IT IS SUCICeSTEp THAT YOU PKAW YOUR OWN pEET IN MANY PTOSES , SETTING A MIRROR. ON THE. FLOOR. Ai-SO.THACT YOU SET UP SHOES AN(7 pfcAw THEM FROM MANY ANGLES ANF VIEWPOINTS.
A typical problem outlined by an art buyer:
"We always need artists who can draw heads well. Good drawings of heads are required in almost all advertising, for illustrations on magazine covers, and litho displays. An acceptable head must be in good drawing, to be sure, but that's only the beginning of its job. If it's a pretty girl's head, the pose, the animation, the hair-do, the costume, the color, the type, the expression, the age, the idea behind it, all count. For character drawing, I shall expect you to find a living type to work from, for the sake of authenticity, and, if necessary, add whatever particularized qualities the job specifies. I cannot tell you what to do or how to paint it. Do the necessary work, bring it in, and, if I like it, I'll buy it. That's the only way our firm buys art work. When you have convinced me that you can do a good head, I may give you further commissions, but I must reserve the right to reject any work and may even ask you to redraw a job."
Begin with a magazine cover and experiment until you have arrived at a good idea. Work it out small, in color, until you feel the little sketch has carrying power and attention value. Then work up your final drawing. Keep it as simple as possible. Don't try to sell a faked, or "cribbed," head. No magazine will buy it. Do not send work to a magazine that already employs one artist regularly, since he is probably working under Contract.
Other suggestions are: Make a number of studies of the people around you. Draw yourself in the mirror. Draw a baby, a child, a young man and girl, a middle-aged person of each sex, and an old person of each sex also. Spend most of your time drawing heads—your market demands them.
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