Studio procedures Famous Artists Course Famous Artists Schools, Ine, Westport, Connecticut Lesson Albert Dorne, Fred Ludekens Norman Rockwell AlPorker Ben Stahl Stevan Dehanos Jon Whitcomb Robert Fawcett Poter Helek George Giusti AN Briggs Harold Von SchmidtStudio procedures eee ee cere ing boards of comercial rt eon kw ere they seve ioe pesca epee ees cere a cass hom in aia procter Stroh tal and era they Issmed hem ils hata nena nthe at wo ey epee ee ala ieee ree tear forthe cree talents Sire Dante hay yet uit er taniespeeata: sap aed ae oir an el ce He poe le ies opti re Eel pyri cen Gey and the Frese aoe Yoo wal te vera on hor top peters and pron than arc, Rowan a ‘ier tporten orb, and you wl be taht how 0 aang i roti dav abl yas le dren peste ianne: You will ao leas the longo oft pope. See tar pr tie ae pel ellie pte idlarnwenene fea go die wy otal pe cedure ce ech yon here ca be he Devt open the da {i your ant carer Tecan prod yo wih 8 go velo pee ee eee re Accuracy — accuracy — accuracy! ‘tet cer art wk died tor mprofotinn isvll remeber hat your oman werk wil Ea vege epee ieee ane mere Sey the resto every jo yo da afer repre Pick iteparcail link shan ic ns ony outs era wag from ever job Tibet ia won dht shel te fora in mid of oti at eee ed ty eared iow accrate in the beginning, everything thatthe art doce fen ta poincan wll bere Good tools are important In the arta effort to achieve aeceracy. nothing fs important azrcliable ols Money spent om tools of good quality sound insesttcit Inferior (ook rn out interior work, and the artist's job iedemanding rough without being camplicated by tools of ‘quotionable pttorsance, So always wt the est ones you ean $Mlord and take good ere of them “The drawing board pon tehich the artist works has 3 great eal todo with the quay of the job he aurns out. The soft ‘vol inthe tp ofthe board i esl cares don’t use youre fe canting arface, but save ol pal backs for this purpose Next, don't rly on the edge of your drawing board as an 2c curate gue lor your Taguare. A simple metal edge called ‘aueedge” can be purchased irom your local art store and casily elampel uy the lef side of your drawing bose This rakes 2 smooth, acurate plane on which the heal ur rune He yon Taearé eos ‘The Tsxuare. af course, bas much (9 de with the accuracy of your job, and itis wise artist who purchases good steel square at dhe begining of his ever: Given seaonable eae, Sch tool will ue ei. ‘The Tquate fe sed forall hore otal ruling. Bont use i agains the top ege of your drawing Inara for making vertical lines This ie Joh for your ering Most profesional ind tha wo or even thee dierent sves of tulangles ae nevessiry to handle a variety of work accurately For greatest accuracy over many yeas, Iti well have ane oF two sel erangle, Mane riangles have dhe advantage of anne pteney, but ther do have tendency to owe their accuracy and (aly Bevonte nicked. ‘A consinnt offender fs the old fashioned wooden rler. Many artists have Bod the experience of eempleting a plere of ae only to find dt icf lite short or oo long a the eave may be. {Whee eippeas to flew ire o's pony dey tener ruler, You can avoid such mishaps by pehasing a good went fourdadh see} ruler wt the star Neatness Next to accuses one ofthe mot important qualities an art an na cleanin Negi rating tw the art loger. 48.4 crelestlooking piece of work covered with smudges and Finger marks. And, iailaly, nothing ill iprom him more thon 3 sharp, ele ooking job Develop the Rabie of meats ceatly in your career. See wo st your place of work i eat and tidy with everything nf place: An occasional washing with seap and water wil Keep your Taquare, uiangles, and rolet lean ~ and thus, too, the art work you produce wil dhe Mechanical aids any mechanical side have heen develop which wil eve ime forthe arts who has deslines to meet. Three of the more com monly wed vimestvers ate the camera lucida, the pantograph, andthe opaque projector. On the fllowing pages we wil show you how to use them, We wll ao explain the vie of othe time Sd money-saving devices such ae the photstat and serpent sad astprocenes such aa Caltint snd Zipatone, These mechan: fea! side wil often prove vf, but they should never be used sa substitute for good drawing. “The things we sill teach you in this lenon ave wlat you would tenn over along pero! of time, working i sion and se departnents a an apprentice. We will nonstate the pro fesiotalappioseh, but remember, every studio does its workin 2 eettain way. Ib up to you wo adapt yourslf wo your sudio’s methods cheerlully. ‘The hnowledge you gain by’ a thorough study of chis eon will help yo 10 progress nore rpilly in any Studio and turn out studio att of the be profesional quality. You will know the ols and procedures. The art materials and procenes wil become ol! Friend, ail you willbe ready co meet ‘ew eullages with dhe understandin always the mark of te good cratsman.Tools of the trade Fine meehonicl drawing instrumentsare a jor co work with, They respond sensively to the toch ‘the artist and help im go meet the exacting demands of his profession. It pays to buy a set of, food quality += with proper care they will he iferime, By contest a cheap st of instiments Will often cow tase in the Tong run. They not ‘nly tuin out work of inferior quality, but sau be replaced sone of ltr. Tt ifr better to start vith » good set. You don’t have to buy the entine {eat once, ether. Vou might start with the pur ‘ane of good ruling peny and follow the seth penciland ink compass, eventually The ruling pe is commonly usd for inking straight Fines fis designed toe vse agains a Sraightedge and roles lines of consistent thiek- hess The ticknew of line may be atid by turn ing the adjusting serew, whieh moses the sibs together er apart On thete pages we wll demon: rate the basie handling and care of thiv and. {rher drawing insrament. Tee il it, ede bn tent Ee moe won bind ling pen ~ og es al ead Sf feogree ve Wee t H Fert n ars rng iw fran ane pclfotsteiian Dividers Mon ets of drawing instruments contain two dividers — large sud small ‘The sal divider open to sbout an inch and a hal; the large dividers are anything larger than that up to about eight inches Dividers are used ing lien either straight oF curved, int cul “They are alo olen va for ramerring measurements frown one ale practic will soon aq Sour dividers Tn the demonstrations below we use 9 sall pair of dividers, he aling fe basically the sme fr both ies. M ni ams stb Sd yor Seng oPSBN ste reas Tips on care and use Compasses Most sets of deaveing instruments contain a small pencil ems. 2 small ink ‘compas, and a large pencil compass with an ink pen attachment. Abo deve 5s ually extension bar proved which, hen attached tothe ik or pes {il compass, will make circles of lange diameter. The companies are handled meh He the Aiden. Des pr te pi espe Eto Jour drag ape Te takes very tle restr to make the point hold wile you dae a rele “This point sboubd bw affusta« tBe longer Ue ihe pen or pene pon ocr Sot neteen 21 Ferous Artis Coun Studio procedures Rubber cement-a tool of many uses ‘One of the nos important tool or the commercial ari x rubber coment While here ate many adhesives wae i the comamevcial art held, none hax the versatility, eae of hanling, and downright felendliness of rubber ce stent Certain none is 9 eas) to remove. I ou go beyond the edge of rea in cementing, you simply allow the rubber cement to dry and rut OTE Tecan be removed from alinost any surface without leaving 2 mark Pigces monte! with rubber cenent can be aeljsted or removed by apply ing rubber cement thinner along dhe eles THe thinner seeps under the ‘ages anil leenens the cement. Many artists keep an oll on oF squirt ca filled with thinner for this purpene, Equally handy is smal bottle with sn eye dropper, Rubber cerbent snd thinner are highly fammable, Neves fucke while wsing ether of them. There ate twe base ways af mounting with subber cement. One is wet tgunting. the other i dry shounting, och methods are demonstrated on the following pages 2 3 fhe dite ueaned 0, Wey ety er cere farm eyo pkup ee bet er wh ca.Wet mounting ‘when mounting sype proofs in pation, many artis we the wet ‘own edhe mod tuber cement i applied only to the underside of dhe proof and, while the cement ill wet, the ploced in it approximate postion on the Tajout or ng bond (Mounting, Board is wstally an expe reght white cardboand) Then the proot is gently int the exact poston, using the ‘Psquare ay a guide, Use you Sager or the cier end ofa pen to move the proof. The points of eividers are olten ws, Dut these leave pin pricks, and only fxperts can me this to! without damaging the paper: Tn handling spe proofs, take grest cre ot to smudge the prime expecially tm rsh jobs when the ink has aot fad cme co try. ight spray of Acc Bxative wil prove the proof — but be cautious! To hesny pray may blr the print eons Beam Vi i psc yo enFanon Arts Cove Studio procedures ~21 Dry mounting este eerie) eee arate eae te Soe eee ie uk Calan eos oto re hl dry, the two surfaces stick instantly upon cont Ieee the two cemented surfaces apart while positioning, pnent te (ealed 9 asp shee) placed beeween thea When the position is correct, dhe slip sheet gradually withdrawn and the surlaes are preved ial together. Here we dentustrate diy mounting with a single slip sheet = Ushics i mow olin ted (0 atach small or mediumsized work fora backing auch as movating board or illustration hase (aes rmanat es eta to ber ‘er vikin th cer mas. Ye bv ie Seva the tbr enn eta oe eran ae PERT Seen coe meer yee ‘Wie a bar ene nt ne hey ey po i et sn Treg age dee amet ih alee pet wT at etn wipe eh eesinghnd te ox peeDouble slip-sheet method “There may be times when you are asked to at, photographs or phoostats, or perhaps I fon very flimsy paper — perhaps even tating paper. This wok be very difeut with ae single sipatet method described pre ously, but using two slip sheets divides the work area an ikon it much easier to hale For this demonstration we wed a pencil drawing on wating pe. Fin we sprayed fisative on dhe drasig and trimmed off ome rugged eiges. Notice that on larger surfaces we ase larger Fubber-cenent Brosh, hich makes the job faster and easier i tae Die ce eon Secmenarice Siontw wean ae = Hsu sy ie beat ie tg te O Bc ery ona yw coe) fr coer mei ering he bes ig pode oe up nop lt Hg ht, oth whiny ae eo. ree ce ogee ip ‘nthe cr aber bal on inh wie reputed td.teste sit tie, 19) iret eso mang wt Be How fo use the dry-mounting press 14 rot photographie stios sheet of translucent material ‘oth surfaces, The sets rome in several {Quite often you may need to te seeral sheets of deymounding tsue for 2 single job. When tis i the ease, ake care not o overlap your sheets. The pieces ven have 4 thin space berween thers if you overlap them an ay sow dry mounting is wed on photographs, photostats, tear sheets and alone any ap igh euough in weight lo hese penetrate Tt requires the the ofan electric “tacking iron” to fasten the work temporarily f place plus an clectic diysmonnting pres to supply Nest enangh to dsalve the Arnaut, tise and forish satctenepresue to inl the rwo surfaces cage. N one a12 How to cut a mat (Onc ofthe first things beginner in studio ay be asked todo is toca a mat — paper Grate for a piece of art work. Any good job Tooks beter seen matted, and most studios ad agences mat their work before presenting 1 0 a ‘lien, "Theteore, iti very important for you to learn ai learn accurately = now co cota mat "Youu need tetal straightedge, 9 tong ruler or yard, mat ‘oan scrap bout! ent on, mavking and gummed tape and a strong seady "The typeof mat board amt uae is generally white on onesie and gray om other iy be used, depending span the tone or value of the ‘work to be matted Generally yom cat aat 0 the sume width at the top and ‘Ses and slighty deeper athe Bottom. When we refer tou 3 4 ama we mea i is three inches wide atthe top and on eas side, and four fnehes deep at de bottom, Tr ukes experience belore you can ent 8 profesiratlooking mat. Pratiee ent ig nal mats from waste plces of mat board, There are mechanical devices int make mat cating eer ut You will beable vo do the job beter if you Bs fnderstand how 1 et amt with a suaightedge and tnt bale or the purposes of our demonstration, we are going 40 mat a water color sing the whites of the mat board. The area wih el show when the picture fa mated 20 % 16 inches. ‘Sts Eoeiomelyen ates oe a6 er ae 3 woes ‘loca forge sae st mor hoard ice down nw cnon Fiesty: alsedge egunt the tow pan mash on oe ie ee eet nuns “och SANA LSE" het re ke ep oo Sew lg om aad vo he eh a pr See Siatinege arte treed gow een seng © aye war sor Woe ae oy nae SeUAd ton te tvs a arto hee ‘tb anes eatin ts sve oe Tiga A econ Scores open bee Opt nd it aakeeires4 Photostats A phowostat sevice offers a quick and inexpensive way to have fart work copied, enlaged, of reduced, The plotosat machine (ial) is esendally a large eamera. Your art xork is place on the copy bowtd and an "exposure is uade onto sensitize paper thin fa negative which f then developed. Next, the negative ja photostated to nuke a postive. I here ate past-p lines or Ciker marks on the at, you cam remoxe them fou the negative svith Back ink or apague white before Iaving the posiive made. When ovderinga sta" wrteinstuctions leary Uelow the art corona tisste taped over ft ndieate the sve, whether you want v seqative or postive or both, and whether they should have toute or glossy fin. Glosies ate sharper and are usually tleved for work toe seproduced, lke type or hand lettering Don't rely on die accuracy of 4 stat. Photostat paper fs not imensionaly stable ~ iti likely to ehange the proportions of ‘our drawing. The degree of distortion, howevet, alight and i Som mater unles you are working on an exacting job i | | - eres ede al sl ‘caution: Nover rely on fe photostat for accuracy. ‘oan bad, A ht you se nd aed on te op ea nt ei he coy meh oven ck pve1 Studio procedures Rescaling ‘Phere may be ties when you want to change the scale or sie of apiece of art work ora Tayout™—to make it larger oF smaller without the id of ‘hotowat. Doing {ols you use are your eave a psu ‘way of lung their seacy then least expected, anit ie’ good idea to heck them occasionally. ‘When resaling, use a pencil which & sot enouglt to avoil making a ‘depression in the sorfate of the paper but hard enough to avoid smudging — am H pencil shout right The lltsestions Below demonstrate Bow to see it watk up to lager proportion. To acle ie down, simply reverse the pro ccalare show frtions sto show you how to etlange and relocate eee ere ey preucel tienes woh oa op eeartae wee boat Viccsso ‘paces oncom neces 2skr'igpe natty tte Rowense Bon yt one cer ey sith nian tno Ne Vee teceonsmne! |2eahen mre shes16 The camera lucida “The camera lucida isan instrument the artist uses in eanserring como his drawing surface an image of whatever i place before n> phouographs, leering, tear acts, or even three nab ojecs I wed 4 enlarge or reduc, or duplicate the subject. The camera lucida or “iy” generally comes in a bow #8 shown above, with a set of Jemes which sharpen the image. A fens chart also supplied and so are directions om he to work i dhe uy To use the Incy, ou need « horizontal topped table about thirayowo inches high and lange enough to Hold a layout pad tr illustration Bram. Clarap the hicy tothe edge af your ble Sind tack om the wall diectly i front of the lucy the plete te be copied; them place your layout pod on this table. The exact distance from the please othe luey prism, and the die tance from the pris t your layovt pad, wil determine the agree of enlargement ur roluction. Changes in sire are made ‘by mening the ble, to which the lucy is clamped, forvard or back, and raising or lowering the Ivey arm. When the desired sive isteach, ou convale your lens cart and place the coreet fens inthe hides (a front ofthe pis). This will sharpen the age and correct any distortion. ‘You look dievdy down into the ley prism with one ey and you see am image of the picture on your draeing surface, With the other eye you focus o@ the point of the pencil in your hand ud guide the pine over the image. With alle practice, both the image and the penal point com be seen together. "The objec, tan then he outlined, shaded, oF deailed ‘Another wee of the lucy 6 In Mlopping a drawing — that Is turning irom Heft to righ, To do this, tack your plete up Side down in fron: ofthe hey, Thc simply warn the prism bar forward and inser the courect lens, after taking our reading fom the lens chart Your picture will appear reversed from fet to righe on your drawing sutlce. adetg: rts = pre by ena mee ay te oo Fone SESE ISS LE ate Sere iene nae SL eh draning oe Coma yorThe opaque projector “The opaque projector operates on the principle of the lantern, projecting + photograph or other copy to a vertical drawing surface. The aust simply draws over she projected image The degree of enlargement fy determined bythe dence fom projector to drawing surface: the greater she distance, the Tanger the image. With eevtain projectors. to redvee copy you nay need to devi sie menns of hokng the lens the neces ‘ory disance frou the projector. Th the photo at dhe right, Feely member Norman Reekvell demonsirace the swe of an opaguc projector. in his cae a lsloptican. ‘The Tilopeiean will enlsrye a sketch oF photo graph which is not larger than G by 6% inches, However, $etches or photographs of mach larger size ea be placed i the ‘machine and 6 by 6¥inch sections enlarged. The pantograph Here AI Pankr ix shown ung the pantograph to ent eng The pantograph cia Wetec fe reheat of foun of wool or tcl loed together a fu pln = BLG.D.E, Dolor A th srewed fo your draving ble. Poin C scree aioe ts ed oe Pa peel (a which cacy repens the movin of Point C an eope the Pier ono Jordin paper but in ea Teduced proportion, To che the dre of ‘eduction te cnneting pone Band are shied along 9 tale whch scaly marke en she Va wtch Point ae gag tac on gee aC our pie pend a pain Fo make the elaged or releed dang Making and using a transfer sheet transersingdravng on tracing of Vitairing paper (oa piece ff llseration Gourd, on which you make your finshed render Ppa on fg. Alter tacing dawn a euving. you ean caily erase the eg ppsr vara or pn imphite lines The sheet con be stored and used over and over ean If you prefer, you ean purchase tanser sheevs already treated with graphite. \ ‘Dim Sp ne rece os rims ate en, enor Dna san fw me te Sven oa erg nA twane Se Wen for hoe Sled vntrngPhotographs Govaless thousands of photographs are usd every day i alk Nertsing and publishing. They ave seldom sent out for repro ction without some work by the arts ‘Aways handle plants with care. The surface Ts extremely dele ieate = fst the slightest presnore of a penel point can leave a mark which may show wien the picture is reproduced. Before ny work ik done, a photograph fy usually drymounted onto ‘mounting boaid sigh rubber cement or the dry-mounting pres. the photo is badly buble, it cam be soaked in water mourned with brary paste while il wet and put bet blowers, under weight, cll dry- Whea this method is wed, piece of plain paper fe mounted a she sume time on the back [tthe manana board to prevent warping ‘Many photographs must be retovehed to ring out their in: portant ferturer of elimina wndesrable ones. Since de susle rss photographs likely co have a light lm of oi whic. ko wate color this film ast be removed before 36 ‘Some artists ub the surface with fuller’ earch (4 fine ‘white piles) while there just sub i with salva on a piece of tin, which has the ume eet. You ean also add Tui ‘ed Noncrat to your pigments This ha the property of et ting though the Blof olan llosing te paint to adhe. i you compare sever photographs you wil al dat they one tt alae tm tonal sali, Some ate tatu and some are cont Therefore, for best resis oss eed wo palettes for retouching watt one for warissonet photos aad a cool ane for coo Tonal photos Warman gol retouching grays may be purchased Sveady mixed in tubes, Hoxcever, If you eae to prepare your fen the ool gray is tae by mixing lampblack and opaque Shite, "To make warm gray add tout of yellow ote Tange ane of the valve of plouograph isis helevaility When retouching apparent, the pho his 4 “xed up" Look nts biabiiy is weakened Do not gnebretowsht 1 yu use white fn sete. st highlighting or slhone ting, make sre the whites pote and dacs not contain any warm fr yeloys tomes — it wll epredace a» light gray and your pho tinea wil nck spare ‘On this ani the folowing pages we demonsuate some ofthe ‘mont common procedure is working with photographs in the Irudia, We sat below by shossing you hove to silhouette a oly “This ia done when ou sant dhe object to wt its background Disa tem, anne artnet 2 ENS et ao lng pn toe te efoto Thao reyes ewe Hay tt : cen meas pi nds Sk Bh hm i a We eq tbo Ym ST ed an ehsa AN Studio procedures Cropping G Do's and don'ts20 Friskets A frsket is semi transparent covering whieh you place over part of 2 drawing fa photographto proreet that pare while Sou work om he rest. tis used principally dat shen yo retouch i with the art stor and cots two forms — plain and prepared (adhesive back). Here we lemanstrate the we of both forms, 35 well as other ways to protet art rk Tigh ieee vie vos oo oats ie tite dsb ne ‘coed panne tah ngeweThe airbrush The aishrus i 4 wall spray gun whidh is operat from « unk of com presed sir or a small compresor. It has many applications in commercial Bre sock and Is commonly ased in phot retouching. There are several ‘iferent pes and sles of arbrushes Some pr sca, while others tend out fine jet for very delicate work. You can ose wamsparent oF opaque ater olay dyei colored inks or any watersoluble piguens in dhe aizbrush. ‘Don't allow yoursell to become 4 slave to the aitbrash, Think of the job to be dane, and conser whic wcuna might work ben. Perhaps a graded ‘wash or even pencil would be bette for your pepe. Hf yom need am aire Ish, Look atthe model valle st your ant sore and pethope purehave a ook om airbrush technique. Many art stores slo have an airbrush rental service. You might find it helpful to experiment with seseral pe before ‘hosing one 10 buy. Bclow we show you enuiples of how a photo i re {ovehed sith the abronh lor magarine and ewypaper ae, and danings in which the airbrush has cen used for certain specific llc22 Three common retouching problems Removing spots photographs that are 1 be repro: fave spots or scratches that aust be fopaqued or painted ont. You do this with 2 atereolor brisk and opaque retouch fgene The photographic tones must be matched a perfety that dhe rei hing val not show ees Removing an object eis sometimes neces to remove 4 ple object uch ae signpost, fue hydra ‘bra figure. Vou can do this with an Taal when the background. atea is simple, Nas tone, but when detail and tex fore mst be matched you will do beter twith 3 watercolor broth. Retovch rays sre waed St ether case ym background sportant to “soften” a back round i detracts from the subject of 2 Photo, Soaietimer » confusing background Sbjece mie be removed and the rest ofthe Ibackground toned down. Tn some eaves it ie desirahle to replace the entize back round with gray tone whieh will em hale dhe igure, Shown here are four pos {ible approaches. 2S peree peed error * Tne preligerrercrt eee awh e Loe ee the bores24 1 Composite photos Oceasionally, youu may have to combine ne photograph i another to make «composite plete. Vou cam ofti instruct she Fiatemaker todo this, bot sometimes the artist has to make the ombination expecially when a client Nan to sec in advance {shat the nse job wil look Hike. On the right we show you a Inpical problem: The young couple in the small photograph are torbe puc into the big one, Boh pices have been enlaiged 0 the same sale so the people will “it” in che big phot, aT Grovmmmmonecrnmrign Dimes ter oa otal ibe tase Ieee Cat maak of hey bord pope with ide dinero ex 3 dy he os bed ks Te ae Bre ef ok we wee Masking and flapping Photographs are usually mounted on mounting board before they ate tetouched or marked for cropping. Very often studios willuca mash a shee of white bond ith the center removed we frame the photo ofthe part of it to he reproduced. This tnask is sally taped along the top edge ofthe mounting bose. [Alo «piece of hesty paper, cae a fap is taped over dhe job fo protect the surface ofthe photo, The mask ard fap give the job a neater appearance aud divs are pecially advisable when showing a pita toa cen. Bee abd fren apo oy ue eb i ‘eep han the noting beat, Tun the board Face down ep ory ia idan eb ho Taner ond no Uh th te rove fap on he mek ood mare a intatin e mening Sed, beth the posAy Do's and don'ts ego a.nd Ser ras ye oe you ro aed ve har epee ese ib ade26 Mechanical aids in illustration Here are several methods yor eam use that will save you tn, occasionally cut dose plate ests fr you mune accurate, folproo! reproduction of black and white drawings. “The examples at the right show three practical methods for making line draw ing. The Grafint and Zipa tone processes permit you to add tonal effects 10 8 line drssing and ill have i reproduced as an inespensve ine cut. "The Kemi proces (lescribed below) is ome of several similar processes which have many applications in commercial art Kemart and similar processes The Remar proces is wily wsdl in preparing tonal art fr production. The sn works in wal pag, pons or eaton m combination eth the resem Kemart materials shown immediately hclow. This procen allows him to have his work reproduce she way he pains with ll rine hit ty he sear tnethed of pliemaking thee whites are normally not hsined without a gleat Ge of lon work bythe platemaher The results ys ea get with this proves te lutte inthe four foal pictures eles. Fuorographie an Rromoite ae {wo similar proven. All ae often wae for att tobe reproduced in newspapers ‘Their commonest ne i im making foshion drawings aril retouching phates ‘Each method is Bald ite cdereny, so before attempting to Ws them in yor ats you aust fst eheck your platemaker tase which proves eis quipped forhandle ie can probably supply you with materials an ditectons on how 10 proced fot, bath materitsand dietionscon be obtained from your art dealer, Trsportane Art work eomtsiningRvorescent nites should be cleat labeled sda elect, wll be handle corey Za @s roharekenen Meroton tana Nh Ae Kaan ei ht Kana shane Silverprint ‘This fs fast and accurate method of making line drawings from photographs, in which the anit draws directly on the photo. Ie is particularly wit for mak ing price srawings where accuracy is necesary. ‘The arist usnally works én cooperation with «photographer who takes 3 very light print (called 3 aver prin) on mace paper and later bleaches ‘vt the photograpiie image leaving oly the ink deawing. "TRE" photographie image ie epe light, so that ite darkest tones won't coniet with the dk Tnes fscthe aise den them i. IC yon find He necessary to Blech the prine yoursf, che bleaching solution fain be obtained from a photo supply ote, Geat caution should he exerted when sing this soludon because it ‘ually contains ferreyanie, Craftint This isa convenient method that enables you to add lat tones to a line drvcing nd sl ave it reproduce as line plate Cent papers on whieh dhe drawing mst be mate, come in single tone oF Alouble cone in 4 watery of seen pat teams. "This demonstration shows bow & se the double tone, which contains tea Snssble sree, one ight and one dark By applying Cralcing developers with bra or pety you make Ue acrecns be- ome visible as tones wherever you wish m. You may chooe foun a nimber fof screen patterns, depending pon the es yon want Zip-a-tone “his ie another qk anal ny way 10 areas of tone toa tne drawing, The dhawing wil produce a a snple fine fngriing. “The fipasone shee i> trampatent sheet covered ith minute esr toes spp or tc ing. and then parsons of the sect ste temonad we you do now want the tonal efit. ‘There are may” palterae td sie 19 chooie from, depenting di the elec you wan andthe smosnt Tones achieved by the Zipaone and Cf proces are more severe and tebe than thse eesed by ry Brosh wt oF crayon, ut they ate both prac and appropiate in many cas, They ae parila, goo for newspaper reproduction,Type composition LVially every piece of printed matter you design will contain some written eaterial called “eapy.” You will have it set in {ape Uy « speeier of epogeapher, so your must be able Specify to him what type Be Ts to vse and how he Hs to et it Whetlr this copy is 4 small caption under @ plewce —or a large headline — you must design it with great cae. To do this well, it 4 nevesary for you to know the fundamental andthe term wed in specifying type ing pages we will give you thie ect {nformation, You will nd eee tore meaningfl Hf you can ‘fst 2 type shop and discus thee principles and terms with the tapegtapet, Some tpographers sappy their liens witha book ‘sowing samples of dhe faces Uhey stock others supply ist dnd iedesigner nus buy or bart a book fora which 1 Wonk. “The design of ispography Is important —it is esential wo ood nyouts and Hea be a fascinating and rewarding crate. Develop your skill in designing and spectiying ype by nosing ceective examples of typography, and check them against 3 type book wo we what faces and sies were sard. Review Lewon Pon lettering, which contains valuable demonstrations of fan lameneais that apply as much © (ype as to handdetering Plats. Te ive (eight) of type fe measured in points There axe 72 points to an inch—one point equals 1/72 of am inch This line you are now sealing fs set i IDpoint type, whieh means that tom the top of the highest capital or lowercae {herierw the tion ofthe lowest desender, pls the shoulders {op and bottom. {610 points. or 10/72 ofan inch ees, The length of a line of type is measured in pica. ‘There ae 6 peas to an ine, so each pica equals 12 points This ola is et 28 1/2 pies wide, notype end Intertype. Those are wo machines that set type im hich 9 way that all the characters i line ate east oF molded in one piece of lid, called a “slug” hese slugs are fconomiest to handle, but if there is a typographical erzor (called “typo in de in, the emtize line must be reset. Lino- Ippe and Antersype machines are generally uscd wo vet luge Blocks of copy. 14 in books, newspapers and booklets. ‘Monotype. This machine ciss or molds one character at 4 time, Thewe chiasier axe brooght together to form lines of tope Topas can be corrected by changing one leer ato me Nono:ype compenition fs therefore mare flexible dhan Linotype for Intertype ad i particularly useful where speal spacing is ‘alled for asin tabulated material or where shee are apt to be fumerons typographical changes. Monotype componition Is gen rly more expensive than Linotype or Invertype. luidlow. This combines hand seting and machine casting. ‘The molds, or matrices, forthe type are set by land and pat nx machine which cats 9 sli aig, Ludlow is used mostly Tor setting display 1pe, whichis explained below. land-set type. Hlandact or foundry type i set by hand, which permits the mos subele adjustments of spacing. Tt is the ‘most expensive Kin of componition ad is generally used where the higlen quality of ppography ix demanded whee the py is shoe, or special diaply arrangements are sequited Type on film. Various new machines now sec type by photog sapiy. The principles of specifying phoosype ate basally the same as for metal ype the si yp smd ine Ones 72 ph pi of Sisal CS HERO T a 9 Brees hen pay tom 8 pase pom. -ssaee@RRRRR (eas ———4 Sn pe or on teow mm pam te R R R RR ‘inure in rt wt fe a Tre ah got coe a ae pres pe neABCDEFGHIJKLM NOPQRSTUVWXYZ Sh" Ler) Begs abedefghijkImnop qrstuvwxyzF ih fl $1234567890 Fonts. font isa complete asorement of re ofthe sane fice and sie. Ie inclads fneerense letters ap fale numbers and punctuation marks. Veristios of type. The designer hat wide variety of sss of faces of type to choose fom. A few examples sre hown the appr right, Within any one se there fe a grest choice af ses end weights For example, Futura comes all sas of the fllowing weights: light, ‘naive. demibold, bold, and black. Most of these are available in Hales 36 wel a roman, oF verti Lewes, and some in condensed and extended laces. Don't use a varie of expe faces ona single job jane Becase they fre available. The bent typographic designers seldom tive more thon three deren faves om ome job. Roles. A rule is acetal trip thae prints ae line oF tines. Rules can be used to make decorative boxes or hordes. ‘They come i tations designs, point siz and lengihs, Several sie, from halting Co 6 point, ae shown at the right, teeding. ‘his isthe prime’s term for spacing be teecen linen Line of type can be Headed as many points ts deed, Machineset ype ean be leaded the desired Stount by having the Gpe cst on a largersire sing The I point type in whieh this eetbonk fe printed was set on a 2peine sg, whic isthe same a¢ ding 2 points of leading. Atthe riche are examples of pon f5pe set solid and with tro ad four pots of leading “The table Below wil give you some guidance in de- termining hose much led to se with ‘pe of diferent sires IIs intended be awed a¢ 3 rule of tral and Should ot be fallow to dhe letter rst Mis mss The uni for mcauring spacing i fs che "em quad,” which isa space as wide ae the eight Of the type: For exauple, 2 24point em quad is 21 pointe high and 2 points wide. An en quad the sone height stan em quad ut oly hall we wide, Fndetven are often expresed in ems~for example, indented ‘srg openings inthis text bein ie exon 10 from he type margin, RRR RRRR Avan ant you have plenty of stimulating chal ita for purulent ake where You ive a else Iyer ef high goss and matin Sanam Asam artist you have plenty of stiulating ehal- lage for your talent right wheve you Ive or clone bby. Aut of high quality end national significance As an artt you have plenty of stinulatiog ehal- lenge for your talet sight where you live o close by. Ast of high quality and national signeance ————E—— 9ese 91 30 Famous Art Cue Studio procedures Body ond display. The pe in which the poi text ise i often relered 10 a8 “body ipe,” to di tinguish ic from she linger spe wed to set headlines tnd risply material. The larger see of type, wed Alecoratively oF to attract attention, ay in headlines, posters, nd billboards, ate called display type Letterspacing. Words in apeal leurs are nor ase ity read nbn st solid, like this LETTERSPACING, "They ate more easily ead een leterspced ke thi LETTERSPACING. Acwospoint space was addet Deaween every two Teten Too much leterspacing can also make the copy hate read. Generally for lei jiy and appearance, words set in lowers lens ‘ond not be leterspaced LETTERSPACING LETTERSPACING LETTERSPACING LETTERSPACING Galley proofs. Atcrtypehas been et, iti placed in along, sallow ray or drawer called a galley, anda ‘proof i pulled for prootreaing. Thies called = galley Drool, oF rough poo, and fei usually pulled an a Teng acon sick, Corrections are marked in ce ia gins When many coretions are made. fs often wise fo veut a revied galley proat. After the ype has been arranged in ite final position, 2 “page prook is smetines pled for further proolieading. Repro proof. Reprodicton (repr) proofsare pu a with exacting eae on smonthsrfaced sock 30 that Aer cin be photographie for reproduction by oer printing or for engratiogs. Proafrending, The pervon who res dhe printer's proots is elledprooftencr It his job eo indicate errors on the prool and be sure thatthe words set in type correspond sith dove in the original ma strip — povided, of course, that the original vas Correct. He should indicate his corrections by using stuidard profreade’s marks Some of the marks most Commonly used ae sown in the Box atthe right. ou have anything at all to do wich eype, you should know hose to use prolteader’s marks ‘When all changes sre corrections re indicated on the alley poof, repro proot #6 ordered if dhe job isto be printed in offer oF if an engraving. is to be mde, The arti should carefully examine the repro for specks broken Jeti, unevenness of inking, and faithful adherence to specifestions. PROOFREADERS’ MARKS How t0 Indicate Correat Bian ae Somat tpt correction Roauired Rone ward Insert space 2 He marked theprosh. Twente ems 9) He afl the pot Setintower coms £0 Marked the prot ert in it cs. Ha morked the esa ese in omen (ot ais) 20 He marked the prot BE te peste ort ‘nd 7e He Rat in beletoce ut ound en STE Megat he ot ines aca eal he mere sing EQ We rated pst. We hari a pole sp ered eee Mowe tor ght) t0 pst rcoted () Ce marked the prot Broken tater X, Inver comme 4) Yeso masad the post He aed the bye prot v bene in guttion mas Wh) He moved prt, apes with a copitel CAP ty worked tha post. He morked th poot poten ead ED) ne mnis mcs Add werd iehon Zhe/ We wrt pros ery 0 author (taf alignment Shighton Inder VomCopy fitting Ava commercial att working with ays, you must now how a handle copy Bg, Usially, ou wl be given one or more eypesitien es of py. nan ‘ep when mst bet ype within cera en z ‘at ype face 0 tnd other deal. Bing o “copy cating anys of copy ting, at al amount io about the sme thing. Here we sae sing to demomate& baie crater count metho. Once ou uertand this procedure, eter methods wil be Juicy and enly terre Th copy casting you will puto we the principles ou have Keri ithe presiow pes on ye ce pion: You mi not only undersea Jw but you man be able to apesk the typoqpoer' ta age ad imerpre your taking wo hin carly ad : faely 50 that he ca follow you netons Setanta ween ate oe S2 21 roe dues PICA. » Use This Guide to Count ‘Characters in Plea Typewriter Copy an ay oo= A\ ‘studio procedures Ter met ition on ‘he paren eects west o Oy he do ates a on te Doing te Ath be se en ed, Pa carta ito i maar TR sear tne Sn peters rare ag ATi Te Sid on Seon rss [Ast School for Everyone {st School for Everyone {Art School for Everyone Every! wr everywhere ca Bronpwte ‘um vetn you tae play of tinting Seam are yon estonia cat savas you have plenty of stinw- Salkage for you let night where you Eemdoryae ese esfee ee ting challenge foe your alent ight live or close by. Art of high quality and Pet anette te. Theiss bteds, where you live or close by. Art of high tit sgierce being produced every. Sa EOUITS OTT an wea te as ity and. national. siguicance Is Min trectapumancrenafiay — Seiya tesa te eel ee elareasanarin, Com towberesoslve copy wv te rcs bag peers ete ad yon ean be pron nf the company 3b dll lent ern eam : naa ‘and you can he proud of the company you are keeping. San i by oto mp pte hn em ai aeecnre eee ELITE. + Us this uid te oun Chart in Ee Typewier Copy P 7 © 10 20 0 “0 2 “0 1125456789 |22345¢7a9| 125486709] 125456709 | 125456799 |125466789 | 125456709] Lesase7es | Las4DB7RG ias4nereNT34 Leon 21 Fomavs Ais Coun Studio procedures Do's, don'ts, and suggestions Ae live or Agger: Wn ged wih ee sed eeTped wed rt mars ts ons be Cie Bin ley oan artist you have plenty of stimulating challenge for your talent right where you loge by. Art of igh quality and natin sanllcance is being produced exerye where, There ijl 0 do, as well as Plenty to learn as an artis, close to where you Tee — and you can be proud of the company you ate keeping, The "big stu” is ISLET LITO Sea peared © eee SST eae a As an artist you, ihave plenty” of stimulating challenge for Sour talent night Peete Re or eles by. Art of igh quality Sind nation sgnfiemnee fs being produced everywhere ‘Thove fa job todo, ae wll ac plenty to Team ax an artist, elnce to whore yom ve aa yest eae prowl of tie pany you are keeping The “big stull” is oly as big ‘Asan ati yu ave plea of ielatiog calenge for your ‘sleigh where youve we see by, Ast of high ley anol gniferce being produced everpeere The Jato dos wel a pleny tern son ats, ose where Jon lves=and yor an be proud i emp fou are ep Isp The -bp von bigs the ats wo dons "> EE to ie Being pow! day over Ameren whee a ‘As on artist you have plenty of stimolating challenge for sour talent rt where you live or close by. Art St high quality and national Signifeance fe being pro- ‘duced everywhere. ‘There fs a ob to do, as well as plenty to learn ae an artist, elose to where you live— End jou cam be proud of the company” you are Keep= ing. The “big stufe" is only 0s Dig a the artist who empetbe and intampaiie blac: Mor nt Sram ed tetirmehees nec pecs By pose sites to one Tee emopapsaonosmes se epee See say detent eer ae eel “Sa e he wy g As an artist you have plenty’ of stimulating challenge for {oor tlent right where you live or close by. At of high [Dalty and national signcance is being produced every ‘hore There i «job to-do, as well as plenty to Teara as bn ste clos to where yon ve —and so an be prow of the company you are keeping, The “bi stu i only ‘stg the atl who doos ta fat that feng proved ‘Ax on arfat you hove plenty of stimulating challenge for ‘Your talent right where vou lve or close by. Art of high “avai and nation sienifleance te being produced every Where, there te [ob fo do, is wll as plenty to learn as nastst close to where yo Ive snd Yon ea bo proud ofthe company yow are Keeping. The “big stall” (only Sebi asthe arti who doce ta fet that boing provedan Z Fomous Ail Couse Studio procedures ats ni sabi emp ues abel pa I nent 5.4 jon ro v0 as woll as plenty to lean ax im artist, close to where yeu Tive~ and you can be prod of the compauy you are keeping. The “hg stuf isomly as big av the artist who docs it —a fact thats betng proved ay all oer Ameriea where at is bought Tovlay the National Society of Art Diretors has more than tweaty-five membcr clubs fn various setions of the United States, and there ane many relate and sila art cxginlzations fom cous to coe, All ae focal points for igorous and competitive regional advertising and editor- {alae New York no longer hus a monopoly ofthe ceative Asam att you have plenty of stimulating chillenge for sear el hee he ose ed ih ‘Quohy and national sentence ts Being produced ecery hee Phere ij to do, os el ot pleney lar An ota, close fo where you ie=and you can be proud Of tke company ot are epg. The “bia stuff only inom and movin we dg: Si Se Sa a ae en Ti eS wore nade at ‘Today the National Society of Art Directors has more than {peub fpf cbs aaron ions ol he Un [SERPS remy tetera orga tons from cao to coast. Alla foal points for vigorous fndcompotng ional advertiganteditorial an Nev York no fongrs has a monopoly of the «retive and quality ‘Taiay the National, Society of Att, Directo has ‘hon tag “Wwentyfve cmerfae libs in varius Wretions at dhe Uatod State, snd there are" tany felatol dud. sinilar at orgetantions from coast Borcost AM re focal poms for” vigorons i Scmpettve rogonal advering and ‘etna ‘Tesay the National Soctet of Art Directors has more tha twenty-five member efubs in various setion of the United States, and there are many related and sar at ‘rent ‘ong al cu Tafa, New York uo longer has a menopale Asan abt you have plenty of stmuliting challenge for ro ihe i cine hr gh iy mr uatoual siete being poder every ‘Bere, Thre sob to co, wel Bley to fear as Tran close to where you ive and fou eo be proud 3 tke company you ae kxping The “gst 6 on ‘hath art who ows ta fac that bein ro Guin‘ a over Ameren where at's bought Tey the Asan artist you hve plenty of stimoatng challenge for your talent sight where yo ive or else by. At of igh quality national signieance i being produced every where, There job todo, as wel plenty to learn es am artist, ove to where you ive ~ and yon cane proud of the company you are keeping. The “big suf” fs onlyaca 21 Fenou Ari Cone 36 Studio procedures [Sis oy he wengek cde vor ee iced gin rc to ‘x an artiat you have plenty of stinlatng chatenge for your Aalnt right where you fue er cose by. A of igh culty aod ‘tinal glares Rlngpodicd eenyhera. Theres 2 J too, as wll as peny fo lean as an ars. close fo where Jou Ihe and you ean be pond of he company you are teeing The AAs an artist you have plenty of stimulating challenge fox your talent right where you live or clove by. Art ‘of high quality and national sigullleaice i being pro: Minced everywhere, ‘There le a job to doy sy well ao plenty fo learn as an artist close to where you live — Latierpaced lower est Ares a oe sar storage open be he pre bos rn St noe et ok Sete dae sets scat nk Asan artist you have plenty of stimulat Ing challenge for your talent right where youllveorclose by. Art of high quality and national significance is being pro= duced everywhere. There isa job todo, as well as plenty to leara as am artist close to where you live-and you can be proud of the company you are keeping The “big stuff” fs only as big as the artist who docs it—a fact that is being {ioc be dearer reper, st ada mov tone So moetaar ore AS AN ANTIST YOU HAVE PLENTY OF STIMULAT- ING CHALLENGE FOR YOUR TALENT RIGHT WHERE YOU LIVE OR CLOSE BY. ART OF HICH QUALITY AND NATIONAL SIGNIFICANCE IS BE- ING PRODUCED EVERYWHERE, THERE IS 4 JOB TO DO, AS WELL AS PLENTY TO LEARN AS AN ARTIST, CLOSE TO WHERE YOU LIVE AND YOU GAN AE PROUD OF THE COMPANY YOU ARE KEEPING, THE "BIG STUFF" 1S ONLY AS BIG AS THE ARTIST WHO DOES ITA FACT THAT IS ‘The moxie lant of Hae Th St po Saas Species came ery of he Toca All mat ke tnt nt emia Ses le peng 90 pl eh SF eee mercer ae bea a reper ey Sieh sete As an axtt you have pleny of stimalating challenge for sour talent right where yo live ae clove by. Are of high quality and nae tional significance is being produced every ‘shee, There isa job todo, sx ella enty toleam as an artist, clove to where sou lve sg he ps se i opiate Bees ee ce ncan ay cium mm me pie acre meta ace ee eee eressydo.Boroyd yuowubissy sme sy 084 ves) ) L enLN gsc Plate Type specimens Type Specimens Times Roman Me ro tn nh nn ja Raia ere rie eng Shih RE iectefcamecit abe ns ‘ecoerjuniagoressiownsna Had our modern student chanced upon te bench ofa monastery be wo yo. dscover i farished wih fous atranged in sthodial order to seat Sarge suatber of seribex The sz of Une edition in tone days dapended 2 Solely upon the manor of copys employed upon the work and thew w {re Tinlad 1 the mumbo of sks whe the Scripta could accom ‘ABCDEEGHUKLMNOPORSTUVWXYZ 12345678908, ‘SSeselphiMomopgestarwaye {NBEDEFCANORLMNODORSTUYWRYE Had our modern student chanced upon the bench of a monaste 42, ty he would discover it furnished with forms arranged in meth E25, ogieal order to seat a large mumber of series. The size of the edition in those days depended solely upon the number of copy ists employed upon the work and these were limited to the mu ABCDEFGHUKLMNOPORSTUVWXYZ _ 12345678008 bedefghijklmnopgrstuvwxye AnCDEFGHLIKLMNOPGRSTUVW Had our modern student chanced upon the bench of a.m 24, onastery he would discover it furnished with forms arran sist ged in methodical order to seat a large number of scribes. ‘The size of the edition in those days depended solely upo tn the number of copyists employed upon the work and th ABCDEFGHIJKLMNOPORSTUVWX 1234567890S abedefghijklmnopgrstuvwayz ABCDERGHIJKLMNOPQRST 3, HAD OUR MODERN STUDENT CHANCED UPON TH "~~ Had our modern student chanced upon the bench of a monaste =, HAD OUR MODERN STUDENT CHANC " Had our modern student chanced upon the ben “toons eb hveFAMOUS ARTISTS COURSE ‘Student work, ‘Lesson 21 Studio procedures HOW 10 PRACTICE AND PREPARE POR THIS LESsoM This lesson wee planned to shorten your studlo apprenticeship and help you start your art cer cer more easily. if you vere vorking ina stu- Gio, you vould learn thaca procedures by doing ‘thea over and over again many times -- and the sane holds true Zor learning thea ct hone. Tt ton't enough simply vo read this lesson ~- you must practice doing these things until you feel confortable doing thon. Also, nov is the time to develop habits of neatness and secureey. A lange part of the vork im this lesson deals with photographs. t's easy to find photos to practice on -- you probably have some dupli- extes in your om collection, or can obtain sone from your leeal photographer or photoea- erever. In addition to materimis you have used in other Jessons, and viat you will need for practice, you need the folloving for your ase{ennent ‘work for Lesson 21; Mounting board or inexpensive \1iustrax Elon DoGR oD ahapee TO Ae aan 2 theets, 8 x 10 inches. Mot posta or {2lustration board -- 2 ‘sheet, 10-1/2 x 9-1/2 inches. — wat emste. Zipeartone shading sheet or craftint Peper == Iopiece about U x a1 intias ie ellovs room for practice). Stuly the demonstrations on pages 26 and 27 Before you decide vhich method you wish to ute. (See your catalog fer a list ing of materials.) Rubber cenent -- You can get this at fonery, , OF art store. If you doa't have a dispenser vith a brush, Bet an inexpensive, 1-inen flat house- painter's brush. A rubber cement pick wp ia convenient, tut you can sake one 5 described on page 6, Leston 21. Drawing instruments -- A ruling pen is ant you ae vised for your aceign- ment vork. Hovever, to becoae profi- clent in the use of other instruments, you should get a set (see your catalog). ‘esquare and triangles -- ror profes Hiss Work, Ftsel came are tests ba for your aesigment work you can ure ‘the ones you have. Pica mule -- Tt is asaireble to have one, ‘but Hote muct, alnce the nensurenents called for are simple. Feaeaber, there are 6 picas to the sch. Folloy these suggestions for stuay and prec- tice before doing your assiguments 2s Practice using your ruling pen as des. ‘oribed on page # until you feel thoroughly fa- miller vith it, 2. Work with rubber cement -- particularly in dry mounting, folloving the procedure denon- strated on pases & ant 9. 3, Stuly the section on cutting mate on pemes 32 and 15. Uee sorup pleces of nat or flus~ tration board sod your wat kaive for practice cutting. be caress of your fingers Jnaver are Siasp: IF 900 Gea"t BOVE a ctae) Stralghevedge you may Yas your brase-cages filers Te dou! neatosary to thy zmed tape S'pasking tape vill do =~ or you any prefer 25 Use the ryeoount metioa cezeribed in ovep 35 on sear 3 4, Reatudy page 15 on rescaling. You'll find it helpful to cut cut sone ads from = nagezine und practice enlarging (and reaueing) then ty ‘the Gingoual-Line method. 5. Reviev cropping as described on page 19. Moke a pair of right angles troa bond paper or White draving paper and practice vith thea un £1 you are thoroughly familiar vita tear use. G. Using your opaque revoucn graye a8 now fon pages 22 and 23, practice retouching photos. 7. Study masking and flapping as described on Page Gl. hen sick and flap soue of the pho- ‘tos on which you practiced retouching, A190, study the do's and don'ts on page 25. ©, Reread tho soction on typography beginning on page 20 -- study particularly the etep-by- step procedure on pages 31 through 33 on cory fitting, 9. Took through various sagazines aud note fiow type has been used successfully through Proper choice of face, spacing, 1ine length, ete. You'll see that come exaxples vork bet er than others. Study them objectively and try to enelyze vay they ere better. (evar, please)Student work -- Leszon 21 ‘ME ASSTOIMENTS YOU ARE 10 SEND It FOR cRTTTCTSH ASSIGMGND 1. This is en exercise dn prepar- ing plotogrephs for reproduction. Cut out the ‘tvo sualler photographs froa Plate 1. Dry- ount each one separately vith rather cexent fon an individual 8 x 10-inch plese of wounting or illustration board. Then cut out the large photo and mount it on a 10 x 12-incn board in the sane sanner. Fhoto A. In thig picture of @ sen talcing a Bhotograph you are to reaove the background, leaving the man and camera. Rexove any light of dark opots frem the photo, folloving the procedure on pages 22 end 23. Then carefully Silhoustte the conere as dexonstrated on page 16. To sithoustte the man's head and bane, you might wish to refer to page 22, ctop 2. Don't forget the inside arces betveen his face and the canama and within the canera iteeli. Tast, docide where you vant the picture to be cropped -- 1¢ should be soucvhere behind the men's head ct tho lo? and about at the thind finger on his hand at the bottom. Indicate this es shomn on page 19. Because it is eil- houetted you won't need crop maxke for the Fight cide of your photo. The eilhouected picture will be printed 2-1/2 inches high -- from the top of the head to where you crop St 2 the totton. Fhoto B. This photo should chow hov to meee Sure and mark 2 boera to a ten-inch length te- fore cutting 3t. The photo will be reproduced 4 x 3 inches so your cropping must be in that proportion. Also crop the picture eo 4¢ tells ‘he story -- don't crop evey important dntor~ uetion. You can mike the story clearer arith careful retouching to bring out the ruler -- the edge of the Board -- the pencil and per- haps the sav. Don't forget to renave any un Gestrable spots. Proto 0, In this picture you ere to renove ‘he parking sign and post froa in front of the entrance t0 a fashionable suburban en's shop. "Jo do thie, folio the procedure on pages 22 and 23, taking great care to match the differ ent values and textures of the wood, Bricks, stone, and foltege. Renove any opoto -- then crop your photo for reaustion to 6 -1/¥ x 6- inch Vertical proportion. acter your york is completed on the thee pho- ‘tos, mask and flap then in the manner denon- strated on page 2b, and mark thea for size. Merk the Backs of these pieces -- ASSIGNMENTS 2A, 1B, ahd Ie. ASSIGNEE 2. Make @ simple pon or brush and tik draving using Crattint or Zip-a-tone Screens, ce chon on pages 26 and 27. Use Photo A'as the baste for your draving. If you wish, you may place tracing paper over the pho Yo and trace the essential chapas of the can- era and ran. Use your poneil very tantly fion't prets into the sort eaulefon of the pho- fo, You will probably vish to uke refine Page 2 eats and proportions) changes sn the man's bead due to photagrarhte perspective, ‘which makes the back of the head and the ear look teo small. Remember == keep your draving simple -- black, GhTEe ant one or tyo middle tones -- and don" use a screen on flesh areas, Make this @ hor- dzontel Grewing 5-1/2 x 4 inches. With your Fuling pon, drav a Line around 12 about the width of @ I-point rule (cee page 29). Woon your Graving 42 rinianed, mat it vith at or {lustration board in the sanner saow oi pages 12 and 13, Make this a "2 x 2-1/2 mat” ‘as explained on page 12: Alloy 1/2 inch of white space around yout dravings the opening wuld Reacure 6-1/2 % 5 inchees The outside should measure 10-1/2 x 9-3/2 Anche. Mark the back of this araving -- ASSToRdD ASSTGMENE 3. This is an assigmment in copy TIeting. Use the type spacinens of Tines Ro- tan on Plate 2 an the typewritten manuscript ‘on the yellow cheet, page On an 12 x lseinch sheet of bond or viguslie- ing paper, using 2 T-square and triangle, diy- ide your sheet of paper into quartera with bold pencil 1ines. In the center of each guerter-section, drew two Light vertieal Lines 28 picus apart,” These vill establish the width ‘OF your type column. Iabel then A, 3, 0, and Dee shown on the small éingran below. flowy using the character-count method of sony fitting denoncerated on pages 31. through 33, cast the body text only of the typaimitten aan- useript on the yellow sheat, pagel. (ze sure to take an gverage count of ceveral lines from the type syecinen oa Plate 2, In all tee the count per line may vary slightly and an average 4s essential for e comrect count.) Indteate he Tivst four type sizes on late 2 as follows: In column 4, rile the correct mumber of ines (es shown on page 30 of Lesson 27) that thie Henuecript copy woilld make if 4¢ were set sol- £2 (that is, with no Leeding) in Bepomme Tines Horan, u/le (upper ani lover case). Use pen cf lines appropriate in weight for type of thie eine Im Colum 5, indicate the number of Lines and Weight for 1o-point u/tc with 2-point lesa, (Continuea)Student vork — Lesson 21 Ja Column ¢, use 12-point u/le vith 3-point ea In Column 2, use 1h-point u/le with M-poine dena. Unter cach column vrite the number of lines, type size end leading. (Rexenber that the Lending ¥iil affect the depth of your soy Block. For exnmple, 10-point type with 2- point leading has the caie musber of lines per Anch as 12-potnt type set solid. Tt vould be parked 10/12.) Mark thie sheet -- assrommu ASSIOWGNE 4, This ic an asaignment on how to mark instructions to the typogrepher or type- setter, similar to the example on page 33- Specimans of the type faces you vill use are shown on Plate 2. Use the sane yelloy aseign- ment sheet (rage 4) that you used for Assign ent 3, and in red pencil mark tne mankscrip? fol love: Headline: First tvo vords in eighteen point ‘Times Ronan, upper and lover case; third vord in tventy-four point ‘Times Ronan capitals with one ‘point Tetterspacing. Page 3 Subhead: Yourveen point ines Rosen, upper fend lover case, on tvo Lines, Push left, vith rout point Lead between ‘the Lines. Boy texts Twelve point Times oman, upper and Jower cace vith « one em paragraph indentation on the firet Line. In- Gicate this copy to be set 26 pices Wide, flush left and right. When you have finished marking this choot re- nove It fro your textbook and send it in for correction. Mark this sheet -- ASSTOMENT 4 In criticizing these assignments, your instruc tor vill consider: ‘The accuracy of your sealing. ox well you have eoaposed Or cropped ‘and silhouetted and retouched your photographs. ‘The neatness of your presentation, ow woll you have handled your cret= tint or zip-a-tone. The accuracy of your copy fitting end the clarity of your murking. she overeat imovledge you show of ‘the subjects. TGORTANE: Be gure to letter your name, eaarees, ‘and student number neatly at the lover left-hand cority GF eubH exvigcent. the lover sgh corner, place the lesson number end aseiement suber, For Assignments 1 and 2 do this letter ‘Thg Gn the back of the boards. ‘Your lesson carton should contain: cueck before mailing Assignment 1 (A, B, and C) Asstement 2 Assignment 3 Asctgment i 1 Return shipping label 11104 out coaplotely Mait this carton to: FAMOUS ARTISTS COURSE, WESTPORT, COM. chao