For many years the 11eed of a further book om in drawing liut that he wishes from his tocs up the subject of figure drawing has been apparent to become an. Andrew Loomis - Figure Drawing For All It's Worth. > http://www. kaz-news.info (1 van 2)9/1/ PM. C Ü H T E N T 5. [IHM-mirror: page: me r'kaz-news.info Halma-„ll.i'l'nlrr l'i. The hnrly pam Fun With A Pencil by Andrew Loomis - Alex Hays.

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It is very' important fo]: BtlILr,e out. The jaw is Iess developed. The neck j s more slender, The 'hands are smaller and much more d. Vi h Gi reer ar ;iii l'i:: N ote the black squa. In thin or ,aged. W'orliiLlg from life 0. You ,s'h juhJ. The ,6Jl.

Y of some kmJld". Lim bs look short: The ]eg Is elon ga. V ,a n,. In fact; son e of IUV fig": The face should be lean ,. Th ' upper lip protrudes somewha t. The ears are slnalt thicll.: Ina terial. From e'illgb t to twelve they can be. Do not dr: The male hands s-, ould he exaggcratedi a" 1] tHe in size and in th. The art director seldom, points out youii. OR,A, L. TH Eo R.. M 03'1: OM ME. I, "Ii '. The transition from outltn e and specific construction to the r. Often the studen t is una hIe to ]TI ale this jurn: The difficulty arises hom, a lack of conception of the solliid..

The shadow is really there also, hut we cannot see it from our vieV!. In all cases other than Ilatfront l'i'ghUngl the fOrlll is rendered hy the correct interpretation of the direction of the planes a wa y fr nn the l'] g 11 t -angle phule.

The plaues are worked out in the simple or-del' of: H gh t This. Iorcef ul and powerful is our HU3ssage. SS and drRw' a circle perfectly; but we have left no trace of ourselves in w: It is looking: If we are to compose the mannikin of simplified blocks; how shall we shape those hlocks'? Hlpe them any way you, win to arrlve at a massed Or bulk eMect. With this approach" we take the art -store wooden mannikin and, use it as a basis for setting: We go a step further with the mannikin on page 73 and attempt to' eliminate the stiffness of the jointed.

RetainiYl,g these terms we itakrS: This is foreshorten-. We must think of the contours and farm! S, sections, 1 ined. Pages 76 and n are an in terpretation of the rounded figure Sa ttened in to planes that go a step f1Lu: On 11! Let us' 50 tart, tlo. By drawing block forms 'we L'Ut out the extreme subtleties of 'halftone. You may q.: Hill u.

I t-J! C,A'N all!! UtM 1 INJj;, a. V 1i '6. Nt' M' JJ, '. N,O MA,.. E 'T ItE. Camera and light, of course, could not ha ve been placed in 'the i. When there is a single source. Wty of the mMS of U,gb: That, however: Since the photoig,rapher may not have reasoned this 'Out,: OOIli" 1f'O;R.

CO'I" pat. Correet values. Ber 0 r,.: SUppOSi6 yuu l. Sketch h l contours of the.

14 Best Figure Drawing Books for Beginners

Il ture of tn,! On page 88 sec a. JflfCCtlv placed one l oi- '[: S'S eACH'. ES OR. Establish two points. Loea lee the middle point of line l! From the middle poin t get il uarter points up and down.

It is the 'middle point of your S1Th bject, ,Rentember. In my drawing the s,tlbjecf s 'ri gh t heel 'was. S tart by blocking in 'head and torso and, from the head! This locates dgla t nipple. HI be accurate, and you will: TI ,ON: Frnm this point onward you rnust learn to express yourself individually, showin g your particular 'Taste in the selection of models, choice of ,pose, dra m a tic sense alii r] 1 nterpreta tion, characterization j and technical renderlng,.

For lny: I believe fila t when the quaH. Ior acceptable dra wing are pointed! TVir-'O broad approaches are needed. How can yt U say it? Let us take the' Hr. Before you pick up your peIDLC]t or take a photogr. To whom must this drawing appeal?

Shall it he directed toward a selected or gen. Of women? Should several figlu'es make UI. P tile ,coInpos]tion? Will a, settin g and Ioeale- help or can the message be conveyed better withou t these? Where and how win 1 t be r,ep,rod.

Hat background and fh. Eng also? Would she he better over there? What will you choose for a hackb,trDund'? Yon begin, at this p oint? Another IYU. Endless variety i 1: Sec that ei ther hes: With the standing figure ev'erything is relaxation, balance; and a distrilruHon of weight An v sort of gesture is a r,eli,e. But the girl can put her hands 'On her hips, fi. HJ3]Se' a: Do anything ex. I tty to get them to act out: The whole- gamut of [expression is there for yOU to choose from, Von;"!

Ionn a few ha hits that. Try to. D rtA. S c,tl;J; ,,1I!. INIi 'Ui'S ,. E IF 'y,ou. Indica te a one- piece ha thi ng suit, Details of the bathing suit will be stl. H page up and down in the Sa tevepost. Elank Hl: You are to have the left 'half of te pag. Use li. Blank O, K.

The next step is b photog: Make her 'e gh t heads tall. You ma. You also ha ve the choice of pen. The drawing should be made on Uristol.

Never roll a drawing that is to be re pro du ced,. I have tried -to show this sweep or the line that the Ibn bs have jus t followed. The cartoonist can add terrificall y to th e sense of motion 'hy dr. Uy the action can. The pend. For psyeholo gic: Another means oJ sllus tra: The actual movement has been corn p leted, Another exam l le is: Fix in your mind the w. The cartoonist can. IT you perform the action" it hel ps to give you the feel of it.

If you can study the action in. There should he a mirror in ever. Some of your "action' camera shots. Andrew Loomis - Figure drawing Uploaded by sudip. Flag for inappropriate content. Related titles. Jump to Page. Search inside document. AN' OPE. J J; Knotf. H7 IIJ. ONS ]12 - Qui.: THlE C'O: Draw FigureI' T. I utrod uerung Yourself Do I. Today with color photog- ra phy and the excellence 01 the. So the real concentration is centered on youi and yOlur work follows along in the wake of what: It Is really plain old cour.

It is 'when the moans of expression is develope91 as a whole that Inspiration ,. These ,. Whether Perhaps the best way is. I speak of this to 'build within you that confidence that al] is well once you arri ve at yo. Specified dale of deltverv, Start at once to take a new i nteres t in people. H 0" cl. You must ha ve more than mere technical a hili ty to' produce a g: J -lJIU' U1. It 'would, be' as reasonable to -WH. Line can have infinite 'variety or it can be in Even if YOll stu r t with a bent wire" you need not make it entirely monotonous.

You can vary the weizht of line. If you ha ve considered a line as merel y a mark, it rna. What to do: First get a soft pencil that win make a good black. By contrast, lea ve areas of white where subject is white or very lig: An Qt;erabundance of small fuzzy Une. Use the side of the lead wi th the pencil 1 aid almost flat for your modeling and shadows, 3'.

F eaiures '1u1Spluced in J head. See Head Drawing", Build the featu. M'tuuly in U roil. Spray with fixarlve. Keep untouched areas scrupulously clea]"[ with a kneaded eraser. A bbc-k and whi te dirawing looks. For instance it brown or red eonte era von on a tan or.. It is be tter to pu t your color on white for: Copies,ol movie stars, This gets intensely monotonous to anyone inspeeting a 'beginn: The el- l ls ab tl I '1i-. R PUMpY.. N Y'OUR. LE N rn: Y S'I:.

I ,ill, DR: D THE. HE MA. The mannlkin serves a d o. The chest is ,joined , to the hips by two masses on either side, In back. D rvIA A -; tH,Ie. Y INEA. MODE,L i, [. S I bE ''iia. J, [I'll " CAl.. F'WEDG'5 ',. ECT fi. L THE M. E,tN C'E. M ade of soh an d, pHabl,e ma b.

IIiL'- ,. BtlILr,e out HUM E!. M uR 4 P;ii: TfiitAP e: J,HA 2. IUJ 5: I'l' r: Y m. TO 1[iIi 2. S 10 PRoNAl! OR ,QR! THE ,A: It is merely a waste of time to Keep all children up to six or eight years quite show an art director a figure that looks large. The upper lip protrudes somewhat.

Hands Children should be drawn fairly close to the and feet appear too large. Outlines traced eight or more heads tall. The final work on any commission of im. If The art director seldom points out your faults. They are usually at harder work. They will not look too tall to the art his dislike. The shoulders are drawn a little wider nose is round and small and concave at the than normal.

From eight to twelve they can be drawn headed. The The cheeks are full and round. Special study should be given to the It might be well to mention here some of the folds and creases at the neck. The male hands should be exag- today. Limbs look short and heavy. What the artists of the Middle Ages con. A man with man simply won't go. When fat and dimpled and there is considerable taper the legs are together.

It is a curious fact that short look bony and muscular. Otherwise your drawing will have the look of The essence of successful male figure draw- inflated rubber. The knees should be is well understood it is almost fatal to try to draw small.

If these distortions are scale of proportions given in this book. The thighs and legs are made longer eyes practically fill the openings.

If you get into character drawing. Ignorance of the demands upon you downloader. But a figure may be actually bony and normal. The hands are and more slender. When there are several line drawing can suggest the solid is that the. The camera may be able of the form. Often the student is planes. Artificial light. Move the light to the side. Since the light can be made to come from any When white paper is used for the drawing. The planes are do we conceive of it so that we know it has bulk worked out in the simple order of: The shadow is really there also.

How clear grasp of this principle. In all cases other than flat. This As far as the artist is concerned. The only reason an out. The difficulty arises to receive direct lighting because of their angle.

Hence all planes are relative to the light source. The answer is that our eye instinctively rec. As naturally gives us the most perfect rendition of the contours and edges turn away from us and form.

We call this "flat lighting. In light—that is. The first and brightest planes are called the struction to the figure rendered in light and "light planes. Yet there are called "shadow planes. Daylight is softer and more diffused. Set the away from the right-angle planes. Sunlight hence the form casts no shadow visible to us. If you include all the shadow are needed as well. The pages 78 and 79 we place the simplified form of more detailed and involved we get.

It is like going around a circle with it belongs in relation to the whole. By drawing block forms we take a compass and draw a circle perfectly. This is foreshorten- that in a drawing or painting.

We hew away the ex. We must a series of short. It is somewhat them any way you will to arrive at a massed or like trying to paint a tree by painting every leaf bulk effect. Here the surface is con- produce such a delicate gradation of light and ceived of as having mass and bulk. Your way is as good as mine. On ries with it vitality. But rounded surfaces inkling of what I mean. It is the big form that does the long as we can before turning it in another direc.

In a drawing. Actual measurement of length cannot individual procedure and structural quality be made. We go a step further with bigness of conception. Actually the On pages 70 and 71 I have tried to give an figure is very rounded. Shape graphic and literal interpretation. If we are to compose the mannikin Strangely enough. A sweeping conception car. It is your selection of relevant facts that rounded figure flattened into planes that go a will create interest.

The effect is shadow that it is difficult to approach without sculptural. We can plest possible terms. Retaining these terms we take solids page We then subdivide the big. An "finish" is not necessarily art. The answer is by the eye of the observer. You may ques.

When it is too much smoothed is like looking at a gun barrel aimed directly at down and polished. We must think of the contours and form The camera can do that. After we have mastered the larger plane. It is the interpre.

This is the real approach to "solidity" instead of massing the foliage into its big forms in your work: Pages 76 and 77 are an interpretation of the boring. It is looking at our mannikin a little a simplification and massing of these tones.

Simple lighting. Had this been possible. Since the photographer may not have rea- soned this out. The dazzling light upon water is another example of refraction. The reflected-light areas within the shadow. One excep- tion might be the use of a mirror.

When there is a single source of light on the object. In drawing nothing within a shadow area should ever be as light as that within a light area. The form has been rounded to give you the gradation from light through halftone to shadow. It renders form in its actual contours and bulk. The photographer hates shadows.

Number 1 is a front lighting. Camera and light. An all-flat or formless lighting may be obtained by piling in equal lighting from every direction Number 8.

True modeling of form cannot be approached any other way. The only shadow. The artist should be able to look at any given place on his subject and determine to which area it belongs — the light.

When light is intercepted by a body. The area on the ball closest to the light is the high light A. If there is nothing to reflect the light. Otherwise a drawing will not hold together.

Re- member. Treatment of light gives a drawing cohesion no less than structural form. There are many things you can learn from photographs if you use them intelligently. If we move on the surface of the sphere away from the high light in any direction. Correct values must be given in order to obtain unity and organization of these four fundamental areas. You cannot possibly put down the full range. The halftones and darks may be produced The anatomic construction in either pencil or charcoal by rubbing with the The planes by which we build light and finger or a stump of paper.

Now look for the whole mass of light as under each other are quickly "checked. On page 83 you will find the halftones find it. This principle. But a brush or pencil adapts itself to mass. Ob- liminaries so far discussed.

Andrew Loomis - Figure Drawing For All It's Worth

It duplication. I than it looks. Because of the method of The general framework reproduction. Sketch a point falls outside the figure. These are: You This is the only plan I know that can be de- have set your light source low and to the right. The fundamentals of light and shadow On pages 86 and When you before you and provides a valuable means of are drawing with a pen.

It is easiest to sight in vertical and horizontal It is found on the chest under the left arm of the lines so that important points directly across or model. I point. Beautiful Movement and action grays and darks are possible. On page 88 see a plan of approach that up in front of you. The whole figure shadow drawing may be rubbed with a rag and the lights Foreshortening picked out with a kneaded eraser. When you have correctly placed one added and the shadows relatively darkened.

See line of chest and nipples. This locates right nipple. Now locate the middle point crossways on your model. The known point is the nose. Establish two points on your paper as the desired height of pose top and bottom Draw a perpendicular through these points as the middle line of subject. Start by blocking in head and torso and.

It is the middle point of your subject. Lay the width equally on each side of your middle point up and down. From the middle point get quarter points up and down.

Your two lines will cross at this point. Com- pare it to the height. Take the greatest width of the pose. For the angles.

Remember this point on the model You work out from it in all directions. In my drawing the subject's right heel was directly underneath her hair at the fore- head. If you constantly check points opposite. Is there a dramatic way of expressing figure drawing is described in the preceding the subject? Will a head or whole figure best chapters. You have now learned a "means of serve to emphasize the idea? Should several expression," but your use of that knowledge is figures make up the composition?

Will a setting just beginning. From this point onward you and locale help or can the message be conveyed must learn to express yourself individually, better without these? Where and how will it be showing your particular taste in the selection of reproduced—newspaper, magazine, poster? You models, choice of pose, dramatic sense and in- must take into account which advertising terpretation, characterization, and technical medium is to be used.

A billboard, for example, rendering. Newspaper drawings or spiritual quality, subjects that are little dis- should be planned for reproduction on cheap cussed in art textbooks. The truth is that there paper—i. The best advice is to subtlety in the halftone. For the magazine, watch for the individual spark and fan it into where the reader has more time, you may use flame when you find it.

For my part, I have found the complete figure and even background, if that most students possess initiative, are open to needed. The tendency, however, is to simplify suggestion, and are thoroughly capable of being and to strip drawings of all that is not of major inspired to express themselves ably.

I believe importance. Eliminate what tremendously to bridge the gap between ama- you know to be impractical. For instance, do teur and professional drawing.

First is complete figures, for their expressions will not the conception, or "What have you to say? Granting, then, that you Second is the interpretation, or "How can you rightly choose large heads, what are the types say it? What are the expressions? What are pression. Both call for initiative, knowledge, and the poses? Can you do better if you get out your inventiveness. Before you pick up know cannot be held by the hour? Can you put your pencil, or take a photograph, or hire a Mother over here and have room for the letter- model, you must understand your problem and ing also?

Would she be better over there? What its purpose. You must search for an idea and will you choose for a background? What will be interpret it.

If the job at hand requires a draw- the style and color of her dress? You begin, at ing designed to sell something, ask yourself the this point, to experiment with thumbnail im- following: To whom must this drawing appeal?

Are the downloaders going to be men you, proceed to prove that "that's it. Twist the body. I try moment demanding rigidity in the figure do you to get them to act out situations as naturally as arrest the latent movement. Drop one knee. This attitude reminds one too Sometimes parts of a figure can be lost in shadow much of the old photographs in which Grandpa's to advantage.

There are so many natural gestures possible. Don't form a few habits that everything is relaxation. When I illustrate a story. At the same time I try to think of how feeling. I usually read signifi- ble of movement. But the girl can put her placement.

Another man's work If you show legs. Give im- from-the-shoulder attitude" to suggest defiance. People wooden dummy. The unimagi- your job. Even though the art director may go native artist. There is no art director who can do knows what to do with her hands. Any sort of gesture is a relief you do just as original in conception and execu- from hands hanging motionless at the sides. Raise a problem. The principal difference between the heel.

Make every there are a thousand ways of doing these things. Only when you portray a tense cant parts of the manuscript to the models. Sometimes a silhouette may be head was held in a clamp during the process of stronger and more compelling than a brightly getting his likeness. Try to make each thing tion of weight.

I would act under the circumstances in the story. Experiment with the lighting on the model to unless you are trying for a definite "straight. See that either head or shoulders are turned The whole gamut of expression is there for or tipped. To relieve the static possible. Do anything except keep them glued to amateur and the professional is that the latter the floor side by side.

Draw a lot of little "funnies" stand up. A fairly of using gestures that go beyond the natural or good rule is never to have face and eyes looking logical. With the standing figure you to choose from. Hands can be most expressive. A tion as you possibly can. You also have the choice of the page up and down. Wolff pencil. Trim against a white background. Our client wants outdoor sunlit ing art director: Never roll a drawing and the art director says. You are to have the left half can rub if you prefer.

Blank O. The drawing light and shadow on the figure. Have her hair blowing. Find some use When you have made a series of roughs. You one-eighth inches. Use of pen and ink. Afterward the art direc. Indicate a one-piece bathing suit. Pencil will do. Use a standing pose. Make the whole drawing as ap- the two you like best to the art director. The figure will be cut out Raise the crotch to the middle of the figure.

Blank likes these. Make her eight heads tall. She might be smiling over her shoulder at you. The chances are you will have to next ad. Please draw halftone engraving. Since your drawing will be reproduced by tor tells you. You may use pencil.

The page values with which to work. On the following inches away. The cartoonist can his ordinary stance. A horse seems to be going write in. Get up and do it. At times ing would have no action pictorially. The prize fighter has learned to pages I have tried to show this sweep or the line make good use of this psychology in his short that the limbs have just followed.

This is called "sus- suggests the most action either as he is all wound pended action. Usually the arm that hit him still extended. Another example is that of ment and observe it carefully.

Some of your "action" camera shots may be tial to acquire the full range of movement. The disappointing unless you keep these facts in observer must be made to complete the full mind. A hammer raised from a seem a little silly. A golfer expresses movement best at the are all examples of suspended action. If you were to show Fix in your mind the whole sweep of action him on the point of hitting the ball.

A baseball pitcher dle of the action is best. For psychological effect in drawing. The pendulum of If you perform the action. The actual movement have your model go through the entire move. The cartoonist punches. If you can study the action in nail suggests a harder blow and more movement front of a large mirror. You would instinctively duck from of "sweep. There than if it were shown close to the nail should be a mirror in every studio. You must put across for arrangement.

A bit of the dressing table and mirror Some ask you to pick the spots and show them might be shown. Most magazines and the editor has said there must be nothing pick the situation.

Most like to see what they are going wardrobe where the intruder is hiding. Save guard. Someone is hiding—a rather sinister situa. She was alone in her dressing-room.

Andrew Loomis - Figure drawing

Don't under any circumstances beautiful. The girl should be featured. After you have decided on a pose chorus. The emotion to communicate and drama. You will have to be judged an illus- thirds of the page. We want Take a paragraph from any magazine story something with action and punch and sex appeal and do your version of an illustration for it.

The story says she turned quickly. Go at the problem as seriously as "Now. Jackie was removing movie of a musical comedy. The paragraph quoted for illustration is. Very little background ter. Perhaps the hands can do The art editor says. The girl. You cannot start being an illustrator with than a rectangular picture.

She might tone reproduction. You can get dramatic effects with your quins. Take about two. There was light in the room. Look up some clips the scant costume she had worn in the final of chorus girls. It is clear that After you have read this book. Use a photo flood stinct. I think we can use a vignette shape better for it. You may Project yourself into the situation and imagine work in any medium for black and white half- her gesture.

Some even send you layouts offensive in the drawing. To get an idea of a chorus costume. Plan the light as though it were the only costumes hanging in her wardrobe. All send the manuscript for you to digest. Bet- but nothing offensive. The art director's demands.

You will see at once of the top of the pole. The photographs reveal many a fanlike movement going on above it. Movement drawn without consid- goes the greater the slant. This change is hard to see takes the job over as soon as it is put on the because the moving anus and legs distract one's ground. The over. Hip and knee drop on the relaxed side. The leg carrying the weight is straight as it passes arms move in reverse of the legs.

For this the base. The ward push comes from the foot in back. A person must lean forward. Note the last picture on page And the faster it in the pose. The separate shots were taken at split seconds We think of the act of walking as if the foot apart and pieced together to show the progres. The for. It is not the and you move the base in the same direction at fault of the model but the fact that the important the same speed.

Both actions go on simultaneously. I wished particularly to actually happens is that the hip describes the arc have the figure remain the same size throughout with the foot as center. Each leg speed is increased. Each step is a center with the sequence. What sion of the movement. The foot facts. The drawn down through the middle of the forward.

The foot picture camera is actually too slow to stop move. The center of the stride expresses the least move- quires that the top always be shown ahead of ment. If you balance a pole on your hand. On pages and is a series of a heel should never be placed directly under the pictures taken with a fast lens.

As we walk along. If it leans in any direction how unconvincing the motion is. It is an un- the girl runs with arms bent. Why put a model through forward. The pushing would bend his part of the artist The fact that you can learn figure backward. Yet the demands on the present-day mendously in securing data outside the studio. In drawing whom I know. But keep it as equipment—not Start drawing mannikin poses. I feel this is as you try to express what you feel and like hardly necessary.

This is very well de. There will be many in- that is in a stride would require a slow-motion stances where you won't know what else to do sequence. Expressions finish of the sweep described in the last chapter. No one can hold such a pose. To get all the action use the camera only. I do not admire a photographic-looking times when this line may be curved.

They are well worth of treatment and have no desire to change this. It docs not straighten out until after it the ordeal of trying to keep a vivacious smile on has passed the other knee. In a sense. The camera Note particularly how much the girl's flying hair is the one means of nailing these down so that adds to the movement in the running poses.

See if you can. Most use the small being lifted by the bending knee.


Many artists I know pushing leg in back of the figure is straight until are expert photographers. Use your camera for all it's worth as part of your equipment. Dancing for you. The can learn more about a smile from the camera in legs are both fairly straight at the extremes of five minutes than we can in five years of trying the stride.

We fined in the side views of the walking poses. Here again is that paradox. If you have noth- ing they swing naturally as they hang down. The camera broadens their scope tre- subject. Every successful artist the way through a complete stride. Photographs illustrate this clearly.

Limbs move too legs seem to express most motion at the start or fast for the naked eye to record. The source of your knowledge. For meant to have virility and conviction but is inane instance.

All the variety you can achieve is needed. Movement can be straight as A word of warning must be added against too an arrow. You will have to equally. You ago the artist did not fully realize what compel. She cannot just be holding some. If you then study it as you would anatomy. A nor can your drawings be successful if the figures figure appears to move faster if he is passing a you draw remain static.

If you are drawing Either suggests powerful motion. Today a girl on a jects filled with action in this way.

I camera and photography have been the cause. Only ten years the top of a table I used a downward shot. A model and mass the rest. Let her swim. If you define the individuals cannot be left to pose herself. They must be skillfully done. He had not seen photo. By shooting from a very low viewpoint or a high graphs snapped at one thousandth of a second one. Put all you have in these.

To make it the right kind of action. Nine times out of ten stationary or slow-moving figure. It adds zest and action: If you can add con- any other branch of drawing. Not only magazine covers but any drawing The artist can disregard the shadows that fall you do will have added selling power with good on his background.

It is safe to handle sub- feeling and interpretation. Art downloaders love action. You cannot be success. Pictures have changed. She must much attention to the individuals who make up be vital in every sense and doing something the mass makes for confusion.

Then group War "flapper. You boy friend. Let her do anything. A number of prominent artists together. Use ing snow. Always pick out one or two as the key figures are out as definitely as the First World figures. Interesting action derives from contrast. There is a trick you must learn in order to thing. Place him head first. A group is more besides sitting in front of you and having a por.

It three inches. It can be dignified or clever. Keep them very simple. Our name will Make a flat design in black and one or two be. You can include Design some direct-by-mail postcards for pos- any kind of device.

These should be simple. All will be painted a bright red. It's you are employed by an art service: Do not We are starting out with a fleet of new trucks. Our men will Mr. We cannot use a messenger-boy device because "Good morning. You are wanted in the front office. I'd like you to get the information wear uniforms and a cap bearing our trade-mark. I am Take one or two of your best roughs and finish organizing a new company for parcel delivery.

I've called you in to meet it is not typical of the company. We'd like a figure of some kind within ders' Snappy Service. The observer canvas as with correct values rendered intelli- recognizes quickly that a drawing is out of bal. Before going into the problem of rhythm. In the first. The broader you make your experience in rectangle.

Our instinct is to set will be so tomorrow. If you there is approximately a like amount of bulk on are making a study. The figure will then fit into a triangle. If tonal drawing like the one on page The point is that you will have to labor to forget. If we lean over will be self-explanatory. If we stand on one foot.

If it is a suggestion for a pose. If it is construc- direct sketching or for camera shots. Watch how quickly a mother's with how you put your strokes on paper or hand grasps the teetering child.

If your client wants a sketch. I suggest we stand on both feet. The fundamentals of ren- firmly on its base anything that is wobbling and dering.

Balance is an equalized distribution of weight On page are two drawings that I believe in the figure as in anything else. Technique is an individual your final drawing.

If a figure is drawn without balance. It is easy over. You can start a drawing with the definite are the central point of division for the line of plan of making it either a pure line drawing.

But in drawing action from the imagination the quick sketch is better than something labored balance must be watched carefully. Try pen and ink. This gives you two jumping-off tribution of weight over the foot or two feet that places. Suggestions for rendering technically that it remains a sketch and that you will have in different mediums will appear throughout the something more in the way of finish to add to rest of the book.

If it is values. They seem to be so thor- through the universe. A second line of rhythm is the spiral. The so-called "streamline" is rhythm applied to When a drawing looks clumsy. It is "flow' of continuous line resulting in a sense of like the letter S in variation. The feeling of art. In the human form. They can also be made the basis of We are conscious of the rhythm that pulses pictorial composition. In drawing it is much upper lip. Look for this The third line of rhythm is called the parabola.

Rhythm suggests should be given great consideration in all draw- repetition. In music we present everywhere: This served across the form. The next few pool. Recurrent rhythm the smooth "follow-through" to develop rhythm.

The lines of rhythm in animals to a unified plan or purpose. The commercial application of that the trouble lies in its lack of "follow. Considered technically. A bowler or golfer. The and in all living things designed for swift mo- first is called the "Hogarth" line of beauty. The through. It is tion. I have a new gasoline account. Sometimes the sheets vary a little in color. You will probably bottom and three or more at sides.

Before You Go!!!

We are around the poster about two inches at top and willing to pay five hundred dollars per poster to bottom. Sparko Rhythm. If the face is very large. A margin of white goes way of art work in roughs and sketches.

Always in ground. Work up in color your best ideas in sketch ers. Try to from what I have seen of it so far.

Keep in Tune with Sparko Get some good copy for your style of lettering. I want to use the joining places do not cut through the eyes. That's ground. Sparko small. I am not going to suggest what to do.. The width of an outdoor poster is two-and-a.

Size of poster for sketch is ten by twenty- do depends upon what you can show us in the two and one-half inches. Rhythm Motor Fuel. Whether or not we give you this series to form. Every Time.. Step with Sparko Rhythm. As a starter. You do not have to show an the finished poster. The name of the product is Sparko not to do. The half-sheet the executive of an advertising agency.

Heard Everywhere. Don't make small figures or too many. The words "motor fuel" must Paint a white margin at least two inches top and be somewhere on the poster. I like it very avoid cutting through a face at the joining place much. In Time. Make several small roughs on tissue for ideas that could be used to If you would like to experiment. When you are sitting on the Boor. Remember that if may lose its S-shape and become a C.

Do relax in a concave manner toward such bracing. Use plenty of imagination to change a that assume other than usual contours. Almost the whole gamut of of viewpoint. The draftsman must ture or pose for your sitter.

The thighs the hands or feet are close to the camera. Turn the chair at an decide whether the sitting pose should be erect odd angle. It should have comfortably into the corner of the chair.

Both flatten a photograph too large.F'WEDG'5 ',. Your pictures are individual. If we move on the surface of the sphere away from the high light in any direction. Save guard. May 27, Alien Citizen rated it it was amazing This is awesome. The feeling of art.