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    a good drawing foundation

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    Download as pdf
    562 views191 pages

    Famous Artists Advanced Program - Al Parker

    Uploaded by

    Emmanuel Chadee
    a good drawing foundation

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
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    How I make a picture “dul feson MEMBER OF THE FACULTY OF Institute of Commercial Art, «~ ‘Westport, Connecticut Al Parker 2 Reading the story manuscript Al Parker Reading the story manuscript Intiote of Commercial At, ne My Name is Al Parker My carist artwork consisted of painting wooden clothes pins to reemble movie star, ftonal heros and vaudeville come dans There were about a dozen character, ll of therm named, ‘The husky one was Tarzan, a small spry one was Douglas Fair bans, Sr called an odd ahaped one "You know” after «vaude ville contedian who gave tae answer each time the straight a {asked hie mame "This routine simply rolled me in the aisles, and inspired ne to bul «cardboard box theater, complete with marquee. Later he dheater became par ofa miniatre ity, New York's China town, Thad never been there, but the movies pls ite ima tation supplied all the deal T needed. Is realy proud of {lamp post labeled Pell and Mott Streets which I belived gue the town an a of authentic. 1 abandoned arehitecure and returned wo art when 1 began iastrating the iprcs on Mothers player piano roll. These she ‘would proudly play while guets peered oter er shoulder to trite my pictures goby. At mother’s prompting would vue tantly accompany the music by dancing a jig Which I picked up from a vaudeville act. “There were four in our family. My father, Allred Beran Parker fr whom 1 vas named, ad a furniture busines in St Louis, Minour, where I war born on October 16, 1806. My mother's name, before marrage, wat Charlowe Marie Bender, ‘The fourth merber of the family was my younger brother, Edward ‘The dheater exerted an early influence on my life. Mother's brother, Uncle Ed hada pasion for it He wrote popular songs (rel they weve popula in St Louis) and in his youth he had played the piano and mandolin around the country. He brought Ich joy te my le—and much theater. On Saturday, wat ‘ot uncommon forts to take four shows. The day started ‘wih a vaudeile show, after lunch cane a matinee, before dine fr 4 quick move, and the evening was spent watching » but Teague show Fa play if one happened to be in town. iy the time Iwas nine 1 was enjoying “Sliding Billy” Waton of burlesque, Ruth Roland, Grace Cunard and Pear] White in the movie serials and the colortal costumes and scenery ofthe ‘audevill acts, Allo this was great fun and wonderful material To my cardboard theater. By the time Twas twelve, Thad out frown homemade toy and had read all the crime magazine ‘which Uncle Ed hept beside hie bed. I decide T could write fetective fiction of my oven snd ilutrate He wo. Two of the fits of my Inbors were "he TTocless Foot Man" and “The Ghote of the House of Amberly.” Both enjoyed wide readership within the farsi ire “Then Grandpa Bender tok x hand. He was Captain Charles J. Berer, colts} and famous steamboat captain who had Tollowed the ver all hie ile. Grandpa thought T cught to {gt the fel of the Misippi, a0 the family began taking me Song when they mide tip up and down the iver: Fora time |) Yon 1 forgot the theater and became a happy listener to Grandpa's stores of river life He told me how Mark Twain had piloted Tor him, Bue they did noe get along well. Thi T could under. stand, Grandpa did not want any competion on his bose He fesented anyone receiving more recognition in the Waterways Journal chan he did. 1 admired Grandpa's gold cu links, is Immaculate collts and Gufs snd his blue usifonn. "Altera while Grandpa reured, bu I continued to accompany the family on osher boats ae found al thi leiutely travel very ‘citing. Dad rarely went along because his furniture busines ‘ered mos of his time. To se him, 1 weat to his tore and there wo things fainted me. One wat a. Vieoln which T Played by the hour. My Rn Jace reconds were acqited at a Fesult of thew visit I alo admired she faritare calog and tho {took home oo. Iwi Lad dhe now, When my allow tance could stand it, 1 would buy two magurines ~ Pogue and Harpers Bassar. Unknowingly 1 vat being inrodsced to the work of the French painter through the ejes of the asian arts they had iospired xcept lor a year of two in Memphis, Tennesse, we lived in ‘Louis uni 1922, when we bought home in Overland, not far frm St Louis. Here things began to happen. Fst, T sae the movie "Carenee” in which Wallace Reid played a © Melody ssxophone. Then | heard Bix Biedrbecke he famous cometist fd Frankie Trambaver, the ssophoaist They were playing in ‘StLouis at ehat time and asa result [raed to be a mca ‘My parents were delighted by vhs intrest in music and one ‘ay I Came home frm school to find shining silver sax in a te velvet lined cate. My joy knew no bounds. I practiced con tantly and everyone was plened except Grandpa. who did not Tike the whole idea. But then, Grandpa didnot like the gis ‘with greasy eyelide and pouting lips which I drew. Uncle Ba ‘i hough. Unc El could jor ae me designing shee mie ‘overs Maye some day there would also be » photograph of ‘me on the cover holding the wx This never happened and Uncle Ba tltprewy bad about i Hoaving conquered the sax, 1 decided to oganize an orchestra to ply onthe stambouts This turned out to bea summer vac tion with pay. The simmer of 1923 found me on the steamer ‘Cape Girardeau" playing "Somebody Stole My Gal.” “Linger 44 White” "ou Gotta See Mama Every Night” and other its ‘of the day. We had a plan, dram, a violin and the va. Ie ll sounded wonderful to me. To sezape up an acquaintance with 1 prety gil 1 would sages that se powe for» portrait sketch “This, T choughe, was ving. And looking back, Ll hink 20 Grandpa wae quite upaet about this music folshnes and decided something should be done about an art caret. He pre ‘ented me with a year's sition in the St Louis School of Fine ‘Ants Washington University. But his gift filed to squelch all the music. During summer vacations ftom art school, I con ‘Sued to play on the weamboaty, “Alabama,” "Keokul,” “elle Al Parker Reading the story manuscript ‘of Calhoun” and the “Golden Eagle” which was my favorite fn the lst of this group to sink, The “Cape Girardea ie til ‘Moat under the name of "Gordon C. Greene." Charles Eubank, 2 buddy who played the drums. and T organized an orchestra and combined. our names to give ic che tile of "Parbanks” frchetta. Until 1080, the Partanks played for roms, night lbs, county clubs, dimea-dance halls and one’ aight stands Meanwhile, 1 discovered chat all my fellow are students in Gown to prove mysell to Grandpa and the folks, Bear down I i T gave ny all to art tothe delight of everyone except ny brother Edvard, who could not understand why anyone would he content to study art when there were such sports av baseball and ce hockey waiting to be played T had never Been much, intersted in sport Thad an aul time drawing hands and an even wore ine with composition. My Hea of composition was «gil eiting aed {man sanding by 2 window with a vate of flowers or 8 Imp. ‘Variations of this cheme kept popping up constantly on iy charcoal paper In my clase wes & young ad prety git, Evelyn Buchroeder: We shared che sume illustration teachers, and we ‘sroggled side by side at our work, She was warded scholar Ship to the New York Ar Student’ League, but I selfably pet Suulled her to stay in St Louis because I did noc want et to get aveay trom me. We remained in at school until 1028 and Iny athletic brother, Edward would have been proud had he cen me walking Evelyn the thre miles wo her home regularly For me tht was being athlete, We sppeared inthe at school plays together Because of my mustache, 1 asthe villain, Uncle {Ed had insiled in me love ofthe theater, butt Isbudder At the dhought of having to memorize liner even though 1 think I would find a role in a sinster movie rather temping. Evelyn would wave at me a I pane in the University ban rooting baritone saxophone belore 2 football gine. wat prety proud as the band, playing all dhe while, formed W on the field. Lat 1 found out that Evelyn didnot think all she fanfare worth sitting alone to watch In 1980, 1 maried her aller whirlwind courtship lasting ve years "The day I let at school 2 St Louis department store needed tan arust to do several back dhops depicting a creas and small town scenes for Christmas decorations. ge the jo. Not having a studio, T decided to use the dining room 3t home ecate it hl the most wall space tacked the back drops tothe wall and began painting, When [finshed the fet one, 1 found the ‘eal paper alo had a circus seme om ita rather dilutd ver Sion. I received $150 for the job and it was promptly divided tee ways $90 for Mother's new dining room wall paper, $30 for a black fur coat for me and $50 fora clarinet. The clarinet vasa must for any selfzespcting sx player, the fur cost lent 2 collegiate touch when the top was dowa oa the Ford. By now Iwas committed to am are carer. 1 gota job with the Wallace Bastlord Commercial Ave Stadio where I felt ike a lowe soul at Bist. The val of artists could tara ut an advertise ‘ment while Twas collecting my thoughts Ie was hete the 1 Degen to zealie what was expected of commercial atin. Tot ‘were called upon to draw anything trom Niagara Fal lash ons And i you coulda do out you went leas rough going, bot stayed in, After awhile 1 moved to another studio as a felow worker, Russell Vehmaa. Throwgh him, I dacovered the importance of layouts and lettering to istration. We ‘worked a team, In time we decided tose up oar own studio which we called ‘The Mlusurater The market rath had let 2 dismal outlook ‘and 1881 found us just getting by. Evelyn and I became parts (ha year when our fist 20m, Jay, was bora. Russ wae 9 reat help and Between us, we Sept The Illustrator going. 1 besme Kind ofa ease of building a bewer mouse tap. decided to ure ‘models to improve my compositions. In x contest condacted by ‘House Beautifull entered a decorative composition. Evelya snd will never forget the dll that night whem we looked in the small box alter king late and found 4 check for $250.1 had ‘won honorable mention —and with i 4 determination to ty harder than ever, Tealed on ost of my fiends and relatives to serveas model Janee Lane, a grand fashion arts used space in our studio. She ted colored pencils at uies, 3 I gota bos. Unknowingy, she ached me on the fashion figure. would watch as she timined the figure. 1 did not want to draw quite che fashion figure, but 1 id ind that a cern elegance emerges by eliminating super fivous fol, by che attitude af the gure and by simple, any handling Twas in dead earnest now about making the grade and grasped every opportuniy- Finally, Tanaged to make thee simples (OF gir heads Through 2 fellow att, Lobiained the address ‘oan agent in New York. sent them to he, eros my Angers And walted. The pencil drawings were sold tothe Ladies ome Journal and beauty articles were written around then. This was. “anibble, so now I eally worked day nd night to make a couple oF ilstation samples in colored pencils 1 greaily admired Foye Davi James Willamon, Pierre Brisiud and Rath Grafuerom. They were shining light and they made me ick tt didnot work like ay of dese wonder {al arcina, They Inpited ie to be eiginal. 1 had no one (2 show me Ue shore city and asa result, 1 all my draeing the hard way. Thad to evolve my own solutions to problems "This added hous toa job, but pad in original Never will I forget te hot sttumers inthe studio on the top Noor where the temperature was often 100 depres and some times 120. "The Ladies Home Journal gave me's Lahion jo. bbgan experimenting with diferene media and all arts of ot made a drawing of 4 polka dt des in which dhe dot were & seria of indentations wade with anal punch ad rubbed wih ‘colored pencil. The indentation, of course, remained white Te wae diferent and fresh enough co catch the eye ol magne ‘editor and hold it awhile: The Ameria Magesine ss wat too extreme, In fac, most ofthe magaaies fle chat ie was just alle on the biearre side Finally, Henry B. Quinan, then art editor of The Woman's Home Companion, decide to take chance with me. He sent ‘me an honest togoodnes manuscript to lustre. Iwas late 1m fact, wa 0 late that Lid the job thre times before uly ‘niting fe I would have done it vome more, but the month wat ‘upand Thad w send iin MeGulPs allowed, thea Coler, The American and. Casmopoliten. So, while I srt magazine iaseation with the lending magazines. 1 did have previous Al Parker Reading the story manuscript Inatite of Commercial At he training in drawing almost everything che in the studios. We Will lived i St Louis and 1 hept dhe tclegeap and express Companies busy. While te bizarre treatment was unustal and trace atenton, I found je advnale wo tone it down a bit. Thad wo give up my local work with Russ and we disolved pactnershp. Rosell Viebman and his studio are most succesful toda. I continued co ren space there whieh, incidentally, was far trom spacious II lowered! he drawing board oa horizontal postion, thre wei'¢ any room forthe model 1 ako maintained {radio in the um room at home, where, surrounded by oa, {worked unl the wee sll hour with the radio going Thept time with my 400 the new band sensation, Benny Goodman, ‘howe dremmer, Gene Krupa, laciated me. Music for me however, was becoming @ thing of the past. I didn't have dine to ply, bu I sil Liked to listen, Ny drawing schedule became very tight with no time out at AL Here was work todo. Task for iT mae the make fof never turning down a magazine 0 T worked for allo them. Eighteen hours day became regula schedule. 1 thought my bel was « aorelty fad. Perhaps my stuff would be diferent only 20 long, didn't want wo be 2 clever wieky dsutor, whieh 1 fle Twas. I deided to ty water color or colored ink, Teame to New York of a vst in 1985 because 1 wanted 10 see this world which Iwas painting. Ie was breathtaking. ‘The ew of Central Park from the hotel was a sight to sce I met ‘other ilstators—in peron. When I saw the life hich Twas erpreting, ny drawing seemed unreal o me, like paper dalle fom fae back drop: I went back 1 St. Louis and spenes year of {nderson. Should we move Eat or ay aed wake wore that 1 really was competent? Meanwhile, I started to se colored is ‘my Work took on more fe, reproduced beter. “That new teat ment is better for repradiction, and we ike i" 1 was old Parker firsts “Bu, why do you live so far away?” Suddenly I fle as though 1 were working atthe South Poe ‘We sold ou farntate, which wan just well, Because i was moderne with that final“. Zebra chain, skyscraper bookeanes, anklehigh cofce ble. We bundled Jay, now five, into ovr cat and alter tafal farewell headed Zar chtching 2 fall of ‘auto lub road maps. In New York, we were grected by my ‘cousin, Lawrence Drake, who had heen supplying me with his Stetches whenever my illestations alled for the New York ‘ene. I asked him to become my busines manager and stan, He accepted and the association continued throug twelve years ‘Now 1 worked harder than ever I rarely saw Evelyn and Jay 1 hada studio at 1 West 07th Sercet and olten worked tnt avn. The all night dse jockeys shutoff their mosic and went te bed beloce I did. I would vather forget that fst hetie year Suddenly I became very tired and we decided on a vacation ~ ‘rip to London and Patis while I sul had eyes to see. They ‘ould lat much longer thing could atthe pre Twas going ‘Going over on a slow boat, I paced the ded, but before the rine day tip ha ended, I was relaxed and forgot the grind. It ‘was July of 1957 and there was much 1 we and do in England tnd France. London was wondertl. Flying the Channel fom Groydon to Le Bourget and scing the Eifel Tower from the i was atl. Buc Pais vas for the ats. The Exposition was fn progres and atthe Pei Palais I save the newest work ofthe European arts I could hardly sce for teats. 1 had desir to ut into my own work the solidity the charm. the colo and the sincerity which Taw. My work certainly could stand provement, After making countlw sketches and taking hundreds ‘Of photographs for my fle, we returned on the “Normandie” ‘One month afer iy vecurn, as dat on my back ns hospital staring atthe eeling following an appendectomy. I had lets of Al Parker Reading the story manuscript Insitte of Commercial Ate time wo think Somehow, I must Gad tie for relaxation. I de ‘ded to buy 2st of crams! Gene Krupa had lle Benny Good: ‘man and formed 2 band of his own. Drums were oat in font and sing music was hereto stay. Here would be my hobby — fy scan. Ale ing goiye tomy append Tot ‘My fist Mother and Daughter ever appeared in the Ladies Home Journal im Febroary 108, Te wars inmediate succes ‘The maguine and I received request for more. This encourage sent relly put me back on my fet alter the operation. We ‘moved to Larchmont, New York and 1 had 4 studio in nearby New Rochelle. Sever other artists and illstratory had stuion tere and I learned the importance of being vith others who Shared the same interes, We were a happy group. I ade fat friends. My hemielike xicence of the past was gone forever, (One of the aris suggested shat I ary using photograph of ‘model 1 was sspicious because I fle shat this was 4 crutch tnd I frowned spon any falee approaches. However, a alway Texperimented. Thos, phowgraphy came into the picture 4 1939 Suman was born and we bogan dreaming of « bome ‘of our own, a place where I could havea sudo nearby, where Toul see che family, watch the children grow, a place where Jay could go barefoot again. To reali thie ambition, in 1910 ‘we purchased a home in Wesport, Connecti, and the next eat my studio was built ato one side of it.I thought that this Sui was the very last eord, tht it wold Gull all my require iments forever. Today, it seems inadequate. Tegan to elec hooks about srt and arts In the past never seemed to have ‘nad ime to sead such books, Now they are a inspiration ad 1 heep ading vo my brary a8 my budget permits need more space for bookcases In 15 1 began to pat in ol color agai, ‘The studio now needs a lager window and a skylight. The cverchanging scene seems to keep me alert and prevents me from falling into a rat, something fatal go aay illustrator. In 1916 alo. my brotherinaw, Wiliam Buchroede, spon leaving the serie, came to work for me During the war, I vst vatiows hoyptals wih fellow ilue ‘oats to shou service men and women patients The sketches ‘were sent to relative buck tome, 1 found this ta be good draw. Ing exercise and the enthusir ofthe patients gave my Beart 1 Tf Inthe evenings on such trips, metubers ofthe Sader af ustators who were musician a well an arte played east rnumbes for dhe patents Of cours Idi the drumning. All of this was a cure warming experience, Frequently someone aks why Ido aot pain for myself alone 1 sell them hat my fre time i time for relaxing tine for tual. IT fel ike experimenting in textures abstract design or other fields, Ind suitable ume and place in making an Ilusralon co do this experimenting T have ied to indicate to you the events in my ile which Influenced me to Become an ast and sehich molded me into ‘an illutrator. Theeugheut the Years it has been the same old StoryT have felt and sil fel that 1 should be doing beter ‘work. Ihave spread an awful lo of paint since the days when Tegan paling clothes pins aod sketching prety girls on the ‘Golden Eagle" Those daye seem very remote indced, Dad and Grandpa and Uncle Ed ate gone. Now we have » second Son, Kit born in 1988, Life moves on An art director's opinion of Al Parker ‘Peshapy once in an at icc’ iletine,» perm will ‘enter the fleld of Uluswation with a viewpoint and {alent so individual, 0 strong and so vight for certain publications thar in'a comparatively short time his peson’sleeling and thinking and work has afecied the thinking and work of mest of his contemporary, ‘Al Parker such 2 peron His work has infMienced 20 many of todays illustra tors that one can almove reler to thi period ay the "Parker Era” However, let me hasten esa) that ths inluence was aot developed by Mr Parker repeating the same Kind of drawing over and ove, Asa mater ‘of fact he makes every ere not todo so is cnstant struggle to avoid repetition is a serious bute with him. The urge to move on is always present. It is thrilling to have a Parker drawing come into Gasmepoliten. One can never predic how much ce. tive thinking at taken place since you le dacued the llwuration with im. You can be ste, however, ‘hat the job willbe exciting in one way oF another. A tepid conception or a mediocre drawing never leaves his tuo. His ability to put "jst eh right thing” in jus the Hght place, and shove jst the right amount of ite uncanny. The endsiamn with whieh Mr Parker approaches a problon is teresing, This everincresr ing intrest in illstiation that evolves creative think ing and. planning is itpizational. The search for soimething that il give his drawing the Parker touch oes on ends. 1 real pleasure and privilege to work with him, 1 hope that be wil, with his teaching, succeed in plant Jing tn hip staden 2 spark ofthe same fie that burns so brighty within bi Frank Ekonbead An Directoy, Gosmopotiten Al Porker Reading the story manuscript Insite of Commercial A Ie Al Parker at Home Al Parker the story manuscript Al Parker Reading the story manuscript 10 Al Parker Reading the story Instat of Commerce A ne. januscript Introduction What you will get out of this course [will do all Xan with words and piceures in my course wo assis you to become am illurator have tried to heep my course Informal, just av though you had dropped into my studio to talk of this busines of ilustrating. Only with your cooperation till you get the tow out of i Fist of all, there re ne short cuts, there never were any and there never wll be any. However, Tan ease the way for you, which s more assistance than Thad when T stared. In other words, sere wll Beles trial and eror Ifyou follow my imtructions. T give you the Kind of thinking that precedes my painting of a piture You get tep-bystep procedures 1 use a variety of pro- ‘cedures myeelt and wil give You ab many of them a 1 feel are fede, You'll get a thorough ides of how my job goes {rom manuscript to tat. This information should make you chink {for yourslt and evolve your own methods. Only by being your self do you get to be a topligh ilustratar and say thee ‘My fst lesson begins withthe author's manuscript, the tart ‘of your jo. You tetd the ory aid, with your audience in min, pick the mood and choose the subject dat makes the best ills tration for that story Tao include a step by step procedure for 4 particular illustration I made, pls the finshed jb in color. {We have alo an ilustrated chat on a numberof lusrations have nae ~ the whys and wherefore, attention getting touches fo make the lear (a person who lea dhrough the magazine) op and be a reader "The second leson tells what you must know about research, finding the right props and model and how to make an ilu tutor’ reference file this sa valuable a and I give you the fomplete blueprint on how you ean start and maintain one. 1 ‘to continue illsrated chats on jobs Ihave done. ‘Tn the third leon you make a rough, having read the man scrip in Lesvon land gathered models and props in Leson 2 [This alo includes composition, composing for the magazine page. The chats continse with added diagrams to illutations, Simplifying the making ofa composition. Tn Leon 41 show you from start to Ssh, my stepbystep proce for working lr the live model. The chats continue, Enophaszing the iatrations wherein 1 have used ive models fd the particular problems in each case Lesion 3: Here T give you the information you'l need vo em ploy a camera in your work and I explain how 1 work from photograpts, You go Behind the scenes with me while shooting. pictures, and T give you all the "dos" and "don's” in photo raping for an illustration, Tsson 6. Tshow the varity oftchaiques L employ with vati- fous mediums ~ ol, watercolor, tempera, gouache, pencil ink, panels others with saple of handling exch, The irate hats show on what jobs the various mediums were used and how they were se “Lesson 7,1 do evo illustrations ftom start to fish This com prises the Teson, Nota singe step i et out. Every single step, ho matter how smal, i included, Up until his lesion, bret Nepbystep procedures were ased to get you acquainted with tay mwecods, This cine you spend ten working days with me ftom the manuscript tothe mat ‘Lenton 8 discus color and give examples of how 1 have made color work for me. As Ihave ssid, I do not go into any col theories. "Thee you can get from books on color. T show you how I fd color schemes and how they are orked into Iy ilustradons, ‘Lesson 8. In tis lesson I dicuss "He and She” — he ofthe handsome face and build she of the beautiful face and figure. ‘We will consider diferent types of pretty girl and discover what ‘gvaliies make them prety. We will also discus a variety of fale per and decide what makes a man handsome and gives hh sex ppeal Then we wil consider variations of the clinch and the quewion of including che nude oF semi-nude figure in istration TLeson Td, Here I discuss painting the magazine cover and show sepystep the painting of a Mother and Daughter ever for the Latir Home Journ. Included in this leson are a discussion of advertising at and the outdoor poster ‘Lesion 11. inthis It leon Trak of good and bad taste, fashions of today and yesterday, Snding proper accesories for your iustrations, and gobs of gimmics to smarten up the pic furs, [review what we have gone over in previous lesions, and fonelute by telling yu how many and which of you efforts to Show the ait director, what he demands of an illustrator, how ou should work with im ~ all he important information you need todo busines with the magazines ‘By this ie I want tobe rally prow of you. You have all the information T could ever give you on how to be an ilu tuator, Ifyou are sincere and Work 2s painstakingly a1 ave ‘worked in preparing this course (an as | well in ruling Your ‘work, 1 cannbe possibly ak far more cooperation from you. How to study this course Fir, I shall expect you to develop regular work routine while stadying thee lewons, and practice applying this material by Inaklng pictures on your evn. This practice work is not to Be Sent in ut it will help yu fix the materia i your ind and Teara t apply the information Lam giving you ‘Start geting into a routine right aay. Set yourself deslines. ‘By working regularly inthis way, you will become accustomed tocaeating bya ime clock, which i almost what happens. Hav ing a regular place and time to work vill simpily your job. [Eaer, wen you work for dhe stages this waning will ome in handy, So eat your practice work a hough you were doing hhonestto-goodness jobs for a maguzine. 1 want you co create ‘working conditions which will be as close 2 posible to those you will have as practicing illustrator. Tis practical taining {going to be very valiable as you go on with your career. How I will criticize your work “Whe 1 receive the material you wil be asked to send in 10 me 2 your oficial asgnment, Lill point out the good and bad pats of your work ad tell you why 1 fee hls way. Twill show fou where I think you need additional thought and sudy, a8 Irell 3s make specie sggetions which should improve your Irork I want co eee your slustatons in the magazines, 0 with= ‘ut further ado, let’ get started with Lesson 1 ee Al Parker Reading the story manuscript Inte of Commercial Art Ie nN Author! Author! Reading the author's manuseripe is my fist step in raking an illustration. I do not have any direct con tact with hia, He has sold his mansseript toa magazine and the art director has asigned it co me to ilustate From naw on my job is ta provide pictures or devigns Jor elucidation or adornment. Lill do my best to show you how I illustrate stories my way, all the time hoping 1 ean help you to illustrate stories your way — the way that will pay off for you as mine does for me. Without farther ado let us start with an author's manuscript which I received from the Ladies Fome Journal. Iwas titled "Kinfolk” and was written by Pearl Buck. 12 Al Parker Reading the story manuscript Inttte of Commarcil At, he An illustration — from start to finish 1 think the best way to start is with an example show: Ing step-ystep the way T did an illustration for this story. My method of rendering varies with almost each assignment, but the basic principles are the same. I use this particular illustration as an example because of its simplicity and aptness as an introductory subject. ‘The magazine, for reasons of its own, wanted me to a much of the Chinese background as possible, What appear co be afew lines and a flat tonal treatment really embody most of the necesiay factors in making an illustration. In the situation T chose, the Chinese girl, having returned to her native country, enjoys @ bath without the modern conveniences ofan American bathroom to whieh she was accustomed. She plans bath houses for the town’s:people, which is part of an over: all plan she bas for assisting the poor and needy among hher people, I introduced the praying mantis to give a rest. It was something I felt would be unui uual (bat plausible) in a wooden bath tub scene and therefore an eye-catcher or “stopper” —as I call any device that makes the reader look and pause a bit, Having paused, he is Likely (o read the story or return to read it later because of the strong first impression, 1 worked a week on this particular assignment. Get: ting the idea and the research took up most of the time. ‘The actual rendering — acing the tissue drawing of ‘my composition down on the water color paper and applying the color ~ took one day. Most of the week was spent in planning the arrangement and ironing ‘out the conception of the situation to be depicted s0 no guesswork would be left for the day of rendering, All my problems had ¢o be solved on the rough. Thus, 3s you can see, the biggest part of my job is not the rendering, but the days of thought spent before my brush touches the paper. Al Porker Reading the story manuscript Insti of Commercial At In st | 4 { | KINFOL | Toray WV Oe Al Parker Reading the story manuscript Insite of Commercil Art Ine. Al Parker Reading the story manuscript Ins of Commercial Art Ie 15 Keep your audience in mind ‘The audience is all important —after all, those are the people to be pleased. Find who constitutes that audi fence, Obviously the women’s magazines appeal to the women. Keep them in mind if your illustration is for ‘that type of magazine. Depiet scenes and make portray: als that they enjoy seeing. An example isthe illustration ‘Ondeal” that appeared in the Ladies Home Journal. My illustration, reproduced on the following page. shows a gentleman really going through an ordeal. He took his wife's chores fora day. Any woman reader will, be delighted so witness such a scene. Ie was a natural for a woman's magazine and I show it here merely as fone approach to the subject. The series of pictures showing the same man had a movie feeling and gave the reader a chance co follow each movement he made. It made the reader stop. That is also an important first step, Try not co let the reader leave your page without reading the story, Use all the devices you ean to entice him. Your job is to sell the stary the best way you know hhow and at the saine time to dress up the magazine by ‘making your job an attractive part of that issue You can help yourself and the magazine by being in close contact with the magazine's art director. He knows what is needed to make each issue complete in itself In Lesson 1 Tdwell at lengeh on working for the mag. azines, how to approach the art director, what the art director wants and expects from you, how many sam: ples to show and all the things you must know to enter the field of illustration, The illustration on page 18 is another example of an appeal to a specific audience. During the war ths illus- tration appeared in the Ladies Home Journal. It was part ofa series of “Gandy and Bill” stories by Elizabeth Dunn, The war had disrupted such homey scenes. Here were a wife and her husband having breakfast in bed, reading the Sunday papers. She has on a sosoft mara bow jacket, The entire scene is gay and cheerful. It was an escapist illustration and weleomed by many women readers. This particular illustration was awarded the ‘New York Art Ditectors’ Club medal for that year. I believe its timeliness had much to do with the award TThe success ofthe Journal's Mother and Daughter cov ersalso isa result of knowing and working fora definite audience, 16 Al Parker Reading the story manuscript Insts of Commercial Aa, Ine Never deceive the reader. When I mentioned using devices to entice the reader to stop, look and read, I did not intend to advocate depicting a situation that may be misleading. In other words, show several horses if it isa horse story, but never if i is not Some things are suresire attention getters, oF “stop pers" as I call chem —the embrace (clinch), babies, lowers, dogs to name but a few. When an oppor- tunity presents itself, subject ofthis type ean be incor- porated in an illustration. However, try to find a dif ferent way to present these attention getters each time you use them. See them your way. To the fore comes your self expression, your ability to interpret life, your personality and inventiveness. Avoid set formulae Your great love to create pictures should be above copying. Never, never copy a painting or photograph, by someone else and offer it as your own. Ifa magazine fr advertising agency finds an artist has done such a thing, it will conclude everything he does is copied or traced, and he will no longer be in demand, Let's pretend you have a manuscript from a maga: zine, The art director, alter seeing your samples, has assigned the story to you because through his experi ‘ence he believes you are the one to make the picture He may give you a rough sketch he has made to show space requirements, tell you whether the job is to be in full color, two color, black and white, ora combina- tion of these, He may indicate the situation to be illus twated, and whether your illustration is to bleed (be printed without margins) Now you read the manuseript. In the back of your ‘mind you have your audience. As characters appear, Al Parker Reading the story manuscript 7 Intite of Commercial At le, Five “stoppers” in ~ you jot down the descriptions of hai, eyes, (ype, build, age, whatever the author offers. Do not write on the ‘manuscript, have paper handy for your notes. It is best to make your notes as you read (as I demonstrate in ‘the photograph on page12)-especially if the manuscript isa book length novel. You should also make notes of the time and place, the clothes worn and anything else pertinent to illustrating the situation chosen by the art director in his rough. T don't believe an art director expects yout to stick too closely to his rough. If you bear in mind his space limitations, color choice and the episode to be depicted, you can give your interpretation from there, The art director will probably let you pick an episode and create a rough if you prove to him you are capable — a much happier condition for a better illustration, A. good way is for you to make a rough co compare with his. He may like yours better. If not, you will learn why yours is not as desirable, This is imporcane first, hhand information. Maybe the next time, with the ert cism you have received, you can make a rough that will be wel liked. In time, after the art director has faith in your abilicy, you will do your own rough. ‘Now you have finished reading the manuscript. What is the mood of the story — gay, tragic, melodramatic, frivolous, homespun, smart, glamorous, adventurous, sehimsical, fantastic? Does i suggest a closeup? What is Al Porker 18 Reading the story manuscript Inte of Commercial At ne. Sh sSe Woctwch osm omooiin ed said nner The dor sonmi am the important accessory? Whatever it i, ry to show it in your rough, through color, design, line, tone, drawing, in every part of your composition [Now you are about to choose your props. Their shape has a bearing on your compesition, on the patterns you must work with. So, before you begin to compose, set the locale of your rough. You start with the setting as 1 background, Choose what is best in the setting to tenance the mood, Now that you have established the ‘mood an the setting, your next step will be to get the props and do the research. This is covered in Lesson 2 1 have tried to start at the beginning by making you ‘conscious of your audience and mood. The following. lessons will touch on all phases of illustrating a story Ie is difficuls not to overlap a bit, Each lesion may have some information bearing on other lessons. The mak- ing of an illustration isso closely knit, with everything ‘of equal importance, that to segregate each phase en- tirely would be impossible. When repetition is encoun- tered, it is because I think it puts across a point 1 ‘want to siress, I feel if I repeat important points often, enough, they will become important to you. Al Parker Reading the story manuscript 9 Tailoring Pictures to Stories (MOOD: Dramatic ‘AUDIENCE, Women REQUIEHENTS. Four color. Alboroun bis. MEDIUM: Oil on gesso pane STORY: The sory of ci who let noting stand inher war, not Tal eecnd before the murder Yo geo fnte roma arene, he gis holding tha intended vein's water olor sketches ring pocaned Ns ink. The expeciony inher face ir one St honor nined wth delorination to sary out her plan. Her Sof ‘Randi pened with erested maton ex she awaits his deine. Her ‘hide Saye somthing abet te pron This illustration was made without photographs. I spent four hours painting from the male model and six from the female model. The props were from my hhome. The plant is a pineapple-Its allover shape had a sinister quality, say of a spider or an octopus. This furthered the dramatic effect and made a decorative spot upon the solid tones of color, giving interest and variety. To keep the plant from attracting too much attention, I combined its busy pattern with a decora tion on the table top and put it in @ porcelain basket bowl that tied in with the water color papers. ‘Try always to make the props and figures belong to the composition. Notice how I made everything "stay in the picture”, even the paper bag of lemons on the girl's left. I made it ft by placing it party behind the arm of the love seat and close tothe only other paper in the setting, the water colors. Thus, the paper textures are a unit and do not have a tendency to jump around. I isolated the girl's face by keeping the background dark against her black head covering. Thus her face is the center of interei, as i should be. No matter how busy the arrangement below, you look at her fist, an oval above the arc ofthe loveseat. The panel of white under the man’s head is for the story's title and text. This spoils the look of the original painting. To avoid this, make a tissue overlay showing where text is to go. This is a “must” if you expect to show the job as a sample. ‘The art director may need more or less space than you allow. With the proper information, you design your composition accordingly, I explain thie in Lesson 8 20 Al Parker Reading the story manuscript Institue of Commercial Ane ‘AUDIENCE: Women EQUIREHENTS. Four oer. MEDIUM Govoche ond colored ink on drawing Board. STORY. The gif wor In love wth vice onthe phone A.photo was used forthe female model. The man and phones were done from real models. The cupids were done in colored ink for brilliant transparency. ‘This light and gay story demanded a light airy feeling, ‘which was made powible by using a white background and spots of color, and the thin line treatment of the gil’s blouse. The cord on the phone furthers the line treatment. The gitl has not seen the owner ofthe voice; hence, just his mouth and hand appear —enough to show the owner isa man. The love theme is shown by ‘capids whirling around her. They are transparent sil hhowestes to indicate they are not relly inthe room, but represent the way the gitl feels about the phone and the voice she hears over it. ‘While I was om a vacation in Florida, I noticed a scarf in a shop window. I saw posibilitis in it for « ature color scheme for a light and gay story. so I bought it. ‘The scarf had a decorative map-like street design with scenes of Paris in the center area done in thin black lines. This was surrounded by a border of letters four colors spelling Paris. I gave the cupids those letter colors. The girl's blouse was inspired by the mapsike scenes. Always keep your eyes open for these interesting ‘props as color schemes are apt to appear at unexpected times—even on vacation! In my next lesson you vill find more about the importance of prope to the illus: tration, how they inspire me and how 1 use them. 1 photographed the girl in various attitudes as though ‘waiting for the phone to ring. I chose this particular pose becauie her head would go on a horizontal line in my composition, tying with it the phone in front of her and the man behind her to form a wnit. Thus the scattered cupids would not destroy the basic picture underneath, Al Parker Reading the story manuscript Inst of Commercial Art In a REQUIREMENTS. Four calor, All around bleed MEDIUM: Ol on plywood STORY: This hermit butt @ ut of the Bote of @ Redwood tee, made fonds with aimols and expecially with raccoon fomiy. ‘The male racoon [ona ou here Saucy sighs in wine spree I photographed the adult raccoons ina treeat the 200. ‘The male wasn’t singing, however, but was reaching for food. The oven door was a tree limb on the photo. ‘The baby was a combination of baby raccoons from my file. The boots, lamp, saucer of wine and elothing were ‘painted from life. ‘The rest ofthe props were converted ‘o fit from my file, The fringed wall hanging was 90 made to give a white ground for the text. ‘This story was unusual for a woman's magazine, and the challenge was to make it appeal to the woman reader. Therefore, I purposely did not show the com: plete interior of the hut, but picked interesting props to form shapes in the composition. The upholstered barrel chair, for example, the quaint stove, the red towel rack with a fowered towel and the natural "stop per", a mother raccoon with her baby. She is scamper ing to safety in the oven as our hero bursts into song, Father raccoon also sings with the plate of wine in the foreground, Because the setting was in the woods, 1 painted on wood, letting the grain give spirit and tex- ture. The hero's legs are really the untouched plywood background. The story was about the man and to assure his prominence I had him cast a shadow. From the cel ing hang buttons tied to strings. The sory explained that the man could open and close eupboard drawers with this contrivance so that the nosey animals could no longer get into them. 22 Al Parker Reading the story manuscript Inte of Commerc! Art MOOD: Adventre IAUDIENCE: Wosly men REGUREMENTS: Four coor. All round Blood NEDIUM: Govache on deawing booed STORY: Thi rnsport pl wos Mg © Volucble cargo, He wor way by the Vilsin ond pistol peint mos fold To Yemove hit unforn 40 tha the, mon ther! could norgerade or he plo Ther plane wort owy when the plot ern removing hi hit pulled the Eakt ‘ord ond the resting dekoess sched ent Looking cls, oul ee the gh Corte clove tht hand. The reser Soe de his om ceaueng The models were photographed, but the props, in cluding the cases of beer and the bottles, were posed in the proper lighting and painted directly, I discovered interesting touches such as the indentations on the car ton top at lower left, caused by the bottle tops having. been pressed against it while packed. Getting the real article gives your illustration that honest touch and alfords you the thrill of painting from life even though photographs are used for the models. Whenever pos sible, I paint from the live model, The color is before you and changes are easily made without the bother of rephotographing the models and costumes. ‘The light fixture, being high, set my source of Light, bathing the figures and making the hero interesting with light and shadow arrangements. The redheaded gun moll and the tie of the man at the right were the most colorful couches. I wed to make the dark and light patterns give interest throughout because of the absence of bright colors, weaving the shadows into the figures and background, The spe of light area defines the hero's legs, the carton top on the table points to has ribs, che shelf to his head. The villain’ pistol points to his midsection, the light cord points from above ‘These points hem the hero in a stiff, motionless pose. He is really surrounded. I have avoided such cliches as the bluejoweled character with the broken nose, cauliflower ear and dark pinstriped suit. I do not be- lieve in set types. Al Parker Reading the story manuscript Insite of Commercial A, ne 23 ‘The He and She models could not pose the same day, «01 photographed them separately and combined the best ofthe photographs. I dubbed in the restaurant interior. 1 borrowed the props, brewed my own coffee and painted them from life, While 1 was painting the doughnuts, I was called from dhe studio just long enough for our dog, Jeff to eat every doughnut. Thad placed them on the floor to get the proper view look: ing dovn and Jeff thought I had suddenly become the ideal master. When I returned to continue painting, 1 found an empty plate, but Jef’s powdered sugar muz- ale told all. Now the studio is off Limits for him. ‘The situation at the airport restaurant where the hero says, “Listen, I'm trying to pick you up. Either 1 AAUDIENCE” en and women. REQUIREWENTS: Four coor. All round MEDIUM: Govache on crowing board SHOR. nthe onviing sory out hero, han sirpr, testa ih up @ gt who Selly wile, Afr a brie thee doy Ioneyioon, he bod gone overseas, fuming eer severe yor inthe sores Inthe interval is wife hes dyed er Blonde hei, He does nol recognize her iv, bt he does thnk she "You con imagine bi lit when she identifies herself. There ia hoppy ending, however 1 min Stray vag ost © IHC Pas Co {get cooperation of I'l take my business elsewhere,” seemed the logical one to illustrate. It was raining and the author described their apparel. This set the color scheme. The puinting of the white gardenia consage under the transparent raincoat was 2 tough job to do convincingly, but the actual corsage plus d raincoat helped solve my problems. I wanted an inti mate Feeling to the scene, $0 I chose a look down shot to eliminate the interior which might prove distract ing, The man and gir! were framed by counters. I used. the color on the stool taps behind her to further the ‘losetogether look. To make her belong to the setting, | made the shadows of her hair blend into the counter front actual Al Parker Reading the story manuscript Init of Commaril Ad, te 18000: dostery REQUIREMENTS, Two color Top and boom bleed onl. MEDIUM: ak and wash on crowing bocrd [SIORY: Tie wos @ murder many. The women holding her Va be the next.” Your sympathy goes to this character becouse she. isin danger Aca, tne eg obou the prone calbecaute she Commit the merder The two women in front were photographed. The rest of the figures, including the props, were drawn. from life, This illustration was done in black and red. A flat pink tint of colored ink was lai over the entire

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