Drawing Lessons From The Famous Artists School - Classic Techniques and Expert Tips From The Golden Age of Illustration

DRAWING LESSONS FROM THE
FAMOUS ARTISTS SCHOOL
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DRAWING LESSONS FROM THE
FAMOUS ARTISTS SCHOOL
CLASSIC TECHNIQUES AND EXPERT TIPS FROM THE GOLDEN AGE OF ILLUSTRATION
STEPHANIE HABOUSH PLUNKETT

CHIEF CURATOR, NORMAN ROCKWELL MUSEUM
MAGDALEN LIVESEY
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PRESIDENT, CORTINA LEARNING INTERNATIONAL

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© 2017 Quarto Publishing Group USA Inc.
First published in the United States of America in 2017 by

Rockport Publishers, an imprint of
Quarto Publishing Group USA Inc.
100 Cummings Center
Suite 265-D
Beverly, Massachusetts 01915-6101
Telephone: (978) 282-9590
Fax: (978) 283-2742
QuartoKnows.com
Visit our blogs at QuartoKnows.com
All rights reserved. No part of this book may be reproduced in any form without written permission of the copyright owners. All images in this book have
been reproduced with the knowledge and prior consent of the artists concerned, and no responsibility is accepted by producer, publisher, or printer for any
infringement of copyright or otherwise, arising from the contents of this publication. Every effort has been made to trace the copyright holders and ensure
that credits accurately comply with information supplied. We apologize for any inaccuracies that may have occurred and will resolve inaccurate or missing
information in a subsequent reprinting of the book.
Authors’ Note: The information cited in some of the captions has been adapted from documentation on the Norman Rockwell Museum website:
www.illustrationhistory.com.
10 9 8 7 6 5 4 3 2 1
ISBN: 978-1-63159-122-8
Digital edition: 978-1-63159-413-7
Softcover edition: 978-1-63159-122-8
Library of Congress Cataloging-in-Publication Data
Names: Plunkett, Stephanie Haboush, author. | Livesey, Magdalen, author. |Famous Artists School (Westport, Conn.)
Title: Drawing lessons from the Famous Artists School : classic techniques and expert tips from the golden age of illustration / Stephanie Plunkett,
Chief Curator, Norman Rockwell Museum; Magdalen Livesey, Cortina Learning International.
Description: Beverly : Rockport Publishers, 2017. | Series: Art studio classics
Identifiers: LCCN 2016056735 | ISBN 9781631591228 (paperback)
Subjects: LCSH: Drawing--Technique. | Norman Rockwell Museum at Stockbridge.
| BISAC: ART / Techniques / Drawing. | ART / Techniques / Pencil Drawing. | ART / Techniques / General.
Classification: LCC NC650 .P59 2017 | DDC 741.2--dc23
LC record available at https://lccn.loc.gov/2016056735
Cover Design and Page Layout: Landers Miller Design

Front Cover Art: Al Dorne
Front Flap: Austin Briggs
Back Cover (Left to Right): Jon Whitcomb, Norman Rockwell, Alfred Charles Parker, and Jon Whitcomb
Printed in China
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ACKNOWLEDGMENTS
Dedicated to the art of illustration in all its variety, Norman Rockwell Museum in Stockbridge, Massachusetts, is
honored to have partnered with Rockport Publishers on Drawing Lessons from the Famous Artists School: Classic
Techniques and Expert Tips from the Golden Age of Illustration. Inspired by the generous donation of thousands of
original artworks and archival materials from the Famous Artists School to the museum’s permanent collection by
Magdalen and Robert Livesey, owners of Cortina Learning International and Famous Artists School, the book honors
the legacy of twelve legendary illustrators who sought to ensure that others would inherit the traditions, skills, and
professionalism that they practiced and preserved.
Sincere thanks to my outstanding writing partner, Magdalen Livesey, for her enthusiasm and dedication
to this project and to my talented colleagues, Barbara Rundback and Venus Van Ness, who have worked tirelessly
to accession and digitize thousands of studies, final artworks, photographs, course books, and archival records for
publication and access. Their interest in the material and camaraderie throughout the process have provided much
inspiration. Appreciation also goes to Andrew Sordoni, who has generously supported the processing of this important
collection of materials and to Joy Aquilino and John Gettings of Rockport Publishers for their guidance and recogni-
tion of the timeless lessons contained within.
Heartfelt thanks to Director/CEO Laurie Norton Moffatt and Norman Rockwell Museum curatorial team members
Martin Mahoney, Thomas Mesquita, Joseph Tonetti, Mary Melius, and Jesse Kowalski for their support of this effort
in so many ways and to our dedicated Cortina Learning International champions, George Bollas and Carol Bennett,
for their ongoing care for the collections, which has ensured their preservation. We hope that this book will foster the
enjoyment and learning intended by the Famous Artists School illustrators and the many artists and administrators
working behind the scenes in mid-century America to bring their lessons to life.
Stephanie Haboush Plunkett

Deputy Director/Chief Curator
Norman Rockwell Museum
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CONTENTS
5 Acknowledgments
6 Welcome
8 The Founding Illustrators of the Famous Artists School
1
Explore the process of creating a visual narrative, from the initial story
concept and progressive stages of editing to a finished work of art.
14 The Big Idea: Developing Pictorial Concepts
THE ART OF 17
19
Character, Plot, and Setting
Mood, Movement, and Emotion
THE STORY 21 Compositional Strategies
2
Learn to create imagery that expresses your personal point of view by
infusing yourself and the world around you into your art.
28 Infusing Yourself into Your Drawings
MAKING IT 31
34
Drawing Upon the World around You
Gathering Inspiration
PERSONAL 36 The Importance of Empathy
3
Creative approaches to drawing that let the mind roam free and help
ideas take shape are explored in this chapter.
42 The Importance of Doodling
DRAWING AS A 50
53
Sketching for Greater Clarity
The Construction of Form
TOOL FOR SEEING 55 Considering the Common Object
4 F
Compositional advice from the Famous Artists offers important tips on at-
tracting and leading the viewer’s eye, establishing a center of interest and
point of view, and creating a strong sense of mood and drama in your art.
T
COMPOSING FOR 60
67
Making Compositional Choices
Establishing a Center of Interest A
BEST EFFECT
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71 Light, Shadow, Tone and Value

75 The Role of Rhythm and Movement

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5
Position, balance, color, contrast, size and scale, attitude, and the use
of symbolic elements are explored by the Famous Artists, who were all
gifted designers as well as illustrators.
THE WELL- 82
85
Form Follows Function
The Eloquence of Simplicity
DESIGNED IMAGE 87
90
The Use of Visual Symbols
Repetition, Variety, and Novelty
6
Portraying the figure in motion and in space, casting and working with
models, and creating photographic reference for your art are themes that
are explored.
DRAWING 96
102
Casting and Posing Your Characters and Models
The Expressive Face
THE FIGURE 112

122
Hands, Gestures, and Body Language
The Figure in Motion
7
Color’s creative uses, as well as thoughts on what color is, how to
organize it, and how to employ it to its greatest impact, are considered
in this chapter.
AN EYE 128
132
The Basics of Color
Making Color Choices
FOR COLOR 140 Using Color to Evoke Mood, Character, and Atmosphere
t- 144 Famous Artists Behind the Scenes: Materials and Methods

d 156 About the Authors
.
157 Image Credits
158 Index Proof 1 2 T

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WELCOME
Drawing Lessons from the Famous Artists School offers a lively, inspirational exploration of the creative methods
of America’s most highly regarded illustrators, whose influential narrative artworks reached millions on the covers
and pages of the nation’s most popular mid-century publications.
Emerging from a long period of political and economic transformation following the Great Depression and World War II,
Americans began to reimagine themselves and the new lives that they hoped to lead. Directly linked to commerce
and the “American dream” of affluence for all, magazines published aspirational images depicting an ideal standard
of living. To engage audiences, publishers utilized the talents of artists, whose illustrations were seen and enjoyed by
millions. Top publications boasted subscriptions of 2 to 9 million during the 1940s and 1950s, and copies were shared
among family and friends, bringing readership even higher.
The engaging lessons, sage advice, and creative approaches featured in this book reflect those of the Famous Artists
School founders—twelve exceptional visual communicators who achieved legendary status in their time. The twelve
Famous Artists were more than tastemakers—they played a crucial role in affecting the dreams and aspirations of their
day. The Famous Artists School course promised “A Richer Life Through Art” for those pursuing the dream of an art career.
Among the book’s featured artworks are those from the Famous Artists School Collection at Norman Rockwell
Museum in Stockbridge, Massachusetts, which preserves and shares a growing resource relating to Norman Rockwell
and the art of illustration, the role of published imagery in society, and the American twentieth century.
We are delighted to share these timeless lessons and the wisdom of these exceptionally talented artists, who put their
experience to work in support of emerging and experienced artists and their creative development.
JOHN ATHERTON AUSTIN BRIGGS STEVAN DOHANOS

(1 9 0 0 – 1 9 52) ( 1 9 08 – 1 9 73) ( 1907 – 1994)
“If you can successfully transmit your impressions “Empathy—the ability of the [artist] to feel what “Nature, man and dreams, and manmade
of a subject, reduced to its essential properties his characters must be feeling—is fundamental objects form the basis of almost all paintings.
through your own personality, the result will be not to an illustrator’s success.” [Artists] are absorbed in expressing the
only a record or comment about what you see but relationship among the three.”
also an expression of yourself, and as such, unique
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and your very own.”

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AL DORNE ROBERT FAWCETT PETER HELCK
(1 9 0 6 – 1 9 6 5 ) ( 1 9 03 – 1 9 67) ( 1893 – 198 8)
“Drawing is the art of observation and “You need not worry about your technique. “To me, composition is the foundation of all
communication . . . the most important Your technique is your manner of working, which satisfying art, whether music, architecture,
consideration in making pictures. If you’re able comes from your manner of thinking and feeling. sculpture, or making pictures.”
to draw you can devote yourself to saying It will be impossible to avoid developing a ‘style’
what you think and feel.” eventually, but hold off for as long as you can.”
FRED LUDEKENS ALFRED CHARLES PARKER NORMAN ROCKWELL

(1 9 0 0 – 1 9 82) ( 1 9 06 – 1 9 85) (1894 – 1978)
“I think experience is the best teacher . . . “Working in different mediums can be exciting. “The idea and the presentation both are important
you learn by doing, seeing, and understanding.” I enjoy it and find that it stimulates me and but there is a tendency to emphasize technical skill
helps keep my work fresh.” and facility and ignore the creative thought which
is the foundation of successful picturemaking.”
HAROLD VON SCHMIDT BEN STAHL JON WHITCOMB

(1 893 – 1 9 82) ( 1 9 1 0 – 1 9 87) ( 1906 – 198 8)
“The interesting and challenging fact is that “In studying art, never stop consulting the “Next to faces, people seem to notice hands first
variety can never be exhausted as long as greatest organizer of all—Mother Nature.” in illustrations, and there is a widely held belief
creative thinking and feeling exist.” that hands are a better indication of character
than faces.”
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About the Famous Artists School
Begun in 1948 and based in Westport, Connecticut,
the Famous Artists School became America’s most
popular art correspondence school. In the late
1940s, the executives of New York’s Society of Illus-
trators conceived a plan to begin a school to impart
their expertise and help to support the Society. Due
to the organization’s nonprofit status, the Famous
Artists School operated independently for profit,
with former Society of Illustrators president
Albert Dorne at its head.
The initial volumes of lessons gave in-depth,
practical how-to instruction in the working methods
from the illustrators listed on the previous spread.
Over time, selected lessons from individual courses
were compiled in four-volume sets focusing on narra-
tive picturemaking, from idea to finished illustration.
Revised annually, the course was occasionally updated
with new lessons and contributing illustrators.
In 2014, Norman Rockwell Museum was the
fortunate beneficiary of a substantial collection of
original art and archival materials from the Famous
Artists School’s most recent owners, Magdalen and
Robert Livesey. The collection reveals not just the
working methods of the nation’s most noted visual
storytellers, but the ways in which art was viewed as
a path to a creative and successful life. Remarkably,
the courses attracted more than 60,000 students
during the post-war era of the 1940s and 1950s,
and employed more than one hundred artists, who
carefully and thoughtfully corrected assignments
and judged art competitions in the hope of advanc-
ing students’ abilities and prospects for a viable
career. Their lessons and observations are as
relevant today as they were when first introduced.
Publicity photograph of the founding Famous Artists

School faculty with paintings created for Cecil B. DeMille’s
1949 film Samson and Delilah. Left to right: Harold von
Schmidt, John Atherton, Al Parker, Al Dorne (laying on the
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ground), Norman Rockwell, Ben Stahl, Peter Helck, Stevan

Dohanos, Jon Whitcomb, Austin Briggs (rear, far right), and
Robert Fawcett (front, far right). Illustrator Fred Ludekens is
not pictured. Photograph by Pagano Studios, New York.

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N
A
C
T
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A
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1 THE ART OF
THE STORY
For illustrator Norman Rockwell, “the story was the first thing
and the last thing,” the essential underpinning of each of his
illustrations — a sentiment echoed by his Famous Artists School
colleagues. Their lessons and commentary explore the process
of creating a visual narrative, from the initial story concept
and progressive stages of editing to the finished work of art.
A consummate visual storyteller and a masterful painter with a distinct, personal message
to convey, Norman Rockwell constructed fictional realities that offered a compelling picture
of the life that many twentieth-century Americans aspired to. Anxiously awaited and imme-
diately understood, his seamless narratives seemed to ensure audience engagement with the
publications that commissioned his work. The complexities of artistic production remained
hidden to his enthusiasts, who were compelled by his vision and content to enjoy his art in the
primary form for which it was intended — on the covers and pages of their favorite magazines.
What came between the first spark of an idea and a published Rockwell image was anyone’s
guess, and far more than readers would have ever imagined.
Conceptualization was central for the artist, who called the history of European art into
play and employed classical painting methodology to weave contemporary tales inspired by
everyday people and places. His richly detailed, large-scale canvases offered far more than
was necessary, even by the standards of his profession, and each began with a single idea.
Admittedly “hard to come by,” strong picture concepts were indispensable. From the antics
of children to the nuanced reflections on human nature that he preferred, each potential
scenario was first cemented with a simple thumbnail sketch. What followed was a carefully
orchestrated process of image development that demanded the careful integration of
Norman Rockwell
Art Critic, 1955 aesthetic concern, graphic clarity, and the effective use of technology.
Cover illustration for
The Saturday Evening Post,
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April 16, 1955

Oil on canvas

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THE BIG IDEA: DEVELOPING PICTORIAL CONCEPTS
Norman Rockwell once said he envied students who swooned when with their gallery colleague? The scene’s movement from reality to C
viewing the Mona Lisa because he never felt such passion. Rockwell fantasy establishes a lively tone that proved engaging for his audience. A
may have seen himself as a more analytical artist, such as the one ex- m
amining a seventeenth-century Dutch painting in his 1955 Art Critic Getting the Idea: The Thumbnail Sketch re
(see previous spread). His original draft depicts a student examining “It is extremely important to develop a [concept] that is good. No c
painter Frans Hals’s technique in a portrait of a Dutch housewife. matter how well you paint a storytelling picture, if the idea is not d
In that study, a landscape on an adjacent wall places the student in good it will be a failure and people will ignore it,” Rockwell noted in
a gallery of Dutch artwork. But a recurring Rockwell theme of fantasy the Famous Artists School course. “When I have an idea . . . I try it a
and reality exchanging places seems to have taken over, and the out on everyone I can induce to look at my sketch. If people seem a
painting changes course. uninterested or only mildly interested, I abandon the idea and search
With typical humor, Rockwell replaces the dour woman with one for another. Only when people become enthusiastic do I become
more alluring, based on a Peter Paul Rubens portrait of his wife, Isabella enthusiastic, and then I am anxious to get to painting.” In the drawing
Brant. The landscape has become a group of Dutch cavaliers, brought to below, Rockwell’s bohemian model studies the portrait on the wall
life with animated facial expressions. They are wary and concerned. Is carefully. He is still unsure of what will go into the larger frame
the student getting too close to the painting? Is he being too personal to the right, but his thumbnail sketch visualizes his basic concept.
(All images on this spread)

Norman Rockwell
Studies and photographic
reference details for
Art Critic, 1955
Cover for The Saturday
Evening Post,
April 16, 1955
“If your people are to

look real, your models
must be real people,
not imaginative.” As in
the work of countless
artists, autobiographical
elements served as
inspiration for many of
Rockwell’s artworks. His
original model for Art
Critic, seen here, would
eventually be recast as
his oldest son, Jarvis
Rockwell, who was an
art student at the time.
Rockwell’s neighbors,
friends, and family — and
even the artist him-
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self — were recruited to

pose for his pictures.
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Creating Authenticity: Models and Props props, you must be sure they are authentic,” he said. Staging his sce-
According to Rockwell, “After getting the right idea, getting the right narios for the camera, the artist instructed his photographers when
model to put over the idea is important.” Casting Rockwell’s models and what to shoot as he directed a cast of amateur actors. He pro-
required a directorial eye. Scouting models and locations, researching duced a wealth of photographs for every new composition, which he
costumes and props, he carefully orchestrated each element of his then transferred, in whole or in part, to his final work. Avoiding stark
design before putting paint to canvas. contrast, Rockwell’s reference photos captured a plethora of details
For the reference shot shown opposite, far left, he assembled and the essential information needed to tell compelling stories and
a corner wall, complete with traditional museum frames found in create realistic drawings and paintings.
antique and “junk” shops. “Having searched for and found desirable
d)
(Details, clockwise from above

left) Rockwell struggled to find
the right subject, style, and
attitude for the portrait under
scrutiny in Art Critic. He
began with an image inspired
by the art of seventeenth-cen-
tury Dutch painter Frans Hals,
which proved too serious for
his composition, and eventually
turned to Flemish Baroque
painter Peter Paul Rubens for
help. After creating his own
version of Rubens’s Portrait
of Isabella Brant, c. 1621,
he invited his wife, Mary
Rockwell, to portray the more
flirtatious interactive figure
that appears in the final work.
For this photograph, a diaper
cloth, which Rockwell used
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to clean his brushes, became

a makeshift shawl.
15

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C
Color and Expression J

“After doing the preliminary sketch in which I attempt to solve most a
of my problems except color, I tackle color by making a color sketch,” u
Rockwell said. The panels below, painted on acetate over a warm “w
ochre ground, allow Rockwell to consider a variety of expressive solu- e
tions that will strengthen his narrative. He explained, “Color can aid th
greatly in expressing an idea and very often can set the mood of your e
picture. If your picture is an amusing one, the color should express “V
gaiety,” as was the certainly the case in Art Critic. s
Norman Rockwell in his Stockbridge, Massachusetts, studio surrounded by his many

studies for Art Critic.
Jo
In
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h
Color study details for Art Critic, 1955, cover for The Saturday Evening Post, April 16, 1955. Oil on acetate board. e
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CHARACTER, PLOT, AND SETTING
Just as in works of literature, character, plot, and setting play import- Others haven’t much action at all, in which case the artist must
ant roles for narrative artists — often in varying degrees, depending invent some . . . or plan a mood illustration which will give the
upon the intent of their piece. Character is the “who,” plot is the reader a quick impression.”
“what,” and setting is the “where and when” of any visual story, and Skillfully executed, extreme close-ups of attractive young women
each of the Famous Artists had a different approach to incorporating for large-format women’s magazines were illustrator Jon Whitcomb’s
these elements. When reading through a manuscript to create an stock in trade. His “character” paintings emphasized the play of
editorial illustration, Jon Whitcomb visualized the story as a movie. light and shadow on his subjects in arresting works that accentuated
“Viewed this way, the big scene or scenes aren’t hard to locate,” he subtle expressions and distinctive facial features, from well-defined
said. “Some stories lend themselves to interesting poses and layouts. eyebrows to full lips and high, contoured cheekbones.
NOW YOU TRY IT!

i n s p i r e d by l i f e
Come up with three art concepts

inspired by events in your own
life, and sketch them out in rough
thumbnail drawings measuring
about 3" x 5" (7.5 x 12.5 cm).
• What story are you are trying
to tell?
• What characters, details, and
settings would best convey
your ideas?
• Of the three drawings, which is
the strongest and most authentic?
• Is there a single element in your
chosen work that should be re-
placed to strengthen your concept?
• Might you introduce an element
of fantasy in your concept, as in
Rockwell’s Art Critic?
Now develop your favorite thumb-
nail into a more finished work by
gathering references and refining
picture elements in the medium of Proof 1 2 T
Jon Whitcomb Woman in Hat, c. 1948. Watercolor on paper your choice.
In this study, Whitcomb imbues his subject with a sense of mystery by angling her face away from us while diverting
her glance toward us and casting a shadow over her forehead and brows. Red lips and the whites of the model’s
eyes become eye-catchers in an otherwise somber image.
17

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M
In 1944, Adela Rogers St. Johns’s Government Girl series inspired a “E

popular feature film by the same name. The movie’s starring actress,
Olivia de Havilland, played the lead role, “a secretary who knows the
NOW YOU TRY IT! p
a
political ropes — and her own mind.” p
c h a r ac t e r , p lot, a n d s e t t i n g
In the work below, Al Parker draws viewers into the plot of a s
fictional story inspired by a wartime narrative. The artist’s two c
Illustrate a fiction or nonfiction story of your choice from
shadowy figures are effectively realized. A tall man advances toward im
three different perspectives.
the story’s heroine, Defense Department secretary Elizabeth Allard, s
• Create a close-up of a character described in the story.
who leans away from him in a defensive and vulnerable stance. th
• Home in on a compelling aspect of the plot or storyline.
Framing his subject, a backlit window display is stocked by such B
• Design an image that emphasizes the story’s setting.
unremarkable items as an aloe plant, a slender teapot, a cast iron
cow, hammered copper plates, decorative brackets, and a ceramic w
Notice how this sequence of images each contributes to
planter. The planter — a kind of spy — appears to monitor the action
the overall visual narrative, and consider which might be
between the figures. Aside from this narrative detail, the entire dis-
the most effective. What makes you feel that way?
play earns its keep by virtue of its abstract arrangement and the visu-
al pleasure it provides. During this period, Parker began to emerge
as an illustrator with an abstractionist’s sensibility.
Alfred Charles Parker

Illustration for
Government Girl by
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Adela Rogers St. Johns

Ladies’ Home Journal,
January 1943
Gouache on panel
18

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MOOD, MOVEMENT, AND EMOTION
“Even before the artist has a very definite visual idea of what [to] holidays. The artist invites his viewers to identify with the children
paint, he already knows what [the] subject is going to be about in who anxiously await their grandmother’s arrival. We look over their
a general way. He has decided what the emotional content of the shoulders toward her; She and the children’s father are framed within
picture will be. Most effective pictures try to get this across in one the open door. Holiday greens adorn the stairwell and are connected
single message,” said Austin Briggs, who believed that a story con- to the exterior scene with color — note the bright green package
cept should be able to be summed up in one sentence. In storytelling under grandmother’s arm and shutters on the home across the street.
images, Briggs advised artists to home in on a detail that means Briggs’s story is expanded by other elements as well. Arms raised
something to them. “I start where I am the most sensitive. The more in greeting connect the young girl and her grandmother, and the
the situation means to me, the more meaning I can give it for others.” cropped figure on the left, presumably the children’s mother, tells
But Briggs clearly understood the interests of his audience as well. us they are not home alone.
For the advertising illustration below, Briggs paints a narrative
with universal appeal — an anticipated visit from family for the
Austin Briggs
Grandmother Arrives
for a Visit, c. 1950
Illustration for American Proof 1 2 T
Airlines: “I’m a lot closer
to my grandchildren . . .
holiday time or anytime.”
Oil on Masonite
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C
In telling a visual story, “the illustrator is presenting a play, and action and props down to the essentials,” composing these elements E
should instruct the actors not to overreact but to underplay their into a subtly integrated picture. W
parts,” wrote Ben Stahl. “In such a well-directed play, more can be In his art, Robert Fawcett endeavored to “reproduce a moment of o
expressed by a simple gesture on the part of a figure than by a wild, action. You must strive, by all the means at your command, to give n
exaggerated motion trying to express the same thing.” He advised the impression of movement, preceding and following the moment fi
artists to decide upon the mood of their story, choosing a situation of action frozen in your picture.” n
to illustrate that gives a sense of the story as a whole. Then, “sift the m
h
o
in
Robert Fawcett Ben Stahl

Myra Whirled Suddenly. She Looked as If She Might Make a Break for It. Come away from that infant, you damn fool. She had diphtheria.
This illustration of a worried waitress striding away from two threatening figures conveys Oil on board
a sense of story through movement and emotion, which captivate the viewer. About to This heartrending tale of a poor Pennsylvania mining family features a mother tenderly
step out of the picture plane, the woman glances backward, directing us to the ques- embracing her baby, who has died. “To me it called for a highly emotional and roughly
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tionable characters propelling her to move away. Fawcett’s painting takes a long view painted treatment,” said Stahl. The piece’s somber tones underscore the dire nature of
of the diner, employing vertical lines that establish pictorial depth. The counter, stove the situation, and Stahl purposely established an invisible line between the doctor and
top, and the receding scale of the objects moving back into space, lead us directly mother, a reflection of their psychological separation. Two frightened children appear
into the action. in the background, underscoring the emotionality of the scene.
20

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COMPOSITIONAL STRATEGIES
Exploring a Variety of Approaches

When Al Dorne got the assignment to create an illustration focused
on an ailing farmer surrounded by his six lazy sons, he explored a
number of picture strategies before settling on his final approach. He
first envisioned the scraggly onlookers as vultures with outstretched
necks observing their prey. In his second sketch, the farmer’s sons
mimicked the appearance of the birds. “As I studied the sketch,”
he said, “it no longer appeared very exciting to me. Despite the
outstretched necks, the figures didn’t seem to be doing anything
in particular.”
(On this page and next)

Al Dorne
Studies, Six Greedy Loafers by Frank O’Rourke
Collier’s, June 27, 1955
Pencil on paper
y
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7/3/17 12:20 PM
Imagining the sons as pallbearers at the side of their father’s bottle, and bed sheets create a strong arrangement of stable d
coffin, Dorne arranged them in a line with their backs to the viewer horizontals and verticals and dynamic diagonals that help C
(below left). Ultimately, he found this approach to be static and support the narrative. —
instead experimented with a more active composition, in which the Dorne finally took a more naturalistic approach by distributing n
reclining figure could be better seen (below center). Note Dorne’s his figures around the bed, as they might actually have arranged c
directional arrows — both the farmer’s sons and the cat bend toward themselves in a three-dimensional space (below right and bottom s
him without blocking our view of his reclining form. The headboard, left). He also added narrative details like a dresser and rug to his
Proof 1 22C
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drawing, concluding that “this job teaches an important point. Creating Visual Contrast
Choose an appropriate, effective symbol — here it was the vultures Stevan Dohanos’s portrayal of a line of colorful mid-century cars
— and stay with it. Regardless of how much you rearrange or discard, aching to get around a Model T Ford is perhaps symbolic of an era in
never lose sight of the basic feeling or symbol you want to communi- which traditional narrative illustration made way for more conceptual
cate.” Color in his final illustration enlivens the scene, with a bright points of view. A sensitive portrayer of common objects and human
spot of red reserved for the main attraction. interest stories, Dohanos employed visual contrast in this illustra-
tion — juxtaposing old and new vehicles to enrich his humorous tale.
Stevan Dohanos
No Passing, 1954
The Saturday Evening
Post, October 9, 1954
Oil on canvas
As with many of the

Famous Artists, design
and illustration go hand
in hand in Dohanos’s
work. In No Passing, the
winding road is set on
an incline, which may
have posed a challenge
for the car leading the
Proof 1
pack, underscoring his

story concept.
23

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Looking Beyond the Picture Plane confetti, a forgotten shoe, and a ribbon that defied Rockwell’s M
Rites of passage were popular themes for Norman Rockwell. intention to let pictures rather than words tell the story. A
Common ground for most people, they invited comparison with This technique was not always effective, even in the hands of an artist d
one’s own memories. The subject of this painting seems an obvious as skilled as Rockwell. Intended as a cover for The Saturday Evening fe
one for Rockwell, who traveled often for assignments or pleasure Post but never published, War News pictures a restaurant counterman fa
and stayed at hotels frequently. Just Married presents us with a and his customers, including a Western Union agent, a clerk, and a de- m
narrative that goes beyond the picture plane by referencing some- liveryman, gathering to listen to a radio report. Focused on the proposed d
thing that we cannot actually observe. In the artist’s large-scale invasion of Normandy, Rockwell’s painting features a newspaper head- p
drawing — a significant step that came after the conceptualization line from January 17, 1944, Troy Times Record, which reads, “Invasion la
of his idea, the selection of models and props, and the directorial Plans At France Possible.” Rockwell decided not to submit War News s
creation of reference photography — we see only what remains of to the Post, perhaps because it was hard to convey what the men were th
an unseen couple’s honeymoon night. Affable hotel maids are left hearing or to make the newspaper headline discernible. He instead went is
to celebrate vicariously, commiserating over a dust pan filled with on to create a second painting of a man charting war maneuvers.
Norman Rockwell
(Above) Study for Just Married
(Morning After the Wedding), 1957
Cover illustration for The Saturday Evening Post,
June 29, 1957
Charcoal and graphite on paper
(Right) War News, 1944

Unpublished
Oil on canvas
Proof 1
24

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Making Subtle Adjustments
As Austin Briggs demonstrates, subtle
t differences in a visual narrative can shift its
feeling or meaning. In his first drawing of a
n father and daughter traveling on a train, the
man is fast asleep and unaware of his child’s
d desire to wake him. However, in the second
- piece, Briggs adjusts the father’s body
n language and demeanor slightly to create a
s sense of warmth and connectedness between
e the two. No longer isolated, he smiles as he
nt is roused from sleep. Austin Briggs Father and Daughter on Train. Advertisement for New York Central Railroad. Graphite on paper
NOW YOU TRY IT!

r e i m ag i n i n g a n a r t wo r k
Choose one of the illustrations at right

or another drawing, photograph, or
illustration from this book to use as a
jumping-off point.
• What story does it tell?
• How might its narrative be expanded
or changed by adding details, subtle
or dramatic?
• Create a new piece, inspired by
the original, that carries a different
meaning or story.
(Clockwise from top left)

Norman Rockwell
Checkers, 1928
Oil on canvas
Peter Helck
Hollowed Tree Trunk
Pencil on paper
Harold von Schmidt

Charlie V-4, 1929
Proof 1
Oil on canvas
25

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A
Ill
T
b
Proof 1
T
M

16/2/17 3:04 PM
2 MAKING IT
PERSONAL
The creators of the Famous Artists School courses were in
complete accord on one principle — artists should live life fully
in order to have experiences to draw from in creating their art.
“The illustrator must not only master his craft but must live,
pile up experiences, and become aware of the infinite aspects
of our world,” said Austin Briggs. “He must distill everything
into a sensitivity to create characters and situations that commu-
nicate to viewers; he must communicate a mood he has felt
and express his enthusiasm for his characters and situations.”
In this illustration (opposite), Austin Briggs literally places us at the edge of a cliff,
looking over the shoulder of a young girl whose parents below are understandably
distraught. He invites us to experience her plight firsthand and draws upon our own
understanding of the potentially dire nature of the situation to inspire engagement
with the image and narrative.
Austin Briggs
Illustration for
The Innocent Daredevils
by Stephen Cole
Proof 1

March 11, 1950

16/2/17 3:04 PM
INFUSING YOURSELF INTO YOUR DRAWINGS
Much in Rockwell’s art is inspired by autobiography. “I once did boy because he was a ranch boy leaving home for the first time. And
a cover showing a father seeing his son off to college,” he wrote, his father was holding two hats, one the boy’s beat-up old rancher’s h
referring to Breaking Home Ties, a cover illustration for the Saturday hat and the other his brand-new hat. The boy was carrying a lunch sk
Evening Post. “That year my three boys had gone away and I’d had an box all done up in a pink ribbon. I drew a collie dog with his head on h
empty feeling — it took me a while to adjust without them. This poi- the boy’s lap. I got most of my fan letters about the dog. You see the s
gnancy was what I wanted to get across in the picture. But there was father couldn’t show how he felt about the boy’s leaving. The dog did.” R
humor in it too,” Rockwell reflected. “I put a funny kind of suit on the w
P
c
Norman Rockwell
Breaking Home Ties, 1954
Proof 1
September 25, 1954

Oil on canvas
28

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John Atherton was an outdoorsman and an avid fisherman, and
his choice of subject matter often reflected these passions. This quick
sketch, a self-portrait, was created to furnish details for a painting that
he planned to pursue later on. A close friend of Atherton’s, Rockwell
sometimes joined his fellow illustrator on fishing excursions. Though
.” Rockwell enjoyed the companionship, his take on the experience
was somewhat different, as portrayed in his 1939 Saturday Evening
Post cover, Sport. As with Atherton and Rockwell, your interests and
challenges can both be viable jumping-off points for your art.
John Atherton
Self-Portraits as Fisherman,
c. 1948
Pencil on paper
Photograph of the artist with

fishing gear
Norman Rockwell
Sport, 1939
Cover illustration for The Saturday Evening Post, April 29, 1939
Oil on canvas
Sport describes Rockwell’s feelings about the sport of fishing. Uncomfortable,

cold, and wet, one’s pipe does not stay lit and bailing out the boat is inevitable. The
absence of oars adds to the viewers’ discomfort level and leaves us to ponder more
possibilities. Not missing any opportunity to communicate the feeling of wetness,
Rockwell paints The Saturday Evening Post’s masthead letters to appear as if they
are dissolving in the rain and droplets are added to the subject’s fishing line, chin, Proof 1 2 T
and nose. Although the overall mood is one of gloom, the repetition of color accents
adds interest. Teal, an often-used color, is repeated on the boat bottom and the shade
tone of the man’s yellow slicker, and vermilion accents the bucket, shirtsleeves, fishing
rod, and flies. The blush of the fisherman’s cheek tells us it’s not only wet—it’s also cold.
29

7/3/17 1:30 PM
D
Time and again, Famous Artists School masters urged their L

students to go out and steep themselves in art and experiences. For P
Robert Fawcett, other training was just mechanical. He said not to T
worry about technique or about developing a style — your technique w
will come from your way of thinking and feeling and your style will fa
follow naturally. Drawing on location frees the mind and the hand, a
making possible personal exploration with no strings attached — as
illustrated by Fawcett’s observational sketchbook page created in S
Newtown, Connecticut. fa
Al Dorne’s approach was quite different from most of his fellow th
artists. He was famous for working at lightning speed, and he rarely
used models or took reference photographs. However, he read
voluminously and had a powerful visual memory, and his own life
experiences revealed themselves in the way he used small details to
evoke character. He drew on the world around him as a keen observer
of the human condition. This drawing of a man sitting by a bar, with a
wrinkled trouser leg and a quizzical expression, is a perfect example.
Dorne also focused on body language, character types, and personal
interactions in a scene featuring a lively group of coffee drinkers.
Robert Fawcett
NOW YOU TRY IT! Sketches of Newtown, Connecticut, c. 1948
Pencil on paper
capturing the scene
Pick up your sketchbook and carry it wherever you go

for a week.
• Stop to draw something that captures your attention at
least twice each day. Sketches need not be detailed; they
should just capture the essence of each scenario.
• At the end of the week, choose the drawing that you feel
is the most compelling for its composition, subject matter,
or visual impact.
• Use that seed of an idea to create a new artwork inspired
by the sketchbook drawing that you selected.
• You can expand your drawing’s storytelling potential,
enhance its detail, or adjust its compositional arrangement
to increase impact.
Proof 1
Al Dorne
Studies, Group Drinking Coffee (left) and Man at Bar Reading Newspaper
30

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DRAWING UPON THE WORLD AROUND YOU
Let’s consider what makes artists like Michelangelo, Rembrandt, or the objective facts. I’d probably be a very poor reporting artist. Some
Picasso great. Why is their work memorable? Here’s one explanation: of the material shown here will probably turn up in a painting sooner
They had a unique way of looking at things and a particularly effective or later. My pictures are based on my own experience, and these
way of expressing and communicating feeling and emotion. As the sketches are aspects of that experience.”
founding illustrators all agreed, artists must train themselves to see Briggs went on to counsel, “Don’t worry about how to draw. Rather,
and observe more closely and attentively than other people. express what you see, interpreted by your eyes and brain. Reduce it
Austin Briggs made the sketches shown below on a trip to Charleston, to its essentials. If you can successfully transmit the essence of what
South Carolina. He wrote, “They started out to be objective and you see, you will succeed in expressing something new and completely
factual, but in some ways they became sort of fanciful. I can’t stick to personal, not only a record of what you see but an expression of
the factual long without personal reactions setting in and changing you — and therefore unique.”
Proof 1 2CT
Austin Briggs
Studies of Charleston,
South Carolina
Ink on paper
31

7/3/17 1:37 PM
Harold von Schmidt reminded artists that we each experience
things as if for the first time, even though they have happened to
others before. Illustrating the truth, as you know it, will give your
art a unique sense of believability.
Robert Fawcett was a great believer in the value of sketching,
sketching, and more sketching. He always had a notebook at hand
and filled it at every opportunity with drawings of whatever he saw
around him. He wrote, “This kind of work should go on constantly
around the home and outside to supplement serious finished studies.”
The advantages of the “sketching habit” are twofold: the hand be-
comes practiced at rendering and the eye learns how to observe.
Harold von Schmidt A

Japan sketchbook and drawing, 1945 S
Ink on paper In
Robert Fawcett
Sketches, Police officer These are sketches of Tokyo from von Schmidt’s T
(above) and Woman notebook; the drawings he made from them have an w
in phone booth unmistakable authenticity. He wrote, “Your illustrations th
Pencil and ink on paper can be enriched by what you do, think, feel, and know. th
The challenge is to use your knowledge well.” in
Robert Fawcett’s sketches
capture essential information,
from the natural gesture
and silhouette of a figure to
geometric architectural ele-
ments and their settings.
The artist’s progressive study
of a policeman begins with
loose gestural work that
emphasizes shape, light,
and shadow. Note how he
gradually refines his work by
adding detail and refining
tone — the policeman’s face,
hands, and badge are
Proof 1
emphasized as the lightest

elements in the picture.
32

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Austin Briggs
Sketches of man painting at an easel and woman dressed in bathing suit and overcoat
Ink on paper
These sketches by Austin Briggs are perfect examples of the observant eye at
work. Few details have been included, but the shapes of his subjects’ bodies, and
NOW YOU TRY IT!
their postures and attitudes, have all been effectively captured. Drawings such as
these could serve as reference for a finished work or simply as yet another exercise t h e q u i c k g e s t u r a l s t u dy
in training the artist’s eye.
Here, you’ll use your sketchbook for quick gestural studies.

• In your sketchbook, create several quick gestural studies
each day for a week by observing the people around you.
• Focus on their movement and postures rather than the
details of their appearance.
• Use loose, flowing strokes to capture figures in motion or
at rest, whether on a train or bus, at a sporting event, or
at work or school.
You will quickly become attuned to the subtleties of
body language, which add interest, depth, and meaning
to your art.
Proof 1
33

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GATHERING INSPIRATION
Inspiration is drawn from many sources — from memory and firsthand is where lies originality, concept, force, dramatics, interpretation
experiences to imagery in print or online. Thorough research is the and all the other things that build original attention-getting pictures.
underpinning of many compositions, especially if you are striving The picture becomes a product of you — the control being entirely in
for a sense of realism and accuracy. But another kind of research is the artist’s hands.”
essential, too: experience derived directly from the object, scene, or Between assignments, Fred Ludekens found it productive to
situation — to live the experience yourself. Seeing prompts a reaction, do what he called “informative sketching.” He wrote, “Essential
which is what artists want to communicate. They see things in a information is my chief concern in sketching. These ‘sketches’ are
personal way, and their paintings should invite viewers to see them really informative diagrams. I do them just as fast as I can, with
just as personally through their own perceptions. little concern for academic drawing. I write notes to myself all over
Fred Ludekens notes that “the significance of what an artist sees, the page. With observation, memory, diagrammatic sketches, and
or how much or how little he wishes to show, is his prerogative. This a reference file I seem to have what I need for my way of working.”
Fred Ludekens
Studies for “They Should All Be as Stupid as Redheads”
(working title, “Bull Headed Redheads”) by Hart Stilwell,
True magazine, November 1950
“I have found most people I work for are interested

in how I think,” Ludekens said. In these three layouts
for a double-page magazine spread, he offers three
perspectives derived from his own observations, each
numbered to indicate his preference. Image number
Proof 1 2 T
one, the artist’s favorite, is set against a low horizon

line. In this study, geese are flying “like hell” to escape
the hunters in the center middle ground, creating
dramatic impact.
34

7/3/17 1:40 PM
Robert Fawcett
Character study
Pencil and ink on paper
In addition to referring back to his sketchbooks for

material for his finished illustrations. Fawcett was also
a proponent of yet another way to “make it personal”:
He often posed for the photos on which he based his
illustrations. He wrote, “I posed myself, as I invariably do,
because then I could feel the pose. Looking at a posed
model, I might have been able to see a lot of interesting
things, but to feel the action by doing it myself — that
is the way I work best.” This illustration was meant to
convey “the essence of recumbency,” lassitude in a
tropical climate.
John Atherton
Studies of boats
Pencil on paper
John Atherton sketched these boats as a recording of

facts to be used in a painting. He wrote, “The approach
was direct and the textures were made with longer,
straighter strokes than I frequently use. The tones are
blacker as well and the whole effect stronger. The effect
of the light was necessary, and its general direction, so
the shadows are more factual than decorative.”
Proof 1 2C
35

16/2/17 3:04 PM
THE IMPORTANCE OF EMPATHY
Empathy, or the ability to feel with the characters and the action you Girl at Mirror follows a long tradition of artists who have pictured pi
are portraying, is the secret to making your pictures come alive. The a woman contemplating her reflection. George Hughes, fellow m
spirit of the event, according to Austin Briggs, is more important than Post cover artist, said that Édouard Manet’s 1877 Woman Before Mir- tw
the fact. Paint what moves you; present your emotions so that your ror inspired this painting. Two paintings by other artists stand out im
viewer can share them. as strong candidates, however. Included in Rockwell’s reference files
Exploring a similar theme, Norman Rockwell’s Girl at Mirror, are examples of Picasso’s Girl Before a Mirror and Louise Élisabeth
a 1954 Saturday Evening Post cover illustration, pictures a child’s Vigée Le Brun’s The Artist’s Daughter, each of which could have
transition to young adulthood. Rockwell had a natural ability to directly influenced this work. Rockwell typically created a full-scale
portray experiences that a broad audience could easily relate to, charcoal drawing in preparation for work on his final canvas. The
an essential element of his success. drawing closely resembles his finished illustration, from the main
Austin Briggs
I’ll Never Let You Go, 1948
Illustration for
The American Magazine,
1948
Casein on board
In this story illustration,

Briggs inspires empathy
for this young woman, N
Proof 1 2C
who explores the depths G

of memory through the S
objects found in a storage T
trunk. O
36

16/2/17 3:04 PM
picture elements to the appearance of actress Jane Russell on the
-
magazine pages. There are, however, distinct differences between the
two. Consider the changes that Rockwell made in his final and what
NOW YOU TRY IT!
impact they have had on the painting.
r e i m ag i n e a r o c k w e l l
s
Artists often find inspiration in each other’s work and

quote or appropriate inspirational compositions.
• Choose an image by Norman Rockwell or another
famous illustrator.
• Now re-create it based upon your own experience
or events inspired by the contemporary world.
Norman Rockwell
Girl at Mirror, 1954
Study (in charcoal) and final cover illustration
Proof 1
The Saturday Evening Post, March 6, 1954

Oil on canvas
37

16/2/17 3:04 PM
Al Parker was especially good at creating innovatively designed out his composition in terms of large shapes and movement lines.
scenes that felt alive and real to his viewers. In these preliminary draw- When he begins to add detail to the faces and clothing, we see the per-
ings for one of his mother-and-daughter illustrations, he first works sonalities of the characters and the relationship between them emerge.

Proof 1
Pencil studies for and final cover illustration

Famous Artists Magazine, 1958
38

16/2/17 3:04 PM
Tell Me the Time, 1946
by Marie Fried Rodell
- The Ladies’ Home Journal, November 1946
Gouache on board
.
This story illustration presents a situation that
Parker had probably not encountered in his own
experience. An air of mystery fills this work, which
accompanied the dramatic tale of a young woman
who, locked in her apartment without a telephone
or a clock to tell the time, is kept from discovering
a gruesome crime. Parker’s skewed composition,
replete with the model’s tension-filled pose and the
dizzying distortion of the room around her, contrib-
utes to a feeling of unrest and worried anticipation.
Not only her eyes but her whole bearing warns us
that something dramatic is about to happen.
There’s nothing like it on Earth for traveling with

a baby!
Illustration for American Airlines advertisement
In this piece, the connection between mother and

baby is so intense as to almost make us forget
what the illustration is advertising! A father and
professional observer, Parker had likely absorbed
a number of similar scenes and so was able to
effectively recall and re-create the emotional content.
Interestingly, he added the movement of the man
turning a page in the background to give action
Proof 1
to what could have been a static scene. Somehow,

that small gesture adds even more life to the image.
39

16/2/17 3:04 PM
N
Proof 1
S
P

16/2/17 3:08 PM
3 DRAWING
AS A TOOL
FOR SEEING
For each of the Famous Artists, drawing was a tool for seeing —
an integral aspect of artistic expression that allowed them to
formulate and capture the fleeting essence of ideas and refine
picture concepts. As we’ll see in this chapter, creative approaches
to drawing let the mind roam free and help ideas take shape.
Norman Rockwell rarely had time to sketch uninterruptedly unless he was traveling —
an activity that refreshed him and took him away from the deadlines of a busy illustration
practice. He traveled extensively throughout his life for both business and pleasure. This
rare sketchbook page documents the artist’s travels to France in 1932, where he recorded
the architectural details of the historic Pont Neuf, the oldest standing bridge across the
Seine River in Paris.
Norman Rockwell
Proof 1
Sketchbook drawings, 1932

Pencil on paper

16/2/17 3:08 PM
THE IMPORTANCE OF DOODLING
Robert Fawcett spoke for his fellow master artists when he wrote, Draw constantly, freely, searchingly, courageously, experimentally,
“Spend every spare moment developing the coordination of your lovingly. Forever draw because what you put down is the measure
eye and your hand to acquire greater resources for what is a difficult of what you have seen. The more you draw, the more you will see.”
business at best. Do not be content with a few sketches. Make hun- In these pages shown below from his sketchbooks, we can see what
dreds, thousands of complete studies, action sketches, composition Fawcett meant.
notes and accurate observations of the visible world all around you.
This will train your brain to remember and your eye to be observant.
J
S
P
Jo
a
m
sk
Robert Fawcett d
Sketches q
Ink and pencil on paper d
th
According to Fawcett, drawing over and over gives you p
knowledge of form, an accurate eye, and an obedient th
hand. Once you have those, you can forget technique to
and a focus on accuracy and concentrate on what it st
is you’re trying to communicate. These drawings show ro
Proof 1
Fawcett searching out the small details that reveal a

character and re-creating them in line. vi
42

16/2/17 3:08 PM
Ben Stahl
Sketches
Pencil on paper
Ben Stahl’s advice was specific—he recommended

sketching every day. “Your drawings may be only doo-
dles, but they will free your imagination if you practice
constantly.” In his sketches, Stahl sometimes focuses on
specific elements, such as facial expression or the move-
ment and position of hands. At other times, his rough
drawings block out the underpinnings of a composition
with simple lines and tones.
John Atherton
Sketches
Pencil on paper
John Atherton took doodling

a step further. He recom-
mended doing five-minute
sketches as practice for more
developed drawings — these
quick sketches of boats were
designed to record facts
that he would use in a larger
piece. Minor alterations from
the first drawing (near right)
to the second, such as the Proof 1 2C
streamlined arrangement of
rowboats and the addition of
a distant hill, have substantial
visual impact.
43

16/2/17 3:08 PM
Fred Ludekens agreed with Ben Stahl: “If you learn to draw well in a variety of media — from ink to pencil and colored pencil — are
(learn the structure and function of humans and the shapes of inani- designed to hone his vision by capturing information about the
mate objects), it will give you a language and vocabulary for meeting world around him quickly and spontaneously.
any artistic challenge.” The small but striking studies below, created
(All images on this page)

Fred Ludekens
Sketches
Mixed media on paper
Study and final illustration for Bull Rider, 1945

July 21, 1945
Study, pencil and colored pencil on tracing paper
Final, gouache on board S
P
In the thumbnail sketch of a bull-riding cowboy,
Ludekens captures important storytelling and R
compositional details for his Saturday Evening Post sm
Proof 1 2 T
cover. His final painting adjusts the bull’s posture to o

emphasize action and uses the color red in his back- o
ground figures rather than on the cowboy himself, as p
indicated in his sketch. a
44

7/3/17 2:01 PM
Norman Rockwell
(Left) Illustrations for Poor Richard’s Almanac by
Benjamin Franklin, 1963
Heritage Press, Inc.
Pen and ink on paper
In these drawings, the artist’s line takes on a vibrant,

autographic quality that conveys each of the book’s
wise sayings with good-natured humor and a sense
of theatricality.
NOW YOU TRY IT!

l e t a n o b j e c t t e l l a s to r y
Norman Rockwell advocated a

stream-of-consciousness approach to
doodling, which inspired fresh ideas.
He described starting with a quick
drawing of a random object, saying, “I
must start somewhere and if I did not
start with the lamp post or something
else, I would spend the day looking
at the blank paper.” The lamp post
led Rockwell to consider who might
be leaning against it and what his or
her backstory might be, and his ideas
blossomed from there.
• In the center of your paper, draw a
simple object from life or from your
imagination—whether a teapot, a
toothbrush, your sleeping pet, or
Sketch anything that captures your interest.
Pencil on paper
• Respond spontaneously to your
Rockwell often began his artistic process by making initial sketch by including other
small sketches, or thumbnails, that expressed the kernel
related things in your drawing that
Proof 1 2C
of an idea purely from his imagination. This quick sketch
of a fisherman captures the essence of his subject’s might prompt an idea for a more
posture, demeanor, and lanky gait with little more than developed picture.
a few simple strokes.

16/2/17 3:08 PM
In addition to giving your eye and hand a thorough training in Whenever he could, Peter Helck made a point of actually spending
seeing and recording, sketching can be used as part of your research time in a setting that he would incorporate into an illustration. For m
for future projects. The page below from Austin Briggs’s sketch- example, to research the backgrounds for an assignment featuring h
books shows one way to do “informative sketching,” which can trains in the Hudson Valley, he used a motorized handcar to travel to
function like notes jotted on the spur of the moment. Because of the rails for a day, sketching as he went. To him, “that day’s work A
this habit of sketching constantly and in many different situations, in the sun and wind, being passed by the Empire State Express e
Briggs had a wellspring of images to call on, no matter what the at 80 miles an hour in a flurry of grit and hot steam, and clattering p
subject matter of his next assignment might be. between the dank, cavernous rocks at Garrison where the sun never
shines — these sensations . . . constituted research of the finest sort.”
Austin Briggs
Sketch
Ink on paper
N
Briggs sketched this restaurant interior, which to him S
had a European feel, to serve as reference for a setting P
in some future story illustration. Briggs wrote, “A funda- C
mental of my approach is to bring as much as possible Tu
of my own experience to every job that I do.” P
Peter Helck
Sketches
Ink on paper
In these on-location sketches, Helck used his exacting

powers of observation to record small, significant
details for future use, even making hand notes to under-
score important information. He counseled his students
to “get in the habit of noticing the elements that catch
your attention in a scene, then use those elements, in
that position or lighting, to build your composition.”
In Helck’s work, drama was achieved by the effective
use of verticals, horizontals, and diagonals. In this
preliminary sketch for a painting of two locomotives
traveling in different directions, he was aiming for a
Proof 1 2 T
feeling of vitality and excitement, achieved by having

them cross at right angles. The impression of speed was
augmented by the way Helck drew the tilting, elliptical
shapes of the lower engine’s wheels.
46

8/3/17 10:02 AM
g In the mid-1950s, Rockwell traveled around the world on assign-
ment for Pan American Airlines, for an ad campaign that brought
him to cities in thirteen countries — from England, France, and Italy
to Lebanon, Turkey, Pakistan, Thailand, and Japan, which were Pan
Am hubs. His goal was to capture the local color and character of
each location in spontaneous sketches focusing on people and
places in a random arrangement of elements on his page.
Norman Rockwell
Sketchbook drawings for
Pan American Airlines, 1955
Clockwise (from top):
Turkey, Japan, and England
Pencil on paper
r-
s
s
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1 2
3 h
ti
4 In
w
a
Overall brown tones
a
a
(Clockwise from top) s
1. Blue su
2. White rails
3. Linen cover
4. Blue sky
NOW YOU TRY IT!

c r e at i n g “ s n a p s h ot s”
Create quick sketches of the world

around you by making four different
drawings inspired by the same loca-
tion. Note your observations about
color, mood, and detail on your
page, as Stevan Dohanos did.
• Sketch an inanimate object, such
as a car, an appliance, or a utensil.
• Sketch a living thing, such as a per-
son, an animal, or a type of foliage.
• Sketch the broad sweep of your
environment in simple strokes to
Stevan Dohanos
capture the scene.
Lighthouse studies and painting
Study, pencil on paper; final, gouache on board • Consider which drawing might
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lend itself to further development

Dohanos began this painting with a rough sketch of the lighthouse and its surroundings. As he began to
develop the details, he made additional sketches of different elements of his composition, adding spots
and take it to the next level.
of color as a kind of mnemonic to remind himself of what he had noticed in his on-location sketching.
48

7/3/17 2:16 PM
Sometimes, the information being gathered through sketching
has less to do with factual knowledge and more to do with composi-
tion — or, as Robert Fawcett preferred to call it, “picture organization.”
In the first sketch, Fawcett arranged the figures so that they are related,
with focus on their individualized body language. There seems to be
a story in their gathering. In the second version, the figures are subtly
altered in posture and scale. He explores areas of overlap and light
and shadow. In the third drawing, he places his figures in a structural
setting filled with geometric forms. Finally, he begins to work out the
subtleties of expression, body language, and interior detail.
Robert Fawcett
Sketches and studies of men in conversation
Pencil and colored pencil on paper
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SKETCHING FOR GREATER CLARITY
Norman Rockwell’s rough preliminary sketches were the first In New Television Antenna, Rockwell measures the promise of new
depictions of his ideas. He began each modeling session by showing technology against the historical past, and invites our consideration
his thumbnails to his models and describing the concept for his new of whether television may become the “religion” of the future, as
illustration. Then, he would strike the poses himself and enthusias- suggested by the church steeple. The artist’s conceptual drawings
tically act out each part to demonstrate what he wanted, getting his increase in detail as his idea for this 1949 Saturday Evening Post
performers into the spirit. The camera was also an integral part of cover crystallizes.
his process, as it captured the nuances of expression and the diffi-
cult-to-maintain positions that he coaxed from his models.
Proof 1
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Norman Rockwell
Sketches, photographic studies,
and final illustration for
New Television Antenna, 1949
Cover for
Proof 1
November 5, 1949
Final, oil on canvas
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T
Notice Fred Ludekens’s rough sketch for Renegade Canyon on A

this page of studies. Although the background has a more vertical a
orientation, the composition is closely aligned with his final illustration. d
In his sketch of a cowboy on horseback holding a woman in distress, o
Ludekens made sure that “the man’s arm comes forward and clearly s
goes under the woman’s arm,” and that a rhythmic, flowing line s
enveloped both figures. Informal thumbnail drawings allow the F
artist to consider the possibilities of a composition’s vantage H
point, narrative, and perspective. fo
c
re
Fred Ludekens d
Studies and final illustration for Renegade Canyon by Peter Dawson
The Saturday Evening Post, 1949
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THE CONSTRUCTION OF FORM
According to Robert Fawcett, drawing the same thing over and over
again enhances an artist’s knowledge of form and sharpens focus on
detail. This allows the artist to forget “technique” and concentrate
on structure. The three interpretations of an identical man, below,
seen from the rear holding a shovel, examine the figure’s stance and
silhouette, and explore the effects of light and shadow on form. First,
Fawcett created a simple contour drawing and filled it with flat tones.
His second drawing employs line and stark shadows to delineate
form, and his final work relies upon line, shadow, and varied tone to
create a more complete picture.
The quick portrait studies at right, which Fawcett frequently made,
rely on light and shadow to create volume, and search out the small
details that reveal character and emotion.
Robert Fawcett
Studies,
Man with Shovel —
Rear View (left) and
Five Men’s Heads (above)
Pencil and ink wash
on paper
Proof 1
Ink and gouache

on board
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C
“Remember,” Austin Briggs wrote, “in order to describe an object bottom right, he emphasizes the sweep of the woman’s gesture by D
you must have light, and light cannot be expressed without shadow.” darkening the strokes of her hair, the curve of her back, and her right s
Nature has at its disposal an infinite and subtle range of values, but leg thrusting forward. A
Briggs pointed out that the artist must make selective statements of th
light, dark, value, and pattern to create an effective work of art. “Once in
the basic areas of light and dark are expressed, we must decide from b
the nature of our subject which of the middle values” to employ. w
Briggs uses both line and tone to create form in the drawings re
below and right. He varies his quality of line, from the light, breezy th
strokes of the woman’s towel blowing in the wind, to the strong, A
dark line that describes the form and stance of the beachgoer in the s
foreground with her back to us. Spatial clarity is established sim- b
ply — darker lines and tones delineate the figures closest to the viewer, th
while softer shades push others back in space. in
In his sketches of a figure in motion, Briggs again employs lines d
of varying widths and shades to describe form. In the image on the h
I
th
u
s
T
a
A
fa
Norman Rockwell
Portrait of an Old Man, European travel sketchbook;
c. 1932
Pencil on paper
In these studies, the artist used light, dark, and middle tones
to capture fragments of his subject. Light seems to be shin-
ing most strongly from the left-hand side and slightly above
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his subject, casting the right of the man’s head, hand, and
shoes into deeper shadow. Rockwell uses the broad side Austin Briggs Jo
of his pencil to create tonal strokes and the point for crisp Gestural studies P
detail, as in the man’s expressive face and his worn shoes. Ink on paper N
54

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CONSIDERING THE COMMON OBJECT
Draftsmanship was an important

skill for the illustrators of the Famous
Artists School, an ability they developed
through the act of observational draw-
ing. John Atherton often focused on the
beauty of the common object, creating
works that ranged from the highly
realistic to the decorative. He noted
that the illustration, at right, for United
Airlines “has nothing in it that would
seem to offer difficulty to the draftsman,
but the very simplification of the forms
themselves is what a good groundwork
in drawing helps to accomplish.” Sound
drawing was essential to all of them,
he said. “In each case I recorded what
I saw and wished to use but I did more
than that. I refined the forms which I did
use and eliminated what I saw because
some of the things were not essential.”
The ability to “observe intelligently
and refine or exaggerate” was key to
Atherton’s success and a distinguishing
factor in his unique brand.
John Atherton
Proof 1
Poster for United Airlines,

New Orleans
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Atherton designed his New Orleans–
inspired image, and others in a series,
with prominent foreground elements
framing a bucolic landscape. His
beautifully conceived poster was derived
from a series of streamlined drawings
that introduced picture elements one
at a time, from the magnolia blossoms
to the graceful historic home.

John Atherton
Studies for
United Airlines poster,
New Orleans
Pencil on paper
Decorative structural elements

at one point framed his image,
but Atherton eliminated them
from his composition, punctuat-
ing it instead with a couple on
the lawn in the middle ground.
Note the artist’s use of directional
arrows that point to the home
in the distance and a numbering
system that indicates areas of
color and tone. Other drawings
explored the possibility of featur-
ing a New Orleans riverboat
Proof 1
in the background rather than

a historic structure.
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Stevan Dohanos
Variations on a Window
Gouache and pencil on board
NOW YOU TRY IT!

p r o g r e s s i v e d r aw i n g s o f a s i n g l e o b j e c t
In his progressive study of a simple window structure (above), Stevan Dohanos’s carefully observed series
begins to take on narrative content. Dohanos offers three different views: the window with the shade pulled
down, then with a pane cracked by a hammer, ending with the window taped and the shade raised to reveal
colorful red geraniums on the windowsill.
• Do a progressive drawing that starts with a single object, like Dohanos’s window or something of your choice—
be it a glass, flowerpot, or car. Use your imagination but begin your series with observational drawing.
• In the first drawing, sketch your object simply, on its own.
• In the second drawing, add details that, in Dohanos’s words, depict “the occurrence of an incident” that
changes the object in some way.
• In the third drawing, introduce narrative content by embellishing the image further or by creating a setting
that implies meaning. Add color to highlight important elements.
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P
A
Proof 1
fo
Te

16/2/17 3:35 PM
4 COMPOSING
FOR BEST
EFFECT
The root of a strong composition lies in relationships, through
the purposeful arrangement of shapes, colors, patterns, tones,
and forms. Compositional advice from the Famous Artists offers
important tips on attracting and leading the viewer’s eye,
establishing a center of interest and point of view, and creating
a strong sense of mood and drama in your art.
The painting shown opposite, by Peter Helck, embodies this approach and is a perfect
introduction to the role of rhythm and movement in composition. The dominant element
in this picture, the winding road traveling from foreground to background, lends a sense
of movement to an otherwise still scene. Our eye follows it involuntarily, noting the small
figures in the foreground and tracing with interest the passage of the road as it narrows
and winds away into the hills. All the other picture elements must, by necessity, be subor-
dinate to this sweeping graphic element.
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Peter Helck
Advertising illustration
for ALCOA, 1951

8/3/17 10:05 AM
MAKING COMPOSITIONAL CHOICES
To begin with, let’s define composition in artistic terms: Composition Parker valued innovation above all, and as a result, he experimented
means the orderly arrangement and distribution of forms, shapes, with a wide variety of styles. Leaping beyond the constraints of tradi-
colors, and space. It is the use of artistic judgment in assembling the tional narrative picture making, he established a vibrant visual
various elements of a picture to produce an effective whole. In other vocabulary for the new suburban life so desired in the aftermath of
words, composition is the basic underpinning of an artist’s work. Not the Depression and World War II. More graphic and less detailed than
surprisingly, each of the Famous Artists School founders had his own the paintings of luminary Norman Rockwell, who was a contemporary
interpretation of what that basic tenet meant to him. and an inspiration to the artist, Parker’s stylish compositions were
For Al Parker, composition was simply a pleasing arrangement of sought after by editors and art directors for their contemporary look and
shapes. His advice was to start with one shape and fit others around feel. “Art involves a constant metamorphosis . . . due both to the nature
it, and he reminded us that negative space can and should be an at- of the creative act and to the ineluctable march of time,” Parker said.
tractive shape. The weight and placement of shapes add to the mood As seen below and opposite, Parker created striking illustrations for
and attract the viewer. Any details added later are only as good as the Kinfolk, Pulitzer Prize – winning author Pearl S. Buck’s novel, which
basic structure allows them to be. was serialized in three parts on the pages of Ladies’ Home Journal.

Studies and illustrations for
Kinfolk by Pearl S. Buck
Ladies’ Home Journal, November 1948
Pencil, ink, and gouache on paper
In this story illustration, Parker has made the most

of interesting shapes that invigorate straight lines
of text on the left-hand page: the prostrate girl, the
spiky plant, the patterned rug. The cane is both
an element of curiosity and an important diagonal
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that leads us directly to this story’s protagonist. All

contribute to an eye-catching and evocative compo-
sition. In this case, Parker’s final visual solution varies
little from his compositional study for the work.
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-
In Kinfolk, the children of a Chinese scholar living in

New York decide to visit their ancestral village for the
first time. The subject inspired Parker to emulate the
graceful aesthetic of traditional Chinese brush painting
in his art. Fashion designer Mary Suzuki was the model
for this work, which also features a praying mantis on
the edge of her bathing tub — a “stopper” intended to
capture the reader’s attention.
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For Austin Briggs, the approach was simple: The first step was to wish to put into our pictures.” A picture presents “an entirely new
establish borders. All the elements of a composition — shapes, lines, frame of reference — its own four borders.” Briggs explained that “the
forms, and so on — have no meaning except as seen in relation to the borders themselves become abstractions for the four directions, up,
borders or edges of the artist’s paper or canvas. “There are two visual down, right, left.” As illustrated in his simple drawings of a man run-
worlds,” Briggs said, “the world of unlimited space which surrounds ning, the spatial orientation and movement of objects are established
us and the limited world contained in four sides of our picture plane. by their relationship to the borders of the page. The cropping of
From the unlimited forms in the world around us we select those we picture elements implies an extension of space beyond the image.

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Austin Briggs
Sketches illustrating various
compositional possibilities.
Ink on paper
62

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NOW YOU TRY IT!
experiment with borders
d
Take Austin Briggs’s approach to

experimenting with the borders
of your picture plane by drawing
a simple silhouette of a figure in
any active pose, whether walking,
running, pointing, or working. Use a
photocopier to make duplicates of
your image and cut them out. Then,
place them — whole or cropped—in
varied proximity to the top, bottom,
and side edges of your paper. Which
seems to work best? Once you’ve
decided, paste your image down and
develop a composition around it,
as Briggs did with his running man.
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Austin Briggs also gave us an inside view of the choices he
made in creating an illustration for a story about the evacuation
from Dunkirk during World War II. His challenge was to create a
character and setting that would portray both a universal symbol
of all brave soldiers and an intimate glimpse of one particular man.
Briggs began with preliminary

exploratory sketches, done
on a beach near his home.
In sketch 1, the pose was too
impersonal and the diagonal
lines did not contribute
to a feeling of repose and
introspection. While more
engaging, sketch 2 was too
melodramatic and active. In
sketch 3, the diagonal lines
again contradict the quiet
mood Briggs was trying to
achieve. While drawing sketch
4, he realized that situating
the breakwater so as to
create a feeling of depth
would provide the perfect
backdrop for the figure of
1 2 3 the soldier.
Diagram 1 shows how the soldier and the breakwater form one shape that is firmly
attached to the left border of the picture. Stability of structure supports the mood
of stolid introspection. The angle formed by the rifle and the soldier’s arm creates
an effect of expanding space behind the figure. In diagram 2, the placement of the
Proof 1 2CT
horizon line fixes attention on the soldier’s head. Background figures establish balance
and movement in the picture; at the same time, they carry the eye to the left toward
the center of interest. Diagram 3 shows three planes that were established to create
a sense of depth in the picture and mark out the “playing” space. 1 2 3
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7/3/17 2:33 PM
In these diagrams, we can
see how each element in
the composition is placed
with definite intent to
lead the eye and evoke a
certain mood. With each
decision and compo-
sitional choice, Briggs
enhances the mood he
set out to create.
y,

Austin Briggs
Sketches, diagrams,
and final illustration
for One More for the
Skylark by J. B. Morton
Proof 1

February 1, 1947
65

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E
Now that we have defined composition, we must face the artist’s In contrast, scenes of adventure should contain contrasting tones K
universal problem: how to select the right materials and then change and strong diagonal lines that are not harmonious to the eye. Use e
and rearrange them to deliver a clear, intelligible message. But there angles, sharp corners, and opposing movements, as in von Schmidt’s a
is more to consider when making compositional choices. thriller, Wing Walkers, which features the cropped diagonals of the s
Harold von Schmidt tells us that “composition’s job is to direct plane’s body and wings. The human brain longs for balance and sym- e
the eye and create a response in the viewer.” In other words, the ele- metry — when those are removed, we have a feeling of danger or unease.
ments in the picture must be “composed” to create a certain mood. o
So, here’s the question to answer: What do you want the viewer
to feel when looking at your picture? Von Schmidt has some sugges-
tions. For a love scene, for instance, he recommends using picture
elements that suggest a feeling of envelopment, of drawing together,
of quiet. A picture of lovers should weave them together with line,
tone, and color. In Forgiven, which accompanied a story in Cosmopol-
itan magazine, long diagonal lines unite the couple within the long
sweep of the room. The man’s face is purposely hidden to engage
viewers with the woman’s complex expression, and the two figures are
linked as one — organic shapes framed by the geometric edges of the
bench, table, and rug. “This is a sort of ‘mother and child’ concept,”
von Schmidt said. “Here was a case of ‘her holding him’ instead of
‘him holding her’ which you see so often, and the situation was too
good to pass up.”
(Both images on this page)
Harold von Schmidt
(Above) Forgiven, illustration for Cosmopolitan, 1926
Oil on canvas
N
R
S
T
O
U
b
(Right) p
Wing Walkers, 1929 p
Story illustration for o
Lovers Leap by M
Proof 1 2 T
Laurence Stallings th
Liberty magazine, c
April 6, 1929 d
Oil on canvas th
66

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ESTABLISHING A CENTER OF INTEREST
Knowing how to create a strong center of interest, or focal point, was some approaches are very straightforward. “One of the best ways to
essential for the Famous Artists, who considered it a skill that every make an observer look at the point in a picture you wish him to see
artist should have. The center of interest is the area of an artwork that is to show the characters in your picture also looking at that point,”
strongly attracts a viewer’s attention ; understanding how your audi- he said. “The reader will also naturally look there, and that point . . .
ence will view your work will help you communicate more effectively. it becomes the center of interest.”
e. There are many devices that can be used to ensure that aspects
of your pictures become centers of attention. As Rockwell explains,
Norman Rockwell
Roadblock (Bulldog Blocking Truck), 1949
Study for cover illustration for
The Saturday Evening Post, July 9, 1949
Oil on board
Using the alley adjacent to a Los Angeles

boarding house as the setting, Rockwell
presents a whimsical predicament. The artist
posed as the violin teacher at the top right
of the painting, and his friend, artist Joseph
Mugnaini, posed as the window washer in
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the opposite building. They, and every other
character in Roadblock, are looking or pointing
directly at the painting’s center of attention —
the small bulldog who is causing all the trouble.
67

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In the illustration below of the battle for the Alamo by Robert Faw- awry, a foot hanging on the rope — all these are small details whose
cett, there is no doubt as to the center of interest: The wounded Texan eloquence suggests much more than is actually said.” c
is the dominant figure in the scene. His relaxed backward-falling Austin Briggs points out that it is possible to design an image with u
figure symbolizes the failure of the defense. From there, the eye is elements that convey the desired mood and have a good rhythmical m
free to roam over the rest of the picture, taking in the supportive relationship. “If the picture is to be effective,” he said, “the eye must th
elements. However, none of these elements is rendered in great be drawn immediately to the important actor in the scene. There e
detail. Fawcett said, “I have tried to suggest rather than portray . . . must never be any question as to what is important, and what the a
A hand gripping a wrist on the left, a dead Mexican’s head with hat artist wishes to stress.” b
a
w
(C
1.
2
3
4
5
6.
7.
8
Robert Fawcett
The Fall of the Alamo,
1948
Ink (study) and
watercolor (final)
on paper
Proof 1
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16/2/17 3:35 PM
Briggs went on to detail the ways in which a center of interest Austin Briggs
Mary Pushed Her Fists
can be created. The strongest contrasts of light and shade should be
into the Pillow and
used there, along with the most detailed treatment of textures, the Pushed Herself Up, 1967
most interesting contrasts of color, and the sharpest of edges. All Ink on paper
these elements will attract the eye to this important point. In the
example on this page, the man bending down in the foreground is
an “eye-catcher,” while the real center of interest in terms of the story
being illustrated is the girl on the sofa. Thus, the viewer’s eye is caught
and then immediately directed to the girl and her imminent interaction
with the men in the doorway, as shown in Briggs’s detailed diagram.
(Clockwise from top left)

1. Light door to separate important action from stooping figure
2. Picture on wall to relieve space
3. Coffee table for color and a comment on girl's pose
4. Ashtrays leading eye toward girl
5. Bottle aiming back into room
6. Rug pattern receding in depth
7. Eye path
8. Head explained more than in photo
1
2
5
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7
6
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L
Taking a different approach to center B

of interest, It Was the Nightingale (right) p
showcases Al Parker’s interest in abstract s
design. Two figures are featured in the h
work, but they do not dominate the compo- th
sition, suspended as they are in a sophisti- d
cated network of shapes and colors. Parker to
has chosen to deny the spatial conventions T
of foreground and background in favor of a c
figure/field relationship — an innovation of s
modern design theory. Books, pillows, fig-
ures, and bric-a-brac, including the crucial sk
white spaces between them, create a flat, g
pleasing visual structure. The emphasis in
on abstract pattern arrangement is usually it
associated with nonobjective works of art. Alfred Charles Parker d
Illustration for It Was the Nightingale by Ford Madox Ford, Ladies’ Home Journal, c. 1961
Parker blends abstraction with narrative. w
Gouache on paper
Comedic touches are inspired by the story’s le
theme, like the ceramic pheasants that
appear to grow from his characters’ heads.
John Atherton called composition “the
framework that holds a picture together.”
For him, every picture required a certain
architecture, pieced together with dis-
parate elements: strong lines and forms,
repetition, a path for the eye to travel freely.
Atherton’s recommendations for success-
John Atherton
ful composition included concentrating Study and cover,
the strongest lights and darks at the center corn harvest illustration
for Holiday,
of interest, keeping objects on the same
August 1948
plane, and keeping the light source consis-
tent. In this example, Atherton shows how Atherton, who exper-
imented with trompe
small changes in the placement of objects l’oeil (trick the eye)
can create a more pleasing and compelling techniques, carefully
considered the place-
composition.
ment and direction of
the ear of corn in this
Holiday cover. He also
layered a secondary
image — a hog eating
corn — on top of his
broad, flat depiction
Proof 1 2 T
of an Iowa landscape.
This unexpected visual
element attracts the
viewer’s eye and interest.
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7/3/17 2:47 PM
LIGHT, SHADOW, TONE, AND VALUE
Ben Stahl discussed the importance of light and shade in terms of

patterns, or masses, and their role in creating a sense of unity. He Light
Source
said, “A picture designed with a strong pattern of light and shade
has much more strength and is much easier to grasp than a picture
that does not have this quality.” In addition, “There should be two
dominant patterns in two contrasting values, one light and one dark,
to hold and control the eye as it passes over the surface of the picture.
The dark pattern may contain various lights, and the white pattern
can be broken up with grays. But the basic patterns of light and dark
should remain clear and unmistakable.”
Compare this analysis of light and dark masses with the rough
sketch it diagrams. There is a clear pattern of light, dark, and middle
ground tones, all of which are planned to lead the eye to the center of
interest, the woman facing us with tilted head. Although the sketch
itself has many more details added, its clear pattern of lights and
darks fulfills the artist’s intent to focus the viewer’s eye where he
wishes it to go. Note Stahl’s indication of a light source at the upper-
left corner of his rough drawing.
33CT
Proof 1 2C

Ben Stahl
t. Pencil on paper
71
Drawing Lessons_058-079_11803_C3.indd 71 14/3/17 10:55 AM

14/3/17 10:55 AM
Text GSC DTP: GLP Page: 71
In this series of sketches by Al Dorne, we have the opportunity to (All images on this spread)
watch the artist at work as he plays with different ways to approach Albert Dorne
Studies for advertising
the subject of a man at a desk who is apparently stymied or frustrated illustration
by the task in front of him. The dark/light pattern is clear in many Pencil on paper
of his sketches: This will be a dark subject against a light background.

In the final version, we see how the heavily darkened foreground
and the sequence of desk objects lead the eye to the center of interest
— the man’s face. His head in silhouette against the light background
establishes a focal point and enhances our understanding of the
man’s frustration.
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16/2/17 3:35 PM
T
Harold von Schmidt took an approach P

similar to Dorne’s. As shown on the right, s
von Schmidt said there were three basic p
structures for all pictures: 1 a light pattern s
on a dark ground; 2 a dark pattern on a light w
ground; and 3 and 4 a dark and light pattern o
on a half-tone ground. This third structure
has two further divisions: when either 5
light or 6 dark predominates in the pattern.

Harold von Schmidt
Tonal Pattern Studies, c. 1948
Gouache on paper
NOW YOU TRY IT!

light impressions
Following Harold von Schmidt’s

thinking about tonal compositional
approaches — a light pattern on a
dark ground, a dark pattern on a light
ground, or a dark and light pattern on
a half-tone ground — create two draw-
ings of the same format that reflect
at least two of these possibilities.
• Get inspired by the world around
you, and choose the elements that
you wish to include in the picture
plane, whether a still life of objects
on your breakfast table or an image
focusing on a figure in space.
• Sketch lightly to establish basic
forms and composition, then
Story illustration for Ruler of the Range photo copy or scan your drawing
by Peter Dawson, The Saturday Evening Post, 1951
In this dramatic story illustration, the center of attention so that you can experiment freely
Proof 1 2 T
is cast in deep shadow, surrounded by the light-bathed with areas of light and dark to
faces of the people he confronts. Bright spots punctuate
the composition, which is generally dark in tone to
determine the most effective
create an air of mystery and suspense. composition.

7/3/17 2:49 PM
THE ROLE OF RHYTHM AND MOVEMENT
Peter Helck defined composition as the art of dividing a flat

surface into areas of line, pattern, and tone, which combine to
produce a distinct impression of unity. “Within this unity,” he
said, “will appear an element, shape, or form of supreme importance
which attracts the sight and sensibilities through the subordination
of all other elements.”

Peter Helck
(Above) Murder Car, 1951
Illustration for Murder Car by William Campbell Gault
(Left) Advertising illustration for Chevrolet trucks, 1943
These two Helck illustrations use a rhythmic pattern

to strongly evoke movement — the trucks kicking up
water on the wet pavement, the eternal ebb and
flow of commercial traffic through the countryside, the
repetition of vehicles in receding scale, the looming
race car as it rushes into the foreground followed
Proof 1
closely by pursuers. We can almost hear the tires on

the asphalt, the whine of the engines.
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Austin Briggs used visual rhythm to awake emotional responses in
his viewers, believing that “the stronger and more direct the rhythmic a
appeal of the picture, the broader and more universal its emotional s
appeal will be.” In the drawing at right, Briggs analyzed the rhyth- p
mic gestures of a female figure and her interaction with a fallen c
man. His two tonal studies inspired by the subject establish a close s
rhythmic connection between the two figures, in which their arms w
Austin Briggs
seem to extend from one another as one graceful line. L
Studies for My Love Will
For Ben Stahl, rhythm was a basic quality of every successful painting. Come by Dorothy Cottrell,
He said, “A single line, moving through a picture, will be more pleasing The Saturday Evening Post,
February 1948
if it flows along in a rhythmic pattern. Rhythm in a picture attracts and Ink on paper
pleases the eye just as the recurrent pulses in music please the ear.” Gouache on board
Ben Stahl
Jack of Swords, 1949
Story illustration for Jack
of Swords by Gerald Kersh,
October 8, 1949
Oil on board
In this story illustration,

Stahl links the figures in his
horizontal composition with
rhythmic lines conveyed
Proof 1 2CT
through gesture, areas of

light and shadow, and picture
elements, like the knife and
tilted candles.
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Of necessity, a picture of a bar fight must be filled with animation Ludekens said, “My plan in this picture was to carry the action
and movement. Fred Ludekens had an assignment to illustrate a across two pages by force of composition and action. I used chairs,
scene from a rough story of rough men, a construction story about tables, figures, bottles, arms, back, posture of figures, everything, to
pile drivers, heavy equipment, and brass knuckles. The situation he force the feeling of thrust.” This first sketch looked pretty good to
chose to illustrate was described in the manuscript as follows: “He him, but he thought the movement in the picture could be improved
straightened that one with a full hard right to the jaw. The man if he changed the striking figure. He experimented with different
went down, sliding on his back into the tables.” As shown below, positions, angles, and orientations of that central figure, as well as
Ludekens began by sketching the whole scene. the figure of the falling man.
Fred Ludekens
Studies for Up Stepped
McGonigle by John and Proof 1 2 T
Ward Hawkins,
January 13, 1951
Pencil on paper
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7/3/17 2:51 PM
In the end, Ludekens decided that his first
sketch was the best, though he did modify
the falling man slightly based on his experi-
mental drawings. And, he said, he learned an
important lesson: “When you place figures
together, each becomes related in composition
and design to the other.” He realized he was
concentrating too much on one individual
part of a picture without drawing it in
combination with the other parts. “To me the
drawing of the identical forms change in each
picture because in each picture different
areas of space and of tone are prevalent.” In
other words, creating a sense of movement
and rhythm in a picture can only be done
effectively by considering all the elements
in concert, rather than as separate entities.
Studies for Up Stepped

McGonigle by John and
Proof 1 2C
Ward Hawkins,
January 13, 1951
Pencil on paper
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Proof 1 2C
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A
M
a
C
Proof 1
La
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5 THE
WELL-DESIGNED
IMAGE
As the Famous Artists frequently emphasized, a well-designed
page is visually coherent, technically sound, and able to convey
emotion and information in a dynamic, effective way. In this
chapter, position, balance, color, contrast, size and scale, attitude,
and the use of symbolic elements are explored from the view-
points of these accomplished illustrators, who were all gifted
designers as well.
The Famous Artists were, by and large, commercial artists — that is, they produced work
on assignment for magazine covers, story illustrations, advertisements, posters, books,
and more. Although they occasionally drew and painted for their own pleasure, they were
dedicated visual communicators who sought to connect with a broad, popular audience
through the printed page. Thus, they each established effective approaches to visual
design that could be called upon when constructing artworks for publication.
When creating his famous mother and daughter cover illustrations for Ladies’ Home
Journal, Al Parker eliminated distracting backgrounds in favor of clean poster designs
that emphasized strong, simple forms and recognizable narratives. Here, he activates his
composition by contrasting flatness with volume — linear figures are juxtaposed with areas
of opaque color and naturalistic faces. Red hats connect each of his subjects, as does a
lively pattern created by white gloves and a patch of snow atop the younger child’s head.
He also took time to design a decorative font that relates aesthetically to his layout and
Alfred Charles Parker painting style. A true innovator, Parker wrote, “After I have chosen the situation I want to
Mother, Daughter, Proof 1 2 T
illustrate, I try to avoid any hackneyed or stereotyped approach or arrangement. I pretend
and Son Sledding, 1949
Cover illustration for I am seeing the figures and props for the first time and discard any preconceived ideas I
Ladies’ Home Journal, may have of them.”
February 1949

7/3/17 3:04 PM
FORM FOLLOWS FUNCTION
Even before the artists took up their pencils to sketch out ideas, Designing images for magazine covers presented a different
constraints for particular assignments were already in place in terms challenge. An image for a cover had to incorporate maximum display
of scale, layout, color, and many other details that were dependent value while including the details necessary to not only attract but also
upon a client’s needs and expectations. They had to work within, and hold the viewer’s attention. In most cases, any one of a number of
sometimes around, these concerns to produce art that would do the approaches might be successful; as seen opposite, the final decision
job, satisfying both the client and themselves. They worked directly was often a collaboration between artist and art director.
with art directors for magazines and advertising agencies — in the age
of print media, their imagery wielded a great deal of influence. At the
top of their careers, the founding artists were in great demand and
their particular styles and talents were well known. Nevertheless, they
had to find creative ways to meet requirements that posed composi-
tional and practical challenges.
For example, for an advertising assignment, Fred Ludekens made
the sketches at right of a horse and rider watching a train wind
through the landscape of the far West. The client was the railroad
company; the painting was to be part of a two-page spread advertising
the pleasures of a cross-country trip by train. The client did not want
to show the locomotive or the observation car, but did want to depict
the landscape that the train would be passing through. As indicated
in Ludekens’s sketch, the painting was to be part of a layout in which
another image would overlap its lower right-hand corner, so the artist
had to plan his composition to make this as unobtrusive as possible.
Other technical considerations in regard to magazine work ex-
erted great influence on how artists prepared their work. Ludekens
a
explained that he used a great deal of black in his paintings because
s
after passing through the printing process, a picture that used real-
c
istic colors could often end up looking washed out, with all contrast
fe
lost. Given that the function of the illustration is to stop the reader
U
and involve him in the action, the illustration must make a strong
b
statement. Ludekens said, “The subtleties of tone quality and minute
d
detail are only important to me if the statement and the impact are
e
there first. I want no question in the reader’s mind as to what I am
in
trying to say. If the man is being shot in a western, let’s be sure that
he’s being shot. Every symbol and every attitude I can think of will be
c
used to give clarity to the statement.” The artist’s use of dark values
ti
in the work at far right is punctuated by spots of brightness to estab-
It
lish mood and bring the viewer’s attention to important aspects
in
of the composition, such as his figures’ faces, hands, and expressions.
m
e
Proof 1 2CT
(All images on this page) is

Fred Ludekens
(Above) Studies for railroad advertisement w
Pencil on paper m
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y
o
Fred Ludekens
Studies and cover
illustration for True,
March 1947
Pencil on paper
Sometimes, experimentation with a variety of compositional

approaches is helpful in establishing a strong visual solution. Before
settling on this striking portrayal of a sturdy mountain goat for the
cover of True, above, Ludekens explored more action-packed options,
featuring the animal in mid-leap or running toward the viewer.
Ultimately, he decided to emphasize the regal qualities of his subject
by placing the mountain goat on a high peak looking off into the
distance. Note that the white snowy mountain allows Ludekens to
emphasize its silhouette; the goat’s form and the mountain’s curve
intersect just left of the cover’s center.
Fred Ludekens spoke for his fellow artists when he discussed the
concept of “page impact.” He said, “The ultimate to me is a combina-
tion of both design and idea in the most simple, telling statement. . . .
It is best when idea and design work together.” Ludekens always kept
in mind the importance of good page design while he worked on the
most dramatic way to lure readers into a story. In this illustration, for
example, there is plenty of action and lots going on, but the picture Proof 1 2 T
is pulled together around the central figures, and the page has unity,
“You!” Fasken said to Lee, “Move away!”, 1949
which directs the reader’s eye and attention to the artist’s predeter- Illustration for Vengeance Valley by Luke Short
mined focal point. The Saturday Evening Post, December 10, 1949
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T
“There was one kind of idea which I didn’t have to struggle was not one of the many professional models engaged by Rockwell W
over — the timely idea,” Rockwell said. “I’d just keep my ear to the when he lived in New Rochelle, New York. Instead, he chose Dave “k
wind and, when I heard of a craze or fad or anything which everyone Campion, the owner of a local news store, for this and other images s
was talking about, I’d do a cover of it.” Welcome to Elmville was one that required a character who was tall and lean. Positioning him in p
such idea. Norman Rockwell said that at the time, rather than im- a crouching position gives his body angles that create movement, to
posing new taxes on their citizens, towns were hiring police to set up and the diagonal nightstick and shadow add to this effect. Streaks of e
speed traps and “fine their victims heavily.” The model for this pose white paint in the foreground tell us a car has just gone speeding by.
NOW YOU TRY IT!

f o r m f o l lo w s f u n c t i o n
Choose an image that you have

developed, in whole or in part, and
adapt it for one or all of these possi-
ble uses and formats:
• A smart phone or web page
• A double-page spread for a book
or magazine
• A calendar illustration
What changes need to be made to
accommodate these uses of your art?
Write a caption or a line or two of
text to accompany your image, and
design it into your layout for best
effect.
Norman Rockwell
Welcome to Elmville, 1929
Proof 1
April 20, 1929

Oil on canvas
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THE ELOQUENCE OF SIMPLICITY
When Ben Stahl was a young artist, his mentors often told him to
“keep it simple.” He found that hard to do: He loved drawing every
s single leaf on a tree. However, he “began to see the eloquence of
pictures that possessed this restraint and simplicity.” It’s not easy
Ben Stahl
to paint that way—“to attain simplicity while maintaining the true Story illustration for
essence of a scene is most difficult.” Fugitive From Terror
by James R. Webb for
April 23, 1949
Oil on canvas
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T
Austin Briggs, too, talked of simplicity. He cautioned the novice T

painter against including unnecessary detail, and counseled re- p
straint in introducing extra shapes and forms, excessive colors, or ti
too many different tones and values. The elements of the image must k
be designed to work together, to complement each other rather than c
battle for the viewer’s attention. An artist is much more successful, he in
said, “when he chooses a limited number of well-assorted ideas, and in
presents these in a coherent, interesting, and forceful way.” c
John Atherton advised his students to “try to cultivate the ability s
to make a picture out of each subject,” even when making simple w
studies. “When you jot something down on a sketch pad that you in
think is interesting, always think of your sketch as a picture as well
as a study. Place it on your paper or other materials so that it forms
a pleasing and effective composition. In studying the sketches of the
great masters of the Renaissance, I am impressed constantly by how Austin Briggs
In this drawing, Briggs eliminates unnecessary detail and leads our eye directly to
beautifully composed they are.” He challenged artists to think of each
the focal point — the boy who is more interested in eating the turkey than expressing
drawing as a finished picture, “framed by the four sides of the paper thanks for it.
or canvas.”
John Atherton
Studies for Duck Hunters,
c.1953
Pencil on paper
In these composition
sketches, John Atherton
was searching out the
grouping that would
create visual interest
and be both simple and
direct in telling the story.
Small changes indicate
his thinking process:
Separate one hunter
from the group, or bring
them closer together?
Push figures back in
space, or bring them
forward? Raise or lower
the horizon line? Small
adjustments to the main
elements of a picture
Proof 1
can impact both meaning

and design.
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THE USE OF VISUAL SYMBOLS
The illustrators of the Famous Artists School worked largely for

publication, and their art for magazine covers, stories, and adver-
tisements was seen and enjoyed by a vast and varied audience.
They knew they had just seconds to capture a reader’s attention, tell
a cohesive visual story, and engage their audience sufficiently, so as to
inspire the purchase of a magazine. To accomplish this, artists found
John Atherton
inventive ways to incorporate common, recognizable symbols that
Present, Scottie Dog
conveyed meaning and also had a strong graphic identity. Simple but in Gift Box, 1938
striking symbols are employed in Atherton’s July 4th illustration, in Cover illustration for
Woman’s Home
which a lovable Scottish terrier is delivered with a happy birthday tag Companion, July 1938
in a box of patriotic colors in celebration of an all-American holiday. Gouache on board
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To celebrate the February 12th birthday of President Abraham man is buried in his books rather than the business at hand, and
Lincoln, Norman Rockwell painted this cover illustration featuring portraits of Lincoln, tacked to the wall, are there to provide inspira- e
an apron-clad store clerk immersed in study. Although Lincoln had tion. The Law Student is one of Rockwell’s symbolic portrayals of the g
worked as a clerk and became part owner of a store, it was not until American dream, presenting the notion that with diligence, a person a
two years later, after he had begun a political career as a repre- of meager means can aspire to any height. The books, barrel, apron, g
sentative in the Illinois General Assembly, that he began working photographic clippings, and paperwork are symbolic elements that c
toward a law degree. The point is well taken, however. This young help Rockwell construct his narrative. a
s
m
d
g
W
A
h
m
(This page)
Norman Rockwell
The Law Student, 1927
February 19, 1927
Oil on canvas
(Opposite)
Stevan Dohanos
Mailman, 1944
Proof 1

May 13, 1944
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Stevan Dohanos’s mailman seems determined to uphold the Unit- out abstract qualities and design. It simply is not true,” Dohanos said.
ed States Postal Service motto: “Neither snow nor rain nor heat nor “No matter how much an artist copies a subject he is still ‘designing’
gloom of night stays these couriers from the swift completion of their it in terms of size and color, and giving it unique character with the
appointed rounds.” Seen from behind as he walks his route under the infinite number of things he leaves in or takes out.”
shelter of an enormous umbrella, the mailman portrays an everyman
completing the work at hand no matter the challenges. As seen here,
a symbolic figure viewed from the rear has long functioned as a
stand-in for onlookers themselves. We march along with Dohanos’s
mailman, whose satchel is weighed down with the remainder of his
deliveries. Note how the artist frames the figure with narrative and
graphic clues. Set in a bucolic suburban neighborhood inspired by
Westport, Connecticut — the town where both he and the Famous
NOW YOU TRY IT!
Artists School resided — the composition includes a bright red fire
t h e sy m b o l i c n a r r at i v e
hydrant on the right balanced by a red-roofed home and blossoming
magnolia tree on the left. “Do not feel that realism in a painting rules
Create a symbolic artwork that represents you or someone
you know. Choose one of the following approaches, or
experiment with both.
Jump Off Stevan Dohanos’s Pictorial Design

• Draw inspiration from Dohanos’s compositional structure
by drawing or painting a central figure with his/her back
to the viewer. Is your subject on the job, like the artist’s,
or engaged in another activity or task, such as looking
at a painting in a museum, running for a bus, or entering
a room?
• After you’ve decided on your scenario, surround your
figure with details that help establish a narrative. Balance
your composition through the purposeful distribution
of color, shape, and form in the medium of your choice.
Design a Symbolic Portrait

• Decide whom your symbolic portrait will represent,
whether yourself or someone else.
• What visual elements represent your subject’s interests,
occupation, place of residence, cultural background, and
aspirations? Your image need not feature a likeness of the
person; instead, construct your piece with thoughtfully
chosen elements in a well-designed arrangement.
• In Dohanos’s design, there is a dominant form surrounded Proof 1 2 T
by supporting details. Use this as a guiding principle for
your artwork.
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REPETITION, VARIETY, AND NOVELTY
In designing an image, Austin Briggs pointed out, the artist has three Briggs tried a number of different poses, from standing to sitting
possible ways to handle the various pictorial elements. One could and squatting, noting that “when one stops to realize the many v
take a shape and repeat it over and over again. A second possibility different viewpoints from which the action can be seen, the possible c
is to take an idea and change it subtly each time it appears, which differences in pose and relationship of forms, the differences in a
gives both consistency and interest to the painting. The third is to lighting effects which might be achieved, it is obvious that the mere b
introduce a completely new element into the composition, which statement of a scene chosen more or less at random is not enough. ti
strengthens the others by contrast and keeps the composition from A variation in any one of these factors could produce an entirely o
becoming dull and predictable. different effect.” Briggs’s final composition features a “coldblooded, s
In this depiction of a coldhearted sniper, Briggs used the setting quiet, and methodical” gunman looking toward an enemy beyond
and props to reinforce the character of the man through a technical the edges of the picture plane. His motif features a triangle set off
arrangement of structure and pattern. He decided that his figure balance on its point. After trying many variations, Briggs realized
must be still yet contain the suggestion of potential motion. Contrast- how much drive he could get in the composition “by bending the
ing with the controlled tension of the man, the background suggests man’s leg and making it join to the rifle barrel to form a triangle.”
the “nervous instability of his emotions,” wrote Briggs.

Austin Briggs
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Studies and final illustration

The Sniper
Ink on paper (studies) and
gouache on board (final).
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The triangle theme is repeated with
variations in the background, and for novelty,
curvilinear lines are formed by tree branches
and by two figures who quietly emerge from
behind. These components contrast effec-
tively with the almost mechanical rendering
of the shooter, creating an interesting and
suspense-filled composition.
Proof 1
91

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Fred Ludekens
Western scene
Ink and gouache on paper
In this striking study for a Western illustration, Ludekens

used black ink on colored paper to delineate strong
geometric shapes that create visual interest. The black-
ened rectangles of the door and windows repeat and
move the viewer’s eye across the composition, while Norman Rockwell
the rectangular roof offers variety. A pattern of bright Going and Coming, 1947
whites moves across the picture plane, calling attention Cover illustration for The Saturday Evening Post,
to the three hunched figures at its center, leaving little August 30, 1947
question of what the artist wishes you to see. “I am not Oil on canvas
trying to duplicate nature, I am trying to make a picture,”
Ludekens wrote. “I am very conscious of this pattern In Rockwell’s Going and Coming, we see the before and
because I make it the structure of my picture.” the after of an imagined event—a family’s summer outing
by the lake. Clues abound for the reader’s enjoyment
in unraveling the story line. The use of a split canvas
to juxtapose a time or place effectively invites com-
parison between the two scenes. This technique is
employed by Rockwell in only two other covers, and is
derivative of a comic strip’s use of a series of frames to
Proof 1 2 T
tell a story. In this case, parents, children, and even the

dog are repeated top to bottom with variety, but
the stalwart grandmother remains steady, connecting the
top-right and bottom-left portions of the painting.
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Proof 1
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A
S
b
T
Proof 1
M
P

16/2/17 3:48 PM
6 DRAWING
THE FIGURE
The human form has been a central focus of artists through
the centuries — compelling to observe, people and their actions
carry meaning in any artwork. Portraying the figure in motion
and in space, casting and working with models, and creating
photographic reference for your art are themes explored in this
chapter in lively detail. An intimate knowledge of the figure was
essential for each of the Famous Artists, who relied upon their
characters to convey narrative and emotive content.
In his graceful sketch of a leaning man (opposite), Briggs describes form by emphasizing
the curvature of his back and showing the volume of his body in the horizontal wrinkles
of his jacket. A loosely cast shadow on the back of his head, and on the left side of his
arm and trousers, gives the sense that he is a three-dimensional being.
Austin Briggs
Study for Crisis in the House
by Ralph Knight,
Proof 1
March 12, 1949

Pencil on paper

16/2/17 3:48 PM
CASTING AND POSING YOUR CHARACTERS
After composition, what determines the success or failure of an director’s job,” Rockwell wrote. “Before a model even attempts to pose
illustration is the action and expressions of the characters. And why for me, I tell him the story I want my picture to tell because I want
not? The human figure is one of the most fascinating and rewarding him to understand what I am trying to do, what I am trying to convey.
subjects any artist can tackle. Few things interest us more than the Then, I get into the pose myself and show him how I think it should
men, women, and children we see around us. The liveliness and be done.” The camera captured countless necessary details, from the
energy in the vast majority of artworks by the founding artists are subtleties of facial expression and body language to the folds of a
directly related to their skill at making characters true and believable. model’s dress. This all but eliminated repeat modeling sessions
We, as viewers, can almost hear whispers, shouts, laughter, and and high professional fees, an advantage in a deadline-driven field.
weeping because of the actions and expressions of the characters — “Now anybody could pose for me,” Rockwell said. Photography’s
no words are needed. spatial ambiguity, oblique angles, extreme perspectives, and cropped
Artists cast their characters as carefully as any stage or movie edges offered new ways of seeing, and choice photographic reference
director, for an illustration must capture a moment in time. So, could be retained and filed away for future consultation.
very early on in the process of creating an illustration, artists take Rockwell’s Post covers generally derived from his imagination or
time to consider the individuals who will bring their work to life. were inspired by scenes that he had witnessed and remembered, but
With an eye on the visual narrative, Norman Rockwell went to Saying Grace was one exception. In the fall of 1951, the artist received
great lengths to populate his images with just the right models, a letter from a woman in Pennsylvania who described something that
or types. Unlike other artists who engaged professional posers, she observed in a Philadelphia Automat restaurant. Seated at a table,
Rockwell hired his family, neighbors, friends, and fellow artists to she observed a young woman with a little boy of about five. They
act out the characters in his paintings to great effect. Following a walked by her with food-laden trays, situating themselves at a table
series of thumbnail sketches in which his concept and composition where two men were already seated, “shoving in their lunch.” Despite
were sealed, he scouted models, costumes, props, and locations, this, the young woman and boy folded their hands, bowed their heads,
and captured the essence of character and expression in nuanced and said grace.
black-and-white photographs — sometimes up to 100 for a Post As shown on the following spread, Rockwell used this description
cover. “Directing models so you can get the right poses for your as a jumping-off point.
pictures is an art in itself, and is somewhat akin to the motion picture
Norman Rockwell
Saying Grace, 1951
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November 24, 1951
Oil on canvas
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d
t
e
s,
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Rockwell hired a photographer to take photos from inside a Horn the actual incident and then seeing how Rockwell developed it is an
& Hardart Automat in New York City, ultimately deciding on a view interesting study. He adjusted the age of the woman and emphasized
of industrial buildings in Rensselaer, New York. Earlier versions of each diner’s reaction to a moment of prayer in an unlikely setting.
the scene through the window were busy with storefronts, cars, buses, A stickler for detail, Rockwell ensured that what he did not have on
and people. Rockwell likely found this to be too distracting; he substi- hand could be borrowed, purchased, or rented. In this case, the chairs
tuted the natural gray tones of structures shrouded in smoke, which and tables were brought to his Arlington, Vermont, studio from a
allowed them to blend away in the background. Hearing the facts of New York City Automat, and returned when the project was done.
(Near right)
Industrial setting in
Upstate New York.
(Far right)
Modeling sessions in
Rockwell’s Stockbridge,
Massachusetts, studio.
(C
Ja
in
M
(Near right)
Platform constructed N
to situate models w
against the windows S
in his Stockbridge, st
R
(Far right) st
New York City scene
from Inside Horn & Ta
Proof 1
Hardart Automat in H
Times Square. N
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d
Gene Pelham
(1909–2004)
Photographs for
Saying Grace, 1951
November 24, 1951
(Clockwise from above left)

Jarvis Rockwell and friend
in Rockwell’s Stockbridge,
Norman Rockwell directing

wife Mary Rockwell in his
Stockbridge, Massachusetts,
studio.
Rockwell poses with table

still life.
Table and chairs from the

Proof 1
Horn & Hardart Automat,

New York City.
99

16/2/17 3:48 PM
Here is Austin Briggs’s approach to character development in his characteristics of the two people. The little girl was easy to cast, w
art. “My first step is to find the person who seems to fill the role most but it was harder to find the perfect person to play the grandfather. c
naturally. The more closely I can cast a character, the more likely my Briggs finally decided on an actor who, he said, “was the author’s re
model is to understand the situation and the problem. She will react character personified. I could never have faked the bulk or movement w
to the situation emotionally far more accurately than I could ever of his figure without having seen him in action.” m
direct her to react. Her appearance, her pose, her facial expression Once he had found his models, he worked through many possibilities
will all be real, honest, and convincing.” Briggs believed that artists searching for a pose that would instantly make clear the loving m
should take their inspiration from real-life situations, real people relationship between the two characters. But the relationship was not m
acting out actual emotions rather than relying on their imaginations. the only factor; the pose had to contribute movement and action to in
He said, “If [the artist] lets the subject itself, taken straight from the scene he had chosen to depict. As he sketched various poses, he s
nature, dominate his thinking and planning, his picture is bound to wanted the two figures to make a forceful composition as one unit,
have a fresh and novel approach. It will be filled with seeming ‘acci- so that this shape would relate to all the other shapes in the design s
dents’ — unique, authentic touches which will contribute a feeling of of his picture. fr
genuineness and conviction.” The pose he decided on, below left, reveals the devotion between in
To illustrate a touching story about a little girl and her beloved the characters and has a beautiful, rhythmic shape. The little girl’s p
grandfather, Briggs first had to find models who would embody the elbow and leg repeat the form of the duffel bag over the man’s shoulder, o
Proof 1 2CT
Austin Briggs
Studies and final illustration for The Saturday Evening Post, 1950
100

7/3/17 3:53 PM
while her chest line echoes the man’s leg action and the line of his than the pose I originally had in mind.” Parker used both professional
coat to set up a contrary rhythm. Briggs wrote, “The child’s legs and amateur models. The essential factor was the model’s ability to
reminded me of a pinwheel, which is synonymous with motion.” It interpret the character as the artist described it.
t was important to the picture idea that the characters were believably In choosing his models, Parker looked for individuality as well
moving together through the scene. as the glamour appeal required by the women’s magazines and
s Briggs found this background for his figures in National Geographic advertisers of the day. He highlighted the unique characteristics of
magazine, in an article about the Caribbean. “The figures can now his models to lend variety and interest to his illustrations. If a story
t move not only through the picture space — I have also suggested space called for a brunette, he looked for a model with that hair color. As he
in which they can move beyond and out of the picture,” he wrote. The said, “Then the various lights and color changes in the hair will bring
striped doors in the composition provide interest and movement. truthfulness to the job.” In addition to the flexibility provided by paint-
Although Al Parker used photography to capture characters and ing from the model, this approach allowed the artist to arrange props
settings, he preferred to work from life. “I find drawing and painting and lighting to suit the mood and composition of the final piece.
from the model a real joy,” he said. “When you have the person sitting
in front of you, you see color qualities in the face that are lost in a
photograph,” he said. “Then, too, a live model during a rest period will
r, often fall unconsciously into a position that’s much more interesting

Story illustration for
One Last Chance,
by Shirley Jackson,
McCall’s, April 1956
Gouache on board
In Parker’s illustration, a
weary mother faces her
teenager’s room armed
only with a dust mop
and old-fashioned elbow
grease. Despite the
blank text box — Parker
sometimes did not paint
areas that he designated
for type to save time —
we sense the heaviness
of the figure, who leans
on her dust mop as if
bracing herself for the
work at hand. This clever
double-page spread
illustration separates the
woman from the clutter
by the gutter of the
magazine, which would
Proof 1
have fallen in the center

of the image.
101

16/2/17 3:48 PM
THE EXPRESSIVE FACE
Believable figures, no matter how well drawn, cannot tell a story alone. the eyebrows, and that the eyes are situated in about the center of the
The face is a compelling center of attraction in art, inspiring viewers to head. In each vignette, the artist has added details that carry weight,
laugh, cry, and empathize with the characters portrayed. Honing your authenticity, and emotional content.
powers of observation is paramount — watch people’s reactions in dif- “The human face is a very mobile affair and can be contorted by
ferent situations and study yourself in a mirror. One thing you’ll notice talented muscles into mugging of an astonishing range,” said Jon
immediately is that one part of the face almost never acts alone. There Whitcomb. “There are thousands of ways of showing laughing, crying,
is always a related action from other facial muscles, for when the mouth flirting, screaming, and pouting, but the same sets of muscles work in
laughs, the eyes and eyebrows become more expressive, too. various combinations to register them all.”
In the drawings below, Al Dorne explores a variety of animated Whitcomb notes that a good way to explore expression is to try
facial expressions, from surprised to seductive. He’s developed each out a range of possibilities in front of a mirror. “In doing this you will
head as a solid form in the shape of an egg that is intercepted by find that various changes occur in muscle structure. In laughter, the
four convex horizontal lines — one for the eyebrows, eyes, nose, and cheek muscles become more prominent and dimples may appear. In
mouth. A vertical line passes right through the center of the “egg,” frowning, the forehead muscles are involved and will show creases.
intersecting the forehead and dividing the eyes, nose, mouth, and To show doubt or disbelief, some people raise one eyebrow, and this
chin in equal sections. Notice that the ears extend from the line of has become a standard cliché to register skepticism.”
Proof 1 2C
Al Dorne
Development of a face
Pencil on paper
102

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Jon Whitcomb
The Man with 3 Faces
by Mona Williams
Jon Whitcomb
Facial expression studies,
Proof 1
disbelief and amusement

Pencil on paper
103

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The smiling image (opposite) was the first appearance of a was, “How are those grandchildren, General — pretty nice, eh?” It was
Norman Rockwell portrait on the cover of The Saturday Evening Post, the smile after this remark that Rockwell captured for the cover. The
published in 1952 when Dwight D. Eisenhower was the Republican two men continued talking, first about painting — Eisenhower dabbled
candidate for the American presidency. In addition to the cover in oils — then about the imminent fishing trip. The conversation
portrait, the Post published Rockwell’s account of his session with eventually turned to the presidential campaign, which elicited a
Eisenhower, titled The Day I Painted Ike, which featured five portraits completely different reaction, published with this caption: “The
of Eisenhower and a portrait of his wife, Mamie. campaign? Instantly, he was deeply serious. No punch-pulling for
When Rockwell arrived in Denver for the modeling session, he said him! He’d rather lose the election than not tell the people just what
Eisenhower’s “eyes were far away.” He thought the general might be he thinks.” No matter how famous his subjects, it was not unusual
thinking about the fishing trip he was scheduled to make after the for Rockwell to coach and coax his models to elicit the reactions
session. In an attempt to get a smiling Eisenhower, Rockwell threw he was seeking. A full range of expressions was quickly captured
out a few remarks. The one that most changed Eisenhower’s expression in photographs that served as his visual reference.
Norman Rockwell
Portraits of
Dwight D. Eisenhower, 1952
Illustrations for
Proof 1 2 T
The Day I Painted Ike,

October 11, 1952
Oil on canvas
104

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Proof 1
105

16/2/17 3:48 PM
Of the neighbors and friends who became
models for Rockwell’s illustrations like
The Gossips, the artist said, “I look at my
neighbors’ faces and I drool. Rembrandt
would have gone wild with joy at them.”
The expressive qualities that Rockwell
admired are reflected in the animated faces
of his Arlington, Vermont, neighbors, who
pass along and elaborate upon a bit of
hometown news. His composition draws a
diagonal line from the top-left corner of the
composition to the bottom right — the woman
who starts all of the trouble gets caught
in the end by Rockwell himself. Post editor
Ben Hibbs assumed that Rockwell exagger-
ated for effect, but in examining his reference
photographs, found that his painting did not
stray far from reality.
(Top right)
Gene Pelham
Photographs for
The Gossips, 1948
March 6, 1948
Photomontage by
Ron Schick
Norman Rockwell
(Right)
Study for
The Gossips
Charcoal on paper
(Opposite)
The Gossips, 1948
Proof 1
March 6, 1948
Oil on canvas
106

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Proof 1
107

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(All images on this page) (B
Austin Briggs A
Studies of a seated man H
Charcoal on paper
W
Austin Briggs noted of th
this sketch of a man’s ke
face: “This tells the emo- b
tion.” Although the figure is
in the full drawing is th
tense and ready to spring
into action, the drama is
indeed concentrated in
his expression.
Study, Two Women

Talking
Pencil on paper
In this drawing, Briggs

has captured emotion
and expression not
only on the faces of the
central characters but
also on those of the
ancillary figures in the
background. The artist
uses diagonal lines to
establish the appropriate
scale and perspective of
supporting characters
that are assembled
around, but not engaged
Proof 1
with, a lively conversation

between two friends.
108

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He Raised His Glass and Filled Her with Horror
When Al Parker composed this illustration, he arranged all the elements so that
the girl’s face would be the center of interest. He said, “I isolated [her] face by
keeping the background dark against her black head covering. No matter how
busy the arrangement below, you look at her first. . . . The expectancy in her face
is one of horror mixed with determination to carry out her plan [of poisoning
the man].”
Stevie, 1956
Illustration for Stevie
by Norman Struber
McCall’s,
January 19, 1956
Gouache and collage
on board
In this compelling work,

a young girl pokes her
head out of an artfully
designed visual crack
in the composition. She
stares intently at a reality
that lies beyond the page.
The intensity of her gaze,
bright blue eyes, and
strong cast shadow call
attention to the only part
Proof 1
of the child that we fully

see — her face.
109

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Robert Fawcett
Fortune Teller and Gunman
Pencil and colored pencil on
paper
Here, Fawcett portrays

a gunman threatening a
fortune-teller. The defiance
in her expression and the
menace in the face of the
figure moving in from the
left tell the story without
the need for words.
Soldier and Onlookers

Ink and gouache on board
The expressions and

attitudes of the onlookers
in this Robert Fawcett
illustration tell us that
Proof 1 2 T
something momentous is
happening, even before
we notice the gun in the
soldier’s hand.
110

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Al Dorne
Facial Expressions
The Head and Hands,
Famous Artists Course,
Lesson 5
Al Dorne observed that

a sneer and a look of
disdain are both indicated
by an upturned and
averted face, with eyelids
partly closed, and a twist
of the mouth to the side,
or pointing down.
NOW YOU TRY IT!

s t u dy i n g fac i a l e x p r e s s i o n s
Choose one subject — whether a friend, family member, or colleague — whom you
can observe over the course of several hours. Request permission to photograph
him or her throughout this period.
• Observe and carefully document a range of facial expressions that occurs
naturally, from subtle to dramatic, much as the illustrators of the Famous
Artists School have done.
• Capture your subject’s expressions in simple, candid reference photographs
taken with your digital device or with any camera.
• Use these photographs as the basis for a series of line or tonal drawings
that examines the unique qualities of your subject’s face in animated motion Proof 1 2 T
— whether calm, amused, pensive, tense, agitated, or more. Consider the
ways in which facial features react as a whole when expressing emotion.
111

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HANDS, GESTURES, AND BODY LANGUAGE
How does the body communicate in art? As important as facial clear that this figure, perched on a rocky incline with one arm thrust
expressions are, their impact is enhanced and carried forward by into the air and the other set for stability, is in trouble and asking for
the expressive gestures of the hands and body — by the “language” help. In contrast, spontaneous flowing lines capture the attitudes of
of the human form itself. the figures in the rough sketches shown opposite, created in pencil
In the sketch below by Austin Briggs, additional details are not and ink, communicating a sense of relaxation and languor.
necessary to give us a sense of what is going on. It seems abundantly
Proof 1
112

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Austin Briggs
Figure studies, c. 1948
Pencil and ink on paper
(Opposite)
Figure on rocks
Ink on paper
Proof 1 2C
113

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In these Austin Briggs studies, the casual
body language of the men in the group at
right gives a sense of ease and congeniality,
whereas the stances of their younger coun-
terparts, below, infer tension and separation.

Austin Briggs
(Above)
Figure studies
Men Talking
Charcoal on paper
(Right)
Figure studies
Young Men in Group
Pencil and colored
pencil on paper
Proof 1 2C
114

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A Matter of Life and Death
Study (left) and final (below) illustration for
Cosmopolitan, June 1947
Oil on board (final)
When Briggs accepted this assignment, the art director

wanted him to illustrate the subtitle of a fiction story that
read, “He could not remember clearly what happened;
but one thing was starkly plain: a man had been killed,
and soon the police would be looking for the murderer.”
Note the heaviness of the figure and the weight of the
arm and overturned hand, which seem to weigh the
lifeless body down. “The flat horizontal of the figure in
a calm state in itself suggests no movement, although
a sleeping figure might well have an arm over the side
of the bed as I’ve painted it,” Briggs wrote. “I wanted to
make very sure the figure could not move and accented
the vertical of the arm with the repeated line of the bed
covering at right.”
Proof 1
115

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Austin Briggs
“I’ve come from Cat Track Holler to talk to you boys.
I want you to earn your pay and hark me!”
Story illustration for The Six Strangers,
The Saturday Evening Post
Study, charcoal and pencil on paper
Final painting, gouache and pencil on board
In this color sketch, Briggs uses the gestures of his

figures to bring a crowd scene to life as a woman makes
her way through the masses, undeterred by the man
who tries to hold her back. Notice how expressive the
hands of the central characters are.
Jon Whitcomb
Hand studies
Ink on paper
Proof 1 2CT
Of hands, Whitcomb wrote: “Next to faces, people seem to notice hands most in illustrations, and there is a widely
held belief that hands are a better indication of character than faces.” Of course, in Whitcomb’s case, most of his
illustrations involved men and women with impeccably groomed hands. Note the careful arrangement of the graceful
fingers in these studies—they are strong graphic elements that convey the character and status of his subject.
116

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Jon Whitcomb
with Marriage in Mind
Proof 1
by Janet Adams,
McCall’s, July 1954
117

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“You can express any human emotion
with hands,” Rockwell wrote. “In my picture,
Freedom of Worship, I depended upon the
hands alone to convey half of the message I
wished to put over.” In Rockwell’s painting,
hands help convey the unique qualities of
each individual in great detail. A masterful
technician, Rockwell advocated for learning
to draw hands well, noting that “there is a
saying that you can tell how good a drafts-
man an artist is by the hands he draws and
there is some truth in this. . . . Hands are
difficult to draw and paint but you will be
well repaid for all the time and effort you
put into doing them well.”
For Albert Dorne, drawing hands was,
perhaps, his favorite part of making an
illustration, and he was known for the
exceptional hands he created. He drew
hands with great personality and character,
and often used them to convey the narrative
of a story. In the studies opposite, we see
how Dorne animates his story illustration
with articulated arms and hands, indicating
volume with concentric ovals and exaggerat-
ing reach and movement for special emphasis.
(This page)
Norman Rockwell
Freedom of Worship, 1943
Illustration for
February 27, 1943
Oil on canvas
(Opposite)
Al Dorne
Studies [hand] for
illustration for
Proof 1 2 T
The Kid’s in Town

by Charles Einstein,
Collier's, January 10, 1953
Studies, pencil on paper
118

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Al Dorne
Figure studies,
Pencil on paper
T 3C
Proof 1 22CT
119
Drawing Lessons_094-125_11803_C3.indd 119 11/3/17 11:29 AM

7/3/17 5:49 PM
Text GSC DTP: GLP Page: 119
As an acute observer of human physiognomy and individuality, T
Dorne created memorable characters whose body language was p
both amusing and compelling. Note his method of drawing clothing th
over the structure of the figure, which is revealed beneath. th
Dorne believed that “if you have mastered the craft of drawing, you th
are on your way to making good pictures.” He used strong outlines h
to emphasize a figure’s silhouette and diagonals to describe form tr
and volume, as in the folds of clothing that emphasize the anatomy.
o
(All images this page)

Al Dorne
(Above, near right,
and far right)
Figure studies, c. 1948
Pencil on paper
(Below left)
Advertising study
Pencil on paper
Proof 1 2C
120

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The drawing of a boy leaning in with hands on knees (opposite) is well Step 1: Spacing and Placing. Sketch in the action and approximate
proportioned and recognizable as a child — his head appears larger the area of the hand, loosely capturing each part as it appears.
than that of an adult in relation to the rest of the body. According to Step 2: Solidarity of Construction. The block method of drawing
the Famous Artists Course: “At the age of four, the child is about half the hand, utilized by Norman Rockwell’s anatomy teacher George
the height of an adult. At the age of twelve, about three quarters the Bridgman, defines the planes and surfaces of the hands and fingers.
height. As the child grows older, the size of the head, in relation to the Step 3: Details. Carefully draw the details of the hand and fingers,
trunk, changes. At the age of twenty-five, the figure is full grown.” erasing the marks from steps 1 and 2 as you proceed.
The information-filled page from the Famous Artists Course, below, Step 4: Planes of Light and Shade. Observe and capture areas
outlines a four-step process when drawing hands: of light and shadow on the hand’s form, being careful not to lose
the forms already delineated.
NOW YOU TRY IT!

d r aw i n g t h e h a n d
The Famous Artists Course advised

students to see, observe, and remem-
ber as they drew. Use the methods
above to study and draw a hand from
life, either a model’s or your own.
• Capture its position with a
quick sketch.
• Block in the top, side, and bottom
planes of the hand and fingers.
• Draw the details of the hand, such
as folds of skin and indications of
bone structure beneath.
• Notice and indicate how the light
that is cast upon your hand also
creates shadows. Emphasize
the contrast of light and dark
to establish a sense of volume Proof 1 2 T
and form.
121

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THE FIGURE IN MOTION
“Whenever possible,” wrote Austin Briggs, “I study the action or Natural, convincing action is yet another key to successful ri
activity I am illustrating, so that I can be sure my characters look illustration. Viewers must be able to “read” the story or incident R
and move as convincingly as possible. . . . Suppose you are planning with one quick glance at the figures in motion. If they look awk- s
to draw a picture of men planting a tree. It would be easy to fake the ward — or, worse, unrealistic — the impact of the illustration is lost. th
action, of course. But it is much better to go out and watch men doing The founding artists often worked from photographs to achieve as c
the job. Then you will know much better how it is done, and you will much authenticity as possible. As Austin Briggs said, “If . . . you are
have a much better chance of finding an interesting and provocative portraying an action scene, make sure you photograph your models
approach to the subject.” actually in action. It’s nearly impossible to predict what will happen
Briggs also saw the value of drawing the figure in total, even if just to clothes — or to the body either, for that matter — in real action.”
a portion of it appeared in his final illustration. He planned to use Norman Rockwell embraced that method of working, as illustrated
the pose below for a partially hidden figure, but felt it was “essential in Liberty Girl, a determined World War II worker who is ready
to draw the whole . . . so that it would be soundly constructed from the to take on any task. In both Rockwell’s photograph and his draw-
ground up.” ing (opposite), the model is propelled forward in motion, and her
Austin Briggs
Man Planting
Ink on paper
In this drawing, Briggs

captured the gesture
of his subject and made
separate, more detailed
studies of a hand holding
a branch, and of the
branch itself, to depict
visual information.
Briggs’s bending figure
is “drawn through” with
lines that encircle the
Proof 1 2 T
body, emphasizing
volume and the
form beneath his
subject’s clothing.
122

7/3/17 4:30 PM
right upper arm echoes the position of her angled back. Note how
Rockwell propped up his model’s leading foot on a shovel to empha-
size the idea that she is in motion. This was a frequent approach for
the artist, who also used books to raise his models’ heels and toes to
create an exaggerated sense of movement.
Norman Rockwell
Liberty Girl, 1943
Photo and cover study for
Proof 1
September 4, 1943
Charcoal on paper
123

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A
M
P
H
ca
in
T
ta
th
m
fr
T
th
an
p
al
to
n
th
le
to
a
an
Robert Fawcett
Advertising studies for Ice Cutter
Charcoal, pencil, and conte crayon on paper
In this series of studies portraying a nine-

teenth-century New England ice cutter for
an advertising illustration, Robert Fawcett
emphasized motion and effort by capturing
his subject in mid-cut, bracing himself for the
forward-leaning effort. The artist used tracing
paper to modify and refine the movement of
the figure in a layering technique that retained
his overall intention while allowing him to make
subtle changes. Note the differences in arm,
hand, and leg positions and, most especially, the
angle of the man’s head, which is tilted downward
Proof 1
in his more refined drawing to emphasize his focus

on his work.
124

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Al Dorne
Magician
Pencil on paper
Here, Dorne employs

carefully chosen details
in order to animate his
subject. This magician
has just taken the iconic
pose of the conjurer
about to make something
appear from the hat on
the table. The swing of
his cloak, the folds in his
sleeves and trousers,
even the position of
his hand, all alert us to
watch closely to see what
will happen next. The
diagonal of the magician’s
extended leg flows into
his angled torso and
head to create a sense of
movement and drama.
NOW YOU TRY IT!

c a p t u r i n g f i g u r e s i n m ot i o n
Take a sketchbook and some drawing materials to a public

space, such as a park, shopping mall, or museum filled with
people in dynamic motion. Capture the essence of one
or more figures, whether walking, jogging, or engaged in
animated conversation, by quickly sketching action lines
representing their positions and gestures.
• Focus on the sweeping direction of their movements, rather
than anatomical detail, by creating simple line studies.
• Choose the drawing that most successfully captures
movement, and gradually refine and build upon it by
adding volumetric form and tone. Be sure to retain Proof 1 2 T
the qualities of movement and spontaneity that were
originally evident in your work.
125

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Jo
B
C
G
Proof 1
M
G
Drawing Lessons_126_143_11803.indd 126 16/2/17 3:54 PM

Drawing Lessons_126_143_11803.indd 126 Job: 11803 Title: #218076# Drawing Lessons From The Famous Artists School (Rockport)
16/2/17 3:54 PM
7 AN EYE
FOR COLOR
In the eyes of the Famous Artists, color — unlike the more
tangible elements of line, form, value, and composition — is
greatly dependent upon imagination, ingenuity, and taste.
Color’s creative uses, as well as thoughts on what color is,
how to organize it, and how to employ it for greatest impact,
are considered in this chapter.
Jon Whitcomb
Boy at Party
Good Housekeeping,
Proof 1
March 1940
Gouache on board

16/2/17 3:54 PM
THE BASICS OF COLOR
Color, said Peter Helck, is personal to each T

individual artist. “You may feel an instinctive
love for the sensuous richness of exotic color
— pungent deep-toned reds and oranges, hot
greens and mellow earth hues. Or you may
feel in perfect accord with the cool grays,
greens and blues such as you encounter on
a hike through the hills on a misty, sunless
spring day.”
That said, artists make color choices not
just based on instinct but also with knowledge
of the effect that colors have on one another,
and on the mood and message of their work.
A festive, happy scene requires bright, high-
key colors, as in Jon Whitcomb’s image of
a birthday celebration and the enthusiastic
youngster being served an ice cream sundae
by an unseen figure (page 126). More somber
subjects are better communicated with low-
key neutrals and quiet tones.
Before learning when and how to use color
to best effect, it is important to understand
three important dimensions: hue, value, and
intensity.
Hue is the term we use to name a color.
Yellow, blue, green, violet, red-orange, and so
on, are different hues. When artists speak of
“warm” and “cool” colors, they are referring
to variations in their hues. In general terms,
any color can be warmed by adding yellow,
or cooled by adding blue — two essential
primary colors. A
A
S
G
A
ve
p
d
Jon Whitcomb co
Boy Reading in
Cover illustration for Good Housekeeping, January 1941 co
le
In this portrayal of a young boy reading, Whitcomb e
Proof 1
utilizes a palette of black, white, and gray accented h

with red, which brings attention to his subject’s face. th
128

16/2/17 3:54 PM
Value is the lightness or darkness of a color. Artists look at their
subject and decide which area is lightest and which is darkest. The
other areas of an artwork will be related to these two extremes and
must be carefully controlled so that the desired effect is achieved.
Intensity refers to the strength or purity of a color. Colors straight
from the tube are of maximum intensity, but it’s rare to use them that
way. Rather, in order to create a range of subtle and varied colors,
artists use black, white, gray, or a complementary color to weaken
intensity.
The color wheel, a diagram of primary, secondary, and tertiary
colors, was first designed in 1666 by English physicist and mathemati-
cian Sir Isaac Newton (1642 – 1727). Colors across from each other on
this circle of hues, such as red and green, are called complementary
colors and are most unlike or opposite each other; they can be
combined to create a sense of vibrancy and visual excitement. Those
next to each other on the color wheel, such as blue and violet, are
analogous colors; they are more congruous and can be combined
to create the impression of harmony or a sense of calm. The primary
colors of red, yellow, and blue cannot be created by mixing other
colors. The secondary colors of green, orange, and purple are created
by mixing two primary colors. Tertiary colors are made by mixing a
combination of primary and secondary colors.
Al Parker said, “Color is a game — have fun with it!” However, he
also cautioned that artists must have a plan for color use. Your feeling
for color may be instinctive, but balancing hues, values, and intensities
to get the result you want requires planning.

Always with Me, 1942
Story illustration for The American Magazine, July 1942
Gouache on board
Al Parker’s You’re Always with Me is designed to con-

vey harmony and connectivity, both in the intertwined
postures of the couple and in the choice of colors. The
dominant red and blue are in close proximity on the
color wheel, and each is used in different values and
intensities within the composition. For example, the
color of the man’s bright blue jacket appears in a softer, Proof 1 2 T
less saturated variation in the wallpaper, a unifying
element. The woman’s shoe, the stripe of her shirt, and
her lips are the same red hue, moving attention toward
the most important center of interest — her face.
129

Drawing Lessons_126_143_11803_C2.indd 129 Job: 11803 Title: #218076# Drawing Lessons From The Famous Artists School (Rockport)
7/3/17 4:38 PM
The founding artists advised students
to train the eye by carefully observing the w
variations of color in nature and the environ- o
ment, and becoming familiar with the effects v
of different kinds of light. For example, no- m
tice the color differences in the two paintings to
on this page. In the first, the barn casts a cool, th
bluish shadow over the fence and farmer at b
a transitional time of day. Only parts of the d
grass, rocks, and tree are struck by direct a
warm sunlight. In contrast, a second version th
of the same scene shows how it would look F
in direct sunlight. To create this effect, you to
would use warm colors such as red, yellow,
and orange in the light-struck planes. The
shadows contain cool blue and violet tones.
F
C
A

Proof 1 2 T
Artist unknown
Famous Artists Course
Color studies
Acrylic on canvas
130

7/3/17 4:41 PM
NOW YOU TRY IT!
Below are other examples of the effect of s a m e s c e n e , d i f f e r e n t t i m e o f day
warm and cool colors — and, thus, the effect
of light — on an outdoor scene. For the first Working from life in any color medium of your choice, identify a scene that you can
version, to create a sunny effect, yellow was study in two distinctly different kinds of light—whether early morning, midday, twilight,
mixed into other colors on the palette. The or night. The image can represent nature, as in the artworks below, or be drawn from a
top row of colors shows the pure pigments; more urban or domestic setting featuring objects, buildings, or people bathed in light.
the bottom row shows how they look with a • Carefully observe your scenario at different times of day, making simple color
bit of yellow added. In the middle painting, notations for each without focusing on the creation of form. These should repre-
depicting an evening scene, the artist added sent both the dominant colors in the scene as well as those in a supporting role.
a small amount of blue. Again, you can see Notice the pattern of light and shadow that falls across your setting, as well as
the differences in the two rows of hues. areas that are warm and cool.
Finally, the artist added gray to each color • Using two identically sized papers, canvases, or boards, sketch in your scene
to produce a cloudy or rainy effect. on both.
• Working directly from observation, mix colors to represent the given time of
day. Bear in mind that, as demonstrated in this section, yellow warms colors
and blue generally cools them.
• When your artworks are completed, place them side by side to see if they truly
represent the unique qualities of light and color observed at different times of
day, and adjust as needed.
Color studies
Acrylic on board
Proof 1

16/2/17 3:54 PM
MAKING COLOR CHOICES
Whenever you use one color in a painting, it will always be

affected by the colors around it. Painting is actually a process
of making constant adjustments of hue, value, and intensity.
In the two stages of the still-life painting (below and opposite), we
see the subtle choices that the artist made to give each object its
local color — an object’s natural color without the effects of light,
shadow, and reflection — while maintaining harmony and visual
cohesiveness among all the elements. In the earlier stage, areas
of color, light, and shadow are defined. In the final version, highlights
and reflected light have been added, and the wall has been grayed
to keep it in the background.
(Both images on this spread)

Artist unknown
Color studies
Acrylic on board
Proof 1
132

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Proof 1
133

16/2/17 3:54 PM
Here, we see the available color options in creating a successful
rendering of a landscape photo. Before starting to paint, the artist
carefully noted where the strongest yellows and oranges were, the
variations of greens, and the receding colors of the distant moun-
tains. The final painting reflects these skillfully observed colors, as
well as the simplification the artist felt would improve the picture.
(Both images on this spread)

Artist unknown
Color studies
Proof 1

Acrylic on board
134

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Proof 1
135

16/2/17 3:54 PM
Al Parker planned his color schemes in advance. He said, “An sketch before doing a color composition,” Parker wrote. “I use it as a
illustration in color does not have to be lush as a rainbow to be guide to keep the colors in their proper values.”
effective. I usually play up one, two, or three colors, leaving other On the opposite page, Parker has narrowed down his palette
colors to back up my composition.” even further. The large expanse of white, which serves to focus our
In the illustration below right, Parker used variations on the color attention on the face of the recumbent woman, is surrounded by a
green and its complementary (or opposite) color, red, throughout cool array of blues and greens. A few touches of red and yellow keep
the composition. Touches of yellow and soft browns lend unity and the color scheme from being too monotonous and connect the three
support to the principal colors. “I quite often make a black and white women in the scene.

Man Reading on Couch
Glancing at Woman
Pencil sketch and final
illustration
Proof 1
136

16/2/17 3:54 PM
What Makes a
Glamour Girl?, 1939
Illustration for
If Love I Must by
Katharine Newlin Burt
Ladies’ Home Journal,
Proof 1
July 1939
Oil on board
137

16/2/17 3:54 PM
Jon Whitcomb
il
The Affair, 1948
Study for The Affair v
by Elise Jerard, ri
Cosmopolitan, July 1948
Gouache on board
p
u
Of his color choices in
p
this illustration study,
Whitcomb wrote fi
“Rendering colors for o
night scenes involves
considerable lying,
c
especially in scenes like th
this, in which moonlight
H
ostensibly provides the
only illumination. Actually, e
only pale blues are visible th
under such conditions.”
Whitcomb added the
other colors to fulfill what
the viewer would expect
to see. (B
T
N
G
Man and Woman

in Mountain Scene
Gouache on board
In this scene, Whitcomb

said of the girl’s attire,
“I gave her a yellow
sweater, a yellow hood,
and a yellow skirt, which
. . . made a horizontal
contrast to the vertical
Proof 1
feeling I wanted to give

the mountains.”
138

16/2/17 3:54 PM
Whitcomb faced a difficult challenge when creating the story
illustration, below, featuring a hooded woman glancing out at the
viewer— the image would be printed on two pages, but only the
right-hand segment would be published in full color. The left-hand
page would be printed in two colors, black and red. The artist came
up with a solution that allowed him to spread the figure over both
pages while still operating within these color requirements. In his
final painting, only the black scarf appears on both pages, with all
other variations to the right. To heighten the dramatic effect, Whit-
orange-red hair
comb used a mostly red and black color scheme, with just a touch of
darkest black
the complementary color, green, as a highlight under the girl’s chin.
He established the black scarf as the darkest value and the woman’s skin tones
eyes and earrings as the lightest, with midtones distributed

throughout the composition accordingly.
Studies for The Girl with

(Below) the Nasturtium Red Hair
The Girl with the (From top):
Nasturtium Red Hair Silhouette, grayscale,
Gouache on board color block, and color red coat
Proof 1 2CT
139
Drawing Lessons_126_143_11803_C2.indd 139 8/3/17 10:27 AM

8/3/17 10:28 AM
USING COLOR TO EVOKE MOOD, CHARACTER, AND ATMOSPHERE
Beginning in the mid-1930s, Rockwell created color sketches by

photographing his detailed charcoal drawings, and painting in oil
on top of the photo. “I usually start my color sketches by rapidly
painting in the flesh tones of the figures in my picture. I do this
because I find that you can let yourself go in the color of clothes,
props, and even landscapes, but people must look human and
believable,” he wrote. “Of course, the flesh color varies with the
people and lighting in your picture. Naturally, flesh in moonlight,
firelight, and plain daylight is quite different but in a human
interest picture it must be realistic and convincing.”

Norman Rockwell
Game Called for Rain (Tough Call), 1949
April 23, 1949
Study (above) Charcoal on paper; color study (left),
oil on photograph; and final illustration (opposite)
Rockwell established his color palette on a photo-

graph of his original charcoal study, which served as
a structural and tonal guide. Blue is the predominant
color in Game Called for Rain (Tough Call), which
conveys a sense of overcast light and an impending
storm. Warmer colors permeate the composition in
both the color study and the final painting, connecting
the signage and buildings in the lower portion of the
Proof 1
picture to the gear and cloud in the upper center

and left.
140

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Proof 1
141

16/2/17 3:54 PM
Robert Fawcett
A Portrait Reversed [Artist in studio, south of France],
c. 1949
Story illustration for The Saturday Evening Post
Casein and pencil on board
In this story illustration, Fawcett used high-key colors

to evoke the warmth and friendly mood of an artist’s
studio in the south of France. “I tried to keep the
studio light and airy with no gloom,” he commented.
A magenta-violet light suffuses the atmosphere, linking
the composition’s foreground, middle ground, and
background, and contributing to the painting’s narrative.
Story illustration for The Network by Evan John

The Saturday Evening Post, July 10, 1948
Gouache and watercolor on board
Warm but less sunny in feel, this illustration utilizes oranges

and browns to convey a more ominous mood in an insular
domestic setting. All eyes are on the seated woman, who is
clearly the center of interest here. Her face and torso are
the lightest parts of Fawcett’s composition, and she is set
against her darkened shadow, cast behind her. The artist
breaks the scene’s monotony by placing touches of blue
in the man’s collar (left), woman’s sweater (center), and
Proof 1
chair (right), carefully moving the viewer’s eye through

the composition.
142

16/2/17 3:54 PM
Peter Helck
Melt Shop
Pencil and gouache on paper
Helck used color to create both mood and

character in this dramatic scene of men at
work in the melt shop of a steel mill. While
the foreground figures are large in scale, they
are relatively subdued in color, being rendered
in neutrals with just a few spots of the comple-
mentary colors red and green. This arrangement
conveys a sense of stability and the hard, con-
centrated work of laborers in such a setting.
For the focal point of the painting — the fiery
electric furnace in the background—Helck said
he wanted to bring to life “the look of smoke
and fumes being subjected to the hot glow from
the furnace and the vibrating cool blues and
greens from the electrodes. . . . A few touches
of brilliant orange and yellow . . . brushed in to
silhouette the profile of the active furnace.” He
used cool grays to portray the jet of steaming
vapor in the immediate foreground, modeling
his colors with his fingertips.
NOW YOU TRY IT!

c o lo r n ot e s
Write a note to a friend or family member without the use of words by creating
a message that conveys emotion through color.
• Cut six 8 x 8-inch (20 x 20 cm) squares of illustration board as substrates for
this experiment.
• Choose a color medium, whether oil, gouache, or watercolor paint, or a dry
medium like pastel, colored pencil, or oil pastels, with a range of colors available
for direct use or mixing.
• Make a list of six distinct emotions that you may wish to convey to someone else
in a color note — from love and tenderness to anger, frustration, joy, or sadness.
• Without concern for composition or form, let your mind and imagination roam free,
depicting each of the emotions you have delineated individually through the use
of color. Proof 1 2 T
• When you are done, place your color notes side by side to analyze their differences
and the part that color played in communicating emotion. Then share your notes
with friends to see how they interpret what you created.
143

8/3/17 5:34 PM
FAMOUS ARTISTS BEHIND THE SCENES: MATERIALS AND METHODS
In creating a visual language through their art, the Famous Artists

employed a diverse range of materials and techniques to accomplish
A
their goals. This section offers information about the traditional
A
materials they kept at hand — from graphite pencils, ink, and brushes
e
to opaque and transparent watercolor, oil paints, paper, board, and
p
canvas — as well as specific approaches to using them.
p
d
c
JOHN ATHERTON
su
c
John Atherton enjoyed painting in tempera, writing that “tempera
tu
has much greater range, more possibilities, and can be worked over
a
more readily than watercolor without losing its good qualities. It
o
more nearly approaches oil in many respects, yet can be made to
w
appear flat and decorative for use in posters or designs.” The artist
a
was also a master in oils and had a particular way of working, no
th
matter the medium. One technique was to give an entire picture
a wash of tone, called an imprimatura, before beginning to paint. His
th
imprimatura was usually created in a warm color, such as raw sienna.

This wash should never be opaque, he cautioned; rather, it should
always permit the white paper to show through. “It is the glow of
the white through the colors which gives them the life and shimmer
which are sometimes so desirable,” he said.
When working on an oil painting, Atherton achieved softness
by using a “wet-in-wet” technique. He found that the blending of
color and tone could best be accomplished with paint that was
neither too thin nor too thick. He wrote, “One of the best ways to
achieve smooth gradations of tone is to put on the color rather
evenly, not attempting to blend it too thoroughly at first. Then, with
a fairly large sable brush which is dry and clean, very lightly stroke
over the surface, gradually bringing the tones together. I use a flat
sable oil brush about three-fourths inch wide.”
Atherton had another piece of important advice: “Know when
to stop work on a picture. The picture is finished when it says
completely and clearly what it should say. Anything further added
is just excess baggage, so try to recognize the point where you
should sign your name and put down your brushes.”
John Atherton
Book illustration for The Crock of Gold
Proof 1
by James Stephens
Gouache and ink on board
144

16/2/17 3:57 PM
AUSTIN BRIGGS
At the start of a project, Austin Briggs made many composition sketch-

es, usually with a waxy litho crayon or charcoal. He started the painting
process by drawing from those sketches with Winsor & Newton oil
paint and watercolor brushes, using a color that would be one of the
dominant hues in the final version. Briggs usually painted on a panel
coated with gesso — a glue and chalk coating applied to a hard surface
such as Masonite. The same gesso coating could also be applied to
canvas. Gesso had many advantages: it was absorbent and soaked up
turpentine mixed with paint quickly, which speeded drying time and
allowed the artist to layer color or rework sections of the piece. Briggs
observed that “the chalk in the gesso has a tendency to rub off and mix
with the color being applied. This gives the resulting effect consider-
able luminosity and a tempera-like quality. I personally prefer this to
the oily, juicy effect of straight oil applied on the ordinary ground.”
During the first stages of painting, Briggs often used light washes
that were almost transparent. This allowed him to preserve the under-
painting or drawing under the washes until

he was sure that everything was as he wanted
it. He always put in the middle tones first, to
establish the local color — the true color of an
object or a surface as seen in typical daylight.
Then he added highlights for light-struck
areas and dark shadows for areas deprived
of light.
Austin Briggs
Proof 1
Playing Bocce
Mixed media on board
145

16/2/17 3:57 PM
STEVAN DOHANOS A
From props to paint, Stevan Dohanos prepared carefully for every A

illustration assignment, with meticulous research and attention to a
detail. When he was ready to paint, he kept his reference materials d
handy and his props around him until he finished the assignment. a
Efficient in his process and technique, Dohanos took about four o
painting sessions of five hours each to complete a typical illustration. w
He used red sable brushes (in sizes from #00 to #4) and squeezed his h
colors directly from the tube onto his palette. Winsor & Newton trans- a
parent watercolors were mixed in with Winsor & Newton Designers b
Colors, which were widely used opaque gouache paints, and casein s
tempera. He said, “Watercolor is the medium which I have found in
to be my best means of expression and most of my work has been to
done in it. In later years I have included tempera but, to me, tempera m
means just opaque watercolor.” His most admired watercolorists were
Charles Burchfield and Edward Hopper. In the 1960s, in a waning illus-
tration marketplace, Dohanos painted still-life subjects featuring his
collections of treasured objects like decoys, folk art, and weathervanes,
symbols of American culture and craftsmanship.
Stevan Dohanos
Bird
Proof 1
Ink on paper with

acetate overlay
146

16/2/17 3:57 PM
ALBERT DORNE
Albert Dorne never had formal art training. A quick study, he worked at
an unpaid art studio job to acquire knowledge of business and
developed his own techniques to achieve results, meet deadlines,
and please clients. He started each project by creating a “comp,”
or comprehensive drawing. Once he had the client’s approval, he
would make a careful and complete pencil drawing. After transferring
his image to illustration board, Dorne began the painting process,
achieving striking results in record time by outlining forms in
black line for emphasis and turning to colored inks and dyes. With
self-deprecating humor, Dorne explained his approach: “Very early
in what I like to refer to as my artistic career, I built up an immunity
to complicated techniques that call for A) Reading a lot, B) Experi-
mentation, C) Making a mess of a job because I couldn’t handle the
medium, and D) Having to do the whole thing over. All of this may
sound like an attempt to excuse my lack of technical knowledge. It is.”
Dorne also increased his working efficiency by hiring assistants
to handle the business side of his career, realizing that his time was
more profitably spent at the drawing board. However, no matter
how many assistants he had, he was adamant about doing all his
own artwork. He spent long days at work, conferring with clients
by phone, since meeting them in person would be too time-consum-
ing. His fellow artists marveled at the pace of his work. Clippings,
tearsheets, sketches, and notes collected by his assistants were
kept close at hand to lend verisimilitude to any subject he might
be called on to illustrate — from city scenes, which were familiar
to him, to farm animals, which were not.
Al Dorne Proof 1 2 T
The Quarter Pound-Loss
by Hazel Heckman,
Collier’s, July 19, 1952
147

8/3/17 5:58 PM
ROBERT FAWCETT P
Although Robert Fawcett considered his working methods and A

materials to be “eccentric,” he was glad to share them with his students. im
For example, he wrote, “I have used very old brushes for many years. b
They are worn, the points are gone, but they are like old friends. Their d
shape and condition nevertheless impose certain restrictions upon s
me. They will make only fat, juicy lines, so I must think in ‘fat, juicy’ E
terms. When I buy new sable watercolor brushes, I am unhappy o
for a long time and invariably cut the last hairs off the points with in
a razor blade.” fo
A Fawcett illustration often started out as a doodle. For these, the
artist often used a ruling pen held like a pencil. Why did he prefer in
this implement, which holds ink in a slot between two adjustable v
metal jaws? “I just like the feel of it,” he wrote. He would then wash to
in tone and color, often using diluted inks. th
Once the basic form of the illustration was established, the drawing
stage began. For this, Fawcett often used a fairly large, flat watercolor
brush with a blunt point and ink that was designated as waterproof —
though he did dilute it with water so that it made a dark gray line.
For painting, he preferred flat sable oil brushes, 1 inch (2.5 cm) wide
and well worn, sometimes with long hair. Fawcett liked his painting
brushes to have long handles so that he could stand well away as he
was working, to be able to see the design more clearly. He felt that he
achieved his most successful results when following a technique used
by the Old Masters, who “glazed color over a black and white under-
painting until they had all the richness they desired, then articulated
with opaque tempera or oil the spots which needed clarification.”
Robert Fawcett
Story Illustration for
How a Secret Deal
Prevented a Massacre
at Ole Miss
by George B. Leonard,
T. George Harris, and
Proof 1
Christopher S. Wren,
Look, December 31, 1962
148

16/2/17 3:57 PM
PETER HELCK
As shown (right), Peter Helck worked with a mahlstick — a long

wooden implement used to steady his hand as he painted standing
up. Often balanced on a painting’s edge, a mahlstick is useful when
painting detail or when an artist needs to avoid touching a section
that is still wet. For tonal drawings, Helck used a ruling pen and Ar-
tone Extra Dense Black Waterproof Ink, a brand he discovered after
years of experimenting. He found that he could achieve a far deeper
black in large areas by working with a ruling pen than with brushes.
Even for color finishes, he often began with an ink drawing.
Helck believed that “textures give animation, vitality, and added
interest to drawings and paintings.” He used a variety of uncon-
ventional methods and tools to achieve these enlivening textures: a
toothbrush (for spattering), a tea strainer (paint was pushed through
the holes with a bristle brush), wads of cotton, rubber bath sponges,
pipe cleaners, painting knives, a wire brush, painting rollers, and even
dental tools.
When an assignment called for color, Helck usually worked in
gouache, one of the most water-soluble of all water-based mediums
compared to tempera and casein, which are water-resistant when dry.
e In the early stages of a gouache painting, he used a roller to create
large areas of flat color. When dry, he transferred his pencil drawing
onto the color surface. This had the effect of organizing his picture
into logical relationships, and from there he developed the details.
Although he usually didn’t use oil for commercial work, his procedure
in that medium was similar. He began with a pencil or ink drawing,
then laid over repeated washes of thinned-out oil color, creating a
gradual buildup of depth and texture.
Proof 1 2 T
Peter Helck
Cornstalks in a field
Ink and gouache on board
149

7/3/17 5:18 PM
FRED LUDEKENS A
Fred Ludekens began every illustration by making a number of A

thumbnail sketches to clarify his picture concept. His next step was c
a more complete drawing on tracing paper, usually the size of the o
published illustration, which showed him exactly what the observer C
would see when his image was in print. In that pencil study, he con- v
cerned himself with masses of shape and form and their position in (c
the picture. Very few details were included at that stage, as these were s
rendered in the final painting, where he could refine them as needed. p
Once he was satisfied with his composition, he transferred the I
drawing from the tracing paper to Whatman illustration board using w
a camera lucida. This device, which was used by many illustrators,
projected the original image onto blank paper so that it could be v
easily transferred to the final painting surface. It also allowed the p
artist to enlarge or reduce the original sketch. Shown at right, Fred o
Ludekens using a camera lucida to transfer his barroom fight scene
to board (see pages 77–79).
Fred Ludekens
The Innocent and the Guilty
by Norman Katov
Proof 1

May 13, 1950
150

16/2/17 3:57 PM
AL PARKER
An artist who valued experimentation, Al Parker was an artistic

chameleon who avoided being identified by just one style. In fact, he
once used a unique approach for each illustration in a single issue of
Cosmopolitan magazine, signing his images with pen names. Equally
versatile in his choice of medium, he said, “I have worked in pencil
(carbon, graphite, China marking, indelible and the type which is
soluble in water), tempera, watercolor, gouache, oil, wash, airbrush,
pen and ink, dry brush, charcoal, pastel, crayons, colored inks, and
I have used photographs in a collage. I have worked on paper, glass,
wood, gesso panels, canvas and fabric.”
Underlying Parker’s signature versatility was his reliance on a
very practical tool: his research file, in which he collected pictures,
photographs, sketches, and notes of how things looked. Nowadays,
of course, online information is readily available, but the founding
artists each had to assemble his own visual references. As

shown in the photograph, Parker kept his in steel file cabinets, with
carefully labeled folders that helped him quickly find the pictorial
reference — sometimes referred to as “scrap” — that would lend his
illustrations the necessary authenticity. Mannequins, like the one
seen on top of Parker’s files, allowed him to experiment with
dramatic lighting effects on the human form in lieu of a model.
Even for today’s artists, Parker’s advice regarding reference
materials still holds true: “If possible, make a personal inspection of
the object pictured in your scrap. Your file will show you what it looks
like, and can create the mood and start you on a rough sketch, but do
not allow this to be the end of your research if you can see the object
itself. Your file can tell you that the object comes in several colors or
sizes, but it can’t tell you as much as the article itself can say.”
Proof 1 2 T
Woman with Lily,
Cosmopolitan, April 1949
151

7/3/17 5:22 PM
NORMAN ROCKWELL B
For Norman Rockwell, the charcoal drawing was the perfect intermediary B
step between his rough thumbnail concept study and his final oil c
painting. By the mid-1930s, his meticulous artistic process also w
included the careful selection of local models, who were coaxed into c
poses that suited his narratives and then photographed to capture fr
impossible-to-hold gestures and expressions. The resulting photo- w
graphs were arranged and projected onto drawing paper with the aid m
of a Balopticon, a still projection lantern that became an important a
compositional tool for the artist. While many artists used projection
devices surreptitiously in their process, Rockwell was very up front h
about the Balopticon’s usefulness. Although he claimed to feel guilty c
about it, he said, “I comfort myself with the thought that many of the w
great painters used aids to drawing: the camera obscura, the camera in
lucida, mirrors, et cetera.” p
For Rockwell’s charcoal drawing, composed at the same size as h
the final painting, he worked on architect’s detail paper, which has c
“a slight sizing on the surface so, before I draw, I go over it very
thoroughly with a kneaded eraser. Then all areas will take the charcoal
uniformly.” As for charcoal, he worked with Fusains Rouget No. 3
sticks and Wolff’s carbon pencils, a mixture of charcoal and graphite,
which were blended with his thumb and fingers rather than a paper
stump or cloth. After completion, Rockwell’s charcoal drawing was
then photographed, and his photographic prints became substrates
for color studies created in oil.
Once Rockwell’s final image was transferred to canvas, he created
an underpainting in a single color, such as raw umber or vermillion,
diluting and wiping his paint with rags to capture areas of light and
dark. His underpainting was sealed with French retouching varnish
so that his later work would not disrupt it. He then went on to rapidly
lay in prominent colors. “Don’t do this lay-in too carefully,” he said.
“You want some accidents to play with.” Rockwell preferred Winsor &
Newton, and sometimes Shiva oil paints, arranged on a standing
glass palette from warm (left) to cool (right). Depending upon his
artistic goals, he moved between an impasto or opaque method of
painting and a traditional glazing approach, in which layers of thin
washes of color are applied over the underpainting to achieve richness
and depth.
Proof 1 2CT
Norman Rockwell
Posing as a model and study for The Common Cold:
The All Out Remedy for the Patient Who Is All In, 1945
Illustration for The Saturday Evening Post, January 27, 1945
152

7/3/17 5:25 PM
BEN STAHL
y Ben Stahl’s preferred tools for sketching were black chalk, grease
crayon, or pencil on smooth bond. Sometimes, he added a casein
wash or brush and ink. In his drawings, he created tone by dipping
charcoal into india ink, then smudging it on paper, a trick he learned
from Peter Helck. Stahl often worked in casein paint, a fast-drying,
water-soluble medium derived from milk protein. Stahl said, “I’ve
mixed just about everything with casein, from india ink to oil color,
and have never found a combination that didn’t work.”
At the beginning stages of a painting in casein, Stahl would make
his preliminary drawing on a toned surface with a No. 5 sable water-
color brush. At this point, he handled the casein the way he would
watercolor — transparently. After the drawing was established, he laid
in the first tones with bristle brushes. At first, Stahl used very wet
paint, but as the painting progressed and the details were refined,
his paint became drier and thicker, giving him more control. He
continued with bristle brushes, because he needed a tool that would
make it easier to scumble and, at the same

time allow him to apply “rich gobs of paint.”
Scumbling is a technique in which scratchy
or speckled colors are layered upon one
another, softening the edges of form and cre-
ating texture and depth. Moving forward, he
switched from harder bristle brushes to softer
sable brushes, to create a variety of effects.
Another favorite Stahl tool was a single-edge
razor blade. He always kept a supply handy
for scraping off excess paint and creating
interesting textures.
Ben Stahl
Sketch, Woman with
Proof 1
Wine Glass
Pencil on paper
153

16/2/17 3:57 PM
HAROLD VON SCHMIDT
When discussing his thirty-six years as an illustrator, Harold von

Schmidt divided them this way: “About thirteen years of painting
with tempera or gouache, probably three years when I worked in
both, and the last twenty years of painting mostly in oil.” He went
on to qualify further: “Over this period some jobs were done with a
pen, one with charcoal, many with line and tone and many more dry
brush drawings.” In other words, like many of his fellow illustrators,
von Schmidt did not limit himself to any one approach. Rather, he
used the tools that were best suited to each particular job. Even so, he
had his preferences. About making preliminary drawings, he wrote,
“Many illustrators use ink beautifully but it runs and slips away from
my brush and hand, so I use the more familiar paint.”
He credited his early background as good training for his varied
career. When he was just starting out in San Francisco in 1914, he
wrote, “ . . . there was not enough art work in any field to go around.
To keep eating we had to do every kind of graphic art in the medium
requested. It was fine training. It included the retouching of photo-
graphs, lettering, designing sheet music covers, labels for cans and
packages, fiction and advertising illus-

trations, and working with printers in the
designing of books from the dummy to the
finished volume. I did not know enough to
fear a change in medium. There was a job to
be done and I tackled it.”
By the time von Schmidt established
his reputation on the East Coast, he had
abandoned tempera and watercolor and was
painting exclusively in oil. At a time when,
as he said, 90 percent of all illustration was
painted in water-based media, he persisted
in painting in oil. He wrote, “I hope this
proves that it is not how you work but
what you say with paint that counts.”
Harold von Schmidt

Persian cat studies
Proof 1
Gouache, ink, and

pencil on board
154

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JON WHITCOMB
Jon Whitcomb freely admitted that his “pet” medium was watercolor,
both transparent and opaque. In fact, he wrote, “I regret that I am
completely unskilled in the medium of oils, [even though] there
are effects possible in oil painting that are not feasible in any other
medium.” However, this preference did not really limit the scope of
his production, as he found many ways to vary his effects by exploit-
ing his favorite mediums and even combining them.
For painting in watercolor, Whitcomb used opaque Winsor &
Newton Designers Colors (gouache) and casein white on Whatman
illustration board. As a glamour illustrator, Whitcomb was known for
his pictures of beautiful women, handsome men, and celebrities, so
his techniques for creating realistic and appealing faces were well
developed. His advice for blending skin tones from light to shadow:
“Adjacent light and dark areas are blended with a bristle brush which
has been dipped in an intermediate tone. This works best when the
paint is more dry than wet. For even smoother effects some casein
medium can be mixed with the color. This slows up drying and gives
you more time to work.”
Whitcomb liked to paint sitting down; everything in his studio
was on wheels so it could be moved around as needed. As palettes,
he used butcher trays with a white enamel finish, as did a number of
his fellow artists. He claimed not to be particular about brushes, but
said, “I like them when they are new and hate them when the point
o has worn off.” As for colors, he preferred to use them straight from the
tube, lined up beside him in color-spectrum order. “It seems to me
that no mixture of red and yellow on the palette is ever as bright as
the manufacturer’s orange. Mixing the stuff is always a last resort.”
His working method was the result of long years of experience at
turning out advertising illustrations on tight deadlines. He described
the process this way: “I like to work all over a drawing at once so I
can keep a color and tone balance across the whole thing. . . . Several
times during the progress of a drawing, I spray it with a thin film
of lacquer. This keeps pencil marks from rubbing off and the early
layers of watercolor from mixing with whatever I feel like putting
on next. The fixative also keeps certain colors from bleeding through
lighter washes applied later on top.”
Jon Whitcomb
Story illustration for Julie by Ruth Babcock,
Proof 1
Ladies’ Home Journal

August 1947
155

16/2/17 3:57 PM
I
ABOUT THE AUTHORS T
re
A
9
Stephanie Haboush Plunkett is the deputy director and chief curator of Norman Rockwell Museum. Born and raised T
a
in Brooklyn, New York, she is the recipient of a bachelor of fine arts degree from Pratt Institute and a master of fine C
arts degree from the School of Visual Arts, and has served as the curator of many exhibitions exploring the art of 4
Norman Rockwell and the field of illustration. Plunkett began her professional career in the field of museum education
S
at the Brooklyn Museum, where she designed and taught programs for children, school groups, and families, and she has
also held positions at the Brooklyn Children’s Museum and the Heckscher Museum of Art in Huntington, New York.
She lives in Pittsfield, Massachusetts.
Magdalen Livesey is president and managing editor of Cortina Learning International, Inc., publishers of distance learning
materials in foreign languages and English as a second language and of the Famous Artists Schools (FAS) Courses in A
painting and commercial art, writing, and photography. She has worked closely with the FAS guiding faculty on updates to
the classic art courses while supervising the publication of online versions of the Art Foundations, Painting, Illustration/
Design, and Cartooning courses. She lives in Wilton, Connecticut. N
A
N
About Norman Rockwell Museum
th
Norman Rockwell Museum, located in Stockbridge, Massachusetts, holds the largest and most significant collection of L
art and archival materials relating to the life and work of legendary American illustrator Norman Rockwell and a growing
A
collection of original illustration art that reflects the vibrancy, evolution, and resilience of the field — from the emergence
N
of printed mass media in the mid-nineteenth century to the innovations of digital media today. Illustration is the art of 3
the people — at once the most democratic and influential form of art. Through our dedication to this expansive body of
A
materials, which have reflected and shaped American popular culture, we seek to examine the nature of published images
C
and their integral presence as artistic and cultural artifacts through time. Visit www.nrm.org.
O
T
U
Il
T
(b
T
Proof 1 2 T
156

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IMAGE CREDITS OTHER CREDITS
The copyrighted images appearing on the following pages are Page 106
reproduced by permission, © The Norman Rockwell Family Gossips photomontage designed by Ron Schick.
Agency, all right reserved: pages 12, 25, 28, 29, 37, 45, 51, 67, 84, 88,
93, 97, 104, 105, 107, 118, 141, 152. Page 147
Quote courtesy of David Apatoff, Albert Dorne: Master
The copyrighted images appearing on the following pages Illustrator, Auad Publishing, 2013.
are © SEPS: Licensed by permission of The Curtis Publishing
Company, Indianapolis, IN, all right reserved: pages 20, 23, 26,
44, 52, 65, 74, 75, 76, 83, 89, 92, 100, 110, 142, 150.
Shutterstock.com: page 129 (top).
ARTWORK CREDITS
Norman Rockwell Museum Collections

All Famous Artists School artworks and photographs from the
Norman Rockwell Museum Collection, which appear throughout
the book, were generously donated by Magdalen and Robert
Livesey.
Additional artworks by Norman Rockwell and other artists from

Norman Rockwell Museum Collection: pages 12, 14, 15, 16, 24, 25,
36, 37, 40, 45, 47, 50, 54, 84, 87, 88, 95, 104, 106, 116, 118, 123, 152.
Additional photographs from Norman Rockwell Museum

Collection: pages 14, 15, 16, 51, 98, 99, 152.
Other Collections
The D.B. Dowd Modern Graphic History Library, Washington
University, in St. Louis, MO: pages 18, 39, 70 (top), 101, 109, 142
Collection of George Lucas: pages 97, 107
Illustrated Gallery, Fort Washington, PA: pages 25, 66
The Kelly Collection of American Illustration Art: page 66

(bottom)
The Society of Illustrators, New York: page 61
The Los Angeles County Museum of Art, Los Angeles: page 51
Proof 1 2 T
157

8/3/17 3:54 PM
INDEX
ALCOA advertising illustration (Peter Helck), 58 Two Women Talking study, 108
American Airlines “woman dressed in bathing suit and overcoat” sketch, 33
Grandmother Arrives for a Visit (Austin Briggs), 19 Woman in Crowd, 116
There’s nothing like it on Earth for traveling with a baby! Young Men in Group study, 114
(Alfred Charles Parker), 39
The American Magazine Chevrolet advertisement illustration (Peter Helck), 75
Always with Me (Alfred Charles Parker), 129 Collier’s magazine
I’ll Never Let You Go (Austin Briggs), 36 The Kid’s in Town (Albert Dorne), 119
Atherton, John The Quarter Pound-Loss (Albert Dorne), 147
boat studies, 35 Six Greedy Loafers (Albert Dorne), 21–22
doodle sketches, 43 Cosmopolitan magazine
Holiday magazine illustration, 70 The Affair (Jon Whitcomb), 138
Holiday magazine study, 70 Forgiven (Harold von Schmidt), 66
The Crock of Gold illustration, 144 A Matter of Life and Death (Austin Briggs), 115
Duck Hunters studies (1953), 86 Woman with Lily (Alfred Charles Parker), 151 G
materials and methods, 144
Present, Scottie Dog in Gift Box (1938), 87 Dohanos, Stevan
Samson and Delilah (film) and, 10–11 Bird, 146
Self-Portraits as Fisherman (1948), 29 lighthouse studies and painting, 48 H
United Airlines poster illustration, 55 Mailman (1944), 89
United Airlines poster studies, 56 materials and methods, 146
No Passing (1954), 23
Briggs, Austin Samson and Delilah (film) and, 10–11
American Airlines advertisement, 19 Variations on a Window, 57
Charleston, South Carolina studies, 31 Dorne, Albert
compositional sketches, 62–63 advertising illustration study, 72–73
Crisis in the House study, 94 advertising study, 120
Father and Daughter on Train, 25 facial development studies, 102
figure studies, 112–113, 119 Facial Expressions, 111 H
gestural studies, 54 Famous Artists School and, 10
Grandmother Arrives for a Visit (1950), 19 figure studies (1948), 120 L
I’ll Never Let You Go (1948), 36 Group Drinking Coffee study, 30
The Innocent Daredevils illustration (1950), 26 The Kid’s in Town illustration (1953), 119
“man painting at easel” sketch, 33 Magician study, 125
Man Planting study, 122 Man at Bar Reading Newspaper study, 30
Mary Pushed Her Fists into the Pillow and Pushed Herself Up materials and methods, 147
(1967), 69 The Quarter Pound-Loss (1952), 147
materials and methods, 145 Samson and Delilah (film) and, 10–11
A Matter of Life and Death illustration, 115 Six Greedy Loafers studies (1955), 21–22
A Matter of Life and Death study, 115 L
Men Talking study, 114 Famous Artists School L
My Love Will Come illustration (1948), 76 color studies, 130, 131, 132–133, 134–135 L
My Love Will Come studies (1948), 76 founding faculty, 10–11 L
New York Central Railroad advertisement, 25 hand study, 121
One More for the Skylark illustration, 65 Head and Hands lesson, 111 L
One More for the Skylark studies, 64–65 Famous Artists Magazine studies and illustration
Playing Bocce, 145 (Alfred Charles Parker), 38
“restaurant interior” sketch, 46 Fawcett, Robert
Samson and Delilah (film) and, 10–11 character study, 35
Saturday Evening Post illustration (1950), 100 doodle sketches, 42
Saturday Evening Post study (1950), 100 The Fall of the Alamo (1948), 68
“seated man” studies, 108 Five Men’s Heads study, 53
Proof 1 2 T
The Sniper illustration, 91 Fortune Teller and Gunman, 110

The Sniper studies, 90–91 How a Secret Deal Prevented a Massacre at Ole Miss
“turkey dinner” study, 86 illustration (1962), 148
158

8/3/17 3:54 PM
Ice Cutter advertising studies, 124 Vengeance Valley illustration (1949), 83
Man with Shovel studies, 53 Western scene, 92
materials and methods, 148
“men in conversation” studies, 49 McCall’s magazine
Myra Whirled Suddenly. She Looked as If She Might Make One Last Chance illustration (Alfred Charles Parker), 101
a Break for It, 20 Stevie (Alfred Charles Parker), 109
The Network illustration (1948), 142 With Marriage in Mind (Jon Whitcomb), 117
police officer sketch, 32
A Portrait Reversed (1949), 142 Norman Rockwell Museum, 8, 10
Samson and Delilah (film) and, 10–11
Sketches of Newtown, Connecticut (1948), 30 Pan American Airlines sketchbook drawings (Norman
Soldier and Onlookers, 110 Rockwell), 47
woman in phone booth sketch, 32 Parker, Alfred Charles
Always with Me illustration (1942), 129
Good Housekeeping magazine American Airlines advertisement, 39
Boy at Party (Jon Whitcomb), 126 Famous Artists Magazine studies, 38
Boy Reading (Jon Whitcomb), 128 Government Girl illustration (1943), 18
He Raised His Glass and Filled Her with Horror, 109
Helck, Peter It Was the Nightingale illustration (1961), 70
ALCOA advertisement (1951), 58 Kinfolk illustrations (1948), 60–61
Chevrolet advertising illustration (1943), 75 Kinfolk studies (1948), 60–61
“cornstalks in a field” illustration, 149 Man Reading on Couch Glancing at Woman, 136
Hollowed Tree Trunk, 25 materials and methods, 151
location sketches, 46 Mother, Daughter, and Son Sledding (1949), 80
materials and methods, 149 One Last Chance illustration (1956), 101
Melt Shop, 143 Samson and Delilah (film) and, 10–11
Murder Car (1951), 75 Stevie illustration (1956), 109
Samson and Delilah (film) and, 10–11 Tell Me the Time illustration (1946), 39
Holiday magazine study and illustration (John Atherton), 70 What Makes a Glamour Girl? (1939), 137
Woman with Lily (1949), 151
Ladies’ Home Journal Pelham, Gene
Government Girl (Alfred Charles Parker), 18 The Gossips photographs, 106
It Was the Nightingale (Alfred Charles Parker), 70 Saying Grace photographs (1951), 98–99
Julie (Jon Whitcomb), 155 Poor Richard’s Almanac illustrations (Norman Rockwell), 45
Kinfolk (Alfred Charles Parker), 60–61
Mother, Daughter, and Son Sledding (Alfred Charles Parker), Rockwell, Norman
80 Art Critic (1955), 12, 14, 15, 16
Tell Me the Time (Alfred Charles Parker), 39 Breaking Home Ties (1954), 28
What Makes a Glamour Girl? (Alfred Charles Parker), 137 Checkers (1928), 25
Liberty magazine: Wing Walkers (Harold von Schmidt), 66 The Common Cold: The All Out Remedy for the Patient
Livesey, Magdalen, 10 Who Is All In study (1945), 152
Livesey, Robert, 10 Freedom of Worship (1943), 118
Look magazine: How a Secret Deal Prevented a Massacre at Game Called for Rain (Tough Call) illustration (1949), 141
Ole Miss (Robert Fawcett), 148 Game Called for Rain (Tough Call) studies (1949), 140
Ludekens, Fred Girl at Mirror (1954), 37
Bull Rider (1945), 44 Going and Coming (1947), 93
The Innocent and the Guilty illustration (1950), 150 The Gossips illustration (1948), 107
materials and methods, 150 The Gossips study (1948), 106
quick-capture sketches, 44 Just Married (Morning After the Wedding) study (1957), 24
railroad advertisement studies, 82 The Law Student (1927), 88
Renegade Canyon illustration (1949), 52 Liberty Girl photograph and study (1943), 123
Renegade Canyon studies (1949), 52 materials and methods, 152 Proof 1 2 T
“They Should All Be as Stupid as Redheads” studies (1950), 34 New Television Antenna (1949), 50–51
True magazine studies and illustration, 83 Pan American Airlines sketches (1955), 47
Up Stepped McGonigle studies (1951), 77–79 Poor Richard’s Almanac illustrations (1963), 45
159

8/3/17 3:54 PM
Portrait of an Old Man (1932), 54 Japan sketchbook and drawing (1945), 32
Portrait of Dwight D. Eisenhower (1952), 104–105 Lovers Leap illustration (1929), 66
Roadblock (Bulldog Blocking Truck) (1949), 67 materials and methods, 154
Samson and Delilah (film) and, 10–11 Persian cat studies, 154
Saying Grace (1951), 97–99 Ruler of the Range illustration (1951), 74
sketchbook drawings (1932), 40 Samson and Delilah (film) and, 10–11
sketches, 45 Tonal Pattern Studies (1948), 74
Sport (1939), 29 Wing Walkers (1929), 66
War News (1944), 24 Stahl, Ben
Welcome to Elmville (1929), 84 Come away from that infant, you damn fool. She had
Rockwell, Isabella, 14 diphtheria., 20
Rockwell, Jarvis, 14, 99 doodle sketches, 43
Rockwell, Mary, 15, 99 Fugitive From Terror illustration (1949), 85
Jack of Swords illustration (1949), 76
The Saturday Evening Post light studies, 71
Art Critic (Norman Rockwell), 12, 14, 15, 16 materials and methods, 153
Breaking Home Ties (Norman Rockwell), 28 Samson and Delilah (film) and, 10–11
Bull Rider (Fred Ludekens), 44 Woman with Wine Glass sketch, 153
The Common Cold: The All Out Remedy for the Patient
Who Is All In (Norman Rockwell), 152 True magazine
Crisis in the House (Austin Briggs), 94 study and illustration (Fred Ludekens), 83
Freedom of Worship (Norman Rockwell), 118 “They Should All Be as Stupid as Redheads” (Fred Ludekens),
Fugitive From Terror (Ben Stahl), 85 34
Game Called for Rain (Tough Call) (Norman Rockwell),
140–141 United Airlines
Girl at Mirror (Norman Rockwell), 37 New Orleans illustration (John Atherton), 55
Going and Coming (Norman Rockwell), 93 New Orleans studies (John Atherton), 55
The Gossips (Norman Rockwell), 106–107
The Innocent and the Guilty (Fred Ludekens), 150 Whitcomb, Jon
The Innocent Daredevils (Austin Briggs), 26 The Affair study (1948), 138
Jack of Swords (Ben Stahl), 76 Boy at Party (1940), 126
Just Married (Morning After the Wedding) (Norman Boy Reading (1941), 128
Rockwell), 24 facial expression studies, 103
The Law Student (Norman Rockwell), 88 The Girl with the Nasturtium Red Hair illustration, 139
Liberty Girl (Norman Rockwell), 123 The Girl with the Nasturtium Red Hair studies, 139
Mailman (Stevan Dohanos), 89 hand studies, 116
My Love Will Come (Austin Briggs), 76 Julie illustration (1947), 155
The Network (Robert Fawcett), 142 The Man with 3 Faces illustration, 103
New Television Antenna (Norman Rockwell), 50–51 Man and Woman in Mountain Scene, 138
No Passing (Stevan Dohanos), 23 materials and methods, 155
One More for the Skylark (Austin Briggs), 64–65 Samson and Delilah (film) and, 10–11
Portrait of Dwight D. Eisenhower (Norman Rockwell), 104–105 With Marriage in Mind illustration (1954), 117
A Portrait Reversed (Robert Fawcett), 142 Woman in Hat (1948), 17
Renegade Canyon (Fred Ludekens), 52 Woman’s Home Companion: Present, Scottie Dog in Gift Box
Roadblock (Bulldog Blocking Truck) (Norman Rockwell), 67 (John Atherton), 87
Ruler of the Range (Harold von Schmidt), 74
Saying Grace (Norman Rockwell), 97–99
Sport (Norman Rockwell), 29
studies and illustration (Austin Briggs), 100
Up Stepped McGonigle (Fred Ludekens), 77–79
Vengeance Valley (Fred Ludekens), 83
Welcome to Elmville (Norman Rockwell), 84
Proof 1 2 T
Schmidt, Harold von

Charlie V-4 (1929), 25
Forgiven illustration (1926), 66
160

8/3/17 3:54 PM

Drawing Lessons From The Famous Artists School - Classic Techniques and Expert Tips From The Golden Age of Illustration

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DRAWING LESSONS FROM THE

FAMOUS ARTISTS SCHOOL

Drawing Lessons_001-011_11803.indd 1 15/2/17 12:17 PM

Drawing Lessons_001-011_11803.indd 2 15/2/17 12:17 PM

STEPHANIE HABOUSH PLUNKETT

PRESIDENT, CORTINA LEARNING INTERNATIONAL

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First published in the United States of America in 2017 by

Library of Congress Cataloging-in-Publication Data

Cover Design and Page Layout: Landers Miller Design

Drawing Lessons_001-011_11803.indd 4 15/2/17 12:17 PM

Stephanie Haboush Plunkett

Drawing Lessons_001-011_11803.indd 5 15/2/17 12:17 PM

14 The Big Idea: Developing Pictorial Concepts

28 Infusing Yourself into Your Drawings

42 The Importance of Doodling

71 Light, Shadow, Tone and Value

Drawing Lessons_001-011_11803.indd 6 15/2/17 12:17 PM

THE FIGURE 112

t- 144 Famous Artists Behind the Scenes: Materials and Methods

Drawing Lessons_001-011_11803.indd 7 15/2/17 12:17 PM

JOHN ATHERTON AUSTIN BRIGGS STEVAN DOHANOS

and your very own.”

Drawing Lessons_001-011_11803.indd 8 15/2/17 12:17 PM

FRED LUDEKENS ALFRED CHARLES PARKER NORMAN ROCKWELL

HAROLD VON SCHMIDT BEN STAHL JON WHITCOMB

Drawing Lessons_001-011_11803.indd 9 15/2/17 12:17 PM

Publicity photograph of the founding Famous Artists

ground), Norman Rockwell, Ben Stahl, Peter Helck, Stevan

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April 16, 1955

Drawing Lessons_012-025_11803.indd 13 16/2/17 2:59 PM

(All images on this spread)

“If your people are to

self — were recruited to

Drawing Lessons_012-025_11803.indd 14 16/2/17 2:59 PM

(Details, clockwise from above

to clean his brushes, became

Drawing Lessons_012-025_11803.indd 15 16/2/17 2:59 PM

Color and Expression J

Norman Rockwell in his Stockbridge, Massachusetts, studio surrounded by his many

Drawing Lessons_012-025_11803.indd 16 16/2/17 2:59 PM

NOW YOU TRY IT!

Come up with three art concepts

Drawing Lessons_012-025_11803.indd 17 16/2/17 3:01 PM

In 1944, Adela Rogers St. Johns’s Government Girl series inspired a “E

Alfred Charles Parker

Adela Rogers St. Johns

Drawing Lessons_012-025_11803.indd 18 16/2/17 2:59 PM

Drawing Lessons_012-025_11803.indd 19 16/2/17 3:00 PM

Robert Fawcett Ben Stahl

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Exploring a Variety of Approaches

(On this page and next)

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Drawing Lessons_012-025_11803_C2.indd 22 7/3/17 1:26 PM

As with many of the