Famous Artists Course Famous Artists Schools, Inc, Westport, Connecticut The human family— Lesson creating people of all types Albert Dome Fred Ludekens Norman Rockwell AlParker Ben Stahl Stevan Dohanos Jon Whitcomb Robert Fawcett Peter Helck George Giusti Austin Briggs Harold Von Schmidt1 * 90-966 oo we MetFemous Arts Course “18 ‘The human family — renting people of all types The human family— creating people of all types “The human fare has long challenged the artat’sceatve powers tes ability to convey # visual message makes 1c the foremost ‘means of communication in the graphic ars. Its powers of ex presion are xo infnie that the at, throughout history, has onstantly used the fae to interpret vo mankind the inner mear- ing of life ~ the emotions and aspirations of the human family ‘Man is wot merely a marvelous physical and biological wor der. Always remember that this incredible structure houses an inner man with human and spiritual valves. We know thie inner man — who of what he is through hi words and deeds ‘but, most important, we know him threxgh his fee, for man’s face ie the mirror of bis sprit and character ‘Carlier leone we raed how to draw eas ad gures — host to show the face reacting in different expressions, and how to deawe the figure in the remarkable actions it i capable of [Now we will go deeper and learn to interpre the rel meaning fof people ~ the unique character of each enon ~ the personal iny that identifies him as an individual. We shall see how he reacts toward other people and all the aspects of lie that he faces daily and we all learn how to expres thee wings in ‘our drawings and painting ‘Asan aris, you must be aware of the human qualities in people. Before drawing » human being. ask yourelt how he feels what he ip thinking. To the degree dha you len to “feel with” the people you dre and pint, your pittes ill increste in conviction — they will communicate 10 the viewer And make him, in tur, feel thae they ae real ‘Throughout your daily lif, as you talk with people watch television, look at newspapers, magazines, or movies, and record jn your mind and on your sketch pad the things you have ob- served about people, don't study just their looks, features, oF ‘unusual physial diferences. But note and remember their mannerisms and habits how they hold dhelr cigarettes —how they sit and stand ~ what they do with thei hands when they talk —and the hundred and one personal idioynerasies and facial expressions they have, The ilstrator must never setle for people who look alike, who merely stand about, oF go thogh stereoryped actions. Henry Jes, the noted writer once said, "Try to be one af the people on whom nothing is lost." This is another way of saying® See — observe — remember Tn your pictures you must not merely Gee Kypes— you must cceateinividals within these types. Two men may bot Took Tike doctors but cach will have his own personal characteristics sind mannerisms. One person will burst into tears at bad news — nother will sem only co clamp his lips tighter. One gil will tomb her hair and apply lipstick in public, while another wil bbe embarrased a the thought. Tis its like chese that stamp people av individuals You most stimblate your observation to See these things not just what makes a type, but deeper than this, unique human personality. [Norman Rockwell sys that you must either like the charae- ter you are drawing or dislike him but, if you are to ports ee ee et eliyeeeerecsto ewer you cannot be fiferent to him. He must be real t0 you before he em be real to anyone ele, Ax you portray a character, You muse fel love, hate, oF humor much more interaey than You expect it to be fet by the people who see your picture Otherwise you may not projet your feling strongly enough to make itreach them “To mate your characters ring true, you must in a sense, climb right into your picture and idenufy yourelt with exeh ‘one, Without this seldentifeation, the people in yur pictures ‘will be drawn so that they are merely near one another and go ing through wivial facial convortions and actions, rather than "sponding to one another in lifelike way. To the extent that you can capture veal feeling, your pictures wil be convincing to the viewer, will relate to things that he himself has een, fel fF imagined about other people, He will feel sense of im ‘mediacy —and 2 compelling desire to know more about your ‘characters snd the situation in which they find themeelses ‘Torlay, more than ever, you must avoid the type cliché — che unoriginal, undistincive figure or head. Photography has made taemendous strides, and can portray people with wonderful ex presivenes. Sil, ab an arts you have a very great advantage fon your side, The camera is subject to the fixed image and character ofthe model, but you are fice to selector vejet em Dhasite oF minimize whatever you must to distil the telling haracterstis hae make your stbjets interesting and eonvine ing inviits ‘Remember, as you work on this most important lesson, that people ate not Just things, to be drawn as mere Agures~ they axe living creitures, endlessly complex, with souls and aspire tions. Through your intelligent and sensitive interpretation, you can reveal them as real human beings richly endowed with fet ing and personality characers that every viewer can identify himelf with und respond to Life class in your own home he ot site elo hl 6 wise ogenty 1 throne he hones omy nal funatg ve. Ro maar hte pose a et Tah pee pu entre ‘ren cee diy, be mr, ee, pris Eton ry ev od hy. Tie weno oe genre SugePeople around the worldABRERT TORNE Typecasting: characters as symbols ~and as real people “Typecatng isthe exence of good illustration, Just as the movie or television diector chooses certain actors for certain roles be ‘ause they look the par, the ilusteator must create characters that clearly and unaistakably represent che types in the story ‘Vraually evry characier belongs toa baie uma typeof ome sor We have seen that the public quickly recognizes national peti alo can readily Mently the features or mannerians that go to make up each brond human ype. The hero, the and the villain~the law breaker and the lw maker =the good woman ard the bad woman ~ he industialie and the Iaborer—the charwoman and the sich dowager~ the lit (of such types is ends, and 0 ate thelr variations. You have ‘only to close your eye and think of sype, and his image gins ta form in your eid, In Fal life, of course, people do not fall into such neat et cxorien The shy, porticlooking perion may turn out to be a ownicidal maniac and che big, tough killer eype may actully shy, gentle intellectual. The handsome, distinguished: ‘nan with the air of a eapeain of Industry wll often prove tobe a mine, unimportant penton — while che Hide man ‘wth the round, pink face can be the shrewd, haretbiten in Altria. Tn sekectng types for an illustration, however, you fut distegand auch contradictions. The character you draw rust bea good, recognizable example ofthe type or your mex sage wll be confused ‘On thee to pages you see a. number of characters Hach represents a certain type or a variation of a type, They are symbols that immediatly tll the viewer the kind of peri he is ooking at, At the sme time, cach is something more ~ a carefully sie characterition of areal human being Tie important to see types in your ilseatons, Tor he par ove of quick communication, Be cateful, however, t0 keep Your type from becoming stereotypes or lichés~ dull, un Jmaginative repetitions of the same Kind of face. You must explore all the poubilies for interpreting 8 type and project yourself into your characters o intimately that you ean express their personalities and their emotions. Only when you give each fof your character his on unique individuality ~ set im apart from ll other people ofthe tame general ype wil he come to lie a «convincing penon in your drawing See ccateen Femous Ass Coune 1 3 The human family — creating people of all types Creating many types from the same model . Ic ina gond pce to sly the fies you tee every day an aioe aisle teeta genes re eeu a Yo mos alo ear o get what you ned fr your pte from lie mote and phuwpapia Navara ies bata Gat model hat lok ike he char tery wih to drow hin alas pole, however, Pa telly in meal conaniy. Wh you mast do then i et the mos seiable model or photographie relrence you can il si yee bnew ge at eter eee etre aac eg rena cd eats ee neta a en eres Carell compare ech of Fawzi drains with dh pho tegaph of which he bred i Se how has caged th ea {Rae or empha some ofthe fests eet the character ie rants. You wll nox that no mater how mich be erg fernes regs, be il ake ve ofthe trtra norm: {elgg expenion in is model Yo an, of cour tht fre bert bt ning your mode or photograph this say wil help you cen realy elieable, convinng prope1 Norman Rca Th ong ey tt Wo or Variety in expression - faces that have meaning ces are the center of attraction inal man interest, story-telling pictures With their endlem variety of individual characteristics and degrees of emo- {onal commnication, i the faces of the characters in your picture whieh tel the sory you wish to express “The face is a marvelous vehicle for interpreting character and emotion 1 can reveal the thoughts, felings, hopes, and fears of people — the whole eaciting drama of human experince. A face drawn with convincing expres Sion an sensitivity ean stop and dnrigue the viewer, Ica sir hie fmagina tion, and make him went to know tote about the character, And the oppo Sie is jus as true. No matter how well caw the Bead may be, i it lacks txpresion i is litle more than a dummy’ head or a puppet's—and the respon of the viewer wil be indifrent ‘Not all expressions, to be convincing, have tobe exaggerated. They can range from the meres twinkle ofan eye, the quiver of 4 mouth, and sen sitive contemplation, tthe extreme contortion of fear or rage, to unin Iibited joy an the deepest dexpa “The artist just like the actor or tector, must not only observe and re memiber how people show their emotions but he mus learn to “fel with” the character he Is portraying. When you do this with convetion, you sill probably find yoursIt unconsciously going through the sume facial actions you are tying to draw. You willbe frowning. sling, pursing your lips Taising and lowering your eyebrows, As you draw a squinceyed killer you will find your eyes narrowing and your ip clamping shut As you draw a ‘tly carefully each of the faces om these two pages and UY 10 expe rience the emotions they show. Remember, you ca mae the viewer love for hae your characters, or laugh and ry with them. Bue fist you must Tove or late your characters or laugh and cry with them yourselfms 13 Foro At Cane 2 ‘The human family — creating people of all types Attitudes, mannerisms, and gestures the p sce4 Character does not stop at the neckca iii Comat ora Cn Lrg TORDAY tHE SA1 People must react to one another Man was not made for solitude and loneliness. We are born into the human family, and we spend ou entire lives with other people. Ie i imponible for us to be indillerent to them —the ties ate too strong, the awociations too basie. Conscionsly or ‘otherwise, we must react to other human beings. Our reaction tay be physic, mental, or emotional It may be casual subcle, fr powelful, Ie may be tender afecton, open hate, of cold un foncetn, But some response willbe there. We eannot ignore it “This reaction of person to person, which iso fundamental prt of rel life, is ost as important im pictures. The people in Jour illetrations must respond eo ope another I they are in one looks se the ther will show sympathy. Oder reactions are posible, of course —but the expresion oF action of one Character must influence the expression oF aetion of the other “The viewer should not have to puzzle out the emotions and relations of your characters. Nor 2s rule, wil a good illustra tion depend on a caption to explain it. The attitudes and fee ings of your characters should be acted out so clearly that the ewer will unlerstand snd fel the pictare situation ata glance ‘Norman Rockwell's drawing above is a perfect instance of what we mean, Init,» gossip starts a rumor and i seems to travel through an entre community. Finally it reaches the man ‘concerned, and he indignantly confronts the woman who began the whole thing. Study the reactions of thee varied personalities to one another and the rumor, and note how perceptivey the artist has elated the right degree of expresin to each indivi tal type and character. Nobody is indilfeent or expresionlss “everybody reacts n'a characteriate and convincing mannerLes Famous Ais Cause 20 The human family — creating people of all types He and she “There will sivaye be “popular illustration,” and there wil a: sways be the attractive heroine andthe handsome her, Though {he popular fashion in good looks may change, the motional need of average people to identity thense Look a the pictures in almost any popular magazine nd you Eee a eee ate ae ol meet TPS picwres run the entire range of emotion, from the deeply felt Kiss of pasion to the violent lovers quarrel — from the warm, rich companionship of husband and wife to the casual “spark between pasing strangers, Unles: the story situation calls for something dflerent, usually the heroine i featored more than the man, Neither must ever be shown in an attitude that viewers might find offensive. “The romande iustracion is a constant creative challenge even tothe mos gilied and mature ari. Because i is wed 40 fnuch you must always seek new, (rsh ways to picture the boy ‘tl relationship. You must explore every posible approach to 2 given situation, sheme, and setting ~ experimen with diferent owes, viewpoints and compodtons until you develop your own tetigue Yaratons om this old theane, Teday’s readers have al most “seen everything” it takes something fresh and exciting tovinterest them in rending the story or the avertser’s mesiage "When you draw a romantic scene, rewember that it fs Dot cough to show men and women that are merely handsome. Your hero and herbine must never be goo looking wnconvine ing stereotypes. They must be rel people, with peronality and character, Above all they must be people who look capable of feeling the emotion they are suppored tobe feeling, if you want them to atruct and hold the viewer's attention. {) SsAdealizing men and womenvk) ‘The human family — creating people of ll types Fomous Ass Coune 13 LessonThe hair style must fit the characterLo sudotoyoyd suouudyssy EL.otographs Assignment phiFAMOUS ARTISTS COURSE Student work Tesson 13 ‘The human family -- creating people of all types WOW 10 PRACTICE AND PREPARE POR THIS LESGON Our ain in this lesson is to get you to think of the people in your pictures as real human beings -- each one an individual personaliey in Hic mannericns and gogtures as vell a= appearance. Working with this point of view, you can create interesting and convineing peo- Ple that bring to your pictures an emotional quality -- 8 real feeling of life, Here are some study end practice suggestions ‘that vill help you get @ fim grasp on this subject 1. Make drawings of people belonging to aif- ferent types as Albert Dorne does on pages 6 ‘and 7. Work to get real expression and feel- in each person you drav. If you have Trouble in the ectual araving of heads, hands or figures, review Lessons 5 end 6, Bach tine you study then you vill learn and Zemember ‘something new. Find sone good photographs of average heads ‘then, create different characters from thea, ‘using the approach that Robert Faveett denon- strates on pages € and 9, 3. Bperiment vith glanorizing men and vouen ‘fom photos as AL Parker explains on pages 22 and 23. 4. At the end of the 1eszon there are two plates of photos for you to use in your prac- tice work and lesson assignments. Working with pencil on tracing or visualizing paper, create the following different character types fron these models on Plates 1 and 2. PLATE 2 Photo A - A heroine of 18 and a sophie. ‘ticated voman of 35. Photo B- A bard-vorking farm vonan and a kind, sensitive nurse. Thoto ¢ - A scrubyoman ends rich aristocrat. PLATE 2 Photo A - A rough lumberjack and @ busi ‘ness executive on vacation. Photo B- A hero of 20 end the sane man at 5, Photo C - A worried sharecropper and a Gignitied Judge. Before you begin to dray, you should do tvo things. First, carefully analyze the charac- teristics of the model -- the structure of the head and features as well as the expression. Second, visualize the type you want and decide which Of the mode1's charaoteristice should be ‘eaphasized to create this type. Feel free to sake changes tn proportions and shapes just aa Robert Fawcett and Al Parker did in their den onstrations, but base each draving on the Characteristics you see in the model and keep ‘the head in the same position. Draw theas heads about the sane size as the Photographs. Don't merely eopy the: tones in ie photo =~ claigy GF eabbartve, these tence to bring ou the characteriatic forme of exch pe There are many eources that will fumien you ieeas and inspiretion for cresting these vari- ous characters -- fron the photos on Plates 1 and 2, photos from your screp file, people you'yé known, characters you've seen in the movies and on 'N, etc. (THE ASSIGNMENTS YOU ARE TO SEND IN FOR CRITICISM ASSIGIDNT 1. Select two of the types you rested 70H the aseigment photos (one woman land one men), following the instructions above. Cat these drawings out and mount then on an 11x bsinch sheet of drawing paper. Print under each head the type of character T€ zeprasentes ‘These heads should show real personality and expression and be definite types. At the sane ‘ine we vent to see thet you bave really weed the basic facta structure and unique charac- ristios in each create your om Teal, cotvineing people -- not just dumnies ‘Et toe copia Gr istetags in the Leuson text. Mark this sheet assrorent 1. ASSIGWENT 2, TLivstrate the folloving situ- ‘ation. Whether you choy a close-up view or full figures, be sure that the people domi (over, please!Student work -- Lesson 13 nate the picture. If you show any background ‘cbjecte or areas, keep then secondary én importance. What we vant you to concentrate (on 1s the appropriate characterization, ex- pression and gestures of the people and their reaction to one another. The Story Situation: A young man, a col- lege Junior, has a simmer job ac lifeguard ‘ata Fosort hotel. One of the guecte at the hotel is a lovely blonde of eighteen vho falls in love with the handsone lifeguard, AL is going vell until a striking, well- potsed brunette in her mid-tventies arrives ‘at the resort and decides to amuse hersel? by seeing hov quickly che oan break up the Aeveloping ronance. Page 2 Use ink, wash, or opaque for your rendering. Make your picture approximately 9 x 12 inches (it can be either vertical or horizontal) on an DL x li-inch {lustration board, Your picture may be done with a background or may be a vignette. Mark this draving -- ASSIGINENT 2. In criticizing your assignments ve will be chiefly concerned with: ‘The soundness of your deaving. Hoy vell you have expressed the character and feelings of the aifferent people. IMPORTANT: He cure to letter your nase, address, ‘and student mmber neatly at the lover left-hand comer of each essignnent. In the lover Fight corner, place the lesson umber ant assighment number” ‘Your lesson carton should contain: detore mailing Assigment 1 Assigment 2 1 Return shipping label filed out completely Mail this carton to: FAMOUS ARTISTS COURSE, WESTEORT, comm, c-ta3-0