manner. Even
bis shoulder,
esting and original. Originality is not dealing with
They can only
But if the story is interesting ( and sometimes even is
on
fact that
the case in any
illustration that will sell the story.
there
was not made appar-
ning gateman. That is invention—plausible analy-
The magazine cannot
when not),
that
the author did not mention their baggage, nor the
other illustrative field.
sense your ability to
life
in
be partly hidden.
to
creative ways* Because, after all, story illustration is
The illus-
by the author. The author probably tells us "he kissed her full on the lips," and lets it go at that. The illustrator decides whether he lifts her face up to him, whether her head is tipped back
great.
for the
come from de-
ent
illustrators.
the artist
lack of the ability to analyze
what might have taken place
the situation in real
this fact
and the imagination must
demand upon
may
idea, I think a lack of inventiveness
tiveness in illustration does not
emotional qualities must be so thoroughly a part
be set free, the
this will
than from a dearth of ideas. Sometimes inven-
paint well, but since the
of practical application,
an
to
first,
he senses
A
or display. Brilliancy
is all
right,
but brilliancy
supported by diarming companions of tone and
will sell the
color.
story.
273
QUESTIONNAIRE FOR STARTING AN ILLUSTRATION Since good illustration
may
following questions
is
good
develop an approach,
and help yon toward sometliing
What is
the nature of
analysis, the
take, considering his character,
What about costume?
my subject?
it
be color?
If so,
should
it
day or night? What kind
Bright, diffused, dark,
the
lighting?
shadowy?
ness, or anything else?
Into what category would you put
Can the story be told in more than one way? What are the choices? Can you tell anything that the manuscript
some, clean, orderly, unusual, average,
Can you add some?
rural,
What have been the action and circumstances leading up to the moment illustrated? What possibilities of emotional contrasts are
taste,
If
it falls
into
has
facial expres-
come
to
some small roughs
is
most important? Can
this
im-
if
Which of the accessories are most important? Can you eliminate things of unimportance!? Is it possible to
can you arrange
What is
the
itself to
fit
pattern?
How
it?
the page* leaving room for title, text, and blurb?
someone else had had this assignment, do you think he would have done it just as you have planned it? Is there no other way? If
line,
contrast, with direction of gaze, color, or in
or
Have you really planned this independently? How many examples of others are yon following? Could you just as well put them away and start
any
way? the poses and gestures?
"What pose would
to
out hurting the drama, the composition?
create a focal point with line, with
of your
all
Have you tried out more than one tonal plan? Can it be in more than one color scheme? Can the subjects be stripped of any tiling with-
informal subdivision here?
add anything
the manuscript and noted
Will the gutter cut through things of impor-
dominant thought of your picture?
What about
better
tance, such as faces?
Can you give it one? Can the thought be dramatized? Can you employ geometrical shapes, Can you
be
i
static?
Does your subject lend
it
Will your composition have to be cropped
mass movement in your composition, even though ai"e
what
the facts?
express a feeling of linear or
these in themselves
of
reversed on the page?
Have you reread
portance be concentrated?
it?
mind?
After laying out your rough, would figure
taste,
one or more of the foregoing, how
can you incorporate those qualities into
sions?
Which
bad
urban, clear, foggy, dank, musty, fresh,
Now can you make dependent upon
good
bright.
there? Is the situation
cost-
healthy, dirty, vile, wholesome, modern,
Victorian, antiquated,
enhance each character?
die setting character?
situa-
Old, new, cheap, smart, tawdry, un whole-
ly,
to
tills
tion?
omits?
What can you do
the envi-
using accessories, neatness, clutter, richness, bare-
circumstances?
other
by
them against a background? Can you add to the drama by the .background-
For action, what would you do under the same
Has
embellish the characters
ronment, or do they stand up without placing
of light?
Can anything be done with
a chance for
composition?
be bright, or
Can you
indoors, outdoors,
it
Is there
Can the costumes be made a part of an interesting
somber and grey? Is
life, cul-
anything that would help you to a striking effect?
Has it a mood? Is it powerful, average, or weak? Should
of
background, habits, emotions?
ture,
effective:
mode
Can you
over?
own?
Is the artist
you are imitating
better thinking than you are?
the character be likely to
274
really capable of
WORKING OUT A TYPICAL STORY ILLUSTRATION At
this
point
it
may prove of
an actual situation and illustrate
take
sake of simplicity,
we
about
will build a picture
have greater impact than would a
the girl will
whole setting with .several figures.
is
For the
it.
have said that in
modem
the keynote; our
be handled with
You
illustration, simplicity
problem of
first
more regard
this
for the
kind will
page
effect
assume that the following paragraph
shall
the
one chosen
even
to
he
is
see the
I
gown
that
lines of
allure to reach the reader, almost as
man, she would be unconscious anyone
our
crowned her head. She
example,
spirit
sal,
ebony-
one shoul-
the Nile, stars.
We should not
make her
modern high school type,
girl
an unusual one
if
low-cut dress
is
in
add a
light tone,
go with the others.
The
most important to us even before because
it
will
the miniature
we
and
soft
about the
I
will
proceed to rough out I
would like
I
lie is
four values about. But remember,
equal to a dark grey in the black-
and-white scale. Her hair must be very black; the skin, white.
pad.
Take a soft pencil and a
Keep the
first
tissue layout
sketches small. Think, think,
think at the very start, and once you get going, the rest will
fall
in line.
you prefer a new subject, select a paragraph from some story and rough out your version of it.
lights to
If
is
The only way
start out,
to call
which we attempt
to
ness.
arrange the masses.
night.
275
to learn to illustrate
is
to start
now
upon your own imagination and inventiveStory illustration was never learned over-
of
in
as close to the head.
miniature some poses and patterns.
be the basis of our pattern, and roughs
it
full, loose,
the next page
the red dress
We
four-simple-value plan
would be
out. Juggle
good on a page.
and more darks and
it
think of
of a "wealth
have you do the same, diverging as much as you possibly can from the way 1 have worked it
scar-
important values to the four- value scheme.
we do not
when we read
to
Her ebony-black hair and white skin add two
can
if
to her hair style,
On
with black hair, but a
to look
no cud of
face.
possible, that will catch
going
to
whatever she wears must not be
Rather
a bobby-socks
A
go
close- up figure,
As
Pyramids or the
just
to
siderable importance.
her in a boat on
reader with a sort of Oriental beauty.
the let
in the
we might have had
are concentrating on a single
provocative creature, not nec-
nor even ring
our illustration shows a
the writer had said velvet, for
"Is there
to advertising. I
We need not put
leaves us to
faked, .since the writer has given her dress con-
Egyptian but of a type that bespeaks the
of Egypt-
it
we
assured,
Now, if the above: paragraph does not stir some-
essarily
for
trouble securing a dress of that material. For rest
of hair,"
see a very sensuous,
If
else,
fact.
That helps,
taste so long as
low-cut dress.
her hrows seemed to reach out
your imagination, stick
of the presence of
was only specifically red, not any
the dress
own
a
Sensuous eyes, however, are twice as
else.
specific material.
beyond marriage?'
tiling in
he were
sensuous turned upon you as upon someone
were as bordered her white bosom.
She spoke slowly, evenly, deliberately.
no love
if
we show
the character talking to her. Should
der drooping, a cigarette poised in her slender fingers.
head
full lips
nearly to touch, at her temples, the wealth of
black hair I hat
begin, with her
I
,
Dark eves like hers had looked upon the Pharaohs.
The black
be
drooped but looking straight at the reader because we want that ( one of the rare occasions )
summer night on the Nile. She belonged to no era; scarlet as the
before
girl,
Let us capitalize upon that
Her
that yours will
slightly
illustrated.
as the Sphinx.
hope
I
quite different from mine.
She had the allure of ancient Egypt, all the mystery of the Pyramids, the sensuousness of a sultry
was ageless
quite specific about details,
There are perhaps a thousand
to the pose.
Now,
she
is
interpretations possible.
will recall
than for the complete illustrating of the incident.
We
Our paragraph
\vc
assuming that a large close-up
the heroine only,
I
if
although there are several char-
our story,
acters in
of
value to you
MINIATURE ROUGHS FOR THE ILLUSTRATION
W
""Sl
ffc >t
j
\
'
-,
)
\ y v.\.
ti
•
:
V-
*w.
R% ? /'
-
.
-ar .
^*v
&
/
to
L
f :
-
-/
'
'
i
276
-/
; :
V
DEVELOPING THE ACTUAL-SIZE ROUGH A word should be added here
The preceding page of miniature roughs has been done mainly to get at a satisfactory place-
portance of a model
ment of the figure and a spotting of the general
data that
masses,
I
made
have
because of the
in
the design, with
The white bosom and shoulders are supported by a dark shadow, and the bright red dress will come next to white. Back of the head will come a low tone
have found
and dark shadow, both of which should enhance
po.ses
the very light in
head
the
and very dark value which
When
colored crayons.
in pencil, charcoal,
the magazine
on
she
or
is
leave on
assign-
of this book, this
well in black
rough can be
for
purposes
chosen, then
advisable to
even for the rough, for you
up
follow
in the final
dress,
and so
with
will
much
forth. It
is
one
been
also
vviiv
and a
then be able to
file
part,
head,
to act.
[f
of imagination to
model
study for yourself as well as for the magazine
tion of character,
make the rough direct from the model or get your camera out and take some poses. You may find new suggestions when set-
upon,"
tli
either
up the subject before yon
an any of your
little
first
so long as
the best approach
you
start the final picture,
you can think
satisfaction this I shall
reproduce
is
Your data
to do,
make
rial to
But once
A color sketch for your own it
takes,
one, even though
much
put
it.
are,
you
way Where
in the
for the contribu-
for the light to fall
Models give you an color, telling
you
and the relationship of
val-
and
artist
is
so
good that he
file
be used
should contain, mainly, the mate-
in
backgrounds and
settings, since
you cannot copy actual poses
of people.
keep up on
modern
the
interior decoration,
life
and
to
furniture,
But there
is
also
town and farm
life,
accessories.
of the past, the small
Try
outdoor material, horses and other animals, cos-
and for
we do
"something
artist
current fashions
be no changing of
well worth the time
one
certain that
any photographic pose. Is
may be
can dispense with models.
everything should be
well decided, so that there will
horses in midstream.
of.
they are beautiful they
do not believe any
ues. I
you eventually make up your mind that
it is
as
is
where die planes
vizualizations. It matters
going
in
seems that no model was
indication of form in light,
that will be better
how you arrive at what you are
It
most necessary
the
ting
You should
models are disappointing
You may be almost
going to paint; the rough acts as a preliminary
You can
is
have usually been retouched, some-
yourself will have to contribute
advantageous
Iaeter, to thus familiarize yourself with the type you are
editor.
in a bathing suit, or that she
or another.
fine
unable
same char-
the
should be as complete as
ever meant to be perfect, with both a fine figure
your model
call in
file
men, young men, women, young
Tor the most
and white.
it is
Your
file.
apparatus.
illustrated just as
the situation , as in this case, has already
If
mod-
know what she looks like in front of your camera, when you are working with your individual
often of different situations, Normally, these
but
illustrate. I
to take 'tests" of
times almost beyond recognition.
ments. Sometimes two or three roughs are asked
in color,
up, or the
and thick- thigh od, which the head photo on would not indicate. The photographs models
are not as necessary as during your
roughs should be done
come
short file
for,
worth while
knock-kneed
oughly familiar with your work, elaborate roughs first
likely to
women, and children. It is expensive to call in a model and find out after she gets there that her shoulders are too bony for the evening dress, that
thor-
is
it
possible, with
itself.
This could be done
is
would be done in motion pictures. Try them out for dramatic ability and expression. Have some typical heads, full-length, and costumed
The problem now is to make up an actual -size rough which would be submitted to the magazine editor.
illustrator
els as
be
will
be needed. As an
type of story that will be given you to
all
carrying the eye to the head.
lines
of general
yon never know what
the choice indicated mainly
movement
file
as well as a
file
likely to
is
stressing the im-
tumes of various periods, stores and shops, night
not
clubs sports,
it.
s
277
and almost every phase of
life.
PHOTO OF THE MODEL
STUDY FROM THE PHOTO
\
\
v.
\
279
I
THE FINAL INTERPRETATION reproduced the photograph posed ac-
I liave
my selection
cording to
miniature rough. This
in
young lady was selected mainly
me
appealed to
away from
deliberately seeking to get
ardized cover
fullness of her
I
am
the stand-
both
allied
with the personal
art directors
have very decided preferences
to
artists
There arc
likes anc
as
and types of illustration. One may like
the "cIosc~up" type of picture showing large heads
and expression. Another may prefer the
mouth, together with the smooth
"full
picture type/' showing the characters in a setting.
Any
with the
to coincide
physical appearance of the contents
be closely
who seem
slanted eyes and brows, the
neck and shoulders, seemed
The
dislikes of the art director.
or the so-called photo-
girl type,
Her
genic model.
will
l>ccause she
an unusual type.
as being
uality.
art director strives to
produce a variety
o
authors description. The charcoal study of the
approach throughout the magazine. This
photograph was done mainly to sec
the reason for the cropping of a Full-size painting,
could
I
if
bring out these qualities without literally copying the photograph. I
Were
commission,
this a definite
would send the charcoal drawing
for he
I
had
not wish to have two similarly treated
Subjects close together.
to the editor,
accompanied by comments about what
may
tors
who
There arc those
art dfo
lean toward certain mediums, perha
preferring water color to
in
is oftei
oil;
or crayon, charcoa
mind as to the illustration, the color, and anything else that might make my intentions perfectly
dry brush, and similar mediums to the so-cal
clear.
familiarize yourself as
The
art director
the other to
officials
me with
would
in turn
of the magazine
comments
their
submit
heavy mediums.
magazine.
it
in
my
sympathy with
proach, or had any objections, this would be
along
is
approved, the
made
ceed with confidence that dure
is
most
all is well.
magazine has a
issue of the
by which time
all
ing date
three
tion.
The
months
illustrator
in
bad
to force the
is
It is
For the most
part, criticisms
thing an art director wants to do
very
publication.
delivery
He
zine
part,
which
distinction
your
his
ability
why a certain amount of your and approach
to
new
opportunities
if
the maga-
willing to experiment with you.
in color,
it is
final interpretation of
our subject
is
necessary to place the picture among
other color plates in this book.
The
reproduction
of the painting will be found on page 291, entitled
to delay
will give
is
Since the
A
will therefore appreciate early
upon your
is
just
but he must know
start to finish as far as
concerned. This
pave the way
from the
is
possible,
is
and dynamic. You can keep liim informed of any new ideas you have, and this may often
magazine are warranted and would not be forthcoming unless deemed absolutely necessary. The last
art director
01
flexible
unsatis-
it is
The
so that you can keep your ability
magazine to use your work, be-
when
assignment.
time should be set aside for experiment and study,
should try to have his work
cause of the shortage of time, factory.
ground from
advance of publica-
completed ten days before the deadline.
th
the whole procedure should be
by any means
satisfactorily
The average monthly magazine s clos-
all,
final
eager as you are to give his magazine
definite closing date
work must be
an early stage rather
of closest co-operation.
Each
completed. is
All in
This proce-
practical for all concerned.
line at
better to submit something
pected technique on a
can pro-
illustrator
this
it is
a
attempt to surprise the magazine with an u
ap-
clear before the start of the final work. If the char-
coal study
as possible with
you have any new or inventive
If
proach in mind,
as to the possibilities.
This might save a great deal of lost motion. If the
magazine were not
much
start
types of illustrations most generally used by ea
this to
and return
a good plan at the
It is
Sample
Illustration. I suggest that the reader
review the paragraph which we have taken as our
him an
opportunity of making changes without causing
problem, and then decide whether, in his
delays.
ment
You will find that each magazine has an individ-
I
judg-
have caught the dramatic and emotional
qualities suggested.
280 i
HEAD STUDIES FOR ILLUSTRATIONS
IS «^W7r :<$m/k •
CHARM
IN
iJTATtWErir
L^O
PRiWIM-G PO/./I
LI EJ" IN
THE JIMPI.&/T
RLE OP &OTH
C<3HTOUHr3 NOT
Tkl£
IN L|T£I^AL.
FOftM/
ACCURACY.
281
.
.
GETTING INTO STORY ILLUSTRATION This volume would hardly be complete without a discussion of how you can get into story illustration
and what preparation you must have. To dis-
cuss
it
frankly
is
almost in spite of
we get more of
not meant to be discouraging nor
undisputed requirements. Seldom does an
with
less effort is
than anything in
given as freely as
opin tons, especially negative ones,
what it can
ine
illus-
labor
Opinions are something that
it.
the world* If anything else
but to lay before you some of the
disillusioning,
and one must
ion, other people's opinion,
we must
he. Yet
I
to
cannot imag-
a large extent
trator of magazines get there without art training.
abide by what others think of our work. They can
Whether the
make
training
own hard
his
the training
effort,
by dint of
in schools or
is
is
a necessary
even as
opinion. But opinions need not cause us to break
most of you, as young
and
always be subject to public
Illustration will
adjunct to his native talent. It is likely that
or break us.
we
with truth as
faith
artists,
see
And
it.
opinion on the
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-
skilled
the opportunity
make
is
always there. Whether you can
a reality depends on
it
First of
you
all,
will
many
need to be
ion
s."
is
more
far
in accord with present-day
"if
tration than with
skilled in life
to believe
modem art. I have every reason
will stay that
it
drawing and anatomy, perspective, composition,
tion
and
source, the reaction to life
color.
But you
will also
need that rare sense
of the appropriate, and die ability to
belonging to two classes: the
of as
idealistic, for
rational, in
things of
one,
and the interpretation and characterization of life as
it is,
sense
est
message of life itself.
illustration
grounded
spirit
should go on.
It will
who perhaps are still
in
go on
the dictates of your I contend that art
your teens, but
it
will not
nor confining. It
of
I
who
to
your
mistress.
Her rewards
are
but they are for a chosen few. Yet art
first
all,
no
strings to pull,
granted. Art
thoroughly subject to public opin-
is
ability*
is
is
neither narrow
as wide open as the blue
skies.
is
that you
one glance, one day,
life
year. It
better to seek your development
is far
is
in
or one
one leap to the goal. All commercial
illustration,
with die
and
all
little jobs,
favors to be
to
draw a
of
it
as
Be
it
gives
you equal
content for awhile it is all
training
When you have a chance
a character, a figure, try to think illustrating one of the best stories in the face,
best magazines;
282
of
knowing that
for the big job later on.
of course, that he has talent.
There are no
personality and
not imitation nor duplica-
is
opportunity to progress.
is
and character of the individualof
alleys,
cannot take in
art
one of the few vocations where success lies wholly in the effort
own
one jump. The main reason
to try to make
an exacting
blind
it
through the channels that point to your goal than
ultimate goal. is
truth as
have stated that you cannot be a finished illus-
trator in
come by dreaming. Every
day wiD have to contribute a small part
many
based on truth. Such a definition
have overpowering ambition and strength of pur-
But
and
in reason
tion of realism, but an expression of the individual,
all others.
some
keep your two
should give much consideration before tossing out
He has left in
to
tions that prove to lead to nowhere, that I feel you
cannot but appear insipid as com-
a record of early Americana that excels
granted
would beg of you
to
whetting our curiosity and glowing with specula-
Much of our present-day
pared with the work of Howard Pyle.
great,
In helping you to chose a path
life.
appears to you. There are so
up to life, and the best of it carries the strong-
Art
keeping with good taste and the better
not a matter of drawing pretty girls and
ror
pose.
my plea that illustration be kept
feet firmly
is
illustra-
itself.
for the other. Illustration in the highest
The Second World War has brought forth much that is new and forceful in the way of illustration. Illustration is holding the mir-
you,
it is
illustration, I
pink hair ribbons.
That
way, for both
and public opinion spring from the same
Therefore
a story
may be thought
Illustration
pictorially.
tell
illus-
do
it
that well.
Do
it
as though
GETTING INTO STORY ILLUSTRATION your whole future depended upon
interpretation of the fundamentals here.
Actually,
it.
main object has been
your whole future could easily depend upon it, for this
do
very sample might interest another person
a good job
may do
seems
hard to shake off.
there
somebody will find you.
are also
man you
your daily work
your
not providing you with avenues
pointing toward your goal, there
is
illustrations to the top
I
until
to
in other fields.
reputable agents
intelligently,
magazines
first;
to
if it
they can advise you
unusually good contact
is
However,
if
may
if
something
they like
But you may be sure they are
all
in
Tom,
Dick, and Harry,
my
utmost in
There
no
If
But you
like
which
We would
not imitating to
work from
practicing. It
is
is it
imitating
tack a successful job by another artist
is
imitating
it
for profes-
when you try to sell in any way created.
a vast difference.
is
you
will not
is
are really ready for the magazines,
have to worry. You
will get in.
you
Worry just
about getting ready, so you can then worry about this
volume
will naturally
when you get there. But worry can be fun, when its over something we love to
staying in
to give
you a working basis and suggest the things you will need.
It is
something you have not
the best bet in the long run. tried
They
their world, not ours in
when you are
sional use. It
be performed; anything can happen. But
have
is
on your drawing l>oard and copy
and only once
a logical step-by-step procedure to your goal
I
realize this
when you
getting a
a very great while does an unheard-of novice
rftual to
out,
than take responsibility based on
led, rather
imitating
is
is
a photo you have conceived and posed. Nor
it.
break directly into the magazines. There
imitate thoughtlessly.
and produce form.
deluge of mediocre work submitted by every unqualified
is
much rather have them do it, giving what assistance we can, than to do it for them. It is not imitating when you work with line, tone, and color,
sent to a magazine, they will
you quickly enough
been imitated to death, the
they are always to be told what to do.
to the
through a good agent than by trying to go
directly to the magazine.
be
must
be sent periodically. You will probably get in faster
idol has already
and decisions. But the young people who forge ahead are those who take the reins and do their own driving. They
Send your work
seems promising. Such work
Suppose by the time you are ready
their own perceptions, beliefs,
you have
and even submit your work
are.
Young people
developed a background of experience and are
making a success
you are
what chance have you?
would not submit
magazines
some return, but it good enough to get
in
there in your idol's place. After your idol
make your own opportunity. Take a story and illustrate it Show your work to others. If they respond Favorably, maybe Mary Jones the magait.
granted that
whole vogue has passed, and someone new
nothing to do
but
zine subscriber might like
if
to go out
by very long the imitated. Suppose there five thousand others imitating the same
out for talent, just as there are movie scouts. If is
that
is
to outlast
agents constantly on the look-
artists'
mc
to
is
is
There
by imitation, you are certainly good enough to get there on your own. The imitator is not going
When your work in other fields becomes noticeThere are
fellow. It
such a course might bring
but a slighted one, a
lazy one, a disinterested one, leaves an impression
able, the chances arc that
think and to
for yourself, to believe in yourself.
and imitate the other
You never know what
for you;
make you
only one other course open and that
with a bigger opportunity to offer, and that might bring another, and so on.
to
The
lots of
make your own
do anyway!
233
PART SEVEN
EXPERIMENT AND STUDY There in
no greater impetus
is
creative
to a successful career
than
illustration
and
experiment
study. In the earlier years of actual professional
would recommend a continuance of
practice, I
You
school study in the night classes, after having
will find that
some practical experience
in the field
both indoors and out.
ing,
out to sleep. If Sunday
only eighteen holes and work Sunday afternoon
Sunday
or every other Sunday. If
Work Saturday afternoon.
soul.
school
tant that
you can
available or not,
is
set
up an organ-
ized routine of further study for yourself,
way is
group of commercial
for a
up
by themselves, calling in models and drawing and painting them. If such a class cannot be
a
class
organized, then set up a space at
home where you
can work evenings, Saturday afternoons, or Sun-
do not mean that you should not take time
days. T
the Missus
not matter
A good
artists to set
Set at all
when you
you do work
design.
for
a course of study
each individual, and sometimes he can lay
your sketch box Painting from
week on
life is
the job.
It
one thing not
to do,
and
that
to drift along with the daily routine,
You
extra effort.
will
is
simply
in
soon find yourself middle-
light
and
jobs,
and being little
years ago.
The
farther along than
extra effort
is
you were
sky really gets into them. reds, browns,
and oranges
tween the great mass of mediocre
artists
do not
hump.
If
a week. Perspective
is
So
need not go
time. Color should light.
all !>c
be practiced
pen and
done in
will find that
all
seem
an
find
and cool
blue of the the
to use
who
artist
colors. In fact,
come
to
is
know
the beauty
thought of in terms
when you
look for the same
do not seem first,
but
be
to
there.
when you
her tonal and greyed colors you are
much more
many
set
sur-
beautiful }
tul>es.
of us never take the trouble to really
wc wonder why our progress is so slow. She is the one
real source,
farther
something you
to school for. Practicing
crayon, and charcoal can
good
is
it.
get acquainted with old Mother Nature, and then
learn. It will not take
long. Practicing composition
of tubes and pots;
you
another thing that you
might as well get at and
we
than the contents of the pots and
know anatomy, that is a good place can be done at home in a few evenings
try
away from
get
that
prised to find that they are
really
to start. It
in
first
Put
these soft tones and colors rarely enter the mind
down
and the
take a great deal of concentration and
determination to get over the
You
Seldom do we
Nature looks quite dull at
comparatively small group of very good ones. It will
faking.
colors in nature they
the difference be-
it is
airy, that the
of them. In the studio, color
aged, having done nothing more than routine
impor-
your work. You
of the artist until he has
making no
out, but
does
stimulates you to good color
fakes in delicate greys
is
It
refreshing after a harrowing
else can prescribe
There
not
and the kids.
and go out and
in the car
when
for him.
is
sketches while the young-
out such a course for himself better than someone it
she
wade and Mother reads a magazine.
sters
shadows are
is
if
you and
out.
it
Make outdoor
ground
are going to get there. There
and
to
his
up subjects for still life. They are not boring when you really begin to see tone and color
and freshness
developing yourself, the sooner you
it
up
It's
will study,
how you work
out for relaxation, but the faster you get over the in
your church
is
day, then no artist will suffer by developing
enthusiastic, try painting her
as fast.
it
your golf day, then play
is
You are more enlightened as to what yqu want* and perhaps your weak points have begun to show up. But whether an art you will learn twice
a shame to shut
It's
you
and the more you neglect her,
the
home. Most of us do
not
stray from
take the trouble to go sketching, feeling that
where we live there is nothing in the way of a sub-
ink,
in leisure
ject.
That can hardly be
true.
Even
of a slum can be wonderful material
the daytime,
No light is nicer than Sunday morn-
an
286
artists eyes.
a back alley if
seen with
AND STUDY
FINDING SUBJECTS FOR EXPERIMENT River towns, mill towns, old towns, even prairie
This
something no art school can give you, and
is
drama as well as exciting drama, and it is all part of the American scene* Those funny rococo houses are great subjects. Art does not have to be
you can get. If that front lawn needs mowing, get up early and do it, but don't let it rob you of your chance to study. Anyway, it is not enough reason for not
"pretty." Pretty art has troubled this country too
studying.
towns, always present material. There
long already. Artists are seeing for the
America as
it is,
bleak
is
time
first
and some wonderful things are
do not mean
we
that
and
paint the grotesque all
deliberately set out to ugly.
things have form, tone,
quite
amazing what
look like in paint.
that
The
and
point
is
color arid
that
form and color might
think that having the ultra
I
rather blinded us to the beauty of the
makes us think
commonmust be
that everything
polished and shiny and new. Beauty to lie in character. Just the old
is
more apt
barns on a farm
have character. Values, tone color, design! All have charm,
whether they occur
That
little
in
Peoria or on Fifth Avenue.
patch of garden back of Joe Melon's
old house takes on tremendous
meaning
York. Americans are becoming
in
New
more and more
aware of the significance of our national background^that we are all a single people with different addresses.
There
is
no valid reason why you cannot study
on your own, benefit by
bunch of cut
that
it r
and enjoy
flowers. See
if
it.
Set
you can paint
it
and artistically. Sketch funny Mrs. Higwho you always thought was quite a sketch
anyway.
quickly and setting them down. That
Make a
may It
where
come from. The merest notation become the basis of a great picture—
may
interiors, buildings, mines,
lumber yards,
wooded
hills, skies,
do not know how it.
The
He is too close. Main Street
not
mean much
vision
and
does to the
it
seen with sympa-
if it is
and understanding
our
but
to you,
thetic
eyes. "Hie
world wants it lives,
interpretation of the life
life is just
nobility, or the life depicted
Gainsborough, was to painters of those Velasquez, living in sunny Spain with its
and
as vital to us as the life of the
French court and
winding streets,
eras.
by
Poor
all its color,
blue Mediterranean, had to
its
and paint noblemen. He died young, probably needing fresh air. He must have squinned at times and been ghastly sick of it. But stay in the house
he
left
us masterpieces.
Subjects are in the eye,
and the
mind of the artist, the quick
Were
interested hand.
there a great
.canvas called "Sunday Afternoon in the Park,"
painted in any small town in the eighties, people
would swarm magazine
today!
2000
bams,
will
it
today. It
which
made
vivid
thing will be true in the year really not very far off. People
is
and what
disappear. Catch
it
is
left of
The American
life
yesterday will soon
while you can.
ing very definitely into a
the old
would make any
of our grandfathers
just as interested then.
of today
canals,
life
The same
a.d.,
be
to see
well done. Think of the quaint cos-
if
tumes, the
docks, bridges, boats, vegetables, fruits, bric-abrac, country roads,
We
are in danger of losing
Saturday Evening Post
any ever
painted. Horses, dogs, cats, old folks, snow,
we
until
that he cannot see it
and personal-
as real kids as
it is
live in.
average artist is living in such a wealth of material
you have admired down on Sawyer Avenue where the cars turn. Take a look at the children
They are probably
seems strange that most of us need to be sold
good
pencil study of that gnarled old
next door in terms of planes, color,
later
on the world we
tree
ity.
is
you never know.
up
loosely gins,
pencil in your pocket. Get used to noting things
is
it
and super of everything thrown at us so long has
place. It
Keep a sketch pad and a sharpened soft
pictorial ideas
being done, I
closer to real art than anything
it's
new
era.
We are
com-
So work hard,
will recognize
young artist, with your eyes open. If you have no subjects to paint, you are going
material for
about blindfolded or
swimming
hole.
There are subjects galore
if
you
them and try them out. This is all learning and material for the future.
287
totally unconscious.
YOUR PENCIL CAN KEEP BUSY
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\
kOTHCMQ
|/
288
PRACTICE HEADS ALL
YOU CAN !••
JTA«T 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 a»out you.wilunc to Pore 289
STUDY OF AN OLD MAN
Wt/
A SAMPLE
ILLUS'I
RATION
SKETCHING important that the
It is
artist fix firmly in his
the mind's eye"
mind the basic difference of altitude in a sketch as compared with final work. Logically consid-
phrase than
ered, a sketch
attached to
is
be transposed "n;i] ling
a search for information that will
later
down"
on to the
tiling that
you are going
definite
A sketch
after.
wc have mastered
the problems
it.
many effects of life and nature are fleeting. So we make "notes." The camera has helped to catch many of the changeable aspects of life. But
yon deem impor-
Every sketch should have a
tant.
We do not truly see
So
final thing. It is the
of essentials that
in actuality.
it is
the thing until
a bit more picturesque as a
is
some-
presup-
the
camera cannot supplant the
vivid mental im-
poses action, mass arrangement, light, shadow,,
pression one needs to produce a good picture.
and
actually
color,
without intricate
detail.
If
you are
coming to
grips with the subjects
By
you
are
searching for potent detail, you would think of
drawing upon your
such preliminary work as a stud v.
are filled with an inward excitement over what
A
sketch
alone,,
i
Such a sketch
decisoii as to
is
Js
a color approach.
what
is
known as a
with a photo.
The time element
"comprehensive sketch." Such a sketch mighl be quite finished. Usually
it is
Nature changes so
the actual size of the
come absorbed
intended reproduction (except in the case of displays and posters). is
The purpose
you intend rangement
to
do with the subject, general effect.
a] id
many
here, of course,
to give the client a fairly accurate idea of its
Suc:li
what
out?
any
work, and
its
purpose
difficulties or objections that
carry over into the
final
Make up your mind
is
to elear
pose of the sketch. Here
that
work.
is
is
is
and pur-
color
not time to be-
That
is
what
13 ig
is
a
bit
shapes, big tones, big
what you are detail, take
it is for.
will
after. If
you want
along your camera;
But the detail
work any better
and mass
why so make a
not a demonstration of the things
awav the
the final
important
is
But suppose the drawing
life.
sketch
to carry
otherwise might
as to the intent
in little things.
relationships are
up
we have
fast
you can do with time.
is
nsuallv done from the material that won hi be used in the final
A
in sketching
completely in the ability to
fail
sketch from
color ar-
a sketch
and yon
selection,
the subject contains.
a "color composition,"
Tn commercial work there
and
The whole conception is more apt to be creative and original by starting with your own first interpretation rather than
nay be for design or arrangement
and the
taste
will not
make
The
tonal
as a picture.
be better than anything your
camera can capture.
the real joy of sketch-
for an
The ability to make a good and even fast sketch will make a better artist of you in the end. Sketch-
We
ing should not be neglected nor underestimated.
ing. In
a sense you cast off the meticulous labor
im inhibited expression of the thing in mind. know more about an artist from his sketches
than from his finished work- That
is
The main value
the reason
sketches are often more interesting and beautiful,
taneity
After having
statement, the
final
made work
dium, under every kind of circumstances, and
such an analysis and is
much more
carry the emotions of the artist into
will eventually give you.
Sketching should be done in almost every me-
being of simpler statement and far more expressive.
it
apt to
all
kinds of subjects.
thing.
That
with the pictorial material, searching out the usa-
everything
and assembling them for effect. You are meeting and getting acquainted with your subject. The mental conception of a subject is always
is
ble facts
will
be
We cannot know
until
we
set
it
what the visual
is
not so
simply
illustrate,
draw anything and difficult as it
line, tone,
and
of
you
every-
sounds, for color.
Form
light, halftone,
and
can bring you more
real
always expressed in plain
shadow.
Your ske telling
outfit
pleasure than any other part of your equipment,
effect
down. "Seeing a picture
is
you would
If
will prepare yourself to
ft.
In the biggest sense, sketching is on experiment
abstract.
the freshness and spon-
lies in
in
especially
292
if
you sketch with
a purpose.
FIGURE PAINTING 1
would
and
importance
like to discuss frankly the
approaches
of figure painting to the average: craftsman in illustration. All too often
a student leaves the art
had hut a meager
school having
anxious to get into remunerative the real value of
start at fields,
True enough, the paid -tor picture nude, and
it
connection in
it
nude
figure into
with
portance to her
she will take inv word for
it
here that
more important
is
T
frankly, a delicate situation
Good
her hus-
and while,
It
which should be
with other painters.
If
value and
in tone
do not have the quality of
who have
artists
spent
little
flesh.
time at
have a common habit of
makes much of
in light or
shadow.
Tt
the cheap -looking art
work we
see.
and
you can color,
truly develop your sense of value
coupled with the subtlety of plane and
construction that
This, mainly for ihe reason that one learns faster
co-operation with others.
red— can he
painting flesh on the "hot"' side, with red, yellow,
Figure painting in the beginning should be
in
of which are
slightly too
must be true
serious figure painting
it.
all
or too cool. But not flesh.
vcrv
If
in class in association
flesh tones
color, or they
met frankly and openly. done
warm
Commercial
it is
the correlation of
it is
does not matter. But a forehead or
it
hope
band's genuine and honest attitude toward is,
and
a shadow too
real im-
husband's career.
artist
important. But far
its
new
or with
a sky too blue, grass too green, a dress too yellow,
difficulty that
young wife can appreciate
light,
he
\ety had. Almost any other thing can be too much,
an advertisement, why It is
finds that
We can paint one apple too
cheek too red— and only
would be actually unlawful to
bother with figure study? the average
red,
could have with other work. Since it
new
great value of
present in the figure.
seldom a
is
things in a
chawing, tone, value, and color,
discounts
may he hard to understand what real
most instances
paint a
The next
as applied to everyday work.
it
all
be
vision.
and,
it,
value. After painting flesh,
is
evident in the nude, you can
tackle almost anything else with considerable
possible the study
A
assurance of getting these qualities.
combina-
should be under a good instructor, I really feel
tion of figure
that the night class
then the other, over and over again, offers you the
artificial light
more
ducing definite
is
best at the start, since the
clearly defines die form, pro-
light
and shadow. Daylight
most subtle and quite
difficult.
However,
it
is
life
drawing we are dealing with
a real black on
line
all
of the
flesh. It
is
means
the artist must raise his values tremcndouslv.
cause he has been used to setting
you draw well
no
assurance that you can also paint, for the simple
you can get them
first
is
is
great deal of conscientious study.
sel-
working in a group
is
real
way
and paint with a
to paint,
and
that values,
The reason
for
good or bad, are
more apparent in the other fellow's work than on the model. You learn from his errors as well as from his advancement over you.
that 13 e-
Go
paint-
also to the art galleries
and museums and
study the way flesh tones are handled.
shadows. The planes in the light are
mostly ovennodeled, often too brown. Here
one of
develop the best qualities
is
ings are usually overly dark, heavy, with opaquetile
one and
of painting. Because
down black and
white tones in drawing, the student's
ness in
first
is
drawing and
tone in a black medium. In painting there
dom
to
painting,
reason of values and relationships. The only
a difference between
painting. Tn
still life
best possible chance
most beautiful.
There
and
you sec them Learning
is
It will
help
for yourself.
to paint flesh well is
not easy, and
it
most important qualities he can add
does not happen overnight. 1 1
is
work from the experience of figure painting. Flesh tones and modeling are the most subtle and delicate of all form, Thev are
that, of all things, flesh is the
most
paint, for, of all things, flesh
much
than the hides and furs of the lower animals, was
tile
to his daily or routine
like the
modeling of clouds in
forces one to get
up
light.
beautiful.
It
into a fresh high key in color
May we
difficult to
per I taps the most
not be thankful that
given to us! Let us appreciate
293
is
not surprising
it
it,
rather
and respect
it.
OUTDOOR SKETCH
291
IN
COLOR
PORTRAIT SKETCH
IN
COLOR
CLOSING CHAT It
is
with a feeling of regret that
closing pages of this effort. It
the parting of father and .son.
companions,
book and
this
manv months.
is
come
I
something like
not
We have heed close
an
artist
and
First of
all,
bound
to
make up your
you— life
I
as
impress upon you the impor-
make
Hardly a day goes by that you
cfo
decisions.
a collection of
little
not
know
is
decisions.
From
up
to the artist to sell his
what
a
it
it is
artist
good salesmen. Bad salesmanship can stand the
the single
way
of your progress. If
such a thing as being a
It.
little
too
much
of a
and
instructions that
your best
faculties.
von cease
into the things
him
yes
still
analysis,
you
wide open
lo ereativeness. 1
you have a job
for
move upward by adding something it is
thing in your
just as
way and
bad
first
like to
want
to
this
later
Again, every
of your
trip
with you
artistically.
round, since the instructions
a prolonged
have vet
The way up
down can he
like
sensitive the
i.s
entitled to his
agree, docs
struggle,, for the
to his head."
to see the artist
detri-
who is
long and slow, hut the
is
greased lightning-
belittle the
wound
world over.
man who is
I
have
big on the
is lasting.
pre-
making the "big shots"
who really have no sense of the and who would lie agreeable to change
It cuts
In ray day
may have been
little
No one is big enough
other fellow.
the
fellows overtake
I
to
deep, and the
have seen many
and pass the big
of
ones,
eat their words. There
is
an old saying in Hollywood, "Be nice to people on the way up, for you may meet the same people
pared by those
artist's
a buyer.
can be a great and unsuspected
way
the practical reasons from the
man
you do not always
the other
it is
tell
outside must be equally big inside. People are
may be
which happen to "go against the grain" Often
man,
on you might want
young artist to "go
to success, I
infallible.
do every-
yours alone. There
for a
as the art director of the
always contended that the to
work
criticize the ideas of
may end up
successes of a
ment
yon can
structions
if
you
But never
lo sell.
Often
if
very sound and practical reasons for certain in-
artistic,
the evidence of real enthusiasm
It is so easy, after
real
individuality to any job.
Perhaps
If
part
not necessarily mak<: the idea unsound.
that never allows a decision or it,
is
ideas; the fact that
continuing to
should say that
opinion on your part, get out of only
most
average assignment
will find the
of
good, somebody can
good salesmanship on the
of
agency or magazine that
to exercise
meet the demands of your assignment. By
so.
That buyer
There are many proper and
you di\ while
The essence over the job.
ways of projecting your personality
legitimate
should be
fail, it
'
mam Yon can easily get so used to following directions
is
in
sell it
of the artist
is
you
because of your work, not because of lack
must be agreeable and
co-operative in order to succeed, hut there
who knows how
with art buyers. Artists are not always
always
obvious that the
Yon would
better to get a representa-
plan of approach to your ultimate goal, and the
is
still
to antagonize your
or work through an agent
to deal
the high-
decision.
wants, and
tie
was bad,
salesmanship^ If art work
all is
possible.
a bad anything just because he did
plan of approach to a single subject, to the whole
carrying through of that plan,
wherever
taste
you find that you seem
tive,
road to ereativeness. Every bit of art that you do is
sell
clients repeatedly,
not have to
decide something- Making decisions
it is
the buyer
man
not
If
tance of developing the ability to
and
buyers as a rule are
giving hhn what he should have.
lie
illustrator.
may
artists,
You can give
without touching upon a few of the more personal things that are
tactfully pointed out. Art
knowledge and good
over a period of
I,
can scarcely leave it— and
I
wore
to the
on the way down."
viewpoint
296
CLOSING CHAT 3
spoke of making decisions. There are many
I
On
color?
"Should
'
I
the negative side there are lazy ones,
paint?"
One
intolerant ones, procrastinating ones, impatient
divorce
and have
kinds.
ones, indifferent ones, inadequate ones,
pulsive ones.
Then
>s
and im-
arl?
May
that
day count
much
big goal. Art lakes so precious time
You must not just try you must somehow make
art study can never stop.
in
You
.sketches ore old
middle-aged are
f
and
dustv. I
Sometimes
si] ice
they sat
down and
is
negative.
Nobody wants
sible to
he familiar with the courses and instruc-
have seen so manv
tors of
every school.
actually did
manv
Tt is
vears since
I
may have changed and probably has a completely new attended anv art school, and since then each
has been a mutter of years
it
Asking for advice seldom brings the advice you
or fists
raved at the edges, and thumb-marked with
time.
failure.
make your decision, and nobody ever will. I cannot recommend one art school over another, for several reasons. One is that it is impos-
hop i tig, who.se samples
artists si ill
to shoulder the respon-
to
it.
will find
The mediocre
conservative.
is
another s choice, suceess. or
want. Too often advice
to
sketches galore in the studio of the good man,
with the paint quite fresh.
up mv
they arc too old to begin, what
say that most advice
1
sibility of
time that waste of
cosily.
is
find time for study,
And.
some way toward your
in
if
Most people do not want
perseverance. There can be the decision each day
make
Many ask
the freedom to follow
cities to
determination, thought fulness, intelligence, and
lo
eliap actually wrote, "Shall I get a
work in, where do you get work, and how much do you get?
there are those that contribute
much. There are those blessed with humility,
so
draw and
quit a steady job to
personnel.
some thing
to
To recommend a
school
I
would have
be familiar with your work, sympathetic with
hopes any promise. They are plod-
your particular ambitions, and probably knowing
awav at something thev hate, and doing nothing about it. These are the men who never seem to have had a chance. The truth is,
sonic thing of your personality, character, perse-
to give? their
ding their
lives
verance, and adaptability. It
and
they never seized a chance.
There
a difference in
is
working
or
"for"'
it.
We
working "at" a thing,
things you
can really study, or we
von sit down. You are working
you
for a bettor
knowl-
edge of anatomy, perspective, values, or some
you are developing your
more looseness and
how
vision
can sense them
Tf
errors t that
is
so
much
is
feel that
if
for
questions. lint
written to
one lake
to seek advice
good student
for yourself
But you
will
.still
tor
under the best ,
and instruc-
have to do your
and
it
would be
better
if
the school could
pick the student, rather than the student the
you
school.
vou
tions,
on important
do not get the habit of going
your decisions. So manv
me for decisions
else could possibly
up
a
Some
and
if
schools require entrance examinaso,
you need not vvorrv about the
.school.
most natural
otfiers for
work things out
to
dent,
could not. II is
A school cannot make
may be a bit harsh, but true, that the average school is much better than the average stu-
good. That vou
better than
to do.
of the
job. It
you do not seek,
you
to ask,
any school. School is mainly the opportunity
tion .supplied.
of edges,
and technique
expression. Tf
can you possibly find?
making many
are
and found
would like
of conditions, with space, models
are training your eye for
proportion, or lo see the lost
much
feel qualified to answer.
you a good student, hut you can be in
You
too
Seek the school which shows evidence
can putter. The "for" should be definite before
definite objective.
do not
1
is
art?*'
"Would
I
poster artist?" "Should
work
were possible
to
li.st
will
arship with a figure painting,
paint a ketchup bottle.
more
illustrator or
in oil or
it
places to
sell
your
probably be some-
thing like mine. After winning an art school schol-
have
for them. "Shall T
be a better
wish
work. But your experience
to
that neither f nor any-
make I
artists
T
water
to painting
ing than
297
I
I
my
first
job was to
found there was a
lot
a ketchup bottle, for advertis-
ever dreamed.
Then one day
I
painted
CLOSING CHAT a Santa Clans.
An
art director
saw
it,
one who was looking for talent about
this is the real
told some-
got me
Tt
it.
reason for the trend of fine art today
from the
to diverge
toward the spectac-
idealistic
a try out in a Studio, That led to other work, which
ular,
opened up further opportunities. That
only door that seems to be open.
the
way
in this
it
works
You cannot be good
out.
country very long
l>t;
to
it
work
noticed,
by sending
must apologize here
more than a
it
dle
lieve in
form
tried to steer
for
of
I
My
answers.
my
have
I
can be faet or
ability in this
tremendously appreciate per-
may
the decision must be your own,
indicate
I shall,
vou make
if
worked out by
the
Still
the nonexistent, enables
fiction,
personal or impersonal,
dynamic or
it.
Where
else in the
concrete or
static, .
world
.
is
what
it's
.
there
less
limitation?
Let us
where
as artists, then, feci that
Let us be
sincere,
if
for
we have a trust
no other reason than
to
give our craft eharaeter. Let us choose to repro-
do not
duce beaut v rather than the sordid,
request advice in personal matters f whieh in the
long run will be better
life
and the future.
fundamental or flamboyant
abstract,
however,
appreciate letters, especially those that
r
the things they buy. Pictures
iii ?
truth or distortion,
book. Perhaps you can find your
there, or at least it
w ear,
the eye to see the product of the imagination. Art
make personal answers to their queries. l r or this reason f have set up Anxwfirs to Queries in the
answer
the cra-
them. Pictures of one kind or
Pietures suggest the clothes people
more, art brings to
to
this
From
pictures.
visualize the present, the past,
routine
sonal contact with my readers, 1 find it impossible
back of
to love
interiors they live
my time, and T do not be-
lo the best of
book, and, though
life.
not being able to answer
letters or secretarial
you
he learns
by
another do much to shape the pattern of everyday
about.
fraction of vour letters.
work demands most
the
r*
you intend writing me, as se many have done.
If I
is
the average individual
that your
-r"
is
Let us remember the influence exerted upon
in art
someone begins
fore
von can see
lo take notice. Antl
about
is
from the tangible to the abstraet. This
vate the standards of beautv.
yourself.
ence
to
our
way
If
we
Onlv to
if
ele-
seek an audi-
make
of expression, let us
the
we have lo say worth while. When we have
The most important thought f wish to leave with you, aside from making big and little every-
a choice, let us build, not tear
day
endowed with the vision to encompass beauty, let
If
decisions,
is
you succeed
the great worthiness of our craft.
in
it,
the world holds high respect
for your accomplishment. certain reverence for
Just because art cial use, there
The
fine artist
tures
see
is
good
There seems
to
for a fee
be a
art in all walks of
need be no sligma attached works for a living
also,
and
difference
between painting a
and painting anything
is
this
nothing to limit
skill in
is
si
nee
it
is
it.
Tf
we
are
To live and
to please one's self, using art as
a means
temperament and un-
life,
to
my mind
wrong. Art belongs to life, and essentially
lo the
common, everyday man. Art
Such
rare.
and
few,
art.
is
essentially giving. Ability of high order
The successful may well rejoice that among the many, have been given the
that see, the
reason eommereial art has by far the
greatest future,
about
normal and ethical standards of
it.
portrait
eommereial
down.
disciplined license, for divorcing oneself from the
his pic-
else for a fee.
selfish
of display for uncontrolled
life.
to
be grateful, but not
work only
mfide for industrial or commer-
difference lies only in the skill of the artist,
For
us-
may be reproduced and sold for profit. I can
little
there
things
grasp,
open to greater and
hand
to set
and the heart
What we
take, in,
is
they eves
down, the perception
to
to understand, the big truth.
we
can
strive to give
back
in
greater ability; whereas in the fields of line art
greater perfection. It seems to
there has been such perfection as to leave
not be possible without patience, humility, and
a
very narrow margin to be surpassed. I believe
respect for
298
life
and mankind.
me that
this
would
ANSWERS TO QUERIES would not advise the student just out of art school to set up an immediate free-lance studio. Gel a steady job, if possible, in an art department or organization. You I
1.
need a period of practical application of your work. Work among other artists. One learns from another.
and submitted, whether accepted for final work or not. Sketches may be included in the final price. Ptice for filial work should be agreed upon before work is started.
will
lfi.
If
your sketch
is
gi\-en to another artist for
pletion of the final work,
Begin to work
2.
possible.
Do
not
a specified delivery date as soon as work dally along. Finish one thing
to
let
-sketch.
you should be paid
This should be deducted from the
to the second artist
and paid
com*
for the
final price
paid
to you.
before you start another,
Request written orders for your work, duly authorized by a responsible signature. It is within your right. 17.
Please do not ask me to hunt up books for you. Most
3.
books can be purchased by proper inquiry from a book dealer, who carries lists of publications and publishers. You can go to the Library and have hooks looked up for you. Art magazines also usually have a book art
service.
1R.
Changes or
understanding, and changed through no fault of yours, should be paid for. Corrections made to bring the work up to a required or worthy standairl inal request or
should be at the 4.
Do
not ask
me what books to read. Bead
5.
Do
not send
you can afford to buy. Start now to build a library of your own. Do not be satisfied with any one book to cover a subject.
me
author has nothing
to
checks or
money
all
orders* since the
do with the sale of his books. Write
direct to the publisher.
me
most
you with informa-
to supply
tion concerning art materials.
Art supply dealers are
Every city has them. Specific materials can be located by inquiry of a good dealer.
listed in
art magazines.
What school? You must
7.
vertised in art magazines training elsewhere.
Send
decide. Art schools are ad-
and
listed
under vocational
for the prospectus,
S.
What
9.
What mediums? You must decide. Try tbem
course? You must decide.
Even Use a
are practical except pastel.
and shipped
carefully.
this
can be used
pastel
all.
If
All
fixed
(not charcoal)
fixative,
10.
What city
to
work in? You must decide.
and Chicago are the largest
art centers.
New York
Every
city
has
possibilities.
11. sell
artist s
expense. If changes or corrections
any extra, should be agreed upon before changes are made. Do not bill a client for extra fees unless so agreed. Stick to your original price if you possibly can, for this may have been quoted elsewhere. arc simply a matter of opinion, such expense,
if
you have made a finished picture on order and it is rejected, it is fair to ask for an adjustment, if not the lull price, according to your time and expense. If yon are a well-known and established artist, your client is expected to be familiar enough with your work to give you a bona fide guarantee of payment, whether accepted in turn by his client or not. Ordinarily the artist should make any reasonable concessions, lie should consider carefully whether the work truly represents his best. If not> be should do it over at the original price without extra fee. All artists have a few do-overs. It die client is reputable and fair, his future business is worth the extra effort, and he will not be without appreciation of your fairness. He cannot pay you twice for the same job- If he will not give you the second chance to redeem yourself, then he should pay a fair price for the expense and effort you have gone to. If he wants you to do it over without changing original instructions you should do so at no extra ice. But doing it over to fit new circumstances, through no fault of your own, should be paid for at a price agreeable and 19. Jf
Please do not ask
6.
corrections of a nature not in the orig-
>
You cannot copy
pictures from the magazines
and
them. All printed pictures carry a copyright. Espe-
do not copy pictures of movie stars or other individuals. You must have a release or written permission.
understood previous to the
final
execution.
cially
12.
Names
be given
of models appearing in
my
books cannot
out.
There is no specific price for model time. She may work at any price agreeable to both parties, unless other13-
wise specified by her agent or agency. Model fees should be paid at onoe^ without waiting for publication. 14.
An
art
diploma
is
not needed in commercial and
Never sue a client without having a previous bona fide order and an agreement as to price, also evidence diat you have satisfactorily delivered equally important work to other clients. Your work is likely to be passed on bv a competent jury, usually artists of note. It is better to forget it if you are certain the work has not been, and will not be, used. Maybe it really is too bad to accept. At any rate, if you sue and win, you may be sure you are through, at least with that client. Few good artists have 20.
law suits over their work. In the case of long or extended
illustrative fields.
work,, that
you or a purchaser may set the price. Sketches should be paid for if they have been ordered 15.
is
and used, that should be paid for. your client should be held liable.
Either
299
work was acceptable If a contract was made,
different If part of the
ANSWERS TO QUERIES: do not send me your work for personal criticism and appraisal I have given you everything I can in (be book, and cannot extend such service to my read*
21 p Advertising illustration normally pays a higher
83. Please
price than story illustration* 22.
Do
not sign an indefinite or lifelong agreement
erx,
any
witli
awpvesfciitfltjve
You may be paying for
or agent or broker of any kind*
the rest of your
though
34. Please
on everything fiM do, whether it is secured by that agent or not, It must bo specified that you pay a commission only on such work as that agent has sold for you,, and for a limited period* If all is satiffactnry you can renew the agent, while if it is not you can go elsewhere. life
I hesitate to
since
difficult to sell
yon.
It is
A fine art dealer's
commission is Anything you mutually agree upon. Sonic go as high as 50%* 21.
25,
You
cannot* without postal authority, send
it,
(if
ings, since I
do
not ask for original sketches
do not conduct any
but Td rather paint.
uiiy kind.
then 90. Please
so can you. classes nor try to give indi-
vidual instruction* because T want to remain active in the Held as long as I can. I could start a school, 1 suppose*
if paid for.
roc for uddre^es
at con-
Whatever your problem* there has been the same problem over and over for everybody else. Sonic have
force anyone to publish your work,
do not ask
book has been given
$?,
author docs not select the illustrator.
29. Please
this
aud row it with all your might Don't ask for personal decisions. You wtll find it is better to make them yuurxelf ami s#e them through.
38. I
even
it
The time given to
licked
You cannot
wish
to get in that boat of yours
liable for return or loss.
28.
and paint*
lime
cannot possibly meet the number of requests.
will
I
hope
When
to feel that
1
Tin ready to quit the
have earned
my
right to
field,
what
work for the sheer pleasure of it. The fan always be in the doing, and I'd much rather be t is left
to
do act ask for autographs. While J am pleased, f honestly have not time to repack and mail your books. For this accept my apologies and sincere rcgrcts-
student always.
cannot possibly sell your work for you on commissi on, nor buy pictures, nor can I hire artist* or repre-
wish to assure you that in art there truly a reward waiting for all who have the courage demands.
31. Please
32.
sent
is
expense and loss of other work, I can think of nothing more that I could tell you personally. I urge you
work submitted on speculation should b<* ao companion! by return postage or fees. No maga^tac will
The
friend of time, for that
si derable
nude
£6. All
27.
artist
not his to give.
36.
photos through the mail. Any published mides muxt paws ccmsctfship, unless unquestionably considered fti a*t subjects, or used in conjunction with art text.
be
deprive an
were possible to give you personal interviews, but I am in the same boat as ray artist friend. When working to a filled schedule, there just is not time. The artist ha* sold his time and it belongs tr> his clients*
commission should not exceed 25%. A be expected as you become well known,
be less
it will
do not a$k for letters of introduction or twyour work is good you won't need them,
what he values most. If I would not do it, I cannot ask him to give yum time. Some day you will understand.
23. Tire agent's
may
much to my regret.
ouiirititKiutHH), If
35. I
lesser rate
it is
39. I
not ask
do appreciate
me
to
make
40. In closing* I
1
th-eiTL
300
letters, especially
those that do
decisions. is it
