_An ....

·rew Loomis

THE VIKING PRESS · NEW YORK · 1947

10 the furtherance

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as a profession for young Americans,

is respectfully dedicated

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- - - - - . __. .• I . I I

May" ... ", I exp, rress here, m'y" ap' "p-'reciation of and gr~- - atitude for .

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CONTENTS, INCLUDING ILLUSTRATIONS

(The illustration pages are indicated by italics)

.. OPENING ellA T

17

Find Eye Level of Copy and Make

Figures Coincide 43

Approaching the Subject in Different Ways 44 Perspective Alone M tty' Adel Variety 45 Using Line to Produce a Focal Point

in Subject 46

Providing an "Eue Pa,tlllvay" in Composition 47 Attention Devices 48 Cet Attention by BuiZc.iing C outrast

of Line or Shape 49

TIle Belauonship of Line to Emotional

Response 50

Bad Composition Brings Negative Response 51

Various Types of Vig11cttes 52

A Vignette Is a Design Pure atul Simple 53

Simple Line Combines Effectively tCitll

Solid' Blacks 54

'ITHE FORM PRINCIPLE AS A BASIS OF ApPROACH 21

PART ONE: LINE,

Frontispiece

THERE AnE SEVEN PRtMA.F\Y FUNCTIONS 'OF LINE

24

25

L'ne Is Mo~e Than Merely "Outline"! 26

L,ine Is Proportion witlt Imagination 2·7

Line Produces Formal Design 28

Line Produces lnjormol Design 29

Overlapping Line and Areas' the First

Principle ot Composition 30

Using the First Function of "Line for Itseli"

for C omposition 31

. Composition May Be Based on Letters

,and Symbols 32·

Composition May Be Based on

Geometric Forms 33

", The "Fulcrum-Lever" Principle Applied tv

Composition 34

'Use Formal Subdivision fur Sy"~rnetrical

C omposiiion 35

.... Introducing Informal Subclit1isiun .'36

A Demonstration of Informal Subd-it)'i~on 37

.' Figure Compositions Based on

Informal Subdioision 38

Informal Subdivision ls Purely Creative,

Not Mechanical 89

". Perspective Guide Lines Help Y ou to

C om,position 40

'~verything You Draw Is Related to an

Eye Level 41

(~ye Level, Camera Level, and Horizon

, ' Mean the Same' 42

Combining Pen Line Treatment wi tIl

Black Areas 55

Pen Dra1JJi11g I~'1 Built on a Principle 56

Pen Drawing Is Concerned Mostly with

57 Shadou:

Pen-and-Ink Procedure 58

Follow the Form witl! the Pen Strokes 59

Decorative Treatment in Line 60

The Brush Used Like a Pen 61

Dry Brush. 62

Adding "Spatter" 1'0 Line Mediums 64

Dry Brush and Black Pencil on

Grained Paper 65

Black Ink, Black Pencil, and

Poster White on Coquille Board 66

There ,Are New Possib'ilities in

This Combination 67

9

C,'ONTENTS, I.NCLUDIN'G lLLUSTRA'TIONS

C"S j"" G' iii d p-

",'ang'fJ'z'ne on" -rame ", a,per

Black Pencil on 'Grained Paper Drawing Procedure

Drauiing, Ab'ove All Else, Puts 'Y,Da Over Black and White Pencils o'n Grey Paper Poster White and Black Ink o'n Grey Paper Charcoal on Gre,yPaper'

Dry Brush on Grey Paper with Whites "Scratch. Board~'

Crafti'nt

68 69 70 71 72 73 74: 75 176

78

PART TW'O: TONE

Frontispiece

THEBE ARE FOUR ESSENTIAL PROP',ERTIES OF TONE

81 82 83

Basic Intensities 01' Light V,ersus Shadou:

The Four Properties of Tone Explained Setting up a Consistent Relationsh,ip of

Light to Shadow,

The Meaning of Key and Value M anipttlat-ion .

The Four Properties of Tone

Explained (continued)

A Si'mple Lesson in Value Relations,hips Composition by Tone or Pattern

There are Four Basic Tonal plans

84

85

86 87 ,88

89

How to' Look for the "Meat" in Your Subject 90 If It's Worth Painting" It's Worth Planning 91 "Thumbnail" Planning of Tonal Pattern or

A'rran,gement 92,

'The Sub;ect Itself Ojten Su,ggests the

Tonal Plan 93

. Four of the 'Thumbnails Transposed to

Blac,k-and- W,h·ite Oil 94

The Comp,let'ed Sketch 95

Old Mother Hubbard Is Your Problem

TECHNIQUE IN T'ONAL MEDIUMS Formulating an Approach Technical Approach

D tail .. i etar

The Treatment of Edges Where to Look for Soft E,dges The Lens Sees Too Much

The Eye Selects

,Stre'saing the Planes and Accents Breaking Up the Too-Smooth Tones Ad;usting Tone and P attern

T'he oUBig Tone" Approach

The Direct Approach

The Soft Approach

The Br.ittle Approach

Th- "BI ck :U 'T tIn' ~ d 0' h

e _ 0 Y : .rearr ent ann _. t ers

The cf~Bloc'ky"~ Treatment

Pa,i'nting Doum or Across the Form, ~'~Scumblin,gn

THE TO'N,AL MEDIUMS

Charcoal as a Tonal Medium Charcoal and Chalk on Grey Paper Gre,Y Paper with Other M ediums

:C arbon Pencil as a Tonal M ed'ium

(Smooth. Bristol)

Carbon Pencil on Reg'ular Bristol Carbon Pencil on Illustraucm Board Wash with Dry Brusli

Wash as a Tonal M edium

'Wash Is One of the Best M edium» tor Reproduction

Opaque Wate"r Color (18' a Tonal Medium Thin Black-and- Whi,te ,Oil' Scumble

Suppose We, Take a Subject and Wo,rk: It Out 96 HowAIm PYLI:

},IOI

, 97 98 99 100 101 102 103 104

105 106 108 110 112 114 116 118 120

121 122 123 124 125 126 127

128 129,

130 131 132

133 ,184

185': ,',

, . ".'_

IS·· ,a

:.~··d'

CONTENTS, INCLUDING ILLUSTRATIONS

Comments on Howard Pyle' s Theory

of Approach 138

. Tonal Sketches of Some of p_yZe3's Pictures 141

.. The Relationship of Tone to Color 142

The Form Principle Applied 143

Preparing Samples in Tone 144

Submitting Samples 145

PART THREE: COLOR

Frontispiece

A NEW ApPROACH

Presenting the Spectrum. as Related to Light and Shadou:

COLOR

All Color Is Relative to SllrrOl.l11ding Influence

146 147

148 149

150 151 152 153 154 155 156 157 1.58

Color Is Strongest in the Light

Color Is More Thall Local Color Look for Color on the Edge of Light

... The Limitation of Color in Pigment Relating Color by Tonal TI1HllCJ1Ce Toning the Spectrum or Palette

: Foot Sub;ects in "Toned Color"

Don't Be Afraid of the Greys of Nature - Blue Creen, Yelloio, and Cool Red

as a Scheme

159 160

Painted with Yelloto as a "Toner"

. Color Considered as UT one" in Its Natural Relationsl~ip

:: . Color, Its Function and Charm

. The Primary Color Groups

161 162 165

. The Primary Color Croups=Color Shades 166

'Color Selection and Background 167

'~. What to Do WIlerl Your Picture Is

. Dead in Color

168

~:The Emotional Effects of Color

'.

169

11

Outdoor and Indoor Color 170

How to Experiment with Color 171

Experimental Color Roughs Worked Out 172 A Subiect Worked Out in Color from

Black-and- White Copy 173

What Is Color Charm, and

How Can We Know It? 174

Should We Eliminate Black from

Our Palette?

175

PART FOUR: TELLING THE STORY

F roniispiece

Tl-IERE ARE FIVE ESSENTIALS \VHAT Is ILLUSTRA~l'ION?

176 177 178 179 180 181

The Essentials of Tcllillg the Story Stagirlg Your Subject

"Thumbnail" Settings

HUlC to Get Suggestions from Clippings 182

Fig·ures Su~gested on Tracing Paper 183

Pllllltling Dramatic Action and Poses 184

Establish. the Act-ion Before Hiring a Model 185 TIle Essential Arrangement 186 Arrangements Based on One of the

Precious Roughs 187

Embellishment 188

Using the Camera to Obtain Working

Material 189

T}le Illustrator's Scaling Screen 190

The Scalin.g Screen and Camera Distortion 192 Camera Distortion 193 DrawiIlg to Avoid Photographic Distortion 194

Camera Dramatics

195 196

A Single Ligllting Works Out Best

Use Your Camera to Catch Emotion and Expression

197

CONTENTS, INCLUDING ILLUSTRATIONS

St'udying tile Character

198

PART SIX: FIELDS OF ILLUSTRATION

There Is No End to Facial Expression and

Character 199

Manufacturing Convincing Emotion 200

Expressions Tell the Story 201

Loss and Cain in Backgrounds 202

Examples of Background Loss and Gaif~ 203

What ,Is Faking, and What Is Imagination 204 N ever Guess When You Can Find Out 205 An Imaginative Subject Need Not Be

~~ F akedu 206

The Originality Is Within the Conception 207

Frontispiece

THE MAGAZINE AD

The Approach to Good Advertising

Illustration

Using Your Freedom Twenty-Four Types of Ads Types of Magazine Ads

224 226

227 228 228 230

PART FIVE: CREATING IDEAS

Relating Your Illustration to the Whole Xd 236

Developing the "Co-ordination Sense" 287

A Typical Magazine Ad Assignment 238

A Typical Agency Layout 239

Rough Compositions tor the Picture 240

Final Arrangement Based 0" Photos Taken 241 The Finished Advertising Illustration 242 What Is the Future in Magazine

Advertising? 243

Better Taste ill Magazine Advertising 244

THE OUTDOOR POSTER 245

How a Poster Is Divided into Sheets 246

Typical Poster Arrangements 247

A Typical Poster ASSignment 249

The Idea Roughed Out 250

Halftones of the Color Roughs 251

The Finished Poster 252

Frontispiece 208

A LOGICAL METHOD 209

The Plan of Working Up a Qllestionnaire 210

Searching Basic Appeals for Ideas 211

A Sample Questionllaire 212

Rough Ideas Developed from the

Questionnaire 218

A Different Approach from the Same

Questionnaire 214

Creating Ideas from Basic Appeals 215

Scribble While You Think:

Think While You Scribble 216

Your Scribbles Are More Original

Than Your Camera 217

Get Used to Sketching from Lite 218

You Get Something the Camera

Can~t Give You 219

DISPLAY ADVERTISING 253 Displays Are "Point of Sale" Merchandising 254

Working Up Ideas for Displays 255

Types of Lithographic Displays 256

Working with Display Lithographers 258

Sentiment the Keynote of Illustration Psychology Applied to Covers and Calendars

220

CALENDAR ADVERTISING

259

221

Basic Appeals Applied to Calendars 260

A Calendar Can Be Anything That Is Good 261

There Is Even Psychology in Comic Ideas 222 Essentials of Good Calendar Illustration . 262

Ideas in General 223 Painting for Calendar Reproduction 263

12

CONTENTS, INCLUDING ILLUSTRATIONS

I~VERS AND JACKETS

t$ome Jacket Arrangements

r· .

:::·STORY ILLUSTRATION

;:'·What Do· the Magazines Want?

264 266 268 269

PART SEVEN: EXPERIMENT AND STUDY

Frontispiece EXJ1ERIMEI\1T AND STUDY

284 286

Finding Subjects for Experiment and Study 287

• Putting the Fundamentals to Work 270

· Exciting and Unusual Arrangement 271

.'. Style and Technique ill Story Illustration 272

Illustrations That Sell the Story 273

· Questionnaire for Starting an Illustration 274

Working Out a Typical Story Illustration 275

Miniature Rouglls [or the Illustration 276

Developing the Actual-Size Hough 277

· photo of the Model 278

· Study from the Photo 279

: The Final Interpretation 280

· Head Studies for lllustrutions 281

· Getting into Story Illustration 282

)~our Pencil Can Keep Busy Practice Heads All You Can

288 289 290 291 292 293 294 295

.

St·udy of an Old Ma1l

A Sample Illustration Sketching

Figure Painting Outdoor Sketch, in Color Portrait Sketch in Color

CLOSING CHAT

296 299

ANS\VERS TO QUERIES

13

OPENING CHAT

DEAR READER: fort. I do not contend that anyone can draw or

With the wonderful response given my earlier paint. I do contend that anyone who can draw or

efforts, I believe that through this volume I shall paint call do it better with more knowledge to

be greeting many of you as old friends. The ac- work with.

ceptance of my last book, Figure Dratving for All Let us aSSUIIle, then, that you have ability YOIl

It's ·Worth:l has encouraged me to continue, for wish to put into practical channels. Y011 want to

there is still much worth-while knowledge in the kllOW how to set about it. You want to paint pic-

field of illustration, beyond the actual drawing of tures for magazine stories and advertising, for

figures, that can he set forth, It is one tllillg to billboards, window displays, calendars and cov-

draw the figllrc well, but quite another to set that ers. You want every possible chance for success.

figure into a convincing environment, to make it Let us not be under any illustons. At the start I

tell a story, and to give it personality and dramatic must admit that there is no exact formula that

mterest. In short, the .figure means little as a good can assure success, B11t there are unquestion-

drawing only. It must accomplish something- ably forms of procedure that call contribute a

sell a product, or give realism and character to a ' great deal toward it. Such a forlIlula might be

story; its personality must so impress the beholder possible if the character, technical appreciation,

that he is moved to a definite response emotion- and emotional capacity of the individual were not

ally. so much a part of ~he ultimate results, For that

My purpose is to present what, in my experi- reason, art cannot possibly be reduced to exact

ence, have proved to be the fundamentals of illus- Formulas devoid of personality. Devoid of per-

tration, To the best of my belief, such funda- sonality, creative art would have little reason for

mentals have not beeoTorganized and set forth existence. III fact, the individual expression is its

before. So I have attempted to assemble this greatest value, the thing that forever lifts it above

much-needed information, trusting th at my own picture-making achieved by mechanical means. I

efforts in the active fields of illustration qualify shall not presume to quarrel with the camera. But

me to do so. I shall try to make clear the funda- I contend that even with all its mechanical per-

mentals that apply to the whole pictorial eHort Fection, the real value of photography is in the

rather than to specific draftsmanship of the figllrc individual perception of the cameramaIl and not

or other units. I shall ~ssume that yo~ can already in technical excellence alone. If art were only per ..

draw with considerable ability and have some fection of precise detail, the camera would dis-

background of experience or training. In this. pense with the need for artists. But until we have

sense the book will not be built around the early a lens endowed with emotion and individual p~r-

effort of the begioller, nor is it for those interested ccption, or having the power of discrirninating

. only in drawing as a hobby. It will be for those between the significant and the irrelevant, the

having a bona :fide desire for a career in art and artist will always dominate the situation. The

the determination to give it all the concentration camera must accept the good with the bad, take

.and effort such a career calls for. Success ill art is it or leave it-must reproduce the complete un-

.·by no means easy, or a matter of puttering at it in emotional and literal appearance of whatever is

.odd moments .. There is no "gift"" or talent so great placed before it.

; .. ~titcan dispense with the need for fundamental May I impress upon every reader that il1tlstra-

knowledge,' much diligent practice, and hard ef- tion is life as yOll perceive and interpret it. That

17

OPENING CHAT

is your heritage as an artist and is the quality rector prefer a photo to a well-executed painting.

which will be most sought for in your work. Try The difficulty lies in getting the painting or draw-

never to lose it or subordinate it to the personality iIlg that is good enough,

of another. As far as you and YOllr work are con- If we are to carry our craft forward" increasing

cemed, life is line. tone, color, and design-plus the volume of good art to anything like the pro-

your feelings about it. These are some of the tools portionate use of photography or m.eeting the

with which we all work and which I shall try to indisputable demand, it will not be through

enahle you to use. You will work with these tools the imitation of photography, nor even through

as YOlI see fit, but Iny hope is that from this book greater technical ability. It will COIne tIlrougll

YOlI Inay gain added knowledge of how to usc the greater scope of the illlagillation 011 the part

them, of artists. It will come also through greater tech-

Throughout my own early career I felt all ur- nicaI freedom leaning away from the merely pho-

gent need for Just this kind of help. TIle need is tograp,hic, and through greater individuality. To

still evident, and I have taken the problem upon try to COIn pete with the camera 011 its own ground

myself. My ability as an author call be set aside as is Iutile. We-cannot match its precision uf detail,

of little importance. We have the common ground For straigllt values and local color (which we will

of knowing that the tllings I shallattempt to talk hear more of, later) there is little we can add.

about are of tremendous importance to both of But for real pictorial worth, the gates are, wide

us, to our mutual success=since I intend to re- open.

main as active as possible in the field. I wish you You may be certain that the greatest pictorial

to succeed, as much as I wish to succeed myself, value lies in all the things the camera cannot do.

for tile sake of our craft, which is more important Let us turn our attention to design, looseness and

than we are. freedom of technical rendering, character, drama,

If illustration is expression, it becomes a trans- inventiveness of layout, the "lost and found" of

position of thought. So it is thought transposed to edges; subordination of the inconsequential, and

an illusion of reality. S11PP'OSC I speak of a man accentuation of the important. Let liS incorporate

'with a face as hard as flint. A mental image is con- the emotional qualities so sadly lackillg ill photo-

[ured tip in your imagination. However, the image graphic illustratiollt Let our product be as differ-

is not yet sharp and clear, This qua.lity of hardness, ent Irom the photo as our individual handwriting

a subconsci.ous interpretation you feel, must be is From printed type. If we make the drawing, the

combined with realism. The result will not be a values, and the color sound and convincing" from

copy of a photo nor of a living model. It is a there on we need not compete. From that point

transposition of yo'ur individual conoeption to a on there is nothing to stop USt and fro:m that point

face. You work with yo'ur tools of line, tone, and on the public actually prefers art to photography.

color to produce that quality, Devoid of feeli.ng, The drawing, values, and color are only the

you could hardly paint. that head, stock-in-trade, the jllmping-off placet That much

Draw~ng for mere duplication has little point is expected and taken for granted. What we do

t it Y d it b tt ith beyond these will determine how far we go in

o 1, . ou may 0 ir ne er Wl .' your camera,

Drawing as a means of expression is the justifica- illustration.

tion of art over photography, Art directors have Drawing as drawing alone is not too difficult.

told me that they use photography only because Drawing, for the most part, is settin.g down con-

of the mediocrity of available artists, The demand tour in correct proportion and spacing. Spaces

for good work far exceeds the supply, Therefore can be measured, and there are simple ways and

commercial art has had to lap over into photog- means of measuring them. Any old line around a

raphy as the next best bet. Rarely does an art di- contour may be correctly spaced. You can square

18

OP'EN" ····,'IN .. ,C'· .' C···'H·A:·T

. .' . . ':' ',. _. . . - .-

. .

,1,.- copy, measure by eye, or project it, and get

~at kind of drawing. But real drawing is an inter.:preta:tiofi, selection, and statement of a contour .·:jVith the greatest possible meaning, Sometimes

~.awing is not the actual contour at all, but the -one that will e,xpress the graceJ character, and .eharm of the subject. Until the artist begins to :·.thi'nk in line, think of expressing in this way the .things he wants to say" he has not elevated him-

.elf much beyond his pantograph, projector, or :: other mechanical devices .. How can he hope to be : .. creative if he depends entirely UpO'll them? Re~: sorting to their use in place of drawing for self"expression is a confession of lack of faith in his ~" ability. He 'must realize that his own interpreta-

.: tion, even if not quite so literally accurate, is his

;Ornly chance to be original, to excel a thousand The art of illustration must logically begin with

_: ethers who also can use mechanical devices. Even line. There is so much more to line than is COl1-

:'1 poor drawing exhibiting inventiveness and some ceived by the layman that we must start out with

,. odginality is better than a hundred tracings or a broader understanding of it. Whether con-

,~', projections. sciously or not, line enters every phase of pictorial

, If I am going to give you information of value, effort, and plays a most important part. Line is the

.~ ,it must come from actual practice and from con- first approach to design, as well as the delineation

I tact with the actual field. Naturally Lam limited of contour, and ignora'nce of its true function can

to my own viewpoint. But, since the fundamentals be a great impediment to success. So our book

· that go into my own work are for the most part will start with line,

:: the same as those used by others, we cannot be Tone comes next. Tone is the basis of the ren-

· too far from a common goal~ So, I use examples dering of form in its solid aspect. Tone is also the

· of my work here, not as something to be imitated, basis of a three-dimensional effect of form in

but rather to demonstrate tile basic elements that spa,ce. A truthful representation of life cannot be

I believe must go into all successful illustration. made without a clear understanding of tone. Line

r,By showing you the means of expression rather and toue are interdependent, and this relation-

.. 'than the expression itself, I leave YOll free to ex- ship, must be understood.

press yourselves individually. To line and tone is added color. Again the re-

:. My approach will strip itself as far as possible lationship becomes inseparable, for true color

. from tile theory of imitation as a means of teach- depends almost entirely upo'n good tonal or value

.. ing, For this reason the approach must vary COIl- relationship. We may draw an illustration in line

~. siderably from, the 'usual art text formula, We only, and it stands complete pictorially. But the

shall have no examples of Old Masters, for, minute we ,go beyond line as contour only, w,e

. frankly, what methods and, procedures they used start to deal with light and shadow, or tone. We

· are virtually unknown, You call see great pictures are therefore plunged immediately ill to the COIll-

everywhere, you probably have your files full of plex laws of nature, since only by ligllt and

. QIem. Unless I could tell you how an Old Master shadow ~ or tonality, is form apparent to USt The

: arrived at his. great painting, I could add nothing step frOID tone to' color is not nearly so great,

·of value. I cannot presum,e to give you even an since the two are closely related.

19

analysis of his work, for your analysis might be better than mine. Method and procedure are the DIlly sound basis of teaching, for without them creative ability has no chance, I dare not incorporate even the work of contemporary illustrators, since, each would be infinitely more quali ... , fled to speak for himself. I shall leave out all past performances of Iny own with the rest, for we are not as interested in what I have done as ill what yo'u are ,going to do, working with the same tools, There is but one course open for me if I aID to stay on solid, g,round~ that of sharing my experience with YOll for whatever value it has. You will thus have the chance to select what is of usc to YOu; and to discard that 'with which y'ou do not agreef

OPENING CHAT

Granted that we can comprehend the basic fundamentals of line, tone, and color, there is still 'more to encompaSSt All three' must be united to a pictorial p'urpose~ There are arrange'ment and presentation, even more important than the subject matter, There is organizatlon of area and tonal mass or pattern in order to create good pictures t To these ends we shall work.

Beyond the technical rendering comes the, dramatic interpretation. In the final analysis the illustrator is 'holding a mirror to life, and expressing his feelings about it. He m,ay paint a pot of flowers beautifully, but it can byno stretch of the imagination be called an illustration. Illustration must encompass emotion, the life we live" the things we do, and how we feel, So we shall devote a part of the book to the i<telling of the story."

H we are to Illustrate, we must create ideas.

Illustration delves into psychology for basic' a'ppeals, to create ideas that must reach into the personality of the reader, compelling definite r'esponses. We need to understand the development of ideas as the basis of advertising, too, so' that our work may find a market in, that field, and be suited to its special needs. Therefore a part of the book will be given over to this subject,

Finally, 'we must separate the various nelds into a variety of approaches, each tuned to its particular purpo·se. In each field there is an individual basic approach which the successful artist must know, To do an outdoor poster is one thin,g, and a magazine ad another, All these points I hope to make clear,

. There is the matter of experiment and study, 'which can contribute so little, or s.o much to Y'our ultimate success, This can assure freshness and progress in your' work as can nothing else; it is the thing that lifts you out of the rut of daily rou ... tine, and places you head and shoulders above' your associates. It is the biggest secret of success.

I have searched out to the best ,of my ability the workable truths, I have organized these into what I shall call the "FOnD Principle .. '~ Within this is the whole basis of approach to the material of this book. These truths have existed lon,g before me, and will continue, ever after. I heave simply tried to gather them together, They are the things which are p,resent in all good art, and should be a part of' all that you do. They spring from tile laws of nature, which I believe is the only sound basis for a book of this kind .. So let us get on with our work.

THE FORM . PRINCIPLE AS A BASIS OF APPROACH

'. No MATTER what subject the artist uses or what day, produces an. effect of softness and subtle

;. medium he works ill, there is but one solid basis gradation of light to dark. In the studio the same

, of approach to a realistic interpretation of life- relative eHects are produced by artificial light for

to the representation of the natural appearance definition and by the natural north daylight for

of existing forms. I cannot Jay claim to being the the soft gradation.

first to perceive the truths which underlie this The direction or position of the lig'ht source,

approach. You will find thelll exemplified in all then, determines what planes shall be in the light)

good art. TIley existed long before' me, and will halftone, or shadow. Texture is more app,arellt ill

continue as IOIlg ,as there is ligllt. I shall atleIllpt a direct or brigl1t ligllt than ill a diffu.sed ligllt~ Tlle'----

only to organize these truths so as to make them planes of tile form are also more apparent in bril-

workable for you in study and practice, in every- liant ligllt.

thing you do! To the orgnnization of these basic This brings us to the next truth:

truths I have given a name: the Form Principle, TIle lightem: areas of the torn'! will be within

This principle is the basis for everything which those planes lying most nearl!1 at rig/lt angles to

will be discussed in this book; and it is my hope the direction of the ligllt~ The halltone planes 1vill

that you will adopt it and usc it for the rest of yOl1r IJe those olJliq1lely situated to the direction of the

. lives, Let us start out by defining the Form Prin- light. TIle sluuloio planes u)ill be those planes

ciple: lyitl.g in or beuoiu] the direction of l'ight so that

The Form Principle is the rendering of [orm as the Zig/l.t af the originu! source cannot reach. them.

to its aspect at ar~y giVetl moment 'witlt regaTd The cast sluulouis are the results of the light hac-

'. to its ligh.ting, its structure 1I.1ul texture ~ to getlter ing been intercepted, and the shape of such inter-

::. with its true relationship tv its enoironment, cepting form is projected to other planes. In dif-

Now let us see what this means. Ally pictorial fused ligllt' there is little or n·n cast" shadrno, In

: effect that will present a convincing illusion of brilliant tight at direct tight there is altvays cast

. existing form must do so first by the rendering of shadoio.

" light on that form. Without li.ght; as far as we So YOlI will see that the kind of ligIlt imrnedi-

.. are concerned" Iorm ceases to exist, T11c first truth ately has to do with the approach to YOllf subject

.:'., of the Form Principle that we are concerned with all(l the ultimate e,ffect~ Having less definition, the

. is: diffused or over-all light will be most difficult. For

.: It must he determined at once what kind of "snap," take direct ligllt. For softness and sim-

. :Ug,htwe are workirt.g ioith, for its nature lll~d quul- plicity, use sky light!, Direct light produces con-

,tty and. the direction [rom tvlti.ch it comes will trast, sky light produces closeness of value.

'affect the entire a.ppearan·ce ()f the [orm. Direct light produces much more reflected

::' If it is impossible to render Form without ligllt, light.~ and this is most apparent 1vitilin the shad-

then it follows that tlle nature of the form becomes OW~ The amount of retlected ligllt reaching the

~\risible because of ligllt". A brilliant ligllt produces shadou: tvill determine its value. Et)erythin.g tlpan

i~e~l-defined ligllt, 11alftoIle" and shadow, A dif- tVlliclt tlie Zigh.t f(llis becomes a secotularu source

~fused light, such as the ligllt of tile sky on a grey uf reflected ligl1t and tvill li'ght shadou: planes in

21

THE F'ORM PRINCIPLE

the same manner t13 the original source, being Faked lighting breaks down every other g'ood

b'Tightest on the planes at right an,gles to euch quality. '

reflected lightt All things represented within a given light

Light can operate in only one manner. It hits bear a relationship of tone asui oalue to one

the top planes squarely and hriglltly, then slides another.

around the fonn as far as it can go. However, in If this relationship is not maintained, then the

the shadow, the source being of less brilliancy, form cannot be true. Everything has its "local"

rejtected light' can never be as light as the' orig'inal value, that is, its surface t?ne appears to, be some- _

source. Therefore no area 'in the shadow can be as where in the scale from black to white. Bright

lig,ht as the areas in the light~ light can raise the value, and dim lig'ht can lower

More' art falls apart for this reason than for any it. But the lightra,ises or lowers all other surround-

other. Both li,ght and shadow areas must be sim- ing 'values correspondingly, so that the value of

plifi,ed and painted in the fewest possible values. the subject holds a constant relationship to other

The object is to make all the li.ghted areas hold, values. It will remain, in an,Y light, so much lighter

together as ODe group" as opposed to the shadow or darker than its neighbors. For instance" a man's

areas as another group,. If the values of the two shirt may 'be so much lighter than his suit, In

groups. are not thus separated and held apart, the an,y light this relationship holds good. Therefore,

subject is bound to lose solidity and form, 'no mat- whether in deep shadow or brig]lt light) we can-

ter how well modeled and how well drawn. Much not change the value di:ff.erellce between the two.

of the reason for pictures' falling apart is also The object is to raise both or lower both but to

because simple light and shadow is not given a keep the approximate differeIlce~ The relation-

chance. Such relationship is destroyed by insert- ship of things to' one another will be the same

ing several sources of ]jghtt Thus where, halftone always, either ill light or in shadow,

and shadow should be to give the true character A single source of light is best for our purpose

of the form) it .is JOist by other lighting, and the and produces the best effect pictorially. This also

values become a hodg;epodge of middle tones, gives us reflected Iight, We can use a reflector

highlights, and accents. There cannot be a white (usually a white 'board) to reflect the original

in the shadow area, 'There can 'hardly be a pur,e' lig'ht with beautiful effect. This, when working on

black in the light area .. A safe approach is to make the shadow side.

all the areas in the light a little lighter than you Relationship of values is more correct in natu-

think you see them, and all the areas in the shadow rallight than. in any other.

a little darker, You 'will probably come out with a Sunlight and daylight are the perfect lights for

better thing than the other way round. true rendering of fonn. You simply cannot beat

AllloTtn$ within your picture should appear to them with, all the trick lighting' possible,

be lig,hte'd by the same source and be lighted con- Ooermodelmg comes from incorrect oalues.

sistently with one another. If) to make the form go round) we exaggerate

This does not mean that light cannot travel in the values; we use up the rather limited range be-

different directions, such as the light around a tween black and white, so we do not have left

lamp, the lig'ht of two windows, reflected li.g'hts, the ,proper and lower values for the shadow, The

etc. But the li.ght must 'be a true eHect of li,ght, picture becomes dull and lifeless, since we have

such as sunlight, sky light, moonlight, tWili.ght, used values that do not belong to the light and

artificial llght, ete., in its real effect and relation- could, not be in relationship, The opposite is true

ship, There is only one way to get this ri,ght~ Do it when we put lights in.to 'the shadows that could,

by studying Irom life the true aspect) or. take a . not be, destroying the big relationship between

photo which will give, it to you, It cannot be faked. the whole lig"ht and the whole shadow,

22

THE FORM PRINCIPLE

The big [orm makes the subject carry and ap. ,pear solid, not the incidental surface forms.

Many of the small and intricate forms must be subordinated to keep the hig form solid. Folds,

. for instance, can ruin the effect of underlying form and break it up. Draw only the folds that express form and the natural drape of the material, not every fold just because it is there on the model or in the copy t

The best pictures run to a [eu: simple values. This will be taken up later on.

The design makes the picture, not the slJ1Jjec-t or material.

Almost any subject call be used with charm through the help of desigIl and arrangement, Presentation is more vital than subject matter.

The same [orm may be presented with great 'variety by a careful arrangement o/lighting. lust any light will1~ot do. It must be the best of se1Jeral experiments.

A landscape beautiful ill early morning or evening li,ght may be dull and uninteresting at 110011- day. A charming head may be ugly i~l bad ligllting. The best plan is always to choose the liglltillg'

. that tends to big simple form, not form too broken. up in light and shadow.

Light and shadow in itself produces designr The plainest of subjects can he made artistic by 'weaving patterns of Iigllt and shadow tllrough . It,

Value relationships beuceen objects produce ::, ,designt

For example, a dark object placed against a .. light one, and both agaillst a grey field, would he : deSign. Units may be placed agail1st close values . or contrasting values, thcrcl)y gcttil1g subordina'. tion in the first instance and accentuation ill tIle .'" second. The planning or composition of tile sub-

ject is really dealing with the relationships of 'the values of certain units as combined with or . opposed to others. This results in ""pattern, ~~ and ';~ be further combined with lighting.

All pictures are fllnda"~enlally either arrange-

ments of lig/ltS" intervening tones, and darks, or else linear arrangements.

You cannot avoid making your subject either a tonal statement or a linear statement. You call combine both, l)ut YOll cannot get away from one of tllese. If YOlI do not understand tonal relationship YO,tl cannot secure a feeling of "existence."

Line is contour; tone is form, space, and the third dimension.

Cet this clearly in your mind,

Contour cannot be continuousls] defoned all around all units and a sense uf spllce be acliieoed.

Contour becomes lost and found and interlaced or woven into other areas in nature. If the ed,ge is kCl)t hard all around, it cannot avoid sticliIlg to the I)ictllr~ plane, losing the feeling of space" or one eclge ill back of another. Edges will be taken IIp ill more detail later.

The [utulamentuls are the same in all mediums. Each medium has art inherent quality of its own. Once you master the Form Principle, o111y the peculiarities of the medium remain to be mastered. You will simply have to find out how to express a sllarp edge, a soft edge, light~ halftone and shadow, in the medium, which is a pltrcly technical matter. But you will render fOl+1n in essentially the same way in all mediums,

'ii}l.B darkest part of the shadou: appears nearest the Z.igll.t~ betioeen the haljione of the light and the reflected ligllt tvitl1i1t the shadou: .

This is called the '(r.idge"~ or "hump'lby the illustrator, and is most important, It keeps the shadow luminous and the Form round .

Till? Form Principle is the co-ordination of all factors dealiflg 11)itJlline~ tone, and color .

'l'his book is laid out on tile Form Principle, since it. enters into everything you will ever do, or see, ill the Ileld of illustration. We shall attempt to clarify its various applications as we go along. I suggest that YOll COIne back to these fundamental truths of ten, for they are the answer to most of your problems.

So we start with line!

23

PA,RT ONE

T'HERE ARE: SEVEN PRIMARY FUNCTIONS OF LINE

1 .. To convey its own intrinsic beauty.

2. To divide or limit an area or space.

3. To delineate a thought or symbol.

4. To define form by edge or contour.

5. 1'0 catch and direct the eye over a given course.

6. To, produce a grey or tonal gradation. Z, To create design or arrangement,

,tEN if it ,may seem a bit obvious, let lIS start the book with the very IJegiIllling of artistic ex-

Pression, that of liIle. There is trulv much more to

,~

" line in the mind of the artist than ill that of tile lay-

man. To the latter, line is but a mark of a pencil or a mere scratch of a l)ell. To the true artist, lino

, can reach great hcigllls, require exhaustive skill, and con,vcy unlimited beauty. Line ill its various -functions has contributed as much to human

-progress as fire or steam. All [inc should have

25

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fllnctioll 3.'11(1 purpose., I want you to think of it in that ligill. Everything from this day forward that )701l (10 artistically will bear a relationship to line, either good or 'bad. You can either 'make line an asset to your work, or yOll can let its importance slide by you. But if YOll choose to igIl.Ore the functions of li11c, yOlLr work will make a bad statement of )lOlLf a'LiJity., Line is bound to enter yOllr work for better or worse, You cannot cscal)C it.

Let us see what can, be done about it,

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LI N, E A.I YOU J'ES 'IT ,AN 0' P'RE.·F.E"R. TO Ow.:.,.W \-Y:.

PftOJ:ErCTINa LfTf!·.RA.l". CONTQURf:1SY ·ANY A~TIFI"C'6L, MEANf CAN ON'L.:Y RE.rULT tN ·:5TI F 1-\ NG YO.UR MOfT VAL.UA BlE 4"JfE.T-' 'NOIVt DUA L.IT'y. DFlAVV I=R.:OM' 'COPY AS''tOO WOULD· ,I=RQM L~Fe.,. HA.V'a.. AL-'NAYJ ··.HIa

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. 26

LINE· IS PROPORTION WITH IMACINA TION

CAN YOU CONJTR.U CT A HEAO IN ANY POlE?

A PLAN OF HE60 CONfTRUCT10N HAf ~3EE.N

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JET FORTH IN f=UN \N',. H A PEN c i i, ..

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OF 'THE PR.OPORT10N AND CONfTRUCTION OF TH~ HUMAN FIOU ~E" IT ,r MY PUR.POIE NOW TO HELP YOU DEVELOP THE FtGURE PlCTOl<..lA LLY TO PRACTI C6L GOALS AND TO A LI VE.L-I HOOD.WO~K!

27

LINE PRODUCES FORMAI.J DESIGN

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..rUBt1lV'JtON 8'( DIAGONALf,VEFtTICALfANO HOR'zONT~LJ (,JII:.OOUCe.r uNLIMITED DefION. -rR.'t' 11:

CHOOSE 6NY POINTf=- !SElNa CAR;E 'FUL TO R.E.PEAT TI,-\e. OtAGONAL 'f)ET'lVe e.N ALL SIM tL..L\R, PO,NT I,

THlf PAGe IS To IMPIC:Eff UPON YOU THE eAr)e

RE.LA.,. JONfH t P OF II Nt "0 DaflGN" OIV 101 NCi

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S'PACE t=QUA l.. t-y PRODucer FOf.tMAL DES taN"

'F A Dfl:A'NlNG IJ 6.6.rED UPON UNOERL.YINCf

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THERE FORE. INFOR.MA L.. DEfl aN'S SY UNEQUAL

DI"'fl ON. COM'PO.flT~ON If ON.e. OR THe. OTHERII

28

u NI:AR.. DE:J1QN t IT WiLl- PAlnAKE ot= lTJ UNITY

LINE PRODUCES INFORMAL DESIGN

ARCJ 'NTE.RLAcED

COMa, Nl NG HOR.Iz.ONTALr AN 0 PER.PENCI CULAI=!J W~TH CVR.\lE.f ..


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O\JERLAPP'Na OVALI' OVERLAPPI NO C,RC LES

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OVeR~APP' NO JPi RALI

caL' o..UE L.I NSf lNTeR\..AcEO.

OV~RLAPP~NG JQ.UARES QVE..R.LAPP'NG TRIANGLE.f

OVER-LA PP' NO VVAVY PARALLeLS

OVt=.~LAPPING R.~CTAN O'L.E.tf

29

OVER\.....APP,NG" ANGLEf

HORtZ.ONTAL.f 4.Nb ~RPEN01COL..A&J"

OVERLAPPING LINE AND AREAS THE FIRST PRINCIPLE OF COMPOSITION

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THE PRINC,PLa OF OV~A.LAPPINa AREAT, FOQMf, AND CONTOURf ~$ THE SAJ"II OF ALLPtCTOR.\AL

CReATION.J'lNCE LINe ISOUf;. F~R.rT MI!ANfOF DEP'NtNQ TI1EJE,THE.N l...INEAR AR.~NGJi,ME.NT 8eCOMEJ' OUR FIR.JT CONJI o 15. I;t AT 1 ON. THe.R.E ARE. ""'ANV VV'AYtT TO 00 ABOUT lT1 JO Le.T UJJTART~ .

Nature is one vast panorama of contours and artist's approach, almost anything is picture mate-

spaces. Everything is form. set into space. If we rial, since ~t is: design and arrangement that

were to cut a rectangular opening in a piece of makes pictures, regardless of subject. Cut a card-

cardboard and look through it, nature would board so as to make a "picture finder." An opening

present us with a picture, Within the four limits of three by four inches is large enough. Look

of the opening, the space would become divided through itt Jot down, in miniature compositions,

by spaces and contours. To that spacing and the linear arrangements you find. Your sense of

arrangement of contours we will give everlasting arrangement is the first real indication of your ere-

attention, for it is the basis of all pictorial ap- ativeness, Walk about the house or grounds with

proaeh. The novice snaps his camera carelessly at. a small sketch pad. Don't go any farther until you

nature I The artist seeks to arrange it. From the have done a dozen or two small roughs,

SO.'

USING THE FIRST FUNCTION OF ('LINE FOR ITSELF}j FOR COMPOSITION

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COMPOSITION MAY BE BASED ON GEOMETRIC FORMS

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THE €(FULCRUM-LEVER') PRINCIPLE APPLIED TO COMPOSITION

RULE

n1E. HEAVIERTHE MArJO,~ WE 1 G t-rr) THE. NEARFP.. 'T SHQU LD 8E T:Jl_AC.E U TC) n-t t..: M 1 DO l_E \ INC Or- YOUR P~c-r{)R..E ..

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TO BE 'N BA LAN CE"

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To IJC pleasing, the material within a picture each side). If two Iorms are equal, let one over-

needs balance, or should seem to be pleasantly lap the other so as to change the contour. Variety

reposing within the picture limits. Balance is ob+- is the spice of composition. We make a small

viously uoff" when we Feel that the limits would weight balance a heavier one by placing it fartller

seem better if moved over, or 1110re slJace added away from the middle of the subject, or the ful-

or cut away~ This is the best guide we have, for crum, which is the middle point of balance. Bal-

there are no infallible rules of composition, About all.Ce in coml)osition is a sense of equilibrium be-

the only rule is that we give the greatest variety tween the masses of light and dark, or of the area

of spaces possible; no two duplicating one another and bulk of one thillg balallcing another. The

in size or shape (except in strictly formal arrange- heavier the mass, the nearer the middle-the small ..

merits, where a11 things are balanced equally on er the mass, the nearer the edge-is a good axiom.

34

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USE FORMAL SUBDIVISION FOR SYMMETRICAL COMPOSITION

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fORMAL DI'J'JJON APPLIE.J 6E.J'r TO JU6..) ECTJ O~ A D'GNlFI ED O~ RELtGIOUJ NATURE.

There are times when we wish to achieve great digllity of arrangement. Since the Creator's basic design for animate form is the duplication of one side by the other, such as the two sides of the human bod}" arrangement based 011 the same plan takes on the same sort of dignity. It docs )10t mean that each side must clul)licate exactly) but there should be a feelillg of complete equalization of the units or masses, the line and spaces, of one side with the other. Church murals invari ... ably follow this plan. It may be used to great advantage in symbolical Sl111jCCtS, appeals for charity, heroic subjects, or to suggest IJeace and

serenity, Fortna] balance was almost the only approach ill earlier times, and great compositions have been ullilt with it. It is largely the Formality of design which lends such magnificence to the work of Michelangelo, Rubens, and Raphael,

Formal subdivision lllay also be used inlormally jf one is adept CI10lIgI1. I have introduced on the next page another method, quite apart from either formal division of space or dynamic s)rmmetry. I have never found either as satisfactor}1" as this new approach, and I hope it will I)Tove of great benefit to others.

35

INTRODUCING INFORMAL SUBDMSION

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.([ a This is a plan of subdivision of my own. It offers greater freedom to the artist. Study it. It will help yOll to divide space unequally and interestingly. Start by dividing the whole space unequally with a single (optional) line. It is best to avoid placing the line at a point which would be one-half, one ... third, or one-fourth of ,the whole spacet Then draw.one diagonal of the uhole space from diagonally opposite corners. At the intersection of the diagonal and your first line, draw a horizontal line across the space .. Now draw diagonals in any of tile resulting rectangles, but only one to a

NOW DRAW A J'NGI...E,_ DIAGOftAl .ro Atly kt:.CTANG"LE ~O-UCE.D

U KE!: 1'11 L s 0 Ot" t:Jn 1$ f;J NOT THLS f6l

6DD fV'lO~ NEw DIAGONA~-S OR~ ~R. PE.t.JDtcVl...A'FS AS YO U Cf-k)oj' p.

~ tiew SPACE.;A. 'P_. t. C: - 'R.Ji=. A. 'T 'f 0- • +----+-+--~~~-...+P~I__.lPo~--..j... BY \l-l '5 Kt N D

OF D,VtSlON NO TWOJI-'ACES

A~E: DUPL'CATE..f. R.E.MEM B E.RNOT""-O D\V' DC. ANY J-r~l\CE. L' ~c

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BUILD IN YOU JUBJE<..i 6YADHF.RJ ~~.

MUCf-1 AS r-o.r S, Bl_E -10 \ HE JlRUCTURA.1-.: \

UNES yt)L~ l-\6VE CR,EATE.D· DON'T G'YE UP .

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space. Two diagonals crossing like an X would divide the rectangle equally, which we (10 not want. Now you may draw horizontals or perpelldiculars at any intersection, thus making more rectangles to divide by diagonals again. In this manner you will never break IIp the same shape twice in the same waY4 It oHers a great deal of s11ggestion for the placement of figures, spacing, and contours, with no two spaces beillg exactly equal or duplicated, except the two halves on each side of the single diagonaL If you have a subject in mind YOll will begin to see it develop.

36

A DEMONSTRATION OF INFORMAL SUBDIVISION

::\ HAp OtU .... ~ AN' OEA IN MiND 05: SHOWING A LOT OJ:. L..I"f'Tl-6

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~NOMG..S PLAYtNG W lTH A peN~ 50 FA~ t HAD NO ,OeA Of tlOYJ'

~iWOVLD AR..~AN.G.E. THEM ~ to." t DE.D MY JPACE. AS sHOWN.

~"THE A8STRACT SH.6.p~r rHUS SUGGI=STED THe.COMPOSlTlONL

FROM TI~ E F~GU R.oES

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RQOG't-l~ fN"O THE

37

• • I •• ••• ••••• ••• •• ••• •

FIGURE COMPOSITIONS. ·BAsED',QN:lNF0RMAL-· SUBDMSION

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38

INFORMAL SUBDIVISION IS PURELY CREATIVE, NOT MECl-IANICAL

·MAKE THUMBNAJ L.f. THE DJV~fl ON...r HER.E JUGGEffED THE fU BJ E.CTJ AND Af2.RANGE.M EJiTf.

Since, when a space is divided ill tIle manner ing up ideas, layouts) small compositions. As the

shown in these pages, selection plays a great part, ideas develop they call lle carried out with mod-

and invention the rest, it cannot a void being crea- els, clippings, and so forth. \\1)1Cll the original

tive, That is its strongest recommendation, in subdividing lines are erased, it is alnazi11g how

comparison with forms of subdivision that start well the coml)osition balances or "hangs to-

you out with a "set" or formal arrangement to gether .. "~ I urge YOll 110t to pass this up without a

begin with. You start inventing with YOlIf first tryout. It has of tell saved the day for me, and I

line when YOll use informal subdivision, It 11cl11s admit that eveIl ill Iny own work I am often so

. to get YOlI over the emptiness of blank paper IJe- "stymied" for a good arrallgeTTlcnt that I turn to

. fore you, without an idea in your head. Tllat~ I it ill great relief. While all of the compositions of

. assure you,. is the feeling most of us experience, the book arc not so based, 111aI1Y of thorn arc, and

and you probably already know what I mean. If in Illy estimation the better ones, Ally one of t11c

you have a subject in mind, it will develop with arrangements 011 this or the preceding I)ages

one or two tries. If you have no subject ill mind, would be iIltriguing to do as a painting, and I only

. pr~tty SOO!} the lines will start suggesting SOllle- wish I had the space. Most artists develop an e)7e

: thing, as these did in the little drawings above. In for composition eventually) but this device will

starting out I had no intimatlon of what the sub- get you well on the way. Draw the dividillg lines

jects would be. This method is invaluable in work- lightly so they can be easily erased.

39

~ . . .

PERSPECTIVE GUIDE LINES HELp· YOU TO C.OMPOSITION

o R..l'i..O N

'WO VAN ISH I NO PO IN v s PE..FLJ"'PI!FC'" 1" E!.

ONt:. VANI.IH'NCf' POLNT C:>E.RJpECT1VE

A ~T WA.'f '"TO COMl"OS ITt ON4 MA~ OFF EVEN SPACES DOWN ~CHSIDE. ..

RtUN hINES OUT TO YANISH,NG POINTS~ THt2U P~CTUR.E.I vou CAN NOW USE lOuR.

eye.,FJLLINC SPACE AI DE...S"tR.E.D.

,..AKE A I'c::'J NT ON ,.HE. HOR..I.z.QN t" DRAW RADlArr NG L.l Ne:S 'N ALL. Dr~EC'TloNI rROM rr. yOU CAN NOW eU\1-DCN.THOre l-tNBS BY CHOE CE. OF COURSe YOu NeED

TO KNOW pe.R.JPECTIVe. 'TO 00 IT ..

"'o~, XO N

.ALSO ONE. 1-=>OlNT FOR. ~NTe\~~ OR.wJr

--~---

.-- ---

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PICTUeE ~fitEA.

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--- __

-----

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--

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-----____ ---...~

Pl..A.N YOUR l~fCTUR.E. IN MIN lATU~E THIS' ""AY., YOe; C~ l-A'TE.J2;. JQUAR..e. 'T C)F~ f=OR. e..N)...A;R.QEM~NT •• USe.. ~I.r PL6N A L...OT TO GET R.IGHT IN.,..O A GI\IEN JUaJEcr.

Tt+fS If A MOST P~CTlC~~ .pRO CE.DUR.E.~ NOW IF you 0() NOT UND6RSTAND PE.RS~E:CTlVli.. )YoU·D ee.TT~R.. STUOY IT ~YOU CAN NOT G ET ~,{W1-lEQ.C WITt-lOU. rr;

40

EVERYTHING YOU DRAW IS RELATED TO AN EYE LEVEL

It is impossible to draw correctly and intelli- ists go into the field of illustration and commercial

gently without the consideration of a viewpoint art woefully lackit1g in a knowledge of simple

and an eye level. The viewpoint is what is known perspective, It becomes apparent when the artist

as the station point in perspective. However, that has obviously worked from two clippings or

is really the spot on the ground plane where you photos, each haviIlg a different eye level. You may

are standing, Artistically, the viewpoint is the be certain two clips will seldom be in agreement

center of the field of vision and is not to be with each other in this respect.

confused with the vanishing points, If we look Perspective must he understood by the artist.

straight out at eye level, the viewpoint will be It applies to every bit of copy he uses. He call

exactly opposite a point located in the middle of start with one thing, for instance a photo of a

the horizon. The horizon is the eye level. Think. piano. That will establish the horizon of his pic ..

of a great fall-shaped sheet of glass starting at a ture. Then everything else) including figures~

point just back of our NO eyes and spreading out must be drawn to tile same eye level. He must

at our eye level and reaching as far as we could redraw the perspective so that the vanishing

sec. This entire sheet of glass would be the picture points will fall in the same horizon set by the

horizon, No picture can have more than one hori- piano, Or, selecting a figure~ he may adjust the

ZOn4 It follows that all receding lines parallel to perspective of the piano to fit the figure. TIle best

the ground plane that recede from points above way to do this is to make small sketches so that

the horizon must slant downward pictorially and wide vanishing points rnay be used, Use a large

end in the horizon. TIle!l all lines helow the hori- tissue pad. Then square off the small sketch and

zon, also parallel to the groulld plane) must slant enlargo to the size you want.

upward to the horizon. Our viewpoint) then, de- To learn perspective means only a small invest-

tcrmincs the horizon. rnent at the bookstore, and only a few evenings

Since a picture may not, and seldom does) rep- set aside to learn it once and for all. Why all art-

resent the whole field of vision, the horizon Inay ist will jeopardize his whole Olltpllt and a Iife-

cross tile picture plane, or be above the picture time of effort by a lack of such knowledge is be-

or below it. Suppose you have a large photo of a yond ITIC. For some reason, the man who does not

group of buildings. Witl10ut cllangillg the hori- kIIOW perspective imagines it is much more diffi-

zan or perspective lines, you ,might crop out al1Y cult than it really is. It is just one of those tlliIlgS)

small section of the photo for your picture. But like the study of anatomy, which an artist may

no matter what part YOll take; the relationship to keep puttillg oH eternally and stiffer for lack of,

the ,original eye level (or viewpoint of the cam- every day. Perspective is a part of elJery form

era) is apparent. You or the camera look down under every condition and cannot be aooided. It

on everything below the picture horizon or IIp at affects YOlif very next job and every OIle there-

anything above it. All tllings will show Dilly their after, If YOll are working from a Single photo the

top surface when below the eye level or picture camera may do it for YOll. But if you change or

horizon. We can look into tllings only when add one siIlgle unit to YOllr photographic copy,

+

the eye is above them. Round lines like a belt you will not be able to do it correctly unless you

'around a waistline must curve up when below understand this principle of eye level and view-

the horizon, and down when above. But how point. If you do not understand perspective, by

many times we see this truth disregarded! How all means drop everything else and get it at OllCC.

often do we see necks, shoulders, payillg no You will never draw until you do. (There are so

'attention to an eye level, roofs slanting down or ~any good texts on perspective that it would be

··up when the reverse should be the case! It must superfluous to give further ~pace to it here.

be stated here that too large a percentage of art- Your bookstore can help YOUt)

41

EYE LEVEL, CAMERA LEVEL, AND HORIZON MEAN THE SAME

Perspective is the first and foremost means of depicting space on a flat picture plane and the natural or normal aspect of thingSt If modern art chooses to ignore it, modern art chooses to suffer the negative response thereby evoked. But ill illustration we cannot ignore it and make our work appeal with any conviction of reality.

YOlI can easily check al1Y copy to find the horiZOII~ Simply carry allY receding straight lines back unti] they meet ill a point. These lines, of course, should be parallel to the groulld plane, like two Boor boards, two ceiliIlg lines, two parallel sides of a table, or tile top and bottom lines of a door or windows, The point at which such lines meet will fall in the horizon. Draw a horizontal line straight across through such a point and that is it, When YOII have your horizon, note where it cuts across the fig1.1fC. Then it must so cut across all other figures, at the waist, breast, head; or wherever it cernes, All added units must hace their vanis1ling points in the same horizon. Suppose you have a clippillg of all interior: By filldillg the horizon you can estimate the height of the camera. By adjusting the figtlre you may wish to draw within that same interior with this camera Ieve], YOll can make the figllrc seem to fit in perspective, Cameras arc usually at breast level, so see that the horizon cuts through the figlires 11ro11- erly. Tilis is about the DIlly way there is to insert figures properly, so that they will all seem to be standing on the same fluor.

Another advantage ~ if you know beforehand about how higll the horizon appears above the floor in the intended copy, YOll call then adjust your camera to that lleight when taking pictllfCS of the models whom )70U intend to use ill the picture. You cannot shoot at [ust allY level and make it fit your copy.

When redrawing copy to fit a new eye level, first find something of known measurement in the copy. For instance, a chair seat is about eighteen inches off the Hoor. Draw a pcrpcndicnlar at the COl~11cr of the chair and measure it off ill feet. Then you can take allY point ill the ground plane. l~Ile

EVI:. l.E.VEL.. W'THIN THE.p\CfVRE

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,

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............

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--- --.

42

FIND EYE LEVEL OF COpy AND MAKE FIGURES COINCIDE

perpendicular acts as a measuring line for IIpright~j Draw a line from the bottom of the measuring line, through the chosen point 011 the groulld plane to the horizon. Then carry the liIle back to the measuring line at whatever lleigllt desired. Erect a perpendicular at the chosen point, and the similar l1cight is now carried back to the place you want it. '1~11is is exactly the same principle as placiIlg figures 011 t11C same ground plane.

The accompanying sketches will serve to illustrate the various placeIlleIlts of the eye level or horizon (which is the same tllillg) and the relationship of one unit tu another, To make it a little clearer I have drawn the artist outside his picture, representing you and your viewpoint. Lha ve then squared off the picture material. These will show why the horizon may he at any height in a picture, and also that it is determined by the lleigllt and point From which viewed.

. I have taken a pial10 and some figures showing bow they must be related. I have also tried to demonstrate the variety of effect to be got out of any subject by USillg dif[ercllt eye levels. This opens up a world of opportunity for creativeness .

. A subject rather ordinary at ordinary eye level may become quite startling when viewed from above or from down luw. 4 •• A lligh eye level is good when you want to break down iIlto text space. A grollnd~]evel viewpoint is good when you want a horizontal base line.

. Understanding perspective in the figure, you can transpose figure copy to various eye levels,

. thus permitting you to usc copy which you other. wise could not. So IOllg as Y01I have drawn your . figure differeIltly and in YOllf O\V11 way, no one .can object, Tllis is not always easy. It is really ··better to pay a model, pose her as YOlI wish, and .work the thing out on your OWIl, if you can afford .it. Money spent on models is the best investment \.·.you could make as a creative artist. Your picture ·:;:Jhen is indisputably your own.

UNRELAl ED

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fl Nee. NONE OF THEJ'E HA.VE THe JUME e..YE LE.VE.L ON~ MUJT Sf! J'e.L.e.CTI!D AND THE OTHeR.! AOJUjT!!D TO ,,... FI RJT l-fi.T UI ""tAt< E_ TH E. PI AN 0 AI' SHov.lN..

bti'V PHOTO WI L.).. ESTA fJLlJH n-.f OWN eYE LE.ve.L.

("TRACi NO')

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//;'0 P' "" D Tt1 E. I!. ~ I!i (QQ, CAM E.R A) LEV ).. 0' <:0 PV.t e A "" FL v THE 01 P4~"" ~SH I NO" Pe.R..fP~CT '"\IE kt N~S OOT UNTIt,.. TI-lEY MEeT ~N A PQlNT. Tt4A1' PO'NT 15 ON THe. HOll..ll:ON. NOW D'Ii..O.W THe ~OtU~NTAL I-~NI!: ACIlOS..r "'T'H~ co PY ..

ROV~ IN PI UR.EJ" ~ TkACl CORR.Ea peRJPecT''''I! A.r AGO~DI!.

APPROACHING THE SUBJECT IN DIFFERENT WAYS

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VP

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FoIR:.lT ROUGH J'KE.TCH FOR.... Cie.N E.Fl-AL AF:.~NG~M E:;NT r:OLLOW'tNQ PIANO C()PY •

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$E c..o ND Jr.LQ ua t-t SKETCH FOLLOIN' 1 NO P~RJ'PECr'VE

dF f=~ P-f. f·q l.Ji uR.'F. f .... , J

S~EMf TO AOP r-'10~ CHAP.H.

!

am'e

44

PERSPECTIVE ALONE MAY ADD VARIETY

- ~ .",_""~ "'--_

Ttt I ~ RO U u HIKE:. T C. H r:=-Ot...l-OW L H IJ p l:'. ~J PI!. C T i'l e. Of="- ft5UJ:N, 0 R G(J RE.. ALtO Af'oI I MPROV F-.Me.NT (lV-E."!.. l·ME .... 1 RJT R.OUCiH AR.R.Ar4GEM aNT ~

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IT IS AN E.XCE!L-LE.NT ~ I;)EA TO TR.,( Ql)T o.l'tY JOBJECT ~ROM Pt Fc=eae.NT I!!V~ OR CAMEra-A. t....E.VEl..S .. yOU c.o.N OCTEN

..

M"I(E .rOM E.T H 1 NO J"Tb..R.' Lot NO' OUT OF JOM .. TH' NC' ORO. NARY .. JF YOU DON~'T KNOW PERJPe.C'IV f!l., DON,.. 'POT L'" OF,-r..

It will always be the problem of the artist to chologically by this means. Too often ordinary

take his subject and approach it as differently as pictures are ordinary because no thought has been

possible, There is 110 doubt that if thOllght is given to an eye level.

given in this direction, something unusual can To illustrate a child's story, tremendous sig-

result. John jones sees almost everybody at about nilicance Cal) be given the illtlstratiollS by draw-

his O\VIl eye level. Raise the figures and lower illg the pictures at the child's eye level. To the

John Jones, and you have him looking up to your little child everything is so high up, so big. Dad

characters. There is a certain grandeur and dig- towers over him like some great giant~ No WOI1-

nity thus given them, something of what we feel der he must somehow put over his own impor-

when looking up to an orator, a minister in the tance.

pulpit, or an actress on the stage. That is good Using different eye levels breaks up your pic-

. psychology to remember) and it may be used ture areas in very different patterns. It is wise to

. to good advantage. tryout small suggestions in this way. This is one

:. . Opposed to this is the sense of sllfleriority af- method of testing YOllr inventiveness, and when

forded the reader when made to feel that he is YOlI get something unusual it pays good divi-

looking down on our characters, How much more dends. In story illustration as well as Inagazine-

beautiful a ballroom filled with figures looks from advertising illustration, something rather drastic

. the balcony than from Hoor level! How we like has to be done to get attention, or "impact," as

.. to climb the hill or mountain and look down on illustrators love to cal] it, Here is one way to go

.. the landscape! The greatest thrill of flying is that after it. Get a stepladder and try it out. Or lie on

: . sense of height. You can lift your observer psy- the Hoor and sketch.

45

USING LINE TO PRODUCE A FOCAL POINT IN SUBJECT

SAD DON,t~ DO THlr

..... -~~~

~-~-=-

ANY CQr'""IMON J UNC"T' OH OF UN E/" pfl.ODUCer A I=OCAL PO l N""Tt aUT NEve R. P' LA ce. A ~OCAL POrN"T .Ii X'ACY Ly iN ""TtfE CSNTeR. ANY LINes PO'N"'l 'NO TO A VANlSH'NC POU"JT OQ.. w'UNCTIOtr,i r-tA~ or: YouP- P~CTtJR.E AQeA~ IT is AWo WaLl.. "o.AVOCO uStNG A "FoGA{.. PQU..tT .. A HeAD MAv Y'/E.L,.L BE. P'L.ACISC AT JUCt-I ~ pO;l NTI Dt~~ ONALS T .... .6.T l3.seCT THI! CO~N Er..fi!...r A.S MALN L, N eJ.

tN r=OR..MAL Pe.:f'GN pLACe. Trlc:t ~CAL... PO~Ni 4BO"\lE on, e a.w>w THE M r D DL.E. o! Hf!.R.J::.. l.f A Coo 0 L-A"'V' 0( .. .1""",

/---

,.WE VAtJlS\-l\NG POIN,. \5'" THe

.,

~POSL'T'ON OF HONOR.. J",ctOR.,lAU-'f.

IT fHOUl-D GO,-o MA' N C\4A.RA.C,E.R.. ..

THr..r eAJ,C AR.R.ANGrs.MENT CAN eE. Use.o F=OR. t-lA,NY pes taN S ... au L L-D '<OU Ii! JU6..J ECT AS" YOU W IS H •

fPtRAL.S MA.YAl-SO f!.e. U.rE£) TO J::oC.US A.TTe.N,. JON. TAKE. 17 AS At<.ul-E THAT UNES SHOULD LeAD TO A~D CROJS AT THE MAIN POttfT OF INiER.EJT~

You W'LL OFTeN WONDER HOW TO 'FOCUJ AT"TEN110N AND tN-reJ2.EJT UPON A CE2TA'N HeAD,l=l GURE.. O~ SPOT, JTUDy THIS PAGE. CAR.eFU1....L.'(1 EV5R.Y GOOD PICTURB .JHOUl-D HAVE

A MAIN FOcAL PO\NT AND ALL l.INE,f fHoULD D~W"-HE.EY.e

~ .

IO'NARO THAT SPOT:. THt:. OLD IAY'NG ALl-ROADS 'FADTOROME

~ .

IS J:4JNPAMENTAL [N GOOD COM poI IT rON .YOUR. ROADS AR.E LIN.E..r.

46

PROVIDING AN "EYE PATHWAY)) IN COMPOSI~rION

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lHER-E SHOULD BE' A PLANN~D eASY AND NATURALP.6,-lH LLN ar J EAO,NG OUT OF THe. fUBJECT ft-tOULD BE..5TOPPED

FOR. "THE aYE TO "TR.AVE L 'N EVERY GOOD PtCTuR,:E. BV SOME OEV~CE OR. ANOTtlE.RLINE.. LE.ADlNGTHE EYE. BACk

THE. E'le .JHOUl.O aNTe.R AT Tf-oI G 8OTTOM AND EMERGE AT THE "'1'OP __ NaVE R. AT ,tie. JI DE!S... .tl Nee: CO~N e.R...r

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YOU CAN MAKE:. Tt-'c EYE rOLLO"'" A. G'V E:..N COURSe ALMO,fT AI '(OU 'IV' SH BY SK\ L LFUL UJE OF L\N e" LeAD THE ~YE IN, SNTc.R..T/Ja.t N

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.ARe." eYe TRAPS'" eeCAUJ'E OF=THE.~R. ~UNCTIONSJ TRY -ro LEAO THE eYE AwAY FR.Ofv" 0 ~ AR.Ou N D TH8.M.

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IT WITH A JPOT OF INTeREJ'T AND THE.N ALLOW IT TO PAJI OUT. rr JHOUl-D SEA PL.E.QJING PATH AND NOT 0651RUC1'e.O OR. GIVE:N \WO WAYS TO G"O.

47

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ANYT Hi N a J"HOW~ NG speE.'D

ATTENTION DEVICES

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ANY .sprR.AL. MO"Tl F

~DIIl."" 'ON OP L lCH"T MO.IF' "'eULLS eve" MOTEF (PO~N~i)

48

GET" ATTENTION BY BUILDING CONTRAST OF LINE OR SHAPE

A It, Gf(7 SHAPE COM0 I No s.p ANCO l..A.R I!IIfltOK BN "'1 N E. ..sQUAR.E ,.."A, tJE. powe.'1..F=tJ"'"

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HOR.1l0Nl'AL CONT"ASTE.~ V"f'TH THa. 0 eL.l Q.(.J e,

,..R.IA trr.J c J.. e. CON; ItAs"'t!!.o TO R.eCTANGLS.r

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ARCS \f!i;.R!.J"U..1 Rec TANCLE s

49

CB l CArlO

THE :RELA TlONSHIP OF -LINE .TO· EMOTIONAL· RESPONSE

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C, RCLE'5 • IMMENS IN ~ VASl~E!J'."'fT$ttnY· OVo.LS - FEt1t N I N tTY "CREAT[VtMEJI IN FORMAL SUBOlV. SION" ACt 1\1 lTV FORMAL P'Vt .s.0,. ... DiCiNtrV · UN'''''''''

MOTION -fQUALlTY ..,1)E:l.IVEAANCE. • SSWSUOJ JTy~CJR.A(E- PE.RPEfUAlwN EXCI1EMENT ~ "e.Ul.STI CIT"1,PIW'tE!S Ml..ANCE" f()RMALIf'Y ·Jff.fN(ifff ¥

50

BAD COMPOSITION BRINGS NEGATIVE RESPONSE

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51

VARIOUS TYPES OF V1CNEII~rES

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M6.Kt N G .,. HE WH 'TE SPACE PAR., OF tHE PICTURE ,\lERoY USEFUL~

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A VIGNETTE IS A DESIGN PURE AND SIMPLE

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(DAR.K MASf AaA' NJi l~GHr) ell G HT MAfJ AGAINST DARK) ANY SIMPLE nssrer VS_EACH oTHeR.

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VIGNETTE TIED TO COpy SPACE.

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PEN DRAWING IS BUILT ON A PRINCIPLE

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I..e.NG1"HWlSE O~ ACWJfJ IT, Wli't'l yov~ fTI1.0t(f:;J. TftY'1"O l(6.ep L10PE.N ~OR.. yo.tH I [b fP.4CE.. AJ A P'AR..T OF THe PI!JI erN. ~ D~W MOJ"T l...V T~e Jt-.lAOOW$ t'fONE ALL OVER. ... l" veRY blF~.CU l."T ~ PkAW' JTR.OK.e.r C6.R6 'P"ULl. Y BUT I N.t( THEM IN bU~ l3C.,.1."'f .ll.~b FIt.€..t;.LY ..

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PEN ORA WING IS CONCERNED MOSTLY WITH SHADOW

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JrA,RT WIT'H A JTRONaLY

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DECORATIVE ~I~REA~rMENT IN LINE

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THE BRUSH USED LIKE A PEN

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.ARE

PART TWO

ES:SENTJ.AL PR()PERT[I:S OF T'ONb

1., lntensiry of light in relation to shadow,

2. Rdationsnlp of value to aU adjacent tones.

3. Identification of the nature and quality of light,

4. Incorporat lo n of the in f] uencc of re He c ted Hght_

~fm;m;: is the degree of value I>.et ween white I)d ·hlack-dl . .e lightness or da:b'"h'l¢% of a ,~iue' in ['e:lllho;r~~bi.p to other values, Tone appeara.llcC:!: .. of the moment" as af~'I'!fj~~:'j!.t,ght and re.f~ect..e·cllight 0.0 a surface? Or Jjght, producing darkness .. ,I~verything ."", ..... -s-r .... or. "I{:l~~l value:" \.v'brcll can 1:110 hliIght. d~'U!':kened by Hgn.t or ~hc l'lcl: of l~, The j's ·fr.~C:€r-e3ted 00 fy in _ the effect of hght Or Ii!IrIMI[i':i<:'~ on t1'1:0 kreal v,a]u(!'". and not :r u the local

and so f:ort'~Jr Thus dark skin !n bright l:tght ]'('ight appear 'Very Hghtj or light cl.:lrl YGt'"y dark il in sh~d(JiW 0<1' s~:U~oueUed a.g~imt bright light. \-Vi{:! speak of a dress a:j; Tight p~nk, middle grey. or dar k blue. \V 013' nre spea.kiug t!\of:l.l of ](:Ic~l value or 00]0).' and 1110 t of tone. .r 0 tone V.ahlGi the same dr-ess m ~ght be fU\Y one of: the three values HcoordiE'Ig to. the eondstions of the moment or "h:rffi!.lence" (J,f. Hght~ shadow, or. r¢fJ~cted hght ';Vhe'fJ. dntwill.g or p:ainhng.,. we the'refore look .for the' effect, :rcg;3lId. less o.h,lI;ihat It is known to us to be "'locany."' ..:\1'nl:05l the onlv time d'be local. value ~lJJd tne wne

~ . ~

v ·ahJle are tbe' same is ~!'I 0:Il neutral dHrused dav-

..

-, $i)aaow and with the ha.ekg!"Qlllnd, CNLt, Itght.

81

LI:I.I."di~ill· , So when we spealc o.f tone \1\'113 mean: jw;2Jiii!WIlor. dad: is it in :relalmon to other things? '''''''l.,~.k ..... ls th.e face in liIght as compared wltb the

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BAS.iC ]NTENsrrIES OF L[GI~T VERSUS SI~I'ADO'Xl

.' ~

~OURTH INTIEN.fITY

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:2. TO ~ E.J JIE'PA RA'T ~ 0 N HA~Y' JUM!.IGHT

THE ,FOUR PRO:PERTIES O,F TO·NE EXPLAiN,ED·

Wj!tJmfI,~UliatS'&called "whi.t-e",skin is uot rc;ally .,.· ........ """'r,wr . .it' may .appe9.1t whit-e 'ill :l FJ10W:,'rH<fil",','.-.r black, thou~h shadow can he

._.

1illi\'1~"',~!·_1U1C;i:l~. in ,photographs_ Tbe camera .... y; l"eoo.rJlng tone the ··inll.u~

Q in !lID t," It is tru C: t hat fi: lm a ncl ,P a'p er !$.r~:O:)J'd tone b.'u~bh.l ny or as the 0'Jo

:!;I"'>I;";;lI-'" '.,," tone nevertheless.

tJ:~ pilloto.~ or d ra w and r~e,Dnl pictures

sa stloped in 11.19.D1Y .Jilll'erent SGb: of

j; -' "ding to :Iigml Hllg corsdi tED1'l:S'.

~~l ... ~"!lS to the first property of ton-e,

are ~h{!' extremes of the intensrties, SiI') there is: 'tJO such thing ~~S; a J1x,ed ,n;:lationsh:fp of 'Hght to shadow. Local 'V,ii:hl e hes little to do with i'~:1 and all belongs to the. Form Principle, ~h(~. "aspect .o( the:!: moment, in relatienslup to as environment."

2_ Relt1.tioll .. ~hip' -(If 'value to aU adt-(J.ce,ttt Mille'S.

J u any g~yen hgh ~ > ~tU things ~'Lr.i~ $0 much ~{gM'er 01 darker than wh.at they a ppear against 01 wb~,t surrounds them. TItus the "pa ttems" Or areas wltlun n picture be;a,r a relationsh ijp hi) one another. If OUi~: area, tor example LS two tones darker than another ~ It has ~t two-tone-darker rebt i.'(:ilJ.$hip. r~ [S: this i['e.htio't~;l~ip tha t l'tlUst be held. \V e can then p 1 a ce them anywhere in ~he scale so long as we ke(:p them two E-QI){!S apal't. Thus we can key all the values bigh, 0:..' low m'lld still ma [1'1 ~:~,in the relat [0 11.$ hip. It is 1 i~e mi to so-I Ii] t he mnsioal scule, which can be played hi,gh up 01' 10' ..... do,~~,n on lh~ whole key board. Another U~, lustra tmn 'r'n i:gh:t be tho making- of n ~ I ght or c.lu'k¢f print 'of a photo. all the w~ lues goIng "P Or down t~}g:tther but m.a.lnt~dning ihe tonal rela t.~o-ns:hip to O:LiIe ,ilE14)ther. That is wh~t we mean by "key" 'in. a picture. If SU{~ 1 a relationship of one tone to anothor: m::o not held, then the s.~ Lhj(:~ct falls. apart. loses ~U bl'illj'\l[~{:'y and relattonslnp, a.I:1Id becomes what ,is kUQ'W'],l! as "muddy" iill value, ThL$ i',s the reason for dullness,

[ftI1I~n~~~o:f .. light ir~ Telation to sh,rrdow, 1.~~~·JLI..~~W'U i.h.::JJdow bears relatioosh "p. The ~~lflIlI~l;,;.n~~1J ~ the darker the shadow :arp~.~a.ir~, Imv.f!r ~'h€ light the: ~'LOre nearly , p:roodJes, the: value appearing: in ~;II:t;: •• ~"ii'I.IJ., .. , aUl'us-ed ] 19ht the hgh~!i and shad~ju'ij'~d' ~fftJ:sed also, III ~~ dim h:azj' ngll~ fhe

. admvs are 1, r ery dose Jl1 val U e. SQ we ]"elatfol1l.s-ll!if) of Ughr to s hndow dc-

'_'

. upon the i,.1l;[(~l"S"~y {!if hgh~.

fle11iJrlE!cre(Ii t· g fllage are se t 1 L.1l1 basi C ,i ntensi~'U""iIl'AI.q ]'S true that whatever degr ... ~(: of difg BJ\oOO'tmelre is between the ]ig]~t ~no;:] shadow ~'i] I , lights and shadows oon~istently ~~Klji~.the subj.ed. ,Jj L:hc shadow, fOil" examJo).<UUJJY .. one 'tone darker than the lught, th~!:li.

8Jlft!lmV, oorring r€ffectec1 ~,ight, would he 3_ ldct1:tlji.cdUo-n of the f.[1J.aJUy of J.i.glJ t_

A~:k~i" than the l.oue in the ~Ight-, ~]l By t.he kind and teJ~~tions-,hLP off values ~b.e pic-

,W¥l~U",!-C'" ;ru:bJe(~~. H the liglll:t is stronger; there ture takes o~'~ the kind and qll!altty o,f 1ight If th0

ttI,uoes o..f. dHteJ:enee. T,bcn, whatever values are 'r,tgbt the subfeN nppears. to b€ in sun-

, in the ,light., we lTIXISt pnint the light, .d.a.ylight. 01' 'night ,]i,ghl. as the case m~~y be .

.ru;I1jlo~E"'m' tones darker. The basic dm~~ren(:e You may be certain tb~~t the qualUty of lEght lOU

.about six Ent~rilSities, i,oil' t'bat :~s about g~t int.o the siI.lbject goes ;j;t long w,~y in maidi:"ig

lees we have between black a'[~d white. the picture ht"."llj.rtnful and ;,s.,Vllilg a . qtl.::di~Y' of

·wiDuld h~.rdly show separation II~ tl€ existence .... One 'pfil't of a picture 1jvIth ·""'iI"(mg

~~rtl!pl1)dudIOl.lL 01'1 the next png(_-!: you will values anay .!:'uggest a sh'ong light-another l'}e.rt,

ect work€~ out in four of tne slx inren- 9. dHlu5'€a,]ight Thissets '~Ip an inconslstency wIth

,~ black njgh~ !1 ,figure h~ ;)~ setu'C'hl~ght nature and makes .a hodgep,odg€' of yonq?kture.

ii.l~lr& ...... "~,,,'r' M, have black or nearly black shad- An 11gb f:il1 g mus t 'be consistent thrOughout, which

~,UJj~'_'.gll{)~l~, :S''li!Hna,d:Ul\ms~dJightm.l a cloudy means <1]1 Va.hie.5 must faJl within OI"JC of the uucn-

v'1lJ;lsa:irn!e,·,li2. un:: \VQuId ha ve shadows so close .s.iH.c$ descnbed and ~lso he consistent, for only

s to. he .hardly ok·cer:t1Ifblc. These, then I' with, true values can we J?~:[n~ light.

83

SETI1NG UP A CONSISTENT RELAT~'ONSHW QF UGHT TO SHADOW r~E VALUIEf UfED BElLOW IFORlHE UGHT R.EMAIIN CONJtAiNT, .sHAOOWJ 'DROPPED ONE ..

4™ I NTEHSIITY =-J\iAc{)OWJ 4 rONe.! Pl\RKEIR. 5TH u·rrENfITV=J',HA!I>OW.r 5'lONJEJ' ' NME. TII:-IA1 UGtiT APP'EAlRJ ,STRONG 5:R AS IHtI.,DOW I. ARE. :p'A~KeN,c""1 THOUG'1i ,ACTOALt ;

,

M lX A, TeALl: OF S~OHT VAi.Ltle:S' PROM WHfT,S'1'OBLJi"CK .. F,QR o.NIV' EIF,FIlCl' ·OiFLIGH'T'~We.

WORK DOWN FROM WII-UTE TO OARIK. Tc.\ ER EroRE. we Q\,N ONI.:.Y ,4Tf4.~I, N SIIU 1. LfA,H1C,( FOR Hlt::iI+"KIi";(EIi.> ,4,"-iI,P DtEUCQTE L.~aHT,U$E ACbO.fE IRELA"fI'ONSliIPOIF UCi!.=lYl'O' FOIR BR,j.LL1.AIH,eY AN£) PiQR"c:e, US',E t:J. IFOUR OR :FIIYS TONg $EPAAAltOH.IRE-!M AI...1.. THE. l.tQHT.r AWl> J"HIAPQ'WJ' Mt.IlFr IHAVE.·A Q)1t4J'Ij"T8NiT lOWA1.. J1~IPA RA:TI,OH WittEN ,IJ,. .fIHADOW liJiOei'!I'IoU:SL"t :L.l0HTe,N,EiD "BY R:.&AJON OR IRIEFL.16CTEID

'l!J - - - - - - -

84

THE /v1EANrNG ,OF KFY AN'O VALUE ,lv1ANTPULATI,ON

" W'I-I,E:N .... • v O~K,ING' WliH ACOR.~CT

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DIN Y Oi"" ~ E Y ,t:.iii'D I N"t"e: rN..f 11'Y •

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6, H,E!AO 'W rrilf F j, H~ l 'V</OIf.{1<. N OT6 TI-~El PRAM.:1 T rc e F'F!E; CT OF THE. hto rr li"ttiCl',' y.0 u N i~VE.R kMOW W!-I'£!..T ,P'O.rS'! [B~ i, ~ If;.r;: S" WI e I N ~'(tOVR r(,llY. ..,J:f;;CT L'I~ TI1.. YOU I<;E ~:!-Il-, Y e;x PER'I M.e NT., I N o.'T'HE.R; ........... 'OhtDJ" ITJ" PLA~ N l"H j, N, 1<1 NG ~ ~ :

85

THE FOUR PROPERTIES OF TONE ·EXPLA1NED

.1. 11i!corpm'ati'on of the i,rtfiu:.e:t'tGe ~f reffectcd light'.

Now' wh(!:i.], we speak of ~~ basic intensity oJ light, we must take into consideration the Iaet that shadows, besides: having an i [)jtcns.~ty rdiil,tionshlp to '~ight which 'puts them S·C! many tcmc.s below, are also subject '00 other i'nRue-nC€- Eve.l'i"~' thIng UP0L'"l. w1J.ie'h the ~ight shines gi:'!,.·o~ otf some of tha t Ug'E1,t in reflected light. So shadows C<.J.TI!!lot be made to. fit any rule entirely. If light is; s b [(I Lng on a wIJ.ijte background; nntur .. dJy some .oJ thet lIg]] ~ wEn J'eflect into the shadows of objects ~~~ai' bv _ So ~h-e shadow of the same object 'iifl the same

~

hght might be I:ight'er or darker bCC~U1se of re-

fleeted light, or according to , v ,,'hal the inillen,,-"f:: is fn)"f.J'"L H~ environment, Neal'ly all shadows eontii.Lil some reHe(!~cd Imght in any dayth~~~ <Oil" fLfLtUY;J;l hght In ftrHflciallight dJ€' shadows may ,a:ppe"3l,t' q'uHe dark (~11Id :rhowg~ph as black) unless we ~upply either SOII;"~e rsflocted ,lig.ht Or a so-ealled "Hll-in" ,lig'ht. 'But tbt fiU-',LrL light shOtlk] be soft m~J oi ]e.5S Intensity , for we are if€~,th! sul)s,t~ruHn'l:I'

~ .. ~

for ~h€' :r:~otmai cll:ects nah:LI"€ \',iould g.ive us. Sun-

l3glH ~tseJf needs no fDlI-in ]~ght" to be :righ1. and 'bc'.ilLl tif ul, though an kLflib or reflectors are used in outdoor n~ll)ho'('j- pic~ure setups. If the fill-in lfght princfplt; [s, not understood, the result looks, faked and. ral:hc:r than ~d.dillg. realism and charm, it rna y t~ctu~.uy detract

TIegeth;d lighe; then. is ~\ "'plus factor" to the basic intensity, :tHjd m~:LS t be so understood, Refleeted ]~ gh~ r.~ I·ea.my luminosity ' .... vi th in the shedow. HI,')\ ... ~.c\fel', the edge of the shadow nearest ~he lLght w.ill. usually keep the intensity H~Jn Houshrp. By taking the reflected lig'ht a ;'~y, lh~ shadow drops bo ,the basic inte.nsity- rd~i.lLO));shir;.. So watcb Ior this, You might ook~.t] t this v;.~)'; "This shadow would have the tonal d:bfferen{:€ of all the other .tih~"I!do'l,li,iS:, were :it not for the particular reBececd light :ru:~s.ing it;" S'0 some shadows J;!fl.a y catch more reflected ligh t than others wirb tfL the same P ictu ire , Th,e truth is that if. you, do not inelude the mflccted light where it '!¥OuM normally

;;rpp&.;:ar, your form loses soHdLty,··

.. dead" in the shadow. It .appear$ 'tM'IIVI!{I]' no light and air, ll{:1]ect.ecllight fI~S:'~;'_'lAkII'IIr. ing trI~ng,$ ~pp'e:ar to 'be :rOI,l'nd·-t,!}, three-dimcnslonal aspect.

A C€l"t.~Lh·! amount of l~nnipu]i1t.""'" , •• ~·i'ilf

poss LI}le 'when we :k now' what we 1O.'~,..wJ.

ptlrpme is not always to cntch the but ra th(~f the most drama Hc- e: .·eclqxlnJIDtil changes Iast WbCl) we are s'ketch.ingr sittrn~ W{=!: mav have manv var'ying··

e'.I" oJ}.I'

often th,e s.un starts out bdgh~ and. ' .

under 'I,."'i.'<Ji,Y. \Ve l'I'V to state the e

.J ~

sun goes tmdci" and stays und·(;:,l'- T"he:

to do is to s:et the sketch ~~j,de" for jf

it will not: have t'he same Mpect~ J.J."",-'~" true to the fundamental approaeh to

a new one, smaller if the time is i>J.L'U!I,''-''W for anot her sunn y day for the '~noves too, and the shadows Cb~~31 .. ~, .. ....,.=",. sketch srnal] and simple and ' v: ork. ,h<l,~'Ir:iiru'nlii

want to get an effect A bam lrni,ght ~~ dozen ways. by manipulation alone, better to make several 5J.n~]l s1:dd1esl the effects .. Then make :ill, {~]'l~f ~jl ,(11 NI"Lml1' .... T.!1~,t(:l:rL91 Armed 'with these effects, y back and pLl~nt yOiJ.LE" subject at leisuj'~:

U is perrntssible to' do ftl'i!ythi L1g, p~int, No. bOdy stops yOil.L One ean . like whae you do. 1£ you base YOUii'" :nt",,"t..,'I'IIIIoe, basic tn.J,ths and ll.lJ.dc1·~tsLnd:ing you ... ~ OfIl0S, If you sit ~,lbd putter with e '''''''''_'A..'''M yourself to guess rather th:3'l.Il going out truths yOl,~ want, you 'NiH do bad ones,

,"Vi) rm.:~~~ understnud tha~ nature wider scale 'fromn her brightest '~jgh~ dark tb~~n fr'om our white to. black, either seek ru.bj ects v .. tL~hhl our. w.~~~:te. Hdj·L,ls:t. them as besi vse can. The ,cam.e.l~~ur ~,I.1d.~wMte photog~phy has d1,(!: S::iUI1e." of ... ~lu~., so photo,g,r;::l,p'hy flt, least how :fa r Vo"e can .g,o in the \r.'"ay" of va black ill'HI ' .... ·'hiW·,

A Slf\1PLE LESSON iN 'VALUE RELATIONSHfPS

THE .... AL.IJ'~ ~rn'IIUGitt~ T9 1;:ia.I'H(" A,f TItIfl::'i--= TO '(ou Ii'\! 'ii'{'",IoUJ;; ..I"ueJ B CT. • .wo!~:;(k:, FF!:OM'L!I'Fe-

CQ,MPOS,ITION BY TON'E OR ·PATTERN

By this thue :it must be evident that we can render uQtmng pictomUy without male.D,g: some sort Qi iii. ]intilir statement, Now we can also state that nf)thh'b_g can be rendered in the eJfed .of lIgh.t and shadow 'Vr'itbD~.H tone, Line becomes to.!;.!€!

e ennJlal1y \vt~cn dose e~loI)ug:h toge Lh~r. and one merges with the other, TQ[IiS: ~tiIT has contour, which ~$ :r~lat€d, to line, m ares, also l'ek);'t€~l to.

] r u€, There Is liaear f:e(!ilh'~g iL"1L tonal ~rrnngemcnt S'l~ch area, bounded by {!OlltOrurs., bemg of diffel'eDt· v<!lInes becomes: ·'~UelTL" Pattern i.s ~Jl ar .... reugement th€1ll~ of :~~,Il® and tone, En the (!ail'!Y pfl'i"~ of the hook 'we lY.ls(~d oo:m~~.iUon on hne, and. r. 0''1,'1;' we can b-~giu tb.e other way' round, bas:millg it on tone, Tone r~:ny l"e_[)if'€sents tho volume and mass of form, and the 8,paoe: between solid tJ:illngs. Therefore it represents the visible appe9.ll"anee fJ:f-t')'I.n enviromnent as: :reV€~~Jed ro us by light

.- t .sUb~ta~l~~at'e.5 the surfece 01' character of what we see Vi.r:ith.i;n oontmxrs 'Or edges. This is somethi'[]Ig line eannot do unless: Iine :is made a Medih~Y! of tone, ,"Ve :m.iiLy cal] it ~rsha.d~iIlg,;" ,mc~uing' ju.~~ . hl:flling ~'h€ form, or we may call it «,mode~{ug:~ in ,hs tru€' tonal ttspeot ,amid :r:embo.Jlsh i,p wtth other til h'lgs around rt. Too, ,ll:l~Uly young artists 0:111] "shade' their dr'$.wings. and paintings, withou~ getHng any real so.]j(Ht.y 01' convictkm, Ewr}'" bit ,of s'{~~cal]~~d sbm.dh1lg must fan rorre'Ctly mto the value seale fm~ bi:lJl(!k t,o white; or "mtss lhe boat" entir.ely. Shadows; ~dJ rendered in the same value can give Uule more than a so-called en~l'H)i:;-:sed ~ff€d~ .so:m:e~hing· DlLlgilJlg out a i,rul-e from the pichu"r;!' pbne, f ut "rVith none of the a.pp'e~m:l!ll(:'~' of Hfe.

So aU things. 11a.ve a va;hl€. b-et'l,'Vee.n. Mad .. a,nd. \;;hlte. AU things have a Vahlle9.c(:ording 00 LigJlt ~nd sbadow. All thillgs.r~cp:Jtra~.e fl.'oJln one another '7!.I1i1:h~n our ReM. of' 'vision. because <ilf values, So we can begill wi tl~ ,these vah)(!· shapes, ,s:tated. as 11,~.dY' and sI [r.tpJy ~s llossibJe; and pl1ttdi,~lIy devoId of modelh~g or slIIrf,a,C€ deWJ;

Hs 'ling sueh s [mp'[e areas of related values, we can later' build up the particular character of the. S:1.l:rf~t;IJe 0[' form. This stmp]e statement is QUI' value pattem, which 'will. buiJd tLp the. big massss -of the

88.

s:uhj€d. all!d tll!e flat 01' ge['ier.a'i pleture. W'e have ofl:ly about eigi) t :;;ep~:rn.

to \v()J"K with 1~'l all, vVe shall need ,9.~ ,I or t'WO to round the :Fon"Jj t In what~'il{!r tin t tone apflie9.r$. A]]o"v,~ng' ~,\.-"O tones pa ttern gives us folU'I:' paUe.nl~. !I1~ :'e rer,m,B/WI! build pietur,G's with a: white pa ttero, a "

a dark .w'e}", and a black ~:tteru. aU we reaJIy need; ~m~. fact, thfLt, is ~~ll .

pattera -c:a!l b-e varj..ed. O~Oe. tune w,'" ... 1'I .... ",N.mI Into 3JJd mixed. up 'l;virih another pattern

O~'l the fono.w~ng p(~ge we :f~nd that these fOll.l r, values W0 g'e't four basic preaches, Iu e~4]h CfL$(~ One ts chosen "

eral or D'<l;cocgFO'lmd to-ne and the three

are ,pJ~ced agaif.lst it Ea.clli plan wm , .... i:sibilUy ,a.~~.d vitaW:y. {\:L'Jy pich.u'~e or :ro~ : .t;

,in this way willhave "punch" as: fal'.:':

and pattern 'are ecneemed.

It is best to have one of the fum.' .

inate :the others ~n actual area 01" we can V~€ white as. a l)ackgroHl'li(t, gt,e-Yl:i' and da:rks ~g.ains.t it 'with pe wh ~te also as a part of pi("t,,:)'dil matter. have a lfg'ht grey:as the dommanr tone, gr€')' ~ black, ~lJJd whi teo playing strong i.~_ Either' th0 dark grey Or black as grQund is very temng and ,powerful tona] arrangemen ~_ M::my sub,jects: milly.

out in sevsra] wavs, and many s.llbjects,

~,'a.ny luto one: Or another of the. four. . . I present th:i13 p~~Uli of. tonal ana cause ,n~ seems eharacteristte 0'£ oogulil1ers. :prol~essjoDli/.llI wad: to be disor_g:anl2ed 3S :,. and values, r'€5uIHng ,~n ~. hodg,e-podg\s of t(m¢:s~ or tones so scattered and broken to hru,'\!¢ the much-needed ,impa.ct

· I~ wHl be seen at a gl~\noe· WfuU :;'L I~O

@tg,a;ruzed. eff,&(,."t tonal !l!i"Fltngement can ~ 1 based on one of the above Iour plans, .

of tone :Is by no means compulsory, ~i.n.oe have p:red€tennil1ed a. ~:nbjed as: bemg value: and w£tl'llh a narrow :n:mge, HIJt vitali ty and. strength Q,f value is r"'''''I'''~'Fj'''fII'>li'lr' shed, .phlS 'Ci~r.ryhl!g power and. contrast, .

THERE ARE FOUR EAS[C TONAL PLANS

j

K, Wl-ili,TE ,DK" G'R~""'" ON LT. Gif.;!~Y.

-of iii, bl)~c tQfJ::JJI pla-n 15, your best ,U1SWel'_ Th~, whole ~oo.ry of pictorial desi,gn is ulCg,8.'r.d .• Cff I~n~ oII!Jtcl tone, ,a;Qd (lati3T) 001&1", The ,,¥:ill. be more teHung i.F il)"rg.:!nf.:;-:cd into sim.,'oops that 'win hold u.p in 1.11I8;SS: one ~.gai:l'l!s~ !)):I!l~Glg; SCi"l:Ui,?;~lij:cT and confused small 1'a tehes has tbe,.oppasite ,effect, o.F hrcalki ng down the car. ,efed or .tone" Military c,rnl0Un~.gC makes

of tM:s puj'ncip,r~.

f:here are l'el1L]ly f1i!w su bjscts wlIudl when

.g~~ :ilJ'L()u~ w.i;H not Iend thcmsol v €s to such :rlmple !iLrf!:mg,e]floent You ,C"ZtIl! be almost S~irti$ d~a:,t

89

:.3. 8t, A, C; K) W H I TE t 1.T.. G;~E.Y Oit-;l, OK. Ci R, E y, 4 _ GR,r&Yj"' l1N D W 191 'ITE:1 .oN '13 lAC'K.

l:f O,'I'I1ij does not, ~hi3"~i .you alt'€ l):a:rdly Ot) yOt1I' w~~,y to a g:ood pictme_ There is an "sll b,;usy," or mosaic, type of i:d.oe-1nm;, which might be likened to an Orientel :rug in deS<ign, Or there' Hlight easily be" in an otherwise ~~:Lf.l'LA)!~ d.1,l!:SJ:grl!, one "husy;'" pattern, broken mro bits: of pattern" stripes, Or patches. This :is often desirable and d~Bc:ti" .... 'e_ More p:k:tm\es are bad beoause no attempt at tone (in~Iidwtion has been made than for anv other

o - . . - '~ ..

reason. h: is 'to g~~ tid of th.z weak, 'f...-asl'1!lSd-out eRects:, or 'lh~ JttH, heavy, and ,m,U].ddv usc of

r ~

values, that' this approaeh IS oiferoo,

It C:;I.I;' be tm.k€D: as a. sound rule that' the .simpler the presentation QJ fi. SU~)Be:C~, :lh;::: better- ~t ';iF'] llbs pktorhdly. A simple prese.l.ltn tion technically resolves l rself ~:I'bto' a few s [m..~I~ org:.iIJ L~:€(] areas or a ~ew' values, To, prove l.ny pOint, S'Ltpp0:;l(': we e;n h~t a roOi'n 'wH'h ·~B.1J€T::;:. dQ~11hw', or o~her mate-

.t"~.t. b

r..i;11 l.'·e"Fl'e~·nti:['jg OO() W'J:s~, .~.f:reW·I) ;:)1' S.;XI:l~C'r(;;:d

about. \Ve ha VB the immediate reaction of wan t~ ing e'~the:r to clean up the place or to esrope from i ~:. 'iN C spC'~.k of a place as behllg "littered" wH'h trash, Wh:H il"c.'illly 'I; appens js that i~ is Iittered with contrasts or. confus L{)~). o:F r:,Ol),(!: a.ncl lh 0 elled is lJnr~ea~~nt Pictures can just as eas,Ll.y IH'!: i i~t(:tcd .-:a.nd just as unpleasant; SO' if the ,11rs.t glall.Ce can ,!'hl!a no reason fot a. l,H::wrl{!edng army of tones. the eye will pass up },O!lJ,' picture fm.' a more org,a~r[:.':!.'€.d One. This 0:,,,..8$ f:he. main secret Q,E the great Howard Py l.c·: his s [mpHd~y nnd oll"gm~h~:;I,'lion of tone, 'We shall ~.reak more of lum later. This is the secret of good adv.ertising material or uny subjects se~kjIilg to command attention.

Let us comprehend that it is liIlQI'C:: ple',jsing to look a~ the extreme c{mtr~~st of black and white if' [:;tlppmt'ecE by easY' natural ,~q uences of grey. Tho '0'1;'13 ;"vm automatlcallv seek the darks and

~ ,~

Ijghts phc:ed within th~ gtCJ~s- F'OT tho::: eye sees

contrast instinctively. Therefore the spo~ of [fl ~N'est should be ~fFoil"df:!(l contrast with tts environment, Note how i I:1i the $COOil:U, ~'Mrd, and fourth plans the eye goes ;1 t once lo the """,·hi b.~ a 11"€ 0\ , 10 the ,fit.s t l,i~f~ H seems to go- to- the black Black and white used tOgL'!:~~(!:r SLg~ ill~t areas of grey win ~~l ways command trnmediatc attCl:it[O)'L.

I t r.e~By dO€:5 not matter much whieh p~a~l is: used so lo]\,g as ~:'he areas of the four VIIllu<0S do not become too i8qua~i'zcd, or- ~'htl: whole tlf:dng too broken 'll!p. Subjects wh,j eh l.r:n.l!s~ be t~bm in q u ,"~Jdy > SUdiL as ll)oste:rs oiJ(l!" disl)]ihY-S, shoukl b.....:: in the simple .. st possrble tonal LTllTil'illgement Subjects dla:t have more time ~,o be lookoed at can be a little ~m.'Or€' intrlcate, ]f need, he;

Evett sUlbj€c~ can first 'he analY7...r.d fur- th.z wea]led. tonal "meat" in it, By that: we mean: what are the tonal po£S!bi Htmes; here? If the subject has: ,oometmillg; of broad expanse of tone, ,::iUcl~ as snow)

sky~ a broad stretch ·af water, ,dark lit, s;p§~.{!..;::, OT ~. 'Roo!'",. we CHn seize ·irn[ili.,.r·li~'hi.hi that (!·xpa!llSe as our dOl.l1inant tone; . set np ::'I. mental hN~~ge of tone, ,"Ve s:thI;C~i1;.''f.!ly turn to the bask :p'I::t1l allied to ~he h~1::J!ge_ That leaves us 1;~~ phnming Or :j.uTLH'lg~meL'l:t of the rest j(!(!t in some sort of -d<l2~lgn ~"Lg~ L!~st . I 1"01118, 001' b.rg'e.!' ;1J.'e.1;S,

To gh.'e you some examples, let me , following:

DnTl~ Iiigul:''I.:'!!) un OJ :r;~H)'I;l;," scene: the .

A mau wi~.h a Ian tL'!:"['l\;, the [ourth ,p~a'i'ilL A Itght boat in th-e rrpen sea; the

third plen,

Figm'~~ on a SUfi ny beach! the Ht$t plan,

•

Beyond the' w·dl·denned rom.' a.p[):ro

have a few varia tions, V'le :rnay take ,Foil" ~'hc i l'!it"€t&st a,!lcl [).l~.y them ~g'llIUilst" two, instead of three ag"l:~ns t one. Oil" .... w . one or two va]ue5 and. spot or <iIl~ed dnolJ!gb wider areas. J have glV'f:.\H you (I, small pi(!tol'i.a~~ arrang.el'fJenb:: just to get, ed" The basic tonal ~lT~n'il~g/~![Ile:L1:ts are : ous as to be almost inexhaustible, once ' derstnnd the method. I ha 'lie tra II1s[N),s~d ~h,(!: fll'S:~ ,pen c-.i ~ rm tghs to bJ.'gci'.' black-a oils, then selected one of these £01' a , sketch, But it g.oes On nnd 011" '\\'by? 'I . !~~tur(:: ~nd li Fe: f~,r] _~Q nat 1 ~!I'."3]lll into

~

tnne: as. almost to. pi-ck QU~ ~'he pEnn for

nature Is hl!e.tuiI:ll]stible for ~ljgg€sUng , ment and inventiveness. Tlmt h why I ,. urging you to go to the real source for . S0e ifyQll can't st~y on the other man's] hs vC!' cY(!'S find inventiveness too. Take and ~. pad and pencil ~lmo:J;~ €V'€TJ'W' keep busy, Y ou wi!l Sl."'B ~'On.9] pla:n.s an yOll) and 'the whole 1/t'Pl?i:'onch s uJJenly clear, 1 can assure YOtl ~here 'is 1110 ~j;vtty gOOd, artist uses it

The i:oil1;a.~ plan 'lJIJfer5 many apport' , variety in the same .3;1,,] hf0Ct or~,eI~ the

90

m great variety, Suppm.e '.J!l,"i\!:~",,!'~.U'- .shmJ.ldf'..:i'S o~· a gl.rl to dra w; _-:':',= __ ._=- r-ough get the effect ~.f how the . bl~j~t with '1l'IIIddl€ tone, greys Q;L .... II1 ... "t!~io*J;~Ull.l'!· t a veI)" light background. In «t'et~Oij.w n:HlJ'-:r~.1]y giv.e her dark ho131'. ~lIkl,!·iID'iCi(l~!blV light it (mi"J\ t~be 'IJ~Lck, throw_!i~'to harn'on.e 01' shadow. 'vife could ;;~""'ilif'I""~'iL" g1."e-y to complete the four gem· YIdl.:ile8:i~Ulppooe. we ohoosea ~~~~Il,~~ fldod. Theil :h~1t n. blonde, using the light to. three-quarter [ron t_ The light and 1IIm~~LI!Iiurr·o.d1]ce. the glfeys we wan t tLg8.U!lSt

5-Q)I!.eM~~··:ti.i.e areas of p~~~r=r.n can be switched e mJght be 01 hght ·On~ or dark "'V"-"i~-."' it OiIJ.t as 'lig'ht 8-ga ins t dark or t.he ir.dght he htLght Or d<~rk, or trees, .IiJXIlif~~.~!,i:l other ma te r:E a'! nlli'ght he h'u!$:(l both , we arc ~'jj:F.ter prhnarily is s h'iking dc-

jt,§!db~e.j and H Is so !'l11,.1Ch more important in;! ubj'e.ct or material itself. lking a. picflit" . tOr i:s j~.1:!:lt as .int~re$tlllg. per haps CvCm I tha:n the aotualrendorlug of the subject

",UTh·a.v·~ dcci·d€r::1 on something. Str.auge·ly ""'LlIJ:)~~,,, ~u have i"e~ Uy concei ..... ed rOLH' O\V[] subjed rou wiH And yOliuse]f doubly rJ~~(~rr[n cauYIL"Jg .it out H~V'["'g conceived ~P~i~ rd~thrdy simple tn work it out wlth )If:JtI151!h~J.(l . mode]. But sta rthbg ou t wit h 'mJO con-

o!oI I ..,

UPO~) .s:n.~ppllilg up some-

1JUUj~~. YO~I g:o ~.tong~ .~s :mmgh~ y poor procedure strikes ag:ah~st it at the (H.I L~et With- 100000:j~roo~t(I;ru~u pkm you will find yourself f~'!.l Ih~g i]~~lQrJ~I~L(I habit of ITi:[IJking: most of 'your p:~c~u:res: lighting )VIiU figures the same ·",,'ay ...

1'(epj@lJ~g on ~b{: ... n(;riJ~ of tPl.e· modcls face or [1II'!;'~~F~L ..... '~t you by,. It cal) g.~t v.err horesome t"(l

i~~]~;~Des.~gl:1i Is !:he 'best bet. D€:>ign is rarely """'rfi'I~ ... I· .... 1'oc. aOiJjden~, It has to be baial'llooo .• sim.1DliI);~(~~r·· ,stripre·d to essent i als, and. 'wuaUy ~iI'ied ~I w.ays to arrive at ttl; best" (me" Almost

e'\1.erything.i:'t1I the way of form can be tied together or i nt€T laced with other spaC'€ or fm~i1~ h) produce Il'ood, evert: unusual, destgn, f€[tarilll?,ss of its corn-

c - ~

P lere or kI.eJ1bfyti~g '~'[]J bnur _ l~y id~lTtifyjng COD~

tour :r mean ~t. shape' which migl:l!lt id.enhf y m tS(::U as ~ fiat" silhouette. A hog i Cl sil houette Might not be tho most beautiful d.esign as: a S(~.p£Llt~te and CO~'r~plete thing_ r~ut a ~lOg contour <can be most heautifulas a Hne related to Ot"iC'r lines, a shape interm'f'liugling wJ.th other shapes )'fm wlll des:~gn, Sunlight ~:md shado ... !'-' 0~.f.1 play across a hog "..,II,.'j th i~'I:tr1guing beauty, as wen as '!I~ilJe Or color. A couple of bogs could be the subject oJ u. m as rerpiece, The point is, it lS (lot the hug .at .aU, .it is tho in 'I,o'e~ltiveness and eharm wHh wlJ lch you. pOl't;r.ay it.

So marl}' of·I...1:5 attach 00 mlJch to the material and 3U bject, so 1 [U le to the d.eS~gil and a]'D'1i!.l'lgement of it, ,\Ve accept SO easH.Y without pbnn~ng. '\V (':: ~~re so €:[IJger to fi O(~ th~ prettiest model (Qr dress, or shoes ) and then [>9.Sh.~· her onto some sort of Ilamess H~l d try ~Q ·C'3;11 it :l pi.t.-tm'c .. I cannot censor YOL3 for' It, foil' it is typ~cal R, I.~ I (::;I,H point out that the one h.Dr'~ (_"J;f producing better wQrk is ~h.rO'u,~h the c-Oi"J·0.Cpt"iom), not ~'he materia]. Ono art- 1St ~·L)lcl tr~e he though r hts ... ~)rrk h<~d never really elreked h[_.'(.~L 1,'I.:;e he had never' l'UlI~~ ~LeI.'O~~ quite the pretHest gj'r J th a.l he th01.i.lght he ~migb t b€ :::~.h~e to draw, So I ri!~01nl'nt:T_ded mv best model. WH~i ])0

.,.. .

better luck for him .. I l!lad not the heart to tell him)'!. ~he :r'ca~ reason, f.m' who carl l,JI!:! too sure t1.a.~ 'h:is own work DS not often ,~'anting En d:c.s·i·g:r~ and conceptionf It is not ·e,fasy, and jt demands lhr~ Llhll1.r)'s t of your time, Design t:l: alwa ys there' to expeli'imC[]J t with, to ;:3.llow .J"O-u. to exp1"f.!ss yOIJ rself in YOUIf own v;.ray. I~ is ~t..c·1:hj:ng ~h .. at makes YOu or breaks you) when e .... ~erythmng else is said and done.

I cannot urge YO'LI b~ l.f €no-ugh to g.b v e t]-w~~.gh( and pl.a.!Jning to the merest sketch, 'the sma ]lest jo h. At least 1":.0 certain you know Dlll) other Or betrer way, 1£ you have not trie{l anv other way, how C9.n Y0l..ll be sure? A p:lge .('..i thumbnslls ~'akes much less timo that!! you waste '\¥.mth a had oS t~.'(t.

91

.

rTHUr\1BNAIL~1 PLANN1NC ·OF TO.NAL PATIERN CfR ARRAN.·

O()

v_

THE SUBJECT ITSELF OIFTEN SUGGESTS T(-lE TONAL PLAN

FOUR OF TI~ll2 THUt\1.BNAILS TRANSPOSED TO 'BLACK-,AND,-\'Vl1ITE

TI~]E CQMPLETF,D SKETCH

.'

SUP"-" " """-P"jO:C,E W·',"E·- ~T;AI?E·· A', SJIDJECT.l' A···ND····"··-:·· 'W .. "" .... ·Q·· R""'K· 'IT' O:"";'U'T""

• ,:- j~, r- ' -. ,I'U'. '.' .· .. un." .'-.- II ,,""; "'J -.' "'. .:." 'J ' •• ' •• '.""

Old. ,~tother '!B'obbard, Wmt to the ·~p))oalid

Tto, get bel" 'poor.' dog .R 'bOll&,t "Vllen's.be ~(lt 'ilhe:·".:;

. """- """ ,- 0'"'" re

n:e 'cupoaQl'Id w..u 'barie:!

~d :sO 'will Outs be" uuless: ·we·

A .. . .;IOL!_ " "'L. ~ __ I "'.I!-

yO mmer.lWlfg, lLlJ.Q1lll·],!i..

;

Tbeslibj'oot,. - the Shn.p1esf :m.m'Sery rbyme~ The pjcturel :DO eaS!y matt __ , N,ovt~ what is your eonce:ptiC)n~ Y·OOJ."8 ,ud mtp6 ,are goin,g to be very

.J.:!'a. "'Ui'lI'1!.._ Old'M' .-.L. bb d'ilN ·1:I':r1..

'WJ.l.eren.t~ 'V~J.Ii!lO was '.' I"" I l.oiruer Hu .,0"" rl li'·.!!:JlJi,t

did. she loo.k like? ,B,ow "1M s'he~ dressed'!' 'WheM

. '. --

, did.:me U'Ve.'P' :H()wP '\IVh-a,t was the 1n~m-larr' Wb·a:t

kinJi of ,iL dog'P-' :"-'hat is the: d.r.ama. o.w action.? How

can 'we 'teU 'the sto~? ,

The~ 6Jrst thin;gli'm 80ling to dlOI is 1,0. ,~dt In &e oorniifl·and.·drlriJk· ror. a :Iittle -:--h" tl;:- I' .. ":"'". ". I'·""''''''lJI·":;: ld' :'

. "". . . .. - -. ~" "". """". \N, ue.. see a lI .. u.e o. "

1. d - ... _I • .L_1... ,tr:.~l"l-· _..,~,. t" 1..!~ 1. ~~~·'11...]:.~,i d 'I:" "

lac Y W,ihri a.)( U. aif!.' ,~ a WJ;1u~ ~m a:n . '. tiOnnet·,.

'hcbhllng :9J:boot 'tft.th a caJle'~ She cO'uld be ragged and. ~mpt ow n~at ,and. clean .. I choos~ ,tl~l,e la:t!tel. The dog is a big dog" ·a· ,~ort ~ oJJdl. spotted :a(flWnd~ In tb., 1dlcnlim. ] S'8.e an old, band ·water .. 'pump' in thes,mx'.lI se.e_Olgs~:·willdowpane.s. i,n the ~doworveJt,·the. $~ and the. an -.." .... 'hoard

". "" ".". ".' ." .. -ren.cup~ ~.~."

~101. 'pidew 'r see her. 't.eUing uw. dog ,there is non.e and. the: ,old hound seeimn;g to '1Jnde·r~t9.:mJ.' even

fc- ~, "Y"'" L'1...~~ '" iII_t .I: .... ii.1..._ " b~ .. N"'": - ::.,f.,gLve •. eB'~~u lIS· a ,w· Ji.L1. 'uw :su." Jt~ct. - 'OW:!I'

how dOl 'VU see i"~? .

11' ~" "Jt.'1l.. .. ~ ~_ .~l·'· .1_. ,.' , iII~ '["

JYet U5;U~IIU;; w It liD feWUU'll .It"o a tooe :pe:1l. .:. t IS,

., obvio1Uly an ,interl.Of)' ~aDd' 'that . would. 'prob~bly

.• b fi'-'"' A·'1i ll ....... .o;4; I . ·"It "c" "" -."" 'S' - "':'1... -,;1>, ~.''II.!!~.''". " .. " , e I£:f""ey ... "'" J;~,'" - Me .• " grey, '. () 'tp_:a'I,,·l!:UUDlnat,BS

both 'ilIbe whlte and black. u,:me dDlni:ua.nt tones)

'tillOmng us into the second ttl' 'fth.kd. tonal pmm. 'G:rey 18 melancholy lib the s.uhJec~~ ·wh:ioll. h,elps. ,Now~ a'b-eady~ here is: black :a.nd. wW.te against ~'V, ;fi.. so'und 8nrw,oach. If we' Ches.sed her in IDlir~'V'

.~"¥." ~ - ~ • r·r~I!II~· _ .. _.- - -. .. . . - - ~'¥JI'~J

,..:I!._....,"- ,liL. , .......... s , 'd L ..... lI'"k .l. k 1l..._.l1

1U.~n "1'$ In.~mr' COUl' ~ ~ ~ uu .; or u1l'r. '. S~JaUOw,~

might be mtrodtroed. 1'0 get a whi,t,e pattern we can. h.aw ·the: 'wfndow'~ :00. bonnet and :apron~ a p,artly white dog. iMaybe.someitbm,g w'bite as ·an ,access-ory-a pit:chier~, a howl The h~aek patte!m or 'SPO'1s 'Mil 'he 'ta~ care 10£' 'b;y t!te ,old lady~s

,dres~. 'me $Mdows·~ 01" in whatever 'W'Ji,}~~~

The Iriit '~em·pta.'Hlon would be ro'liM:

Mother G'oose book. 'Why? Because .w·. I'!~ see. 'what ,$c.m.e:body else did,. 'We lack~' amce. in am:r.&elv-;es a:DJd hope tal get ,1OtIm:j'ti~

'Thllt~s OM way" Thsiit is the~ 'WOlst waY' I ~

lor;i1gj.nal W1:Yl' an.d the one th'wm.S nat.' 'M,O'llier Hubbard 'i:t~ :just ,as ,mUlCh. "'.:iI' !'iolrof".,!,Mtaif( lor anyone ,elsets. Who bows 'When;~ 'where. ~he Bved}. and 'whol ,ea:~es:? M.· ~,o.tllvetj~lU F.s jU$t so m1l!Icb, deS;igo." so m.iliclt muCh SlOt,',. II wei 'have ·to be too a.'Ii.!I.IY!IMl~'1IiI "WiD. IdelV'e: in;t<) h,is:bxy~ s:peud 'D. lot 'of 'nml!~Ji In.g: tn litll1e. more than. we mSldy have~t'Uill milit. :Maybe: 'we ·could. rome 01]1 with I

,t~c dress, But we are net: ma."ld.n,g a .,,",'J ',.Mc .... 'iii_1

Or sa'es!: e. dress, LeI: us make :it to, su.i:t I ,on'iy real 'Value.is :In. 'whc"lt we ,dol'with i't,

Let us conceive our ~,uhjectt then. '.' :

'tol 6nd, a laoo wbi'cb spellS 'Olld Moth,~ as :sJ\e .I.ts 'OUt oonce,;,Uo:n, I have, ""0;"""" " ~Ib>.n:"-.Il~ ..... il ,an-an,gements. These we,e wilJlii-out oopy~ for ],u'st now' I'm not irn:~eJ~te.d "ii'i~M1 hut the Ide sign and :nory .. Of 'the .L, .... ' ..... : __ A> last' one, It: 'NOuld. not be VIe.I)" .' "_'F~,," •• ,,'·n""'".

a mlodlem~ and the: cO$.tume~ even the ahead., It would he lotelre.8tw,g ito go -~""""~Ml Ute :plcturel. Bo,~ the hnportant part ~,g!mlf1il:+.i I am not realy AS: mncerned here ·'W.'1l[lml.!U yo'U a .Bnishedl job asin showing: you havle appma,ched ,this rom;m]SSi(i,D~ Wel~Jj~ mis·sion.;, I ,can, lust im;a,g~ne what' lloakwe'D would have with. this, and 'lG11it;'~IIl'f.'i:I titul, tldn.g he 'would, end ll:PI 'with to .stt'mi&1 I'm sure be, would, ttl,o every indh or it That iswbaf. made mm grlea:~., S:'tar~ ','

yourself the fam~ ehanee, ·

Get ·out 'VOrUT ~d and, p·ellci] 8'od. '.

,/' [C'''- ,

Jack. Sp'l'att iMltea,dI 0:( Old, M:otller ".1", ,~"""

anyone ,01 .& 'hDlldJred, ,othe,rs~ But l!;'ii,1. 'I\',IQ-j&I

- by' itJ. fur :peihaps the~ arst thule" ~Ujd ~~1

"- ... d'- - ...:t.. _..." "n' dl ,. ";IL~t

.nun~·. :I,OW' 'i';"!.~:i;~: you WI~ ~"~o: t .~.~"W, la:vJ:lW

. ,

96

OI.D t\10THER l-lUHBAH.D IS YOUR PROBLEM

T~NlQUE is a very controversial subject at best There are perhaps as many vlewpolnts regarding technique as there are individuals applying it. It is not my purpose here to ~faVOJ'*1 one technical approach over another, or to attempt to steer you away from an ·individual application of mediums! for therein lies your own I*sonnlized style. H you do not allow yourself to be too much influenced by some single idol. you will develop your own technique in spite of yourseH ~ it is bound to be a part of your personal characteristics just as is your handWTiting. My intent here is to stress the general method, and the reasoning beck cf it, rather than to say how it shall be applied. When I speak of technique here I am thinking of qualities that should be incorporated into good teehaique; those qualities being the sound rendering of form in true values, the consideration o£ edges and accents from. an lUtlstiC point of view, the design and balance, contrast, subordination and aooentuation. U you can achieve these.,. it wiD not matter how you do it.

I wish also to point out certain eharaetens tics of the medimns themselves, and the inherent qualities of each whIch are not always obtainable in another~ It is hardly necessary to go into the

. fonnu1as for materials} pa1nt-mirin~ and so forth, siilce this has been expertly covered by other writers. The permanence of your materials I do not consider especially important at this polnt, since the problems presented here rna y be looked upon as practice and ezereise or experiment. on your part.

Most of the -elements of good tecnnique lie in ~ndividu.aJ inte,rpretation of the qualities of the mediums, You may use a. stick of era yon in any way you wish" but the values, the proportions, the (:OIl tours and edges, are more or less limited to good and bad chawmgr Drawing can be 1ea.lly bad for only one reason: that tt£ai1s to cany conviction to the beholder.

After all, every.dra wing is a st

. convincing or not. If we do not ..... ,..,. ..............

not expect interest or response. In the there is no real su bstitute for truth and quite so lasting. For that reason I feel tain that realism in the sense of a " ence" will outlast any other form of art, not convince the beholder that what him as distortion of truth is right and pre tell him the Iru til as he knows it and ",~~L"" he. meets you more than halfway.

. There is only one: way to assure con good work. That is consistently thorough . tlon, The preliminary visualization or is~ I believe, done better without TI"I"~~O!Ji.'" copy. It leaves you freer to ex('l"ess having formulated, even cru.dely ~ your expression, then by all means take 6'I[ ...... ~, . .:.I

avoid faking or guusing in its anal While there may be pride in doing wi and coPY* there is no point in it. If the bes invaria bly prepare the best possible terial in the way of \roIkmg from_life" camera shots and studies, how can the lakes and works blindly~ hope to 1'I1"'rft'I1'I"lAI'.ii:

The Srs t matter for your .............. 1.:11 ......... 0;;> .... 1L.LUoLI.

development of a thorough approach. ~"'''''TJ tine if you will; r d rather think of it as Start with the tissue pad, but before you teo-many clippings~ see if you cannot thing from a standpoint of mas:; and ..... """" ...... haps you do not yet know the details ee the accessories. But make little sugges figures going through the action and spotted into in~ting masses of wh and black. You can think of something .make up the masses. It may tum out to be

. of dark or Ii ght furniture, a mass of what not. But work for YOUl' own design.

The proeedure of copying and finishing . and then trying to £ill the spaces left 98

FORMULATING AN APPROACH

work mll be better if you will form the habit of roughing the idea out first for ym::u:'sdf, Alter your thllmbn.9Lh have been planned, after J'OU have yO-tIT clips, photos, or s rudies, ma ke some sor~ of a tentative staL(;J"nent of the whole tiling as you want to work it nut, This gi ves you every chance to imp.rove hom the s ~~Ht; It sh ows ul' the d iffi~

actually! to think of thf.! .setting be- CI!1He.5, if th[~n:: ure to ht- any; and eh~nges will not

of the flgLJJ'C', or of the design or ha ve to be made On the fi nlshed product, perhaps

·figute wlll eventually be a part vf. after hours or days of work Maybe the figure

drew, from a dip, a bathing beauty should be moved over, or raised OJ' dropped. f\.h.y~

the dead cen tor of while space and be the girl should have a d ress of a dj ffe:rent val, IC_

from top to OOUOfO. Theil .$1.!ppore Perhaps the pose might be better. YO"U never know

g of backgrou nd. \\'ha t is there these tni~Jgs unti~ they have been stated. You don't

...... ·J ..... L fin "Up the f"o ... ro empty sides with male goocl pictures by changi !lg lour mill d i 11 the

r, and sky? Natm;dl_y as a d(::~dgn it's middle of the procedure. No medium looks :;I.::;

a dud. 'Vc- gave d.('-~~ign no chance, good worked OVG:f as it does when planned and

we make some patU!Tn~ of dark put down fresh, to stay that w~y. It takes ~ long

JOcks). some gJ'ey.s (eventLl;;): lIy shad- time to learn this, and some of liS ne ..... er will. I t is

.or .sky), and some w hite:s (eventunl ly comparable to the advan t~ge5 of a well-planned

. SOOn £nd tIH:!· spot f OJ' the ba th i!lg speech over an ifl1promph.! onC_ Se~tle all the argu-

might be a wave breakiJ~g, the foam rnents with YOUl' picture before you strol.~tch the

mnaru:ID. with the girl in ~\ light or a dark Snal canvas or before: you spoil that nice big sht"!{!"t

jtlW the design. She might be sitting, of expensive ..... ·titef~rolol' hO~Lrd. It l)ays!

. a pQ.~~rn might turn into :;I. cape If there is time it is bette).' Io make a nl'~t study

white spot might he a g1IHr She ltlight of ~ figure, then work from the s~~l(ly rather than

Jigbt and half in shadow, A ~hQusand from the oJ'igln::tl copy, or from the figure into the-

can happen to make It [n~('"'1"e5:ting. fi!,~t I realize tIllS G not a1wa_ys possible. But it

U me:::I:l"L by "approach ..... Give your in- pays: out 311 directness, freshness, and looscuess.

half a chance and you wlll C!"J('".Jit-e. Or It is hard to make it fr.('-¢ und spontaneous the nr!,t

:m~ly stille it by jumping '-In~hinkil~g(y to time. Vile aU .struggle to gN the drawiug, values,

trusting to luck. 1f you just find form, and design all clown at once, and it is quite

reproduce it Jir.crany~ or c v en just sit impossible to do "it evcry time. It makes more

oop;' a photograph YOH have taken work, but H makes YOUi' best work. So ~l'e best

how can you possibly go the next man hahit is the thumbnail. the foughl the sh idles •

. ? All rO~1 am do i.~ possfbly to make a then the finaL It is a combination others will fifJd

cOpy, and it ends right there. Yau hard to h{~at. 1f yQU ean make the .s tLl(ly in the

:_g.iveo your cllcnt much to choose from. same medium, so much the better, for YOLl wL1l

j:Je;ILexr ~1me the other roan will copy nett{."( have worked out the p"(ohlems l!"L advance.

and you win he out. As 1 have lndicated, yo:jxr particular tr...-'"Chnical

ti ..... eness is in lh~ planning, pure and approach, your mannerisms, your style, must be

~ rest is good carpenter work. Consider your own, sortH.~thil)g which cannot be deter-

ys In your approach, mi [led or even gLllcl4,..'(l by anyone else, Sl.Lt we can

.De.Xt consideration is the tough sketch. discuss some of the means at your disposal, some-

thc.cllent docs not ask fOf one ... your final thing of the S:ttLtud~ toward you"( work that

99

:of background usually results in ng.ctnent or none at all. It is v '"ery . Think of an environment, if .Q(]y is and then hllO ways to place your

it. Thi!lk of light and shadow per~ ........ ~ __ and f$.l) ing upon ~lle units with-

TECHNICAL APPROACH

the basis of art! but fa ther selection, a._!W.I. 1'1 I subordination. Making aD things throu picture equaDy important is like pJay

'I'lfE Pl\OBJ..~{ OF" BOW' }.(l)ca DETAJL notes of a composition with men

This is something that you will decide, in the equal intensity ~ without accent or

end" for yourself~ It is almost certain that you picture rendered in this wa Y never ilI".6.t:II't¥u,a

win have to begin with the ability to give com- that "Ah-h-hl" It can so easfly Jack

pleteness or j4'fl.nish~ to your work when expected spirit.

of yoo~ And by nature yeu may prefer a closely Detail can be shown in things close

accurate and Hnished type ()f work. There is noth- make things recede, form must resolve

ing W1"Ong in vrorking that W8y~ and there mil into plane and mass as it goes hack.

always be a place for such a method. However? happens in our vision. We do not see

since photography does the same thing so wenJ ten or twelve feet nor tiny-face

I myself pretel' srt that gets as far away from the not see the :dight variance of Slnall

phOrogr.aphic M possible-granting at the same We see jllst light_. halftone! and

tilne that this is not alwa ys possible. I shall en- enough back, we see [ust light and ... .....,.;J;,,1jtIJ;

dea vor to give you throughout this book examples Much of the error of too much

carried out in each direetlcn, since it is true that mitted thoughtlessly. The artist talc

more clients prefer finish than looseness aUG free- of a model, and then places that ~e

dom. As you already know, I believe the future back in his picture. Again~ it must he .

in art lies in individuality of conception, and to the camera lens is much sharper than

me, greater individuality is expressed by a hig sharper to a greater depth of focus.

broad interpretation than by being too accurate be believed until you make the ....... .LI.'- .. Y">"

and literal. But the early work of any artist known experiment. Held up one nnger at o'l"l"'r'i'"l!l

for breadth and looseness usuany shows that he· fron t of you. Look at the nngenlail

had to master detail before he could subordinate can yon see detail in back. ()f It,

and eliminate it. nail? Everythjng behind U becomes.

It must be admitted that the step from detail, is seen in a double image. NO\V eonc

once. mastered, to looseness and suggestion, is distance behind it! and you will see

extremely difficult. It ll; reall y much harder to Closing one eyeJt you see as the ca

paint loosely than rightly I for doing it either wa.y two. eyes cannot focus on two

tllust carry conviction and truth, if net literal same time. Yon rna y think the whole Ii

truth. Tig1ltnesS begins with be~ng so concerned is sharp. To prove it is not, ask a

,vith surface that we lose plane and mass, and so his hand a few inches to the right .

conscious of contour and edge that we do not face. Now concentrate on the center

soften or lose it. A round form can be so smoothed VVhi1e leaking at the ehfn, how ...... 'YNl ......

in gradation of tone that it loses all charaeter, One see his hand? when you are lo ., ...... ,~

may see the hrrning of the {ann in a series of :SeV- how clear axe the fea hues in his

eral tones. The better artist models that form in fs that that marvelous instrument

hut nYC or three planes. The fewer the planes, stantly maklng focal a.djuitments~

the broader the work, for breadth of execution tha t the whole Held of vision appear

:is really breadth of vjsion+ One may see. an edge since it is po~jble for the eyes to

sharp and de6ned. Well and good, but he need only one distance at a time, if a

not dig out edges that he can't see and sharpen a point of focal interest, with .I.~",,","lu;<IL.I.~

and define those also. Definition win never be that area slightly subordinated and

100

must be incorporated into your style, whatever it iSL The first consideration is that of detail.

DETAlL

6 frame. then the whole efF€ct is e than complete detail all over. I . there should be a circle of sh~rpby fuzziness, but that as )'OU go focal POUlt more dNai] can be more softness pcl'l"tlf~h.-!"J with a isti-c t:H{~·d- H concen trates at ~(!-n-

and enhances, the dct:;tH where you will fi od this in Rem brandt, V {-!"l ~5- Gain.sbo.rough, Romney ~ Sarg~ll~, fV.tI.~"""'U"-!', and a host of others, You need word for it. Deg~s was ;l master -of and subordination of detni], plus

"""U'L- ..• .a for design and al·rangcTflent.

·illustrator can pro:R t by study of his . work 1rWI.!:i comple 00 e[}(1l.'gh, but sel-

over the picture is: s hown as it wOHIJ up, then everything is hroE.lgnt forfront plane of the picture, or to L he

aee of the paper or ean ..... as. This is much PM.............. or opera gJ asses in hrirl ging a rd. Technic-ally. then, your pict 1 t ... e A sheet of dern,l: aU things lying right on . a feeling of s.pace between the various we go baek, Unless the aemil of the dis suborn Lllo\ted to the f oreground, all tQ he sti{!k~ng togetller in a single plane, . of perspective and diminishing size.

we! Js tha t surfaoe detail shoul d b€come io tone as it goOl.':S back For example, oof CI: sweater is; apparent only fo-r a few that, the swea lcr becomes simp Ie tone.

ortant are- the weave, the tiny folds, 4)r small details, anyway? ThE! big forms ~ we are concerned "lith. To add detail 'could not sec io5 8.5 false as to ddlne concannot see. '[be f$.d that the camera can sha.rply than we can does not nl.a.ke it better as a picture. Vl e SLI"€ painttng to an JHUSiOll of ] ife us we sec it, not some 1mf,;l;l."IJ'~1 of mechanical 51~t. So the farther

...

the less modeling, tho simpler the tone, the

Jess the pla.ll!~o5 (meaning less h::llf~ne). the less: reflection in shade .... ~,.s, the flatter statement of sim pIc ] ight and shadow _ The distance can herome almost poster in effect_ Try Lt, and amaze yourself with the three-dimensional (j_Llality it gi ... ~;s_ Th is is especially true i n outdoor su hj{!-{,.'1~_

There is a dock about ten or twelve feet r rom where I sit_ I know that grey spot fillhe top of the di~ 1 is: an X and l wo J's, But the dock really ::I. ppea.t'~ to ha v e spots of gr-ey a ... f)I.l nd the dial. If I were to paif.lt thh se tUng and p'lEi the n U merals d'l!;trly On the clock I wO'.lld sacrifice any feeli ug or the d 1.$ ranee between, and the clock would sit right up on the- front plane. like a watch in my hand. Yet in most of our present-day ill~L~ LJ'aticm this is d(}n~ over and over, and hoy good men. They are putting down wll~ t they know to he there, but no L as tlwy truly see it. It is: tJ~ol.'gh Hess and erroneons, and ~9...~ Lly so proved, once fJoOi nied out. The nrtist must mskc an heroic attempt lo disentangle dd::'l.H 8;nd tone in his OWJ~ mind and vision. He nUL~ t J'Ca IJ-..~e that bi5: vision is a rhousand times more heautif ul than ~lle camera' 5 if he \1,~1] I but ~ru:;.t it. If he is to t)htail ~ t hl:1t greater beauty, he film t combat the too-great detail r-egi!:tc ... co by his camera rather than .abkk by it 31~yjshly. It will be br;!Uer if he learns to trus:t th~ camera less and believe more in his O","T1: invent! .... ·ene..~s a:od feel~ ing) trying to sec wi th reason and imagina~ior,_ Ou Iy in this way can his work ~()fIT to heights unattaina hlo mc(:h~l1i ~lIy.

Per haps an arm t has no t yet reasoned that there i~ a.t1y goalbeycnd detail and £[~L.sh. Then let hun look at the Iandscape on a mis:ty day and see the real beauty of subordination. Let him study outdoors in lwillghl $.g~ilJst a flamhlg sky, the mystery of moonlight compared to rnidday. Let him drape a figul"€ in g.a uze.Iook at the reflections in water, look beyond f~lIfr'.lg snow, or even sera pe off h i~ sh;l.rp picture with a palette kO.ife1 finding infinitely more beauty than he had before. 'the"'(; it:; ::. door open to all of us, if we will but pass !:brough.

101

THE TREATMENT OF EDGES

P€rhaps the most imporeant element in obtaining lreedmu and looseness is found in the treatmerit of edges. There is a <lost and found·" of edges as tlJc)' truly appcfJ.1' In space. But the eye must €duca.te itself to see it, You rna}' not beliva t"hh quality exists in nature, for it [s. hardly apparent u:oti I you s€ek it. There may be obvious softness of edg~, as, for instance, the hairline around the Iaee, or rho fuzzy edge of a fur tape. hut S(tftness docs occur e v en on hard ed.g~~edges whlch really are a line c)r a hard 51..rrf:ace~ like the Four sides: Qf a sq'UaTC polished table, or edges which ate hard to the sense of touch, U 0& thinkingly we may pu~ them into OUT work as something hard all around. That 15 p~ltbng down what we know is ~ere b1Lt not secif.Jg it. Look at the real table. top and you ......-ill find the edges are diJftrcnt all the \.Vay round. The four edges will pass by some tones that seem to merge with them. In other places they will $tal'Ld out sharply in T~lid. The top may ha ve reflections of light wh ioh, running to the edge, 1,wI he sharp, and dark reflections which may make the ooge undefined, So €dge:s are a part of the F-orm Princlple, s.;nC€ t~ey are rela five to th~ sl..u'l'ounding tones and influenoed by thelr environment. The S8.m.::= edge may be sharp Or soft according to the conditions of the

moment. L For the .Drst, let US take the softness .

Look a bout you where you art sitting right ed by "halation" of light. Halation ls the

now. The ftn:t edges you are consclous of are the ing of 1ight from ~ particular source

ones where there is considerable contrast of value surrounding tone, like the blur Mound a

-light against dark OJ" the reverse, Then' you wiU Barne. That halation does exist is. proifClJ

Rnd there are some that are not q~liU: as insistellt blur produced in a photogrnph around'

In p3.[nting YOt, COo.1d start .softening these some- SQUI'Ce such as a bright window (Jr bmp.

wha t, They ate to be quieted down, 1}C:{.'a use th€y ness like this i.~ obtained fry softening

really ar-e that ,"V<ly when compared to the :;~rO£lg outsNlc the contour, as, for example, be

Ones. Next, you win find there are edges which inside edge of ~he light of the window.

are e- . nveloped by and m~rged 311tO shadow, You want a light to appear brilliant, ]d a. little

have to look hard to see them. FinallYt I hope light travel across or into the surroundl

tlK'I'eWilI he some you actually cannot see but will The edge Itself may be held fakly "U.<:O'llLLU

only know axe there. These are. the edges to be there is a :raising of the ..... alues touching

IO$t el'L~il'e.ly in p~intillg. It is by studied IT€3t- In paintmg we also have , .. ,hRt is

ment of !:he" edges: that we get the illusi()~ of "passage" from one tone to another, An

..;.pace. appear hard and insistent agai.llst its

IE v.rt look only for sharpness and delmeation, We want aecentuauon somewhere e

102

thai. is all we are go.ing to see. How ever IlJally lC?ol= for soltncss, fOT ILl for tones being Jost into and ellveloped ow?" y.et thew are the qualities that we the work of the real'y great artists. Ii we the sharpness in life, we may see only ness in grea t pictures, When we fifld soltness, we End they also h::t v e it. \Ve is a b8.1ance of sharpness a.nd s.oft;n(:ss all ~J,t'ough, nei ther an hard or all woolly, tures Teally diffet in qU8.Ht)' from the not so much in medium and dexterity as We ha v 0 not developed t"h at vision tQ as extent, and rnos tly because we have make equal contact with the truth of n~ self. Vile do not develop vision if W~ do Yonr camera aod your projector ate ne

to develop your v Ision, They will weight upon it without your even rea this LS so. Because the· quality of "lost il~ edges hss so much to do with vision ner feding of the artist, it cannot be formula. But r be1i.eV(.' I can gn~Je you to the instances where you are apt to find· will but look with YOUT own eyes. Let us; severn] kinds of soft edges.

\XfHERE TO LOOK FOR SOFT EDGES

subordinate this edge. This often ~e shoulders and anus of a po!'-or subordina te such ed ge.s we may

tones closer in value a.~ their meettOI~e fa.de fnto the larger ad j.:lttnt . The (...age may still be held, not er, In effed f~ f.s 1 ike extending the ·tone for a little ...... ray into the other . . a ligllt oockgnmnJ \1i.'OL'l td 1M.: derkwhen QPpooachjng a dark edge 01:' ...:IL#LlIO ........ rhat when approAching ~ light pu!:s Jess athmtion on it, but sull holds

m.ak~"Jg fi gann€nt, for example, wool.

t kind of soft edge is: much more obwhere the rna terial itself L:1: soft arid

mixture of .its.eIf ', .. \:Llh what is behind pJe, tl~€ edge of ~ man's beard, a \Vi.s.p fine nvigs: of a tree. lace and lnl1",sparbi~ mist, clouds, Spl1ty, and so Iorth.

.. ~ext kh\u of edge is :rofi because of , when the edge becomes the S~LI'I1e

t value which it apJ?€!ar.s. agaim t. 1 f olose aIlY\IIla y, it is; safe to Jose them You can we the sharpness elseit does more good. This 4 really

t appears ngainst ligh t, grey against dark a.gaiilst dark

the tum of the form presents a wad.a~ approaching the value behiJ\d it. Exon hair t UI"!)j rIg to meet the hght.

four are natural or actual causes: 01 . N1)W Jet l.LS consider deliberate lusta-nit enhances the pictorial qualities to eJge.

cases where tw"o sharp edges Occur and behind the other, theoretically soften in back.as it meets the front one. EJ.:~pl{!":

when a line of a hill crosses behind a head, wftcn the Ii nc of the hill especially where it meets the head. 1 ~ need nut be miles back of the head; soft{''TI even the line of the back of a chair" as it meets ~h(;: he:itd I Or the ron toll r of any form passing behind another contour. It keeps th(:-IYL from stickin~ wgether,

6. There can be softness and diffusion iuoorl"Jo().rn ted fOT purely artis tic presentation, to get rid of harshness and ovenns istence, A tree LIL the- distance naturally would be painted with more soltness than one in the foregro~Lll-d, to get It back where it bclQtlg.s and to create the Hlus-ion of space. The sense of space :U; actuall y more Imporrant than the tree. Pai nt i Ilg both trees sharp would bdng both into the front {OC'Us: and up to the p:iC~LJre plane. which is false.

[}Q no ~ int(!:rpr(!"t this as meani ng you must paint e .... erything iI~ th¢ front as hard and sbarp a:nd everything in the· back as fuzzy and out of focus. There should be a certain eonstsrency of v ision about the whols thing, not as: though ~hc beholder were nears:ighted. Tl~e changes should be g:radu':}l $I no subtle, not too obvious, There "C(I,n be softness i!1 tho dose edges tQO~ mingled with the crispness, and some sharpness in the edge~ lartber back The picture should have feeling of the subtle ·'\11 ter Jacing'" of masses so the d Lff~:rcnt areas do not :l.:Cp~['fL te themselves too distinctly as would the countries: on a. map. Followinj; any edge ~ round should give i~ "lost and fou nd' quaHl)r, with more of the subordinabon in ~bings at a distance than those close up, AU sharp is: bad, All fuzzy is bad. The beauty lies in playing One against the other. Study some nne art from this s tanJpOoill ~ and j t wlll open your eyes. But mainly tr), to see it in life for yOUI".!1d f. I t is there, but so subtly that it must be oS tressed. 'J\ atl,.m.~ ;:Lltc~dy hasspace, but we have only a one-plane surface to work upon and m List do something almost drastic to get rid of things: seemingly pasted on and stick.iILg there. Too much illustration is jus.~ that.

I ~

103

THE T ENS SEES TO'O ,MUCI~:

I present h(~~'€ :;L pbo.to whi,ch I 51mB endeavor to' paInt from h~ as fll'1ltshed <Jl manner as poss [ble_ I sludl ~r}' ~,o hold the values and the V€l)' smooth l'[JodelEng o.f the Iorm, Frankly, ~h is will be of the so-called «slicl' ~YP€ ()'F l}'B,int~ng, which neV'8Tth€le:ss: holds !l: p~il!ce in om: craft The p1/li,ifll~ng , v 'Ili]~ ~ppeal to a g[e~~t majority of ,d!e::fl~S, who real]r :like the dkikncss- B~l.t even here we can be~~t thE! rrH~c'h~ni{~ill and exact imag,e presented by the lens. V{ e ean at least 5:UbOIdil~~ttc the overa bundan .. ce of deta i]" €$,p(,'C-iB,ny in the dress, ~nd. some-

'lo'ha~ ~i,:r'phfy and ghIif.y ~hl;;." test. T1,lis oom~ ncar to "photographic" p~.tf.l~ing as I " want to gu. I ha v € 1'1 Iell rded j,t to show tk~JI; , t'h€., :nnjsl'i~-d and exact need not he harsh and' The seltnesses save it. I hQ'P~~" Please notiee I have sought no €dgcs that are not there" have SU bordinared many th~t u·c [11 the ' S tudy both el os ely • ar!S:SL '~o]' area, I do 'lJlot gest ~lllit you paint this 'i,1!,-'ay; it is but 1),t'k1I! You 'I,'i:iU pai:nt your own 'way, as you prre.feD pnint.

104

'rHE EYE SELECTS

Poople w1U often 'Il.udmowiing,ly praise 8.0. fi.i'~mS~ ~' re1Jhllg him, "t119.t looks jU:J;t like a pJIQ~O, how y,'{Itlclel~fll.iJrThese are sad WOi"(]S to dH, conscienOOuS '!I'l1ll.ftsDflllm. Yet as en i111ustl'ator we mus ~ Iace the f.fl.d bha_t :a 1:;u'g(3: pen:,"€ntag€ of people are ~ail·OO«1l5ci>l]lilSI that detail pleases them, VV"J can ~ve tIJle1l1 de't{l!n wh Jo'Ii1 we h" ve to', even' :i.f it hurts a.lltU1i: .. But a~ least we c . an choose wha.t detail we ana going ~ givet slil.mrdina~ing what "we do no~· Ji~,s, Ev~ry pboto is; full of unpleasant detatl, 300 ellery photo has the pmsibrHtie:J: 0'£ something di3rll1!fug. So w€ must .study hard. to decidiS wbo:Jl:t

sh all be and wh~t wn not If the values and planes go in .... vell, if th'· softness and sharpness are h&en care of. sueh irrelevant dcts i.~ w in not be missed. \-Ve can be::JJt the camera, becm L~f: th(~ camera can ~O~ choo-se nor ;SUI bordinate, thank Heaven,

N ate the number of soft edges, without produoiu'l}" <1L fuzzy 0],' ,;;j,'oont-; dI't>ct. l~ wil~ he :iJlte:l!"est~n~

Or" ~.

to note that' you will Ilnd softness 01:'liPQsed to

sharpness ~~H through, not aU one HO.f the other, This £0.1" the young: ac['ti;S1" \,,':ho Sl3:eS everything hard

JI b ·'.u..ll ~mCl' [I LUe,

105

STRESSJN"G THE PLANES AND ACCENTS

Here J gi ve YO~l my rhowgt'llphlt~ cn:p1- I ncidCfI.!:aJI,y', ! t takes em If fi gt'!: ro lay yourself open thus, But if I am gOllllg to t·e~c'h :lit is only fair to. let yon see what 1. ~~m ,'~(I~:kj[lg fro-un. In this ph:}f\O I d(:,;0"~i I ~he b~'Lc'kgl'CHUfl d~H~,(ii.rJgle:%,: ui',rek\'a."l:~'l" m id :;;ILlPt:J"~l_I!o'Us;" So w h,Y' "lQ~ € 1 imi:r.~nre lh:~ v."hol~ lhi"L'lIg and g[v'e only '(:;L1IQUg'b, to keep the fLgul.'f'; £1'01111 be:ing pasted. on a whtw pHg.e? A~ Ieast there should be some fee'Hng (lif the figllr€'.s being tn SPA-C'{!.. The :liltet(::s~~ng thing to 'me hei[€. is the Iorm, and secondly the cb~:I'9.C:~L'!:r _ There is so

,,~. trieate fern '-.' 'lJ." ',','_ j, -,-."llr ,,'~:

m,UiDH III 11,(:a e onn m ,le garmen,h .lgeu~" I L ,IS

qlJlit€ enough for the eye to take in.

AgauiJl, W03 boS:a~ the camera be'c(tu~'€ 'we can elirn- 106

:.1' .... :L .... ,"""'·m' ·",t·, 19 - "._..., ~·s~ '"",' (> _ ~...,.,t', -"I . ]1,,,. <. '.<J, 'fh. U , n ... <.I!'~ .. "" , .. vI] I;.:€~ I ,,' oj~ l!.lg .

will. I have stressed :ll~(: Cl.'i:spnL'::11S oJ the and accents, Ius ung: .QJ.l~}' the e_Jges that, 'appear to he lost in the ooPY''' \rVe have ,~t~ bel tC:vo$:, sharpness without harshuess. complete withn.~j.t hL'!:ill.g ·'.RJ<L'!:E,t.r,~d" :;ulo:;l out. In each area ynti. will fi fJd a siJ:M,pk; '~ig'h ~ ~.~gahl!5.t simple ha'1f~o!fle and mel'gLl1I,g ;a.'~m:os.~: ~bt and :sht'p~(:;; shadow. I have triOOTfu a minirm un ,of su(}kC'.~ h) g~~t thoS: big_g,e,st pOi.! statement of the plane, There wlU ah~I~,:n d€n'l<.md for this concentrated and clean-cut o-~' approach, It lends; itself :iIIdnllffi bly to ~!~ . oJ Illustrn l L'Ol) ..