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C RE ATI VE ILLUSTRATION And, rew Loomis THE VIKING PRESS • NEW YORK • 1947

To the furtherance of our craft of illustrating as a profession for young Americans, this volume is respectfully dedicated

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ACKNOWLEDGMENT May I express here my appreciation of and gratitude for the valuable help given me in the preparation of this volume by my beloved wife, Ethel O. Loomis.

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CONTENTS, INCLUDING ILLUSTRATIONS (The illustration pages are indicated by italics) Opening Chat The Form Principle as a Basis of Approach 21 PART ONE: LINE Frontispiece There Abe Seven Primary Functions of Line Line 1$ More Than Merely "Outline"! 26 Line 1$ Proportion with Imagination 27 Line Produces Formal Design 28 Line Produces Informed Design 29 Overlapping Line and Areas the First Principle of Composition 30 Using the First Function of "Line for Itself for Composition 31 Composition May Be Based on Letters and Symbols 32 Composition May Be Based on Geometric Forms 33 The "Fulcrum-Lever" Principle Applied to Composition 34 Use Formal Subdivision for Symmetrical Composition 35 Introducing Informal Subdivision 36 A Demonstration of Informal Subdivision 37 Figure Compositions Based on Informal Subdivision 38 Informal Subdivision Is Purely Creative, Not Mechanical 39 Perspective Guide Lines Help You to Composition 40 Everything You Draw Is Related to an Eye Level 41 Eye Level, Camera Level, and Horizon Mean the Same 42 17 Find Eye Level of Copy and Make Figures Coincide Approaching the Subject in Different Ways Perspective Alone May Add Variety 24 Using Line to Produce a Focal Point in Subject 25 Providing an "Eye Pathtvay9 in Composition Attention Devices Get Attention by Building Contrast of Line or Shape The Relationship of Line to Emotional Response Bad Composition Brings Negative Response Various Types of Vignettes A Vignette Is a Design Pure and Simple Simple Line Combines Effectively with Solid Blacks Combining Pen Line Treatment with Black Areas Pen Drawing Is Built on a Principle Fen Drawing Is Concerned Mostly with Shadow Pen-and-ink Procedure Follow the Form with the Pen Strokes Decorative Treatment in Line The Brush Used Like a Pen Dry Brush Adding "Spatter" to Line Mediums Dry Brush and Black Pencil on Grained Paper Black Ink, Black Pencil, and Poster White on Coquille Board There Are New Possibilities in This Combination 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 64 65 66 67 9

CONTENTS, INCLUDING ILLUSTRATIONS Sanguine on Grained Paper Black Pencil on Grained Paper Drawing Procedure Drawing, Above All Else, Puts You Over Black and White Pencils on Grey Paper Poster White and Black Ink on Grey Paper Charcoal on Grey Paper Dry Brush on Grey Paper with Whites "Scratch Board'9 Craftint PART TWO: TONE Frontispiece There Are Four Essential Properties of Tone Basic Intensities of Light Versus Shadow The Four Properties of Tone Explained Setting up a Consistent Relationship of Light to Shadow The Meaning of Key and Value Manipulation The Four Properties of Tone Explained (continued) A Simple Lesson in Value Relationships Composition by Tone or Pattern There are Four Basic Tonal Plans How to Look for the "Meat" in Your Subject If It's Worth Painting, It's Worth Planning Thumbnail" Planning of Tonal Pattern or Arrangement The Subject Itself Often Suggests the Tonal Plan Four of the Thumbnaib Transposed to Black-and-White Oil The Completed Sketch Suppose We Take a Subject and Work It Out tt 68 69 70 71 72 73 74 75 76 78 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 Old Mother Hubbard Is Your Problem Technique in Tonal Mediums Formulating an Approach Technical Approach Detail The Treatment of Edges Where to Look for Soft Edges The Lens Sees Too Much The Eye Selects Stressing the Planes and Accents Breaking Up the Too-Smooth Tones Adjusting Tone and Pattern The "Big Tone" Approach The Direct Approach The Soft Approach The Brittle Approach The "Blocky" Treatment and Others The "Blocky" Treatment Painting Down or Across the Form "Scumbling" The Tonal Mediums Charcoal as a Tonal Medium Charcoal and Chalk on Grey Paper Grey Paper with Other Mediums Carbon Pencil as a Tonal Medium (Smooth Bristol) Carbon Pencil on Regular Bristol Carbon Pencil on Illustration Board Wash with Dry Brush Wash as a Tonal Medium Wash Is One of the Best Mediums for Reproduction Opaque Water Color as a Tonal Medium Thin Black-and-White Oil Scumble 97 98 99 100 101 102 103 104 105 106 108 110 112 114 116 118 120 121 122 123 124 125 126 127 128 129 130 131 132 96 Howard Pyue 10 133 134 135 136 . '

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CONTENTS, INCLUDING ILLUSTRATIONS Comments on Howard Pyle's Theory of Approach Tonal Sketches of Some of Pyle's Pictures The Relationship of Tone to Color The Form Principle Applied Preparing Samples in Tone Submitting Samples PART THREE: COLOR Frontispiece A New Approach Presenting the Spectrum as Related to Light and Shadow Color All Color Is Relative to Surrounding Influence Color Is Strongest in the Light Color Is More Than Local Color Look for Color on the Edge of Light The Limitation of Color in Pigment Relating Color by Tonal Influence Toning the Spectrum or Palette Four Subjects in "Toned Color* Don't Be Afraid of the Greys of Nature Blue Green, Yellow, and Cool Red as a Scheme Painted with Yellow as a "Toner' Color Considered as "Tone1"' in Its Natural Relationship Color, Its Function and Charm The Primary Color Groups The Primary Color Groups— Color Shades Color Selection and Background What to Do When Your Picture Is Dead in Color The Emotional Effects of Color 138 141 142 143 144 145 168 169 Outdoor and Indoor Color 170 How to Experiment with Color 171 Experimental Color Roughs Worked Out 172 A Subject Worked Out in Color from Black-and-White Copy 173 What Is Color Charm, and How Can We Know It? 174 Should We Eliminate Black from Our Palette? 175 146 147 PART FOUR: TELLING THE STORY 148 Frontispiece 176 149 Tkehe Are Five Essentials 177 ^A> ^L ^^F What Is Illustration? 178 150 The Essentials of Telling the Story 179 151 Staging Your Subject 180 152 "Thumbnail" Settings 181 153 Huw to Get Suggestions from Clippings 182 154 Figures Suggested on Tracing Paper 183 155 Planning Dramatic Action and Poses 184 156 Establish the Action Before Hiring a Model 185 157 The Essential Arrangement 186 158 Arrangements Based on One of the Previous Roughs 187 159 Em hcl 1 ishment 188 160 Using the Camera to Obtain Working Material 189 161 The Illustrator's Scaling Screen 190 162 The Scaling Screen and Camera Distortion 192 165 Camera Distortion 193 166 Drawing to Avoid Photographic Distortion 194 167 Camera Dramatics 195 A Single Lighting Works Out Best Use Your Camera to Catch Emotion and Expression 196 197 11

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CONTENTS, INCLUDING ILLUSTRATIONS Studying the CJmracter 198 There Is No End to Facial Expression and Character 199 Manufacturing Convincing Emotion 200 Expressions Tell the Story 201 Loss and Gain in Backgrounds 202 Examples of Background Loss and Gain 203 What Is Faking, and What Is Imagination 204 Never Guess When You Can Find Out 205 An Imaginative Subject Need Not Be "Faked" 206 The Originality Is Within the Conception 207 PART FIVE: CREATING IDEAS Frontispiece A Logical Method The Plan of Working Up a Questionnaire Searching Basic Appeals for Ideas A Sample Questionnaire Rough Ideas Developed from the Questionnaire A Different Approach from the Same Questionnaire Creating Ideas from Basic Appeals Scribble While You Think: Think While You Scribble Your Scribbles Are More Original Than Your Camera Get Used to Sketching from Life You Get Something the Camera Cant Give You Sentiment the Keynote of Illustration Psychology Applied to Covers and Calendars There Is Even Psychology in Comic Ideas Ideas in General 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 PART SIX: FIKLDS OF ILLUSTRATION Frontispiece 224 The Magazine Ad 226 The Approach to Good Advertising Illustration 227 Using Your Freedom 228 Twenty-Four Types of Ads 228 Types of Magazine Ads 230 Relating Your Illustration to the Whole Ad 236 Developing the "Co-ordination Sense" 237 A Typical Magazine Ad Assignment 238 A Typical Agency Layout 239 Rough Compositions for the Picture 240 Final Arrangement Based on Photos Taken 241 The Finished Advertising Illustration 242 What Is the Future in Magazine Advertising? 243 Better Taste in Magazine Advertising 244 The Outdoor Poster 245 How a Poster Is Divided into Sheets 246 Typical Poster Arrangements 247 A Typical Poster Assignment 249 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 A Calendar Can Be Anything That Is Good 261 Essentials of Good Calendar Illustration 262 223 Painting for Calendar Reproduction 12 263

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CONTENTS, INCLUDING ILLUSTRATIONS Covers and Jackets Some Jacket Arrangements JStoby Illustration What Do the Magazines Want? Putting the Fundamentals to Work Exciting and Unusual Arrangement Style and Technique in Story Illustration Illustrations That Sell the Story Questionnaire for Starting an Illustration Working Out a Typical Story Illustration Miniature Roughs for the Illustration Developing the Actual-Size Rough Photo of the Model Study from tlie Photo The Final Interpretation Head Studies for Illustrations Getting into Story Illustration 264 266 268 269 270 271 272 273 274 275 276 277 278 279 280 281 PART SEVEN: EXPERIMENT AND STUDY Frontispiece Exi'ERIMENT AND STUDY 284 286 Finding Subjects for Experiment and Study 287 Your Pencil Can Keep Busy Practice Heads All You Can Study of an Old Man A Sample Illustration Sketching Figure Painting Outdoor Sketch in Color Portrait Sketch in Color 288 289 290 291 292 293 294 295 Closing Chat 282 Answers to Queries 296 299 13

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OPENING CHAT Dear Reader : With the wonderful response given my earlier efforts, I believe that through this volume I shall be greeting many of you as old friends. The acceptance of my last book, Figure Drawing for All It*$ Worth, has encouraged me to continue, for there is still much worth-while knowledge in the field of illustration, beyond the actual drawing of figures, that can be set forth. It is one thing to draw the figure well, but quite another to set that figure into a convincing environment, to make it tell a story, and to give it personality and dramatic interest. In short, the figure means little as a good drawing only. It must accomplish somethingsell a product, or give realism and character to a story; its personality must so impress the beholder that he is moved to a definite response emotionally. My purpose is to present what, in my experience, have proved to be the fundamentals of illustration* To the best of my belief, such fundamentals have not been -organized and set forth before. So I have attempted to assemble this much-needed information, trusting that my own efforts in the active fields of illustration qualify me to do so. I shall try to make clear the fundamentals that apply to the whole pictorial effort rather than to specific draftsmanship of the figure or other units. I shall assume that you can already draw with considerable ability and have some background of experience or training. In this sense the book will not be built around the early effort of the beginner, nor is it for those interested only in drawing as a hobby. It will be for those having a bona fide desire for a career in art and the determination to give it all the concentration and effort such a career calls for. Success in art 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 need for fundamental knowledge^ much diligent practice, and hard effort* I do not contend that anyone can draw or paint. I do contend that anyone who can draw or paint can do it better with more knowledge to work with* Let us assume, then, that you have ability you wish to put into practical channels. You want to know how to set about it. You want to paint pictures for magazine stories and advertising, for billboards, window displays, calendars and covers. You want every possible chance for success. Let us not be under any illusions. At the start I must admit that there is no exact formula that can assure success. But there axe unquestionably forms of procedure that can contribute a great deal toward it. Such a formula might be possible if the character, technical appreciation, and emotional capacity of the individual were not so much a part of the ultimate results* For that reason, art cannot possibly be reduced to exact formulas devoid of personality. Devoid of personality, creative art would have little reason for existence* In fact, the individual expression is its greatest value, the thing that forever lifts it above picture-making achieved by mechanical means. I shall not presume to quarrel with the camera. But I contend that even with all its mechanical perfection, the real value of photography is in the individual perception of the cameraman and not in technical excellence alone. If art were only perfection of precise detail, the camera would dispense with the need for artists. But until we have a lens endowed with emotion and individual perception, or having the power of discriminating between the significant and the irrelevant, the artist will always dominate the situation. The camera must accept the good with the bad, take it or leave it— must reproduce the complete unemotional and literal appearance of whatever is placed before it. May I impress upon every reader that illustration is life as you perceive and interpret it. That 17

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OPENING CHAT is your heritage as an artist and is the quality which will be most sought for in your work. Try never to lose it or subordinate it to the personality of another. As far as you and your work are concerned, life is line, tone, color, and design— plus your feelings about it. These are some of the tools with which we all work and which I shall try to enable you to use. You will work with these tools as you see fit, but my hope is that from this book you may gain added knowledge of how to use them. Throughout my own early career I felt an urgent need for just this kind of help. The need is still evident, and I have taken the problem upon myself. My ability as an author can be set aside as of little importance. We have the common ground of knowing that the things I shall attempt to talk about are of tremendous importance to both of us, to our mutual success— since I intend to remain as active as possible in the field. I wish you to succeed as much as I wish to succeed myself, for the sake of our craft, which is more important than we are. If illustration is expression, it becomes a transposition of thought. So it is thought transposed to an illusion of reality. Suppose I speak of a man with a face as hard as flint* A mental image is conjured up in your imagination. However, the image is not yet sharp and clear. This quality of hardness, a subconscious interpretation you feel, must be combined with realism. The result will not be a copy of a photo nor of a living model. It is a transposition of your individual conception to a face. You work with your tools of line, tone, and color to produce that quality. Devoid of feeling, you could hardly paint that head. Drawing for mere duplication has little point to it. You may do it better with your camera. Drawing as a means of expression is the justification of art over photography. Art directors have told me that they use photography only because of the mediocrity of available artists. The demand for good work far exceeds the supply. Therefore commercial art has had to lap over into photography as the next best bet. Rarely does an art director prefer a photo to a well-executed painting. The difficulty lies in getting the painting or draw* ing that is good enough. If we are to carry our craft forward, increasing the volume of good art to anything like the proportionate use of photography or meeting the indisputable demand, it will not be through the imitation of photography, nor even through greater technical ability. It will come through the greater scope of the imagination on the part of artists. It will come also through greater technical freedom leaning away from the merely photographic, and through greater individuality. To try to compete with the camera on its own ground is futile. We -cannot match its precision of detail. For straight values and local color ( which we will hear more of, later) there is little we can add. But for real pictorial worth, the gates are wide open. You may be certain that the greatest pictorial value lies in all the things the camera cannot do. Let us turn our attention to design, looseness and freedom of technical rendering, character , drama, inventiveness of layout, the "lost and found" of edges, subordination of the inconsequential, and accentuation of the important. Let us incorporate the emotional qualities so sadly lacking in photographic illustration. Let our product be as different from the photo as our individual handwriting is from printed type. If we make the drawing, the values, and the color sound and convincing, from there on we need not compete. From that point on there is nothing to stop us, and from that point on the public actually prefers art to photography. The drawing, values, and color are only the stock-in-trade, the jumping-off place. That much is expected and taken for granted. What we do beyond these will determine how far we go in illustration. Drawing as drawing alone is not too difficult. Drawing, for the most part, is setting down contour in correct proportion and spacing. Spaces can be measured, and there are simple ways and means of measuring them. Any old line around a contour may be correctly spaced. You can square 18

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OPENING CHAT off copy, measure by eye, or project it, and get that kind of drawing. But real drawing is an interpretation, selection, and statement of a contour with the greatest possible meaning. Sometimes drawing is not the actual contour at all, but the one that will express the grace, character, and charm of the subject. Until the artist begins to think in line, think of expressing in this way the things he wants to say, he has not elevated himself much beyond his pantograph, projector, or other mechanical devices. How can he hope to be creative if he depends entirely upon them? Resorting to their use in place of drawing for selfexpression is a confession of lack of faith in his ability, He must realize that his own interpretation, even if not quite so literally accurate, is his only chance to be original, to excel a thousand others who also can use mechanical devices. Even a poor drawing exhibiting inventiveness and some originality is better than a hundred tracings or projections. If I am going to give you information of value, it must come from actual practice and from contact with the actual field. Naturally I am limited to 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, but rather to demonstrate the basic elements that I believe must go into all successful illustration. By showing you the means of expression rather than the expression itself, I leave you free to express yourselves individually. My approach will strip itself as far as possible from the theory of imitation as a means of teaching. For this reason the approach must vary considerably from the usual art text formula. We shall have no examples of Old Masters, for, frankly, what methods and procedures they used are virtually unknown. You can see great pictures everywhere; you probably have your files full of them. Unless I could tell you how an Old Master arrived at his great painting, I could add nothing of value. I cannot presume to give you even an analysis of his work, for your analysis might be better than mine. Method and procedure are the only sound basis of teaching, for without them creative ability has no chance. I dare not incorporate even the work of contemporary illustrators, since each would be infinitely more qualified to speak for himself. I shall leave out all past performances of my own with the rest, for we are not as interested in what I have done as in what you are going to do, working with the same tools. There is but one course open for me if I am to stay on solid ground, that of sharing my experience with you for whatever value it has. You will thus have the chance to select what is of use to you, and to discard that with 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 consciously or not, line enters every phase of pictorial effort, and plays a most important part. Line is the first approach to design, as well as the delineation of contour, and ignorance of its true function can be a great impediment to success. So our book will start with line. Tone comes next. Tone is the basis of the rendering of form in its solid aspect. Tone is also the basis of a three-dimensional effect of form in space. A truthful representation of life cannot be made without a clear understanding of tone. Line and tone are interdependent, and this relationship must be understood. To line and tone is added color. Again the relationship becomes inseparable, for true color depends almost entirely upon good tonal or value relationship. We may draw an illustration in line only, and it stands complete pictorially. But the minute we go beyond line as contour only, we start to deal with light and shadow, or tone. We are therefore plunged immediately into the complex laws of nature, since only by light and shadow, or tonality, is form apparent to us. The step from tone to color is not nearly so great, since the two are closely related. 19

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OPENING CHAT Granted that we can comprehend the basic fundamentals of line, tone, and color, there is still more to encompass* All three must be united to a pictorial purpose* There are arrangement and presentation, even more important than the subject matter. There is organization of area and tonal mass or pattern in order to create good pictures. To these ends we shall work. Beyond the technical rendering comes the dramatic interpretation. In the final analysis the illustrator is holding a mirror to life, and expressing his feelings about it. He may paint a pot of flowers beautifully, but it can by no stretch of the imagination be called an illustration. Illustration must encompass emotion, the life we live, the things we do, and how we feel. So we shall devote a part of the book to the "telling of the story/* If we are to illustrate, we must create ideas. Illustration delves into psychology for basic appeals, to create ideas that must reach into the personality of the reader, compelling definite responses. We need to understand the development of ideas as the basis of advertising, too, so that our work may find a market in that field, and be suited to its special needs. Therefore a part of the book will be given over to this subject. Finally, we must separate the various fields into a variety of approaches, each tuned to its particular purpose. In each field there is an individual basic approach which the successful artist must know. To do an outdoor poster is one thing, and a magazine ad another. All these points I hope to make clear. There is the matter of experiment and study, which can contribute so little or so much to your ultimate success. This can assure freshness and progress in your work as can nothing else; it is the thing that lifts you out of the rut of daily routine, and places you head and shoulders above your associates. It is the biggest secret of success. I have searched out to the best of my ability the workable truths. I have organized these into 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 me, and will continue ever after. I have simply tried to gather them together. They are the things which are present in all good art, and should be a part of all that 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 work. 20

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THE FORM PRINCIPLE AS A BASIS OF APPROACH No matter what subject the artist uses or what medium he works in, there is but one solid basis of approach to a realistic interpretation of life — to the representation of the natural appearance of existing forms. I cannot lay claim to being the first to perceive the truths which underlie this approach* You will find them exemplified in all good art. They existed long before me, and will continue as long as there is light, I shall attempt only to organize these truths so as to make them workable for you in study and practice, in everything you do, To the organization of these basic truths I have given a name : the Form Principle. This principle is the basis for everything which will be discussed in this book; and it is my hope that you will adopt it and use it for the rest of your lives* Let us start out by defining the Form Principle: The Form Principle is the rendering of form as to its aspect at any given moment with regard to its lighting, its structure and texture, together with its true relationship to its environment. Now let us see what this means. Any pictorial effect that will present a convincing illusion of existing form must do so first by the rendering of light on that form. Without light, as far as we are concerned, form ceases to exist. The first truth of the Form Principle that we are concerned with is: It must he determined at once what kind of light we are working with, for its nature and quality and the direction from which it comes will affect the entire appearance of the form. I If it is impossible to render form without light, then it follows that the nature of the form becomes visible because of light. A brilliant light produces Well-defined light, halftone, and shadow. A diffused light, such as the light of the sky on a grey day, produces an effect of softness and subtle gradation of light to dark* In the studio the same relative effects are produced by artificial light for definition and by the natural north daylight for the soft gradation. The direction or position of the light source, then, determines what planes shall be in the light, halftone, or shadow. Texture is more apparent in a direct or bright light than in a diffused light* The planes of the form are also more apparent in brilliant light. This brings us to the next truth : The lightest areas of the form will he within those planes lying most nearly at right angles to the direction of the light. The halftone planes will he those obliquely situated to the direction of the light. The shadow planes will be those planes lying in or beyond the direction of light so that the light of the original source cannot reach them, The cast shadows are the results of the light having been intercepted, and the shape of such intercepting form is projected to other planes. In diffused light there is little or no cast shadow. In brilliant light or direct tight there is always cast shadow. So you will see that the kind of light immediately has to do with the approach to your subject and the ultimate effect. Having less definition, the diffused or over-all light will be most difficult. For "snap/' take direct light. For softness and simplicity, use sky light. Direct light produces contrast, sky light produces closeness of value. Direct light produces much more reflected light, and this is most apparent within the shadow. The amount of reflected light reaching the shadow will determine its value. Everything upon which the light falls becomes a secondary source of reflected light and will light shadow planes in 21

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THE FORM PRINCIPLE the same manner as the original source, being brightest on the planes at right angles to such reflected light Light can operate in only one manner. It hits the top planes squarely and brightly, then slides around the form as far as it can go. However, in the shadow, the source being of less brilliancy, reflected light can never be as light as the original source. Therefore no area in the shadow can be as light as the areas in the light. More art falls apart for this reason than for any other* Both light and shadow areas must be simplified and painted in the fewest possible values* The object is to make all the lighted areas hold together as one group, as opposed to the shadow areas as another group. If the values of the two groups are not thus separated and held apart, the subject is bound to lose solidity and form? no matter how well modeled and how well drawn. Much of the reason for pictures* falling apart is also because simple light and shadow is not given a chance. Such relationship is destroyed by inserting several sources of light. Thus where halftone and shadow should be to give the true character of the form, it is lost 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 black in the light area. A safe approach is to make all the areas in the light a little lighter than you think you see them, and all the areas in the shadow a little darker. You will probably come out with a better thing than the other way round. All forms within your picture should appear to be lighted by the sums source and be lighted consistently with one another t This does not mean that light cannot travel in different directions, such as the light around a lamp, the light of two windows, reflected lights, etc. But the light must be a true effect of light, such as sunlight, sky light, moonlight, twilight, artificial light, etc*, in its real effect and relationship* There is only one way to get this right* Do it by studying from life the true aspect, or take a photo which will give it to you. It cannot be faked. Faked lighting breaks down every other good quality. All things represented within a given light bear a relationship of tone and value to one another. If this relationship is not maintained, then the form cannot be true. Every tiling has its "local" value, that is, its surface tone appears to be somewhere in the scale from black to white. Bright light can raise the value, and dim light can lower it. But the light raises or lowers all other surrounding values correspondingly, so that the value of the subject holds a constant relationship to other values. It will remain, in any light, so much lighter or darker than its neighbors. For instance, a man's shirt may be so much lighter than his suit. In any light this relationship holds good. Therefore, whether in deep shadow or bright light, we cannot change the value difference between the two. The object is to raise both or lower both but to keep the approximate difference. The relationship of things to one another will be the same always, either in light or in shadow. A single source of light is best for our purpose and produces the best effect pictorially. This also gives us reflected light. We can use a reflector (usually a white board) to reflect the original light with beautiful effect. This, when working on the shadow side. Relationship of values fa more correct in natural light than in any other. Sunlight and daylight are the perfect lights for true rendering of form. You simply cannot beat them with all the trick lighting possible. Overmodeling comes from incorrect values. If, to make the form go round, we exaggerate the values, we use up the rather limited range between black and white, so we do not have left the proper 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 could not be in relationship, The opposite is true when we put lights into the shadows that could not be, destroying the big relationship between the whole light and the whole shadow. 22

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THE FORM PRINCIPLE The big form makes the subject carry and appear solid, not the incidental surface forms. Many of the small and intricate forms must be subordinated to keep the big form solid. Folds, for instance, can ruin the effect of underlying form and break it up. Draw only the folds that express form and the natural drape of the material, not every fold just because it is there on the model or in the copy. The best pictures run to a few simple values. This will be taken up later on. The design makes the picture, not the subject or material Almost any subject can be used with charm through the help of design and arrangement. Presentation is more vital than subject matter. The same form may be presented with great variety by a careful arrangement of lighting. Just any light will riot do. It must be the best of severed experiments. A landscape beautiful in early morning or evening light may be dull and uninteresting at noonday. A charming head may be ugly in bad lighting. The best plan is always to choose the lighting that tends to big simple form, not form too broken up in light and shadow. Light and shadow in itself produces design. The plainest of subjects can be made artistic by weaving patterns of light and shadow through it Value relationships between objects produce design. For example, a dark object placed against a light one, and both against a grey field, would be design. Units may be placed against close values or contrasting values, thereby getting subordination in the first instance and accentuation in the second. The planning or composition of the subject is really dealing with the relationships of the values of certain units as combined with or opposed to others. This results in "pattern," and can be further combined with lighting. Ml pictures are fundamentally either arrangements of lights, intervening tones, and darks, or else linear arrangements. You cannot avoid making your subject either a tonal statement or a linear statement. You can combine both, but you cannot get away from one of these. If you do not understand tonal relationship you cannot secure a feeling of "existence. Line is contour; tone is form, space, and the third dimension. Get this clearly in your mind. Contour cannot be continuously defined all around all units and a sense of space be achieved. Contour becomes lost and found and interlaced or woven into other areas in nature. If the edge is kept hard all around, it cannot avoid sticking to the picture plane, losing the feeling of space, or one edge in back of another. Edges will be taken up in more detail later. The fundamentals are the same in all mediums. Each medium has an inherent quality of its own. Once you master the Form Principle, only the peculiarities of the medium remain to be mastered. You will simply have to find out how to express a sharp edge, a soft edge, light, halftone and shadow, in the medium, which is a purely technical matter. But you will render form in essentially the same way in all mediums. The darkest part of the shadow appears nearest the light, between the halftone of the light and the reflected light within the shadow. This is called the' 'ridge" or "hump" by the illustrator, and is most important It keeps the shadow luminous and the form round* The Form Principle is the co-ordination of all factors dealing with line, tone, and color. This book is laid out on the Form Principle, since il enters into everything you will ever do, or see, in the field of illustration. We shall attempt to clarify its various applications as we go along, I suggest that you come back to these fundamental truths often, for they are the answer to most of your problems. So we start with line! 23

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PART ONE uruzy THERE ARE SEVEN PRIMARY FUNCTIONS OF LINE 1. To convey its own intrinsic beauty. 2. To divide or limit an area or space. 3. To delineate a thought or symbol. 4. To define form by edge or contour. 5. To catch and direct the eye over a given course. 6. To produce a grey or tonal gradation. 7. To create design or arrangement. AOD1 lilPgl ven if it may seem a bit obvious, let us start the book with the very beginning of artistic expression, that of line. There is truly much more to line in the mind of the artist than in that of the layman. To the latter, line is but a mark of a pencil or a mere scratch of a pen. To the true artist, lino can reach great heights, require exhaustive skill, and convey unlimited beauty. Line in its various functions has contributed as much to human progress as fire or steam. All line should have function and purpose. I want you to think of it in that light. Everything from this day forward that you do artistically will bear a relationship to line, either good or bad. You can either make line an asset to your work, or you can let its importance slide by you. But if you choose lo ignore the functions of line, your work will make a bad statement of your ability. Line is bound to enter your work for better or worse. You cannot escape it. Let us see what can be done about it, 25

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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

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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 I J" MY PURPOSE MOW TO HELP YOU DEVELOP THE FIGURE PICTORI ALLY TO PRACT1 CAL COAL/ ANP TO A LIVELIHOOD-WORK! 27

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LINE PRODUCES FORMAL DESIGN xubchvij'ion by diagonal/, vertical** and horizontal/ pitoDuce; unlimited ob/icn* TRY it CHOOXE ANY POINTJ*, B&lNd CAREFUL TO REPEAT THE DIAGONAL &ETWEEM ALL JirtlLCiR PO|NTX. IF A DRAWING IJ" BAfED UPON UNDERLYING TH\f PAGE lJ*To IMpRE/J UPON YOU THE SAXJC RELATIONSHIP OF LINE. TO DE/ICN. DIVIDING rt tt J>ace pquAti-Y produce; formal dexicn, THERE FOR^IMFORMAL DEXIGN \S BY UNEGtUAL LINEAR DEJ"lCNtlT WILL PARTAKE OfMTT UNITY DIVISION. COMPOSITION tXONE OR THE OTHER. 28

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LINE PRODUCES INFORMAL DESIGN A&CJ INTERLACED COMBINING HORIZONTAL/ AND PERPENDICULARS WITH CURVE/. O6LI0.U& LINE/ INTERLACED. OVERLAPPING OVAL/ OVBRLAPPI NQ CIRC LBS OVERLAPPING SQUARE/ QVE-RLAPPLNC TRI ANCLE/ /\ / 1 ^^ HS f \f ^f 7^ \\^: r^* . i_^Z OVERLAPPING RADII OVERLAPPING WAVY PARALLELS OVERLAPPING ANGLE/* 1 f I OVERLAPPING /P1RAL/ OVERLAPPING R&CTANCL 29 HORIZONTAL/ AND PERPENDICULAR/

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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" I DERATION •THCRE ARE NjANY WAYJ" TD

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USING THE FIRST FUNCTION OF "LINE FOR ITSELF" FOR COMPOSITION

COMPOSITION MAY BE BASED ON LETTERS AND SYMBOLS

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COMPOSITION MAY BE BASED ON GEOMETRIC FORMS \ / J? th histrftrm ' r ■ ■ -i ] HI 1 33

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THE "FULCRUM-LEVER" PRINCIPLE APPLIED TO COMPOSITION To he pleasing, the material within a picture needs balance, or should seem to be pleasantly reposing within the picture limits. Balance is obviously "off" when we feel that the limits would seem better if moved over, or more space added or cut away. This is the best guide we have, for there are no infallible rules of composition. About the only rule is that we give the greatest variety of spaces possible, no two duplicating one another in size or shape ( except in strictly formal arrangements, where all things are balanced equally on each side). If two forms are equal, let one overlap the other so as to change the contour. Variety is the spice of composition* We make a small weight balance a heavier one by placing it farther away from the middle of the subject, or the fulcrum, which is the middle point of balance. Balance in composition is a sense of equilibrium between the masses of light and dark, or of the area and bulk of one thing balancing another. The heavier the mass, the nearer the middle— the smaller the mass, the nearer the edge—is a good axiom. 34

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USE FORMAL SUBDIVISION FOR SYMMETRICAL COMPOSITION \ 3 \ / \ \ / ...... 3 * f i \ i \ i FORMAL DIVISION APPLIED BEJT TO JUBJECTJ' OP A P1GNIFI£D OR, R.E.LIG IOUJ~ NATURE There are times when we wish to achieve great dignity of arrangement. Since the Creator's basic design for animate form is the duplication of one side by the 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 exactly, but there should be a feeling of complete equalization of the units or masses, the line and spaces, of one side with the other. Church murals invariably follow this plan. It may be used to great advantage in symbolical subjects, appeals for charity, heroic subjects, or to suggest peace and serenity. Formal balance was almost the only approach in earlier times, and great compositions have been built with it. It is largely the formality of design which lends such magnificence to the work of Michelangelo, Rubens, and Raphael Formal subdivision may also be used informally if one is adept enough. I have introduced on the next page another method, quite apart from either formal division of space or dynamic symmetry, I have never found either as satisfactory as this new approach, and I hope it will prove of great benefit to others. 35

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INTRODUCING INFORMAL SUBDIVISION This is a plan of subdivision of my own. It offers greater freedom to the artist. Study it* It will help yoii to divide space unequally and interestingly. Start by dividing the whole space unequally with a single ( optional ) line. It is best to avoid placing the line at a point which would be one-half, onethird, or one-fourth of the whole space, Then draw one diagonal of the whole space from diagonally opposite corners. At the intersection of the diagonal and your first line, draw a horizontal line across the space. Now draw diagonals in any of the resulting rectangles, but only one to a ADL> MOk^ NEW Ajr you CHOoj p. EYTUlJKINiD OF DIVISION NO TWO JVAtej AREDUVLiCATEy, NOTTQDWlDfci AMY JWyCE U tb TH I J / BUILP IN YOUM. JUB J eCT BYAPHFRltt^AT MUCH AS POXJMBLE TO iViE JTldUCTURM^" UHHX YOU HAVE CREATED- DON'T GIVE UP XL Jl LA space. Two diagonals crossing like an X would divide the rectangle equally, which we do not want. Now you may draw horizontals or perpendiculars at any intersection, thus making more rectangles to divide by diagonals again. In this manner you will never break up the same shape twice in the same way. It offers a great deal of suggestion for the placement of figures, spacing, and contours, with no two spaces being exactly equal or duplicated, except the two halves on each side of the single diagonal If you have a subject in mind you will begin to see it develop. 36

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A DEMONSTRATION OF INFORMAL SUBDIVISION l.l HAP ONLY AN IDEA fM MlNp OF SHOWING" A LOT OE- UTtUE SffNOMEJ PLAVrMG WITHAPBN* SOFAR \ HAP NO tOEAOFHQW ;;(WO0LD AliliANGE THEM* » DIVIDED MY/PACE AJ" JHOWNTHE ABSTRACT XHAPfcJ" THOS SUGGEST ED THB COM POJlTlOf^. fROM THU PRELIMINARY WORK, THE. FINIJHED FRONTISPIECE TO PACT ONE WAX CHEATED 37

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FIGURE COMPOSITIONS BASED ON WORM AL SUBDIVISION

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INFORMAL SUBDIVISION IS PURELY CREATIVE, NOT MECHANICAL fc. *"'^~fi i r ^n rrr; , * \ _i^^^" / 1 ^jf Tfa 'MR t yi mA\ m .MM"! / 1 V J ''* ^ RL^n i#n \vy h\ l/ ri mK v IB Urfltftn 4 i II Fifii'ilii it ttf ranwrnim'." V I tMj. i i J J ' U" i m i v J i HI / 1 1 [Wfjil II" |U|i 1 1 1 I (■ < > ifflL ■ 1, \yi i 111 I'll If1 1 N li 1 ! ' i llftlllluHll 1 I1 I; :■ 1 ■ ru^Jl 111 ^t wt I i %XM MAKE THUMBNAIL/. THE DIVI/IONJ" HERE JUOO^ST^D THE SUBJECT/ AND ARRANGEMENTS. Since, when a space is divided in tlie manner shown in these pages, selection plays a great part, and invention the rest, it cannot avoid being creative, That is its strongest recommendation, in comparison with forms of subdivision that start you out with a "set" or formal arrangement to begin with. You start inventing with your first line when you use informal subdivision. It helps to get you over the emptiness of blank paper before you, without an idea in your head. That, I assure you, is the feeling most of us experience, and you probably already know what I mean. If you have a subject in mind, it will develop with one or two tries. If you have no subject in mind, pretty soon the lines will start suggesting something, as these did in the little drawings above* In starting out I had no intimation of what the subjects would be. This method is invaluable in working up ideas, layouts, small compositions. As the ideas develop they can be carried out with models, clippings, and so forth. When the original subdividing lines are erased, it is amazing how well the composition balances or "hangs together/' I urge you not to pass this up without a tryout. It has often saved the day for me, and 1 admit that even in my own work I am often so "stymied" for a good arrangement that I turn to it in groat relief. While all of the compositions of the book are not so based, many of them arc, and in my estimation the better ones. Any one of the arrangements on this or the preceding pages would be intriguing to do as a painting, and I only wish I had the space. Most artists develop an eye for composition eventually, but this device will get you well on the way. Draw the dividing lines lightly so they can be easily erased. 39

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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 , R.UN UNEJ OUTTO YANl-THJIslC POINTS, TH£U PlCTUR-EL. YOG CAN NOW U^ETOOft, aye, filling .trace ax deji^ed. 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 UNEJ 6Y CHOICE. OF COURJH YOU NEEQ TO KNOW PCR.J-PECT1V& TO DO IT. *oi*i*:on THE -TAME APPM^T TO INTE^IOf^^. ALIO OKE POiMT FOR, INTERIOR,/, THE, PERXP&CTIVE LINE/ ^RE MEfcELY CTLHDK LINE/ TO HE: LP THE. E.YB, PLAN YOUR PICTURE; |N MINIATURE THIl WAY, YOU C^N LATER. J"OUAR,e IT Ot=P FOR ENLARGEMENT, * UJ^rHU" PLAN A LOT TO GET WCHT INTO A GIVEN JUSjeCT. thij is a mojt practical procedure, now if you donot unperjtano PEEL/FECTlVe. .YOU'D BETTER JTUDY IT , YOU CANKOT GET ATSV WHERE WITHOUT IT, 40

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EVERYTHING YOU DRAW IS RELATED TO AN EYE LEVEL It is impossible to draw correctly and intelligently without the consideration of a viewpoint and an eye level. The viewpoint is what is known as the station point in perspective. However, that is really the spot on the ground plane where you are standing. Artistically, the viewpoint is the center of the field of vision and is not to be confused with the vanishing points. If we look straight out at eye level, the viewpoint will be exactly opposite a point located in the middle of die horizon. The horizon is the eye level. Think of a great fan-shaped sheet of glass starting at a point just back of our two eyes and spreading out at our eye level and reaching as far as we could sec. This entire sheet of glass would be the picture horizon. No picture can have more than one horizon. It follows that all receding lines parallel to the ground plane that recede from points above the horizon must slant downward pictorially and end in the horizon. Then all lines below the horizon, also parallel to the ground plane, must slant upward to the horizon. Our viewpoint, then, determines the horizon. Since a picture may not, and seldom does, represent the whole field of vision, the horizon may cross the picture plane, or be above the picture or below it. Suppose you have a large photo of a group of buildings. Without changing the horizon or perspective lines, you might crop out any small section of the photo for your picture. But no matter what part you take, the relationship to the original eye level (or viewpoint of the camera) is apparent* You or the camera look down on everything below the picture horizon or up at anything above it, All tilings will show only their top surface when below the eye level or picture horizon. We can look into things only when the eye is above them. Round lines like a belt around a waistline must curve up 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 be stated here that too large a percentage of artists go into the field of illustration and commercial art woefully lacking in a knowledge of simple perspective. It becomes apparent when the artist has obviously worked from two clippings or photos, each having a different eye level. You may be certain two clips will seldom be in agreement with each other in this respect, Perspective must be understood by the artist. It applies to every bit of copy he uses. He can start with one thing, for instance a photo of a piano. That will establish the horizon of his picture. Then everything else, including figures, must be drawn to the same eye level. He must redraw the perspective so that the vanishing points will fall in the same horizon set by the piano- Or, selecting a figure, he may adjust the perspective of the piano to fit the figure. The best way to do this is to make small sketches so that wide vanishing points may be used. Use a large tissue pad. Then square off the small sketch and enlarge to the size you want. 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 artist will jeopardize his whole output and a lifetime of effort by a lack of such knowledge is beyond me, For some reason, the man who does not know perspective imagines it is much more difficult than it really is. It is just one of those things, like the study of anatomy, which an artist may keep putting off eternally and suffer for lack of, every day. Perspective is a part of every form tinder every condition and cannot be avoided. It affects your very next job and every one thereafter. If you are working from a single photo the camera may do it for you. But if you change or add one single unit to your photographic copy, you will not be able to do it correctly unless you understand this principle of eye level and viewpoint If you do not understand perspective, by all 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 superfluous to give further space to it here. Your bookstore can help you, ) 41

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EYE LEVEL WITHIN THE Pic VURE EYE LFVE L 0&LOW THU PICTURE EYE LEVEL, CAMERA LEVEL, AND HORIZON MEAN THE SAME Perspective is the first and foremost means of depicting space on a flat picture plane and the natural or normal aspect of things, If modern art chooses to ignore it, modern art chooses to suffer the negative response thereby evoked. But in illustration we cannot ignore it and make our work appeal with any conviction of reality. You can easily check any copy to find the horizon. Simply carry any receding straight lines back until they meet in a point. These lines, of course, should be parallel to the ground plane, like two floor boards, two ceiling lines, two parallel sides of a table, or the top and bottom lines of a door or windows. The point at which such lines meet will fall in the horizon. Draw a horizontal line straight across through such a point and that is it, When you have your horizon, note where it cuts across the figure. Then it must so cut across all other figures, at the waist, breast, head, or wherever it comes. All added units must have their vanishing points in the same horizon. Suppose you have a clipping of an interior. By finding the horizon you can estimate the height of the camera. By adjusting the figure you may wish to draw within that same interior with this camera level, you can make the figure seem to fit in perspective. Cameras arc usually at breast level, so see that the horizon cuts through the figures properly, This is about the only way there is to insert figures properly, so that they will all seem to be standing on the same floor. Another advantage: if you know beforehand about how high the horizon appears above the floor in the intended copy, you can then adjust your camera to that height when taking pictures of the models whom you intend to use in the picture. You cannot shoot at just any level and make it fit your copy. When redrawing copy to fit a new eye level, first find something of known measurement in the copy. For instance, a chair seat is about eighteen inches off the floor. Draw a perpendicular at the corner of the chair and measure it off in feet. Then you can take any point in the ground plane. The EYE LEVEL. ABOVE J HP PlClUfcE EYE: LEVEL ABOVE. THE PICTURE

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FIND EYE LEVEL OF COPY AND MAKE FIGURES COINCIDE perpendicular acts as a measuring line for uprights, Draw a line from the bottom of the measuring line, through the chosen point on the ground plane to the horizon. Then cany the line back to the measuring line at whatever height desired. Erect a perpendicular at the chosen point, and the similar height is now carried back to the place you want it. This is exactly the same principle as placing figures on the same ground plane. The accompanying sketches will serve to illustrate the various placements of the eye level or horizon (which is the same thing) and the relationship of one unit to another, To make it a little clearer I have drawn the artist outside his picture, representing you and your viewpoint, I have then squared off the picture material. These will show why the horizon may be at any height in a picture, and also that it is determined by the height and point from which viewed. I have taken a piano and some figures showing Jiow they must be related. I have also tried to demonstrate the variety of effect to be got out of any subject by using different eye levels. This opens up a world of opportunity for crcativeness. A subject rather ordinary at ordinary eye level may become quite startling when viewed from above or from down low. ... A high eye level is good when you want to break down into text space. A ground-level viewpoint is good when you want a horizontal base line. Understanding perspective in the figure, you can transpose figure copy to various eye levels, thus permitting you to use copy which you otherwise could not, So long as you have drawn your figure differently and in your own way, no one can object This is not always easy. It is really better to 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 you could make as a creative artist. Your picture then is indisputably your own* CLJPJ" 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 . AMY PHOTO WlLj-EJTA5U,fH rrx OWN EYE LEVEL (TRACfNo) L&VSLJ- OP COPY, CAMW THE DIMiMi-THlNa PIS. R-fP ACTIVE U NfiJ OUT UHTTLtHEY ME£T m A POINT THAT POINT 1 5 ON THE HOR.IXON- HOW &RAW THE WOWZONTAL LINE AC*Oj\TTHK GO FV\ CORRECT PCRJ^ECTlVt Af AGOlDfe

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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&Mrjrv?At>p MQ(q= charm. 44

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PERSPECTIVE ALONE MAY ADD VARIETY vp THIRD [^OUGH /KETCH ^OLU)WLNC ALTO AW iMf^ROVfcM&MT UVf-i^, r«E PlfUT ROUGH AR.R.ArlCEH&NT', mtmmm mm IT* J AN EXCEULENT JOEA TO "TOY OUT &.IHY 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 I V P^, OONT PUT LTOPF, It will always be the problem of the artist to take his subject and approach it as differently as possible. There is no doubt that if thought is given in this direction, something unusual can result, John Jones sees almost everybody at about his own eye level Raise the figures and lower John Jones, and you have him looking up to your characters. There is a certain grandeur and dignity thus given them, something of what we feel when looking up to an orator, a minister in the pulpit, or an actress ori the stage. That is good psychology to remember, and it may be used to good advantage. Opposed to this is the sense of superiority afforded the reader when made to feel that he is looking down on our characters. How much more beautiful a ballroom filled with figures looks from the balcony than from floor level! How we like to climb the hill or mountain and look down on the landscape! The greatest thrill of flying is that sense of height. You can lift your observer psychologically by this means. Too often ordinary pictures are ordinary because no thought has been given to an eye level. To illustrate a child's story, tremendous significance can be given the illustrations by drawing the pictures at the child's eye level* To the little child everything is so high up, so big. Dad towers over him like some great giant. No wonder he must somehow put over his own importance. Using different eye levels breaks up your picture areas in very different patterns. It is wise to try out small suggestions in this way. This is one method of testing your inventiveness, and when you get something unusual it pays good dividends. In story illustration as well as magazineadvertising illustration, something rather drastic has to be done to get attention, or "impact/* as illustrators love to call it. Here is one way to go after it. Get a stepladder and try it out. Or lie on the floor and sketch. 45

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USING LINE TO PRODUCE A FOCAL POINT IN SUBJECT ^ ■■■■■ I l'l".l'l» !■■«»" ANY 03MMON JUNCTION OP UM£/ PflODUCE/ A ^OC6L PQ l NT, ANY LINfcJ POINTS NO TO A VAN I JHlhlC POLtslT QQ. JgNCT ION H4KE A FOCAL PQ(f4-r. A HeAP MAY WELL B£ Pt-Acmo AT-TuCH A POi NT, 8UTNEVBRPLACE A FOCAL POfNT fi /ACT LY IN THE CeNTeC OF* YOUR. PICTURE Aft^A- IT i 5" ALSO WRLLTO-AVOID UJfNG DIAGONAL* TH^T »lj"eCT TMCCORNEftJ ^ MAIN LiNe/, IN 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 f CJn J\ SU I LO YOU K /US J ECT AJ YOU WlJ"Ht JPIRAL J MAY ALJO &E U/ED TQ ^OCU S ATT^NT loN , TAlCfe 17 AJ A^UkS that LINE J SHOULD LBAD TO AND CROJXAT THE MAIN TOtNT OF INTE&EJT. VOU WILL OFT&N WONDER HOW TQ FOCUT ATTENTION AMD 1MTECEJT UPON A CERTAIN HEAPtP^U^E OGL JPOT JTUPY THLf PAGE. CARBFUL-LY. EVERY

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PROVIDING AN "EYE PATHWAY" IN COMPOSITION ^>.v AhiALY-H f THEfcE JHOULD B^ A PLANNtxP EAJY AND NATURAL PATH FORTHEeyeTDTRAVELIN EVERY GOOD PICTURE the. eve jholjlo enter at the bottom and emerce At THE TOP— MBVfcR.ATTHe*flPEr, rtNCfe COfeNEfc/ LLNEJ* LEADING OL^OPTHE SUBJECT SHOULD BE JTOPPED 6Y JOME DEVICE OR ANOTHER UNE. LEADING THE EYE BACK CATCH E^ftANP / **L ^_ Li.==4=M 1 7/ UJ- FOCAL 5TTSP STOP STbP ROAD J10PPEP ARe,fcS eyerfiAP^'' &ec6u^E ofthejr junctjonj^try TD LEAD THE BY6 AVVAY FROM Oft AfeOuNO TH£M. YOU CANi MAKE THE EYE FOLLOW fi\ CTI V &N |T WITH A /POT OF INTEREST AND THEN ALLOW COURSE ALMO/T AJYQUWI5H BY JKILLFUL IT TO PA J" J* OUT. IT J"HOUU> 6E A PLEADING PATH Ufl= OF UM&^ tEADTHEEYEIN, ENTERTAIN AND NOT OBJ"TRUCT£D ORGIVEN TWO WAYJ^ TO CO. 47

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ATTENTION DEVICES EYE-CATCHINQ 3U8JECTJ" ANY KINDS OF CONFLICT 'WARWELL KNIT3 radiating corves- To^ic*upaiNT jpot JfeQvei«ce tdfocau pqimt ***v rHiM^^HAT \m uu* pomr ANYTHiNIG J*HOWtNCJXpeED ^UMH OR FMRis. hr(OTHF ANY ^OPT 0*= e^x P'i-c? j- i o is( F*o wing ofc\rv^&ep motjp 3PIDER. W£.B KlOTlF PD i MTI&6C fmPE.ND\rsic DLO"Ai:T"Eute. ANY iFI[eALMOT|*s ftAPlATlON OP LICTHT f^OTlF" HSUl.l.S EYE'^O'TIP fPOINT&a) 48

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GET ATTENTION BY BUILDING CONTRAST OF LINE OR SHAPE VrflVM INJTA&I1.ITY * * » BV CONTRACT TO CJR.Cl_£,f TUG, JTRAIGHT CONrR^&*5TBP WITH H.HYTHMIC LiNPU : 3 u lit c?r lb 2 ■ future \ TCBzgew^W >L... ^ V=W w/^ t#Vk. 'OiM 4^uM4 .._K / V j* ClR-CLe M6PE PoweitFUL BY HORIZONTAL CONTftA^T&D -r«.IAKlC^LfE OJNTItAJTeP TO fceCTANCTLS-T Dl AGONAL POJ" I T JON Cr^QO A fc£ WITH V«*nCALS ANfrHOftJZONtAU A^ ioaoTYij& ftA&M ACAiNl ANYTHING ORCLR 'WE-RJO/ *tCT4N

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THE RELATIONSHIP OF LINE TO EMOTIONAL RESPONSE W6\£J KMt OCf ttTlON^CQlfKJjiOHi perm* Hi flee .-srAeiHTV h awe. HORIZON r^UT **3#- Ta^f^X&.CAUH, QULETU DC , PEACE, TRAH^Lf I L 1 T Y, rao i r for. qlory < advert (on , o urv . PATRIOT LJM , ^ ITY , AM Bt T K? K,*^69Wt ft AD L AT J O N FOK .fHOC K, *TT ENflOH J PI *AU *W t-KJTttfH , TOWfHM-XClTE^WT TRIAMG LW" N?R PERM A M£ NCE, .TeCO RlTY RH Yr H M FOR, CCACe tO*ARM ,MOVSM HHT. UGflT FOft HOPE h[_0V£, AWBlTrON. &ROlttMiHAPEJ'IHfrABHirf -IrtttBRTAllilY OOLIOUEf COMBAT- OWfUflON- GUSH RftUNtiLtf -5T«£IU1 Y-.TONOTN-UK1TY CIRCLES* I Ht^JHX VAST HEf^EfcHiTY OVALS FEHtNlN »TY-CREATW*ftfcfJ motion -EQUALITY -OGJ-IVEPANCE . SbUSHOSITY GRACE PERPETUATION INFOCMAL SUBDIVISION- ACTIVITY FOfcMAL DIVI JIOH- DIGNITY 'UNITY EXCITEMENT- ELA5TL CITY' PROi&SS BALANCE FORMALITY -jTJLENtfTtf * 50

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BAD COMPOSITION BRINGS NEGATIVE RESPONSE 1-t* DONT GIVE THEEYerwO PATUWA.Y5, NOW THE EYE fS LEO TOTHEF/CUl2-B*nOP5 WBMAV H^WE A BETTER: COMPOSITION 3'4-5-6-TOO CEHTE£Et)*JTftA^HT FRONT PUT (M ON UNEJ* WHICH WOULD CARRY EY& S^ WAVfNfG THE LITTLE QfR,L CLOSER. POJT£-GaD. 5'k-TOO AUKE6UD EQUAL . OUT. POJE MORE fN KG EPING WTH JUG J £CT TOPOMiN&T£ THE L£,NU5CAPS;, 1/DONT POINT THlNCf OUT OF PICTURE. fc*3-Too EQUAL IN JMPOKT4NCEAFL0W£U POINTING V^ONfG WAY, 5^TWO EYEP4TH J ■ JL.ONEEYfefWH MOW. 2 POINTING INWARD .5. COP* GCOUPED 4.FL0WER5 GDRfcECTED 5 -YOU NOW KMOWTHEY AfcB COOtOEJ.OeiTEfc* YOU CAN TEJT ANY COM POJ HI ON I^Y# tracing W^PACtJ BErWEENTHfNGJ AND FlLtlN « XEE fFTH&Y Ma

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VARIOUS TYPES OF VIGNETTES 11 FLOAT! Ntf*Ofc FfcE£ OF THE /PACE LI MITX Tf H> TO TWO OR. MO&E J7 DE5" YOU CAN USE. IfiFORMAL -TUBWVI/ION 4r 1 4\ rA---^:=^j TJV * *'■* _ f& s&^ifi^ ^" ^Wf /.-' ^ ^ Ol ■"/■■' A ^ OPEtt XPACE TJED TOGETHER, BY CONNECTED ViCNETTE■5PQTX TIED TO I^AlN VIGNETTE -dfrr ttGrttfff* ;**TrfirT w A" J 11 I1VJ L■-4 ^ V,- , ^ fi MM /,■ ■i/l'i" ; Fall .Snoimrj MAKING THE WHITE _TPACE PART OF THE PICTURE .VERY UTEFUL. 52 *A BOi^OEE. VIGNETTE

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A VIGNETTE IS A DESIGN PURE AND SIMPLE fcA< VJLHOUETTE ViCNETTE (dAGlK MAJ7 ACTA 1 NJT UGHT) ATLANTIC CITY * RELIEF" VIGNETTE (LIGHT MAJ"jTA<7AINJTDAl£ly VOim HEALTH 15 THfcL NATIONS WEALTH .3, "^kuMOMM44UJU« jgS=_ Q4KEDOKE PIPF TOBACCO iMi E ID I OIL T^EiFARd H OF AM f : CI CA ^wqm COMBINATION VIGNETTE WITH A J"OLI D PICTURE AS DOMINANT . COMBINATION VIGNETTE DOMINATING OV BR J"GUAR,E UN tTj". 53 SKETCHY* VIGNETTE. ANY SIMPLE MASSEf V5.EACH OTHER. VtCNETTE TIED TO PRODUCT. 1*1 fWWhWNwU VIGNETTE TI£D TO COPY JPAC£

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SIMPLE LINE COMBINES EFFECTIVELY WITH SOLID BLACKS 54

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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

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PEN DRAWING IS BUILT ON A PRINCIPLE V»hpGtVH ME NftTMRE^NCIMG BUTTEfePLlE/ A^D T^ErM MINT IN THE: Atfc, THE WORKING PRINCIPLE Or P^ DRAWING [J THE DEVELOPMENT Of TQNF. BYA MIXTURE OF THE LIGHT OP THE WHITE, PAP^^ WITH THE DAR.K OF Llttfc, It JJ" LIKE A W| |?E ,fCP.EE.N INAWl NDOW. THE H^Avi E,R rH£ WiCE AMD TH^. CW/ER.THEME/H, T«£ MOfiE IT DAfeliEW/ THE LIGHT' /Op /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££ L£\NGTHWlxe Oft, ACftO/J* iTjWlTtf YQOfo >rTft.OKE.f, TRY TO KG£P Wn Od^HlTE J*PAC£ AJ A PART Of* THE P^-HCTN, DfcAW MOsTTUy" WE /HApOW^-'tONE AlLOVERfU ve^Y&lFFicULT-PUW JTROK.EX CA^G FULLY OUT INK THEM tN Cm^^CTJuY" ^N& FREELY* 56

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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. K&EPTHfeM VEW.Y /IMPLE. DON'T WORRY JO MUCH OVER. XntOKCJ^AJ" OV&fc THE JT^T ^{vi e NT OP COOO WHiTEj,C«EYi,^PBUCK 57

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PEN-AND-INK PROCEDURE J TART WITH AJTKONGLY LIGHTED P1EC& OF COPY- CLEAR. LIC NT AKip J~H ADO W, NOT GREY AND JUI3TLC , MAKE STUDIES OF THE HEAD OQ.OTHER, IMPORTANT PARTJ, IN OfcDHR.TO PLAN YOUfc JTROKEJ. (THl/ JAVEjT MUCH Gfcl EF J ) f*V*KE A PRELIMINARY RJOUGH, JfeTT I NC DOWN "THE JTATEMENTOFMA/J ARJiANCJSMfiNT I 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. COOD PREPARATION U MO BE THAN HALF THE BATTLE, R^TTONE SECC*NL~>^TDNI YOU CAN MODEL Wl A TOK£ BVCROJTJTfcOtce WHEN YOU KNOW WHAT THE VALUC.T ARE GOING TO BE, IT \5 EAJIEE TO PUT THEM DOWN N£XTTIM£f 58

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FOLLOW THE FORM WITH THE PEN STROKES XUNOAY APTEMOOtJ 59

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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

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THE BRUSH USED LIKE A PEN n imi.HiBM ml' i*44itW^^H^ ^ ^i fc *->^-r-t. ■ ^V ■■"■■ ■■3R.U/H DRAWING OH JTPATHtfO&E Bfe^TOL BOARD. COKlPO/fTIOfl BAJBD ON CIRCULAR ARRANGEMENT WITH A '^RADIANT UGHT*BEHiND HEAP, 7W rtB.VBti.FMlS TO*PULL THE BYB tHJO YOUG JU&JECT* DRAW RADII P\ ®-S r* 61

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DRY BRUSH ,UG a wAT« COWJR. BRUJM jWOT TOO LAR5E ■ Ot_OT «

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DRY BRUSH 11 •*:/:/r:-,::': ■jfr --r.tr- ■■Z*.% 63

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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

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DRY BRUSH AND BLACK PENCIL ON GRAINED PAPER vi.^\ 65

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BLACK INKr BLACK PENCIL, AND POSTER WHITE ON COQUILLE BOARD 66

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THERE ARE NEW POSSIBILITIES IN THIS COMBINATION DRAWN WITH PR1JMACOLOR fcLACK &35 PENCIL ON BAlNBR-IDQE CO^UJLLE BOARD ND- 2. . PLACKJ ARE PAINTED |N WITH HlGtfhMJ SLACK PRAWINCI INK. TH*/ COMBINATION MAKE/ A FULL RAMCK OF \fb\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. 67

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'SANGUINE" ON GRAINED PAPER 0* SAHtiUlltfc U A OLACK CRAYON WHICH C&VIRX IN /aVAac /TICK/, IT HAf NO/HIHI.ITC4W Oe ftUBaEOORWOT- MIX t»WWINfl ON BAlNlMWCl "COflUI LLE* HO, 3- WITHOUT iKV RurjiiiwC ^o* LfcWB (UL^ftO^UCTIOH. BtMOUCTrONOHE H4luF 68

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BLACK PENCIL ON GRAINED PAPER 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-• "A .AkW^.-^r:.:--./ 69

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DRAWING PROCEDURE GLT GOOD COPY.BUTDONTJ1AVJ/HLY COPY IT i THER& ARt- r-lANY WAY/ TO PRAW DRAW YO^B WAY, GUT MAKE- IT A LOG I CA L T^OCEPURE- DONT" TRY TO 00 EVERYTHING A|THE ^KG nME.ALL DRAWING JJ~ PRO PORT ION - IT I J" E.ITHH-P,JUJT LIN£ ORLTKe R.EJHE>e.R.lNa-* Q *= LICHT ON FORM. Every &RCA HA5 >TCT OWN PROPERTY QT BEING ClTH£fc IN UCHT,HALFTONfe OR W&OW.YOU .MU^TWaCtWHItH' /*» TOUfSTH J-TAG6. ADDITION OFTKE HIGHUGHTJ" AND ACCEWTJ" THIRD JTAGC MODELING OF PLANE J" i. .;- ? V.j g#i? SECOND /TAG E p^|~\fEPARATiON OF Sfijjrf LIGHT ANOJUAOOW ■Mi (J FIRJT /TAGE OUTLINE ^r70

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DRAWING, ABOVE ALL ELSE, PUTS YOU OVER l HAVE LtFT THI/ DRAWING INCOMPLETE JO IT Wlt-LJTHOW TWEPROCRCMJKE. CfeT tK.l& OF CfE&WlMCj CRUTCHEX ANP PAAKE. YDUK-T&LF DO IT ALL. THE ONLY WAY ONE. CAN DRAW tf TO PEAW CONTINUALLY. WHEN YOU 00 IT, YOU GMN MOMENTUM- IF YOU CHEAT AT IT— YCXJLOTE. 71

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BLACK AND WHITE PENCILS ON GREY PAPER r *r /. rmsr "jearrdF .- .jr. wwav-^r. JEs&di ONtOF TM6 DEVT Wflr/ TO M4KE PRELIM I 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**-1"- CHaftCOAL i^O CffaLK-MltEQuALLVCOOP, 72

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POSTER WHITE AND BLACK INK ON GREY PAPER ■ ^\^ ANYTHING CAN HAPPEN ! DONT Ml//" THE OPPORTUNITY AFFORDED 6YTKE U/EOFLlNE AND WHITE OKI GREY PAPER, PRY BRU/H.C&AYON^CHARCOAL, PA /TEL. J AN O U I N t , CONT E AND OTHER BLACK CRAYON/ , CARBON AND OTHER BLACK PENClLf-ALL ARC EFFECTIVE. YOU MAY JUJT HAPPEN TO HIT -TOMETH I N C VERY UNIQUE AND ORIGINAL 73

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CHARCOAL ON GREY PAPER IHt/ UftU/^lAH CHARCOAL WHICH COM*/ IN PRE/yco JTICKX, V* HIT*/ Aftfc H, IffdNX. WHJT* IHK. TMB CHAftCOAL CAH#tftu»Blt& 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

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DRY BRUSH ON GREY PAPER WITH WHITES 75

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"SCRATCH BOARD" ' VOU WQfLK With WHITE ACAr«/r BLACfe.. /WILL IN JHAQOWf WITH JOLIE? black: vjltw dcu/K-Thek -nt&fiTCH, 76

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"SCRATCH BOARD" •*!*• TO DRAW ON ROXr(/N /,f j^S .■v s -' -■ ■■'" ' \ ■ \ ,"'/ ■-■' t . 4; '' iv 4' i •(*. ii ft i- 1 /! ^ n f / -;r" ** ^ /-" LW OUr YOUR /UWCCT (PftNCJk) PRAW HALFTONE/ WITH P&N- PAINT IN XOUID /H^DOV/I C^&LL B1U/h) WITH J"HARP POJNT.(PEN KNIFE) t+tr*

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CRAFT1NT PATTERN 209 G»QUBJ-mTOH* CMTTIHT 1XyOM.TH»NG tOWHOUlD CBT ACOUA.NTeP WITH. T»EJCW«H/ TAkB TUB PlACft O* BHH PAYX. yOU Mft«* TH£M HMKT OH W* CMlNAkOUWina ^JlM-lX PHOTUM IN CKVtLMR* WHICH W< LL fcBNPE* T*. «RE6«r VISIBLE. THi BoA*PXC©M& 1« "ftfclETY OF FIHE *KP COAWfc pATTfcRH S WITH E1THEA A /INCLCTOHe Oft. POii fe LtWC CFFBCT. *L-fcCKf &*E AOPfcP WITH HltfCiNj INK, -mYTHl J\ 78

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CRAFTINT I* YOU AfcE LWT|5R.EJ"TEP FN NEWSPAPER. PRAWINQ » COM lCJ~h OP- ANY FlCLD WHfftE QRlQIN&LITY WfTH J-PBELO COOMTJ-*X WELL A/ANY TYW or FA/T MRCHAHICAk RKNPtRING, TOO W1U- PiNO CQAPTlNT AN INNOVATION. iP YQcift DEALEL CANT «/Cjl*l»LY YOJ,THE ADDRf// U CRAFT* MT MF"Cj. CO.^HO /T. CLAlR. AVJ^.jN , W^CLEVEJ-ANQ, OHIO, A-TK FOB. THEl*^ pft/K WITH THLT NfcW MEDIUM, 79

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PART TWO ESSENTIAL PROPERTIES OF TONE 1 . Intensity of light fn relation to shadow. 2- Relationship of value Lo all adjacent tones. 3. Identification of the nature and quality of light. 4. Incorporation of the influence of reflected light. TbNE is the degree of value between while and black-the lightness or darkness of a value in relationship to oilier values. Tome itbt; visual appearance "of the moment" as afjpd by tight and reflected light on a surface, or jy lack of light, producing darkness. Everything sits own or "local value/' which can he bright"or darkened !>v light or the lack of it, The Bninter is interested only in the effect of light or rarfawss on the local value, and not In the local lvalue itself. So when we speak of tone we mean: ww light or dark is ft in relation to other things? low Jjght is the face? in Irghtas compared with the [fee* in shadow and with the background, coat. and so forth? Thus dark skin in bright light might appear very light, or light skin very dark if in shadow or silhouetted against bright light, We speak of a dress as Tightpmk, middle grey, or dark blue. We are speaking then of local value or color and not of tone. In tone value the same dress might be any one of the three values according to die conditions of the moment or "Influence" of light, .shadow, or reflected light. When drawing or painting, we therefore look for the effect, regardless of what it is known to us to be "locally." Almost the only time the local value and the tone value are the same is in a neutral diffused daylight. 81

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BASIC INTENSITIES OF UGHT VERSUS SHADOW FIR./T INTENSITY LIGHT (vs.)JHAOOW 1 1TONE jffPARATION -a. V* SH. DIFFUJ'eD LIGHT FOURTH INTENSITY A TONE: J .SEPARATION StrOnQ artific «\L MCHt JECOND INT6NJ1TY LIGHT JHAOOW 2.TOHF J REPARATION HAZV JUNllCHT FIFTH JNTEM/ITV 5 TONE/ JEPAR&riON f "POTLUjWT TN PARK 82 THJR.D INTRN/11 Light sut 4 _ •3TQNEJ" /EPARA' FULL JUM LIGHT LIMIT OF INTEN/Il FULL J"ER&RAT ION I PRACT I CALL.Y BLACK S4H

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THE FOUR PROPERTIES OF TONE EXPLAINED He Wv that so-called "white" skin is not really it-e. However, it may appear white in a photo, jehuwit is not Mack, though shadow can be black on flesh in photographs. The camera men a, theoretically, recording tone, the "hiflumxot the moment." It is true that film and paper Wt always record tone truthfully or as the eye if, but it is tone nevertheless. We can take photos or draw and paint pictures tfie same subject in many different seis of uts according to lighting conditions. So this brings us to the first property of tone. Bjttenrity of light in relation to shadow. | All light and shadow bears relationship. The Brighter die light the darker the shadow appears, » contrast. The lower the light the more nearly | Ik shadow approaches the value appearing in ■felt In a Mused light, the lights and shadPR become diffused also. In a dim hazy Tight the Bib and shadows are very close in value. So we ^ra that the relationship of light to shadow dejKpds entirely upon the intensity of light. ^Ekn the preceding page are set up basic inteosiEfc. Now it is true that whatever degree of difMpwe there is between the light and shadow will met all the lights arid shadows consistently Bfoughout the subject. If the shadow, for examIk is only one Lone darker than tire light, then ■wry shadow, barring reflected light, would be ■he tone darker than the tone in the light, all pough the subject. If the light is stronger, there buy he two tones of difference. Then, whatever tee we paint in the light, we must paint the Ibdaw two tones darker. The basic difference fees on to about six intensities, for that is about III the values we have between black and white. my more would hardly show separation in the age reproduction. On the next page you will 9 a subject worked out in four o£ the .six intenps. On a black night a figure in a searchlight old appear to have black or nearly black shadHuoughout. B ut In a diffused light on a cloudy (£)• the same figure would have shadows so close ivalue as to be hardly discernible. These, then. i S3 are the extremes of the intensities. So there is no such thing as a fixed relationship of light to shadow. Local value has little to do with it, and all belongs to the Form Principle, the "aspect of the moment, in relationship to its environment." 2. Relationship of value to all adjacent tones. In any given light, all things are so much lighter or darker than what they appear against, or what surrounds them. Thus the "patterns" or areas within a picture bear a relationship to one another. If one area, for example, is two tones darker than smother, it has a two-tone-darfcer relationship. Tt is tin's relationship diat must be held. We can then place them anywhere in the scale so long as we keep them twro tones apart. Thus we can key all the values high or low and still maintain the relationship. It is like mi to sol in the musical scale, which can be played high up or low down on the whole keyboard. Another illustration might be the making of a light or darker print of a photo, 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 picture. If such a relationship of out; tone to another is not held, then the subject falls apart, Toses all brilliancy and relationship, and becomes what '^ known as "muddy" in value. This is the reason for dullness. 3. Identification of the quality of light By the kind and relationship of values the picture takes on the kind and quality of light. If the values are right tfee subject appears to be in sunlight, daylight, or night light as the case nifty be. You may be certain that the quality of light you get into the subject goes a long way m making the picture beautiful and having a "quality of existence." One part of a picture with wrong values may Suggest a strong light— another part, a diffused light. This sets up an inconsistency with nature and makes a hodgepodge of vour picture. All lighting must he consistent throughout, which means all values must fall within one of the intensities described and also he consistent, for only with true values can we paint lightr

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SETTING UP A CONSISTENT RELATIONSHIP OF LIGHT TO SHADOW! THE VALUE/ UTEDBEU3WF0RTHE LIGHT REMAIN CON/TANT, JHWXWJ PROPPED ONE TOME IN d 2* lTUEUmY SHADOW/ J"ETZTOtCf PARKER 3** INTENSITY"- NOW ALL JHAOOWJ"^ n&wwmvEwKw the Tight. three toue; parkertmanvalof-iniJ 4™ I NTEIU \Tf*Smtm 4 TOKEJ- DARKER . 5™ MTEN/ITYWIWOW 5TOH&; PA| NOTE THAT LIGHT APPEAR/ XTRONGER Af JHADOWJ ARE*AfeKENEP,THOOGH ACTUALLYT j MIX A rCALE OF EIGHT VALUEjT FROM WHITE TO BLACK . FOR ANY EFFECT OP LIGHT, WE JHAPO\N/ NUTT HAVE A CONSISTENT TONAL /EPARATtON EXj WHEN A JHAPOW IXO&VIOUSLY LIGHTENED BY fcEASON OF REFLECTED L\& 84

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THE MEANING OF KEY AND VALUE MANIPULATION ATMK VALUE/ IN BOTH LIGHTAIHD J-HAOOW AREl RAIDED OR. LOWe RED TG CHANGE THE; k&Y [»HCN MAIN VALUE t ARE AT THE TOP OF r HE /C ALE THE JAHE AELATIONWPJ MAY ALL BE DfcOPPED TMAVBECALLfeDWORKlNQlNaHlGH KEY." ATONE Ofc IWO-THi/ r/ CALLED* MlPOkE k£^ ICW THE -TAME RELAT* Q N J"H I PS DROPPtLD TO THE &0fTOM QF THE JCALE ARE*LOW KEY7-'. H&RE WE HAVE INTEKTJONAU FORCING OF RANC?£ TO 1MCL-UOE THE FULL/CALE, [RJR.CIKGOP THE DARK AOAJSU^T LlOWT. OtMOH/rRATIMC THE ^XT^NOHDViMtiETY OF TREATMENT OF VALUE/ AT Yo U ra, D J fW/&L WHEN WORKING WITH ACQRRJECT 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 FOR.CINC OFTHE Li

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THE FOUR PROPERTIES 4, Incorporation of the influence of reflected light. Now when we speak of a basic intensity of light, we must take iflto consideration the fact that shadows* besides having an intensity relationship to light which puts thorn so many tones below, are also subject to other influence. Everything upon which the light shines gives off some of that light in reflected light. So shadows cannot 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 might be lighter or darker because of reflected light, of according to what die influence is from its environmenl. Nearly all shadows contain some reflected light in any daytime or natural light In artificial light the shadows may appear quite dark (and photograph as black) unless we supply eidier some reflected light or a so-called "fill-in" liqht But the fill-in light should he soft and of less intensity, for we are really substituting for the normal effects nature would give us. Sunlight itself needs no fill-in light to be right and beauLiful, though all kinds of reflectors are used in outdoor motion-picture setups. If the fill-in light principle is not understood, the result looks faked and* rather than adding realism and charm, it may actually detract. Reflected light, then, is a "plus factor" to the basic intensity* and must be so understood. Reflected light is really luminosity within the shadow. However, the edge of the shadow nearest the light will usually keep the intensity relationship. By taking the reflected light away, the shadow drops to the basic intensity relationship. So watch for this. You might look at it this way; "This shadow would have the tonal difference of all the other shadows, were it not for the particular reflected light raising it" So some shadows may eatch more reflected light than others within the same picture. The truth is that if you do not include the reflected light where it would normally OF TONE EXPLAINED appear, your form loses solidity and "dead" 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 certain amount of manipulation of i possible when we know what we are doing! purpose is not always to catch the effect ad but rather the most dramatic effect possibff ehanges fast when we are sketching. Dun" sitting we may have many varying eSeca often the sun starts out bright and thesf under way. We try to state the effect. tH sun goes under and stays under. The only to do is to set the sketch aside, for if we it will not have the same aspect* nor vM\ true to the fundamental approach to val a new one* smaller if the time is short, a for another sunny day for the other, moves too, and ihc shadows change. Sofi sketch smalt and simple and work fast if you want to get an effect. A barn might he a dozen ways, by manipulation alone. It is better to make several small sketches orl the effects. Then make a careful drawingj material. Armed with these effects, you back and patnt your subject at leisureIt is permissible to do anything you paint. Nobody stops you- One can only likej like what you do. If you base your pichH basic truths and understanding you will

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A SIMPLE LESSON IN VALUE RELATIONSHIPS bHl)t» T»IF VAi.be/ T--^t>M HCHT To D£$t

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COMPOSITION BY TONE OR PATTERN By this time it must be evident that we can render nothing pietorially without making some sort of a linear statement. Now we can also state thai nothing can be rendered in the eflect of light and shadow without tone. Line becomes tone eventually when close enough together, and one merges with dig other. Tone still has contour, which is related lo line, or area, also related to line. There is linear feeling in tonal arrangement Sueh urea, 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 it on tone. Tone really represents the volume and mass of form, and the space between solid things. Therefore it represents the visible appearance of our environment as revealed to us by Ifgbt ft substantiates the surface or character of what we see within contours or edges. This is something line cannot do unless line is made a medium of tone. We may call it "shading." meaning just turning the form, or we may call it "jaodding," in its true tonal aspect and relationship with other things around it. Too many young artists only "shade" their drawings and paintings, without 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" entirely. Shadows all rendered in the same value can give little more than a so-called embossed effect, something bulging out a Ifttle from the picture plane, but with none of the appearance of life. So all things have a value between black and white. All things have a value according to light and shadow. All things .separate from one another within our field of vision because of values. So we can begin with these value shapes, stated as flatly and simply as possible, and practically devoid of modeling or surface detail. Having such simple areas of related values, we can later build up the particular character of the su rface or form. This si mple s tatement is our val ue pattern, which will build up the big masses of the 88 subject, and the flat or general statement J picture. We have only about eight separate^ to work with in all. We shall need at lease a I or two to round the form, in whatever valufl flat tone appears. Allowing two tones for; pattern gives us four patterns. Therefore ws build pictures with a white pattern, a ligra a dark grey, and a black pattern. That h at] all we really need; in fact, that is all there IJ pattern can he varied one tone without™ into and mixed up with another pattern. On the following page we find that by J these four values we get four basic tonal] preaches, in each case one is chosen for thef era! or background tone and the three ronaij are placed against it. Each plan will have] visibility and vitality. Any picture or poster j in this way will have "punch" as far as fl and pattern are concerned. It is best to have one of the four valuesinate the others in actual area or spaced we can nse white as a background* and plal greys and darks against it with perhaps! white also as a part of pictorial matter. Or we] have a light grey as the dominant tone, wiffl grey, black, and white playing strongly a]9 it. Either the dark grey or black as the ground is very telling and powerful as a tonal arrangement. Many subjects may be J out in several ways, and many subjects fall; rally into one Or another of the four plans. | I present this plan of tonal arrangements cause ft seems characteristic of beginners oq_ professional work to be disorganized as to pal and values, resulting En a hodgepodge of nej tones, or tones so scattered and broken up as \ to have the much-needed impact It will be seen at a glance what a powerful] organized effect tonal arrangement can hail based on one of the above four plans. SMm of tone is by no means compulsory, since we J have predetermined a subject as being dosej value and within a narrow range. But when] vitality and strength of value is required oi sired, phis carrying power and contrast, thai!

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THJiRE ARE FOUR BASIC TONAL PLANS j grey/ amd black on white. Rack, white, dk. grey on lt.crey. He of a basic tonal plan is your best answer. [ The whole theory of pictorial design is organ!EtiOD of line and tone, and (later) color, The Rbes will be more telling iF organized into simI pie groups that will hold up in mass one against | tk other, Scattered and confused small patches I has the opposite effect, of breaking down the carI Eying effect of tone. Military camouflage makes lure of this prjnci pie. There are really IV: w subjects which when thought about will not lend themselves to such | ample arrangement. You can be almost sure that 3. BLfrCKjWHITE^LT.GREYON OK. GREY. 4.GR&YJ AND WHITE ON BLACK, iF one does not* then you arc hardly on your way to a good picture. There is an "all busy/' or mosaic, type of picture, which might be likened to an Oriental rug it* design, Or there might easily be, in an otherwise simple* design, one "busy" pattern, broken into bits of pattern, stripes, or patches- This is often desirable and effective. More pictures are bad because no attempt at tone organization has been made than for any other reason. It is to get rid of the weak, washed-out effects, or the dull, heavy, and muddy use of values, that this approach is ofiered. 89

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HOW TO LOOK FOR THE "MEAT" IN YOUR SUBJECT It can be taken as a sound rule that the simpler the presentation of a subject, the bettor it will be pictorially, A simple presentation technically resolves itself into a few .simple organized areas of a few values. To prove lny point, suppose we enter a room with papers, clothing, or other material representing contrast, strewn or scattered about. We have the immediate reaction of want* ing either to clean up the place or to escape from it. We speak of a place as being 'littered" with trash. What really happens is that ft is littered with contrasts or confusion of tone and the effect is unpleasant. Pictures can just as easily be littered and Just as unpleasant So if the first glance can find no reason for a bewildering a nay of tones, the eye will pass up your picture for a more Organized one. This was the main secret of the great Howard Pylc: his simplicity and organisation of tone. We shall speak more of him later. This is the secret of good advertising material or any subjects seeking to command attention. Let us comprehend that it is more pleasing to look at the extreme contrast of black and white if supported by easy natural sequences of grey. Thc eye will automatically seek the darks and lights placed within the greys. For the eye sees contrast instinctively. Therefore the spot of interest should be afforded contrast with its environment. Note how in the second, third, and fourth plans the eye goes at once Lo the white area. In the first plan it seems to go to the black. Black and white used together against areas of grey will always command immediate attentionIt really does not matter much which plan is used so long as the areas of the four values do not become too equalized or the whole thing too broken up. Subjects which must be taken in quickly, such as posters or disjilays, should be En the simplest possible tonal arrangement. Subjects that have more time to he looked at can be a little more intricate,, if need be. Every subject can first be analyzed for the socalled tonal "meat" in it. By that we mean: what are the tonal possibilities here? If the subject has something of broad expan.se of tone, such as snow, &fcy> a broad stretch of water, dark nigW space, or a floor, we can seize immediate™ that expanse as our dominant tone. Such can set up a mental image of tone. We can thai] stirtctively turn to the basic plan most cH allied to the image. That leaves us mainlyl planning or arrangement of the rest of the] jct:t in .some .sort of design against the On tone, or larger areas. To give you some examples, let me suggest] following: Dark figures hi a snow scene: the mm A man with a lantern: the fourth plan,! A light boat in the open sea; die se third plan. Figures on a sunny beach: the first or ^ p'ari ' 1 Beyond the well-defined four approach! have a few variations. We may take two in for the interest and play them against tinea two, instead of three against one. Or we roajS one or two values and spot or interlace! through wider areas. T have given you a sextl small pictorial arrangements just to get vernal ed. The basic tonal arrangements are so mo otis as to be almost inexhaustible, once yaii derstand the method. I have transposed sod the first pencil roughs to larger hlauk-and-v oils, then selected one of these for a fullfl sketch. But it goes on and on. Why? Be nature and life fall .so naturally into orgaffl tone as almost to pick out the plan for you.S nature is inexhaustible for suggesting ment and inventiveness. That is why I shall kd urging you to go to the real source for youfl See if you can't stay oif the other man's backn have eyes and inventiveness too. Take a fig and a pad and pencil almost every where! keep busy. You will set: tonal plans all am you, and the whole approach suddenly be* clear, I can assure you there is no betterftvery good artist uses it. The tonal plan offers many opportunities! variety in the same subject. Often the mafi 90

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IF IT'S WORTH PAINTING, can be changed about in great variety. Suppose I tthavc a head and shoulders of a girl to draw, I We can in a small rough get the effect bt how the tftfurc might be built with middle tone, greys ■ dm! black, against a very light background. In j1 that ense we would naturally give her dark hair. r We would probably light it from the back, throw* I fog her face into halftone or shadow. We could : Are tar in dark grey to complete the four gen* (Til values. Suppose we choose a black Geld. Then :iw might make her a blonde, using the light Lo ': the front or three-quarter front. The light and iihatfcnv would produce the greys we want against ; the ad 1 1 abit of making most of your pictures alike, even lighting your figures the same way. depending on the merits of the models face or Jigtire to get you by. It can get very boresorne to readers. Design i.s the best bet. Design is rarely i complete accident. It has to be balanced > simplified or stripped to essentials, and usually tried in several ways to arrive at the best one. Almost ITS WORTH PLANNING everything in the way of form can be tied together or interlaced with other space or form to produce good, even unusual, design, regardless of its complete or identifying con Lour. By identifying contour I mean a shape which might identify itself as a flat silhouette. A hog in silhouette might not be the most beautiful design as a separate and complete thing. But a bog contour can be most beautiful as a line related to other lines, a shape intermingling with other shapes you will design, Sunlight and shadow can play across a hog with intriguing beauty, as well as value or color. A couple of hogs could be the subject of a masterpiece. The point is, tl is not the hog at all, it is the inventiveness and charm with which you portray it. So many of us attach so much to the material and subject, so little to the design and arrangement of it. We accept so easily without planning. We are so eager to find the prettiest model (or dress, or shoes } and then paste her onto some sort of flatness and try to call it a picture. J cannot censor you for it, for it is typical. But I can point out that the one hope of producing belter work is through the conception, not the material. One artist told rne he thought his work bad never reallv clicked because he had never run across quite the prettiest girl that be thought he might be able to draw. So I recommended my best model, with no better luck for him. 1 bad not the heart to tell him the real reason, for who can be too sure that his own work is not often wanting iai design and conception? It is not easy, and it demands the utmost of your time. Design is always there to experiment with, to allow you to express yourself In your own way. It is the thing that makes you or breaks you> when everything else is said and done. I cannot urge you half enough to give thought and planning to the merest sketch > the smallest job. At least be certain you know no other or better way. If you have not tried any other way how can you be sure? A page of thumbnails takes much less time than you waste with a bad start 91

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•THUMBNAIL" PLANNING OF TONAL PATTERN OR ARRAKClJ ■ I ,' wu it fcj flno £W.tJ AC-c CM t rU> rs* P&H.K V" 92

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THE SUBJECT ITSELF OFTEN SUGGESTS THE TONAL PLAN T»l li.frjpc- -all J *JttTUHAUt IHTO TOt FilUT TONAL PifrW THlXONC iM Cl mr^TWB Jt^HP OP.T^I^ r-T-f-UlL. '"LA N TWIJ" C&fi'h/ POli TMr. FO-t.lGtTH PLAN J£COP4D I»UiN - TH f J il U &kV £ F- YOO* JTJ&JECr IN MINIifLlRltr Oft

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FOUR OF THE THUMBNAILS TRANSPOSED TO BLACK-AND-WHITE 01

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THE COMPLETED SKETCH

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SUPPOSE WE TAKE A SUBJECT AND WORK TV OUT Old Mother Hubbard Went to the cupboard To get her poor dog a bone> When she got there The cupboard was bare, And so will ours be, unless we do something about it The subject, the simplest nursery rhyme* The picture, no easy matter. Now, what is your conception? Yours and mine are going to be very different. Who was Old Mother Hubbard? What did she look like? How was she dressed? Where did she live? How? What was the interior? What kind of a dog? What is the drama or action? How can we tell the story? The first thing I'm going to do is go sit in the corner and think for a little while. I see a little old lady with a full skirt, a white kerchief and bonnet, hobbling about with a cane. She could be ragged and unkempt or neat and clean. I choose the latter. The dog is a big dog, a sort of old spotted hound. In the kitchen 1 see an old hand waterpump in the sink. I see crisscross window panes in the window over the sink, and the open cupboard alongside. I see her telling the dog there is none and the old hound seeming to understand, even forgive. Yes, there is a lot in the subject. Now, how do you see it? Let us think of it in relation to a tone plan. It is obviously an interior, and that would probably be grey. At least I see it as grey. So that eliminates both the white and black as the dominant tones, throwing us into the second or third tonal plan. Grey is melancholy like the subject, which helps. Now, already* here is black and white against 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 we can have the window, her bonnet and apron, a partly white dog- Maybe something white as an accessory— a pitcher, a bowL The black pattern or spots will be taken care of by the old lady's dress, the shadows, or in whatever way wej The first temptation would be to run andm Mother Goose book. Why? Because we i™ see what somebody else did. We lack any dence in ourselves and hope to get some \i That's one way. That is the worst way, the?1 original way, and the one thing not to dot Mother Hubbard is Just as much yours as I or anyone else's. Who knows when, he^jj where she lived, and who cares? Mother Hub) I is just so much design, so much character, much story. If we have to be too authentic will delve into history, spend a lot of time, x'i ing in little more than we already have fcffl with. Maybe we could come out with an auj] tic dress. But we are not making a picture m or stress a dress. Let us make it to suit us be4 only real value is in what we do with it. Let us conceive our subject, then look ab< to find a face which spells Old Mother Hub] as she fits our conception. I have worked out arrangements. These were without mock copy, for just now I'm not interested in an) but the design and story. Of the four, I lil last one. It would not be very diificult nowfl a model, and the costume, even the dog, ad ahead. It would be interesting to go on and] the picture. But the important part is doi» I am not really as concerned here with sbfl you a finished job as in showing you how I have approached this commission, were it al mission. I can just imagine what fun N^ Rockwell would have with this, and what ai tif ul thing he would end up with to show m I'm sure he would do every inch of it on , That is what made him great. Start out by; yourself the 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 mind now that you will do it that way froqj on. 96

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OLD MOTHER HUBBARD IS YOUR PROBLEM " i I ■ ^M or

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IN TONAL MEDIUM Technique is a very controversial subject at best There are perhaps as many viewpoints regarding technique as there are individuals applying it. It is not my purpose 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 personalized style. If you do not allow yourself to be too much influenced by some single idol, you will develop your own technique in spite of yourself ; it is bound to be a part of your personal characteristics just as is your handwriting. My intent here is to stress the general method, and the reasoning back of it, rather than to say how it shall be applied. When I speak of technique here I am thinking of qualities that should be incorporated into good technique; those qualities being the sound rendering of form in true values, the consideration of edges and accents from an artistic point of view, the design and balance, contrast, subordination and accentuation. If you can achieve these, it will not matter how you do it I wish also to point out certain characteristics of the mediums themselves, and the inherent qualities of each which are not always obtainable in another. It is hardly necessary to go into the formulas for materials, paint-mixing, and so forth, since this has been expertly covered by other writers. The permanence of your materials I do not consider especially important at this point, since die problems presented here may he looked upon as practice and exercise or experiment on your part Most of the elements of good technique lie in individual interpretation of the qualities of die mediums. You may use a stick of crayon in any way you wish, but the values, the proportions, the contours 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 conviction to the beholder. After all, every drawing is a statement, ei| convincing or not. If we do not convince $K not expect interest or response. In the long there is no real substitute for truth andfo quite so lasting, For that reason I feel qfc tain that realism in the sense of a "quality^ ence" will outlast any other form of art, to not convince the beholder that what ap|ear| him as distortion of truth is right and proper.i| tell him the truth as he knows it and glorif | ib he meets you more than halfway. There is only one way to assure consJM good work. That is consistently thorough 'gbpf tion. The prdiminary visualization or conpepa is, I believe, done better without mo&fefl copy. It leaves you freer to express your$H having formulated, even crudely, your id^o expression, then by all means take every avoid faking or guessing in its final exeii While there may be pride in doing without™ and copy, there is no point in it. If the best arffl invariably prepare the best possible worki terial in the way of working from life, camera shots and studies, how can the fakes and works blindly, hope to comj The first matter for your consideration 9 development of a thorough approach. Call iti tine if you will; IM rather think of it as gc Start with the tissue pad, but before you too many cuppings, see if you cannot visi thing from a standpoint of mass and design, I haps you do not yet know the details or niffl the accessories. But make little suggestig figures going through the action and s< spotted into interesting masses of whit and blade. You can think of something lafeejW make up the masses. It may turn out to be ffll of dark or light furniture, a mass of fohagt what not. But work for your own design. The procedure of copying and finishing aft and then tiying to fill the spaces left aroj 98

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FORMULATING AN APPROACH t of background usually results in irrangernent or none at all. It is very ry. Think of an environment* if any is and then find ways to place your '"■"■ K&fc- Think of light and shadow perlading ih^jpboe and falling upon the units wfth(I I b||er, actually, to think of the setting beIt. -. mink of the figure, or of the design or itaptf thatihe figure will eventually be a part of. 'Suppose we draw, from a clip, a bathing beauty -!:"i rob the dead center of white space and - -fitting I almost from top to bottom. Then suppose it start if ticking of background. What is there Irft to do^bjut fill tip the two empty sides with bcad®iter, and sky? Naturally as a design it's fptg e a dud. We gave design no chance. :, ,.r -.^osc we make .some patterns of dark rocks), some greys { eventually shad* r, or sky), and some whites (eventually e soon find the spot for the bathing ■|rfey might be a wave breaking, the foam ^iitEv|^tteni, with the girl iu a light or a dark Jurt tffipl into the design. She might be sitting, ^g Jpvn; a pattern might turn into a cape Mraimp white spot might be a gull. She might l«Wui fight and half in shadow. A thousand find wpfimgs can happen to make it interesting. Ttorefthatl mean by "approach." Give your in■■-•rapiwshalf a chance and you will create. Or jvu wearily stifle it by jumping unthinkingly to iheMt effort, trusting to luck. If you Just find copy and reproduce it literally, or oven just sit dosviK^bd copy a photograph you have taken ^N£ how can you possibly go the next man r? All you can do is possibly to make a iter copy, and it end* right there. You If given your client much to choose from. i;nest trme the other man will copy better jp and you will be out. jvereativeness is in the planning, pure and the rest is good carpenter work. Consider Iways In your approach. p- next consideration \$ the rough sketch. ™ the client does not ask for one, your final Eve 99 work will be better if you will form the habit of roughing the idea out first For yourself. After your thumbnails have !>een planned, after you have your dips, photos, or studies, make some sort of a tentative statement of the whole thing as you want to work it out. This gives you every chance to improve from the 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 after hours or days of work. Maybe the figure should be moved over, or raised or dropped. Maybe the girl should have a dress of a different value. Perhaps the pose might be better. You never know these things until they have been stated. You don't make good pictures by changing your mind in the middle of the procedure. No medium looks as good worked over as it docs when planned and put down fresh, to stay that way. It takes a long time to learn this, and some of us never will. It is comparable to the advantages of a well-planned speech over an impromptu one Settle all the arguments with your picture before you stretch the final canvas or before you spoil that nice big sheet of expensive water-color hoard. It pays! If there is time it is better lo make a first study of a figure, then work from the study rather than from the original copy, or from the figure into the final, I realize this is not always possible. But it pays out in directness, freshness, and looseness. It is hard to make it free and spontaneous the first time. We all struggle to get the drawing, values, form, and design all down at once, and it is quite impossible to do it every time. It makes more work, but it makes your best work. So the best habit is the thumbnail, the rough, the studies, then the final It is a combination others will find hard to l>cat. If you can make the study in the .same medium, so much the better, for you will have worked out the problems in advance. As I have indicated, your particular technical approach, your mannerisms, your style, must be your own* something which cannot be determined ot even guided by anyone else. But we can discuss some of the means at your disposal, something of the attitudes toward your work that

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TECHNICAL must be incorporated into your style, whatever it is. The first consideration is that of detail THE PROBLEM OF*HOW MUCH DETAIL This is something that you will decide, in the end, for yourself. It is almost certain that you will have to begin with the ability to give completeness or "finish*' to your work when expected of you. And by nature you may prefer a closely accurate and finished type of work. There is nothing wrong in working that way, and there will always be a place for such a method. However, since photography does the same thing so well, I myself prefer art that gets as far away from the photographic as possible— granting at the same time that this is not always possible. I shall endeavor to give you throughout this book examples carried out in each direction, since it is true that more clients prefer finish than looseness and freedom. 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 for breadth and looseness usually shows that he had to master detail before he could subordinate and eliminate itIt must be admitted 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 way must carry conviction and truth* if not literal truth. Tightness begins with being so concerned with surface that we lose plane and mass, and so conscious of contour and edge that we do not soften or lose it. A round form can be so smoothed in gradation of tone that it loses all character. One may see the turning of the form in a series of several tones. The better artist models that form in but two or three planes. The fewer the planes the broader die work, for breadth of execution is realty breadth of vision. One may see an edge sharp and defined. Well and good, but he need not dig out edges that he cant see and sharpen and define those also. Definition will never be APPROACH the basis of art, but rather selection, accentktifl j subordination. Making all things through y*| picture equaDy important is like playing all I notes of a composition with monotonous .and! equal intensity, without accent or modulation! picture rendered in this way never seems tocljil that "Ah-h-h!" It can so easily lack vitality spirit. Detail can be shown in things close uj|H make things recede, form must resolve itself m into plane and mass as it goes back. That is 4 happens in our vision. We do not see eySH^ ten or twelve feet, nor tiny face wrinkly not see the slight variance of small surface f eyes cannot focus on two distan^m same time. You may think the whole field of 1 is sharp. To prove it is not, ask a person t«T his hand a few indies to the right or left j face. Now concentrate on the center 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« is that that marvelous instrument thefeye is stantly making focal adjustments, an

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■1130 ly mor mot ml* i ■ DETAIL '.the frame* then the whole effect is e than complete detail all over, I that there should be a circle of sharp^^Binded by haziness, but that as you go H frOTCthe focal point more detail can be borcfiuMsd and more softness permitted with a -ifaHjpedistic effect. It concentrates attention uprm^-and enhances, the detail where you ^Iropil will firtd this in Rembrandt, Velas^ncr> Titian,,. Gainsborough, Boxnney, Sargent, Eahins, .Alexander, and a host of others. You need i i ! ..!■ :«3ny word for it. Degas was a master of tion and subordination of detail, phis Sideration for design and arrangement Ig illustrator can profit by studv of his (ftV work was complete enough, but selau all over the picture is shown as it would up, then everything is brought forfcthe front plane of the picture, or to the naceof the paper or canvas. This is much escope or opera glasses in bringing a ird. Technically, then, your picture i-.vHpf.a sheet of detail; all things lying right on 'it, *i|jput a feeling of space between tine various •dtfffiK&.as wc go back. Unless the detail of the l^tewBidis subordinated to the foreground, all will ^rh to he sticking together in a single plane, regardless of perspective and diminishing size. Ttrc answer is that surface detail should become submerged in tone as it goes back. For example, Ihc weave of a sweater is apparent only for a few feet, |ftcrt3)at, the sweater becomes simple tone. \k giinportant are the weave, the tiny folds, or ■;the small details, anyway? The big forms tat we are concerned with. To add detail ; could not see is as false as to define con* cannot see. The fact that the camera can aorc sharply than wc can does not make it it better as a picture. We arc painting to an illusion of life as we sec it, not some liton of mechanical sight. So the farther i less modeling, the simpler the lone, the 1DV Me less the planes (meaning less halftone), the less reflection in shadows, the flatter statement of simple light and shadow. The distance can become almost poster in effect. Try it, and amaze yourself with the three-dimensional quality it gives. This is especially tme in outdoor subjects. Theme is a clock about ten or twelve feet from where I sit. f know that grey spot at the top of the dial, is an X and two f s, But the clock realty appears to have spots of grey around the dial. If I were to paint this setting and put the numerals clearly on the clock I would sacrifice any feeling of the distance between, and the clock would sit right up on the front plane, like a watch in my hand. Yet in most of our present-day illustration this is done Over and over, and by good men. Thev are putting down what they know to be there, but not as they truly see it. It is thoughtless and erroneous, and easily so proved, once pointed out. The artist must make an heroic attempt to disentangle detail and tone in his own mind and vision. He must realize that bis vision is a thousand times more beautiful than the camera's if he will but trust it. If he is 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 if he learns to trust the camera less and believe more in his own inventiveness and feeling, trying to see with reason and imaginationOnly in this way can his work soar to heights unattainable mechanically. Perhaps an artist has not yet reasoned that there is any goalbeyond detail and finish, Then let him look at the landscape on a misty day and see the real beauty of subordination. )-<>t him study outdoors in twilight against a flaming sky, the mystery of moonlight compared to midday. Let him drape a figure in gauze* look at the reflections in water, look beyond falling snow, or even scrape off his sharp picture with a palette knife, finding infinitely more beauty than he had before. There is a door open to all of us, if we will but pass through. 101

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THE TREATMENT OF EDGES Perhaps the most important element in obtaining freedom and looseness is found in the treatment 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 belive this quality exists in nature, for it Es hardly apparent until you seek it. 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 all around. That is putting down what we know is there but not seeing it. Look at the real table top and you will find the edges are different all the way round. The four edges will pass by some tones that seem to merge with them. In other places they will stand out sharply in relief. 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 edges are a part of the Form Principle, since they are relative to the surrounding tones and influenced by their environment. The same edge may he sharp or soft according to the conditions of the moment, 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 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 way wheal compared to the strong ones. Next, you will find there are edges which are enveloped by and merged into shadow. You have to look hard to see them.. Finally, I hope there will be some you actually cannot see but will only know are there. These are the edges to be lost entirely in painting- It is by studied treatment of the edges that we get the illusion of space. If we look only for sharpness and delineation,, -ofi that is all we are going to see. How ma ever really look for softness, for mer for tones being lost into and enveloped ow? Yet these are the qualities that we the work of the really great artists. If we the sharpness in life, we may see only ness in great pictures. When we find thereg softness, we find they also have it. We firft| is 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 extent, and mosdy because we have make equal contact with the truth of self. We do not develop vision if we do Your camera and your projector are n< to develop your vision. They will hi weight upon it without your even rea this is so. Because the quality of "lost a in edges has so much to do with vision : ner feeling of the artist, it cannot be i formula. But I believe I can guide you the instances where you are apt to fir will but look with your own eyes. Let us 3d| several kinds of soft edges. 1. For the first, let us take the softness prfl« ed by "halation" of light. Halation is the iM ing of light from a particular source ri« surrounding tone, like the blur around a WM flame. That halation does exist is proved t« blur produced in a photograph around 'M source such as a bright window or lamp. A ^ 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

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r WHERE TO LOOK FOR SOFT EDGES when a line of a hill crosses behind a head, soften sueare WftiJd lik^to subordinate this edge. This often happens ^th. the shoulders and anus of a portrait. To soften or subordinate such edges* we may tiring thctvitt tones closer in value at their meet' tig, leltiag-one tone fade into the larger adjacent r-.i=,.- Q^IM The edge may still be held, not er. In effect ft is like extending die tone for a little way into the other. f, a light background would In.: darkwhen approaching a dark edge or ^somewhat when approaching a light S-pufcs less attention on it, but still holds lyrithout making a garment, for example, "ussy wool. £ijext kind of soft edge is much more obfttis where the material itself is 50ft and mixture of itself with what is behind lple, tlie edge of a man s beard, a wisp sfine twigs oF a tree, lace and transparrialSj mist, clouds, spray, and so forth. I M? next kind of edge is soft because of JuHfiflg^es, when the edge becomes the same rcliKps-.tliat value which it appears against. IF Ihey m^uite close anyway, it is safe to lose them ft liltj^more. You can use the sharpness elsewlicrgwhcre it does more good. This is really whcffirjlght appears against light, grey against piey. and dark against dark, : the turn of die form presents a gradaijone approaching the value behind it. Ex* flight on hair turning to meet the light. ^kbove four are natural or actual causes of rojfees. Now let us consider deliberate instanr. ffliere it enhances the pictorial qualities to edge. so/ 1 an 1 cases where two sharp edges occur and jjione behind the other,, theoretically soften the djife in back as it meets the front one. Example : the lino of the hill especially where it meets the head. It need not be miles back of the head;, soften even the line of the back of a chair as it meets the head, or the contour of any form passing behind another contour. It keeps them from sticking together. 6. There can be softness and diffusion incorporated for purely artistic presentation* to get rid of harshness and o%rcrinsistence. A tree in the distance naturally would be painted with more softness than one in the foreground > to get it back where it belongs and to create the illusion of space. The sense of space is actually more important than the tree. Painting both trees sharp would bring both into the front focus and up to the picture plane, which is false. Do not interpret this as meaning you must paint everything in the front as hard and sharp and everything in die hack as fuzzy and out of focus. There should be a certain consistency of vision about the whole tiling not as though the beholder were nearsighted. The changes should be gradual and subtle,, not too obvious. There can be softness in the dose edges too, mingled with the crispness, and some sharpness in the edges farther back. The picture should have feeling of the subtle ""interlacing" of masses so the different areas do not separate themselves too distinctly as would the countries on a map. Following any edge around should give it "lost and found" quality, with more of the subordination in things at a distance than those close up. All sharp is bad. All fuzzy is bad. The beauty lies in playing one against the other. Study some fine art from this standpoint and it will open your eyes. But mainly try to see it in life for yourself. It is there, but so subtly that it must be stressed. Nature already has space, but we have only a one-plane surface to work upon and must do something almost drastic to get rid of drings seemingly pasted on and sticking there. Too much illustration is just thatL1' 103

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THIi LENS SEES TOO MUCH I present here a photo which I shall endeavor to paint from in as finished a maimer as possible. I shall try to hold the values and the very smooth modeling of the form. Frankly, this will be of the so-called "slide* type of painting, which nevertheless holds a place in our craft The painting will appeal to a great majority of (Stents who really like the slkikuess. Hut even here we can beat the mechanical and exact image presented by the lens. We can at least subordinate the overabundance of detail. esptxHaNy In the dress, and somewhat simplify and glorify the rest. This comes! near to 'photographic" painting as I would a want to go. I have included it to show that etf the finis! ied and exact need not be harsh and hag The: softnesses save it. I. hope. Please notice I have sought no edges that are not there, have Subordinated many that are in the coj] Study both closely, area for area. I do not si gest that you paint this way; it is but one You will paint your own way, as you prefer paint. 104

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THfi EYE SELECTS 1 People will often unknowingly praise an artist by Idling him, "Thai looks just like a photo, how wonderful!" These are sad words io the conscientious craftsman. Yet as an illustrator we must face the fact that a large percentage of people are detail-conscious, that detail pleases them. We can due them detail when we have to, even if it hurts a little. But at least we can choose what detail we are going to give, subordinating what we do not like Kvery photo is full of unpleasant detail, aad every photo has the possibilities of something charming. So we must study hard to decide what sliall be and what shall not. If die values and planes go in well, if the softness and sharpness are taken care of, such irrelevant detail will not be missed- We can beat the camera, because the camera cannot choose nor subordinate^ thank Heaven. MoU: the number of soft edges, without producing a fuzzy or woolly effect. It will be interesting to note that yon will find softness opposed to sharpness all through, not all one nor the other. This for the young artist who sees everything hard and britde. 105

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STRESSING THE PLANES AND ACCENTS Here T give; you my photographic: copy. Inci

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en/

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BREAKING UP THE TOO-SMOOTH TONES Here is another photo selected as copy. One; of the main things that identify a photo as apholo is the ultra-smoothness of the tones, In working from this copy, I have broken up some? of the tones, also some of the edges, The intricate detail of the dress hm been subordinated. The couch has been made relatively of less importance than the figure, therefore wilh less definition. The big planes of the figure are stressed* I have tried to avoid as much as possible the flatness of the tones. While there are times when, flatness is desirable. 10S often areas painted too flat and smoodi wilM pear "tinny" and monotonous. Some chang tone within a tone, to break it up slightly, si to add vitality where there is none. If posstb arc: i should always look pain ted , not pasted;] is one of the ways to do it. Note the accents pla here and there of dark against light, to add puJ The lights have been forced somewhat to olj extra briJIi&ncy. The background has beenn irtcd in spots to avoid the monotony of tora the photo

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ADJUSTING TONE AND PATTERN Here we have a photo, rather ordinary in design and lacking the contrast arid brill fancy neeess&ry far good reproduction. To follow it too closelv would produce a dull picture. So a livelier pattern is introduced into the background, and the curves of the couch seem to give it more variety, The contrasts are stressed by adding a darker pillow against the white dress, and the intensity of light to shadow is somewhat increased, At the same time some of llie edges are softened or modulated. The softnesses introduced do much to relieve the photographic look. The lighter tone of the* keeps the dress from being quite so isolated) separate unit and seems to interlace it with] other tonal areas. I believe the do Lai! is suQm to satisfy almost any client liking a "finished"! iu the art he buys. It can look much mare finis] than it really is, so long as the values arc im and pleasing. In this case we could not have til ii 1 9 ted a background,, for the dress would haul contrast to speak of with u white buckgroixdi we had to invent one to suit. 110

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THE "BIG TONE" APPROACH I chose to call this approach the "big tone** approach, for that is exactly what it is. It could just as well be named the 'pattern approach.'* We shall aim to set down the big tonal patterns of our subject as simply as possible. Pattern* after 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 things we are painting. Here is another reason for the not-too-literal interpretation of nature's complex forms and surfaces, but rather the seeking of design through the material nature presents to us. You can instantly see how this involves taste, selection, and inventiveness. Such an approach, then* is creative and not a passive acceptance of fact. You are adding the intelligence of vision so sadly lacking in your camera. Sometimes the simple postery statement is better than the more finished thing, for it is conceived and executed in truth— truth in the larger sense rather than a minute inspection of truth. One big truth is more understandable than a lot of little ones ( with, perhaps through ignorance or incomprehension, some of the more important ones left out). So close do some of the abstract artists come to it, yet just missing the elements that might make them so much greater* an alliance with creation itself. It does not seem possible that anything that works out as weD as the great natural laws, which have stood for a few billion years and control the very universe, could be quite as wrong as these artists contend. Could it not be a lack of insight or perception? At least I urge you yo artists, before you go too far into the abstract:; incomprehensible, to think hard before you card the wealth of material nature has 1 upon you. You cannot live without light-S neither can your art. On the opposite page we have taken a shfl figure subject. I believe my demonstration S be perfectly understandable to you. I attempt I show the power of simple light, halftone; jH shadow, as allied to the Form Principle. You caJ be a good painter going no farther than this, b] getting these tones and simple forms rjghfl drawing, values, in relationship with one anotbi according to the light, and in relationship wit™ surrounding elements. It is really so simple that the general lacM understanding of it is amazing* Most of thediffl culty, I think, arises from the fact that copy J seldom made, or models posed, in simple ligj and shadow. Naturally if you break up these™ inal simple tones, which are the best you coiw possibly have, with a half-dozen other lightsfl have no form left, nor any opportunity to stall You find yourself trying to duplicate a myriad I meaningless tones to no good purpose. YouOT break up form as easily with lights as you break up a town meeting with cross-purposesjS body gets anywhere and the result is nil. Ahead of anything else, choose simple ligbffl to start with, if you are ever to paint You oa light your subject from back or front, fl reflect it back if you wish, but use one tofcjjB whenever possible for the best mterpretatiSB form. Nature takes care of that, outdoors. We ffl things up when we take over inside, 1 i""1!". H«"W 112

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THE SOFT APPROACH This is a delightful way to paint It is closely edited with the "big tone*" approach. However, instead of painting the large tones in to a sharp edge and softening them later, the large tones are set in and immediately softened* The surface detail 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. I believe this approach will come as a revelation to many young painters who have not tried it or do not lenow about it. It results in a feeling of much more quality, and at the same time adds a three-dimensional effect to one*s work if it has been persistently sticking to the front or picture, plane. It eliminates much of the "pasted on" effect of the units of your picture. Try to hold as much of the softness as possible. A few dexterous strokes may add all the finish you want I feel quite certain this must have been the approach of both Sargent and Anders Zorn, whose paintings reflect the kind of quality this approach gives. It applies to solidly painted pictures better than others, but can be effectively used in sketches, vignettes, and almost any type of illustration. It will be well worth your while to make some experiments along this line. I never believed In confining one's approach to a single method. I love to experiment with everything I can mink of, or that may be suggested to me wherever I see it, I like to use a method or medium as much in tune with the subject as I can. Some things seem to call for "brittle" treatment, while others call for "delicate and soft" While you are learning, learn to express yourself widely. There is not so much danger then in "burning out" your approach or making it grow tiresome to your public You will note mat in the first stage of this head a fairly careful charcoal drawing was made. Then the large tones were laid in over the fixed char^ coal. 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 dark accents, it becomes completed. In order to 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 of the others. Tliis approach is quite direct, audi if possible should be completed while the paint is wet By adding some poppy oil to your turpeffl^ tine when painting in oil, you can slow down the drying. This approach would apply better to opaque water color than to transparent. It is quite a trick to keep it wet long enough to get the softness, but it can be done. Crayon and charcoal are admirable for this approach, or any medium that can be rubbed, then picked out with an eraser. 1 So many students hope to watch a professional! to learn technique. Technique is your own. Metta od or approach is always a matter of knowledge, There is no reason for any artist who has the good of his craft at heart to keep such things a mystery. Technique cannot be learned by watching, only by doing. If an artist can tell you how it £$. done, it is so much better than watching him, or even than copying his efforts. Try out the soft approach if you like it If you do not like the effects in it, then pass it up. However, it is a very, very good way to beat old man camera, or projector. We can't trace fuzzy images. Maybe you can fuzzy up the hard ones and then bring them back. I don't know* I do it with eyes, hands, and (I hope) thinking. 116

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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 would be in subjects of good contrast, using plenty of good lights and darks. Here we have a brunette in a black-and-white striped dress. The dress is "perky" and the stripes give it "snap/* I just can't see this subject painted in mystery and softness* So we put the black hair against practically a white, carry the crispness into the background and all through the dress. Because the dress is busy in pattern it seems to ask for simplicity elsewhere, So we do not fill up the picture with too much other pattern. Almost all edges are defined here, though if the dress were a single tone the edge would be too hard But the stripes break up the area, pulling the eye within the contours rather than making one conscious of them. This was overpainted quite a lot on dry paint, a method which is the opposite of the preceding soft approach, and which adds the very quality of brittleness which 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 explanation. About all you can do with this approach is to paint up to your edges, and stop— which most of you do, But it is not without value and charm when incorporated into the right sort of subject. Light and shadow really looks brittle out in the bright sunlight, and there is no reason for not painting it so* There are many subjects wh crispness is the aim. So experiment. The crisp effects can be obtained by painting li| over a dark but dry undertone* Sometimes an ol canvas is perfect for this type of approach. Or can stain a new canvas with a tone and thin pentine and let it dry. Opaque water color is excel lent for a brittle or crisp effect One well-knc artist works his opaque right over regular he&\ board, painting in all the white later with opaqu* Pastel has some of the crisp brittle quality 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 the more softness, so it is open to either approa< However, pastel being a grainy or chalky diurn to start with, most of its charm lies in hax ing the pastel pretty much as it goes down out rubbfng. It can get so smoothed out thatS loses its character entirely aud ends up as a mqg or less unidentifiable medium after reproduc Any medium should retain some of its own chra acter. It should not look like something eke. Remember, crispness seems to apply mosij to bright light Remember, too, that crispness aim softness combine beautifully together, are betg combined than either by itself. So do not dt to go all to the hard, ever, because that is rightl back where you started* We all start out "the . way." Note that this painting is not entirely withtiffl softness. It needs the few soft edges to establim crispness by contrast 118

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I \*tt»~: m

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THE "BLOCKY" TREATMENT AND OTHERS While I believe the method of applying pigment 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 call for a certain type of handling to be in spirit with the thing. Every artist seems to become afflicted at some period with a tendency to paint things too round and slick to give the vitality to his work that he desires, but Is quite unaware of what he can do about it. One of the best ways to give added form and structure to already smooth forms is the *blocky" treatment. ' This is achieved mainly by transposing monotonous curving contours and forms to a series of straight lines and by painting straighter and flatter planes. Strangely enough, the form retains its delicacy, but seems possessed of a stronger feeling of bulk and solidity when treated this way. The plane is carried as far as possible in one value and then given over to the next. Care must be exercised not to smooth the planes too much one into the next as you go round. The beginning of the shadow can be held fairly distinctly as a tone wilh an edge just beyond the halftone. The contours may he accented with bits of straight outline. The values themselves are held to the true values without undue "forcing," If you will study the accompanying plate I believe this text will become clear. The blocky treatment applies especially well when painting heads, particularly when there is not much bone structure, resulting in extreme smoothness. Baby heads respond beautifully to this approach. It is about the only way of giving extra vitality to a rather slick subject. It applies to flrapery, rocks, clouds, or almost any form, and helps to eliminate the photographic look of painting. It is well worth experiment. Wi There are other treatments. One is the small strokes following crosswise to the t which enhances the structural appearance solidity. Such treatment adds softness to pain whereas painting down the form defines it sharply with a hard edge, since the brush f 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 you want softness, p|M across the form to the edge, or actually beyond! the edge. 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 in sj^I strokes'* in Ettore Tito, Childe Hassam, Dafiefl Garber, Edmund Tarbell, Zuloaga, and rAfny| others. This form of painting has the added^dJ vantage of using much more color within the s&nel area, and often "broken color," which started wiih] the French Impressionists. We also have what is known as "scumbling,1'] which is done mostly with the side of the biiusli] instead of the end, with very soft and beautifdl results. Very little of the effect of the straight fe ties of the brush is left in the paint Finally, t|crd is palette-knife painting, perhaps the loosest on all, which can be combined with the brush or] I ,1 treated as an entire approach. I have given a few examples of these tri3> ments here and elsewhere in the book, and I thinkj they will identify themselves to you. I believf allj of these are worthy of experimentation, 9 assure you that there are many good painters of] each type. Such techniques can be applied to allj tonal mediums. It is interesting to set up a sfflfl jeet and paint it in various ways, or even a p&toj and interpret it in many ways. Then the photo] works for you, not you for the photo. 120

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THL: "BLOCKY" TRHATMEWT

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PAINTING DOWN OR ACROSS THE FORM flBOVE,TMB OIRECTIQH QPTHOJTROKB/ 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"

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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 for a screen or halftone process to reproduce. When drawing for reproduction on cheap paper or newsprint, good contrast is necessary. For the finer papers more subtle gradation can 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 reproduce than the so-called line cuts. The exceptions are the Ben Day or Craftint screen, or a grained surface like the Coquille board, which really produces a series of fine black dots which will reproduce by the line cut process. There 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 halftone type. I shall make a series of subjects to identify the medium only. I suggest you try them out. It will not be accomplished in a day. Every medium, though conforming to the basic approach of the 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 sharp or soft edge. Learn to achieve a soft grada* tion of tone when wanted, or a crisp and blocky or sculptural effect. Learn to place accents of light and dark. That is all there is in any medium, but it is not as easy as it sounds. I think wash and water color are just about the most difficult mediums of all, but two of the most beautiful when handled well. It is odd that most artists start in water color as first choice* It seems to me that crayon, charcoal, carbon pencil, dry brush, and similar mediums, all offer much simpler opportunity to express yourself in tone. Then the step to other types will be much easier. But do what ytim in die way of mediums: they are all yours toperiment with, and to help you find yourself. I do not believe in isolating one medium working in that alone for the rest of your cart Proficiency in one helps in another. I believe pencil has helped me to paint, more than aas thing else. Certainly it is easier to do a good pi drawing when you can state simple lighflm shadow well in otheT mediums. Tonal medium of the drawing type all help mediums consider J as painting. But make up your mind that til whole thing 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. Such versatility is not nearly as amazing^ might appeaT, when the fundamental thirij applied. It is really quite thrilling to trai subject from one medium to another. Very; tile preliminary work may be done in dium, when the artist is working with good : mentals, then transposed to another, without .anj • conscious effort. I There is no harm in studying the work of

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CHARCOAL AS A TONAL MLDIUM ^■■•-H OujJiAH tHWio*. OS J'St'KMuKB QR.I/IOL. LS' • l'0"T IO*« OvrR >nt B£«I£*.Rl,30E0™'l» «t0. LiV m HCJ/U OF CftEY/ AND ft&RKS. PlCXOOT t'O-K Wl 1 B Hmcfba^'d ciuvcc&ai-i/Boi-a.intA*. «*o '■->■• .*.. midium. h is ko*t ettecTive HlA-H LIKiAH QUAI.il> 6/ «t COMQIXtC WITH TONE. II tHE WiWIX IIT(10«UM»D' HrO«&PK>*OCIUOM)C .OOX WHICH /HOULD «f AVCIDFO. M&XB IT4TOSHIW4WINC'

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GREY PAPER WITH OTHER MEDIUMS | 8E U>W_ P6NC„. CHAKacTER.ZATlONx TOR ^OVE SKETCH .

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CHARCOAL AND CHALK ON GRF.Y PAPER TON&L PROBLEM/ WOftKED OUT IN A PRELIMINARY CHARCOAL J7UDY MAY RE./ULT IN A MOftE. DlQetTAWCsj-pOHrAMEOU^ FINAL P&INTINc/l-r PAYJ-TOPLAM IT*

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CARBON PENCIL AS A TONAL MEDIUM (SMOOTH BRISTOL) CftV-QON PENCIL iJ~A Fft/T AMP PE.LICHTPUL MEDIUM FOR THE ILLU/TRATCfiL. WHEM IT iy R.OBS&0 ITOIVE^THE eFFECTOF */&SHB£ IT CAN BE UfBQ OH -TM0OTK OR GftAI MY PAPER/ W ITH AVAftlftTY OP erFECT/ THI/DRAWIWCr WAr MAPEONy>100TH /TftATHMORE BRISTOL WITH A £»XON CKAftON V90 PENCIL. THERE. A1££ AL/O THE FAMOU,TVWOLFF'cA^gU Pe.e4ClLr. CARBON PENCIL

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CARBON PENCIL ON REGULAR BRISTOL \*&W'

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CARBON PENCIL ON ILLUSTRATION BOARD CMAffOM WO CO ASTER THE FOr»*tHOLDlMC BACK ONTHEJHARP pftTAIL WO Wrti PlHB " IJ1 "MUfc WITW* | 130

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WASH WITH DRY RHUSH

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WASH AS A TONAL MUD1UM tfc

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WASH IS ONE OF THE BEST MEDIUMS FOR REPRODUCTION WCAKINC PROCEDURE FOR WAJ*H DRAWING I r 1 7°^** Aopdpovq* dry t

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OPAQUL WATER CO! .OK AS A I ONAL MEDIUM

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THIN BUCK-AMJ-WHTra OIL SnLIMBU 1 .

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HOWARD PYLE Fortunately I am able to give you, in his own words, the general theory of approach used by Howard Pyle, as it was given out to his students. It has been copied and handed down from artists of one generation to another, I must frankly admit that it has passed through many hands, so there is nothing to verify its absolute authenticity, but in substance it is as Pyle himself wrote it down. My copy was given to me some twenty years ago— I cannot now recall by whom. Since Pyle has been revered as the "Father of American Illustration," and since he gave this out freely, I believe it is proper that it should be recorded permanently for the sake of the craft. There may be very few, if any, other existing copies by now. There are but few of his students living. Unless they likewise set down his message, it could be lost forever. I feel fortunate in being able thus to pass on his words, and I assure you that you are equally fortunate in having them. AS TO ELEMENTARY INSTRUCTION AS TO COLOR AND FORM Light— AU objects of nature are made visible to the sight by the light of the sun shining upon them. The result is that by means of this we see tlte colors and 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 do not enter the property of shadow. For shadow is darkness and in darkness there is neither form nor color. 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 sun is obscured by that object, the shadow which results is more or less black and opaque, being illuminated only by the light reflected into it by surrounding objects. By virtue of shadow all objects of natureuK sume form or shape, for if tlxere were no shadow all would be a flat glare of light, color and-tBt tare. ♦'. , But when tlw shadow appears, tlte am feet takes form and shape. If the edges of an object are rounded, then the edges of the shadow become softened; if t J edges of an object are sharp, then tlie shadow is correspondingly acute. So, by means of the stfm ness or acuteness of the shadow, t\\e roundness ot sharpness of the solid object is made manifest.* Hence, it would follow tJiat the province of shadow is to produce form and shape, and-fhat in itself it possesses no power of conveuinjjB impression of color or texture, I have tried to state these two facte because they are the foundation of all picture making: for in the corresponding mimic separation of light and dark, the mimic image of Nature is iniffl manifest. So the function of all art instruction should be to teach the pupil to analyze oridjw separate the lights from the darks, not t echnicmt but mentally. That which a pupil most needs^ the beginning is not a system of arbitrary ri$ and methods for imitating the shape of an ohj that which he needs to be taught is the habit of analyzing lights and shadows and of representym them accordinghj. HALFTONES 1* Halftones that carry an impression of ture and color should be relegated to the provir* of light, and should be made brighter than flt| appear to be. 2. Halftones tlmt carry an impression of forM should be relegated to the province of shadct and should be much darker than they appear! be. This is the secret of simplicity in art. The tion might he represented thus: 136

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HOWARD PYLE LIGHT pL^t'exture, quality, color) Higblighr-TintHalftone S SHADOW (le. form and solidity) Halftcne—BeflectionS 2 Shadow 1 K$,: as I said, the foundation of technical M And, untU the pupil is entirely able to sepame those two qualities of light and shadow from m another in his perception, he should not be SpancM beyond the regon of elementary inMictMr^no matter how clever and "fetching* hfcwot&matj appear to be. And, during this prog' tbs of instruction the pupU should be constantly mouraged with the assurance that what he is ^K&not mere drudgery but is the necessary tmosss by means of which— and only by means htchrhe may be able to manifest the beaumi thoughts that lie dormant in his imagination. I may < say here, in this connection, that the jmils who come to me are always so confused

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COMMENTS ON HOWARD PYLFS THEORY OF APPROACH Howard Pyle is dead, but he left this treasure behind him. It is perhaps the greatest bequest, 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 influence upon American illustration. If it may seem to the young artists of today that illustration has taken on different trends, let us understand that the difference does not lie in any change of the fundamental thoughts he has here given us. The thing; be has observed and set down for us are without question basic truths, and it is true that good pictures can be built in 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 difference between his work and the present trend, the difference lies in changes in concept or presentation rather than in changes of working knowledge. In our day a single head against a white or tonal fiat background may be construed as an illustration* but as such it is simply a short cut to effectiveness, with most of the infinite care, the greatness of conception and execution, characteristic of his own effort, virtually absent. There is not much latitude left for the fullest expression when all the finer qualities of composition, tone, and pattern, light, color, and texture are deleted from illustration. I cannot believe illustration can hold much expansion, progress, or betterment without them. Those illustrators having the ability to express truth in beautiful terms of tone, color, and design will always be the ones sought out, and will stand head and shoulders above the lethargic camera copyist, or the mere imitator of his neighbor's product. Our interest in Howard Pyle is not for his name or personal greatness alone, but also for the great things he stood for. For sheer draftsmanship, keen insight in character portrayal, the sense of the dramatic, interpretation of mood, and the ability to set his figures into an expressive and convincing environment, it must be honestly admitted that there is no one to equal him today. None of these qualities can be dispensed with without detri138 ment to the craft, any more than it would be ™ sible to omit the basic ingredients of, say, tfjfl piece of metal. jl Lack of space, pressure of production time, the need of the startling, the different, of shock* producing effects, have had their influencejM introduction of the candid camera and higher; sensitivity of film, allowing the camera so tW more latitude, has also had an effect BubiM product is no better than his, not even as Such changes have not lessened the validity of his principles or their value to the artist. In^ad, the good illustrations today are his principles walking around in new clothes. Howard Pyle's mind was so analytical, so easily capable of grasping truth, that his theory as set down probably appeared completely obvious to him. Yet I find that in most cases it is difficuH grasp the bigness of it in actual practice, even to hope to see with anything like the understanding he speaks of. I admit I have read it perhaps a vM dred times, at various periods of personal practice, and each time there seems to be a new glim- I mering of meaning which comes out of the application I have made of it Perhaps you will get I faster than I. For those who do not, I offer here my guidance as to what was his full intent and meaning. My interpretation is, of course, subjeeffl argument, and I urge you, if you believe it inoj rect, to make your own. Or, you may q: whether it needs interpretation at all. But hay| worked with students, I know the danger suming that facts which seem quite obvious t you as an instructor, with a background of rience, will be equally obvious to the studen fact, he may even believe he understands his own effort proves he does not. The da of a truth comes with its actual application, the day it is heard. And at enlarges in m with self-discovery of its merits in its app His treatise begins with the statement things are made visible by the fight of the i shining upon them* This is not meant literally, M even a cloudy day is lighted by the sun penenS ing the white clouds, but the effect is totally ffl I L

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I COMMENTS ON HOWARD FYLFS THEORY OF APPROACH m that produced by full bright sunlight. (And |toce this is a different quality of light, the Ireati^nt of light and shadow will be correspondingly characteristic. These statements of his we !yze. Again, he assumes that we are inteltgenf|enough to reason that any light produces g on form, whether it cotnes from the sun, I a epdle, or a modern electric bulb. He is speakg truth in very general terms, and we must WcnE* to light its various qualities without taking Btwexception to his statement In &e next paragraph he states that color and tatwjs do not enter the property of shadow, JTablitoo literally, that would mean that all shadB lb devoid of color and texture. Then all j^danrc would be neutral grey or black and perfatly Hat To prove he does not mean it literally, 1 sp§&ks of reflected light, and admits that light fas f|e property of color and texture. Therefore _Ked light can project color and texture into 8k shadow. What I believe he wants us to under* f&nikclearly is that color and texture are most j&riUisnt within the light, and those qualities must * reduced or subordinated when entering shadow since the main function of shadow is not to tttnvey the impression of color or texture, but privily to define form. My contention, then— vfcicixwiH be taken up later— that color is reduced I intensity in the shadow, is backed up by Howmd Fyle s own theory, winch should bring conviction to the reader. The local color, in reduced intensity, is obviously within the shadow. A red dress is red in either light or shadow, but admitBis brighter red in the light Also, that shadow may be influenced in color by the color of reflected ras for example the blue of die sky. Howard 1- J does not question this in his- own work, and k asks us to make a similar analysis. Since the visual qualities of color and surface texture are subject to the nature and color quali^f various kinds of light, it follows that both and shadow are dependent upon light and ted light, plus their color influence on local /for the pictorial color we interpret. The or orange light of the late afternoon sun will present a very different color aspect to the same landscape than wfll midday or a grey day. All things within that light will partake of and add to their local color the color of the light. The soil that 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 shadow, that earlier appeared blue-green against blue shadow. I believe Pyle intended that we analyze our subject for these truths and abide by what we find to be true. He would, I am sure, encourage us to show all the purity of color within the light that is consistent with truth, and would want us to keep it in the light where it belongs, I am equally certain that he would have us see shadow as it appears to us, and consistent with the color as we see it. Nothing can so dull our eiTort as lack of vision coupled with blind adherence to formula. I would say to any student; If you cannot see that which is prescribed in a formula, you either are not ready for it or, as far as you are concerned, formula is worthless. For your vision and inteipretation come ahead of anything else in determining your place in art What you do in the beginning confirms neither the right or wrong of what you stand for. Your subsequent development and perception will determine that. It is well to give careful attention to all instruction and give it a fair trial. And it is well, also, to give your vision every chance, understanding that you do not read* a solution at the outset of any problem. You are not in a position to condemn instruction without trial. Pyle tells us that halftones belonging to the light should be painted lighter than they appear to be, while those in the shadow should be painted darker, This is perfectly true. Recognizing the limited range of value at our disposal as compared with actual light, we see that it is not possible to set down the full range of lightness to darkness that may appear In nature. For the pictorial effect it is 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 they may become hopelessly lost in our short 139

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COMMENTS ON HOWARD PYLE'S THEORY OF APPROACH value range. The subject can easily become "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 natural truth. Experience convinces us that he is right. If you do not believe this, try it for yourself. The overall relationship of light to shadow is much more true and important than the particular 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 scale, nor the darks low enough; the effect is dull and lifeless. It therefore lacks proper contrast of light to shadow. There is only one point he makes that I have never been quite able to agree with. This is that shadows are more or less opaque, not being in full light and lighted only by reflected light. My contention is that just the opposite is true. The lights are opaque and the shadows are transparent. My argument is that anything in the light stops the light and reflects it back at you. The only time light is transparent is when it can penetrate the material, such as water or other liquid, glass or other transparent material. We cannot see past or beyond the light on opaque objects; our vision lor ■ stops at the lighted surface and rests opposite is true of shadows. We do see ows. The shadow is actually in front of having been cast by a turn in the form orj effect of light. One is a perfect ' other, any way you take it But though the illusion of mystery and darkness, inde|m of surface and form lying deep within it, they J still the only transparent areas withm a?|^H How I wish, Howard Pyle, you might speak to J on this point! I cannot believe that, with the g«l mastery you showed in handling the trausparenj of shadow in your own work, you intended us; interpret "more or less opaque" as meaning transparency can be completely omitted. &« not say "opaque," so at least you leave the doJ open-which in itself is characteristic olyal 3 greatness. ' The opportunity to study Howard PyW3[ is limited, since it is becoming increasingly di cult to find. Most of the original worker bought up privately, and even his reprod' have been purchased for private files. My i may not have the privilege of being familiar] it. I 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 idea of the excellence of his tonal arranj Perhaps these may suffice. I apologize for his work, even roughly. 140

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TONAL SKETCHES OF SOME OF PYLE'S PICTURES 141

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THE RELATIONSHIP OF TONE TO COLOR Before leaving the subject of tone and getting into color, there are things of importance to be considered. First is the relationship of tone to color. If you will think of the black-and-white value scale, then try thinking of a color arranged in the same manner from something as light as we can make it down to a value almost as dark as black, you will understand what is meant by "value/* or is sometimes referred to as "tone value" in color. Later on I shall attempt to show you exactly how such a scale in every color can be accomplished. For the present, let me say that it will be more than a matter of taking a color and lightening it with white. Color starts in the middle of the value scale, with the strongest intensity, being diluted as it lightens, or mixed with a "toner" to make it relative to a whole scheme. Then to darken it we start again at the middle of the scale, and add black, its complement, or some additional mixture, to lower 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, with the pure dark blue in the shadow, color would be easy. But we will find that this is not true: the pale-Hue dress is also a pale-blue dress in its shadow, the value being lowered by some means which will not destroy the "identity" of the original colorwill not make it look as though the dress might have been made up of two shades of blue. 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 shadow as it is in light. So we cannot paint it pink flesh where the light falls and orange flesh where it is in shadow. If the shadows are lighted up with a warm light, that is a different matter, for then all the shadows will be so lighted throughout the subject. Shadows can be either warmer or cooler than the light, according to the conditions we are working with. The point I am trying to make is that we cannot possibly put color into a formula of always being so-and-so. Every color subject imposes a set of conditions of light, color, and reflected color 142 which must be adhered to if the result is to good. Outdoor color is different because of ent influences, such as the sky and the sun, being a source of color and affecting the su much differendy from the way the same sub would appear indoors in a cold light, or art light. Color* then, is not something in a pot or pu to be lightened with white, as can be done w 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 it better in color just because it is Lack of understanding of the foregoing is exa what makes so much tawdry and eheap-1 color work in our magazines. It cannot be b upon the engraver; it must be dropped right inJap of the artists, where the error truly be! Most of the bad effect comes about from the ing" of color when the painter has not the fai idea as to what the fundamental color truths r lool. t are. The Form Principle is built on values, at cannot get anywhere without them, even in When painting in color from a black-and-whit photo, the fundamental values that are in the photo must somehow also be got into the color. | do not mean that the camera is completely ac rate as to values, and 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 "filllights" to bring them out of their inky blackn* When photos are taken outdoors, the valuesj fairly true and light as they should be— with proj er exposure and printing, of course. If you alreac have a preconceived theory that flesh in the Ik is so-and-so and that shadows are some othei mi ture, forget it at once. Flesh can be painted fr almost any palette so that the value is rightJW the color consistent with the surrounding I ments. The best way in the world to learn values well as color is to work from life. If you are wor

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ing THE FORM PRINCIPLE APPLIED *-*-* pah* *. We, yo„ „ „ ^ ^ ^ r ^ ^ fee squares. That is what fa meant by the relationship of things to one mother. Now appose the three squares were three cubes of the same valuerelationship* the three paper squares. You would then have to take that relationship into light, halftone, 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 between 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. In other than a sing e source of light, our cubes could get to be anything in value and all mixed up for relationship. I„ the same way> so ^ heads ^ dothes and anything else in our pictures. You may be certain that relationship of values vM be more 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 will never leave it), try to understand that form is truth of tone and nothing else. Good color is 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 in color. You will thus understand what I am talking about better than through any language at my disposal. You may beheve you are good in color and also in value relationships, but when you really begin to see these dungs as ihey are in Nature, you will tad many errors in your work. We all do. Correct values can make a picture have that "quality of existence." ' "'Mlygoingtohave to take those things before £>ps of values, those in the light as opposed m the shadow. They must not so "overdo get mixed up and lost, becoming neither - the other. The lights must hold together 'ole group, while the group of shadows should be stepped down" enough so they also stem to hang together. Every bit of the form should instantly identify , Mm belonging to one group or the other. Conner your halftones always as a part of the light 1 Pa the planes between the brightest light | the edge of the shadow. If you let those h3fWB get too dark, you cannot hold the whole »;.l'|* the picture together-as opposed to the «1|| effect of shadow. The same is true of the for the over square of paper on a board. Next to it you pita grey one two tones darker, and a third two tones darker than the second. Now, you can put «"Wd in any light, or turn it into shadow, but 148

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PREPARING SAMPLES IN TONE I have tried to cover most of the tonal mediums, and die various effects to be had out of each. However, I am limited in these to my own approach, as you will be to yours. If you will really make the effort to work in as many of them as possible* you will find that what you do in one really does help you in another. You will eventually find yourself doing the same things in any medium— that is, you will put into each all the understanding you have of values, drawing, and other qualities. Your work will take on an individuality all your own, which will be evident in any medium. There is room for good pen-and-ink men, and I am quite sure that this medium is coming back very strong* There is not half enough good charcoal work, or carbon-pendlwork. There are only a few really good black-and-white-wash illustrators. Black-and-white oil will always be practical and desirable. Perhaps you can work m a combination of mediums to produce a new and unusual effect. Dry brush is one of die coming mediums for newspapers as well as magazines. One thing I would like to impress continually upon every reader of this book: There is no especial way that illustration is supposed to be done. Occasionally an art director will drag out another man's work and say to you> "Now, this is it/' After things are all finished and approved, it is very easy to say, "Do it like that!" But if you do one that is liked, someone will be telling the next fellow to do it your way, I repeat: There is no better way than the way you do it best, and that is bound to be yottr way, with your own taste and ability at work. In the preparation of samples, do not base your work on pictures by other artists. There is nothing wrong in working from almost any photographic copy for samples as long as these are not to be sold. The magazines are full of material which may be used in this way. But it is better to take your own photos, or use your own model, and work up samples from these. If you look at nature you certainly can call whatever you do your own, and it is by far the best policy. A few good samples will make a better impression than a lot of mediocre ones. Try not to few two samples very much alike. Two or three fl rious types of heads are enough. They will show what you can do. Babies and children alwa)ijj make good samples. Most art directors have a hard time finding artists who can do them well Don't make great big samples, with large pack ages to open on the art director's time, Carry i portfolio that can be opened easily by untying not something that will be done up in yards o| cracldy brown paper, to clutter up his place. Tliaj is irritating. If you carry canvases, have theffl framed lightly and neatly. A single piece of eorro gated board tied around them is best. For subjects, try hard to figure what yourpiotf pective client would be most likely to use. School work, unless applicable to his regular needs, wii not interest him, especially life drawings. Donl take minute and careful pencil drawings around as samples. Pencil drawings, unless practical fix reproduction (meaning good blacks, not«co shiny ) are bad. However, pencil drawings sufc mitted as layout or compositional work, or even roughs and sketches, are excellent. But use acbjj fat black-looking pencil if you want to impress him. The work should look as if it were Sane easily and fast. If you use a medium that rubs, be sure it is fixe^ or put a sheet of tissue over it* Mat your sample drawings and make them as neat and clean as jwtf sible. Have your name and address on the back of every sample so that if an art director wishes h bold it, there will be no trouble in finding you, I in returning it I have seen a man lose out cm an order simply because the director forgot who he was and therefore could not look him upvRoat expect him to remember names; he is too biis( with everything else. The best market of all is for good drawings i girls. Character subjects are also good. If you lib to work with square or compositional subject include some as samples. If you feel you don't do them well, stick to heads, figures, and yi£: nettes. If interested in still life, draw some food, or 144

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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 eyeglasses. A gipd procedure is to select an actual product that is advertised and make your own version of an advertising illustration for it. You can lay out 4e wfiole ad as a rough, using the correct name plate or logotype. It looks businesslike to an art director. La^r in the book we are going into the preparation of work for the various fields of illustration, [suggest you finish the book before you get too eager ito get into actual work, if you are not already in it. I ha>e always believed that when you are in yae phase of the commercial type of work, you iboulcl have a weather eye out for the next. Perlaps you are already employed. Keep making >etter and better samples, no matter what you gding. They will come in handy and may Ipou along right in your own place, by le tting ur employers know what you can do beyond pour regular job. If you want to be an illustrator, ^rain be working at it all the time in your Rtime, going to school, experimenting with ediums, practicing all you can. If you have good ibits ready when opportunity knocks, you ZO up fast. If you have not taken that extra you will not be thought of as being ready g more than the job you are doing regavc y men stay in mediocre jobs because they really done little or nothing to get up out . Your samples are salesmen. If you have ed down at a place, «how up again in ths with some new samples, showing your samples around, you find y cause little favorable reaction at the first places, better get rid of them and do some es. Good work is liked, and bad work disIn almost all places. Do not keep showing mat has frankly been considered bad by a esentative art buyers, g in is largely adaptability. Granted you ility, it is a matter of adjusting that ability to a purpose. That will be true of everything you ever sell. I am sure that most young artists, if they really thought about it, could be much better salesmen than they appear to be* If you wished to sell a man a suit of clothes you would not bring in an ice box. But I have seen aspiring young artists take "a yard of pansies," or subjects equally inappropriate, around to all the important art directors. There is a place for calendars, fashion drawings, posters, dramatic illustrations, pretty girls, foodstuffs and still life, children, or almost anything you want to do. But make it fit. A good sample can be wrong or right according to where it is shown. A bad sample will never be good no matter where shown. Try not to work too small. Make the sample as impressive as is compatible with convenience in carrying. 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. Work on good materials, good bristol or 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 artist need not worry about his surname. If you happen to have one that is very difficult to remember, Adolphus Hockenspieler, for example, adopt a simple one that is easier for everybody. Perhaps just a part of it, like "Dolph Hocker/* Many artists use a single name, usually the surname, for this reason. The point to remember is: Do everything within your power to simplify things for the art director when you approach him— your choice of subjects, your work, your attitude, your interview, and even your name if must be. Above all, do not "talk up" your work or your ability. He can decide about that for himself. You do not sell your merits— they sell themselves. Now let us look at color. 145

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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.

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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."

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COLOR us lue must PttesENiiNC my readers with the problems of ftor, Ibelieve a new approach is necessary. So in ray own experience I have found that color Jiiajy approached in the sense of something ichedi as some sort of special science. The difIty of such an approach, as far as the student ned, lies in transposing the theory to life, the things about him, and applying Hectical way. We know that aD pictorial roach: is subject to the basic truths concernton| light, and shadow. If color is also subject H natural laws governing tone, light, and idow|which it unquestionably is, then the only ilori& approach to color which can be of real incorporate these principles. In fact, color without encompassing its relanot only to light and shadow but also rect of atmosphere and reflected color, is Lus dangling in mid-air, for these things ery color that we set down pictorially. so subject to natural laws of light and ig influence that it cannot be consid:ately as a matter of science, temperataste. To do us any good, the study of t be closely allied to all other fundaof art. It is so much a part of tone values as to be inseparable from them. Color finitely a part of the Form Principle, may be beautiful to our esthetic sense, le when placed within our picture. Pica color is beautiful only because of its " ip to other color, and such relationship p understood. So to pick a color from an •ag|eolor chart has little practical value, for odds are that it will be totally unrelated and orially false. CbIo|can be bought in many hues and shades, it without much real value to us at the outset. fe test first understand that the basis of all te color we shall ever need lies in the three pri^m red, yellow, and blue. We start with these 149 in their purest possible state. To these we add white to lighten and produce tints, and black or other mixture to darken the pure colors. By the intermixture of red, yellow, and blue, coupled with black and white, it is possible to produce almost every conceivable color that will stay in harmony within our picture. Basically, red, yellow, and blue are used to produce every color we set down, even to the earth colors, burnt sienna, raw sienna, and the ochres. 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 f our^color halftone process. So our tints may not be reproduced 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, where no white is used, the reproduction will be more exact. The 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 and brilliance. Adding black and white we have our full color and color value scale. Beginning with the pure color we can add * white to produce a series of tints of the pure color, from full strength to palest tint Beginning with the pure color we can carry the color down to darkness, by adding black or by mixing with the complement, which we will speak of later. This is where our approach will differ from the

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ALL COLOR IS RELATIVE FAL/E COLOR THE /HADOW COIOR IN NATURAL LICHTCANNOT BE A COLOR WHICH COHTAltif NONE OFTHF ORIGINAL. HOWEVER. ALL /HA DOW l/J~UBJECTTOTHtr INFLUFNCE OF OTHER COLOR THAT MAY BE REFLECTED INTO IT AND TUUJ MIXING WITH THE ORIGINAL COLOR. /O IN THE CUBE ATTOC* A 6L0E LIGHT REFLECTEO IMTO THE/HAOOWWOULD PRODUCE A GREEN. TRUE WITHOUT OTHER COLOR l"FLUENCE,THEJHM)OW WOULD THEN BETHE/AflE COLO(l(OARKER)BurALJO REDUCED I N IHTEN/I T Y ey \r's complement orgrey. TO SURROUNDING INFLUENCE usual one. We will set about to carry any col through all the steps from the lightest light utter darkness. This is something of real nceesril lo the student, but which often, lo my knowledj has been grossly ignored. So we come to ourfe axiom. A color is relative first to the amount light sliming upon it which gives it lightness M darkness. By way ol illustration, we may have girl in a yellow dress. She may be in a bright lid or a low light. She may be in sunlight or shadoi Therefore what we use for the color will havel come out of a scale of light to dark with due CO sidcration of all other color influence. The dresi not just yellow but tones of yellow grading upai down. Tf she were in the shadow, with the bit light of the sky as the only source of light it could not possibly paint the dress with onlyr* yellow. So we have another axiom. Color is rd( live tu ull surrounding color Influence. Suixkb we have color in a warm light. The warm cola get more intense, and the colors on the cool si tend to become more neutralized. In a cool lid the tendency is reversed. Nature uses her thre primaries (u product grey. Yet by the same jiroc

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SHOWING MOW BRILLIANCY MAY BEADOEO BY IMTENSI TYING THCCOLOR ON THE EDGE OP THELIGHTAREA NEXT TO THE ZHAO OW. 6v mixing ltano/mdw LT UH 5 MOW BY INTENSIFYING HPT. LT MFT SHADOW COLOR IS MORF. THAN LOCAL COLOR ;i shadow without some vellow in it. On the oilier hand, a pink cube cannot have a red shadow, since the local color must be consistent in either light or shadow. No coior in shadow can hate brighter color intensity than the same color would} have in the light We cannot change the identity of the local color. In our chart yon also find a black-and-white scale. If in your black-and-white copy the arei you intend to paint is of a certain value, then the color should be matched somewhere close to that value, or you will upset the natural sequence of] values which the light gave to the units in your copy. The color in that instance may be of voiir choice but the value is more or less lived to he in scale with the rest of your picture, and should lie so considered. The intensity relationship of light and shadow should be planned as carefully in color subjects as you would in black-and-white renderings. Color can be made to fall into "pattern." A certain value can be repeated with great variety, holding the value but changing the color. If the color in the shadow cannot exceed i brilliance the local color as seen in tlie li^ht, (lie it follows that the purest and most intense colors; belong to the light. Note the black line in the chart, dividing the color range into light and shadow, So die axiom, all colors in their greatest intensity or tints of the pure color should ho tefe-l gated to the lights and halftones. When reaching I the shadow these colors are reduced or greijed,or\ the color changed by influence of other color\ reflecting into the shadow. It is 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 on your palette. In order to reach the high value we may be forced to lighten the color. Yet on the next planes, which are the halftone planes, color may be more intense, being still in light. So then, the halftones may contain the most brilliant and ' pure color. Color can greatly lose its [oca! color in j highlights, which become the white or eo!or ot the light source. Working directly into or against the /HOWING HOW DIFFERENT WHENTHE HALFTONE 1/MftDE BRIGHTER COLOR RATHER THAN BV /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 PRODUCE ANYTHING BUT DULL COLOR. 6UT SOMEHOW MO/TOFtj/JTILLDOIT. PROVtNGTHE SAME COLOR APPEAR/ TO BE BRIGHTER AGAIN/T AGREYEDCOLOP,. 152

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COLOR IS STRONGEST a greater brilliancy to warm color. It subtracts | brilliancy from a cold color. Lack of light lowers | the tonality, bright light raises it. We call the original color t»f an object the "local" color. We : paint local color only in neutral light. We must look upon our chart as local or unin| fluenced color. The shadow colors arc reprcsentatire ol uninfluenced shadows-shadows that do not have any other color reflected into them, in a jatutral north light your shadows would come [quite close to those represented, provided they |were not otherwise affected by other influence. This chart at least will give you a practical basis by which to approach your subject. If you arc attempting lc paint in color from black-and-white ■copy, il will help a great deal. Rut in the back of lycur mind keep the following truth. AW colors bel come a source of reflected color when in light and ms&l reflect themselves into lesser light. To this we adil another, All colors in shadow become rcciuiWt of other refected color and will change accofdinghj. This means that you must consider each plane of the shadow area, and whether it | would catch the color of something else. This not I only makes the units of your picture seem to belong together, it also produces harmony between f jour color masses. It brings us to another color truth. Any two colors will be harmonious when | oneor both contain some of the other. That is why ourspectrum is harmonious all the way around. Atmosphere has its effect upon color. Colors as i they recede tend toward the color of the atmosphere. On a "blue day" they get cooler. On a i^rev day they become greyer. On a misty day they become tempered and finally lost in the atmosphere. Color on a cloudy day is much different than on a sunny day. But whatever the condition, nature lends some of its atmosphere to all the colors and they thus become related. We will discuss later how you can take one color or influence and mix it through all your colors. We come to another truth. The local color should never completely lose its identity in the thadow. For instance, a yellow cube cannot have IN THE LIGHT FAL/E COLOR THtf l/NEITHER A PINKNORAREDCUBE ON LY A TRANSPARENT MATERIAL COULD HAVE COLOR LIKE THI/( PLA/TIC, GLA//.GELATINE, ETC. as a /olio /uB-rr/Nce ■THE COLOR IS FA L./E. THir IfAPINKCUBE COLOR CANNOT EC PURER OO /rROMGER IMTHE/HAO OW UNUzX/ A/IMILARffHORHA/OCC* REFLECTED INTO THAT J"HADOW,CAUJiNC AUOITJONAL BWILHANCY. THI/irAREDCUBE. THIJ"AMDTHE PfMKCUoE LEAVE NO DOUBT AJ ro IHF COIOOOFIha/o(.io. 151

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LOOK FOR COLOR ON THE EDGE OF THE LIGHT J 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 color is apparent, Jjiigh not as bright as it would be with the light dus. is one of the best ways in the world to brilliancy of color: Keep your color most on the edges of the limited areas, wJtere wges into shadow. This seems to cast an aura aditional color over the whole lighted area. Jtaking a local color of the light and rubbing jto 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 mud, reduced color in the shadow. This is one of known and least practiced truths, we come to a surprising fact. Most of the color of nature? toe find* is not pure color, from brilliant flowers, and even there to e extent, we find that a color is tempered with color,, is greyed or influenced in some way tit is not an even flat color throughout. That our purest color for edges, accents, and manipulation to enhance the softer greyer of nature. For this reason, we cannot paint ire from a tube or a pot We must relate our f- by intermixture, subordinate or intensify it is most effective. In fact, we cannot sim~ P^copy in co^or- We must, to a large extent, creiilgeolor through the truths nature gives us. An of color is much more true and effective if it tes some of its next-door neighbors. For ee, rather than a flat blue, some of the blue and blue violet next door can be associated, d of a flat yellow, some yellow orange and green can invade the flat color. This is anbit of painting knowledge that can enliven ■work. Since nature is largely grey, don't be of natures greys. Brightness is relative. A will be brighter against a greyed color than against another bright one. Fine artists say t the greys make the picture, meaning that j? greys are the necessary foil for the bright 153 w 10 colors to look bright against Grey colors are **tonal colors," I have stated that the pure colors and pure tints are to be a part of the light. That is true, but it does not mean that aD color in the light is pure color, since not all local color is pure color. All our tints of the pure colors can 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, an orange pink, a lavender pink, a brown pink, and so on, and each may be made to run the scale from light to darkness. A dusty pink dress may have to be rendered all the way from bright light to deep shadow and still 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 evident in the light, this being carried into the shadow and at the same time being lowered in tone by greys or neutralization. Since pigment is already limited in brilliancy compared with transparent or projected color, tones that are grey in the light offer the biggest problem. There is only one remedy used by most good painters to keep their canvases from getting unwholesomely grey, and that is, if the color in the light is grey or greyed, then the color toward which the grey leans may be intensified in the 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 mere black-and-white grey, will take on more color than the light, being warmer or cooler. Thus the shadow on white might lean toward the warmer tones of green, yellowish or orange grey, or lean the other way to the blues and lavenders, according to the quality of the light and environment, A warm grey can thus be painted somewhat cooler in the shadow, or a cool grey slightly warmer. This phenomenon seems to exist in nature, possibly due to reflected color which is not always obvious. At any rate, it adds life to painting.

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PAINTED WITH YELLOW AS A "TONER" 160

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THE LIMITATION OF COLOR IN PIGMENT Let us understand that, after all, color is the most lenient and unformulated of all the fundamentals. You have greater liberty here for your individual feeling than in other departments of your craft Good color cannot be achieved without intelligent approach; at the same time, good color, so long as all other things are well, such as drawing and tonal values, may be achieved and still be wholly apart from literal fact. Indeed, if the value is right, it may almost be stated that the color will not look bad. It is values and tonal relationships that spoil more color than anything else. Color is just as certainly correlative of tone as tone is of line; all three are one and a part of one another. All the visual effects of nature are seen as color or as greys that can be produced by color. Black and white is mans invention, and simply represents the color s value without the color. Seeing without color is either lack of perception or actually defective vision* Since light has a greater range of brightness and darkness than pigment, then color also lias greater brilliance in life tJian we can reach in pigment. Therefore we must work within the value limitations of pigment, or between white, color, and black. There is nothing else we can do about it. But the limitations are not as bad as they seem, once we understand what it is all about. No color can be made brighter than its fvR strength. It can only be 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 upon it Purity of pigment is not the whole objective of the painter; tone and harmony come first. Vitality in painting comes from value relationships, not the untouched rawness of pigment. Contrast between strong colors cannot be the whole aim, for contrast is greatest when the strong is pitted against the weak. It is natural to assume that the picture containing the largest number of colors will be the brightest picture. Unfortunately, color does not work out that way. The reason is that all colors com154 bine to produce white in light. In pigment produce grey or brown. So colors tend to neutr ize and dull one another unless considered ( I ) value, (2) 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 dead. In the second instance, pictures built a, color sequence can hardly go dead. When color thus related it cannot neutralize itself. In the instance, the picture remains basically alive reason of complementary color. A color cannot dead against its complement. (See Pages 164-1(8 for fuller discussion of related color and comp' mentary color.) It is when a painting becomes a hodgepodge values, colors indiscriminately placed against another, all vying with one another for attenti that the whole brilliancy is cut down. You be sure that one primary plus its neighbors, opposed by its complement, will never go d These, supported by greyed colors, with a and white introduced, will always be brilli is a safe rule not to have all three primaries in pure state in any one picture. Tone one or them with some of the other. Grey one by addin g] a little of its complement (a mixture of the othei two). Do something so that you do not haVu large mass of each fighting with the others. Tffl do fight, because none of the primaries in thei original state 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 over undertone. In the four examples sho yellow, a grey blue, a red orange, and a grifl undertone were used. This principle applies only to mediums that are wet, so that as we addtfl overlaying colors some of the undertone become* mixed into them. This produces an "influenced all the colors, drawing them into relationship and harmony. It is an excellent plan for making; thumbnails and small color sketches, and and beautiful way of producing harmony, any color may be painted into the tone, so long as 1

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RELATING COLOR BY TONAL INFLUENCE ICOLOR PUNTED INTO A WET YELUDW UNDERTONE SHOWING INFLUENCE QFA BtU^-aREV UN0ER-ONE HED OR4NGE U/EO A/ iN UNDERTONE lit takes up some of the undertone. Other good ! efftcts are obtainable with dry undertone iF some Hme undertone is allowed to show through. [ When we speak of color as "related" we mean I that it actually contains some of the pigment of the ■ color or colors it is put with. This is like a Mood ■ relationship among humans. Green Ls like the son fflfvrllmv and blue, being a half mixture of each. ■A blue green is like a child that has taken the pre155 COLOR PAtNTEO INTOfi WET CTRE.EN UNDERTONE dominant characteristics of one parent; yellow green is more like the other. When a group of colors all contain some of one particular color or "influence," then it is like n group of more distant relatives. The spectrum is like a family with three parents. Yellow as the father would have the orange children from the red wife, and the green children from the blue wife. Rather complicated, but so is color.

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TONING THE SPECTRUM OR PALETTE PLU/ YEILOW * PUUJ- BLUE PLU/ OrtEILM Hete is another way to relate all the colors of your palette. Choose one color of the spectrum. Mix some of it into every other color. You can make a very delicate mixture, or up to about onethird . The more you add, the more you are cutting down the brilliancy of all the colors which normally contain none of the color you are adding. But your color will all retain its "identity," though brought into closer harmony. The above are about the limit of mixture. Note in each group one color stays pure, and so will the colors which cunbfl the toning color. The opposite colors change.! have painted four heads in four schemes to show tliat it is possible to paint ilesh in any influence Stick to your scheme when you start it. Wlicnifi all done, you may add a touch or two of pure cold outside the scheme if you arc so tempted BuU more often you will lite it better as it was. V«yj beautiful color may be arrived at in this mannm My examples are only a hint of its possibilities.! 158

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FOUR SUBJECTS IN "TONED COLOR" RED TONER ORANGE oluc ton er<

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DON'T BE AFRAID OF THE GREYS OF NATURE L5S

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BLUE GREEN, YELLOW, AND COOL RED AS A SCHEME

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COLOR CONSIDERED AS "TONE" IN ITS NATURAL RELATIONSHIP

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COLOR, ITS FUNCTION AND CHARM Color is very much like a bank account. If you dip into it too 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 subject to get what he thinks of as "full color/ He thinks in terms of so many pans or tubes of color, using this one for this and that one for that. If he runs out of colors then he goes and buys some more tubes containing something still different, like a tube of magenta, maroon, or brown pink. Color is anything but that. I shall try to point out that color works out in just the opposite manner. The most colorful and beautiful paintings often come from the restriction of color, rather than the profuse application of it. Let us understand that the color in the spectrum is really white light broken down into its elements. Things have color only because certain surfaces have the power of absorbing some of the elements, and reflecting back the others. Were there no color in light, there could be no color in anything. True enough, we can buy colors; but these are pigments, which have in themselves such power of absorption or reflection. Take away all light and they are colorless and, so far as we are concerned, could all be so much black. So to produce good color we go to the fundamental laws of color, that each of the primaries is an element of light itself. Since we cannot see color beyond the spectrum with the naked eye, such as infra red, or ultra violet, color is limited to the three elements that we can see. In pigment, since it is not actually light, but matter, the intermixture of red, yellow, and blue cannot produce white, as does light, and so produces sediment. The colors being neutralized by one another, the result is darkness, either in greys, brown, or black. The tendency then of pigmentary color m mixing is to reduce in intensity the three primaries. The secondary mixtures of green violet and orange are not quite as strong and bright as the red, yellow, and blue of the primaries. The third mixture, called the tertiaries, becomes even less intense. Now begin to add one color containing two primaries to anything containing the third primary, and the tendency will be toward even lessM* liancy, reaching toward the greys or browr^ rather than making the color appear any brighter. So in the primaries we really have all thte M- > Jiancy there is in pigment. Assuming that we start I with the brightest possible red, yellow, atiGJplu^ and go from the intermixture of any two of 'these j around the circle, we lay out the full gamut of I so-called pure color, with all the brilliancy a* owl disposal. Instead of thinking of color as being limjBl to. the six colors of the spectrum, think of these as the heads of six great families, like six pion%r set- J tiers who are the foundation of the whole pppuktton to follow. Some of the strains stay pure| as for; example all colors which have the mflttjE&ce ofi yellow evident, or blue, or any of the six. ©thcui Hibecome so interrelated that the color becoines almost nameless as color, and so other nan^s aw tacked on for identification, either telling wtati they are made of or suggesting somethingtk)^ look like. Into this group fall yellow ochOThe| umbers, burnt sienna, cobalt, manganese, Or cerulean blue, rose madder, crimson lake, alizaria crimson, vermilion, Venetian and Indifuh red, gamboge, Mars yellow, and others. These are H ments which vary from the original primaries of the spectrum. Then we have such names as feupe, chartreuse^ beige, sage, maroon, cerise, kve^der, lemon, and others, which are mixtures whi^Saa be approximated in the mixtures of the primaries, This great array of names is simply confusing and does not belong in the basic theory of color, ® or as far as we as artists are concerned is simply, rei yellow, blue, black, and white. We can staler subject with any red, amj yellow, or any blue of our choice, with good and interesting results., However, if we are working for reproduction it is logical that we start with primaries as close I possible to those the printer works with. I1M& cure uniform results these have had to be standJ ardized, and so are known as standard primaries,] They are as given in our standard color wheel on page 148, and will act as a guide for you. j 162 1

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COLOR n do nojmean that you cannot use color in any m yovmish, or out of any tube with any name opt I olily wish to point out that the engraver can give you only colors that are the result of the nnnixQjire of the colors he must work with. If hi cannot mix a color that you are using out of Bar three primaries, you can be certain he canEt either, SWhen die color of any picture comes from a rfc so|rce of a few primaries, it automatically fiablishes harmony and a basic relationship of neto another. It can't help it, because all contain ita s imei elements or ingredients, and relationis no different than in a human f amits and characteristics of the orignal carried into the offspring, word "few" above because we can more latitude, if need be, than only yellow, and one blue. While I fully t 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 ,te as neutralized by mixture as our e we may use two of each priand cool of each. This means one way around the circle. Therefore we yellow leaning toward the orange as yellow, and one toward the green as a admium lemon. For the blue we can use a co■ or Ifrulean or even a little viridian mixed nth blue for the warm blue leaning toward the green. Tjie other blue leaning toward the violet fiuld 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 approximated, Ttese can run into thousands of variations m make it unnecessary for the artist even to pry about anything else. Some of the brilliancy By be lost in reproduction, but itJs better to give g Jgraver brilliancy plus, than brilliancy Bflus. He may swear at you a little, but he would k m [der if you gave him a dull painting and expected him to pep it up. The only way he can pep up your picture is to subtract neutralizing color. One thing- 1 want to stress is that you cannot make a subject colorful by using all pure color, that k, all primary and secondary color. Color is a plus and minus proposition. We need greyness and softness as a foil for the brilliant areas. Every part of the picture should be a part of a whole conception, with the purest and brightest concentrated where it will do most good Note in the frontispiece of the book that the bright color has been concentrated about the girl's head, and the other color is softer and more muted by intermixture. To keep forcing all the areas toward the six spectrum colors sets up competition which in the end is vying for attention and results in less bril- ' liancy for any one area. Then there is no way to gain any more color. The color can be set down stronger as color, but often less beautiful. Nature is seldom one flat bright pure color anywhere. In Nature, colors are made up of variety all through, which means warm and cool variations, or colors broken or blended together. The sky is not one blue, the ground not one green or brown or grey. The foliage in the distance is quite different in color than that close by. The charm of color lies in warm and cool variation* in the greyed or muted 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 warm and cool within the same area. It is the same with every color in the universe. Note how the color varies in a flower, and how the color is carried into the foliage and stem. Note the great varieties of greens we have an the same subject outdoors. This does not mean a great array of tubes of color: simply intermixture of what we started with, toward the warm and cool I have tried to play warm with cool color in the frontispiece of Part Three of this book. This is difficult to make clear to the student and oftentimes to a ch'ent. Brilliance reaches a point of saturation beyond which there is no more. We can say that sugar is at its maximum of sweetness 163 .

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COLOR in its raw state. In the same way, color is at its maximum of brightness in its raw state. Too much raw sugar is sickening, it must be balanced with something else. And so is color. We can bear raw bright color only so long* As, with edges, charm lies in the softness contrasted with the sharp, so in color it is the bright contrasted with the softer and greyer colors. The greyed and more subtle color will be associated with good taste, just as it is in other uses, with now and then a splurge of color to relieve the monotony. COLOR CONTRAST For those who do not understand the meaning of pigmentary complementary color, let me point out that the primary complement of a color is that color which is farthest removed from it by mixture, or containing none of the original color* Thus the complement of a primary would be a mixture of the other two, They line up as follows: PRIMARY Red Yellow Blue COMPLEMENT Green (yellow plus blue) Violet (red plus blue) Orange (red plus yellow) The secondary complements are those containing a like strain but farthest removed by mixture. They line up: SECONDARY Yellow Green Blue Green Blue Violet COMPLEMENT Red Violet (both contain blue) Red Orange ( both contain yellow ) Yellow Orange (both contain red ) The secondary complements are even more beautiful because they are related, and not quite at the extreme of color contrast. COLOR HARMONY OB BELATED COLOR Since we know that we can relate any two colors by mixing some of one with the other^ the colors of the spectrum fall into three groups in which each is related to the other because each contains some of the same primary. Thus all colors containing yellow are related by the yellow* The same is true then of each of the other two ries* 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 as follows: I THE YELLOW GROUP Yellow (the strain) Yellow Orange Bed Orange Yellow Green Green Blue Green Plus any greyed color containing some yellow 1 The same effect « duced by painting yellow ( wet }un or by mixing s low into every or of your palette,; This produces a picture in a yellowish key pervaded by a yellow light. THE RED CROUP Red (the strain) Red Orange Orange Yellow Orange Red Violet Violet Blue Violet Plus any greyed color containing some red Bed undertone influence. Blue (the strain) Blue Green Green Yellow Green Blue Violet Violet Red Violet Plus any greyed color containing some blue THE BLUE GROUP Blue undertone oS ^ influence. aii a.f The above as applied to painting "color key" for a picture. So you can paton yellow, red, or blue key with a wide variety off j feet. Or for other subjects you can go a stiOT j ther and key or influence all your colors will i SHY single color* For example, blue green might !H the dominant strain or inHuence througl 164

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THE PRIMARY COLOR CROUPS THE 0LUE CTHOUP color raaiNTEDiNToacfief uNogriToNB 165

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THE PRIMARY COLOR GROUPS— COLOR SHADES the color of a moonligK^tibject, meaning not that all colors are 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 is or can be inked from the standard primaries, it is perfectly possible to reproduce it by the standard four-color process. It follows that to produce harmony and beauty of relationship of color throughout your subject you have the choice of relating them by (1) a common ingredient, (2) mixing into a wet undertone, (3) intermixture of the color of one area into another, (4) painting the subject out of 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 may not need to be pure. You can take almost any combination you choose, if one contains yellow, another blue, and the third red, in either pure or adulterated state. This results in what is known as "Triads." Triads are really a means of removing color from its pure raw state. Thus a combination of yellow orange for one, blue green instead of blue for number two, and red violet instead of red, would be a "triad/' You can make a triad of secondary or tertiary colors, you can use one primary with two secondary, or practically any combination you choose, so long as they come from mixtures with the three primaries. If you chose three colors all too close together in the spectrum wheel, such as blue, green blue, and blue violet, you would be so limited as to not have any complementary contrast, and though the result might still be beautiful through close relationship, it would appear "all to the blue" and the color range would be very short. It would be a beautiful combination in a fabric, but scarcely enough range for a picture. This will indicate the very great variety of approach there can be to color. What is meant by color shades is of vast importance and should be clarified here. The shade of a color is the result of the proportion of its ingredient colors, or a color plus. For instance, yellow 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 ingredients. But there are 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 i friends, yellow and blue, with various p of redj black, and white. It is obvious that all ments of a given color do not match— we ha great variety and assortment of them, but cannot be inserted harmoniously into a su that did not start with them in the original p or the three chosen primaries of the picture. this clear: There are three primaries of the trum, but you chose your own three primaries1 your picture and paint the whole thing with and those three primaries are the parents your color. They are not to be confused wi spectrum primaries, since diey may contain ingredients of the primaries. They are call maries only because they are the primary to all further mixture. If you will understa you will never have to worry about relating One thing to remember is that pure colt brightened only by light itself, not white pa that is why color belongs to the light. Since it intensity in proportion to the light taken it, we must cut down its brilliancy when w| painting it in shadow, or it will be false. If picture is bad in color by using a three-color it is not the fault of the color, but of value! relationships of the color to light or shadow to reflected light and color. We must distinguish "local** color as cqIot influenced. If we throw an orange light on 3 or wish to make the green appear in our ™ as if it were in an orange light, we must cm the local color to what it appears by orange. This is where color adheres to Principle, being color in the "aspect of mentw and influenced by its environment, the light be cool, we would naturally add t| the color. 166

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COLOR SELECTION AND BACKGROUND iicolor of your picture should be chosen after SI deliberation as to the nature of your subI ject. If it must reach out and catch the eye with ! color, especially in competition with other ^cotor, then it should begin with the primaries or I color in its pure state. Purity and strength stay in thcRQlor longest when it contains fewest elements, Therefore, when two colors contain the sanffiplements, like blue, blue green, green, and Jjlue violet, all of which contain blue* they may be riaiJfcwithout much loss of brilliancy. But when | redgfcorange starts mixing into them they tend to i neutralized, and with enough of the complementary red or orange, finally turn to browns, Mwbrs when mixed with their complements became brown or grey in proportion to the amount t>fm complementary added. All equal mixtures of complements end up as the same brown when mxsdfrom the same palette, for we are arriving ot S equal mixture of the same yellow, red, and hkt4$Q, in adding yellow to purple, you make the totdjmixture red plus blue plus yellow; and you are going the same thing when you add red to greSi, for the sum total is then yellow plus blue jpluped, which adds up to the same thing and the saneeolor. Therefore all your variety of color lies fn wequal mixtures of the pure or plus black or : also tints of the other two, but the purples, reds, browns, and dark blues all hover about the same low values. So, if contrast is needed, first see that there is contrast in value, and then contrast in color will be easily reached. Backgrounds affording contrast to material in front of them must be selected this way. If the contrast of value is there, the color contrast need not be greatly separated. Therefore a line of dark green lettering might be fine on a creamy or tan background. Most wide expanses of color should be toned down with complement or grey, to ^ive other color a chance. "The larger the area, the softer the color" is a good axiom. Avoid primary colors for backgrounds. Keep your bright colors on your units of interest.

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WHAT TO DO WHEN YOUR PICTURE IS DEAD IN COLOR It is important to stress here the fact that color in a miniature sketch may be quite arresting and pleasing because it is small. In fact, the smaller the area, the brighter the color that can be used. But you may find that in the final work, when the sketch has been greatly enlarged, the color begins to get a bit raw. The reason is that the color cones in the retina of the eye are limited. We have only so many of each that register the different color vibrations. The eye when taking in a large area of pure color quickly tires, and to defend the color nerves the opposite color sensation is set up. Stare at a bright red spot for a minute and then look at a white sheet. A bright green spot will develop* If you stare at a blue spot, the image will be yellow or orange. In each case it will be the complementary of the color, or the color which would tone down or neutralize the original color which is tiring those nerves* So the longer we look at a bright color the duller it seems to get. We can learn from this that if we provide rest for the nerves in associating balancing colors within the same picture, all the colors will stay bright longer. We therefore can associate a bright area with greyed or muted color, or else complementary color to obtain and hold brilliancy* When your picture is dead or unpleasant, the fault is usually too much raw unrelated color, rather than not enough. It does not help to try to pile still brighter or different raw colors into the thing* A battery of primary and secondary colors all vying with one another can completely vitiate the whole color effect. Following are some remedies for bad color* Try greying all but two colors or mixing a single color into all but one or two of the others, and see what happens* Also look at your subject on the basis of a simpler tone plan, arranging it into a pattern of light, middle tone, and dark* If this cannot be done, your subject may be too broken up in masses, which is just as important to color as to tone. Try reducing your whole color scheme to three or four basic colors from which you will mix all the rest Take very bright and raw color out of your shadows. Get your brightest colors into the areas fn the light. See that all three primaric not appear in their raw state within the same picture. If they are there, that is most of your trouble. Tone two of them with the third one. Sometimes introducing a neutral grey, a black, or white, or any or all of them into a subject otffl wise full of color will snap it up, both from a valuastandpoint and by providing suitable contrast for the brilliancy elsewhere. This means that you will have to sacrifice color in one place for the sake ofc more brilliancy elsewhere. If the subject persistently refuses to comd around, it means that the values are somewhere ] "out," or that something could not be in such; value relationship under the existing conditions., It means that the overall relationship of light w shadow is bad somewhere. Remember , a color \ cannot be right witil the value is right. Also re-1 member, color cannot be purer and stronger hi tlie sliadow than the same color appears to be m the light. Pictures cannot hold up if the lights are; cool and the shadows warm on one thing, with the reverse of warm lights and cool shadows on another within the same subject, unless by soma reason of reflected light and color. You can't have, a hot shadow on a face that should be lighted by the blue of the sky, nor cool under planes that. should be lighted by the warm reflection of sunlit ground. Think always of the possibility offfl color of one area shining into and influencin| another. Overstatement of modeling or of values thatj are in the light will naturally also loweT the vain* } of your color and make it appear muddy. See that the lights are kept simple in relationship to simpld shadows, and of consistent intensity throughout See that reflected lights in the shadows are not. overstated or too light in value, destroying the.; mass effect of the shadow as opposed to ^ light. There are a few instances where the picture i at fault because all the color is too grey. The on!/] remedy there is to intensify color at the edges 1 wherever else possible* But a more common faults is too much color. 168

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^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 and the pink of fruit isoms after a long cold winter. Think of the ■p color of ripe wheat, the full glory of the H^un after a rain. Think of the red gJow of THE EMOTIONAL EFFECTS OF COLOR 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 Subjects generally cannot be painted all to one side of the spectrum. We need some warmth to balance the cool, and vice versa. While either might predominate, we find that one is enhanced by the other. The play of warm against cool, then, in color is the source of great charm. This does not mean hot against cold or the extremes of complementaries, but something varying the shade of a color as it covers an area or comes next to another area. 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 it great charm. This does not mean that you put colored spots all over another color. The value of the original tone must be closely matched and the color handled with subtlety. Too much 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 what is known as transitional color. That is obtained by placing colors thatnormaliy fall 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 it touches the yellow Thus the transition is 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 k no law to say. what you must do, I am suggesting what you can do. ■ 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 very bright picture, after the newness is gone, lends to 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 is ■& Yet even here a quiet, soft, and restful '1 scheme may attract attention by deviation .the usual bright color in company with it Murals and pictures for the walls are usually Wpleasing if held in a light high key and jgjfeyed in color. Psychologists tell us that different colors do My affect us emotionally. Some can please ■| others irritate, we being almost allergic ■feflv and physically to some. Reds and yel- to excite. Greens, blues, and greys, or [venders and purples, are more soothing and jrB(f|l Perhaps the quiet and restful colors of jtoture have a lot to do with resting our frayed by a vacation to the country. Combining colors with exciting line (See Part One), c"t colors with restful line, becomes perlination of line and color. Nature tonal greyed colors for the permanent (tb greys, browns, tans, greens. Her bright jwlDrg fleeting. It is reserved for flowers, skies, iKis> insects, the glory of autumn, fruits, and 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, and H peace and quiet, let the color run to 169

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OUTDOOR AND INDOOR COLOR Outdoor color varies from indoor color mainly in the basic approach. In outdoor sunlight the light is warm, especially toward the end of the day. The blue sky reflecting into the shadows causes them to be generally cooler than the lights. So for outdoors the effect for the most part is warm lights and cool shadows. Now, indoors, by studio skylight, which usually is turned to the north as the most even and constant or unchanging light, just the opposite is true. The room being lighted by the cool blue of the sky, the lights are cool and by contrast the shadows appear warm. There should be no hard and fast rules, however, in either ease, since in certain instances white and dazzling sunlight may appear quite cool against shadows reflecting considerable warm light from the ground. Indoors, 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 you see it and feel it to be. We can follow the general idea that warm lights and cool shadows give an "outdoor effect," while the opposite gives one of indoors. The main thing is not to paint a girl on the beach in which painting the color appears to be indoors* Nor would we paint her sitting indoors with cold blue shadows for no good reason. If you have an outdoor subject it will help a great deal to make a quick outdoor study for color. There is no better way to sense the difference between the two. To be a good illustrator, you should get this difference of the qualities of your color into your work when needed. If you know that the subject or incident is outdoors, you can contribute a great deal more conviction and feeling to it if you place it outside by the color you use. Subjects indicative of night by all means should be placed under artificial light to draw or paint or even photograph. The effect of a close-up artificial light is very different from daylight or sunlight. Night light gives a strong contrast of light to shadow, and this must be carried out in color, in the proper set-up of values, A night subject with airy, light, and transparent shadows is most unconvincing and false. Night subjects indoors lean to the warm keys with almost an alleffect of warmth. Night subjects outdoors can warm lights with deep blues and purples in shadows except where such shadows are re ing warm reflected light. Lamplight and fireli are unquestionably warm. There are too many instances of illustra paying no attention whatever to this phase color, whereby much is lost, both to them as ists and to the reader in his response. It must remembered that color has a psychological efftil upon the reader whether he is conscious of i not He has sensed for himself subconsciously tl difference between outdoor and indoor co perhaps without ever having analyzed it. It is hard to prove the truth of this difference be indoor and outdoor color. One Sunday af sketching outdoors will convince the artist outdoor color is nothing like the color he his studio. But if he remains ignorant of this tru he can go on the rest of his life making the mistakes and not knowing it Sunlight has a crispness, not only of light shadow, but of color also, in the play of warm cool. The studio light is soft, with gentle mer of light and shadow, and it pays to get out and find out more about it. Indoor color has supplied in the local color of things. Yet ou even the grey things like an old weatherbea barn get full of color from the sun, the sky, reflected warmth, plus the color they have; their own. Rocks indoors would never look the same rocks outdoors in color unless it on a cloudy day. Color can be faked, but it must be un and worked with intelligently or it can q become a mess. So many artists seem to a color formula, this for flesh and this for shadow, and so on. Nothing could be more,o track. Every subject has its own particular aspect, and the only way to achieve the t0 g°* get ^ f *om the thing itself. If we have to color from black-and-white photography, we can never do it well until we have looked a lot at life and Nature's color. H 170

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HOW TO EXPERIMENT WITH COLOR starting the final work in color on any s#ct> Set to* habit of setting down the general mfosteiy statement of it in a very small rough, N|dimension need be more than three or four pes. Flat tones are better for this than an incite statement. Try out some schemes which yoMml would be related to the subject matter, ■•better to lay out three or four of these. In one m i tonal color scheme, or all the colors containRa little of one single color. Try one or two of th#olor groups, as an experiment Try reducing Bthe colors with a little grey or black, saving mor two areas to go in pure. You can try one of str if you will hold to your masses and simpfeMtement as much as possible, pour final subject, when reproduced, is to be W* a white J?*&> or surrounded bv white mar■Is Sh°U,d ako be fnc,ud^ ™ your rough m 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 for a magazine ad, the ppa spotting of headings, text, nameplate, and g elements should be suggested. Thus you *m for a whole effect m miniature and simplified-statement. This may alleviate much disappointment when the finished thing appears, "jleed subjects, or those running to the edgQ of |P*ge with no margins, should be approxiJ against dark tones, since the space beyond ^dge of the magazine page most often appears 1 Boughs for lithograph displays also are sub171 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." Stating this general effect should not mean more than a few minutes of work per rough. Even if you spend a few hours in planning color, it pays good dividends. If every artist will sell himself to the point of real enthusiasm toward his subject by such planning, it will certainly leave its imprint m his work. Starting anything i„ the nature of final work with doubt or misgivings, with curiosity as to how another approach might have worked out, 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 uninspired results. Too many of these are very bad for you, and you are really working against yourself as well as your client. 1 give you a page of preliminary color roughs carried a step further than the original roughs, on the page which follows. This would be a second operation, or a further development of a very first conception. 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 In fact, I wonder if the little sketch is not almost better than the final? You will find the charcoal study of the figure in Part Two. There is nothing so discouraging as to have a subject returned to you to be "pepped up" in color, after you have put every bit of brightness you know how into it. Most of the time dull color comes from not having planned it. This is the real advantage of roughs. You know what is 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 he has set it down and looked at it Instructions sometimes have a way of sounding wonderful, but looking awful when first tried out. If the plan is not goine to work out, find out early and do something about it. &

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EXPERIMENTAL COLOR ROUGHS WORKED OUT

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A SUBJECT WORKED OUT IN COLOR FROM BI.ACK.AND.WHTO COPY Li * * i.

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WHAT IS COLOR CHARM, AND HOW CAN WE KNOW IT? ■ Charm in color springs from several sources. Even ahead of personal taste I should put the working knowledge of color. First and foremost comes color relationship! which I believe has been fairly well worked out here. Now personal taste comes along. Taste in color seems to develop from extreme rawness to the more subtle graduation of color. We start out as children loving bright red, yellow, and blue, the primaries, as it is logical to do, because these colors get attention among the greys of everything else. Then we begin to love the pure tints, or the primaries diluted with white. So a little girl begins to love pale pinks, yellows, blues, for her dresses and hair ribbons , while the boy continues with his fullstrength colors. He likes bright red in his sweaters; and blues, green, and blacks. But he also likes the little blond girl in her pastel shades. The second step in the development of color taste begins to include "association," or the fitting color for its purpose. The boy will wear a red sweater but not a red suit; he now wants tweeds, tans or browns or dark blue. The girl begins to like plaids, stripes, and figured material, or something having more than one color. Certain color characteristics stay on through life in line with individual characteristics, A gay person will like gay colors, a sedate and somber individual will express himself in greyed or neutral color selection. But assuming that we are neither all gay, nor completely sedate, most of us find a logical place for each. So color charm lies in the appropriate, in relation to its purpose and its environment. I believe that much of what seems inherent bad taste in color is really lack of workable knowledge of the application and association of color. Color that is bad is usually only "out of place/* In simple terms, that means it is dissociated from and unrelated to its surroundings. The same color can be made beautiful through relationship either by changing the surroundings or by making a slight adjustment in the color itself. A color must either be a complement ( or close to it) to its background or contain the ingredients that are somewhat present in its surroundings. Anything becomes obnoxious when too completely dissociated from its environment. That is simply the very foundation of good taste. Suppose a person says. "I like bright red." That by no means indicates bad taste. But suppose he says, "I like pure red with pure yellow with pure blue." That would indicate a completely undeveloped color sense. Any one of the three can be beautiful in a rose garden, balanced by the color of its environment. Standing alone, they are raw and completely dissociated. If the brightness of a color is pleasing to us it indicates it is being seen in appropriateness and within a proper color setting. If it seems unpleasant, the trouble lies in tie setting, not the color. There is nothing wrong with bright color, we all love it. But we do not paint our houses with the same color we like in flowers, nor would we pick a suit of the same material vk like in a necktie. We like a red motor ear, but wabhoi the same red as blood. We love a red car* nation, and hate red flannel underwear. Learn to trust your instinctive feelings about J color. When you do not like a color, do something with it until you do. Grey it, tone it, change it, make a tint of it, change the value. If it is pure and does not seem bright enough, you can't make it any brighter. So grey the colors around it until it takes on relative brightness. Charm is not always brilliancy. Charm may lie in quiet unobtnisivencss. It may lie in variation, in subtle repetition, and in reserve. Charm in color is like charm in a person, A loud blatant person is hardly charming, yet a charming person may have force and conviction in the right place. I have noticed that persons possessed of seemingly bad taste in other directions invariably have bad taste in color. One who dispels all dignity and convention, who interrupts in conversation, wbo leads a generally disorganized life, would paiqt in that kind of color. 174

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SHOULD WE ELIMINATE BLACK FROM OUR PALETTE? ► I believe that the use of blade on the palette Bepe# on the craftsman's ability. There cannot J* a rule set up either for or against. When your picture is reproduced, you may be sure that blade plays an important part in the final result. Black used intelligently as a toning agent can be post wonderful. But the misuse of it can certainly produce a dull, lifeless effect. First let us understand that black theoretically presents darkness and loss of brilliancy. It thereto belongs more to shadow than to light. Rut Still there can be greyness in light, and used there, its purpose is the silencing of overinsistent plor, putting it in reserve and relegating it to ■per importance. Many fine painters have used black in this way with great success. There are MgW> say blade does not exist in life and fclure. That is true when speaking of black as a eclor. But lack of color, greyness, and darkness Woes exist in Nature. To say black does not exist jy to say that shadow and darkness does not exist Rail color were truly that which comes out of our Hjp would oe one Aing. But a tube color is |eldom right in color, value, or tone. Painting is lo much subordination as well as brilliancy. I The greatest danger of black in the hands of Be novice is that he makes the value with black fed adds a little color. This produces an effect fcucflike transparent color washed over a blackfcd-|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 ith fclack, since the mixture of black may proice a certain coldness. In that case, a burnt sienka should be added to the black. However, you Bill note in our color wheel that the lowest dark kms to fall into place without obvious change if color. It is not my intention here to take issue with the pure color theorists. I believe that in art we should be free to follow the dictates of our vision and feeling, and if black does the job better in our estimation there is no reason for not using it. If the use of 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 color theorists cannot dispense with white and reach the needed values. If they can produce the blacks with color, fine; but nevertheless 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 of producing the extreme darks with color is that if 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 it look like that same color in shadow, then any way under the sun you can do it is 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 good pictures. 175

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PART FOUR THERE ARE FIVE ESSENTIALS 1* Visualization 2. Dramatization 3. Characterization 4. Arrangement 5. Embellishment

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WHAT IS ILLUSTRATION? 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 illustrator? Let us understand that the primary function of illustration is to make a graphic interpretation of an idea. The idea to be interpreted must be thoroughly visualized. A completely abstract idea can thus be given the semblance of reality. Therefore a picture without an idea or defined purpose can hardly be thought of as an illustration. The beginning, then, of every illustration is really a mental procedure on the part of somebody—an author, a copywriter, or the artist himself. Some sort of a mental image is present and transmitted to the artist, or else one is conjured up in his own imagination. With his knowledge of form, light, color, and perspective, he is the only one in the group who is able to make that graphic interpretation, though it may be quite dear in the minds of the others. Therefore, the illustrator's true function is to be able to grasp that image, or create one, and bring it to life, carrying through the intent and purpose of the idea. The illustrator subordinates himself to such purpose, yet lends his creative skill to carrying forward that purpose. It is important that every young person entering the field of illustration have the understanding that his job is truly one of co-operation. Most successful illustrators make every possible effort to co-operate, and to make those with whom they are dealing feel that cooperation. This is of great importance to your success as an illustrator. THE THREE CROUPS OF ILLUSTRATION Illustration may be divided into three broad groups. You may be called upon to do your part in any one of the groups, and you must be ready. The first kind of illustration is that which tells the complete story without a title, text, or £ written message to help. This type you find on covers, posters using only a trade name, book jackets, displays, or calendars. The client, therm depending entirely upon you to put over an iaS or arouse a desired response. Your work will tlo the whole job. The second kind is that which illustrates a title,, or which visualizes and carries forward a capi* line, a slogan, or some written message used in conjunction with the picture. Its function 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 and magazine advertising. The story and picture; function together as a complete unit. The third kind is that in which the story told; by the picture is incomplete, its obvious intention heing to arouse curiosity, in short, to intrigue th$ reader to find the answer in the text. The third type of illustration might be called "come on" or "guess what" pictures. Many advertisements arq built on this plan, to insure the reading of the copy. If the story were completely told it migl^ fail in its purpose, and the script or text could! easily be passed up. Unfortunately, this happens too often, and when it does, the fault liesj in the conception of the picture. It may take threequarters of a story to get the heroine into the hero's arms, but if the reader is informed of this happy result immediately through the illustra-'i tion, the whole attempt of the author to maintainsuspense is spoiled. Your picture may be beauts fully done, but utterly worthless if it gives the story away. An artist must keep this in mind and; recognize the need of co-operation. A picture; which "tattles" is just as undesirable as a person: who does. In all art, all things work together, and *Sthe essentials of telling the story pictorially all blend J 178 I

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I THE ESSENTIALS OF lad are dependent upon one another. It is hard to Rparate them completely, so wc shall cover the foughly at first and go into more detail Inter. iern VISUALIZATION ! Visualization is building up a concrete image from an abstract one. First we must endeavor to get all the facts, and then embellish those facts Kith our own imagination. After establishing our subject as belonging to one of the three groups, let us find out the point and purpose of what we arc about to dor Let us discern what the mood and flavor of the subject is to be. Is it happy? Is it action, violence-busy, vital? Or is it to be soothing, restful, relaxing, consoling, or somber 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, and the costumes. In fact, you ! but setting the stage for the scene, and looking i. the characters to play the parts. Can the story \ told best by the environment and the charac:in it, or is it something that should depend on res and facial expression, necessitating se ups" of the characters with probably only it of background? In modern illustration the icters come first and the setting next. You can getting busy with some tiny little roughs, ig things out as they suggest themselves. You not hiring models yet, you want to find out it to do with them when you do get them. JUIAMATIZATION ;re is usually a dramatic way to tell a story )U will think it out The first thing we think likely to be just about what everybody else |uld think of. To tell it differently, don't accept .obvious thing immediately. If the story itself foot interesting, perhaps it can be made so by TELLING THE STORY poses or gestures, expressions and suggestion. You might get up in front of a mirror and act the thing out, just as the characters might do. Seldom will a passive interpretation of character with no emotion on your part secure more than a passive response. Every character should be as interesting as possible, and his action planned. Make some little skeleton poses for gesture and try to reason out the action of one character with another, and the position on the floor or a setting as it 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 determine much of the dramatic effect. Shall we 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 fit a good design. Remember that each character should have an individual and different pose of some kind. Don't give two characters approximately the same amount of area in your composition if you can help it Don't put your characters into the composition in uncomfortably crowded placement, or at the sides 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 to the most important character when possible. Drama is something you feel, and I cannot tell you how to pose a model. NTor would you want me to. Dramatization is most creative on your part and is a chance to express your originality. Let us realize that truly to observe and appreciate the drama of life as it is enacted we must consciously set ourselves apart as observers. We can be so much a part of it as to miss it entirely. The farmer sees no drama in his routine, but the playwright 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 in naturalness and truth more than in fancy. 179

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You are in the position of the motion picture director. Suppose you lay out a little ground plan of the setting where the action is taking place. Suppose it is in a room. Place the furniture, the doorways, windows, and so forth. If you have selected an interior to follow, draw the ground plan of that. Then, to get the "feel" of the action, place your figures in likely spots. You can turn the ground plan about for a viewpoint Perhaps you want a hit of the fireplace, or you want to see a face from a certain angle. On die next page I have laid out such a plan. Then you can drop or project the floor plan into a little perspective elevation of furniture, interior, and figures. It is hardly necessary to go into complicated perspective for such little roughs. By squaring off the floor you can locate the units or material. 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 you get. Shift things around at will until an arrangement you like comes to light. It is a good plan when you go to the next movie to watch the pattern compositions constantly changing before you, and the placement of figures, the action and gestures. Motion pictures are in a very high sense the same sort of dramatization you are going alter. If you are just sitting there following the story and constantly looking at the faces you may miss the whole good it can do you as an illustrator. You may be sure the director would not let his characters stand stiffly about as if waiting for a cue to recite their lines. The ease and naturalness that the actors display in their roles is half the battle in making good motion pictures. Watch what the other characters are doing as the main character goes along in his part. Characters can be grouped into units of pattern for your composition. Some sort of emphasis may be placed on certain characters by contrast of value, by lines leading through other characters, by color, or by the attention of faces turned toward them. Let them do natural things, A girl might be taking off her gloves or daubing on some lipstick,, or per■ STAGING YOUR SUBJECT I haps she registers interest in the main character. A man holds a cigarette lighter for the lady, gers the cocktail glass— anything but stiff-n poses. The author or copywriter seldom gives anything to go by for dramatization, mainly thej conversation, and a hint of the setting. But feB real fun for you, if you will get interested enough in it. And it all makes "pull" and interest in your pictures. CHARACTERIZATION Casting the play is an important part of the^ director's job, and it must be of yours, too. Y« try to visualize the characters as vividly as possible. Sometimes you will change the character your model to suit the character in your story to hunt up suitable models. It is too easy to use I the same model two or three times in the same;] subject by just changing from blonde to bruneJ or using a different costume. This is the lazy and it 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 trying to make a matron out of an eighteen-yejfl old girl by painting streaks of grey in her Characterization for the most part is getting able facts. What does an old lady's bony really look like? How does she do her hair? are the planes in the jowls of an old hard-fistedl gambler? You cannot fake these things, and t tell so much when they are right There can character in an old shoe, things spread out table— in fact, all the accessories may tell a of the life that is going on in your subject. If character is tired and worn, the clothes can suggest it. Don't be afraid of creases and wri anything but a fashion plate* Make them fall urally into place, stressing the form more than the J garment Watch for "lost and found" edges, fl to interlace the figure with its background wherJ ever possible so that the contour is not com; defined all around. (See The Treatmen Edges. ) This relieves "stiffness" of figures in composition. Do not make all figures eqd important. 180

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THUMBNAIL" SETTINGS 4b l/T>f?AW AJM4LL CftOUNO PLAN . PLAC6. FtcTOPrex AND FURNITURE, 7HI/I_f A/IMPLE AND PRACTICAL WAYTD VI/OALIZE A /OWEa. fTCAKfQHTYOO /r^TED WITH A /ENXE OF REALITY. VOL) CAN LAY OUT A JHttW W.TH LOC.CAL PLACEMENT/ AND RCOKE ACTION, AND VIEW IT PROM ANY ANCL£E_ 181

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HOW TO GET SUGGESTIONS FROM CLIPPINGS Above is n typical photographic interior as it might be clipped from any one of a number of magazines on the market. You will need a pad of transparent tissue paper. The object here is to help you visualize a situation on the tracingpapcr. Von can move the tracing paper about and, allowing for perspective, thus move the furniture about if you wish. I do not suggest, of course, that you make a complete copy of any copyrighted material, but since the magazine is published to give one information and ideas as to interior decoration, there should be no objection to using it as a source of information and suggestion. The point is that the clipping should not be a "swipe. "Drawing interiors with figures is an excellent forml practice in dramatization and in the setting* figures into an environment with respect to pe spective and lighting. Establish a lighting onyj rough suggestions of the figures by studying tl lighting of the photo. You can in turn put sw lighting on your model, and set the camera! eye level to be consistent with the eye \e\ apparent there. Tf you have difficulty in placing figures ! imagination, it is suggested that you study n earlier book Figure Drawing for All It's Wort in which I have tried to give just this t\pe( information. 182

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FIGURES SUGGESTED ON TRACING PAPER IP-' "■, '• ■£*■«'*" ' * 183

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PLANNING DRAMATIC ACTION AND POSES ' •■'I^Mto ^ 184

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H ESTABLISH THE ACTION BEFORE HIRING A MODEL i nil \li i «^ je^

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THE ESSENTIAL ARRANGEMENT The manner in which a picture is conceived will vary with every artist. In advertising commissions the subject often comes to you in layout form, already visualized by an artist in connection with the agency. These men for the most part are exceptionally skilled in the general presentation of an idea. As a general rule, however, they are interested more in placement and mass, and the detail or final interpretation of the idea is left to you. The purpose of the layout or sketch has been to visualize the idea generally for their own client to obtain a "go ahead'' from him before going into expensive art costs. Also the layout covers the entire ad, indicating main copy and placement of all units to appear. Considerable latitude may be allowed as to poses, clothing, accessories, types, and dramatization. So the work I am laying out here applies from the first rough idea, whether your own or whether turned over to you to be carried forward. Arrangement as discussed here can take place only after the idea becomes definite, supported by such facts as will lend themselves pictorially. You will begin to see how all the essentials are interdependent with one another and are all directed toward a single purpose. It is important to have the poses fairly well conceived in rough form. The setting, if any, should also be decided upon. At this early stage we begin to think about pattern and tonal arrangement. Some artists start with the figures and action, and develop a setting with them] while some even start with abstract patterns, adjusting the figure to the pattern. It matters little how you arrive at good design. You may go at it differently each time; the important thing is the conception of your picture. The arrangement and design should be considered carefully. There is no law governing arrangement; you must simply do what you think looks best after trying several arrangements and selecting the one you feel is most suitable. Personally, I like to start with a design first and adhere to it as much as possible. The one advantage in making an absfcj pattern arrangement first is that it may s so much of the rest of the picture. You get i from these abstractions as you try them out..( example* you have a dark pattern here. It suggest that you use a figure in a dark the pattern is of a certain shape, it may su some accessory, or some unit to go in the sub The pattern may even suggest the lighting, a arrangement of figures, or shadow, a windtf hilt, or what not, so long as it is an int design. Any subject not limited in the beg to certain material or copy should alway? worked out in miniature roughs for tonal ment. May I say that the reason for the la this essential arrangement in our everyday a because it is not sufficiently considered by artist. He has a thing and copies it and puts thing around it and calls it a job. Admittin subjects are not given latitude in this respect^ can do at least the best you can, if only int placement of your material. The most important element in your work* the thing that moves you ahead fastest, is the i ception of your subjects, and it is therefore WJ while to give it the time it deserves. You exercise your inventive faculty if you woulde truly excel. The more jobs you leave it out of longer the journey. Thumb through a magazine. Put a check oat illustrations that seem to appeal to you including photos or anything else. Now go and with a piece 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 is the one way to get away from the nary. We all think we can't design, but so we do. Often design comes by seizing uponJ accidental. We seem to get ^hunches/' and are days when we design better. All we can to adapt the units which we have to work wi pleasingly as possible* 186

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ARRANGEMENTS BASED ON ONE OF THE PREVIOUS ROUGHS irw--"' -■■■ •** -1.t - -- . irrr urfr 'mm rrnr'i^n ifiw »i'i*l' lii''' '-' ,,— :, WMNCT FROM THIt prey lot./ s ROUGH. fftyiNc? the. fktuiie; cioi'e up? »mprov£0. KRE If NO OOUBT THAT THE CONCEPTION *A/U©JECT 1/ OF CaEATER IMPORTANCE **< ANYTHING ELJE. IT PAY/ T0 XPEND CON.TERaPLE TIME, 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, * "*.33-:.- -- «■ - • .- .a*. . - . i TURNING THE FIGURE* AROUND AS EXPERIMENT. GE/T eeCAU/E OF DESIGN, /"TORY O0NCEHTRffr£P4 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, 187

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EMBELLISHMENT Embellishment as applied here is the carrying forward to completion of the preliminary material you have worked out. You now seek to give your conception actuality. For your figures, you will go to life for character, good drawing, and the things which lend reality. For the tonal qualities of form, go to real 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 made consistent with truth if the thing you do is to have that "quality of existence" without which your work is bound to suffer. It is no easier to fake the truth in art than anywhere else. Every subject is, of course, an individual problem, and should be approached for its own possibilities. Some subjects seem to call for a specific medium, or even a specific technique. Some should be treated delicately and others with great vitality. Herein lies the charm of embellishment. That artist is so much greater who can change pace, give a mood to his work, treat one thing tenderly and another with power and impact. That is my main reason for devoting so much of this book to a variety of approach. You can keep your work out of a rut, and ever new and inviting. Coupled with the variety of mediums and technique at your disposal, you have different keys of values, different kinds of light, such as soft, diffused, or brilliant and sharp. You have the strong intensities of light to shadow, with little reflected light, or the airy luminosity of the higher relationships, with much lighting of the shadows. You have pure and intense color schemes, tonal color schemes, and soft related schemes. You have the possibilities of line treatment, tone treatment, or a combination of the two. There is really so much to work with in the way of approach if we will but think. If you find yourself working in one medium only, doing the same things with it every day, you badly need to explore the wealth of things at your disposal. There is enough to spenq a lifetime of experiment. Do not believe yora approach is something narrowly limited. It isoira limited by keeping it so. When you are fairly well decided upon whffl you would like to do with a subject, and you ha™ spent some good thought over your roughs, then get out your camera and work intelligently wiLh it. You can make it work for you in expressing your thoughts, rather than the other way rouri, of your simply accepting what it tells you. If you can get your models interested by shflffl iug them the preliminary roughs and explaining the story, they will do better work. Let them art out the idea before you click the shutter. Youca get enthusiastic support from them by letting them know how important they are to the succ^ of this effort, I personally prefer the miniature type of camera, using the regular 35 mm. film. I like the pal chromatic or color-corrected types of film. I bs lieve it is best for the artist to learn to take his owi pictures rather than to depend on the commercial variety, because the right lighting is so important. I do not like to argue with a man who knew his business in his own field but cannot undfl stand that the artist's approach may be sometbhij else. I prefer very simple lighting to preserve the form, and it's hard for those fellows not to wart to insert half a dozen lights. Its even harder' explain that such copy is not worth a damn toth; artist who is form-conscious, and that those lights break up the very beauty that a good drawing or painting depends upon. * Make every effort that is humanly possible! get all the form you are going to paint, registered in the picture you take. Form is registered trjffl when one light shines upon the same area or surface. Two lights on the same area are bound 1 destroy the solidity of the planes. 188

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USING THE CAMERA TO OBTAIN WORKING MATERIAL Anyone working with a camera experiences "certain disappointment at times when a .subject (hat looked so beautiful while you were taking it ars quite different in the black-and-white foto. Much of the loss is color and value* as the tyesecs it. Much, too, is lost because the camera not see in the same proportions find perspeo veas do the two human eyes. The three-dimensrortat effect is gone except in the case of a stereticon camera. Objects diminish in size by on of distance much more acutely in the lens than to the eye. This will give a feeling of distortion, especially if (he subject has been taken at close range. The values you get are the res all of jhe actinic qualities of the light and film and may m quite different from the way you saw them, ings that appeared so colorful and brilliant ve a way of going quite dead. Then there is the verpowering array of sharp detail, which has not e softness as seen by the eve. For the foregoing reasons it is much better, en making black-and-white copy, to choose for a variety of value rather than color, at is why your small pattern arrangements onfd be well worked out beforehand. Get the ind of values in back of and around your model laid out m your toner plan. Have on hand a very fit drape, one of light tone, a middle tone, a ktone, and a black. Pin up such drapes behind r model so that the right values come to the t edges on the model according to your comition. If the head is to be against dark, put it itist dark in your copy. The values in a head ipear different according to the value they are against. The same values may appear dark gainst light, or light against dark. If you intend to show some tiling against a Indit ce, or as looking into the light, about the only y you can get good copy without fogging your jjjrtive is to throw a strong light on a white backund and then pose the figure against itr being pareful to keep that light off the figure. A "fill in" of lower intensity can then be thrown on the Sgure, keeping it low enough to hold the mass of idlings the darker values of the figure against the light. Strong lights placed too close to the model "burn" your negative to dead white in the print. Move them back, since you cannot secure such brilliancy anyhow, because nolhing can be lighter than the white of your printing paper. Unless you want very intense contrast of light and shadow, as for instance some copy for a blackand-white line drawing, it is usually necessary in indoor photography to lighten your shadows with a "fill hi." light, daylight, or some manner of reflected light. The fluorescent lights are good for tin's, since they do not make sharp cast .shadow within the shadow, which does not happen in nature. If your subject is supposed to be Outdoors, by all means go outdoors to take it. Nature sets up perfect values and relationships. Clippings seldom work out from a lighting and value relationship when von are trying to associate the materia] from one clipping into another. Lighting must be consistent throughout a good picture, and the chances arc slim that two clips will have anything like the same lighting. This Es the main reason for securing your own "props" whenever possible. Starting with a clip which has a distil jet lighting, you can always adjust the lighting in your photos to correspond when you prepare further material that must appear along with the material in the clip. Get the right costume if possible. Material is very hard to fake, especially folds, as you probably already know. If it is not possible, get a costume as near to what you need as you can, at least so that you won't have to fake the material, form, or drape. The pattern of the costume can be changed more easily than the forms. It is wonderful practice to take some interiors, draw them in pencil, and then introduce figures of your own into the subject. Study the interior For its light tug and then try to suggest a consistent lighting on the figures. In this way you get the "feel" of what happens to figures set into a definite environment under prescribed conditions of lighting and space. 1S9

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THE ILLUSTRATOR'S Here is a simple prop for the illustrator who draws from photos. It is easy to build and of tremendous help in drawing in good proportion. Build the screen in three wings or four, at a height above the average camera shot. It can be made of beaver board or any light wallboard that can be painted white. Use thin black lines to mark off the square feet as shown in the illustration. Such a screen will also provide a good surface over which drapes can be thrown or onto which they can be thumbtacked. Then the drapes may be taken down and an automatically scaled photograph taken of the subject. This gives you at once complete information for setting a figure into a composition. As we know, every figure should be related to an eye level. You can always determine the eye level in your photo by turning one of the end wings toward the camera. The eye level will be on a line where the lines of the side wing converge to a point. (See Drawing.) It is simpler to find the line on the side screen that appears to be most nearly horizontal. If your rough or copy determines an eye level, then set your camera up to a similar height. ( See Perspective, Part I. ) It must be clear that the material from two photographs having different eye levels cannot be set into the same picture without adjustment and appear correct. Many artists continue to disregard the simple rule that the horizon must cut across all similar figures standing on the same ground plane in the same place, or at the same distance up on the figure from the ground level. So if you know the horizon of your copy would cut across the figure at the shoulders, then set the camera at the line at the level of her shoulders, and make sure it cuts all figures of your composition relatively. Should a figure be sitting at a certain distance beneath the horizon, then all sitting figures would bear the same relation to it. The squared-off screen now gives you the relative size of your subject throughout, making it easy to determine the proportion of one part to another. The squares may be still further subdivided on the photo, and you can lay out a set of squares on your drawing by which you can 190 get SCALING SCREEN ' ] draw the figure proportionately. Since these laid out in feet, you can also measure app mately the dimensions of material in your pings to malce the figure the right proportion | be within such an environment. For your information, the average chair seat eighteen inches off the floor, or one and one half of our blocks. Table height is about twenty-eight to thirty inches, or about two and a half squares high. A standing girl is about five and one Half blocks and a man six. This will be clear to vou only if you understand perspective; as I haj already warned you, without that knowledge p are only handicapping your future opportuniti All drawing is proportion and measuremeS first, and a statement of spaces and contour. The scaling screen will help you in that, though there is nothing so good as training your eyes to dffl tances and relative sizes. With some artists comes easily, others take considerable time to| it, and some unfortunately never are able torn it. Hence all the artificial means of pantagraphs, projectors, and other devices. But with the scalij screen, you still are doing the drawing and train ing yourself at the same time. You can use it m out undermining your natural ability or creatti ness, and therefore it has a place here. Most artists are fairly good carpenters, buB you cannot build such a screen yourself, it would be wise to have one made, which can be don quite reasonably. The screen serves other purposes about a studio, such as shutting off normal background when you are paint directly from a model. The drawings on the tM page should clarify the use of this screen. The scaling screen amounts to about the same thing as squaring off a study for enlargement, as all artists have been doing since art began, ty have substituted the photo, to a large extent, for the preliminary studies of the Old Masters, vM perhaps might have used such short cuts also, had they been available. The main thing is not Id let the camera habituate us to the least possib* effort. We must exercise our drawing sense or eventually lose it.

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CAMERA DISTORTION PWIORTION U/UL1INO FROMCAtlEftA 6E.NC TOO ClOflE. FOCAL DEPTH MUCH TOO SHOOT. MOIC flZeoTHANO. CAMERA MOVED WAY BACH *NO,UBjECT ENLARceO. "ANBJWtRCKfiPriN/flMEPOJ-JTiON. BETTER? > n /h^pER;le;/ hair^no modeling of torm appear/' flatter". WMY THC"CLO/EUP"cAMeRA Dl^TORTJ". AYCU3JB H4

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DRAWING TO AVOID PHOTOGRAPHIC DISTORTION Perhaps the examples of photographic distor- • tion I have given you may seem a bit exaggerated and obvious. But I assure you that compared to the way we see things in life, there is much yet to be done in camera lenses. Since the miniature camera has such a proportionately large lens in relation to the pictorial film area, it cuts down distortion greatly. But the examples here were taken with the best of cameras and lenses of that type, proving distortion is still possible when working too close. There is distortion in the average photo which is not obvious, but which, if followed too closely, gives that photographic look to your work. When the squares in your scaling screen do not register as squares in your photo, it proves that distortion exists and that this distortion is affecting the subject as much as the lines on the scaling screen. Drawing directly from life will always be the soundest approach artistically, for it takes on a quality of proportion you never can get with the single lens of a camera. I do not know enough about optics to explain why things at a short distance from the line diminish faster or get smaller than they do in the same distance from the eye. There are such things as telescopic lenses, wideangle lenses, and so forth, that are more nearly true in this respect, but when we have such perfect instruments as our own eyes, why should we not train them to do the work in every case where it is possible? I grant that at times we must catch fast movement, expressions, or poses too difficult to hold long enough to draw. Then let us use the camera. I wish to make clear that because a photo was taken from life, it must not be assumed that it is a perfect interpretation of life. It is not perfect from the standpoint of contour, perspective, or tonal value. If a perfect duplication of what the eye sees were possible, it still would not be art. So perfect duplication of a photo on the part of the artist cannot be construed as art. Individual creativeness must play some part; organization and design, accentuation and subordination, the qualities of tone and individual technique, and the emotional qualities, must be present to make it art. Otherwise we could be content just to go on clicking shutters. Again I want to impress upon the young artist that art is not necessarily a framed picture hanging in a museum or a private colleoJ tion. Art is all around us, for art is the expression, in one way or another, of individual concept. The smallest and cheapest commercial drawing can be art if it has those qualities. Art is not imitatiof nor duplication, and that is why the mechanical ■ camera can never become a means of produciii| art. Art must flow through the camera, not into ilj it starts behind it, not out in front. I have pointed out these faults of the camera here and elsewhere so that you may watch fi| them and recognize them. I do not quarrel wffl its limitations, for there is no question that it! a marvelous instrument. But I do insist that since; these limitations exist, they should be made known to the student. Photographs cannot fl considered an easy way out of good draftsman's ship, nor in any sense a substitution for it. The camera should be a part of your equipment, (The projector is another matter, and I hesitate to en dorse it in the same degree, although I can dispute its value when exact and minute duplica tion of copy becomes necessary. But when ill merely a crutch, with so much potential loss of individuality at staket I would prefer to see ftj thrown out the window. ) 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 feet at the other will not photograph truly in case of a standing figure unless at considerab 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 e only a record of an instant. For this it is valuab Without a well-developed ability to draw can copy distortion without realizing it, a unconsciously add a photographic look vM breaks down other good qualities. 194

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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 your subject You ikve a fairly clear idea of what you want. You lave an action or gesture in mind, or a particular facial expression. Now let us talk about the actual dramatic interpretation. A model is usually one of two extremes. Either ihehas difficulty in acting at all, or is inclined to overact, getting a little grotesque with her dramatic sense. We may borrow the first principle of good acting from the dramatic schools. That is the unwritten law of naturalness. Only naturalness can carry conviction, and it marks the best factor. If tins principle is true on the stage or screen, it is also true in illustration. The action or function should be carried completely through the ?lgure in the whole pose and not expressed just by king faces, or "mugging," as they call it in hjmlion pictures. There is a good rule in dramatics that the actor ^'should never look at the audience as long as there is any action going on, especially when other actors are on the stage. The invisible "fourth wall" ^Separating players from audience lends reality I the play; you become lost in the story, totally •unconscious of yourself. If the actor looks at you, you feel a certain self-consciousness, something like being caught looking into a window of a place where you do not normally belong. Your rcaction is that the actor is acting at you radier Ifcati being a part of a story wholly separate from you. So let us make a rule. If the reader is not part ejthe dramatic action, never let a character look directly at him. Now we take the other extreme. Suppose we hrant to make a direct appeal to the observer. In that case the reverse is true. The character looks directly at you, with the intention of making you self-conscious to the appeal in mind. Everybody Jwmembers James Montgomery Flagg's poster 'Uncle Sam Wants You," the finger as well as the ^es pointed straight at you. It was tremendously effective* Therefore this principle is used in adfVertising when character-to-reader attention is, 19* demanded. A pretty girl may be handing you a glass of beer from a poster, a charity appeal might have a heacl looking at you, saying, "Will you do your part?" This is called "direct" appeal. Overacting is worse than not enough. Agonizing over a trivial matter, or exploding with joy over a toothpaste, is just not natural or in good taste, and the response could be negative. To get at the most telling dramatic effect, one has simply to think of what he would do himself or what any normal intelligent and well-bred person would do. There is not one set of manners for life and another for the stage, screen, or illustration; they all are based upon a convincing interpretation of life. If bad manners are the basis of the story, then that is something else. Underacting may be analyzed as "stiffness," This actually means rigidity of body, face, and action. So the next law of good dramatics is utter relaxation. The only tension present must arise from the emotional situation in the story. People are stiff only when dead or frightened. Hence the expression of "being scared stiff," or the slang reference to a corpse as a "stiff." Never let a model pose "straight all over"— that is, with head in a straight line on shoulders that make a T with her line of vision, no bending of spine, or turning of hips, and with the weight resting equally on both feet. If you have not told her the drama you want, that is invariably what she will do. Drop a shoulder, twist her, turn a hip, bend a knee, get lier as relaxed as possible. Sitting poses straight in a chair with feet and knees together and arms doing the same thing on each side can be insufferably stiff. It's up to you to get that quality out of the model, and that is the reason for planning poses in advance. Act it out as you would on the stage or as if you were a director, for that is what you really are. Otherwise you will transmit such stiffness to your work, and no matter how well you draw and paint, nobody will forgive you for it. Believe me, I know. Pay especial attention to the hands : make them express the emotion of the face, make them belong in some way to the story.

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PART FIVE i LOGICAL METHOD 1. Evolve interesting questions * 2. Answer them effectively 3. Base on desires and appeals . ■

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A SIMCLE LIGHTING WORKS OUT BEST

USE YOUR CAMERA TO CATCH EMOTION AND EXPRESSION

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STUDYING THE CHARACTER

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THERE IS NO END TO FACIAL EXPRESSION AND CHARACTER priKPAEZ/tON OTHER THAN A NATUftdL Qfc*&£ LAXEQ "ONE; 1»*WT PRACTICAL TO U/E A CAMERA TOENAIL H DOWN! HO Ml ON HOLD AN IDENTICAL EXPOES/ION FOR MORE THAN A FEW ffltt DRAW r NO FAC'AL CKPRE//ION GOB/ RIffHT AACX TO JRW PRINCIPLE '-ONCE IT J/ FORM JN THE*A/FeCTOF THi IT AMOUNT/ TO CAREFUL DRAWJNC OF THE HALF TONE BOW /HAPE/ THft /HAPfi ITJE LF MU/T BE RIGHT THOUCH IT I E PtLLED I" FftHELY. ALL THESE SHAPE/SHGULO FALL INTO A4D FIT TOGETHER LIKE THE PIECE/ OP* JIO*/AW PU*fftETCH (NYOURFIR/T CONTOUR/ VERY LIOHTLY, THSN THE IJHAPES. EVERY AftEA BELONGS DEFINITELY TO CllLltfHT, EFT0HI OftCsJ/NAOOV^- THI VALOC RANCi «OM 6UCK EuiTft f/ NOT AS CTftCAT *N PENCIL A/ TWE RANGE Of A PHOTO, Bt? «UR HALFTONE/ LI CHT, THUS ALLOWING PLENTY OF EMPHA/I/ IN THE SHADOW/. KEEP THE WHOLE MAf/ OF THE LtftfT A NP HALFTONE WILL SEPARATED FftOM TMfi SHADOW AT A MA/A REMEMBER SHADOWS ARE USUALLY DARKEST AT TH^HUMP'ORTURN O* THE FORM, THC CRl/PAGCENT/OF PARK ARE EVIDENT WHEREVER TWE FORM 1/ PEEPLY RCCE//EO A/ * ROUND THE EYELIDS AND CORNER/, AROUHP THE NOSTRILS, LIP/, ANO CKtASBS. NO TWO FACE/ AftE ALIKE CM PORM/ ANO THERE POae THE T©MAL SHAPES OR PLANES OFlHB FORM W 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 f AC WdN^OOROWrf, inn

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MANUFACTURING CONVINCING EMOTION Emotional gesture is a very subtle and individual thing. It stands to reason that you are not going to be on hand to catch the genuine unconscious and unaffected emotion very often. It is something that for the most part is going to be manufactured to suit the occasion. You will find that a great deal of it must come from yourself, working through the model and the camera. This is a technique used by many motion picture directors. I find out that if you are not self-conscious in acting things out for the model, she in turn will not be as self-conscious in acting for you. Above all, do not in any way ridicule or belittle your models* efforts. If they do not at first succeed in transmitting the mood and expression, tell them encouragingly that they "almost have it." Repeat the performance again, talking about the feeling vou have about the situation, never about what they are doing with their features* If you want the eyebrows lifted do it with your own, saying, "You arc more anxious, more alarmed— you are Mrs. Potter of the story, wondering and fearing what has happened to her daughter/' It is never a simple "Raise your eyebrows, please." If you have a radio or phonograph about, try to have some music going akin to the mood you want. You can also set the emotional tempo by reading the copy or story aloud. If possible, let her read it to you. She then instinctively becomes a part of it. A giggly nervous temperament is characteristic of so many young girls, and this is the hardest 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: "Now look, Miss So-and-so, this is no funny business. It's a matter of bread and butter, a job for vou and one for me, I picked you from a long list of models because I think you have what it takes, and there isn't time to start all over with somebody else. Let's get this thing right. Forget the 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 to do in that case is to walk away from your camera, not letting her know her smile is expression less. Get a cigarette, offer her one, tell her son* thing funny. 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 your paints and materials, through whom™ create drama and characterization. You can't n at her with a "dead pan" face and tell her to smilr. It makes the difference between an average and one with that indefinable spark. Tec an expression is nothing more than form light, halftone, and shadow on it. But the ttffl who will look at your picture sees a face, human and expressive. I Imagination is contagious, mood is contagkm and the spirit behind a picture is ninety per em of the picture. You can be alert for drama aDra time. Watch what people do, watch their hanfl their eyes and mouths, their unconscious pns«. It is amazing, the changes that can come into! single face, and how expressions become ciated with thoughts. It is not a bad plan to a lot of self -posed expressions in a mirror, shoot them with your camera. Find out wtnl makes one expression dour, another elated, horrified, and another frightened. All is a subtfj movement of the facial forms and lines. Try to draw a face that does not seem to be thi something. Expression is very hard to capture when ing from life, but if you can keep the sitter inj spired and interested you can get it. I have large mirror on casters that can be set up beh me so when I am working directly from t model, she can watch the progress of the painti This eliminates the tediousness of the long of sitting still. This seems especially to interest] men, and elderly people who like to sit anywtjr but at the same time like to have something occupy them. Perhaps this may help to convince you tfatj you are important to your picture. You are m relation to every part of your work. It is the net result of many things, and most of them are yo

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EXPRESSIONS TELL THE STORY /INCE DRAWING EXPRE/J'ON 1/ REALLY CAREFULLY RENDERING THE FORM, DON'T ATTEMPT TO FAKE IT. CATCH IT FIRJT WITH A CAM.ERA.

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LOSS AND GAIN IN BACKGROUNDS Often the question comes up as to whether or not a background is advisable. Since this concerns both the camera and the painted subject, a few suggestions here might help. There arc good argument.1* on both sides of the problem, the difficulty being mostly in the decision as to when a background \$ better and when it is not. For tin? best answer we must look to the subject itself, A subject cut out or vignetted against a flat white background, provided that background is kept simple and uncluttered by other units, has a tremendous advantage. White space is often more telling on a page than tone. It makes a design of white area to support other design in the pictorial unit Jt isolates the important material .so that it can be seen easily. White space is often referred to as "breathing space/ It is not often that on a magazine page* either for story illustration Or for advertising, the artist may be liberal with white spate. In the first pi act*, space is expensive on any page and it is something like asking & merchant to put but a single product in his window, when he has fifty to sell But a single product well displayed in A window would probably cause more comment and get more attention than the fifty all displayed together. An argument against cutting away the background is that much of the three-dimensional quality may be lost. The subject gets a "pasted on" look and sticks to the picture plane without any feeling of recession. There is no doubt that a feeling of depth draws the eye into a subject, just as the eye is instinctively drawn to a mirror, a window1 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 conscious of the edge at the expense of the form; a certain cheapness may result when the subject is taken away from its normal relationship with its setting. Such harshness may seem out of place and irritating- A "scissors" type of edge ha-S no place in art. Jt follows, then, that if you keep the two extremes in mind, much can be done in either case to seize upon the advantages and to allevi disadvantages. The first thing we should look Into is tMW within the subject which is to be cut out oq A distinct gain or loss of vitality may be expected result if no thought is given theselies. If what we arc cutting out is already fl with only delicate greys and darks to sap whites, the result will be negative on a background. Going back to our four basic plans, we recall that the greatest vitality is in llie four basic tones. On the next page the at the top distinctly loses in punch and vital! being placed against a white background, light m itself, the subject drops the lower the much-needed value scale, having no blacks for contrast. I should say that the head has about four times the punch when placed against the dark background, whi creases the attention value and gives depth t&: subject. The head at the bottom of the page will the reverse. It is soft and grey in its envi of grey background; distinct gain in vi evident by placing the same head against vM What we have done here is the same thing did in the first instance, that of completing;! value range to take in the whole scale from « to white. This becomes middle tone and dB against white* whereas the first became urfdH tone and light against dark. Both,, then, accol plish the same purposeAs far as the cut-out, pas ted -on effect iscfl ccrncd, much can be dune by the artist toldg some soft edges, or to carry the white ha ground into the subject in some way. Thus I subject can become "interlaced" with its bi ground as all good vignettes and drawings duni So the subject does determine what can done, and knowledge of these facts can ample basis for a good decision. This little pd I em will 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 that otherwise would he quite ordinary. 202

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EXAMPLES OF BACKGROUND LOSS AND GAIN 203

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WHAT IS FAKING, AND WHAT IS IMAGINATION 1 Many students become totally confused by being told at one time never to fake and at another to use their imagination. The subject is worth discussion here. Pictures , to be creative, call for imagination; yet the things that make pictures great are their adherence to the laws of Nature and truth. I think the confusion can be cleared up and a workable basis of approach secured. Pictures may be conceived from many sources. Sometimes the subject is something that has been laid out before us in life that we recognize as being a subject and one which we would like to do. At another time a picture may be conceived to fill a need, with nothing but the imagination to start with. Sometimes a picture is an occurrence that can be dramatized and set forth. Or a picture may be a record of something that to us is beautiful and worth preserving for all to see. Sometimes a picture is a message to reach others where words fail. Sometimes it might be just a design that has its own intrinsic beauty, as would a fine piece of jewelry or other example of craftsmanship. There is such great latitude in art. I would say that we 'Take" things only when we are starting. It is the beginning of the setting down of the things in our imagination. We are trying to pull something out of a state of nonexistence into actuality. So when we "fake" a figure, it is to a purpose. We are taking the fastest means of capturing the thing in mind. Once the idea is established, we should go to real fact, and bring the original conception to life by working from a live model or other reality. Whether it is faking or not depends upon what the artist is going after. He should not attempt to fake the effect of light on form. But I would say that if he is trying to work out a pattern and arrangement, he should not always accept things as they are. He must decide whether what he is doing calls for a literal statement of fact or not. He must look for facts and use them at his discretion, not just because they are facts. The artist has the privilege of sifting and sorting the wealth he has to work with. He cannot use it all, nor does he want it all. If we honestly think we can get the effect we want without use of model or n then by all means I say to do it, 1 believe fa-jnuk* ing most of the preliminary work— composition, sketches and so forth— without materia! hclp^ ] believe the finished thing is more likely to bt creative. Then we can go get the facts we need to apply where we feel the need. We also have the means of gathering all the facts first, in stadia from life, photos, outdoor color sketches, pencil sketches, etc. From these we may do the Uml thing without further reference to them, earning in our minds what we have learned andst-Uipg it down from the imagination. You would not be faking a figure after the same thing had worked out from fact, even if you buried studies. Either way is perfectly sound. The point is, if you know a thing well enoi you are not "faking." A man who knows airplane) can paint one in the skies and not l>e falri 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 great deal of study. Faking is truly bad only wid we do not know what we are doing. If we do ml know what the form is, we cannot hope to Aw it correctly. Color may come purely from the imaginatigl and, so long as the value and relationship fl good, may be even more beautiful than in life.1 do not consider that faking. That is understa color. Not long ago a student brought his drawings to me and exhibited a great deal of pride over the I fact that he had "drawn everything out of head/' Considering his work from that s point, it would call for considerable praise, notwithstanding his heroic attempt to lie what thought was purely original, the drawings not done well enough to stand up against a pi of really good draftsmanship. He could not h to compete with those who are taking every 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 man who used a modelT but it would be inevita 204

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I NEVER GUESS WHEN th.it he would lose out against him. Perhaps a self-taught man should be given a great deal more credit than a university graduate. But how we t things is of less importance than the ultimate _ Bpf what we do. In the final analysis the mecUt lies only in the achievement. Be best artist does not fake if there is any pos^sblc way to avoid it, because he has learned ■ the truth itself is better than the semblance ■truth. We are limited at best in our ability to apprehend the truth, and why burden our work H ^necessary bungling? Drawing from life dres not make our work any the less original If It have conceived a pose or even photographed Kind made sure that conception is well founded ■fact, the result is none the less our own. I Someone had told this particular student that felling from a photo was cheating. I feel that it ■ no more cheating than for a carpenter to work torn a blueprint. It could only be cheating if the ■Oto were essentially the property of someone mt Even then it would be more aptly called baling, Were he to trace or directly project the Koto onto his drawing surface, I can see some Jpfe for the charge, but using a photo as a source d information is parallel to a lawyers building I sp bis case from his law books. The answer to faking lies clearly in the simple wolve not to guess when you can find out. You cannot argue against the man who has the facts I djtyou have not. If the subject is to be a repre■ptatioa of truth, it cannot succeed except by 1 king true. lit must be remembered that any picture is an Irion to a certain extent, but it is an illusion of pit in space, with 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 ( if we ■ to use die word), but I prefer to think of i feit sort of approach as something else. To set km one's thoughts can scarcely be construed as pbterfuge. We could paint our conception of lit it would be like on the planet Mars. We can lent forms without need of censorship. We can 205 YOU CAN FIND OUT invent flora and fauna, textures, or anything else, 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 idealize, glorify, even distort, in art, completely within our rights as creative people, if our aim is individual expression. Whether such liberty is 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 may lessen the chance of acceptance. But setting aside commercial considerations, the individual's right to creativeness cannot be disputed. The artist may well think of coupling his imagination with fact, using one or the other to best advantage. It is certain that art lies in the imagination as much as or more than it does in fact. To deal only with fact would be to base our thinking at the camera level If imagination can be cloaked with reality, it would seem the logical manner of approaching the realistic-minded, so that through this reality we may carry them into our imagination. If, on the other hand, we give something totally impossible to their own imagination, we can hardly expect 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 his tropical island, if we are willing to segregate o m selves from society. Perhaps Newton's laws were a departure, but a departure conceived in truth. A steam engine was unheard of, but based on fundamental fact. Its merit became a thing of purpose and value. That is the way I like to think of the right kind of imagination in art* "Faking" is not the word for it. Perhaps the best guide is to ask yourself whether the truth that you feel inwardly is more than you see visually, WThen you are convinced that imagination is greater than fact, by all means use it

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AN IMAGINATIVE SUBJECT NEED NOT BE "FAKED"

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THE ORIGINALITY IS WITHIN THE CONCEPTION » A^fl Jk\ «r »• m* ^ ^^. .^bi yfa^ ^ 4 \*W| M» ^1 1.G, %>// iA

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THE PLAN OF WORKING UP A QUESTIONNAIRE There is nothing that is quite so difficult for the artist as to sit down before a blank sheet of paper or canvas and produce an idea. Ideas have a way of seemingly coming from nowhere, or as the result of an experience or other suggestion. But there is at least a proved way which can lead one to ideas, by directing the mind into appropriate channels of thought and by first conceiving a purpose, then attempting to meet that purpose. An idea without a purpose would seem more or less inane and ill conceived at best, so let us seek the purpose, and the idea will follow in its wake. Assuming that intelligent questions will evoke intelligent answers, we can begin with a questionnaire. Take a sheet of paper and down the left margin write every word that you can think of that might be the beginning of a question, or even a group of words that would Ik? the start of a question. Let us assume we are searching for ways and means to advertise a product. Fill in every conceivable question you could ask about the product. When you can think of no more, then proceed to answer your own questions, or at least try to get the information that would answer them. Your subject, the theme and its pictorial presentation, is invariably hidden in the answers. This is a means of developing facts, and when you have the facts they are tangible things to work with. Illustration of tangible facts becomes comparatively easy. It is a means of taking abstract thought into concrete thought. Facts bring up mental images. If I say the product makes one healthy, you conjure up in your mind a picture of health. If I say the product makes one active, you think of activity in one form or another. So that is the way the questionnaire works. Now your pencil has something to get busy over. Little suggestions l>egin to evolve out of the answers. In the fictitious and sample questionnaire I shall give you here, I have purposely taken a product which offhand would seem anything but inspiring or romantic, just a hunk of plain cheese. In my answers I found myself continually but unconsciously stressing energy. So suppose we take energy as our theme. What are its possihili New questions come to mind. Who of the f; is most in need of energy and vitality? When come down to hard facts, Dad's energy Is mad important, since the welfare of the whole fro™ depends upon him. Now, is Dad practical »n theme in a woman's magazine? I believe so, steal any wife is instinctively interested in keepf husband well and healthy. In fact, hero i rather new and different approach. By actual awl trast to the material usually associated with sua] magazines, our series must attract constdo^H attention and interest. Now how can we show "new energy for Daffl Suppose we show a little insert of Dad as hensd to be, and a big picture of how he is now. Lei tbt big picture l>e full of action. From one answer if find he has "energy to spare," Fine! Now welhbi! of showing energy to spare. How about played ball with the kids, when he used to mopr in a hammock? Maybe he is springing past us on a hik^ or out-hiking the kids— even pushing the bbj buggy. Now we have something to work wi4 and ideas begin to take shape. Copy falls bill line with the theme and we are all set. So I gm you the series of layouts on page 213. Now suppose we get the reaction from our I attempt that the fact that the product is a too subordinated, not stressed enough? Howcvq the client likes the theme. Can we hold to lb theme, but stress the product more? That is ib pie. We can show some delicious-looking foot and subordinate the figures using them to decorate the page. We still have something differed Dad can push the lawn mower, Mother thevd um cleaner. We get out a recipe book and findiitf what tastes good if made with cream cheese, antl again we are all set. The food pages would be best if done in cokt since black-and-white food has little appetiJi appeal. Out of the same answers we could tat taken other approaches— the fine cattle, theui* tary production, the flavor of the cheese, U many vitamins and other healthful qualities.it variety of uses210

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SEARCHING BASIC APPEALS FOR IDEAS Here is the almost universal procedure adopted r most agencies and creative advertising departits. Advertisements are based primarily upon >logy. Human psychology has been put igh such intensive tests that it becomes nrissary to question the theory of basic appeals, is been proved beyond a doubt that there are wit in all of us basic desires and instincts, and when we are reached through appeals to ins I i nets we make certain definite and preible responses. No proof is needed that a norI woman wants to be as attractive as possible, it a business executive wants efficiency, that llof us want more freedom. Along with the Bgs people like and want, we know the things normally irritate thern, or from which they it like to escape. Such things can also be iftalized upon by suggesting the avenue of ipe-for example, even a partial escape from ?fio!d drudgery for the average housewife. [ On page 215 I have prepared some examples of 'ideas may be developed from basic appeals. type of appeal is selected first, and then you to think of ways that might express it. This Flhcmost direct and positive way to get reader e, and provides a broad approach to origlitvawl creativeness. GENERAL APPEALS Each of these might head a whole column, but (yarc given here merely as a jumping-off place : others, I iThe maternal instinct 8. The desire to attract Hie instinct of self- 9. Love of praise innervation 10. The desire to excel ■ The instinct of pro- [[, Pride of ownership Mi

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A SAMPLE QUESTIONNAIRE qOBSTlOKNAlRE FOR DAIfiXOOLD (A fictitious product) Why $hl$..7i&£&Tt£?L...z Because It lo pure and germ-proteetri* who jA„A^t..Jfem^fe4 v The man who has no energy* What When How K^rfA-r-.-^JT.. .£?&...*. .. Supplies essential vitamins. ..^.?.^..^fefe^ All the time, if you want to be acti*. 1 .here &..&..?&!&... §&?* ' nri. ^...^...gftft*.7. In many delicious ways. The greatest dairy state. Because of its richness. It what tine *^....^..V£r£t....... When tired, it brings energy to spaxej How often Does At meals or between meals. it. If you want to keep up full steam* Xes, young and old. lea, because it's so nourishing* all means, for new energy. Hot with such flavor and richness* All the good fats are left in. Which 4ffi&4T.£Ak*ftf&f*.A!iih*ff~{ Trults, vegetables, and starches* Are mk$&.W&te.M*3j>J^fttto^ * Xes, but in greater quantity. If %^.!ltjhjt^.^^.2.^f7^^ Ion will accomplish more, do MfA^.ft^.^.:^.?> May ft&&4^.JtM...:&.? **£*. . .jfcMfe* . .ft££&-. « Everybody loves Should ^..^MX.e.^Vn.e.^wVfti.*.. Can .AfMMfA..Af^....^...?... will ut„.ik..-«»^mv4^J Shall ^...*V^..^tJ-... By la there *^^itVt^..^i^.^In what way WfcMr; . *4\ . - AflkftvL*.. How about a(^*JlM^f..-. so how .4a..?....^...:#» But what ^^..^^..h^/^T How much 1 A,. .-&»*•' Does it . *!■ . ■ *Jri . . » rvi »~i • »• > ■ *»*.**.»«•• Uore popular every day. Children need it. Easily digested, gives them energy. Just ask for it at your grocer* s* Send us hi 3 name, we will send it. Ho higher in price. Its airtight germproof wrapping keeps it fresh until gone* 212

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ROUGH IDEAS DEVELOPED FROM THE QUESTIONNAIRE Dfld.our fo 'ear old lyini tip s4or] «XM! lAIRYCOLD WJiflti happened -to Dad? DAIRY GOLD cu&Ant ensiaj ijl HlfiD/ EN tRQY, /d A CONTINUITY If WORKED OUT CENTERED AROUND DAD^Vcw' VITALITY. How docs h doit? DAIRYGOUD . No ma id, no mat tor! OAfftrYCOLD CREAM CH)i£/£ [PRODUCT If FICTITVOUJ* BUT THE APPROACH TO THE IDEA/ 1//OOND, DAD/ VITALITY IJJftiTYTOTHCHOMfc. WHATHOU/eWfFe WOULD MOT BE iNTEREJTCDf Ott WHAT HU/OANDt 213

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A DIFFERENT APPROACH FROM THE SAME QUESTIONNAIRE C>*'w fot»ly ' /news \//6a/thi ita/trf. i' ■«« DAIRY CO LP Cfc*AMCH£&re t I t>AIKV

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CREATING IDEAS FROM BASIC APPEALS I BQNT CKY MY DAfcLIMO i> IWfnSITTLNE IKEW TUkfeM WAEM AtHlPXAFS -- ■ 1 ^ fiEKfrilNClAMCSWimL Hill: MATCfCNAL fN/riNCT IN/TH4CT TO PROTECT ■pAlLYLASC WtC*OF -TE.LF-PRE/ERVATION THE DE/IRE TO E*CEL kTiOM IK CALIFORNIA r Urgentine FOR QUICK PTEUEF FROM /UNBURN I DETlftE TO F|_EE FREEDOM FROM PAIN 215 TME PE/1RETO ATTRACT THE DEJlRE TO PftOFlT %/£ '£& &OAMBR end 'w/tafa bftftJfy tin tf»tn\PULAUTOce^. THE OE/IRE TO PO/IEff

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SCRIBBLE WHILE YOU THINK: THINK WHILE YOU SCRIBBLE :--"> 216

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YOUR SCRIBBLES ARE MORE ORIGINAL THAN YOUR CAMERA

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GET USED TO SKETCHING FROM LIFE 218

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YOU GET SOMETHINC THE CAMERA CAN'T GIVE YOU

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SENTIMENT THE KEYNOTE OF ILLUSTRATION Hardly is there a man or woman without sentiment, even though it be hidden and masked over in defense. Let us assume that no ones life seems just a bed of roses. Sentiment is the bulwark that we lean upon, that makes us able to take the inevitable monotony and commonplace of life in its stride. There is maudlin sentiment, of course, and sentiment dragged in by the heels. Sentiment can be used subtly and with tact and be made a tremendous asset; or it can lie like waving the flag after a bad vaudeville! act to get applause that is not merited by the performance. Sentiment must ring true to be effective. A search for real sentiment will bring up treasures, It follows that certain subjects will align themselves with certain psychological appeals, another word for sentiment. For example, a toilet soap associates itself with glamour, freshness — the preservation of, or contribution toward, beauty. Youth, romance, loveliness, then* is the sentimental approach. Switching to a laundry soap, we have the sentiment of the home, the maternal love expressed in clean, fresh and sweet-smelling dresses for the little girL We have the efficiency of the home, the economy of labor, a thousand and one instances where the use of plain soap expresses sentiment of some kind. Sentiment is attached to the cigarette through the pretty girl and romance. Another approach is the instinct of self-preservation, claiming less irritation to your throat; the appeal of quality, claiming the best tobacco, and so on. Selling flour would naturally he aligned with appetite appeal, tempting food, nourishing qualities, and resultant good health. After a little experience we find that psychology is definitely the basis of creative ideas. Recognizing the psychological realm to which a product belongs becomes almost automatic. Our real problem lies in the presentation. Here are a few examples of appeals and approaches: Perfume Milk Rom an ce , a I hi re , sedu ct i veness, the sensuous, sex Health, maternal appeal, appetite, home Breakfast food Vacuum cleaners Medicines Banks Motors Furniture Vigor t health, efficiency m work, appetite Efficiency, labor saving, li for other things Freedom from pain, vital instinct of survival Security, freedom from win home, preparedness, an tectiou Relaxation, efficiency, hroou travel, possession, safety Beauty, design, efficiency, home, pride The list can go on indefinite! y. Approaching p your subject in this way is ,s imply finding warn and means to interpret the various appeals, fbaq it becomes a matter of co-ordinating the pictoriu fundamentals to fit the purpose, doing back own the above list, many thoughts and pictorial soK jects will take shape. It would not he a had \&tm to make some little roughs of what comes toimmL] REVAMPINC; OLD IDEAS Here is a gold mine if approached intelligently] and ethically. There is an old saying that then is nothing new under the sun. There will alwayi he similar situations, similar products, and similar approaches. No one need resort to plain "swipes." Suppose in an old magazine we find what web* lieve is basically a good idea. With a new head1 line, a new composition or presentation, sudi revamping is done every day. Good sportsmanship will stop us from becoming plagiarists. Yet since life continues in much the same way, then is bound to be duplication. Seeing a picture oli] mother bathing her baby might give us a similar idea for an illustration. Such a subject could hardly be considered anyone's private properly/ But for our own pride we would present the suk ject as originally as possible- Viewed in this wajr, old magazines are a great storehouse of ideas, and since the subjects have proved themselves worlhj in the past, they probably will be good again. 220

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PSYCHOLOGY APPLIED TO COVERS AND CALENDARS !f [dtunfc ideas, unless the subject is quite a genanc with possibilities for wide variation, be let alone after having once appeared. e has already shown Grandma blowing es football, that is a specific incident , t up by one particular artist, and any ethtompetitor must regard it as his property, be repeated, However, a subject such as a skiis is so general that the idea itself may time and again, ideas to be acceptable must be original Hon, be timely t and have genera] opThey should reflect popular interests such fashion, and other current activities, abould invariably display good humor and teste. They should be free from prejudice, sectarian religion, racial intolerance, , or bad example of any sort. If the basis idea is a prank, it should l>e wholesome , t malice or abuse, rs may be based on what people like to do, they would like to be, how they live, and they love. In some cases covers can be repretive of the spirit of the magazine or even of cular contents. By familiarizing yourself the cover styles of leading magazines you will that they lean to different subjects. While Invariably uses a pretty girl head, another prefer the American scene. And, by the way, girl heads have been done so many times you will have a better chance if you intrcsome new angle or idea into yours, irs fall into two broad groups: general and specific incident. All the basic appeals be applied for sentimental response, A cover Od a broad psychological appeal has much chance of being accepted than one which around a specific incident. A lovely mother t child, for example, is a subject of broad , while a little girl playing with a lipstick jpecific incident. There is no basis of objecto the first, while there might be to the d. however, you wish to do a "specific inci:" cover, you can also develop this through 221 use of basic appeals and the questionnaire plan. For example, we want an idea for a cover of a boy's magazine. The questions might starts What does a boy like to do most? Answer: Build things, Question: What does he build? Answer: Airplanes, dams in brooks, huts in trees, rafts, etc. Suppose we take the but in the tree. Here is excellent material for experimental work. Or we could show the boys on a raft playing pirate. Soon we have a sound idea. Covers should usually be submitted in sketch form, since the subject itself may not be acceptable. Covers are not easy to sell, and that is why an idea should be submitted in rough form before any great amount of time and effort has been put into it. If interested, the magazine will encourage you; if not, you will soon know. If you see that the same artist is doing several covers for a magazine, you may be fairly certain he is under special arrangement or contract and that, therefore, there is no opening for you. Color photography for covers has all but crowded out the artist. However, I believe the chief reason is the dearth of good pictorial offerings. As art really develops in tins country, I believe we will see more and more of the artist's work on magazine covers. CALENDAR IDEAS Since I intend to take up calendars as a field for discussion later on, I believe it will suffice here to mention the important part psychological appeal plays in calendar art. Calendar subjects are usually of broad appeal and only seldom use specific incident. The main reason is that a specific incident, a prank, a bit of concentrated action or story, is very apt to get tiresome after having been looked at for some months. Suspended action, in my opinion, is not too good for a calendar. I get a little tired of the dog retrieving the quail, of waiting for the bass to be landed, the Indian to fall off the horse, and so on, There is great room for improvement in calendar illustration. I look upon it as one of the great opportunities for the artist of tomorrow.

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THERE IS EVEN PSYCHOLOGY IN COMIC IDEAS Sentiment may be applied in comics in forward gear or the reverse ► We can appeal to sympathy and human understanding, or we can make light of it, even to the point of ridicule. No one can prescribe an exact formula for comics, since the humor rests in the specific interpretation of an idea, but formula is used, consciously or subconsciously, by the best humorists, and it is all based on human psychology. Some tried and true formulas may be listed: 1. Outraged dignity 8. Unexpected oppor2. Creating the unex- tunity to get even pected 9> Flouting convention 3. Making the serious 10, Reversing logical ridiculous outcome 4. Making the ridicu- 11. Slapstick Ions serious 12, Getting out of a pre5. The weak outsmart- dicament ing die strong 13. The pun (play on 6. "The transgressor words) coming to grief 14, Tlie gag (funny lii7> Turning the tables cident) The psychology behind getting a laugh is a quick twist of the emotions, a surprise maneuver, a sudden reversal of thought. It has been said by humorists that there are only about a dozen basic jokes, and the joker works with new variants of these. Wisecracks are so familiar that they can almost all be sorted into types, yet they go on making fortunes for the wisccrackers. Much capital is made of the fact that there is something funny in seeing the other fellow suffer-^jerhaps an outlet for a rather sadistic streak in humans. To see a chair break under a person, even if he gets a splinter in his 'posterior, can be uproariously funny to everybody but the owner of the posterior. To slip and fall down In a mud puddle is nothing short of a side show for the onlookers, especially if the unlucky victim falls face down. To bend over and have a seam burst is terrific, even though it happens to a good suit. Once I saw a man snipping off Christmas neckties at the knot, with everybody loving it but the gentlemen so snipped. All such things are comic ideas, A laugh comes from a comic idea, or a predicament, or from a twist of the serious to the ridiculous. 222 My personal experience in comic fields most limited, but I number several well-kn( comic artists among my acquaintances. Strangely enough, I find that the producer of comics 3 rather serious by nature, until called upon to tell a story, when the rare ability comes Out I would: say that the comic field, above all others, calls f 3 individuality and originality. Plain exaggeration1 of drawing is not enough for comedy approach;; keen observation of human traits and responses is : wrapped up in good comics. The idea is of morej importance than the drawing. In fact, some S our best comic artists are not good draftsmen all, and are funnier because they are not there is no doubt that characterization can a part in pictorial humor, and I do not believe a 1 knowledge of construction, even composition^ can hurt a good humorist. Comics may be sold direct, or, as in the case oi ' newspaper cartoonists, through a syndicate, order to sell a daily strip, several months of strips must be prepared in advance. Some toonists are kept on salary by the newspaper*: themselves. Others work as free-lance cartoons selling where they wish. Information as to location and names of syndicates may be had writing to newspaper offices. Many artists treat comics as a sort of side iss because of the highly speculative nature of field- A comic artist must be unusually good get into a syndicate, but Jf he does, it can highly remunerative— even one of the highest-; paying branches of the craft. Comic drawings should be kept simple, with? out a great deal of complicated tone or moc of form. They should be held mostly to Elaboration tends to reduce the comic fla\ rather than enhance it. The drawings should kept "open" and capable of considerable reck< tion. There can be various degrees of exag tk>n, though I think it will be conceded that comic drawing should contain some distortion exaggeration. Otherwise, it remains a seri drawing which, in spite of a humorous idea, likely to be accepted without a smile.

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As one becomes experienced in various fields of illustration, it becomes apparent that ideas are often closely related. An idea for a magazine ad may very well !>e incorporated into a poster or display. The variation is in the presentation. Time is the factor which really determines how an idea fc to be reiidered-not how long yon can work at it, but the time which the observer will likely kveat his disposal to take in your idea. Sitting in an easy chair with reading time virtually unlimited, he will respond to a magazine ad with a great deal more in it thai would be put into a poster which must be comprehended in a few seconds. Magazine pictures permit more elaboration of environment, back-ground, and extra interest than does the poster. The streetcar card has a little more reading time than the poster, so it can carry a longer text message than a poster, but still not so much as the magazine. The illustration for the ; "tireetcar 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 should be simplicity Jierc also. Any picture idea can be put through the fob lowing test to find out if it is practical for its •purpose: 1. Can it be seen and read within the allotted time? 2. Is its presentation stripped to maximum simplicity? 3. Can anything more be taken away without hurting its effectiveness? 4. Is the idea consistent with the medium in which it will appear? Example-For a woman's magazine, will it appeal especially to women? ExampJe-As a poster, is the appeal universal? 5. If the idea must sell something, does it? 6. If it must be seen at a distance, does its detail carry? 7. Would seven people out of ten think it good? 8. Does the picture itself express the idea, or must it carry a .supplementary explanation? 223 IDEAS IN GENERAL 9, Has it been noticed and commented upon without your calling attention to it? 10. Can you honestly say it is all your own? The foregoing test may be considered somewhat severe, but 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 the test yourself while there is still time to remedv defects, than to have the defects come back at you. All ideas must go through the in ill of criticism and opinion, whether we like it or not. Criticism is hard to take at best, so it Is wise to anticipate the unsolicited criticism which seems inevitable and be your own severest critic. You can judge fairly well if criticism from others is unbiased, or prompted by personal motives. Another artist may not be quite as good a critic as a layman, for it is difficult for an artist not to see a subject as he would do it himself. Since you cannot work his way, you should weigh the criticism carefully. He may be giving you some good pointers. It is best to seek criticism from people representative of the general public and its taste. Much early attention which is ordinarily omitted could profitably be given an idea. Many of us could move ahead much faster if we would do more thinking in advance of the job, rather than wailing until it is half finished. We can be our own "I told you so V 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 forward. It is only natural that we should be concerned principally with technical execution. But planning things out carefully is the only way we can give that technical ability half a chance. You may think, when a layout is first handed you, that there is no room left in it for personal ideas; but you will invariably find there is 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 eventually take notice.

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PART SIX 1. The Magazine Ad 2. The Outdoor Poster 3. Display Advertising 4. Calendar Advertising 5. Covers and Jackets 6. Story Illustration

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THE MAGAZINE AD There is such an overabundance of material ever present for the study of advertising page arrangement that it seems to me I may safely approach the subject in a more or less general way. Therefore I shall confine myself to types of magazine ads, rather than a host of specific and actual examples. The 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. For the most part, arrangement is the province of the advertising agency, and the illustrator has little voice in such planning. Because other elements may be present in a layout, such as conformity to a series, emphasis on given units, selection of type faces, eta, 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 understandable to him, and toward which be must he sympathetic and co-operative. He should take advantage of the opportunity for good arrangement which the layout offers him, or, if need be, do what he can to give better arrangement to a poor conception. Tile success of the illustration lies greatly in the success of die appearance of the whole ad. If the reader is intrigued by your illustration into reading the copy, the illustration takes on added meaning, and you benefit thereby. If the reader looks at your picture and skips the rest, the whole structure falls apart and the ad fails. So your first approach to good advertising illustration is: "How muck of the meaning of the text and purpose of the ad can I transpose to mtj pith 226 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 up a poor ad much better than a good ad can hold up a poor picture. You might think of the picture as the show window to the meaning of the ad, if it does not attract, 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 law. There are two ways fl interpret, the lazy way and die inspired wav. The lazy way is always the easy way, the explicit foj lowing of instructions with the least possiba effort; the attitude of only "This is what he ask J for, so this is what he gets/' This amounts to] complete subordination of any enthusiasm, ij dividuality, or inventiveness which you may pel sess— all qualities of paramount importance td your success. The right way is to search deeply for the psJ chological appeal, the impelling motive, and the desired response. If you understand these, | will help you tremendously. If vou have beta asked to portray a mother and child, you arerealf working toward the deep and vital maternal a peal. Every quality which makes motherho idealistic and beautiful to you should be inca porated. It might be easier, even more pi ant, to call in that petite little ninetcen-year-oll blonde who registered the other day and use h for the mother. But can she typify motherho convincingly? The right way is to hunt up mother, as "ideal" as possible, and use her wi her own child if you can. There will be a s there that may make your picture. If you cann do that, don't haul an oversized doll out of cupboard and make it suffice for the baby. Gcttf real baby. Such co-operation is not only fair, wise for your own sake. If you are building a rep tation, build it solidly and intelligently.

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THE APPROACH TO GOOD ADVERTISING ILLUSTRATION Of second importance to the interpretation of I the text is taking the greatest possible pains to |sccure the best possible working material. If a rprice on the final work has been agreed upon, the ould be willing, if necessary, to pay out at en per cent of it in models, props, photos, ftooSer working material In the long run such an ^investment will pay large dividends, much better paritehy other type of investment If you need to tent a dress, do it, rather than fake it. Get other Accessories when possible, for it adds considerably to the ultimate value of your work. I have !$ proved over and over> Two artists may be of equal ability. However, one fakes, jjvhil|; the other conscientiously supplies himself Mi the best of everything to work with. The latper will win out, every time. Every bit of working prom life is adding to your general knowledge, while every bit of faking keeps you at a standstill, for even- drags you backward. You cannot learn |«cept from observation and study. Even a bit jrf authentic still life in your subject is also authentic study Your third and very important approach to od work lies in working out your problem in rough or sketch form, even when such sketches ecljhot he submitted. Find your troubles before fcev $nd you. A pencil study from your copy, if pi are working from a photo, will be Letter to | from in your final stage than the photo itself. You will find yourself working more freely jnd expressively* Much of your pencil study can actually be transposed to the final medium with (good effect* As long as the photo hangs next to the Binalwork, the final work will appear unfinished ty comparison, unfortunately encouraging you to match the finish and slickness of the photograph. If, instead, 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 wing, not tracing. Plan your color before ching the final work. Changes are unsatisfacy many medium. If you have to make a change, jet down to as nearly clean a working surface as 227 possible. If working in water color, sponge it down to the paper. -If working in oil, take your turpentine and a rag, after scraping with a palette knife, and wipe it down to the canvas. If the under paint is dry, it can be gone over with fresh paint, but it never looks quite as fresh as the first painting 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 tlie same head over and over until it was so thoroughly fixed in his mind that he could do it in a great economy of strokes. Light paint will never cover dark paint as effectively as dark over light. In time the dark will muddy the lighter paint above it, even if it has not already done so in the first attempt. When working under pressure it is always a temptation to jump right into the final thing. But 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 studies. "Worrying through" apicture is bad business. There is enough worry at best, and it should 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 final work. It is better to admit that you made a hasty and bad start, and then start over. I know one illustrator who made a habit of stretching two canvases for each job. He did all the experimenting, fussing, and fuming on the first canvas. When he thought he had it nailed down, he proceeded to do the thing very directly on the second canvas. It took one- quarter to onehalf the time. It 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 him down, this approach seemed to speed him up, and he thus capitalized on the credit of being a very direct and accurate painter. Had I not been a close friend I might never have known, and since I do not disclose his name, I feel that he is making a contribution to us by his good example.

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USING YOUR FREEDOM Unfortunately most artists are really given 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 to deviate from them considerably, a telephone call may be all that is necessary. You may be certain that even if your work is well known , no art director can possibly visualize just what you are going to do. He is taking a chance on you, on the Oasis of your past work. He has to. Nor can you, when you take a fob, see the finished thing in your mind exactly as it is going to be. The reason is that the whole thing is a creative process. Little is really going to be said in advance about pose, costume, etc> unless you are handed actual photographic copy to work from. Advertising agencies seldom supply the artist with any tiling more than the idea and a layout. Your art director is not expected to supply you with copy. If he does, End out then and there how much leeway you have. Copy may be in the nature of suggestion only and not intended to he followed literally. I well remember an art diret 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 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: director. Build up your files of clipped information' as many subjects as you think you will ever ne not what you need just now. It takes years make a good file, and you might as well st early. As you go along in advertising you begin to recognize certain types of ads. Try .a wc may to be different and original, most ads fall into one or more of these types. I have laictn as examples twenty-four fictitious ads which! believe cover most of the types. The variance course would be in the layout and arrange These may servo as general ideas for approa though the ads must not be actually copied, the same slogans, titles* or catchlines used* TWENTY-FOUR TYPES OF ADS L With "Pictorial Interest" Dominating In this type the picture is almost everything. The illustrator is of primary importance and is picked for his ability. One half, three quarters, and( at times, a full page is allotted to him* It is therefore his whole responsibility to tell the story, to get attention and response. Such an ad is about the greatest opportunity for an illustrator that there is. That is why much of the material of this book is laid out as it is, for here real responsibility is going to rest on your broad shoulders. 2. Interest Centered on a Large Head Here is where character, expression, and the ability to portray personality come in. A. largo head, when well done, makes a good ad3, The "Eternal Appetite" Appeal People will always be hungry. It is our job to make them hungry for what wc have to sell. 4. Interest Centered on ike Product The purpose of this type of ad is to impress l!2 actual product on the memory of the public] oilers great variety* 5. Romance Romance is as eternal as the appetite. It ffi always be the problem of the illustrator. 6. Home and Family Over and over this type of ad appears, y there is always some new angle. 7. Historical— Biographical Always presenting opportunity for interest, are thoroughly enjoyed by the illustrator. B. "Before and After' Subjects A well- worn hut perfectly sound approach, 9. Prediction of the Future I If it can be made convincing ( and sometima 228

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GENERAL TYPES OF MAGAZINE ADS tastic) it will almost guarantee attention and st f 0. The Cartoon Type The cartoon approach is good because of its trast to the prevailing seriousness of its neightors. It acts as a change of pace, and gets atten. The Extreme Close-Up Very effective for otherwise dull subjects. Fits ry thing from hous erlies to eyelashes. 2, The "Group Picture" Type Sometimes a group of pictures has an advanover a single picture in story- telling value, or example; several uses for the same product. fi& The Picture Continuity Type Borrowed from the comic strip. Tells a story in [pictures. Here the artist must be able to repeat pis characters under varying conditions. This type perns to be losing punch, since there has been ISO much of it. But maybe its still good, who I0WS? til The "Action " Type Good action is always an eye-catcher. & "Sex Appeal" Type It will always be with us. \I6. The Sketchy Type There is a power in sketches often missed in [labored work. It offers real advertising value, lould he used more, p. "Fear" Subjects Based on the instinct of self-preservation, and potent for certain types of advertising. Should not be too obvious or grotesque. [IS. Symbolical Subjects Unlimited in opportunity for originality. ). "Baby" Subjects Will always stay. 20. "Character" Subjects Real opportunity. 21. "Kid Stuff'- One of the Best Sellers Who can forget childhood? What parent is not interested? There is practically no limit to ideas along this line. Children should be portrayed as realistically and naturally as possible, and not too dressed up. Child appeal lies more in wholesomeness than in being beautiful. 22. "Mother and Child" Subjects When well done they will always appeal. 23. "Luxury" Appeal Such an appeal is best in times of plenty, when quality and good taste have a chance. Such appeal might also be listed as desire for prestige or distinction, and pride of ownership, 24. The "Pureltf Imaginative" This is your one chance to go a little crazy, and most illustrators welcome it. My readers' attention is called to the books by Frank Young on advertising layout. Mr. Young's authority on the subject is Inryond question. My personal acquaintance with Mr. Young and his work has been of great profit to mc in the field, though I confess I cannot hope to compete with his knowledge and experience in the subject of layout. I believe every illustrator should study his works thoroughly, and I take this opportunity to thank him for his inspiration and guidance in the past. I have made no attempt to teach layout in this volume, since it has been so expertly done elsewhere. For this reason I speak of the general types of ads only, realizing that as layouts they may be open to considerable criticism. Frankly, I am not a layout man, and I only wish I were better at it. May I 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 director, and will clearly demonstrate essentials of real importance. 229

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"TCPES OF MAGAZINE ADS %* &te efamt &g/mxJ&x/ i,. VSf l"TH PiCTORIAt IN* REyr OOraiNATllvjC, was ^/awwc/lyMfare . ' Cramwetljr foams 3, THI ® ET6ftNAL APPeTlTE-APPsAi.. C/oh i :■ fr£#JTti\ WHITE C0TTAGF COFFEE £. i NTGRe/T CENTERED ON A LA^oe wcaJ /^7 wift€f&eift&£ • TO MAI KETCHUP] TrwAesitrast^er/eclA 230 ■4. mtE«£/T CENTER6P ON THE PROI I

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TYPES OF MAGAZINE ADS £. HOME AND FAMILY /&r/?wrtt a/tear jftF/fiisT OF ZW/W — ■ **&***# JftmAfi*TT^a LONG Wfc MAKE/ IT C04"f LE//. i,/ /fe-cr j=y* mr 8- %OCPOR€ APiO ftFTBftVu OJECTA 231

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TYPES OF MAGAZINE ADS TOlVfORR-OWS TRAFFIC COMMANDER K5S3 TDDAV it* alvwj 9. PREDICTION OF THE. FUTUAR. KEEPYOUREYEON ilEETCARJl .■:■■ Mr M-SlQNEW :^u\ MOTOR./ .C4>.9S&$ \ ,\| i«IliI!l!lllES» II. THE EXTREME CLOZE UP. TONES WA1TE1). (Bis car wouuwr) REPAlHAT-rilE AUTO-PARTS INC. ASEHV fO- THE CARTOON TYPE. 12. THP GROUP PICTUR.E. TYPE. 232

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I TYPES OF MAGAZINE ADS m (MJatMltf co4$

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TYPES OF MAGAZINE ADS Ues, you could have m faredJ ken/ \ rj for ifesre yj&f Uq fitfft EVB&YMAN NEEPf fAf/Vt&lflfcE PUBLIC MUTUAL LIFE '£ 7 1AMF. CO. IT. *P£4R* /UBJECT/. K>. * BABY " SU& J ^CTf W" LL ALWAY/ JTAY, TOEMNlg^Hii'piiNT MUST fell INXJW iFRO^iTlit Hi RtfO^U ril'LJJjftUJ! 1BI V tiTMPNl COinVCIlrOF AJVTL Kl CA IS, -TYM SOLI CAL «ajbj£Ci\t I ■ ^'/ Ljou ( kaven '{ It ved uHiitt you've landed a hi a ox£. VACATION IN CAL1FORNT "B 20. CHARACTER /UBJECT/. 234 1

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I TYPES OF MAGAZINE ADS iv€ me a bowl ihif big, Mom/ Collins Lod JivcrOil 22 , MOTH E R AN D C Hf J_D /(J O J ECTJ\ (m ATCRNi L APPEAL.) Jcktuiy doc a tt'i- jlbtf li© vo iu the Boo tfy Man any moms. 5o noW iMr. Boogy isout of luck! -Jo would tuc bo, if youctkfit't bdicve inu5. Our earnest desire h to servo youlwt^ aJtwnys ASSOCIATE!} DRUG 5TORX5. 24. THE " PURELY IMAGINATIVE", 235

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RELATING YOUR ILLUSTRATION TO THE WHOLE AD Even though you arc not called upon to lay out the whole page arrangement of a magazine ad, it is, as I have indicated, of considerable concern to you. Much depends upon your carrying through the general scheme of layout as well as your execution of the pictorial idea. I will endeavor to give yon a few pointers which may help in the ultimate result. If your layout is already "busy" with complicated and space- filling material elsewhere , try to treat your illustration with as much open space as possible, keeping the masses simple, or not too broken up in light and shadow, In planning the subject, indicate the general masses or patterns of value on tracing paper and lay it over the layout. You will find that much can be eliminated. In a complicated and busy layout the illustration will look better if almost flat and postery, with little or no background, and utilizing the white space to give the illustration "air." A so-called "spotty" picture does not belong in a "spotty" layout. No matter how well done, the effect is unpleasant and the advertising value lost. Every illustration should offer contrast to its surroundings to secure attention. The same is true of the "grey" layout, or one which contains large areas of small text or type matter. Unless a somber or "moody" effect is desired, the illustration should not also be too grey in appearance. It calls for the largest possible areas of snappy blacks and whites, against which the grey of the text will appear beautiful. If the layout has good open areas of white space, you are most fortunate. Advertising men have been hounding their clients for years to see die advantage in attention value of white space. But unfortunately space is expensive, and the tendency by the man who is footing the bill is to fill the space to overflowing. In the long run he is paying twice as much, since such an ad is only half as effective, if even that, White space can make or break an ad. In such a layout you can go the pictorial limit, getting at least four good contrasting values in your picture. You can go back to the original four tonal plans in planning your illustration. If your layout bac ground is white, play some strong greys and dar against it, and also carry some of the whites < the background into the illustration. If by chan your layout is to carry an overall grey or bla background, work to the other plans. The poi is to put lights against grays and darks, or reverse. Attention to this factor makes all difference between an ordinary thing and a tru outstanding ad. The material in a photograph must ordinari be accepted and put into a layout as is, althou sometimes an enterprising layout man will cuto the figures or material in a photo as you woul paper doll, thereby getting away from the greyness or drabness of a subject. But it looks hard and "pasted on," and has not the value of a good sketch or vignette with planned lost and fou edges which would interlace the subject with i background. Such interlacing is necessary to gi the unity of effect which is so important. In delivering your picture, it is well to point ou that you have considered the effect of the who arrangement, perhaps taking along some of the preliminary material by which you arrived at your presentation. Not having the rest of the la around it, your original may possibly appear a overpowering or even a bit weak, and if this commented upon, you arc ready with substantial reasons. This situation seldom occurs, ho ever, for comments usually hinge about the merits of the picture itself. If the product appears in the layout but outsi your illustration, try by all means to carry the e through your picture toward it, or at least in general direction, by providing a route for thee to follow through the design of masses, edges, lines. This will be greatly appreciated by the art director. Sometimes the product may be sup imposed, or so placed that it overlaps into 1 illustration. In that case, supply suitable con in that area to make the product separate in val so that it stands forward in relief. If the produc appears within the illustration, make it the poi of interest by leading all possible lines to it. 236

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! DEVELOPING THE "CO-ORDINATION SENSE" It is admittedly difficult for the artist with (little experience at once to co-ordinate his efforts SiitO full swing with the advertising or comShercial approach. Often the beginner will hear fate phrase: "We are not looking for high art lere— what we want is good advertising/' It is [Unfortunate that a separation between art and advertising exists in the minds of advertisers, for it can be conclusively pointed out that all the progress in art illustration that has been made in (he past twenty years has boon in the direction of ■fine art. A study of the Art Directors Annual, covering a period, I believe, of more than twenty-five rears, will prove it. Advertising is constantly approaching fine art, and it is my opinion that it has fought up with and in many cases is surpassing ucli of the so-called "fine art" of the country. In tome cases advertisers have singled out the best ists in the country from that standpoint, paying in)' price to get their work. No advertiser will ever object to fine drawing, good values, arrangement, color, and conception. There can be no line of distinction drawn between advertising art and "high >rt" Either is only good or bad. The basic difference between the twu has nothing to do with paint, medium, or technique. The advertising ipproach leans more to the telling of the story, the .virology of appeal, attention value, and response. High art may be anything that has its own intrinsic beauty and is created for no other purpose, I Where advertising art may suffer by comparison is in the inconsistencies permitted, "Blurbs" Of ''balloons" may be bono wed from the comic Istrip and inserted into a finely executed painting, lirith no better result than to become incongruous kid show extremely bad taste. When taste is sacHrificed for attention, what good is the attention, if drawn only to bad taste? Who can display bad manners anywhere and benefit by the attention sSO obtained? Advertising falls short of the mark icontinually by the erroneous idea that tight and ,'erinsistent detail makes the best picture. The chances are thai such detail will draw attention away from the idea and product more than it will enhance it. Advertising fails with respect to color when it insists that color lies only in primary or spectrum color, with one fighting another. In the end, such an Attempt only publishes, on a grand scale, the advertiser's inherently bad taste. IF the advertiser does not believe color lies in tones and beautiful relationships, let him attend any technicolor movie. It is more brilliant than his primaries. Advertising fails sometimes because the people who are given authority to plan and order pictures may lack the fundamentals of pictorial knowledge , and hence may give out directions that are totally inconsistent with good advertising art. Oddly enough, the less a man knows, the more orders he is apt to give. The ablest art directors, recognizing ability, give it every freedom possible. They get consistently be tier results. The best way to got the "feel" of advertising presentation is to thumb through a magazine. Take an ad, and on your pencil pad start moving the units about in a new arrangement. Eliminate some of the 'do ad wood" for white space. You simply make blocks, lines, and white spaces in miniature pattern in a design of whites, greys, and blacks. Out of ordinary layouts can come gems if thought is given to balance and design. Before long such experiment will begin to express itself in a flair for good spotting and arrangement Co-ordination between artist and advertiser lies in mutual understanding of intent and purpose. He contributes the merchandising theory and the spacer as well as a reputable product. You contribute your understanding of light, form, design, and dramatic interpretation. It cannot all come from either side, and your contribution is even greater than his, for your particular knowledge is even more difficult to acquire. The best commercial artist is by no means the complete "yes" man. But he is willing to listen and co-operate in every way short of producing illustrations or art that he feels would actually do his reputation more harm than good. Rather than deliberately make a very bad thing, let him have the courage to refuse the job. When the j'ob means only the fee, forget it. 237

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A TYPICAL MAGAZINE AD ASSIGNMENT Let us assume that a call has come from the art director of an advertising agency. We find that he wants an illustration in black and white for general use in the magazines. On die next page I give you a layout in approximation of a typical agency layout* We assume the layout is to be followed for space allotted to each unit. The account is a company that manufactures heat control units. The headline is to be "Perfect Weather Inside * We agree that the idea is rather novel and interesting. The psychological appeal is "freedom from cold." Coupled with this would he love of home and family, and desire for security and comfort. We note that the contrast, or "before and after," is to be supplied by the small line drawing of a man in an overcoat subjected to a blast of cold wind (The art director tells us that this line drawing will be handled inside their own art department. ) Thinking further about the psychological angles* we find that "freedom from care/' "desire for relaxation " and many others, are implicit in this subject. All of this points to what we can do with the illustration. Let us show the father free to give his time to his litde daughter, the mother affectionately hovering over them and interested. It is logical to entertain the child with a story book in the evening, when man is most apt to be home, and when the outdoors is coldest The busy art director may not go into any more detail than to say: "We want a sweet little family group, all happy and warm. We want it well done, and we need it in a hurry." (Everything having to do with advertising is always in a hurry, ) He says he will not need a comprehensive sketch, but would like to sec some roughs for general composition. Following you will find the roughs as they might be submitted, or which a conscientious artist would make anyway before hiring models. One of these is selected as coming closest to the purpose, and the models are called in and photographed in the poses wanted. Several lightings are tried out, and many attempts are made to get as closely as possible the expressions that will tell the story. You will note in the final illustration an ati to get away from hard photographic derail. Edgjjjj are considered carefully. A back lighting chosen, since it would be logical to light the over one's shoulder, but also it gives us g< opportunity for reflection and luminosity wit the shadow. When there is no color to support! subject, it depends entirely on values for pi effect Every subject should be studied for a good balance of darks, greys, and whites, black-and-white interpretation. The one thing avoid in black and white is a feeling of heavu and darkness, especially in a cheerful subj< Values are so related to mood that soi when not considered in that light, a picture ml unfortunately present a mood wholly in 0] Hon to the idea expressed. I believe it will become more clear, the fa you get in the craft, that the individual feel and personality of the artist is most ii Pictures are so much more than filled-in out of something, and the only place to find sion is in the interpretation of the source— wl means nature, light and form, plus your ii ual feeling about it So much of advertising has so little personalit so much formula. There is such a tendency to tare, so little invention on the part of art direclc and artist. It is not surprising that often, wi the extreme tension and pressure all have to under, little thought is turned toward these thin| The answer is not in your competitor's approat But so few of us exhibit any courage in striving for individual expression* And yet if it never a chance, it never can really come out into light! Let us start believing that our eyest not ears, are as good as the other fellow's. Let us lieve we have as much right to expression as If we do not know what to put down, it is becai we have not dug deep enough into the subject i into ourselves. If nothing in the world inter* us, we would have no ideas. As long as there something that does, we have a basis for expre sion of our feelings about it. 238

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A TYPICAL AGENCY LAYOUT 5£rt0 *Ofc M£fce.{£Oi>k:iEr AKRON 3KMO STATS j*# 239

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ROUGH COMPOSITIONS FOR THE PICTURE AFTER CAREFUL CONSIDERATION OF THE AGENCY LAYOUT WE BELIEVE WE MAKE THE SUBJECT SETTER &Y CROPPING ,GI VI NC? LARGER. HEADS* &5 GiV TOUT THE FIGURED FACE OUT OFTrlE AD. IT J*EEM/ To DRAW THE ATTENTI AWAY FROM THE PRODUCT, RATHER THAN TOWARD IT. JO WE TRY TURNlh 1 THE FIGURES AROUND. WE CHECK THIS WITH THE ART DIRECTOR BY PHONE* SHOVM1NC THE BOUGHT* WE. ARE NOW READY TO CALL IN MODEL; FOR PHQll Oft STOOIES. HAVING THESE ROUGH J" WILL MAKE TH£ CAMERA WORK THINfl OUT OUR WAY INXTCAP OP OUR, WORKING FOR THE CAMERA. TRY IT OUT 240 1

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I FINAL ARRANGEMENT BASED ON PHOTOS TAKEN • 241

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THE FINISHED ADVERTISING ILLUSTRATION 242

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WHAT IS THE FUTURE IN MAGAZINE ADVERTISING? It would seem that magazine advertising has e almost every tiling possible, lliat we have ached the place where duplication is inevitable any approach. Hut magazine advert wing must On, and unless wo artists otly insists upon being loud, Lai am I do hut shout?" But fortunately Hie printed word cannot shout, here is a misguided concept ion of what boldface -pe, gaudy color, blurbs, and script oan do. Tho ry clement of contrast winch make* these things in attention, can make them inaudible by lack contrast when everything else on the page shouts." Just as quiet in a room lends distinction & single modulated voice, so can simplicity urn;] ipacc lend attention lo a charming presciilalioii. oklfuctf type eats up the very space an ad must Rave to be fully effective. Clashing color destroys jotli itself and that very quiet and contrast which iritliant color demands. Suppose we have a floor strewn and cluttered rith everything under the sun. We sweep a square of open space and set an orange or an ap)lc in the middle of it. That, to me, is the principle of focusing at tent ion. If we had dumped a crate of oranges among the rest of the confusion, it would not have gained as one-tenth as much attention, This is the "most difficult fact in the world to j*et over to the advertiser, but the effectiveness of it, once tried, is proved over and over again. I think of a Coca-Cola poster with the single word "Yes" On it, as a single girl figure in it proffers a hot tie of the product. I think of a Campbell Soup ad showing the lie: ad and shoulders of a bov who holds out a howl , with the title "More/' White space enveloping a bit of bright color— in the first example, a flat green enveloping a large head. I think of a jewelry firm showing a single piece of |evol ry in the middle of a black page. T think of the simple effectiveness of the McClelland Barclay Fisher Body ads» which are still advertising history. 1

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BETTER TASTE IN MAGAZINE ADVERTISING an effect is an asset, it is valuable in advertising* But size is always obtained at the expense of marginal isolation or "breathing space," When size laps over the edges it ceases to function, just as a 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 lias been gained by the bleed page, except to the very smart advertiser who takes it as breathing space, the extra room being worth the extra cost. The bleed page is like an unframed picture. If advertising cannot get louder and bigger, what is left? There is but one answer: better taste. Better taste in art, copy, and presentation. Advertising has grown out of its old clothes. They will not do forever. Instead of shunning good art, it must finally seek it. The things that have made the greatest art will make the greatest ads — the straightforward presentation of truth, embellished widi imagination and taste, simplicity of approach, subordination of the trite and irrelevant, and the inexhaustible reaching for the ideal. There are possibilities for art in advertising that have not yet been explored. But such developments must come from the realm of art itself, not from the ad man's desk. 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 we must not limit our individuality or ability to the things requested of us. We must give him more than he asks for. There ts no other course open than to produce better layout men, better artists, and better copywriters, for magazine advertising can never be anything more than the co-operation of the three. If possible, we must strive to eliminate the distinction between art for advertising and fine art. It does not seem quite logical to starve in order to produce fine art, at the same time keeping aloof from advertising. Instead of the "fine" artist's "lowering himself" to advertising, why should he not lift it up to the highest possible level? Cannot the observer enjoy a good thing as much from a printed page as from an exhibition wall? Can one doubt the effectiveness if one of our ^ magazines were to reproduce a Sargent water, color, or one of his amazing charcoal heads? What, after all, holds advertising on a lower pit>: torial level, but the art we produce for it? No, my dear reader, magazine advertising s far from having done everything possible. It will-. align itself with the best ability we can produce. When we get good enough, it will stop telling us * what to do. It has its own department of good taste to clean up, in layout and presentation, but that is far less to acomplish than the task which lies before us. We must put the fundamentals to work as has never been done before. We must not regard a year or two in art school as all the study we need. Such study is only the apprenticeship to the individual study we will have to do for ourselves. There is no doubt that new forms of advertising may spring up with new inventions. Publicity is publicity, whether we stng it, say it, picture it,, or act it. Advertising is any way in the world to get people to look or listen. When we think of an increase in taste as theonly answer to the future of advertising, let us consider the average motion picture of twenty years ago as compared with the present. Compare the acting, the presentation, the creativeness all the way through. The hero and heroine of yesterday could not possibly "get by" today, nor could the producer. We can look at architecture, industrial design, engineering— every one has progressed along the lines of greater simplicity and good taste. Advertising cannot be the unique profession which does not need to change its course. To prepare for the advertising of tomorrow, do not look too much at today s ads, but look rather at life, nature, form, color, and design. Go to the only source that can give your work the fine qualities that are so needed. Paint heads as if you were painting a fine portrait, paint form as carefully as you would sculpt it. Look for the beauty of tone and color that would go into an exhibition painting. There is no better way. 244

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THE OUTDOOR POSTER .The relation of reading time to advertising has ? already been pointed out. Nowhere is this con'sideration more important than in planning the outdoor poster. It is agreed among poster authorities that ten seconds is the maximum reading time. Therefore, the poster must be planned on that basis. Now, ten seconds is very little,, and even that would be quite too long to take one's eyes ;off the road when driving a car. In order to give maximum reading time and at the same time cut down danger to the motorist, two plans for poster display are followed when possible. One s to place the board at an angle so that it can be Seen for some distance ahead. This accounts for le zigzag arrangement often seen in billboards. The other is wherever possible to place the bi lire! in front of the driver and in such a position hat the line of vision is in line with the traffic. The number of words is cut to the minimum and the jesters arrangement is the simplest possible, deigned to carry the maximum distance. Take it as id axiom t then, that a poster must be simple, direct n appeal, and capable of being quickly read. A large head probably holds first place in poster lanning— or if not a head, dien a large single unit tof some kind. A single figure, especially if it can Reinserted lengthwise, is good. If half figures are sed perpendicularly, more figures can be used. ic poster seldom attempts the solid picture rimling to four corners, unless the subject is extremesimple. Eight words on a whole poster is about all that lould be used, including the name of the product, and every word that can be further elimilted will be so much to the good. A poster with >ut one word is the dream of every poster man. Advertising agencies accustomed to preparing )py for magazine advertising often miss badly n planning posters. Flat or very simple backgrounds are almost a :ssity. Some sort of a diagonal arrangement is 1, since it contrasts with the usual horizontal and vertical arrangement of competing posters. Dropping the top line of the poster background a little and then letting the pictorial unit reach above it is also good. This makes a dip in the line of other posters and is a device for getting attention. A line of lettering is often used above a poster background for this reason. The four basic tonal arrangements given earlier in the book are almost indispensable to a good poster. Posters must be clean-cut, sharp, and in good contrast. The layout of poster sheets on the following page should be carefully studied, so that you will not plan posters with the edges of the sheets cutting through eyes, fingers, or even through a head, if these can be placed on a single sheet. Do not let a sheet cut lengthwise through a line of small lettering. If the bill poster is pasting on a windy day it is almost impossible to match or fit the sheets together exactly. Every bit you can help the lithographer in reproducing your design results in a better job for both of you. Note that the half sheets may be placed either at the top or bottom, or above or below the two larger sheets. This permits a good deal of latitude in your design, and you should be able to place your material so that unfortunate cutting through important elements can be avoided. Posters are sometimes syndicated, with space left for imprint of the dealers name. In that case, such space must be planned into the original poster. Posters, even more than other illustration material, need to be planned carefully. You are usually asked to make a comprehensive sketch before making the final, and that is a good thing, for a good poster is 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 and still 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 any other type of illustration. Experiment with it. 245

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HOW A POSTER fS DIVIDED INTO SHEETS i A -£"J •: i * cf 1 v V IT" / 13 sV"1 ft itu-^-i 1 ^»h *^M fft ^« *•'*.. 3Hff-ff.rj Z> ^C/S-O/J Fl' C L '-■ r m :-*wvt^rv*-T*mi**KrMTC^-y*rr*l? ft ALP w *c» i»*t t> WRWtrrV"> J f/*£e:rs S- "jfirfiT'J. >* ■e tyrw-i ^W**-^.-AWflrrfxdf%#MV.*--.-| ^ ,*-_-j Q "■*f^»^r f---i-v™^- ir-r: ™;-™ «■-!"? ■*: ■>-:>■-■■• -' USYOOT OP OUTDOOR POSTfcfc JHEBTJ. '\^ oa SfeTNNft&H ! f'kJ-* ^HB4t CAN Ctt AT IWfTRW O i -* •«■>,-> V'- 7 -■■ -%■*» W-i 3-TJ* £t3T P^N \0«->fiL Ka&prNcr the v V4-H L„i U-f — * TH i $ ■-| r • *-.. -P-.. .-.-..f-r-*-,r*tv^-AJr.4.WA.r.lV>M-Y-**->^»H**> ■w'nA*...*"'.- jw*#>- PLAN YOUR- POH£H A PO.TTE.R. CAM JUJT AJ EAJILY BE PLANNED K\aHT FOR THE LITHOGRAPHER AND PA ST ER.. AVOID H AVI NG THEETJ" CUT THROUGH EYEJ", MOUTH J, FINGE.RT ETC. WHICH WOULD LOOK 0AD IF JHEETJ* WERE PAXTED /LIGHTLY QOT Q¥ ALIGNMENT. J"UCH CUT_T ARE BAD FOR THE LITHOGRAPHED. IF YOU CAN^GET THE FEAYUREf WITHIN THE JHEET. WATCH THAT THE LATERAL CUT/ DO NOT J* EPA ft. ATE*] OR CUT THROUGH A 1-1 NE OF XMALL LETTERING. THE BETTERFOfc THE PLATEMAKERJHE BETTER THE PLATER." PO IT RJCTHT,; 246

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TYPICAL POSTER ARRANGEMENTS or WEET-FRY ! UHRATlVE «NTERr=/r ON ONE J\ DE„ A HO M FjV4C£,PftODUC T AND NAME OH1WQTMK* ,'hdTb LftttOUTOF'Kter/ HAC0N&L. ARRANGEMENT OETVf&EN NAME AND CAPTION, CAN BE DlACToNaU EITHER WAY- CATCH6J 6YE. LLU/TRATlOH OWBOTW J"ID£/. AREA/ LEFT FOR CAPTSOn.NAME OR PaoOuct. CAM BE. A JOLID PICTURE, 247

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TYPICAL POSTER ARRANGEMENTS ink about CENTERED tMTEftE/T, LETTERINQ AT tfPEX. WHal /U13JECT OVER HAM£ FIVE MINUTES TO CAPTION OVERTOP. 248

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A TYPICAL POSTER ASSIGNMENT Let us suppose we have been commissioned to en outdoor poster. We will take a fictitious inxluct and I shall try lo carry it through to coiniletion exactly as I would were it an actual problem. Suppose we take a soft drink, a lime drink. Be will call it "Zip," since I know of no actual xluet by that name. Now, if it is a lime drink, £re may be some people who do not like a drink sour; so the problem might easily be to projioe an attractive poster emphasi7ing the point lat "it is as sweet as you like it." This calls to Bind .several captions: ft-eet as tjou like it Couklnt be sweeter sweet enough Sweet as can be it? last one is probably the best. Tt calls to jnijid a sweet young girl, but since the drink is lined "Zip." she should have a poppy breezy uality about her too. We must show the bottle sd perhaps a glass. If we show her in action, be bottle and glass would have to be separate. J in order to tic the figure directly to trie product, us show her holding the bottle and perhaps a pearly filled glass. Since this is not very active, will go to the other extreme. She is dressed in ly clothes, has been active by suggestion, and Is now relaxing after exercise on some sort of an Outdoor lounge. I should say that she should be looking out and tiling at you (it will ever be thus). The poster, eing long in shape compared to height, is ideal, en, for the subject. The product name or trade-mark would have to in corpora ted into such a poster. So we will ei'ign one here, though in a real order it would Jready be worked out. T have never been an sport letterer, and that part has always been ken care of either by a lettering man under my lire or by someone who is buying the poster. So, hen though some may find my lettering at fault, [will do die best I can, and ask your indulgence that part of it. June just drawn a few pencil roughs for genarrangemenl, very small. For lack of space, since all but two were discarded, T will not produce them. However, from the two most promising I have worked out two a little more complete in the size of four by nine inches. These must be reduced a little to fit our book page size. From these I have worked out two color roughs. Since these are for genera! effect and color choice, I have made them as simple in treatment as possible. Were T lo submit an actual color sketch, I would carry it farther and make the sketch ten by twenty-two and a half inches in size. Choosing one of the sketches, T now call in a model and set up the pose the best .1 can. I would either work from life or take photos, I want an animated smile, and want to nail it down, and since I have worked out a fairly good color scheme, I take a photo based on the roughs. Selecting (be best print, T proceed with the final work. The painting will be in the proportion of twenty by forty- five inches. The reproduction will be made from this large painting* 1 now lay out the poster in charcoal. First I lay out the sheets. I find that, by using the half sheet at the to j) on the left side of the poster, I can bring the girl's face completely within the second sheet down. Also it brings the caption onto the half sheets at top. Satisfied that everything is going to work out Tor the lithographer, I start the final painting. The background is painted in first, then the red lounge. The background is a color made up of the color in blouse, lounge, and the white shorts. The white shorts have been related with a little of the other colors. The picture has been completed and the paint allowed to dry, i now add the lettering and some final touches to the whole thing to bring it all to completion at the same time. A white margin was left around the painting to simulate the blanking space of white which is around every lithograph outdoor poster. Tli ere has been a hue and cry against outdoor posters as defacing the beauty of our cities and countryside. In the open country they may be an eyesore, it is true; but just as often they may screen dilapidated buildings or empty lots heaped with rubbish, With better art they need not be ugly. It's up to you. 249

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THE IDEA ROUGHED OUT i A GOOD ARRANGEMENT. HOWEVER THE ClStCS LEG \ S APTTO PULL ATTENTION AWAY PaOM H-AMBPUVTEjOR OUT OF THE POITER . fO W£ WILL TRY ACTAlM, 0000 OUT MOW THE LE

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HALFTONES OF THE COLOR ROUGHS uat [THE COLOR ROUGH/ CAN BE DONE FROM MODEL OR* PHOTO, OR7HEY MM BE DONE WITHOUT DATA, IF NOT TO BE JOBM ITTEP, JUCH ROUGH/ AJ |"HE/E ARE FOR THE ARTUTJ OWN EXPERJM ENT ANP SATl/FACTION, IT AMOUNT/ i THE 4//URANCE THAT ALL 1/ WELL (OR OTHE.RWI/E), -/ATi/FIED , HE WAY CO JHEAO WITH THE FINAL WORK. J"OCH ROUCTHJJ"flOOLD ^E LOOKED UPON A/ lUALLY IMPORTANT A/ THE FINAL WORK AND A PART OF IT, FOR. IT VNILL ^CORPORATE THE BIG THING/ THAT ULTIMATELY MAKE A GOOD POJTTER., 261

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THE FINISHED POSTER Here wo have- ihe finished poster, and il could have been any one of a half-dozen ideas or schemes. 252

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DISPLAY ADVERTISING ^ograph cut- outs and displays may be considred as having somewhat more reacting time than utdoor posters. However, such reading time is t always leisure as in the case of magazine readpig. Tn fact, most displays must he seen when people are in a hurry, passing windows, shopping Ur lunching or going to and from work. Therefore, Hie display should be planned for brevity of text, Tbnplicity of pictorial elements, and directness of appeal, J First let us consider the various types of disays. The most consistently used type is the iigle panel, with lettering or message on the picture, above or below it. This may be supported ty an "easel" in back, or be made to hang on the all. Sometimes some sort of a base is used to maud it on, and sometimes the actual product or package is displayed upon this base or step. There ■re single-sheet displays and posters made to be pasted, tacked, or hung up. Such single-sheet posters are not mounted on stiff board as are all n there. (In most cases the mounting is done after fee printing.) I With other types of displays, all sorts of ingenuity is used in die-cutting, and in experimenting with various folding and interlocking devices for Stability, Almost anything can be built of cardboard in this manner, often producing a threedimensional effect and giving great latitude for Beativeness not present in other forms of advertising. A figure or group may be cut out and placed in front of a background. Displays can be lost intriguing and tricky, Intricate die-cutting k expensive, however, and therefore such die, {lifting is held to a minimum. Cutting is usually j jiUnned for the outer contour, without inside lots, such as a space between the elbow and the i tody. Such holes require separate dies. The dies prmot cut extremely sharp points and angles, so lay serrations and intricate outline should be [raided. The die is a steel band which must be { set or bent around the outline. Another type of display is the three- wing variety, set up as you would a three-wing screen, or having the wings locked into place by locking devices. Jt therefore stands without back support, and its advantage is that it may be set at the back of the window or against the wall on a shelf, with products displayed in front of it. It is usually planned with the middle panel largest and carrying the main pictorial interest. The side panels may be used for the products, or for the advertising message. The "two-plane" type of display is usually diecut on the front plane with some sort of opening to the back plane, providing a permanent background for the pictorial matter, since a singleplane cut-out might appear against any background, often losing thereby hi effectiveness. The back plane may be pasted onto the front in a boxlike arrangement so that it will fold flat for shipment. Tlie effect is that of making the cut-out material seem to stand out in space, and with the added rounded ness of modeling by values, a very lifelike appearance may be achieved. This illusion of reality adds so much in attention value that it merits additional expense in producing such an effect. A display like this should be made in miniature and discussed carefully with the client, who when he sees the enhanced effect is more apt to feel that the extra expense is justified. A very popular type of display is the large cutout figure which stands around the store in conspicuous places. Artists have nicknamed these the "Oh, pardon me" type, for people are always bumping into them and taking them for real people. In such a display the legs and feet are a problem , for a fairly wide and quite solid base must be provided. Small feet would break off, and the thing would always be falling over. Long dresses of course are the best answer, and when you are not able to use one, the only thing left is to put something in the way of a background behind the legs, or just some dark color. 253

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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 display should not be general selling, but a positive person-to-person type of selling. The word "you" is excellent in displays. Let us say that the objective can be summed up in these phrases: 'Here it is, buy it"; "Try it now"; "Take it with you"; "It's good, buy it," Often a good display may be built around its use or application. A huge toothbrush may be brushing huge teeth, a large lipstielt might he touching full large lips. Large hands may be applying nail polish on large fingernails. Or we may show the inevitable pretty girl using or applying the product. As in outdoor posters, die large head seems to be most effective* In fact, anything may be enlarged to gain attention, Basic appeals apply to displays as much as to any other advertising. Sometimes displays are a final co-ordination of other advertising into a direct consumer appeal Let me say that in displays the advertising possibilities and opportunities for the artist are hardly touched. We have had, of course, millions of displays. Unfortunately the full value artistically is seldom reached. In recent years the lithographer's customer has been encouraged to buy some of the best art talent in the country, and for this reason some displays are beautiful. There is still much of the garish and gaudy, the cheap and tawdry. But the field is steadily improving, with better conception and better execution. There is no reason why a display cannot be as fine a work of art as any museum painting. I am sure the crudity lies in the conception rather than in the demand or interest of the public. Why must die belief persist that people cannot appreciate good art? I am sure that misconception lias been a part of the lithographic field too long. The better lithographers are proving every day that the better art pays, 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 it is really more brilliant and beautiful than the everlasting combination of raw primaries. lira raphers have shied from tonal or greyed a horse shies from a snake, not realizing thatiffl support of such color makes the brilliant offl sing. They do not know that pure yellow robs^ pure red robs blue, and by their very fighting fjieji give most of us a negative response amounting to an acute pain in the stomach. The public is not sold when nauseated, and some clay there will be a law against concocting poisonous color for {ot lie consumption just as there is against concocting poisonous food. Both can make one sick. The OT den of responsibility falls on you, young artira to begin the crusade of good color. I think you do it, I wish I could paste up a huge sign in lithograph plant; "If you use one ftiU~$trength primary, for Petes sake tone the other hM That is all it needs- And you can tone them with a bit of the full-strength one. It is as simple as that. i There is so much opportunity still left for originality in displays. Instead of the hard*ed pasted-on type of illustration, so much candone with quality painting wherein values, sc nesses, and beautiful tone all play a part cannot a display be done in the manner lovely portrait instead of a pasted-up p graphic thing on which all modeling has bleached out for the sake of so-called color*? Clean color is a delusion— for instance, idea that flesh can contain nothing but red yellow. Clean color lies in the true value and no ing else. There is no real reason for Iithograp lagging behind the other fields in art prod With better art understanding, lithography well lead the pack. But many iEs must first cured. 254

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■ WORKING UP IDEAS Let us suppose wc are .searching for an idea for a display. As pointed out, ideas spring from facts about the product which can be related to psychological appeal To make the appeal, we either make a promise that will bring satisfaction, we satisfy a desire, or we seek to alleviate a situation 4. that is 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 itaomes a matter of evolving material that will tarry through the complete purpose and intent. To assure us that our idea and approach is sound [we can Jist the elements that should be incorporated into a good display, and make an analysis [of the material to see if it comes reasonably within pbese requirements. It must be realized that no matter how beautiful the art work, if the function 5 of the display fails, all is lost, including our effort land our clients investment. Therefore it is well | to check with the following requirements when preparing a display. ESSENTIALS AND FUNCTIONS OF A GOOD DISPLAY fl It must establish contact with the purchaser at the point of sale. a. It must be seen clearly from the sidewalk or at considerable distance in a large store. b. To be seen and to carry well, it must be of simple design and good color. c. It must call the customer's attention to the product. 2. It must conclude a sale, if possible, on the spot. Therefore : a. It should contain a convincing sales argument of some kind. b. The pictorial content should amplify such argument For required visibility, such pictorialization should be composed of large units, stated simply and with good contrast to background. U, It should identify the name, package or wrapping, and use. Therefore; a. It should picture the package somewhere c. FOR DISPLAYS on the display, or be designed to exhibit tlie actual product, b. If the package is small, it should be shown enlarged enough to secure attention and identification. Any sales argument should be based upon a sound appeal and the merit of the product should be made as evident as possible. a. It is most effective with person-to-person copy so that customer is personally addressed. b. If general appeal is used, make sure that it is directed to the average person. c. If the appeal is specifically to one sex, make sure the appeal is a logical one for that sex. It must be brief and to the point. Therefore it should : a. Assume that the customer is in a hurry. b. Incite curiosity and interest. c. Create a desire for the product. 255 From the above you will note that display advertising follows in a general way the typical routine of all good advertising. The main difference is that instead of striving for an impression upon the memory, it calls for immediate response. In the selection of material we should weigh this carefully. Does it concern the reader specifically or generally? Let me illustrate the difference in the two following catch lines: "How is your breath this moment?" This for immediate reaction as opposed to Takes away unpleasant breath/' which does not lead the customer to question his own breath or assume that he needs the product. It is good to make the preliminary roughs for displays on 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 first, but by proving to the client that you understand the whole set-up you will 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.

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TYPES OF LITHOGRAPHIC DISPLAYS tub. HANCT &\% 256

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TYPES OF LITHOGRAPHIC DISPLAYS "H+ICie-BL WING Pf/PLA^ th£ TWO PLAHE. 257

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WORKING WITH DISPLAY LITHOGRAPHERS In fairness it must be pointed out that for the artist the display field is highly speculative. Unlike the other fields, the lithograph salesman will rarely come to you at the outset with the order for tlie final picture. He is ordinarily competing with several others , and while he is willing to spend money to get the final order, he cannot guarantee you that there ever will be an order for the final work, since the display may go to some other lithographer. All competing salesmen are going to make the best preliminary showing possible. To outdo one another some will submit finished paintings, which makes it difficult for the others. Since the lithographer may have only one chance in five or ten, he may hesitate to order and pay full price for a finished painting. Each would he content to submit roughs if sure that all the others would follow suit, but until lithographers get together and agree upon ethical tactics with one another, this situation will continue. Thus the salesman is rather up against it. If the salesman can land one order out of four, he is indeed a good one. On the other hand, there is no reason why the artist should bear the burden of this speculation by producing a finished picture that has such odds against it without any guarantee of a selling price. Every lithography house accumulates a "morgue" of unsold paintings, and the paid-out value runs high. If a salesman can "resurrect" or revamp an old picture, either yours or his, this is one way of cutting down sales cost. If a new picture is needed, he may come to you with any kind of a proposition to hold his costs down, since he does not want to hurt his prestige by adding to die morgue. I contend that the fairest arrangement is fiftyfifty. The artist may gamble half the sale price with the lithographer. If the job sells, he gets the other half and sometimes a bonus. If it does not land the order, he is entitled to half the original price for his time and labor. Under no circumstances should the artist take the whole gamble, and reputable houses seldom ask him to do so> If the artist is striving to make a reputation, such a gamble may be sound from a business standpoint. Getting a good display reproduced has a compensating value in publicity for him. However, if the artist's time can be otherwise so ' filled that he is not called upon to speculate, then it is fair that one client should pay as much for his time as another, with no special privileges to the lithographer. If he works for an agreed price, to be paid in full only if a final painting is made, the artist can speculate with a preliminary sketch at a reasonable cost, and this can be submitted with full-size tinted photostasttc copies. In the case of better artists, even the sketch and the "blow-up" accompanying it stand a good chance against other finished work. Then if the sketch docs not get the order, it 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 going the full limit of cost. Nor can you blame the artist for not wanting to shoulder the whole gamble by doing a finished painting for nothing if the order goes elsewhere. You can make your own deal, but remember that if your work is considered good enough to submit, then it is too good to do for nothing. Do not accept a "double or nothing" proposition, for it does not stack up with the odds of less than a one-to-four chance of selling. If the art were the only tiling that sells a display, the odds might be better. But poorer art than yours might still get the order if it were coupled up with a better idea, and the idea may not be the artist's at all I have had instances where the lithographer has voluntarily added money to my bill when the order has been secured, or when some lithographic work purchased in the past turned out to be a "bell-ringer" It proves that, while struggling hard to make a profit, they will share it when they do. 258

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CALENDAR ADVERTISING theory of calendar illustration is just the se of displays. The appeal is general rather mspeeific. A calendar mu.st fit almost any prodTherefore there is seldom any direct connec* between the picture and product, and unless jedaBy prepared the picture would not contain specific product The product of course could be fcoerjalized, such as beer, bread* or something Did under many names, or it could be planned an industry, such as automobiles, hardware, dries, and bakeries. However, the purpose of the lar is directed toward good will and con* iued patronage, stressing service, quality, and jonomy. The object of the calendar is to profile friendliness and good feeling. It is important that the illustrator sense the diflce of psychological appeal in the calendar as mipared with other types of advertising. Calenare coupled with indirect selling, selling the or business rather than a specific product lis is known as "institutional advertising" Since same product might be bought at a hundred if the calendar assumes importance in the itionship of dealer to consumer. Or, in the case f a calendar advertising a specific product, it ieomes an appeal of die dealer to buy that jductfrom him. A dealer imprint space is thereleft on nearly every calendar, whether the Ivcrtising is specific or general. > As a result of this difference in approach, calenfcr illustration leans to general human interest Objects, ideas that appeal to the emotions, creat[g sentimental response. The calendar does not iite to action, curiosity, or the urge to buy. ither, it creates satisfaction, lends tranquillity, jgs contentment. I do not mean that a calendar portray action. Sometimes action is very jod, as in calendars depicting sports, or in subthat are action within themselves. But it ist be remembered that a calendar must be lived with a long lime compared with other types I of illustrations. Suspended action can get mighty boring when you wait three hundred and sixtyfour days for some trivial thing to happen. It is something like the effect of a motion picture get* ting stuck in the projector, with the resultant booing and catcalls from the audience. Much of the appeal in calendars is by association with present and past life, recalling pleasant memories, or making a picture "strike home" to one who has gone through much the same experience. Calendar pictures may be those which provide an escape from the monotonous routine of life into fanciful dreaming. Psychologists point out that we all have two little worlds to live in, the world as it is and the world as we would like it to be. The latter is the one of dreams, ambitions, and the escape from reality. The calendar illustrator has much to learn from psychology. Relief from tedium is sure-fire appeal. Make a picture a man or woman can dream in, or escape into, and you can hardly miss, I believe this factor accounts for the tremendous popularity of the Maxficld Parrish calendars of the past He provided the dream Castles, blue skies with billowy clouds, children and lovely ladies out of another world. But there was another thing— he gave it all a sense of reality. So we can make fancy real. We can provide trips to mountain streams that people love but cannot reach. We can glory in 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 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. We can give youth to the old, romance to the forgotten, vitality to the weak, broad worlds to the narrow. No wonder calendars go on year after year as a permanent institution. 259

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BASIC APPEALS APPLIED TO CALENDARS My feeling, just as with displays, is that the calendar opportunity has hardly been touched. Calendars offer to an even greater degree a channel for really fine art Unfortunately, much of it has been cheap, tawdry, and with maudlin sentiment The chief worry of the calendar house will always be subjects. The next worry is finding artists with enough ability to do them* When the artist can do more thinking, better calendars will be with us. The day of the inane pretty girl holding a pet is almost over. Let us look at the green pastures open to us. Again, the basic appeals hold good. The home, the soil, children, animals, serenity, security, patriotism, religion, are just a few. In addition to that approach, there is everything of general and popular interest, as the Boy and Girl Scouts, community activities, youth movements, military interest, school, sports, charities, recreation, church, vocational enterprises, and many others. Almost any example of valor, generosity, kindliness, thoughtfulness, faith, confidence, patriotism, courtesy, neighborliness, courage— in short, all the finer qualities of humans— is good calendar appeal, Simple, homely ideas take on just as much greatness as more grandiose ones. I have noted that many individuals tear off the calendar pad and use that alone. Inquiring why, I found the answers interesting and revealing. Here are some of the reasons. One man remarked that the picture was so sexy that it reflected back on his business and personal character. Being a respected person himself, he wanted nothing to injure that reputation. Another said, "It's so gaudy you can't see anything else in the room, and I believe my other things reflect good taste," Another said, "Why should I use my home as an ad for some garage? If the lettering were not so big, Td have kept it" Another said, "Im sick of bird dogs." Still another, "That isn't the way the outdoors looks to me, there is something wrong with the colors." Whatever the reason, if they keep the pad and throw away the picture, the artist, calendar house, and advertiser have all failed. It shows that there is 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 is no proof whatever that there is not apprecia* tion, but, on the contrary, plenty of proof that there is. There is proof that the public taste leans toward sentimentality, but that is nothing against it. By vote, during the Century of Progress Exposition at Chicago, Breton's "Song of the Lark," a peasant girl with a sickle at twilight, Whistler's *M other,'* that grand old lady, and similar sub* jeets led all others in popularity. That means they would still sell as calendars. It also means that sentiment need not be dragged in by the heels* Summing tilings up, calendar appeal should be colorful but with some dignity, alive but not jumping off the walls. There is room for good taste in subject, sentiment, design, color, and execution. That is not an easy order, but it is what is really needed. You may be certain that truly good calendar subjects and ideas will find a market. Much of the bad stuff you see is used because there really is not enough of the good to fill the demand. Calendar houses are combing every place, all the time, for good material, and only a small portion of what they find is really good. It is a mistake to think that pictures turned down for every other purpose will finally sell as calendars. While it is true that pictures which would be good elsewhere might also make good calendars, the . converse is far from true. Calendars offer opportunities for fine work not always present in other fields, and for the very finest kind of reproduction and printing. Good calendar paintings are by no means cheap in price. Some of the highest-paid artists are commissioned yearly at top prices to do the best calendars. Keep your eye on the calendar market. Calendar houses, if a man is good, may offer exclusive contracts or arrangements. The artist must decide whether he wants to work that way I myself have never liked exclusive arrangements. I prefer to keep the door open. 260

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A CALENDAR CAN BE ANYTHINC THAT IS GOOD *PLUG LINE HE.fcE' "TRADE NAME aa woaas^nesrflsssmssM^EKL'K -z^^Ec^s^^z^^^r^zssE^^t?.: i' m i PAP— «W*MI**i III iltiil I Jim m mmmmttlmt ftttLL t V ."*(%. fs-Lfcrr c^ftObOAfeo. —- s T>Ap, ^i.f.-^ln— tt-.^* — '-- ."jt-'-Hj".- .i.,'.f-i..i.-.-.-.---- --i--i 1— '- .*== 3ACK3T i*Poruj" hooss, tf :P= k £Mf30£J£P KOUUXNC just wonftY about rne picture, they do the rejt. 261

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ESSENTIALS OF GOOD CALENDAR ILLUSTRATION 1. It must create enough of a response that one will want to look at, hang it, and keep it for its own sake, as well as for die convenience of the calendar pact. 2. Its subject and meaning should be clear to anyone. 3. By preference it should be soothing, relaxing, restful, since it must be looked at for a long time. 4- If it can provide an "escape from boredom " so much the better. 5- If it contains action, let it be of the lively, healthy sort intended to release pent-up energy, nothing to induce emotional unrest. 6. The color should by all means be harmonious if it is to keep its place on the wall Raw colors eventually irritate. 7* The sales or merchandising approach should be indirect* 8* Sentiment should be genuine and convincing and not overdone* 9. It should not be too seasonal if this can be avoided. 10. It should show die better human characteristics. 11. It should not show cruelty, racial prejudice, malice, or other negative traits. 12. Mode or style should be generalized enough to be good for some time. 13. It should have full meaning with or without a title. 14. It should be entirely original, containing nothing that could be considered as copied from other work or copyrighted material. 15. Its design should give it carrying power or attention value across a normal-sized room or store* This means simplicity* Calendar subjects may be sold for "calendar rights" only, retaining the original. Or the sale may be outright, the picture becoming the undisputed property of the calendar house. Some firms require a release from the artist of any further claim* If a calendar has been sold once, it cannot be sold again for the same purpose. It is useless to try to "fake" calendar pictures. You will only get them back. Calendar houses are;? too aware of good art and good craftsmanship; Do not copy any picture of a motion picture star? and expect to sell it as a calendar. Such a project^ would require a special release from die subject! In fact, you cannot use any printed copy as calen-J dar copy* Subject and material must be all your; own, so you can release it with a guarantee thai* there can be no claims against the calendar housejl Any material submitted should be securely! wrapped and postage paid both ways* Any color medium may be used for calendar! reproduction. Here is a good market for pastell 1 believe oil is preferred rather than water color;! though I see no reason why a water color would! not be used, if good enough. The full composition, or picture carried out! to the four corners or at least with color back* ground, seems to fare better in selling calends people* But this is just an opinion, and I think really depends on subject and execution, no mat-1 ter what the subject or medium* Wit and good humor play a strong part in calendars, though II know of no calendar house that actually buyd comic drawings. The calendar, like the poster or display, can] very well adhere to the four basic tonal plans, must be seen, and must carry, as far as possil and there is no better way to get this quality. 1 may find calendars with delicate subjects, but l\ believe I am safe in saying that those with contrasting values and arrangement stand thel best chance. Related color will always apply bej] cause it is good color. The calendar people tamly want vitality, or brilliance, in their subject^ and at times overstep the limit into bizarre atic gaudy color. One thing is certain: they are ni^ interested in drab and muddy pictures, will inevitably come back unsold* Figure sul jects must have some story or meaning, and nc be simply portraits of people* Even finely pail heads will be returned if they have no sentiment appeal to the public* Some calendar houses have "line committees" which pass on all subjects. 262

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PAINTING FOR CALENDAR REPRODUCTION Calendar reproduction should be considered in a different light from reproduction for magazine pages. The latter must be printed at terrific speed and dry very fast. The ink cannot contain the nt of pigment used by the calendar printer; iifact, it must be diluted to a large extent with ain fillers to make it flow easily and dry fast, ndar printing is largely by lithography. Ind of the three color plates and black, there iy be six or more colors used* It amounts to a fgat and dark of the basic colors, including a light :ey, light brown, and others. Thus a richer effect Kjf color is possible. The calendar is printed on fine gjpek, where the magazine must often use the of-the-mill and cheapest papers. This concerns the artist and his work considbly. Much more delicacy of color and value possible in calendar illustration. More subtle gradations and softness of edges may be used, ■onal qualities of color, or color varied to the rarm and cool, are not the problem to the calen(ar printer that they are to the calendar printer irinter. Ordinarily much more time is spent over alendar color plates, since it is not a matter of meeting weekly or monthly closing dates. I In painting for calendars a full palette may be fot, using two yellows, two reds, and two blues, Jueaning a warm and cool of each. In fact, there |s hardly any limit In the way of color to the artist; is free to do almost anything he wishes, with e single exception of too much widely contrastbroken color/' "Broken color" means small es of varying or contrasting patches of color bid side by side as did the French ImpressionIts. That is evety plate-maker's problem, and it 6 very hard to reproduce. The difficulty is in arriving at tlie identical values* The 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 like plenty of extra cropping space und a subject. The principle of glazing in painting is not too d for lithographic reproduction. This means 263 transparent glazes of one color over another. Such an effect is almost impossible, since the color must be one thing or another in any given spot to make good plates. Many of the Old Masters are very difficult to reproduce because the many coats of varnish give them a very yellow hue, which must be counteracted by the engraver* Give your engraver a clean, simple color scheme, starting with a few colors, and you will get good reproduction. Your paint may be applied thickly or thinly and they will get that effect. Some lithographers go so far as actually to emboss the paper to give the effect of thick paint, making it difficult to tell the reproduction from an original oil painting. The one greatest opportunity I see in calendar illustration is to take the many neglected phases of American life and develop them. There in so much that is untouched. Many calendars develop into a series which has year-after-year possibilities. I 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 sorts of institutions. The so-called popular, or pretty, subjects could very easily give over to things of greater character and deeper meaning. There are many more subjects to be had, but it is up to the artists to take the fresh viewpoint to the calendar bouses, not wait for them to 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 if the calendar house is familiar with your final work. If not, some proofs or examples of your finished work should be submitted along with your sketches. Sometimes an idea may be acceptable as idea alone, in which case it may be bought for development by another artist.

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COVERS AND JACKETS The magazine cover field at the present time appears to me as most wide open for improvement of any of the art fields. For a good many years photography has practically usurped this field, with the result that we have been surfeited with covers very ordinary in conception and monotonous in execution. Through this period there have been a few stalwart magazines that have stuck to the belief that art is better as a magazine cover than photography. Sonic have straddled the fence, some have gone over completely to the idea that photography, all in all, docs a better job. However, this is not surprising in view of the development of color photography and the erroneous belief that photographic detail is superior to art and its appeal. The fly in the ointment has been that there is so little to distinguish one color photograph from another, so little individuality and personality. One cover could be switched to another magazine by simply changing the name, without noticeable difference. The truth is that all idealism has been sacrificed to fact. Instead of the ideal girl, we have one who looks like an individual belonging to somebody else, with a definite address, and working for a definite model agency. She may lie on this magazine this month, and on another next month* The faces become as well known as movie stars'. She ceases to be you)' dream or mine, and becomes as unattainable as any famous movie star. The famous Gibson girl of the past was a conception, not a fact. She belonged to all. The Christy girl, the Flagg girl, the Harrison Fisher girl, were all dream girls of their era., and the public went mad over them. We cannot go mad over the cover girls of today— there are too many, and they are too obviously picked for their photogenic quality out of our own ranks, not out of the imagination of an artist. Because of the very deluge of photogenicity, covers are passively accepted, although some magazines make a heroic effort to get away from the pretty girl entirely. Most, not knowing what to do, stick to the photogenic, relying on hats and whatnots to put them over. The idea of a cover subject is still present on only a very few magazines. By "subject" I mean an appealing and storytelling idea. We may all be grateful to Norman Rockwell for holding the line, and every indication points to the fact that what he stands for in the wav of covers is most loved by the public. It is granted that all magazines are not interested in telling stories on their covers, but it is also true that modern dress and charm could be more beautifully presented in fine art than by photography. What we need most is the artist who can deliver, I thoroughly believe that with the advent of better artists, the magazines will be quick to seize upon such ability. I also believe that the very reason so much photography has been used is the dearth of comparable production in the way of art. When as a group we outshine the camera, we won't have to worry about being used. But if we make photography our goal and limit, we are going to lag hopelessly behind it. It would be the best thing that could happen to artists and art generally if every camera were taken away for a few years and we were forced to create with our eyes, hands, and brains. We will never arrive at art through photography. As the field stands today, our opportunity is limited. The chances of selling a cover are indeed slim. The reasons as they stand are: L Few magazines can depend upon the unsolicited submission of material. 2. The artists used are generally working close to the magazine, some by contract. $, With the necessity of complete speculation, the use of photography, and the continued use of a few artists, the average artist is discouraged. 264

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I. COVERS AND JACKETS 'i 4 The desire to couple the cover with the contents of the issue. K.5. The relative disinterest of the magazines in the production of good American art. About all you can do to sell a cover is to send in an idea in sketch form, or take a chance with a finished painting. You will probably get it back. But I am thoroughly convinced that more and .more ait will be purchased for covers, as fast as the good becomes available, and that some day photography will be frowned upon as the cheapest of art. At present it would be a bit foolhardy to specialize in covers alone. If you are a good artist in other fields, there is nothing to stop you, when you get a good idea, from working it out as aside issue and taking a chance on it. But if you are new to the field, depending upon an income from covers might result in very slim pickings. If you can get a steady arrangement with the smaller magazines, it might be quite worth while. THE BOOK JACKET Here is a field wide open. The book jacket is a challenge to the ingenuity and cleverness of the artist and therefore is interesting and exciting to do. To keep it simple and effective is not so easy* Publishers like rather short titles. They do not always get them. Title and title space on the jacket is of first importance, more important than the illustrative space (if any is left). But illustration has a place on the jacket, and can contribute largely to the attention and interest in the jacket and the ultimate sale of the book. As a general rule, jackets must be printed fairly cheaply so that flat color in postcry effects is desirable. If the jacket can be done in two or three printings, that (is in its favor, for a few pennies saved in publishing a single unit may run into sizable amounts in ;the run of thousands of copies. In function the book jacket is much like the display. In fact, it does display the product at the point of sale. As usual, simplicity is the keynote. Punch-crisp sharp treatment, with few values and colors— is die soundest approach. To get a clear idea of the function of the book jacket will help immensely in the conception of your jacket design. It is questionable whether even the best jacket can sell a poor book, or whether a good book might not sell in spite of the jacket. However, it is somewhat like putting a good product in a good package. There will be many instances where it attracts one to the product and therefore makes a sale. Let us set down the essentials and functions of the book jacket: 1. It must be quickly seen, and the title read. 2. Title is more important than anything else, 3. Expensive color plates should l>e avoided if possible. 4. Flat postery treatment is most desirable. 5. It must carry for some distance. a. Since yellow carries farther than any other color, it is good for jackets. b. Red is powerful, especially with black and white. c. Almost any jacket needs at least one primary color. 0, The jacket should be as exciting as possible, a. It should awaken curiosity. b. It should stimulate interest. c. It should promise entertainment or information, 7. All possible contrast of color and value should be utilized to gain attention. Sometimes a printing can be saved by using a colored stock. Here is good opportunity for the attention devices spoken of in Part I. 10. Small figures are not effective on book jackets. Half figures and large heads are good. 11. Expressed action is good. Anything for attention. 12. Make a rough of your idea. Wrap it around a book and set the book among others with the brightest possible competition. This is the best way to judge. 13. Submit sample jackets to publishers. If interested, they will contact you- Getting in with several publishers will bring you considerable income. 8. 9. 265

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SOME JACKET ARRANGEMENTS ■MWmMIHHiabHWfeMMhtfW Aimmn AUTHDR^SPACE ; if ft I -ft /A PUIJLI/HEftS SPACE "■■■'■ aawwigasgaga rr r .,v BY VIRGINIA HORTON V ***.*** ."" ' '■' 'V**'* '*» *z%mMimgi \l ■lull d !■"■■ ^rt^iiinijwf^inif m **mm. ■■,■■ BLANK PLH3LI/H£a PU Q LI fHER,' 266

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SOME JACKET ARRANGEMENTS B 1 17^ MAIiWfcJ WiHI iiTIE ■i^- -■»-i.ii..f* -w mM^'M^vA^SK .^•--v-;.;. • ■ J- ' « - ■ . — i -^ . ^*'j.; rr?^:-r. «-i-M.ujJn.u— ^jafevv/arj^^.i??^?*-^-11 HELENA ROBERTS

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STORY ILLUSTRATION Illustrators whose work appears in the leading magazines are a rather small group. It is only fair to the reader to advise him that he must develop considerable ability to get into that group. I do not wish to imply that story illustration is the top of the ladder, though it must ho admitted it is near it. Nor is it the highest-paid of the illustrative fields. Since there are but a few magazines of national circulation, and since each can use but a comparatively few artists, the group represented must necessarily In? small I should sav that vour chances of becoming a well-known story illustrator are about equal to your chances of becoming a well-known author or actor. But the chance is always there* and somebody does it all the time. New names arc constantly appearing, and old names drop out. At any rate the magazines are constantly searching for new ability, and if you have what they want you will get in. Most illustrators come up the hard way. For the most part they have proved their ability in other fields before they get their first story. Many have come from the fields of advertising illustration, since the two are so closely related. Many work in both fields. It is more often that illustrators come up from lesser importance than down from the fields of fine art to illustrate, Yet some illustrators arc taking their places in the fields of fine art, and arc capable of producing pictures worthy of fine art exhibitions. So there are no rules except that your work must be practical for what is needed. The chances are that you will not make the big magazines in one quick stride. But even if you never make them, it does not necessarily discount your ability. Every field demands the best of ability, and if your chance is not here, it can very well be there. Few of us know at the start where our particular talents may lie. The main thing is to try to be good, and never stop trying. You may question why the magazines do not pay as much as advertisers. The answer is that to the magazine illustration is more? in the nature of production cost, while to the advertiser it is investment. Frankly, the magazine's real income^ is from the sale of advertising space. The magazine in the largest sense becomes a medium for advertisers. What is done in the magazine itself i\ is to create the largest possible circulation, thereby giving value to the space sold* If the magazii fails us a magazine it also fails as an aclvertisi medium. The advertiser, on the other hand, is promoting sales of a product, and the best art work he can buy is to his advantage. Therefore, since there arefl more advertisers than magazines, he must com-1 pete with others for the artist's time, which naturally sends the prices up. In this sense the artists compete with one another to get into the magazine section, while the advertisers compete with! one another to get the artist. If and when the magazines must compete for the artist also, then his price will move up. It is the old law of supply and demand. Xqw, you may question why the artist, if paid] less for magazine illustration, sometimes chooses to work for the magazine in preference to adver---jj tising. The answer is twofold. First, he will he smart not to have all his eggs in one basket. The magazine illustration adds prestige in other fields, and also there is that little matter of pride of accomplishment entering in. The good artist cannot measure either his ability or interest In terms of dollars. All jobs will be his best at any price. Illustration is a challenge that the artist who is not afraid of work likes. So much more is left to him, and he accepts the responsibility with a certain pride. Perhaps, since his name is allowed to appear (though pitiably small), he feels that the public may be a wrhit more conscious of his efforts to please them. Perhaps he senses a bit of glory in his efforts. 268

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WHAT DO THE MAGAZINES WANT? Illustration unquestionably takes more of your time, even at a lesser fee. Unlike the advertising commission, you must, for the most part, do your Own planning, thinking, and execution. About all you get from the magazine is the manuscript, or fin some cases a rather fantastic rough, or a very 'simple layout showing little more than the space allotted. At best you cannot count upon the assistance that you get from the average advertising r agency in the way of conception. Many magazines request the layout or rough from you, which shows the importance of being able to create for • yourself; and they request not one situation but several, to choose from. Some allow you to pick Situations for illustrations, some ask you to take a given situation. But they usually want some idea in advance as to what you intend to do. All this [involves time and effort, and much of it is destined for the wastebasket. But since so much is left to you, I suppose that jfe why you work so hard at it The opportunity for -expression is infinitely greater. You make ;your composition, you select your character's, and u tell the story. You make your own research for data and material, you assemble it, and make the [most of it. If, when it is all done, it is good, you may take full credit. It may be interesting to know that many art directors of magazines have served their apprenticeship in other fields. The magazines in compeitition have given more and more attention to layout and physical appearance. One of the great Sims is variety, or "change of pace," evident as ;cme thumbs through, to alleviate monotony and keep the material ever fresh and inviting. The general layout of each issue is handled within the gazine, and you do not see it until published. Your picture may be cropped, ait out, or changed as the art director sees fit* It may be enlarged* ith just the main interest of your picture used; it may be changed from full color to something else. fact, you will never know what may happen. 'jnetimes you are delighted. Sometimes you are greatly disappointed. But you eventually learn •to take it in your stride— or else blow up and quit. To try to tell you exactly what the magazines want would be little short of mind reading. But there are general specifications which apply most of the time, and these can be listed. 1. A beautiful heroine, plus a manly hero. 2< Good characterization all the way through. 3. Strong dramatic interest. 4. Exciting and unusual arrangement (impact). 5. Strong accent on mode or fashion, good taste in accessories. 6. Interesting technique but thoroughly understandable. 7. Variety in medium and individuality of style. S. Illustrations that sell the story. 9. Inventiveness of conception. 10. Striking color but in good taste. Let us approach each of these separately and discuss them. THE BEAUTIFUL C1RL OF THE MAGAZINES Make no mistake about it, she is of first importance. This means a careful study of head construction. It means learning the planes and values in the head under different lighting. It means to place the features in the head correctly, as well as drawing them attractively. The treatment of the hair is very important, both as to mode of hair dress and technically. Hair should be painted not as so many thousand hairs, but as to the forms into which the hair falls, with just as much thought as to plane and value as you would put into die forms of the face. You will hardly ever find the perfect model for any heroine. Much idealization will be yours. You will be called upon to do heads close up, and also half and full-length figures. You will have to study the current fashion magazines to keep her dressed properly to suit any occasion. She should be more than pretty— she should be both well-bred and striking. So you will experiment with expression and gesture. You will probably develop a type very much your own, try as you may to make your heroines individual and different* If you came up 269

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PUTTING THE FUNDAMENTALS TO WORK through the advertising school, you will have been developing pretty-girl types along the way. When you arc successful with the beautiful girl in 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 of the male head. Regular fellows, lean and muscular, win out. Clean-cut square jaws, full lips, heavy eyebrows, prominence of bone at the brows, well-defined cheekbones, leanness between cheekbone and nostril, rather deep-set eyes, make up the ideal type. Yours will vary from mine, but neither of us will ever make him fat or round-faocd or characterless. When he makes love, never let his pose be of the flowery matineeidol kind. He may even he a bit awkward, but he crushes her with a good deal of determination. Dress him stylishly and neatly, but no patentleather hair oil. The smooth- shaven face goes best, but give his jaws enough tone so that he appears to have a beard, even if smoothly shaven. His expression is important. If he sits down, dont put his knees together, and if he stands, dou't put his hand on his hip unless with closed fist. One bit of effeminacy and the cause is lost. Study the heroes of other illustrators, but best look around until you find that rugged but cultured type and use him. GOOD CHARACTERIZATION Once in a while you will find a character nearly perfect, but most of the time you will have to add your bit* Apply your conception of the proper type to the best model you can find. At least have the values and planes of a head to work from, and build the character into the model, STRONG DRAMATIC INTEREST Study your story. Act it out yourself. Plan it in little manikin roughs. Even if you cannot act, you can express yourself through the model- In order to practice dramatic interpretation, get out your camera and your Favorite model and make some Hate Anger Suspicion Selfishness Coyness Defiance Doubt Self-pity Interrogation Impending disaster Envy Love Greed Hilarity Conceit Intoxication camera tests as they do in the movies. Try to interpret the following moods: Fear Anxiety Surprise Adoration Hope Joy Bewilderment Frustration Jealousy Figure out some situations. Decide on the mood called for. Try to get the model to live the part. If the model is totally unresponsive and cann act, get another. It's too important to do without; The last tiling you want to do is to create "deadpan" characters. Just now the magazines are leaning very r to "close-ups," with the pose and facial expres sions telling most of the story. The dramatic inter est should he as concentrated as possible. If a par of a Ogure will tell the story just as well, cut it down to that. But continue to practice with larger scene, setting figures convincingly int< environments of all kinds, for fashions in illustnv tion are constantly changing. Much can be done with lighting to enhance the dramatic If you have a strong emotional situation, find ways and means to concentrate the reader's attention on the important character. Muc can also be done by layout or arrangement. using a vignette, conflicting interest can be elim ina ted and dramatic force given the pose. The main character or head can be given the greatest contrast of background, can even be cut out against white paper. Study the dramatic whenever you find it. Study real joy, real sorrow, arid various moods as they happen in real life. The best way to practice is to make small pencil visualizations of stories you read that have not been illustrated. If you get something that looks promising it might he worth while to work up into a sample illustration. But make si is an illustration and not just a single figure doit nothing, 270

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EXCITING AND UNUSUAL ARRANGEMENT It is really more important that the story illustrator consider the whole page arrangement than that the advertising illustrator do so. In fact, the story illustrator will have considerably more to do with it. In planning your miniature roughs, always deal with the whole page or the spread of two pagest as the case may be. Blocks of grey text should be indicated. Some illustrators paste actual text into a rough to get the effect of type set around the proposed illustration. I know a prominent illustrator who paints his rough in opaque oil right over a page of text matter torn out of a magazine, to get the desired effect The placement of title, blurb* catchlme, text, and white space should all be laid out. That the art director may not follow it does not matter. It is your business to design a good-looking page. 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 sought after. This is one of the qualities that makes Al Parker outstanding as an illustrator. Very often the whites of the paper can be pulled into the subject. An unusual viewpoint may help. The selection of accessories is vital The spotting of unusual color, die unexpected in pose and gesture, the originality in telling the story, all play a part. Make every possible experiment you can think of. "Impact" is vitality, and vitality is simplicity with force. The character expressed is important. You may be sure that if your subject is complicated, indirect, cluttered, and ambiguous, it cannot be very exciting. If the characters are ordinary, without anything unusual in looks, pose, r or costume, no one will be terribly excited. It may that everything has been done, but such rvention comes from the subject plus the ingenuity in telh'ng the story. No two stories are exactly -alike, nor two situations or characters. For an Al ! Parker, there is always a way that is different. You have linear arrangement, tonal arrangement, color, and the story. They can be juggled about forever. Anything that is to be new, different, and exciting must grow out of these; that is 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 { wham! ) a little saucy dark hat in the middle of it. Maybe the whole thing is grey in feeling, then out pops a concentrated spot of black and white placed together. Wonderful things can evolve out of a black gown or coat, thrown against brilliant color. Values can be full of impact and surprises; in fact, that is where impact for the most part comes from, especially when tied up with color. Your inventiveness nearly always comes out of the subject and its interpretation, rather than from stock layout tricks. The stock tricks usually are the props of the imitators, ACCENT ON FASHION In selecting styles for illustrative purposes, an important consideration is their relation to value 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 than the dress. Do you want a simple tone, or a busy tone? Do you want it light, middle tone, or dark? Will you break it up in light and shadow or keep it almost flat, with a front or back lighting? Would stripes or a figured pattern go well, or not? That is the way to pick a costume. If you want a figure soft in its environment, then you would pick a value for the dress close to what is planned for the back^ound. If the figure is to stand out forcibly, then a good contrast would be your selection. The dress will appear twenty times as attractive if planned to fit the whole scheme. Just because it 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 subscription list Few of us are good enough to invent styles. Practice drawing costumes from fashion magazines, just in soft pencil on layout paper, trying especially to catch the drape and smartness. This will be easier for women than for men. 271

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STYLE AND TECHNIQUE IN STORY ILLUSTRATION Since the magazines are thoroughly conscious of fashion, ft is an important basis for criticism of your work. Use the simplest terms of the prevailing modes, however, rather than the extremes, Trimncss and neatness will outweigh the highly ornate. Avoid if possible the "too fussy" in style which is present in some form every season. It is usually found in the overornamentat, extreme tig fitness in conspicuous places, too many ruffs and ruffles, flounces, loud pattern, and so forth. Many models lean to extremes* If three-inch heels are worn, they wear four-inch Tf skirts are short, theirs are shorter. If hair-do's are high, they go higher; if hats are wide, they can hardly get in the door. The artist can easily be taken in if he does not know. The only way he can know is to find out by the magazines and style exhibitions. In good magazines and shops you will also find information about accessories. Everything available to one illustrator is available to another. The difference lies in the greater pains one will go to in the way of research and information, Hats will always be a problem. The illustrator will do best by getting advice, for who can possibly keep up with them? I avoid the use of a hat at all, wherever possible, since tbey are subject to such a great variety of tasteI believe hair styles should be determined not entirely 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 hairdress. A sophisticated person looks more sophisticated in a severe and upswept hairdress. It is therefore a matter of judgment, and the model .should he willing to adjust her hair dress to requirements at all times, TECHNIQUE Technique is yours. In general, the only time technique will be complained about will be when it is too "fussy," or when a muddiness of value is produced. Bad technique is ordinarily the result of poor grounding in fundamentals, for almost any application of medium will look good when the fundamentals are right. Simplicity of technique is always in a man's favor, yet it can be so flat and smooth as to be oppressive, lacking character and the feeling of medium manipulation which should always be present. If you cannot tell what it was done with, you can be fairly certain that it is not very good. Tricks of technique should never become more important to you than good honest craftsmanship. I remember a student who came to me glowing with enthusiasm. He thought he had found the key to originality. When I asked him what the great discovery was, he confided that he had invented a "basket weave" technique. Leaving him to his own resources was the kindest thing to do. Unfortunately his drawing, values, and color were all bad, and without these his "basket weave" had no chance. The best way to get technique is to worry about everything else. VAIUETY CJ MEDIUM AND INWVIDUAUTY IN STYLE Your medium will have much to do with effects. Each medium has its own peculiarities under your individual manipulation. Every medium holds possibilities for your own original application of it. Try never to work in one medium all the time. Use pencil and crayon for studies if not for finals. When practicing, try the same subject in different mediums. In this way you find the one most expressive. Magazines are always interested in new treatments of medium so long as they are practical for reproduction and effective on the page. There are untried possibilities of medium combinations, so the artist should be continually experimenting with 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 as a possibility. You may get a chance to use it. If you can't afford models for such experimentation, work from some of the excellent material in the fashion magazine. Work for effects rather than faithfulness to copy. 272

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ILLUSTRATIONS THAT SELL THE STORY How often the illustrator hears people say, "If I like the pictures, I read the story!" That is the keynote of the illustrator's job, to sell the story just as he would any product. You can do it first by gaining attention, secondly by awakening curiosity, thirdly by the promise of entertainment or interest in the material you are illustrating. Thus part of it is visual and part emotional or mental That is why illustration must be approached from more than the technical angle. All factors must work together to function properly- It is this fact that thins down the ranks of good illustrators. Many can draw and paint well, but since the emotional qualities must be so thoroughly a part of practical application, and the imagination must be set free, the demand upon the artist is great. I do not think it would be unusual for the good illustrator to be a fairly good actor, to be able to write a good yarn, or to express himself in other creative ways* Because, after all, story illustration is more completely the individual interpretation and expression of the man than is the case in any other illustrative field. The magazine cannot tell you how to make an illustration that will sell the story. They can only sense your ability to do it. No one can tell you. But if the story is interesting ( and sometimes even when not), there is bound to be an approach of some kind that has never been used in exactly the same manner. Even if a few hundred "clinches" have been used as illustrations, the two clinching are never exactly alike, nor do they clinch in exactly the 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. If the subject is trite or a bit hackneyed, there is always design, spotting and color, types and accessories. Movies have been ending with clinches since the day they began, yet these are never completely tiresome if approached with finesse and intuition. Any subject under the sun can be approached interestingly; it all depends on how much interest the artist himself has in it. A picture can always be made that will sell the story. Inventiveness and conception will always come ahead of execution. It will forever be impossible to tell an inventor how to invent But if he senses a need and purpose first, this will help carry him to an idea, I think a lack of inventiveness may come more from a lack of the ability to analyze than from a dearth of ideas. Sometimes inventiveness in illustration does not come from detailed description within the story at all. The illustrator analyzes what might have taken place in the situation in real life that was not made apparent 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 or laid on bis shoulder, whether she wears a smart little hat or a beret, and whose face is to be partly hidden. If they "clinch" at a railroad station, perhaps the author did not mention their baggage, nor the fact that a bag is toppling over or falling in midair* The author may not have described the grinning gateman. That is invention— plausible analysis of the situation to make your conception interesting and original. Originality is not dealing with facts alone, but building things reasonable out of the facts. Every story can have a story within a story. Your illustration is the story you tell about the story. STIUXIN'C COLOR AND GOOD TASTE Alt the things discussed in our Part Three dealing with color may find expression in story illustration. Tonal color schemes have a great place. Related color can be snappy and do wonders for a page. But the magazines do not want color for the sake of gaudiness. Remember, the magazine is sold closed up. The color does not have to reach across a ten- or fifty-foot space— only from the lap to the eyes. Screaming color is woefully out of place. You would therefore approach a magazine illustration differently from a bill poster, calendar, or display. Brilliancy is all right, but brilliancy supported by diarming companions of tone and color. 273

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QUESTIONNAIRE FOR STARTING AN ILLUSTRATION Since good illustration is good analysis, the following questions may develop an approach, and help yon toward sometliing effective: What is the nature of my subject? Has it a mood? Is it powerful, average, or weak? Should it be color? If so, should it be bright, or somber and grey? Is it indoors, outdoors, day or night? What kind of light? Can anything be done with the lighting? Bright, diffused, dark, shadowy? For action, what would you do under the same circumstances? Can the story be told in more than one way? What are the choices? Can you tell anything that the manuscript omits? What can you do to enhance each character? Has die setting character? Can you add some? What have been the action and circumstances leading up to the moment illustrated? What possibilities of emotional contrasts are there? Is the situation dependent upon facial expressions? Which figure is most important? Can this importance be concentrated? Which of the accessories are most important? Can you eliminate things of unimportance!? Is it possible to express a feeling of linear or mass movement in your composition, even though these in themselves ai"e static? Does your subject lend itself to pattern? How can you arrange it? What is the dominant thought of your picture? Can you give it one? Can the thought be dramatized? Can you employ geometrical shapes, line, or informal subdivision here? Can you create a focal point with line, with contrast, with direction of gaze, color, or in any other way? What about the poses and gestures? Can you add anything of your own? "What pose would the character be likely to take, considering his character, mode of life, culture, background, habits, emotions? What about costume? Is there a chance for anything that would help you to a striking effect? Can the costumes be made a part of an interesting composition? Can you embellish the characters by the environment, or do they stand up without placing them against a background? Can you add to the drama by the .backgroundusing accessories, neatness, clutter, richness, bareness, or anything else? Into what category would you put tills situation? Old, new, cheap, smart, tawdry, un wholesome, clean, orderly, unusual, average, costly, healthy, dirty, vile, wholesome, modern, Victorian, antiquated, good taste, bad taste, rural, urban, clear, foggy, dank, musty, fresh, bright. If it falls into one or more of the foregoing, how can you incorporate those qualities into it? Now can you make some small roughs of what has come to mind? After laying out your rough, would it be better if reversed on the page? Have you reread the manuscript and noted all the facts? i Will your composition have to be cropped to fit the page* leaving room for title, text, and blurb? Will the gutter cut through things of importance, such as faces? 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 without hurting the drama, the composition? If 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? Have you really planned this independently? How many examples of others are yon following? Could you just as well put them away and start over? Is the artist you are imitating really capable of better thinking than you are? 274

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WORKING OUT A TYPICAL STORY ILLUSTRATION At this point it may prove of value to you if \vc take an actual situation and illustrate it. For the sake of simplicity, although there are several characters in our story, we will build a picture about the heroine only, assuming that a large close-up of the girl will have greater impact than would a whole setting with .several figures. You will recall I have said that in modem illustration, simplicity is the keynote; our first problem of this kind will be handled with more regard for the page effect than for the complete illustrating of the incident. We shall assume that the following paragraph is the one chosen to he illustrated. She had the allure of ancient Egypt, all the mystery of the Pyramids, the sensuousness of a sultry summer night on the Nile. She belonged to no era; she was ageless as the Sphinx. Her full lips were as scarlet as the gown that bordered her white bosom. Dark eves like hers had looked upon the Pharaohs. The black lines of her hrows seemed to reach out nearly to touch, at her temples, the wealth of ebonyblack hair I hat crowned her head. She sal, one shoulder drooping, a cigarette poised in her slender fingers. She spoke slowly, evenly, deliberately. "Is there no love beyond marriage?' Now, if the above: paragraph does not stir sometiling in your imagination, stick to advertising. I see a very sensuous, provocative creature, not necessarily Egyptian but of a type that bespeaks the spirit of Egypt- We need not put her in a boat on the Nile, nor even ring in the Pyramids or the stars. We should not make her just a bobby-socks modern high school girl with black hair, but a type, an unusual one if possible, that will catch the reader with a sort of Oriental beauty. A scarlet low-cut dress is going to look good on a page. Her ebony-black hair and white skin add two important values to the four- value scheme. We can add a light tone, and more darks and lights to go with the others. The four-simple-value plan is most important to us even before we start out, because it will be the basis of our pattern, and of the miniature roughs in which we attempt to arrange the masses. Our paragraph is quite specific about details, even to the pose. There are perhaps a thousand interpretations possible. I hope that yours will be quite different from mine. I see the girl, before I begin, with her head slightly drooped but looking straight at the reader ( one of the rare occasions ) , because we want that allure to reach the reader, almost as if he were the character talking to her. Should we show a man, she would be unconscious of the presence of anyone else. Sensuous eyes, however, are twice as sensuous turned upon you as upon someone else, Let us capitalize upon that fact. Now, the dress was only specifically red, not any specific material. That helps, for it leaves us to our own taste so long as our illustration shows a low-cut dress. If the writer had said velvet, for example, we might have had to go to no cud of trouble securing a dress of that material. For rest assured, if we are concentrating on a single close- up figure, whatever she wears must not be faked, .since the writer has given her dress considerable importance. As to her hair style, when we read of a "wealth of hair," we do not think of it as close to the head. Rather it would be full, loose, and soft about the face. On the next page I will proceed to rough out in miniature some poses and patterns. I would like to have you do the same, diverging as much as you possibly can from the way 1 have worked it out. Juggle I lie four values about. But remember, the red dress is equal to a dark grey in the blackand-white scale. Her hair must be very black; the skin, white. Take a soft pencil and a tissue layout pad. Keep the first sketches small. Think, think, think at the very start, and once you get going, the rest will fall in line. If you prefer a new subject, select a paragraph from some story and rough out your version of it. The only way to learn to illustrate is to start now to call upon your own imagination and inventiveness. Story illustration was never learned overnight. 275

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MINIATURE ROUGHS FOR THE ILLUSTRATION >t ffc ■■' W ""Sl j \ ■-, ) v.\. ti ■\ y • : *w. V& L -ar R% . ?/' ■ . ^*v to - -/ ■' ' i f /■ V :■ ■■-/ : ; 276

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DEVELOPING THE ACTUAL-SIZE ROUGH The preceding page of miniature roughs has been done mainly to get at a satisfactory placement of the figure and a spotting of the general masses, I have made the choice indicated mainly because of the movement in the design, with all lines carrying the eye to the head. 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 and dark shadow, both of which should enhance the very light and very dark value which will be in the head itself. The problem now is to make up an actual -size rough which would be submitted to the magazine editor. This could be done in pencil, charcoal, or colored crayons. When the magazine is thoroughly familiar with your work, elaborate roughs are not as necessary as during your first assignments. Sometimes two or three roughs are asked for, often of different situations, Normally, these roughs should be done in color, but for purposes of this book, this rough can be illustrated just as well in black and white. If the situation , as in this case, has already been chosen, then it is advisable to call in your model even for the rough, for you will then be able to follow up in the final with much the same charIaeter, dress, and so forth. It is also advantageous to thus familiarize yourself with the type you are going to paint; the rough acts as a preliminary study for yourself as well as for the magazine editor. You can either make the rough direct from the model or get your camera out and take some poses. You may find new suggestions when setting up the subject before yon that will be better tli an any of your first vizualizations. It matters little how you arrive at what you are going to do, so long as you eventually make up your mind that it is the best approach you can think of. But once you start the final picture, everything should be well decided, so that there will be no changing of horses in midstream. A color sketch for your own satisfaction is well worth the time it takes, and for this I shall make one, even though we do not reproduce it. A word should be added here stressing the importance of a model file as well as a file of general data that is likely to be needed. As an illustrator yon never know what is likely to come up, or the type of story that will be given you to illustrate. I have found it worth while to take 'tests" of models as would be done in motion pictures. Try them out for dramatic ability and expression. Have some typical heads, full-length, and costumed po.ses on file. Your file should be as complete as possible, with men, young men, women, young 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 she is knock-kneed in a bathing suit, or that she is short and thick- thigh od, which the head photo on file would not indicate. The photographs models leave on file have usually been retouched, sometimes almost beyond recognition. You should know what she looks like in front of your camera, when you are working with your individual apparatus. Tor the most part, models are disappointing in one vviiv or another. It seems that no model was ever meant to be perfect, with both a fine figure and a fine head, [f they are beautiful they may be unable to act. You may be almost certain that you yourself will have to contribute much in the way of imagination to any photographic pose. Where the model is most necessary Is for the contribution of character, "something for the light to fall upon," as one artist put it. Models give you an indication of form in light, and color, telling you where die planes are, and the relationship of values. I do not believe any artist is so good that he can dispense with models. Your data file should contain, mainly, the material to be used in backgrounds and settings, since you cannot copy actual poses of people. Try to keep up on interior decoration, modern furniture, current fashions and accessories. But there is also the life of the past, the small town and farm life, outdoor material, horses and other animals, costumes of various periods, stores and shops, night clubs s sports, and almost every phase of life. 277

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PHOTO OF THE MODEL

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STUDY FROM THE PHOTO \ \ v. \ 279

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I liave reproduced the photograph posed according to my selection in miniature rough. This young lady was selected mainly l>ccause she appealed to me as being an unusual type. I am deliberately seeking to get away from the standardized cover girl type, or the so-called photogenic model. Her slanted eyes and brows, the fullness of her mouth, together with the smooth neck and shoulders, seemed to coincide with the authors description. The charcoal study of the photograph was done mainly to sec if I could bring out these qualities without literally copying the photograph. Were this a definite commission, I would send the charcoal drawing to the editor, accompanied by comments about what I had in mind as to the illustration, the color, and anything else that might make my intentions perfectly clear. The art director would in turn submit this to the other officials of the magazine and return it to me with their comments as to the possibilities. This might save a great deal of lost motion. If the magazine were not in sympathy with my approach, or had any objections, this would be made clear before the start of the final work. If the charcoal study is approved, the illustrator can proceed with confidence that all is well. This procedure is most practical for all concerned. Each issue of the magazine has a definite closing date by which time all work must be satisfactorily completed. The average monthly magazine s closing date is three months in advance of publication. The illustrator should try to have his work completed ten days before the deadline. It is very bad to force the magazine to use your work, because of the shortage of time, when it is unsatisfactory. For the most part, criticisms from the magazine are warranted and would not be forthcoming unless deemed absolutely necessary. The last thing an art director wants to do is to delay publication. He will therefore appreciate early delivery upon your part, which will give him an opportunity of making changes without causing delays. You will find that each magazine has an individTHE FINAL INTERPRETATION I uality. The physical appearance of the contents 280 will be closely allied with the personal likes anc dislikes of the art director. There arc art directors who seem to have very decided preferences as both artists and types of illustration. One may like the "cIosc~up" type of picture showing large heads and expression. Another may prefer the "full picture type/' showing the characters in a setting. Any art director strives to produce a variety o approach throughout the magazine. This is oftei the reason for the cropping of a Full-size painting, for he may not wish to have two similarly treated Subjects close together. There arc those art dfo tors who lean toward certain mediums, perha preferring water color to oil; or crayon, charcoa dry brush, and similar mediums to the so-cal heavy mediums. It is a good plan at the start familiarize yourself as much as possible with types of illustrations most generally used by ea magazine. If you have any new or inventive a proach in mind, it is better to submit something along this line at an early stage rather th attempt to surprise the magazine with an u pected technique on a final assignment. All in all, the whole procedure should be 01 of closest co-operation. The art director is just eager as you are to give his magazine distinction by any means possible, but he must know his ground from start to finish as far as your ability is concerned. This is why a certain amount of your time should be set aside for experiment and study, so that you can keep your ability and approach flexible and dynamic. You can keep liim informed of any new ideas you have, and this may often pave the way to new opportunities if the magazine is willing to experiment with you. Since the final interpretation of our subject is in color, it 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 A Sample Illustration. I suggest that the reader review the paragraph which we have taken as our problem, and then decide whether, in his judgment I have caught the dramatic and emotional qualities suggested. i

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HEAD STUDIES FOR ILLUSTRATIONS «^W7r • IS . :

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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 discuss it frankly is not meant to be discouraging nor disillusioning, but to lay before you some of the undisputed requirements. Seldom does an illustrator of magazines get there without art training. Whether the training is in schools or by dint of his own hard effort, the training is a necessary adjunct to his native talent. It is likely that most of you, as young artists, even as skilled and trained artists, cherish this ambition, I wish to go on record as stating that the opportunity is always there. Whether you can make it a reality depends on many "if s." First of all, you will need to be skilled in life drawing and anatomy, perspective, composition, and color. But you will also need that rare sense of the appropriate, and die ability to tell a story pictorially. Illustration may be thought of as belonging to two classes: the idealistic, for one, and the interpretation and characterization of life as it is, for the other. Illustration in the highest sense is not a matter of drawing pretty girls and pink hair ribbons. The Second World War has brought forth much that is new and forceful in the way of illustration. Illustration is holding the mirror up to life, and the best of it carries the strongest message of life itself. Much of our present-day illustration cannot but appear insipid as compared with the work of Howard Pyle. He has left a record of early Americana that excels all others. That spirit should go on. It will go on in some of you, who perhaps are still in your teens, but who have overpowering ambition and strength of purpose. But it will not come by dreaming. Every day wiD have to contribute a small part to your ultimate goal. Art is an exacting mistress. Her rewards are great, but they are for a chosen few. Yet art is one of the few vocations where success lies wholly in the effort and character of the individualgranted first of all, of course, that he has talent. There are no strings to pull, no favors to be granted. Art is thoroughly subject to public opinion, other people's opinion, and one must labor almost in spite of it. Opinions are something that we get more of with less effort than anything in the world* If anything else is given as freely as opin tons, especially negative ones, I cannot imagine what it can he. Yet we must to a large extent abide by what others think of our work. They can make or break us. Illustration will always be subject to public opinion. But opinions need not cause us to break faith with truth as we see it. And opinion on the whole is not only apt to be fair, thank Heaven, but most of the time it proves itself right. Public opinion is far more in accord with present-day illustration than with modem art. I have every reason to believe it will stay that way, for both illustration and public opinion spring from the same source, the reaction to life itself. Therefore it is my plea that illustration be kept rational, in keeping with good taste and the better things of life. In helping you to chose a path to illustration, I would beg of you to keep your two feet firmly grounded in reason and truth as it appears to you. There are so many blind alleys, whetting our curiosity and glowing with speculations that prove to lead to nowhere, that I feel you should give much consideration before tossing out the dictates of your own personality and ability* I contend that art is not imitation nor duplication of realism, but an expression of the individual, based on truth. Such a definition is neither narrow nor confining. It is as wide open as the blue skies. I have stated that you cannot be a finished illustrator in one jump. The main reason is that you cannot take in life in one glance, one day, or one year. It is far better to seek your development through the channels that point to your goal than to try to make one leap to the goal. All commercial art is illustration, and all of it gives you equal opportunity to progress. Be content for awhile with die little jobs, knowing that it is all training for the big job later on. When you have a chance to draw a face, a character, a figure, try to think of it as illustrating one of the best stories in the best magazines; do it that well. Do it as though 282

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GETTING INTO STORY ILLUSTRATION your whole future depended upon it. Actually, your whole future could easily depend upon it, for this very sample might interest another person with a bigger opportunity to offer, and that might bring another, and so on. You never know what a good job may do for you; but a slighted one, a lazy one, a disinterested one, leaves an impression hard to shake off. When your work in other fields becomes noticeable, the chances arc that somebody will find you. There are artists' agents constantly on the lookout for talent, just as there are movie scouts. If your daily work is not providing you with avenues pointing toward your goal, there is nothing to do but make your own opportunity. Take a story and illustrate it Show your work to others. If they respond Favorably, maybe Mary Jones the magazine subscriber might like it. I would not submit illustrations to the top magazines until you have developed a background of experience and are making a success in other fields. Send your work to reputable agents first; they can advise you intelligently, and even submit your work to the magazines if it seems promising. Such work may be sent periodically. You will probably get in faster through a good agent than by trying to go directly to the magazine. However, if something unusually good is sent to a magazine, they will contact you quickly enough if they like it. But you may be sure they are all getting a deluge of mediocre work submitted by every unqualified Tom, Dick, and Harry, and only once in a very great while does an unheard-of novice break directly into the magazines. There is no rftual to be performed; anything can happen. But a logical step-by-step procedure to your goal is the best bet in the long run. I have tried my utmost in this volume to give you a working basis and suggest the things you will need. But you will naturally make your own interpretation of the fundamentals here. The main object has been to make you think and to do for yourself, to believe in yourself. There is only one other course open and that is to go out and imitate the other fellow. It is granted that such a course might bring in some return, but it seems to mc that if you are good enough to get there by imitation, you are certainly good enough to get there on your own. The imitator is not going to outlast by very long the imitated. Suppose there are also five thousand others imitating the same man you are. Suppose by the time you are ready your idol has already been imitated to death, the whole vogue has passed, and someone new is there in your idol's place. After your idol is out, what chance have you? Young people imitate thoughtlessly. They like to be led, rather than take responsibility based on their own perceptions, beliefs, and decisions. But the young people who forge ahead are those who take the reins and do their own driving. They must realize this is their world, not ours in which they are always to be told what to do. We would 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, and produce form. It is not imitating to work from a photo you have conceived and posed. Nor is it imitating when you are practicing. It is imitating when you tack a successful job by another artist on your drawing l>oard and copy it for professional use. It is imitating when you try to sell something you have not in any way created. There is a vast difference. If you are really ready for the magazines, you will not have to worry. You will get in. Worry just about getting ready, so you can then worry about staying in when you get there. But worry can be lots of fun, when its over something we love to do anyway! 233

PART SEVEN

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EXPERIMENT AND STUDY There is no greater impetus to a successful career in creative illustration than experiment and study. In the earlier years of actual professional practice, I would recommend a continuance of school study in the night classes, You will find that after having some practical experience in the field you will learn twice as fast. You are more enlightened as to what yqu want* and perhaps your weak points have begun to show up. But whether an art school is available or not, you can set up an organized routine of further study for yourself, A good way is for a group of commercial artists to set up a class by themselves, calling in models and drawing and painting them. If such a class cannot be organized, then set up a space at home where you can work evenings, Saturday afternoons, or Sundays. T do not mean that you should not take time out for relaxation, but the faster you get over the ground in developing yourself, the sooner you are going to get there. There is a course of study for each individual, and sometimes he can lay out such a course for himself better than someone else can prescribe it for him. There is one thing not to do, and that is simply to drift along with the daily routine, making no extra effort. You will soon find yourself middleaged, having done nothing more than routine jobs, and being little farther along than you were years ago. The extra effort is the difference between the great mass of mediocre artists and the comparatively small group of very good ones. It will take a great deal of concentration and determination to get over the first hump. If you do not really know anatomy, that is a good place to start. It can be done at home in a few evenings a week. Perspective is another thing that you might as well get at and learn. It will not take long. Practicing composition is something you need not go to school for. Practicing pen and ink, crayon, and charcoal can all !>c done in leisure time. Color should be practiced in the daytime, in good light. No light is nicer than Sunday morning, both indoors and out. It's a shame to shut it out to sleep. If Sunday is your golf day, then play only eighteen holes and work Sunday afternoon or every other Sunday. If Sunday is your church day, then no artist will suffer by developing his soul. Work Saturday afternoon. It's up to you and the Missus when you will study, and if she is not enthusiastic, try painting her and the kids. It does not matter how you work it out, but it is important that you do work it out. Set up subjects for still life. They are not boring at all when you really begin to see tone and color design. Make outdoor sketches while the youngsters wade and Mother reads a magazine. Put your sketch box in the car and go out and try it. Painting from life is refreshing after a harrowing week on the job. It stimulates you to good color and freshness in your work. You will find that shadows are light and airy, that the blue of the sky really gets into them. You get away from the reds, browns, and oranges that we all seem to use when faking. Seldom do we find an artist who fakes in delicate greys and cool colors. In fact, these soft tones and colors rarely enter the mind of the artist until he has come to know the beauty of them. In the studio, color is thought of in terms of tubes and pots; when you look for the same colors in nature they do not seem to be there. Nature looks quite dull at first, but when you set down her tonal and greyed colors you are surprised to find that they are much more beautiful than the contents of the pots and tul>es. So many of us never take the trouble to really get acquainted with old Mother Nature, and then wc wonder why our progress is so slow. She is the one real source, and the more you neglect her, the farther you stray from home. Most of us do not take the trouble to go sketching, feeling that where we live there is nothing in the way of a subject. That can hardly be true. Even a back alley of a slum can be wonderful material if seen with an artists eyes. } 286

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FINDING SUBJECTS FOR EXPERIMENT AND STUDY River towns, mill towns, old towns, even prairie towns, always present material. There is bleak 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 "pretty." Pretty art has troubled this country too long already. Artists are seeing for the first time America as it is, and some wonderful things are being done, I do not mean that we deliberately set out to paint the grotesque and ugly. The point is that all things have form, tone, and color arid it is quite amazing what that form and color might look like in paint. I think that having the ultra and super of everything thrown at us so long has rather blinded us to the beauty of the commonplace. It makes us think that everything must be polished and shiny and new. Beauty is more apt to lie in character. Just the old barns on a farm have character. Values, tone color, design! All have charm, whether they occur in Peoria or on Fifth Avenue. That little patch of garden back of Joe Melon's old house takes on tremendous meaning in New York. Americans are becoming 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 itr and enjoy it. Set up that bunch of cut flowers. See if you can paint it loosely and artistically. Sketch funny Mrs. Higgins, who you always thought was quite a sketch anyway. Make a pencil study of that gnarled old tree you have admired down on Sawyer Avenue where the cars turn. Take a look at the children next door in terms of planes, color, and personality. They are probably as real kids as any ever painted. Horses, dogs, cats, old folks, snow, bams, interiors, buildings, mines, lumber yards, canals, docks, bridges, boats, vegetables, fruits, bric-abrac, country roads, wooded hills, skies, the old swimming hole. There are subjects galore if you will recognize them and try them out. This is all material for learning and material for the future. This is something no art school can give you, and it's closer to real art than anything 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 studying. Keep a sketch pad and a sharpened soft pencil in your pocket. Get used to noting things quickly and setting them down. That is where pictorial ideas come from. The merest notation may later become the basis of a great picture— you never know. It seems strange that most of us need to be sold on the world we live in. We do not know how good it is until we are in danger of losing it. The average artist is living in such a wealth of material that he cannot see it He is too close. Main Street may not mean much to you, but it does to the Saturday Evening Post if it is seen with sympathetic and understanding eyes. "Hie world wants vision and interpretation of the life it lives, and our life is just as vital to us as the life of the French court and nobility, or the life depicted by Gainsborough, was to painters of those eras. Poor Velasquez, living in sunny Spain with all its color, its winding streets, its blue Mediterranean, had to stay in the house and paint noblemen. He died young, probably needing fresh air. He must have squinned at times and been ghastly sick of it. But he left us masterpieces. Subjects are in the mind of the artist, the quick eye, and the interested hand. Were there a great .canvas called "Sunday Afternoon in the Park," painted in any small town in the eighties, people would swarm to see it today. It would make any magazine if well done. Think of the quaint costumes, the life of our grandfathers made vivid today! The same thing will be true in the year 2000 a.d., which is really not very far off. People will be just as interested then. The American life of today and what is left of yesterday will soon disappear. Catch it while you can. We are coming very definitely into a new era. So work hard, young artist, with your eyes open. If you have no subjects to paint, you are going about blindfolded or totally unconscious. 287

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YOUR PENCIL CAN KEEP BUSY kOTHCMQ |/ QUITE SO PLEA-TAINT A/TO -TPENO AN EVENINCT WITH A PENCIL AMP A DOa. IF BRONO }J" SLEEPY H£ IJ- A GOOD rrc>OEL. BJLOCK |N BIG FORM/ FIRJTANPTHEN WITH THE /lOEOFTHE LEAP LAY IIS TH E. HAiFTOKEf ANDDA KKJ\ 288

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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

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STUDY OF AN OLD MAN Wt/

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A SAMPLE ILLUS'I RATION

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SKETCHING It is important that the artist fix firmly in his mind the basic difference of altitude in a sketch as compared with final work. Logically considered, a sketch is a search for information that will be transposed later on to the final thing. It is the "n;i] ling down" of essentials that yon deem important. Every sketch should have a definite sometiling that you are going after. A sketch presupposes action, mass arrangement, light, shadow,, and color, without intricate detail. If you are searching for potent detail, you would think of such preliminary work as a stud v. A sketch i nay be for design or arrangement alone,, and the decisoii as to a color approach. Such a sketch is a "color composition," Tn commercial work there Js what is known as a "comprehensive sketch." Such a sketch mighl be quite finished. Usually it is the actual size of the intended reproduction (except in the case of displays and posters). The purpose here, of course, is to give the client a fairly accurate idea of what you intend to do with the subject, its color arrangement a] id general effect. Suc:li a sketch is nsuallv done from the material that won hi be used in the final work, and its purpose is to elear up any difficulties or objections that otherwise might carry over into the final work. Make up your mind as to the intent and purpose of the sketch. Here is the real joy of sketching. In a sense you cast off the meticulous labor for an im inhibited expression of the thing in mind. We know more about an artist from his sketches than from his finished work- That is the reason sketches are often more interesting and beautiful, being of simpler statement and far more expressive. After having made such an analysis and statement, the final work is much more apt to carry the emotions of the artist into ft. In the biggest sense, sketching is on experiment with the pictorial material, searching out the usable facts and assembling them for effect. You are meeting and getting acquainted with your subject. The mental conception of a subject is always abstract. We cannot know what the visual effect will be until we set it down. "Seeing a picture in the mind's eye" is a bit more picturesque as a phrase than it is in actuality. We do not truly see the thing until wc have mastered the problems attached to it. So 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 the camera cannot supplant the vivid mental impression one needs to produce a good picture. By actually coming to grips with the subjects you are drawing upon your taste and selection, and yon are filled with an inward excitement over what the subject contains. The whole conception is more apt to be creative and original by starting with your own first interpretation rather than with a photo. The time element in sketching is important Nature changes so fast we have not time to become absorbed in little things. That is why so many fail completely in the ability to make a sketch from life. But suppose the drawing is a bit out? A sketch is not a demonstration of the things you can do with time. 13 ig shapes, big tones, big relationships are what you are after. If you want to carry awav the detail, take along your camera; that is what it is for. But the detail will not make the final work any better as a picture. The tonal color and mass will be better than anything your camera can capture. The ability to make a good and even fast sketch will make a better artist of you in the end. Sketching should not be neglected nor underestimated. The main value lies in the freshness and spontaneity it will eventually give you. Sketching should be done in almost every medium, under every kind of circumstances, and of all kinds of subjects. If you would illustrate, you will prepare yourself to draw anything and everything. That is not so difficult as it sounds, for everything is simply line, tone, and color. Form is always expressed in plain light, halftone, and shadow. Your ske telling outfit can bring you more real pleasure than any other part of your equipment, especially if you sketch with a purpose. 292

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FIGURE PAINTING 1 would like to discuss frankly the importance of figure painting to the average: craftsman in illustration. All too often a student leaves the art school having had hut a meager start at it, and, anxious to get into remunerative fields, discounts the real value of it as applied to everyday work. True enough, the paid -tor picture is seldom a nude, and it may he hard to understand what real connection it could have with other work. Since in most instances it would be actually unlawful to paint a nude figure into an advertisement, why bother with figure study? It is with difficulty that the average young wife can appreciate its real importance to her artist husband's career. T hope she will take inv word for it here that it is vcrv important. But far more important is her husband's genuine and honest attitude toward it. It is, frankly, a delicate situation which should be met frankly and openly. Figure painting in the beginning should be done in class in association with other painters. This, mainly for ihe reason that one learns faster in co-operation with others. If possible the study should be under a good instructor, I really feel that the night class is best at the start, since the artificial light more clearly defines die form, producing definite light and shadow. Daylight is most subtle and quite difficult. However, it is most beautiful. There is a difference between life drawing and painting. Tn drawing we are dealing with line and tone in a black medium. In painting there is seldom a real black on all of the flesh. It means that the artist must raise his values tremcndouslv. 13 ecause he has been used to setting down black and white tones in drawing, the student's first paintings are usually overly dark, heavy, with opaqueness in tile shadows. The planes in the light are mostly ovennodeled, often too brown. Here is one of tile most important qualities he can add to his daily or routine work from the experience of figure painting. Flesh tones and modeling are the most subtle and delicate of all form, Thev are much like the modeling of clouds in light. It forces one to get up into a fresh high key in color and value. After painting flesh, be finds that he approaches all things in a new light, or with new vision. The next great value of it is the correlation of chawing, tone, value, and color, all of which are present in the figure. We can paint one apple too red, and it does not matter. But a forehead or cheek too red— and only slightly too red— can he \ety had. Almost any other thing can be too much, a sky too blue, grass too green, a dress too yellow, a shadow too warm or too cool. But not flesh. Good flesh tones must be true in tone value and color, or they do not have the quality of flesh. Commercial artists who have spent little time at serious figure painting have a common habit of painting flesh on the "hot"' side, with red, yellow, and while, in light or shadow. Tt makes much of the cheap -looking art work we see. If you can truly develop your sense of value and color, coupled with the subtlety of plane and construction that is evident in the nude, you can tackle almost anything else with considerable assurance of getting these qualities. A combination of figure and still life painting, first one and then the other, over and over again, offers you the best possible chance to develop the best qualities of painting. Because you draw well is no real assurance that you can also paint, for the simple reason of values and relationships. The only way you can get them is to paint, and paint with a great deal of conscientious study. The reason for working in a group is that values, 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. Go also to the art galleries and museums and study the way flesh tones are handled. It will help you sec them for yourself. Learning to paint flesh well is not easy, and it does not happen overnight. 1 1 is not surprising that, of all things, flesh is the most difficult to paint, for, of all things, flesh is per I taps the most beautiful. May we not be thankful that it, rather than the hides and furs of the lower animals, was given to us! Let us appreciate it and respect it. 293

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OUTDOOR SKETCH IN COLOR 291

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PORTRAIT SKETCH IN COLOR

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CLOSING CHAT It is with a feeling of regret that I come to the closing pages of this effort. It is something like the parting of father and .son. We have heed close companions, this book and I, over a period of manv months. I can scarcely leave it— and you— without touching upon a few of the more personal things that are bound to make up your life as an artist and illustrator. First of all, may I impress upon you the importance of developing the ability to make decisions. Hardly a day goes by that you cfo not have to decide something- Making decisions is the highroad to ereativeness. Every bit of art that you do is a collection of little decisions. From the single plan of approach to a single subject, to the whole plan of approach to your ultimate goal, and the carrying through of that plan, all is decision. It. is obvious that the artist must be agreeable and co-operative in order to succeed, hut there is such a thing as being a little too much of a

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CLOSING CHAT I spoke of making decisions. There are many kinds. On the negative side there are lazy ones, intolerant ones, procrastinating ones, impatient ones, indifferent ones, inadequate ones, and impulsive ones. Then there are those that contribute so much. There are those blessed with humility, determination, thought fulness, intelligence, and perseverance. There can be the decision each day lo make that day count in some way toward your big goal. Art lakes so much time that waste of precious time is cosily. You must not just try to find time for study, you must somehow make it. And. in art study can never stop. You will find sketches galore in the studio of the good man, with the paint quite fresh. The mediocre or fists .sketches ore old and dustv. I have seen so manv middle-aged artists si ill hop i tig, who.se samples are f raved at the edges, and thumb-marked with time. Sometimes it has been a mutter of years si] ice they sat down and actually did some thing to give? their hopes any promise. They are plodding their lives 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, they never seized a chance. There is a difference in working "at" a thing, or working "for"' it. We can really study, or we can putter. The "for" should be definite before von sit down. You are working for a bettor knowledge of anatomy, perspective, values, or some definite objective. You are training your eye for proportion, or lo see the lost and found of edges, you are developing your vision and technique for more looseness and expression. Tf you do not seek, how can you possibly find? Tf you feel that you are making many errors t that is good. That vou can sense them is so much better than if vou could not. II is most natural to seek advice on important questions. lint do not get the habit of going to otfiers for your decisions. So manv artists have written to me for decisions that neither f nor anyone else could possibly make for them. "Shall T lake up art?*' "Would I be a better illustrator or poster artist?" "Should I work in oil or water color?3' "Should I quit a steady job to draw and paint?" One eliap actually wrote, "Shall I get a divorce and have the freedom to follow up mv arl?>s Many ask if they arc too old to begin, what cities to work in, where do you get work, and how much do you get? May 1 say that most advice is conservative. Most people do not want to shoulder the responsibility of another s choice, suceess. or failure. Asking for advice seldom brings the advice you want. Too often advice is negative. Nobody wants to make your decision, and nobody ever will. I cannot recommend one art school over another, for several reasons. One is that it is impossible to he familiar with the courses and instructors of every school. Tt is manv vears since I attended anv art school, and since then each may have changed and probably has a completely new personnel. To recommend a school I would have to be familiar with your work, sympathetic with your particular ambitions, and probably knowing sonic thing of your personality, character, perseverance, and adaptability. It is too much to ask, and 1 do not feel qualified to answer. Seek the school which shows evidence of the things you would like to do. A school cannot make you a good student, hut you can be a good student in any school. School is mainly the opportunity tor you to work things out for yourself under the best of conditions, with space, models , and instruction .supplied. But you will .still have to do your job. It may be a bit harsh, but true, that the average school is much better than the average student, and it would be better if the school could pick the student, rather than the student the school. Some schools require entrance examinations, and if so, you need not vvorrv about the .school. T wish it were possible to li.st places to sell your work. But your experience will probably be something like mine. After winning an art school scholarship with a figure painting, my first job was to paint a ketchup bottle. I found there was a lot more to painting a ketchup bottle, for advertising than I ever dreamed. Then one day I painted 297

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CLOSING a Santa Clans. An art director saw it, told someone who was looking for talent about it. Tt got me a try out in a Studio, That led to other work, which opened up further opportunities. That is about the way it works out. You cannot be good in art in this country very long l>t; fore someone begins lo take notice. Antl von can see to it that your -r" r* work is noticed, by sending it about. If you intend writing me, as se many have done. I must apologize here for not being able to answer more than a fraction of vour letters. My routine work demands most of my time, and T do not believe in form letters or secretarial answers. I have tried to steer you lo the best of my ability in this book, and, though I tremendously appreciate personal contact with my readers, 1 find it impossible to make personal answers to their queries. lror this reason f have set up Anxwfirs to Queries in the back of this book. Perhaps you can find your answer there, or at least it may indicate where the decision must be your own, I shall, however, appreciate letters, especially those that do not request advice in personal matters f whieh in the long run will be better if worked out by yourself. The most important thought f wish to leave with you, aside from making big and little everyday decisions, is the great worthiness of our craft. If you succeed in it, the world holds high respect for your accomplishment. There seems to be a certain reverence for good art in all walks of life. Just because art is mfide for industrial or commercial use, there need be no sligma attached to it. The fine artist works for a living also, and his pictures may be reproduced and sold for profit. I can see little difference between painting a portrait for a fee and painting anything else for a fee. Such difference lies only in the skill of the artist, and there is nothing to limit skill in eommereial art. For this reason eommereial art has by far the greatest future, si nee it is open to greater and greater ability; whereas in the fields of line art there has been such perfection as to leave a very narrow margin to be surpassed. I believe CHAT this is the real reason for the trend of fine art today to diverge from the idealistic toward the spectacular, from the tangible to the abstraet. This is the only door that seems to be open. Let us remember the influence exerted upon the average individual by pictures. From the cradle he learns to love them. Pictures of one kind or another do much to shape the pattern of everyday life. Pietures suggest the clothes people wrear, the interiors they live iii? the things they buy. Pictures visualize the present, the past, and the future. Still more, art brings to life the nonexistent, enables the eye to see the product of the imagination. Art can be faet or fiction, personal or impersonal, truth or distortion, dynamic or static, concrete or abstract, fundamental or flamboyant . . . it's what vou make it. Where else in the world is there less limitation? Let us as artists, then, feci that we have a trust Let us be sincere, if for no other reason than to give our craft eharaeter. Let us choose to reproduce beaut v rather than the sordid, if Onlv to elevate the standards of beautv. If we seek an audience to our way of expression, let us make the things we have lo say worth while. When we have a choice, let us build, not tear down. Tf we are endowed with the vision to encompass beauty, let us- be grateful, but not selfish about it. To live and work only to please one's self, using art as a means of display for uncontrolled temperament and undisciplined license, for divorcing oneself from the normal and ethical standards of life, to my mind is wrong. Art belongs to life, and essentially lo the common, everyday man. Art is essentially giving. Ability of high order is rare. The successful may well rejoice that they few, among the many, have been given the eves that see, the hand to set down, the perception to grasp, and the heart to understand, the big truth. What we take, in, we can strive to give back in greater perfection. It seems to me that this would not be possible without patience, humility, and respect for life and mankind. 298

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ANSWERS TO QUERIES 1. I 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 will need a period of practical application of your work. Work among other artists. One learns from another. 2. Begin to work to a specified delivery date as soon as possible. Do not let work dally along. Finish one thing before you start another, 3. Please do not ask me to hunt up books for you. Most art 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 service. 4. Do not ask me what books to read. Bead all 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. 5. Do not send me checks or money orders* since the author has nothing to do with the sale of his books. Write direct to the publisher. 6. Please do not ask me to supply you with information concerning art materials. Art supply dealers are listed in most art magazines. Every city has them. Specific materials can be located by inquiry of a good dealer. 7. What school? You must decide. Art schools are advertised in art magazines and listed under vocational training elsewhere. Send for the prospectus, S. What course? You must decide. 9. What mediums? You must decide. Try tbem all. All are practical except pastel. Even this can be used If fixed and shipped carefully. Use a pastel (not charcoal) fixative, 10. What city to work in? You must decide. New York and Chicago are the largest art centers. Every city has possibilities. 11. You cannot copy pictures from the magazines and sell them. All printed pictures carry a copyright. Especially do not copy pictures of movie stars or other individuals. You must have a release or written permission. 12. Names of models appearing in my books cannot be given out. 13- There is no specific price for model time. She may work at any price agreeable to both parties, unless otherwise 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 illustrative fields. 15. Either you or a purchaser may set the price. Sketches should be paid for if they have been ordered 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. lfi. If your sketch is gi\-en to another artist for com* pletion of the final work, you should be paid for the -sketch. This should be deducted from the final price paid to the second artist and paid to you. 17. Request written orders for your work, duly authorized by a responsible signature. It is within your right. 1R. Changes or corrections of a nature not in the original request 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 should be at the artist s expense. If changes or corrections arc simply a matter of opinion, such expense, if 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. 19. Jf 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 understood previous to the final execution. 20. 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 law suits over their work. In the case of long or extended work,, that is different If part of the work was acceptable and used, that should be paid for. If a contract was made, your client should be held liable. 299

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ANSWERS TO QUERIES: 21 p Advertising illustration normally pays a higher price than story illustration* 22. Do not sign an indefinite or lifelong agreement witli any awpvesfciitfltjve or agent or broker of any kind* You may be paying for the rest of your life 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. 23. Tire agent's commission should not exceed 25%. A lesser rate may be expected as you become well known, since it will be less difficult to sell yon. 21. A fine art dealer's commission is Anything you mutually agree upon. Sonic go as high as 50%* 25, You cannot* without postal authority, send nude photos through the mail. Any published mides muxt paws ccmsctfship, unless unquestionably considered fti a*t subjects, or used in conjunction with art text. £6. All work submitted on speculation should b his clients* It is not his to give. 36. The time given to this book has been given at consi derable expense and loss of other work, I can think of nothing more that I could tell you personally. I urge you to get in that boat of yours 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. $?, Whatever your problem* there has been the same problem over and over for everybody else. Sonic have licked it, so can you. 38. I do not conduct any classes nor try to give individual instruction* because T want to remain active in the Held as long as I can. I could start a school, 1 suppose* but Td rather paint. When Tin ready to quit the field, then I hope to feel that 1 have earned my right to what lime is left to work for the sheer pleasure of it. The fan will always be in the doing, and I'd much rather be t student always. 39. I do appreciate letters, especially those that do not ask me to make decisions. 40. In closing* I wish to assure you that in art there is truly a reward waiting for all who have the courage it demands. 300