Famous Artists Course Famous Ass Schools Inc, Westport, Connecticut Figure composition — om arranging figures in a picture Albert Dorne: Fred Ludekens Norman Rockwell Al Parker Ben Stahl Stevan Dohanos Jon Whitcomb Robert Fawcett Poter Helek George Giusti Austin Briggs Harold Von SchmidtFigure composition In the third lesson ofthis Course we sw that the dflerence between & good Picture and a poor one depends greatly of the soundnes of it composition the way things are arranged within the piewre borders Furthermore, we ‘se that a weak composition could not be improved simply by better draw: ing of individual ehings In many of our demonstraions me wed exactly the ‘Sine draving in both the poor compositions and the good ones The dif: fees were created by changes in placement, the relave sia of things and walues and by the more logical ue ofthe space in which we were making four pictre—not by dillerences in drawing Since that third sion we have been lating to draw the human figure — by studying fst is basic form, chen the anatomy ofthe body ad how it moves itsmast expressive parts the head snd hands and finally how to dane lothed figures in actions that are convincing. Now we are ready to pat to ether everything we have learmed so far and use it to draw people in pe tures that have meaning ~ not just drawings of isolated figures or sies of Iheads or hands, but pictures of people in real-life situations — people e _resing emoxions, people reacting to each other and to their surroundings We haven't used figures this way before. Ii tre that Lesion Thee con tained some figures, but we used them aif they were tlie objects ~ mov- ing them around the pear space just a8 we wotld a botle or atte, They relate! to the other things inthe pictore only ima compositional way — only 4 shapes ofa certain sve or value, with outlines that night Belp lead out eye around the picture. We did not consider the human relationships ofthe [iqurex Now we are gong to This new approach doesnot change the compositional relationships ofthe figures co the picture — ie simply ade a han quality tothe figures and their relationship to each other. Everything that you Tstnel abot compo- sition in Lesion 8 applies to figure composition, ‘Tis is fonportant = dant [org tas you Tea how to handle the new considerations in this von, The people in our pictures, like dhe people we mect in everyday life, will have feelings and emotions I zeal life chy can expres their emotions and explain thee actions with words, In a picture, however, people can eon :municate only by expression and gesture. By is look and action we must make the fgute tell everthing ‘One ofthe worl’ grestest inter, Leonardo da Vine, summed it all up Inundreds of years ago. He sald: "We muse show by the action ofthe body {he atte of dhe mn" Ia dis emo we shal ce Bow ts can be done ‘We shal earn tha there ate certain poses that communicate the fling and ‘houghes of the figure with all the clarity of words Figures do not exist in a yacuusa. One of the valuable things we shall learn about is how to place the figare in setting that does not interfere with, but explains and suengchens its action. In rea life, i we want to see something more clearly or follow an action, we can move our eyes, head, or bod Ina picture, only fixed view is possible, ‘That view must show the most descriptive point of the ation ~ andthe figure must be placed in that spor in the pccure where it will best clavty the action In figure composition there may be ane person a a hundred, and aang, ing each number of §gures ha ts own problens and possibilities Here we Shall see how groups of all sizes may be haled, We shall work with thera sch the way a stage director dors, paying attention to selecting appropriate uaracters, costumes, props, lighting and view that is clear and effective ‘Above al, we shall become very much aware that a good figure compos! tion i far more than a few figures drawn in some relation to each ote or placed within four borders. The arise mont ceate& sharp and meaningful Satement about a siuation and the feelings of the people involved init Everything inthis leson has been planned to show you how to make this satement~ in picture that viewers will understand fel, and rememberThe figure is a living, changing shape TThe drawings on this page demonstrate the striking difference beeween the human figure and the fixed Shape ofan inanimate object. The figure is alive it is 4 mobile form which constantly changes shape. It ‘an suetch out, curl up lean, bend assume cous, Aifeeat positions 1s this very alivenes that makes pictres with fig ures so itereaing. When we put two botles in picture, chey may stand side by side or overlap, but they are sll inanimate objects. Tei very diferent when we place two figures together They immediately seem to be related, to respond to each other. If they ate facing, they may seem to be talking, If they ave looking in the same direction, they may appear to be izing atthe same objet. Depending om the attides for gestures we give our figures, the meaning of the plete will comer We can say only 2 limited number of things with sce objects — but with the ving, changing fi ‘we can express the whole range of human relation tnd experiences See — Observe — Remember Leno Femos Ariss Course 4 Figure composition — arranging figures in picture, itf Spe Oy etn he sna ana ‘eg hh ey eh io ngFomous Ars CourseHow the action of the figure expresses its mood eee arte meerne lier leon we leaned that the ead and hands are the mox expresive the figure But the body ise expresses emotion, too. Much of the art of fhe arst in arranging a figure composition consists in using the whole Agure ‘expressively. He must show the felings andl emotions by the action ofthe Body hen the body moves, it creates different shapes which we awociate with di ‘ent moods or feelings The droop of weariness or the spring of joy ate spical sociation of figure action with eeling. The goo artist knows how clearly these Scions communicate mood ani feling and uss them to their fullest in his pe {ues Tis helpful to think ofthese exprenive actions or geste in terms of mood symbols which quickly convey the feeling ofthe figure The most hase of these symbols and their relationship tothe fate are shown on then two pages In rel life the emotions ate often confoxal or not expremed clearly by the action. For example, person may asume a pore that suggests sorrow although he is actually quite happy. We ate not avare ofthis iacepancy in real life be- ‘use the person's words say reveal his feelings or Because in a moment he will move and assume a gesture that ft them better. There is no place for sich sci dental or contradictory gestures in a picture. The one view you show must be the right one the clear one ~ the one that exprewes jun dhe extion you want.Aone 8 Famous Ais Couse Figure composition — arranging figures ina picture Mood symbols in action “The illustrations on these twa pages ate excel lent examples of how our mond symbols can guide usin selecting an fective pose. Each of the figures expresses a diferent mood ~ and this mood is fmmediatly and cleat estas ished by the figures action10 Leno Famous Artists Coun Figure composition — arranging figures in a picture Select the most descriptive pose In our first composition leon we showed you that iti very important to choowe a view of an object that makes ie easy t0 recognize. We used a teapot and a sigat bow! to demonstrate that a form can be clear or confusing depending on the angle {om which we vie it ‘When we compose figures in a picture, there is not omly the view tobe considered ut the pose a well. Because the Bg i se highly mobile ic can expres the sme ation by many ifr ent gestures and attitudes, Some of thee ate more descriptive ‘nd recognizable than others. We must selet one that is entirely ‘The problem: 2 Roan te nono ms me 5 Aheah te wlnt en hte suitable to our purpose, expresing just as much as possible by ‘wodinensional shape or sihoserte alone "The illustrations below show why this fs necessary, Akhough all six are posible views ofthe same action, one describes it ‘widh the greatest clarity and drama. ‘The Faculty pictures on the opposite page, all with three or more figures are succesful ‘only because the atts experimented until they asived at figure arrangement that got their ides acroneinstantly. Like them, you should try out Your figures in diferent compositions tui you have found a clear and expressive way to arange them, show a clear and dramatic view of «fainting girl in « man’s arms.nen Fomous Ants Cone 12 8 Figure composition — arranging figures in a picture Let's add a simple setting Most figure compositions inchule a place as well a+ people. It may be any ‘where trom the corner of room to a vas forest. The artist may tow jus, Alte ofthe setting oF he may make i dominate his picture. ‘The role ofthe sting varies greatly. Often Ie simply serve as a back round which tells us vehere the figure i, In many pictures though, the setting ismore important and the figutes make actual ase of It The illesta- tions below are planned to introduce you, na simple way, tose possibilities a setting offers. Whether it plays large rae ora small one in your petite, always me itt strengthen or explain the action of your Bigutes ein rr, ten gat oy el a aeteson| Famous Aris Course Figure composi ak} arranging figures in a picture Now let's add another figure Assoon a5 we ad another figure to our ting we erent a human relation: ship. Our job is to see tht this teladonship i clear that dhe two figures tell one story. As before the setting should Help to expin the sory. e must not imerfere with the relationship of the figutes. Since we now have second figure in the se pictare ates, we aust make ‘more varied use of depth and change of size simply to get evrything in,How to make the figures [prominence dese Figures. The three ep the figures dominant of from geting fost in their sur. roundings. Size, postion, value, and contrat are among the most eflecsive of the devices used by the artists HereLeon Fomous Aris Coun 16 8 Figure composition — arranging figures ina picture How our picture borders affect the figure’s action Inthe diagram atthe Ie the outline atrows suggest that there i a lager world ‘outside the picture frame. Your placement of figures and objects must convince the viewer that such a veal world exits beyond. At the same time you should never forget that the actual borders dicated by the black straws ae ao a part ofthe picture, These borders can have a particularly strong eet when you ate ‘making 3 Figure composition Depending on where you place the figure in relation to the borders its action may be clear or confused. Hf for example, you pce a figure too close toa border, ic may join up withthe border, attracting the viewer’ atention to he Trame ‘ther than the figures action, Even when the Sure does not touch the border, its geture may diect the viewers eye tothe botder in an undesirable way. Mone space between igure and border is 4 good remedy, a8 we show yon below. Where you place she figure within the picture frame is important in establishing figure motion. I'a figure is placed nearer one border than the other t tends 2 relate it We could say that the figure is attracted or pulled toward that border. ‘We see the elect of this attraction in the bottom row of drawings. The proper placement of moving fguve wil help greatly to sped up its action ‘The border can confuse or compete Woe po Sgr he sh Tn str bre dr whm go er Seiten sn wt Bese amg fon ito bye edge tha pawre—n'ratan So th bevy he pees ‘Scar compete wi hoon bane he cae bape Ea ‘ety soe Brestpencrreees ‘The border can help or hinder motion eerie melt nine ide al i Seite eS anew fon Th pean sn he ne. worse ws se Saree niv7 Controlling the figure’s movement onaT: “Directing” your pictures — Feber Fowcot) Robert Facet, illustrates sory 1 play oF a motion picture ry posible bit of meaning tach of these as ft together Tange illustration below and the di help you fe the six important parts ofCareful planning creates mood and meaning Here is an excellent example of how an outstanding arti applies the principles of composing we have just explain, Austin Haig has carly selected is Set ting characters costumes and prope, ighting, and view pine create picture withastrongemotional quality "Notice, fist of all, the tension in the action of the figures. The lance ofeach is directed toward the other, and our eye arts back und forth between the two laces ‘We cannot mis the suspense writen on them Everything has been plan to lead our attention to the to faces a Keep it there. The tie an hands ofthe foragound figure lead up to the cigarette and then to his eyes. The daorway leads down tothe sini ter figure in buck. His white shirt prevent his face irom being low inthe dark background, The viewpoint deserves otc, to, Briggs has moved fn fora clowsup view of his characters, s0 that we sem te be right here inthe room with them. Their emo tions ea be felt soul more directly this way This picture shows how strong psychological inact «an be created eventhough the ation ofthe figures slight. Because ofthe careful poston, we grasp the meanin Alavely, and ur attention is never from the heart of20 Every part contributes to the pictureSumming up our principles abenen Fomous Ais Ca a2 3 Figure composition — arranging figures ina picture Sharpening up the picture ideaFamous Ari Couns teen 38 Figure composition — arranging figures in a picture Points to remember ‘As you plan your pictures try to form a clear mental image of the eet yout wish to create. Dont sete for the fst compos tion that comes to mind = think! TI you want to feature a certain figure oF gures, don't let other Figures or background elements ditract the viewer's at tention. Aad, if yeu wan your Rgurs to communicate instantly, on't Tose sight of the mood symbol. Be sure the shapes and Aivection of ines in your picture express the feeling clearly. Think of the emotion you want the viewer to fel, and work 0 create it in your preliminary sketches. You shoal make a number of preliminary sketches and then select dhe best of these to finish, Each one should be a thinking sich ie should represent some new view or arrangement that you fist viualied i your ena’ eye. Dost stake lot of Uoughtles sketches in the hope that one out of many might be the right one. ‘There shoul he real thought behing each.Composing a picture with YT ae G Fa Phe age f is f bi ON ae “A ey a = i Med a th : ag 4 a>! Sees a hee Sin, - oo 4 a , ap re 4 . o us | rt A alen pee q - ; - hy — A imal Bybarroom by showing just the end of the bar, the imp, andthe char at the lower righ. able hin to 6 iftern figures everyone highly expresive — into the ame picture28 ~B Fomovs Artis Cours Figure composition — arranging figures ina picture Be] el ne ree Love Shore Clash Fedele “The following cae history of two-page illustration for Cosmo: politan shows the evolution of composition sich many figures Using 4 minimum of props and background, it is an interesting solution of the editors problem and demonstrates how Bgures Sone cat be wed to create the entire sign. As we progress You will se that modest tart n compositional thinking can, in {he interest of making « good piture, grow into rather com: plicated effort — but often with a rewarding rest ‘Usually there are several situations i every story that may be lttserated The arts eam always Bnd an “easy” picture — and make 2 good one ~ simply by using one or two characters and the obvious compostional devices. However, only the sincere ist and craftsman wil tke on 4 tough, involved story situ tion in an efor to produce the best posible picture for both fine illustration and asic achievement. "The story her illustrated isa hilarious one of barber who, ‘on being mistakenly accused of murder, resents being arrested, ‘To prove it, he gives a vigorous if not areatic demonstation in the art of using a razr on a group of policemen. ‘As the sory goes, the police cll on the barber in the midst ‘of his work, The fight starts in the shop and winds up on the ‘Sidewalk. My fst thought wast et ehe scene inthe interior of the shop. The police have just walked in and tapped our hero fm the shower, thos eeatng an ait of tension. While the story ‘contained several musing situations I felt that ths one pre ened provoratve pictur ides and would sil not give away the plot. This is one ofthe cardinal rues in sucessfal stra "Tet also that this scene could present some amusing over: tones in a picture — expecially wth am interesting barbershop background, customer character, props, et. I male some rough sketches and isevsed them with the a editor of the magazine He ike the idea, bt he brought up an important etorial is a very necewsry consideration in succesful Tae aidence who Buy and read Cosmopolitan, fe prdominanly women. We have learned over 4 petiod of many years through polls reader research, aon other Inethods of sampling publie opinion —chat our readers prefer petnes with women in them” “This fact of course eliminated the barbershopinterior ide, since the barbershop symbolizes one of the Ins private frontiers for the male. The lea then came up — how sbout moving the seene out in front ofthe shop? If we di that, we could show the fight in full action, with the additional posbiliy of an ‘exciting crowd scene ~ and ofcourse it would be perfectly legit ‘mute co Introduce lady passersby into the picture. returned to my studio and went to work with the fllowing result an edigori illustration that was selected by the Art Directors Club of New York a8 ane ofthe best for that yearDiscarding all my previous efforts at the barber-shop, 29reson QQ Femoue ai ton Coon 30 8 Figure composition — arranging figures ina picture Hake on more work... the drawing keeps growingFFAWOUS ARTISTS COURSE Student york Leston 8 Figure coaposition -- arranging figures in a picture HOW 90 PRACTICE AND PREPARE FOR THIS LESSON ‘This lesson demonstrates that when you compose fa ploture with figures in it, you must show ‘then as real human beings --'people vho express tiood and ezotion, and react to each other. You must consider these human qualities in addition 0 the fundanentels of composition you learned Th Lesson 3. Here are some suggestions for ‘study and practice vhich will help you apply ‘hese nev consideretions to your vork: 1. Make drawings with one or tvo figures, like those you see on pages and 5. Bach figure should clearly express a definite action or enotion and be convincingly related to the ‘ther figure, if there 19 one. The over-all ‘Shape should tell the story ate glance. As you gain experience, make coapositions with fore figures. Look’ through magazines for 41- Uustrations that make good use of figure get: ture or shape to heighten the mood of the pic- ture. 2. Study the effect of the setting on the fig- lure by making small compositional sketches sit Alar to those on pages 12 end 13. Note that every change in the setting affects the figures ‘and their action in sone vay -~ contributing to or detracting from the over-all effect. 3. Make other saall pencil compositions in which you vazy the size of your figures shown on page 15. Be sure the figures are al~ ays the center Of interest tn these compost ‘hone. 4k, controlling the movement of the viewer's sje 6 an tuporvane Fart of Coapesition Re ‘View pages 18 through 21 of Lesson 3 and pages: 119 and 20 of Lescon 8 and then make sone sketches in which you direct the viever's at- Sention to the focal center by the careful ar rangenent of your picture elenents. 5. Folloving the exexples on pages 16, 17, ‘and 21, make sone compositions in vhich you control the movenent of the figures, See how Changing the pouttion of the Tague in rela- ‘ion to the borders end the main picture ele- ents clovs the action of the figure or speeds it we 6. compose crowds. ‘Those should clearly re- veel a basic mood or feeling as shown in the ‘examples on pages 25, 26 ani 27. ‘4s you study and practice, your vhole emphasis fand concentration should be on carefully choos- ing effective sizes, shapes, and positions for ‘the figures and props in your pictures. Keep your sketches simple. As you érav, think! ‘Ask yourself -- Would the effect be Better if I moved these tvo Tigures closer together? Is ‘this one too close to the border? fire the figures too similar in size? Does this whole Plan -- the lines, tones, shapes, etc. -- con- Yey the mood and feeling I want in my pleture? Think! Question! That's the only vay you SEE succeed in coumnieating your feeling to ‘THE ASSTGIGENTS YOU ARE TO SEND IN FOR CRITICISM ASSIOMENT 1. Make tvo figure compositions hich express emotion. In the first one, use one figure -- in the Second, use to figures. Select any two of the folloving woods or eno- tions: fear, love, vorry, hate, surprise, weariness, calm, conflict, Joy, gloom, vidlence, or mystery. Do not cony xy of the figures in ‘the lesson. Create your ovn -~ and be eure ‘they convey the feeling you want. Do these compositions in pencil -- shade then af you wish, but reneaber it 1s the basic ‘tion and shape of the figure that colint = 60 Gon" bother with details. Make these dravings 3b imches vide by bi inches high on e sheet of iix lsincn araving paper. If you prefer, you nay do them on separate picces of paper, cut ‘them out and fasten them down neatly with tape fon an 11 x ah-inch sheet of paper. Jnbel the mood of each couposition and mark this sheet -- ASSIOMENT 1. ASSIGIMGN! 2. Make two versions of the fol- Towing situation, presenting it from two aif- ferent viewpoints. You may select any back Ground or types cf people you vish. If you Prefer, you aay onit the background and handle the pigture as a vignette similar to the pic~ ‘tures on page 11. ‘The action takes place in the living zoom of an average American hone. There are three people presen? (ever, please)Student vork -- Lesson 6 young Harrie, his mother, and Police Hleutenant Wade, As young Harris sits waiting amcouely for the next qua ‘ion from Lieutenant Wade, the attitude of igs mother shove worry’ and bevilder~ ment, Guddenly the policeman vheels fend pointe an accusing finger at the young man, "You dd itl You killed herl” Young Harris gacps, overcome vith gear end horror. fie mother reacts with shock and disbelief. Visualize attitudes and gestures thet clear- ly reflect the feelings described. Here's ‘the place to tse the basic figure to real advantage. It's not the incidental things uch ae a badge or untforn that tell the Story. Tt ie the right gesture, decisively drawn, that really cets the mood. Don't Aopen’ on your menory or imagination alone m= look up reference material, use your scrap Fite, ack friende to pose. Altnough this is fn active seone, the action doesn't have to bbe extrene or violent to be effective, Page 2 Use everything you've learned from this lesson. ‘Aloo use everything you learned about, area, Gepth, Line and value to get the mood and mean- ‘ing of the situation across. Take advantage of individual gesture and expression, but, sbove ‘all, renember it 1s the effect of the whole Conposition that counte most in getting the pic- ture idea across. We vill judge your pictures on hov vel you convey the drena of the situation and how in~ terestingly you ezvange and group the figure: o these compositions in penctl. Hach should eaeure 5} x 7 inches and may be either hori- zontal of vertical. If you do them on separ~ fate hosts of paper, cut them out and mount ‘them together on @ sheet of 12 x Li-inch pap~ er or board. Mark this sheet -- ASSIORENT 2. D@ORDWE: Letter your nave, address and student Gnmber im the lover left-hand corner of each Grav. Gng. In the lover right corer, place the lesson umber and spa ‘timber. Check Your lesson carton should contain: before wailing Assignment 1 ‘Assignment 2 {Return shipping label filled out completely. Mail this carton to: ‘PANGUS ARTISTS COURSE, WESTPORT, CON. c-ho8-B