Professional Documents
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Art & Illustration Techniques
Art & Illustration Techniques
$18.95
-Uhistrcrtion
lechniciues
by Harry Borgman
Techniques and materials abound, but
what materials do you select for a certain
job and how do you use them to obtain the
effects you want? For beginning or intermediate artists and illustrators these questions are often major concerns in their desire to become more accomplished and
skilled. Harry Borgman, the noted author of
Drawing in ink and Landscape Painting
witli Markers, has now written a guidebook
for artists and illustrators that explains how
to work with a wide variety of mediums
individually and in combination with each
other.
After a brief introduction, Borgman begins with a case history outlining one of his
own
reference
style,
material,
outs.
He devotes
book
to the various
lay-
methods of working in
mediums: pencil, ink line, ink
tone, markers, watercolor designer's
colors, acrylic p'^ints, and mixeo "ledia. For
each of these mediums, Borgman often
eight different
ditional hints,
this
plates.
Index.
WITHDRA itfi
t'i
'liosion Public
Cil)rar^
OECCOWES
:71THENAEUM-
'7UND
v.
0^
^
^
^
o^^
?5^s>^
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Copyright
First
1979
published
a division
New
in
1979
in
in
New
1515 Broadway,
Published
in
New
10036
York, N.Y.
Ltd.,
WC2B 5PB
Congress Cataloging
Bergman, Harry.
Art and illustration techniques.
Library of
in
Publication Data
Includes index.
1
I.
Art
Technique.
2.
Graphic
arts
Technique.
Title.
N7430.B55
741.6
ISBN 0-8230-0272-1
All rights
reserved.
No
reproduced or used
in
79-16228
/
\
'
'
^'^/^^^SO
may be
graphic,
systems without
and
retrieval
Manufactured
First Printing,
in
U.S.A.
1979
To
my
Contents
8
''ntroduction
Part
Developing an Illustration
1.
Case
Part
2.
11
History
12
Art Techniques
25
27
?enci.
'^nk
Line
36
''nk
Tone
46
Markers
56
Watercolor
70
Designers Colors
85
98
Acrylic
Mixed Media
113
Part
3.
Color Section
127
Part
4.
Additional Hints
161
Drawing Aids
162
Getting Ideas
170
Developing Yourself as an
Index
Artist
173
175
Introduction
not a basic drawing book, but
rather, one that deals with the subject of drawing and painting techniques. It is written for you,
a potential painter or illustrator, and also for the
developing artist who is eager to learn more
about painting. You should be fairly proficient in
basic drawing to really get the most out of this
book. Actually, before attempting to do any
painting, it is best to first develop your drawing
skills, at least to the point where drawing is not a
problem. This way, you will be able to concentrate more fully on painting, which, as you may
This book
is
realistic,
and
as much variety as
possible, I hopefully will give you a thorough
knowledge of how the various materials handle
as well as what can be done with them. What I
am attempting to do is to give you a good
traditional. In presenting
and abstractions to advertising illustrations. I have included paintings that have been
done from life and others done using photo-
scenes,
graphs
uct of
for reference,
my imagination.
styles,
niques, which
find
doing non-objective paintings. I also find watercolor challenging and exciting, and use it a
great deal.
Of course, I enjoy my profession of illustration, but the rigors of meeting tough deadlines
can be quite wearing. This is a fact that should
be given full consideration, if you are thinking of
entering the commercial art field. In other
words, do you feel you can work well under a lot
of pressure?
What
Is Illustration?
You may wonder just what the field of illustration encompasses and how it differs from painting. Illustration is just what the word implies: a
picture, a drawing, or even a diagram that ema book, article, or advertisement. Illuscan also be a form of painting, often exe-
bellishes
tration
most
illustrations
or limitation,
I
in-
known
illustrators
and renowned
painters as
well.
Max, a
top-flight
commercial
field.
artist, is
Some
now work-
of today's best
most
are those
creativity.
is
is
then
ink,
and
book through,
markers, and
finally, paint.
more
Water-
so
painting I would recommend
that you begin with designers colors gouache.
color
when you
acrylic are
start
difficult to use,
Do
not try to
do
too
much
at once.
Do
not
work
in markers,
medium
until
it,
or at least
comfortable when using it. Remember to carefully study each step in the demonstrations as well as the color reproductions of
until
you
feel
medium. The best way to really learn is by making mistakes and starting over. On the other
hand, do not take on a project that will be too
much for you. For instance, do not begin to use
acrylic by painting on a 5' x 6' 1 5 x 2 m) canvas.
The rule should be: Build up to advanced projects gradually. All of your beginning efforts
should be small drawings or paintings oi simple
(
subjects.
INTRODUCTION
IHustration
many stages
an advertising
seen a brochure I produced for Texstar Corporation, and he felt that its design quality would
work well for the Sogitec ad. We discussed
what was wanted in the ad, and we decided 1
should work up two or three rough concept
sketches, which could then be presented to the
client. The results of this meeting would give
us the direction for the final illustration.
It
is
book,
A Case History
This particular assignment proved to be a rather
difficult one with an unusual number of client
-.sf-?-cj^ y>
These spot
illustrations
were done
on the
initial
12
right
were presented
to
meeting.
Putraitersntcte^l^ir<itic'n mdustYielle
This
On
this
rough
added
the
A CASE HISTORY
13
(Above)
The
client
(Right)
decided that
we
it
fighter, the
new
a
Mirage
Dassault
man
Jet
2000.
Falcon.
checking a catalog
in the
foreground. Since
training area, they
14
was done
the
same
16
is
job at
this
illustration is finished.
Here
is
the
new
and
and white,
already showed the client
it
was done
in
black
how
felt
that the
cameramen
A CASE HISTORY
17
larger
and
be seen
better.
basis for
that
used as a
my painting.
18
had a
difficult
none
of the aviation
L"^..J^
^irf^;
s:S.
^O
v^
i.
fill;
PC
STEP
had
finally
illustration.
My
the
deadline
is
on tracing paper.
drawing
to
unable
new motor
in
A CASE HISTORY
19
20
If I
had
first
for
tended
to
keep
all
the white
board itself.
ment
decide
first
olive,
adding a
little
Higgins
platform, letting this dry completely. Then I indicate the structural details of the rocket and platform with a wash of the water-soluble black ink.
Using WinsorSi Newton watercolors, 1 wash a
light value of manganese blue over the refinery
and over the top part of the aircraft. 1 mix a little
ivory black with the manganese blue and paint
this on the underside of the wings and fuselage for
the shadow tone. The bright reds and blues are
added to the insignia, and a dark, neutral tone is
painted over the cockpit section.
A CASE HISTORY
21
STEP 4.1 continue working over the whole painting, hut not finishing any one area. As I get
everything filled in, 1 begin to have a pretty good
idea of what the final illustration will look like. It
is now becoming apparent that the color around
the rocket is too bright and is overpowering the
rest of the illustration. I tone this section down
using opaque designers colors. A few more colors
and values are changed throughout the picture
and now I begin to finish everything in detail.
Opaque designer's
22
and
up
the refinery
train is
completed
the
in
Si
SOGITEC
INDUSTRIES
'/>/,
,i:^..>c;:ci.
.U/AVLUl
itreprises ?
the illustration.
A CASE HISTORY
23
Tecnniques
This part of the book covers eight basic
categories containing 24 different demonstra-
of the first
necessary groundwork to handle the more difmediums in the book. Pencil is a good
place to start from, since everyone is already
familiar with it. The first demonstration is an
example of a simple graphite pencil line drawing with tones of gray, and this is followed by a
more complex type of rendition with a charcoal
pencil. The third demonstration is drawn with
a different kind of pencil, a Stabilo All, which
has a waxy kind of lead. You should concentrate your initial efforts on working with the
different pencils, learning how they work on
the various paper surfaces. Practice the exercise suggestions, then do your own drawings
based on what I show in the demonstrations.
The second category is ink line. Demonstration 4 is a simple line drawing to which I
add a tone, also made up of lines. The next,
Demonstration 5, is an example of a brush ink
drawing. At first, using the brush will be a little
difficult, but practice will help you to develop
the control that is necessary. This is important,
since facility with a brush is a requirement of
good rendering. Demonstration 6 appears
quite complicated. It is a Crosshatch line rendering done with a crowquill pen. If you study
ficult
with a
still life,
A still
life
Demonstration
16 is
an
illustration
done
It
is
ren-
Pencil
Anyone
by using
Venus are all very good brands. Drawing penuse a lead grading system ranging from 9H,
which is very hard, through to 6B, which is very
soft. Grades F, H, and HB are in the medium
range.
generally use an HB for much of my
work, but prefer a 2H when drawing on a
smooth surface such as bristol board. In addition
to the regular drawing pencils, mechanical-
cils
Many
different
market, but
may prefer
the
think
you
kneaded
rubber type. 1 have
shaped this one to a very
fine point for erasing
small areas or for picking
out highlights.
PENCIL
27
Try
tone.
light to
28
to
quite
rag, creating
a smooth,
to light; start
>t -'*.'.
'"^^
water
when
is
PENCIL
29
DEMONSTRATION
Graphite Pencil on Smooth Bristol Board
1
Step
It is
to
do a few rough
the scene
drawing
is
Then,
just
it
is
transparent
make changes
or corrections
or2B.
i'
and
therefore easy to
by simply tracing
over your previous drawings. For rough sketching 1 prefer to use a softer pencil, such as the HB
cause
'ill::
-VYX
Jeanne
in
London,
13^4"
x SVi" (35 x
24.
cm)
Step
creates a
is
PENCIL
31
DEMONSTRATION 2
Charcoal Pencil on Regular Surface Bristol Board
Charcoal pencils are a little more difficult to use
than regular graphite pencils because they are
softer and tend to smudge, which is advantageous when the drawing requires lots of shading.
To prevent smearing, I usually lay a piece of
tracing paper between my hand and the drawing while I work. For this drawing I use a 4B Art
Stroke charcoal pencil on a 4-ply regular surface
Strathmore bristol board. The regular surface
has a slight tooth or texture to it.
Step
tion
(Left)
32
Step
14'/2"
13" (36.2
x 33 cm)
ground
tone,
ing.
darkened
slightly
and
the
drawing
is
finished.
PENCIL
33
DEMONSTRATION 3
Stabilo Pencil on High Finish Bristol Board
enjoy working with a Stabilo All pencil, espeon a very smooth-surfaced board. With
this type pencil, you get a very black line and a
different feeling than with a charcoal or graphite
cially
pencil.
The
Step
tion
34
Step
2.
some very
Now /
spot in
interesting effects.
some
(Right)
Step
3.
finish the
the blacks
cm)
'/^i^
^"^ /^^('Z>i/ni>tn/L/
d>f^/nY
PENCIL
35
Ink line
Ink is a fascinating medium that encourages
bold, direct work. With just a few simple lines, it
It
remarkable
is
very personal
pencil.
In this section,
range
will
more
to
rapidly.
board. For brushwork, buy only the finest quality red sable brushes, since the cheaper variety
will not hold up or even work very well when
new. A No. 3 or 4 brush should be about right for
doing most drawings.
As you advance, you will need some other
drawing tools. I would suggest a technical pen
with a fine point, a very handy instrument for
outdoor sketching since it carries its own ink
supply. I would also advise purchasing a variety
of different pen points, so you can experiment
with them. If you want to study ink techniques
further, my previous book Drawing In Ink, published by Watson- Guptill, covers line and wash
techniques as well as specialized ones such as
scratchboard.
tools
use
crowquill pen
sheet or a
36
INK LINE
37
Q&)Jj\U)i^)^
m.
On a piece
of
smooth surface
bristol
hoard, practice
Ot m^m-m^^^
Practice
with
drawing a variety
of lines, including
some
texture.
slowly.
llllll
Practice
them
drawing horizontal
closely, without
lines until
Follow the
this
Draw many
38
lines of
Try
to
i,i
I
I
im /i ji
,* I I
,
^^^
-- '-
"
:-...
^^
^
53"
-*-i*
BSi S3BBSSSsx:
*:^:s:
>-.rf^-.i^--^-'.
as;
Practice
-^
""
M^
rsTg
'^'I.-cs
2
S^
India ink
Practice
draw
lines
to start with.
When
the brush
is
little
can
be achieved.
Draw brush
light to dark.
textures
Try the
dark.
INK LINE
39
DEMONSTRATION 4
Loose Ink Line on Smooth Bristol Board
Of the many ink styles and techniques, I favor a
loose rendition as I have used in this demonstration. I often use a fine-pointed technical pen for
this type of drawing. For the black accents, I
sometimes use a brush or a pen that draws a
heavier line, such as a Speedball lettering pen.
Speedball pens come in a great variety of styles,
weights, and points.
Here, I use smooth-surfaced bristol, which
same day.
'..
':
.^.:^>^
>'
rvi-;.,/
f^
-lift
// 1
h
\u>^
-7
'^
ij\y
i
'.-
r,9.
V Jv^x
AM
V;<
/
'I'i
40
fete)
hi
sm
Step
2.
strokes,
interesting outside
shape hy
/f/iAM^ /? rUqA^.A/\A^
Rodeo,
113/4"
combination of the two pens works on the rendering of the calf. It's done quite loosely, and
this actually helps to convey the action of the
scene. To finish the drawing, 1 add a few ground
textures.
INK LINE
41
DEMONSTRATION 5
Brush Drawing on Watercolor Paper
Drawing with a brush usually seems quite
dif-
(Right)
2.
It does not take much to finish this drawsimply fill in the tree trunks with the ink.
Because of the roughness of the paper, a little
white shows through on the trunks. This is a very
simple type of drawing that can be done onthe-spot. It is also very good training for learning
how to use the brush. Doing quick drawings like
this will prepare you for working in watercolor.
Step
ing,
42
Paris,
9^/*"
x 14V^"(24.8 x 36.8cm)
INK LINE
43
DEMONSTRATION 6
Crosshatch Pen Drawing
There are many different ways to add tones to
ink line drawings. A very useful method that is
easy to learn is Crosshatch. By drawing lines
over lines, you can create different tones of gray,
depending how close together the lines are
drawn. Two important factors are how thick the
lines are, and' how many times they are drawn
over one another. It is best to keep Crosshatch
Step
is
done by projecting
board.
reference
bristol
my 35mm
do this drawing
quickly since it is really more of a diagram to use
for the ink rendering. Then, using a No. 659
Gillott crowquill pen, 1 begin to ink the drawing,
and
details.
Step
door,
2.
1
lines in
On
one
the
start to
light.
i
44
12^4" (27.7
^^"f^/y^y /i^,,u-n4
x 32.4 cm)
to
added
45
Ink Tone
Another way to add tones to ink drawings is to
use water-soluble ink washes. A basic ink drawing, if done with India ink, will not dissolve when
you add the washes. You can also render
sketches and paintings by just using the watersoluble ink, without first doing a line drawing.
Generally speaking, ink washes work best on a
surface that has a slight texture such as coldpressed illustration boards and rough-surfaced
boards.
you'll
need a
bot-
of
In this section,
various ink
46
INK
TONE
47
and add a
drop of
water-soluble ink for the next tone. Try to get each tone
just a little darker than the previous one.
with a very faint tone,
little
Now
black
try to
to
W^:^
some
dry.
48
When
flat tone.
it
is
still
the
same
how
the
flat,
light tone of
flat
little
same
conditions.
Over a
Paint a light,
it
to
paint over
lot
this,
can
INK
TONE
49
DEMONSTRATION 7
Ink Washes over Line Drawing on Rough Watercolor Board
a simple ink wash technique to start with.
It is basically just an ink line drawing to which
wash tones have been added. I use a similar
This
is
technique
when
times,
just
room,
if
-"^
50
and add
.^!M'l4^MWBfJRI^yiiSJJ^WaJLJW
pened paper
I
Aa
3
--
Mont Saint-Michel
38.1
cm)
INK
TONE
51
DEMONSTRATION 8
Ink Tone
Wash Drawing
The
Step
To begin,
& Newton
sor
and
draw
tol
board.
dampen
the
whole board
the
52
Omdurman
Step
Market, Sudan,
15'/2"
33/4"
(39.4 x 34.9
cm)
When
add more
INK
TONE
53
DEMONSTRATION 9
Ink Washes with Water-Soluble Ink
While Demonstration 8 was an example of a
loose, spontaneous technique, this illustration is
more carefully planned, yet handled in a flat,
simple manner. Before starting the actual drawing and rendering, I first make a couple of pencil
sketches to establish my composition and gray
manner
realistic
example
tones. This
that could
create dimension. This demonstration was rendered with only two tones of gray and black.
fit.
yfc
ilk.
54
/fAlny
Village of Onekai, Surinam,
14"
^f/i -i-*V
cm)
INK
TONE
55
Markers
For the beginner, markers are probably the
quickest way to get started working
in color. An ideal medium for quick sketches,
drawings, or even paintings, markers are used
extensively in advertising for roughs, comprehensive layouts, and TV storyboards.
Because they dry so rapidly, markers are
easiest
and
warm
or cool grays,
and
others.
If
56
and black.
bottle
can be opened,
and
on.
If you are interested in further pursuing
marker techniques, the subject is covered quite
(Below)
made of nylon
"^""
itm
r
'rr
i^NBf^
QJ^^NT
fine line.
pointed nibs.
MARKERS
57
Over a
The
first
the tone
and on
is still
to
flat
58
ART AND
ILLUSTPIA.TION
TECHNIQUES
to
understand how
and
over
how
11^1
Bender a
flat,
sfrc
-.
Draw
much.
Draw
MARKERS
59
DEMONSTRATION 10
Markers on Tracing Paper, Portrait
l11llim\'Ar^\^
Step
right.
1
warm
60
gray.
Step
and shadow
Stephoni,
10"
12" (25.4
x 30.5 cm)
Step
MARKERS
61
rm
DEMONSTRATION
Markers on Tracing Paper, Mechanical Subject
1
In this demonstration,
the
Step
62
reference,
cars,
ple, orange,
background
for the
MAP^KERS
63
% m^
V.^
^\
Step
ir^
W^
grc
pic
ore
k
64
Grand
Prix, 14"
IBHz" (35.6
x 41.9 cm)
effect creates
and decide
same
thing over the foreground cars, blurring the wheels. This adds
quite a bit of motion which is so important in this
picture. In the background, I now dampen an
area with a light suntan marker; then with a rag,
1 quickly wipe the color away before it dries. This
to try
the
MARKERS
65
DEMONSTRATION 12
Markers on Smooth Bristol Board
I use a different paper
a Strathmore 4-ply regular surface bristol. This board has a slight surface texture, and I
use it frequently for ink drawings. Another bristol surface that works very well with markers is
the smooth, high finish type, which can also be
used for ink drawings. Unlike tracing paper, the
bristol board surface is absorbent, and the
In this demonstration,
surface:
Step
1. First,
draw
this
scene on a regular
2H graphite
pencil. Since
graphite pencil, I
the
marker inks
66
will dissolve
and putty.
and water.
add some
brick
MARKERS
67
f-:
and
68
other
shadow
areas.
tone oi flesh
is
now
Many
details,
such as
it.
IIVb"
12^2" (29.5
31.8
cm)
Step
httle
mustard on the
To coordinate the
brick beige to all the
wall.
add
MARKERS
69
Wotercolor
Watercolor holds a fascination
for
many people,
down
Many brands
70
of
and one
colors,
rust-proof box.
You should have a good selection of watercolor brushes, starting with Nos. 4, 5, and 7, but
only use the finest red sables. You will also need
a couple of inexpensive, wide sign-painter's
brushes for wetting large areas or painting
large, flat washes. Watercolor paper is available in rough, medium, or smooth surfaces and
can be purchased in individual sheets or in the
more convenient blocks, which are made up of
many sheets. The Arches watercolor blocks from
France are very fine papers to use. Here again,
you will just have to experiment with the different papers and surfaces to find out your preference. Before you begin working, be sure to
practice the exercises.
Ill*
and
Pelikan
is
box by
outdoor work. Winsor &
is
very popular
brushes
to
areas.
WATERCOLOR
71
Wet your paper with clear water first, then put a color
tone over this. While this tone is still wet, brush on
another color and study
Try
to
results,
flat
first
Try
to
how
to
dark.
While this is still wet, paint over a color tone and add
another color over this. Then dry the area with a
blotter for
72
an
interesting effect.
flat tone.
of color
In this
On
strokes.
WATERCOLOR
73
DEMONSTRATION 13
Watercolor on Watercolor Paper, Portrait
Watercolor can be quite difficult for the beginner. This demonstration is a fairly simple type of
watercolor and it does not take very long to execute. When you first begin using this medium,
do small studies like this, gradually working up
to more complicated subjects and larger paintings. You could start by painting from
When painting,
Ik
-O
r^
Step
7A
medium.
2.
121/2"
and
ivory black.
it
on the vase.
WATERCOLOR
75
mixture, and
paint in the details on the flowers
shadow tones on the hair.
76
color
little
blue,
is
used
is
added
as the eyes.
to
black, cobalt
1
use
and
this to
for the
Notice
that
this
overworked-something
about when using watercolor. Many of the elements in this painting, such as the flowers, have
been indicated quite simply. It takes a great deal
of practice to be able to render in a simple, direct
manner.
WATERCOLOR
77
DEMONSTRATION 14
Watercolor on Hot-Pressed Illustration Board
You do
smooth, hot-pressed illustration board a surface not normally used with watercolor.
Many of my paintings are derived from
small sketches done with markers or pencil. I
keep drawings like this in a file for possible transformation later into larger studies or even paint-
Step
78
ings.
Step
peach
WATERCOLOR
79
Step
3.
80
11" (24.2
x 28 cm)
table.
it
the painting.
WATERCOLOR
81
DEMONSTRATION 15
Watercolor on Rough Watercolor Board
is the most natural for the
watercolor medium. It works best when colors
are used very wet and allowed to run and blend
This painting
was
scene.
was done
in
my
one of my
photographs for reference. Actually, the photograph was taken on a sunny day, but I thought it
would be more interesting to make it a rainy
but
studio, using
^ -.<r''*T'
tf?
tf^
7->,^
'
*-
,
A>
""
:^'^'
f
*
Step
Faher
First,
"X-.
J ,J^
draw
ultra fine
is
washed over
background.
do
this
so the washes will spread evenly. Now I completely dry the paper surface with an electric
If you are painting outdoors on a hot,
sunny day, you will find it difficult to keep the
paper damp when you want it that way.
hair dryer.
82
Step
the
3.
A wash
of Venetian red
is
painted over
more,
of
it.
now add
and let
painting
and they
also clarify
many
of the de-
Next,
light,
so
olive
gteen
to
darken
it.
Before proceeding
dry
WATERCOLOR
83
12'/2"(32.1
x 31.8 cm)
5. / decide to darken the background buildbecause it seems a little light. Now the other
buildings appear too light, and 1 darken them
with a wash of Venetian red and Winsor blue. 1
Step
ing,
now
tires,
84
Designers Colors
Designers colors gouache is a different medium
than watercolor but can be used like it, i.e. in a
very wet manner. This medium can also be used
in an opaque way, or you can add water to the
opaque mixture and paint non-transparent
washes. Designers colors are very popular and
used extensively by commercial artists; they
work exceptionally well with an airbrush.
The most popular brand is Winsor & Newton,
because they are top quality paints. I have used
them for many years and highly recommend
them. They are available in a wide range of
colors about 80. This can certainly be confusing
for the beginner, but you can get an introductory
set consisting of ten colors. At first, however, you
may just want to buy a tube of permanent white
,
and
ivory black.
while, until you
medium.
Designers colors work very well on most
S13
i;'
PiimtDst
(SIGNERS
.OUCH(
OESIGNtRS
OOUACHi
GOUACHE
4>-
DESIGNERS COLORS
85
Try to paint a very flat, even wash tone. This can best
be accomplished by first wetting the paper surface
with a large brush and clear water. Then, while the
paper is still damp, wash your color on.
Paint
surface dries.
can paint.
it
without
dampening
the surface.
Paint an
strokes
spreads
86
in
comparison
to thin,
Try
to
to
dark.
transparent washes.
.^:^
Paint an
can create.
Mix a very
permanent
should
and
result in
dry brush
the
one
much
water;
effects.
DESIGNERS COLORS
87
DEMONSTRATION 16
Designers Colors on Rough Watercolor Board
Probably, more commercial illustration work
has been done with designers colors than anyother medium, no doubt because they are so
versatile.
watercolor
is
washes (as
and opaque.
thin, in
First,
88
This demonstration
thin
mixture,
wash
add a
little
Step 2. A mixture of permanent white and ultramarine blue is painted on the middle ground
area. When permanent white is used, rather
than zinc white, the paint mixture will be more
opaque. The zinc white is much better for painting opaque washes. 1 brighten the sky considerably with a wash of turquoise blue and zinc
white. The background mountain color is
warmed up
wash
of red.
A mixture
of ul-
DESIGNERS COLORS
89
Step
3.
riders
bit
by adding a
90
snow.
washed on
//"/;.i'*"''n^vu
On Aconcaqua,
12"
14" (30.5
x 35.6 cm)
light
low,
yel-
the
DESIGNERS COLORS
91
DEMONSTRATION 17
Designers Colors on Illustration Board
an example of a more complex type of
which was done for an advertising
brochure. Frequently, an illustrator is asked to
do preliminary sketches, which are shown to the
client so that any changes can be discussed
before the actual ad is presented. In this demon-
This
is
illustration,
stration,
will
i^iiinav alrsadyTiavE^smi
jf*
<1-^^
Step
am
Here is the layout that I received from my agent in NewYork. Actually, it was a copy of the original layout, but
it gave me a good enough idea of what 1 was
supposed to do. My representative also telephoned
me
so that
asked
ahead
92
to
we
was
art.
Step
3. This is the
to
use
when
is
prehensive sketches.
painting com-
comprehensive sketch
that
sent to
New York.
DESIGNERS COLORS
93
^^m
5^
^ hie^
CAV<^^
^15^
This
is
showing
like this
show
all
came hack
helps
to
with
my sketch,
comprehensive layout
establish just what the client wants to
the corrections.
in the illustration.
It
also eliminates
any
94
aircraft is
much
larger
and in
Step 4. Using a 2H pencil I make a basic drawing on a high-finished hristol board. When I am
satisfied with my drawing, I begin the painting
by putting in the orange background. I must
render this area first because all the other colors
in this illustration
must relate
to
the
orange color
DESIGNERS COLORS
95
I.
t;-
-"
iiv^^aar^ iwsfrr
,:.i-F-w^ '*_?.
Step
tiii-'yT^'rPKv- rf.
of the picture.
gray
color.
(Right)
and
was a rather difficult
assignment, since 1 had a very tight deadline and had
Here
is
96
\I>Y \V<)\...
THE CLASSIC
SUPERSOOTC
SWEEPSTAKES
Sf^\
\'^W\
a;
^jvo**ir-v
H
^'''
.**'^.^B'
H9.
(niiNl
V\'\iA\
V $^i
riff Ri
(U^l
14'/2"
DESIGNERS COLORS
97
and cannot be
dis-
can be used in many different ways: very thin and wet (like watercolor),
or very thick for impasto effects (like oil). The
brand I prefer is the Permanent Pigments
versatile
medium
that
Liquitex colors.
If you have never painted before, I certainly
would not recommend starting out with acrylics.
They can be difficult getting used to, and you
could become discouraged rather quickly,
which could be a setback to your progress. Before starting to use acrylics, acquire a good
knowledge of designers colors.
1
a teacher, having seen over and over how difficult this medium can be for the beginner. Once
you get used to working with acrylic, you will
enjoy them immensely, as I do. A great deal can
be done with this medium, and to give you a
98
better
scope
of
its
range
of techniques,
have
added an
one another.
Acrylic can not only be thinned with water,
but can also be used with a polymer gloss or
matt
medium
to
achieve glazed
effects.
often
tool that
find to
be
excellent
is
the Poly-brush
has a wedge-shaped
(shown
in the photo).
It
to
be
ACRYUC
99
different colors.
flat,
titanium white.
over
this.
When
opaque strokes
and dry.
pamt over
it
try to
to
100
wet,
white.
color
thick
is stiU
it
Paint a
Over a
Paint ail
flat
by using
Paint a thm
still
wash
of color
different color.
wash over
this,
this is
using a
Paint
Paint a
opaque
paint.
ACRYUC
101
DEMONSTRATION
18
to
Step
bristle
brush
to
draw a couple
with an umbrella. (There were quite a few
people on the beach that day visiting the area.) 1
draw
am
not at
will take,
all
and
even sure,
at this point,
whether
will
do a
realistic or
Often
start
finished piece.
cobalt
and
white.
102
and
is
If
the paint
drawing underneath
is
applied too
be lost. To
will
avoid
this, I thin
making
it
more
ri-^-.^u
Omaha
(91.4
x76.2 cm)
ACRYUC
103
DEMONSTRATION
19
Acrylic Paint on
Canvas
This demonstration is an
objective painting, which
and design
example
is
of
essentially
a nona color
study.
of painting
type
to other techniques.
As
in
Demonstration
18,
this case,
teresting merger.
1. 1 start hy mixing up a light neutral gray
color using titanium white, mars black, cobalt
blue, and raw umber, which is brushed over the
whole canvas with the Poly-brush. I mix this
color in a covered jar, so that it can be used later
Step
tV
Step
2.
bothers me, so
blot off
some
is
possible
When
dried,
had
some
of the black
off,
ter to
used
thickly, it takes the acrylic paint a couple of
hours to dry completely. Now that I have blotted
dried.
it
is
much
bet-
104
WCXCTM
Prospect, 36"
cm)
colored shapes to the central part of the painting. Then, three black shapes are painted in and
the painting
experiment.
above
and
feel that
it
was a
successful
ACRYUC
105
DEMONSTRATION 20
Acrylic Illustration on
Canvas
ing,
my
For
asked
to
Step
106
to reI
still
decided
Step
3.
Here
is
tional sketch,
ACRYUC
107
4. 1 begin the finished illustration hy drawing directly on the canvas with a No. 4 sable
brush and designers colors. Using the designers
colors 1 can draw with finer detail than 1 would
be able to do with acrylic paint. When finished, 1
spray the drawing with fixative so it will not
dissolve when 1 paint over it.
Step
Step
washed on
the
later.
orange
darker
highlight effects
last.
A few
108
ART AND
ILLUSTPLS^TION
TECHNIQUES
:t^3f-^"
Aerospatiale/Nordsat Illustration,
Step
ACRYUC
109
DEMONSTRATION 21
Acrylic on Canvas, Figure Study
In this demonstration
draw directly on
canvas with a
let this drawing dry thoroughly before painting in my
Step
1. First,
bristle
10
the
could have
will not
he
oxide,
and a
little
ACRYUC
111
'^
Step
this
12
Mixed Media
I
many
over
MIXED MEDIA
113
/!'-'/f"f|l|Ji| il
A.v
On
5!
:f
..f
##
ttfj
Draw some
tones
and
lines with
and
14
tones dissolve.
Draw some
Wash some
and
wet. drop
tones of dyes
little bit
r
I
IPl^
and
same
is still
on the
how
"^S^
1
Paint
some
to
washes with
paint.
Markers can
MIXED MEDIA
115
DEMONSTRATION 22
Designers Colors and Colored Pencils
is not the only medium that works will in
combination with other mediums colored pencils and marking pens can be used quite successfully with dyes and paint. The pencils used
in this demonstration are Prismacolor by Eagle.
They have a very extensive range of 60 colors.
They are not water-soluble, but there are other
brands available that will dissolve when water
is washed over the tones. Complete illustrations
Paint
16
^
Sfep
in the
this
lines, to
ing.
painting.
very
MIXED MEDIA
117
Step
the shirt
and a
18
Pris-
Hillsdale Rodeo,
Step
4.
pencil,
burnt ochre pencil, darkening the value. 1 decide to add a burnt sienna shadow from the
figures since they seem to be floating in the air.
MIXED MEDIA
119
DEMONSTRATION 23
Ink Line and Designers Colors
shows a very interesting
technique that enables some line drawings to be
converted to full color art. This process, of
This demonstration
Step
1.
This illustration
Step 2,
where
damp,
still
lYi" (4
'tLm'
120
j^k
j>
Step 3. / conXinue painting over the whole picture
using references when adding the details to the
aircraft.
Here
is
hook.
Drawing
in Ink,
This
is
the underpainting,
illustration
it.
step-by-step demonstration.
MIXED MEDIA
121
A^i4/f
18"
12" (45.7
x 30.5 cm)
in position
122
i^^/M '^yt^
DEMONSTRATION 24
Markers, Dyes, and Designers Colors on Cold-Pressed Illustration Board
demonstration combine marking pens,
and designers colors on illustration board.
In this
dyes,
I
often
jects
Mark pen
achieved by
clear water. These pens have a very
dissolving Dri
Many
were
lines with
fine point
start
Mark pen
by
directly
first
For
Step
2.
With a Winsor
& Newton
No. 5 brush
MIXED MEDIA
123
I add yellow to
and to the lady's hat and shawl. These
dyes are extremely bright and also dry quite flat
and even. I use ivory black designers colors for
the royal guard's hat and pants. 1 wash orange,
blue, green, and red dyes over various areas of
Step
3.
the parrot
124
the illustration
and
there.
The
up very well at this point. Using designers colI mix up a tone of sky blue, black, and zinc
white, which is painted on the underside of the
aircraft for a shadow tone.
ors,
Step
MIXED MEDIA
125
c-sr^
book you
A CASE HISTORY
Ink, Dyes, and Watercolor on
This illustration
is
essentially
Illustration Board,
Composite Subject
& Newton
watercolor
to
keep
128
first
sketch,
V**^^^
first color rough layouts that were
establish the general direction of the ad.
Although these sketches are quite loose and
done
to
ad
MIXED MEDIA
129
changes
The illustration was
done by first doing a basic drawing in graphite
pencil, then 1 went over this drawing with diluted India ink. The color tones were added with
washes of watercolor and dyes, and in some
areas opaque designers colors were used.
(Right)
like.
that will
be
This
is
Here
headline,
130
Si
de ces
SOGITEC
INDUSTRIES
27, rue
entreprises ?
Alors contoctez-nous.
MIXED MEDIA
131
I
DEMONSTRATION 10
Markers on Tracing Paper, Portrait
Tracing paper is a very compatible surface for
marker techniques. The marker dyes do not
quite soak into the paper but rather lay on top,
allowing you to rework areas. You can easily cut
back into darker tones by overpainting with a
Stephani,
132
10"
12" (25.4
x 30.5 cm)
DEMONSTRATION
Markers on Tracing Paper, Mechanical Subject
1
This
is
page
the
10,
Grand
Prix, 14"
x 16V2"(35.6 x
41.9
Bestine is a rubber cement thinner that also dissolves marker inks. To get the feeling of smoke
and dust in the background, 1 first go over the
area with a light sun tan marker and wipe the
color away with a cloth, while it is still wet.
cm
MARKERS
133
DEMONSTRATION 12
Markers on Bristol Board
This painting
is
here is much softer than that achieved on tracing paper. Markers work nicely on most types of
paper surfaces and board. Experiment with different surfaces so you will become familiar with
the many effects that are possible.
/r^nJAyj
134
"
12'/2"
(29.5
31.8
cm)
5"
DEMONSTRATION 13
Watercolor on Watercolor Paper, Portrait
is done on a watercolor
a pad made up of many sheets of watercolor paper. The colors are painted in boldly
without overworking, something you must be
block,
very careful
to
avoid
when
using watercolor.
The flowers and other details are simply indicated with bold strokes. Watercolor can be a
very difficult medium and you must plan what
you are going to paint before you put it down. It
is
not easy to
WATERCOLOR
135
DEMONSTRATION 14
Watercolor on Hot-Pressed Illustration Board
For
this
watercolor
it
is
painted from
and choose to
136
11" (24.2
life, I
treat the
x 28 cm)
painting
in
shadows are
also used as
DEMONSTRATION 15
Watercolor on Rough Watercolor Board
This type of painting is a natural for the watercolor medium. 1 start this painting by first doing
a drawing on the board with an Eberhard Faber
done
on-the-spot,
it
does have
that quality of
WATERCOLOR
137
I
DEMONSTRATION 16
Designers Colors on Rough Watercolor Board
In this
the
example
same manner as
watercolor.
in
much
start out
hy
ways.
l!
f
OnAconcaqua,
138
12"
14" (30.5
x 35.6 cm)
II
DEMONSTRATION 17
Designers Colors on Illustration Board
This illustration
was
started hy doing a
sketch, which had to be
first
painted comprehensive
presented to the client. For this I do an accurate
graphite pencil drawing, and niake photostats
of the printed size. 1 paint the colors directly on
the photostat. In this way, 1 could quickly paint
two or three small comps and select the one 1 felt
worked the
for
best.
The
client
me to incorporate in
10" (36.8
x 25.4 cm)
DESIGNERS COLORS
139
DEMONSTRATION 18
Acrylic Paint on Canvas, Impressionist Technique
is a fascinating nnedium that can
he used niany different ways on various surfaces. You can paint in a manner similar to oil,
or even paint wet and loose as with watercolor.
This scene was painted after having visited the
Acrylic paint
Omaha
cm
140
El^^
DEMONSTRATION
19
Acrylic Paint on
Here
is
an example
paintings
Canvas
enjoy doing.
It
is
basically a study in
ACRYUC
141
DEMONSTRATION 20
Acrylic Illustration on
Canvas
This illustration for the French aerospace program is done on canvas with acrylic. 1 start the
onstration 20,
142
15"
18" (38
x 46 cm)
106.
Aerospatiale/Nordsat Illustration,
page
DEMONSTRATION 21
Acrylic on Canvas, Figure Study
very much the
same manner as oil. 1 start this painting by
drawing the figure directly onto the canvas with
a bristle brush and black acrylic paint. In this
This figure study
is
painted
in
,^*,^ /^AV^/*t^4
ACRYUC
143
144
cm)
ing
is
fairly realistic,
quality.
it
washes
won
ond
prize in
in
Michigan,
sec-
a
Makola Market,
19'/2"
19'/2"{49.5
x 49.5 cm)
ACRYUC
145
This scene
146
action,
ACRYUC
147
148
cm)
city
shape
is
painted
DEMONSTRATION 22
Designers Colors and Colored Pencils
Mixing mediums can be very interesting but it
does not have to be limited to paint. Using colored pencils with paint can be a fascinating
combination that offers great possibilities for
experimentation In this painting. 1 start out by
drawing the rider, horse, and foreground figures; then 1 add designers colors washes over
,
MIXED MEDIA
149
'v^
DEMONSTRATION 23
Ink Line and Designers Colors
This technique
trations
way
is
because
-K^
.150
^iM^
18"
12" (45.7
x 30.5 cm)
on
illustration
DEMONSTRATION 24
Markers, Paint, and Dyes on Illustration Board
For this illustration 1 used marking pens, ink,
designers colors, dyes, and even acrylics. Most
mediums will mix quite well and just about any
combination will work. The basic drawing for
Travel Montage,
15'/2"
this illustration is
wash over
MIXED MEDIA
151
/ti.Xi^/C
<^/fv^iUu,^^f//:^'f
Cairo from the West Bank of the Nile,
152
10"
9" (25.4
x 22.9 cm)
Khartoum, Sudan,
7"
MIXED MEDIA
153
154
wash
nique
for
an excellent
tech-
much
this.
use
of the illustration
work 1
13" (29.9
this
technique for
do.
/ 'm$%.
"^V
Illustration,
P/4"
x 33 cm)
MIXED MEDIA
155
washes of designers
as opaque color,
colors
and acrylics, as
well
156
cm)
c^C^
My
Medium
my
are
effect,
in the clouds. If
painting
had
MIXED MEDIA
157
Ace Books,
colors and
158
illustrations for
On
Inc.
A paperback
man
by Robert Lory
Professor Harmon's
to ancient
begins a
visit
Transylvania
new expedition
realm
most fearsome
cliaracter!
i.
IS-
Paperback Cover
MIXED MEDIA
cm)
159
this
sketch in
le
service
foxboro
OKboto [xt>lon<)('. t.inl en iiniL>nt
Ui nniion du service
Le Centre de demonstration de
f
quen aval.
Clichy pFcsonlo
ki JoncIicrinetiK-'nt
CassstarKe a
du
la
nnse en oeuvre
apr^s-vente e) la lormatton
Le service information reunil
des sp6cialisles qui stxit a voUe
enjj^e disposrtion Potir tous
renseignements. demanded
le fesponsable du sccleur alinwnlairc
ae( ? 70 63-00)
la
presence
foxboro
Foxboro en France
Steg* Social
Agenca du Sud
Est
AgenoderEal
67000
sii.jstn:n
FoxborO
Foxboro Brochure,
160
I51/2"
x 12%"
(39.4
x 32.4 cm
Addihonal
Hints
Most
artists
have
first dis-
Finally,
share:
how
Drawing Aids
many aids that can
simplify difficult problems and also save a great
deal of time. While most of these things are not a
necessity, they can certainly come in handy.
gan.
wash
correcting can be
case, the least desirable
method would be to paint out the mistake with
white paint and redo the area. This method can
work, but the results look rather unprofessional.
The best method to correct ink line drawings or
wash paintings is to use an electric eraser. You
simply grind the board surface clean, then paint
or draw over the clean area. Eraser plugs are
available in two grades, one for delicate work
such as wash drawings, and the other for
metal
tougher jobs such as ink line drawings.
erasing shield helps to limit the area being
erased. Another alternative to using white paint
for corrections is the fiberglass eraser. This eraser
is excellent for correcting ink line drawings.
line or
rather
illustrations,
difficult. In this
when want
make
eliminates the step of tracing your tissue drawing with a tracing sheet. A projector also enables you to easily enlarge or reduce your sketch
or drawing. This is done by simply moving the
projector back and forth and focusing the lens
until the desired size is achieved. My projector is
mounted on a platform with castors for easy
movement. I use the Beseler Vu-Lyte 1 1 which is
equipped with a special reducing attachment.
The reducing device was not standard, but was
added by Lewis Artist Supply of Detroit, Michi-
162
to
or watercolor
N0.13M
WorkabU
Fi'XATiF
M
RA<r
COATING
fixative for
DRAWING AIDS
163
164
On
to
technical
pen
F-WMaeg'>-.-.^
lift
use
pliers to
DRAWING AIDS
165
tissue
be transferred to
illustration hoard. To make a tracing
sheet, ruba4B or 6B graphite stick on a
sheet of thin layout paper or tracing
drawings are
to
Keep rubbing
the
dampened
cotton
166
bi
to
paint a large
flat
is to
tone.
An
indispensable item
block.
is
a sanding
to
DRAWING AIDS
167
This
is
to
the
carrier as
168
This
is
It
is
to specific
areas.
DRAWING AIDS
169
'
Getting Ideas
One of the best idea sources for painting is photographs. You can base paintings on your own
photographs, or' even get ideas from pictures
found in magazines or books. Some good
sources for painting ideas are nature and travel
publications, such as National Geographic and
Town and Country. I prefer to use my own photographs as painting idea sources and am constantly taking pictures for future use. Over the
years on trips and vacations I have accumulated
quite a collection of material.
You really don't need expensive camera
equipment for shooting reference material, but
a camera with interchangeable lenses offers
obvious advantages over a fixed lens camera. 1
use a Nikon FTn reflex camera for most of my
photography and include a 135mm telephoto
and a 24mm wide-angle lens as part of my gear.
Your choice of camera should be according to
your own preference and what your wallet can
handle. Do not overlook the used camera buys,
which will allow you to buy more equipment at a
lower
cost.
In my business of advertising art, I am frequently up against severe time deadlines. Often, this time factor does not allow me to have
film developed or prints made and I must shoot
my reference material with a Polaroid camera.
In fact, most of the time, when doing advertising
work, I rely on my Polaroid 180 camera.
Another good source for painting ideas can
be sketches or doodles. Doodles should be kept
a file and your sketches, if done in a sketchbook, kept on a bookshelf for future reference.
with
a2x
teleconverter to turn
tripod
is
is
necessary
when
shooting
nl ^'^
far11k HR
tr4bB
"*
'''
r^
m:
'"*"
'"^
1k^
'
wi^miM
1^^
4
W^
'
1
m
li
ART AND ILLUSTRATION TECHNIQUES
II
170
into
in
it
w ^B
''V
^Hn^ Hud
paintings.
When traveling,
try to
fill
a sketchbook with
(L^ft)
GETTING IDEAS
171
P-Y
offer possibilities.
172
and
different
filters.
"t
Developing
Iburself as
an Artist
When
artist
you,
and
reason
it
is
a good idea
to
do a
outdoor sketching.
"seeing."
beginning
artist
tapped.
Also, associate with other artists so that you
can discuss problems and become exposed to
other points of view. If you admire the work of an
file
on the
artist's
work
velop as an artist.
Before ybu paint, you should have a pretty
good knowledge and background in composition and basic drawing. I would suggest taking a
few basic and life drawing classes. Even if you
can only take one class in the evening or on
Saturday, it will help you immensely. After a
or illustrator, start a
It
is
Many
artists feel
certain medium. To
you prefer one medium over another,
you must explore them all.
find out
if
Many
The field
lucrative and is
artists.
full of
opportunities, especially
New York, Chicago,
such as
and
173
your
field
and
in
'demand.
a large
agency
and ask
and
174
since
positions.
petition
of
work must be unique and good enough to interest a gallery owner. If this field interests you, try
to enter as many shows and art competitions as
possible. Winning a couple of prizes can certainly help gain the attention of a gallery owner,
who in turn might exhibit your work and represent you.
It is not very easy to be a successful artist,
but it certainly can be worth the effort. The rewards, both monetary and personal, can be
great. How far you go is up to you, but there is
always room at the top for fresh new talent.
Index
Numbers
Ace
with acrylic
medium, 157; \wlth designers
illustration
145;
techniques, 98-112
Ad Markers, 56
Advertising Brochure Illustration, 97,
139
Aerospatiale/Nordstat Illustration
109, 142
AiT Battle, 157
Along the Seine, 69, 134
Ancient Door at Carcassonne, 45
Aquarius paper, 152
Arches paper, 70; special MBM, 74
Arian, 106
Art Stroke, 32
Beseler projector,
162;
116;
19,
Vu-Lyte
opaque,
162
D,
Borgman, Jeanne,
Jeanne)
Brush drawing,
26,
162169
in Ink, 36,
120
Eagle Prismacolor,
Turquoise, 27
Eberhard Faber,
Design Art
Marker, 137
English, Mark, 9
Crescent board,
Crosshatch pen,
25, 44,
Higgins Water-Soluble
45
98-112
markers, 56-69
Ink, 21, 54
Lewis
Artist
31
84. 137
Supply, 162
Lisa, 35
Louvre, 12
Magic Markers,
how
to get,
Illustration, 8, 9;
170
washes, 25
56, 78,
106,
129,
130,
160
Ideas,
82, 144
pencil,
Illustration,
156
Demonstrations
acrylic,
45
London,
Letraset, 56
Castell TC, 40
77, 135
in
London Rain,
Fixatives, 162
Grand
173,
Jeanne
techniques, 46-55
Hans, 9
Cairo, 154
A Case
54, 55
exercises, 48, 49
Erasers, 162
152
Tone
Jeanne,
56, 82;
42, 43
Carcassonne, 44
Career possibilities,
colors, 150
exercises, 38, 39
Erni,
Ink
paper, 85
techniques, 85-97
aids,
Ink Line
techniques, 36-45
exercises, 86
opaque, 22
Drawing
Drawing
colors, 158
exercises, 100
19,
Designers colors
brands, 85
demonstrations, on illustration
board, 92-97, 139; on rough
watercolor board, 88-91, 138;
with acrylic, 159; with acrylic
and" opaque, 156; with colored
pencils, 116-119, 149
paint
and dyes on
illustration
board, 151
exercises, 58, 59
techniques, 56-69
types of, 56, 57
Markette pen, 104
Mars Lumograph, 27
Masking tape, 162
Max, Peter, 9
Mechanical subjects, 62,
Mexican Travel Brochure
133
Illustration,
155
Mirage
jet aircraft,
22
INDEX
175
Mixed Media
demonstrations, additional
examples, 152- 160; designers
colors and colored pencils,
116-119, 149; ink line and
designers colors, 120122, 150;
markers, dyes and designers
colors on cold-pressed
illustration board, 123-125;
markers, paint, and dyes on
illustration board, 151
techniques, 113125
Mont Saint-Michel at Dusk. 51
Permanent Pigments
ink line,
ink tone,
Omaha
Beach. Normandy.
26. 103,
140
53
Illustration, 158
56
Parrish, Moxfield, 9
Pelikan watercolors, 70
Pencil
demonstrations, charcoal on
regular surface bristol board, 32,
33; graphite on smooth bristol
board, 30, 31; stabilo on high
finish bristol board, 34, 35; with
designers colors and acrylic on
illustration board, 155
exercises, 28
techniques, 2735
types of, 27
Edited by
Phebus, 107
Photography, use of, 170
Pinnacle Books, 159
Prismacolor (Eagle),
176
in
1 1
149
19,
162;
Memphis
Vu-Lyte
H,
opaque,
162
Remington, Frederic, 9
Rodeo, 41
Methodes, 106
Surinam, 125
Techniques
acrylic, 98-112
Light
Texstar Corporation, 1
Town and Country. 170
Travel Montage. 125. 151
Triangles, 162
Troy, 148
Turquoise (Eagle), 27
Venus, 27
Donna Wilkinson
Point
3645
46-55
markers, 5669
mixed media 1 1 3 1 25
pencil, 2735
watercolor, 70-84
,
Liquitex, 98
techniques, 7084
The White Horse, 33
Winsor & Newton
Wyeth, Andrew, 9
Wyeth, N.C., 9
X-acto knife, 27,
Harry Borgman was born in Detroit, Michigan, and worked for many years in that
city. His work, encompassing a wide range
of mediums from ink line drawings to full
color illustrations, has appeared in books,
advertisements, and magazines. His varied
work experience has included positions at
Campbell-Ewald Company, as Art Director
for Chevrolet national magazine advertising, and Art Supervisor for Chevrolet sales
promotion. For the last few years, he has
worked as a freelance art director, illustrator, and advertising designer, dealing with
agencies in New York, Chicago, and Detroit. In addition, as former Chairman of the
Advertising Department of the Art School
of the Society of Arts and Crafts (now
Center for Creative Studies), he taught
cartooning as well as advertising design
and illustration.
A recipient of Michigan Watercolor Society awards and Scarab Club prizes, Mr.
Borgman has shown in Michigan Artist
Shows and is represented in Chicago by
the gallery Yolanda In addition to working
in ink, he also uses acrylics and watercolors and likes to do lithography and
sculpture. Whenever his busy schedule
permits, he and his wife, Jeanne, are always ready to take off for an exotic destination to relax and find new subject matter
He now lives in Pans, where he works as a
freelance art director and illustrator
Mr. Bergman's previous books with
Watson-Guptill are Drawing in Ink and
Landscape Painting
with Markers.
ISBN 8230-0272-1
Jacket Design by Jay Anning
WATSON-GUPTILL PUBLICATIONS
step
Step 2
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Finistied Illustration
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