Andrew Loomis Drawings

V
I 1£ y
ANDREW LOOMIS
A BOOK OF FUNDAMENTALS
FOR AN ARTISTIC CAREER
CONTENTS, INCLUDING ILLUSTRATIONS
AN OPENING CHAT 15
I. TIIE APPROACH TO FICURE DRAW1NC 21
Obscr\'c Your Surroundings 22
The Nude as a Basis 23
What Is Line? 24
Beginners' Work 25
ILLUSTRATIONS
Ideal Proportion, Male 26

Ideal Proportion, Female 27
Various Standards of Proportion 28
Ideal Proportions at Various Ages 29
The Pint Diagram 30
The Flat Diagram 31
Quick Set-up of Proportions 32
Proportions by Arcs atul Head Units 33
Proportion in Relation to the Horizon 34
The John and Mary Problems 35
Finding Proportion at Any Spot in Your Picture 36

"Hanging" Figures on the Horizon 37
We Begin to Draw: First the Mannikin Frame 38
Movement in the Mannikin Frame 39

Details of the Mannikin Frame 40
Experimenting with the Mannikin Frame 41
Outlines in Relation to Solid Form 42
The Mannikin Figure 43
ILLUSTRATIONS
Adding Bulk to the Frame 44
Adding Perspective to the Solid Mannikin 45
Arcs of Movement in Perspective 46
Placing tlxe Mannikin at Any Spot or Level 47

CONTENTS. INCLUDING ILLUSTRATIONS
Drawing the Mannikin from Any Viewpoint 48
Combining Arcs of Movement with the Box 49
Landmarks You Should Know 50
Landmarks You Should Know 51
Sketching the Figure in Action from Imagination 52
Draw Some of These, But Draw Many of Your Own 53
The Female Mannikin 54
Sketches 55
The Male and Female Skeletons 56
TI. THE BONES AND MUSCLES Of

Requirements of Successful Figure Drawing 58
ILLUSTRATIONS
Important Bones 59
Muscles on the Front of the Figure 60
Muscles on the Back of the Figure 61
Muscles of the Arm, Front View 62
Muscles of the Arm, Varied Views (>:J
Muscles of the Leg, Front View 64

Muscles of the Leg, Back and Side View 65
Now Just Play with What You Have Learned 66
Try Building Figures without Model or Copy 67
III. BLOCK FORMS, PLANES, FORESHORTENING, AND LIGHTING

Foreshortening and Lighting fly
ILLUSTRATIONS
Block Forms Help to Develop Your Sense of Hulk 70

Feel Free to Invent Your Own Blocks 71
How To Use an Art-Store Wooden Mannikin 72
Quick Sketches from the Wooden Mannikin 73
Foreshortening r4
Some Pen Sketches for Foreshortening. 75
Planes 76
Planes 77
'
Lighting 73
8
Lighting 79
Simple Lighting on the Figure 80
True Modeling of Rounded Form 8 [
IV. DRAWING THE LIVE FIGURE: METHODS OF PROCEDURE 82
ILLUSTRATIONS
Grouping Shadow Masses 83

The Main Values Stated 84
The Fast Statement of Values 85
Procedure 86
Procedure 87
The Visual-Survey Procedure 88
Drawing from the Model
V. THE STANDING FIGURE 91

Variety in the Standing Pose 92
ILLUSTRATIONS
The Weight on One Foot 9,3
Distributed Weight 94
There Are Many Ways of Standing 95
Shadow Defines Form 95
The Nearly Front Lighting 97
BuUiling from the Skeleton 98
Accenting the Form 99
Anatomy Test LOO
A Typical Problem joi
VI. THE FIGURE IN ACTION: TURNING AND TWISTING 103
ILLUSTRATIONS
Turning and Twisting 104

Turning and Twisting \ 08
Penline and Pencil \ \q
9
1

A Good Method for Newspaper Reproduction 1 1
Quick Sketching with Pen and Pencil

! 12
A Typical Problem
113
VII. FORWABD MOVEMENT: THE TIPPED LINE OF BALANCE

115
The Mechanics of Movement
116
ILLUSTRATIONS
Snapshots of Walking Poses

118
Snapshots of Running Poses
119
The Tipped Line of Balance
120
Springlike Movement
121
Action Too Fast for the Eye
122
Twisted Forward Movement
123
Movement Head to Toe
124
Fast Movement
125
Push of the Back Leg
126
•
A Typical Problem
127
VIII. BALANCE, RHYTHM, RENDERING

129
ILLUSTRATIONS
Balance
130
Balance
131
Ttco Methods of Approach
132
Defining Form with Just Tone and Accent
133
Stressing Construction
134
Two Minute Studies
135
Rhyt! mi
Rhythm
137
ILLUSTRATIONS
Rhythm
138
Crossing Lines of Rhythm
139
Sweep
140
Relating One Contour to Another
141
Defining by Edges and Shadow without Outline
142
A Typical Problem .,
10
IX. THE KNEELING, CROUCHING, SITTING FIGURE 145
ILLUSTRATIONS
Crouching 146
The Incomplete Statement May Be Interesting 147
Point Technique 148
Planning a Pen Drawing 149
Kneeling and Sitting 150
Kneeling and Twisting or Bending 151
Getting Full Value Range with Ink and Pencil 152
Ink and Pencil in Combination 153
Pen Drawing 154
A "Looser" Treatment 155
Fine Point Brush Drawing 156
A Typical Problem 157
X. THE RECLINING FIGURE 159
ILLUSTRATIONS
Sketches of Reclining Poses 160
Study 161
Coarse Gram Paper Studies .
164
Study in Foreshortening 165

Cemented Tissue Overlay, Spatter and Brush Drawing 166
Pen Studies 168
XI. THE HEAD, HANDS, AND FEET 171
ILLUSTRATIONS
Head Building 172

Blocks and Planes 173
Bones and Muscles of the Head 174
The Muscles in Light and Shadow 175

Features 176
Setting the Features into the Head 177
Studies 178
Studies of Miss "G" 179
Young and Old •

•
180
it
Make Studies Like These of Your Friends
181
Proportion of the Baby Head 1§2
Baby Heads jog
Hands
184
Hands
185
The Foot
186
A Typical Problem
jgy
XII. THE COMPLETE FIGURE IN COSTUME 189

ILLUSTRATIONS
Draw Figure, Then Costume j qq

Clothing Studied from Life
191
Rendering Drapery
132
Draw the Halftones and Shadows 1 93
Elimination and Subordination 194
Study from Life
195
Brush and Spatter Illustration
190
CLOSING CHAT 1 99
How Artists Work 200

Running Your Studio 201
About Your Prices
202
Introducing Yourself OQS
Do It Your Way 204
12
AN OPENING CHAT
Deak Rkadkb;
For many years ihe uecd of a further book on in drawing but that he wishes from his toes up
the subject of figure drawing has been apparent to become an efficient and self-supporting crafts-
to me. I have waited for such a hook to appear man. I assume that the desire to express your-
which could he recommended to the many •self with pen and pencil is not only urgent but
young artists with whom I have come in con- almost undeniable, and that von feel you must do
tact. Finally, I have come to the realization that something about it. 1 feel that talent means little
Such a book, regardless of one's ability as an unless coupled with an insatiable desire to give
author, could be written only by a man actually an excellent personal demonstration of ability.
in the field of commercial art, who in his experi- I feel also that talent must be in company with
ence had met and countered with the actual a capacity for unlimited effort, which provides
problems that must lie clarified. I recall how the power that eventually hurdles the difficul-
frantically, in the earlier days of my own experi- ties that would frustrate lukewarm enthusiasm.
ence, I searched for practical information that Let us try to define that quality which makes
might lend a helping hand in making my work an artist "tick." Every bit of work he docs starts
marketable. Being in the not unusual position out with the premise that it has a message, a pur-
of having to support myself, it was the predica- pose, a job to do. What is the most direct answer,
ment of having lo make good at art or being the simplest interpretation of that message he
forced to turn to something else. can make? Stripping a subject lo its barest ami
Across this wide country there are many of most efficient essentials is a mental procedure.
you in that predicament. You, also possessed of Every inch of the surface of his work should be
that unaccountable urge which seemingly comes considered as to whether it bears important re-
from nowhere, want to speak the language? of art. lationship to a whole purpose. He sees, and his
You love to draw. You wish to draw well. If there picture tells us the importance of what he sees
is any chance, you greatly wish to make a living and how he feels about it. Then within his pic-
at it. Perhaps I can help you. I sincerely hope so, ture he stresses what is of greatest importance,
for 1 think I have lived through every minute and subordinates what must be there but is of
you are now living. Perhaps I can compile some lesser importance. He will place his area of great-
of the information that experience tells me you est contrast about the head of the most im-
want and need. 1 do not pretend to undervalue portant character. He will search diligently for
the fine work that has been done; the difficulty means to make that character express the emo-
has always been in finding it and sorting out tion in facial expression and pose that is to be
what is of practical value and putting it into tile all important theme. He will first draw at-
practice. I believe that the greater chances of tention to that character, by every means avail-
success lie in the mental approach to the work, able. In other words, he plans and thinks, and
rather than in sheer technical knowledge, and does not passively accept simply because it ex-
since the mental approach has not often been ists. Not far back in the annals of art the ability
stressed, here lies the opportunity to serve you. to achieve just a lifelike appearance might have
I not only assume that my reader is interested caused some wonder in a spectator, enough to
15
AX OPENING CHAT
capture his interest. Today with color photog- and forever seeking enlightenment; courage to
raphy and the excellence of the camera going develop your way, but learning from the other
perhaps even further in that respect, we are sur- fellow; experimentation with your own
ideas
feited willi realism par excellence, until mere observing for yourself, a rigid discipline of do-
lifelike representation is not enough. There is no ing over that which you can improve.
I have
other course than somehow to go beyond ob- never found a book that stressed the
importance
vious fact to pertinent fact, to characterization, of myself as the caretaker of my ability,
of stay-
to the emotional and dramatic, to selection and ing healthy mentally and physically, or that
gave
taste, to simplification, subordination, and ac- me an inkling that my courage might be strained
centuation. It is ten per cent how you draw, and to the utmost. Perhaps that is not the way to
ninety per cent what you draw. Equally defining write books, but I can sec no harm in the author
everything within your picture area, in value, realizing that he is dealing with personalities,
edge and detail, will add no more than can be and that there is something more important than
achieved in photography. Subordination may be technique. In art we arc dealing with something
achieved by diffusion, by closeness of color and far removed from a cold science, where the
value to surrounding areas, by simplification of human element is everything. At least I am de-
insistent detail, or by omission. Accentuation termined to established a fellowslup with my
is achieved by the opposite in each case, by reader, welcoming him to the craft at which I
sharpness, contrast, detail, or any added device. have spent so many years. If I have any blue
I take this Opportunity to impress upon you, chips I can pass on to him, I lay them before him
my reader, how important you really are in the so that he may join in the game. I cannot pn>
whole of art procedure. You, your personality, fess to know more than the experience of one
your individuality come first. Your pictures are individual. However, one individual experience
your by-product. Everything about your pic- if wide enough might well cover many of the
tures is, and shoiild be, a little of you. They will
problems that will doubtless come to others.
be a reflection of your knowledge, vour ex- Solutions of those problems may provide like
perience, your observation, your likes and
dis- solutions. can lay out an assortment of facts
I
likes, your good taste, and your thinking. So the and fundamentals that were helpful to me. I
real concentration is centered on you, and your can speak of the idealizations, die practical
work follows along in the wake of what mental hints and devices that will undoubtedly
make
self-improvement you are making. It has taken drawings more salable. Since the requirements
me a lifetime to realize that. So before we talk are almost universal, and since my own experi-
at all about drawing, it is important to sell you ence does not vary greatly from the average ex-
strongly on yourself, to plant that urge so def- perience of my contemporaries, I offer my ma-
initely in your consciousness that you -must terial without setting up myself and my work as
know at once that most of it comes from the other a criterion. In fact, 1 would prefer, if it were pos-
end of your pencil rather than the business end. sible, to subordinate my own viewpoint, or tech-
As a student I thought there was a formula of nical approach, and leave the reader as free as
some kind that 1 would get hold of somewhere, possible for individual decision and self-expres-
and thereby become an There
artist. is a for- sion. 1 use my experience merely to clarify the
mula, but it has not been in books. It is really general requirements.
plain old courage, standing on one's own feet. It should be obvious that, first of all, salable
16
AN OPENING CHAT
figure drawing must be good drawing, and you achieve sufficient technical ability, there
"good drawing" means a great deal more to the will be an income waiting for you. From that
professional than to the beginner. means
It that point on your earnings will increase in ratio to
a figure must he convincing and appealing at the
your improvement. In the fields of practical art
same must he of idealistic rather than
time. It
the ranks thin out at the top, just as they
do
literal or normal proportion. It must he related
everywhere else. There is not an advertising
in perspective to a constant eye level or view- agency, a magazine publisher, a lithograph
point. The anatomy must be correct, whether house, or an art dealer's that will not gladly
open
exposed to the eye or concealed beneath drapery
its doors to real ability that is new and different.
or costume. The light and shadow must
be so It is mediocrity to which the door is closed. Un-
handled as to impart a living quality. Its action fortunately most of us are mediocre
when we
or gesture, its dramatic quality, expression, and start out; by and large, most commercial artists
emotion must he convincing. Good drawing is of outstanding ability had no more than average
neither an accident nor the result of an inspired
talent at the start.
moment when the Muses lend a guiding hand. May Iconfess that two weeks after entering
Good drawing is a co-ordination of many fac-
art school, I was advised to go
back home? That
tors, all understood and handled expertly, as in
experience has made me much more tolerant of
a delicate surgical operation. Let us say that
an inauspicious beginning than I might
other-
each factor becomes an instrument or part of a
wise have been, and it has given mc
additional
means of expression. It is when the means of ex- incentive in teaching.
pression is developed as a whole Uiat inspiration
Individuality of expression is, without ques-
and individual feeling come into play. It is pos- tion, an artists most valuable asset. You could
sible for anybody to be "off" at any time in any make no more fatal error than to attempt to
one or more of the factors. Every artist will do duplicate, for the sake of
duplication alone,
"good ones" and "bad ones." The bad will have
either my work or that of any
other individual.
to be thrown out and done over.
The artist Use another's style as a crutch only-until
you
should, of course, make a critical analysis to de- can walk alone. Trends of popularity
are as
termine why a drawing is bad; usually he will changeable as the weather. Anatomy,
perspec-
be forced to go back to fundamentals, for bad
tive, values remain constant;
but you must dili-
drawing springs from basic faults as surely
as gently search for new ways to apply them. The
good drawing springs from basic merits.
greatest problem here is to provide you with a
Therefore a useful book of figure drawing
solid basis that will nurture
individuality and not
cannot treat one phase alone, as the study
of produce imitation. I grant that a certain amount
anatomy; it must also seek out and co-ordinate
of imitation in the earliest phase
the basic factors
of learning may
all upon which good drawing be necessary in order that self-expression
depends.
may
It must consider both aesthetics and have an essential background. But there
can he
sales possibilities, technical rendering and typi- no progress in any art or craft without
an accu-
cal problems to be solved. Otherwise the read-
mulation of individual experience.
The experi-
er is only partially informed; he is
taught but ence comes best through your own
effort or ob-
one angle, and then left to flounder. servation, through self-instruction,
the reading
May I assume that you as a young artist are of a book, or the study of
an old master. These
facing a bread-and-butter problem? Whenever experiences are bundled together
to form your
'7
AN OPENING CHAT
working knowledge, and the process should
book to lend you a hand to the top of the hill,
but
never stop. New, creative ideas are usually vari-
upon reaching the crest to push you over
and
ants of the old.
leave you to your own momentum.
I have hired
In this volume I shall try to treat the figure and paid the best models I could find, knowing
as a living thing, its power of movement related that the limited funds of the average
young art-
to its structure and its movement separated in- ist, would not permit that. If you study my draw-
to several kinds. We shall draw the nude for ings in the light of a model posing for you, rather
the purpose of better understanding the
draped than thinking of them as something to
be dupli-
figure. We shall think of the figure as possessed cated line for line and tone for tone,
I think you
of bulk and weight, as being exposed to light will in the end derive greater benefit.
With every
and therefore shadow, and hence set into space page suggest you place your pad at the side
I
of
as we know it. Then we shall try to understand the book. Try to get the meaning
behind the
light for what it is; and how form, with its drawing much more than tile drawing itself.
planes of various direction, is affected by it. Keep your pencil as busy as possible. Try figures
We shall consider the head and its structure varying as much as possible from those in my
separately. In other words, we shall provide a pages. Set up figures roughly, from the imagina-
foundation that will enable you to make your tion, make them do all sorts of actions. If it is pos-
figures original and convincing. The interpreta- sible to draw from the live model in school or
tion, the type, the pose, the drama, the costume, elsewhere, do so by all means, utilizing as" best
and the accessories will all be yours. Whether you can the fundamentals we have here. If you
your figures are drawn for an advertisement, to
can take photos or have access to them,
try your
illustrate a story, or for a poster or a calendar skill in drawing from them, adding
what ideal-
will not change appreciably the fundamental ization you think should be there.
demands upon your knowledge. Technique is
It might be a good plan to read the entire book
not so important as the young artist is inclined
at the start so that you will better understand
to believe; the living and emotional qualities- the general plan of procedure. Other kinds
of
the idealization you put into your work-are drawing such as still life should be supplement-
far more important. So are your selection and ed, for all form presents the general
problem of
taste costume and setting— provided you
in
contour, planes, light and shadow.
have mastered fundamentals. The smartest
Get used to using a soft pencil, one that will
dress in the world will not be effective on a give considerable range from light to dark.
badly drawn figure. Expression or emotion can-
A
thin, weak and gray drawing has practically no
not possibly be drawn into a face that is
poorly commercial value. The switching to a pen and
constructed. You cannot paint in color
success- black drawing ink is not only interesting but has
fully without some conception of light and real value commercially. Use one that is fairly
color values, or even hope to build a composi- flexible. Pull the pen to make your line, never
tion of figures until you know how to draw push it at the paper, for it will only catch and
them in absolute perspective. Your job is splutter.
to Charcoal is a fine medium for study. A
glorify and idealize the everyday material large tissue or layout pad is excellent to work on.
about you.
Perhaps the best way is to suggest that you
It is my purpose from start to finish of this use the book in whatever manner suits you best.
18
THE APPROACH TO FIGURE DRAWING
The first chapter of this book will be treated a little differently from the
others, as a prelude to the actual figure, and to lay the groundwork of the
structure we are later to build. This part of the book will be of especial
value to the layout man and to the artist for the preparation of prelim-
inary sketches, roughs, the setting down of ideas, suggestions of actions

and pose, where the figure must be drawn without the use of models or
copy. This is the sort of work the artist does in advance of the finished
work. This, in other words, is the work with which he sells himself to
the prospective client. In thai respect it is most important since it really
creates opportunity. He will be able to prepare this work intelligently
so that when he gets to the final work he will not be confused with new
problems of perspective, spacing, and other difficulties.
The reader is urged to give this chapter his utmost attention since
it is unquestionably the most important chapter in the book, and one
to pay good dividends for the concentrated effort involved.
IJflfts.
/ •
y i
I. THE APPROACH TO FIGURE DRAWING
As we begin the book, let us take note of the once you arrive at your destination; your real
broad field of opportunity afforded the figure concern is making the journey.
draftsman. Starting with the comie or simple line Art in its broadest sense is a language, a mes-
drawings of the newspaper, it extends all the sage that can be expressed better in no other
way up through every kind of poster, display, way. It tells us what a product looks like and
and magazine advertising, through covers and how we can i\se it. It describes the clothes and
story illustration to the realms of fine art, por- even the manners of other times. In a war poster
traiture, sculpture;, and mural decoration. Figure it incites us to action; in a magazine it makes
drawing presents the broadest opportunity from characters alive and vivid. It projects an idea
the standpoint of earning of any artistic endeav- visually, so that before a brick is laid we may
or Coupled with this fact is the great advantage see, before our eyes, the finished building.
that all these uses are so interrelated that suc- There was a time when the artist withdrew
cess in one almost assures success in another. to a bare attic to live in seclusion for an ideal.
The interrelation of all these uses springs from For subject, a plate of apples sufficed. Todav,
the fact that all figure drawing is based on the however, art has become an integral part of
same fundamentals which can be applied no our lives, and the successful artist cannot set
matter what use the work is put to. This brings a himself apart. He must do a certain job, in a
further great advantage to the figure man in that definite manner, to a definite purpose, and with
he has a constant market if he is capable of good a specified date of delivery.
work. The market is constant because his work Start at once to take a new interest in people.
fits into so many notches in the cycle of buying Look for typical characters everywhere. Famil-
and selling which must always be present bar- iarize yourself with the characteristics and de-
ring financial collapse. To sell one must adver- tails that distinguish them. What is arrogance
tise, to advertise one must have advertising in terms of light and shadow, form and color?
space, to have advertising space there must be What hues give frustration and forlorn hope to
attractively illustrated magazines, billboards, people? What is the gesture in relation to the.
and other mediums. So starts the chain of uses of emotion? Why is a certain childish face ador-
which the artist is an integral part. able, a certain adult face suspicious and un-
To top it all, it becomes the most fascinating trustworthy? You must search for the answers to
of any art effort because it offers such endless these questions and be iible to make them clear
variety, encompassing so much that it ever re- to your public. This knowledge will in time be-
mains new and stimulating. Dealing with the come a part of you, but it can come only from
human aspects of life it runs the gamut of ex- observation and understanding.
pression, emotion, gesture, environment, and the Try to develop the habit of observing your
interpretation of character. What other fields of surroundings carefully. Some day you may want
effort offer so great a variety for interest and to place a figure in a similar atmosphere. You
genuine relief from monotony? I speak of this to cannot succeed completely with the figure un-
build within you that confidence that all is well less you can draw the details of die setting. St)
21
OBSERVE YOUR SURROUNDINGS
begin now to collect a file of the details that I do not strongly recommend becoming
give a setting its "atmosphere." "helper" to a successful artist in order
to gain
Learn to observe significant details. You must background. More often than not, it is
a dis-
be concerned with more than Martha's hair- couraging experience. The reason is that
you
dress. Precisely why does Martha in a formal are continually matching your humble
efforts
gown look so different in shorts or slacks? How against the stellar performance of
your em-
do the folds of her dress break at the floor when ployer. You are not thinking and
observing for
she sits down? yourself. You are usually dreaming, developing
Watch emotional gestures and expressions. an inferiority complex, becoming an imitator.
What does a girl do with her hands when she Kemember: artists have no jealously guarded
says, "Oh, diat's wonderful!"? Or with her feet professional secrets. How often have I heard
when she drops into a chair and says, "Gosh, students say, "If I could just watch that man
Tin tired!"? What does a mother's face register work, I'm sure I could get ahead!" Getting
when she appeals to the doctor, "Is there no ahead does not happen that way. The only
hope?" Or a child's when he says, "Gee, that's
mystery, if such it may be called, is the
per-
good!"? You must have more than mere tech-
sonal interpretation of the individual artist. He
nical ability to produce a good drawing. himself probably does not know his own "se-
Nearly every successful artist has a particu- Fundamentals you must master, but you
cret."
lar interest or drive or passion that gives direc- can never do so by watching another
man
tion to his technical skill. Often it is an absorp- paint. You have to reason them out for yourself.
tion in some one phase of life. Harold yon Before you decide what type of drawing you
Schmidt, for example, loves the outdoors, rural want to concentrate on, it would be wise to con-
life, horses, the pioneer, drama, and action. His sideryour particular background of experience.
work breathes the fire that in him. Harry An-
is
If you have been brought up on a farm,
for in-
derson loves plain American people - the old stance, you are much more likely to succeed in
family doctor, the little white cottage. Norman interpreting life on a farm than in depicting
Rockwell, a great portraycr of character, loves
Long Island society life. Don't ignore the inti-
a gnarled old hand that has done a lifetime of mate knowledge you have gained from long,
work, a shoe that has seen better days. His ten-
everyday acquaintance. All of us tend to dis-
der and sympathetic attitude toward humanity,
count our own experience and knowledge-to
implemented by his marvelous technical ability, consider our background dull and common-
has won him his place in the world of art. Jon place. But that is a serious mistake. No hack-
Whitcomb and Al Parker arc at the top because ground is barren of artistic material. The artist
they can set down a poignant, up-to-the-minute
who grew up in poverty can create just as much
portrayal of young America. The Clark brothers beauty in drawing tumble-down sheds as an-
have a fondness for drawing the Old West and
other artist might in drawing ornate and luxuri-
frontier days, and have been most successful at ous settings. As a matter of fact, he is apt to know
it. Maude Fangel loved babies and drew them much more about life, and his art is likely to
beautifully. None of these people could have have a broader appeal. Today great interest
has
readied the pinnacle without their inner developed in the "American Scene." Simple
drives. Yetnone could have arrived there with- homeliness is its general keynote. Our advertis-
out being able to draw well.
ing and much of our illustration, however, de-
%X
THE NUDE AS A BASIS
mand the sophisticated and the smart, but it is expect to become a surgeon without studying
wise to bear in mind this newer trend, for which anatomy. If you are offended by the sight of the
a humble background is no handicap. body the Almighty gave us to live in, then put
It is true that most artists must be prepared this book aside at once and likewise give up all
to handle any sort of subject on demand. But thought of a career in art. Since all of us are
gradually each one will be chosen for the thing either male or female, and since the figures of
he does best. If you do not want to be typed or the two sexes differ so radically in construction
"catalogued," you will have to work hard to and appearance (a woman in slacks is not a man
widen your scope. It means learning broad in pants, even when she has a short haircut), it
drawing principles ( everything has proportion, is fantastic to conceive of a study of figure draw-
three dimensions, texture, color, light, and shad- ing that did not analyze the many differences. I
ow) so that you will not be floored by commis- have been engaged in almost every type of com-
sions that may call for a bit of still life, a land- mercial art, and my experience confirms the fact
scape, an animal, a particular texture such as that the study of the nude is indispensable to
satin or knitted wool. If you learn to observe, the any art career that requires figure drawing. A
demands should not tax your technical capacity, vocational course without such study is a deplor-
because the rendering of all form is based upon able waste of time. Life classes generally work
the way light falls upon it and the way light af- from the living model; hence I have tried to
fects its value and color. Furthermore, you can supply drawings that will serve as a substitute.
always do research on any unfamiliar subject. Broadly speaking, there are two kinds of
Most artists spend as much time in obtaining drawing: linear and solid. Linear drawing— for
suitable data as in actual drawing or painting. example, a floor plan— embraces design or scale.
The fundamentals of painting and drawing Solid drawing attempts to render bulk or three-
are the same. Perhaps it might be said that dimensional quality on a flat plane of paper or
drawing in general does not attempt to render canvas. The first involves no consideration of
the subdeties of values, edges, and planes or light and shadow. The latter gives it every con-
modeling that may be obtained in paint. In any sideration. It is possible, however, without light
medium, however, the artist is confronted with and shadow, to make a flat or outline drawing
the same problems; he will have to consider the of a figure and still suggest its bulk. Therefore it
horizon and viewpoint; he will have to set down is logical to begin with the figure in flat dimen-
properly length, breadth, and thickness (in so sion—start out with proportion, carry it from the
far as he is able on the flat surface ) ; he will have flat to the round, and then proceed to render the
to consider, in short, the elements that I am talk- bulk in space or in terms of light and shadow.
ing about in this book. The eye perceives form much more readily by
The nude human figure must serve as the contour or edge than by the modeling. Yet there
basis for all figure study. It is impossible to draw is really no outline on form; rather, there is a sil-
the clothed or draped figure without a knowl- houette of contour, encompassing as much of
edge of the structure and form of the figure un- the form as we can see from a single viewpoint.
derneath. The artist who cannot put the figure We must of necessity limit that form some way.
together properly does not have one chance in So we draw a line— an outline. An outline truly
a thousand of success—either as a figure drafts- belongs within the category of flat rendering,
man or as a painter. It would be as reasonable to though it can be accompanied by the use of light
23
WHAT IS LINE?
and shadow. The painter dispenses with outline bcr that line is something to turn to when your
because he can define contours against other drawings arc dull. You can start expressing your
masses or build out the form in relief by the use individuality with the kinds of line you draw.
of values. Now to the figure. What is the height-to-width
You must understand the difference between relationship of an ideal figure? An ideal figure
contour and line. A piece of wire presents a line. standing straight must fit within a certain rec-
A contour is an edge. That edge may be a sharp tangle. What is that rectangle? See drawing,
limitation to the form (the edges of a cube) or a page 26. The simplest and most convenient unit
rounded and disappearing limitation (the eon- for measuring the figure is the head. A normal
tour of a sphere ) . Many contours pass in front o£ person will fall short of our ideal by half a head-
one another, like the contours of an undulating he will measure only seven and a half heads in-
landscape. Line figure drawing, even as land- stead of eight. You need not take eight heads as
scape drawing, demands foreshortening in order an absolute measure. Your ideal man may have
to produce the effect of solid form. You cannot any proportions you wish, but he is usually made
outline a figure with a bent wire and hope to ren- tall. On pages 26 to 29 you will find various pro-
der its solid aspect. Look for two kinds of lines: portions in head units. Note that at any time you
the flowing or rhythmic line, weaving it about' can vary your proportions to suit the particular
die form; and, for the sake of stability and struc- problem. Study these carefully and draw them,
lure, the contrasting straight or angular hue. two or three times, for you will use them, con-
Line can have infinite variety, or it can be in- sciously or not, every time you set up a figure.
tensely monotonous. Even if von start with a Some artists prefer the legs even a little longer
bent wire, you need not make it entirely monot- than shown. But, if the foot is shown tipped
onous. You can vary the weight of line. When down in perspective, it will add considerable
you are drawing a contour that is near a very length and be about right.
light area, you can use a light line or even It is remarkable that most beginners' work
omit it entirely. When the line represents a con- looks alike. Analyzing it, I have found certain
tour that is dark and strong, you can give it more characteristics that should be mentioned here.
weight and vitality. The slightest outline draw- I suggest that you compare this list with your
ing can be inventive and expressive. own work to see if you can locate some of die
Take up your pencil and begin to swing it characteristics for improvement.
over your paper; then let it down. That is a
"free" line, a "rhythmic" line. Now, grasping 1. Consistently gray throughout.
your pencil lightly between thumb and index What to do: First get a soft pencil that will
finger, draw lightly or delicately. Then bear make a good black.
down as though you really meant it. That is a Pick out the blacks in your subject and
"variable" line. See if you can draw a straight state them strongly.
line and then set down another parallel to it. By contrast, leave areas of white where sub-
That is a "studied" line. ject is white or very light.
If you have considered a line as merely a Avoid putting overstated grays in light
mark, may be a revelation to you that line
it areas.
alone possesses so much variation diat you can Do not surround things dial mu light with
worry over it for the rest of your days. Kemcrn- heavy lines.
M
)
BEGINNERS' WORK
2. An overabundance of small fuzzy line. 8. Bad arrangement.
Do not 'pet" in your line, draw it cleanly Ifyou arc doing a vignetted head, plan in-
with long sweep. teresting and attractive shapes. Don't run
Do not shade with a multitude of little over to the edge of die paper unless whole
"pecky" strokes. space is to be squared off.
Use tlie side of the lead with the pencil laid 9. Highlights in chalk.
almost flat for your modeling and shadows. It takes a very skillful artist to do this suc-
3. Features misplaced in a head. cessfully.
Learn what the construction lines of the 10. Uninteresting subjects.
head are and how spaced. (See Head Just a costume does not make a picture.
Drawing. Every picture should have some interest if
Build the features into the correct spaces. possible other than a technical demonstra-
4. Rubbed and dirty, usually in a roll tion. Heads should portray character, or ex-
Spray with fixative. If on thin paper, mount pression. Other subjects should have mood
on heavier stock. or action or sentiment to make it interesting.
Try never to break the surface of your
*
paper. This is very bad. If you have done so, Water color is perhaps the most tricky medi-
start over. Keep your drawings Hat. Keep um of all. Yet most beginners take to it. Water
untouched areas scrupulously clean with a color to be effective should be broad in treat-
kneaded eraser. ment, with large loose washes, and not too fin-
5. Too many mediums in same picture. icky. If you find yourself stippling and pecking
Make your subject in one medium. Do not you can be pretty sure it will not be liked.
combine wax crayons with pencil, or pastel Water color should have a feeling of the "ac-
with something else. Make it all pencil, all cidental" or color that has done something of
crayon, all pastel, all water color, or all its own and dried that way. Lovely effects are
pen and ink. It gives a certain consistency. obtained by dampening an area first and then
Later on you may combine different me- flowing the color into the wet area. Use a real
diums effectively but do not start that way. water color paper or board, for it can get very
6. The tendency to use tinted papers.
messy on a and very absorbent paper. The
soft
A black and white drawing looks better on
less you have to go over what you have once
put
white paper than any tiling else.
down, the better. Generally water- colon sts pre-
If you have to use tinted paper, then work fer not to leave a lot of pencil, especially dark or
in a color that is harmonious. For instance shaded pencil showing through. Some water-
a brown or red contc crayon on a tan or colorists work by washing in a general tone,
cream paper.
-scrubbing out the lights with a soft sponge or
It is better to put your color on white for brush, and washing in the halftones and darks
clarity.
over the original tone. If you are unable to
7. Copies of movie stars. handle water color in any other way than by
This gets intensely monotonous to anyone peeking in little strokes, 1 would suggest you try
inspecting a beginner's work. The heads are pastel which can be spread and rubbed at will.
usually badly lighted from a drawing stand- Oil paint has the advantage that it stays wet long
point. Take a head that is not well known. enough to maneuver the color as you wish.
25
IDEAL PROPORTION, MALE
HEAD UNIT5 FEET <t/\a\e Fiqunz (S Z '^litad^ widc,>
Take any desired height, or place points tor

between nipples is one head The waist is
unit.
top of head and heels. Divide into eighths.
Two a little wider than one head unit. The
wrist
and one third of these units will he the relative
drops just below the crotch. The elbows
width for the male are
figure. It is not necessary at about on a line with the navel. The knees
are
tin's stage to attempt to render the anatomy cor- just above the lower quarter of the
figure. The
rectly. But fix in your mind the divisions. shoulders are one-sixth of the way down.
Draw tile The
figure in the three positions: front,
proportions are also given in feet so that
side,and back. Note the comparative widths at you
may accurately relate your figure to furniture
shoulders, hips, and calves. Note that
the space and interiors.
26
IDEAL PROPORTION. FEMALE
HCAO UNIT5 FEET

Act no I lUgw Kfc / "^ -* \
The female figure is relatively narrower— two for a girl. Actually, of course, the average girl
heads at the widest point. The nipples are slight- has shorter legs and somewhat heavier thighs.
ly lower than in the male. The waistline meas- Note carefully that the female navel is below the
ures one head unit across. In front the thighs waistline; the male, above or even with it. The
are slightly wider than the armpits, narrower in nipples and navel are one head apart, but both
hack. It is optional whether or not you draw the are dropped below the head divisions. The el-
legs even a little longer from the knees down. bow is above the navel. It is important that you
Wrists are even with crotch. Five feet eight learn the variations between the male and fe-
inches (in heels) is considered an ideal height male figure.
27
VARIOUS STANDARDS OF PROPORTION
NORMAL7&HDS )DEAUJ71C,8 HPS FAJM ION! ,8 ÛDS HEKOIC^HDS

THEACADEMIC MOST ARTISTS ACCeP 2. Vi HEA i
pro p-o rlt on5 f

a HEADS A3 NOBiMAt
USEP INMOSTSTHnoLS.
(rather PUMPy)
You can sec at a glance why the actual or nor- unit, the middle of the figure fulls in each. It
mal proportions arc not very satisfactory. All would be well to draw the side and back in these
academic drawings based on normal propor- various proportions, using the previous page for
tions have this dumpy, old-fashioned look. Most
a general guide but changing the proportion.
fashion artists stretch the figure even bevond You can control the appearance of height or
eight heads, and in allegorical or heroic figures shortness in any figure by the relative size
of the
the "superhuman" type - nine heads -
may be head you use.
used effectively. Note at what point, or head
^
'28
)
IDEAL PROPORTIONS AT VARIOUS AOES
ADULT
7^"
15 YK.S 0VR.3 5 YRS 3 YRS
ike tjrotufli of \w Ifead is very <jrciduol, only

io^-jHM@7v addiviq ^ inches up ciuddown fww -Hie
first: year to adultliood.Tlie leqs a/ou)
nearly iioice as fast as ike -iorso-

5TR5*6HDS@7"
5YRS^HD5c^fe i
fe''
i
yR= 4 HD5pfc*
These proportions have l)eon worked out with with a five-year-old boy, you have here his rela-
a great deal of effort and, as far as I know, have tive height. Children under ten are made a little
never before been put down for the artist. The shorter and chubbier than normal, since this ef-
scale assumes that the child will grow to lie an fect is considered more desirable; those over
ideal adult of eight head units. If, for instance, ten, a little taller than normal — for the same
you waul lu draw a man or a woman (about half reason.
a head shorter than you would draw the man
29
THE FLAT DIAGRAM
s ^Hiaviiwq poLHt-
CUi«
HOW TO PROJECTTHEVLAT PIAORAM'WrO THE GROUND PLANE
iP£k£.
7lii5 will prove
most useful u>tan you have to
drauj without a model and in
fattsHwtctfitu
nr 2 -
*, ffcfc->
A *»J OF^ *>*Fpl
2
fttt - *e 16 „,«, bH WU,, H,, Flcf Di a <, ra „, Uj1h<) ^ p|aMes
MUL
FIAT DlAGRAm
5l«a<W ch ho *r^ bH UM» pI«R. It is a* ^.de'for tfc,
3ol.d ,k p^p*ctl*e.
THE FLAT DIAGRAM IS NO MORE THAN
A TRAGI MQ
°7 A5HADOW ; WlTH ONLY TWO DlMENSlONS-
BAJT IT 15 OUR MAP. WE CAN'T DO
WITHOUT IT -
(/NHL WE KNOW THE WAV.
4 thru DfeE.llH* Divide loif diaqoxqls until
EHntabli«liad tkercortf 8 Cross Spacas.
IhanF-toGand
5ooft U iiTtl
tliarff are
5 Spaces ,
flat Dtaqrom
pose
s lIL »ne)
3 PLa»vff f
TWo wct H s of^«dflr 1MO| Vko-Box"oMWc

TW
FWtDiadnam.
•it P««P*cUv«.
You «re u*-q*d to l*0,VK*U* ShouJiMtj Uow ike principle
Wow.Ifc applies to difficult; fwcsborta*\*Q
ujlU. Icclp oo
M out of wa^ difficulties later oh.
to be explained.
30
THE FLAT DIAGRAM
OTHER IMPORTANT U5EJ OF THE v MAP*OR FLAT DIAGRAM,
V
7
li
ti*e Hit re e
urn JaW
y.
All pouits-ot'-tkefiqUK'e can be put im, Quick "5ct up "im. Quick "ScF up" op
perspective with ike "Map* as quide pcKapcctLve tiic "nap".
Wo, pfnportioHS oFoneftqore caw. easily be projected bi| per\s pecKve tootkcrs.
51
QUICK SET-UP OF PROPORTIONS
Rm
-*k -N/v
tow
<W' $
3hd5 nwei '4

r*.
4kdi^
& ClWTtH
J&£E?
3i
PROPORTIONS BY ARCS AND HEAD UNITS
Fl/U HEIGHT
FUU. M^JGHr
AW*4 U project U«J u*i*5 fe po5 « s ofc W ifc« ^kJIm,- ^[^ ^latcve kc^fe J* of
-Jcajtreack, to 10 lids .
*
[^
S.^plc vnetUod rf f-Hd^c !.„.*, o> „W«d H«h,. UW Moo ^Tdo «.-„ ,„
P «„pectl v e ;
33
PROPORTION IN RELATION TO THE HORIZON
How to buil d your picture and figures front antf eifeievel(or Horizon,, wruckw*ans tiiesav/w')
Ejffi >.£v£L JBi. ex.reu f Horizon)
S&leeH <l. p|a-c«m<mb EstabliskVieiqk-t Set potni for feet Draw Hue ttirooqh Ercci- perpendicular
for "tkfi HOKIZOVL of- first fûre. of 2 d Fiqure. 4 potwi to Honzojt af fop lat Fiqure at'ctcBts^-Fiqore
CAwu, height) (Place awHwVierc)
Divide into -4tlis. Build fibres. if TdKe qHoHter pint Divide asyoudid Cbwplate3ni
i
Fw, 'Duild your picture

you wcjh\ vwore- D*ttiru°C*-b Horizon before
to same Horizon.
Pule; Horizon must cross all Similar fiqures Onvalevel plaae at Hie sawte po'ini.^bovc,aHcK€es)
HOW TO LAY OUT THUMBNAIL SKETCHES FOR. FIGURE PLACEMENTS AND 5IZE5
HO^liON rAAV ^t piAC£0 A0OVC FWJURllS
Famous Fwure youcaM ^fci cwi(| HUMnftr To kg o little off for a wouiuvi '4 -figure A Fjqufc Hiaij Ktrtuot of ptctu r«
Om« Figure iswRtmlff Explain v*W»
34
THE JOHN AND MARY PROBLEMS
look ifwa are

Ttjc picture clianqcs ;
Now if we lie down ike We walk backward a*d
sitti>tq ^horizon horizon drops
weaKtkcwi om the, sand. qoes Up WlHl
— ™ L L
^m^ ^» ^ The
- ww too.- -»"
I W m upward on the beack
uJ. perspective dianqes Horizon, rises above.now.
-3Qfl
{from 3 6tofi*3 or JO$iyî«^
?
4-
yp^duiil/ put - 2li,><
;
.
•
fcHT
ik*
If" we q<?t beneatr. Ih<2*i Now ike
Horizon moves Even wbenwe see tnewt wwere we
so does tite HOriZon-JWe up beyond tke picture arc,ev<Lri)tyvm
From, nearly directly (6 offected by our owk,
figures change aqocK.. Butitsfcill aflects fiqures-
SOMETHINGS THAT MAYHAPPEN WHENF1GURES ARE NOT
overhead. No matter eye level l0 r y Horizon W
RELATED TO A 5INGUJ TEUr HOR.7QM
TUe Ftqurcs appear tipped or somehow wrong — John wag befoH mq— or Mgrtj domq gym no at ic s
Mflrq qolstoo Wiq-or she wa^ qet-too s«ic» H-or appear to W dtvtwq Thus ewdetli Joiinartd Marv
35
FINDING PROPORTION AT ANY SPOT IN YOUR PICTURE
VANC5HINC POINT or VPof FIC8 vp^FlGS
HORlZOl
the figures are at different levels.

You can place )
a point anywhere within your space and find the

POINT MAY*
"NY v* -tÊ.
relative size of the figure or portion of the figure
at precisely that spot. Obviously everything else
should be drawn to the same horizon and sealed
so that the figures are relative. For instance,
PRINCIPLEAPPLIES
To ANY PART OF FIGURE draw a key horse or cow or chair or boat. The
important thing is that all figures retain their
size relationships,no matter how close or dis-
Many artists have difficulty in placing figures tant. A picture can have only one horizon, and
in their picture and properly relating them to only one station point. The horizon moves up
each other, especially if the complete figure is or down with the observer. It is not possible to
not shown. The solution is to draw a key figure look over the horizon, for it is constituted by the
for standing or sitting poses. Either the whole eye level or lens level of the subject. The horizon
figure or any part of can then be scaled with
it on an open, flat plane of land or water is visible.
the horizon. Afl taken as the head measure-
is
Among hills or indoors it may not be actually
ment and applied to all standing figures; CD to visible,but your eye level determines it. If you
the sitting figures. This applies
when aU figures do not understand perspective, there is a good
are on the same ground plane. (On page 37
book on the subject, Perspective Made Easy,
there is an explanation of how to proceed when available at most booksellers.
36
«*
HANGING" FIGURES ON THE HORIZON
You can*hanq"vooKfiquKes onita Horizon line bq wakiwq ctcut tliKouqk.siwUar fiaures ivt ttte
same place. This Keeps tkcrvtantkc savwe qrouwd plane. Note Horizon aits w-enaitoaistand the
seated women otekin. 7k«& one standuiq woman afclcft 15 draum relative totke^KCM. Simple?
Vou caw aJso nana" keads ovt Ike Horizon ; Heve we measured a pro port Ion cfte
liove
lu^clntkLs c<x.se decuts majj keads a,-fc • dlstancedowvt Fr-ovu tke Horizon. 1 Wave
tke Mtoutk. me womens attke (ryes. : taken two keads as anoptional space.
37
WE BEGIN TO DRAW: FIRST THE MANNIKIN FRAME
THEFIR5T PROBLEM: HOW SHALL THE WEIGHT BE CARRIED?
PROPORTION UNE. MANNtKlN FRAME S10S. WE.CMTONKT.FOOT WT.ON LFT.FQOT WT.ON EOTH FEET
WEIGHT ON PELVtS WT.ONE KNEE. ONE FOOT ©OTHKNEEJ- HANDS WDKNEE5 ONE FOOT ONLY
ALL FIGURE ACTION 5HOULD

BE BA5ED ON A DISTRIBUTION
OF THE WEIGHT OF THE r30DY
ON AIL FOURS COMBINATION HAND5 PELV,S AKD FEET

( 3USPENDED BACK AMD PELV.5
38
MOVEMENT IN THE MANNIKIN FRAME
LGTU5 STRIVE FOR. LIFE AND ACTION FROf*l THE VERY BEG INNING. DRAW.DRAW.
/ THESE ARE
; 'STATIONARY
PIVOTS *
RYTQ FKeL A CENTER. OF GRAVITY. DISTRIBUTE THE WEIGH f OVER 4 CENTRAL f*>tNT . f«WKE NUf-lEBOOJ STUDIES-
THE MAIN LINE OF BALANCE SHOULD LEAN IHTHE DIRECTION

Of THE MOVEMENT-TRY SOME NOW.
YOUR. FIG iS C1AY &E BUILT UPON CURVED LINES FOR MOVEMENT AND CRACE. AVOID RIGHT AWGl£5
39
DETAILS OF THE MANN1KIN FRAME
^
*1
HlPfftA
NAVCL
ciiorcM
S^TTom DT KNftElL
Hfels
PR0POR.TION LINE PRONr back. 3/fcq SACK S\ CE.3/4 FKQNT
ALL THE TIME YOU SPEND ON THLS FELLOW P^YS big D.V.DHNDS. LeARN ALLA60UT HIM
3HD5.
THIS IS A5. MPLI F,ED VERSION OF THE ACTUAL FRAME -ALL YOU NEED FOR A 5TART
40
EXPERIMENTING WITH THE MANNIKIN FRAME
c
TX>A 1X>T OF EXPEKmE-NTING. ^MEMBER THAT MOST
Of= THE ACTION IN YOUR: RGUR.eS MUST COME FROM YOU
'AS YOU FEEL IT "RATHER THAN FROM A MOPEL
YOU WILL SOON LEAK.N TO EVPRES5 YOtiKLSELF. A VITAL

EXPR.E.T.SION IS MOR.E IMPORTANT HE-R-E THAN ACCURACY.
W CMJ 0StlHl5TYPEOFSk£LETON WHEN PLANNINQ (SOU GH^, LAYOUTS, COMPOSITIONS.

Y
41
.
OUTLINES IN RELATION TO SOLID FORM

A. LET US AJJUME WE HAVE OUTUNE5 OF THREE CIRCLES 5ET ON 5 ADJACENT PLANES.
— - ALL 50LID5 MUST HAVE THEJE THREE
DIMENSIONS.
1 LENGTH
2 BREADTH
3 THICKNE SS
B. BY MOVING CIRCLES FORWARD TO A COMMON CENTER,WE PRODUCE A* SOU D " BALL

now take a common object.
the outlines
of each plane
may be very
different,
butpu1together.formthe solid.
DRAWrMG WE
50, IN
MUST ALWAYS TfcV
TO VEELTHE MIDDLE
CONTOURS ASWELLA5
THE EDGES. THE OUT-
LINES ALONE CAN
SUGGEST SOLIDITY-
WATCH HOW EDCTCS-
PA5S ONE ANOTHER,
FLAT SOLID
THIS WILL NOT BE EASY UNTIL YOU BECOME ABLE TO*THlNK

ALL ABOUND
THE THING YOU HAPPEN TO BE DRAW1NG TRULY KNOWING ALLOFTHE
; FOR.M.
12
THE MANN 1K1N FIGURE
The foregoing has given us a general frame- something with three dimensions. It has weight
work to which wc can now add a simplification that must be held up by a framework which is
of the bulk or solid aspect of the figure. would extremely mobile.
It The fleshy masses or bulk fol-
be both tedious and superfluous if, every time lows the frame. Some of these masses are knit
we drew a figure, we went through the whole together quite closely and adhere to the bony
procedure of figure drawing. The artist will sjructure, whereas other masses are full and
want to make roughs and sketches that can serve thick and will be affected in appearance by
as an understructure for pose or action— perhaps action.
to cover with clothing, perhaps to work out a If you have never studied anatomy, you may
pose that he will finish with a model. We must not know that the muscles fall naturally into
have some direct and quick way of indicating or groups or chunks attached in certain ways to
setting up an experimental figure — one with the frame. We will not treat their physiological
which wu can tell a story. The figure set up as detail here, but consider them merely as parts
suggested in the following pages will usually interlocked or wedged together. Hence the hu-
suffice. Properly done, it can always be devel- man figure looks very much like our mannikin.
oped into the more finished drawing. When you The thorax, or chest, is egg-shaped and, as far
are drawing a mannikin figure, you need not be as we arc concerned, hollow. Over it is draped
greatly concerned with the actual muscles or a cape of muscle extending across the chest and
how they affect the surface. The mannikin in down the back to the base of the spine. Over the
drawing is used much as is a "lay" figure, to in- cape, in front, lie the shoulder muscles. The but-
dicate joints
and the general proportion of tocks start halfway around in back, from
the
framework and masses. hips, and slant downward, ending in rather
The mannikin serves a double purpose here. square creases. A V is formed by the slant above
I believe that the student will do much better to the middle crease. There is actually a V-shaped
set up the figure this way and get the "feel" of bone here, wedged between the two pelvic
its parts in action than to begin at once with the bones diat support the spine. The chest is joined
live model. It will not only serve for rough to the hips by two masses on either side. In back
sketches but will also become an ideal approach the calf wedges into the thigh, and in front there
to the actual drawing of the figure from life or is the bulge of the knee.
copy. If you have the frame and masses to be- Learn to draw this mannikin as well as you
gin with, you can later break them down into can. You will use it much more often than a care-
actual bone and muscle. Then you can more ful anatomical rendering. Since it is in propor-
easily grasp the placing and functions of the tion in bulk and frame, it may also be treated in
muscles and what they do to the surface. I am perspective. No artist could possibly afford a
of the opinion that to teach anatomy before pro- model for all his rough preliminary work—for
portion—before bulk and mass and action— is to layouts and ideas. Yet he cannot intelligently
put the cart before the horse. You cannot draw approach his final work without a preliminary
a muscle correctly without a fair estimate of the draft. If only art directors would base their lay-
area it occupies within the figure, without an outs on such mannikin figures, the finished
understanding of why it is there and of how it figures would all stand on the same floor, and
works. heads would not run off the page when drawn
Think of the figure in a plastic sense, or as correctly.
43
ADDING BULK TO THE FRAME
THE GROUPS OF MUSCLE5 SIMPLIFIED.
DEVELOPING THE PREVIOUS FRAME WITH SIMPLIFIED MUSCLE CROUPS

LAIDON TOP.
A SIMPLER. MANNIKIN
IF THE OTHER 15 TOO
DIFFICULT.
Wfr-WU-L STUDY THE ÂCTUAL" BONE AND MUSCLE CONSTRUCTION

LATER. GET THUS
44
ADDING PERSPECTIVE TO THE SOLID MANMKIN
HERE IS AgRQOP
OF CYLINDERS .NOTE
HOW THE ELU PSES
NARROW DOWN
AS THEY NEAftTHE
EVE LEVE.L,EtTH&R
FROI^ ABOVE OR
&ELOW.
E.YE LEVEL
FROM THIS YOOGET
THE PRINClPLEOF
PERSPECTIVE IN
THE ROUND FORMS
ON THE PICO RE .
TRY DRAWING YOUR. MANNIKlN FlGORETOTHE HOR-IZON
45
ARCS OF MOVEMENT IN PERSPECTIVE
THE EYE ALONE WILL BE ENOUGH TO DETERMINE

THE ARCS. PRAW THEM UNTIL THEY*SEEM Right"
46
PLACING THE MANNIKIN AT ANY SPOT OR LEVEL
ip yoo do not understand

respective, it xs advi5e0
to get a good book on the
Subject .vou must icnow
it eventually to succeed,
you cannot 3et up a good
drawing without it.
47
DRAWING THE MANNIKIN FROM ANY VIEWPOINT
Y
Cluck *set dps" prom
-ANY yiEWFOIN
17KAV/ THE^POX- IN ROUGH PEIC5PECTIVE.C>|VIDL&Y DIAGONALS- BUILP MANN* KIN
4S
COMBINING ARCS OF MOVEMENT WITH THE BOX
THINK IN TERHS OF TOE SOLID.
40
LANDMARKS YOU SHOULD KNOW
SURFACE CHARACTERISTICS THAT GIVE PUNCH"TOTHE FIGURE PRAWN WITHOUT A MODEL
50
,
LANDMARKS YOU SHOULD KNOW

SURFACE CHARACTERISTICS ON THE BACK OP THE MALE FICUEE.TO
MEMORIZE.
BODY
FURROW
OUTUINE. PASSES
\ 8qne
FURROW AND BOM £ ARM

Pll>3 IN gUCHTLY
PUHPtOW
PUT llNE PARSES
BULGE AND FURROW

RJKR.OW OF SPINE IS DEEPEST
WHEN FLGtlfcE *5 ERECT
PQgftN
fei-Oovv
Ûkôw*;
TH& TWO P IMPLgS
„V iwcEyTAtioy,
^ÂIY dON&
Hollows of th e buttocks^
^g^££^VPgdgfT_
CRfeAs& S LAnBRAL-fCAN PROP WITH SHIFT

wei5T 6(pNt
ÂpSOP HAIHO
Leer
CONVEX
TRY PKAWINQ TH|^
KACKVIEW.ÔTHE
CONCAvfc
BEST YOO CAN.
WHEN YOU HAVE
3TU7IEC7 TWE MUS-
QUTLiMe^ PASS
CLE^ COMEBACK
AN7 CO IT AGA*N
Bêak >*s our Line.
TENDONS
AN p pON'T CTET
ANKLES DKSCOUKAG ED.HE<5
SQUARENESS TO HE.6L5 A TOUGH OLP6IKD!
31
SKETCHING THE FIGURE IN ACTION FROM IMAGINATION
52
DRAW SOME OF THESE, BUT DRAW MANY OF YOUR OWN
53
THE FEMALE MANNIKIN
THE MAIN DIFFERENCE BETWEEN THE MALE AN FEMALE MANNIKIN 15 IN THE PELVIS (DISCS).
THE
HIP I30NE5 COME UP TO THE UNE OF THE NAVEL fMALE,THEY ARE TWO OR. THREE
INCHES BELOW) THE
FEMALE WAISTLINE IS ABOVE THE NAVEL.THE MALE AT OR JUST BELOW. FEMALE Rl8 CASE 15
SMALLER
PELVIS WIDEBAND DEEPER., SHOULDERS NARROWER.rCAPe"DROP5 IN FRONT TO INCLUDE
8REA5Ts'
A S/MPLfe WAV OF GETTING FEMALE PROPORTIONS-TAKE ^ TO KNEES- % TO WAIST, ^ TO TOPOFHEAD-

3 f^y\ s~\ Top o" WfcAO
SKETCHES
55
THE MALE AND FEMALE SKELETONS
56
II. THE BONES AND MUSCLES
The further you go in the study of anatomy, the female skeletons are the proportionately larger
more interesting it becomes. Made of soft and pelvis in the female and the proportionately
pliable material, elastic yet strong, capable of larger thorax, or rib case, in the male. These dif-
unlimited movement and of performing count- ferences account for the wider shoulders and
less tasks, operating on self-generated power, narrower hips of the male; the longer waistline,
and repairing or renewing itself over a period of lower buttocks, and wider hips of the female.
time in which the strongest of steel parts would They also cause the female arms to flare out
wear out— the human body is indeed an engi- wider when they are swinging back and forth
neering miracle. and the femur, or thigh bone, to be a little more
On the opposite page the male and female oblique. The hair and breasts, of course, distin-
skeletons have been set up. I have kept the head guish the female figure, but they arc merely its
units alongside so that you may relate the bones most obvious characteristics. The female is dif-
to the figure in correct proportion. ferent from head to toe. The jaw is less devel-
The skeleton, though strong, is really not so oped. The neck is more slender. The hands are
rigid as it appears. Though the spine has a rigid smaller and much more delicate. The muscles of
base in the pelvis, it possesses great flexibility; the arms arc smaller and much less in evidence.
and the ribs, too, though they are fastened firmly The waistline is higher. The great trochanter of
into the spine, are flexible. All the bones are held the femur extends out fardier; the buttocks are
together and upright by cartilage and muscle, fuller, rounder, and lower. The thighs are flatter
and the joints operate on a ball-and-socket plan and wider. The calf much less developed. The
is
with a "stop" for stability. The whole structure ankles and wrists arc smaller. The feet are small-
collapses with a loss of consciousness. er and more arched. The muscles, in general, are
Strain upon the muscles can usually be trans- less prominent, more straplikc— all but those of
ferred to the bony structure. The weight of a the thighs and buttocks, which are proportion-
heavy load, for example, is largely taken over by ately larger and stronger in the female. This
the bones, leaving the muscles free to propel the extra strength is, like the larger pelvis, designed
limbs. Bones also form a protection to delicate to carry the extra burden of the unborn child.
organs and parts. The skull protects the eyes, the Concentrate upon these fundamental differ-
brain, and the delicate inner parts of the throat. ences until you can set up an unmistakable male
The ribs and pelvis protect the heart, lungs, and or female figure at will.
other organs. Where protection is most needed, Note the black squares on die male skeleton.
•be bone comes closest to the surface. These are bony prominences where the bones
It is very important for the artist to know that are so near the surface that they affect the con-
no bone is perfectly straight. An arm or a leg tour. When the body becomes fat, these spots
drawn with a perfectly straight bone will lie become dimples or recessions in the surface. In
rigid and stiff-looking. Curvature in the bones thin or aged figures, these bones protrude.
has much to do with die rhythm and action of Working from life or photographs will not
a figure. It helps make it appear alive. eliminate the necessity of knowing anatomy and
The chief differences between the male and proportion. You should recognize what the
57
\
REQUIREMENTS OF SUCCESSFUL FIGURE DRAWING
humps and humps are— and why they are there. shorter than I would instinctively draw them.
Otherwise your drawing will have the look of The essence of successful male figure draw-
inflated rubber, or a wax department-store dum- ing is that it be kept masculine— plenty of bone
my. The final work on any commission of im- and muscle. The face should be lean, the cheeks
portance should he drawn from a model or good slightly hollowed, the eyebrows fairly thick
copy of some kind, since it must compete with (never in a thin line), the mouth full, the chin
the work of men who use models and good copy. prominent and well defined. The figure is, of
Most artisls own and operate a eamera as a help, course, wide shouldered and at least six feet
But it will not do the whole job. Outlines traced (eight or more heads) tall. Unfortunately, it is
from a photograph, because of the exaggerated not easy to find these lean-faced, hard-muscled
foreshortening by the lenses, have a wide and male models. They are usually at harder work.
dumpy look. Limbs look short and heavy. Hands Children should be drawn fairlv close to the
and feet appear too large. If these distortions are scale of proportions given in this book. Babies
not corrected, your drawing will simply look obviously should he plump, dimpled, and
photographic. healthy. Special study should be given to the
It might he well to mention here some of the folds and creases at the neck, wrists, and ankles.
requirements of successful figure drawing. The The cheeks are full and round, the chin is well
"smart" female figure has some mannish con- under. The upper lip protrudes somewhat. The
tours. The shoulders are drawn a little wider nose is round and small and concave at the
than normal, without much slope, the hips a little bridge. The cars arc small, thick, and round. The
narrower. The thighs and legs are made longer eyes practically fill the openings. The hands are
and more slender, with tapering calves. When fat and dimpled and there is considerable taper
the legs are together, they should touch at the to the short fingers. Until the structure of babies
thigh, knee, and ankle. The knees should be is well understood it is almost fatal to try to draw
small. The leg is elongated from the knee down them without good working material.
with small ankles. It is merely a waste of time to Keep all children up to six or eight years quite
show an art director a figure that looks large- cl uhby. From eight to twelve they can be drawn
headed, narrow-shouldered, short-armed or very much as they appear, though the relative
-legged, wide-hipped, short, fat, dumpy, or size of the head should be a little larger than
pudgy. But a figure may be actually bonv and normal.
unusually tall and still please a fashion editor. If you get into character drawing, you may do
Slimncss in figure drawing has become almost a fat fellow— but don't make him too young. Do
a cult. What the artists of the Middle Ages con- not draw ears too large or protruding in any
sidered voluptuous appeal would be plain fat male drawing. The male hands should be exag-
today. Nothing will kill a sale so quickly as fat- gerated a little in size and in die ideal type must
ness or shortness. (It is a curious fact that short look bony and muscular. Soft, round hands on a
people are apt to draw short figures. A man with man simply won't go.
a short wife will tend to draw short women. ) If The art director seldom points out your faults.
my figures seem absurdly tall, remember that I He simply says he does not like your drawing.
am giving you the conception accepted as a Any one of the above mistakes may account for
standard. They will not look too tall to the art his dislike. Ignorance of the demands upon you
buyer. In fact, some of my figures here are even is as great a handicap as ignorance of anatomy.
58
IMPORTANT BONES
BACK Y1£ Vy
1 SOXOC'LA
a humeri
J» JLNA
-4 RADIUS
J CLAVICLE
JS^LG. SKELETON ©ACK AND ÎDE V1ENV5

,
P£LVi5^ BACK VIEW.
HOULOER, FCON^
1 CLAV»CLt
Z SCAPULA
3 HUMERUS
59
U
MUSCLES ON THE FRONT OF THE FIGURE
^TBItWOHYQIP
pgL'TO Ô
±ECTOW£U5 MAJOR
Pv --.
1 PECTOBALI5 MINOR. :
?®? CICE.P3
PECTORALI3 MAJOR 2 oiceps L-r**.
SELRGUVT S MAgNU S
RfeCTUS ABDOMINIS
EVTtRNaL OBLIQUE
gLUT fiuS MEPI U3

_P5QA5 iliac ua
foW TKNÔft FASCIAE LATA£
VASTU S UMBRA LIS

SE.R.RATCS MACMUS
1
1 DECTOlO
3 PECTORAL! S MAJOR VAS TV3 MfcCM AUS

4tATI5ftlMU6 DORSI ©AND OF RICHTER
JSERRAKJS MACTNUS
pAT E.LLft
CASTRQCNfeMH>5 (CAU)
TlQ iA fSHiN &ONE}
-
I STERNO MASTOID
ZTRAPE21US
J STERNOHYOID
6o
MUSCLES ON THE BACK OF THE FICURE
SPuEw iuS
TÂPezivs
m: ^ v D&LTQID
iNt^R-^CCMNATUS
EJ5
> RMorôoip
f£Rgg MÔd
*»
ERECTOR SPlNAe * LATIS31MU5 0QR5I
C«oup
SS we
tA^
EXTERNAL OQUQU!
GLUTEUS MfiCMUS
CLureus t^wwiwus
" SSL
ILIOT|0(AL BA^JL>
GRACIU3
SeMlTeNDJN05V5
&>CtP5 FEMOFtIS
v
CA5TROCNEMIU3
P£RON£AJ5 LOJCU5
TENDON OFACHIULfeS
JOUEUS
lECBCTOft SPtWAE CROUP

/
3 LEVATOR. AUGUU ScapulAE
4 TRAPEZ103
6i
MUSCLES OF THE ARM. i-'RONT VIEW
-.n
f/
Mt-u
5«
mm
1
u
y^w .'>
*£,
m I i*H
ilm
bud
Ml 36
i°,
A£
AIM
13 &9 *
* SHOWS ON OPPOSITE ÎPE

WMV.M HANO l* TURNED OVER
KEY
1 DELTOID
Z BICEPS
a
liltr ^ t *
J TRJCCPS.OUTER HtAO
1
HUMERUSh
3S *» 1NM&R t>
4 6RACHIAU3 ANTICU5
3 SUPINATOR LONCU3
6 EXTENSOR CARPI RAPiALIS
7 *> COMMUNIS
» i oftuetwjmb
— OLN\ 8
9
k>
PLEXOR CARPI ULNARIS
Pronator T£Res
II FLEXOR CARPI RAMALIS
12 PALMARIS IDNQU5
4
9&13 FLEtORCARPI ULNAR15

14 EXTENSOR CARPI ULNAR.IS
15 ANCONEUS
J<» FLEXORS OP-inr HAND
IT 8RACHiORADtALtC
DRAW THESE ARt15

TO HELP FIX THEM
IN YOUR. MEMORY
62
MUSCLES OF THE ARM, VARIED VIEWS
OUTER StDE_ VIEW RICTHT AR^ tNNE!? VIEW FttCTHTARM UNDER AND INSiDE VIEW
A\\
v.
iU 5
-:
-M
INNER VIEW C000V5tDE) OgT&R SlOE back view SACK VIE W.PALMIH
03
MUSCLES OF THE LEG. FRONT VIEW
\ W&
FfckVlS
m
im
SACHUM //*
W
> m S*
%y ]
k.
'>*
[,-
':.
am
V
m HP
PAMUR, J*wJ w
V\l
*1
8
\7
ts
a
ft";
t \U
&
. »7iLLft
î
Ltfi
.TlfelA
4
i
PISUL.4
101
io
>^
r
MUSCLE5 OF THE LEG

l, P50AS IUACUS ||, gracilis 21 BICEPS FE-MORIS
E. PECTIN CU3 )z. tensor. fa5ciae latae ZEVA5TU5 \NTERMtDIUj
3 ADDUCTOR MiCNu;; 13 Gluteus medium
4 TIBIALIS ANTICUS \a iliotib1al band 24 TENPON OFACHatfcS
5 E-XTENJOfe U>NCU3 WC*TORiJM 15 band of richt&r*
6 RECTUS FEMORIS IfePATELLAR. LIGAMENT
7 VASTU3 LATERAL* 5 17 PE.RONE.US LOMCU3
8 VASTU3 M6DIAU3 18 CLUT&U5 MAXIMUS
*T*Y 9 GAimoCMtMlUS 19 SEMIMBMOfÂNOSU3
10 SoLEUS 20 SfcMlT&NDtNOSUS
64
.
MUSCLES OF THE LEG BACK AND SIDE VIEW \r
.*=>.
fi*C*VM
iliac Cf*e$x
* i
P£UV(5
PE.LVI*
\ :ai ^
18
PUBIS
\ coccyx
r.<
IGH»AT
TROCMfcN-reH.
i
'vV'! !
II
"ll
* *
»<-.
V IZ «
U*
«MUR 1/1
t<3
Z*
'PATfelLA
TIBIA ff!
., ...
9;
r*i
TIBIA
iw
FlftULA
/
24 HftULA
24,
mz,-
BACK VI EVV OUTE1K. 5|L>E VILW

THERE IS NO OTHER. WAY TO ACQUIRE BY GEORGE BRlDCMAN AS EXCELLENT. THERE
A KNOWLEDGE OP ANATOMY THAN TO ISALSO AVERY FINE BOOK OF DIAGRAMS,
*DIC itoutT STAY WITH IT UNTIL YOU 'ARTISTIC ANATOMY BY WALTER F- MOS E3.
CAN DRAW THE MUSCLES FROM MEMORY. IN THESE BOOK3, THE SUBJECT IS MORE EX-
CET FURTHER BOOKS ON THE SUBJECT. PERTLY COVERED.AND MUCH MORE COMPLETE.
THE AUTHOR. RECOMMENDS THE BOOKS *tT PAYS TO KNOW* SO STAY WITH IT !
NOW JUST PLAY WITH WE AT YOU HAVE LEARNED
I
66
TRY BUILDING FIGURES WITHOUT MODEL OR COPY
67
)
III. BLOCK FORMS, PLANES,

FORESHORTENING, AND LIGHTING
The transition from outline and specific con- The first and brightest planes arc called the
struction to tile figure rendered in light and "light planes." The next planes are the "halftone
shadow is quite a hurdle. Often the student is planes," and the third planes, which are unable
unable to make this jump. The difficulty arises to receive direct lighting because of their angle,
from a lack of conception of the solid. Yet there are called "shadow planes" Within the shadow
are intermediate steps that can make the ren- planes may be those that are still receiving sub-
dering of the third dimension ( thickness ) fairly dued, reflected light; these are called "planes of
simple. reflection." Form cannot lie rendered without a
How can a solid form be set into space? How clear grasp of this principle. The planes are
do we conceive of it so that we know it has bulk worked out in the simple order of: ( 1 ) light, (2
and weight— that we can pick it up or bump into halftone, (3) shadow—which is the darkest and
it? The answer is that our eve instinctively rec- is at the point where the plane parallels the
ognizes the solid by the way light falls upon it. direction of light, and (4) reflected light. This
As far as the artist is concerned, when there is is called "simple lighting." It is unquestionably
no light there is no form. The only reason an out- the best for our purpose. When there are several
line drawing- can suggest the solid is that the- sources of light, the whole composition becomes
oretically a drawing represents the form in a a hodgepodge, inconsistent with natural light
light that comes from directly behind the artist; and highly confusing to the student. Sunlight
hence the form casts no shadow visible to us. As naturally gives us the most perfect rendition of
the contours and edges turn away from us and form. Daylight is softer and more diffused, but
the light, they tend to darken until they begin the principle still holds. Artificial light, unless
to look like lines, sharp at the edges and soften- controlled and based upon the sun principle, is
ing as they approach the middle or closer part the fly in the ointment. The camera may be able
of the form. We call this "Hat lighting." It is the to get away with four or five sources of light;
only way that form can be rendered without the chances arc that the artist cannot.
shadow, but it does include "halftone," which Before you plunge into the intricacies of light
is the next step between the full light and the and shadow, would be well to know what is
it
shadow. The shadow is really there also, but we going to happen to form when light strikes it.
cannot see it from our viewpoint. Since the light can be made to come from any
When white paper is used for the drawing, direction, the organization of die light -to- dark-
the paper theoretically represents the greatest may start with any plane as the light plane. In
light— that is, the plane which is at right angles other words, in a top lighting slightly to the
lo the source of tight. In all cases other than ilat- front, the plane across the breast would be the
front lighting, the form is rendered by the cor- light plane. Move the light to the side, and that
rect interpretation of the direction of the planes plane would become a halftone plane. Set the
away from the right-angle planes, or the turning light below, and the same plan*; is in shadow.
away of the form from the source of light. Hence alt planes are relative to the fight source.
68
FORESI lORTENINC AND LIGHTING
Let us start, then, with the form in the sim- and powerful
forcefid is our message. Wc can
plest possible terms. By drawing block forms we take a compass and draw a circle perfectly, but
cut out the extreme subtleties of halftone. Con- we have left no trace of ourselves in what we
tinuing a plane as a single tone on a surface as have set down. It is the big form that does the
long as we can before turning it in another direc- job-not the little and the exact.
tion is simplification, or massing. Actually the On pages 70 and 71 J have tried to give an
figure is very rounded. But rounded surfaces inkling of what 1 mean. Here the surface is con-
produce such a delicate gradation of light and ceived of as having mass and bulk. The effect is
shadow that it is difficult to approach without sculptural. It is looking at our mannikin a little
a simplification and massing of these tones. differently. If we arc to compose the mannikin
Strangely enough, the simplification is a good of simplified blocks, how we
shall shape those
deal better in the end than the exact photo- blocks? Your way is as good as mine. Shape
graphic and literal interpretation. It is somewhat mem any way you will to arrive at a massed or
like trying to paint a tree by painting every leaf bulk effect. This is the real approach to "solidity"
instead of massing the foliage into its big forms in your work: actually thinking of the mass,
and working for bulk rather than intricate detail. bulk, and weight of it.
After we have mastered the larger plane, we With tliis approach, we take the art-store
can soften it at its edges to mold it into the more wooden mannikin and use it as a basis for setting
rounded form, while Vetainiiig all wc can of the up a figure page 72 ) We go a step further with
( .
bigness of conception. Or, we can start with a the mannikin on page 73 and attempt to elimi-
big block, as the sculptor would start with a nate the stiffness of the jointed parts, still think-
block of stone or marble. We hew away the ex- ing though in terms of masses.
cess and block in the general mass that we want. Retaining these terms we take solids (page
We then subdivide the big, straight planes into 74 ) and tip them, remembering at all times what
smaller ones until the rounded effect has been each section of the mass would be and where
produced. It is like going around a circle with it belongs in relation to the whole. We must
a scries of short, straight lines. You may ques- depend chiefly upon line to render the form, or
tion why wc do not at once proceed to the fin- that part of it which goes back into space, as seen
ished, smooth, and round form. The answer is by the eye of the observer. This is foreshorten-
that in a drawing or painting, something of the ing. Actual measurement of length cannot
individual procedure and structural quality be made, since viewing the form from one point
should remain. When it is Loo much smoothed is like looking at a gun barrel aimed directly at
down and polished, it becomes entirely factual. you. Wc must think of the contours and form
The camera can do that. In a drawing, however, as sections lined up one behind the other. An
"finish" is not necessarily art. It is the interpre- outline is rarely sufficient, however, to represent
tation and process of individual conception that the receding sections; most often halftone and
is art and that has value. If you include all the shadow are needed as well, as shown on page
literal facts and actualities, the result will be 75. Pages 76 and 77 are an interpretation of the
boring. It is your selection of relevant facts that rounded figure flattened into planes that go a
will create interest. A sweeping conception car- step further than our simplest block forms. On
ries with it vitality, purpose, and conviction. The pages 78 and 79 we place the simplified form of
more detailed and involved we get, the It
less the head under various kinds of lighting.
69
BLOCK FORMS HELP TO DEVELOP YOUR SENSE OF BULK
70
FEEL FREE TO INVENT YOUR OWN BLOCKS.
BLOCklNCI IN FOK-M IS THE.

FOUN CAT ION FOR. ALL WORK
Kr-MOERF-f IN J-1QHT AMC
3Mftôw. tk:y to iceouce the
p*opcn ro itj simplest-terms,
At79tN<3WHATEVER PECW_
OF l=IM ISH"yOO WISH- KtMEMSW,
A Sir^PUE CLEAN CUT ^TATEMEHT
\S OCTTER TWAN MAYING TOO MOCH.
ANATOMY IS STUDIED (HKST TO
HEt.p YOU GUILD SIMPLE FORM J
CONVINCINGLY. A MANNlKiN WILL
HELP YOU NOW.Oft-SoME CASTS.
YOU NEED NOT,AT THIS STAGE,
ATrertPT LICHTANP5HAOOW,
(F irj TOO DIPP1COL.T. JUST
PÂW BIG 6LOCKY SHAPES:
TRY TO .SENSE THE FO*M ALL
tmc wat kouno, -r+fEoeyecT
l5*TOGET OUT OF* THE-FLAT-
tNTO THE- SOL»p 'f
7i
HOW TO USE AN ART-STORE WOODEN MANNIKIN
SKETCH THE MANNIKIH THEN DUILD YOUR FtGVR-fc
WHEN U8ED WITH A pi: or

ANATOMICAL KNOWLCDCG
THE WOODEN MANHIKIN
CAN SEA GW4T HELP IN
MAKING PR-ELIM1NAR.Y
SKETCHES LAYOUTS AND
,
COMPOSITIONS.
YOUR ART DBALtR MAY
HAVE ONE OR CAN CCT IT
FOR. YOU-
7*
QUICK SKETCHES FROM THE WOODEN MANNIK1N
73
FORESHORTENING
YOU CAN FORESHORTEN ANY FORM BY DRAWING INTERMITTENT CROSS SECTIONS AND CONNECTING.
No MATTER WHAT THE FORM IS LIKE, IT CAN 6E DRAWN THIS WAY- BUT YOU MUST CONSIDER
THE COMPLETE. FORM, NOT JUST THE VISIBLE PORTION. SENSE THE FORM ALL AROUND
THE CONTOURS PASS IN PRONT OR OVER

(
ONE ANOTHER.. YOU -SHOULD PRACTICE

FROM LIFE OR GOOD PHOTOGRAPHS -
7-1
SOME PEN SKETCHES FOR FORESHORTENING
75
PLANES
PLANES A£E THEORETICAL FLATTENING OF ROUNDED THE 1/5^ OF PLANES OWES MORE OF AN INDIVIDUAL
FORMS AS WELL AS ACTUAL PUTAREAS. IN AS£T AN WOTWOARTI3TS WILL 3EE PLANES ALIKE.
QUALITY.
EXTREME SMOOTHNESS AND ROUNDNESS OF FORM ^SQUARENESs'oF ROUNDED FORM IMW2TSA CERTAIN
TEND* TOWARD THE.* SUCPLÂND^PHOTOCTRAPH LC fft RUGGEDNESS AND VITALITY, A GOOD AXIOM tSj *SE£
SHOULD BE AVO/DEO *LllCE TH& MEASLfis/ HOW SQUARE YOU CAN MAKE THE ROUND.*ft
MERE 15 A ROUND FORM

SET INTO* PLANES V«W
OF LICKT HALFTONE ANO
TMsite 13 no sax
RUt-A FOft. PlANES.
TOO ORAW THOWA1
you THINK OfiJTTO
3U«T THE SUOjeCT.
i DIRCCTIOM
OP UCHT)
TUt LIGHT PLANES ARC THOSG
IN PULL LICKIJHI HALFTONE*
PLAN£J AR6 THOSft IN HALF

LIGHT. TWt PA5SACC TONE »^
THAT WHICH MERGES THE HALT-
TONE ANt> JHADOW. THE Replkt
IS TW£ LIGHTEST TONE IN THe
HERE WE HAVE SQUAR.ED*
V CHAOOW,
THEROUNDEO FIGURE (NTO
PLANES. THE PURPOSE *S
TO USE THEM AS A BA5lS
TOd RENDERING LIGHT,
HALFTONE 6ND5HADOW^
IN THE SIMPLEST TERMS
AND At THE SAME TIME

PRESERVING THE MAIN
STRUCtuMAL FOfeflS,
^ it
WE THEN SOFTEM THE

EDGES OF THE PLANE 5 PIANCS ARE A
TD THE DEGREETHAT PRELIMINARY
WE DCCM OATlSFAOQKV CAftVlNl/ OP1HE
cVK-CXt^l SURFACE rpRM
76
PLANES
THERE IS NO SET OFPIANES WHICH WILL FIT THE THE FORMS CAN BE SIMPLI Fl ED • EVEN WHEN
FIGURE AT ALL TIMES, 5INCETHE SURFACE FORM YOU HAVE THE LIVE MODEL OR. COPY , YOU
CHANGES WITH MOVEMENT SUCH AS BENDING AT STJLLWORK FOR THE! MAIN PLANES OF LIGHT,
THE WAI5T,M0VEMENT OF THE SHOULDERS, ETC HALFTONE AND SHADOW OTHERW L5E YOU MAY
•
THE PLANER ARE GIVEN MAINLY TO SHOW HOW HAVE AN OVERPOWERING CONFUSION OF TONES.
vV
'•JJ
RF.ME.M8ER.!
WHIIEN WORKING WITHOUT A
MODEL Oft COPY, YOU DRAW
THE PLANES FOR. THE LIGHT,
HALFTONE AND SHADOW
WHEN WORKING WITH THE
MODEL. OR COPY, YOU DRAW
THE PLANES FROMtHE LIGHT,
HALFTONE AND SHADOW.
77
LIGHTING
i:FLAr LIGHTING "-(PCOMCHRECTLT INfKDHT)

GOOD FOR POSTHfc.WCOOATIVE, SIMPLICITY.
£ 3TAG£.-0RAf4ATiC,WEiaO, GHOSTLY, UKE S, -V-i ^:0f ,.\;,noo UCHTING.P1ACE.TH1
THE. LIGHT FROM A CRAT&R -(LOW fWWl) LIGHT ^5* FRONT USE 0**EUGH7 ONLY.
4. *M TOP SlDt'-OHE Of THE BE5T. fT GIVES A TOP -AVERY BE-AUTI FUL LIGHTING. T>ll S
MAXIMUM UCHT.HALFroNE.SHAOOWfliREflKT 6?TOP BACK* WITH REFLECTOR ,VERYGOOQ
GiVttGRCAT LUMINOSITY TO SHADOWS • GIVES GREAT SOLIDITY TO THE FORM.
7. CC*S5Cft055, USUALLY SAD. NEVER HAVE. 6ALL FLAT *- PROVING HOWEXCE33 LIGHTS ^ W«^ V 6AD, AKEAS OP LICH t SHADOW
I
LIGHT tQU^LONQCTH 3IDWXJJT3UPFO*/'!, MAY ACTUALLY ELIMINATE 30UD FORf-V SHOULD NEVE* SC frOUALGlVEONCTHt EUQT r
78
I
LIGHTING
Here the camera lends us a helping hand by
.
showing the "actual" light as it falls on a simpli-

fied form. The form has been rounded to give
you the gradation from light through halftone

to shadow. Number 1 is a front lighting, corre-
sponding to the treatment of a flat and unshaded
outline drawing. The only shadow, under the
chin, occurs because the light was raised a little
to allow the camera to be placed under it.

nr.uT tV\i,x^R\x>ft£'
Camera and light, of course, could not have

been placed in the identical spot. Had this been
possible, there would have been no shadow. An -MR
all-flat or formless lighting may be obtained by

fcO. ft»LrtOUETT« -TH£RftV£R3£ OF NO.
piling in equal lighting from every direction
(Number 8).
When there is a single source of light on the
object, the shadowed side reflects some of the
light in a luminous manner. The reflected-light
areas within the shadow, however, never be-
come competitive with the areas in light, and the
unity of the mass of light as opposed to the mass

r>£K^ EW.-ttI*&UNP
of shadow is maintained. In drawing nothing
within a shadow area should ever l>e as light
as that within a light area, because reflected

light is never so strong as its source. One excep-
tion might be the use of a mirror. That, however,
would be a duplication of the light source rather
H. FRINGE LlGHTEP DJftECTUY FROM
-
than reflection (refraction). The dazzling light BACK SLIGHT pf TOP. VERY EFF^CTlÊE.-
upon water is another example of refraction.
Simple lighting, which means lighting from a
single source, and the reflected light of that
source, is the most perfect lighting there is. It
renders form in its actual contours and bulk.

True modeling of form cannot be approached
any other way, since to change the normal or
ha^k &/*-tfjtfrajwp.
true value of the plane is to change and upset
the form; if the \'alue is "off," the form is incor-
rect. Since the photographer may not have rea-
soned this out, it is better to make your own
photographs, or at least supervise the lighting of

any photographic copy. The photographer hales
iZ SKY (
TOP WITH. A LIGHT CROUNP
shadows; the artist loves them. f=OR. REFLECTION. NAtHftAU,VERY QOOJ^
79
SIMPLE LIGHTING ON THE FIGURE
praw shadows first, then halftones,

cast shaoow5 are darkest. donot
make form shadows too &uck .
model prom Shadow to the lioht.
keep all halftones llchter than

shadows. pont *over mqdel light.
80
TRUE MODELING OF ROUNDED FORM
The simplest way to explain the fundamental

principle of rendering light and shadow is to
think of a ball with light focused upon it just as
the sun lights the earth. The area on the hall

closest to the light is the high light (A), com-
parable to noon. If we move on the surface of
the sphere away from the high light in any
direction, we find that the light begins imper-
ceptibly to fade into the halftone area (B),

which may be compared to twilight, and then
to last light (B+), and on to night (C). If there
is nothing to reflect the light, there is true dark-

ness; however, if the moon, a reflector of the
sun's light, comes up, it will reflect light into the
A- HIGHLIGHT l NOON
shadow (D). When light is intercepted by a (il B. HALFTONE * *TVY LIGHT
I
" Qt lAST LKJHT
body, its silhouette falls upon the adjacent light C. SHADOW = 'NIGHT*
plane. This, the darkest of the shadows, is called ?£ D. REFLECT -"MOONLIGHT'

"
"cast shadow." It is still possible, however, for E.CAST SHADOW ECLIPSE •
a cast shadow to pick up some reflected light.
The artist should be able to look at any given

place on Ins subject and determine to which
area it belongs — the light, the halftone, the
shadow, or the reflected light. Correct values
must be given in order to obtain unity and
organization of these four fundamental areas.
Otherwise a drawing will not hold together.
Treatment of light gives a drawing cohesion no
less than structural form.
There are many tilings you can learn from
photographs if you use them intelligently. Re-
member, however, that the range of light to dark
is much greater in the eye than in pigment. You

cannot possibly put down the full range; you
have to simplify.
8 «
IV. DRAWING THE LIVE FIGURE:
METHODS OF PROCEDURE
Before you undertake to draw from the living can he achieved only by combinations of lines.
model, l>c sure you have absorbed all the pre- But a brush or pencil adapts itself to mass. Ob-
liminaries so far discussed. These are: serve, too, that the grain of your paper will add
to or detract from the attractiveness of the tex-
The proportions of the idealized figure
ture of the drawing. Because of the method of
The general framework reproduction, a coated, smooth paper could not
The relationship of perspective to the Ggiirc
be used for the drawings in this l>ook. Beautiful
Movement and action
grays and darks arc possible, however, on the
The mannikin and simplified building of the
smooth papers if the side of a soft lead pencil is
form
used. The halftones and darks may be produced
The anatomic construction in either pencil or charcoal by rubbing with the
The planes by which we build light and
finger or a stump of paper. The whole figure
shadow
drawing may be rubbed with a rag and the lights
Foreshortening
picked out with a kneaded eraser.
The fundamentals of light and shadow
On pages 86 and 87, look over my shoulder
The true modeling of form
as 1 proceed with my own method for drawing
Now when you have to draw something set a figure. On page 88 sec a plan of approach that
up in front of you, you must possess still another I call the "visual survey." It is less complicated
fundamental skill— intelligent measurement. I than it looks, for I have included visual measure-
say "intelligent" because your aim is not mere ment lines that, ordinarily, are not set down. It
duplication. is a plan of finding level points and plumb points

Suppose you begin to draw a husky young and the angles established by sighting a con-
man, arms uplifted, whom you waul to interpret tinuation of the line to sec where it emerges.
in terms of light, halftone, and shadow. You Tin's is the only plan I know that can be de-
have set you* light source low and to the right, pended upon to offer any degree of accuracy in
SO that there will be a varied play of light across freehand drawing.
the form. First, look for the area of greatest light. It is easiest to sight in vertical and horizontal
It is found on the chest under the left arm of the lines, so that important points directly across or
model. Now look for the whole mass of light as under each other are quickly "cheeked." When
opposed to the whole mass of shadow. Sketch a point falls outside the figure, such as a hand,
in the contours of the figure and block in these angles of points within the figure will help lo
masses, (On page 83 you will find the halftones find it. When you have correctly placed one
added and the shadows relatively darkened.) I point, proceed to others, and fiuallv vour draw-
suggest that you use the point of your pencil ing will check with the model. This principle,
for the contours and the side of the lead for the also illustrated on page 89, applies to any subject
massing of the halftone and shadow. When you before you and provides a valuable means of
are drawing with a pen, shadows and halftones corroborating the accuracy of vour drawing.
8a
GROUPING SHADOW MASSES
WHEN DRAWING FROM

A LIGHT
LIFE OR PHOTOS, DRAW
B HALFTONE
THE CONTOURS OF THE B+ DK. HALFTONE
HALFTONE AND SHADOW C SHADOW
MA-f-SEJ. STUDY ALL THE D REFLECT
SURFACE AREAS AND DE- C CA3T SHADOW
CIDE TO WHAT CLASS
EACH AREA BELONGS".
13 IT LIGHT, HALFTONE^
SHADOW, REFLECT OR.

CAST SHADOW?
FIR5T STAGE
«3
THE MAIN VALUES STATED
84
THE FAST STATEMENT OF VALUES
SHADOWS SIMPLY STATED ARE

ESSENTIAL |N FAST SKETCHING
85
PROCEDURE
86
PROCEDURE
87
.
THE VISUAL-SURVEY PROCEDURE
%--- -
MEASURE BY HOLOINa PENC1L LEVEL POINTS
ALWAYS AT ARM'S LENGTH Ptuno POINTS
MEASURING THE SUBJECT

1. Establish two points on your paper as the
desired height of pose (top and bottom)
Draw a perpendicular through these pointi
as the middle line of subject.
2. Locate the middle point of line (J*). Now,
holding pencil at arm's length, find the middle
point on the subject before you. From the
middle point get quarter points (up and
down )
3. Take the greatest width of the pose. Com-
pare it to the height. In my drawing it come-
just above the right kneecap (about X). Lay
the width equally on each side of vour middle *££?
point up and down. Now locate the middle
point crossways on your model.
4. Your two lines will cross at this point. It is
the middle point of your subject. Remember
this pointon the model.
t
You work out from it in all

directions.
5. Now, with plumb line, or eye, locate all the

important points that fall beneath one an-
other. ( In my drawHng the subject's right heel
was underneath her hair at the fore-
directly
head, the knee under the nipple, etc )
6. Start by blocking in head and torso and,
from the head, sight straight up and down
and straight across, all the way up and down
the figure.
7. For the angles, sight straight on through
and establish a point on the line where it falls
under a known point. See line of chest and
(
nipples. The known point is the nose. This

locates right nipple.)
8. If you constantly cheek points opposite,
points underneath, and where the angles
emerge, after having established height,
width, and division points— your drawing will
be accurate, and you will know it is!
PUIM8 LINE
88
DRAWING FROM THE MODEL
I'l MAKE AViNOER'
UEMEmB&R. THIS PLAN GIVES THE ACTUAL LIVE PRO- COT TWO RUSHT AMGLE5 FROM SOME STIFF CARDBOARD,
PORTIONS. MAKE ANY ADJUSTMENTS YOU WISH MAfcK OFF IN INCHeS ANl) CUPTOGeTHEft .TVHS CAN I}£
A3 XOO CO ALONO. USUALLY ADD A LITTLE IN LENGTH. AOJUSTEP-IT GIVES PROPORTIONATE WIDTH TOHElCHT.
8g
V. THE STANDING FIGURE
Much of the essential equipment for professional or women? Is there a dramatic way of expressing
figure drawing is described in the preceding the subject? Will a head or whole figure best
chapters. You have now learned a "moans of serve to emphasize the idea? Should several
expression," but your use of that knowledge is figures make up the composition? Will a setting
just beginning. From this point onward you and locale help or can the message be conveyed
must learn to express yourself individually, better without these? Where and how will it be
showing your particular taste in the selection of reproduced— newspaper, magazine, poster? You
models, choice of pose, dramatic sense and in- must take into account which advertising
terpretation, characterization, and technical medium is to be used. A billboard, for example,
rendering. will require a simple, flat background and the
Routine knowledge and fact thus become die use of large heads, since the message must be
basis for what is often referred to as inspiration, taken in at a glance. Newspaper drawings
or spiritual quality, subjects that are little dis- should be planned for reproduction on cheap
cussed in art textbooks. The truth is that there paper— i.e., line or simple treatment without
are no hard-and-fast rules. The best advice is to subtlety in the halftone. For the magazine,
watch for the individual spark and fan it into where die reader has more time, you may use
flame when you find it. For my part, I have found the complete figure and even background, if
that most students possess initiative, are open to needed. The tendency, however, is to simplify
suggestion, and are thoroughly capable of being and to strip drawings of all that is not of major
inspired to express themselves ably. I believe importance.
that when the qualities necessary for acceptable With the second step you advance to die prac-
drawing are pointed out, you may bo helped tical interpretation of the idea. Eliminate what
tremendously to bridge the gap between ama- you know to be impractical. For instance, do
teur and professional chawing. not approach a billboard subject with several
Two broad approaches are needed: First is complete figures, for their expressions will not
the conception, or "What have you to say?" carry from a distance. Granting, then, that you
Second is the interpretation, or "How can you rightly choose large heads, what are the types
say it?" Both call for feeling and individual ex- you want? What are the expressions? What are
pression. Both call for initiative, knowledge, and the poses? Can you do better if you get out vour
inventiveness. camera and nail down an expression that vou
Let us take the first stop. Before you pick up know cannot be held by the hour? Can you put
your pencil, or lake a photograph, or hire a Mother over here and have room for the letter-
model, you must understand your problem and ing also? Would she be better over diere? What
its purpose. You must search for an idea and will you choose for a background? What will be
interpret it. If the job at hand requires a draw- the style and color of her dress? You begin, at
ing designed to sell something, ask yourself die this point, to experiment with diunibnail im-
following: To whom must this drawing appeal? pressions on a tissue pad until you can say,
Shall it be directed toward a selected or general "That's it," and then, with all the vigor that is in
class of buyer? Are the buyers going to be men you, proceed to prove that "that's it."
91
VARIETY IN THE STANDING POSE
There is no book in the world that will do a self-conscious girl has the feeling diat she never
job for you. There is no art director who can do knows what to do with her hands. The unimagi-
your job. Even though the art director may go native artist, too, does not know what to do with
so far as to lay out the general idea, space, and the hands of his figures. But the girl can put her
placement, he still is asking for your interpreta- hands on her lups, finger her beads, fix her hair,
tion. Again, there is no piece of copy that you pull out her vanity case, apply lipstick, smoke a
can lav down in front of you which will com- cigarette. Hands can be most expressive.
pletely answer your needs. Another man's work If you show legs, let them be interesting even
was done for his own purpose and for another in the standing pose. Drop one knee. Raise a
problem. The principal difference between the heel. Do anything except keep them glued to
amateur and the professional is that the latter the floor side by side. Twist the body, drop one
courageously strikes out in his own way, while hip, get the elbows at different levels, clasp the
the former gropes for a way of expressing him- hands, put one hand up to the face, do anything
self. that keeps your drawing from looking like a
Endless variety in posing is possible. People wooden dummy. Draw a lot of little "funnies"
stand up, kneel or crouch, sit or lie down; but lUll
"til you find one that is interesting. Make every
there arc a thousand ways of doing these things. itanding
st figure do something beside just stand-
It is surprising, for example, to observe how ing. There are so many natural gestures possible,
many ways there are in which to stand up. to combine with the telling of a story, to express
Plan the standing figure carefully, remember- an idea or emotion, that it should not be hard to
ing that, although standing still is a static pose, be original.
you can suggest that the standing figure is capa- When I illustrate a story, I usually read signifi-
ble of movement. Only when you portray a tense cant parts of the manuscript to the models. T try
moment demanding rigidity in the figure do you to get them to act out situations as naturally as
arrest the latent movement. To relieve the static possible. At the same time I try to think of how
feeling, put the weight on one leg, turn the torso, I would act under the circumstances in the story.
tip and rum the head, or allow the figure to lean There is, of course, the danger of overacting, or
upon or be supported by something. A fairlv of using gestures that go beyond the natural or
good rule is never to have face and eyes looking logical, which is almost as bad as being static.
straight ahead and set squarely on the shoulders, Experiment with the lighting on the model to
unless you arc trying for a definite "straight- express best what you have in mind. Give im-
frorn-thc-shotdder attitude" to suggest defiance, portance to a portion of the figure by getting the
impudence, or a pitting of one personality Strongest and most concentrated light upon it
against another. This attitude reminds one too Sometimes parts of a figure can be lost in shadow
much of the old photographs in which Grandpas to advantage. Sometimes a silhouette may be
head was held in a clamp during the process of stronger and more compelling than a brightly
getting his likeness. lighted subject.
Sec that either head or shoulders are turned The whole gamut of expression is there for
or tipped, or both, With the standing figure yon to choose from. Don't form a few habits that
everything is relaxation, balance, and a distribu- you continually repeat. Try to make each thing
tion of weight. Any sort of gesture is a relief you do just as original in conception and execu-
from hands hanging motionless at the sides. A tion as you possibly can.
92
THE WEIGHT ON ONE FOOT
irS t^r ^? .c^
93
DISTRIBUTED WEIGHT
94
THERE ARE MANY WAYS OF STANDING
95
SHADOW DEFINES FORM
96
THE NEARLY FRONT LIGHTING
97
BUILDING FROM THE SKELETON
MOST CCUCDUN WAY TO LfcAfcX TO

T*E.
P*ÂW THE. FfCUItE. IS TO 5T&RTWITU

THR ffc&LeTON, 3UfL.pl fs/C IN T"HG BONfeS
ANt* THEN TK£ MA(N WU5Cte5 OVGtt. T*i&
BONfc5. YOO CAN BTAftf WITH COC»Y

OF -v v PIGUR.& ,Oft A nOPU-« MAN V
j
PÔFRSS fONAL -AfeTt3T3 ©UlJ-P CJ P

TttfelQ. ^lCCJR.fcS BapORA ADOtNG THE
CLOTHING. TT^Y IT ^<tH V£AYSIMPLE
F05CS AT HftST, feYttNTUALCY THE QOME3

ANO MOSCLE5 WlkU OflCOMft rNSTJNCT
AS YOU CMÂW- YOO will 3&e ^rwe^l
*.* P-LAN£5 OP LI CJNT, HALFTONE ANO
iH&OOW. KJslOW APPARENT
THAT tT (3
TO ANY AWI5TWNO KNOWS ANATO^ V

WHtN "THfc OTMBJ^ PEUOÔOES NOT.
BC ONfc WMO KNOWS. TH& 5TRUCOL£ tS
TOO HARt) ANYWAY TD'AOD THC HANDI-
CAP OF NOT KNOWINCYOUH TIME
WILL- t3&TOO PRECIOUS TO HAVE TO
STRX>CCL£ WITH CONSTRUCTION, AS
V*£LL AS ALL THfi OTHeR THINGS.
nICv
98
ACCRNTINC, THF FORM
99
ANATOMY TEST
w«?rre inthe namesofthc muscles

THEN RE.FERBACK TO YOUR ANATOMY
AND SEE IF YOU WERE CORRECT.
ir= YOU CANT DO IT, YOU NEEJ? MORE.
3TUOY. CO BACKANDGFT IT THIS TIME.

vou will never, be joiCKt'!
100
A TYPICAL PROBLEM
A typical problem worked out with an advertis- take some snaps. Our client wants outdoor sunlit
ing art director; lighting and cautions us against getting a squint
"Please rough out some little figures for pose in the model's eyes."
only," an art director says to you, "to show to The next step is to photograph a friend in a
the Blank Knitting Company, suggesting our bathing The chances
suit. are you will have to
next ad. Indicate a one-piece bathing suit. De- when you make your drawing
idealize her figure
tails of the bathing suit will be supplied later. from this photograph. Make her eight heads tall.
Use a standing pose. The figure will be cut out Raise the crotch to the middle of the figure. Trim
against a white background, and the ad is to the hips and thighs if necessary.
occupy a half page up and down in the Sateve- She might be smiling over her shoulder at you.
post." Have her hair blowing, perhaps. Find some use
When you have made a scries of roughs, show for the hands. Make the whole drawing as ap-
the two you like best to the art director, who pealing as possible.
takes them to his client. Afterward the art direc- Since your drawing will be reproduced by
tor tells you, "Mr. Blank likes these. Please draw halftone engraving, you have a full range of
them actual size for the magazine. The page values with which to work. You may use pencil,
size is mue-and- three-eighths by twelve-and- charcoal, litho pencil, Wolff pencil, or wash. You
one-eighdi inches. You are to have the left half can rub if you prefer. You also have the choice
of the page up and down. Pencil will do. Use of penand ink, brush, or drybrush. The drawing
light and shadow on the figure." should be made on Bristol or illustration board
Mr. Blank O.K.'s one of your pencil sketches, and should be kept Never
flat. roll a drawing
and the ait director says, "Get your model and that is to be reproduced.
1U1
***-
-"^*\
VI. THE FIGURE IN ACTION
TURNING AND TWISTING
Every good action pose should have a suggestion completed. You would instinctively duck from
of "sweep." Perhaps I can best describe sweep a fist drawn way back from your face, whereas
by saying that the movement which immediately you might not withdraw at all from a fist two
precedes the pose is still felt. On the following inches away. The prize fighter has learned to
pages I have tried to show this sweep or the line make good use of this psychology in his short
that the limbs have just followed. The cartoonist punches.
can add terrifically to the sense of motion by Another means of illustrating action is to show
drawing his sweep with lines back of a moving its result or effect, as, for instance, a glass that
hand or foot. has fallen over and spilled its contents, with an
The only way to get sweep in the line is to arm or hand just above it. The actual movement
have your model go through the entire move- has been completed. Another example is that of
ment and observe it carefully, choosing the in- a man whu has fallen down after a blow, with
stant that suggests the most movement. Usually the arm that hit him still extended.
the action can be best expressed if you use die There are instances, however, when the mid-
start or finish of the sweep. A baseball pitcher dle of the action is best This is called "sus-
suggests the most action either as he is all wound pended action." A horse in the act of clearing a
up, ready to throw, or just as he lets go of the fence, a diver in mid-air, a building collapsing-
ball. A golfer expresses movement best at the are all examples of suspended action.
start or finish of the swing. If you were to show Fix in your mind the whole sweep of action
him on the point of hitting the ball, your draw- and make little sketches at this point. At times
ing would have no action pietorially, and he you can help the action with a bit of blur, some
would appear only to be addressing the ball in dust, a facial expression. The cartoonist can
his ordinary stance. A horse seems to be going write in, "Swish," "Smack," "Zowie," "Bh.g,"
fasterwhen his legs are either all drawn up 'Crash," but you may not.
under him or fully extended. The pendulum of If you perform the action, it helps to give you
a clock appears to be moving when at cither the feel of
it is it. Get up and do it, even if it does
extreme of its swing. A hammer raised from a seem a little silly. If you can study die action in
nail suggests a harder blow and more movement front of a large mirror, so much die better. There
than if it were shown close to the nail. should be a mirror in every studio.
For psychological effect in drawing, it is essen- Some of your "action" camera shots may be
tial to acquire the full range of movement. The disappointing unless you keep these facts in
observer must be made to complete die full mind; knowing them helps you click the shutter
motion, or to sense the motion diat has just been at the precise moment.
10-,
TURING AND TWISTING
104
105
106
107
TIJRNINC. AND TWISTING
108
FOLLOW THE SHADOW DOWN

WITH THE. SIDE OF THE, LEAD.
lOQ
PENL1NF AND PENCIL
THIS 15 A QUICK AND SIMPLE WAY OF

RENDERING, PEN OUTLINE WITH THE SIDE
OF THE PENCIL LEAD FOR- 3HAD1NO THIS
.
WAS DRAWN ON BAInrkiipoe CotJuu.LF.-ii
11 O
A GOOD METHOD FOR NEWSPAPER REPRODUCTION
»n
QUICK SKETCHING WITH PEN AND PENCIL
PHN AHC> PBMCIU (ALU CtC $K9*TCHK5
oe coMt*o«!Tior4y -no am. suo^tTTe-C^
112
1
A TYPICAL PROBLEM
A typical problem worked out with an art editor, have pulled off a slipper, looking nrnimrl with a
of a fiction magazine; startled expression. Perhaps the hands can do
The art editor says, "I have picked for illustra- something to emphasize fear.
tion this paragraph from the manuscript"; To get an idea of a chorus costume, go to a
'The last act was over. Jackie was removing movie of a musical comedy. Look up some clips
the scant costume she had worn in the final of chorus girls. After you have decided on a pose
chorus. She was alone in her dressing-room, or or arrangement of the subject, get someone to
so she thought, until, by some inexplicable in- pose for some studies or snaps. Use a photo flood
stinct, she turned quickly toward the jumble of lamp. Plan the light as though it were the only
costumes hanging in her wardrobe. There was light in the room, shining over the dressing-
unmistakable movement in the glitter of se- table. You can get dramatic effects with your
quins. lighting. Go at the problem as seriously as
"Now," continues the editor, "I'd like to see though it were an actual commission, for if it
a rough or two in pencil on this before you go does become a reality, you will have to be ready
ahead. I think we can use a vignette shape better for it. You cannot start being an illustrator with
than a rectangular picture. Take about two- your first job. You will have to be judged an illus-
thirds of the page. The girl should be featured, "rrator before you can get the assignment.
bringing her up large in the space. We want Take a paragraph from any magazine story
something with action and punch and sex appeal and do your version of an illustration for it. Bet-
but nothing offensive. Very little background ter, take one that was not illustrated by another
necessary— just enough to place her. The girl, artist, or, if it was, forget entirely his interpreta-
you know, has black hair and is tall, slender, and tion and style. Don't under any circumstances
beautiful." copy another illustrator and submit the result
Proceed to make several roughs or thumbnail as your own drawing.
sketches for your own approval. It is clear that After you have read this book, come back to
the girl is frightened and has been caught off tins page and try the illustration again. Save
guard. Someone is hiding—a rather sinister situa- your drawings for samples.
tion. The emotion to communicate and drama- The paragraph quoted for illustration is, of
tize is fear. The story says she turned quickly, course, fictitious. The art director's demands,
and that she was removing her scant costume, however, are altogether real. Most magazines
and the editor has said there mast be nothing pick the situation. Some even send you layouts
offensive in the drawing. You must put across for arrangement, for space filling, text space, et
the fact diat she is in a dressing-room at the cetera. All send the maimscript for you to digest.
theater. A bit of the dressing table and mirror Some ask you to pick the spots and show them
might be shown, and, of course, the closet or roughs first. Most like to see what they arc going
wardrobe where the intruder is hiding. to get before you do the final drawings. You may
Project yourself into the situation and imagine work in any medium for black and white half-
her gesture, the sweep of movement. She might tone reproduction.
1
- -
,
-•
JtosM
|J£*li\* .
VII. FORWARD MOVEMENT:
THE TIPPED LINE OF BALANCE
The theory of depicting forward movement ( any the left leg goes forward, the left arm goes back.
action that carries the whole body forward) re- The center of the stride expresses the least move-
quires that ihe top always be shown ahead of ment. Note the last picture on page 1 19. For this
the base. If yon balance a pole on your hand, photograph my model stood still and tried to
you must follow with your hand ihe movement pose as if he were moving. You will see at once
of the top of the pole. If it leans in any direction how unconvincing the motion is. It is not the
and you move the base in the same direction at fault of the model but the fact that the important
the same speed., the pole maintains a constant principle of forward movement is not working
slant between base and top. And die faster it in the pose. Movement drawn without consid-
goes the greater the slant. eration for the lipped line of balance will not
So with figures in forward movement. A line give the impression of forward movement The
drawn down through the middle of the forward- drawing, no matter how anatomically correct,
moving figure will slant exactly as the pole does. will resemble die movement of a jumping-jack
If you think of a picket fence with all the palings suspended from a string.
slanted and parallel, instead of vertical, vou The tipped hue may be placed lightly on your
have a clear idea of the line of balance in forward paper and the figure built upon it. Technically,
movement. On pages 118 and 119 is a series of a heel should never be placed directly under die
pictures taken with a fast lens, for the motion head but in back of it, to give motion. The foot
picture camera is actually too slow to stop move- that is carrying the weight and pushing should
ment for "still" reproduction and enlargement always be in back of die line of balance.
The separate shots were taken at split seconds We think of the act of walking as if the foot
apart and pieced together to show the progres- describes an are with the hip as center. What
sion of the movement. I wished particularly to actually happens is that the hip describes the arc
have the figure remain the same size tliroughoi.it widi die foot as center. Each step is a center with
the sequence. The photographs reveal many- a fanlike movement going on above it. The foot
facts, not apparent to the naked eye, about what that is the ground swings in an are forward
off
takes place in the tfcts of running or walking. from the hip, whereas the foot on the ground
In walking or running, the line of balance re- reverses the arc. As we walk along, what hap-
mains a constant forward slant as long as the pens is moves body, lx>dy moves foot,
this: foot
same speed is maintained and tips more as the foot moves body, body moves foot. Each leg
speed is increased. This change is hard to see takes the Job over as soon as it is put on the
because the moving arms and legs distract one's ground, and the other leg relaxes and swings
attention from the action. A person must lean forward, mostly by momentum, until it takes
the body forward to take a normal step. The over. Both actions go on simultaneously.
balance is caught by die forward foot. The for- Hip and knee drop on the relaxed side. The
ward push comes from the foot in back. The leg carrying the weight is straight as it passes
arms move in reverse of the legs, so that, when under die hip and bends at die knee as die heel
n^
THE MECHANICS OF MOVEMENT
comes up. Photographs illustrate this clearly. The source of your knowledge, as mentioned
The relaxed leg is bent al the knee as it swings before, is immaterial. Why put a model through
forward. It docs not straighten out until after it the ordeal of trying to keep a vivacious smile on
has passed the other knee. This is very well de- by the hour? No one can hold such a pose. We
fined in the side views of the walking poses. The can learn more about a smile from the camera in
legs are both fairly straight at the extremes of five minutes than we can in five years of trying
the stride. Here again is that paradox, that the to "catch" it with the eye alone. Limbs move too
legs seem to express most motion at the start or fast for the naked eye to record. Expressions
finish of the sweep described in the last chapter. change and are gone in an instant. The camera
Note particularly how much the girl's flying hair is the one means of nailing these down so that
adds to the movement in the running poses. Also, we can study them by the hour. It is an un-
die girl runs with arms bent, although in walk- pardonable sin merely to copy. If you have noth-
ing they swing naturally as they hang down. ing of your own to add, have no feeling about
Try to base walking and running poses on it, and arc satisfied, technically, with the manner
photos of actual movement. They are well worth of treatment and have no desire to change this,
obtaining— and those given here will prove valu- then throw away your pencils and brushes and
able for reference in a pinch. To get all the action use the camera only. There will be many in-
that is in a stride would require a slow-motion stances where you won't know what else to do
sequence, with page after page of pictures re- but to copy, but these instances will be fewer
produced to any practical size. I feci this is as you try to express what you feel and like
hardlv necessary: careful study of the two fol- through your increasing technical knowledge.
lowing pages should suffice. Use your camera for all it's worth as part of
Start drawing mannikin poses. See if you can, your equipment. But keep it as equipment—not
in a series of small framework sketches, draw all the end, but a means, just as your knowledge of
the way through a complete stride. In drawing anatomy is a means. Every successful artist
back views of walking poses, remember that the whom I may be heresy to say
know, though it
pushing leg in back of the figure is straight until so, has a camera and uses it Many artists I know
the heel leaves the ground, the heel and toes are expert photographers, taking their own pic-
being lifted by the bending knee. tures and developing them. Most use the small
The use of cameras by artists is a controversial or candid variety of camera and enlarge their
subject. Yet the demands on the present-day prints. The camera broadens their scope tre-
artist for action, expression, and dramatic inter- mendously in securing data outside the studio.
pretation are so exacting that it seems a bit Start saving for a camera right now if you have
ridiculous to fake these tilings when the actual not already made it one of your "means."
knowledge is so easy to obtain by means of a Going on with our line of balance, there are
camera. I do not admire a photographic-looking times when this line may be curved. In a sense,
drawing, but 1 certainly detest a drawing that is then, the line of balance is like a spring. For
meant to have virility and conviction but is inane instance, a figure may be pushing very hard
and static tlirough ignorance or laziness on the against something. The pushing would bend his
part of the artist. The fact that you can learn figure backward. Again, if he were pulling hard,
things of value from the camera is reason enough it would bend the figure the other way. Dancing
for you, as an artist, to have and use one. poses can be built on the curved line, as well as
IiO
THE MECHANICS OF MOVEMENT
swaying figures. Movement can be straight as A word of warning must be added against too
an arrow, or curved like the path of a skyrocket. much duplication of action. If you are drawing
Either suggests powerful motion. several figures, all walking, unless they are
The vital quality to have in your drawing is marching soldiers, do not make them all walk
the "spirit" of movement. You cannot he success- alike. Interesting action derives from contrast.
ful as an artist if you remain seated in your chair, All the variety you can achieve is needed. A
nor can your drawings be successful if the figures figure appears to move faster if he is passing a
you draw remain static. Nine times out of ten stationary or slow-moving figure.
the picture you are asked to do will call for Important, also, is the handling of mass
action. Art buvcrs love action. It adds zest and action: soldiers in battle, race horses grouped
pep to your work. A number of prominent artists together, figures scattering away from some
recently revealed the fact that the "drapey" danger. Always pick out one or two as die key
figures are out as definitely as the First World figures. Put all you have in these. Then group
War "flapper." Ours is an age of action. A model and mass the rest. If you define the individuals
cannot be left to pose herself. You will have to equally, the drawing becomes monotonous.
think hard: "What can I do with her to make Battle pictures should concentrate on one or two
this drawing sing?" figures in the foreground, the rest becoming
The solution is not easy, for it is a matter of subordinated to these. It is safe to handle sub-
feeling and interpretation. Today a girl on a jects filled with action in this way, since too
magazine cover cannot just be sweet. She must much attention to the individuals who make up
be vital in every sense and doing something the mass makes for confusion. A group is more
besides sitting in front of you and having a por- powerful than many units.
trait painted. She cannot just be holding some- There is a trick you must learn in order to
dung; the magazine-cover girl has already held capture poses that cannot be otherwise obtained
everything from cats and dogs lo letters from the —for example, a falling figure in mid-air. You
boy friend. Let her swim, dive, ski through fly- pose the figure, as you want it, on the floor. Use
ing snow. Let her do anything, but don't let her a flat background, get above the figure with the
be static. camera, and shoot down. Place him head first,
Pictures have changed, and it may be that the feet first, or any way you want your model. I
camera and photography have been the cause. once did a swan-dive subject by having the girl
This does not mean that a drawing cannot be lie face up across the seat of a chair, and from
just as vital as a camera study. Only ten years the top of a table I used a downward shot. You
ago the artist did not fully realize what compel- can take the figure this way and then reverse it.
ling interest lay in action. Hehad not seen photo- By shooting from a very low viewpoint or a high
graphs snapped at one thousandth of i\ second one, many seemingly impossible action shots
and never dreamed that he could do this him- may be obtained. They must be skillf ully done.
self. Not only magazine covers but any drawing The artist can disregard the shadows that fall
you do will have added selling power with good on his background, but the photographer cannot.
action. To make it the right kind of action, you Do a lot of experimenting from imagination,
will have to find out what action really is and from the model, and with your camera. If you
then study it as you would anatomy, values, or can draw well, that is good. If you can add con-
any other branch of drawing. vincing movement, so much the better.
117
SNAPSHOTS OF WALKING POSES
1 1CJ
»
SNAPSHOTS OF RUNNING POSES
fc
i
TO L«CJ*> PACK FOOT S»Q*5

MOT LRivfc CtOUN7 VWtiL.
TtNC KMtU r4J3. hip |0

HlGMBJL OH *t\rm «F n.^T
pcora on LKQô^vun^
4CHOM *s ttsT- uirRA^rkp
** ».'-r.-[.'. or — - P*.
ALwAVjTiftlHl -;f ^.
amc« r*A*» n«u»*iK*iu5
11Q
THE TIPPED LIKE OF BALANCE
120
SPRINGLIKE MOVEMENT
121
ACTION TOO FAST FOR THE EYE
122
TWISTED FORWARD MOVEMENT
F VOU WANT A PENCIL THAT OOE5 NOT

RUB OR SMEAR UNDER YOUR HANp, IT 5 I
ntlSMACOLOR BLACK. ©3F. THE PENCILS

COMt IN A FULL AJiORTMEJff OB COUJW-
123
MOVEMENT HEAD TO TOE
124
FAST MOVEMENT
I 2
PUSH OF THE BACK LEG
1 26
A TYPICAL PROBLEM
A typical problem based on the assumption that Please don't make another winged Mercury. It's
you are employed by an art service: been done to death. It can be dignified or clever.
You are wanted in the front office. Wc cannot use a messenger-boy device because
Cood morning. I've called you in to meet not typical of the company.
it is Our men will
Mr. Saunders. I'd like you to get the information wear uniforms and a cap hearing our trade-mark.
from him firsthand." Please submit some rough ideas in pencil."
Mr. Saunders: "To make this brief, I am Take one or two of your best roughs and finish
organizing a new company for parcel delivery. diem in black and white for a line cut. Do not
We are starting out with a fleet of new trucks. use halftone. Keep them very simple.
All will be painted a bright red. Our name will Make a flat design in black and one or two
be, 'Saunders' Snappy Service'; our slogan, "Well other colors for the design to go on the trucks.
deliver anything, anytime, anywhere.' We want Design a small slicker to be pasted on parcels.
a trade-mark designed to display prominently This will incorporate the trade-mark and the
On our trucks, in our advertising, and on our lettering, "Delivered promptly, safely, by Saun-
stationery. We'd like a figure of some kind within ders' Snappy Service." Size to reduce to two by
a circle or triangle, or some other odd shape. It three inches.
ought to be symbolic of speed. You can include Design some direct-by-mail postcards for pos-
any kind of device, such as wings, an arrow— sible use. These should be simple, original, strik-
anything that would get across the idea of speed. ing.
127
VIII. BALANCE, RHYTHM, RENDERING
Balance is a physical attribute each of us must quality, and no one can positively state that a
possess. If a figure is drawn without balance, it technical treatment popular or successful today
irritates us subconsciously. Our instinct is to set will be so tomorrow. The fundamentals of ren-
firmly on its base anything that is wobbling and dering, however, are not so much concerned
likely to fall. Watch how quickly a mother's with how you put your strokes on paper or
hand grasps the teetering child. The observer canvas as with correct values rendered intelli-
recognizes quickly that a drawing is out of bal- gently for the specified reproduction and a clear
ance, and his inability to do anything about it conception of the use of tone and line in their
sets up a negative response. proper place.
Balance is an equalized distribution of weight On page 132 arc two drawings that I believe
in the figure as in anything else. If we lean over will be self-explanatory. In the first, tone is sub-
to one side, an arm or leg is extended on the ordinated to line; in the other, line is subordi-
opposite side to compensate for the unequal dis- nated to tone. This gives you two jumping-off
tribution of weight over the foot or two feet that places. You can start a drawing with the definite
are the central point of division for the line of plan of making if cither a pure line drawing, a
balance. If we stand on one foot, the weight combination of line and tone (in which either
must be distributed much as it is in a spinning can be subordinated to the other), or a purely
top. The figure will then fit into a triangle. If tonal drawing like the one on page 133. T suggest
we stand on both feet, we make a square base that you do not confine yourself to a single man-
for the weight, and the figure will then fit into ner of approach and treat all your work in the
a rectangle. same way. Try pen and ink, charcoal, line draw-
This should not be taken too literally since an ing with a brush, watercolor, or whatever you
arm or f<x>t may emerge from the triangle or will. The broader you make your experience in
rectangle, but the division line through the diilerent treatments and mediums, the wider
middle of the triangle or rectangle will show that your scope becomes as a practicing artist. If you
there is approximately a like amount of bulk on are making a study, then decide first what you
each side of it. want most from that study. If it is values, then
When you arc using a live model either for make a careful tonal drawing. If it is construc-
direct sketching or for camera shots, she will tion, line, proportion, or anatomy, work with
automatically keep in balance—she cannot help these in mind. If it is a suggestion for a pose,
it. But in drawing action from the imagination the quick sketch is better than something labored
balance must be watched carefully. It is easy over. The point is that you will have to labor
to forget. when you want a detailed or tonal statement.
Before going into the problem of rhythm, the You need not labor quite so hard to express a
fundamentals of rendering must be taken into bit of action. If your client wants a sketch, sec
account. Suggestions for rendering technically that it remains a sketch and that you will have
in different mediums will appear throughout die something more in the way of finish to add to
rest of the book. Technique is an individual your final drawing.
129
BALANCE
WHEN FIGURE STANDS ON ONE FOOT, THE

THE.
MA)N WEIGHT IS OlSTRIBUTCD W|THiN A,
TRIAHOLE', IP ON BOTH PEET.THEN WITHIN
A REC.TA.NC1_ fc; ABOUT UKe THE LETTERS
150
BALANCE
&«d
BALANCE 15 A MECHANICAL pfc.lNClPLe_

IT afpccts every ncyiî.
13>
TWO METHODS OF APPROACH
TONE SUBORDINATED TO OUTLINE
HERE ARE TWO APPROACHES WHICH WILL.

PRODUCE ENTIRELY PlFFERENT RESULTS.
TRY BOTH. LINE IS REALLY THE FORTE OF
TWE DRAUGHTS r-l&N, WHILE TONE 13 THE ALlY
OF THE PAINTER.. TONE IS MORE. DIFRCULT
AND SHOULD NOT ©e'VaKEOT THE.RE CAN BE
MANY HAPPY* COMBINATION3 OP BOTH-
OUTLINE SUBORDINATED TO TONE
132
DEFINING FORM WITH JUST TONE AND ACCENT
•
,
$3*^
>35
STRESSING CONSTRUCTION
134
TWO MINUTE STUDIES
135
RHYTHM
•.
RHYTHM
axiom.' anycontour.that
can be extended ok made
v
to flow" into another
a vs un ty.cracf: a|1p rh ythm
i
procedure: sight along

acontouk.sec ifyoucan
pick up the swinc'ofthf
line in another. contour
without distortion or
INCORRECT FKAWlNQ.(nGl)
vou will finp the average
subject full of rhythm if
vou look for it. keep your.
pencil down on the Paper.
136
RHYTHM
The feeling of rhythm is of tremendous im- a line that gracefully curves in one direction and
portance in figure drawing. Unfortunately, it is then reverses itself. In die human form, it is
one of the easiest things to miss. In music we present everywhere: in the line of the spine, the
feel tempo and rhythm. In drawing it is much upper lip, the ear, the hair, the waist and hips,
the same. Considered technically, rhythm is a and down the side of the leg to the ankle. It is
"flow" of continuous line resulting in a sense of like the letter S in variation.
unity and grace. A second line of rhythm is die spiral, a line
We call the rhythmic emphasis on a line or starting at a point and swinging around that
contour "picking up." The line of an edge, ob- point in a spreading, circular movement. This
served across the form, will he picked up and rhythm of line is apparent in sea shells, a whirl-
continued along another contour. The next few pool, or a pinwheeL
drawings may serve as examples. Look for this The third line of rhythm is called the parabola,
phenomenon of rhythmic line, and you will Bnd which is a sweep of line continually bending to
its beauty in all natural forms — in animals, a greater curve, like the course of a skyrocket.
leaves, grasses, flowers, sea shells, and in the These three lines are the basis of most orna-
human figure. mentation. They can also he made the basis of
We are conscious of the rhythm that pulsus pictorial composition. They seem to be so thor-
Uirough die universe, beginning with the atom oughly a part of all graceful movement that diey
and ending with the stars. Rhydim suggests should be given great consideration in all draw-
repetition, flow, cycles, waves, and all are related ing of movement. The lines of rhythm in animals
to a unified plan or purpose. The feeling of arc easily observed and hence easily compre-
rhythm in drawing, aside from the abstract, is hended.
a "follow-through" in hue, just as it is in the Rhythm may be forceful, as in great waves

movements of various sports. A howler or golfer, heating upon a coast, or gentle and flowing, as
a tennis player, or any other athlete must master in the ripples of a pond. Recurrent rhydim
the smooth "follow-through" to develop rhythm. moves and stirs us, or gives us a feeling of rest-
Follow your lines through the solid form and fulness and composure, pleasing to the senses.
watch them become part of a rhythmic plan. The so-called "streamline" is rhythm applied to
When a drawing looks clumsy, the chances are ugly contour. The commercial application of
that the trouble lies in its lack of "follow- this principle has been eminently successful. The
through." Clumsiness in action— and in drawing lines of our trains and ships and motorcars, our
—is lack of rhythm that results in a jerky, uneven, planes, and our household appliances have been
disorganized movement. built upon this concept first recognized in na-
There are some basic hues of rhyUun for ture—in die dolphin among other fish, in birds,
which we can be constantly on the alert. The and in all living things designed for swift mo-
first is called die "Hogarth" line of beauty. It is tion.
"37
RHYTHM
'38
CROSSING LINES OF RHYTHM
pOTTeO UNES ARE. TO CALL YOUR ATTENTION TO

THE. WAY CONTOURS MAY Oe'woVEN TOCeTH EC
ACROSS THE FORM. NO TWO POSES WOftKALIkTE
BUTWHEN THE CONTOURS HAVE THE PCEUINg" OF
BEING CONNECTED AND A PART OF EACH OTHER.
THB/M A SYMPHONY OP LINE IS ESTABLISHED.
RHYTHM IN PRAWlNO,A5 IN MUSIC UNIPI ES
;
THE. V/MOUE SO THAT THE PEEUNC ANO MOVE-
MENT OF ALU BECOMES MORE IMPORTANT THAN
ANY SINCLE PART. KEEP FEELING FOR THE.
COR.RE.CT ANP EXPRESSIVE LINE. IFITDOESNT
CO POWN THE FIRST TIME, BRiNCJ ANOTHER LINE
DOWN. SOMETIMES A NUMOGR OP UNES AR.E.
MORE BXPRE5SWE THAN ONE, LI KE RlPPLES ON
WATER REPEAT NCI THE. MOVEMENT. RHYTHM
I
CAN LIFT YOOR. ABILITY TO THE StlES.
139
• *
SWEEF
140
RELATING ONE CONTOUR TO ANOTHER
141
DEFINING BY EDGES AND SHADOW WITHOUT OUTLINE
142
A TYPICAL PROBLEM
A typical problem worked out with an account bottom of the poster: "Americas Greatest Motor
executive in an advertising agency: Fuel." The sheets in a poster run four across,
"Your work has come to my attention," says and two and a half up and down. The half-sheet
the executive of an advertising agency, "and, may be placed cither at top or bottom. Trv to
from what I have seen of it so far, I like it very avoid cutting through a face at the joining place
much. I have a new gasoline account, for which of two sheets. If the face is very large, see that
we must have a fresh approach. I want to use the joining places do not cut through the eyes.
a new man in the field, and he must be good. Sometimes die sheets vary a little in color, and
We will cover all advertising mediums pretty the bill poster cannot be relied upon not to get
thoroughly, but the initial punch will come one sheet pasted a little off.
from outdoor advertising in a series of bill post- Work up in color your best ideas in sketch
ers.Whether or not we give you this series to form. Size of poster for sketch is ten by twenty-
do depends upon what you can show us in the Iwo and one-half inches. A margin of white goes
way of art work in roughs and sketches. We are around the poster about two inches at top and
willing to pay five hundred dollars per poster to bottom, and three at the sides.
the right man, this price to include all prelimi- I am not going to suggest what to do, but what
nary work. The name of the product is Sparko not to do, as far as your design is concerned.
Rhythm Motor Fuel. As a starter, here are some
captions we have thought up: Tune Your Motor Do not make die name Sparko Rhythm too
to Sparko Rhythm; Heard Everywhere .. .Sparko small.
Rhythm; Sparko Rhythm Sounds Sweet in any Do not put dark lettering on a dark back-
Motor; "Swing* to Sparko Rhythm; Always in ground.
Step with Sparko Rhythm; Let Your Motor Sing Do not put light lettering on a light back-
to Sparko Rhythm; In Time, Every Time, That's ground.
Sparko Rhythm; Keep in Tune with Sparko Cel some good copy for your style of lettering;
musical terms, but we will be glad to consider Keep lettering very simple and readable; don't
any ideas that associate rhythm with a motor get fancy.
fuel." Don't fake your figures; get good copy.
The width of an outdoor poster is two-and-a- Don't make small figures or too many.
quarter times the height. Molte several smalt
roughs on tissue for ideas that could be used to If you would like to experiment, draw or paint
illustrate the above. You do not have to show an the finished poster: the size will be, in inches,
automobile, or a motor, but bear in mind diat sixteen by thirty-six or twenty by forty-five.
it is a motor The words "motor fuel" must

fuel. Paint a white margin at least two inches lop and
be somewhere on the poster. You will probably bottom and three or more at sides.
want to use a base line of lettering across the Save your effort as a sample.
'45
"
•
w. m
IX. THE KNEELING, CROUCHING,
SITTING FIGURE
In this chapter we are concerned with qualities one you have not solved before. The variations
other than motion. Almost the whole gamut of of viewpoint, lighting, perspective, die unlimited
feeling can be expressed in a seated figure. It variety of poses, all keep the problems of draw-
can suggest alertness or composure, fatigue, de- ing new and interesting. I cannot think of any-
jection, aggressiveness, timidity, aloofness, un- thing less animated or more boring to look at
easiness, boredom. Each would lie expressed or to draw than a model who is "just sitting."
differently. Sit down or have someone do so, and This, to me, means both feet close together on
see how you would dramatize each of these. the floor, arms resting alike on the arms of the
It is of paramount importance, at this point, chair, back flat against die chair, eyes looking
to understand the shifting of the weight from straight ahead. Your model might half-turn to-
the feet to the buttocks, diighs, hands, elbows, ward you, hang an arm over the back of the
back, the neck and head. Important, too, is die •chair, cross her feet, stretch them out, or hold
correct understanding of foreshortened limbs a knee. Use plenty of imagination to change a
that assume other dian usual contours. In such dull pose into an interesting one.
poses limbs become props or braces rather than Let the whole pose of the model as well as the
complete supports. The spine has a tendency to hands and facial expression tell die storv. Do
relax in a concave manner toward such bracing. you want her to show animation or weariness?
When you are sitting on the floor, one of your If she sits at a table, talking to her fiance, let her
arms usually becomes a brace, and the spine re- lean forward, absorbedly, or show displeasure
laxes toward the bracing shoulder. One shoulder if they are quarreling.
is high and the other one drops; the hips lean to- Watch carefully for contours arranged in front
ward the brace; the weight is carried on one side of each other and draw them that way; if you do
of the buttocks, the side of the supporting arm. not, a thigh will not recede, a part of an arm will
When you are sitting in a chair, your spine look too short or stumplikc. Remember that if
may lose its S-shape and become a C. The thighs die hands or feet are close to the camera, they
and buttocks take die weight. Both flatten a photograph too large. Any figure that is quite
good deal, particularly a woman's diighs. The foreshortened should be photographed from a
position of the head over the body should be distance if possible, and dien enlarged for copy.
carefully placed, since it hasmuch to do with If you are planning a portrait, find a natural ges-
what the pose suggests. The draftsman must ture or pose for your sitter. Turn the chair at an
decide whether the sitting pose should be erect odd angle, get an unusual viewpoint, don't have
or relaxed. Remember that the figure is always the head stiffly above the neck. Let her drop
subject to the law of gravity. It should have comfortably into the corner of the chair, feet
weight, or it cannot be convincing. drawn back or even drawn under her, or feet
Foreshortening will require subde observa- extended and knees crossed. Don't let die legs
tion, for no two poses arc quite alike. Every pose make a perfect right angle with the knees.
off die feel will be a new problem and probably You must stir yourself on to invention,
145
CROUCHING
146
THE INCOMPLETE STATEMENT MAY BE INTERESTING
»47
POINT TECHNIQUE
pencil point renderings

above: vertical line modelinc
RltfHT A PENLIKE TREATMENT
;
148
PLANNING A PEN DRAWING
A PEN TREATMENT PLANNED IN

PENCIL SAVES TlM&ANCTÔU0l£.
4sn
mam
&
'mm*
MODELING WITH THE PENCIL POINT IS SLOWER AND MORE DIFFICULT. IT |5

ALSO MORE LlMITCO AS TO TONE VALUES. HOWEVER. IT SHOULD BE OFTEN
PRACTICED TO DEVELOP THE KNACK OP PEN PRAWINC.
49
KNEELING AND SITTING
150
KNEELING AND TWISTING OR BENDING
">'
ft '
'UStt
151
GETTING FULL VALUE RANGE WITH INK AND PENCIL
A COMBINATION OF BLACK AND GRADED TONE OFFERS ONIQUE POSSI Bl UTIES. DRAWING
WAS DONE OUABAIN BRIDGE COQOlLUE NO.2. '' THE BLACKS ARE H1GGINS INK. THE
TONES
ARE DONE WITH PRISMACOLOR^BIACK 433SPENCIL. REDUCTION IS ONtTHlR-D .
152
INK AND PENCIL IN COMBINATION
153
PEN DRAWINC
PEN AND INK ^STUDlEX

THe STROKES PLANNED WITH A 5H&RP
PENCIU INK£0 INjANO DRAWING CLEANED
}
WITHKNBAOEP ERASER. ITiSACOCJP

PLAN TO FOLLOW THE DIRECTION OR
THE PU&NE OR FORM WITH THE JmOKftS.
154
A •'LOOSER" TREATMENT
155
FINE POINT BRUSH DRAWING
DRAWN WITH A SMALL CAMELS HAt R BÛSHAND DRAWING fNK ON BRISTOL 130ARP
l i \j
A TYPICAL PROBLEM
A number of typical problems in a contest for sciiption: "I am America. I give thee my soil."
sculptural designs: 4. Design a statue for the zoological gardens,

1. The problem is to design a group of figures the inscription to be: "I am America. I give all
"
for a large fountain to l>e placed in the center of living things the right to life
a circular pool fifty feet in diameter. The subject 5. Design a soldiers* and sailors' monument.
is, "I am America. I give thee liberty and a free The inscription to read: "I am America. These
life." The drawings are to be submitted for in- of my sons I gave for thy security."
terpretation of idea only. The group may con- Here are unlimited opportunities to express
tain a heroic figure symbolizing the Goddess of yourself. One interesting manner of handling
Liberty. The work should be American in spirit. these designs, after having worked out rough
Figures can typify agriculture, mining, indus- tissue sketches, would be to draw on toned paper
trial life, the home, et cetera. The artist, how- with charcoal and white chalk. In these there
ever, is not limited in any way. would be considerable study of the figure,
2. Design a large drinking fountain. Some- action, drapery, dramatic interpretation. Work
where upon the base will be the inscription: I out your ideas with your pencil, your camera,
am America. From my lakes and streams I give material gathered by research, ct cetera.
thee the waters of freedom." There is no objection to using allegorical or
3. Design a sun dial to be placed within the semi-nude figures, but do not stick too close to
botanical gardens, bearing the following in- the Greek. Make it American.
157
X. THE RECLINING FIGURE
One of the most challenging phases of figure out tlic slightest idea of how to go about drawing
drawing is that of the reclining pose. It offers the a reclining figure.
best opportunity of all for design, interesting The appearance of complete relaxation is of
pose, pattern, and foreshortening. We forget the first importance. A stiff-looking pose gives the
body as an upright figure for the moment and observer the reaction of discomfort. The rhythm
think of it as a means of flexible pattern for of the pose should be sought very carefully. You
space-filling. The head may be placed anywhere know now how to look for it. Almost any model
within the space at your disposal. The torso may looks better in a reclining than in a standing
be regarded from any viewpoint. In the drawing pose. The reason is that the stomach falls inward
of the reclining figure, as in the standing and and appears more slender; the breasts, if in-
sitting poses, avoid straight, uninteresting poses clined to droop, return to normal roundness; the
—the legs straight, the arms straight, the head chest becomes full and high; the back, lying'flat,
straight. I call these "coffin poses," for nothing is straighten even a double chin is lost. Perhaps
appears quite so dead. Unlimited variety is pos- nature purposely adds beauty to the reclining
sible with the reclining or half-reclining poses. pose. If glamorous appeal needed
is in a draw-
We brought the figure out of the "proportion ing, noUung can give it more than the reclining
1m>x" early in this book. Never fit a box around figure.
anything that is an interpretation of life. If you arc using your camera, do not place it
The impression is that reclining poses are ex- too close to the model, for distortion will result.
tremely difficult to draw. If you arc accustomed Reclining poses should be selected with good
to measuring off so many heads, you must dis- taste. Crudity cau send you and your drawing
card the method in drawing the reclining figure, out the door in a hurry. See that the pose does
for it may be foreshortened to so great an extent not hide parts of the liinbs so that they look like
that it cannot be measured in heads. But there stmnps; for instance, a leg bent under with noth-
is still height and width in any pose. You can ing to explain may look like the fellow with
it the
still find the middle and quarter points and make tin cup. You cannot tell whether or not he has
comparative measurements. From here to there a leg. An unusual pose is not necessarily good,
is equal to from there to another point. Measure- but a figure can be twisted alx>ut for interesting
ments are not standard and apply only to the design, or combined with draperies for unusual
subject before you. pattern. The hair can be made a nice part of the
Reclining poses are often neglected in art design. If the pose is complex, keep the lighting
schools. The reason is usually the crowded room simple. Cross-lighting on an unfamiliar pose
in which one student obstructs the view of an- may complicate it and make it look like a Chinese
od»er. Consequently the most delightful and puzzle. If bizarre effects, however, arc wanted,
interesting phase of figure drawing is passed it may work out at U»at. A high viewpoint may
over, and many students leave the school with- lend variety.
159
SKETCHES OF RECLINING POSES
i
> m-- -~:^- :
wm *
160
STUDY
161
\62
iO.
COARSE GRAIN PAPER STUDIES
W&
«#
164
STUDY IN FORESHORTENING
— •-
THEDRAWINGS ON THESE TWO PAGES ARE

INTENDED "TO pEMONSTRATE HOW THE
TEXTURE OR GRAIN OP THE PAPER NUkY 3C
UTILIZED TO ADVANTAGE. THE. DELI CATS
MODEUINC IS DONE WITH THE POINT AND
THE BRORDER r*\AS3E3 WITH THE 3IDE OF
THE LEAD, ATTENTION IS CALLED TO THE USE
YOU CANNOT INVENT* LIGHT
OF DARK ACCENTS.
AND SHADOW. DRAW PROM LIFE OR GOOD COPY.
165
\ . ,
CEMENTED TISSUE OVERLAY. SPATTER AND BRUSH DRAWING
.' •- - ** >•• »»>;-v,

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166
ÂV/ mm
167
PEN STUDIES
168
A TYPICAL PROBLEM
Typical problem to solve with an art dealer and ering it partly. In the hair arc drooping and
representative: wilted flowers. A squirrel with an acorn in its
"I have a particular commission in mind that paws, a rabbit burrowing down into the soil,
I believe yon could handle," says an art dealer. birds flying—all may be shown. The grass is
"My clients have organized a new country club. brown and dry; perhaps some red berries are on
They are building a beautiful clubhouse. They a branch. The thought that is conveyed is that
want two mural decorations for their new dining summer has ended and Nature prepares for
room. The woodwork will be done in ivorv, with winter."
a slightly deeper tone of ivory on the Make many rough
walls. pencil compositions. Do
There are two doorways into the dining room, not only fill the space with the figure stretched
over each of which there will be a lunette. The stiffly across it. Proceed to work up some small
lunettes are half-circles, the radius of each being thumbnail roughs in color. Then pose your
five feet, making the base or span of the mural model, make studies, or take camera shots. It
ten feet, five feet in height at the middle point. would be wise to make some studies of trees and
The club is to be closed between the months of foliage in the woods. The little animals should
October and May for the winter, and, since the also be studied. The subject could be given
club activities start in May, a spring mural will modern, simple treatment. When your pre-
be used over one door and a fall subject over liminary material is ready, begin the sketch you
the other. will submit. This sketch is called a cartoon. It
"The subject selected for the first lunette is should be done well enough so that it can be
awakening spring. A reclining figure lies upon squared off. You may then work from it, if neces-
the woodland soil, amid wildflowcrs that have sary, directly upon the walls, or on a canvas
burst into bloom, blossoming bushes', and trees. mounted to fit or to be glued into place.
There are small animals about, such as squirrel, Since the room is light and airy, the paintings
deer, rabbit, and birds. The figure is in the act should be keyed fairly high, rather than dark
of awakening and about to rise. Her hair is long, and heavy. Gray your colors a little so that your
and perhaps there is a garland of early spring picture will not jump out of the wall like an ad-
flowers about her head. The figure may be partly vertisement. Treat the flesh delicately and sim-
covered with flowers. ply. Do not try for brilliant or even strong light
"A female figure lying down to rest for the and shadow. You will gain valuable experi-
winter is the fall subject. Brilliant autumn leaves ence if you will paint these subjects on a small
are falling and have drifted over the figure, cov- scale.
169
m
-—- « -..;— ^
XI. THE HEAD, HANDS, AND FEET
The head, perhaps, has more to do with selling a Consider the head a ball, flattened at the sides,
drawing than anything else. Though the figure to which die facial plane is attached. The plane
drawing you submit may be a splendid one, your is divided into three equal parts (lines A, B, and
client will not look beyond a homely or badly C). The ball itself is divided in half. Line A be-
drawn face. I have often worried and labored comes the earline, B the middle line of the face,
over my own experience. Once some-
this fact in and C die line of the brows. The spacing of the
tiling happened that has helped me ever since. features can then be laid out On these lines. The
I discovered construction. 1 discovered diat a plan holds good for either male or female, the
beautiful face is not necessarily a type. It is not difference being in the more bony structure, the
hair, color, eyes, nose, or mouth. Any set of fea- heavier brows, the larger mouth in the male. The
tures in a skull that is normal can be made into jaw line in the male is usually drawn more
a face diat is interesting and arresting, if not squarely and ruggedly.
actually beautiful. When the face on your draw- In this chapter are studies of the skull and its
ing is ugly and seems to leer at you, forget die bony structure, as well as the muscular construc-
features and look to the construction and place- tion and the general planes of the male head.
ment of them. No face can be out of construc- The individual features are worked out in detail.
tion and look right or beautiful There must be The heads are of varying ages. Since no two
a positive balance of the two sides of the face. faces are alike, for you the best plan is to draw
The spacing between the eyes must be right in people rather than stock heads. Perhaps an artist
relation to the skull. The perspective or view- of another era could repeat his types endlessly,
point of the face must be consistent with the but there is no advantage in that today. It tends
skull also. The placement of the ear must be tomake an artist's work dated in short order.
accurate, or a rather imbecilic look results. The The artist who can keep his types fresh and true
hairline is extremely important because it not to purpose will last.
only frames die head but helps to tip the face at It pays in the long run to hire models, though
its proper angle. there is always the temptation to save money.
The placement of the mouth at its proper dis- The danger in using clips from magazines is that
tance between nose and chin can mean the dif- the material is usually copyrighted. Advertisers
ference between allure and a disgruntled pout. pay movie stars for the privilege of using their
To summarize, draw the skull correctly from photos. Both the star and the advertiser will
your viewpoint and dien place the features prop- resent having them "swiped" for another adver-
erly within it.
Your
tiser. client will not be happy about it
In my first book, Fun with a Pencil I set about either. The same is true of fashion models who
to work out a plan for head construction that I have been paid for their services. You cannot
consider almost foolproof. 1 repeat the general expect to use them for your own purposes. Prac-
plan as a possible aid here.* tice from but don't
clips, try to sell your copies
"A strikingly similar method was originated independently by
as originals. Once you learn to draw heads, it will
Miss E. Grace Hanks. {S<x Fun with a Pencil, p. 36.) be your life-long interest to portray character.
»7t
HEAD BUILDING
fiPP a L'TTlt
4T SACK.
tt-K
HOW TO COM5TRUCT A HEAD.

DRAW AWU. PlVtPE WLL INTO SECTIONS SO THAT YOO HAVE A, MIDDLE LINE.
OlVlOir4<3 OALL 3 WAV3 fUNU A.BANDc), TAKE ONE FOft MIOOU6. LlNe
OP UCETHR
OTHe * T **° WILL BEAN CAR LIN£ AND A LINE CBROWS. DROP MIODLR
MM* O" PACE.
OPP « Al-l-. OIVIOR (NTO * PA0CT3 THAT A.RP&AR. EQUAL.EACH PA a_T EQUAL TD
HALf OP
-me piSTAwce prom browumrtotop op ball. 0UCBCW -stoes sv dropp^g
ear.
L.fM» 5HW.CHT WWN. rLACE BAR AT INTtRJECT/ ON OF
LINfcS A»moC. NOW QUILO'NJ&W
AND PSATORES. THIS PLAN IS MOftR TXOROOGMtV COV&RB.D IN FUN WITH A PENCH."
.
172
BLOCKS AND PLANES
THE SIMPLE PORM DEVtLOPED TO THE COMPLEVJHUOOCH THE U3EOF PLANE.S.

THESE! AVERAGE PLANES 3MOULO 8E LSARNED. THEY 4R£ THE OA3|5 TOfLklCHTINO.
&P&
!
hh
(ft
THE PLANES SIDE VIEW CTET SOME CLAV AND MOOEL THE PLANES SO YOU CAN
.
LIGHT THEM DIPfERENT «ÂV5. THEN DRaWTHEM. EE-FE-R RACK TO PAO«5 ^2 AND 73,
BACK VlfcW-S ARE MOST DIFFICULT! UNLESS FORM AN O PLANES ARE uNOEJt^TOOD
175
BONES AND MUSCLES OF THE HEAD
GRUESOME! BOT TRY TO DRAW IT CAREFULLY.
1 FRONÛS 5" rn^SSETEft 10 BUCCINATOR.

2 ORBICULARIS OCULI C-7 ZVCOMATICU3 11 OePR&J50R
J ADftlCULA^ MU5CU65 a ORBICULARIS OR.IS I £ STCJtMO MASTOID
9 TRfAWCUCAftl^ 13 TftAP^XIU5
'74
THE MUSCLES IN LIGHT AND SHADOW
/;; pi
Mr
\. ,1 .
l'"-
7
-^
5"VUDlES OF AN ANATOMICAL CAST (WHITe)
THESE ARE. TO CHOW THB ANATOMf OF

THE HB&D iNiii SOLID ASPKCT, ORA5 FORM
INUGHT&NDJH&DOW. |F YOO C4N tWtw
FROM CABTS,IT 15 RECOMMENDED TO DO
SO. MANY 5TUOCNT5 SKIP The iNTIOUE
CLA3S,NOT REALIZING 11$ TKUEVflLUE.
rt*S ADVANT^CB IS THAT THE* SUBJECT
REMAINS FIXED FOR CAREFUL 5TUC7Y, IT
DEVELOPS SOLIDIFY AMD fc.XCR.LLE.NT
FOR STUDY OF VALUES- I SUGCESTYOO
LAAK& SOME. CARfiFUL FPtEE-HANb
DUPLICATIONS OF THESE. DRAWlWCTS
IF YOU HAVE NO SiMILfcR CASTS HEAR.
175
FEATURES
"
DtAPHA*G«
ftRTURE
w*ci« «DWn
176
SETTING THE FEATURES INTO THE HEAD
177
STUDIES
•
**
i/8
STUDIES OF MISS "G"
179
YOUNG AND OLD
l8o
MAKE STUDIES LIKE THESE OF YOUR FRIENDS
STUDIES OF A YOUNG rÂN

tuck* ajw mo aecnsrs in wlaw-
iUO HEADS. FI«3T COHES AN "^
Pfe^STANDlMO OF A PARTICULAR
5KOLL.MCXT -TO CONflTfct>CT4W
INDIVIDUAL ABT O* FEATUHW
COftWCTLY (*LACtOW|TM|N
THAT ©JCCH-L. TMfiN ooMP.STMf.
RaNoaaiNG o*1 th» ^g>^^ ovw.
TMa FACfc «V PLftNLi OF LIGHT
HALPTDNt AMD i3HACOw CVXJtV
PUNt itf A PART OPTHEWHOL*
THfc UGKtiNC 3HOUL0 BG VWtV
6IMPLP. THft HKAO IS ©lf*PICOLT
ENOUOM WITHOUT ADOINC THt

COMPttXITV om Kl*HY uai-cri-. *MJ
3i
N
PROPORTION OF THE BABY HEAD
^v-'
*vt
r+ot*
**Wip |
CMlN PTH Of HEAP ^^*ONTi|
PROPORTION, 12 TO I8MONTH
FKONT
PCAWA Sg«JAffj .OiviPB iTlH HALF TMr>.e tS CR6AT VAM»TY Of J|M ANC
HORIZONTALLY, USING SIDE 4gAS A SH&PGS INRUNT .SKULL G HOWfiVfeR, THt
tN
Âfi PRAW AKC &C TH £ ARC
v
/' f AvtÂcc WILk A W^fcOvrMATfiLY MIL A
CK055INO MU'LIE UNI uivrN THE SQoPC^fe. YOU CA*J Uift Tt*6> BALL AM(T
WlfrH OF HEAD IN PROPORTION TO
nefCHT. ptvifre LowE.kHaLFW4ro4
fOUALPARTSPUVCE FEATURES,
CHAÂCT^R-lSTlCS rOREMEMBER.
FAC& IS WUATIVELY 5MALL,A&OOT \/+ OF WHOUE H£AQ rftOM 3ROW.5
TO CHIN. EAR t*COP^ GELOW HALFWAY UNE • T"HE AMD MOUTH Att A CYW
L.1TTi_t ABOVE FME HAUFWAV POiMT BBTweEN fcftOW, NOSE AND CH I
DWISION5,THeCH*N PKOP3 WELU UNPER NOSfc AN& MOUTH. THE UfPfcK.

Li AND LONGER ANO PROTROP&5, THft TôaaMBAD QROP5
P 15 LAR.CCPI
INWAW TO THE NOSE. BKI pCE OF NOSE. CONCAV&, EYK Aftfc lACtGJC
IN THBi*. OPENINGS AM O SkiCHTUY MOW THAM wiC'TV(OF-AN E\F APAft.v.
NOST^LS SM4U- AND ROOf^D ANp SET W'THIN THtt l^^ ll=*l& CORNERS OF
EY155 AND THE CORN ER.3 OF MOUTH OK AU»4£ PROM THfcSfc POINT5 -
182
BABY HEADS
L-a^s^N
atr --at*
&^%*/ :
WW*' g
¥L
\ !
y 4$ •/ fi
J.
"WW.
183
HANDS
4Xrf H^NC^ PRONTAN^ 5AC»C
p-KA>W ATLEASTOME HAND DAILY

PICOH LIPB OltGOOP COPY
184
HANDS
TH&StG IS NO MY3T&RV IN tm §2.
TMOD OF CTCAWlNG ham^ ,
|T 14 A l**ATT*#* OR H7TI NO
Pt»C*S TOQftTHlR mOÔ^*

TIONA7BLY BLOCK 1*4 T Mfe
AP"^*Otf MATPi AfUA OCTHE
1
WHn ^* HAN» PITTINC EACH

(
wwtr as it apêam .mauiNcrH

OF TMBfc HANp itt ASOUT KOO&L
TO THE PACt PfcOM HAtltUNE
TO BOTTOM O* CHIN. WATCH
CA*.«Ôi-UY CONTOUM F-A5J
»NO IN W0NT OP- HACH OTM!
THS. fALM IS CONCAVfi THE (
B^CK CONVM, K*L«J>- AT IT |
'85
THE FOOT
-'
*-*+
ry
*^ *•
•&-' • -"N
ar.* 1
it issucicearep that yoo picaw youk own peet

IN MANY POSES, SETTING A MIRRORONTHE FLOOR.
YOO SET UP SHOES ANp pKAW THEM FROM
£l_SO,THAT
MANY ANCLES ANP VIEWPOINTS.
l86
A TYPICAL PROBLEM
A typical problem outlined by an art buyer: reserve the right to reject any work and ma)'
"We always need artists who can draw heads even ask you to redraw a job."
well. Good drawings of heads are required in Begin with a magazine cover and experiment
almost all advertising, for illustrations on maga- until you have arrived at a good idea. Work it
zine covers, and litho displays. An acceptable out small, in color, until you feel the little sketch
head must he in good drawing, to be sure, but lias carrying power and attention value. Then
that's only the beginning of its job. If it's a pretty work up your final drawing. Keep it as simple
girl's head, the pose, the animation, the hair-do, as possible. Don't try to sell a faked, or "cribbed,"
the costume, the color, the type, the expression, head. \o magazine will buy it. Do not send work
the age, the idea behind it, all count. For char- to a magazine that already employs one artist
acter drawing, I shall expect you to find a living regularly, since he is probably working under
type to work from, for the sake of authenticity, contract.
and, if necessary, add whatever particularized Other suggestions Make a number of
are:
qualities the job specifies. I cannot tell you what studies of the people around you. Draw yourself
to do or how to paint it. Do the necessary work, in the mirror. Draw a baby, a child, a young man
bring it in, and, if I like it, I'll buy it. That's the and girl, a middle-aged person of each sex, and
only way our firm buys art work. When you have an old person of each sex also. Spend most of
convinced me that you can do a good head, I your time drawing heads—your market demands
may give you further commissions, but I must them.
187
.
XII. THE COMPLETE FIGURE
IN COSTUME
Costumes will keep changing, human but, the tocks, and knees. When material is loosely
figure remains the same. You must know the draped over these, the folds start with them
form beneath the folds of the clothingv You must and radiate to the next high point. When the
familiarize yourself with the methods of cutting material is fitted, if there are any folds at all, the
flat material and fitting it over the rounded folds will run around the prominent forms, pull-
figure. The drape of the material is caused by ing at the seams. The male form molds the
the manner in which it is cut and joined. Mate- clothes in a like manner. In a man's suit, for
rial cut on the bias drapes differently from that example, the material over the shoulders, over
cut on the weave. Try to understand what makes the chest, and over the top of the back is cut to
the material do what it does in the ruffle, the fit. The only folds you find then come from the
pleat, the flounce, and in gathering; what is the pull at the seams. The bottom of the coat and
purpose of a dart; and why the seams and join- the trousers arc draped loosely. The trouser
ings cause the flat material to shape itself. You folds radiate from the buttocks to the knee in
do not have to know how to sew, but vou must sitting poses and from the knee to the calf and
look for the construction of the clothing, just as the back of the ankle.
you look for the structure of the figure under it. An overmodclcd garment is just as bad as an
It takes only a few extra minutes to find out overmodeled figure. Watch to see that your light
which folds are due to the construction of the and dark values stay within the color value of
garment and which are caused by the under- the material itself and that its unity is not broken
lying form. Find the "intention" of the drape. by lights and shadows that are more strongly
Discover what the designer has worked for— stated than necessary.
slimness or fullness. If a seam is smooth, it was Do not draw every seam, every fold, and
intended to lie flat. If there is a shirring or gath- every button, but try to understand construc-
ering at some point, take note that it was not tive principles and interpret them correctly in
intended to lie flat. You must not slavishly copy what you do put down, instead of being careless
each tiny fold, but neither must you disregard in these matters or remaining totally ignorant
folds entirely. Indicate the shirring at that point. of them.
Learn how the female figure affects the folds: No matter what you draw—figure, costume,
the fabric falls away from the most prominent furniture—learn its construction, so that you can
forms underneath shoulders, breasts, hips, but- draw it.
1S9
DRAW FIGURE. THEN COSTUME
KNOW YOUR FIGURE. UNDER

an sxc^nt «r-oc "«r.« now ,« to ™.,< &
-=o* M
"TOP. COSTUME.
3tcw
„, ON phcto
CLOTW.NO W EKE T««,1RENT VOvwiu^w™,,,™

TH Ettul„ ONa „„o»,„ IW5
^
TO TH E FOK w^,^,.^ „ U5T M « « TOMCON„ KUCT A ctoTMmD Rlou ee
.
U ,
190
CLOTHING STUDIED FROM LIFE
THE rcENDEK\NO OF PRAÊRY* IS SO COMPLICATEp AT (SEST^HAT ONLY A VfiKY SKILLE.P

ARTISAN COULD 6NTICI f>AT& WHAT OKAP'E.ftY WILL DO *N A GIVEN INSUNC6,
UNDLR CERTAIN LIGHT ANP WITH GCICTAJN TEXTURE .Va KEG* CLOTHING USUALLY LOOKS
IT^Nl? WILL MOT 5ELLTHC AVfiRAOe ART 6UYI.R, MAKE |T A RULE -*»ICHT NOW>
191
RENDERING DRAPERY
RENPEK^G OF DttAPERY IS AN ARTICULATION OF PLANES ARRANGED IN PTÔPEK VALUES.
192
DRAW THE HALFTONES AND SHADOWS
'< - ',--,
A STORY ILLUJTKATION. HERE (S ATYPICAL. PRQCEDDIÊ

-STfPY FOR
OP DRAWING HALFTONES AND SHADOWS ONLY, WEAVING UUjHTSWHim.
»93
ELIMINATION AND SUBORDINATION
m
MM
mm
*:;*'
s?
-
-v--*.. « .-—
*""V
• •
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194
STUDY FROM LIFE
-j.^ *
• .-• '.-"':
STUCV FOR AN ApVEKTistMEht
•95
BRUSH AND SPATTER 1 1 -LUSTRATION
atifl&ê
i 96
A TYPICAl PROBLEM
The problem of equipping yourself to do your ing. Next, supply yourself with materials and a
job well: place to work. Keep a fresh sheet of paper on
What is the next step? you may inqiiire. your drawing board at all times with other
I/>ok about at the kinds of work you see dis- materials at hand.
played everywhere. What kind of work do you Hunt for subjects that interest you. Note them
want to do? Once you make up your mind, prac- down and pin the notes to your board. If you
tice that kind of drawing with brush or pencil. can do nothing better, set up an interesting still
You arc going to need mental equipment as well life and work from it until you have learned
as skill with your hand. Try to know more about something from it.
your subject than die other fellow. Remember Start a portfolio of samples of your best work.
you can borrow only a little; most of your knowl- Don t lake out a drawing and throw it away
edge must come from your own observation, until you have a better one with which to re-
your determination, and your plain courage. place it. When you have a dozen good draw-
Find a way thai you can allow yourself one, ings, show them, Don't wait for an expensive
two, three, or even four hours a day for draw- collection.
*97
PHTAWN WllM A SOrr pfcHCii^ ON
toWPlP WITH FINOKK'Oft A

PA^BPt 5TUMP, HlCHLlCHTJ
AR£ ÎCKEPOUT WITH ktNt^TCl?
r-t^NV ACTJ5T9
CUftOfifC. X& ;. I
THB WiPiR KANCE Pf VALUES
WITH fiyATive. OOOCJ LUCiCl

CLOSING CHAT
There is always a hesitation before turning in There no formula
is in art that will not break
a finished job. It occurs to me as I complete this down as soon as the effort behind it ceases. But,
book, and it will occur to you when you look to compensate, there is no reward on earth that
over a piece of your work: Could it not have can compare with a pat on the back for a hard
been done better? It may seem to you that vou job well done. Talent, in its underclothes, is a
should have used a different approach, or a bet- capacity for a certain kind of learning. Talent is
ter method of construction. My own philosophy an urge, an insatiable desire to excel, coupled
is to do the best I am capable of within the time with indefatigable powers of concentration and
requirements, and then to make the decision production. Talent and ability arc like sunlight
that the drawing is now finished and must be and a truck garden. The sun must be there to
turned in. Lack of decision is a harmful thing. begin with, but, added to it, there must be
You can learn by your mistake and make amends, plowing, planting, weeding, hoeing, destroying
but the energy must go into a fresh effort. of parasites-all have to be done before your
Learn to use time wisely. You will not always garden will yield produce. According to those
have the time to do a drawing twice or three one-inch ads we see so often, you can be an
times in order to select the best example. While artist, play the piano, write a book, be compel-
you arc a student, use precious hours to die best ling, convince anybody, make friends, and get
advantage. A bit of anatomy misunderstood in a high-salaried job if you'll just sit down and
an important job that must go tonight, a prob- answer it-and, of course, "kick in."
lem in perspective that remains unsolved, ruins If you want to draw, you want
if to gamble
a painting on which you have spent days and all your chips for stakes that are really worth
paid expensive models* fees. while, you have an excellent chance of winning.
When, early in your career, an art director If you just dabble, you will certainly lose your
asks you to re-do a drawing, be grateful that ante, for the oUiers in the game are playing then-
you are granted the time. It is a tragedy when hands for all they are worth. I have met students
your drawing ought to be done over and cannot who have said they would like to learn drawing
be for lack of time. You deliver something you as a "sideline." There are no sidelines. You are
do not like, and die publisher is forced to accept either in die game or out of it. "Well, then, how
it. He is generous if he gives you another job. do I know I'm going to be good enough to make
The term "talent" needs clarifying. To any ago of it?" No one can possibly be assured that
man who has slaved to acquire skill in his art, he is going to be good enough at anything to
it is most irritating to have his ability referred make a go of it. Faith in yourself and industry
to as a "gift." Perhaps there is one genius in a are all that any of us have got to go on.
hundred years or more who can achieve perfec- An honest book on drawing can only point
tion by "divine inspiration." I have never met the way and suggest procedure. A book of down-
such a man, and I do not know any successful right promise can be nothing but downright
artist who did not get there by the sweat of his fake. It is natural for young men and women
brow. Again, I do not know of a single success- to look for the "secrets'" that allegedly assure
ful artist who docs not continue to work hard. success. It is even reasonable to feci that these
igg
HOW ARTISTS WORK
secrets are somewhere hidden away, and that lo the layout. If you are working with an art or-
reveal them would assure success. I confess I ganization, you will not see the agency at all,
thought so myself at one time. Bui there are no but will get your instructions and the agency
such secrets, jealously guarded by the older layout from one of your company's salesmen.
generation so that it need not give way to the Proceed, then, to look up what data you need,
younger. There is not a craft in all the world get necessary photos or models, and go ahead
that opens its doors so wide to the young and with your job. If you are a free-lance artist, you
lays its knowledge so freely at its feet. Note that work in your own studio. In that case you will
I say knowledge, for all the secrets arc knowl- have agreed upon a price with the art director,
edge. Everything about this craft is fundamen- and you will bill the agency when the job is
tal. Expert use of the fundamentals is the only complete and accepted. In an art organization
basis there is for learning to draw. These fun- you will either be working at a set salary, or on
damentals can be listed, studied, and carried a split basis, usually fifty-fifty. Most artists spend
out in your own way. They are: proportion, considerable time in organizations before set-
anatomy, perspective, values, color, and knowl- ting up a free-lance studio.
edge of mediums and materials. Each of these The magazine illustrator usually works in his
can be the subject of infinite study and obser- own studio. He may have an agent or sales rep-
vation. If there is a secret, it is only in vour in- resentative, especially if he does not live in New
dividual expression. York City, where most of the magazine houses
The artist obtains his work in different ways, are located. Without an agent he deals directly
depending on the branch of the craft in which with the art director. The artist is handed a
he specializes: manuscript. As a general rule, if the magazine
In an advertising agency there is usually a has not supplied him with layouts, he is asked
creative or art department. Here the layouts or to make roughs for general composition and
visualizations are made. There is a copy writer, treatment of the subject. The magazine may
an account executive, and a layout man who to- pick the situation to illustrate or mav ask the
gether have planned an individual ad or a whole artist to read it, pick the situations, and submit
campaign. An appropriation has been made by several roughs for selection. When these are
the advertiser. The magazine space has been O.K.'d, the artist proceeds with his drawings.
decided upon and contracted for. As the ideas When the magazine picks the situation and
are worked out, in sketch or layout form, they gives the artist a rough from the art department,
arc submitted to the client and O.K.'d or re- he may go to work at once. This is usually the
jected. It has been decided that either photo- most satisfactory' arrangement, but it does not
graphic or art work shall be used. All this has give the artist so much freedom as when he
taken place before you are called in. By this makes his own selection. If you have an agent,
time, a closing date has been set, and it is usually the agent bills the work; otherwise you are
not far off, since the preparatory work has taken paid directly. An agent's commission is approxi-
a good deal of time. mately twenty-five per cent of the billing price.
You are handed tlic layout as O.K.'d or with There are several firms and guilds in New Y'ork
instructions for changes, Most agencies give that act as artists' agents. Work must be of
you considerable leeway for pictorial interpre- proven quality, however, before they will rep-
tation, but your chawing must fit the space in resent an artist.
2 Oo
RUNNING YO UR STUDIO
Outdoor posters arc handled through adver- them by producing clean copy. This is also true
tising agencies or tlirough lidiographers. The of lithographers. It is important to remember
artist seldom deals directly with the advertiser. that a newspaper uses line or coarse-screen half-
There are also outdoor advertising companies tone. Pulp magazines must use a coarser screen
that buy art work and in turn sell it to the adver- than other magazines. This means keeping fairly
tiser. In the latter case the lithographer is called contrasting values to assure good reproduction.
in on a competitive basis. In all halftone reproduction the whites of your
Newspaper drawing may he done in art or- subject gray down somewhat; the middle tones
ganizations, by the paper's staff, by the adver- flatten a little; and the darks become somewhat
tiser's own department, or in the free-lancer's lighter. Watercolor is about the best medium
own studio. Displays are done in the lithog- for reproduction since it has no shine, is usually
raphers art departments or are bought from made small, and therefore requires less reduc-
organizations or free-lance artists. tion. Any of the drawing mediums, however,
Magazine covers are usually speculative. You can be reproduced well. Never submit a draw-
simply make them, send them in, and most of ing on flimsy paper.
the time you get them back. You are expected The artist should, early in his career, form the
to send return postage or express charges. Some- habit of orderliness. Keep things where you
times you can send in a preliminary sketch. If can find them. Your drawing, when submitted,
the magazine is interested, you may be asked to should be scrupulously clean and matted with
make a final drawing or painting, but the art a flap to protect it from dirt. Keep your file in
editor reserves the right to reject it unless you order and clip whatever you think will make it
arc so well known in the field and so dependable as complete in information as possible. I have a
that you can be relied upon to bring in an ac- method of filing that works out nicely: I make
ceptable cover design. an index in alphabetical order of what I have
Comics are handled speculatively, as are mag- filed and then give my folders consecutive num-
azine covers, except in the case of newspapers. bers. In this way I put several subjects in one
There they generally come through feature syn- file. For instance', I list bedrooms under B, and
dicates. In this case vou work on a salary or the file number for this subject is put alongside
royalty basis, or both. You must have several the listing. I also list sleeping poses under S and
months of your feature completed on a strip be- give it the same number. My folders go from
fore your work will be considered. Sometimes one to three hundred. I can add as manv more
royalty is paid by the comic magazine or syndi- as I wish or add more subjects within the present
cate, in addition to the purchase of first serial folders by simply listing the additional subjects
rights. alphabetically and assigning a folder number. I

First-rate advertising may pay more than have gradually learned the folder numbers, and,
story illustration. Methods of reproduction are as soon as I see a subject, I find it widiout re-
so accurate today that almost anything painted ferring to the index. For instance, I know that
or drawn may be reproduced with fidelity. airplanes go in number sixty-seven. On every
Knowing these methods is valuable information. clipping I jot down the file number and put the
Most engraving houses are glad to show their clip into the drawer that contains the number.
equipment and methods to the artist. They know I have filled seven filing cabinet drawers. I can
that if he understands their problem, he can help now go directly to a file diat contains a school
20I
ABOUT YOUR PRICES
classroom by looking it up alphabetically under please your clients. The changes are often un-
S and getting the file number. Without a filing reasonable and are matters of opinion, but do
system, hours upon hours can be lost looking not grumble, at least aloud. A chronic grumbler
through hundreds of clippings to find a single is an unpopular fellow, and soon the jobs go to
one. It is a good investment for the artist to sub- the man who seems to be more cheerful, espe-
scribe to a number of magazines. By keeping cially if his work is equally good. Again, enthu-
your copies in order, they eventually become siasm and cheerfulness add their own qualities
valuable. For instance, if I should need material to your work. Robert Henri said, "Every stroke
to illustrate a story laid in 1931, 1 could go back reflects tfie mood of the artist at the moment."
to the styles worn in that period without diffi- lie is confident or hesitant, happy or somber,
culty. Or to interiors. Or to the automobile that certain or perplexed. You cannot hide mood in
the characters owned. Some day you may want a creative work.
to know what they were wearing during the On the subject of prices, it is better in your
Second World War. What were the soldiers' early years to get your work published and cir-
helmets like? The magazines are brimming over culated than to quibble over price. The more
with that material now. When the war is history, you get published, the better known you be-
it will be hard to find. come. The better known you are, the more work
Develop an orderly procedure in your work. you get. The more work you get, the better will
Get the habit of making small studies before be your price. Eventually you find your price
you start something big. Your problems will ap- level, since you can keep raising your price as
pear in the sketches and can be worked out then, long as more people want your work than you
so that you will not be stumped later on. If you can supply. nobody
If will pay the price you
are not going to like a color scheme, find out arc asking or
it
you cannot keep busy at your
if
before you have put in days of work. 1 remem- priccs, you'd better come down. It's just plain
ber a poster I once painted. When I was through, business.
I began to wonder how a different color back- admit you are apt
I to run into a buyer who
ground would have looked. When I had put the will take advantage of your youth or your lack
second background on, it looked worse. By the of work, but, if you are capable, his very use of
time I had tried about six, I was resigned to your work may boost you clear out of his class.
going back to the first. It was all lost motion that There is no way to plaoe a value on a piece of
could have been avoided by making thumbnail your work. The chances are that you will get a
sketches first. I could have done several posters fair deal from a reputable client. If you do
not,
in the time wasted, and my work would not have it won't be long before you will discover it. You
lost its original freshness,
will soon find out if you arc asking too much.
If you once decide on a pose, stick to Don't
it. Posters can go all the way up the ladder from
let yourself muddy up a subject by wondering fifty dollars to one thousand. Magazine illustra-
if the arm might not have been better some tions range from ten or twenty to five hundred
other way. If you must change over and
it, start or more a picture. The purpose, the client, the
so keep it fresh. The more clearly you have a artistic merit— all these influence the price.
drawing defined in your mind and in die pre- Attend an art school if you can, but carefully
liminary sketches, the better the result will
be. consider the instructors. If you can get a man
Many drawings will have to be changed to to teach you who is active in his field, well
and
101
INTRODUCIN G YOURSELF
good. Ask for the names of some of his former to many prospective clients, together with your
pupils. If the school can show a convincing list address and telephone number, Interested peo-
of professional men who were formerly his stu- ple will get in touch with you. I followed this
dents, line. If not, hunt up another school. scheme when I set up my own studio after work-
Let me make a suggestion or two about the ing for several years in various art organizations.
preparation of an artist's samples. There is slight I photographed proofs of the work I had done
possibility of being accepted as a professional for or through the organizations. The rcsidt
artist without a well-executed group of samples. proved well worth the expense. Many new cus-
I have urged throughout this book that you re- tomers were brought to fight.
tain the best of your practice work for samples. It is advisable to start a library, There are
Do not limit yourself to my problems alone. If many good books on art: anatomy, perspective,
you want to do figure work, prepare your sam- the work of the old masters, and modern art.
ples for that purpose. Do not submit nudes, Buy all you can afford. Read art magazines.
however, since there is no possibility of their Many valuable suggestions will come to you this
being used. The excellence of your figure draw- way.
ing, however, should be present in your costume Although I have emphasized the figure, part
drawing. Submit one or two girl subjects, per- of your time should be devoted to other subjects
haps a man, or a man and a girl. A child subject for drawing. Draw animals, still-life subjects,
is always of value. Keep your subjects on the furniture, interiors, or whatever else is likely to
happy side for advertising, and don't forget be an accessory to the figure. Outdoor sketching
glamour appeal. and painting is wonderful for training your eye
All of the foregoing also holds time for story to color and value as well as form.
illustration, although magazines are interested Painting will help your drawing, and vice
in characterization, action, and drama as well. versa. The two are so interrelated that they
If you want to do posters, your approach must should not be thought of as distinct and sep-
be different, since here simplicity is of first im- arate. You can paint with a pencil and draw
portance. Do not mix up your presentation, by with a brush.
which I mean that you should not submit a For color practice, use some of the color pho-
drawing obviously designed for a poster or ad- tography you find in the magazines to render in
vertising illustration to a magazine editor of oil or water color. Pastel is a delightful medium
fiction. Try to fit your presentation to your for practice. There are many kinds of color
client's needs. Don't submit a great raft of draw- crayons and pencils with which to experiment.
ings. An art director can see from your first two It is a constant challenge of die profession
or three samples what he can expect of you. He that vou never know what vou will be called
is a busy fellow. He will keep looking as long upon to do next. It may be anything from a
as your subjects, treatments, and mediums arc lemon pie to a Madonna. As long as it has light
varied, if they are at all good. If he looks at falling upon it, color, and form, it can be made
twenty drawings, he is just being polite. Don't interesting. I recall an advertising campaign
impose on the man. some years ago for so prosaic a subject as enam-
A very good method of introducing yourself eled kitchenware. But what the artist made of
is to make up small packets of photographic it was exquisite. I recall the Henry Maust water
copies of your samples. These may be mailed colors that advertised hams and foodstuffs. They
20-)
DO IT YOUR WAY
were as beautifully executed as any fine English continuing rise of radio. You will also have ma-
water color. terials never dreamed of, subjects that we cannot
Simple things such as a few garden vege- now imagine. You will have new purposes for
tables, a vase of cut flowers, an old barn, present art that have never before existed. T believe the
all the problems there are to master. Each of human body has been increasing in beauty, al-
these may be a vehicle for your individual ex- though it is hardly discernible to us. Think of
pression. Each can be so beautiful as to be how standards change, for example, and of a
worthy of a place in a fine arts gallery. That is modern girl beside a buxom maid of Rubens*
the scope of things to be scon, felt, and set down. time. It would be a little hard to imagine one of
Clouds were there for Turner; they are here for his beauties walking down Main Street in slacks.
you and will be here for your great-grandson. I doubt whether his favorite model could get to
The qualities of light on flesh are present for the judges' stand in one of our innumerable
you as they were for Velasquez, and you have beautv contests.
asmuch right to express yourself as he had, and All the things have not been done in art that
much less superstition and prejudice to combat. can and will be done. I don't think our bones
You can set up the almost identical pan of apples and muscles will change much and that light
with which Cezanne gave a lasting message to will shine differently, so all the good rules will
the art world. still hold. I can only say that you must have the
You can look for yourself at the haze of at- courage of your convictions, believing that your
mosphere that entranced Corot or die burst of way is right for you and for. your time. Your
latc-aftenioon Iigl\t that enthralled Innes. Art individuality will always be your precious right
will never die— it just awaits eyes to see and and must be treasured. Take from the rest of us
hands and brain to interpret. The paintable all that you can assimilate, thai can become a
waves will not cease breaking with Frederick part of you, but never still the small voice that
Waugh, nor will pictures be forgotten with the whispers to you, "I like it better my way."
204

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V

I. TIIE APPROACH TO FICURE DRAW1NC 21

Obscr\'c Your Surroundings 22

The Nude as a Basis 23

Ideal Proportion, Male 26

Various Standards of Proportion 28

Ideal Proportions at Various Ages 29

The Pint Diagram 30

The Flat Diagram 31

Quick Set-up of Proportions 32

Proportions by Arcs atul Head Units 33

Proportion in Relation to the Horizon 34

The John and Mary Problems 35

Finding Proportion at Any Spot in Your Picture 36

We Begin to Draw: First the Mannikin Frame 38

Movement in the Mannikin Frame 39

Experimenting with the Mannikin Frame 41

Outlines in Relation to Solid Form 42

The Mannikin Figure 43

Adding Bulk to the Frame 44

Adding Perspective to the Solid Mannikin 45

Arcs of Movement in Perspective 46

Placing tlxe Mannikin at Any Spot or Level 47

TI. THE BONES AND MUSCLES Of

Muscles of the Leg, Front View 64

III. BLOCK FORMS, PLANES, FORESHORTENING, AND LIGHTING

Block Forms Help to Develop Your Sense of Hulk 70

Some Pen Sketches for Foreshortening. 75

IV. DRAWING THE LIVE FIGURE: METHODS OF PROCEDURE 82

Grouping Shadow Masses 83

V. THE STANDING FIGURE 91

The Weight on One Foot 9,3

A Typical Problem joi

VI. THE FIGURE IN ACTION: TURNING AND TWISTING 103

Turning and Twisting 104

CONTENTS. INCLUDING ILLUSTRATIONS

Quick Sketching with Pen and Pencil

VII. FORWABD MOVEMENT: THE TIPPED LINE OF BALANCE

Snapshots of Walking Poses

VIII. BALANCE, RHYTHM, RENDERING

A Typical Problem 157

X. THE RECLINING FIGURE 159

Sketches of Reclining Poses 160

Study in Foreshortening 165

A Typical Problem 169

XI. THE HEAD, HANDS, AND FEET 171

Head Building 172

The Muscles in Light and Shadow 175

Setting the Features into the Head 177

Young and Old •

XII. THE COMPLETE FIGURE IN COSTUME 189

Draw Figure, Then Costume j qq

A Typical Problem 197

How Artists Work 200

inary sketches, roughs, the setting down of ideas, suggestions of actions

Take any desired height, or place points tor

HCAO UNIT5 FEET

NORMAL7&HDS )DEAUJ71C,8 HPS FAJM ION! ,8 ^UDS HEKOIC^HDS

pro p-o rlt on5 f

IDEAL PROPORTIONS AT VARIOUS AOES

15 YK.S 0VR.3 5 YRS 3 YRS

ike tjrotufli of \w Ifead is very <jrciduol, only

nearly iioice as fast as ike -iorso-

fttt - *e 16 „,«, bH WU,, H,, Flcf Di a <, ra „, Uj1h<) ^ p|aMes