A typical problem worked out with an art editor of a fiction magazine:
The art editor says, "I have picked for illustration this paragraph from the manuscript":
" The last act was over. Jackie was removing the scant costume she had worn in the final chorus. She was alone in her dressing-room, or so she thought, until, by some inexplicable instinct, she turned quickly toward the jumble of costumes hanging in her wardrobe. There was unmistakable movement in the glitter of sequins.' "
"Now," continues the editor, "I'd like to see a rough or two in pencil on this before you go ahead. I think we can use a vignette shape better than a rectangular picture. Take about two-thirds of the page. The girl should be featured, bringing her up large in the space. We want something with action and punch and sex appeal but nothing offensive. Very little background necessary—just enough to place her. The girl, you know, has black hair and is tall, slender, and beautiful."
Proceed to make several roughs or thumbnail sketches for your own approval. It is clear that the girl is frightened and has been caught off guard. Someone is hiding—a rather sinister situation. The emotion to communicate and dramatize is fear. The story says she turned quickly, and that she was removing her scant costume, and the editor has said there mast be nothing offensive in the drawing. You must put across the fact that she is in a dressing-room at the theater. A bit of the dressing table and mirror might be shown, and, of course, the closet or wardrobe where the intruder is hiding.
Project yourself into the situation and imagine her gesture, the sweep of movement. She might
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