AHDREW LOOMIS

A BOOK OF FUNDAMENTALS
FOR AN ARTISTIC CAREER
CONTENTS, INCLUDING ILLUSTRATIONS

AN OPENING CHAT 15

L THE APPROACII TO FIGURE DRAW1NC 21

Observe Your Surrouridings 22

The Ni ide as a Rasis 23

What Is Línc? 24

Beginners' Work 25

ILL U fíTKÀTlONS

Ideal Froportion, Mah 26

Ideal Froportion ,
Fcmale 27

Víif íoiw Standard# of Froportion 28

Ideal Propor tions at Various Age.v 29

The Fiat Diagram 30

The Fht Diagram 31

Quick Sel-tip of Propor tions 32

Propor tio tis h\j Ates and Head Units 33

Froportion ín Reíation to ihe Horizon 34

The John and Martj Frohlems 35

Finding Froportion at Amj S pot in Your Picture 36

"Hanging * Figures on the Horizon 37

We Re<nn
O to Drmv: First the Mannikin Frame 33

Mooement in the Mannikin Frame 39

Detaihi of ihe Mannikin Frame 40

with the Mannikin Frame 41

Outlines in Reíation to Sotid Farm 42

The Mannikin Figure 43

ILLUSTRATIONS

Adding Btdk to the Frame 44

Adding Perspective to the Solid Mannikin 45

Ares of Mov&ment in Perspective 46

FUicing the Mannikin at Any Spot or Levei 47

7
 CONTENTS. INCLUDING 1LLUSTRATIONS
Druiving the Mannikin from Any Viewpoint 48
Comhining Ares of Móvement icith the Box 49
Landmarks You Should Knotc 50
Landnutrks Y o u Shoiãd Knotc 5\
Sketching the Figure m Aetion from Inmginatkm 52
D rate Some of These, But Dratv Mamj of Your Own 53
The Fe inale Mannikin 54
Sketches 55
The Muh and Female Sk de tons 56

TT. THE BONES AND MUSCLES 57

Bcquivcmcnts of Successful Figure Drawing 58

ILLUSTRATIONS

I tn lortai it
j
B ot ies 59
M usclçs on the Front of the Figure 60
Muscles on the Back of the Figure 61
Aí usdes of the Arm „ Front Vietc 62

Muscles of the Arm, Varied V iet cs 03

M meles of the Leg y Front Vietc 04
Muscles of the Leg 7 Back and Side Vietc 65
Note Just Play icith What You Have Learned 66
Trtf Building Figures icithout Model or Coptj 67

II I. BLOCK FORMS, PLANES, EOllESIIORTENING, AND LIGHTING 68

Fureshorteniiig and Ligliling 69

ILLUSTRATIOKS

Black Forms Help to Develop Your Sense of Btdk 70

Feel Free to Jnucrií Your Own Blocks 71

II dw To Use an Art-Store Wooden Mannikin 72

Quick Sketches from the Wooden Mannikin

Foreshorteniwz
r? 74
Some Fen Sketches for Foreshortening í o

Flanes

Flanes i i

Lighting 7S

8
 CONTENTS, ÍNCLUDING ILLUSTRATIONS
Lighting 79
Simple Lighting on lhe Figure gg
T rue Modeling of Rounded F orn i
g [

IV. DRAWING THE LI VE FIGURE; METHODS OF FROCEDURE $2

ILLU5TRÀTIONS

Grouping Shadoto M asses 33

The Main Values Stated 34
T he Fwst S ta tement of Values 35
Frocedure 33
Procedam 37
The Visual-S urvcy Frocedure 33
Dratoíng from the Model 39

V. THE STÀNDING FIGURE 91

Variety in the Standing Füsc 92

ILLUSTH ATIONS

The*W eight on One Foot 93

Distributed Weight 94
The re Are Manij Waijs of Standing 95
Shattow Defines Farm gg
The Nmrly Fnmt Lighling 97
BuÜdíng from the Skeleton gg
Accenting the Fonn 99
Anatomtj Test Iqq

A Ty picai Froblcm 19 ]

VL THE FIGURE IN ACT1ÜN: TURNING AND TWISTING 103

ILLUSTRATIONS

T umíng and Twisting 194

Tumittg anã Twhting 195
Turning and Twisting 106
Turning and T wisUng 107
Turning and T ( visting 1 08

T urning and Twisting 109

'

Fenline and Fencil 110

9
 CONTENTS. 1NCLUDING ILLUSTRATIONS
A Cood Meihod for Nmvspaper Reproductíon
111
Çuick Sketvhing with Pen and Pencil
112
A Typical Problem
113

VIL FORWÀRD MOVEMENT: THE TIFPED LINE OF BALANCE

115
The Mechanics of Movement
116
1LLUSTHATIÜNS

Snapshots of Wfdkin g Poses

118
Snapshots of íxiirtning Pose#
119
The Tipped Line of Balance
120
S pringlike M o vem enl 121
Action Too Fast for the Eije
122
Twisted Forward Movement
123
Movement lleaã to Toe
124
Fast Movement
125
Push of the Back Leg
126
À Typical Problem -

127

VIII. BALANCE, RHYTHM, RENDERING

129
LLLUSTHATIONS

Balance

Balance
m
131
Tico Methods of Appraach
132
Defining Form wiih Just Tone and Accent
133
Stressing Construction
134
T wo Minute Studies
135
Rhtjthrn
136

Rhythm
137
ILLUSTRATIONS

Rhijthtn
138
Crossing Lines of Rhythm
139
Stceep
140
Relating One Contour to Another
141
Defining by Edges and Shadow without Outline
142
A Typical Problem
143

to
 CONTENTS, INCLUDING ILLUSTRATIONS
IX. THE KNEELING, CROUCIIINC, SITTING FIGURE 145

ILLUSTRATIONS

Crouching 146
The Ineompíete Statement May Be Interesting 147
Point Tech niq ue ] 48
PJanning a Pen Drawing 149
Kneelingand Siíftng 130
Kneeling and Twisting or Bending 151
Geiting Fuü Value Range with Ink and Pencil 152
1 nk and Pencü m C omhination 153

Pen Drawing 154

A^Lo&ser*’ Tteatment ]55
Fine Point Brush Drawing 156

A Ty p ícal Problem 1 57

X. THE RECLINING FIGURE 159

ILLUSTRATIONS

Sket eh es of Reclining Poses 160

Study 161
Coarse Graín Paper Studies ]64

Study in Foreshortening 165

Cemented Tissue Overlay, Spatter anã Brush Drawing 166
Pen Studies 168

A Ty picai Problem 169

XI. THE HE A D» HANDS, AND FEET 171

ILLUSTRATIONS

Head Building 172

Blocks and Planes 173

Bones and Aí uscles of the Head 174

The Mmcles in Light and Shadoiü 175
Fwtures 176
Setting the Features into the Head 177

Studies 178
Studies of Miss CP 179
Toung and Old 180
 CONTENTS, INCLUDING 1LLUSTRATIONS
Make Studies Like Tkese of Your FrietuU
181
Proportion of the Baby lleaâ
182
Babíj Heads
183
IScmds
184
Hands
185
The Tool
186

A Typical Problem
187

XII. THE COMPLETE FIGURE IN COSTUME 189

JLI^USTRATIONS

Dratv Figure, Then Costume

190
Clothing Studied fwm Life
101
Renâering Drapery
192
Oraw lhe Halftunes and Shadtnm 193
EUniinatkm and Subordímtion 194
Study from Life 195
Brush and Spatter Illustratkm 196

A Typícal Problem 197

CLOSING CHAT 199

How Artísts Work £00
Running Your Shidio 201
About Your Prices 202
liitroducing Yourself 203
Do It Your Way 204
 AN OPEN1NG CHAT
Dean Rkaiier:
For rnany years the need nf a further book on in diawiug bnt that he wishes from his toes up
lhe suhjeet of figure drawing has bccn appareut to bccome an eíficient and self-supportmg crafts-
to me. I have waitcd for sucli a book to appear ii iam I assume that the des iro to express your-
which could be recoirmnended to lhe many self with pen and penei l is not only urgent but
young artists ws th whoin I have come in coit- ahnost undeniable, and that vou fccl you mtt&ldo
tuuL Finally, I have come to the realization that .somethmg about it. 1 feel that tal out means Jittle

sueli a book, rcgardless of cmcs ability as an iin lcss coupled with an insatiable des ire to give
aulhor, eoiilcl be writleu oiilv
-
by a man actuallv
-> J
an cxcellent personal denionstration of ability,
m the field of com mer ciai art, who in his experi- 1 feel also that taleol miist be in compauy with
oncc had met and countered with the ac t uai a capacity for uni imite d eíforl, which proví des
problema that nnist Ih; clarified. I recall how the power that eventually hurdles the difficub
fvaiitkally, in the earlier days of niy own experi- ties that would fruslrate lukewarm enthnsiasm.
enee, I searchod for praetieal infonnatíoii that Let us try lo define that qualíty which makes
miglit lcnd a hélping hand ín makíng my work an art is t “tick.” Every bit of work hc does starts

marketable, Being in the not minsnal position out with the premise that it has a message, a pur-
of having to support imyself, it was the predica- pose, a job to cio. What is the most direct an&wer,
ment of having lo make good at art or being the simplest interpretation of that message hc
force d to tiirn to somethíug elso. can make? Stripping a subjeet to its barest and
Across th ís wide eonntry there are many t.sF most eífEcieiit esseutiak is a mental procedure.
you in that predieament You, also possesso d of Every inch of the surfaec of his work should be
that unaceountablc urge which seemingly comes considered as to whether it bears impor tant re-
from nowhere, want to speak the language of art, lationshíp to a whole purpose, He sees, and his
You love to draw, You wisli to tiraw welk If there picture tclls iis the importanee of what hc sccs
ís any chance, you greatly wish to make a living and how he feels about it. Then within his pic-
at it. Ferliaps I can heíp you. I sincercly hope so, ture lie stresses what is of greatest importanee,
for 1 thínk 1 have liveci through every minute and subordinates what must be there but is of
you are now living, Perhaps 1 can compile some lesser importanee. He wíll place his areaof great-
of the iufonriation that experienec tclls me you est çontrast about the head of the most im-
want and nced, I do iiot pretend to undervalue por tant eharaeter, He wiH seareh diligently for
the fine work that lias been donc; the difficulty means to make that çharacter express the emev
has always been in finding it and sorting out tion in facial express km and pose that is to be
wliat ís of praetieal value and putting it ínto Úie aíl impor tant theme. Hc: will first draw at-
practice, I believe that the greater chances of tention to that eharaeter, by every means avaib
sneeess ]íe in the mental approach to the work, able. In other words he plans and tíiinks, and
?

rather than ín sheer technical knowledge, and does not passívely aeoí.;pt simply l>e cause it ex-
síiiec the mental approach has not often been ists. Not far baek in the anuais of art the al^ilít)'

stressed, here lies the opportunity to serve you. to achieve just a lifelike appear ance miglit have
I not only assume that my reader is interested caused some wondér ín a speetator, enough to

15
 AN OPFJMING CHAT
capture his interest Today with color photog- and íorever seeldng enlightenment; couragc to
raphy and thc excellencc of the camera goiug devclop your way, but learning from the other
perhaps even further in that respect, we are sm> fellow; experimentation with your own ideas,
feitcd willi realism par cxcellence, imtll rncre observing for yoursdf, a rigíd discipline of
do-
lifeiikc representatíon is not eriough, There ia no ing o ver that whieb you can improve.
I ha ve
other course than somchow to go beyond ob- nevei found a book that stresse d the
importance
vioua fact to pertínent fact, to characterization, of myself as the caretaker of my abílity, of stay-
to the emotional and dramatíc, to selection and mg bealthy mentally and physically, or that gave
tastc, to simplifica Liou, subordination, and ac- me an ínkling that my couragc might be strained
centuation. It is tcn per cent how you draw, and to the utrnost. Pçrhaps that not the
is way Lo
ninety per cent what you draw. Equally defuhrig wi itc books, but I can see no harm in the author
everything witliin your picture area, in value, rcalizing that he is dealing with personalities,
edge and detail, will add no more than ean be and that there is something more important than
achíeved in photography. Subordination may be Le chuique. Tn art we are dealing with something
achíeved by diffusion, by eloseness of color and faj reinoved from a cold Science, where Lhe
value to smrounding areas, by simpliíication oí hnman element is everythíng. At least I arn de-
insístent dotai 1, or by omissíon, Accentuatioii tcmiíncd lo estahJishcd a fellowshíp with my
is achíeved by the oppositc in eacb case, by reader, welcoming him to the eraft aL which I
sharpnesSj contrast, detail, or any added devioe.

1 take this ftpportunity to impress upoii vou,

ha ve spent so many years. If I Itave any bW
chíps I can pass on to him, I lay them before him
my reader, how important you really are in the so thaL he may join in thc game. 1 cannot pro-
wholt^ of art procedure. You, your personality, fess Lo know more Lhan the cspericuce of one
yom inclivíduali ty come fhrst, Your píetures are individual However, One individual experience
your by-produet. Everythíng about your pio wide enough might
if
many of the
vveil cover
tui es is, and should be, a líttle of you, Thev will problems that will doubtless come Lo others.
bc a reflectíon of your knowledge, your ex- Solutions of those problems may proyide lí kc
por ienee, your observatiou, your likes and dís- Solutions. can lay out an assortment of facts
I

likos, your good tas te, and your thinking. So the and fundamentais thaL wore helpfid to me. 1
reaí coucentration is ccntered on you, and your can spcak of the ideal izations, Üicí practical
work folio ws along in thc wake of what mental hints and de vices thaL will undoubtedly make
self iinprovement you are making. It has taken drawíngs more salable. Sincc the requírements
me a lifetirne to realize that. So before we talk are ahnost universal, and sínce my own experi-
at all about drawing, ít is important to sell you encc does not vary greatlv from the average cx-
strongly on yourself, to plant that urge so
def- perienoe of my coiitemporaríes, í offer my ma-
initely in your conseiousness that you-must wfthout setting up myself and
terial my work as
know at onee that mo st of it comes from the other a criterion. In fact, 1 would prefer, if it were pos-
end of your pencil rathcT than the business encL sible, to subordinatc my own viewpoint, or tech-
As a student I thougbt there was a formula of nieal approach, and leave thc reador as frec as
some kind that 1 would get hold of somewherc, possible for individual decision and self-expres-
and thereby becorne an There
artist. is a for- sion. i use my experience merely to clarify the
mula, but it has not been in books, It really
is general requirements*
plain okl ccurage, standing on one's own feet. It should be obvíous that, first of all, salable
 AN OPENING CHAT
figuredrawing mnst be good drawing, and you acbíeve suífieíeiit technical ability, there
good drawing means a great deai more to tbe
will bean income waíting for you, From that
professíonal than to the beginner. means that
It point ou your eamings will increase in ratío
to
a figure must be convincing and appcaltng at the
your improvem ent. In tbe fields of praetical art
£ame time, It must be of ideal is tie ralher thau the ranks tbin out at the top, just
as thcy do
literal! or normal propor dom It mu st be related everywhere else. There ís not an advertis ing
iii perspective to a constant eye levei or víew-
agency, a magazine publixher, a Jitbograpb
point, The anatomy must be eorreet, whetbçr bouse, or an art dealers that will not gkdly
open
exposed to the cye or eoncealed beneath drapcry its doors to real ability that
ís new and different,
or costume* The light and shadow mnst be so It is mediocríty to which the door is closed, Un-
handlcd as to impart a living qealíty, lts action
fortuna tely rnost of us are medíocre
when we
or gesture, its dramatíc quality, expresskm, and start out; by and large, most conimereial artists
cííiotioii must be conviricing, Good drawing ís oi Oiitstandíng ability bad no more than average
neither an accident nor tbe result of an inspired talcntat the start.
momeiit when tbe Muses lend a guidiug baixb
May I confess that two weeks after entering
txood drawing is a eo-ordinatiun of many fac-
art schod, I was advised to go back bome? That
tors, all tmderstood and handlcd expertly, as in experienee has made me rnueíi more tolerant of
a deli cate surgical opera tion, Let us
say that an ínauspidous begímhng than I
might other-
each factor beeomes an instrument or part of a
wise bave been, and it has givcn me
additioml
meam of exprespion. It is when the means of cx- incentive in teaching.
presskm is devcloped as a wbole lliat inspiratioii
Indíviduality of expression is, without ques-
and individual feeliug come ínto play, it is pos- tioiij an artist s most valuuble asset. You could
y y be off ” at any time any
, in make no more fatal error than to attempt to
one or more of the factors. Everv ariist will do duplicatc, for lhe salte of
duplication alone,
good ones and bad ones, lhe bad will have either my work or that of any
othei individual.
to be thrown ont and done o ver. The artist Use anothers style as a cruteh oídy-untíl
shoidd, of course, rnake a critíeal imalysis to
you
de- can walk alone, Trends of
popularity are as
termine wby a drawing is bad; usual ly he will chaugeable as the weather, Anatomy,
perspec-
be for ced to go baek to fundamentais, for bad tive, vai Lies reinam eonslant;
but you must dílh
drawing spriiigs from basic faults as surely as gwtly search for new ways to apply th eia, The
good drawing springs from basic merits. greatest problem here is to provide you with a
I Iut efore a usishil boük of figure drawing solíd basis that will nurtnre
individuality and not
camiot treat one phasc alone, as tbe study
of produce imitation. I grant that a certaín amount
anatomy; it must ulso seek out and co-ordinate
of imitation in tbe earlíest pliasc
of leaming may
all tbe basic factor s upon wbích good drawing be neeessary in order that self-expression
may
depeneis. ít must consider Wh aesthetics and have an essential background. But there
can be
sales possihilitíes, technical renderíng and tvpi- uo progress in auy art or craft without
an aceu-
eal problcms to be solvccl. Otherwise the read- mulation of individual expcrience.
Tbe experi-
er is only partially informed; he is taught but cnce comes best through your nwii
efíort or ob-
one angle, and then left to flounder*
serv ation, through self-iiistruction, the reading
May I assume that vou as a young artist are of a book, or the study of
an old inaster. Tbese
facíng a bread-and-butter problern?
Whcnever experienccs are biuidled together
to form your
 AN OPENING CHAT
worki ng knowledge, and tlie process should book to Iciid you a hand to the top of the hill, but
nevcr 5 top. New, Creative ideas are usually vari-
upon reachiiig the crest to push you over and
ants of the old,
leave you to your own momentum, I have hired
In thís volume I shall try to treat the figure and paid the best models could
I find, knowíng
as a living thing, its power of movement related that the limited funds of the
average young arU
to its stmeture and its movement separated in- ist, would not permit that. If you study my draw-
to severa! kintls. We shall draw thc nade for ings in the light of a model posing for you, rathcr
thf. purpose of better understanding the draped than thínking of thern as something
to hç dupib
figure. We shall tkínk of the figure as possessed eated Jine for Iine and tone for tone,
I thínk you
of bulk and wdght, as being exposed to líght will in the end derive greater
benefit. With every
and therefore shadow, and hence set into space page I suggest you place yonr pad at the side
of
as we kiiow it. Then we shall try to understand tlie book» Try to gct tlie meaning behind
the
light for what ít is; and how forni, wíth its drawíng mueh more than the drawing
itself.
planes of various direetion, affected by
is it. Keep your pencil as busy as possiblc, Try figures
We shall eonsider the head and its strueture varymg as much aç possible from thosc ín my
separately. In othcr w oreis, we shall provide a pages. Set up figures roughly, from the
imagina-
foundatíon that wíll cnable you to make your tion, rnake them do all sortç of actions.
If it is pos*
figures original and convincing. The interpieta- sible to draw from the live model in sehool 01
tion, the typc, the pose, the drama, the costume, elsewhere, do so by
means, utilízing as best
all
and the accessories wíll all be yours. Whether you can the fundamentais wc have here, If
you
yonr figures are drawn for an advertis em ent, to ean take photos or have aeeess to them, try your
íllustrate a story, or for a pôster or a
calcudar skill in drawing from them,
adding what ideab
will not ehange appretíably the fundamental ization you thínk should be there,
demands upoii your knowledge. Technitjiie ís It might be a goodplan to read the entire book
not so impor tant as the youiig ar tis t is indíned at the start so that you will betfer understand
to believe; the living and emotkmal qualities— the general plan of procedurc, Other
kinds of
the idealízatioii you put into your work — are drawing such as still Iife should be supplement-
far more important. So are your selection and cd, foi form presents the genend probleni of
all
tas te in costume and setting-provided
you contour, planes, light and shadow.
have masterod fundamentais. The smartest Get used to using a soft pencil, one that will
dress in the world wíll not be effectivc
ou a gívc eoiixiderablc range from
badly drawn figure, Express fon or emotíon
light to dark. A
ean- th hi, weak and gray drawing lias praetically no
not possibly be drawn into a face that ís
poorly eominei eial value. The switeliing to a pen and
eonstrueted. You cainiot paint in color sueccss- black drawing ink is not only interesting but has
fully without some conceptioii of light and real value ooinmercially. Use one that is íairly
color valiies, or even hope to buikl a composi- Hcxihlc, Pull the pen to rnake your line, uever
Lion of figures until you know how to draw push it at the paper, for ít will only eatch and
thern ín absoluto perspective» Your job is to spluíter. Charcoal médium
is a fine for slutly, A
glorify and idealize the cveryday material large tissue or layout pad is exceli ent to work on.
about you.
Perhaps the best way is to suggest that you
ít is my purpose from start to finish of thís use the book in whatever manner suits you best.
THE APPROACH TO FIGURE DRAWING

The first ehapter of thís book will he treated a little dífferently from the
olhers, as a prelndc to the actual figure, and to lay the groundwork of the
structure we are later to biiild. This part of the book will be oi especial
vahte to the Uiyout mau and to the ar tis t for the preparation of prelim-

inary sketçhes, roughs, the settiug down of ideas, suggestiüns of actions

and pose, where the figure must be drawn wíthout the use of models or
copy. Th is is the sort of work the artíst does in advanoe of the finished
work. This, in other worcis, is the work with whieh he sells himself to
the prospectívc clicnT In thal respect it is most important since it really

creates opportnuity. Hc; 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 rcader is nrged to give this ehapter bis utmost attention since
it is uníjuestionably the most important ehapter in the book, and one
to pay good divídends for lhe concentrated cfíort iiivolved*
^J'\F

L IO >111,*-
'H
1. THE APFROACH TO FIGURE DRAW1NG

As \ve begin the booL let us take note oí the onee you arrive at your destina tíon; your real
broad fíeld o£ opportunity aíforded the figure concern is niaking the jüurney.
draftsmau. Startiug with the comie or simple line Art in its broadest seu se is a language, a mes-
drawings of the newspaper, il extends all the sago that cau be expressed bei ter in no other
way Lip ihrongh every kínd oí pôster, display, way. It tells us what a produet looks li ke and
and magazine advertising, tlirough eovers and how we can use it, lt describes the elothes and
stoiy illusLratkm to the real ms of fine art, por- even the manneis of other times. In a war pôster
traiture, seulptun.\ and mural decoration. Figure it incites us to actiou; in a magazine ít makes
drawing presents the broadest opportunity f remi charaeters alive and vi vi th Jt projects an idea
the standpoint of eamlng of any ar ti Stic endeav- visual ly, so that beforc a briek is laid we may
or Coupled with th is fact is the great advantage sce, liefore our cyes the fmished building.
?

that all these uses are so intcrrelated that suc- There was a time when the ar List withdrew
cess íii one ahnost assares success in an other. to a bare attic to li ve in seclusion for an ideal.
The interrelatiou of all these uses springs from For siibjcct, a plate of apples sufficed. Today,
the fact that a 31 figure drawing is base d ou the however, art has become an integral part of
samç fundamentais whích cau be applíed no our li ves, and the successfiil art is t cannot set
ma t ter what use the work is put to. This hrmgs a lihnself apart, lie must do a certa in job, in a
further great advantage to the figure man in that definite inaimcr, to a defínite purpose, and with
he has a constant markçt íf he is capable of good a speeified date of delivery,
work, The market is constant beeause his work Start at onee to take a new ínterest in people.
fits into so many notches in the cycle of buyíiig Look for typical charaeters everywhere, Famil-
and sellíng which must always be present bar- iarize y our sei f with the characteristics and do-
ri ng financial eollapse. To sell one must adver- tai ls that distingui sh tliem, What is arrogance
tíse, to advertíse one must have advertising in terms of light and shadow, fonn and color?
space, to have adverti sing spacc there must be What liiies give frustration and forlorn hopc to
attvactively illustrated magazines, billboards, people? What is the gestnre in relation to the
and other medimns. So starts the chain of uses of emotion? Why is a certaín childísh face ador-
which the ar ti st is an integral part. a Ide, a certaín adult face suspicious and un-
To top it all, it be comes the most faseinating trustworthy? You must search for the answers to

of any art cffoit because it offers such eiidless lliese questions and be able to make thein elear
variety, cncompassmg so much that ít ever re- to your public. This knowledge w r
íll in time be-
mains new and stiimilating. Dealing with the come a part of you, but ít can come onlv from
human aspects of life it runs the gamut of ex- observa tion and uiiderstauding.
pression, emotioin gestiire, cnviroiiment, and the Try to develop the hablt ol observing your
iiiterpretation of eharaeter, What other fields of siirroundings carefully. Some day you may w ant r

effort offeT so great a variety for ínterest and to place a figure in a similar âtiiiosphcrc. You
gemiine rçlicf from mouotony? I speak of this lo cannot suceeed completei y with the figure iin-
biiild wi thín you that confidence that all is well less you can draw the details oí lhe setting. So

2t
 OBSERVE YOUR SURROUND1NGS
begin now to collect a. file of the detaiLs that I do not strongly recommend becoming
give a setting its “atmuspherc,” helper” to a «mccessful ar tis t in ürder
to gaín
Learn to observe signíficant detaik You must baekground. More often than not, it is a dis-
be concerned with more than Marthas hair- Cüuraging experience. The reason ís that you
ilrcss, Frecisely why does Martha in a formal are continua Ily matching your hurnble
cfforts
gown look so difleient in yliurts OV slaeks? llow agahist the stellar performance of
your em-
do the folds of her dress break at tbe floor when ployer. You are not thiuking and observing for
she sits down? yo u rsolf You are usually dreamíng, developing
.

Watch emutional gestures and expressions* an inferi oríty complcx, becoming an imitator.
Wliat does a girl do with her hands when she Remember: artists have no jealously guardud
says, Oh, lhats wonderful! Or with her
P 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
I m tiredi ? What does a mother s face register work. Ira sure could get alieadl' 1
1
Gctting
when she appeals to the doctor, “Is there no ahead does not happen that way. The only
bope? Or a chilcTs when he says, "Gee, that s mystery, i£ snch ít nmy be called, is the per-
goodl”? 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 sucocssful artist has a particu- eret.Fundamentais you must master, l>ut you
lar interest or drive or passion that gives dii ec- èan never do so by watching another
man
tion to his technical skill. Often it is an absorp- paint. 1 ou have to reason
them out for yourself,
tion in some one phase of life. Harold vou Bcfore you decide what type of drawing
you
Sehmidt, lor example, Ioves the outdoors, rural want tc) concentrate on, it would be wdsc to oon-
lifo, horses, the pioiieçr, drama, and action. His sider your particular hackgrõund of expcrience,
work breathes the fire that is in him, Harry An- lf vou have been brought up on a farm, for ín-
derson Ioves pLain American people - the old stancc, you are much more likely to succeed in
family doctor, the little whíte cottage, Norman interpreting life on a farm tban in depicting
Rockwell, a great portraycr of character, Ioves
Long Is 1 and society life, Don t ignore the inti-
a gnarled old hand that has clone a lifctíme of ma te knowledge you have gaincd froin long,
work, a shoe that has secn better days. His ten-
everyday acquaiutanee, AH of ns tend to dis-
der and sympathotic attitude toward lmmanity,
cx>unt our own experiente and knowledge— to
implemente d by his inarvelous technical ability,
consider out background dull and common-
has won him his place ín the world of art. Jon placc, But that is a serious mistake. No back-
W hiteomb and Al Parker are at the top because ground is barren of artistic material The artist
thc:y can set down a poignant, up-to-the-minule wlio grew up ín poverty can creatc just as
much
portrayal of young America, The Clark brothers ín drawing tmnble-down sheds as an-
have a foudness for drawing the Old West and othí^r artist might iu drawing ornate and
luxuri-
frmitier days, and have been most succcssful at ous settíngs. As a matter of fact he
? is apt to know
it. Maude Fangel loved babies and drew thern much more about life, and his art is likely to
None of these people could have have a bioader appeal Today great interest has
reached the pínnacle without their inner dcveloped in tlie "American Scene.” Simple
drives. Yet none could have arrived there with- homelíness ís its general keynotc, Our advertis-
out beíng able to draw wdl mg and much of our illustration, howevcr, de-

22
 THE NUDE AS A BA SIS
mand the sophisticated and the smart, but it is expect to become a surgeon without study ing
wise to bear in mind th is newer trend, for whieh anatomy. If you are offended by the sight of the

a humble background is no handicap. body lhe Almighty gave us to lí ve in, then put
It is true that most artists must be prepared th is book as ide at once aud likcwise give up all

to handle any sort of subject on demand. But thought of a career iu art. Sincc all of lis are
gradually each one will be chosen for the thiiig either male or female, and since the figures of

he does best, If you do not want to be Lyped or the two sexes differ so radicallv iu constructiün

'catalogiied, you will. ha ve to work hard to and appcarance (a woman in slacks is not a man
widen your scope. It means learning broad in pants, even when she has a short haircut), ít

drawing principies ( everythíng has proportion, is f anta Stic to couce ve of a study of figure draw-
i

three dimensions» texture, color, light, and shad- ing that did not analyze the many diffcrences, I

ow) so that you will not be floored by com™ is- have been engaged in almost every typc of com-
sions that ínay caíl for a bit of süll life, a laud- mercial art, and my cxperience conflrms the fact
âcape» an animal, a particular texture such as that the study of the nude is indispcnsable to
satinor knitted wook If you learn to observe, the any art career that requires figure drawing. À
demancb should not tax your technical eapaeity, vocatíonal course w ithout such study is a deplor-

beca use the rendering of all form is based upon able vvaste of time. Life classes generally work
the way light falis upon it and the way líght af- from the living model; henco I have tried to

fects its valiie and color, Furthemiore, you can supply drawings that will serve as a substituto.
always do research on any mifamiliar subject. Broadly spcaking, there are two kinds of
Most artists spend as much time in obtaining drawing: linear and solid. Linear drawing—for
suítable data as in actuaf drawing or painting. example, a floor plan—embraces design or scalc.

The fundamentais of páinting and drawing Solid drawing atteinpts to render bulk or threc-

are tlie same. Perhaps it might bc sai d that dimensional quaíity on a flat plane of paper or
drawing in general does not attempt to render can vas. The flrst involves no consideration of

the subtletíes of v alues, edges, and planes or light and shadow. The latter gives it every com
modeling that may bc obtained in paint. In any sideration* it is possible, however, without light

médium, however, the artist is eonírontcd wíth and shadow, to inake a ffat or outliuc drawíng
the same problems be ; will have to consider the of a figure and still suggest its bulk. Therefore it

horizon and viewpoint; hc will have to set down is logieal to begin wíth the figure in flat dímen-
properly length, breadth, and thickness (in so sion—start Out with proportion, carry it from the
far as hc is ablc on the flat surface); be will have flat to the round, and then proceed to render the

to consider, in short. the elements that I am talk- bulk iu space or in tenns 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 eontour or edge than by the modeling. Yet there
basís for all figure study. It is impossible to draw is really no outlíne on form; rather, there is a sil-

the clothcd or draped figure without a fcnowl- houette of eontour, cncompassing as much of

edge of tlie strueture and forrn of tlie figure un- the form as we eau see from a single viewpoint.
demeath. The artist who cannot put thç figure We mustof neocssity limit that form some way,
together properly does not have one chance in So we draw a line—an outlíne. Án outlíne truly

a thousand of success— eíther as a figure drafts- belongs wítliin the category of flat rendering,

man or as a painter. It would be as reasonable to though it can be aecompanied by the use of light
 WH AT ÍS LINE?
and shadow. The painter dispenses wíth outline ber that line is sometlnng to turn to when your
beca use lie cari define contours against other drawings are dulí. You can start expressing your
m asses or buildout the forni in relief by the use iiidi viduality with the kinds of line you draw.
of vai ues. Now to the figure. What is the height-to-wídth
You must understand the difference between relatíonsliip of an ideal figure? An i tical figure
contour and line. A piece oi wire presents a Une. standíng straight must fit wíthin a eertain rcc-
A contour is an edge. That edge inay bc a sharp tangle. What is that rectangle? See drawing,
liinitation to the fonn (the edges of a eube) or a page 26. The simplest and most convenieut unit
romided and dísappearing limitation (the con- for ineasnring the figure is the head, A normal
to ur of a sphere ) . Many conto urs pass in front of per sou wíll fali short of our ídeat by half ahead—
one another, líke the coutours of an undulating he will measure only seven and a half heads in-
I and s cape. Line figure drawing, even as land- stead of eight You need not take eight heads as
scape drawing, demands foresliorteniiig in order an absoluta measure. Your ideal mau may have
to produce the effeet of solid form. You can not any propor tions you wish, buthe is tisually made
outline a figure wíth a bent w ire and hope to ren- tall. On pages 26 to 29 you will find vario lis pro-

der íts solid aspe et. Loek for two kinds of línes: por tions in hcad units. Note that at any time you
the flowing or rhythmic line, weaving it about' can vary your proportions to suit the particular
die forni; and, for the sake of stability and struc- problem. Study these carefully and draw them,
lure, the coutrastíng straight or angular line, two or three times, for you will use them, con-
Line can ha ve infinite varicty or il 3
can be in- sciously or not, every time you set up a figure,
tensely münotonous. Even if you start with a Sonic artists prefer the legs even a littlc longer
bent wire, you ueed not nríake ít entirely monot- thau shown. But, if the foot isshown típped
oiiouSh You can vary tlie weight of line. When down in perspective, it will add considerablc
you are drawing a contour that is near a very length and be about ríght.
hght area, you can use a light line or even Il remar kable that most beginners’ work
is

oinit it entirely. Whçn the line reprçscnts a con- looks alike, Analyzing ít, I Lave found certain
Lour that is dark and strong, you eau give it more charactcristics tliat sbould be mentíoned here,
weight and vitulíty. The slightest outline dravv- I suggest that you compare this lLst with your
ing can be inventíve and expressivo. own work to see if you can locate some of lhe
Take up your penei and begin 1 tí> swing it charactcristics for improvement.
o ver your papor; tlien let it down. That is a
“free” line, a “rhythmic” line, Now, grasping 1. Comhtently gratj ihroughout.
your pencil líghtly between thumb and Index What to do: First get a soft pencil that will
finger, draw lightly or delicately. Thcn hear makc a good black.
down as though you really meant it. That is a Pick out the blacks in your subject and
variai) le line, See if you cau draw a straight state them strongly,
line and thcn set down another parallel to it. By contras t, leave areas of white vvhcre sub-
That is a studíed”
‘
line. jcct is white or vciy light.

If you ha ve considered a line as merely a Avoíd putting ovcistated grays in light

mark. it may be a revelation to you that line arcas.
abne possessos sq much variation Lhut you can Do not surro und tliiugs that aio light with
worry o ver it for the rest of your days. llemem- heavy lines.
 } 0 ,

BEG1NNERS' WORK
2, An overabundance of small fuzzij Une. 8. Bad arrangement .

Do not “pet” in your line, draw it deanly lf you are doing a vignetted head, plan in-
with long sweep, teres ting and attractive shapes, Dout run
Da not shade with a multituile of liüle over to the edgc of the paper unlcss whole
*
pecky” strokes. space is to be squared oíl,
Use lhe side oi the Iead with the pencil laid 9- Uighíights in chalk
ahnost fíat for your mo deli ng and shadows. i t takes a very skillful artist to do thís suc-
3, F entufes misplaeed in a head. cessfully.
Uearn whut the eünstruction lines of the 1 . Unin eresting subjeet s.
t

head are and how spaoed. (See Head Jiist a costume does not make a picture,
Drawing. Every picture should have some ínterest íf

Buíld the features into the conect spaecs, possihlc other than a technical demonstra*
4. Ruhbed aivl dirttj t imuâly m a rolí. tíon. Heads should portray diaracter, or ex-
Spray with fix ative, lf on thiu paper, momit pression. Other subjecto should have moud
on heavier stoek. or action or sentiment to make it interesting.
Try never to break the surface of your
paper, Th is is very bad, lf you have doire so, Water color is perhaps the most tricky medi*
start ovei’, Keep your drawings Hat. Kccp um of all, Yet most beginners take to it. Water
untouched areas scrupulously elean with a color to be effective should be broad in treat-
kneadod eraser. ment, wílb large loose washes, and not too fin-
5. Too many mediums in same picture, icky. lf you find vouiself stippling and pccking
Make your subjeet in one médium. Do not you can be pretty snre it will not be líked.
combine wax ,crayons with pencil, or pastel Water color should have a feding of the “ac-
with something else, Make it all pendi, alí cide Fitai or color that has done something of
crayon, all pastel, all water color. or all íts owri and dried that way, Lovely eífeets are
pcu and iuk. lt gives a certain consístency,
obtained by dampening an arca first and then
Later on you íuay combine dííTerent me-
flowing the color into the wet arca. Use a real
diums effeetively bui do not start that wav. water color paper or board, foi it can gel very
6\ The tcndencij to use iinted papers
messy on a
,
Soft and very absorbent paper. The
A blaek and wlrite drawing looks better on
you have
less to go over what you have onee put
white paper than anything else,
düwry the hetter. Generally water- colori sts pre-
If you have to use tinted paper, then work fer not to íeave a lot of pencil, especially dark or
in a color that is harmonious. For ínstance shaded pencil showing through. Some water-
a brown or red eoute crayon on a tan or
coloris ts work by washing in a general tone,
cream paper.
smibbiug out the lights with a soít sponge or
It is betler to put yonr color on while for
brush, and wasliíng hi the ha lf tones and darks
clarity,
over the original tone, Jf you are imable to
7 . C opies of movie &tars+ handk: water color in ány other way than bv
* v
Thís goto intenso ly monotonous to anyone pecking in Iiltle strokes, 1 would suggest you try
inspectíng a beginners work, The heads are pastel which can be sprt:ad and ruhbed at will,
usually badly líghted from a drawing stand- Oil paint has the advantage that it stays wet long
point, lake a head that is not well known. cnough to maneuver the color as you wish.
 IDEAL PROPORTION, MALE
HEAD UNIT3
FE ET <FWe ms. rs £ ^hía<Í5 >

Take ány desírcd height, or plaee points tor

between nipples is one head The waist is
unit.
top of head and heek Divido fnto cighths,
Two a little wider than one head
unit. The wrist
and one th ir d of these units will be the relativo
drops just below the crotch. The elbows
width are
for the maio figure, It is not neeessary at abont ou a line wílh the navel. The ímees
thiç stage to afterupt to
are
render the anatomy cor- just abo ve the lower quarter of the
rectly, But
figure. The
íix. in youx mind the divisions. shoulders are one-sixth of tire way down. The
Draw the figure in the three positioiis; front,
propor tíons are abo given in Feet so that you
síde 7 and l>ack. Note the comparativo
width s at may aceurately relate your figure to furniturc
shoulders, hips 7 and calves. Note that the spaee and ínteriors.

2 6
 IDEAL PROPORTION, FEMALE
'Sl^L HAl,6 'MEMtíHT 6

The female figure is relatively narrowei— two for a girl. Áctually, 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 mens- Note carefully

/
that the female navel is below the
ures one head unít across, Io front the thighs waistline; the inale, above Or even with it, The
are slightly wíder than the amnpíts, narrower in nipples and navel are one head apart, but both
ba.uk. It is optional whether or not you draw the are dropped below the head di Vision s The eh +

legK even a litlle longer frorn the koees down. bow is above lhe navel. It is impor tant that you
Wrists are even with crotch. Five íeet ei ght learn the variations between the maíe and le-

inches (in heels) is uonsidered an ideal hei ght niale figure.

27
 VARIOUS STANDARDS OF PROPORTiON

NORHAL7J4HD5 IDEALiJTlC^S HP5 FAJMtOR ,8 HsHD5 MEKDIC^HDS

You can scc at a gkuce why the aetual or nor- the middle o£ the figure falis in euch. It
uiiit,
mal proportions aro no[ ver satisfactory. All would bc well to draw the side and baek in these
y
aeademic drawings based on normal propor- various proportions, using the previous page fur
tioirs have this dumpy, old-fashioned looL
Most a general guide but changing the propor tion.
fashion artists strctdi the figuro gven b^yoiiíl You ean control the appcaraiice of height or
eiglit hcads, and in allegorical or beroie figures
shortness in any figure by the rektive sizc of the
1

the superhuman” type - nine hcads - inay be head you use.

used effcctively. Note at what point, or head
'i

2 8
 —

IDEAL PROPORTIONS AT VAR1GUS AGES

aduct
7 Hl'
4 ) l5"Vrs

^ 1 ^ 'A

ADULT 15 Y*S lí? YH3 5 YfcS 3 YRS l YB.

— aJí
The ^kocdIIi oF 4 he head is vcry íjradualjonly

v - addmq 3 inches up anddowH from ihe

.JÊ-v
firsfr yeor b odu Ithood.Tib? leqs qroo>
ne^rly iuJice osfast os -Hte "torso-
5 YR.5 = *HDS ®1 H

yí^i.

ju
& SYRS-rHDSCSfcV

&** ,\

*7’ 1/1>
'aS
M
yp^ 4
St/ j

w |v
' V J L £_
V
1 I

-v
s TiY
t *3*
« Jf|

Uv rol r c/i r/fV

1 H
, 1

j !
V -w

p> h
‘W-

PJ T
j

t i
Vo J
vi /
V ,v -
1
/ 1

4
l ! r i . r\
a Aj
-ji Lv..
f T-:
1
i
L
1
-f i
T 1

i *! V J TI

í
k -y
^
i
?
\ '/
V >
X *7
i. 4J

These proportions híive been worked out with with a five-year-old boy, you ha ve here his rela-
a great deal of cffort and, as far as J know, ha ve tíveheiglit. Cbíldren under teu are ma de a little
ne ver before been put down for the artist. Tbç shorter and ehnbhier than normal, sinee tlus cf-
seale assumes that the ehiJd will grow to be an íeet is comsidered more desírable; tbosc over
ideal adult of eight head imits. If, for instance, ten, a little tal ler tlian normal — for the same
y ^ aiit Lo man or a woinan { about half
tlraw a reason.
a hcad shorter than you would draw the mau)

2Q
 THE FLAT Dl AG RAM

HOW TO PKQJECT TH E "FLfvt PIAQKAM"oNTO THE

GKOuND PLANE

TU
fins „
will
Z/IUW
prove most useFul u>ken you kave tò
dratu üJitkout a model and in
fcreshovtetfiwy

FlU Lh fk® té by Éolfown^ Hyr Fi^f q;ta^rcant,

Uslfiíj two piau «5

AT i5

FIAT Dl AGRAM
5Udoa,f Ca „ fcí d,^ bS H,„ plout.lt;, aVd/fertlw ao |, dm perípiíctirt! ,

THE FLAT Dl AG RAM JS NQ HQRE THAN

^ A5HADOW WíTH ONLY ATRÁC/NG
; TWO D M EN 5 ION5- I

JT \5 QUR. MAP. WE CAN T

DO WlTHOUT IT — J

Ufviw pia ^Ti H<q

j s NTJL WE KNOW THE WAY #
41(iry [> FoE.Í_irte
pivirfe dia^endís tmtil
±l
ÊH ffàiflWJ ^kld- ire ar* S ctoís spflcus,.
Ihííí F4c.il and
3* fcjmTll
tifa !tf dra.
& $P0Z&S

_ OtaqrúPH
SlLIíHíi po í e
’ PLíjaí S

wa 4 s & p ^ndffnnc| tkç ' Box^of +lie FUH? Diacmifti.

^spec-bws.You S^üíajikc] hDUJ tEte pFiktciple
^ *p<s urqffd to líawèW wowJfc d pp1ieí to díffLcult
Uit,a kclp t^oo outoF waH.4 difKcultbos Ufeir o*. WatarbciuMq
éo t?<r expIdUed,

30
 THE FLAT DIAGRAM
OTHER 1MPQRTANT U.ÍE S OF THE "MAP * QR PLAT DIAGR.AIM.

Yoy Wl ÍL Ui W
tttft "Ufl I rse
JimdMSioirtq I

fiíjurls iflittí'

At l
polvrt'5-oí' tlte fiqüre C ante pui ik, Quick' $ç\; up "in Quick "Set1

up* of
persped-íve wrlMh^Map^as quide perspective ike 'Mcp'

TW proportiovia o uia© fiqure eavieasLly be projecfced bq pers pech.ye iootkers

1
!

51
 QU1CK SKT-UP OF PROPORTIONS

ü)tf* %

w au/Tf.H

'(v

33
 PROPORTIONS BY ARCS AND íiEÀD UNITS
R/Í.L, HflüHT
T

AU,* 4 * *®j«è k«4 «it, b P «** °tW iU

of tã.
-f eo-H- yggck. to fokíís.
r
-y^TÜ^T-

A sii+tple MActkool ç£ fiMd^q lfln*rHis ol- ex+fikided Umbs, La.‘b(.+- ijúü u>ilj do "fchrS jji pírípectivc.

55
 PROPORTION IN RELATION TO THE HORIZON
llow toDuild yoyr piciure tuuj hqures f rom, 3H4 eqe\<2 Yc.\(or Horizou,, whick wieaifls tiuzsav, te:)

é
A t\

JlY-- L^VElL JlT=í,EÇ. teji

Salccfo, plajjcrmrt Estixblisk hijíciki Í5et poLirfc for fest Drauo livte UiroLkjVi
Ttien bdcfeto*A" EVecJ- péripenàicuhr
ft>K ÜW
ffoKUD^ q\- fixst fi^uns. c?F 2 d Fiq^ré. :
polvvt bo Horjzoit af :op ist Ficjure aFc'ç&is £-hqore
GAulli htfíífht ) (Placa avu\uMer&)

Divide mfo Büild fioíws.if Tíj^a^otVtgr Divide aâvcadid |Compkte 3 ttí Pto^
" Buifd yourp/ctürG
you wawV vwore- tf fo™C*-btk?riZDH. be-fore tü5íln40 HüMZOK-
Pule: Hortzou ^stcrõss úll sumular piqures ovloJgwI <VA& at Ht# 5&ttt£ poirti.jSlíov^ífHcHees)
p 1

HOW To LAY OUT THUMBMAfL 5KETCHEL5 FOR FIGURE PLACEMENT5 AMD 51ZE5

hfjurc. lifwKOHtff Expk\«

31
 THE JOHN AND MARY PROBLEMS

r - -
— 1 \

p
í

JoUuajid Morq,tiowfllC¥ Ike picture diabas

look èF wd aro, sittiitd
Now rf we lie downHke We walk bâckwct^d ci^d
f w<z stand.Tke koKtzow hori
í
^oh drops too, The upys/ard ow bh<£ beack
'AZãY‘V*&WL®vyft\Q. íanjdí. qoes up wiik uj. perspective ckanqe^. HOKliQM. 5 dbov^^ow. me
— 3QFF j- —
ÍFríiWt 5 itíJ-r'! g$ lo ítiJvc T 4
IfPj üfc w l (í pü t — llí,>r :

Hm MiUte smtó
Jubanct ivi 10 u/
tjiií WúflÍD hJ _ -
|ppT
j

1
í% r 1

V" Í fX
Ife
\'i\ , V

Jf we q<?t b^iocotln tWm Now {kc

Horr^oH vhüw 5 fvctt W b©Vl wc 5 £€ tbz Wi wkcre we
sodoes ikz komou-.JW op be^and Htg, piciu^e Wovn am,cverLjft]ure
HeqrlydiirecHy afíectad by aur owk, (í>
AqureS çkanqe üqoLi*. Bui ib stil affafe figu re 5 Qvgrbeoà Ho
1
wq-tU n ey elevei, okW HorJ
-
.

>onirmN G5 that mavhappem wken fichjres ar e not relate

d to a 5ingul truehürizgn

Tljg frqures oppcair "bppgd ar so^how wroHq - John —bc

vwctq ?'a 1 1 1 n ü —cr — Mcrin^ d o mq qy m no stics
%L

jfliftj
1

Itncpoir she Mtiq qct "too swi a íl - qv qppeor to W diviHc) Tkus ettdcHi Jokiiqiiii Mar^

35
 FíNDING PROPORTION AT ANY SPOT ÍN YOUR P1CTURE

lhe figures areal diffrrenl leveis. }You can place

a. poínt anywhere within your
space and find the
rela tive size of the figure or portion of the figure
at pretisely that spot. Obviously everything else
should be drawn to the sarne horizon and scalecl
SQ tliat tlie figures are rei a tive. For mstanee,
draw u key lior.se or eow or chair or boat The
impor tant thíng is that all figures retaiii the ir
size relationships, no rnatter how dose or dis-
Many artists have difficnlty in placing figures tant. A pieture can have only one horizon, and
ín thdr pieture and properly relating them to only one station poínt The horizon moves up
each other, cspecially if the complete figure is or doYvn with tlie observer. It is not possihle to
not sliown, The solution is to draw a key figuro look over the horizon, for it is eonstihited by the
for staiiding or sitting poses. Fither the whole e) e levei or len.s leve! of the suhject. The horizon
figure or any pari of it can tlienbc s cale d with on an opcUj Hat plane of land or water is vísible.
the horizon. AB is taken as the head measitre- Amoug hills or indoors it may not be actually
iiicnt and applied to all standing figures; CD to vísible, your eye levei determines
fji.it
it. TF yoú
the sitling figures, This applies when all figures do not understand perspective, there ia a good
are an the same ground plane. (On page 37 book on the subject, Perspective Maãe Eastj^
there is an explana tio n of how to proeeed when availablo at mo$t bookaellers,

5<5
 "HANGING” FíGURFS ON T HF HORIZON

You hanq\ouKfjquir«3 ohíUg HoMzovt lute hq makiitq utcut tWouqk similar Rqur«s Ivt tktf
Cflii

same plíLC&.TKls keeps tk^m-oniks 3a y a& qroond plan,e, Note Honrou gliÍs kK£K,QLü>cii5t:£md ike
\

Seatfcd women otekivt» Tk& one5tandi>iq wowclh. atleft: draum rd ative it> tite i/hgh« Sòttple?

Íou tanabo' hcwcf iieajás ou fclteHonzovi * Hskc we Uave measuired o proportioncute

ca^
llLKe.lvt titis licutrj mtívtY Wíãd.s ai ; dlstavicedown ÍVofrn tlte Honzon.! Uave
tkc wioutk, tlte womens attkc <r/€5. ; takcK. two kcads as onoptim/ú spacc.

37
 WE BEG1N TO DRAW : FIRST THE MANNIKIN FRAMF
THEHR5T PRO0LEM: HOW 5HALL THE WElGHT 0E CARR)£DÍ

ÍUftUTtH

FRGPOSTION UNEL HANtJlklH FltAME 6LOE. WEkCHT <m feT-RTOl WTh on LFT, Foor WT.ON BOTH FEET

'NEiCHTON p^LV*5 WT.ONEL KMEE.OME FOOT &QTH KmÍej: ^AriDj AND líHEfe UNE. FOtJT

AU- FIGURE ACTION SHOULD

BE 8A5ED ONADlSTRIBUTION-
OF TtlE WEIGHTOFTHE BODY

W flLL FÔÜR;5 COM01NATION HANW, PÊLVlS AKP FEET SUSPtNDED HACK AMD PELLV »5

58
 MOVEMENT IN THE MANNIKIN FRAME
LET 05 STKJVfc FOR. Ü F6 AND ACT10N PRO^ THE VERY BE-G \HHi N.G. DRAW, DRAW^

YOUR FlG S MIAY BUICT OPON GJJRVBp LINES FOR MOVEMÊNTANp G RAC&- . AVQID RlCíHfT AVlüLE-i

39
 DETAILS OF THE MANNIKIN FRAME

??
IítAP
-Sttwl-FEKS
^? Ui

C*OTCH

i^r k>*&e ^

PROPOR-TION UNE. S-KONT

ALL THE TIME YOU 5PFHD OH FH15 F&LUOW P^YS BK7
BA^k 5ACK
Dl VI DEND5
4=t

r J_EY\K,N
^ Ftonr
ALLABQUY HiM,

3HD5,

THIS IS ASIMPLlFlEp VERSION OF THE. ACTUAL FRAME - ALL YOU NEED FOR A 5 TART
40
 EXPERIMENTING WITH THE MANNIKIN FRAME

YOO WILL 300N LP-ARN TD YGUKSELF. A VJTAL.

ÉXPREJ^SION 15 MOR.E ÍM PORTA NT HtRLE TH AN ACCU^ACY.
1

|VOU CAM Ü5E1UISTYPEOF Sk£LE=TON WHEN PLANNINCJ I^OÜCÍH^ LAYC^Jr'3 CC^P05lT^O(N5

p l
H

41
 OUTLINES IN RELATION TO SOLID FORM
A. LET U5 ASS UME WE HAVE CHJTlINES OF THREE CIRCLE5 5ÊT ON 5 ADJACENT PLANE5.

B. BY MOViNG CIRCLE5 FORWARD TO A COmON CENTER,WE PR.OPUCE. A* 30LI D ’

BALL
NOW TAKE A COMHON OBJECT.

"
THE QUT LINES

OF EACH flane
MAY BEVERY
PlFFERENTj
BüT PUT TOCíETKER.FORM THE SOLiO,

50 IN PKAWrMcj WE
j

M0STALWAY5 TfcY
TOFEELTHE Hl DOLE
CONTOU RS AS YJELLA5
THEEDGE5>THE OUT-
LfNES ALQNE CAN
SÜGGE5T 5ÜUD1TY
WATCH HOW WGCS
PA$5 ONE ANOTHERL

5 QUD

TH13 WILL NOT BE EA5Y UNTIL YOU BECQMÊ ABLÊ TQTHíNK

ALL ARQUND
THE THllsIG YOU HAPPEN TO BE DRAWlNC^TRULY KNQWiNG ALLOF THE
RORKIp

42
 THE MANNIKÍN FIGURE
The foregoing has given us a general frame- sornething with tliree dimensíons. It has weight
work to which wc can now add a simplification that mu$t be hei d up by a frame work which is
of the bulk or solkl aspect of the figure. It would extremely mobile. The fleshy masses or bulk fol-
he both tedious and superfluous io ws
if, every time the frame. Some of these m asses are knit
we drew a figure, wc went through the whole together quite closely and adhere to the bony
proeedure of figure drawing. The artíst will strueture, whereas other masses are full and
want to make roughs and skctches that can serve thick and will be affected in appea rance by
as an understructure for pose or action—perhaps action.
to co ver with clothing, perhaps to work out a If you have never studied anatomy, you may
pose that he will finish with a mo dei. We must not know that the muselcs fali naturaíly ínto
ha ve some dírect and quick way of indica Ling or groups or chunks attached in eertain ways to
settirsg up an experimental figure — one with the frame. We will not treat their physiological
which wc can tell a story. The figure set up as detail here, but consider them merely as parts
suggested in the followíng pages will usually ínterlocked or wedged together. Hence the hu-
sufficc. Froperly dono, it can always be dçvel- man figure looks very much hkc our manníkin.
oped ínto the more finished drawing, When you The thorax, or chest, is egg-shaped and, as far
are drawing a mannikín figure, you need not be as we arc concerned, hollow. O ver it is draped
gi catl y concemcd with the actual mus des or a cape oí muscle extendíng across fhc chest and
how they afife ct the surface. The manníkin in down the back to the base of the spine. Over the
drawing is usetí imich as is a “lay ’
figure, to ín- cape, in front, lie the shoulder mus cies. The but-
dicate and the general propor Liou
joints of tocks start halfway around ín back, from the
frame work and m asses. hips, and sknt downward, ending in rather
lhe manníkin serves a douhlc purposç bere. square creases. A V is formed by the slant above
I bçlieve that the student will do rmich better to the middle crease. There is actually a V-shapcd
set up the figure this way and gel the “feel” of hone here, wedged between the two pelvic
its parts in action than to begin at once wítli the hones that snpport the spine. The chest is joíncd
lí ve modeh It will not only serve for rough to the híps by twTo masses on either side, In back
sketches but will also beeome an ideal app roa eh tlic calf wcdges intü the thigh, and in front there
to the actual drawing of the figure frorn lifc or is the bulge of the knee.
copy. Tf you have the frame and masses to be- Learn to draw this manníkin as well as you
gin with, you can latcr break them down ínto can. You will use it mueh more often than a care-
actual hone and mus cie. Then you can more fiil anatomical render íng. Since it is in propor -
easily grasp the plaeing and funetions of the tion in bulk and frame, it may also be treated in
mus eles and what they do to the surface. 1 am perspective* No artíst could possibly afford a
of the opinion that to teach anatomy before pro- model for a II bis rough prelimínary work—-for
portion— before bulk and mass and action— is to layouts and ideas. Yet be caimot intelligently
puL the cart before the horse* You can not draw r
approach his final W’Ork without a prelimínary
amusclç correctly without a fuir estimate of lhe draft, 11 only art dircctors would base their lay^
arca ít occupies within the figure, without an outs on such mannikín figures, the finished
unders tanding of why it is there and of how it figures w ould
r
all stand on the same floor, and
works. hcads would not run o ff the page whcn draw n r

Tliink of the figure in a plastic sense, or as correctly.

43
 ADDING BULK TO THE FRAME
THE GK OUPS Of- MUSCLE5 5 l-M PU R ED,

WiLl STU DY THE "ACTUAG BONE AND MiUSCLE CONSTR.UCTI ON

LATER.GET TH*3

44
ADDING PERSPECTIVE TO THE SOT1D MÀNMKIN
1

HERê ts Acft£UP
OF CYUNDtEtS .NOTE
HOW THE ELLl P5&-5
NARROW OÒWN
TH&Y NEAftTHÉ
EYE LEVEL^mfER
FROn ABOVE OR
&ELQW.

L£.v&L

FROM TH» 5 YOUCTET

THE PRlNClPLEOF
PERSPECTIVA VN
THE ROUND HORMS
ON THE FJCURE .

TR.Y DRAWlHG YÜUR MANNIKlM FlCÜRETOTHE HORIZ-ON

ARCS OF MOVEM ENT IN PERSPECTIVE

46
 PLACING THE MANNJKIN AT ANY SPOT OR LEVEL

YOU DO NOTUNDtftSWiP __

PEJ^JPecTlVE, 1T i£ADV!3E£>
TO <JET A GOQ& &OOK ON 7HE
SU&JECT.XOU f*1Ü5T KlNOSV
JT EVENTO A U-Y To SUCCEèP.
YOO dAWNOT 3&T upagood
CRAWUNC WrtHOUt IV,
^
k
|

V.p
ÊEIEjCTEP EYgi L-E.VE.L

47
 L

DRAWING THE MANNiKIN FROM ANY VIEWPOINT

17KAW pLCXtCrH PERSPECTIVE, DIVIDE &Y DIAcTONA íj - BUlLp- riANNI Kl N .

48
COMBIN1NG ARCS OF MOVEMENT WITH THE BOX

40
 1ANDMARKS YOU SHOULD KNOW
SüCFACE CHABACTEKISTtCS THAT GIVE PUNCH TO THE FIGURE PRAWN WITMOUT A MOTEL

5»
 LANDMARKS YOU SHOULD KNOW
s UR FACE CHARACTERlSTlCS ON THE BACKOFTHE HIALE F IGÜBE.TO MEMOR.IZ £_

OUTUINE: FA5 JE5

1_60N E

FüR^owAND BGH& A KM
Dll>S. IN 5UGHTLY
Ç 1 _
LI T i. i hJ Pi

5ͻJ^ BUUjEAND FUtLROW

RjKRjDW OF5PÍUE i$ tEEPE^r
WHEN FlGUfeE. IS F-RECT
Füefiftws
liOMEJ Ét-BOW
—- C 1, li rTí> ^s
hL
_JTj S Tvyq DIMP LE 5
w **

__.V I
HDEMTAT EON '
lh
C KA ÜY 60 HE
fjQLl_OW5 OF TH E SmTQC kS.
<^ fcE-A3£ ÜP^IGHT

c B.E= As E,g lAnEKAL/CAU PKQpyjLTlH SHIP t

Cif WBiICH^EITHéJílEÍ WBII5T BíMt
FAP5 JHANIQ
LEO"
tONVEX
TKY THI S
OUTMN^S PASS eack, vi ew. vo me
S*NCAVt
Bear You c AN,
WHEM YOU HAVE
bon 1
3TUPIEP THE MU3-
CLES COME EACK
mJT-utmiej PAS 5
ANp PO iT AGA* N

í Vv
$
v

ILlÍ 6ÍÍEAK IN dMYLlNF

i<

1
Jv 1
TÈN DON5
AN KLES
ANp FONV (jET
DtSCOUKAG EP,He's
S^llAfcJENESS TO HElÇtI,ST. A TOtlCiH Ot_D B|KX>!
SKETCHING THE FIGURE IN ACTION FROM IMACINATION

52
DRAW SOME OF THE SE, BUT D RA W MANY OF YOUR OWN
 THE F EM ALE MANNIK1N
THEmiN DIFFEReNÇE 6ETWEEN THE MALE AND FEMALE MAN Ni Kl N 15 m THE PELVI5 (DISCS), THE
HlP BONE.S COME UP TÜ THE UNE GF THE. NAVFL fMALEJHEY ARETWG ÜRTHREE.
UTCHE5 BELÜV/), THE
TEnALE WAI5TL1NE 15 ABO^E THE NAVELJHÊ MALE ATORJU5T BECOW* EEHALE Ri& CASE 5
5 MAL LER
!

PÉLVIS WE DER AND PEEPERjSHOULDERS N ARROWS R* CAPE DRGP& IN

FRQN.T TO INCLUDE OREA^Ts!
%

54
SKETCHES

55
THE MALE AND FEMALE SKELETONS

5õ
 -

II. THE BONES AND MUSCLES

The further you go in thc study of anatomy, the female skeletons are the proportion ate lv larger
more interesting it becomes. Made of soft and pélvis in the female and the proportionately
pliable material, elas ti e yet strong, capable of larger thorax, or rib case, in the male, These dif-

unlimited movement and of performing coimt- ferences aceount for the wider shouíders anil

less tasks, üperating on self-generated power, narrower hips of tbe inale; the longer waístline,

and repaíring or renewíng itself o ver a perlo d of lowcr buttocks, and wider hips of the female,
time ín whieh the strongest of steel parts would They ais o cause the female arins to fiare out
wear out— the human body is indeed an engi- wider when they are swinging back and for th
neering mira cie, and the femur, or thigli bone, to be a liltle more
On the opposítc page the malc and Icmalc obliqúe. The hair and hreasts, of coursc, distin-

skeletons have been set up. I ha ve kept lhe head guish the female figure, hut they are meiely íts

units alongside so that you may relate the hones most obviou s characteristies. The female is dih
to the figure ín eorrect proportion. ferent from head to toe, The jaw is less devei
The skelefün, though strong, is leally not so íjped. "l he 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
hase in the pélvis, ít possesses great fiexíbílíty; the arais arc smaller and much less in evidcncc.
and the ribs. too, though they are fastened firmly The waístline is higher. The great trochanter of
into the spine, are fiexíble, Àll die bonés are hekl the fêmur extends out farthèr; the buttocks are
togefhcr and upríght hy cartilage and mus ele, fullor, rounder, and lower. Tlie thighs are flatter

and the joints operate on a ball-and-socket plan and wider. "file ealf is much less developed. The
f
wíth a stop” for stabilíty. The whole strueture ankles and wrists arc smaller, The feet are small-
eoilapses with a loss of eonsciousness. er and more arched, The muscles, in general, are
S traiu upon the mus eles can iisually he trans- less prominent, more straplike— all but those of
ferred to the bony strueture, The wcíght of a the thighs and buttocks, whieh are proportion-
heavy load, for example, is largei y taken over by ately larger and stronger in the female, Thís
the bonés, leaving tlie muscles free topropc! the extra strength is, like the larger pélvis, designed
liinbs. Bones also form a protectiun to delí cate to carry the extra burden of the iinborii ehild.
organs and parts. The skull proteets the eyes, the Concentra te upon these fundamental dilíer-

bram, and the delicate inner parts of the throat. enees until you ean set up an umnistakable male
The rí bs and pélvis protect the heart, lungs, and or female f gure at will.
other organs. Where proteetion is mogt rieeded, Note the bladk squares on the male skelctom
the bone comes doses t to the surfaee. These are bony prominenees where the bones
It ís very Impor tant for the artíst to know that are so near the surfaee that they affeet the con-
no bone ís perfcctly straigbt. An anu or a leg tour. Wlien the body be comes fat, these spots
drawn with a perfeçtly straight bone wíll be bccome dímples or reeessions in the surfaee, In

rigid and stiff-looking, Curvature in the bones thin or aged figures, these bones protrude,
has nmch to do with the rhythm and aetioii of Working from life or photographs wíll not
a figure. It helps rnakò, it appear alive. elimiuate the necessity of knowíng anatomy and
The chief diferences between the malc and proportion. You shõuld recognize what the
 REQU1REMENTS OF SUCCESSFUL FIGURE DRAWING
humps and btnnps are— and why thcy are ihcrc. shnrter than I would iiistinctively draw tirem.
rq.

Otherwise your drawing will ha ve thc look of The essence of successful male figure draw'-
in fia te d rubbçr, or a wax departmenf-st ore dum- ing is that it be kept mascnline— plenty of bone
mv. The final work ou anv commissiun of hn- and mu sele. The face should be lean, the cheeks

porta nee should be drawn from a iriodél or good slightly hollowed, the eyebrows fairly thick
copy of soitic kind» since it imist compete with (never in a thín line), the mouth full, the chin
the work of men who use models and good copy. promineiit and well defined. Tire figure is, of
Most artisls own and operatç a carncra as a help, course, wide shouldered and at least si* feet

But it will not do the whole job. Qutlines traeed (eight or more heads) tall. Unfortunately, it is

from a pbotograph, because of the exaggerated not oasy to find these lean-faccd, hárd-museled
foreshortening by the lt:nses> ha ve a wide and inale models. Thev aro usuallv at harder woii
dumpy look. T.imhs look short andheavy. Elands CTiildren should be drawn fairlv dose to thc

and feet appcar too large. If thesc distortions are scale of proportions given ín th is book. Babíes

not corrected, your drawing will simply look obviouslv should bo plurrtp, dirnplcd, and
pbotograph 1c» healthy, Special study should be given to the
It might be well lo rneiition herç some of the folds and ercases at the neck, wrists, andankles,

reqiurements of sueeessful figure drawing. The 1’hc cliceks are fiill and round, the chin is wdl
“sinart fem ale figure has some mamiish con- under. The upper líp protrudes somewhat, The
to urs, The shoulders are drawn a íittlç wider nose h round and small and conca ve at the
than normal, wíthout much slope, the hips a little bridgc. Thc cars are small, thick, and round, The
narro wer. The thighs and tcgs are ma de longer eyus praetically fill thc openings, The hands are
and more slcnder, with tapering cal ves. When fat a i*i d dimpled and there is considerable taper
the legs are togcther; thcy should toucH at the to thc short íingers. TJittíl the structure of balíics
thighj knee, and ankle. The knccs should be is well understood it is almost fatal to try to draw
srnnll The Ieg is elongated from the kncé down lhern with ou t good workíng material
with small anklos, lt is merely a waste of time
f
to Keep alí children up to six or eight years quite
shovv íui art dheetor a figure that looks large- chubby. From eight to twclve thcy can be drawn
headed, narro w-shouldered, short-anned or very much as thcy appear, though the relativo
-legged, wide-hípped, short, fat, dumpy, or ,si7e of the hcad should bc a little Lirger than
pudgy. But a figure may be actually bouy and normal.
umisuully tall and still please a fashion editor. If you gct into character drawing, you may do
Slímnoss in figure drawing lum becomc ahnost a fat feiiow— but don t niakc hiin too yoiing. Do
a cult What the artists of thc Middle Ages con- not draw ears too large or protruding in any
sidered voluptuous appcal would be plain fat male drawing, The maio hands should ]>c exag-
today, Nothing will kili a sale .so quiekly as fat- gerated a little in síze and in the ideal type iuust
ness or shortness. (It is a eurious fact that short lookhony and muscular, Soft, round hands on a
pcople areapt to draw short figures. A mau with ma ii simply woift go,
a short wife will tend to draw short women If )
The art direetor sei dom points ont your faults,
my figures seein absurdly tall, remem ber that I He simply says he not like your drawing,
am giving vou thc conceptíon accepted as a Any one of the above mÍKtakes may account for
standard. They will not look too tall lo thc art his dislike. Igncí rance of the demands upon you
buyer. In fact, some of my figures here are even is as great a handicap as ignorante of anatoiuy.
 1MPGRTANT HONES

PSjALÊ SKEl-^TCHM BAÇ hí AN D J1DE. V]

3
E S^_S

59
 MUSCE.ES ON THE FRONT OF THE FIGURE

\ PECTÜRAUIhS MiNOft-
PfeCTORALiS P4AJOR a BtCEPS

TglM3 0TL FfrSC Afc WfAifc

|

A&Pü CTq ft U>NaU 3

^ AftLTO vt-VJ 5 _
üBAíH L.I3
VA5J^5 WEftAUS
S E-R.RATUS í&eryí fEMÇfciS
] DÉtroic
2 61CEP5
3 PECTOft^Ll 5 YASTV3 MEDLAUS
4 UllS^LMUti DOR.SI 0ANDOF FS._LCHT&ia

J SERpAf US MÜÍTMU3

1 3
GAÍTFLOCN&l^lLtJJÍCALr')

R3 .]]
H3lA "ÍSHiN ftONE^

TÍBIA Ut AHTICVS
3 PEtawftUÍ UiKiSVi
J|

L
Ti H
1
1
1
!"

2 . TlíAPEÍlUS
J STÉRNOHVQID

6o
MUSCLES ON THE BACK ÜF THE FíGURE

feReCTOR. SPINAÊ * LAt IgSIK^Ugi OOR^SI

Otoyp Ir

i cÈKloft fiPnuAE GÈOUP

% R^oMeotp
iLÈVATOR. ArtCÜLl SíAFiAAE
A TftAPEZlOg

Ó1
 S

MUSCLHS OF THE ARM. FRONT VIEW

WH^ri HAKO 14 TUR^€D CiVElH,

KEY
I OELTOiO
y ai cê ps
uiihuLhu* J TftlCíPl.OUTER. HftAO
HUHEfe ]
tt 3A tí LONG
JB SMNBK
** »
A BKACH1AU3 AMTICUS
£ SUPMJAT0R LQNCUS
£ EXTthSOR CARPI ÜAD1ÀLI3
7 n COHMüHlS
8 j> '£
OFitientUMB
UiH\ & FLkXOft CARPI ULNARJS
ÍO PFfQNATOR TÈ.ftd 3
II fLEKO R CARP HA Dt AL
I I

12 PALMAR! 5 U2 KQU 5
9 S.53 FLLTfOttCARRl ULNARlS
\A EXTEI430R CARPI ULWARlS
13 ANCONÊOS
ita FLEXÕES QtTHE HA.N.P
IV SfiACmORADiiL.lt

DftPM THE 5 EARH 5

TO HELP FIX THEM
IN XOUfi. HErlORY
MUSCLES OF THE ARM, VAR1ED VIEWS

03
MUSCLES OF THE LEG. FRONT VIEW

MUSCLE5 OF THE LEO

1. PS O Aí IO ACU 3 |1 L GHAC1US 21 BÍCEPS FE_MORtS
S,PECtlM E03 \2 TEMSORl FASÍfAf: LATA E
, 22 VASTU5 ^TERMLPiyS
3 iDDUCTOR MiCNüS 13 GLÚTEOS MeOIÜà SAtLTCai £
A TlBfALlS ANTLOU.S J4 lUoTieiAL BANO £4 T&N DoM OFACH\l-I.ES
5 &líTÉ.NSOfi, ÜDNÜUS CNGITORJJM 15 BANO OP ftiCHT&tL
6 IÍ.ÊCTU3 FEMOP-lS I4> PAtELLAR UCiAiMeNr
7 VASTLA5 t.ATEfcAH5 17 REROWfeUS ÍjONCLiS
S VAÍT03 MEOlfrUS í6 GLÚTEOS MAiílMUÍ
9 CASTPiOCMtMl U5 J9 SEnil^EMeftANOSUS
\Q SüLtUS 20 3E:MíkTS.N0iMO3U5

64
 MUSCLES OF THE LEG BACK AND S1DE VIEW

15A CK VI EL W OUTUfc. S[OB. VI LW

THECe 13 MO OTHEft WAY TO ACQU'R-E BY GfcORGE BRLLDOMAN AS EXGELLEHT.THERE,
A KNOWLEDÜÈ OF ANATO MV TM AN TO Í5 AL 30 A^ERY FINE BOOK OF Dl AG R AM J.
J + fí

D1C ITOUtI" 5TAV VYITH IT UNTILYOU ARTISTIG ANAYOMY BY WALTER T M03 EX

CAN ORAW THE MU3CLE3 FRQM MEMORY. IN 0OOK3 THE SUBJECT iS MOPJE E.X-
THESE- t

<jêT RJRTHER 800KS OH THE SUSJÊCT. PERTLY COVERfeD^AKíD MUCH MORt COMPl£TEL T

THE ÀUTH Oft EECOMHÊNOS THE BOO^S *rr pays toknow^so staywith it !
NOW JUST PLAY W1TH WH AT YOU HAVE LEARNED

66
TRY BUILDING FIGURES WITHOUT MODEL OR COPY

67
 BLOCK FORMS, PLANES,
III.

FORESHORTEMNG, AND LIGHT1NG

The traiisition from outlíne and speeifie con- The first and brightest planes are called the
structiou lo lhe figure rendered in light and “light planes." Tbe next planes are the “halftone
shadow is quite a hurdle, Ofteu the student is planes/' and lhe third planes, which are miable
unablo to make this jiimp. The diffieulty arises to reueive dírecl lighting heeause of their angle,
from a laek of conception of the solid. Yet there are called
1

shadow planes/ Withín the shadow

are intennediate steps that ean make the ren- planes may be those that are still reeeiving sub-
der ing of the third dímensíon (thickuess) íairly daed, rcflected light; these are called "planes of
símple. reflection/' Form camiot be rendered withont a
How can a solid forni be set ir to space? How olear grasp of this principie. The planes are
do we conoei ve of it so that we know it has bi.il k worked out ín the sirnple order of : ( 1 ) light, ( 2 j

and weight— that wc can pick it np or biunp iuto ha 11 tone, (3) shadow— whi eh is the darkest and
rj

it Tlie answçr is that our evc instínctivelv rcc- is at the point wherc the plane parallels tlie
-

ognizes the solid by the way light falis upon it. díreetion of light, and (4) reíleeted light. This
As far as the artist is concerne d, when there is is called "sirnple 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-ean suggest lhe solid is that the* som ccs of light, the whole eompnsüion beeomes
oretically a drawíng represents the forin in a a hodgepodge, inconsistciit vvith natural light
light that comes from directly behind the ar tis t; and iiighly confusíng to the student. Snnlighl
hence tlie forni casls no shadow visible to us. As naturally gíves us the most perfeet rendílion of
the contours and edgrs tnm a way from 115 and form, Daylight is softer and more didnsed, but
tlie light, they íend to darken until they br gin tlie principie still holds. Artificial light, unless
to look like li nes, sharp al the edges and soften- controlled and hased npon the snn principie, is

ing as they approaeh the iniddle or eloser part thefly ín the ointinent. The eamera may be ablc
of the forni. We call this "fia t lighting/* It is the to get a way with four or íive sources of light:

only way that form can be rendered withont the chances are that the artíst cannot.
shadow, but it does índude “ha lf tone,” wliicli Before you plunge into the intrica cies of light
is the next step between the fnll light and the and shadow, it would be well lo know what is

shadow. The shadow is really there also, but we going to happen to form when light stríkes it.

caimot see it from our viewpoint Sinee lhe light can be niade to come from any «

When white paper is used for the drawing, diieelioii, the orgaiiizution of tlie light-lo-durk
the paper theorefricaÜy represents the greatest may start with any plane as Lhe light plane. Tn
light— that is, the plane u-hich is al right angies other words, in a top lightmg slightly lo the
(olhe sourcti of light. Tn all cases other than flal- fremi, the plane across the breast would be the
front lighting, the form is rendered hy the cor- light plane. Move the light to the si de, and that
re cl interpreta titi n of the díreetion of the planes plane would becoine a halftonc plane. Set the
a way from thcríght-angle planes, or tive turning light bclow, and the saine plane is in shadow,
a way of the form from the source of light» Hence all planes ara rdatice to the light source,

68
 ,

FO RE SI O RTEN N G AND LIGHTíNG

I 1

Let us start, then, with the fonri in the sím- forcei id and powerful is Onr message. Wc can
plest possible terms. By drawing block fornis we takc a eompass and draw a eirole perfeetly, but
cut out the extreme subtletíes of halftone. Con- we ha ve no
left trace of ourselves ín what we
tinuing a plane as a single tone on a surfacc as have set down. It is the big forni that does the
long as we can beforc turning it ín anothcr dírec- Job—not the litlle and the exact,
tíon is siiirplifícation* or massing, Actually the On pages 70 and 71 I have tried to gíve an
figure is very rounded But rounded sur faces inkling of what mean. Ilerc the surface
J is con-
prodnce such a deli cate grada tíon of líght and ceived of as há v ing mass and bulk. The effect h
shadow that it is difficult to approach without sculptural. It is lookíng at o nr mannikin a líttle
a simplifica tion and massing of these tones. differently, If we are to compose the mannikin
Strangely enough, the siinplifieation a good of simplificd bloeks, how
is
shall wc shape those
deal bettçT in the end tlian the exact photo- blocks? Your way as good
is as mine. Shape
graphic and literal interpretation, It is somewhat thern any way you will to arrive at a massed or
li Ice tryíng io paint a tree by paínting every leaf bulk effect, This is the real approach to “solidíty”
instead of massing the folíage into its big fornis ín your work: actually thinking of the mass,
and woxking for bulk rather than intricate detaíL bulk, and weight of it,

After we liave mastered the ktrger plane, we With this approach, we takc the art-sture
can soften it at its edges to mold ít into the more wooden mannikin and use it as a basis for settiug
rounded form, wh íl e Vetai uiiig all wç can of the vip a figure (page 72 ) We go a $tep further with
bigness of conception, Or, we can start with a the mannikin on page 73 and attempt to elímh
big block, as the sculptor woul d start with a nate the stiífness of the joínted parts, stíll think-
block of stone or marble, We hew away the ex^ ing though ín ter ms of inasses,
cess and block io the. general mass that we want. Retaíning these terms we takc solids (page
We then subdivide the big, straight planes into 74 ) and tip th cm, remeiiibering at all times what
sinal ler ones nntil the. rounded effcct has been eaeh section of the mass would be and where
produoed. goiug arouud a with
It is líke cirele it belongs in relation to the whole. We must
a series of short, straíght liões. You may ques- depend chiefly upon line to render the form, or
tion why wc do not at oiice procccd to the fiii- that part of it whieh goes baek into space, as scen
ished, sinooth, and round form, The answer is by the eye of the observer. This is foreshorten-
that in a drawing or paint ing, somcthíng of the ing, Actiial measurement of length eannet
individual procedure and struc lurai qualíty be made, since viewing the form from one point
ahoiild remam. When it is too niuch smuuLhed is likc looking at a gun barrei aimed directly at
down and polished, it hccomes entirely factual. you. We must think of lhe eontours and form
The camera can do that. In a drawing, howevcr, as sectíons lined up one behind the other. An
^finish*’ is not necessarily art. It is tho ínterpre- outline is rarely sufficient, however, to represent
tation and process of individual conception that the receding sectioirs; mest often halflone and
is art and that has vahie, If you in elude all the shadow are ireedcd as well, as shown on page
literal facts and acEualities, the resnlt wíll be 75, Pages 76 and 77 are an interpretation of the
boring, It is your selectíon of relevant facts that rounded figure flattened into planes that go a
will creatc interest. A sweeping conception car- step further than our simplest block forms. On
ries with ít vitality, purpose, and convietion. The pages 78 and 79 we plaoe the sirnplifjed form of
more dctaíled and involved we get, the less the head iincler variou^ kinds of lighting.

69
 *

BLOCK FORMS HELP TO DEVELOP YOUR SENSE OF BÜLK

70
 ^

FHEL FREE TO INVENT YOUR OWN RLOCKS.

&LOC*lNCÍ iNFORM IS 7HE.

fOVN PAT tON FOR AUWOKK
<N I^LCi WT AN7
sH^t-ow. iKy to epüce the
FomM T0 1T3 SlMPL^SfTBÍHS,
AÍ7^hí3 VNHÁTE,Vee OTX7KF-1
C*= FlNl^-TyOU KEMEH»Q? #
A SiHPt^Ê OLGAW CUT STAtwHÊHT
ÍS 0ETTERL THAN ;sAYl NG TQO MUCH.
^frTCíMY IS 5n/OlED R^ST TO
HECP YQU BUI Lp 5ÍMPLE FOEMÍ
CX»W V NC NGLY, A MftPíN KiM wí LL
I J »

HFLP YOO lN(OW oa^OíV|E CASTS,

f

VOU WUT AT TRJ$ STAG^í

f

AttêMiPt líchtanp sh&xjov*,

|F iTJ TOO tJtPPtCGLT, J U5T
Í^^AW BKJ 15LOCKY 3HAP&S,
TKY TO THE RJRM AU,
THK wa 7 kíocNp, YHe oRject
r5'VoC&T OOT OF rHE.FLAT
tNTO THP, SOL) P T

7í
HOW TO USE AN ART-STORE WOODEN MANNIK1N

3K^.TCH TH ÈL KIANMIKífH t hem buiud YOUH

73
QUICK SKETCHES FROM THE WOODEN MANNIKIN

73
 FORE3HORTENING

VOU CAN FORESHQC*TEN ANY FORM &Y DRAWING INTERHITT£NT CROSS SECTJON5 AND CONNECTtNG,

No MATTEL WHAT THE FGRH IS U KÊ, tT CAN @E ORAWM THi5 WAY * BUT YOU MUST CQN5] DE&
1

THE COHPLETE FORMj NQT JU5T THE V S 0 LE PORTK3N. 5EN5E FHE FORM ALL AROU ND
i 1 1

THE CONTOU R5 PA SS IN FRONt QR OV&R

(

ONE. ANOTH E R. VOU SHOOLD PRACtlCE

.

FRQHt LIFE OR GOOO PHOTOÍJRAPH5

SOME PEN SKETCHES FOR FORESHORTENING

75
 PLANES
PLANES THEOR.E T+CAL FLArrÉNlNC QPROUNDED THC U5P OF PLANES GiVÈã MOR£ OF AH LNDLVIPUAL
FQRMS AS WELL AS ACTUAL PUSft AREAS. IN ARÜT Ais ARTI3T5 WJLL 3EE PLANES ALIfeE *
QÜAiLlTY* ^OtSiVO
5MOOTHNE5S ú«D RDüNDNESS GF FGR.H +
ÊXTR.EMJE $OUAREM££S*QFftQONDE& FOkM IMRARÍ3 A CtRTA N f

TEIUD3 tTQWAfep SUCK- AMD^FHofTÈJ^ftAPHLC^lT ftUGüEDNÊSS AND VITALITY. A ^OOD AXJOM I3 y '"SEE
5HOULD &E AVOPt>ÊD *UKE THE MèASLÊS^ HOW S-O.UA RE YOU CAN M&KE THE ROuNt?^

_
"- l;
!
— - _
_-Eí
— ' 1

(
jr
""IS F

zz — i

HE.RE [í A RÜU MO FOR.M

SET intí?* planêS 'culareas
OFLICKT HALFfohie Ano
ShApqw .

v-mrn
» t/ÍBi TUSftE <5 NO Stt
RVLb FOft. PL.ANÊS.
VOM DrAv* íHBM
ytMj TNINK Ü-ÉJT ®
SDlT THE SUtSJBCT^

{ DlRPCTlON
43F UCKT 'J
THft UítfT PLANES ARE THOSe.
^ *
IH ^ULL LI d ITt T H Si H ALFTCJ N
,.

PLANÉL5 AftE. TKOSE IN HA|_R

kJCTKT THE. raS$ACí!í TONE b<&
TH AT WHLCN IHÊRÚES THE H*UF-
*
TONE- AND JHAPOW. THeWaLKT
IS THÉ tJCHTBST TONE irt T^E
V t MA Dow.
HEPE. WE
HAVE SQUAR,êP
THEROUNPED fcgüre liNTO
PLANES. THE. PuRPOSE *S
TO USE THEM JAS A BA5 S r

POÊ RE NpERtWd LICHTj

HALFTONE AND SKA DOW,
ÍN THE SjmPLEST TERM 5

AND Ar THE SAMÇ TIM E=_

PRESE.RVÍNC THE MA N I

STdUCTURAL FOfòPlSi
* u
WC THEN SOPTENi THE.
EDGES OP THE PLANES
TCs THE OEC ftEE. TH AT
WE DCQM 3 ATí SFACiUNV
 FLANES
TUERE i% |sJOS£TOFPLANE3 WHICH WILL FIT TUê THE FORM 5 CAN &E 5 IMPLI FJ ED EVEW WHE M
*
1

F lGURÉ AT ALL TIMES, 5JNCETHE 3ÜRFACE FORM VOU HAVE THE LÍVE MODELOR, COf Y VOU
>
j

CHAfiCíeS WITU MQVÊMENT 5UCH AS BEMDJNG AT 5 TJLLWORK FOR THÊÍ MAÍN RUNE 5 OF LlC KT ?
THE WAISTjMOVEMENT OF THE 5HOULp£RS ETC s
HALFTONÊ AMD SHADGW CTHERW 5 E YDU IA AY
J

THÊ PLANEA ARE GlVÉN MAJNLYTDSHOW (-fQW HAVE AN OV&RPOWER NG COWFU 5 K5 N OF TQNES.
1

U
/

'J.
Y

{
Tt

JÁ 7
:

Rtn£M 6 ER. 1

vg^EH WOravtirJiG A
VJ1THOUT
vO.
MODEL QP_ COPYíYOU DPAW
THE. PLANES FOR. THE. UGHT,
HALFTOIME AMD 5HADOW
WHEN WORKlNCT WITH THE
MO DÊLOR COPY, YQU DRAW
THE PLANES FROMTHEUOriT,
HALFTONE AND SHADOW,

77
 LICHTING

i.^FLAr lightimg '-( tftQM piKeqTur imtkpnt) ê: àTActpram atic ,we uo, cho stly* u ke
h 3. VA SIDÍ UG HTi MG. PlACE THE
gqqg PonPosTT=!t ticío<tArtvE 1 simpmoty.
i fHt MCHTÍ Flíül-I A CRATEtt (Low fR0ht)
. LlOHl -45* owe üghi oh ur;

^ lop StD€“-ONE or THE BÉST. It OVES 5*TOf^AVPHrr BEAUTIFUL UGJ-TTlNG.THI S ^*10P BACK - WlTH RtFLECtOR.VETíTCOOÍl
MAXIM um UCWr^HALFTTíHe jSMftDOWietFLECT CtVEf GftCAT LuMtMQ31TY TO 5HAOOWS . Gives hSRTAT SOL É>tTY TO THfe (=QRM,
I

T^Cülí^CBlOJS USUAL lV ÈAD. fiEVÇR H AVE. FLaT ^AftOVING HOW tXCE33 LlQHTS
6'At.L «T Sfrf SAP. Af¥E« OF LIOH I> SHAOóW
M E4UÚL£|VE OHÊ
I

LlGHT EâU^LÚN aCTH SrOfii.CLFTiU^fiOftM. MAY ACTUALLV ÈUrilHATÊ dpop F<Jft.lHL 3HOOLD HEYEA THf, EQíit.

78
 LICHTING
Here the camera lends iis a helping hand by
showing the "actuíd'’ light as it falis on a simpli-
fied form, The form lias been rounded to give

you the? gradatioii from light through halftone

to shadow. Number I is a front lighting, corre-
spondíng to the treatment of a Hat and unshaded
outlíne drawíng, The only shadow. under the
cliin, occurs because the light was raised a litlle

to allow the camera to be placed under it,

r
t—
>i
^
Camera and light, of course, could not have VMr
m- JM- '*-

becn placed in tlie identieal spoL Ilad this becn

possíble, there would ha ve been no shadow. An
all-flat or formícss lighting rnay be obtained by .

y TH t KtVJLK5Ç-, ÚF MO
HHH Í

piling in equal lighting from every direetion fiq OP FOR. PPSTQÍi h

DES G N 4
I J=i_iT E r= F ECrTS .

(Number 8).

When there is a single souree of light on the

object, the shadowed side retíects some of the

light in a luminoiis manner. The refle cted-light

areas within the shadow, however, never be-

come competí tive with the arcas in light, and the

unity of the rnass of light as opposed to the mass
of shadow ís maintaíned. In drawing nolhing
within a shadow arca should ever be as light
as that witbin a light arca, l>ecause refleeted

light is never so strong as its souree. One exeep-

tion might be the use of a inirror, That, however,
would be a duplicai Íon of lhe light souree ralher
ll/FftlKGE^ LlCHtEP DIFtECTkY FRjOr^
than reflcction (rcfraction ) . The dazzling light
BACtt SJ-LGHTJ-Y TOP. EFFECTlVÉ.
upon water is another example of refraction,
Simpie lighting, which means lighting from a
single souree, and the refleeted light of that

souree, is the most perfect lighting there is. lt

renders form in its actual contours and bulk,

True modeling of form carmot l>e approached
any other way, since lo ehange tlie normal or
rvVFti KüKotJPlp.
true value of tlie; plane ís to ehange and upset
the forni; if the value is “off," the form ís i n cor-
re ct. Since llie photographcr may not ha ve rea-
soned thís out, ít ís better to make your own
photographs, or at least supervise the lighting of
any photographic copy. The photographcr bales
TOP WiTH.i UltiHT CEOyHÍ?
shadows; the artíst lo ves thenn t=C3 C. RÊ PL ÈtlT IO M H AT4RA k ,VE1RY GOQJ1
.

79
 SIMPLE LIGUTINC ON THE FIGURE

PRAW 3HAD0W3 FmsTjTrtEN HALfTONEã

C4ST SHAOOWS ARJE DÀP-KETF.PONOT
MAkE FOftH SHADOW3 TOO bUck *
li cm íf^per')
MOoei_ FfiOM SHADOW 1U THE UGHT.
— HALFTONE,
K&ÉP AU- HALFTOhlftS UCHTER TH AN
ü 5VÍAOOW
SHAPOW3. PQMtIdvêR MQPEt UGHT-

So
 B ) <

TRUE MODELING OF ROUNDED FORM

The simplest way to explain the fundamental

principie of rendcring light and shudow is to

thiiik of a bali wíth liglit focused upon it just as

the sim lights the earth. The arca on the hall

closest to the liglit is lhe high light (A)> com-
parablc to noon. If we move on the surfaee of
the sphere away írom the high light in any
dircction, we fmd that the light hegins ímper-
ceptíbly to fade into the halftone arca (B),
which may be cOmpared to twilight, and then
to last light ( + ) ,
and on to night ( C . If there
is nothííig to refle ct the light, there is troe dark-
ness; however, if the moon, a reíleetor of the

suns light, comes up, it will reflect light into the

L_ A. MlQHMCÍhT /nOOn" H
shadow (D). When light is intereepted hy a
fã 8, HALFTONE =l *TW l Li GHT
*

r
btlAST LKiHF

body, its siihouette falis upon the adjacent light Ü c. shadow

T
plane. Thís, the darkest of the shadow s, is ealled ^ n. fceFLECT = riOQM LI j kt 9

Á
'cast shadow." It is still possíhie, however, foi m E. CftST 5 HAOOW*ECL|PSE
h

a cast shadow to píck up some reflcçted light.

The artist should be able to look at any given

place on his subject and determine to whicli
area it belongs — the light, the halftone, the
shadow, or the reflected light. Corrcct values
must be given in order to obtain unity and
organiza tion of these four fundamental areas.
Gtherw isc a drawing
r
will not hold togethcr.
Treatment of light gives a drawing cohesion no
less than strnctural fornu
There are many things you can leum from
photo gmpbs if you use thcim intelligently. Rc-
member, however, that the range of light to dark
is much greater in the eye than hi pígment. You
cainiot possibly put down the full range; you
have to simplify.
 IV. DRAW1NG THE L1VE FIGURE:
METHODS OF PROCEDURE
Bcfore you nndertàke to draw from the living can he achievéd only by eombinations of lines.

modelj bc s ure vou have absorbed all the pre- But a brnsh or pendi 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 attractivcncss of the tex-
The proportkms of the idcalized figure
tiire of the drawing, Beeause of the method of
The general framework reproduetion, a eoated, smooth paper coutd not
The relatkmship of perspective to the figure
be used for the drawings in thís book. Beautíful
Movement and action grays and darks arc possíhle, however, on the
TI ui mamiikin and simplificd buílding of the
smooth paper s if the side of a sof t lead pencil is

form
used. The halftones and darks may be produced
The a na tom ie coustruction in either peneil or charcüal by rubbing with the
The planes by whfch we buíld light and
finger or a stivmp of paper, The whole figure
shadüw drawing may be mbbed with a rag and the lights
Foreshurtening
picked out with a kneaded crascr,
The fundamentais of light and shadow
On pages 86 and 87, look o ver my shnulder
The tme modelíng of form
as 1 proceed with my own niethod for drawing

Now wh en you have to dmv somethmg set. a figure. On page 88 scc a plan of approach that

up in froiit of you, you must possess still another I ca 11 the Visual surveyV Jt is less CQiriplicated

fundamental skill — intelligent measurement I lhan itlooks, for T have induded visual measure-

say "intelligent” be cause your aim is not mere ment lincs that, ordinarily, are not set dowu, lt

duplioatkni, is a plan of Fhidiiig levei points and plumb points

SuppOSC you begin to draw a husky young and the angles established by sightiug a con-

man, anus nplifted, whoui you wanl to interpret tinuation of the line to sce where lt emerges.

in terms of liglit, halftone, and shadow. You Tlns is tbe only plan I kuow thal cun be de*

liave Set your light source low and to the right, pended up o li to oíier any degree of accuraey in

$0 that there willbe a varíed play of light across freehand drawing.

lho forni. First, look for the arca of greatesl lighL It is easiesl to sight in vertical and horizontal
Jt is fonnd on the chest iiutler the left arrii of the línes. so that impor tant points directly across or

model. Now look for the whole mass of light as uiider each other are quiekly cheeked," Wheil

opposed to the whole mass of shadow. Sketeh a point falis outside the figure, such as a hand,

in thé contunrs of the figure and bloek in these angSes of points withiii tile figure will help lo

masses, (On page 8$ you wíll fiud the halftoncs fínd it. Whcn you havç cOrrcctl v placcd One
added and the shadows nelatively darkcncd 1 t point. proceed to others, and finally \our draw-
suggest that vou use the point of your peiieíl ing will eheck with lhe model This príncijde,

for the contoun and the síde of the Icad for the also illustratcd <m page 89, applies to any subjcct
inassriig of the halftoneaiid shadow. AVhcn you bcfore you and provides a valuablc means of

are draw mg with a pen, shadows and halftoncs cciTühorating the accuraey of your drawing.
 GROUP! NG SHADOW MASSES

WHEH DRAW1NG FROM

A UgHt
ÜRPKOTOSjDftAW B HALFTOME
THE CONTOUR3 QF TH ^ B+ DTC.HALFtOHE
HALFTO|4£. AMD 5HADOW C SHAOOW
MA SSttt 3TUDY ALLTHE P Refle C r
SUÉFACE AREAS AMD DEE- £. CA ST SHADOW
CíOH TO WHAT CUASS
EACH AREA &ELONCJ,
15 IT LIGHT, HAU=TGNE>
5HADOW, RlEFL&CT OR_
CAST SHADOW ?
FIRST STAGE
 THE MAIN VALUES STATED

LA5T
THE VA LU ÉS WORKÉD
COT. At O RAW N q
i [^ Ay
B^STOPPED &EFORE USE THE. SIDE OF TM&
ENTlfcELV RNLSHEO, F&NCll- FOR. DRAWING
50METÍMES WHENA TOHB-5 OR.VALUH5, AMD
DRAWLNQ 3U<iCP3Tí' A SHARP POtKT Eoa THE
ONLY, T IS PAIt 1-iORE
l

fMTERESTl NG,

84
THE FAST STATEMENT OF VALUES

85
PROCEDURE

86
PROCEDURE

87
 THE VI S UAL- SURVEY PROCEDURE

MEA3URC BY HOLDINO pencil level «urns

ALWAVS AT ARM ^ LE_KCT H1

piLune point s

MEASURING THE SUBJECT

1. two points ou your paper as tlic
Establish
desired heíght of pose top and bottoin (
)

Draw a perpendicular through these pointt

as the rniddle line of subject,
2. Lo ca te the rniddle point of line (Ja). Now,
holding pendi at arins length, £nd tlie niiddlc
point on the subject before vou, From the
imiddle point gel quarter points (
up and
down)*
3; Take the greatest widlli of tlie pose. Com-
pare it to tlie hcight. In iny drawing it come.,
just abo ve the right kneecap (about Is). Luy
the width equally on ca eh sido of your rniddle
point up and dowic Now locate the rniddle
point crossways on your model.
4. Your two íines will cross at th is point. It is

the rniddle point of your subject. Remembet

this point on the modeL
You work out from it in all

directíoiis.

5. Now, wíth plumh line, or eye, locate all the

impor tant points that fali beneath one an-
other, In rny drawing the subjects right heel
(

was directly nnderneatli her ha ir al the forc-

head, the knoc 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 ou through
and establish a point on the line wheve it falis
under a known point. (See line of chest and.
mpplès, The known point is the nose. This
locates right nipple.)
3. If you constantly checlc points opposite,
points underneath, and where the angles
emerge, alter havíng established hcight,
i

width, and division points

—your drawing will
be accurate, and you wíl! know it ísl

PldUMB LhME.

88
 DRAWING FROM THE MODEL

7“H*5 PtAW G^VES THE ÀÇTUAL Í-WE PRG- COT TNO ftkiHT ARGLE? FROM ?ÇjM E STFF CAfeP&üA ROj
PORtlO N3, MMíE AKY ADJU5Tr^&NT5 VOU WlSM MAltK OFF tN lUCMfiS ANfS OU PTCÇ ETHEft .TWS CAW 1

A3 YQtí GO AL01YG. UÍUAUvY ADD a HTTLEl IK LEMGTH. ACULJ3TE.CMT QLVES PROpç>|^.Tl<)NA,TE W|ÇyTH TOHPUí^tíT

8g
 V. THE STAND1NC FIGURE
Much of the essential equipment for profissional or woinen? Is there a drama Lic way of expressing
figure drawing is described in the precedíng the subject? Wall a liead or whole figure best
chapters. You have now leamed a “means of serve to emphasize the idea? Should several
expressíon,” but your use of that knowledge is figures make up the eompositiou? Will a settiug

just begínning, From this poínt onward you and local e help or can the message be conveyed
nuist Ícaro to express yourself índividually, better witbout these? Wliere and hnw will it be
showing your particular tas te in tlie selection of reprodueed— ncwspaper, magazine, pôster? You
models, choice of pose,, dramatic senso and in- must take into aecount which aí i ver ti si ng

terpretation, cliaracterization, and technieal médium is to be used. A hillboard, for examplc,

rendering. will require a simple, flat background and the
Routine knowledge and fact thns become the use of large heads, since the message must be
basis for what is often refened to as inspiration, taken in at a glauco. Ncwspaper drawings
or spirítual qualíty, subjects that are little dís- should be plauned for reproduetion on cheap
cussed ín art textbooks. The tmth is that there paper— Le,, line or simple treatment without
are no hard-aud-fast rui es, The best advioe is to subdety in the halftone, For the magazine,
watch for tlie individual spark and fan it into where lhe reader has more time, you may use
liame when you fiiidit. For iny part, 1 have fmind the complete figure and even background, if

that niost students possess initiative, are open to needed. The teudency, however, is to simplífy
suggcstion, and are lhoroughly eapnhle of beíng and to strip drawings of all that is not of major
inspired to express themselvcs ably. I believe iniportance,

thatwhen tbe qualities ueeessary-for acceptable Wíth lhe second stepyou advanee to the prac-
drawing are pointed out, you may bc helped tical mlçrpretation cf the idea, Kl mina te what i

tremendously to bridge the gap between ama- yon know to bc impracticah For instauce, do
teur and professíonal drawing, not approach a hillboard subject wíth several
Two broa d approaches are needed: First is complete figures, for lhe ir expressious will not

the coneeption, or “Wliat have you to say?” carry from a distanee. Granting, then, that you
Second is tlie iiiterpretation, or “How can you rightly choose large heads, what are the types
1

say it? Both call for feeling and individual ex- you wanl? What are the expressions? What are

pressíon. Roth call for ínitiatíve, knowledge, and tlie Can you do better if you get out your
poses?
ínventiveness, ca mera and nail down an express íon lhat you

Let ns take the first step, Bcfore you piek up know Cãiiuõt he held by tlie hour? Can you put
your pendi, or take a photograph, or hire a Mo th cr o ver here and have room for the Ictter-

modeh you must understand your problem and iu g also? Would she be better o ver there? What
its purpose. You must scarch for an idea and w íll you choose for a background? What will be
interprel it. If the [ol> at hand requires a draw- the style and color of her dress? You begiu, at
ing designed to sell something, ask yourself the this point, to experiment with tliumbuail irn-

following: To whoin inust this drawing appcal? pressions on a tis sue pad until yon can say,

Shall it be dircctcd toward a selected or general "That s it" and then, with all the vigor that is in

class of biiyer? Are the Imyers going to be nicn you, proceed to prove that 'thuKs it?’

QL
 VA RI ET Y IN THE STANDING POSE
There is no boofc in tlie world thut wíll do a self-conscious gir] has the fcoling that she never
job for vou, There is no art director who can do knows whdt to do with her hands, The unimagi-
your job, Even though tlit; art director may go n ative artist, too, does not know what to do with
so far as to lay out th o general idea, spaoc, and the hands oí his figures. But the girl can put hei
placement, lie still is asking for your interpreta- liands on her liips, finger her beads, fbt her hair,
tion. Agaim, there ís no piece of copy tliat vou pulí out her vanity case, apply lípstíck, smoke a
can lay down ín fronl of vou which will com- eigarette. liands can be most expressive,
pletely answer your needs. Ànother maus work If you show legs, let thein he interesting even
was done for his ovm purpose and for another in the standing poso, Drop one knee. Raise a
problcm, The principal difference between the heel Do auythíng except keep th cm glued to
amateur and lhe professional is that lhe latter tlie íloor side by side, Twíst the body, drop one
coiirageously strikes out ín his own way, while liip, get the elbows at diílerent leveis, clasp the
the forme r gropes ior a way of expressing him- hands, put one hand up to the face, do anything
self. that kecps your drawing from looking like a
Endless variety ín posíng is possible. Pruiplc wooden durnmy. Draw a lot of little "funnics”
stand up, kiieel or ermich, sit or lie down; but nntil vou fiud onc that is interesting, Make every
there aro a thousand ways of doing tbçsc things, standing figure do something beside jusi stand-
is surprising, for example, to observe htny ing. There are so many natural ges Lures possible,
many ways there are ín which to stand up. to combine with the telling of a story, to express
Piau tlie standing figure carefully, remeinljer- an idea or cniolíon, thut it should not be hai d to
ing that, althóugh standing still is a static pose, be original
you can suggest that the standing figure is eapa- Wlien I illus trate a story, I usually read signi fi-
ble of movement. Only when you portrãy a tense cai it parts of the manuscript to the models. I try
monient demandíng rigidity in the figure do you to get them to act
out situations as natural as
ly
arrest the ktent movement, To relieve the static possible. At the same time I try to tllink of how

feeling, put the weíght on one leg, tuiTi lhe torso, I would act under tlie eírcumstanccs in the story,
tip and turn tlie head, or allow the figure to lean There is, of course, the danger of overacting, or
upon or be supported by soniethíng. A fairly of usíng gestures that go beyond tlie natural or
good ru!e is never to ha ve face and eyes looldng logical, which is afinost as bad as bcíng static.
straight ahcad and set squarely on the shoulders, Expcriinent with the líghting on tlie model to
unless you are trying for a definite “straight- express best what you ha ve in min d, Give im-
fro io - the- s h o l J de r altitude” to suggest defíance, por Lance to a portíon of the figure by getting the
impudente, or a pitting of one personality strongest and most conceutratcd liglit upon it.

agaiust another. This altitude reiuinds one too Some times parts of a figure can be lost in shadow
imich of the oldphutographs in which Grandpa s to advanlage, Sometiines a silhouette may be
head was hold in a clamp duriug the process of stronger and more cümpelling thun a bríghtly
getting his likeness, lightcd subject.
See that either head or shoulders are tumed The whole ganiut of expresxion is tliere for
or típped, or both, With tlie standing figure you to ohoose from. Don t forni a fcw habits that
éverything is relata liou, balance, and a dístríbu- vou eontinually repeat, Try to make each thing
tion of weight. Àny sort of gesture is a rclief vou do just as original in eonception and cxccu-
irou! liands haiiging inotionless at the si d es. A tion as you possibly can.
 THE WEIGHT ON ONE FOOT

1*?V

93
DISTRIBUTED WEICH'1

94
THERE ARE MANY WAYS OF STANDING

95
 SHADOW DEFINES FORM

DRAW THE SHAPÊ5 OF Fl LL ifi THE SHAPCa

THE UCHT, HALFTONE W I TH THE RlÜttt TDNÉS
AND SFtAOOW AR.EA3 AMO THE FORM TAKtJ
AS CARG.^ULLY AS THE, CAPE OF ITSELF,
CONTOUR5

t)6
THE NEARLY FRONT LIGHTINC

97
BUILDING FROM THE SKELETGN

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ACC RNTI N f TH F FOHM
i

99
 ANÀTOMY TEST

DO YOU KNOW YOUR M 05 CLE 5 ?

WC^FTe IN THE NAríE^ Ol= MÜ5CLES

THE N ÇRgLFER &ACK TO Ví)UR ANATOMV
ANP 5EE IF YOU WERÉ CORRECT-
ir VOO CANtt &d IT, YOU NEÊP VOR-E
1

3TU DY CO BAC K AN O GET lT TH L3 TIME,

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VOU WIJ.U NEVEft »E ^ORRlV í

1 OO
 -

A TYPICAL PROBLEM
A tijpical prohlem worked out with an advertis- take some snaps, Our dient wants outdoor sunlit
ing art direetor; lightíng and cautions us agaínsl getting a sqiiint
“Please rough out some little Figures for pose in the model s eyes.”
oaly/' an art direetor says to you “to show to The next step is to photograph a friend
s in a
the J3lánk Kníttíng Company, suggesting our batbing suit. The chances are you will have to
iiêxt ad. Indícate a one-piece bãthing suit. De- idealize her figure whcn you makc your drawing
tails of the batlhng suit will be supplied later. froin th is photograph. Make her eíght heads tall,

Use a standíng pose. The figure will be cut out Baísc the crotch to tlie middle of the figuro. Trím
agaimt a white background, and the ad is to the hips and thighs if neeessary.
occupy a half page up and down in the S ateve Slie might be smíJíng o ver her shoulder atyou.
post” Have her hair blowing, perhaps. Find some use
When vou Lave made a series of roughs, show for the hands. Make the whole drawíng as ap-
thc two you li kc l>est to the art direetor, wh o peai ing as possíble.
takes them Lo his clienL Afterward the art direc- Sinec your drawing will be reprodueed by
w
tor tells you, Mr, Rlanklikcs these, Pleasc draw halftone engraving, you liave a fuíl range of
them aetual size for the magazine. The page values with which to work, You may use peucil,
size is miie-amd-three-eighths by twelve-and- ehareoah Títho peucil, Wolff peneil or wash. 3 You
onc-eighth inches. You are to have the left half ean rub if you prefer. You also have the choioe
of the page up and down. Pendi will do. Use of pen and ínk, brush, or drybrusk The drawing
light and shadow ou thc Figure." should be inadc ou Bristol or illuslration board
Mr. Blauk O.K. s one of yõnr peucil sketches, and shmikl be kept fiat. Ne ver roll a drawing
and thc art direetor says, "Get your model and thal is to be reprodueed.

iü i
 VI. THE FIGURE IN ACTION:
TURNING AND TW1STING

Every good action pose should ha ve a suggestion cOmpleted. You would instinctively duck from
of “sweep,” Perhaps í can best descríbe sweep a fist drawn "'way baek from your face whereas s

by saying that the movement whidi immediately you miglit not withdraw at all from a fist two
precedes Lhe pose is still felt. Ou the folio wing inches away. The prize fighter has leamed to
pages I have tried to sliow titis sweep or the lme makc good use of this psychology in his shoit
that the liinbs have just followed. The cartoonist puiiehes*
can add terrifically to the sen se of inotion by Ànother means of íllustrating action is to show
drawíng his sweep vvitb limes baek of a moving its result or eifect as, for ínstance, a glass that
liand or foot, has fallen over and spilled its eontents, with an
The only way to get sweep in the Une is Lo arm or liand just abo ve it. The actual movement
have you.r rpcxlcl go through the entire move- has been completedL Another example is that of
mont autl observe it earcftilly, choosing tln.; in- a mau who lias lallcn duwn afrer a blow, with
stant tliãt suggcsts lhe most movement. Usually the arm that hit him still extended.
the action can be best expressed if you use the There axe instances, however, when the míd-
start or fimisb of the sweep. A baseball pitcher dle of the a ction is best. Th is is called sus-
suggests tbc most action either as he is all wound pended action/ A horse in the acl of clearing a
up. ready to ihrüw, or jnst as he lets go of the fencc, a diver ín míd-aüy a building coHapsing—
bali. À golfer expresses movement best at the are all examples of suspended action.
start or finish of the swing. If you were to sliow I ix in
1

your min d the whole sweep of action

hiin om the poínt of hitting the bali, your draw- and niake líttle skctches at this point. At times
ing would have no action pictorially, and he you can help the action with a hit of blur, some
would appear only to be addressitig the bali in dust, a facial expression. The cartoonist can
his ordinary stance. A horse seems to be goíng write in,. “Swishr “Sinack,” "Zowie,” “Bing,”
J as ter when his legs are either all drawn up *‘Crash/' but you rnay not.
under hím 01 fully extended. The pendulum of If you perform the action, i.t helps to give you
a eloek appears to l>e moving when it is at either the fed of it. Get up and do ít, even if it does
extreme of its swing. A hammer raiscd from a scema líttle silly. IF you can study the action in
naíl suggests a liarder blow and more movement front of a large m ir ror, so much the better. There
than if it were shown elose to the nail should be a mirrar ín every studio.
For psychological eftect in drawíng, itis essen- Some of your '
action” camera shots may be
tial to aec.pi ire the full range of movement. The disappoínting unless you keep the se facts in
observer must be made to complete the full mind; knowíng them helps you elick the shutter
motion, or Lo sense the inotion that has just bcen at the precise moment
TUKi&fclG AND TWISTING
% -

— .

í 04
 TURNÍNG AND TWISTING

105
TURNING AND TWIST1NC

íoâ
TURNING AND TWISTING

i o7
TI llíNlNC, ANH TWIST1NG

tt>8
TURNING AND TW1STING

V fc

a*.

FOLLOW THE SHADOW DOWN

W 1TH THt SIDEOF THE. L£AD

tOO
PENL1NE AND PENCIL

aulCK ANO 5IMP1.Ê

THIS \& A WAV OF
RENDÈRINC^PêN OLTTUNE WlTH THE. Sl DE
OF THE PENClL, LE/^D FQft SHAÜlHO TH| S
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WÃ5 DftaVVN OH frWN&ftlPÍSE CÜÜUlLLE £

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1 1 O
 1

A GO O D METHOD FOR NEWSPAPER REPRODUCTION

1 1
QUICK SKETCHING WITH PEN AND PENCIL

t 1 2
 A TYP1CAL PRGBLEM
A ty picai problem icorked out with an art editor ha ve pullcd oíf a slipper. looking around with a
of afiction magazine: startled expression. Perhaps the hands can do
l

The art editor says, J Lave picked for illustra- somethíng to emphasize fear.
tíoii this paragraph fmm the maimscript To get an idea of a chorus costume, go to a
“
'The last act was o ver. Jackie was removing movie of a musical comedy, Look up some clips.

the scaut costume she ha d worn in the final of chorus girls. Àfter you have decided on a pose
chorus, She was alone ín her dressing-room, or or arrangement of the subject, get someone to
so she though t, until, by some inexplicable in- pose for some studies or snaps. Use a photo flood
stiuct, she turued quíckly toward the jtimble of lamp, Plan the light as though it were the only
costumes hanging ín her wardrobe. Tlieie was líghl in the room, shíning over the dressiug-
unmístakable movemeut in the glitter of se- table, You can get diamatic eíiects with your
qums, lighting, Go at the problem as seriously as
“Now,” continues the editor, ‘Td likc to see though it were an actual commission, for íf it

a rotigh or two ín pencil on this before vou go does become a reality, you will have to be ready
aheud. I think we can use a vignette shape better for it, \ou cannot stait being an íllustrator with
than a rectangnlar pieture. Take about two- your first job. You will have to be judged an illus-
thírds of the page. The girl should be featuved, 'trator before you can get the assignment,
bringing her up large ín the space. We want Take a paragraph írom any magazine story
somethmg with actíon and punch and sex appeal and do your version of an Ilustra tion for it. Bet-
i

but nuthíng offeiisive. Veiy little backgromid tcr take one that was not
; illustrated by auother
necessaiy—just enough to place her. The girl, artistj or if it was, for get entirely his interpreta-
?

you know, has black ha ir and is tall, slender, and tion and style. Dont under any circumstances
beautifuL” copij another íUmtrator and suhmit the remdt
Proceed to ma kc severa! roughs or thumbuail as your ouro drawing,
sketehes for your own approval. It is clear that After you have read this book, come back to
the girl is frightened and lias been caught oíl this page and try the illustratíon again. Savc
guard. Somcone is hídíng— a rather sinister situa- your clrawings for samples.
tion. The emotion to commmiicatc and drama- The paragraph quoted for illustratíon is, of
tize is fear. The story says she turned quickly, cüurse, fiotitíous, The art director s demands,
and that she was removíng her scant costume , hovvevcr, are altogether real, Most magazines
and the editor has said there must be nothing pick the situation, Some even send you layouts
offensíve ín the drawing. You must piit across for arrangement, for space füling, text space, et
the fact that she is in a dressing-room at the eetera. All send the manuscript for you to dígest.
theater. A bit of the dressiug table and mírror Some ask you to pick the spots and show them
míght be shown, and, of course, the dosei or roughs first. Most like to see what they are goíng
wardmhe where the intruder is hídíng, to get before you do the final drawings. You may
Project yourself iuto the situation and imagine work in any médium foi black and white half-
her gesturc, the sweep of movemeut, She might tone reproduetion.
 !*

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 VII. FORWARD MOVEMENT:
THIZ TIPPED UNE OF BALANCE
The thcory oí depieting forward movement ( any the left leg goes forward, the lcít ara goes back,
action that carríes thc whole body forward) re- The ceiiter oí Lhe stride expresses the leastmove-
quircs that lhe top always be sliown ahead of ment. Note the last picture on page 119. For th is
thc base. If you balance a pole on your lumd, photograph iny model stood stilf and tricd to
you must folio w with your ha d .11 iTue movement pose as ff lie were moving. Vou will see at once
of the top of lhe pole. If ít leans in any direction how iiiiconvindng the motion ís. It is not the
ánd you move the base íii the same direction at íaiilt of the model but the fact that the important
the sanie speed, the pole maintains a constant principie of forward movement ís not working
slant between base and top, And the faster it iit the pose. Movement drawn without consid-
goes the greater the slant. era ti on for thc tipped Une of balance will not
So with figures in forward movement A line gíve tlie impression of forward movement. The
drawn down thfough the iniddlc of the forwai d- drawing, no matter how anatomically correct,
moving figure will slant exactly as thc pole does. will rescmble the movement of a jumping-jack
If you think oí a pickct fence with all the palings siispended from a string.
s United and parai lei, instcad of vertical, you The tipped line may be placed liglifly on your
have a cie ar idea oi the line of balance íu forwaid paper and the figure built upon it. Technically,
inovcmcnt* On pages 118 and 119 is a series of a heel should never be placed directly íinder lhe
pictures taken with a fast lens, for lhe mution head but ín back of it, lo give mo liou. Tlie foot
pícture ca mera is actually too síow to stop move- that is carrying the weight and pushíng shoi.il d
ment for “stilT reproduction and enlargemeut, always be in back of lhe line of balance.
The separate shots were taken at split seconds We think of the a et of walkiug as if lhe foot
apart and píeced together Lo show the progres- describes an arc with the hip as center, What
sion of the movement. 1 wished pãi ticuíai;ly lo actually happens is that the liíp describes the arc
have tlie figure reinam the sanie size throughout with tlie foot as center, Eacli step is a center with
the sequence* lhe photographs reveal many a fanlike movement güing on abüvc The
it. foot
facts, not appareiit to the naked cye, abont what that is oj} tlie grountl swings in an arc forward
takes place in the áets of rumiing or walking. from the hip, whereas tlie fool on the ground
Tn walking or iinmiug, the line of balance re- re verses the arc. As we walk along, what hap-
mains a constant forward slant as loug as the pens moves body, hody moves foot,
is tliis: foot
same speed is íriaintained and tips more as the foot moves body, body moves foot. Each leg
speed is inereased. Th is eh unge is ha rd to see takes the job ovèr as soon as ít is put on the
because the moving arms and legs distraet one s ground, and other leg relaxes
tlie and swings
attention from the action. A person mo st leaii forward, mostly by inornentmn, until it takes
the body forward to take a normal step, Thc o ver. Botli aclioiis go on siirmltaneously.
balance is eaught by the forward foot. The for- Hip and knee drop on thc relaxed side. The
ward push comes from the foot in back. The leg carrying lhe weight is straiglit as it passes
arms move in rever se of the legs, so that, when nndei the hip and bends at lhe knee as thc? heel
 THE MECHANICS OF MOVEMENT
comes up. Photographs illustrate this elearly. The source of your knowledge, as mentioned
The relaxed lcg is hent aí the knee as lí swings before, is immateriak Why put a model through
forward. It does not straighten out mitil after it the ordeal of trying to keep a vivacíous smile on

has passed the other knee. Thís is very well de- by the hour? No one can hold such a pose. We
fined ín the sido views of the walking poses. The can learn more about a smile from the eamera in
legs are both fairly straight at the extremes of five minutes than wc can in five years of trying

the stride, Here again is that paradox, that tlie lo 'caí cif' it with the eyc alone. Limbs move too
legs seem to express nnost motion at the start or fast for the naked eye to reeord, Exprcssions

fhvish of the sweep descrihcd ín the last chapter. change and are gouc in an ínstant The eamera
Note particularly how mueh the girfs flying hair is the one means of nailing these down so that
adds to the movement ín the mnning poses. Àlso, we can study them by the hour, lt is an un-
tlie girl runs with arms bent, although in walk- pardonable sin merely to copy. If yonhave noth-
itig they swing naturally as they hang down. ing of your own to ac! d, have no fcclíng about
Try to base walking and mnning poses on it, and arc satisfied, technically, with tlie manner
phütüs of actiial movement. They are well worth of trealmeot and have no desíre to change this,

oblaiíiing— and those given here will prove valu- thcn throw away your pencils and brushes and
able for reference in a pineln To gctall the action use the eamera only. Thcrc will be many in-

that is in a stride would reqiure a slow-motion s lances where you w(m’t know what else to do
sequence, with page after page of pi c tu r es re- but lo copy, but these instanoes will be fewer
produced to any pr ac tical size. 1 fcel this is as you try to espress what you feel and hke
hardly neoessary; eareful study of the two fol- ihro u gh your inereasing teçhnical knowledge.

io wing pages should suffice. Use your eamera for all it s worth as part of
Start drawing mannikm 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 suceessful artist
back views of walking poses, reniçmber that the whom I know, though ít may be heresy to say
pushing lcg in back of the figure is straight until so, has a eamera and uses it, Many artísts I know
the heel leaves lhe ground, the hccl and toes are experl pholographers, takíng their own pic-

being lif Led by the bending knee. tiires and developing them. Most use the small
The use of cameras hy artists is a controvérsia! or candid varlety of eamera and. cnlarge their
subject. Yet the demands on the present-day prints. The eamera brüadens their scope tre-

artíst for action, cxpressión, and dramatic ínter- mendously in seeuring data outside the studio.

pretation are so esactíng that it seems a bit Start saving for a eamera right novv if you have
7
ridicidous to fake these things when the actual not already made it one of your "means/
kiiowledge is so casy to obtain by means of a Going on with om- línc of balance, there are

eamera. I do not admire a photographicdookíng times when this línc may be curved, In a sense,
drawing, but I certaiiily detest a drawing that is then, lhe line of balance is likc a spring. For
meantto have vírilíty and conviction bnt is inane instance, a figure may be pushing very hard
and statie through ígnorance or lazíness on the against something. The pushing would bend his
part of the artist. The faet that you can learu figure backward. Ágain, if hc were pullíng hard,
things of value from the eamera is reason enough ít would bend the figure the other way. Dançing
for you, as an artist, lo have and use one. poses cau bc built on the curved line, as w ell
r
as
 THE MECHANICS OF MOVEMENT
swaying figures, Movement can be straight as À word of waming must be added against too
an arrow, or curvcd likc the path of a skyroeket. mueh duplica tion of action. If you are drawing
Either suggests powerful motíon. several figures, all walking, unless thcy are
The vital qualíty to ha ve in your drawing is marehing soldicrs, do not make them all walk
the ‘spirit” o£ movemeut. You cannot be success- alíke. Interestíng action derives from coufcrasí,

ful as an artistif youremain seated in your chair, All lhe variety you can achieve is needed, A
nor can your drawdngs be successful íf the figures figure appears to move faster if he ís passing a
you draw remain statie. Nine times out of ten stationary or stow-movíng figure.
the picture you are asked to do will call for Impor tant, aíso 7 is the handling of rnass
action, Art buycrs lovc action, It adds zcst and action: soldiers In battlc, race horses groupcd
pep to your work. A numher of prominent artists together, figures scattering a way from some
recently revealed the fact that the '
clrapey” danger. Always pick out one or two as lhe key
figures are out as definitely as the First World figures. Put all you have in these. Thcu group
War “flapper*" Ours is an age of action, A model and mass the rest, If you define the individuais
cannot be left to pose herself, You will ha ve to equally ?
the drawing becomes monotonous.
think hard: What can T do witli her to make Ballle pictures should con centra Le on one or two
this drawing síng?' figures in the foreground, the rest hecoming
The sülution is not easy, for it is a matter of subordinated to th esc, lt is safe to handle sub-
feeling and interpretation. Today a girl on a jccts filled with action in this way, since too
magazine cover cannot just be sweet. Shc must mueh attciition to the individuais who make up
be vital in every sense and doing somcthmg the mass maltes for cGnfusiom A group is more
besidçs sitting in front of you and having a por- powerful than many units,

trait painted, Shc cannot just be holding some- There is a tríck you must leam in order to
tliíng; the magazine-cüver girl has already held. capture poses that cannot be other wisc obtained
everything from cats and dogs to letlers from the - for example, a falling figure in míd-air. You
boy friend, Let her swim, dive 7
ski through fiy- pose the figure, as you want it, on the floor. Use
ing snow. Let her do anything, bnt don t let her a flat baekgrouiid, get ahove the figure with the
be statie, camera, and shoot down, Flace him head first ?

Pictures ha ve changed, and it may be that the fect first, or any way you want your model I

camera and photo graphy ha ve been the cause. once did a swan-dive subject by having the girl

This does not mean that a drawing cannot l>e 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 use d a downward shot. You
ago the artist did not fully realize what compcl- can takc the figure this way and then reverso it.

ling interesf lay in action. Hehad not seen photo- By shooting from a very low vicwpoint or a high
graphs snapped at one Lhousandth of a, second one, many seemiugly impossible action shots
and uever dreaiiied that hc cüuld do tlus liirn- may he obtained, They nnust be skillfully donc.
self. Not only magazine covcrs but any drawing lhe artist can disregard the shadows that fali

you do will have added selling power with good on his backgroundí but the photographer cannot.
action. To make it tlie right kind of action ,
you Do a lot of experimeutiug from imagina tion,
will have to fiml 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 wcll that ís good. II you can add con-
any other brandi of drawing, vinciiig movement, so mueh the betler.

tl7
SNAPSHOTS OF WALKING POSFS

I I o
 SNAPSHOTS OF RUNNING POSES

K.EME.M ÉP. -

tU LBÍÍf, Km
+ÍOT kBiVt dfaQUN.9 OtáTl.U
r*ONT *-O^T lí

.+ K.MJ rt\S S iTj-ihíi*

TJCIft «NÜU mr t*
His^W or. frM of pyOT
fkâstãVl^C MS.I4MT ^h&éJ
oh i#o
peitem is »asT- ttt nikrAp
OP Jflu
tLX-riz.mJ*%W‘J
aiwayítii>liNh óP •híi.'
irtce- rWLwítfc |U(
ue THkjB Aí k»4vp. .

1 19
THE TIPPED LINE OF BALANCE

120
SPR1NGLIKE MOVEM ENT

ia t
ACTION TOO FAST FOR THE EYE

122
TWISTED FORWARD MOVEMENT

IF VOü VWANT A

123
MOVEMENT 1IEAD TO TOE

124
FAST MOVEM ENT

125
PUSH OF THE BACK LEG

1 2 <5
 A TYPICAL PROBLEM
A typical problem bascd on the assumption that Píeasedon t make another vvinged Mercury. It's
tf ou ore employed by an art Service: beeh done to deatL It can be dignified or dever,
You are wanted in the front ofíice. We carniot use a messenger-boy device be cause
Cood moruiiig. iVe called you ín to iiicet not typical of the company.
it is
Our men will
Mr. Saunders. Td like you to get the ínformation wear uni fornis and acapbearing our Lrade-mark.
from liirn firsthand.” Please .submít some rough ideas in pencil/"
Mr. Sauuders: "To make this brief, I aio Take one or two of your best roughs and finish
organizing a new company for parcel dclivery. them in black and white for a line cnt. Do not
We are starting out with a fleet of new tmcks, use hal T tone. Kcep them very simple.
AI1 wíl I be painted a bright red. Our name will Make a fiat design in blaek and one or two
be, ‘Saunders’ Snappy Service"; our slogan, ‘WeT oüier colors for the design to go on the tmcks.
delí ver anything, anytime, anywhcre/ We want Design a smali stieker to be pasted on parcels.
a Lrade-mark design ed to display prominentlv This will íncorporatc the trade-mark and the
on our trucks, in onr advertising, and on our lettering, “Deli ver ed promptly, safely, by Saun-
stationery. We d like a figure of some kind withíu ders’ Snappy Service/ Size
7

to reduce to tw o by
a cirde or triangle, or some other odd shape. It three inches.
ought Lo be symbolic of speed You can inelude Design some direct-by-mail posteards for pos-
any kind of de vice, such as wings, an anow— sible use, Tlicse should be simple, original, strik-
anythíiig that would get across the idea of speed. íng,

127
 VIII. BALANCE, RHYTHM, RENDER1NG

Balance is a physical attribute each of us must quality, and no one can positiyely State that a
possess* If a figure is drawn without balance, it tcclinical Lreatment popular or successful today
irritates us subconseiouslv. Our ínâtinct is to set will bc so toraorrow. The fundamentais of ren-
finnly on íts base anything that is wobbling and dering, howcvcr, are not so much concemed
íikely to fali. Watch how quickly a mothers with how you put your slrokes on paper or
Iiand grasps the leetering ehild. The observer can vas as with corrcct values render cd intelli-

reeognizes quickly that a drawing is o ui of bal- gcntly for lhe speeified reproduetion and a clear
ance, and his inabilíty to do anything about it conception of the use of tone and líne in their
sets up a negative response. propor place.
Balance is an equalized distribulíon of wcight On page 132 arc two drawíngs that I belíeve

in tlie figure as in anything else. If we lean o ver will be self-csplanatory. In the first, tone is sub-
to one side, an arm or Ieg is extended on the ordina ted to line; in the othcr, líne is siibordi-

opposíte síde to eompeiisatc for [lie uiiequal dis- nated to tone. This gives you two jjumping-oíl
tríbuüon of weíght uver the foot or two fcet that phices. You can start a drawing with the definito
are the central point of divísíon for the línc of plan of making it' either a pure line drawiiig, a
balance. If we stand on one foot, the wcight combinatíon of line and tone (in which either
must be distributed much as ít is in a spiuning can be suhordinated to the othcr), or a purely
top. The figure will then fit ira to a triangle. lf 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 tlie wcight and the figure will then
j fit into ncr of approach and Ireat all your work in the
a rectangle. same way. Tiy pen and ink, ch ar coai, line draw-
This should not bc takcn too líterally sincc an ing with a briisb, watercolor, or wh a te ver you
arm or foot may emerge frorn the triangle or will. The broa der you make your experience in
rectangle, but tlie division line through the diilerent treatments and medi unis, the wider
middle of the triangle or rectangle will show that your scope beeomcs as a practicing ar ti st. If you
there is approxirnately a like amount of bulk on are making a study, thcn decide first what you
cach síde of it. want most from that study. If it ís values, then
When vou arc using a live rnodcl either for make a careíul tonal drawing. lf it is constmc-
dírcct sketchíng or for camera sliots. she will tion, line, propor Liou, or anatomy, work wi th
automatically keep in balance— she cannot help these in min d, If it ís a suggestíoii for a pose,
it. But in drawing actíon from tlie imagina Liou tlie qiiick sketcli is better thansomcthing labor ed
balance must be watehed carefully. It is casy over, The point ís that you will have to labor
to for gel. when you want a detailed or tonal stalemeut.
Before going ínto the problem of rhythrn, the You need not labor quito so hard to express a
fundamentais of rendering must be taken into bit of action. Tf your clicnt wants a sketeli, sec
account. Suggestions for rendering tcchnically that it remains a sketeh and that you will have
in dífFerent medíums will appear throughout tlie sumethmg more in the way of finísh to add to
rest of the book. Technique ís an individual your final drawing;
 3

BALANCE

WKEN ST4MD5 OM ONE Pqqt, THE

THÊ, f=üíjURlE
MA-lH WElcHt ÍS ÜISTR1QUTED WlTH[N A,
rRJjCJIOLfc* tF 0OTH W1TH ^
3

A IÜECTi.MCl_f, ABOVT UKE THE L6TTÊKS

1 o
BALANCE

131
 T

TWO METHODS OF APPROACH

TONE 3UBORDÍMATEO TQ OUTki N £

ARE. TWO APPRU0ACHE5 WHICB W|Lk

PRODOCS, ENTIRÊLY OIPFER6NT RESLHTtS.
Tby ecmn. une lí reauly thé porte qf
T«El PRAUCHTSMüN^HIU TONEL iS rHe ALLY
OF THE PAiNTEft. TONE 15 MORE. DiFFlCULT
ínp ímould not beVaked TH&RE CAN B£
Mü NY HAPPY OOMSrNj4fc"rtOMlS OF BOTH,

OUTL1ME SUBOROINATÉP TO TONE

133
DEFINING FORM WITH JUST TONE AND ACCENT

133
STRESSING CONSTRUCTION

134
TWO MINUTE STUDIES

< 55
 RHYTHM

BASIC LINES OF RHYTHM

HOQ4RTH U NE OF eeáUTY ^

CkASBIC 3PIRAL5

ARC5
VTV\
THE PARÁBOLA
*s
#
iS az>" Lião

._v? v,

RHYTHM
AXtOM.' AN YCONTOURTHAT
CAN EXTE^DEI? OK MADE
V
TQ INTO ANOTHER
ÀDDS UNirv.GRACEf AI1(7K.HVrHH
Pí?OCE;DUF3Le: 51GHT ALONa
À CüNTQUR 3 t
pr
j YOUC4M
PICK UP 5W1NG^ÕF THE
TH|E
UNE 3M AHQTH^R CONTOUK
Wl THOUT Ol^fORTlOM OR
(NCÜÍÍRECT Ff^WlNQ,(FjG i)
VOUWILL FtNpFHE AVERAGE
5U&JÊCT FULLOF KHYTHM IF
YOU LOOK FOR !T. KfcEP YUtfR
5

P&HCl (- POWN OH THE PAPER.

 RHYTHM
The fccling of rhythm is of tremendous im- a line that graeefiilly curves in one cbrection and
portance in figure drawing, Unfortimately, il ís then re verses itself. In the human 1 orm, íl ís

one of the easiest things to miss. In musíc we present everywhere: in the line of the spine, lhe
feel tempo and rhythm, In drawing it is initch upper lip, the ear, the ha ir, the waist and hips,

the ívimie, Considered teehnically; rhythm is a and down the si de of the leg to the anklc. It is

“flow” of eontiiiuous line resulling in a se use of likc the letter S in varíatiom

unity and gra ce. A seco nd í ín c of rhythm is the spiral, a line

We call the rhythmie emphasis ou a line or starting at a point and swinging aroiirid that

contoiir "picking up. The line of an edge, ob- point in a spreading, circulai movement This

served across the forni, wíll l>e picked up and rhy thm of line is apparcnt in se a shells, a Whirl-

coutimied aloiig another contour. The next fcw pool, or a pinwheel.

drawings may serve as examplcs. Look for thís The third neof rhythm
li ís ealled the parabola,

pheiionieuon of rhythmie line, and you will fiud whicli is a sweep of line contíniiallv beudiug to

its heauty in all natural fornis — iu animais, a greater curve, likc the course of a skyrocket.

1 caves, grasses, flowers, sea. shells, and in the Tbcse three lines are the basis of nriost orna-

htiman figure, menta üon, They can also be made the basis of
We are coas cio us of the rhythm that pulses pictorial compositioii, They sccm to be so thor-
throngh the uni verse, begímiing with the atoin oughly a part of all graceful movement that they

and endíng with the star.s, Rhytlim suggests should be gíven great consideratiou in all draw-
repetition, ílow 7 cyclos, wavcs, and all are relate d ing of movement. The lines of rhythm ín animais

to a uni Red plan or purpose. The feeling oi are easily observed and lience easily compre-

rhythm in drawing, aside from the abstrueg ís hcndcch

a folio w-throu gh” in line, jnsl as it is in the Rhythm may be forceful, as in great waves
movem ents of varíous spurts. A bowler or golíer, beating npon a coast,. or gentlc and Rowír g, as

a tennís player, or any other athlete must mas ter in the ripples of a porid, Recurrent rhythm
*
the smooth “folio w- throngh to develop rhythm. moves and slírs us. or gives us a feeling of rest-

Folio w your bncs throngh the solid forni and fnlness and composure, pleasing to the senses.

vvãteh lhein become part of a rhythmie plan, The so- ealled s troam line' is rhytlim applied to
Wlien a drawing looks clumsy, the chances are ugly contour, The commercíal application of

that the trüuble lies in its lack of “foi lo w- th is principie has been einineutly suecessful. The
throiigh." Clumsiness in action— and in drawing lines of uur trains and ships and motorears, our
— ís lack of rhythm that results in a jerky, imeveíy planes, and our household appliances ha ve been

disorganized movçmcnt. built upon this concept lirst recognized in na-

Thefe are some basie línes of rhvthm for ture— iu die dolphin amoiig other fisli, in birds,

which we ca n be consLantly on lhe alert, The and in all living things designed for swift ino-

first is ealled lhe ‘llogarth" line of beauty. It is tiori.

157
 RHYTHM

rJiKPúwí

iJStóL Utt&S

£W,NC VÜÜFt PEWC3L VERY UGHTLY

AT FíRSt. FEEL FOR THE &HYTKM ANt>
PLOW ÜF CONlÜUfe, NtVÊR HINO IF
YOUR_ PRAWINQ 3£EMS TO GET GREY
and VlE^AY' 0EST TO USE A- Shõfer
STÜB DF A P£NCSL,, THEJ< HOLD UKkDEÇa.

&6TWEEN THU^& AND

H^P4 D Fj R^ST
Fingem ADD heavy finêj

138
CROSSING LINES ÜF RHYTHM

tíoTT^o unes are tíj callVoor Attemtion to

T RE WAV CCWTQOR3 MtY OE WOVEM TOCftTH E.R.
ACR.OS5 TtíÉ.FORM* KO TWõ PíÍE^ WOfi-R ALíííe
9UTWHEN Tte CONTO OR5 HAV& THE FÊEUNO ” OF
B&IPJCí CONMfeCTEt> AjMP A PA PT OF EÃCH OTH&R,

TH&m A SyMPHONY OP UNE IS ESTABli 3héD.

KHVTHM Hs£ PftAwiNííj A5 IN MUSIC^ UN Fl ÈS
I

THE WSOUEl 50 THA.T THE FÉL&Ll NO ANP f^oVe-

1

nent qfaul becomes more wportant TWAN

ANY SJNCTEe PàRT* KLE^P F£fc|_| N CT FOR. T HE
COR.IRElCT ANP £1ÍPR£SS|VE LI NE* kFiTPQEíNT

Co POWN THE First BfciNt? anoi-helps lipjê

POWN. COMETI NtÊ-5 A NUMQER OF UNE^ AR,E_

KorE EXPRE55IVE THAH OWE, L(KÉR|PIH£5 ON
WAT&T5 REPEAT HO TKE_ MOVEME^T, RHYTHM
I

CAN UFT YPU5, A&IMTY TO THE S*ClÊ5 +

150
 "

"SWEEP

1 40

i'
RELATING ONE CONTOUR TO ANO TH ER

I
4 1
DEF1NING BY EDGES AND SHADOW WITHOUT OUTLINE

ff
'5*

l=|GURE POSEÜ AeTÀJHST 4WH1TE.

BACKffROUND "TO DEMOMSTRATÊ
WOW TH£ PORH T^lAY &E. PEPlMÊD
WlTH LlCHTj WtTWGOíT
OBVtOUS USE OF OUTUNE.. TM£
OUTLlNE DRAwN VERY L1ÍÍHTLY
IS

FOLIjOVYED BY Á íTiREFUL STIJdY

OF TONE, EDGÉ5 AtJ£> AOCENT-ff,

iM&M

';..X
'
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'
tji. ',fc, : J *• í~
. 'X-'.

I 42
 A TYPICAL PROBLEM
A ttjpkal prohlem worked out with an account bottomof the pôster: América s Createst Motor
exectdwe in an advertising agençij: Fueh” lhe sheets in a pôster run four across,

“Your work has come to my attentíon,” says and two and a half np and down. The half-sheet
the executivo of an advertis ing ageney, “and, may be placcd eithcr at top or bottom. Try to

from what I have seen of it so far, I like it very avoid culting through a face at the joining place
much. I have a ncw gasoline account, for which of two sheets. If the face is very large, see that
wc must have a fresh approach. T want to uso the joining places do not cut through the eyes,

a new man in the field, and hc must he good. Sometimes the sheets vary a littlc in color, and
We will co ver all advertising medinms pretty the bill poster cannot be relied upon not to get

thoroughly, hut the initial punch will come onc sheet pasted a little off.

from outdoor advertising in a series of bill pôst- Work up in color yoiur best ideas in sketch

er*. Whethcr or not we gíve you th is series to form, Size of poster for sketch is Leu by twenty-
do depends upon what you can show us in the two and oiie-half inches, A margin of white goes

way of art work ín rouglis and sketehes. We are around the poster about two inches at top and
willing to pay five hundred dollars per pôster to bottom, and three at the si d es*
the rig ht man, th is price to include all prelími- I am not going tosuggest what to do, bnt what
nary work, The name of the product is Sparko not to do, as far as your design is concerne d*
Rhythm Motor Fueh Às a starter, here are some
capüons we have thought up; Tune Y our Motor Do not make the na me Sparko Rhythm too
to Sparko Rhíjthm ; Heard Evertjwhere . . . Sparko smalí.

Rhíjthm; Sparko Rhythm Sounãs Sweeí in any Do not put dark lettering 011 a dark back-
Motor '"Stuing” to Sparko Rhythm Alwaifs in
; ; ground.
Step with Sparko Rhythm; Let Y our Motor Smg Dt) not put liglit lettering ou a light back-

to Sparko Rhíjthm; ln Time, Kvery Time Tlwis , ground.

Sparko Rhythm; Keep in Tune wüh Sparko Get some good copy for your style of lettering;
musicai terms, hut we will be glad to considcr Kccp lettering very simple andrcadablc; don t

any ideas that assoei ale rhythm with a motor get íaney,
fuel/’ DotiY fake your figures; get good copy*
The width of an outdoor pôster is two-and-a- Don t make sina II figures or too many.
ípiarter times the lieight. Muku Büvoral small
roughs ou tisme for ideas that could be used to If you would liku to oxporimont, drawor paint
illuslrate the abo ve, You do not have to show an the finbhed poster: the size will bc, in inches,
autóniobíle, or a motor, Tmt bear in mínd that síxteen by thirty-six or twenty by forty-five.

it is a motor fueh The words motor '

fucP* must Paint a white margin at least two inches top and
be somewhere ou 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*

*43
 IX. THE KNEELING, CROUCHING,
S1TTING FIGURE
In this chapter we are concerned wíth qualítics one you have not solved before. The variations
other lha n motion. Almost tlie whole ganuit of of viewpoint, lighting, perspective, the unííinited

feeling can be expressed in a seated figure, It varicty of poses, all keep the problems of draw-
can suggest alertness or compos ure, fatigue, de- ing new and ínteresting, I cannot think of any-
jeeÜoiij aggressiveness, Hrnidity, aloofncsü, u n- thing less animated or more boring to look at
easine&s, horedom. Each wonld be cxprcsscd or to draw than a mo dei who is “just sitting,"

ditferently Sit . down or have someone do so, and Th is, to me, meuns both feet close togethcr on
see how you would dramatize each of thcse. the fioor, arms resting alíkc on the arms of the
It is of paramouiit impor tance, al ihis point, chair, back tiat agaínst Üie chair, eyes looking
to imderstand the shiíting of lhe weight frotrv straight ahead. Your model might half-turn to-

the feet to the buttocks, thighs, hands, elbows, ward you, hang an arm o ver the back of the

back, the neck and head, Importante too* ia the -chair, cross her feet, stretch tbem out, or hold

coiTcct undersfcandmg of foreshortened linubs a knee. Use plcnty of imagina tion to change a
that assume other than usual contours. In siich dull pose into an interesting one.

poses limbs become props or braces ratlier than Let lhe whole pose of the model as well as the

complete supporls. The spine has a tendency to hands and facial expression tell tlie story. Do
relax in a conca ve manner toward such braciiig, you waut her to show animatíon or wearíness?
When you are sittiug on the fioor, one of your If she sits at a tablie, talking to her Rance, let her

arms usnally be comes a brace, and the spine re- lean forward, absorhedly, or show displeasure
laxes toward the bracíng shoulder, One shoulder if they are quarreling.
is high and the other one drops; the hips lean to- Watch carefully for conto urs arrui igcd ín front
ward the brace; the weight is carríed on one side of each other and tlraw theni that way; if you do
of the buttocks, the si de of the supportmg arm, not, a tbigh will not recede, a part of an arm will

When you are sittiug in a chair, your spine look too short or stmnplíkc. Reniember that if

may lose íts S-shape and become a C. The thighs tlie hands or feet are close to the camera, they

and buttocks takc the weight. Both fiatten a photograph too large. Any figure that is quite
good deal, particularly a womans thighs. The fores hurtened should be photograph ed from a
posítíon of the head o ver the body should be distancc if possible, and then enlarged for copy.
carefully placo d, since it has rnuch to do with If you are phmning a portrait, find a natural ges-

what the pose suggcsts. The draftsman inust tine or pose for your sitter, Turn the chair at an
decide whether the sittiug pose should. be ereet odd angle, get an unusual viewpoint, don t have
or relaxcfh Remembcr that the figure is always lhe head stifHy a bo ve the neck. Let her drop
subject to the law of gravity. It should have comfortably into the comer oí the chair, feet
weight, or it cannot be conviueíng. drawn back or even drawn under her, or feet
Foreshortening will require subtle observa- extended and knoes crossed. Don t let the legs
tion, for no two poses are quite alike. Every pose make a perfeet right angle with the knees.
oíl lhe feet will be a new problem and probably You rnust stir yourself
J
on to inventiom

í 43
 CROUCH1NG

IT BE REREATED OVEfi, AMD OVEIS* TO TH El

5TUDÉNT hOT WpAKÈ* .SHAUOWQN
UCjHT 4N[>
The draw reom thh
ficjíjre. mooèl or feílc>i^ a
CiOOD PHOTO* FIVE MlNUTÊS OF ^ÉL f=UNÍ O ''
I 5
WOR-TH &AY3 OF FAKíMQ, SHAPOWS CAN fiES&EN
^LatTEÍ*. Ano SlMPLÍR TH AN THEY

I46
THE INCOMPLETE STATEMENT MAY BE INTERESTING

147
 POINT TECHN1QUE

.V-.r

. :

!l

mmM

PEWCiL POÍNT RENDEKIMCS

VÉRlTJCAL UNE- MQDEU.NG
BLHÍHT A PEMUIK& TlíMTMeNT

148
 PLANNING A PEN DRAWING

A PEN -RSATMENT PUANNEO IN

PEl\lCH, SAVÉ.È TIME AHPTRDLI0LE,,

M OPE Ll HG W ITH SLÜV^ER Aívl D

THE PgNClU POI^T tS Ol t=Ft C U 1_T. IT 15

&L50 MiOItE LIMITED AS TO TOHff VALUE5. HQWEVEffi ÍT 3HOULD BE QFltN

PRACT C E.O to DtVÉWP The kmac,k op pen psav/inc,
è

* 49
KNEEUNG AND SITTINC

I3O
KNEEL5NG AND TWISTING OR BENDING
 ;

GETTING FULL VAU.JE RANGE WITH INK AND PENCIL

-
jS# jjSgr fv( jl ,
M JMgMWtT
L* A' ."

>;' ' ?
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fST ..^fâs P -v i=i-:

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A COmiNATlQN QF BIACKAND CRADE.D TOMEI OFFER5 ÜMIQUE POS5 Bl LlT E S* PRAVJINQ 3 l

WAS OOINIE OlM B41NBRIDGE COQUILLE THE; BL4CK5 4KJGÍN3 INK, THE.TONE.5
.
V
ARÉL DOME WITH PRi5MACOEOR. eLACK Ü3Ê PEMC1L. RJEDUCTtON IS Otú EL -t H R,£>
1 *

15 2
INK AND PENC1I, IN COMBINATION

155
PEN DRAWINC

154
A "LOOSER” TREATMíiNT

155
 FINE POINT BRUSH DRAWING

PRAWN WITH A 3MALL ÍÍAMÍLS HA1|^ BR.U5H AHP £>RAWlN<j ÍNK ÇN B£l 3TOL LÍOARUj

i j TJ
 A TYPICAL PROBLEM
À number of typical prohlems in a confest for seription: "I am America. I give thee my soil."

sculptural designs: 4. Design a s tatue for the zoological gardens,

1. The problem is to design a group of figures the inseription to be: “I am America. I give all

for a large fountain to be plaeed ín the conter of living things the right to life/'

a circular pool fifty feet in diameter. The subject 5. Design a soldiers' and sailors’ monument.
l

is, “I am America. I give thee liberty and a free The inseription to read: T am America. These

life/* The drawings are to be submitted for in- of my sons I gave for thy securíty”

terpretution of idea only. The group may con- Herc are uulímíled opportunities to express

tain a heroíc figure symbolizing the Goddess of yourself. One interesting manner of handlmg
Liberty, The work should be American ín spirit these designs, after having worked out rough
Figures can typífy agrieultnre, miníng, indus- tissue skelcheSj would bc 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 consíderable study of the figure,

2. Design a large drinking fountain» Some- action, drapery, dramatie interpretatíon. Work
where upon the base will bc the inseription : T out your ideas with your peneil, your camera,

am America. From my lakes and streams 1 give material gathered by research, et oetera,

thee the waters of freedonn” There is no ohjection to using allegorical Or

3. Design a sim dial to be placed within the semi- nude figures, but do not stick too dose to

botai ii cal gardens, bcaring the folio wing in- the Greek. Make ít American,

1
57
 X. THE RECLINING FIGURE
One of lhe innst challenging phases of figure out tiie slightest idea of how to go about drawing
drawing is thatof the redíning pose. lt offcrs the a reelíníng figure.
best opportuníty of all foi design, interesting l he appearanec of complete rekxatíon is of
pose, pattern, and foreshortening, We forget the first importance. A stíff-looking pose gives the
body as ar npright figure for the moment and observer the rcaclíoii of discomfort. The rhythm
thmk of it as a means oí flexible pattem for of the pose should be sought very carcfully. You
space-filling. l he head may be placed anywhere know now how to look for it. Àlmost any model
wítliin the spaoe at your dtsposal. The torso inay looks better in a redíning than in a standing
be regarded from any viewpoint. In the drawing pose. The reason is that the stomach falis inward
of the redíriing figure, as in the standing and and appears more slendcr; the broas ts, if in-
sitting poses, avoid straight, uní n teres ti ng poses clined to droop, retuni lo normal roundness; the
-tlie legs straight, the arnis straight, the head chest be comes full and high; the back, lymg'ftat,
straight, I call these "coffin poses,” for nothing ís straighter; even a düuble diin is lost. Perhaps
appears quite so dead, Unlimited variety is pos- nature purposely adds beauty to the redíning
sible with the redíning or ha lf -redíning poses, pose. If glamorous appeal is needed in a draw-
We brought the figure oul of the "
proportion ing, nothing can give it more than the redíning
Ixítí” early in this book. Nevcr lit a box around figure.
anything that is an interpretation of life. Tf you are using your eamera, do not pkee it
The ímpression is that redíning poses are cx- too dose to lhe model, for dístortion will result
treme ly difficult to draw. If you are aceustomed Reelining poses should be sdected with good
to measuring off so many heads, you miist dis- tasle. Criidity can sen d you and your drawing
car d the method in drawing the redíning figure, out the door in a hurry. See that the pose does
for it inay be foreshortened to so great an extent not hide parts of the liml>s so that tliey look like
that it cannot be measured in heads But there < stuinps; for imtance, a leg bent under with noth-
is still height and wídth in any pose. You can íng to expiai n may look like the fcllow with
ít the
still middle and quarter points andmake
find the tin cnp, You cannot tell whether or not hc has
comparativo measmements. From here to there a leg. An unusual pose is not necessarily good,
is equal to from there lo another point. Measure- but a figure can be twisted about for interesting
rnents are nofr standard and apply only to the design, or combined with draperíes for unusual
subject beforc you. pattem, lhe kair can be made a niee part of the
Hecüning poses are ofteu neglected in art design, if the pose is oomplex, kcep the lighting
sehools. The reason is usual ly
>
the crowded rooin símple. Cross- lighting on an un familiar pose
in whích onc studeut obstruets the view of an- may complicate ít and makc it look like a Chínese
other. Consequcntly the inost deüghtful atui puzzle. if bízarre eJfects, however, are wanted,
interesting phase of figure drawing may
is passed it vvork out at that. A high viewpoint may
over, and many stndcuts leave the sdiool with- lend variety.

139
SKETCHES OF RECUN1NG POSES

1 6o
 1

STUDY

1 6
 1

tòrjiurtui**
iÒ5
COARSE CRAIN PAPER STUDIES

1Ó4
 STUDY IN FORESHORTENINC

THtiDRAWING5 ON THESE TWO PACÊ5 AfcE

INTENDEP -TO PEMONSTP-AIE HOWTHS
textüre ok grain ai= tHt: paper imy be
UTíLI^EC» TO ADVANTACE, THE DELI CATÊ
nODEUNG \S lOOlME W TH THE POlNT AND
I

THE BfcOfcD & K HASSÈ3 W ITH TH& 31 DE. QF

THE. LEA&, ATTEHTlOM IS CAUED TOTME Ü3E

Of DARK ACCEHT^, YOU CANhfOT LWVEKT UCHT

AND SUADO»*. DÜAW WOM UFfcOR CQOPCOPY,

1 *
:
CEMENTED TI $ SUE OVERI AY. SPATTER AND BRUSH DRAWING

i 06
PEN STUDIES

168
 :

A YPICAL PROBLEM
I

Ty picai ptohlern to solve tvith an art áealer and ering it partly, In the hair are droopíng and
represeníatwe wilted flowers, A sqnirrel with an a com in íts

I ha ve a particular commissíon in minei that paws, a rabbit burrowing down ínto thc soíh
I believe you could handlc " says an art dealcr, birds flyíng— all may be shown. Thc grass is

My clients have organized a new country elub. brown and dry: pcrhaps some red herries are on
They are buíldíng a beautiful clubhouse. They a branch. The thought that is conveyed ís that
want twü mural decoratiom for their new diníng summer has ended and N ature prepares for
room. The woodwork will
1

lie done in ivory, with win ter.

a slíghtly deeper tone of ivory on thc walls, Make many rough pencil compositions, Do
There are two doorways into the diníng room, not only fill the spaec with the figure stretched
o ver each of which there will be a lunette. The stíffly aeross it. Proceed to würk up some small
lunettes are half-drcles, the radius of each being thumbnail roughs in color. Th en pose your
five fcet* making the base or span of the mural niodel, make studies, or take camera shots, lt
ten feet, five feet in heigbt at the middle poínt woiild be wise to make some studíes of trees and
The club is to be dose d between the months of foJiagc in the woods. Tlie litlle animais should
October and May for the winter, and, since the ais o be studíed. The subject could be gívcn
elub activitíes st art in May, a spring mural will modem, simple treatment. When your pre-
be used o ver ohe door and a fali subject over li minar y material is rcady, begin the skctch you
the other. will submit. Thís sketch is called a eartoon. Tt
The subject sdccted for the first lunette is should be dono well enough so that it can bc
awahening spring. A reelining figure lies upon squared off , Yo u may then work from it, íf ncces-
the woodland soíl, amid wildflowers that have sary, directly upon the walls, or on a can vas
burst ínto bloom, blossomíng bushes', and trees. inounted to fit or to be glued into place.
There are small animais about, snch as squírrel, Since the room is light and airy, the paintings
deer, rabbit^ and birds. The figure is in thc act should be Iceyed fairly high, rather than dark
of awakening and about to riso. Her haír is long, and heavy, Cray your color s a little so that your
and perhaps there is a garland of early spring picture will not jump out of thc wall like an ad-
flowers about her head. l he figure may be partly vertigem ent. Treat tlie flesh delieately and sim-
covcTcd with flowers. ply. Do not try for brilliant or even stroug light
"A fcm ale figure lyíng down to rest for thc and shadow. You will gain vaUiable experi-
wiri ter is the fali subject. Brilliant autumn leaves ence if you will paínt these subjects on a small
are falhng and ha ve drifted over the figure, oov- scale.
 r

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 )

XI. THE HEAD, HANDS, AND FEET

The head, perhaps, has more lo do witli sclling a Consider the head a bali, fiattened at the si des.
drawing than anythíng d se, Though lho figure Lo wiiich the fadai plane is attached. The plane
drawing you submit inay be a splendid one your f is divided into thvee eqnal parts (lines A, B, and
tilicnt wíll no t look beyon d a homely or badly C ). Tlie bali itself ís divided in half. Linc A be*
drawn Face, I have often worríed and labored comes lhe earline, B the middle linc of the face.
Over this fact in my o wn experiente. Qnce some- and C the line of tlie brows, The spaeiug of the
thíng happcned that has helped me cvei since, features can then lx lai d out on these lines. Tlie
I discovered eotwtracííon, l discovered that a plan íiolds good for either inale or female, tlie

beautiful face is not necessarily a type. Jt is not difíerence being in the more Ixmy stTuetnre, tbc
hair, color, eyes, nose, or mouth. Any set of fea- heavicr lirows, Lhe largcr mouLh in the male. Tbc
tures in a skull that is normal ean be rnade iiito jaw linc in the male is usually drawn more
a face that is interesting and arresting, if not squarely and niggedly.
actually beautiful. Whcn the face on your draw- Jn this ehapter are studies of tlie skull and íts
ing is ugly and sccms to leer at you, íorgel tlie Ixmy slructure, as well as the muscular construc-
features and look to the construetion and place- tíon and the general planos of tlie male head.
ment of th em. IS'o face can be out of construo The individual features are worked out ín detaih
tion and look right or beautiful. Thcrc must be lhe hcads are of varying ages. Since no two
a positive balance of the two si des of the facc, faces are alikty for vou the best plan is to draw
The spaeiug between the eycs must be right in p copie rather than stock heads, Perhaps an artist
relatkm to the skull. The perspective or view- of another era ccnild repeat his types endlessly,
point of the face must be consistent with tbc but there is no advantage ín that today, It tends
skull also. The placeuient of the ear must be tomake an artist s work dated in short order,
aecuratCj or a rather ímbecilíe look resulta The The artist who can keep his types fresh and trne
hairlinc ís extremely impor tant beca use it not ttí purpose will lasL
oídy fraines Úie fiead but helps to tip the face at It pays in the long run to hirc models, though
its proper angle. there is always the temptation to save moiiey.
The placcment of the mouth atits proper dis- The dangor in using clips from magazines is that
tance between nose and chin can iiiean the diT tlie material is usually eopyiightcd, Advertisers
ference between allure and a disgruntled pout. pay rnovie stars for the privilege of using tlieir
To sumniarize, draw tlie skull eorrectly from photos. Botli the star and lhe adverti ser will
your viewpoint and fheri place the features prop- resent having them swiped"
*' for another adver-
erly withiil it.
Your
ti ser, clícnt will not be happy about it

In my firstbook, Fun with a Fencil 1 1 set about either, The same is true of fashion modcls who
to work out a plan for head constmetion that I have been paid for their Services, You cannot
coiisidcr almost foolproof. repeat the general
1 expeet to use tlicm for your own purposes. Frac-
plan as a püssihle aid liere.* tiee from but don
clips, t try to sell your copies

A S-Lrikingfy stmiLar míitliyd W£IS (jrigknwted Ijldepccideritlv

as originais. Once vou lísarn to draw ticads, it wíll
bv
Miss t. Gracc; llankg, {Set íun ttifii a Penei!, p. ííft, be your life-long iuterest to por Lr ay eharacter.
 .

HEAD BUILDING

HOW TO CÚM5TfeUCT A H£AD (

DftiW A SALL, PIVIPE ?ALL IMTO 3ECrioN5 3Q T^At YOU Havé A MlPPLE Llhle.
OI Vi OI NC BAUL 3 WAY5 CktN RJ TAlçc OMS FOft HIDOlLfe LlN* 0 MCE-THKf>

OTHUt^ ThVO wiLL BEAtJ ttAfe UJN£ Ahl&ALLNE Q* BRjOW S Píí&p |«(Dpj.&, lw| isr

Opp <ÍAEÍ.. ,r*TO PAH73 THATt App&üfe iíiUAL ( e^CH PaltT feftyA L 7& HAí.p ot»
THE PI5TAHCÈ 0ROWUNftTÇlToíi ÚF 04LL< JL.iC.fe O* F Jioes Ü ÍÇO PT* JVC BAftI

Uh6 J^atcwt ecwM. FUXce ha* at mitiyECTíOH üf kiw: AampC. wqw büilo^jaw
ANO fèatlí^S5. TUis PU« IS Moftt THOROüfiKLY covtRfeP ih^FUK W ITH A f*&N C Il_* ,

tj2
 BLOCKS AND PLANES

THE S1HPLE POtín DEVGLOPED TO THE COMPL&y JHItOuCÍH THE UJEOF PUNES,
TMESfi AVEWAdfe PLANES ÍHOULO 0& LSARHEO, TH B Y ARE THE 0A3|Í FOFL LlCHTtNO,

THE PUMÊ3 S\ D-& VIEW ÍÍET SOME CLjNY AN D MODÊLTBfe PL&NÊ5 SO YOü CAN
*

UCMT THÊH PIFAREIHY WAYJ.tueh DR,AW THêM. C&FfeJt &A.C.K TO PAOiS 72 AMO 7j.

173
 RONES AND MESCLES OF THE HEAD

1 FftüNriyí S M45SET&(t IO tjyctlNATOR

2 OR-BXTUL^RIS OCIjLl 4-7 ^VCOMATICUS I \ DE PltEJSO R.
3 JMJftlCUUVp, MOSCAS Ô O^BlCUURlí DfiLlS 12 5TEje.NO J^AÍJYOIO
^ TeMr*OflUi!-l5 ÍO&ep) ^ miÀucuuftiff 13 TftAV^Z O S
I

174
THfc MÜSCLES IN LÍGHT AND SHADOVV

5 TU D! ES OF AN ANATOM IC&U CdST fWHPTE)

THÊ5E ARE. TQ fHOW TH6 ANATPMX OF

jHa HHAP iBj It£ soud aspsct, OR as PORM
JN MGHt ANO ^ HA DOW- IF YOp CAN

Fftpw CASta,lT 15 «ECO^MENpÉ.p T& DO

SO.M4NY JTí_M>Et4T^ 3KlP THE AHTtftUE
CUA3S NOT R£ÀU2I MC ITS TTRU& VALUE.
,

IT^ 1* THAT THE 5U5JE.CT

feEMAlNS FlKSP FOR.CAREFUL STÜPV, iT

[JÈUELOPS SOMPITY AND fixCÈLLLNT

POft arUPY ÚF VALUE3* J SlíüflESTYWÍ

IA&KE. SOME CAREÍUL FREB.HANB

duplications o* prawimc^s
)*= VOU UAVÊ NO SlVULAR CASTT3 HEiE,

17 5
FEATURES

1 7 6
SETTING THE FEATURES INTO THE HEAD

177
STUDIES
STUDIES OF MISS "O"

179
YOUNG AND OLD
 MAKE STUD1ES LIKE THESE OF YOUR FR1ENDS

SlUDIES OFA YOUNC MAM

3KOLL- fclEJíY “TO CâíSkiT itU-CT AU

|N DIVjfJUAL 3 BT £>* FÈATUfcfcS
coítttecTW PUcfi&wnHfM

COHPiAV (TV OP MAni" UÍÍHtS

i 8 i
 y

PROPORTION GF THE BABY HEAD

PROPORTIOM, 12 TO 6 MONTHS OL D, BA 1

R PC OH T l

PUAVV A H^LF
íJlVípfc |T |H "Tiffcfte c-nfeAT «ah et or JlzÊ aNP
i

HfiPIZÜMTALLV. U5M<t£ OMPÈ Á£a5 A íHAref ih twfant sKciTikS HOwEVEft, Tt*e_

„

KAÍPHJ^FKftW Afec &C, th £ AiCC Av(ucA&e wiu. An»*oir rrt AtelT f=M_U a
CWJ5IHÍ7 M,lpC>LE LlNÈ GlVfiJp THE fQüfPcfe. VOO CAM tí*E 1TH& 94U **»?
TVlpTH üF HEAP tf( TKõTOFmOH TtJ
pl h.N6 av usihp inova rtopor^tíc?Nj.
KÉHCHT. PlíVlPE LÜWELR HALFfNro4
E^IUAL FaKT-5 Ri-ACE FéATURF-S.
,

CHAICACTHtíiíST ICS TOKEMEHB&F:

FACft 1$ 3MAUL,4BOyT ^
OF WhOLÊ h£AO FROM 0ROW^
TO CHlhl* È-AR t?fcOPS EtLOW HÃLFWAV UNE THE eVÊj AMO MOI/TH AK.I& A
-

HTTUt A&OVE. rHE HAUFW4V POtNT ÇETWE&N BROW MOíE AMtJCHiN t

ÍJiVIÍlOMS, THE CHliN PKOP9 WE-L^ GMt>EJ£ N05E ANl? HOUtH, THE UPP&r
I_j p Ano lüncer. ahp PRomuPts, the forehead DROf5
is L,AE,úçR.

lNW 4 fl-l> TO THE NOSê. &VZ\ pCE OR ROSE. OOHCAV&. EV® 4Rf.
IN 1H6KL ÚPENIHÚ3 AN O SLiÇHTUY MOfrJ& THArJ WtPTVf OPAN £YE APíA p.T,

KOSTfciL$ SM4Í-U AND P.()iJR D ARP -5fcT WITRIN TrtB iN3|Pê, CORNefts t>F
fcYÊS AMPTH& COR.HfeR.3 OF MOÜTH ON A UME ^RpM TVH«Jfc. POmrs -
BABY HEADS

183
HANDS

I84
HANDS

TO BCTTOM OF CHIM* WATCK

CAit*FULtY COMTOlJIÍ,^ P4U
tMí3 IM t«ÚHT &ACH QTHÈfc-
THE. Palm is CDNOtyia, thê
êacíc conviví, <Eap At it i

183
 TIÍE FOOT

nr sttGceíTEp r hãx you pkaw yóur own

is

im tvíANY SETTINC A MI^ICOP- ONTHfe FHLGÜPC.

iLSO, tHAj VOU JBT UP RHCJE5 AN? ^tcAWTUEM FROM
M4NY ÀNCLES AhlC? VtEWPQI NX5,

t8ó
 A TYPICAL PROBLEM
A íypical problem outlined by an art huyer: reserve the right to rejeet any work and may
W(- always iieod ”
artists who can. draw heads even ask you to redraw a job
welL Cood drawings of heads are required in Begin witb a magazine cover and experiment
almost all advertisirig, for illustrations on maga- you have arrived
uni til at a good idea. Work it

zine covers, and lí th o displays. An acceptable out small, in color, uiitil you feel the little sketeh
head must bc ín gootl drawing, to bc sure, bi.it has carryiug power and attention value. Then
that s only the begímiing of its job. If i t s a pretty work up your final drawing. Keep ít as simple
gii 1 s head, tlie pose. lhe ariimatíon, the hair-do, aspossible. Dou t try tosell a íaked, or Vibbed,”
the costume, the color, the type, the cxprcssion, Xo magazine will buy
head. it. Do not send work
lhe age, the idea behínd it, all count. For char- to a magazine that already cmploys one ar tis t
acter drawing, 1 sliall expeet you to find a living reguLirly, sinee hc ís probably working under
type to work from, for the $ake of authentidW, contract.
and, if necessary, add whatever particularízed Othcr suggcstions are: Make a number of
qualities the job s peei fies, I cannot you what
tell studies of the people around you. Draw yourself
to do or how to paínt if. Do the rièeessary work, in the mirrür. Draw a baby, a chikl, a young man
bring it in, and, if I líke it, 111 bny ít. ThaFs the and gírl, a middle-aged persou of eadi sex, and
only way our firm buys art work. When you have an old person of cach sex also. Spend most of
cõnvmeed inc that you can do a good hcad, I your time drawing heads—your market demands
may give you furthcr commissiom, but I must them.

187
 XII. THE COMPLETE FIGURE
IN COSTUME
J
Costumes wnill keep changing, but-the human tocksj and knees. When material is loosely

figure remains the same. You must know the dvaped o ver these the ,
folds start with them
form beneath the folds of the clothing^You must and radiatc to tlie next high poínt. 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 o ver the rounded folds will rim around the promínent fornis, pull-
figure. The drape of the material is caused by ing at the seams. The male form rnolds the
the manncr in whích it is cut and joiued. Mate- clüthes in a líke manner. In a maus suit, for

rial cut on the bías drapes differently from that cxample, the material over the shoulders, over
cut on the weave. Tiy to understand what makes the chesL and over the top of the back is cut to
the material do what it does in the ruffle* the ílt. The only folds you find then come from the
pleat, the flouncc, and in gathering; what is the pnll at the seams* The bottom of lhe coat and
purpose of a dart; and why the seams and join- the trousers are draped loosely. The trouser
ings canse the flat material to shape itsclf You folds radia te from the buttocks to the knee in

do not ha ve to know liow to sew, but you must sitüiig poses and from the knee to the calf and
lookfor the construction of the clothing, just as the back of the ankle.
you Iook for the strncture of tlie figure under it, An overmodcled gamient is just as bad as an
ít takes only a few extra minutes to find out overmodeled figure. Watch to see that your light
whích folds are due to the construction of the and dark values stay within tlie color value of
gamient and which are caused by the under- the material itself and thatits unity is not broken
lying forni. Find the “intention” of tlie drape. by lights and shadows that are more strongly
Disco ver what the designer has worked for— stated than necessarv,
slimness or fullness. Tf a seam ís smooth, it was Do not draw every seam, every fold, and
intended to lie flat. lf there ís a shining or gath- every button, but try to understand construe-
ering at some point, take note that it was not tive principies and mterpret them eorrectly in
intended to lie flat. You must not slavishly eopy what you do put down, ínstead of being careless
eaeh tíuy fold, but neither must you disregard in these matters or remaining totally ignorant
folds cntírely. Indícate the shírring at that poínt* of them*
Learn how the femalc figure affccts the folds: No matter what you draw— figure, costume s

the fabríc falis away from the most promninent furniture-dearn its construction, so that you can
furms underneath shouiders, breasts, híps, but- draw it.
 DRAW FIGURE. THFN COSTUME

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 CLOTHING STUD1ED FROM LIFE

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OF DKAW LN*4 HALl=TOKES Atft? 5HAPOW5 ÜNLY, UEAVlNG M<3HT5

Í93
EUMINATiON AND SUBORDINATION

194
STUDY FROM LIFE

*gs
BRUSH VXD SPATTER LLU STRATION
I
 A TYPICAL PROBLEM
The prohlem of equippíng yourself to o tjour
tf ing. Next, supply yourself with materiais and a
job wiãh placo to work. Keep a fresh sheet of paper ou
What ís the next step? you may inquire. your drawing board at a 11 times with other
Look abo ui at tlic küids of work you see dis- materiais at hand.
played everywherc. What kirid of work do vou Hunt for siibjeets that interesL you. Note them
want to doP Oncc yüu make up your mind, prac- down and pin lhe notes to your board If you
kind oi drawing with brush or pendi
:

tice that eaii do nothing better, set up ;m in teres tíng still

You arc going to need mental equipment as wcll lífe and work from it until you ha ve learned
as skill with your hand Try to know more about something from ít.

your subjêot than the other fdlüw, Remember Start a portfolio of saniples of your best work.
you can borro w only a little; most of your knowl- Dem t lake oiit a drawing and thruw it a way
edge mmt come from your own ohservation, until you have a better oue with which to re-
your determíiiation, and your plaín courage. place it. Wlu.n you have a dozen good tlraw-
Fínd a way that vou can allnw yourself One, iugs, show them, DoiYt wait for art expensive
two, three* or even four hours a day for draw- éollcction.

1Q7
 /
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 CLOS1NG CHAT
rhcre is always a hesitation before turning in There is no formula in art that will not break
a fmished job. It oeeurs to me as I complete this down as soon as tlic cffort behind it ceases. But,
book, and it will occur to vou whcn vou look to compensate, there is no reward on earth that
<ívci a pieee of your worlc: Could it not have can compare with a pat on the back for a hard
been done bctter? It may sccm to vou that you job w ell
r
done. Talcnt, in its underclothes, is a
should have use d a different approach, or a bet- capacíty for a certa iu kind of leaming. TalenL is
tor metliod of constmetíon. My own philosophy a n urge, an insatíable desirc to exeel, coupled
ís to do the best I am capable of witliin the time with indeíatigablc powers of concentration and
requíremcnts, and then to make the decision produetion. Talent and abilíty are like suulight
that the drawing is now finished aml must be and a truck garden. The sun must be there to
turned in. Lack of decision is a harmful tliíng, begiii with, but, added Lo it, there must bc
You can Icarnby your niístake and make amends, plowing, planting, weeding, hoeing, destroying
but the encrgy must go into a fresh effnrb ol parasites— all have to be done before your
Lcarn to use time wisely. You will not always garden will yidd produee, According to thosc
have the time to do a drawing twice or three one-ínch ads we see so oíten, you can be an
times in order to select the host example. While artist, play the piano, write a book, be compel-
you arc a student, uso precious huurs to the best ling, convínce anybody, make friends, and gct
advantage, A bit of anatomy misunderstood in a high-salaríed job if youll just sit down and
an importan t job that must go toniglit, a proh- answer it— and, of course, “kick in.”
íem in perspective that remains ímsolved, ruins If you want to draw, you want
if to gamble
a painting on which you have spent days and a II your cliips for stakcs that are really worth
paitl expensive models fees. while, you have an exccllent chance of wínning.
When, early in your carceiy an art director If you just dabble, you will certainly lose your
asks you to rc-do a drawing, be gratcful that ante, for the olhers in the game arc playíng their
you are granted the time. It is a tragedy when hands for all tliey are worth. I have met students
your drawing ought to bc done over and cannot who have sai d tliev would
^
like to lcarn drawing
O
be for lack of tirne, You deli ver something you as a '"âidchne. There are no
’
sidelines. You are
do not like, and the publísher is forced Lo aeoept cither in the game or out of it. “WelI, tíicn, how
it. He is generems if he gives you áiiother job. do I know l m going to be good enough to make
The term talcnt needs clarifying. To aoy a go of it? ’
No one can possibTy be assurcd that
mau who has slaved to aequire skíll in hís art, he is going to bc good enough at anything to
it is ínost irritating to have liis abilíty referred make a go of it, Faith in yoursclf and industry
to as a gíft. Perhaps there is one genius in a are all that any of us have got to go on.
hundred years or more who ean achíeve perfcc- An honest book on drawing can only point
tion by “dívine ínspiratíon.” I have never rnet the way and suggest procedure. A book of down-
siich a mau, and I do not know any suceessfnl right promise ean be nothing but downright
artist who did not gel there by the sweat of his fake. It is natural for young meu and women
brow. Again, I do not know of a single success- to look for the “secrets" tliat allegedly assurc
ful artist who does not continue Lo work hard. success. It ís even roasonable to fecl that these

190
 HOW ARTiSTS WORK
secrets ave somewhere liiddcn awav, and that lo the layout. If you are worldng with an art or-

revoai th cri woukl assure suecess. I confess í ganiza tíon, you wi 1 ! not see the agency at all,

thoiight so my self at one ti ire. Bul there are no but will get your instructíons and the agency
sueh seerets, jcalously guarded by tlie oldcr layout from one of your company s sales men,

géiieration so that ít need not give way to the Proceed, ílien, to look up what Jata you need,
younger. There is rot a craft in alí the world get neeessary photos or models, and go ahead
that opens its doors so wide to tlie young and with your job. If you arc a free- lance artist, you
Jays its knowledge so freely at its feet, Note lliat work in your own studio. In that case you will
I say knowledge, for all Üie seerets arc knowl- have agreed upon a príce with the art director,
ccige. Ev erything about th is eraft is funda men- and you will biil the agency wlien the job is

tal Expert use of tlie fundamentais is the only complete and aeeepted. In an art organization
basis there is for learning to draw. These fun- you will cither be working at a set salary, or on
damentais ean be lis te d. studicd, and carried a split basis, usually fif ty-hfty. Most artísts spend
out in your own way. They are: proportíon, considerable time in organiza tions beforc set-
anatomy, perspectivo, values, color, and knowl- ting up a free- lance studio.
edge of med unis and i materiais. Each of these The magazine íl Cus trator usually works in his
can be the subjeet of infiníte sludy and obser- own studio. He may have an agent or sales rep-
vation. If there is a seereg it is only in your in- resenta tive, especial ly if he does not lí ve in New
di vi d nal expres siom York City, where most of the magazine h ouses
Tlie artist obtains lds work ín different ways, are located. Witli out an agent hc deals directly
depending ou tlie brandi of tlie eraft ín wliieh with the art director Tlie artist is handed a
he speeializcs: manuscript. As a general rule, if the magazine
In an advertisíng agency there is usually a has not supplicd liím with layouts, he is asked
Creative or art depártment. Tfere the layouts or tf) make roughs for general coinpositioii and
visual izat léus are made, There is a eopy writei, treatmeut of the subjeet. The magazine may
an aeeount cxeeutive. and a layout man who to- piek the situation to illustratc or may ask the
gether have plaimed an individual ad or a wholc artist lo read it, pick the situatíons, and siibniit
campai gn, An appropriation has been made by several roughs for selection. YVhen these are
tlie advertiser. 'lhe magazine space has been O.K*'d, the artist proceeds with his drawings.
decide cl iipon and contraeted for. As the ideas Wheu the magazine pícks the situation and
are worked out, in sketch or layout forni, they gives the artist arough b om the art depártment,
are submitted to the díent and O.K/d or re- he may go to work at onee. This is usually tlie

jected, it has been dcdcled that ei th cr photo- most satisfaetory LUTangemerit, but it does nüt
graphic or art work shall be used, All this has give the artist so inueh freedoin 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 bílis the work; otherwise you are
Iiot far oíF, sínee tlie prepara lory work has taken pai d directl y, An agent s commission is approxí-
a good deal of time, matcly Iweuty-fivc per cent of the bíllíng price.
You are handed the layout as O.K/d or witli There are several firins and guílds in New York
iiistruetiOTis for changes, Most agencies give that aet as artísts" agent s. Work must be of
you considerable Iccvvay for pietorial interpre- proveu quality, however, before they will rep-
tation, but your drawing must fit tlie spacc ín resent an artist,

300
 >

RUNNING YOUR STUDIO

Outdoor postcrs urc hundled througb. advei them by produdng clean copy, This is also true
Usiiig agencies or tlnough litliographers, The of Jíthographers. It is important to remernber
artist seldom de ais directiv with the advcrtiscr. that a newspaper uses liiie or coarse-screen half-
There are also outdoor advertis ing eoinpauies tone, Pulp magazines must use a coar ser screen
that Imy art work and in turn se 11 it to the adver- than othcr magazines, This means keeping fairly
tíser. In the la t ter case lhe lílhographer is called contras ting values to assure good reproduction,
in on a competitive basis. In all lialftone reproduction the wliitcs of your
Ncwspapcr drawing may be done in art or- siíbject gr ay down some w ha t; the míddle tones
ganiza tions, by the paper s staíí a
by the adver- fíatten a líttle; and the darks becoine some wh at
tisers own department, or in the free-lancers lighter. Water color is about the best médium
own studio. Dísplays are done íu the lithog- for reproduction si 1 ice it has no shine, is usually
raphers art departments or are bought from made sma II, and therefore requires less reduc-
organízatiuns or free- lance artists. tion. Any of the drawing mediums, howcver,
Magazine cüvers are nsually speculative. You can lxi reproduced well. Ncver submit a clraw-
simply make them, send tliem in, and most of ing on fíimsy paper,
the time you get them back. You are expceted The artist should, early ín his career, forni the
to send rehim postage or express eharges. Some- habit of orderliness. Kcep things where you
times you can send ín a prelimínary sketch. If can Jind them. Your drawing, when submitted,
the magazine is in teres led, you may be asked to should be scnipukmsly clean and matted with
make a final drawing or puiutiug, but the art a Hap to protcct it from dirt Keép your file in

editor reserves the right to reject il unless you order and clip wh a te ver you tliink will make it

arc so welí kiiowu in the fiel d and so dependable as complete in Information as ptissíble. 1 have a
tliat you can be relied upon to briiig in an ae- method of filing that works out nícely: I make
ceptable eover design. an índex in alphabctical order of what l have
Comi es are handled specnlativdy, as are mag- filed and then give my folders oonsecutive num-
azine covers, except in the case of newspapers. hers. In this way I pul several subjccts in ooe
There they generally come llirough feature syn- füe. For íristancc; I li.st bedrooms under B, and
di cates, In this case you work on a salary or the file number for this subject is put alongsidc
royalty basis, or both. You musl have several the listing. I also list slçcping poses under S and
months of yõur feature oomplcted on a strip be- give it the same number. My folders go from
fore your work will be considered, Sometimes one to three hundred. 1 can add as many more
royalty is paid by the comie magazine or syndí- as I wísh or add more subjects within the present
cate, in addition to tlie purchase of first serial folders by simply Iisting the additional subjects

ríghts. alphabetícally and assigniug a foi der number. I

First-ratc advertis ing may pay more than have gradual ly learned the foldcr numbers, and,
story illustration. Methods of reproduction are as suou as I see a subject, I find it without re-
so aceuratc today that almost anytbing painted ferring to the índex. For ínstance, I know thãt
or drawn may be reproduced with íidelity, airplanos go in number sixty-sevcn, On every
Knowing thesc methods is valuablc informa tion, clippiug I jot down the file number and put the
Most engravíng liouses are glad to show their clip into the drawer that contains the number.
equipment and methods lo the artist They know I have lilled se vem filing cabine t drawers. I can
that if hc míderstaiids their problem, lie can help nfjw go dircctly to a file that contaíus a sebool

20 1
 ABOUT YOUR PR1CES
dassroom by looking it up alphabetically nr der please your dients. The elianges are often un-
S and gettíng the file number Without a filing reasonable and are matters of opimoii, but do
System, hours upon hours can be lost lookíng not grumble, at least aloucL A chronic grumbler
through himdreds of clíppings to find a single is an impopular fellow, and soou the jobs go to
oi ic. It is a good investment for the ar ti st to sub- the mau who st:ems to be more cheerful, espe-
seribc to a number of magazines. By keeping dally if his work is equally good. Agaín, enthu-
your copies ín order, they eventually become siasna and eheerfulness add their own qualities
valuable, tor instanoe, if I should need material to your work. Robert Henri said, ‘"Every stroke
to illustiate a story lai d ín 1931, 1 could go back reflccts tlie mood of the artist at the moment"
to the styles worn ín that period without diffi- lie is coiifident or hesítant, happy or somber*
culty. Gr to interiors. Gr to the áutomobile that certain or perplexed. You camiot hide mood in
the eharacters owned. Some day you may want a Creative work.
to krow what they werc wearíng during the On the subjeet of prfees* it is better in your
Second World War, What wcre the soldiers’ early years to get your work published and eir-
helmcts líke? The magazines are hrimming over culated than to quíbble over price, The more
with that material now. When the war is history, you get published* the better kiiowu you be-
it will he hard to fio d. 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
Cet the habít of making smal! studies before be your price. Eventually you find your priee
you start somethiog big. Your problems will ap- levei, sínce you can keep raising your príce as
pear in the sketehes and can be worked out tiicn, long as tnore pcople want your work than you
so that you will not be stumped latcr ou. If you can supply. nobody
If will pay the priee you
are not going to Iike a color scheme, find out arc askiug or
it íf you cannot keep busy at your
before you have put in days of work, 1 remem- prices, you d better coine down, It s just plain
ber a pôster I oncepainted. Whcn I was through. business,
I began to wonder how a ditferenL color back- admit you are apt
I to run into a buyer who
ground would have looked. When I hád put the will takc advautage of your youth or your lack
second backgrmmd on it looked worse. By the of work, but,
s
if you are capable, his very use of
time I lia d tríed about six 7 I was resigne d to your work may boost you clear out of his class.
going back to the íirst. It was all lost moHon that There is no way to place a value on a pieee of
cOuld have been avoided by making thmnbnail youi work. The chances are that you will get a
sketehes first I could have done several posteis íaír deal from a rcputable client. If you do not*
in the time wasted, and my work would not have it won t he long before you will discover it. You
lost its original freshness*
will soon find out if you arc askíng too inuch.
If you once decide on a pose, stick to Don Postors can go all the
it. t way up the kdder from
let yonrself muddy up a subjeet by wondering one thousand. Magazine illuslra-
fifty dollars to
if arm might not have been better some
the
Hons range from ten or twenty to five hnndred
other way. if you must change it, start over and or more a pieture, The purpose, the clícnt, the
so keep it iresh, The more clearly you have a artistíc merit-all these infiuence the priee.
drawing deiined in your mind and in the pre-
Attend an art sehool íf you can, but carefully
limínary sketches, the better the rcsult will be.
coiisíder the instruetors, If you can get a man
Many drawings will have to be changed to to teach you who ís active In his field, well and

20 2
 e

INTRODUC1NG YO URSELF
good. Àsk for tile names of some of his former to many prospeetive clients, together wíth your

pupils. ff the school can show a convineing list address and telephone miniber, Interested peo-
of professional meti who wero formerly his stu- ple will get in touch with you. I followed this
dents, íine. If not, hunt up anothcr school. scheme when J set up my own studio after work-
Let me make a suggestion or two about the ing for scveral years in various art organixations.

prepara tion of an artist s samples, There is slíght I photographed proofs of the work I had done
possibility o£ being accepted as a prtifcssional for or through the organizations. The rcsult

artist without a wdl-executed group of samples, proved well woríh the expense. Many new cus-
I ha ve urged throughuut this book that you re- tomers were brought to light.

tain the best of your practiee work for samples, It ís advisable to start a library. There are

Do not limit yuurecM to my problexns alone. If many good books on art: auatomy, perspective,
you want to do figure work, prepare your $am- the work of the old masters, and modem art.

plcs for that purposc. Do not submit mídes, Buy all you can aiford. Read art magazines.

however, since there is no possibility üf the ir Many valuable suggestions will come to you this

being used, The excellence of your figure draw- way.

ing., howçycr, should be prcsent in your costume Although I ha ve emphasizcd the figure, part

drawingn Submit one or two girl subjects, per- of your time should be devoted to other subjects

haps a jnaii, or a tnau and a girb A child subject for drawing. Draw animais, still-lífe subjects,

is always of value. Keep your subjects on the furniture, interiors, or whatever else is likely to

happy sidc for advcrtísing, and don t forgct be án accessory to the figm e. Outdoor sketching
gkrnour appeal. and paínting is wonderful for training your eye
Al! üf the foregoing also holds truc for stoiy to color and value as well as íorm.

í Ilustra tion, although magazines are inlerested Paintiug w ill help your drawing, and vice

in characterizaüoiij action, and drama as welb versa, The two are so interrelaled that they

If you want to do posters, your approacb mnst should not be thought of as distinct and sep-
be diíTerent, since here simplicity ís of hrst im- arate. You can paint with a pencil and draw
por tance. Do not rnix up your prcscntatíon, by wíth 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 pôster or ad- tography you find in tbe magazines to render in

vertising illustration to a magazine editor of oil or water color. Pastel is a delightful medíum
fietion. Try to fit your presentation to your ior practiee, There are many kinds of color

clíent's needs. Donh submit a great raft of draw- crayoiis and peneils with which to experiment,
ings. An art director ean see from your first two It ís a constant challenge of the profession
or three samples what lie can expect of you. II that you never know whal you will be ealled
is a busy fellow. He will keep lookíng as long upon to do next. It may be anything from a
as your subjects, treatments, and mediu ms are lemon pie to a Madomia. As long as it has ligbt
varied ? if tliey are at all good. If he looks at fallíng upon it, color, and forrn, il can be made
twenty drawings, he is just being poli te. Dont interesting, I recall an advertisíng campaign
impôs e on the mau. some years ago for so prosaic a subject as enam-
A very good method of introducíng yomself eled kítchenware, But what the artist made of

is to make up small packets of photographie it was exquisite. I reeall the Henry Maust water
copies of your samples. These may be mailed colors lhat advertised hams and foodstulls. They

30 3
 DO IT YOUR WAY
were as beautifully cxecuted as any fine English continumg rise of radio. You will also have ma-
water color. never dreamed of, subjects that
teriais we cannot
Simple things 5ii ch as a few garden vege- now imagine. You will have new purposcs for
tables, a vaso of cut flowers, an old bani. present art that have never before exísted. J believc the

p roble ms there are to masler. Each of

a 11 the hmnan body has been imcre&sing in heauty, al-
these may bc a vehiele for your individual ex- though it is hardly discernible to us, Think o£
press ío ii. Each can be so beautifnl as to be how stan dareis change, for exam pie, and of a
worthy of a place in a fine arts gallery. That is miodern girl besíde a buxom maid of Rubens"
the scopc of tliings to be scen, felt, and set dowm time. li would be a little hard to imagine one of
Clouds were there for Tunier; they are herc for bi.H beauties walking down Main Street in slaeks.
you and will be herç for your great-grandson* I doubt whether his favo ri te model fcould get to
The qualities of light on flesh are prosent for the judges stand in one of our imiumerablc
you as they were for Velasquez, and you have beasitv contes ts.
y

as mucli right to express yourself as be had, and Alt the things have not been clone in art that
nuLch less superstition and prejudico to combata can and will lie done, 1 dont think our bonés
You oan set up the almo.st ídentiealpan of apples and musclcs will eliange much and that light
with which C ézaiinc gave a lasting message lo will shine diíícrently, so all the good rules will
the art world. stdl hold. T can only say that you must have the
You can look for yourself at the haze of at> couragc of your eonvictions, believing that your
mosphere that entranced Corot or the burst of way is right for you and for your time. Your
latc-afternoou light that enthmlled Innes. Art individual] ty will always be your prcçíous right
wíl I nevei die— it just awaits eyes to see and and must bc treasured. Take from the rest of us
bands and braín to interpret, The paintable all that you can assimilatc, that eau become a
waves will not eease breaking with Frederiek part of you, but never still tlic small voíee that
Wauglij nor will pictures be forgotten with the whispers to you, “I like it better iny way.

204.