Professional Documents
Culture Documents
AN OPENING CHAT 15
ILLUSTRATIONS
ILLUSTRATIONS
ILLUSTRATIONS
Important Bones 59
Muscles on the Front of the Figure 60
Muscles on the Back of the Figure 61
Muscles of the Arm, Front View 62
Muscles of the Arm, Varied Views 63
Muscles of the Leg. Front View 64
Muscles of the Leg, Back and Side View 65
Now Just Play with What You Have Learned 66
Try Building Figures without Model or Copy 67
ILLUSTRATIONS
8
CONTENTS, INCLUDING ILLUSTRATIONS
Lighting 79
Simple Lighting on the Figure 80
True Modeling of Rounded Form 81
Balance 130
Balance 131
Two Methods of Approach 132
Defining Form with Just Tone and Accent 133
Stressing Construction 134
Two Minute Studies 135
Rhythm 136
Rhythm 137
ILLUSTRATIONS
Rhythm 138
Crossing Lines of Rhythm 139
"Sweep" 140
Relating One Contour to Another 141
Defining by Edges and Shadow without Outline 142
A Typical Problem 143
CONTENTS. INCLUDING ILLUSTRATIONS
IX. THE KNEELING, CROUCHING, SITTING FIGURE 145
ILLUSTRATIONS
Crouching 146
The Incomplete Statement May Be Interesting 147
Point Technique 148
Planning a Pen Drawing 149
Kneeling and Sitting 150
Kneeling and Twisting or Bending 151
Getting Full Value Range with Ink and Pencil 152
Ink and Pencil in Combination 153
Pen Drawing 154
A "Looser" Treatment 155
Fine Point Brush Drawing 156
A Typical Problem 157
The first chapter of this book will be treated a little differently from the
others, as a prelude to the actual figure, and to lay the groundwork of the
structure we are later to build. This part of the book will be of especial
value to the layout man and to the artist for the preparation of prelim-
inary sketches, roughs, the setting down of ideas, suggestions of actions
and pose, where the figure must be drawn without the use of models or
copy. This is the sort of work the artist does in advance of the finished
work. This, in other words, is the work with which he sells himself to
the prospective client. In that respect it is most important since it really
creates opportunity. He will be able to prepare this work intelligently
so that when he gets to the final work he will not be confused with new
problems of perspective, spacing, and other difficulties.
The reader is urged to give this chapter his utmost attention since
it is unquestionably the most important chapter in the book, and one
to pay good dividends for the concentrated effort involved.
I. THE APPROACH TO FIGURE DRAWING
As we begin the book, let us take note of the once you arrive at your destination; your real
broad field of opportunity afforded the figure concern is making the journey.
draftsman. Starting with the comic or simple line Art in its broadest sense is a language, a mes-
drawings of the newspaper, it extends all the sage that can be expressed better in no other
way up through every kind of poster, display, way. It tells us what a product looks like and
and magazine advertising, through covers and how we can use it. It describes the clothes and
story illustration to the realms of fine art, por- even the manners of other times. In a war poster
traiture, sculpture, and mural decoration. Figure it incites us to action; in a magazine it makes
drawing presents the broadest opportunity from characters alive and vivid. It projects an idea
the standpoint of earning of any artistic endeav- visually, so that before a brick is laid we may
or Coupled with this fact is the great advantage see, before our eyes, the finished building.
that all these uses are so interrelated that suc- There was a time when the artist withdrew
cess in one almost assures success in another. to a bare attic to live in seclusion for an ideal.
The interrelation of all these uses springs from For subject, a plate of apples sufficed. Today,
the fact that all figure drawing is based on the however, art has become an integral part of
same fundamentals which can be applied no our lives, and the successful artist cannot set
matter what use the work is put to. This brings a himself apart. He must do a certain job, in a
further great advantage to the figure man in that definite manner, to a definite purpose, and with
he has a constant market if he is capable of good a specified date of delivery.
work. The market is constant because his work Start at once to take a new interest in people.
fits into so many notches in the cycle of buying Look for typical characters everywhere. Famil-
and selling which must always be present bar- iarize yourself with the characteristics and de-
ring financial collapse. To sell one must adver- tails that distinguish them. What is arrogance
tise, to advertise one must have advertising in terms of light and shadow, form and color?
space, to have advertising space there must be What lines give frustration and forlorn hope to
attractively illustrated magazines, billboards, people? What is the gesture in relation to the
and other mediums. So starts the chain of uses of emotion? Why is a certain childish face ador-
which the artist is an integral part. able, a certain adult face suspicious and un-
To top it all, it becomes the most fascinating trustworthy? You must search for the answers to
of any art effort because it offers such endless these questions and be able to make them clear
variety, encompassing so much that it ever re- to your public. This knowledge will in time be-
mains new and stimulating. Dealing with the come a part of you, but it can come only from
human aspects of life it runs the gamut of ex- observation and understanding.
pression, emotion, gesture, environment, and the Try to develop the habit of observing your
interpretation of character. What other fields of surroundings carefully. Some day you may want
effort offer so great a variety for interest and to place a figure in a similar atmosphere. You
genuine relief from monotony? I speak of this to cannot succeed completely with the figure un-
build within you that confidence that all is well less you can draw the details of the setting. So
OBSERVE YOUR SURROUNDINGS
begin now to collect a file of the details that I do not strongly recommend becoming
give a setting its "atmosphere." "helper" to a successful artist in order to gain
Learn to observe significant details. You must background. More often than not, it is a dis-
be concerned with more than Martha's hair- couraging experience. The reason is that you
dress. Precisely why does Martha in a formal are continually matching your humble efforts
gown look so different in shorts or slacks? How against the stellar performance of your em-
do the folds of her dress break at the floor when ployer. You are not thinking and observing for
she sits down? yourself. You are usually dreaming, developing
Watch emotional gestures and expressions. an inferiority complex, becoming an imitator.
What does a girl do with her hands when she Remember: artists have no jealously guarded
says, "Oh, that's wonderful!"? Or with her feet professional secrets. How often have I heard
when she drops into a chair and says, "Gosh, students say, "If I could just watch that man
I'm tired!"? What does a mother's face register work, I'm sure I could get ahead!" Getting
when she appeals to the doctor, "Is there no ahead does not happen that way. The only
hope?" Or a child's when he says, "Gee, that's mystery, if such it may be called, is the per-
good!"? You must have more than mere tech- sonal interpretation of the individual artist. He
nical ability to produce a good drawing. himself probably does not know his own "se-
Nearly every successful artist has a particu- cret." Fundamentals you must master, but you
lar interest or drive or passion that gives direc- can never do so by watching another man
tion to his technical skill. Often it is an absorp- paint. You have to reason them out for yourself.
tion in some one phase of life. Harold von Before you decide what type of drawing you
Schmidt, for example, loves the outdoors, rural want to concentrate on, it would be wise to con-
life, horses, the pioneer, drama, and action. His sider your particular background of experience.
work breathes the fire that is in him. Harry An- If you have been brought up on a farm, for in-
derson loves plain American people — the old stance, you are much more likely to succeed in
family doctor, the little white cottage. Norman interpreting life on a farm than in depicting
Rockwell, a great portrayer of character, loves Long Island society life. Don't ignore the inti-
a gnarled old hand that has done a lifetime of mate knowledge you have gained from long,
work, a shoe that has seen better days. His ten- everyday acquaintance. All of us tend to dis-
der and sympathetic attitude toward humanity, count our own experience and knowledge—to
implemented by his marvelous technical ability, consider out background dull and common-
has won him his place in the world of art. Jon place. But that is a serious mistake. No back-
Whitcomb and Al Parker are at the top because ground is barren of artistic material. The artist
they can set down a poignant, up-to-the-minute who grew up in poverty can create just as much
portrayal of young America. The Clark brothers beauty in drawing tumble-down sheds as an-
have a fondness for drawing the Old West and other artist might in drawing ornate and luxuri-
frontier days, and have been most successful at ous settings. As a matter of fact, he is apt to know
it. Maude Fangel loved babies and drew them much more about life, and his art is likely to
beautifully. None of these people could have have a broader appeal. Today great interest has
reached the pinnacle without their inner developed in the "American Scene." Simple
drives. Yet none could have arrived there with- homeliness is its general keynote. Our advertis-
out being able to draw well ing and much of our illustration, however, de-
THE NUDE AS A BASIS
mand the sophisticated and the smart, but it is expect to become a surgeon without studying
wise to bear in mind this newer trend, for which anatomy. If you are offended by the sight of the
a humble background is no handicap. body the Almighty gave us to live in, then put
It is true that most artists must be prepared this book aside at once and likewise give up all
to handle any sort of subject on demand. But thought of a career in art. Since all of us are
gradually each one will be chosen for the thing either male or female, and since the figures of
he does best. If you do not want to be typed or the two sexes differ so radically in construction
"catalogued," you will have to work hard to and appearance (a woman in slacks is not a man
widen your scope. It means learning broad in pants, even when she has a short haircut), it
drawing principles (everything has proportion, is fantastic to conceive of a study of figure draw-
three dimensions, texture, color, light, and shad- ing that did not analyze the many differences. I
ow) so that you will not be floored by commis- have been engaged in almost every type of com-
sions that may call for a bit of still life, a land- mercial art, and my experience confirms the fact
scape, an animal, a particular texture such as that the study of the nude is indispensable to
satin or knitted wool. If you learn to observe, the any art career that requires figure drawing. A
demands should not tax your technical capacity, vocational course without such study is a deplor-
because the rendering of all form is based upon able waste of time. Life classes generally work
the way light falls upon it and the way light af- from the living model; hence I have tried to
fects its value and color. Furthermore, you can supply drawings that will serve as a substitute.
always do research on any unfamiliar subject. Broadly speaking, there are two kinds of
Most artists spend as much time in obtaining drawing: linear and solid. Linear drawing—for
suitable data as in actual drawing or painting. example, a floor plan—embraces design or scale.
The fundamentals of painting and drawing Solid drawing attempts to render bulk or three-
are the same. Perhaps it might be said that dimensional quality on a flat plane of paper or
drawing in general does not attempt to render canvas. The first involves no consideration of
the subtleties of values, edges, and planes or light and shadow. The latter gives it every con-
modeling that may be obtained in paint. In any sideration. It is possible, however, without light
medium, however, the artist is confronted with and shadow, to make a flat or outline drawing
the same problems: he will have to consider the of a figure and still suggest its bulk. Therefore it
horizon and viewpoint; he will have to set down is logical to begin with the figure in flat dimen-
properly length, breadth, and thickness (in so sion—start out with proportion, carry it from the
far as he is able on the flat surface); he will have flat to the round, and then proceed to render the
to consider, in short, the elements that I am talk- bulk in space or in terms of light and shadow.
ing about in this book. The eye perceives form much more readily by
The nude human figure must serve as the contour or edge than by the modeling. Yet there
basis for all figure study. It is impossible to draw is really no outline on form; rather, there is a sil-
the clothed or draped figure without a knowl- houette of contour, encompassing as much of
edge of the structure and form of the figure un- the form as we can see from a single viewpoint.
derneath. The artist who cannot put the figure We must of necessity limit that form some way.
together properly does not have one chance in So we draw a line—an outline. An outline truly
a thousand of success—either as a figure drafts- belongs within the category of flat rendering,
man or as a painter. It would be as reasonable to though it can be accompanied by the use of light
WHAT IS LINE?
and shadow. The painter dispenses with outline ber that line is something to turn to when your
because he can define contours against other drawings are dull. You can start expressing your
masses or build out the form in relief by the use individuality with the kinds of line you draw.
of values. Now to the figure. What is the height-to-width
You must understand the difference between relationship of an ideal figure? An ideal figure
contour and line. A piece of wire presents a line. standing straight must fit within a certain rec-
A contour is an edge. That edge may be a sharp tangle. What is that rectangle? See drawing,
limitation to the form (the edges of a cube) or a page 26. The simplest and most convenient unit
rounded and disappearing limitation (the con- for measuring the figure is the head. A normal
tour of a sphere). Many contours pass in front of person will fall short of our ideal by half a h e a d -
one another, like the contours of an undulating he will measure only seven and a half heads in-
landscape. Line figure drawing, even as land- stead of eight. You need not take eight heads as
scape drawing, demands foreshortening in order an absolute measure. Your ideal man may have
to produce the effect of solid form. You cannot any proportions you wish, but he is usually made
outline a figure with a bent wire and hope to ren- tall. On pages 26 to 29 you will find various pro-
der its solid aspect. Look for two kinds of lines: portions in head units. Note that at any time you
the flowing or rhythmic line, weaving it about' can vary your proportions to suit the particular
the form; and, for the sake of stability and struc- problem. Study these carefully and draw them,
ture, the contrasting straight or angular line. two or three times, for you will use them, con-
Line can have infinite variety, or it can be in- sciously or not, every time you set up a figure.
tensely monotonous. Even if you start with a Some artists prefer the legs even a little longer
bent wire, you need not make it entirely monot- than shown. But, if the foot is shown tipped
onous. You can vary the weight of line. When down in perspective, it will add considerable
you are drawing a contour that is near a very length and be about right.
light area, you can use a light line or even It is remarkable that most beginners' work
omit it entirely. When the line represents a con- looks alike. Analyzing it, I have found certain
tour that is dark and strong, you can give it more characteristics that should be mentioned here.
weight and vitality. The slightest outline draw- I suggest that you compare this list with your
ing can be inventive and expressive. own work to see if you can locate some of the
Take up your pencil and begin to swing it characteristics for improvement.
over your paper; then let it down. That is a
"free" line, a "rhythmic" line. Now, grasping 1. Consistently gray throughout.
your pencil lightly between thumb and index What to do: First get a soft pencil that will
finger, draw lightly or delicately. Then bear make a good black.
down as though you really meant it. That is a Pick out the blacks in your subject and
"variable" line. See if you can draw a straight state them strongly.
line and then set down another parallel to it. By contrast, leave areas of white where sub-
That is a "studied" line. ject is white or very light.
If you have considered a line as merely a Avoid putting overstated grays in light
mark, it may be a revelation to you that line areas.
alone possesses so much variation that you can Do not surround things that are light with
worry over it for the rest of your days. Remem- heavy lines.
BEGINNERS' WORK
2. An overabundance of small fuzzy line. 8. Bad arrangement.
Do not "pet" in your line, draw it cleanly If you are doing a vignetted head, plan in-
with long sweep. teresting and attractive shapes. Don't run
Do not shade with a multitude of little over to the edge of the paper unless whole
"pecky" strokes. space is to be squared off.
Use the side of the lead with the pencil laid 9. Highlights in chalk.
almost flat for your modeling and shadows. It takes a very skillful artist to do this suc-
3. Features misplaced in a head. cessfully.
Learn what the construction lines of the 10. Uninteresting subjects.
head are and how spaced. (See Head Just a costume does not make a picture.
Drawing.) Every picture should have some interest if
Build the features into the correct spaces. possible other than a technical demonstra-
4. Rubbed and dirty, usually in a roll. tion. Heads should portray character, or ex-
Spray with fixative. If on thin paper, mount pression. Other subjects should have mood
on heavier stock. or action or sentiment to make it interesting.
Try never to break the surface of your
paper. This is very bad. If you have done so, Water color is perhaps the most tricky medi-
start over. Keep your drawings flat. Keep um of all. Yet most beginners take to it. Water
untouched areas scrupulously clean with a color to be effective should be broad in treat-
kneaded eraser. ment, with large loose washes, and not too fin-
5. Too many mediums in same picture. icky. If you find yourself stippling and pecking
Make your subject in one medium. Do not you can be pretty sure it will not be liked.
combine wax crayons with pencil, or pastel Water color should have a feeling of the "ac-
with something else. Make it all pencil, all cidental" or color that has done something of
crayon, all pastel, all water color, or all its own and dried that way. Lovely effects are
pen and ink. It gives a certain consistency. obtained by dampening an area first and then
Later on you may combine different me- flowing the color into the wet area. Use a real
diums effectively but do not start that way. water color paper or board, for it can get very
6. The tendency to use tinted papers. messy on a soft and very absorbent paper. The
A black and white drawing looks better on less you have to go over what you have once put
white paper than anything else. down, the better. Generally water-colorists pre-
If you have to use tinted paper, then work fer not to leave a lot of pencil, especially dark or
in a color that is harmonious. For instance shaded pencil showing through. Some water-
a brown or red conté crayon on a tan or colorists work by washing in a general tone,
cream paper. -scrubbing out the lights with a soft sponge or
It is better to put your color on white for brush, and washing in the halftones and darks
clarity. over the original tone. If you are unable to
7. Copies of movie stars. handle water color in any other way than by
This gets intensely monotonous to anyone pecking in little strokes, I would suggest you try
inspecting a beginner's work. The heads are pastel which can be spread and rubbed at will.
usually badly lighted from a drawing stand- Oil paint has the advantage that it stays wet long
point. Take a head that is not well known. enough to maneuver the color as you wish.
IDEAL PROPORTION, MALE
Take any desired height, or place points for between nipples is one head unit. The waist is
top of head and heels. Divide into eighths, Two a little wider than one head unit. The wrist
and one third of these units will be the relative drops just below the crotch. The elbows are
width for the male figure. It is not necessary at about on a line with the navel. The knees are
this stage to attempt to render the anatomy cor- just above the lower quarter of the figure. The
rectly. But fix in your mind the divisions. shoulders are one-sixth of the way down. The
Draw the figure in the three positions: front, proportions are also given in feet so that you
side, and back. Note the comparative widths at may accurately relate your figure to furniture
shoulders, hips, and calves. Note that the space and interiors.
IDEAL PROPORTION. FEMALE
The female figure is relatively narrower—two for a girl. Actually, of course, the average girl
heads at the widest point. The nipples are slight- has shorter legs and somewhat heavier thighs.
ly lower than in the male. The waistline meas- Note carefully that the female navel is below the
ures one head unit across. In front the thighs waistline; the male, above or even with it. The
are slightly wider than the armpits, narrower in nipples and navel are one head apart, but both
back. It is optional whether or not you draw the are dropped below the head divisions. The el-
legs even a little longer from the knees down. bow is above the navel. It is important that you
Wrists are even with crotch. Five feet eight learn the variations between the male and fe-
inches (in heels) is considered an ideal height male figure.
VARIOUS STANDARDS OF PROPORTION
You can see at a glance why the actual or nor- unit, the middle of the figure falls in each. It
mal proportions are not very satisfactory. All would be well to draw the side and back in these
academic drawings based on normal propor- various proportions, using the previous page for
tions have this dumpy, old-fashioned look. Most a general guide but changing the proportion.
fashion artists stretch the figure even beyond You can control the appearance of height or
eight heads, and in allegorical or heroic figures shortness in any figure by the relative size of the
the "superhuman" type — nine heads — may be head you use.
used effectively. Note at what point, or head
IDEAL PROPORTIONS AT VARIOUS AGES
These proportions have been worked out with with a five-year-old boy, you have here his rela-
a great deal of effort and, as far as I know, have tive height. Children under ten are made a little
never before been put down for the artist. The shorter and chubbier than normal, since this ef-
scale assumes that the child will grow to be an fect is considered more desirable; those over
ideal adult of eight head units. If, for instance, ten, a little taller than normal — for the same
you want to draw a man or a woman (about half reason.
a head shorter than you would draw the man)
THE FLAT DIAGRAM
T H E FLAT D I A G R A M
OTHER IMPORTANT USES OF THE "MAP" OR FLAT DIAGRAM.
QUICK SET-UP OF PROPORTIONS
PROPORTIONS BY ARCS AND HEAD UNITS
PROPORTION IN RELATION TO THE HORIZON
THE JOHN AND MARY PROBLEMS
FINDING PROPORTION AT ANY SPOT IN YOUR PICTURE
FIRST STAGE
THE MAIN VALUES STATED
THE FAST STATEMENT OF VALUES
PROCEDURE
PROCEDURE
THE VISUAL-SURVEY PROCEDURE
Every good action pose should have a suggestion completed. You would instinctively duck from
of "sweep." Perhaps I can best describe sweep a fist drawn 'way back from your face, whereas
by saying that the movement which immediately you might not withdraw at all from a fist two
precedes the pose is still felt. On the following inches away. The prize fighter has learned to
pages I have tried to show this sweep or the line make good use of this psychology in his short
that the limbs have just followed. The cartoonist punches.
can add terrifically to the sense of motion by Another means of illustrating action is to show
drawing his sweep with lines back of a moving its result or effect, as, for instance, a glass that
hand or foot. has fallen over and spilled its contents, with an
The only way to get sweep in the line is to arm or hand just above it. The actual movement
have your model go through the entire move- has been completed. Another example is that of
ment and observe it carefully, choosing the in- a man who has fallen down after a blow, with
stant that suggests the most movement. Usually the arm that hit him still extended.
the action can be best expressed if you use the There are instances, however, when the mid-
start or finish of the sweep. A baseball pitcher dle of the action is best. This is called "sus-
suggests the most action either as he is all wound pended action." A horse in the act of clearing a
up, ready to throw, or just as he lets go of the fence, a diver in mid-air, a building collapsing-
ball. A golfer expresses movement best at the are all examples of suspended action.
start or finish of the swing. If you were to show Fix in your mind the whole sweep of action
him on the point of hitting the ball, your draw- and make little sketches at this point. At times
ing would have no action pictorially, and he you can help the action with a bit of blur, some
would appear only to be addressing the ball in dust, a facial expression. The cartoonist can
his ordinary stance. A horse seems to be going write in, "Swish," "Smack," "Zowie," "Bing,"
faster when his legs are either all drawn up "Crash," but you may not.
under him or fully extended. The pendulum of If you perform the action, it helps to give you
a clock appears to be moving when it is at either the feel of it. Get up and do it, even if it does
extreme of its swing. A hammer raised from a seem a little silly. If you can study the action in
nail suggests a harder blow and more movement front of a large mirror, so much the better. There
than if it were shown close to the nail should be a mirror in every studio.
For psychological effect in drawing, it is essen- Some of your "action" camera shots may be
tial to acquire the full range of movement. The disappointing unless you keep these facts in
observer must be made to complete the full mind; knowing them helps you click the shutter
motion, or to sense the motion that has just been at the precise moment.
TURNING AND TWISTING
TURNING AND TWISTING
TURNING AND TWISTING
TURNING AND TWISTING
TURNING AND TWISTING
TURNING AND TWISTING
Balance is a physical attribute each of us must quality, and no one can positively state that a
possess. If a figure is drawn without balance, it technical treatment popular or successful today
irritates us subconsciously. Our instinct is to set will be so tomorrow. The fundamentals of ren-
firmly on its base anything that is wobbling and dering, however, are not so much concerned
likely to fall. Watch how quickly a mother's with how you put your strokes on paper or
hand grasps the teetering child. The observer canvas as with correct values rendered intelli-
recognizes quickly that a drawing is out of bal- gently for the specified reproduction and a clear
ance, and his inability to do anything about it conception of the use of tone and line in their
sets up a negative response. proper place.
Balance is an equalized distribution of weight On page 132 are two drawings that I believe
in the figure as in anything else. If we lean over will be self-explanatory. In the first, tone is sub-
to one side, an arm or leg is extended on the ordinated to line; in the other, line is subordi-
opposite side to' compensate for the unequal dis- nated to tone. This gives you two jumping-off
tribution of weight over the foot or two feet that places. You can start a drawing with the definite
are the central point of division for the line of plan of making it either a pure line drawing, a
balance. If we stand on one foot, the weight combination of line and tone (in which either
must be distributed much as it is in a spinning can be subordinated to the other), or a purely
top. The figure will then fit into a triangle. If tonal drawing like the one on page 133. I suggest
we stand on both feet, we make a square base that you do not confine yourself to a single man-
for the weight, and the figure will then fit into ner of approach and treat all your work in the
a rectangle. same way. Try pen and ink, charcoal, line draw-
This should not be taken too literally since an ing with a brush, watercolor, or whatever you
arm or foot may emerge from the triangle or will. The broader you make your experience in
rectangle, but the division line through the different treatments and mediums, the wider
middle of the triangle or rectangle will show that your scope becomes as a practicing artist. If you
there is approximately a like amount of bulk on are making a study, then decide first what you
each side of it. want most from that study. If it is values, then
When you are using a live model either for make a careful tonal drawing. If it is construc-
direct sketching or for camera shots, she will tion, line, proportion, or anatomy, work with
automatically keep in balance—she cannot help these in mind. If it is a suggestion for a pose,
it. But in drawing action from the imagination the quick sketch is better than something labored
balance must be watched carefully. It is easy over. The point is that you will have to labor
to forget. when you want a detailed or tonal statement.
Before going into the problem of rhythm, the You need not labor quite so hard to express a
fundamentals of rendering must be taken into bit of action. If your client wants a sketch, see
account. Suggestions for rendering technically that it remains a sketch and that you will have
in different mediums will appear throughout the something more in the way of finish to add to
rest of the book. Technique is an individual your final drawing.
BALANCE
BALANCE
TWO METHODS OF APPROACH
One of the most challenging phases of figure out the slightest idea of how to go about drawing
drawing is that of the reclining pose. It offers the a reclining figure.
best opportunity of all for design, interesting The appearance of complete relaxation is of
pose, pattern, and foreshortening. We forget the first importance. A stiff-looking pose gives the
body as an upright figure for the moment and observer the reaction of discomfort. The rhythm
think of it as a means of flexible pattern for of the pose should be sought very carefully. You
space-filling. The head may be placed anywhere know now how to look for it. Almost any model
within the space at your disposal. The torso may looks better in a reclining than in a standing
be regarded from any viewpoint. In the drawing pose. The reason is that the stomach falls inward
of the reclining figure, as in the standing and and appears more slender; the breasts, if in-
sitting poses, avoid straight, uninteresting poses clined to droop, return to normal roundness; the
—the legs straight, the arms straight, the head chest becomes full and high; the back, lying flat,
straight I call these "coffin poses," for nothing is straighter; even a double chin is lost. Perhaps
appears quite so dead. Unlimited variety is pos- nature purposely adds beauty to the reclining
sible with the reclining or half-reclining poses. pose. If glamorous appeal is needed in a draw-
We brought the figure out of the "proportion ing, nothing can give it more than the reclining
box" early in this book. Never fit a box around figure.
anything that is an interpretation of life. If you are using your camera, do not place it
The impression is that reclining poses are ex- too close to the model, for distortion will result.
tremely difficult to draw. If you are accustomed Reclining poses should be selected with good
to measuring off so many heads, you must dis- taste. Crudity can send you and your drawing
card the method in drawing the reclining figure, out the door in a hurry. See that the pose does
for it may be foreshortened to so great an extent not hide parts of the limbs so that they look like
that it cannot be measured in heads. But there stumps; for instance, a leg bent under with noth-
is still height and width in any pose. You can ing to explain it may look like the fellow with the
still find the middle and quarter points and make tin cup. You cannot tell whether or not he has
comparative measurements. From here to there a leg. An unusual pose is not necessarily good,
is equal to from there to another point. Measure- but a figure can be twisted about for interesting
ments are not standard and apply only to the design, or combined with draperies for unusual
subject before you. pattern. The hair can be made a nice part of the
Reclining poses are often neglected in art design. If the pose is complex, keep the lighting
schools. The reason is usually the crowded room simple. Cross-lighting on an unfamiliar pose
in which one student obstructs the view of an- may complicate it and make it look like a Chinese
other. Consequently the most delightful and puzzle. If bizarre effects, however, are wanted,
interesting phase of figure drawing is passed it may work out at that. A high viewpoint may
over, and many students leave the school with- lend variety.
SKETCHES OF RECLINING POSES
STUDY
COARSE GRAIN PAPER STUDIES
STUDY IN FORESHORTENING
CEMENTED TISSUE OVERLAY. SPATTER AND BRUSH DRAWING
PEN STUDIES
A TYPICAL PROBLEM
Typical problem to solve with an art dealer and ering it partly. In the hair are drooping and
representative: wilted flowers. A squirrel with an acorn in its
"I have a particular commission in mind that paws, a rabbit burrowing down into the soil,
I believe you could handle," says an art dealer. birds flying—all may be shown. The grass is
"My clients have organized a new country club. brown and dry; perhaps some red berries are on
They are building a beautiful clubhouse. They a branch. The thought that is conveyed is that
want two mural decorations for their new dining summer has ended and Nature prepares for
room. The woodwork will be done in ivory, with winter."
a slightly deeper tone of ivory on the walls. Make many rough pencil compositions. Do
There are two doorways into the dining room, not only fill the space with the figure stretched
over each of which there will be a lunette. The stiffly across it. Proceed to work up some small
lunettes are half-circles, the radius of each being thumbnail roughs in color. Then pose your
five feet, making the base or span of the mural model, make studies, or take camera shots. It
ten feet, five feet in height at the middle point. would be wise to make some studies of trees and
The club is to be closed between the months of foliage in the woods. The little animals should
October and May for the winter, and, since the also be studied. The subject could be given
club activities start in May, a spring mural will modern, simple treatment. When your pre-
be used over one door and a fall subject over liminary material is ready, begin the sketch you
the other. will submit. This sketch is called a cartoon. It
"The subject selected for the first lunette is should be done well enough so that it can be
awakening spring. A reclining figure lies upon squared off. You may then work from it, if neces-
the woodland soil, amid wildflowers that have sary, directly upon the walls, or on a canvas
burst into bloom, blossoming bushes, and trees. mounted to fit or to be glued into place.
There are small animals about, such as squirrel, Since the room is light and airy, the paintings
deer, rabbit, and birds. The figure is in the act should be keyed fairly high, rather than dark
of awakening and about to rise. Her hair is long, and heavy. Gray your colors a little so that your
and perhaps there is a garland of early spring picture will not jump out of the wall like an ad-
flowers about her head. The figure may be partly vertisement. Treat the flesh delicately and sim-
covered with flowers. ply. Do not try for brilliant or even strong light
"A female figure lying down to rest for the and shadow. You will gain valuable experi-
winter is the fall subject. Brilliant autumn leaves ence if you will paint these subjects on a small
are falling and have drifted over the figure, cov- scale.
XL THE HEAD, HANDS, AND FEET
The head, perhaps, has more to do with selling a Consider the head a ball, flattened at the sides,
drawing than anything else. Though the figure to which the facial plane is attached. The plane
drawing you submit may be a splendid one, your is divided into three equal parts (lines A, B, and
client will not look beyond a homely or badly C). The ball itself is divided in half. Line A be-
drawn face. I have often worried and labored comes the earline, B the middle line of the face,
over this fact in my own experience. Once some- and C the line of the brows. The spacing of the
thing happened that has helped me ever since. features can then be laid out on these lines. The
I discovered construction, I discovered that a plan holds good for either male or female, the
beautiful face is not necessarily a type. It is not difference being in the more bony structure, the
hair, color, eyes, nose, or mouth. Any set of fea- heavier brows, the larger mouth in the male. The
tures in a skull that is normal can be made into jaw line in the male is usually drawn more
a face that is interesting and arresting, if not squarely and ruggedly.
actually beautiful. When the face on your draw- In this chapter are studies of the skull and its
ing is ugly and seems to leer at you, forget the bony structure, as well as the muscular construc-
features and look to the construction and place- tion and the general planes of the male head.
ment of them. No face can be out of construc- The individual features are worked out in detail.
tion and look right or beautiful. There must be The heads are of varying ages. Since no two
a positive balance of the two sides of the face. faces are alike, for you the best plan is to draw
The spacing between the eyes must be right in people rather than stock heads. Perhaps an artist
relation to the skull. The perspective or view- of another era could repeat his types endlessly,
point of the face must be consistent with the but there is no advantage in that today. It tends
skull also. The placement of the ear must be to make an artist's work dated in short order.
accurate, or a rather imbecilic look results. The The artist who can keep his types fresh and true
hairline is extremely important because it not to purpose will last.
only frames the head but helps to tip the face at It pays in the long run to hire models, though
its proper angle. there is always the temptation to save money.
The placement of the mouth at its proper dis- The danger in using clips from magazines is that
tance between nose and chin can mean the dif- the material is usually copyrighted, Advertisers
ference between allure and a disgruntled pout. pay movie stars for the privilege of using their
To summarize, draw the skull correctly from photos. Both the star and the advertiser will
your viewpoint and then place the features prop- resent having them "swiped" for another adver-
erly within it. tiser. Your client will not be happy about it
In my first book, Fun with a Pencil, I set about either. The same is true of fashion models who
to work out a plan for head construction that I have been paid for their services. You cannot
consider almost foolproof. I repeat the general expect to use them for your own purposes. Prac-
plan as a possible aid here* tice from clips, but don't try to sell your copies
as originals. Once you learn to draw heads, it will
*A strikingly similar method was originated independently by
Miss E. Grace Hanks. (See Fun with a Pencil, p. 36.) be your life-long interest to portray character.
HEAD BUILDING
BLOCKS AND PLANES
BONES AND MUSCLES OF THE HEAD
THE MUSCLES IN LIGHT AND SHADOW
FEATURES
SETTING THE FEATURES INTO THE HEAD
STUDIES
STUDIES OF MISS "G"
YOUNG AND OLD
MAKE STUDIES LIKE THESE OF YOUR FRIENDS
PROPORTION OF THE BABY HEAD
BABY HEADS
HANDS
HANDS
THE FOOT
A TYPICAL PROBLEM
A typical problem outlined by an art buyer: reserve the right to reject any work and may
"We always need artists who can draw heads even ask you to redraw a job."
well. Good drawings of heads are required in Begin with a magazine cover and experiment
almost all advertising, for illustrations on maga- until you have arrived at a good idea. Work it
zine covers, and litho displays. An acceptable out small, in color, until you feel the little sketch
head must be in good drawing, to be sure, but has carrying power and attention value. Then
that's only the beginning of its job. If it's a pretty work up your final drawing. Keep it as simple
girl's head, the pose, the animation, the hair-do, as possible. Don't try to sell a faked, or "cribbed,"
the costume, the color, the type, the expression, head. No magazine will buy it. Do not send work
the age, the idea behind it, all count. For char- to a magazine that already employs one artist
acter drawing, I shall expect you to find a living regularly, since he is probably working under
type to work from, for the sake of authenticity, contract.
and, if necessary, add whatever particularized Other suggestions are: Make a number of
qualities the job specifies. I cannot tell you what studies of the people around you. Draw yourself
to do or how to paint it. Do the necessary work, in the mirror. Draw a baby, a child, a young man
bring it in, and, if I like it, I'll buy it. That's the and girl, a middle-aged person of each sex, and
only way our firm buys art work. When you have an old person of each sex also. Spend most of
convinced me that you can do a good head, I your time drawing heads—your market demands
may give you further commissions, but I must them.
XII. THE COMPLETE FIGURE
IN COSTUME
Costumes will keep changing, but, the human tocks, and knees. When material is loosely
figure remains the same. You must know the draped over these, the folds start with them
form beneath the folds of the clothing. You must and radiate to the next high point. When the
familiarize yourself with the methods of cutting material is fitted, if there are any folds at all, the
flat material and fitting it over the rounded folds will run around the prominent forms, pull-
figure. The drape of the material is caused by ing at the seams. The male form molds the
the manner in which it is cut and joined. Mate- clothes in a like manner. In a man's suit, for
rial cut on the bias drapes differently from that example, the material over the shoulders, over
cut on the weave. Try to understand what makes the chest, and over the top of the back is cut to
the material do what it does in the ruffle, the fit. The only folds you find then come from the
pleat, the flounce, and in gathering; what is the pull at the seams. The bottom of the coat and
purpose of a dart; and why the seams and join- the trousers are draped loosely. The trouser
ings cause the flat material to shape itself. You folds radiate from the buttocks to the knee in
do not have to know how to sew, but you must sitting poses and from the knee to the calf and
look for the construction of the clothing, just as the back of the ankle.
you look for the structure of the figure under it. An overmodeled garment is just as bad as an
It takes only a few extra minutes to find out overmodeled figure. Watch to see that your light
which folds are due to the construction of the and dark values stay within the color value of
garment and which are caused by the under- the material itself and that its unity is not broken
lying form. Find the "intention" of the drape. by lights and shadows that are more strongly
Discover what the designer has worked for— stated than necessary.
slimness or fullness. If a seam is smooth, it was Do not draw every seam, every fold, and
intended to lie flat. If there is a shirring or gath- every button, but try to understand construc-
ering at some point, take note that it was not tive principles and interpret them correctly in
intended to lie flat. You must not slavishly copy what you do put down, instead of being careless
each tiny fold, but neither must you disregard in these matters or remaining totally ignorant
folds entirely. Indicate the shirring at that point. of them.
Learn how the female figure affects the folds: No matter what you draw—figure, costume,
the fabric falls away from the most prominent furniture—learn its construction, so that you can
forms underneath shoulders, breasts, hips, but- draw it.
DRAW FIGURE, THEN COSTUME
CLOTHING STUDIED FROM LIFE
RENDERING DRAPERY
DRAW THE HALFTONES AND SHADOWS
ELIMINATION AND SUBORDINATION
STUDY FROM LIFE
BRUSH AND SPATTER ILLUSTRATION
A TYPICAL PROBLEM
The problem of equipping yourself to do your ing. Next, supply yourself with materials and a
job well: place to work. Keep a fresh sheet of paper on
What is the next step? you may inquire. your drawing board at all times with other
Look about at the kinds of work you see dis- materials at hand.
played everywhere. What kind of work do you Hunt for subjects that interest you. Note them
want to do? Once you make up your mind, prac- down and pin the notes to your board. If you
tice that kind of drawing with brush or pencil can do nothing better, set up an interesting still
You are going to need mental equipment as well life and work from it until you have learned
as skill with your hand. Try to know more about something from it.
your subject than the other fellow. Remember Start a portfolio of samples of your best work.
you can borrow only a little; most of your knowl- Don't take out a drawing and throw it away
edge must come from your own observation, until you have a better one with which to re-
your determination, and your plain courage. place it. When you have a dozen good draw-
Find a way that you can allow yourself one, ings, show them. Don't wait for an expensive
two, three, or even four hours a day for draw- collection.
CLOSING CHAT
There is always a hesitation before turning in There is no formula in art that will not break
a finished job. It occurs to me as I complete this down as soon as the effort behind it ceases. But,
book, and it will occur to you when you look to compensate, there is no reward on earth that
over a piece of your work: Could it not have can compare with a pat on the back for a hard
been done better? It may seem to you that you job well done. Talent, in its underclothes, is a
should have used a different approach, or a bet- capacity for a certain kind of learning. Talent is
ter method of construction. My own philosophy an urge, an insatiable desire to excel, coupled
is to do the best I am capable of within the time with indefatigable powers of concentration and
requirements, and then to make the decision production. Talent and ability are like sunlight
that the drawing is now finished and must be and a truck garden. The sun must be there to
turned in. Lack of decision is a harmful thing. begin with, but, added to it, there must be
You can learn by your mistake and make amends, plowing, planting, weeding, hoeing, destroying
but the energy must go into a fresh effort. of parasites—all have to be done before your
Learn to use time wisely. You will not always garden will yield produce. According to those
have the time to do a drawing twice or three one-inch ads we see so often, you can be an
times in order to select the best example. While artist, play the piano, write a book., be compel-
you are a student, use precious hours to the best ling, convince anybody, make friends, and get
advantage. A bit of anatomy misunderstood in a high-salaried job if you'll just sit down and
an important job that must go tonight, a prob- answer it—and, of course, "kick in."
lem in perspective that remains unsolved, ruins If you want to draw, if you want to gamble
a painting on which you have spent days and all your chips for stakes that are really worth
paid expensive models' fees. while, you have an excellent chance of winning.
When, early in your career, an art director If you just dabble, you will certainly lose your
asks you to re-do a drawing, be grateful that ante, for the others in the game are playing their
you are granted the time. It is a tragedy when hands for all they are worth. I have met students
your drawing ought to be done over and cannot who have said they would like to learn drawing
be for lack of time, You deliver something you as a "sideline." There are no sidelines. You are
do not like, and the publisher is forced to accept either in the game or out of it. "Well, then, how
it. He is generous if he gives you another job. do I know I'm going to be good enough to make
The term "talent" needs clarifying. To any a go of it?" No one can possibly be assured that
man who has slaved to acquire skill in his art, he is going to be good enough at anything to
it is most irritating to have his ability referred make a go of it. Faith in yourself and industry
to as a "gift." Perhaps there is one genius in a are all that any of us have got to go on.
hundred years or more who can achieve perfec- An honest book on drawing can only point
tion by "divine inspiration." I have never met the way and suggest procedure. A book of down-
such a man, and I do not know any successful right promise can be nothing but downright
artist who did not get there by the sweat of his fake. It is natural for young men and women
brow. Again, I do not know of a single success- to look for the "secrets" that allegedly assure
ful artist who does not continue to work hard. success. It is even reasonable to feel that these
HOW ARTISTS WORK
secrets are somewhere hidden away, and that to the layout. If you are working with an art or-
reveal them would assure success. I confess I ganization, you will not see the agency at all,
thought so myself at one time. But there are no but will get your instructions and the agency
such secrets, jealously guarded by the older layout from one of your company's salesmen.
generation so that it need not give way to the Proceed, then, to look up what data you need,
younger. There is not a craft in all the world get necessary photos or models, and go ahead
that opens its doors so wide to the young and with your job. If you are a free-lance artist, you
lays its knowledge so freely at its feet. Note that work in your own studio. In that case you will
I say knowledge, for all the secrets are knowl- have agreed upon a price with the art director,
edge. Everything about this craft is fundamen- and you will bill the agency when the job is
tal. Expert use of the fundamentals is the only complete and accepted. In an art organization
basis there is for learning to draw. These fun- you will either be working at a set salary, or on
damentals can be listed, studied, and carried a split basis, usually fifty-fifty. Most artists spend
out in your own way. They are: proportion, considerable time in organizations before set-
anatomy, perspective, values, color, and knowl- ting up a free-lance studio.
edge of mediums and materials. Each of these The magazine illustrator usually works in his
can be the subject of infinite study and obser- own studio. He may have an agent or sales rep-
vation. If there is a secret, it is only in your in- resentative, especially if he does not live in New
dividual expression. York City, where most of the magazine houses
The artist obtains his work in different ways, are located. Without an agent he deals directly
depending on the branch of the craft in which with the art director. The artist is handed a
he specializes: manuscript. As a general rule, if the magazine
In an advertising agency there is usually a has not supplied him with layouts, he is asked
creative or art department. Here the layouts or to make roughs for general composition and
visualizations are made. There is a copy writer, treatment of the subject. The magazine may
an account executive, and a layout man who to- pick the situation to illustrate or may ask the
gether have planned an individual ad or a whole artist to read it, pick the situations, and submit
campaign. An appropriation has been made by several roughs for selection. When these are
the advertiser. The magazine space has been O.K.'d, the artist proceeds with his drawings.
decided upon and contracted for. As the ideas When the magazine picks the situation and
are worked out, in sketch or layout form, they gives the artist a rough from the art department,
are submitted to the client and O.K.'d or re- he may go to work at once. This is usually the
jected. It has been decided that either photo- most satisfactory arrangement, but it does not
graphic or art work shall be used. All this has give the artist so much freedom as when he
taken place before you are called in. By this makes his own selection. If you have an agent,
time, a closing date has been set, and it is usually the agent bills the work; otherwise you are
not far off, since the preparatory work has taken paid directly. An agent's commission is approxi-
a good deal of time. mately twenty-five per cent of the billing price.
You are handed the layout as O.K.'d or with There are several firms and guilds in New York
instructions for changes, Most agencies give that act as artists' agents. Work must be of
you considerable leeway for pictorial interpre- proven quality, however, before they will rep-
tation, but your drawing must fit the space in resent an artist.
RUNNING YOUR STUDIO
Outdoor posters are handled through adver- them by producing clean copy. This is also true
tising agencies or through lithographers. The of lithographers. It is important to remember
artist seldom deals directly with the advertiser. that a newspaper uses line or coarse-screen half-
There are also outdoor advertising companies tone. Pulp magazines must use a coarser screen
that buy art work and in turn sell it to the adver- than other magazines. This means keeping fairly
tiser. In the latter case the lithographer is called contrasting values to assure good reproduction.
in on a competitive basis. In all halftone reproduction the whites of your
Newspaper drawing may be done in art or- subject gray down somewhat; the middle tones
ganizations, by the paper's staff, by the adver- flatten a little; and the darks become somewhat
tiser's own department, or in the free-lancer's lighter. Watercolor is about the best medium
own studio. Displays are done in the lithog- for reproduction since it has no shine, is usually
rapher's art departments or are bought from made small, and therefore requires less reduc-
organizations or free-lance artists. tion. Any of the drawing mediums, however,
Magazine covers are usually speculative. You can be reproduced well. Never submit a draw-
simply make them, send them in, and most of ing on flimsy paper.
the time you get them back. You are expected The artist should, early in his career, form the
to send return postage or express charges. Some- habit of orderliness. Keep things where you
times you can send in a preliminary sketch. If can find them. Your drawing, when submitted,
the magazine is interested, you may be asked to should be scrupulously clean and matted with
make a final drawing or painting, but the art a flap to protect it from dirt. Keep your file in
editor reserves the right to reject it unless you order and clip whatever you think will make it
are so well known in the field and so dependable as complete in information as possible. I have a
that you can be relied upon to bring in an ac- method of filing that works out nicely: I make
ceptable cover design. an index in alphabetical order of what I have
Comics are handled speculatively, as are mag- filed and then give my folders consecutive num-
azine covers, except in the case of newspapers. bers. In this way I put several subjects in one
There they generally come through feature syn- file. For instance, I list bedrooms under B, and
dicates. In this case you work on a salary or the file number for this subject is put alongside
royalty basis, or both. You must have several the listing. I also list sleeping poses under S and
months of your feature completed on a strip be- give it the same number. My folders go from
fore your work will be considered. Sometimes one to three hundred. I can add as many more
royalty is paid by the comic magazine or syndi- as I wish or add more subjects within the present
cate, in addition to the purchase of first serial folders by simply listing the additional subjects
rights. alphabetically and assigning a folder number. I
First-rate advertising may pay more than have gradually learned the folder numbers, and,
story illustration. Methods of reproduction are as soon as I see a subject, I find it without re-
so accurate today that almost anything painted ferring to the index. For instance, I know that
or drawn may be reproduced with fidelity. airplanes go in number sixty-seven. On every
Knowing these methods is valuable information. clipping I jot down the file number and put the
Most engraving houses are glad to show their clip into the drawer that contains the number.
equipment and methods to the artist. They know I have filled seven filing cabinet drawers. I can
that if he understands their problem, he can help now go directly to a file that contains a school
ABOUT YOUR PRICES
classroom by looking it up alphabetically under please your clients. The changes are often un-
S and getting the file number. Without a filing reasonable and are matters of opinion, but do
system, hours upon hours can be lost looking not grumble, at least aloud. A chronic grumbler
through hundreds of clippings to find a single is an unpopular fellow, and soon the jobs go to
one. It is a good investment for the artist to sub- the man who seems to be more cheerful, espe-
scribe to a number of magazines. By keeping cially if his work is equally good. Again, enthu-
your copies in order, they eventually become siasm and cheerfulness add their own qualities
valuable. For instance, if I should need material to your work, Robert Henri said, "Every stroke
to illustrate a story laid in 1931, I could go back reflects the mood of the artist at the moment."
to the styles worn in that period without diffi- He is confident or hesitant, happy or somber,
culty. Or to interiors. Or to the automobile that certain or perplexed. You cannot hide mood in
the characters owned. Some day you may want a creative work.
to know what they were wearing during the On the subject of prices, it is better in your
Second World War. What were the soldiers' early years to get your work published and cir-
helmets like? The magazines are brimming over culated than to quibble over price. The more
with that material now. When the war is history, you get published, the better known you be-
it will be hard to find. come. The better known you are, the more work
Develop an orderly procedure in your work. you get. The more work you get, the better will
Get the habit of making small studies before be your price. Eventually you find your price
you start something big. Your problems will ap- level, since you can keep raising your price as
pear in the sketches and can be worked out then, long as more people want your work than you
so that you will not be stumped later on. If you can supply. If nobody will pay the price you
are not going to like a color scheme, find it out are asking or if you cannot keep busy at your
before you have put in days of work. I remem- prices, you'd better come down. It's just plain
ber a poster I once painted. When I was through, business.
I began to wonder how a different color back- I admit you are apt to run into a buyer who
ground would have looked. When I had put the will take advantage of your youth or your lack
second background on, it looked worse. By the of work, but, if you are capable, his very use of
time I had tried about six, I was resigned to your work may boost you clear out of his class.
going back to the first. It was all lost motion that There is no way to place a value on a piece of
could have been avoided by making thumbnail your work. The chances are that you will get a
sketches first. I could have done several posters fair deal from a reputable client. If you do not,
in the time wasted, and my work would not have it won't be long before you will discover it. You
lost its original freshness. will soon find out if you are asking too much.
If you once decide on a pose, stick to it. Don't Posters can go all the way up the ladder from
let yourself muddy up a subject by wondering fifty dollars to one thousand. Magazine illustra-
if the arm might not have been better some tions range from ten or twenty to five hundred
other way. If you must change it, start over and or more a picture. The purpose, the client, the
so keep it fresh. The more clearly you have a artistic merit—all these influence the price.
drawing defined in your mind and in the pre- Attend an art school if you can, but carefully
liminary sketches, the better the result will be. consider the instructors. If you can get a man
Many drawings will have to be changed to to teach you who is active in his field, well and
INTRODUCING YOURSELF
good. Ask for the names of some of his former to many prospective clients, together with your
pupils. If the school can show a convincing list address and telephone number. Interested peo-
of professional men who were formerly his stu- ple will get in touch with you. I followed this
dents, fine. If not, hunt up another school. scheme when I set up my own studio after work-
Let me make a suggestion or two about the ing for several years in various art organizations.
preparation of an artist's samples. There is slight I photographed proofs of the work I had done
possibility of being accepted as a professional for or through the organizations. The result
artist without a well-executed group of samples. proved well worth the expense. Many new cus-
I have urged throughout this book that you re- tomers were brought to light.
tain the best of your practice work for samples. It is advisable to start a library. There are
Do not limit yourself to my problems alone. If many good books on art: anatomy, perspective,
you want to do figure work, prepare your sam- the work of the old masters, and modern art.
ples for that purpose. Do not submit nudes, Buy all you can afford. Read art magazines.
however, since there is no possibility of their Many valuable suggestions will come to you this
being used. The excellence of your figure draw- way.
ing, however, should be present in your costume Although I have emphasized the figure, part
drawing. Submit one or two girl subjects, per- of your time should be devoted to other subjects
haps a man, or a man and a girl. A child subject for drawing. Draw animals, still-life subjects,
is always of value. Keep your subjects on the furniture, interiors, or whatever else is likely to
happy side for advertising, and don't forget be an accessory to the figure. Outdoor sketching
glamour appeal. and painting is wonderful for training your eye
All of the foregoing also holds true for story to color and value as well as form.
illustration, although magazines are interested Painting will help your drawing, and vice
in characterization, action, and drama as well. versa. The two are so interrelated that they
If you want to do posters, your approach must should not be thought of as distinct and sep-
be different, since here simplicity is of first im- arate. You can paint with a pencil and draw
portance. Do not mix up your presentation, by with a brush.
which I mean that you should not submit a For color practice, use some of the color pho-
drawing obviously designed for a poster or ad- tography you find in the magazines to render in
vertising illustration to a magazine editor of oil or water color. Pastel is a delightful medium
fiction. Try to fit your presentation to your for practice. There are many kinds of color
client's needs. Don't submit a great raft of draw- crayons and pencils with which to experiment.
ings. An art director can see from your first two It is a constant challenge of the profession
or three samples what he can expect of you. He that you never know what you will be called
is a busy fellow. He will keep looking as long upon to do next. It may be anything from a
as your subjects, treatments, and mediums are lemon pie to a Madonna. As long as it has light
varied, if they are at all good. If he looks at falling upon it, color, and form, it can be made
twenty drawings, he is just being polite. Don't interesting. I recall an advertising campaign
impose on the man. some years ago for so prosaic a subject as enam-
A very good method of introducing yourself eled kitchenware. But what the artist made of
is to make up small packets of photographic it was exquisite. I recall the Henry Maust water
copies of your samples. These may be mailed colors that advertised hams and foodstuffs. They
DO IT YOUR WAY
were as beautifully executed as any fine English continuing rise of radio. You will also have ma-
water color. terials never dreamed of, subjects that we cannot
Simple things such as a few garden vege- now imagine. You will have new purposes for
tables, a vase of cut flowers, an old barn, present art that have never before existed. I believe the
all the problems there are to master. Each of human body has been increasing in beauty, al-
these may be a vehicle for your individual ex- though it is hardly discernible to us. Think of
pression. Each can be so beautiful as to be how standards change, for example, and of a
worthy of a place in a fine arts gallery. That is modern girl beside a buxom maid of Rubens'
the scope of things to be seen, felt, and set down. time. It would be a little hard to imagine one of
Clouds were there for Turner; they are here for his beauties walking down Main Street in slacks.
you and will be here for your great-grandson. I doubt whether his favorite model could get to
The qualities of light on flesh are present for the judges' stand in one of our innumerable
you as they were for Velasquez, and you have beauty contests.
as much right to express yourself as he had, and All the things have not been done in art that
much less superstition and prejudice to combat. can and will be done. I don't think our bones
You can set up the almost identical pan of apples and muscles will change much and that light
with which Cezanne gave a lasting message to will shine differently, so all the good rules will
the art world. still hold. I can only say that you must have the
You can look for yourself at the haze of at- courage of your convictions, believing that your
mosphere that entranced Corot or the burst of way is right for you and for. your time. Your
late-afternoon light that enthralled Innes. Art individuality will always be your precious right
will never die—it just awaits eyes to see and and must be treasured. Take from the rest of us
hands and brain to interpret, The paintable all that you can assimilate, that can become a
waves will not cease breaking with Frederick part of you, but never still the small voice that
Waugh, nor will pictures be forgotten with the whispers to you, "I like it better my way."