classroom by looking it up alphabetically under S and getting the file number. Without a filing system, hours upon hours can be lost looking through hundreds of clippings to find a single one. It is a good investment for the artist to subscribe to a number of magazines. By keeping your copics in order, they eventually become valuable. For instance, if I should need material to illustrate a story laid in 1931,1 could go back to the styles worn in that period without difficulty. Or to interiors. Or to the automobile that the characters owned. Some day you may want to know what they were wearing during the Second World War. What were the soldiers' helmets like? The magazines are brimming over with that material now. When the war is history, it will be hard to find.
Develop an orderly procedure in your work. Get the habit of making small studies before you start something big. Your problems will appear in the sketches and can be worked out then, so that you will not be stumped later on. If you are not going to like a color scheme, find it out before you have put in days of work. 1 remember a poster I once painted. When I was through, I began to wonder how a different color background would have looked. When I had put the second background on, it looked worse. By the time I had tried about six, I was resigned to going back to the first. It was all lost motion that could have been avoided by making thumbnail sketches first. I could have done several posters in the time wasted, and my work would not have lost its original freshness.
If you once dccide on a pose, stick to it. Don't let yourself muddy up a subject by wondering if the arm might not have been better some other way. If you must change it, start over and so keep it fresh. The more clearly you have a drawing defined in your mind and in the preliminary sketches, the better the result will be. Many drawings will have to be changed to
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