Schools, Inc., Westport, Connecticut Famous Artists Course Albert Dorne Fred Ludekens Norman Rockwell Al Parker Ben Stahl Stevan Dohanos Jon WI comb Robert Fawcett Peter Helck George Giusti Austin Briggs Harold Von SchmidtContents Inireduction: Commercial ert ond illustration Pictures must communicate —Our responsibility, and yours— How to study and practice — How your work wil be cried fin gruled ~The art's odio Observation ~ Research makes the picture authentic Setsing up your “scrap” le ~ ow to we models props and photographs seo] Theorists materials ond how 10 use them “The four base mediame: pen pen oe brush and ink, wash snd opage ~ Handling the pen ~ Papers ~ Creating vai tty of fects with pend! Fhinking wth a pencil — How t the pen and ink — Creating textures wie the per ~ Brust and {nk Combining pen and brush in + draming — Material for trash drawing ~ let and graded washes — Blending ~ Creating Aiferen flees wich wash — Materials for opaque painting — Werbras and drybrsh lending — Gresting execs sith opaque ~ Mixed medivans sevon MD) Form=the bests of drawing Form defined — Sphere, cube, cone, and cylinder, dhe basis of all exiting forms — How to dra forms #0 they look solid — Combining base foree Using light ad shade 1 reveal and tmphasire form — Creating the ilsion of form In space — Forms or objects lok diferent trom diferent positions ~ Forms in imple perspective ~ Proportion ~ Selecting the most chat svelte vew of form — Arranging forms in space son 3 Compotition—how to make pictures The importance of composition in picture making ~ The pic ture stare in your mind ~ The four main elements of compos tion: plore aes, depth in, and value Varying these of tjet ad ving commen sense to place chem In a pice — ‘Overlapping ~ Composing indepth ~ Using line to contol the ‘movement ofthe viewers eye — Planning with simple values Controlling valu in a composition, ueson Mh Drewing “The importance of he human figure in pictures ~ The figure {i gyal form — The basi form figure ~ Proportions of male fn Tete figures — Relative proportions at varios ages ~ ‘Gonsrucing the figure fom is various pars ~ Hw diferent pts of the body move ~ Drawing the basi form figure and Fea and putting ten o practical wie in Mlasrations ~ Using ttacng paper to heip think out the constuction and action of orm fire homon form Artistic onatomy ond the human figure inmotion ow bones and muscles affect dhe surface ofthe igure Major Aiferences between male and female anatomy — Flow to block the bones and males of the hea, tor, arms ad hands, legs and fet ~The joins and how they work Balancing the fqure ~ Twining and turing — Forehortening — Siting. bending, kneeling walking, running, and reining. so Contracting the ad an hen “The hed hands are the chi means of expresing human motions ~ Blecking inthe head — How eo draw the headin Allert positons "The eye, nox, mouth, chin, ear ~ Dil fences between the male and fem Hendy ~ Light and shade fon the Rend — Facial character an expresion — How the head ‘anges ro inant to teenager ~The construction and setion tf the Rand and wrist ~ Blocking in the had ye cot veson 7 Drawing clothes, draperies, Principles that gover the folds in drapery — The seven types ff folds ~ Sculpture Belps to reveal the sructre of folds — Drawing folds m action ~ Draping the male and the female figure ~ How the material fess the folds ~ Costume helps sstblih chascer — Drapery a1 major element in compo ‘don = Drapery reveals ructre and form esau §Q FidvEecompostionerranging Aigures How toe people in 4 composition ~The fgure isa lving ‘hanging shape How the tion of the gure express ts Inood — Selating dhe mow derive pose ~ Relating Bgeres {o the ectting How ta make the figures dominate the picture How the pictute border alec the Bgure’s action ~ Con trolling the figures movement ~ Plioning + picture 29 every prt contribute tthe mood and meaning — Composing = plecure with many figures fond surtoces How to wie variations of form and textures in a plture — Variety of form everywhere — No two abjecs have the sine form or texture ~ Repesed forms make an overall texture — ‘Using texture to emphusie mond — How dance afects tex tures and details — Pattern a texte — How to crest textures tvith dllerent mevme and tools — Conuastng textures — Using varitiee of textos in 9 pictre mon ©) Sting aie orm tert ES 0 eee Perspective is heart of representing objets on 2 Mat surface #0 they appear to recede in the dance ~ How to draw in pe specine — Measurements in perspective ~ Drawing the «tele {inl iavgula forme in perspective ~ Interiors and exteriors in penpecive ~ Figures in penpective — How to draw reflections nd shadows in perspective secon J tensecopes on Landscapes help crete mood — Every region hat ts charaeer- inc landscapes ~Ellet of sme ona landscape ~ The changing forms of mature — Atmoyphere ~ Selecting and orgnizing the view ~ Subject mater isto be found everywhere ~ Interiors elle dhe character of the people who live in them — Con Strctng the scene ~ Selecting the view — Lighting the interior = How much background to show ~ Controlling texture and pater in an interior ~ Making an interior intresting,ial in action ‘e100 YD, Arimet dranving—th Animas in art and hisory ~ Comparative anatomy (the sue fue of man and animals compare) ~ How to draw the four Insc animals: horse, dog, ct and cow — alts of anima = Drawing aitnal heads ~ Geeting aquainted wih the animal Kingdom ~ Animal pictures with real meaning ~ Drawing binds ‘isin fight ype “The Importance of drawing people ss real human Being, en lowed with eting ae personality ~ People allover the work Drawing characers a types and a real people ~ Creating ‘many type from the sme model — Variety in expresion Aides, mannerisms, and gestures — Character i exprewed through the entire figure ~ People must eat to one axe — end she Hdealising men and women ~The he style must fe the characte. on 1 Thee fomty creating peop of 2200] Qh, advanced pictorial composition ‘The symbol and the pietare— Using symbol in diferent ways ‘Communicating feling in a picture ~ Mood in composition — Using the senses of toe, sound, aed scent in ptres — The siewpoine depends on ovr intentions — Rhian and design = Selecting a theme ~ Evolution of» campostion sexo ] BS Advonced tine drawing and tone pointing Representing form in line deasings — Many diferent ap prouches ~The function of pony rushes, speotball pen ‘avon, and sratchboard tools When and how to ae them — Draw with reproduction in tind — Using tones to interpret Tight and shadow and eal yes ~ Controlling edges ~The Importance ofthe overall design In tonal picture ~ Plating {navel colored inks and oder tonal meds, 121] G otor—tno theory ond prostice of peinting ‘The thee dimensions of color: ve, vakue, and intensity — ‘warm and cool calor ~ How one color acts another ~ Advan {ng and receding colors Diferent Hight ete dierent coors = "The emotional elect of color ~ Calor proportions ~ Ways We colar to center attention — Selecting palette and mixing ‘colors — Printing in color ~ Painting a atl Ie ~ Painting a landscape ~ Paiming a porraie ~The tinited pale ve] J sstering “The importance of leering in all forms of eommerca art — ‘The base alphabet ~ The roman alphabet ~The Calon a phabee~ Sparing leer, words, nd lines ~ How to do layout lensing — Tlie, gothic, and ripe — Optical sions and Aistortions in leering ~ How to Henly and drawe diferent ‘ype lace — How to'do Roishod leering — Broodpen and Brun Teter Show ean wring “The rh and vari opportmiies in the Feld of ssertiing and edivral art for the erative designer ~ Dominance an talane in geometical and now geometrical divine of space = Vaiations on a theme ~ The eflet of backgrounds ~ Two. and veedimensional efects — Base layout designs — ‘The Importance of black and the we of color How to stp the ‘mot and he design ~ Choowing the righ technique Collage "Hlumor In design ples of experimental design we] Aven nd itl deson on yout “The purpote of any lay tf comey 8 stage — Designing 1 symbol for un Hea Sysing heads, figures and object = “The evolution a ies into designs ~ Simplification indesign — Dizet and indice design spproches to averting — Trane lating words into picture Special elles How to design symbols "Trademarks ‘Tradidonal and contemperayTayous “using ype as 4 major element of design — Leterheads — Record albim covers ~ Blending wands and pcre. 12100 QO srecicined desion ‘The importance of viewing cach problem frou many point of view — Paperback book cores ~ Creating design that rele the character of dhe book ~ The magaine cover ie (uncon And design ~ Novelty and originality n mailing pices Posters "rwentyJoursheet posters ~The value of implication — How to make a layout ~ Thumbnail sketches — Developing the rough and senicomprebenive — Designing sullspace ad ‘estou 21 Studio procedures Mechanical drawing insramens and how to use them — Rub ber cement ~ Hove to mount a photos et. Atting pe ture ~ Phovsats and dhe wes Revealing — Camera acid — Opaque projector ~ Pantograph — Tranter sheets ~ How 2 slhoueue and crop photographs — Friskets— Arbrashing — Retouching Mechanical sd in irate: Sibverpriny, rae tiny, Zipatone, Kemart et ~ Asking composite photographs "Mashing and tapping ~ Type composition ~ Copy fii. se QD swe ronson Preparing artwork for repueton ~ Line and halfione pla in leterpres and ole printing ~ Selecting the rghe hallione sere forthe paper ~ Letorpres, oft, ad lksceen pine Ing compared ~ How wo prepare color separations of at work — ‘The Bourges procs and how to use it~ Line, halftone, and tine color separation with Bourges A varey of techniques — How to make # mechanical or paste. 2. oso tortion Cees in fashion Ilutrsion — Proportions of the female {ashion gure — Posing and uyling the faion figure — Pre senting the fashion toi best adeantage — Drawing the fasion head, hand, and feet — Light and shadow — Rendering the fashion ilatration — Drawing fom the model and the drew maker's dummy ~The erogus ~“Stronelt” and "high fh Ton" illustration — Hate — Lingerie ~ Testes In ison — How to render print fais — Accesories and jvielry ~ Chi ders fathoms — Driving the male tahion fue — Men Furnishings ~ Boys nd young men's fashions, et QA rietion “The art's role in television ~ Three kinds of woryboutd: lve animated, sd abstract — How t develop and bash 3 sory. ban — TV terms ~ How many panels in “talking” soy boand —ataking thre eptatecomuetial (oa one "Timing = Flip cas ~ Contrast of talues ~ Pietoring the sponser: preivct ~ Lewering for TV — Layout — Crenting diferent nds of caracers for TV — Casing live characters — How to Simplify characters ~ Figure detail nn ncson ~ Rendering the star and the supporting cst ~ Sve of character and related ‘objects — Stry emphasis ~ Relacig characters to Dickground,The Founding Faculty of the Famous Artists SchoolsCommercial art and illustration Man drew pictures hefore he eared to write! Before you begin your Course in Commercial Are and Tustin that you become acquainted with dhe origin and development of pictures. So, lets go back many thousands of years to pre historic times, when the art of picture saking began, ‘The oldest pictures that we know of are found in caves in western Europe, They were printed by men of the Stone Age ‘These early men were hunters, and most oftheir pltures are of wild animals sich asthe reindeer, bison, and wild horse. Many (ofthe animals are shown perce by arrows, which gests that the pictures were intended to bring the hunters luck in the chase. The people of the Stone Age had not leaned to waite yet but alteady they could make drawings hat, though si ple, were realistic and full of vigor and meaning. Tn time, man moved away fom the life of the hunter and learned oll the feds Keep domestic snimaly, ane build towns anid elles He began to write now, and the ft letters he formed ‘were actualy pitures of object, at Chinese writing sil isto day. As man’s knowledge, experience, and materials improved, his ar, too, roe wo a higher level His pictures were executed with remarkable sil their colors were rich and varied, and so-were their styles and vechniques, Ar wa sed ta record events and human experience, to communicate ideas and influence people. Through pictures we can study the entre history and progress of mankind, from ancient times down to today. For art ica universal language tha is much the same in every ime spd place In our own day the tole of at has grove in sope and impor. ‘anc. The development of modern techniques of reproduction, printing ste transportation now makes it ponble to distribute 4 vial menage to anywhere inthe workin x mater of days for even hours. And so, art as become a more powerful un. versal language than ever before As in the past, however, it ability to communicate ideas and to influence people sll de. pends on the sil and creative talent of the welerained artis. “Today adversing ar and illustration have become a common visual language familar to the people of a lage part of the ‘world, From the turn of the century, atleast as lar 38 America ie concerned, commercial art has become part of every lac! of four life. The story illustration ~ the advertising pieure ~ the billboard ~ the window and counter diaplay ~ the calendar and the magazine cove illustration ~ the greeting cad and the mai ing brochure ~ the lst seems endles area source of informa: tion or plessore to millions and millions of American, Piceures ply the se role in our contact with the rest of the world, with peoples wito do not understand our spoken oF written language uc who most certainly understand our pictures, ‘The common ingredient ofall good picture is their quality of, communication, Ii is your intention to ear your living a8 an ttt, then you must consider yoursl! inthe Beld of commun. cation, ‘The reason for using picures in every advertising oF ciitorial efforts to sell goods or an idea. Commercial arti 2 Dusines, pave of 2 toa selling efort > commodity, it yon will— bought for money —to be wed in earn by its purchaser {o:make money. To achieve its purpose, it must communicate clearly and effecively. “The welltrained artist (and he muse be well trained who femers this field of art, with its special rewards of fmancal security, steady work, and the satisfaction of seeing his pictures reproduced, often nationally, must ake on certain obligations Fits he must develop a sincere and healthy plilosphy toward the ine of his art. Second, he must realie that the buyers {nzrest in art Yor is own sake i secondary t his interest in is We to support his sling or commonicaions effort. Thisd, he ‘must lear about people his clients adience and it reactions {oat forms and symbols And finally, accepting these considera Lions, he must produce good pitutes that will not only reflect his own personality asa sincere atet— but will luo deliver his client's message in a picture language that his audience wil nd ‘convincing and easy t9 understand You must be a good artist ‘You ate thing this Course because you want to make a career for a least a parttime eateer~ 8am artist 4 commercial art Jac an ilustator a designer or an art director ~oF perhaps you want to bea fashion artist or create art for television. No- iatter which area of art you eventually embrace, you must firs ofall hecome a good anit, To do this you are about t0 start on 2 course of training a veriovs and demanding pro- fram of learning Learning and teaching are a joint ellort. We ean teach you Dut you must do the learning. What you gt fom your Course will depend on how much you give 9 iin dedication, energy and, most of al, sltixespline. This matter of aieipline will be your greatest challenge for the duration ofthis Coure. If you ‘an make gond use of your time and effort, and if you have even 2 small amount of talent and intelligence we ean make you 3 fine craftsman. If you ean further add to this 4 strong babieof| observation and creative curiosity, you may then become 3 real fri in all that che word epi ‘We will cach you the traditional principles of drawing and painting which artists have developed over the centuries and handed oven tows. We believe deeply that these fundamental antisc troche and techniques are the basic language and archi tecture of all sound pica making. You must learn and yespect ‘them if you hope to produce are that carries conviction. ‘Aller you have mastered the principles of drawing, form, composition, painting techniques, and all the other pects of your training, it ie our sincere hope that you will se your Knowledge and skill to investigate many contemporary andFomous Ars Cours Introduction ‘original approaches o your art. ‘The most eeative ats have allays been those with open minds an inquisitive attitude, and sensitivity tothe constant changes going’on in art~ the new fart forms and nev ideas that are the vitality of contemporary ple making and design ‘Everything you lesen in your training will be important t0 you, no matter in shat Geld of commercial art you eventually Specialize. Asan ilustrator ot advertising art, you will need all of the ails und Knewledge you acquire in your Course As designer, your knowledge of deacing, form, composition, and techniques willbe just a important f your designs ae to com Imunicate and have meaning. Ax an art diector responsible for designing the whole concept ofthe printed page and buying is art for your clients, you will have equal use for everything You Tearn. And the same will apply if you enter the feM of fasion art or television ~if you ate to achieve a real degre of success. Even if you eventually turn wo photography — with a amera as your madium of expresion — your knowledge of art and all the principles of composition, form, light, shale, and texture will make the diflerence between photographs that are mere recordings of nature and photographs that are work ofa. ‘Your Course in Commercial Ar and illstration was planned, ‘rien, and illustrated, ad i conducted by men who ate ree ‘ized as the leaders in every area ofthe Feld today ~ in adver tising art ilustration, design, fashion and television ar. Their ‘work appears constantly im all the current magazines, news papers and on television —for major asignments of publishers and advertiser: They have proved by ther own vichprotesion al careers that they know the what, why, and how of making cessful pictures eis our sincere conviction that the proper way t teach and study the art of making pictures is with pietres. Accordingly, ‘we have followed the most modern methods of viwal educston in designing and writing the Course. There ae thousands of clear, explanatory sep-by step photographs, diagram drawings, tnd paintings in your textbooks, so that you can quickly under stand and absorb what the members of your Faculty are trying to teach you. The instructions ae simple iret, and always to the point all the traditional ponderous clichés about art all the irelevant theories, have been left out "This is the first time in the history of art teaching that such ‘course of traning has been made available by such eminently qualified teachers First things come first Please remember that you did not learn to write words until you fs learned to make and understand the leters ofthe alphabet, sd you did not write 3 composition until you Bt knew seat the words meant only then could you arrange them to make understandable thoughts Similarly, you cannot make good pictures unl you have a slid grasp of the exentials of a. "Fre things Come st, Remember that we sho are teaching you know from many, many yeas of experience what is neces fury for you to know before you cam hope to become a sacesstul artist AI the things we will each you in the succeding lessons Of this Gourse ae absolutely necesary for you to master before you can become an able advertising artist illustrator, or designer. In every lewon of your training yo wil be given specie in structions and controlled exercises and asignments. However, tno time dung the entire Coure do we want you to fel that Wwe are trying to control your creative or artiste talent. This ‘un come from within yourelt, We ate simply trying to give You the guidance, the tol, the training and the knowledge you Wil ted to schiere your Gears nese predace your ows Tine plctes, Our responsibility—and yours In starting this Course with dhe Famous Artists School ou have commited youself ws an at student co our care, teaching, ard fuidance. We feel very keenly this responsiblity and we will do verthing we at to help you to succeed in your choen ed Al chrough your traning you wll receive sincere, nv tention from artnvinstrctors who are specialise in every [hase of the work you do and send in for etic. We willy {In every way to make you fel that we ae clo to ou a teach ers—and that your art problems are ours. Ceitlans. and iradings wil be given in afar, direct and honest manner. We Will not atempe at any time to soften a xtc junt because te do not wit to hurt your feelings Ie would do you no good Ft we id no ell you te rth It in our eter 0 yo, we may at times ser severe iti only because we are ring wo teach you not endl you I is quite dificult to get the friendship and warmth of clo persons! contact into letter ~but peste be Tieve dae fi always there Te would be quite simple and easy for-us to constantly “Your work is good” —and sve ourselves a lot of time and cffor. And you mould dink, "What nice people they ae” We ‘ut all however be hones and realise {f we wish to advance. ‘We have taken on the responsibility of teaching you and we expect you to do your fll share ofthe leming. If your work deserves pra, we wil ertainly enjoy giving tt you ‘Commercial art and illustration can be the most sttying and lucrative of careers. Ica alwys bea great please snd Satisfaction to you. There i no Eller life than that of the artist ‘who ~ throug his knowledge, raining, and creative a produces, on blank paper oF canvas, pictures forthe word to mire and enjoy, But donot conse Yourself about beng that rie now emo tke many, many long hours and months nd yeas of hard work, guidance, and taining Only you~ the artist ~ can be responsible for your own sue ‘ese We can teach and guide you in the right rection, We ‘rant tobe your trusted fends and counselors, but please donot Tonge one thing above all you and only you, with your own sincere seelixcipine, dedication, and el, can make youre