Schools, Inc., Westport, Connecticut Famous Artists Course Albert Dorne Fred Ludekens Norman Rockwell Al Parker Ben Stahl Stevan Dohanos Jon WI comb Robert Fawcett Peter Helck George Giusti Austin Briggs Harold Von SchmidtContents Inireduction: Commercial ert ond illustration Pictures must communicate —Our responsibility, and yours— How to study and practice — How your work wil be cried fin gruled ~The art's odio Observation ~ Research makes the picture authentic Setsing up your “scrap” le ~ ow to we models props and photographs seo] Theorists materials ond how 10 use them “The four base mediame: pen pen oe brush and ink, wash snd opage ~ Handling the pen ~ Papers ~ Creating vai tty of fects with pend! Fhinking wth a pencil — How t the pen and ink — Creating textures wie the per ~ Brust and {nk Combining pen and brush in + draming — Material for trash drawing ~ let and graded washes — Blending ~ Creating Aiferen flees wich wash — Materials for opaque painting — Werbras and drybrsh lending — Gresting execs sith opaque ~ Mixed medivans sevon MD) Form=the bests of drawing Form defined — Sphere, cube, cone, and cylinder, dhe basis of all exiting forms — How to dra forms #0 they look solid — Combining base foree Using light ad shade 1 reveal and tmphasire form — Creating the ilsion of form In space — Forms or objects lok diferent trom diferent positions ~ Forms in imple perspective ~ Proportion ~ Selecting the most chat svelte vew of form — Arranging forms in space son 3 Compotition—how to make pictures The importance of composition in picture making ~ The pic ture stare in your mind ~ The four main elements of compos tion: plore aes, depth in, and value Varying these of tjet ad ving commen sense to place chem In a pice — ‘Overlapping ~ Composing indepth ~ Using line to contol the ‘movement ofthe viewers eye — Planning with simple values Controlling valu in a composition, ueson Mh Drewing “The importance of he human figure in pictures ~ The figure {i gyal form — The basi form figure ~ Proportions of male fn Tete figures — Relative proportions at varios ages ~ ‘Gonsrucing the figure fom is various pars ~ Hw diferent pts of the body move ~ Drawing the basi form figure and Fea and putting ten o practical wie in Mlasrations ~ Using ttacng paper to heip think out the constuction and action of orm fire homon form Artistic onatomy ond the human figure inmotion ow bones and muscles affect dhe surface ofthe igure Major Aiferences between male and female anatomy — Flow to block the bones and males of the hea, tor, arms ad hands, legs and fet ~The joins and how they work Balancing the fqure ~ Twining and turing — Forehortening — Siting. bending, kneeling walking, running, and reining. so Contracting the ad an hen “The hed hands are the chi means of expresing human motions ~ Blecking inthe head — How eo draw the headin Allert positons "The eye, nox, mouth, chin, ear ~ Dil fences between the male and fem Hendy ~ Light and shade fon the Rend — Facial character an expresion — How the head ‘anges ro inant to teenager ~The construction and setion tf the Rand and wrist ~ Blocking in the had ye cot veson 7 Drawing clothes, draperies, Principles that gover the folds in drapery — The seven types ff folds ~ Sculpture Belps to reveal the sructre of folds — Drawing folds m action ~ Draping the male and the female figure ~ How the material fess the folds ~ Costume helps sstblih chascer — Drapery a1 major element in compo ‘don = Drapery reveals ructre and form esau §Q FidvEecompostionerranging Aigures How toe people in 4 composition ~The fgure isa lving ‘hanging shape How the tion of the gure express ts Inood — Selating dhe mow derive pose ~ Relating Bgeres {o the ectting How ta make the figures dominate the picture How the pictute border alec the Bgure’s action ~ Con trolling the figures movement ~ Plioning + picture 29 every prt contribute tthe mood and meaning — Composing = plecure with many figures fond surtoces How to wie variations of form and textures in a plture — Variety of form everywhere — No two abjecs have the sine form or texture ~ Repesed forms make an overall texture — ‘Using texture to emphusie mond — How dance afects tex tures and details — Pattern a texte — How to crest textures tvith dllerent mevme and tools — Conuastng textures — Using varitiee of textos in 9 pictre mon ©) Sting aie orm tert ES 0 eee Perspective is heart of representing objets on 2 Mat surface #0 they appear to recede in the dance ~ How to draw in pe specine — Measurements in perspective ~ Drawing the «tele {inl iavgula forme in perspective ~ Interiors and exteriors in penpecive ~ Figures in penpective — How to draw reflections nd shadows in perspective secon J tensecopes on Landscapes help crete mood — Every region hat ts charaeer- inc landscapes ~Ellet of sme ona landscape ~ The changing forms of mature — Atmoyphere ~ Selecting and orgnizing the view ~ Subject mater isto be found everywhere ~ Interiors elle dhe character of the people who live in them — Con Strctng the scene ~ Selecting the view — Lighting the interior = How much background to show ~ Controlling texture and pater in an interior ~ Making an interior intresting,ial in action ‘e100 YD, Arimet dranving—th Animas in art and hisory ~ Comparative anatomy (the sue fue of man and animals compare) ~ How to draw the four Insc animals: horse, dog, ct and cow — alts of anima = Drawing aitnal heads ~ Geeting aquainted wih the animal Kingdom ~ Animal pictures with real meaning ~ Drawing binds ‘isin fight ype “The Importance of drawing people ss real human Being, en lowed with eting ae personality ~ People allover the work Drawing characers a types and a real people ~ Creating ‘many type from the sme model — Variety in expresion Aides, mannerisms, and gestures — Character i exprewed through the entire figure ~ People must eat to one axe — end she Hdealising men and women ~The he style must fe the characte. on 1 Thee fomty creating peop of 2200] Qh, advanced pictorial composition ‘The symbol and the pietare— Using symbol in diferent ways ‘Communicating feling in a picture ~ Mood in composition — Using the senses of toe, sound, aed scent in ptres — The siewpoine depends on ovr intentions — Rhian and design = Selecting a theme ~ Evolution of» campostion sexo ] BS Advonced tine drawing and tone pointing Representing form in line deasings — Many diferent ap prouches ~The function of pony rushes, speotball pen ‘avon, and sratchboard tools When and how to ae them — Draw with reproduction in tind — Using tones to interpret Tight and shadow and eal yes ~ Controlling edges ~The Importance ofthe overall design In tonal picture ~ Plating {navel colored inks and oder tonal meds, 121] G otor—tno theory ond prostice of peinting ‘The thee dimensions of color: ve, vakue, and intensity — ‘warm and cool calor ~ How one color acts another ~ Advan {ng and receding colors Diferent Hight ete dierent coors = "The emotional elect of color ~ Calor proportions ~ Ways We colar to center attention — Selecting palette and mixing ‘colors — Printing in color ~ Painting a atl Ie ~ Painting a landscape ~ Paiming a porraie ~The tinited pale ve] J sstering “The importance of leering in all forms of eommerca art — ‘The base alphabet ~ The roman alphabet ~The Calon a phabee~ Sparing leer, words, nd lines ~ How to do layout lensing — Tlie, gothic, and ripe — Optical sions and Aistortions in leering ~ How to Henly and drawe diferent ‘ype lace — How to'do Roishod leering — Broodpen and Brun Teter Show ean wring “The rh and vari opportmiies in the Feld of ssertiing and edivral art for the erative designer ~ Dominance an talane in geometical and now geometrical divine of space = Vaiations on a theme ~ The eflet of backgrounds ~ Two. and veedimensional efects — Base layout designs — ‘The Importance of black and the we of color How to stp the ‘mot and he design ~ Choowing the righ technique Collage "Hlumor In design ples of experimental design we] Aven nd itl deson on yout “The purpote of any lay tf comey 8 stage — Designing 1 symbol for un Hea Sysing heads, figures and object = “The evolution a ies into designs ~ Simplification indesign — Dizet and indice design spproches to averting — Trane lating words into picture Special elles How to design symbols "Trademarks ‘Tradidonal and contemperayTayous “using ype as 4 major element of design — Leterheads — Record albim covers ~ Blending wands and pcre. 12100 QO srecicined desion ‘The importance of viewing cach problem frou many point of view — Paperback book cores ~ Creating design that rele the character of dhe book ~ The magaine cover ie (uncon And design ~ Novelty and originality n mailing pices Posters "rwentyJoursheet posters ~The value of implication — How to make a layout ~ Thumbnail sketches — Developing the rough and senicomprebenive — Designing sullspace ad ‘estou 21 Studio procedures Mechanical drawing insramens and how to use them — Rub ber cement ~ Hove to mount a photos et. Atting pe ture ~ Phovsats and dhe wes Revealing — Camera acid — Opaque projector ~ Pantograph — Tranter sheets ~ How 2 slhoueue and crop photographs — Friskets— Arbrashing — Retouching Mechanical sd in irate: Sibverpriny, rae tiny, Zipatone, Kemart et ~ Asking composite photographs "Mashing and tapping ~ Type composition ~ Copy fii. se QD swe ronson Preparing artwork for repueton ~ Line and halfione pla in leterpres and ole printing ~ Selecting the rghe hallione sere forthe paper ~ Letorpres, oft, ad lksceen pine Ing compared ~ How wo prepare color separations of at work — ‘The Bourges procs and how to use it~ Line, halftone, and tine color separation with Bourges A varey of techniques — How to make # mechanical or paste. 2. oso tortion Cees in fashion Ilutrsion — Proportions of the female {ashion gure — Posing and uyling the faion figure — Pre senting the fashion toi best adeantage — Drawing the fasion head, hand, and feet — Light and shadow — Rendering the fashion ilatration — Drawing fom the model and the drew maker's dummy ~The erogus ~“Stronelt” and "high fh Ton" illustration — Hate — Lingerie ~ Testes In ison — How to render print fais — Accesories and jvielry ~ Chi ders fathoms — Driving the male tahion fue — Men Furnishings ~ Boys nd young men's fashions, et QA rietion “The art's role in television ~ Three kinds of woryboutd: lve animated, sd abstract — How t develop and bash 3 sory. ban — TV terms ~ How many panels in “talking” soy boand —ataking thre eptatecomuetial (oa one "Timing = Flip cas ~ Contrast of talues ~ Pietoring the sponser: preivct ~ Lewering for TV — Layout — Crenting diferent nds of caracers for TV — Casing live characters — How to Simplify characters ~ Figure detail nn ncson ~ Rendering the star and the supporting cst ~ Sve of character and related ‘objects — Stry emphasis ~ Relacig characters to Dickground,The Founding Faculty of the Famous Artists SchoolsCommercial art and illustration Man drew pictures hefore he eared to write! Before you begin your Course in Commercial Are and Tustin that you become acquainted with dhe origin and development of pictures. So, lets go back many thousands of years to pre historic times, when the art of picture saking began, ‘The oldest pictures that we know of are found in caves in western Europe, They were printed by men of the Stone Age ‘These early men were hunters, and most oftheir pltures are of wild animals sich asthe reindeer, bison, and wild horse. Many (ofthe animals are shown perce by arrows, which gests that the pictures were intended to bring the hunters luck in the chase. The people of the Stone Age had not leaned to waite yet but alteady they could make drawings hat, though si ple, were realistic and full of vigor and meaning. Tn time, man moved away fom the life of the hunter and learned oll the feds Keep domestic snimaly, ane build towns anid elles He began to write now, and the ft letters he formed ‘were actualy pitures of object, at Chinese writing sil isto day. As man’s knowledge, experience, and materials improved, his ar, too, roe wo a higher level His pictures were executed with remarkable sil their colors were rich and varied, and so-were their styles and vechniques, Ar wa sed ta record events and human experience, to communicate ideas and influence people. Through pictures we can study the entre history and progress of mankind, from ancient times down to today. For art ica universal language tha is much the same in every ime spd place In our own day the tole of at has grove in sope and impor. ‘anc. The development of modern techniques of reproduction, printing ste transportation now makes it ponble to distribute 4 vial menage to anywhere inthe workin x mater of days for even hours. And so, art as become a more powerful un. versal language than ever before As in the past, however, it ability to communicate ideas and to influence people sll de. pends on the sil and creative talent of the welerained artis. “Today adversing ar and illustration have become a common visual language familar to the people of a lage part of the ‘world, From the turn of the century, atleast as lar 38 America ie concerned, commercial art has become part of every lac! of four life. The story illustration ~ the advertising pieure ~ the billboard ~ the window and counter diaplay ~ the calendar and the magazine cove illustration ~ the greeting cad and the mai ing brochure ~ the lst seems endles area source of informa: tion or plessore to millions and millions of American, Piceures ply the se role in our contact with the rest of the world, with peoples wito do not understand our spoken oF written language uc who most certainly understand our pictures, ‘The common ingredient ofall good picture is their quality of, communication, Ii is your intention to ear your living a8 an ttt, then you must consider yoursl! inthe Beld of commun. cation, ‘The reason for using picures in every advertising oF ciitorial efforts to sell goods or an idea. Commercial arti 2 Dusines, pave of 2 toa selling efort > commodity, it yon will— bought for money —to be wed in earn by its purchaser {o:make money. To achieve its purpose, it must communicate clearly and effecively. “The welltrained artist (and he muse be well trained who femers this field of art, with its special rewards of fmancal security, steady work, and the satisfaction of seeing his pictures reproduced, often nationally, must ake on certain obligations Fits he must develop a sincere and healthy plilosphy toward the ine of his art. Second, he must realie that the buyers {nzrest in art Yor is own sake i secondary t his interest in is We to support his sling or commonicaions effort. Thisd, he ‘must lear about people his clients adience and it reactions {oat forms and symbols And finally, accepting these considera Lions, he must produce good pitutes that will not only reflect his own personality asa sincere atet— but will luo deliver his client's message in a picture language that his audience wil nd ‘convincing and easy t9 understand You must be a good artist ‘You ate thing this Course because you want to make a career for a least a parttime eateer~ 8am artist 4 commercial art Jac an ilustator a designer or an art director ~oF perhaps you want to bea fashion artist or create art for television. No- iatter which area of art you eventually embrace, you must firs ofall hecome a good anit, To do this you are about t0 start on 2 course of training a veriovs and demanding pro- fram of learning Learning and teaching are a joint ellort. We ean teach you Dut you must do the learning. What you gt fom your Course will depend on how much you give 9 iin dedication, energy and, most of al, sltixespline. This matter of aieipline will be your greatest challenge for the duration ofthis Coure. If you ‘an make gond use of your time and effort, and if you have even 2 small amount of talent and intelligence we ean make you 3 fine craftsman. If you ean further add to this 4 strong babieof| observation and creative curiosity, you may then become 3 real fri in all that che word epi ‘We will cach you the traditional principles of drawing and painting which artists have developed over the centuries and handed oven tows. We believe deeply that these fundamental antisc troche and techniques are the basic language and archi tecture of all sound pica making. You must learn and yespect ‘them if you hope to produce are that carries conviction. ‘Aller you have mastered the principles of drawing, form, composition, painting techniques, and all the other pects of your training, it ie our sincere hope that you will se your Knowledge and skill to investigate many contemporary andFomous Ars Cours Introduction ‘original approaches o your art. ‘The most eeative ats have allays been those with open minds an inquisitive attitude, and sensitivity tothe constant changes going’on in art~ the new fart forms and nev ideas that are the vitality of contemporary ple making and design ‘Everything you lesen in your training will be important t0 you, no matter in shat Geld of commercial art you eventually Specialize. Asan ilustrator ot advertising art, you will need all of the ails und Knewledge you acquire in your Course As designer, your knowledge of deacing, form, composition, and techniques willbe just a important f your designs ae to com Imunicate and have meaning. Ax an art diector responsible for designing the whole concept ofthe printed page and buying is art for your clients, you will have equal use for everything You Tearn. And the same will apply if you enter the feM of fasion art or television ~if you ate to achieve a real degre of success. Even if you eventually turn wo photography — with a amera as your madium of expresion — your knowledge of art and all the principles of composition, form, light, shale, and texture will make the diflerence between photographs that are mere recordings of nature and photographs that are work ofa. ‘Your Course in Commercial Ar and illstration was planned, ‘rien, and illustrated, ad i conducted by men who ate ree ‘ized as the leaders in every area ofthe Feld today ~ in adver tising art ilustration, design, fashion and television ar. Their ‘work appears constantly im all the current magazines, news papers and on television —for major asignments of publishers and advertiser: They have proved by ther own vichprotesion al careers that they know the what, why, and how of making cessful pictures eis our sincere conviction that the proper way t teach and study the art of making pictures is with pietres. Accordingly, ‘we have followed the most modern methods of viwal educston in designing and writing the Course. There ae thousands of clear, explanatory sep-by step photographs, diagram drawings, tnd paintings in your textbooks, so that you can quickly under stand and absorb what the members of your Faculty are trying to teach you. The instructions ae simple iret, and always to the point all the traditional ponderous clichés about art all the irelevant theories, have been left out "This is the first time in the history of art teaching that such ‘course of traning has been made available by such eminently qualified teachers First things come first Please remember that you did not learn to write words until you fs learned to make and understand the leters ofthe alphabet, sd you did not write 3 composition until you Bt knew seat the words meant only then could you arrange them to make understandable thoughts Similarly, you cannot make good pictures unl you have a slid grasp of the exentials of a. "Fre things Come st, Remember that we sho are teaching you know from many, many yeas of experience what is neces fury for you to know before you cam hope to become a sacesstul artist AI the things we will each you in the succeding lessons Of this Gourse ae absolutely necesary for you to master before you can become an able advertising artist illustrator, or designer. In every lewon of your training yo wil be given specie in structions and controlled exercises and asignments. However, tno time dung the entire Coure do we want you to fel that Wwe are trying to control your creative or artiste talent. This ‘un come from within yourelt, We ate simply trying to give You the guidance, the tol, the training and the knowledge you Wil ted to schiere your Gears nese predace your ows Tine plctes, Our responsibility—and yours In starting this Course with dhe Famous Artists School ou have commited youself ws an at student co our care, teaching, ard fuidance. We feel very keenly this responsiblity and we will do verthing we at to help you to succeed in your choen ed Al chrough your traning you wll receive sincere, nv tention from artnvinstrctors who are specialise in every [hase of the work you do and send in for etic. We willy {In every way to make you fel that we ae clo to ou a teach ers—and that your art problems are ours. Ceitlans. and iradings wil be given in afar, direct and honest manner. We Will not atempe at any time to soften a xtc junt because te do not wit to hurt your feelings Ie would do you no good Ft we id no ell you te rth It in our eter 0 yo, we may at times ser severe iti only because we are ring wo teach you not endl you I is quite dificult to get the friendship and warmth of clo persons! contact into letter ~but peste be Tieve dae fi always there Te would be quite simple and easy for-us to constantly “Your work is good” —and sve ourselves a lot of time and cffor. And you mould dink, "What nice people they ae” We ‘ut all however be hones and realise {f we wish to advance. ‘We have taken on the responsibility of teaching you and we expect you to do your fll share ofthe leming. If your work deserves pra, we wil ertainly enjoy giving tt you ‘Commercial art and illustration can be the most sttying and lucrative of careers. Ica alwys bea great please snd Satisfaction to you. There i no Eller life than that of the artist ‘who ~ throug his knowledge, raining, and creative a produces, on blank paper oF canvas, pictures forthe word to mire and enjoy, But donot conse Yourself about beng that rie now emo tke many, many long hours and months nd yeas of hard work, guidance, and taining Only you~ the artist ~ can be responsible for your own sue ‘ese We can teach and guide you in the right rection, We ‘rant tobe your trusted fends and counselors, but please donot Tonge one thing above all you and only you, with your own sincere seelixcipine, dedication, and el, can make youreFamous Ariss Course Introduction an arts For, in the end, you will be your own best teacher ‘Stat to teach yoursell now by lesning to look st and see everything about you with a heen, observant eye. Thought ‘examine the picture in the magasines and nempaper. Stuy the endless parade of people an visual ideas on television, Ex: Amine with an open mind everthing that i designed. and printed. Styles in art and design change constantly, By being Alert and inquisitive and semitive to these constant changes and rnew trends going on about you, ys will always be creatively aware and up to date in regard to new directions snd exper ments in are. Every sueceasfl artist wil el you this same story. There is no other hey the wll open the door eo your succes How good is your School? Every ance in a while someone asks us, “How good is your School?" Our anower is sully the same: “As good as ours dents make us” Perhaps this sce ike a cal answer, i Lets consider thonghtflly: What does make 1 good school? Fine teachers? Of course A sound taining program? Yes. Ob jectives of the highe character, and inerisy ward denis? Very important. Yer how good are all thew fine axes Without sidents who take advantage ofthe? A school can bring toa student the finest courses of learning and philosophies of teaching. Tecan place at his disposal the Ptormarr Hockuell~ iii jew Cte 42 (Robert Fawcett) GL best teachers. But unless the student matches thee advantages with an ingustive mind, willingness to learn, and the had ‘work and dedication that have aways been requisite for sic ces in any field, neither the student nor the school benefits, ‘We have seen many awellheaded “genius” ful of self-esteem who took their talents for granted and felt no obligation to develop thelr gilts Uough study and investigation. These peo- ple make any school look bad. On the other hand, we know of Countless people who, with juse a modicum of talent — but a good deal of ambition, intative, and capacity ford work — hhave become highly successful artis. These are the people who make your School look good ‘We can with pardonable pride remind you that your School 4 the best offs kind anywhere in the world. We have earned the respect and segard of lading art scholars and authorities in America, More than ewo hundred universities and residence art schools have placed at the disposal of their teachers and Students alike the same textbooks you us. Viewally every major magazine, art journal and newspaper have witten editorially shout your School it distinguished guiding faculties, ite teachers its teaching methods, and its sucessful students Tn spite of al this, you will sil get from your association with us no more and no lets than you put into it. You, in the final assent, will make your Famous Artist Schools a poor school ora good school ~ and youself medicere or good artis. bles Dave ano Seater “Perea, reece _ Sima Sehante— Came Sxazzs Act lassi AcBenr BORNEFamous ris Cours Introduction How to study and practice ‘The wenty-four less ofthis Course ate designed to carry you step by step leson by lewon, through every phase of ar know: Tee and technique necessary forthe eration of sound pictures find dag The quality of yo sehiewement by the me you Rave completed tis Course will depend upon you an upon the mount ol sincere practice and stud you have put into your work. ‘More than once in the next months you will become im patient You will want to sare working on subjects discussed Fi iesons mach more advanced than the one asigned you at the moment. You'll ay, "Thove later Iesons look so interesting!” ‘They ae interesting —and we want 10 see you do a good job with chem. Therefore, ee advise you to be patient. From ovr past experience in developing even the most talented students, twe Anow that “rst things come fis.” “The fst sep when you begin # new lesion is wo read the lesion through rom beginning 10 end, studying the drawings ind teat very carefully. Then retady the lesson 26 much and soften as neceary to make sure you understand every pont. The fst lessons are among the mon important ofthe entre Gann They teach you the fundamentals on which the more falvanced traning is Based ‘They are so important that you mun understand them well. Ir you do you will find the later Tetons easier, an your attic developrent willbe faster and sounder. Each succeeding leson will be more interesting than the lat. More andl more you willbe drawing upon your creative talents as you learn how to make beter and eter pictues. But —pleae tke our word for it~ the first few lesons are the ‘most important in the entre Course Your assignments With each leson you will be given an assignment It will have two part. The fst part will ontine problems to “study and practice” These problems have been designed to help you un ferstand the teaching principles ofthe lesion and gain skill tlawing. Iisa minimbm outine. You should do as much ad tional work a6 posible hecaive you learn to draw only by trawing, This practice work is not to be sent in for criti. “The second part ofthe assignment describes the specific draw: ings which you ate to snd in to the Sehool for constructive faitism and grading, These deawings will show ws how well you have understood and learned the subject of the leson. Do the amigned work as carefully a8 you can ina reasonable length fof time, but don't be diappoined if you fail 19 cum out masterpieces” You havent ad the necessary training yet, and wwe do not expeet that your pictures at his stage will be as cessful at you might wish Don't labor too long over one assignment. We are here 10 help you. We can be of most help to you when we see your ‘work Then we ea el you what you have done well and where you should try to make improvernents—and show you how to make them. How your work will be criticized As you begin your Course ts important tha you understand how we will judge and crtcze your lesion asignments ‘One of the great advantages of our teaching method i the face that we make a direct, persona, and objective appraisal of your work as an individual We judge your work and pktres, Toe only af at teachers, but ako ike the art director, who Lows the kinds of pictures the general public responds to and advertisers and editors buy Tm erticring every one of your auignments we will pay closest attention to your control of dhe subject taoght in that pantcular lewon. We will also expect you to show that you Lindersand and have remembered and applied what you studied in previous lewons. We will nor aiteze you for weakness in subjects which you have noe yet studied in the Course At tines you may recive a ertlsm that you consider unfair. For example, if we sy that your dating seems to have been done without sficient preliminary study, you may be upset Probably you spent a 10 of time im preliminary work before making the finshed peture. However, the important considers tion is hw you spent chat time. In other words, are the benefits fof your earlier lesons and preliminary drawings reflected in Your finshed work? Remember that all we can jodge i+ what tee see In your final pictures ‘You should not be too worried if you do not master immedi suely all the things you study. As you may know, in learning 1 Araw there are two meps. The fst step Isto gin a thorough rnderstanding of the problem. The second step isco tain your Tae to par on paper what you have lenned. This second sep requites pracce and time. You will fnd that many of the techniques you study in this Course will noc be of fall value tinil you have learned, after Tong practiee, to apply them instinctively ‘We hope to do two things when we erie your assignments, First, we want to point out what you have done wel, Second, we ‘wan to show you what you have not done well. Often we ill Talk more about your mistakes than about the things you have tlone sucesflly. This iss it should be. There isn't great deal we need say about your strong points after we have noted thom Teis diferent with your weaknesses. We must point them tout t you and show you how you cam correct them ‘When you have Finished this Course, you will be on your own, lke all profesional artists. Your wltlmate success wil ‘cyond to + large extent on your ability to see the weaknesses in your pictures and correct them. Always try to look at your Ctawings as objectively as posible. Tmagine that you are er: tiisng the work of another artst—and be firm in your critic.Fomor Ass Cours Introduction How your work will be graded When grading your drawings. we will purposely reserve the Ihghest marks for very exceptional work. We Know you ae se ‘ous in studying this Course and want ans honest and fair ap prot of our picture Te would not be we your ndvemage ic Cea you by giving you higher gras than you deste. You ‘must learn to take oor migesion nthe spine in whieh they ae given, remembering that our only desire isto help you. ‘Wewil grad your signments as follows A— Excellent B— Above average €_ Average D— Below everage ‘To get the most out of your Coure you must study and pra tice af much and regularly as you can. So, set-up. 4. Work Schedule far yourselt and wick toi We know from experience thit vome students work faster thn others and some can give more dime o thelr studies, On the other hand, your lesons are not all equally dieu. For ‘hat matter, a Teton you thought easy might be quite hard for someone ee, and vice versa. There sx no absolute standard of progres. All we ak is that you discipline yourself and work consistently. When you mis a day, ery to make it up by spend ing extra time at your studies the next day. Your work periods shold become a pleasant habit Do not work for speed work for good rele, Speed will come naturally after you have aequited the knowledge and skill chat only practice can give you. You will find that it ix ‘Comparatively eisy to understand wha should be done, but very much harder todo it Theory is ane thing. practical application ic quite diferent: You must be patient, working slowly and carefully, so that yu can train your hand uo accomplish exactly the results you want to get Drawing ie fret of all's physical activity, just lke playing tennis or glt. A good tennis player spends hours, day after day, practicing his serve, his backhand, and the other baie motions that he must master to play a serious match. ‘The ambitious golfer practices his swing thowsnds of times. ying to make fach motion more perfect than the lat. Tn the same way the arte must sped hours and days learning to work with pencil, pen, and brash Remember, however, that prctice will not produce the de sired result unless you are canstantly eiical of what you ate doing, You have heard of golers who taught themselves to py, but found they could achieve only a lnited amount of sieves, When they began studying with a pro, they had to begin all over again by unlearaing the bad habits they had acquired through Yeats of unwutored playing, And it was harder to unlearn the bad habits than i¢ would have been to establish good habits from the stat. ‘Therelore, work slowly at fist, thinking constantly of what you are doing, trying always 19 come closer to the ideal. Wieh fvery line of the pencil or pen, every stroke ofthe brush, you will be developing facility “even though you may not realize it Gradually you willbe able to work faster and with surance 45 you gain greater technical control, At the sme time you will be esublishing good habits, which will be your most valuable posession throughout the rest of your life ‘When you send in your finished drawings to the School, be sure to follow the mailing instructions on the assignment sheet. ‘Send to the School for eiiciem and grading only chose draw. ings specified in the asignment. Do not send in practice work vera Sketching There is no substitute fr drawing from Iie and nature. You learn wo draw by drawing, 50 develop the habit of sketching {Gary 4 sketchbook with you at all times one that wil tin your pocket. You il find numerous opportunities throughout {he day for observing an recording rich material whieh will eventually be useful in making your pictures. Lear to make hick sketches of atitudes, characters of every” description, ‘estures and facial expressions Its equally Important to note the imeresting objects which surround you on every hand ‘There is no end to the marvelous wealth of pture material around you. Get— and Keep ~ the wonderful sketchbook habit You'l never regret i Commercial jobs while studying Te is quite likely that you may have opportunites, while study ing your Course, to do commercial jobs for local tradesmen, ‘totes newspapers and engaizations jobs for which you can ‘expect to be paid. These are fine opportunites, and natrally you will want co make good in a “profesional” manner. Aer Al experience i the greatest of teachers tat any tine during your period of study you receive sich jobs and you have not advanced in your Cours to the point ‘where the problems involved have been covered, write us about ‘hem. You may make a rough layout sketch of your Jb asi ment on a sheet of paper measuring 8} by 11 inches. Around your sketch make notes shown below explaining where Jour lifely fie. Fold up this sketch inset iin an ordinary Teer envelope, and send it 10 the School by Brats mal Be sue to adres itt the Instruction Department. and make certain that your name ad adres are on the sheet. We will then be glad to help you work out your problem from a pro: fesional point of view ‘When Jou deliver your fst jos eo your client, he may not think chem quite at good st you do. Remember, he is paying for them. He is entitled to plctres that be fete will ll Ki product or deliver his message to his public If you mee some tisgppointments— and you wil ~ do not be dicouraged. Ofer to do your drawings over to is satisfaction. You wil do better the next ime, Jus remember tha all ees artists have gone though the same “growing pain.” fncuding all the members of your Faulty10 Fomous Arias Coun Introduction The artist's studio “The very ist nee of the artist fa “studio” oF permanent work ing space. Find a welHighted comer in your home where you fan draw at any time—day ae evening — without being di turbed. Your whole “sudo” need not take-up an area more than five feet by five feet. Correct lighting Having the proper light is very important. If posible, che win dow you slet to work by should face north since this provides the steadies light, However, this is not evental. your window faces another diction and the sin becomes problem, the Tight can be controlled by window shades. For working at night for on dark days itis an excelent idea to atach a Rluorexcent {esk light to the top of your drawing table. OF you can put up fa swinging bracket light on the side of your window sash. I these lights are not avaiable, an ordinary loor or bridge lamp ‘with bright lb (at least 180 wats) will do very well "The arial light should be placed so that i will come from the come eetion ae yur daplight- All lit should come di rectly fom your lle i you ae rihthanded (or directly from your right, you are let anded). hie ery important, since tat you ate doing most have the full value of te light. Avoid having your hand or body throw shadows on your work, Drawing board or drawing table You should make all of your drawings on either 2 drawing board or drawing table, Standard. drawing boards come in various sis They are ually about three quarters of an inch thick and have a south surface, There are several good met tls of working. One js to se the drawing board in your lap, esting Heat an angle on the edge of an ordinary able about the site used in the kitchen, You will have room on the rest tf the table lor your working materials Another good method isto prop up the drawing board of the table by placing books or similar objects under the back of it.The third and best fnethod isto work on the adjustable type of drawing table ted by profesional ari A tabouret or stall table about thirey inches high, posubly with drawers in it, makes an ex fellene sand and storage space for material ‘Some artists cover their drawing table with a sheet of smoot dlark green or gray cardboard. (Porterboard), This provides a firm, even drawing surtae, absorbs any glare from overhead Tights and makes ie easier on their ejes- The protective ear board caver wil also help preserve the surface of che drawing table, Don’t ent paper or illustration board directly on your fable. Do your extting on old pad backs or cardboard. Tin wddition tothe raving board oF ble and tabouret, there are number of other items which you wil find useful in your Study and work, A mirror the laiger the beter ~ canbe areal help, A three panel mirror from an old reser or vanity Is par ticularly useful because it enables you to be your own model and view yoursell in profile or even from the rear: "You may alo nd ft helpfel to hang or nai a bulletin board (piece of thick, soft compresed Gberboard isan inexpensive subecitae) on the wall digeely in front of your drawing su face: On this board you eat tack photos or other material you ned for relerence 38 you draw. A wastebasket is abo important pe sure to have one handy forthe work that you discard A god: logial arrangement of your tools and equipment can save you lou of wasted motion. Arrange your drawing table, {abouret and other materials 0 dat whatever you need is with: in easy reach, Know where everything is so that you need not Mop wotk to hunt for what you want next. Do the best you can to make your audio setup convenient and comfortable, but don't waste any time or energy worrying over the fact that it is noe perfect” Many fine drawings and paintings have been rene under circumstances that were far fom ideal ‘The im portant thing isto use your home studio 2s much and as oftenFemous Ais Course Introduction N Observation Al through your Course we will vein you af she philowophy "See — observe — remember,” Ifyou really understand the mean ing of these three words and lea to apply them you will hare accomplished a great deal toward becoming a go aris, ‘When the average mam looks ¢ something, he atually “ees very litle: He uses his eyes to identity objects, but that is usually as far as his cuvioity takes him. For thi reason, he lives in a world of limited observation. Te isa simple world made up of visual ideas like “wee,” “gir” "howe “car "xa" “des,” “horse,” ee: Suppose this man takes an after: oon walk. He may remember tuning into all these visual ideas; but since he dit not observe them carefully, he wually fannot recall quite what they were ike. AN him 9 describe the house he dida't notice, What was the iel wearing? Can't remember. Was the horse a work hotse or totter? Must be 2 work howse—it was oa farm, "The chil quality ofthe aries his insatiable visual curiosity, an artis ook that same walk, he would come back brimming with visual information. Not ony would he have clear vsal Picture in his mind of each object and its setting, and its de- he would also be able to “see” in his mind's eye just what all hese things really looket Tike Your ability o observe — to focus on what is significant and fix it in your memory wil, without any question, be one of your most important awets as an arts. is the one abilicy ‘which can help you 10 remember, to beep forever the things you have focused your attention on: objects — form — light and sinde cara expression af joy and srw — he mate al for your pictures ‘Observation is the ability to see and! mentally record. with feeling and understanding not only the grand al the smasual Dut the seemingly unimportant, commonplace things all about you — things which the untrained eye mises. [1 enables you to ecognie and select the lide things that are really the big things. It isthe heart of the ability to yepore and recon All feat writers reporters, and artists show this ability to a marked Agree in thei work Succes in art ir not alone the result of fine craftsmanship or academie knosledge acquired over years of taining and work. ‘To this must he added the develope sense of observation that guides you to select the “right” subject to paint, the "righ types to draw, the “ighe" composition, the "right" color = 0 choose what you can se, and reject what isnot needed Don't get the idea that a sens of observation is some myster ious quality posesed by only a few “blesed™ people, Nothing could be further from the truth, Observation i, infact, a de finite ability thae one aequires through constant and deliberate application and selteraining ‘The most important snethod for this training i to remember always o "see" everything yo look at, Night and day = no sate {er where you are or what you ate doing ~ work st Ueveloping aes the sone of awarenes of everthing nbowt you, Don's jut ook av that sunset or that nice old barn. Study them. Remember their color, their shape and forms. This i observation! What color and shape isthe sofa in your living room? What is that characteristic gesture of your bows or friend? What Is the view from your window? Lestn to ace these things in your mind's eye. This ie observation! Don't just flip casually through picture magazines or look at the show on the television seen merely to be emtertsined Observe the details of the figutes, their actions and character, their mannerisms and gestures — backgrounds — objects. Think about them ~ and commie shem to memory. This servation! Good obseration isthe fit nd most esential sep to good drawing and painting. Throughout your Course we shal em- phasie this ability and show you how to develop it—for only When you observe an object discerningly can you recreate i in 4 picture that viewers ill fd convincing and meaning Recording your observations While our motto or creed, se, observe. remember, is one of the ‘most important chings we ean teach you, this doesnot mean that you an posibly commit everything you see to memory ~oF raw entirely from memory. It means simply thot you should tusin your eye and mind so what when you do make your pc ‘ures you will be aware of and select the right things to draw — and recognize the nonessential which should be left out In alton co seeing, observing, and remembering, you will need to develop variety of sources of inforation so you can produce pictures which ate authentic as wel as atti ‘Whenever pesile, make a personal inspection of any object for location you plan to vse im a picture, Try to do this even ityou have a photograph Your picture will be more conv iyou can see and understand the rea thing. When you a handle an object you vill understnd its purpose and aol embarrassing inaccuracies and mistakes in drawing Ht. If 00 do not understand the thing, et someone to explain it to you, Your sketchbook. There is no substitute for drawing from {rom lite—your sketchbook should be your onstant companion. Sketching an objeee or scene will force you to observe more intensely and, later, sehen you review your sketches they wil recall many things to your mind hat otherwise ght be los. Make sketches and notes of things you ee which inspite you and give you the urge to paint them. Carry your sketchbook ‘with You wherever you go —-and ve it Your camera. This isa wonderful aid in reconting your ‘observations. Whether you a¥e taking pictures on a vacation ip oF in familiar suroundings, you cam gather much informa tion and many picture ideas with your eamera. When you stanly these phoros they will reflesh your memory about the things ou have seen and the way you felt abot them —they will mean more to you than photos taken by someone ee cor2 Femous Arias Course Introduction Research makes the picture authentic Reseach i an important part of your work as an illustrator or designer, You must beable to find the information you need on ny subject you wish to depict, One picture you have wo do may fall for 2 peacock — another, a dueling pistol and costumes of the 1820 another, am old il et. Dont miss an opportunity todo something suthentic and exciting merely because obait ing the material or the exact information to work from wil involve extra efor. Be prepared in advance co draw anything. ‘Otten friend or even casual acquaintance will know where you can locate the object you want. Make it a habit to joe down the name of your neighbor whose basement resembles a cata comb, the barber who collects suifled animal, the location of that weeping willow. Perhaps a fiend has an unusual house plant or porch chair Make notes of auch things for your fs “Time docs not always permit you to locate each Qhing and study it Sirsthand, however, and you must rely to large extent ‘information fram sovrees sich as books and photographs Reference books. Start. ibrary of relerence books on such subject as bids, animal, contumes and other things that are Tikely to appear in your picwres. Add to this as your Budget permits Many useful pictures of objects eat be found in mail: onder entalogues and eneyclopedis ‘Your public brary isa wonderful source for reference mate tial. Tell have a numberof tooks on almont every subject ad thus gives you a wide choice to refer to. Being familiar wih the books on subject also gives you a beter reference back: {round from which to select hooks for your own library. Your public lbrary probably has many outof print books, costly Feference volumes, and assorted magazines. Many Hbrares also Ihave fer of pictures, “Scrap” file, You must develop clasied file of picture lipingy tome magatnes, newspapers cali Books ar imany other sources. Thi fle iv ealed = picture “morgue” or "yerap” i, Making such ale ea time-consuming job, but you willbe surprised at how much you weil lear from this activiey tnd wht t marvelous dinesaver i will become for you. In adi- tion to being an excellent source of information, your file will be a rich source of pictute ideas. You should tart one as soon 2 you can, and you must always be adding to it. 1 will be one ‘OF your mont valuable ants asa working ats. The activity of selecting the pictures to include in your refer: cence “morgue” can become a fine means for developing your sense of observation, In the usual process of looking through tagazines, books, or other printed material that contains pic tures, the average person is just casual viewer— the pictures pss by, one by one, im a constant parade: they are merely Feoondings of things and places But when you, the arts, go "rough these publications with x denice purpose in mind, its (quite diferent. ‘The simple fact that you ate considering each Pleture fora specific place or category in your morgue, oF in {lationship to Your work, heightens you interes in te picture tnd the subject enormously. In order to decide whether ie wil be useful to you, you study for a few seconds a picture of 2 rooier of ore an unsval aitade of a man in » photo ea ea eee eee ee Dench —a western character ~ and they cannot help but be im prev! on your ensciows or even subconscious mind You have Seeder tee epee ae end fo to your recs asa arta, Inevitably you retain something fof i¢ that will help you develop your sense of observation Remember never to trace or Copy anything exactly from your Ses. Use these plenres for Ideas and information, for getting the mood of the subject, ‘This type of Ble contains copyright material and copyright hows are rigidly enforeed. Moreover, you ‘vant your istration to be yours alone, not a tehash of some thing done by someone ele How fo start your “scrap” file YYour picture file i sel only i fs Kept in an ondely way The tem we describe hee cane stated quite simply, but also can be expanded easily co incu any additional clasien tions you need in years to come Here are the materials you need and advice on how to go shout anembling and clasiying your pictrex The cabinet. A fourdrawer steel Bling cabinet f ideal. The drawers should work easly but it need not be the expensive "uspenion eye fle or haves lock. I shouldbe letr sve rather than the lage or legal sre, a5 there is Kile advantage inthe Tater an itcoste more. Ifyou do not wish to uy a ste le a frst get the onedrawer, corigatedboatd ype KNOWN 38 8 transfer flor you can sare with something as simple asa ‘wooden box or even a orate rae he folders. They should be lter ie and have tbs onthe top to show what each folder contains. The mont wel ie tabs are “thint cut” tbs, lke those shown on page H, The folders cme in bones of one hundred. Get heanyweight folders ad up Deter. ss. Although you can handlewer divecly on the tabs ofthe folders, gamed labels are desirable because they fan be typed and renewed when necessary. The tools. knife of the ruorblade type, such as & mat Ine, s est fr cutting clippings A heavier hnife ora stew: driver is bundy for remening the naples in magazines in onder thatthe ei pages cam be taken out without tearing. A ange par of seisors is goo for clipping newspapers. A cutting board Sch asa Masonite panel wil ave your drawing board when {you use your knife, Date your clipped sheets witha rubber date Samper so that later you will Know what yea a particular des, ‘ar, or other product was in use. A sponge moistener will ave You the other of Hiking the rum! labels fr the tbs Picture sources. Mawes, books and newspapers are your picture wurces Almost any magarine eontaining photographs is ‘worth clipping. The Best ones, of course, are che picture maga Zines, dhe home and garden, fashion an wavel publications Iyou file magazines widhout elipping and rely on the publisher's Index or your memory. you will waste some of your most useful ‘material. Always clip magavines Many cheap and otherwise ‘worthless books slo would be more wt t0 you it you clippe the pictures Newspapers are sources for sich subjects as tut rent event, fashions, auto accident, sports, and ountes her ‘Your c, basement, and closets, and those of your friends val yeh ennghmoecincs oar le. In many ces here tre shops which Bue Back ine of tages at lover yarnent howe sperntndents Clipping. Stary taking the magasne apart Pry ont the saplerso that de page cnt be removed thou tenn. Some pictures willbe to lane for your folder. Tn mich cx od {hem wih the pcre de ous you mt cu aay any de scp texto the capon dow net tently ie pcre Yon fave! One werd, uth as "Meier or "Vlora" ay fife Dat cack pete with bash ea and month ‘a What to elip. Clip ales everything — not every picture, bu every subject. Vou Will not be imerested in every Subjectyou clip when you clip it. but you wil be next month or next year Ifyou have toma a picture of it, Clip photographs rather than the work of another arts. You might make an exception, how fever in the ase ofan arise whose technique oF point of view You admire, Most fasion photograplis are Tes valuable for the fashions than for the chair ued By the model or some other decorative note Some photographs may sen too stall ot not sharp enough to he of value, but if you Took eloely you may find they are worth saving for some leas they contain. Some intriguing pose, dramatic lighting eet or unusual seion may suggest 2 picture to you someday, Thus he fle is used. not only for relerence but also for ideas and for suggesting the mood for atmosphere for your parccular assignment. Inchnde in eis ile the names of people who ean give you in formation to make your pictues ting wue~ doctors, Hoists, que dealers et. Use itas an orginal idea Ble, 00 place to Keep sketches and notes of things you have observed which Inspired you and gave yo the wnge to draw or paint them 34 Fomous Ariss Couns Introduction How to classify Good fing means potting your clippings away where you ean find dhem when you need them. The dea isto make the putting away and the finding ts simple as posible. ‘The chart on the ‘Opposite page shows x good way 10 clasify your material. At the start you will need no more than ane folder for each general fubject shown in Column A. Av your file continues growing, {you will have enough clippings to require further elasifeation sin Column By Then, when your folders become crowded, you twill want co relassily your clippings into the more specie sub- jects listed in. Column C. Ax your individual requirements ecome more clearly defined, other tees will occur to you and you will ald to the lit. When a folder becomes too fat, always Teclaify never make to folders on the same subject. Forex Ample, instead of having two folders labeled “Dogs.” divide ‘Honting your dog clippings into brows or into. “Puppics! Doga’” “Sill Dogs” and "Large Dog "You will notice that the method of Sing sbown inthe ehart eeps all of the folders under one general subject together rater than having them satered in an unrelated way a they ‘would be i all the subjects were Sled purely alphabetically. A file whichis purely alphabetinl, with tnelated folders follow {ng eachother, might read, “Airplanes.” “Apes” “Art” —but ‘hie would ignore one of the main functions ofthe file, which {o suggest ideas to you, For instance, you may be looking for “lowers” and see the nearby “Vines” older, and it may occur to you that vines wll sit your composition beuer than flowers. Filing suggestions. Wren you label your folders, on the fast, line put the subject tle ch as “Dance” of “Ballet.” and under tha the general classification such as Exrextainsist Fle your folded pictures with the fold up~ this makes them exser 10 leat though. Make ita habit ta le new pictues in one con ‘Sc nh slaent postion inthe folder — either in front or back of the flder ones. Then you can locate more ely the pictores whieh You recal fing recent, Do not perme pictures which you have Temoved from folders to lie stound unhled. Ue longer you Aelay placing them where they belong. the more dificult the task wll be Tn Front ofeach general subject Reep a folder Ibeled “To Be Filed," into which you can place pictures newly clipped or removed from the fle, This will Keep them accesible until you have time to casi them further. ‘While the subjects in Column C wil usually be Sed in alpha betcal onder, there is no point in keeping the main divisions (Coluunas A and B) in that order. I is eter to consider what Your nec wil be and keep the general subjects you use most Ire they will be most acceible. Ifyou use alo of, sy spots pictures, you wil want them in the cop drawer of your fi Sinuilaly, ici wise to abandon alphabetieal order occasionally in Column C. For instance, with Rows, you might place “Liv ing Rooms in front simply Beene tis used most often, and oveder Rooms” next to “Bedrooms” because they are closely relate ‘Numbering. When your fle grows quite large you will find sceaer to replace pices al folders if you give a key number to each subject in Column B and Column C of the chart, and ls number each folder and picture accordingly. For example, the folder on feplaces might be labeled "22 Interior, Fie pices, Hovsin.” Ifyou later relanily Sreplaes into several folders by ‘pes you simply keep the mumber 22 and add a leer for each folder, a8 222, 2, 2, ete I'you write the num: ber of the far on each pitute in t (as 22, above), you will be able to replace the plcie easily hs pate swe o peo of Al Pas fl Yo wiFomous Ariss Course Introduction wb Chart for Making a File Dope — Gok Cale — Cot = Se Ee eS SS a Se eee SS oes eee ~ af ieee | aS fas ee es meets ee ee restate ee ——— ae ce aoe Se vee = womens Se a re eriod | Arce — eh Coy & Bets — Tn Gay — Th Goto — TBH Ging — Wk Gy = Gey eS ee tem — Wg — Wind — toepbey—te ‘Miscellaneous ‘Art & Science. a Industey Tors & Off Faraiog Foreign gel Shen Canaria Miscolloncous hero Cage — Soe — We ‘Sreet Scenes Miscellaneous Perabo16 alee i a Ren Models, props, and photographs Tn the early eons ofthe Course you wil be learning how 12 draw figures, heads, and hands so that they look veal and have convincing setion, As you sty and practic, you must become increasingly observant of the people around you. You must apply what you ae learning to real people Model to study and raw from ae readily available ~ your family, fiends, the man At the filling station, the schoolboy next door —and yourself, in the mirror Draw from live models every chance you get Mos people wil be plessed and atered to pose for you and you wll be developing your powers of observation "As you draw from these wiodels you wil dicover the marvel fous variety of actions, manners, and expressions that the hhuman family i eapable of snd the deals chat make up difler cent character types You will, of should be, tremendously im pressed by what you see— the slit ofthe frm, the graceful br forceful gesture throughout the Bure, the calm dignity of fn older person, ete.~and you should work to capture these thing in your drarng. You must think and fel as you draw = hot merely make a casual copy of what you se. You must learn fo select and emphasize the portant shapes and details and Ciminate the unimportant and the wivia. Tes up t0 you to iinerpret with meaning the sgaifeant things you see in the ‘adel ~ hose things which rally say something to the viewer. Much of your Course is devoted to teaching you hers to do this. Thneligent we of models will help you to solve many probs tems in your illustrations the tle of « head, the drape of Clothing, the gesture of an arm, the way the light srkes the Forts, "Thestady of actual penple will give your work conviction and help you avoid the aif, lfeless poss chat often resule i you rely solely on your mentary Costumes and props eis «great help to pose yor models in costumes 26 cose as roi to thow you wil how In your pletre. Many ate Bild up 4 cllecson of various apes of fat, bots, cont et to tse In pong ther models You will noc alvays have the ‘act ale yon nee bt i you choose am appropriate on fo give you te proper lines ahd draping, you eam make the recesary change in your drawing withthe help of information tom your reach fle or elerence books "sta wth cots tr ale Bs owe ahentc props wo draw from. Keep » ist of people you Know who have guns stulfed animals, sporting equipment, or other props you are Tkely to need in Jour pictures You wil find wh most people ae lad to help you Toate wha you ned (Of couse it svt aways prsible to find the real article and you most often eve iagination and ingenuity in making sb tions. For instance, ou may have t9 pose your model on 2 Trwors othe bck fo instead of areal ers a bro $ickimy serve aa medieal lance in another picture a plastic Inodel ay veplce 4 real pistol. Most illustrators acquire an Sang clletion of ixellneous ates to tse in hi a.Photographing the model Tis seldom practical to have models pote forthe long hours it tes to produce a fnshe picture. This would be inconvenient and, in the case of profesional models, too expensive. Many Artists use the camera to record the information they need from their models Alb, the camera can capture many actions, poses, and atttudes—both subtle and violent—that your model eo ‘ot Hold long enough tobe of any use to you. With the cera you can record the myriad details and Beedag expresons which OF course It is be to try t find 4 model who most nearly fits the type of person in your iustration, but this snot alway posible You will find, however, thi yo can cteate many types From the same model, 2s we shall explain in deal Iter in the Course. In fact, you will probably pose for many of the char acters in your pletres yoursell, ‘When working with models you must be a srt of movie direc: tor wo ge the most from them, Sometimes it may be dificul at fas 10 get a model to lowe his veléconscouanes and act the part you want him t, bot you will nd that almost anyone fan pote effectively if given enough encouragement and the proper direction. The most important thing to Keep in mind ‘when posing a model i that you yoursell mist know what you want Belore taking any picture you should make a number of Preliminary sketches to decide on the action, expression, mood, lighting, etc You should then thoroughly explain to the model what the picture station is what he fs supposed to be doing “what he Is suppose to fee, Ie sa good ides to tke the pose yourself and show him wht ys mean. When you yourself "get Ino the at” it helps relieve the moves embarrassment and gets him into the spire of the thing, Don’t hesitate to tell joes Shout, ham ie up anything to get the poses you ned. Tt is Dest to take s number of petites foreach pose. You may find that in one the body gesture is good, another may have better cexpresion, or action in the hands. You can then get the in Tormation you need from the diferent shots Equipment You can start with whatever type of camera is available to you The reflex camera is popular with illustrators, and there are number of reasonably piced ones on the matket. The Polaroid Land Camera is abo popula, produces picture ina min ute and you can see smediately if you have the information you need. Many top illustrators use expensive cameras sich as the Rolletex, Leiea, Contax, oF Speed Graphic, but ie isnot cesar, particulary at the star. You ean shoot many of your pictures ou of doors, being cate: fal to choose a ime when the light i appropriate for the pic tures you wish, You wil find, however, that you can comrol your lighte and shadows eter indoors sing arifeal Tights, The sSmplese way to start is with two oF three reflector sype ib They come in different types: "lod" for general lighting, “spot” for concentrated lighting, and “medium beam,” which inin between the two and is the most wef in shooting figures These bulbs con he used in simple lighting Rxtures such a6 bridge lamps and dgsk lamps, or you can purchase in expensive “clampon” lighting fixtures These are quite vers tile, ay they canbe camped ento a door or pice of furniture to place the light at the desired height, Ifyou wish to invest in tao lighting equipment your camera sore can give you sdvice and literature on the subject. Naturally just as with ‘cameras, the more expensive equipment gives you more versati ity and contro, bt you can get excellent results with the simple equipment deseribed shove Lighting the model Keep your lighting as simple as pouible. Av a le, you will Ihave one main light to ereate the desired Highs and shadows Move this light around until it gives you the efect you have Acid on in your preliminary draseings. A second lin Hight placed near the camera will help retain some detail in the sha flow areas of the figure, Be sure that cis light i mot dose enough to the model to breakup dhe definite patter of light and shade created by your main light. An exception would be {your pire cals for some ype of tsa or techy igh. ‘ght background behind the model will help retain detail around the outline ofthe Sore. A lightcoloed wal, screen, ‘or door i ine. If your background is confused or cuctered you can use 2 white cardboard of bedsheet. separate light directed ‘onto the background fom beyond the model vill eliminate unwanted shadows there. Asa rue thi snot neces, dhough Working from photos ‘The way you eventually use models and the extent to which you use photography will depend on your own working habits and needs. Some artists preter not to we photograph at all, ‘except to authenticate technical details, lascapes etc, Others find photographs an extremely usetul aid in producing thei Pictures Some take their own pietutes and do their nn dark ‘oom work, while others pay profesional photographer to take shows under their direction. Norman Rocke sone who hak all his photographic work done by someone elie. He feels that this Teaves him fre to devote his entve attention to directing his models. Austin Brigg and Jon Whitcomb prefer to do theit ‘own photographic work. Harold Von Schunidt, on the ether hand, doesnot photograph fie models at all. He draws and pins diecty fom lie A word of advice “The camera is 2 welul servant but it can also be a very bad thing it you alow it w become your master. The purpose of the camera isto furnish you with information to sty and select from, Don't make the serious mistake of thinking that tracing & photograph is a substitute for good drawing. Many an artist has lost hs creative individuality by becoming too depend tent on photographs, relying on them so much that he loses touch with the fundamentals of drawing and composition, A ways remember that before taking photos to help you with an iusration, you must canpose and plan your picture sketch in just what action and mood you want to portray, decide what lighting will be best wo accomplish this, et. ARer taking your photograpls you must be able to use oF reject anything you we In them according to the needs of your picture. Throughout the (Coune you will see eximples of how photographs should be used. ‘Photographs can give you lots of tel information and save yow much time but they don't create pictures ~ you da. Don't become a slave to them —a mere photograph tracer. Always remember, you —not the camera are the ars You Learn to draw by drawing noe ead Ti this dacussion of ling, photography, contumes, et, We have touched on a numberof subjects that may not concern you Jmmedately. Our aim has been to give you a clear, complete Picture of the stalio stp and working procedures of the pro- fessional ait ~ to urnish you with fee you eam come Back ¢o ‘whenever you need them, ‘You ate now entering upon the study of x Course that you will nd both exciting and enriching. ‘This sime Course hat shown many serious tuclentsbelore you the way to 4 happy, ‘reat career in are. We hope that it will do the sme for you W73