If Its Worth Paintik

On be changed alxmf in great variety. Suppose wp liflvr l head and shoulders of l girl in draw. U'eeaTiin a small rough the ell'ect of how the pictunc might be built with middle tone, greys iwl alaek, against a very light background. In rhnc ci5c we would n& turaEly give her dark hair. lVeHiproliably light it from the Imck, throw -inLi luer fiice into halftone or shadow. We eon Id tttkr i i dark grey to eontplete the four en-tftLyftiues. Suppose we choose a blaek field. Then to rtiight make...

Color Is Strongest

,1 greyer bnljanejr to warm color, it subtracts hrifliancy from a cold color. Lack of light lowers the tonnEity, bright li lit raises it. We call the original color of iin object the local color. We paint focal color only in neutral light. Ul must look upon our chart j& s local or unin-fluenoed color. The shadow colors are representative of ueiinfluenced shadows shadows that do noj ave any Other color reflected into them. In a npral north ht your shadows would come ijiiife dose to those...

Color

Hrntsc my readers with the problems of Jar, I believe a new approach is necessary. So ininv own experience I have found that color approached in the sense of something i as some sort of special science. Tin cliffy of such an approach, as far as the student nccl lies in transposing the theory to y life, the things about him, and applying Jpctical xvay. We know that all pictorial is subject to the basic truths ooncem-> light, and shadow, tf color is also subject i the natural laws governing...

Info

Wofid Best

' . r f m ' IMTEU IT Y SHADOW JE T TONE PARKER THAN WHAT EVER VALUE UlEt) Ni THE Ll HT. THREl TON j PARKER, THAN VALUE M 4-r iMTENXITYWVfftDOWJ 4 TOKEJ DARKER. 5 INTEN-TITY-JW OW r TONE J1 pfl NOTE THAT LIGHT APPEAR TRONC ER. Ai JHAOOWi WE > A*KEN ED .THOUGH ACTUiLLYTi MIX A CAL OF EIGHT VALU EX FROM WHITE TO BLACK . FOR ANY EFFECT OF LIGHT,WE W WORK DOWN FROrt WHITE TO DARK. THEREFORE WB OM4 ONLY ATTAIN BRI LLfANCY BrCONl FOR H GH-KEY D AKIP De LI CAT LIGHT,UJE A CLOS RELATIONSHIP OF...

Its Worth Planning

Everything in the wuvof form can be tied together or interlaced with other space or form to produce good, even unusual, design, regardless of its complete or- identifying contour, iiy identifying eon-louj' fmean t shape which might identify itself as a fiat silhouette. A hog in silhouette might not be the most beautiful design as a separate & nd complete tiling, lint ho contour can be most beautiful as a line related io other lines, a shape intermingling with other shapes you will design....

THE LlzNs Sees Too Much

I present here a photo which I hall endeavor to paint front in as finished a manner as possihEe. I shall try Cn hold the values and the very smooth modeling of the form, Frankly, this will bcoi the so-called slick type of pointing, which nevertheless holds a place in our craft- Tln> painting wlJI appeal to a great majority of clients who real- y like he , 1 idleness. huL even here we can beat the mechanical and exact linage presented by ihe Jen . We can at least subordinate the overabundance...

Fale Color

The shadow color H NATURAL LIGHT CAN not be a cglgrvwfch cpu fainjr nqnl ofthe original, how ever. all jhadow j ct 7mne influence of otme color that MAY BE ft FLECTFfo I WTO IT AND WW HIX1HG WtTh THE ORIGINAL COLOR the shadow color H NATURAL LIGHT CAN not be a cglgrvwfch cpu fainjr nqnl ofthe original, how ever. all jhadow j ct 7mne influence of otme color that MAY BE ft FLECTFfo I WTO IT AND WW HIX1HG WtTh THE ORIGINAL COLOR iBLUE L1CHT REFLECTED IHTO THE HADOW WOULD PRODUCE AGftEEN....

Opening Chat

With the wonderful response given my earlier efforts, I believe that through this volume I shall be greeting id any of you as old friends. The acceptance of my last book, Figure F rawing for All It's Worth, has encouraged me to continue, for there is still much worth-while knowledge in the field of illustration, beyond the actual drawing of figures, that can be set forth. It is one thing to draw the figure well, but quite anodier to set that figure into a convincing environment, to make it tell...

Panting Down Or Across The Form

Brittle Star Illustration

THt Qft mjw THt redM. lie. Kiw,Thi ichoktj-Aftt GAI gt iJT Oil C Ri J JTKeL rOPtM. JT 1J- U it T D Any medium which will produce a scale of values between black ond white may be regarded as a tonal medium. Such mediums call for a screcn or halftone proccss to reproduce. When drawing for reproduction on cheap paper or newsprint, good contrast is necessary. For the liner papers more subtle gradation can be achieved by a finer screen. So if you use a grey stock, or any...

The Form Principle As A Basis Of Approach

No matter what subject the artist uses or what medium he works in, there is but one solid basis of approach to a realistic interpretation of life to the representation of the natural appearance of existing forms. I cannot lay claim to being the first to perceive the truths which underlie this approach. You will find them exemplified sn all good art. They existed long before me, and will continue as long as there is light. I shall attempt only to organize these truths so as to make them workable...

The form principle applied

L black-and-white paint. from life, you are going to have to take those thin before J Which are in nature's colors and transpose t0 black-and-white values. You will find ih bracentration and study thai you will do it Upm will y0ur fi ms apld sensitized Always look for the lightest thingthe light and comp jt with the darkest thing also in the light not shadow. Then look for he lightest thing n the shadow and compare it with ' he darkest o shadows. In this manner you thin of Iwogroups of values,...

The Four Properties Of Tone Explained

Wv fenow ho t so -calied'' wl li hskin is n u rn l I v I wiuti. However, it 11 ay appear white in a phot ft. U'ebiow it is not hlaek, though shudow can bu bfackon flesh in pilOhgraphs. Tin camera l , theoretically. recording tone. tin.1 influ-iflftliG moment it is tniL- lluit film luicJ paptM-rot always record tune truthfully or as the eye i gt liut it is tone nevertheless. IV can take photos or tli tnv and paint pictures he same subjcct in ruanv different seis of lut according lo lighting...

Howard Pyle

Fortunately r am able to give yoti gt in his own words, the genera theory of approach used by Howard as It was given out to liis students, It has been copicd and handed down From artists of one generation to another. I must frankly admit that it has passed through many hands so there is nothing to verify its absolute authenticity, but in substance it is as Fy o himself wrote it down. My copy was give to me some twenty years ago I cannot now recall by whom, Since Pyle has been revered as the...

Carbon Pencil As A Tonal Medium Smooth Bristol

L lt J VHT JL MepLIJM FOR THE ILLU TttATCiR., WtttN IT 11 R.L1B amp ED V f i TVH E EFFECTOF A i HE . NT CAN B U E W SMOOTH OR dftAI MY EAP ft WITH Va lftTY OF EFFECT THF OR WlhJC WWf H PEONAIOOTH IftATHHOI E BRISTOL WITH A gt i.X N HAR N 7 lt 0 FEhlCR. THERE AL O TH PtMOU WOUfF lARl OW P amp MC1LT- CARBON PENCIL Clf ET A WlOE RANGE OF VALU WfTH C GOD BL CSi AND NO THINE, IT E C LLEMT POR RE P D CT10N- DV LL MEAN PEiKlMtWT W THTH MEPILfW . Y 0 J WILI, FIM TOUR OWli...

The Relationship Of Line To Emotional Response

R amp .OU THE- UtOlD OVAL VC.RJUJ R-CCTANCLE S OOHaUC VEBJui R lt CIP OBLIQUE VtfiJoJ H RJiONTAL THE RELATIONSHIP OF LINE TO EMOTIONAL RESPONSE UOKIZOttTbLJ' TOR- KEpo C,CALl1 Q JI6ru DP tPeACe, I L1 T Y. ANfiLEJ FOR ACrmTlON.CPHPCrJiOK CtAJH. tWJEO RtTY ACTf ON, Jim FE RAO 11 POK.CfLOR.Y.OeYCrri H.DUrV. PATKJQTIJM , UWI,rY , AW amp IT gt OK.Hj6aWH VERT1 VUT THIAM LBJ- FOR PERMAN MC eWElTY RHYrHM FOttCBACf tCHAKM,MOVPMEMT RAO I T J a N lOR JHOCK, ATtfeHHOH 5 PI RAU tW KKTTION ,R gt W...

Wash Is One Of Thh Best Mediums Tor Reproduction

WG KtnCT PROCEDURE FOI WA H DP iWlNC I P15J DPnn JV i pftV Yfrnr- Tvp- Ml f. lij iMi nOtit-. VC.i.' . WHTfR -TLiUTACE P V. FAjCH Jifi. I, -HCJi-ti nqdCAi-l WCAVDDir i Rtry. r ir nj ocrc c -fEKT-, K ij1 DlJ. K WAVl1 fi. CO Ij J . . thf ct ir worthy fiUtT t ro f d out nsw t fro it, l lM IJlDtL jvhu.E 11 if I LL rtllT rjlil.uH NEArt.LT M,T-'pn - RvijH F R fK gt f rrecr wt 1 -ftan i lt -1 j i WA-fH DHAv MtJ i J THE HO f - FOKfAWLOij ANO LlGfECT HEPJOM OF ALL. IT 1 THERE FO R f HE MO T DIFFICU...

The Brittle Approach

When things arc in a sharp strong light, or when the subject itself seems to caJl for a certain crisp or brittle quality, T want you to be able to think in these t lt rcns Usually this sharpness would be in subjects of good contrast, using plenty of good lights and darlcs. Here we have 1 brunette in a black-and-white striped dress. The dress is perky and the stripes give it snap. I just can't see this subject painted in mystery and softness. So we put the blade hair against practically a white,...

The Soft Approach

It is closely allied with the big tone approach. However, instead of painting the large tones in to a shaip edge and softening them later, the large tortus are set in and immediately softened. The surface detail is added then to the soft tones in overpainting while the paint is wet. The edges are defined where needed, leaving the general softness as desired. This is one of the best ways to combat hardness or tightness in painting Tightness comes from small...

The Big Tone Approach

chose to call this approach the big tons approach, for that is exactly what it is It could just as well be named the pattern approach Wc shall aim to set down the big tonal patterns of our subject as simply as possible. Pattern after all, big-tone effect, one area opposed lo another in value and all working togedier to produce some .sort of a design. Then k really design, either good or bad, whenever we put areas of variable tones together, it dawns on us as paititers that the cfTect of the...

Contents Including Illustrations

The illustration pages are indicated by italics The Form Principle as a Basis of Approach 21 There Abe Seven Primary Functions of Line Line Is More Than Merely ' Outline Overlapping Line and, Areas the First Principle of Composition Using the First Function of Line for Itself for Composition Composition May Be Based on Letters and Symbols Composition May Be Based on Geometric Forms The Fulcrum-Lever Principle Applied to Composition Use Formal Subdivision for Symmetricid Composition A...

There Are Pour Basic Tonal Plans

Tonal Plans

1 I.CPFY D BL CKOIM WHITE, i ilAcfe WHITE, DK. GkEV QN L.T.C FV nie oi a ba amp ic Cyna plan is your besl ans wer. itewH le the ry oi pictori l desigsi ti oreani-tipn nf iiiio and tone, a later celor. The w iui swj J be more telling iL' organued into iim-njaups tliat will hold up in mass one against tbeWnef. SCAifefed and eSnfuse f small patches hs theopposite ettect, of breaking dowu tbe car-iy i e ect .of- tone. Military canionilage make.s useoflhi.s prmt-iple. Theres are reaEly JV w jtib MS...