There is no book in the world that will do a job for you. There is no art director who can do your job. Even though the art director may go so far as to lay out the general idea, spacc, and placement, he still is asking for your interpretation. Again, there is no piece of copy that you can lay down in front of you which will completely answer your needs. Another mans work was done for his own purpose and for another problem. The principal difference between the amateur and the professional is that the latter courageously strikes out in his own way, while the fonner gropes for a way of expressing himself.
Endless variety in posing is possible. People stand up, kneel or crouch, sit or lie down; but there arc a thousand ways of doing these things. It is surprising, for example, to observe how many ways there are in which to stand up.
Plan tlie standing figure carefully, rememl>er-ing that, although standing still is a static pose, you can suggest that the standing figure is capable of movement. Only when you portray a tense moment demanding rigidity in the figure do you arrest the latent movement. To relieve the static feeling, put the weight on one leg, turn the torso, tip and turn the head, or allow the figure to lean upon or be supported by something. A fairly good rule is never to have? face and eyes looking straight ahead and set squarely on the shoulders, unless you are trying for a definite "straight-from-thc-shoulder attitude" to suggest defiance, impudence, or a pitting of one personality against another. This attitude reminds one too much of the old photographs in which Grandpa's head was held in a clamp during the process of getting his likeness.
Sec that either head or shoulders are turned or tipped, or both. With the standing figure everything is relaxation, balance, and a distribution of weight. Any sort of gesture is a relief from hands hanging motionless at the sides. A
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