secrets are somewhere hidden away, and that to reveal them would assure success. I confess I thought so myself at one time. But there are no such secrets, jealously guarded by the older generation so that it need not give way to the younger. There is not a craft in all the world that opens its doors so wide to the young and lays its knowledge so freely at its feet. Note that I say knowledge, for all the seerets arc knowledge. Everything about this craft is fundamental. Expert use of the fundamentals is the only basis there is for learning to draw. These fundamentals can be listed, studied, and carried out in your own way. They are: proportion, anatomy, perspective, values, color, and knowledge of mediums and materials. Eaeli of these can be the subject of infinite study and observation. If there is a secret, it is only in your individual expression.
The artist obtains his work in different ways, depending on the branch of the craft in which he specializes:
In an advertising agency there is usually a creative or art department. Here the layouts or visualizations are made. There is a copy writer, an account executive, and a layout man who together have planned an individual ad or a whole campaign. An appropriation has been made by the advertiser. The magazine space bus been decided upon and contracted for. As the ideas are worked out, in sketch or layout form, they arc submitted to the client and O.K.'d or rejected. It has been decidcd that either photographic or art work shall be used. All this has taken place before you are called in. By this time, a closing date has been set, and it is usually not far oii, since the preparatory work has taken a good deal of time.
You are handed the layout as O.K.'d or with instructions for changes. Most agencies give you considerable leeway for pictorial interpretation, but your drawing must fit the space in
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