Schools, Inc., Westport, Connecticut Famous Artists Course Albert Dorne Fred Ludekens Norman Rockwell Al Parker Ben Stahl ‘Stevan Dohanos Jon WI comb Robert Fawcett Peter Helek George Giusti Austin Briggs Harold Von SchmidtContents Introduction: Cammerciel ert ond illustration Pictures must communicate Our responsibility, and yours— How to study and practice — How your work wil be cried fia graled ~The art's odio ~ Observation ~ Research Inakes the pcre authentic Seting up your “scrap le — ow to we models props and photographs seo] theorists materials and how to use them “The four base medium: pen pen oe brush and ink, wash snd opaque ~ Handling the pen ~ Papers ~ Creating a vari tty of eects with pend! Fhinking wih a pencil — How t9 the pen and ink — Creating rextores wie the jer ~ Brush and nk! Combining pen and rush in 4 draming — Materials for trash drawing ~ let and graded washes — Blending ~ Creating Aiferen flees wich wash — Materials for opaque painting ~ Werbras and dry-brsh lending — Gresting texeares sith opaque Mixed medion sevon MD) Form=the basis of drawing Form defined — Sphere, cube, cone, and cylinder, dhe basis of all exiting forms — How to draw forms #0 they look slid — Combining base forme ~ Using light ad shade 1 reveal and tmphasire form — Creating the ilssion of form In space — Forms or objects lok diferent trom diferent positions ~ Forms in imple perspective ~ Proportion ~ Selecting the most chat. steric vew of form — Arranging forms in space son 3 Compotition—how to make pictures The importance of composition in picture making ~ The pic ture state in your mind ~ The four main elements of compos tion: pltore aes, depth, in, an value ~ Varying these of tjecs and ving common sense to place chem In picre — ‘Overlapping ~ Composing indepth ~ Using line to contol the ‘movement ofthe viewer's eye — Planning with simple values Controlling values in a composition, seson Mh Drewing “The importance of he human figure i pictures ~ The figure {i gsolid form — The basi form figure ~ Proportions of male fin Tene figures — Relative proportions at various ages ~ ‘Gonsirucing the figure fom is various para ~ Hw diferent pars of the body move ~ Drawing the basi form figure and Fea and patting tem o practical wie in ilasrations Using ttacng paper to hep think out the construction and action of for fe omen form Artistic onatomy ond the humen figure in motion ow bones ad muscles affect dhe surtace ofthe igure Major Aiferences between male and female anatomy — Flow to block the bones and mle of the hea, tor, arms ad hands, legs and fet ~The jdns and how they work Balancing the fSqure ~ Twining and tuning — Forehortening — Siting. bending, kneeling walking running, and reining. so contracting the ada hen “The hed hands are the chi means of expresing human motions — Blecking inthe head — How eo daw the headin Sllerent positons "The ee, nove, mouth, chin, ear ~ Dir fences berween the male and femae Hendy ~ Light and shade fon the Rend — Facial character an expresion — How the head ‘anges ro inant to teen ager ~The construction and actin ofthe Rand and wrist ~ Bloeing in the had ye cota veson JJ Drawing clothes, draperies, Principles that gover the folds in drapery — The seven types ff folds ~ Sculpture belps to reveal the sructre of folds — Drawing folds tm action ~ Draping the male and the female figure ~ How the material affets the folds — Costume helps fstblih chaacer — Drapery a1 major element in compo ‘don ~ Drapery reveals ructre and form. vesou §Q Fidute compostionerranging Aigurer How toe people in 2 composition ~The fgure is 2 lving ‘changing shape How the tion of the gure express Is tnood — Selating dhe mow descriptive pone ~ Relating Bgeres {o the etn — How ta make the figures dominate the pitore "How the pictute border alec the Egure’s action ~ Con trolling the fgues movement ~ Plioning + picture 29 every prt contribute tthe mood and meaning ~ Composing = plecue with many figures fend surtoces How to wie variations of frm and textures in a plture — Variety of forms everywhere — No two abjecs have the sine form or texture ~ Repesed forms make an overall texture — ‘Using texture to emphusie mond — How distance afects tex tures and details ~ Pattern a texte — How to crest extures tvith dillerent mevms and tools — Contrasting textures — Using varieties of textos in 9 pictre mon ) Sing aie orm tert ww] Q reves ote Perspective is heart of representing objets on 2 Mat surface 0 they appear to recede in the dance ~ How to draw in pe specine — Measurements in perspective ~ Drawing the «tele {inl iargular forme in perspective ~ Interiors and exteriors in penpecive ~ Figures in penpective — How to draw rellectons nd shadows in perspecive secon J tensecopes on Landscapes help crete mood — Every region hat ts character ince landscapes ~Ellet of ime ona landscape ~ The changing forme of ature — Atioyphere ~ Selecting a orgnizing the view ~ Subject matier isto be found everywhere ~ Interiors Tele the character of the people who live in them — Con Stretng the scene ~ Selecting the view ~ Lighting the interior = How much background to show ~ Controlling texture and pater in an interior ~ Making an interior intresting,ia in action ‘e100 YD, Arimet ararving— th Animals in art and hisory ~ Comparative anatomy (the sue fue of man and animals compare) ~ How ta daw the far Insc animals: horse, dog, ct and cow — alts of anima = Drawing aitnal heads ~ Geeting acquainted with the animal Kingdom ~ Animal pcarer with real meaning ~ Drawing birds ‘Bi in igh ype “The Importance of drawing people as real human being, en lowed with eting ae personality — People all over the work Drawing characers a types and a real people Cresing ‘many type ftom the sme model — Variety in expresion = Aides, mannerisms, and gestures — Character i exprwed through the entire gure ~ People must eat to one axe He and she ~ Idealising men an women ~The hie ste must fe the characte. coon 1 Thee fomty creating peop of 12200] Q, aavanced pictorial composition ‘The symbol an the pictare— Using synbol in diferent ways — ‘Communicating feling in a pcture ~ Mood in composition — Using the senses of toe, sound, aed scent in pets ~The siewpoine depends on ovr intentions — Rita and design = Selecting a theme ~ Evolution of campostion sexo] 5} Advonced tine drawing ond tonal painting Representing form in line deacings — Many dierent ap prouches ~The function of pony ruses, speoiball pen, {ayon, and seratchboard tools When and how to ae them — Draw with reprodocion in mind — Usig tones to interpret Tight and shadow and eal yakes ~ Controlling eigen ~The Importance ofthe overall design In tonal picture ~ Plating {nae colored inks and oder tonal meds, 21] & otor—tho theory ond prostice of peinting ‘The thee dimensions of color: hve, rahi, and intensity — warm and cool calor ~ How one color acs another ~ Advan {ng an receding colors iferent Hight crete dierent coors = "The emotional elect of color ~ Calor proportions ~ Ways We colar to center attention ~ Selecting palette and mixing ‘colors — Printing in color ~ Painting atl le ~ Painting a landscape ~ Painings porraie ~The timited pale ve] J sstering “The importance of letting in all forms of eommerca are — ‘The basic alphabet ~ The roman alphabet ~The Calon a phabee~ Sparing leer, words, nd fines — How to do layout leering — Tlie, gothic, and ripe — Optical uions and Aistortions in leering ~ How to lentil and draw diferent ‘ype faces — How to'do Roishod leering ~ Brood pen and bron leering Show ean wring “The rich and vari opportmiies in the Feld of sdsertiing and edivral art for the erative designer ~ Dominance an talane in geometcal and now eomercal divine of space = Variations on a theme ~ The eflet of backgrounds Two. and theedimensional effects — Base layout designs — ‘The Importance of black and the we of color ~ How to split the ‘mot and dhe design ~ Choowing the righ technique Collage "xtumor In design ples of experimental design 12] Aven nd eit deson on yout “The purpote of any lay tf come 8 mestage — Designing 1 symbol for un tea ~ Sylaing heads, figures and object = “The evolution a ies into designs ~ Simplifcnion indesign — Dizet and indice design spproches to averting — Trane lating words into picture Special elects How to design symbols-"Trademarks~‘Tradidonal and contemporary Tayous “osing ype as 4 major clement of design — Leterheads — Record albim covers ~ Blading wens andre. 1210 QO srecicined desion ‘The importance of viewing cach problem frou many point of view = Paperback book cores ~ Creating design that rele the character of the book ~ The magaine cover i tunction And design ~ Novelty and originality n mailing pices Posters “"rwentyfoursheet posters ~The value of implication — How to make a layout ~ Thumbnail sketches — Developing the rough and senicomprebenive — Designing sallspace ad teston 21 Studio procedures Mechanical drawing insramens and how to we them — Rub ber cement ~ How to mount a photo» et. Matting pe ture ~ Phowsats and dhe wes — Revealing — Camera ica — Opaque projector ~ Pantograph — Tranter sheets — How 2 slhoueue and crop photographs — Friskets— Arbrashing — Retouching ~ Mechanical sd in irate: Sibverpriny, rae tiny, Zipatone, Kemart et Asking composite photogeaps "Mashing and tapping ~ Type composiion ~ Copy fing. se QD swat ronson Preparing artwork for repueton ~ Line and alfione pla in leerpres and ole printing ~ Selecting the right hallone sere forthe paper ~ Letorpres, oft, ad lksceen pine Ing compared ~ How wo prepare color epartions of at work — ‘The Bourges procs and how to use it~ Line, halftone, and tine color separation with Bourges A variety of echaigues ~ How to make # mechanical or paste. so QQ sion tortion Cees in fashion Itutrasion — Proportions of the female {ashion gure — Posing and uyling the faion figure — Pre senting the fashion to it best aeantage ~ Drawing the fasion head, hand, and feet — Light and shadow — Rendering the fashion ilaration — Drawing fom the model and the drew maker's dummy ~The erogus ~“Stronslt” and "high fh Ton" illustration — Hats Lingerie — Testes In fason — How to render print fares — Accesories and jvielry ~ Chi deers fathoms ~ Driving the male tahion fue — Men Furnishings ~ Boy nd young men's fashions, 0 QA retina ‘The art's role in television ~ Three kindof woryboutd: live animated, sd aburact — How t develop ad bash 3 sory ban — TV terms ~ How many panels in “talking” soy boand —ataking thre eptatecomuetial (ons one "Timing = Flip cas Contrast of tales ~ Pietoring the sponser preiuct ~ Lewering for TV — Layout — Crenting diferent nds of characters for TV — Casting live characters — How to Simplify characters — Figure detail nn ncton ~ Rendering the star and the supporting cst ~ Sve of character and related objects — Story emphasis Relacg characters to background,The Founding Faculty of the Famous Artists SchoolsCommercial art and illustration Man drew pictures hefore he learned to write! Before you begin your Course in Commercial Are and Tustin that you become acquainted with the origin and development of pictures. So, lets go back many thousands of years to pre Historie times, when the art of picture saking began, ‘The oldest pictures that we know of are found in caves in western Europe, They were printed by men of the Stone Age ‘These early men were hunters, and most oftheir pltures are of wild animals sich asthe reindeer, bison, and wild horse. Many (ofthe animals are shown perce by arrows, which suggests that the pictures were intended bring the hunters luck in the chase. The people of the Stone Age had not leaned to waite yet but alteady they could make drawings that, though si pile, were realistic and fll of vigor and meaning. Tn time, man moved aay from the life of the hunter and learned oll the feds, Keep domestic snimaly, ane build towns and eles He began to write now, and the ft letters he formed ‘were actualy pitutes of object, at Chinese writing sil isto day. As man’s knowledge, experience, and materials improved, his ar, too, roe wo a higher level His pictures were executed with remarkable shill thelr colors were rich and varied, and so-were their styles and vechniques. Ar was sed ta record event and human experience, to communicate ideas and influence people. Through pictures we can study the entre history and progress of mankind, from ancient times down to today. For art ica universal language tha is much the same in every dime ed place In our own day the tole of at has groven in scope an impor. ‘anc, The development of modern techniques of reproduction printing snd transportation now makes it ponble to distribute 4 vinal menage to anywhere inthe workin x mater of daye for even hours. And so, art has become a more powerful un versal language than ever before. As in the past, however, is ability to communicate teas and to influence people sll de. pends on the sil and creative talent of the welersined artis. “Today adverdsng ax and illustration have become a common visual language familar to the people of a large part of the ‘world, From the turn of the century, atleast as lar 38 America is concerned, commercial art has become part of every fact of fur life. The story illustration ~ the advertising pieure the billboard ~ the window and counter digplay ~ the calendar and the magazine cove illustration — the greeting cad and the mai {ng brochure ~ the lst seems endles area source of informa: tion or plessore to millions and millions of American, Piceues ply the se roe in our contact with the rest of the world, with peoples wito do not understand our spoken or written language “uc who most certainly understand our pictures, ‘The common ingredient ofall good pictues is their quality of, communication, Its your intention to ear your living akan ttt, then you must consider yoursl! inthe feld of commun cation, ‘The reason for using picures in every advertising oF citorial efforts to sell goods or an idea. Commercial arti 2 Dusnes, pare of 2 toial selling effort 3 commodity, it yon will bought for money —to be wed in turn by its purchaser {fo make money. To achieve its purpose, it must communicate Clearly and effeaively. “The wellrained artist (and he muse be well trained) who femers this fleld of art, with iis special rewards of fmancal security, steady work, and the satisfaction of seeing his pictures reproduced, often nationally, must take on vertin obligations Fits he must develop a sincere and healthy philosophy towara the ise of his at. Second, he must realie that the buyers {nterest in art Yor its own sake i secondary t his interest in is We to support his sling or communications effort. Third, he ‘must lear about people his clients adience and its reactions {oat forms and symbols And finally, accepting these considera: tions, he must produce good pitures that will not only reflect his own personality as a sincere atst— but will luo deliver his lien’ message in a picture language that his audience wil nd ‘convincing and easy t9 understand You must be a good artist ‘You ate thing ths Course because you want to make a career for a least a parttime eateer 8am artis 4 commercial ar Jac ~ an listator a designer an art director ~oF perhaps you want to bea fashion artist or create art for television. No- iatter which area of art you eventually embrace, you must firs ofall hecome a good artist, To do this you are about t0| start on a course of training a seriovs and demanding pro- ram of learning Learning and teaching are a joint ellort. We eam teach you Dut you must do the learning. What you get from your Course will depend on how imuch you give 0 iin dedication, energy and, most of al, sltixeipline This matter of aieipline will be your greatest challenge forthe duration ofthis Coure. If you ‘an make good use of your time and effort, and if you have even 2 small amount of talent and intelligence we ean make you 3 fine craftsman. If you ean further add to this 4 strong habit of| observation and creative curiosity, you may then become 3 eal fri in all that che word epi ‘We will cach you the traditional principles of drawing and painting which artists have developed over the centuries and handed oven tows. We believe deeply that these fundamental artise troths and techniques are the basic language and archi tecture of all sound pica making. You must leur and yespect ‘them i you hope to produce are that carries conviction. ‘Aller you have mastered the principles of drawing, form, composition, painting techniques, and all the other pects of Your traning, it ie our sincere hope that you will se your Knowledge and skill to investigate many contemporary andFomous Aris Cours Introduction ‘rignal approaches o your art. ‘The most eeative ats have allays been those with open minds an inquisitive attitude, and senuitivty tothe constant changes going’on in art~ the new fart forms and new ideas that are the vitality of contemporary lure making and design ‘Everything you lesen in your training will be important t0 you, no matter in hat Geld of commercial art you eventually Specialize. Asan illustrator ot advertising arti, you will need all of the ails und Knewledge you acquire in your Course. As designer, your knowledge of deacing, form, composition, and techniques willbe just as important if your desgas are to com tmunicate and have menting. Ax an art director responsible for designing the whole concept ofthe printed page and buying is art for your clients, you will have equal use for everything You Tearn. And the same will apply if you enter the fel of fasion art or television —if you ate to achieve a real degre of success. Even if you eventually turn to photography — with a amera as your madium of expresion ~ your knowledge of art and all the principles of composition, form, light, shade, and texture will make the diflerence between photographs that are mere recordings of nature and photographs that are work ofa. ‘Your Course in Commercial Ar and illstration was planned, ‘writen, and illsteated, a i conducted by men who ate ree ‘zed as the leaders in every area ofthe Feld today — in adver tising an, ilostration, design, fashion and television art. Their ‘work appears constantly im all the current magazines, news papers and on television —for major asignments of publishers and advertisers. They have proved by ther own vichprotesion al eareers that they know the what, why, and how of making cessful pictures leis our sincere conviction tha the proper way t0 teach and study the art of making pictures is with pietres, Accordingly, wwe hae followed the most modern methods of viwal educston in designing and writing the Course. There are thousands of clear, explanatory ep-by step photographs, diagram drawings, tnd paintings in your textbooks, so that you can quickly under stand and absorb what the members of your Faculty are trying to teach you. The instructions ae simple iret, and always to the point all the traditional ponderous clichés about art all the irelevant theories, have been left out "This is the first time in the history of art teaching that sud ‘course of traning has been made available by such eminently qualified teachers First things come first Please remember that you did not learn to write words until you fra learned to make and understand the leters ofthe alphabet, nd you did not write 3 composition until yu Bt knew eat the words meant only then could you arrange them to make understandable thoughts Similarly, you cannot make good picwres unl you have a slid grasp of the eventials of a. "Fre things come frst, Remember that we eho are teaching you know from many, many yeas of experience what is neces: fury for you to know before you cam hope to become a sacessl artist AI the things we will each you in the seceding lessons Of this Gourse ae absolutely necesary for you to master before you can become an able advertising artist illustrator, or designer. Tn every lewon of your training yo wil be given specie in structions and controlled exercises and asignments. However, tno time dung the entire Cure do we want you to fel that wwe are ying to control your creative or artistic talent. This ‘un come from within yourelt, We ate simply trying to give You the guidance, the tos, the training and the knowledge you Sl ed eho your rears Geese predace yor ewe Tine pctes, Our responsibility—and yours In starting this Course with dhe Famous Artists Schools ou have commited youself wy an at student co our care, teaching, ard fuidance. We feel very keenly this responsiblity and we will do verthing we can to help you to succeed in your chen Be All chrough your traning you wll receive sincere, nvia attention from artn-instructors who are specialise in every [hase of the work you do and send in for etic. We willy In every way to make you fel that we ae clo to ou a tac ers—and that your art problems are ours. Cetlans and iradings wil be given in afar, direct, and honest manner. We ll not atempe at any time to soften a xtc just because te do not wit to hurt your feelings Ie would do you no good tse id no ell you te rth It in our leer 0 yo, we may times ser severe it ionly because we are ring wo teach you not endl you I is quite dificult to get the friendship and warmth of clo persons! contact into letter ~but peste be Tieve dae fi always there Te would be quite simple and easy for-us to constantly “Your work is good” —and sve ourselves lot of time and cffors And you mould dink, "What nice people they ae” We ‘ut all however be hones and realise {f we wish to advance ‘We have taken on the responsibility of teaching you, and we expect you to do your fll share of the lering, If your work deserves pra, we wil eertainly enjoy giving itt you Commercial art and illustration can be the most ststying and lucrative of careers. Ica alwys bea great please and Satisfaction to you. There i no Eller life than that of the artist ‘who ~througl his knowledge, raining, and creative a produces, on blank paper oF canvas, pictures forthe word to mire al enjoy, But donot conse Yourself about beng that ci now emo ke many, many long hours and months nd yeas of hard work, guidance, and taining Only you~ the artist ~ can be responsible for your own sue ‘ese We can teach and guide you in the right rection, We ‘rant to be your trusted fends and counselors but please donot Tonge one thing above all you and only you, with your own sincere seelixcipine, dedication, and elo, can make youreFamous Artists Course Introduction an artis For, in the end, you will be your own best teacher ‘Start to teach yoursell now by lesning to look st and see ‘everything about you with a hen, observant eye. Thowghthaly ‘amine the pictare in the magasines and nempaper. Study the endless parade of people andl visual ideas on television, Ex: Amine with an open mind everthing that i designed. and printed. Styles in art and design change constant, By being Alert and inquisitive and semitive to these constant changes and rnew trends going on about you, ys will always be creatively aware and up to date in regard to new directions and exper tents in art. Every suecesfl artist wil tell you this same story. There is no other key the wll open the door to your succes How good is your School? Every ance in a while someone asks us, “How good is your School?" Our anower is usually the same! “As good as ours dents make us” Perhaps this sce ike a cal answer. tit Lets consider thonghtflly: What does make 1 good school? Fine teachers? Of course, A sound taining program? Yes. Ob jectives of the highew character, and ineriy ward lenis? Very important. Yer how good are all thew fine axes Without sidents who take advantage ofthe? A school can bring toa student the finest courses of learning and philosophies of teaching. Tecan place at his disposal the Ptormarr Hockuell~ ii jer Cte 42 (Robert Fawcett) GPL best teachers. But unless the student matches thee advantages with an ingustive mind, willingness to learn, and the had work and dedication that have aways been requisite for sic es in any field, neither the student nor the school benef, ‘We have seen many awell-headed “genius” ful of self-esteem who took their talents for granted and felt no obligation to develop their gilts Uough study and investigation, These peo- ple make any school look bad. On the other hand, we know of Countless people who, with juse a modicum of talent — but a good deal of ambition, intative, and capacity for had work — have become highly succesful artis. These are the people who make your Schoo! look good ‘We can with pardonable pride remind you that your School 4 the best offs kind anywhere in the world. We have earned the respect and seyard of lading art scholars and authorities in America. More than ewo hundred universities and residence art schools have placed at the disposal of their teachers and Students alike the same textbooks you us. Viewally every major magazine, art journal and newspaper have waite editorially shout your School its distinguished guiding faculties, its teachers its teaching methods, and its sucessful students Tn spite of all this, you will sill get from your asociation with us no more and no let than you put into it. You, in the final assent, will make your Famous Artist Schools a poor school ora good school ~ and youselfa medicer or good artis. bles Dae ancy Seater “Perea, wetcr _ Sian Sehante— Cee Sm~zzs Act aii AcBenr BORNEamour As Cours Introduction How to study and practice ‘The twenty-four lesions ofthis Course ate designed to carry you step by step leson by lewon, through every phase of ar know Tee and technique necessary forthe eration of sound pictures find dag The quality f yo sehieuement by the me you Rave completed this Course will depend upon you an upon the mount ol sincere practice and stud you have put into your work. ‘More than once in the next months you will become im patient You will want to sare working on subjects discussed Ji iesons much more advanced than the one asigned you at the moment. You'll say "Thove later esons look so interesting!” ‘They ae interesting —and we want 10 see you do a good job with chem Therefore, se advise you to be patient. From our pst experience in developing even the most talented students twe Anow that “rst things come fis.” “The fst sep when you begin # new lesion is wo read the lesion through from beginning 10 end, studying the drawings ind teat very carefully. Then retady the lesson 26 much and th often as necesary to make sure you understand every pont. The fst lessons are among the mon important ofthe entre Gann They teach you the fundamentals on which dhe more falvanced traning is based They are so important that you mun understand them well. Ir you do you will fnd the later Tetons easier, an your artic developrent willbe faster and sounder. Each succeeding lewon will be more interesting than the lat. More ane more you willbe drawing upon your creative tatents as you learn how to make beter and beter pictues. But —pleae take our word for it~ the first few lesons are the ‘most important in the entre Course Your assignments With each leson you will be given an assignment It will have two pars. The fist part wil ontine problems to “study and practice” These problems have been designed to help you un ferstand the teaching principles ofthe lesion and gain skill tlrawing. Iisa minimum outine. You should do as much add tional work a6 posible becaive you learn to draw only by trawing, This practice work is not to be sent in for criticism. “The second part ofthe assignment describes the specific draw: ings which you ate to snd in to the Sehool for constructive faitcism and grading, These deawings will show ws how well {you have understood and learned the subject of the leson. Do the amigned work as carefully a8 you ean ina reasonable length fof time, but don't be diappoimed if you fail 19 tum out masterpieces” You havent ad the necessary taining yet, and wwe do not expeet that your pictures at cis stage will be as Ices at you might wish Don't labor too long over one assignment. We are here 10 help you. We can be of most help to you when we see your ‘work Then we ea el you what you have dane well and where ou should try to make improvernents—and show you ow to make them. How your work will be criticized As you begin your Course important that yu understand how we will judge and crtcze your lesion asignments ‘One of the great advantages of our teaching method i the face that we make a dret, personal, and objective appraisal of your werk as an individual We judge your work and pktres, Tor only af at teachers, but ako ike the at director, who nows the kinds of pictures the general public responds to and advertisers and editors buy Tm elticring every one of your auignments we will pay closest attention to your control of che subject taught in that pantcular ewon. We will also expect you to show that you Lindersand and have remembered snd applied what you studied in previous lesions. We will nor aitieze you for werkneses in subjects which you have noe yet studied in the Course At times you may recive a ertlsm that you consider unfair. For example, if we sy that your drawing seems to have been done without sfcient preliminary study, you may be upset Probably you spent a 10 of time i preliminary work before making the finshed pieure. However, the important considers tion is how you spent cat time. In other words, are the benefits fof your earlier lesions and preliminary drawings celled in Your finshed work? Remember that all we can jodge i+ what tee see In your fnal pictures ‘You should not be too worried if you do not master immedi suely all he things you study. As you may know, in learning 1 Araw there are two meps. The fst step isto gin a thorough rnderstanding of the problem. The seca step isco tain your [Emel to pron paper what you have leaned. This second sep requites pracce and time. You will fad that many of the techniques you sty in this Course will noc ef fall value tinil you have learned, after Tong practice, to apply them instinctively ‘We hope to do two things when we cri your assignments, First, we want to point out what you have done wel, Second, we ‘wan to show you what you have not done well. Often we ill Talk more about your mistakes than about the things you have tlone sucesflly. This iss it should be. There isn't great deal we need say about your atrong points after we have noted thom Teis different with your weaknesses. We must point them tout to you ad show you how you cam correct them ‘When you have Finished this Course, you will be on your own, like all profesional artis. Your ultimate success will ‘cyend to + large extent on your ability to see the weakneses in your pictures and correct them. Always try to look at your Cawings ay objectively as posible. Tmagine that you are et: tiisng the work of another artst—and be firm in your critic.Famous Ass Couns Introduction How your work will be graded When grading your drawings. we will purposely reserve the Ihghest marks for very exceptional work. We know you ae se ‘ous in studying this Course and want ans honest and fair ap rote of our picture Te would not be te your ndvemage ic Cea you by ving you higher gras than you deste. You ‘must learn to take oor mgestions nthe spine in whieh they ae given, remembering that our only desire isto help you. ‘Wewil grad your sigoments as fllows A~ Excellent B— Above average. €_ Average D— Below everage ‘To get the most out of your Coure you must study and pr tice af much and regularly as you can. So, set-up 8 Work Schedule far yourselt and wick to it We know from experience thit vome students work faster thn others and some can give more dime o thelr studies, On the other hand, your lesons are not all equally dieu. For ‘hae matter, a Teton you thought eaty might be quite hard for someone ee, and vice versa. There sx no absolute standard of progres. All we ak is that you discipline yourself and. work Consistently. When you mis a day, ery to make it up by spend ing extra time at your studies the next day. Your work periods shold become a pleasant habit Do not work for speed work for good rele, Speed will come naturally after you have aequited the knowledge and Skill chat only practice can give you. You will find that it ix ‘Comparatively etsy to understand what should be done, but very much harder todo it Theory is ane thing. practical application ic quite diferent. You must be patient, working slowly and carefully, that you can tain your hand uo accomplish exactly the results you want to get. Drawing ie fret of all's physical activity, just lke playing tennis or gll. A good tennis player spends hours, day after day, practicing his serve, his backhand, atthe other baie motions that he must master to play a serious match. ‘The ambitious golfer practices hissing thowsnds of times. ying to make fach motion more perfect than the lat. Tn the same way the arte must spend hours and days learning to work with pencil, pet, and brash Remember, however, that prctie will not produce the de sited result unless you are canstanuly eiical of what you ate doing, You have heard of golers who tsaght themselves to py, but found they could achieve only a limited amount of succes, When they began studying with a pro, they had to begin all over again by unlearaing the bad! habits they had acquired through Yeats of unwutored playing, And it was harder to unlearm the bad habits than i¢ wold have been to establish good habits from the stat. ‘Therelore, work slowly at fst thinking constantly of what you are doing, trying always 19 come closer to the ideal. With very line of the pencil or pen, every stroke of the brush, you will be developing facility “even though you may not realize it Gradually you willbe able to work faster and with surance 45 you gain greater technical control. At the sme time you will be establishing good habits, which wil be your sox valuable posession throughout the rest of your lie ‘When you send in your finished drawings to the School, be sure to follow the mailing instructions om the assignment sheet. ‘Send to the School for eric and grading only those draw. ings specified in che asignment. Do not send in practice work rere Sketching There is no substitute fr drawing from lie and nature. You learn wo draw by drawing, 50 develop the habit of sketching {Gary sketchbook with you a all times one that wil tin your pocket. You wil find numerous opportunities throughout {he day for observing and recoding rich material whieh will eventually be useful in making your pictures. Lear to make hick sketches of auttudes, characters of every description, ‘estures and facial expressions Its equally Important wo note the imeresting objects which surround you on every hand ‘There is no end to the marvelous wealth of pture material around you. Get— and heep the wonderful sketchbook habit You'l never regret i Commercial jobs while studying Te is quite likely that you may have opportunites, while study ing your Course, to do commercial jobs for local tradesmen, stotes newspapes and exgaizations jobs for which you can ‘expect to be paid. These are fine opportunites, and natrally you will want co make good in a “profesional” manner. After Al experience i the greatest of teachers tat any tine during your period of study you receive sich jobs and you have not advanced in your Cours to the point ‘here the problems involved have been covered, write us about ‘hem. You may make a rough layout sketch of your Jb aig rent on 4 sheet of paper measuring 8} by 1 inches. Around your sketch make noter~ as shown Below —explaining where Youre fie, Fold up this sketch insert iin an ordinary Teer envelope, and send 10 the School by Brats al Be sure to adres itt the Instruction Department, and make certain that your name and adres are on the sheet. We will then be glad to help you work out your problem from a pro: fesiona point of view ‘When Jou deliver your fst jos eo your client, he may not think chem quite at good st you do. Remember, he is paying for them. He is entitled to pictures that be fete will ll Ki product or deliver his message to his public If you mee some tisgppointments— and you wil ~ do not be dicouraged. Ofer to do your drawings over to is satisfaction. You wil do better the next ime. Jus remember tha all ees artists have gone though the same “growing pains.” Including all the members of your Faulty10 Fomous Arias Coun Introduction The artist's studio “The very ist née of the artist fa “studio” oF permanent work ing space. Find a welHighted comer in your home where you fan draw at any time—day ae evening — without being di turbed. Your whole “sudo” need not take up an area more than five feet by five feet. Correct lighting Having the proper light is very important. If posible, che win dow you select to work by should face north sce this provides the steadies light, However, this is not ewental. your window faces another diction and the sin becomes problem, the Tight can be controlled by window shades. For working at night fron dark days itis an excelent idea to atach a Rluorecent {esi light to the top of your drawing table. Or you can put up ‘swinging bracket light on the side of your window sash, I these lights are not avaiable, an ordinary loor or bridge lamp ‘witha bright lb (at least 180 wats) will do very well "The ania light should be placed so that i will come from ‘he come dieeton a yur daplight- All lit should come di rectly om your lle i you are rihthanded (or directly from your right, you are lee tanded). hie very important, ince tat you ate doing most have the full value of te light. Avoid having your hand or boy throw shadows on your work, Drawing board or drawing table You should make all of your drawings on either 2 drawing board or drawing table, Standard. drawing boards come in various sis They ae usually about theeequartrs of an inch thick and have a south surlace, There are several good meth tls of working. One js to se the drawing board in your lap, esting ie at an angle on the edge of an ordinary able about the site used in the kitchen, You will have room on the rest ofthe table lor your working materials Another good method isto prop up the drawing board of the table by placing books fr similar objects under the back of it. ‘The third and best tnethod isto work on the adjustable type of drawing table ted by profesional ari A tabouret or stall table about thirey inches high, posubly with drawers init, makes an ex fellene sand and storage apace for material ‘Some artists cover their drawing table with a sheet of smoot dark green or gray cardboard. (Porterboard), This provides a firm, even drawing surtae, absorbs any glare from overhead Tights, and makes ie easier on their ejes- The protective card board caver wil als help preserve the surface of the drawing fable. Don't cut paper or illustration board directly on your fable. Do your extting on od pad backs or cardboard. Tin wd tothe raving board oF able and tabouret, there are number of other items which you wil find useful in your Study and work, A mirror —the lager the beter ~ canbe areal help. A three panel mirror from an old reser or vanity Is par ticularly useful because it enables you to be your own model and view yoursell in profile or even from the rear: "You may alo Gnd ft helpfl to hang or nai a bulletin board (piece of thick, soft compresed Gberboard isan inexpensive sabetitae) on the wall diteely in front of your drawing su face: On this board you eat tack photos or other material you ned for relerence 38 you draw. A wastebasket is also important pe sure to have one handy forthe work that you discard A god: logial arrangement of your tools and equipment can save you lou of wasted motion. Arrange your drawing table, {abouret and other materials 0 tat whatever you need i with: in easy reach, Know where everything is so that you need not Mop wotk to hunt for what you want next. Do the best you can to make your audio setup convenient and comfortable, but don't waste any time or energy worrying over the fact that it is not perfect” Many fine drawings and paintings have been rene under circumstances that were far From ideal. ‘The im portant thing isto use your Rome studio 28 much and as oftenFemous Ariss Course Introduction N Observation AA hrouth your Course we will vein yon af she philowophy "See — observe remember,” Ifyou really understand the mean ing of these thee words and lea to apply them you will hare accomplished a grea deal toward becoming a good aris, ‘When the average mam looks ¢ something, he atually "ees very litle: He uses his eyer to identity objects, but that is usually as far as his cuvionity takes im. For this reason, he lives in a world of limited observation. Te isa simple world made up of visual ideas like “wee,” “gir” “howe” “car "sas" "res," “horse,” ec. Suppose this man takes an after: oon walk. He may remember tuning into all these visual ideas; but since he dit not observe them carefully, he usually fannot recall quite what they were ike. AN him 9 describe the house he didn't notice, What was the iel wearing? Can't remember. Was the horse a work hotse or totter? Must be 2 work howse—ie was on farm, "The chil quality ofthe aries his insatiable visual curiosity, an artist ook that same walk, he would come back brimming with visual information. Not only would he have a clear visa Picture in his mind of each object and its setting, and its de- he would also be able to “see” in his minds eye just what all chese things really looket Tike Your ability o observe — to focus on what is ignfcame and fix itin your memory wil, without any question, be one of your most important awets as an arts. Tis the one abiliey ‘which can help you 10 remember, to beep forever the things you have focused your attention on: objects — form —lght and Sinde cara expresso af joy and Tow ~ he mate al for your pictures ‘Observation is the ability to see and! mentally record. with feeling and understanding not ony the grand al the smasual but the seemingly unimportant, commonplace things all about you~ things which the untrained eye mises. t enables you to recognize and select the lide things that ae really the big things. It isthe heset of the ability to yepore and recon, AMT reat writers reporters, and artists show this ability to a marked Agee in the work Succes in at ir not alone the result of fine craftsmanship or academie knosledge acquired over years of taining and work ‘To this must he added the developed sense of observation that gules you to select the “vight” subject to paint, the “righ types to draw, the “ighe" composition, the "right" color = to choose what you ean use, and reject what isnot needed Don't get the idea that a sense of observation it some myster: ious quality posesed by only a few “blesed™ people, Nothing could be further from the truth, Observation fin fact, de finite ability hae ome aequies through constant and deliberate application and self raining "The most important method for this training i to remember always o "see" everything you look at. Night and day = no sate fer where you are or what you ate doing ~ work st developing aes the sense of awarenes of everthing nbowt you, Don's jut ook av that sunset or that nie old barn. Study them. Remember their color, their shape and forms. This i observation! What color and shape isthe sofa in your living room? What is that characteristic gesture of your bows or friend? What Is the view from your window? Lestn to ate these things in your mind's eye. This is observation! Don't just flip casually through picture magazines or look at the show on the television seen merely to be emtertsined Observe the details of the figutes, their actions and character, their mannerisms and gestures — backgrounds ~ objects. Think about them ~ and commie chem to memory. This i observation! Good observation isthe frit nd most esential sep to good drawing and painting, Throughout your Course we shall em- phasie this ability and show you how to develop it—for only When you observe an object discerningly can you recreate i in 4 plete that viewers ill nd convincing and meaning Recording your observations While our motto or creed, se, observe. remember, is one of the ‘most important chings we can teach yu, this doesnot mean that you an posibly commit everything you see to memory ~oF raw entirely from memory. It ean simply thot you should tusin your eye and mind so what when you do make your pic ‘ures ou will be aware of and Slee the right things to draw — and recognize the nonessential which should be left out In alton to seeing, observing, and remembering, you will need to develop variety of sources of infortation so you can produce pictures which ate authentic as wel as atti ‘Whenever pesible, make a personal inspection of any object for location you plan to vse im picture, Try to do this even ityou have a photograph Your picture will be more conv iyou can see and understand the rea thing. When you a handle an object you vill understand its purpose and. aol embarrassing inaccuracies and mistakes in drawing. Hf ou {do not understand the thing get someone to explain it to you, Your sketchbook. There is no substitute for drawing from {rom lite=your sketchbook should be your constant companion. Sketching an objector scene will force you to observe tore intensely and, later, sehen you review your sketches they wil recall many things to your tnd hat otherwise might be los. Make sketches and notes of things you see which inspite you and give you the urge to paint them. Carty your sketchbook ‘with You wherever you go —-and ve ie Your camera. This isa wondertul aid in reconting your ‘byervations. Whether you are taking pictures on a vacation ip oF in familiar surtoundings, you cam gather much informa tion and many picture ideas with your eamera, When you stanly these phoros they will refresh your memory about the things you have seen and the way you felt about them —they will mean more to you than photos taken by someone ee, cert2 Famous Arias Course Introduction Research makes the picture authentic Research i an important part of your work as an illustrator or designer, You must beable to find the information you need on lany subject you wish to dept, One picture you have wo do may fall for + peacock — another, a dueling pistol and costumes of ‘he 1820 another, am old mil et. Dont miss an opportunity todo something authentic and excicing merely because obit ing the material or the exact information to work from wil involve extra efor. Be prepared in advance co draw anything. ‘Otten friend or even casual acquaintance will know where you can locate the object you want. Make it a habit to joe down the name of your neighbor whose basement resembles a cata comb, the barber who collects wuld animal, the location of that weeping willow. Perhaps a fiend has an unusual house plant or porch chai Maske notes of auch things for your fs “Time docs not always permit you to locate each Qhing and study it Sirsthand, however, and you muse rely to large extent ‘information Irom sources sich as books and photographs Reference books. tart library of reference books on such subjects as bids, animal, contumes and other things that are Tikely to appear in your picwres. Add to this as your Budget permits, Many sstol pictures of objects cat be found in mall: onder cntalogues and eneyclopedis ‘Your public brary isa wonderful wurce for reference mate tial. Ie vill have a numberof hooks on amon every subject ad thus gives you a wide choice to refer to. Being familiar with the books on subject also gives you a beter reference back: {round from which to select hooks for your own library. Your public Hbrary probably has many outof print books, costly Feference volumes, and assorted magazines. Many Hbrares also Ihave fer of pictures, “Serap” file, You must develop a clasied file of picture liping tome magutnes, newspapers cali Books ar imany other source This fle iv ealled = picture “morgue” or "yerap” i, Making such ae ea time-consuming job, but you willbe surprised at how much you wail lear from this activiey tnd wht a marvelous dinesaver i will become for you. In a= tion to being an excellent source of information, your ile will be a rich source of picture ideas. You should start one a soon 2 you can, and you must always be adding to it. Tt will be one ‘OF your mont valuable anes asa working ats. The activity of selecting the pictures to include in your refer cence “morgue” can become a fine means for developing your tense of observation. In the usual process of looking through magazines, books, or other printed material that contains pic tures, the average person is just casual viewer— the pictures pss by, one by one, im 3 constant parade: they are-merely Feoondings of things and places But when you, the arts, go {rough these publications with x denice purpose in mind, its {quite dfleren. ‘The simple fact that you ate considering each Pleture fora specific place or category in your morgue, of in {elatioaship to Your work, heightens you interes in te picture tnd the subject enormously. In order to decide whether ie wil be useful to you, you study for a few seconds a picture of 2 oouer of Hore an unusval aitade of 2 man in » photo esr a eter eee Dench —a western character ~ and they cannot help but be im prewelon your ensciows or even subconscious mind You have eelgrass fo to your neds asa arta, Inevitably you retain something fof ie that will help you develop your sense of observation Remember never to trace or copy anything exactly from your Ses. Use uhese pleures for Ideas and information, for getting the mood of the subject. ‘This type of Ble contains copyright material and copyright hows are rigidly enfored. Moreover, you ‘vant your istration tobe yours alone, not a fehash of some thing done by someone ele How to start your “scrap” file YYour picture file i sel only i fs Kept in an ondely way The tem we describe hee cane sated ite simply, but also can be expanded easily co incule any additional clase tions you need in years to come Here are the materials you need and advice on how to go shout avembling and clasiying your pictrex The cabinet. A fourdrawer see Bling cabinet f ideal. The drawers should work easly but it need not be the expensive "uspenion eye fie or haves lock. I shouldbe letr sve rather than the lage or legal sre, as there is Kile advantage inthe Tater and itcoste more. Ifyou do not wish to uy a ste le a fr get the onedrawer, corugatedboatd type KNOWN 38 8 transfer fle—or you can sare with something as simple as a ‘wooden box or even a orate crate he folders. They shold be letter ie and have tbs onthe top to show what each folder contains. The mont wel i tabs are “thint cut” tabs, lke those shown on page H, The folders cme in bones of one hundred. Get heanyweight folders amd up Deter. ss. Although you can handlewer directly on he tubs ofthe folders, gamed labels are desirable because they fan be typed and renewed when necessary. ‘The tools. A knife of the ruorblade type, such as & mat Ian, s est fr entting clippings A heavier baile ora stew: driver is handy for remening the naples in magazines in onder thatthe entire pags cam be taken out without tearing. A ange par of seisors is goo for clipping newspapers. A cutng board Sch asa Masonite panel wil ave your drawing board when {you use your knife, Date your clipped sheets witha rubber date Samper so that later you will Know what yea a particular des, ‘ar, or other product was in se. A sponge moistener will ave you the bother of liking the fume! labels for the tbs Piture sources. Magusines, books and newspapers are your pictur wurces Almost any magarine containing photographs is ‘worth clipping. The Best ones, of course, are che picture maga Zines, dhe home and garden, fashion an travel publications IYou file magazines widhout elipping and rely on the publishers Index or your memory. you will waste some of your most tac ‘material. Always clip magarines Many cheap and otherwise \worthles books slo would be more wt 49 you it you clippe the pictures Newspapers are source for sich subjects as tut rent event, fashions, auto accident, sports, nd counts other eae c, basement, and closets, and those of your friends val yeh ennghmoecincs oar le In many ces here tre shops which bale Back ive of tapings at lover yarnent howe sperintndens Clipping. Star by taking the mgatne apart Pry ont the saplerso that de page cnt be removed without teniog. Some pictures wll be to le for your folders Tn mich xc od {hem wh the pre de oust you wt ca away any scipeve texto the copion dow net Hendy he pcre Yon bavel One werd uth a "Mecieo™ or "Visors." ay thie Dat cack pete with bash ea an month ‘a What to elip. Clip ales everything — not every picture, but every subject. Vou will not be imerested in every Subjectyou clip when you clip it. but you wil be next month or next year ityou have tomake a pctue of i, Clip photograph rather than the work of another arts. You might make an exception, how fever, in the ease ofan arise whose technique oF point of view You admire, Most fasion plotograplis are Tes valuable for the fashions than for the chair used By the model of some other decorative note, Some photographs may sein too stall ot not sharp enough to he of value, but if you Took eloely you may find they are worth saving for some ‘eas they contain. Some intriguing pose, dramatic lighting eet or unusual scion may suggest 2 picture to you someday, Thus the fle is used. not only for relerence but also for ideas and for suggesting the mood for atmosphere for your parccular assignment. Inchnde in isle the names of people who ean give you in formation to make your pictues ting wue~ doctors, Horst, que dealers et. Use itas an orginal idea Ble, 00 place to Keep sketches and notes of things you have observed which Inspired you and gave yon the wnge to draw or paint them aK}4 Fomous Ariss Couns Introduction How to classify Good ing means potting your clippings away where you ean find dhem when you need them. The dea isto make the putting away and the finding simple a8 possible. ‘The chart on the ‘Opposite page shows x good ay wo clasify your material, At the start you will eed no more than ane folder for each general fubjece shown in Colum A. At your file continues growing, {you will have enough clippings to require further elmsifeation {sin Column By Then, when your folders become crowded, you twill want co relassily your clippings into the more specie sub- jects listed in Column C. Ax your individual requirements come more clearly defined, other tees will occur to you and you will ald to the lit. When a folder becomes too fat, always Teclaify never make two folders on the same subject. Forex Ample, intead of having two folders labeled “Dogs.” divide ‘Honting your dog clippings into brows or into. “Puppics! Doga’” “Sill Dogs” and “Lange Dog "You will notice that the method of ling sbown inthe ehart eeps al of the folders under one general subject together rites than having them satered in an unrelated way, a they ‘would be i all the subjects were Sled purely alphabetically. A fle whichis purely alphabetinl, with tnelated folders follow {ng eachother, might read, “Airplanes.” “Apes” “Art” —but thie would ignore one of the main functions ofthe file, which {o suggest ideas to you, For instance, you may be looking for “lowers” and see the nearby “Vines” folder, and it may occur to you that vines will sit your composition beuer than flowers. Filing suggestions. When you label your folders, on the fast, line put the subject le, ch as “Dance” of “Ballet.” and under tha the general classficiton sich as Exrextainsist. Fle our folded pictures with the fold up~ this makes them exser 10 leat through. Make ita habit ta le new pictues in one con ‘Sc ni i a slaent postion in the folder — either in front or back of the flder ones. Then you can locate more ely the pictures whieh {you recal filing recent, Do not perme pictues which you have Temoved from folders to lie stound unled. Ue longer you delay placing them where they belong. the more dificult the task wll be Tn Front ofeach general subject Reep folder Ibeled “To Be Filed," into which you can place pictures newly clipped or removed from the fle, This will Keep them accesible until you have time to casi them further. ‘While te subjects in Column C wil wally be Sled in alpha betcal order, there is no point in keeping the main divisions (Coluunas A and B) in that onder. is beter to consider what Your nec wil be and Keep the general subjects you use most Irete they willbe most acceible. If you use alo of, sy spots pictures, you wil want them in the cop drawer of your fi Sinuilaly ici wise to abandon alphabetieal order occasionally in Golumnn C. For instance, with Roows, you might place “Liv ing Rooms" in front simply because tis used most often, and Poveder Rooms” next to “Bedrooms” because they are closely related ‘Numbering. When your fle grows quite large you will find cesses replace picties al folders if you give a key number to each subject in Column B and Column C of the chart, and ls number each folder and picture accordingly. For example, the folder om feplaces might be labeled "22 Interior, Fie pices, Hovsin.” Ifyou later reclanily Breplaes into several folders by ‘pes you simply keep the mumber 22 and add a Teter for each folder, a8 222, 2, 2, ete. I'you write the num: ber of the far on each pitute in it (as 22, above), you will be able to replace the plcie easily hs pate swe po of Al Pas Yo wiFomous Ariss Course Introduction % Chart for Making a File Dope — Goh Cale — Co Se a ESS SS ae meataeani noe ea a ea oe ~ 2 isa [aS aes eee eee es ee ee restate Sees ——— ae ae Se ees a ie = womens Sea Se eon eriod | Arden — eh Cay & Bets — Tn Gay — Th Geta — WBA Going — Wk Gy — Gel res ee em — Wig — Wid —tonphor— te Miscellaneous [Art & Science. a Industey Tors & Off Famiog Foreign age Shen Gamera Miscollaneous Chr Cage — Soe — We ‘Sreet Scenes Miscellaneous Pepin16 pate ‘i a Ren Models, props, and photographs In the early eons ofthe Course you wil be leaning how t2 draw figures, heads, and hands so that they look real and have convincing setion, As you stay and practic, you must become increasingly observant of the people around you, You must apply what you ae learning to real people Model to study and fraw from ae readily available ~ your family, fiends, the man ft the fling station, the schoolboy next door —and yourself jn the mirror. Draw from live models every chance you get Most people wil be plessed and Hatered to pose for you and you wll be developing your powers of observation "As you draw from these wiodels you wil dicover the marvel fous variety of actions, manners, and expressions that the hhuman family i eapable of snd the deals chat make up difler- cent character types You will, of should be, tremendously im pressed by what you see— the sft ofthe frm, the graceful br forceful gesture throughout the Rue, the calm dignity of fn older person, ete.~and you should work to capture these thing in your drarng. You must think and fel as you draw = hot merely make a casual copy of what you se. You must learn fo select and emphasize the portant shapes and details and Clininate the uniportant and the wivia. Tes up t0 you to inerpret with meaning the sgaifeant things you see in the toel~ hose things which rally say something to the viewer. Much of your Course is devoted to teaching you hers todo this. Tnteligent we of models will help you to solve many probs tems in your illustrations the tle of « head, the drape of Clothing, the gesture of an arm, the way the light sikes the Forts, "The study of actual penple will give your work conviction and help you avoid the aif, lifeless poss chat often resul i you rely solely on your mentary Costumes and props eis «great help to pose yor models in costumes 26 cose as eos tothow you wil haw In your petre. Many ate Bild up collection of various apes of at, bots, cuts et to te In pong ther models You will noc alas have the fae aie yon nee bt i you choose am appropriate on fo give you te proper line ahd draping, you em make the ecesary change in your drawing withthe help of iaformaton Itom your reearch fle or elerence books "sta wth cots itr ale Bes owe ahentc props wo draw from. Keep » st of people you Know who have guns Stlfed animals, sporting equipment, or other props you are Tkely to need in Jour pleats You wil find wh most people ae lad to lp you Toate wh you ned (Ofcourse its Hot always pnb to find the ral article and you mest often eve iagination and ingenuity in making sb iutions. For instance ou may ave t9 pose your model on 2 Trwors othe bck fof instead of areal horse a bron ‘ickimy serve ta medieval lance in another picture a plastic Inodel say replace 4 real pistol. Most illustrators acquire an Sain collection of mixellneous ates to tse in hi a.Photographing the model Tis seldom practical to have models pote forthe log ours it ‘takes o produce a fnishe picture. Thi would be inconvenient and, in the case of profesional models, too expensive. Many artists use the camera to record the information they need from their models Alb, the camera can capture many actions, poses, and attnudes—both subtle and violent—that your model eo ‘ot Hol long enough tobe of any use to you. With the mera you can record the myriad details and Beedag expresons which OF course It is be to try t find 4 model who most nearly fits the type of person in your illustration, but this snot always posible You will find however, thi you can cteate many types From the same model, 24 we shall explain in detail gtr in the Course. In fact, you will probably pose for many of the cha. acters in your pletres yoursell, ‘When working with models you must e a srt of movie direc: tor wo ge the most from them, Sometimes it may be dificul at fuse 10 get a model to lowe his velecomscousnes and act the ‘are you want him to, bt you will nd that almost anyone fan pore effectively if given enough encouragement and the proper direction. The most important thing to Keep in mind ‘when posing a model is that you yourselt mst know what you want. Belore taking any picture you should make a number of Preliminary sketches to decide on the action, expression, mood, lighting, etc You should then thoroughly explain to the model what the picture situation is what he fe supposed to be doing what he is suppose to fee, Ie sa good ides to tke the pose yourself and show him wht ys mean. When you yourself "get Ino the at” it helps relieve the model's embarrassment and gets him into he spire of the thing, Don’t hesitate to tell joes Shout, ham ic up anything to get the poses you ned. Tt is Dest to take » number of petites foreach pose. You may find that in one the body gesture is good, another may have better ‘expression, or action in the hands. You can then get the in formation you need from the diferent shots Equipment You can start with whatever type of camera is available to you The reflex camera is popular with illustrators, and there are number of reasonably priced ones on the matket. The Polaroid [Land Camera is abo popula, produces picture ina min ute and you can see ietmediately if you have the information you need. Many top illutators use expensive cameras such a+ the Rolleex, Leiea, Gontax, oF Speed Graphic, but itis not recess, partiilary at the star. You can shoot many of your pictures ou of doors, being cate: fal to choose aime when the light i appropriate for the pic tures you wish. You wil find, however, tha you can comrol your lighte and shadows eter indoors acing artifical Tights, The sSmplese way to start is with two oF three reflector sype be They come in different types: "lod" for general lighting, “spot” for concentrated lighting, and “medium beam,” which inin between the two andl is the most wef in shooting # figures These bulbs on he used in simple lighting Rxtures such ab bridge lamps and dgsk amps, or you can purchase in expensive “campeon” lighting fixtures These are quite vert tile, as they canbe clamped ento a door or pice of furniture to place the light at the desired height, Ifyou wish to invest in tadio lighting equipment your camera sore can give you advice and literature on the Subject. Naturally, just as with ‘cameras, the more expensive equipment gives you more versati. ity and contro, but you can get excellent result with the simple equipment deseribed shove Lighting the model Keep your lighting as simple as pouible. Av a rule, you will Ihave one main light to ereate the desired Tights and shadows Move this light around until it gives you dhe efect you have Aecided on in your preliminary draseings. A second lin Hight placed near the eamera will help retain some detail in the she flow areas of the figure, Be sure that his light i not cose enough to the model to breakup dhe definite pattern of light and shade created by yor main light. An exception would be {your picture eas for some ype of tual or tricky ighing. ‘ight background behind the model will help retain detail around the outline ofthe fore. A lightcolored wal, screen, ‘or door i fine. IF your background is confused or cuctered you can use 2 white cardboard of bedshect. separate ight directed ‘onto the background fom beyond the model will eliminate "unwanted shadows there. Asa rule thi snot necesay, dhough. Working from photos ‘The way you eventually use models and the extent to which you use photography will depend on your own working habits and needs. Some artists preter not to we photograph at all, ‘except to authenticate technical details, Iaicapes etc, Others find photographs an extremely wsetul aid in producing thei Pictures Some take their own pitutes and do their on dark ‘oom work, while thers pay profesional photographer to take shots under thei direction. Norman Rockwell sone who hak all his photographic work done by someone elie. He feels thit this Teaves him fre to devote his entve attention to directing his models. Austin Brigg and Jon Whitcomb prefer to do theit ‘own photographic work. Harold Von Schunidt, on the other hand, does not photograph fie models at all. He draws and pint diectly fom life A word of advice “The camera is 2 welul servant ut it can abo be a very bad thing if you alow it w ecome your master. The purpose of the camera isto furnish you with information to stndy and select from, Don't make the serious mistake of thinking that tracing & photograph isa substitute for good drawing. Many an artist has lost hs creative individuality by becoming to depend ent on photographs, relying on them so much that he loses touch with the funlamentas of drawing and composition, A ways remember that before taking photos to help you with an iusration, you must compose and plan your picture sketch in just what ation and mood you want to portray, decide what lighting will be best wo accomplish this, et. Afer taking your photographs you must beable to use oF reject anything you we In them according o the needs of your picture. Throughout the (Coune you wll see eximples of how photographs should be used. Photographs can give you lots of tel information and save yow much ime but they don't create pictures ~ you da. Don't become a slave to them—a mere photograph tracer. Always remember, you —not the camera ~ are the arst. You Learn to draw by drawing noe ead Th this dacussion of ling, photography, contumes, et, We have touched on a numberof subjects that may not concern you Jmmedately. Our aim has been to give you a clear, complete Picture of the slo stp and working procedures of the pro- fessional artist ~ to urnish you with face you ean come Back ¢o ‘whenever you need them, ‘You ate now entering upon the study of x Course that you will nd both exciting and enriching. ‘This sime Course hat shown many serious tulentsbelore you the way to 4 happy, ‘reative career in are. We hope that it will do the sme for yo W73