Arti

Published for the students of the Famo Vol. 1 No. 1

Robert Cato, Kew Jersey Mary Smith, Indiana

Christine Benson, sweden James Kubat, Illinois

H. Listman, Washington Rita Reed, Iowa

Bernice Lyman, Pennsylvania X. Mendirichaga, Mexico Ruth Young, New York

Col. B. Ford, Virginia Patricia Janetzke, Michi Luis A. de Lugo, Venezuela

 FRED LUDEKENS, famous illustrator whose
favorite subjects are those of homespun
American life.

From GHOST TOWN* " • . • and legs so

long tbat they say when he rode in on
his mule he had his spurs fastened at
the calf."

Higgins American India Ink, of course.

Mr. Ludekens is a~ded in his well known
sensitive line treatment by the con-
trolled surface tension of Higgins Ink.
Like many other famous American illus-
THE BAS IC ART MEDIUM
SINCE 1880 a·ators, he likes the way Higgins Ink
flows freely and evenly. Add to the
quality and character of your own work
with Higgins-ask your dealer for Higgins
American Drawing Inks.

HIGGins IJVfi co., I.Nc. •REPRODUCED FROM GHOST TOWN BY G. EZRA DA NE,
.271 ;NI.NTH STREET, l:UWOI~LY;N 15, N.Y. ILLUSTRATED BY FRED LUOEKENS, BY PE RMISSIO N O F
ALFREDA. KNOPF,INC. CO PYRI GHT 1941 BYG. EZRA DANE.

GBUMBACBBB
GENUINE

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For perfect reproduction in any CASEIN ••• the modern color ••• now obtain-
medium, leading artists know able in this economical trial assortment of 12
they can depend on Crescent. It's artist-selected tubes in a convenient box board Write for FRff
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a wise choice, for these boards cost, this ideal col_?r for oil painting, water color Instructive
have a nation-wide reputation for and ~empe~a technoques. All colors are permanent Casein Booklet
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1902-1952

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485 WEST 33rd STREET NEW YORK 1, N. Y.
 Famous

Artists

Magazine published for students of the Famous Artists Schools, Westport, Connecticut

VoL.1, No.1, AuTUMN 1952 Cover: The first cover dedicates this magazine to those
for whom it is intended- our students, the famous
artists of tomorrow. On this cover are many faces from
many places - typical students of the Famous Artists
2 Greetings Schools. Like those on the cover, our students are of all
ages, of innumerable occupations, and they reside in
4 A News R eport about you
·- many countries. But regardless of age, occupation or
5 From slide rule to sketch book nationality, all of them have one trait in common - an
6 Basic forms are fun interest in and an enthusiasm for art. This, perhaps, is
7 The painting that opened my eyes but another way of saying that art is a universal lan-
by Harold Von Schmidt gua ge. We hope that thi s magazine may prove an aid and
8 Across the hoard an inspiration to artists and would-be artists everywhere.
9 Courage-a case history
10 Showcase
16 Blueprint for a job in the "sticks"
hy Paul Sheldon
17 Westport Events
18 New Horizons Editorial
20 Try it thi s way
21 Honored Students
22 There is more than meets the eye Four years ago we mailed the first lessons of the Famous Artists
by Milton S. Fox Course to our pioneer students. Like proud fathers, our vest
24 Questions and Answers buttons popping, we had great expectations for our "hahy." We
24 Sale No. 1
25 Faculty ews had worked long and hard to produce this child, horn of the
26 1oney·makers conviction that someday, somehow, a school of art could he cre-
27 You will find useful ... ated and run by successful men, teaching the same theories and
28 We recommend methods by which their own personal accomplishment had been
28 It happened to me
achieved. With our hacks bent to the job, and our fingers some-
Staff times crossed, we wondered, "How well could we teach?" "How
Editor: Harley W. Magee would the public receive our efforts?" "How far could we go?"
Art Editor: Walter Miles In four short years we have the answers . . . in the large per-
Associate Editors:
Elizabeth Musante, Rosemary McMorrow centage of our students who take their places in the world of
Educational Editor : AJex Domonkos art upon completion of their training . . . in the unanimous
Student News: Dorothy McNabb approval accorded u s in national publications and art journals,
News Editor: Rex Taylor
Advertisin g Manager: Beth Dickinson by teachers, universities and authorities across the country . . .
Publisher: John Copuzelo and now - in this magazine - the common medium through
whose pages a large, hard-working student body may get to
Contributing Editors:
Albert Dome, Fred Ludekens, know one another, exchange ideas, and voice their problems
Norman Rockwell, Al Parker, Ben Stahl, and aspirations.
Harold Von Schmidt, Stevan Dohanos,
Many of you will recall our visits together when I have been
J on Whitcomb, Robert Fawcett,
Peter Helck, John Atherton, in your cities. I have looked into your eyes and seen the earnest
Austin Briggs, Edwin Eberman, Director hopes for your own place in the sun - and I know how much
Famous Ar tists Magazine, pu bl ished quarterly
you count on us to help you to reach your goal. As men who
Publication office, Emmett S treet, Bristol, Conn . achieved our places the hard way, we are keenly aware of our
Executive and Editorial Office, Westport, Conn.
Yearly subscription $2.00; single copy 50 cents. responsibility to you. We cannot do it alone - but with your
Advertising rates furnished on request.
Application pending for entry as second class sincere effort, we can take you a long way toward that final goal
matter at Bristol, Conn.
Copyright 1952 by Famous Artists Schools, Inc. - your success.

L
The home of the Famous Artists Schools Photos: Hans Knopf

2
Some of the faculty
Michael Mitchell, Tony Memoli, Walter Miles, George Roach, Duval Broun, H. Leavitt Purdy, Alphonse Radomski,
Harold Von Schmidt, George Kraynak, Albert Dorne, Scott Evans, Stevan Dohanos, Fritz Henning,
Robert Fawcett, Charles Kitt, Ben Stahl, Ingoff Qually, Alex Domonkos, Patrick Barclay, Edwin Eberman.

GREETINGS
We are happy to present to you Vol. 1, No. 1, of your Famous We here present these photographs to whet your appetite for
Artists Magazine. th e nex t issue when we will take you on a picture tour of the
The new publication has but one purpose - to serve you and entire school. Students who are able to visit Westport are always
all other students of the Famous Artists Schools. We hope inspired by a personal tour of the school. They meet the instruc·
through thi s medium to help you in your ambition to become a tors, see lesson assignments being corrected, and watch all of the
better student and a better artist. operations of the various departments. Unfortunately, most stu-
We welcome you as a reader of this first issue and trus t dents cannot visit with us in person. So in the next issue we will
that future ones will prove so useful and stimulating that you bring the school to you and show you everything you would see
will become a constant reader. if you co uld make a personal visit.
Through this magazine we will bring you news of your school, You will look over the shoulders of your instructors and see,
the faculty heads and the staff of faculty instructors who grade step by step, just how your work is criticized and graded.
and criticize your lesson assignments. But the most important Through the eye of the camera you will watch the functioning of
function of the magazine is to permit you to exchange ideas with each operation. You will meet the members of the staff. You will
each other. You will get more than you can possibly give in this see what happens to your work from the time it is received until
exchange. It is your opportunity to see what some of your fellow it is on its way back to you.
students are doing, to learn what problems they encounter and This is the next best thing to seeing it all yourself. So "visit"
how they solve them, to offer experiences of your own. Indeed, the school and let us show you around through the Winter issue
here is just what you have asked for, your Famous Artists "Club." of your Famous Artists Magazine.
3
- -- - -- -- - - - -- - -- --·--·-- --

··········••e••························
You r Famous Artists Club - this is it !
Many of you ha ve in q uired about fo rming local clubs
of Famou s Artists stude nts. The desire to exch an ge ideas
and ex peri en ces with other students is na tural . This
publicatio n is in te nded primarily to meet the need.
Wh ile Fa mous Artists students ha ve a common inte rest

•
in art, you must rememb er tha t they are of all ages
and co me f rom inc red ibly va ried w a lks of life. The ir
••
one common interest in a rt, in many ca se s, would not ••
compensa te fo r the differe nce in a ge, occupation and •
e nvi ronme nt. For the social con tacts a nd stimulation of
••
meeting other peo ple interested in a rt, join the art clubs
••
which al ready exist in your communi ty.
••
We ho pe you will rega rd you r Famous Artists Mag a -
•••
zin e a s you r Famous Artists Club-an open forum in
w hich to exchang e idea s, sug ges tion s and experiences
••
with you r fell ow stude nts on a na tional and even a n

Our request for information about you for the Famous Artists •••
inte rnational scal e. We believe thi s " club" will b e much
mo re useful than any you could form locally.
•
•••••••••••••••••••••••••••••••••••••••
Magazine brought a prompt response. The replies came by the
hundreds. They continued to arrive for weeks-and they are still
cmning in.
Each reply has been read, studied, analyzed, evaluated- and
enjoyed. Your answers overwhelmingly prove your interest in corporal who is illustrator for an army field printing plant, a
other students and your willi ngness to share your experiences bartender who is kept busy doing free- lance work, a woman who
with them through your student publication. Some of you are is illustrating a book about bugs. Some of you stated that al-
contributing articles and art. Scores of you have reported out· though you didn't get your present job because of your art
standing achievements. cour e, it is helping you advance more rapid ly by increasing yo ur
The reports have come from students everywhere, of all ages, knowledge, speeding up your work, and pointing out new tech-
and of all walks of life. Typical students who have told us about nique . A number of you have even changed jobs- from chiro-
themselves are a seventy-two-year-old grandmother and a seventy- practor to artist, from engineering to free-lance art, from music
six-year-old great-grandmother, a lady cab-driver, a nineteen- teacher to painter.
year-old farm boy, a secretary, a twenty-year-old tuberculosis The suggestions you offered as most useful were fundamentally
patient, a fi lli ng-station attendant, a mother of eight children. All words of advice-follow directions accurately, read instructions
of these students work at somethi ng besides art. All of them carefully, practice and study and then prac tice some more, let
study art in their spare Lime. We beli eve you will want to know nothing interfere with your art work, keep a reference file of pic-
more about students like these. Lures, make sketches and take photographs, join art clubs, get
All of you listed certain changes in your lives since becoming yourself known in your community. The shortcuts you recom-
students which are more or less common- keener observation, mended reflect your training in art or your progress in the course.
fuller appreciation of art, life, nature, and beauty, a sense of ac- You suggested simple composition sketches before starting to
complishmen t, a goal to achieve, happiness and contentment, di- draw, a place to work apart from the confusion of a family, sim-
version, realization of a childhood ambition, better budget of pl ification, the use of tracing paper and the importance of con-
your time. You also confessed that while you used to work most stant sketching.
of the Lime, now you work all the time . . . the drawing Prizes, scholarships, and recognitions ranged from five-hundred
board always stays up. dollars in cash to honorable mention in a school poster contest,
Many of you got jobs as a direct result of your art training- a from election to the presidency of an art association to a five-
dollar-a-week salary increase. Your first art jobs for pay aftP-r
enrolling were legion- murals in local restaurants, handpainted
neckties, letterhead designs, newspaper cartoons, church posters.
Keep Your News Coming! To make pin money you've done scenic bathrooms, birth an-
nouncements, photograph coloring, Christmas cards, and paper
To all the students who responded to our questionnaire, dolls. Many of your most interesting experiences are actually
since re thanks. The Famous Artists Magazine is for and confessions of a struggling artist, tips to fellow students, or items
about you - the students of the Famous Artists Schools.
on what you are currently doing as an artist.
The cooperation of all students is necessary for success.
Keep the news reports coming about your activities.
For future articles you pointed up problems you are having as
Tell us when you get a raise or a promotion, obtain a students and questions you raise as artists. You are vitally in-
new job, have an unusual experience, or develop a terested in the lives of the faculty, the workings of the school,
shortcut fo r doing things. Share your news with your the way other students solve lesson difficulties. You have also
fellow students. Remembe r, they are sharing the ir news asked for information on left-handed technique, South American
with you. and Spanish art, West coast artists, and art for hobbyists. You
An art magazine requires art. So send photographs want to know how other housewives take care of children, homes
and illustrations with your new s items, pictures that and studies at one and the same time. You seek details on art
show you at work, that te ll your story b etter than words,
for television, set design, contemporary design, and how art can
We will do our best to make the Famous Artists Mag-
azine an invaluable medium to you. Won' t you join us
be combined with music, writing, and photography.
in the effort and become a regular contributor! Your news reports showed us how interesting and appealing
your stories are. Beginning with this issue, we report to your
fellow students what you have reportP.d to us.

4
l\'leet one of your instructors . .. Lev Purdy

From slide rule to sketch book Portrait of daughter Noa, oil, 1940.

Had the field of engineering appeared more promising to a young

chap graduating from Central High School in Grand Rapids,
~fichigan, it's quite likely the Famous Artists Schools would not
list H. Leavitt Purdy as one of the senior instructors.
Lev admits to some show of artistic talent in his very early
childhood but claims he outgrew that before his school years. He
can"t recall making a single school poster, b11lletin or other ar·
ti tic creation. Engineering it was to be and not Qntil he started
Junior College did he give the slightest thought to art. Then,
finding himself with some free periods, he happened into an eve-
ning sketch class. It was purely for relaxation, but he made rapid
progress. Opportunities in engineering were none too good in
those days so, encouraged by his teachers, he turned to art. Lev giving his son Frazier some fine points
The Chicago Academy of Fine Arts, the Audubon Tyler School while daughter oa looks on.
and the Art Institute of Chicago were followed by recommenda-
tions and his first job as sketch man with Lord & Thomas Adver-
tising Agency. After several years there, at other agencies in
Chicago and some free lancing, Lev gravitated to New York
where the demands of the day led him into layout. However, his
preference was always sketch work which he feels is more crea-
tive. So, after five or six years with the Frank Seaman Agency,
making finished drawings and sketches, he went with J. Walter
Thompson as sketch man. Spare time he worked on finished draw-
ings for Fleischmann Yeast, cartoons for Chase & Sanborn, art
work for Lux Soap and finished paintings for Shell Gas and
Chesterfield Cigarettes.
Lev's first love is fine art, so a year in Europe, painting in
France and Italy, was a really rewarding experience for him.
Frazier and Noa discussing technique, and
The influence of this period of work in the art centers of Europe below, Lev watching his wife Irene work on
is seen in Lev's paintings. He works in all mediums but mostly a ceramic piece.
in oils. His ambition is to paint that really great picture which
every artist dreams of doing and he's well on his way- having
exhibited his portraits in New York exhibitions with Matisse,
Picasso, Rouault, Braque, Stuart Davis. (Continued on page 26)

5
 Lessons can sometimes be done with a chuckle. The practice
work on the human form so intrigued Mrs. Renee White of
Providence, Rhode Tsland, that she came up with a whole col-
lection showing almost every type of figure in every conceiv-
able position. Diagnosing her sketch book as "an attack of
popping out at the seams," she dedicates it to the assignment
that reads "make numerous sketches of the human figure
from life and reduce it to its simplest form." Mrs. White, a
social worker for the Rhode Island Department of Social
Welfare, reports, "This book is my contribution to two years
spent in an office with social workers, where we must have
Basic forms are fun some fun or fall into despair over the lives we deal with.
The figures range from the supervisor to the janitor. I started
to do the sketches because Lesson 3 made me very happy. I
A student has a lot of it with Lesson Three felt that I need never worry again about putting a figure
together. Every now and then I break out in a rash of this
kind-it is just the happiness of knowing where I am going."

Some people take Some people are aller- Often we're up to our Some tread cautiously Some take radical Some people are
things very bard gic to garden bose neck in things & don't get ulcers steps in emergencies deep thinkers

Some people would And some are in a Some like to sleep Some other people- mind their own knitting Many of us suffer
give you their shirt state of woe from repressions

Q ~:y

~
~.
~;(~
~ .··

Some have a majestic Some beckon and

1l ' ~
Few preserve the Another can sleep One of my friends Some of u s do not fe.,-
carriage pursue beautiful posture any old time loves to court danger taking a plunge

Few, too few, shout One T kno\1 - has l1er daily JlU7.>d es Oth ers can't resist tltc Some are hoo·n T have fun with baoit
and lcatJ for joy ca ll of th e wild investigators forms- Renee \\' hit,

6
 Funeral at Omans, by Gustave Courbet

Harold Von Schmidt's diagram showing the inter-

play of line and tone within Com·bet's painting.

The painting that

opened my eyes by Harold Von Schmidt
A great illustrator tells how a great painting influenced his life

You cannot escape th e influence of other artists unless you go of a procession. This procession was held within the picture by
arou nd with yo ur eyes closed. Sometimes the work of a great the turning and placement of the figures at the right and left-
arti st exer ts a profound effect on another artist or art student. at the right by the child's head and the line of the dog's back,
It has been so with me. I believe th e painting which influenced at the left by the scarves, robe and censer.
me more than any other was Gustave Com·bet's "Funeral at The upright accent of the cross and Christ crucified- the line
Omans." Courbet painted it in 1849. I experienced its first im- descending through thi s gold figure- contin ues along the hairline
pact some seventy-five years later. of the priest, then along his should er to the right. It proceeds
I was an art student, about twen ty years old. Looking at a through the left arm of the kneeling figure to the feet of the
color print of this great painting, I suddenly realized it was not men, then is turned up by the line of the feet and body. When
just a painted scene- I sensed an interplay of line, tone and my eye moved down to th e priest's robe it was carried to the
color. I was aware of what had been created and how. All the left, around and up along the censer, robe, scarves and heads,
instruction I had been receiving fell into place. back to the staff of the cross. I then realized the white kerchief
The priest in hi s white-banded black robe had to be the center and the clog's hind leg created anoth er vertical- a repeat of the
of interest. The white, black, gold and reel of the church func- staff se nsed rather than drawn.
tionaries around the priest were given direction and interest by Here was a small world governed by and existing through its
the placement of the dark band of mourners and the color, tone own constructed and con tained laws. This was what a painting
and texture of their bonnets, kerchiefs, faces and hands. The co uld and should be. It was of this that my instructors had been
lin es of mourners facin g in two directions gave me the feeling talking. It took Com·bet's painting to make me see it.

7
Across the board·

Marjorie Wilson, Gulfport, Mississippi, color and r eady for the engraver. His work
has been asked to do a magnolia painting for Remington Records was recognized in
for the new Pen Women's Building in the April issue of Art Director and Studio
Washington, D.C. News. "Since many record sleeves are pur-
chased from free-lance artists," Mr. Witt
Gem·ge Maniates, Chicago, Illinois, was says, " th ey offer a fine opportunity for
given a four·color illustration job of a lawn creative design."
and garden scene. ever having worked
with color in opaque, he didn't think he was Lawrence MacNeil, Medford, Massa-
prepared for such a job. But he did it any- chusetts, has just finished a series of indus-
way, hoping the client would print it. The trial spots for American Optical, two por-
client did- 250,000 times. It was used as a traits, and two landscapes for an art show.
cover for a lawn and garden catalogue. He was artist and art director for the Blue
Cross, Blue Shield television program, in
Three Canadian students, Jet·ry Lazare, addition to his regular agency job.
C. F. Cantwell, and Bill Roberts, have
Pfc. Daniel Bat·tley, Drexel Hill, Penn- just formed their own art studio in Toronto. Ft·ances Wright, Newton, Kansas, de-
sylvania, now stationed on the 38 ° parallel signed an autograph book for the National
in Korea, did the above pin-up. "They seem Vem Culbertson, Richmond, Indiana, did Music Camp at Interlochen, Michigan,
to be what the GI's want most," he says, the sketch ideas to illustrate dialogue in a where she is dance director. Six hundred
"and believe me, I've been busy. I've also slide-type movie depicting the hi story and copies were sold.
gained experience in layout and lettering, activities of the local YMCA. The sketches
and I turned one project into a calendar were sen t to the concern making the film John N. Weaver, Queens Village, New
for our company." for its artists to pick those most suitable. York, will leave his advertising agency job
"When the film came back, almost every at Schwab and Beatty in January and go
idea I had sketched was used," she reports. to Hawaii where he and his wife will work
" I was thrilled." as missionaries for the Watchtower Society.
As pioneers they will each put in a mini-
Cur t Witt, Greenwich, Connecticut, art di- mum of one hundred hours a month of
rector of Remington Records who has re- missionary activity. In addition, Mr. Weaver
cen tly developed a new format for the will do part-time art work for a se mi-
records and redesigned the entire existing monthly newspaper.
line, is now working on the current monthly
releases. Striving for good design that ex- Barham Fiebig, Fort Wayne, Indiana, is
presses the feeling of the music and still staff artist of the employee magazine which
stays within a low budget, he uses three is published by the bank where she is clerk
flat s (line cuts) completely separated by and typist.

Betty Whitmm·e, Richmond, California,

shown above, has a floating studio built on
a large war surplus float of natural reJ-
wood. She says that it never rocks because
it is very firmly anchored. It has fluorescent
lighting, a shower and all the conveniences
of home.

Jeffrey A. Cuddy, Jr., Concord, New

Hampshire, just completed a mural for the
new Commodore Restaurant in Portland,
Maine. Done in full color depicting the
Georgian-Chippendale Period, one panel of
the mural is eighteen feet long and five
feet high. As a result of it, he was inter- Model-At·tist Student William B. Ingra- before the camera, my wife snapped the
viewed on two local radio programs. ham gets the right models for the char- shutter, and I had my cabbie." Photo
acters in his pictures-even if it means shows "cabbie" in action and student
Wal'l'en Cha1nplin, Dumont, New Jersey, posing for himself. "I needed a fero- happily putting finishing touches on an
writes and draws a small syndicate feature cious-looking cab driver for my illustra- assignment. When he's not posing, Mr.
on amateur astronomy. While it requires tion. I photographed two actual drivers Ingraham works in the advertising art
only simple diagrams and a stick figure, he and then an amateur actor friend but department of the Chicago Sun-Times.
hopes someday to have three more features none seemed right. In desperation, I sat
appearing in two hundred papers each.
8
 Student of the issue ... Gilbert Provencher

Courage A CASE HISTORY

If you ar e h aving di fficulty in dt·a wing,

read th e stm·y of Gilbert Proven ch er.

Ordinarily, the story of student Gilbert Provencher, a 19-year-old

of Manchester, N.H., would be classed as a miracle. But there
isn't such a thing as a miracle in Gilbert's book so his life must
be classed as a case history in raw courage.
For 14 years Gilbert was a typical American boy who spent
a great deal of time fishing, swimming and playing football in
the back lots with his friends. He attended a boys' club in his
horne town where he became interested in art. He was a quiet,
serious-minded boy and enthusiastic about his drawing.
One hot August day Gilbert and a few chums were swimming
in a tiny creek. Young Provencher took a clive into the shallow
waters and struck his head on the creek bed. He severed two
vertebrae and was paralyzed from his neck down . .
His parents, Doria and Mary Jane Provencher, in very meager
circumstances, devoted their lives to cheering up the boy. Mrs.
Provencher feel him all his meals, lifted him from bed to wheel-
chair and tried to keep up his spirits.
He never felt sorry for himself but was unhappy that he
couldn't help support the family and relieve his mother from her
nursing duties. The turning point carne when he saw an armless
artist painting on a television show.
At first Gilbert tried painting with his teeth but this failed
since he lacked the necessary mobility of his head. This disap-
pointment made him more determined. Gilbert's mother and
father patiently encouraged him and in March of 1949 he began
to draw with the aid of an invention which he devised. It was a
Gilbert Provencher was commissioned to strip of leather, in which two holes were punched for holding
do thi s oil painting. He received $200 for it. the brush, which was attached to the left arm. This arm fostered
the only living muscle in his body below the neck and enabled
him to get just enough movement for painting.
Now a new life had opened for Gilbert Provencher. In August
of 1951 the Institute of P hysical Medicine and Rehabilitation
held an exhibition of his paintings and ten of them were sold.
Recently Gilbert and his mother told their story to a nation-
wide television audience. They got $500 in gifts on the show and
extra donations came in from all parts of the country. Besides
cash, they received a car, the use of an eight-room house for the
summer, several cameras and more paint supplies. This was an-
Pencil drawing, 1952
other turning point in the life of Gilbert Provencher.
His immediate plan is to earn a living for his family. He wants
to set up a one-man exhibit along a busy high way to paint and
sell pictures-and with forti tude such as his, you can bet he'll
make it. But for now young Provencher figures he'll be able to
make a nice livelihood until bigger things come his way.
It is with great pride that we award the first Student of the
issu e honor to Gilbert Provencher who should provide for all of
us an incredible example of what courage, and determination in
the face of unbelievable handicaps, can do to make an artist.

9
 A Display of the Work of Students of the Famous Artists Schools

Robet·t M. Buckham, Pointe Claire, P. Q., Canada, is con·

sidered one of Canada's outstanding illustra tors. A bomber
pilot with the Canadian Air Force, he was shot down behind
the German lin es and survived two years in a German prison
camp. Thirty-three years old, married, with a beautiful wife
and two lovely children, he is art director of Cockfield, Brown
& Company, Limited, Canada's largest advertising agency. He
also dces free-lance edi torial illustration. The illustrations
shown here appeared in Weekend and in Maclean's magazine,
both Canad ian publications. The advertisement was done for
Trans-Canada Airlines.

MM~ • .-.-..-*"*
.........""""'·tt•• ...
------·~~ ...<'_..,
-~...... ~-~.-s....

10
 Gote Got·ansson is a very versatile commercial artist in
Taby, Sweden. His free-lance work includes a 40-panel-a-week
comic strip, comic book covers, magazine illustrations, adver-
tisements, and book jackets. In addition, he works three days
a week in a commercial art agency. Mr. Gorannson is thirty·
one years old, married, and ha s one son.

••••••••••••••••••••••••••••••••••••••

. IJ Ross Mendes, young Toronto artist, designed the cover,

t\ format, and did these drawings for the program of the Ca-

-~
nadian National Ballet. Currently with an advertising agency,
he hopes some clay to illustrate women's fashions in New York

~~
or Paris and to design ballet costumes and sets.

ll
 Courtesy Consolidcted Book PubliShers

·walter Parke, a free-lance artist in Libertyville, Illinois, also

works on a commission basis for Sundblum, Johnson and White
Studio doing oils and some water colors for posters and maga-
zine and display ads. His extensive interest in mural painting
led to his doing the Canterbury Tales and Thomas Jefferson
murals in the Library of Congress. In 1939 and 1940 he worked
with Ezra Winter on murals for the New York World's Fair. He
is married and has one child.

12
 Thomas Eaglin, a Navy reservist recently
discharged after two years service as radio
operator on a troop transport, used his
spare time for on-the-spot sketching of the
men sprawled about on deck. The young
Dayton, Ohio commercial artist has done
free-lance work, layout and finished art
for direct mail, and production work for
a printing company.

•••••••••••••••••••••••••••••••••••
Edward Brittin, thirty-year-old Philadelphia artist,
was a car cleaner for the Philadelphia Transporta·
tion Company when he began the Famous Artists
Course three years ago. After six months study, he
started doing art work as an apprentice textile de-
signer. Now, two years later, he is an advertising
artist for the Evening Bulletin in Philadelphia. He
is married and has two children.
 Ruth Conerly Zachrisson, a San Antonio, Texas, housewife
and mother, is a highly versatile free-lance artist who ha s been
doing professional work on her own for many years_ Now an
enthusiastic student of the Famous Artists Course which she
claims is "the greatest thing in the History of Art," she does a
tremendous amount of art work in addition to running a home
and caring for her family_ Her talents range from highly stylized
fashion drawings to hard-hitting, dynamic advertising illustrations_
Although already successfully engaged in a promising art career,
she is taking the Course for technical training and the professional
know-how and background which she finds it affords.

Courtesy San Antonio Express

Courtesy Joskes of Texas
Courtesy Marshall Field & Co .

'
:_ I
 s? s""~ ~0'wu t
flllttockeq
··--··-
sport
shorts

~ }<>Ur~ &aler tm- ~~~tlwtt ll<'V

Nyll!lldU /"'f\ey ~~ Sj.,_.t•, 'n•t> f.d!rk ~t\' Wit J~.-J .o1111!

lUWitW'l\ ,,!.,,.,~ lf.AA_o>y "f_ill•d ~h<>tt, ~;lh ~It ~lliH< 1<> tl>«I..-J•,

s ... .-n Fall....-·« IMy 11u.t 1.t.~ •. HJ;fl1 ~

Wiliiam Keith Fernin, Evanston , Illinois, is

one of the leading illustrators with Kling Adver-
tising Studio in Chicago. He has an exciting style
of drawing and is eq ually versatile at handling
men's and women's fashion illustrations. The ad-
vertisement shown here for Jockey sport shorts
appeared in Esquire Magazine. Mr. Fernin is
thirty-seven years old, marri ed and ha s two chil-
dren. He is most interested in story illustration,
advertising illu stration and fa shion drawing .

• • • • • • • • • • • • • • • • • • • • •• • • • • • • • • • • • • • • • •
Gene Langley, staff artist with The Christian
Science Monitor for six years, does all phases of
staff work including feature and children's story
illustration. He is twenty-seven, lives in Cam-
bridge, Massachusetts, and works free lance on
folders and promotion cartooning.

.,"
u
c
."
"'c
-~
·.:
6
1!
>-
>-

"
~
0
u
 Blueprint for a job
in the ''sticks''
By Student Paul Sheldon
Art Director of Profile Advertising
Nashua, New Hampshire

I work for an advertising agency hundreds of miles out of New up while he is officially at his drawing board. It will make him
York. I hire artists, tell them what to do-and sometimes how a better commercial artist - and a better advertising man.
to do it- and generally direct their work. My ideas have landed The artist who knows his business has found the answers
in print in many an advertising campaign- some even on a na- because he was curious, read the proper books, asked questions,
tional basis. Yet I'm not an artist myself, so I'm taking the visited some of the industries involved. He knows which method
Famous Artists Course-and having all kinds of trouble trying will save the most Lime and money, and does not limit himself to
to learn how to paint the simplest object in opaque. any one method, either. A small advertising agency expects its
Because artists come to me looking for work, I know that some, artists to know about line cuts, halftones, and combinations, and
at least, seek jobs out in the sticks. They lack confidence in them- how to prepare art work for each. An artist in such an agency
selves, or maybe they feel a job with a small advertising agency must also have experimented in the black-with-one-or-two-colors
would be good training. Anyhow, they come around in droves, field and know how to achieve interesting and arresting effects
show elaborate portfolios of their work, and tell me how good within those limitations. He must know how to prepare overlays
they are. that guarantee getting the interesting effects he desires - and
Well, they are good artists. If I could draw as well, I would he should know how to get three tones of one color on an over-
be mighty proud. But ninety percent of these job hunters have lay in the easiest and least expensive way. While we expect him
one basic fault which puts them squarely behind the eight-ball- to know all about this, we realize it is not reasonable to expect
they are not sufficiently interested in their work. I would like to him to have had practical experience in all these things. We are
explain my statement for the benefit of students planning to willing to provide him with background material at the begin-
descend on the small-town agencies. ning of his career since he won't be getting a New York salary
Jut here in the sticks. We are not looking for an authority
A small advertising agency does not have the big-budget ac-
created by years of experience - but we are looking for an
counts that cause the rash of ulcers in metropolitan advertising
:~rtist who wants to be that kind of an authority.
circles. It is not our job to spend the client's money, but to save
We want an artist who has at least heard about such things
the client's money while giving him the most effective advertising
even if he only read about them in an art store catalog. In fact,
he can afford. We do that in many different ways. For example,
we recommend that he read about them in such catalogs. We
we have our own artists to provide advertising art at the lowest
want the guy to be interested in his work - the guy who has a
possible prices. We don't just sell art to the client-we include
bump of curiosity about everything new in the art realm. We like
art within his budget. There's a world of difference.
artists who have had interest enough to visit the photo-engraver
This invariably means that we handle very few full-color jobs and the offset printer, and look around. We like the man who is
because process color is expensive. We might use two colors and so intrigued by his own field that nothing gets ahead of him.
black, or one color and black, invariably line stuff, but most of That way, we feel, he will be the kind of guy who will quickly
our work is produced to be printed in simple black and white. So ~ stablish a reputation as an artist because of the way his work
portfolios filled to the brim with gorgeous color just do not regis- looks when it is reproduced. That will make him an artist in
ter with us. We haven't much use for that sort of thing. print ... the most commercially appreciated artist of them all!
In New York the tendency seems to be specialization but out If you can draw well and have studied the Course faithfully,
here in the sticks it is just the opposite. The artist must be quali- you will know all about these things I've mentioned. But the
fied to do everything. The more of a specialist he is, the less use Course cannot make you maintain a burning interest in your work
we have for him. We must find artists qualified-and willing-to - even if it does do everything possible to inspire you to do so.
do the whole job, from layout to final color separations. The advertising agencies and art studios in the sticks, and in the
That's why the sticks can be good for the budding young com- metropolitan centers as well, will greet you with more enthusiasm
mercial artist. He will learn his trade out here- or he won't be if you're truly interested in your work. Ge tting the practical ex-
here long. He may even be forced to learn more than art work. perience you need will be easy then, and you'll be on your way
He may get a few ideas about copy, advertising psychology, to big things.
media purchasing, and even salesmanship. If the guy is interested, But that first qualification - the will to learn - depends
he can learn the whole advertising business from the ground Arictly on you.

16
 Of many events staged by the Westport staff in recent months, a party for the New York columnists
at the new home of the Famous Artists Schools was the prime success. Noted columnist Robert Ruark,
movie actor Charlton Heston and the great sports writer Red Smith sketch a lovely model while faculty
members AI Parker, Stevan Dohanos and Jon Whitcomb look on.

Employees on the Famous Artists Ball Team

know a good pitch as well as a good picture.
The Artists defeated the VFW, 1950·51 champs.
Westport events

"King" AI Dorne (impersonated by instructor

AI Radomski) rides high at employee Square
Dance. Below, instructor Mike Mitchell's station
wagon was a study in line and tone when fellow
faculty members Bud Sagendorf, Charlie Kitt
and AI Radomski "overlaid" it with color.

A Clothes·for·Korea Drive among employees of the Famous Artists

Schools sent twenty.five boxes of clothing to the war·torn area. With
the help of GI's who befriended them, these Korean orphans try a
pair of boots from Westport for size.

17
 •

New Horizons
How.the Course affected the lives of some students
Dugout a•·tist Bill Wight-Bill Wi ght, Detroit Tigers so uth-
paw pitchin g star , has decid ed hi s left arm will earn him a good
"I am doing the work that I have waited all my life to do. This
living long after hi s pitching arm has given out on the baseball
is a sa tisfa ction I find very diffi cult to put into words." Douglas
fi eld. Th e thirty-year-old, far- seein g Wight enrolled in th e
Banks, Ladner, Canada.
Famous Artists Co urse, and with hi s sports backgro und and
artistic ability, plans to become a sports cartoo ni st when his
" I have much less tim e to fret about business and other problems.
The many changes and revisions necessary to get good results baseball career is end ed.
have also develop ed my patience." JetTy Slutzky, Sacramento, For the past few seasons Wight has entertain ed his tea mmates
California. by sketching prominent sports fi gures. When Detroit was playing
the Yankees in New York thi s summer, he looked up AI Dome
"Since I became a stud ent, I've never been bored. Previously, the to show th e artist so me of hi s art work. Dome felt that Wight
places I went, th e things I saw, and the people I met were only had th e makings of a competent artist and arranged for him to
fleeting memories. Now they've become fa scinating studies. I also meet Willard Mullin, the great sports cartoonist. Mullin was also
have a much greater understanding of human nature." Don impressed with Wight's artistic ability and thought it might be
Sinclair, Toronto, Canada. fun if they both collaborated on a cartoon.
The result is shown here. Wight did the portrait of his team-
'"The Art Course is a wonderful way to develop an interest out - mate Walt Dropo ; Mullin did the rest of the cartoon. The final
sid e the married per sonality." Evelyn Tm·net·, St. P etersb urg, result appeared in the New York World-Telegram and other
Florida. Scripps-Howard papers all over the country.
"For the next few years," says Bill, "I'll be throwin g curves on
" I now work twenty-four hours a day instead of the usual dull the diamond by day and drawing curves on the drawing board
fourteen. T h~ Course is worth every snatched minute obtainable." at night."
Baline Sludet·, Anaheim, California.

"I now have a fe eling of belonging, of id entifi cat ion, a long range
goal, and a definit e plan of action toward its achievement. I take
John Ruskin 's words as my challenge, 'To give color to pi ctures
is much ; to give color to life is more."' Delby Rudolph, Jack-
son, Michigan.

" I have stopped worrying about what to do with my spare tim e.

Those lessons are enough to take a full clay every clay. Pictures
become more interestin g now, wh erever I see th em. I look at all
the ads in the magazines to see what med ium is used. I am al-
ways anxious to quit work at my jewelry store so that I can get
home to study." Cha..Ies Tolet·, Ki ssimmee, Florida.

"Sin ce spendin g many hours daily on my ' homework', I am no

longer wasting tim e and rnergy on useless fan cy work whi ch I
ca n li ve very happily without, but which I had previously des-
perately needed as occupational then py. After three lessons, I
can do things I co uld only drea m about for many years. I ca n
draw an object or a human fi gure and make it resemble the thino-
itself. For me, that's progress!" Anne S. Batchket· Brookly;:
New York. ' '

"I now see beauty in homely people." Robet·t F. Lyons, Indian-

apoli s, Indiana.

" Ph ys ically, I've achieved co nfid ence in myself, stopp ed smoking

and gained twenty pounds. Mentally, I have a happier outlook
for nights a nd weekend s and an in centi ve to work for th e nex t
thirt y yea rs." Hugo Evangelista, Gloversville, New York.

18
FRENCH PAINTING at the time of the IMPRESSIONISTS
By RAYM O ND CO GNIAT
,..----Start Your-- -...., Richly and faithfully illustrated with special plates twenty-odd extraordina ry years flowed from the
Membership With made in France ... elegant in typography, lavish brus hes of the struggling fo unders of Impression-
MODERN ART in design ... this sumptuous vo lume is probably ism. Here is the record of their struggle- their
IN THE MAKING the most handsome art book avai lable anywhere beliefs, their techni ques, their message. With in-
By BERNARD MYERS
in the world ! terpretive and critical text by the president of the
457 pages, more tbatt 200 re- H ere are the gems of that star-like shower of French Art C ri tics, this unique book is a tribute,
productions, 6 in full color.
Bibliography and 1ndex. exciting and wonderful paintings which for an analysis, and a magnifi ce n t gallery of flne art.
The fascinating, behind-the- Retail price: $9.50 FREE TO NEW MEMBERS
scenes stories of Renoir, Cfz.

$1700 $550
anne, Degas, Picasso and
others who developed modern
YOUR PRIVILEGES AS A MEMBER
art in Europe and America.
When you join, we send you the beautiful and unique worth of
Said the Saturday :Review of
£iterature: uor. Myers suc-
1'rencb Painting .At J'be J'ime Of J'be 1mpressionists: books to new
FREE. , members for '.
ceeds admirably in establish-
ing the modern creative artist Also, as a Guild member, you get a free subscription. "·.
as a vital force." to the interesting Guild brochu re, .Art itt Books. T his
informative monthly booklet tells about art books of
Reta il I'rice $7 .50
all publishers and describes the next Guild selection. This coupon makes .!jOu a member
Member's Price $5.50 For each four selections you .accept, we send you a n with all pri1•ile.9cs
additional, valuab le Bonus Book free.
)'ou don't buy any book unless you really want it. THE ART BOOK GUILD OF AMERICA, INC.
All you pay for each book yo u want is !he special low Dept. FA, 11 East 36th St., New York 16, N. Y.
member's price plus a small fixed mailing charge,. Please enroll me as a member. I am to receive, FREE as a
after you receive the book. Savings on selections run gift upon joining, 1rencb Painting .At J'be :lime Of J'be
as high as 40%, sometimes higher. If you do not want 1mpressiottists. With it, send as my first selection :Modern
to receive the forthcoming book, you simply return a .Art Jn J'be :Making a t the special, low member's price of
printed form. You enroll for no fixed te rm, and you $5.50 plus 38c postag_e a nd packing c~arge. I will receive
The Guild's National Adviso ry Board may cancel your membership at any time after you .Art 1n Books free every month . I will receive a free Bonus
accept four Guild selections. Book for each four selections I buy, a nd my only obligation
ALL Art Book Guild books . . . your FREE member- is to accept fo ur Guild selections the first y ear I am a
ship gift book, the selections and your FREE extra member.
Bonus Books . . . are in the publisher's original
editions. They are beautifull y illustrated, handsomely Name..
designed books you'll be proud to own.
Address ............................. .
Why not get the extraordinary a Impressionists" at no
Regi nald Marsh Walter Pach charge? Here is your chance to collect fine art books City, Zone, State............. .
that become a treasured "museum without walls."

19
 Try it this way
Many of you have had the experience of finding
your attention wandering from the basic problem
of arrangement during the rough, preliminary
stages of a composition to a preoccupation with
the drawing of details. You can avoid this by
the method described on this page for solving
your composition problems. Here's how it works:
First, decide on the general size, shape and
value of the main elements in your picture and
draw them out on pieces of dark, light or half-
tone paper. Cut them out roughly with a pair of
scissors as we have done with the two figures, the
tree and the rectangular background. Then
simply shift them around until you arrive at an
arrangement that gives you the best composition.
By cutting out a white mat you can cover up
the parts or the figure or tree that overlap the
borders of the pictures.

A. First, we try this arrange· B. This arrangement doesn't C. This time we tried over· D. Here is the best solution
ment, moving the figure of come off because there is no lapping the foreground fig- and the one we'll use for our
the gunman in the fore· dominant shape. All three ure and the tree, but the final composition. The action
ground well into the picture. compete with each other. tree obscures the action and is clear, the shapes are well
He gives us a good dom· looks too important. related and the composition
inant form in the foreground is balanced. The shapes are
but crowds the rest of the overlapped to take full ad-
picture. It's quite clear we vantage of value contrast.
don't need to show this
much of him. Now you can start working out the drawing problems.
20
 The faculty
of the
Famous Artists Course

Prizes, scholarships and recognitions reported by our stud ents.

reads
ART NEWS

regularly
Charles B•·att, Marcellus, ew York; Bobby Redman, East
Gadsden, Alabama; and Tina Prentiss, Somerville, Massachu- because -
setts, each received awards of $500.00 by winning competitions in each single issue
which the Famous Artists Course was offered as the prize. Be·
cause they already were students, the School paid the students of ART NEWS "America's first art magazine"
$500.00 each, in lieu of the Famous Artists Course. brings them
Zelda Zoe Rife, seventeen, Marion, Indiana, won the $500.00 FIVE superb full color, full-page reproductions of
fine arts scholarship from Kappa Kappa Sorority. the world's great art, modern and old masters

Charles Littleton, Los Angeles, California, won first prize and Scores of other illustrations
honorable mention at the Eastern Winter Exhibit for Faculty
Assistants of the Disabled Veterans Art Guild. Advance announcements of open competitions and
scholarships
Gordon Wasley, Chehalis, Washin gton, showed work in several
mediums at the Southwest Washington Fair. Grand prize, three Reviews and Previews of all new exhibitions
firsts, two seconds, and one third.
The most authoritative articles about the contem-
Francis Danovich, New York City, won second prize in casein porary artist and how he works, as well as others
and honorable mention for oil painting at the New York News- about the Old Masters.
paper Guild Art Exhibit.
You, too, should read ART NEWS regularly
Emily J. Sting, Banning, California, who sells water colors and Now available to you at this special reduced rate
prints, exhibited in the Legion of Honor Palace in San Francisco,
the Oakland Gallery and the Henry Gallery in Seattle. By special arrangement with the Famous Artists
Course, students of the Course may subscribe to
Denice Seeley, Lincroft, New J ersey, won honorable mention at
ART NEWS at ONLY $4 for a full year instead of
the National Open Competition in Newark. Her work also was the regular $7.
accepted for the Audubon Artists Show in 1951 and she won the
Grumbacher Award at the Florida International Show in 1952. This reduced rate is available only to students of
the Famous Artists Course.
Jacqueline Wilber, Denver, Colorado, received honorable men- Your order (filled out below) and paym ent must
tion in the Latham Foundation International Poster Contest of
1952 out of twelve thousand entries from nineteen countries.
be sent to the school (checks payable to the Famous
Artists Course) .
France M. Folse, Raceland, Louisiana, won an award of merit
certificate at the Florida Interna tional Art Exhibition, sponsored
by Florida Southern College, Lakeland. Famous Artists Course, Dept. AN, Westport, Conn.
I enclose $4 to cover a full year subscription to
Anna Iannuzzi, Bronx, New York, has a certificate of merit
ART NEWS at the sp ecial reduced rate to students
award for a painting entered in the Gimbel's Scholastic Contest. (regular rate $7).

Greydon W. Pipei·, Newport, Maine, reports that Graphic Arts Name

listed his layout of a town of Carmel, Maine, as the leader of
New England in layout and design. Address
Harry Rich, Jr., eighteen, Albany, New York, won a $100.00
City & State
award and airplane trip to New York City as the grand prize in
a city-wide art contest.
21
 Laocoon by El Greco

•
There Is more than meets the eye
by Milton S. Fox, Editor of The Library of Great Painters

When the great French painter Renoir was artist-whether he practices "fine art" or means that we can study new develop·
asked where one should learn to paint, he so-called "commercial art''-has closely ments in our profession; we can learn
said, "In museums, parbleu!" Renoir knew, studied the work of his peers and predeces- about forms of art which are strange or
of course, what a vast amount of study sors. Nobody can learn by himself and unusual to us, like the great and intricate
was necessary working directly from nature somebody has said of those who think they designs of South Seas peoples; we can
both in the studio and out of doors. But can, "He who would have only himself really examine at our leisure the master·
for style, for ideas, for that some thing for a teacher would be taught by a fool." pieces of our own Western civilization; we
which helps a painter to find himself and Today an artist really has to work at it can become acquainted with the best (and
to build on .what he finds, Renoir knew to be a fool. Travel and communication the worst) that is being done everywhere.
what we must all learn sooner or later: put us in touch with distant places, and Not all of us can travel, but there is
that the great art of all periods is an im· we can see in a matter of hours or days for all of us a magical "second best."
mense storehouse of treasures which is more than our ancestors could see in years. There have been tremendous advances in
ours for the taking. Every outstanding For artists, this is especially important. It the reproduction of art and in the tech-
22
niques of using reproductions in teaching. photograph, which guides him, but also a These optmons range from the conviction
It wasn't so long ago that artists and set of color separation negatives from that black-and-white is the only satisfactory
••ther had to be satisfied with very me- which the plates are made for the four way of reproducing paintings, to the other
lioc re engraved reproductions if they colors-black (the key plate, for depth, extreme where the observer will frankly ad-
"·anted to have some idea of, say, Michel- body, modeling) , blue, yellow, and red. mit that he cannot recall exactly what are
angelo's work. A hack would grind out After each of the colors is photo-chemically the colors of the original, but that the
-omething which seemed to resemble the registered on its individual metal plate, the reproduction before him looks pretty good.
rigi nal- probably working not from the engraver goes to work to lighten or darken , The fact of the matter is that most of us
•·riginal but from an earlier mockery of it. to accen tuate or suppress, always looking do not remember specific colors at all
Then the engraving might be tinted by to his color photograph and written com- well, and we remember general effects only
-omebody with a pretty fantastic notion of ments and, if possible, the original paint- somewhat better. And the more time that
the master's color. And there was your re- ing itself, in order that when he prints the elapses, the less exact is the accuracy of
production. Color lithography improved the four plates one after the other, the result our recall. There are many reasons for this,
-itua tion somewhat, because it was a good will accurately reproduce the original. As and it is a wise man who will not be too
<:>al more flexible than engraving and per- most people know, each color plate is com- dogmatic on the subj ect.
mitted a wider range of imitated effects. posed of thousands of tiny dots which print I will cite a personal case to show how
But it wasn't until the camera came along, more or less of a given color amongst difficult it is to be exact even about things
and with it the rapid development of color other dots of other colors-somewhat like which are right before our noses. Know-
photography, that accurate and trust· the paintings of the so-called P ointillists. in g that we were going to reproduce the
worthy reproductions could be made. All the colors that you see in reproduc- Chestnut Trees in our book on Cezanne,
Color photography, however, is only part tions such as those in The Library of Great coming out this Fall, I made elaborate and
of the story. We all have observed that a Painters result from th e juxtaposition of very precise notes about the canvas in 1951
color photograph of a painting seems to the colored dots, and it is indeed amazing when it was at the Philadelphia Museum,
lack something. I don't know exactly how that such an infinity of tones and shades on loan from the Minneapolis Museum
to say it, but a color photograph of a paint- can result. Of course, I have greatly sim- which owns it. Some months later, the same
ing makes us think of a color photograph plified the actual procedure, for it is often canvas was shown in New York at the
of a painting, whereas, what we want to a long and hard battle before the plates Wildenstein Galleries. I again made de-
thi nk of is the painting itself. We want are regarded as satisfactory. The fir st tailed color notes in front of the picture
to feel when we are looking at a reproduc- proofs are compared with the originals by for I had forgotten that I did so in Phila-
tion that we are looking at something the museums or owners of the pictures, delphia. Gathering all the material to send
whi ch really stands for the painting; which and th eir suggested corrections are given it to the engraver, I discovered both sets
makes us feel that we are getting the same to the engravers. There follows more work of notes and compared them. Having
ki nd of experience we would get from the and more proofs (sometimes I have re- learned how far off people can be on color
pai nting itself. quired our engravers to go through thi s -experts, too- l wanted to see how two
Here is where the modern four-color process for six successive corrections and reports on the same picture, made under
process engraver comes in. (There are 1·eproofings, much to their disgust) until different conditions, would square with
many kinds of reproduction processes, but it is felt that the reproduction does jus- each other. I can only say that in some very
I will deal only with the one I know best, ti ce to th e original. And then the battle important respects, it would be hard to
and which is most widely used.) This en- begins all over, for it is one thing to have believe that the two sets of notes dealt
graver, with a highly specialized skill and a fine color reproduction in a hand-pulled with the same canvas. To check a certain
infini te patience, receives not only the color engraver's proof and quite another thing to important area, one of the two fairly large
get the same results in high-speed presses houses in the landscape, I phoned a per-
for commercial purposes, at a price which son who saw the canvas many times in
people can afford to pay. It may sound New York. He thought it was unreason-
fantastic, in view of the fact that so much able to ask him for an account of a specific
of the process is purely mechanical, but it color area, even though it was an important
is a fact that different artists present dif- one several square inches.
ferent problems when it comes to repro- The moral of thi s tale is that things are
duction. One of the masters who makes not always what we would have them. But
both the engraver and printer shudder is it is also true that too many reproductions
Cezanne with hi s flecking style, his shadows now on the market, as loose prints and in
modeled in color, and hi s abrupt shifts books, are nothing but a travesty of the
from nuance to nuance, from warm to cool. originals; and only familiarity with the
A color reproduction is still a color re- paintings themselves and with good repro-
production. Th e question is how to make ductions will help us to discriminate. It is
it convey the impact and "personality" of all important for artists and students to
the original which is a large object with visit museums and galleries often. The more
a real texture and r equires the eye to experience we have, the more discriminat-
move back and forth over it since it can ing we become and the greater will be
seldom be taken in at one glance. The r e- the rewards of study of the masters.
production, on the other hand, is generally There is one shortcut. If we appreciate
small (plate costs are frightful; the artist a person who has spent years and years
may have received less for the painting studying a certain artist or school of paint-
than the engraving hou se receives for the ing, we can have the benefits of his efforts.
plates), and it is printed on a piece of Artists do not often like critics or scholars,
paper which ha s no relief and almost no but there can be no question about it-a
texture. Some people feel that glossy good, sensitive man who has for years ex-
finishes help to convey the vitality which plored the life work of a master can tell
in our mind s we associate with a memorable us much that we would not discover in less
picture. Even frescoes with matte smfaces, time, and perhaps not at all. A good stu-
they say, remain in o11r minds as sharp dent of a certain painter- a really good
and vivid images. Thus, we must try to student-is a specialist, and just like any
match the vividness of the memory image. other specialist, he is apt to know more
Others insist that the reproduction should about hi s specialty than the sidewalk su-
match the original in all respects. But thi s perintendent. Unhappily, there are not too
much is tru e-be it glossy or matte, some- many good, penetrating-a nd readable-
body thinks you've mad e a bad mi stake. writers on art, but t.he good ones ca n help
However, the argume nt over glossy ver- us to unlock many doors in the storehouse
sus matte is pallid in comparison with the of art treasurers - to our great benefit as
diverse opinions about color accuracy. artists and students.
23
 A. Organize your time so you have definite
hours for studying each day or each week.
Many students find morning hours best.
The more time you spend in studying and
drawing, the more you will get out of your
Course.
?• Q. Why isn't there more work on color in
the early part of the Course? A. E. Con-
way, Shamokin, Pennsylvania .
• A. Our experience in teaching has clearly
uest1ons shown us that the student can learn the
important principles of drawing, composi-
tion, and control of values better by first
making black and white pictures. The first
paragraphs of Lesson 21 explain this fully.

Q. Is there any practical plan for a small

home studio - one that would occupy a
corner of a room? Frances Stahly, Mil-
ford, Nebraska.
A. See illustration and text in Lesson I on
Q. Can students v1s1t Westport? Jean suggested arrangement of working space.
Waddell, Jersey Shore, Pennsylvania.
A. We are happy to have students visit the Q. I live in a small town and I don't want
school. The latchstring is always out, Mon· to give up my present job to go to a large
days through Fridays, 8 :30 a.m.-4 :30 p.m.

Q. After what lesson would a student have

sufficient background for a beginning art
job? Nancy Hyde, New York, New York.
A. It depends on the individual. Some
city. What are my chances as an artist
here? William Dorman, Milton, Canada.
A. Nearly every commu!lity of any size has
business firms and industries which adver-
tise their products and services and have
occasion to purchase art work. Consult your
$ale No.1
Richard Punnett, Los Angeles, California,
hard-working students get an art job after supplement "How to make money in com- whose first sale was the above mailing piece,
a few lessons. Many at the half-way point. mercial art and illustration" for more reports, "I pilfered the perspective angle
specific information. from the rooster illustrations by Michael
Q. Why not a special course for married Mitchell (F AC instructor) in Lesson 19."
students on which the whole family (if ar· Q. Is six weeks long enough to spend on a
tistic) could work and send in assignments lesson? By the time I read extra books, "I d<lsigned a 'Round the World' cruise
together? John Bowden, Bronx, N. Y. study, and do practice work, I have to hurry certificate and had it printed diploma style.
A. A "family" art course would present through the assignments. Betty Pierce, I lettered over five hundred names on these
many problems- but we do have many Lakeside, Michigan. certificates in Old English lettering. This
husbands and wives, sisters and brothers, A. The time to complete a lesson depends more than paid for the Famous Artists
etc., each taking separate courses. on the individual. Never "hurry through" Course." George Haines, F.P.O., New
lesson assignments. York, New York
Q. Is thirty too old to begin an art career?
Marguerite Conant, Detroit, Michigan. Q. Instead of selling $10 paintings to peo- "I hand painted a skunk on a yellow tie-
A. No, many great and famous careers in ple who can afford it, how can I sell $100 for $4.00." G. R. Stave, Kansas City, Mo.
art as well as in other fields have been paintings to people who can afford it?
started after thirty and much later. Grand· Mark Warren, Culver City, California. "Last year I made Christmas cards for
rna Moses is a rare but excellent example A. First make paintings worth more than friends and businesses at $10 for the art
of a very late start. $100. Then find people with $100. work plus production costs. I have 100 per-
cent reorders for this year, plus many new
Q. Could it be that American art patrons Q. I have heard that some of the "famous orders." Carrie Lucas, St. Petersburg,
are going insane in their liking for mod- artists" sign their work with names other Florida
ernistic art with all its abimrdities? W es- than their own. Is this true? Grace James,
ley Steelman, Kingston, Pennsylvania. Oakland, California. "My first sale was to Hoofs and Horns, a
A. No, it is through groups such as these, A. No, of course not. rodeo magazine. Each month I drew an
who try to understand and support new India ink portrait of some rodeo cowboy."
movements of sel£-eipression by mature ar- Q. Have other students found it hard to Bernice Kalland. Sacramento, California
tists, that many a&vances are made in all switch from a completely different field of
forms of art. Because of the sympathetic work to commercial art? Robert Stolow- "Illustrated a new cancer chemotherapy
attitude of just such groups fifty years ago, ski, West Allis, Wisconsin. system developed in the clinic where I
the public today understands and admires A. Certainly- but it is less difficult if you work." Jacqueline Speelman, Silver
the work of Cezanne, Matisse, Van Gogh, would rather be an artist than be what you Springs, Maryland
Picasso, Degas, and the many giants of now are.
modern creative painting. "A 16-page basketball program. It took the
Q. Don't you think the lessons are too de- fancy of the public here and now I have all
Q. What has been the average time re- tailed for a beginner? Lydia Sievert, Glen- the work I can do." Bob Ellenwood, Wat-
quired to complete the Course? Eugene dale, California. sonville, California
Knowles, San Diego, Calfornia. A. No, Detail in teaching is all important
A. Few students devote full time to the for the beginners. "The pastor of a small out-of-town church
Course. As a result, most require more wanted a picture for the parsonage. The
than two years to complete it. Q. Can anyone really learn to draw? Isn't subject, size and price were agreed upon.
an artist really born with his talent? Bill Much time and effort went into the paint-
Q. When you can't devote all your time to Fortune, Brooklyn, New York. ing. The pastor left town suddenly. For
drawing and studying, what kind of a A. Any normal person who has the desire Sale: one large religious painting to any
schedule is best to follow? How many and determination to draw can do so. "Born member of the clergy with esthetic rather
hours a day, what hours are best, etc.? talent" is useless to anyone without desire, than amorous interests." Dwane Jackson,
Judith Haagen, Dundalk, Maryland. ambition, and training. Alliance. Ohio
24
 Faculty as the masters are known
by their work • •

C laud e Mone t
ln ter ie ur:
Apr eS· Diner

There's no rest for a topnotch commercial artist. In the months

ahead you'll he seeing more and more illustrations by the mem-
bers of your faculty.
Jon Whitcomb will he busy with illustrations in Ladies'
is kno w n by craf ts me n for la youts,
Home Journal, Cosmopolitan, McCall's and other magazines ...
ge ne ral pa ste-u p , cop y and moun l-
He'll continue those wonderful advertising jobs for Community
in g. Sto Set bond s paper to p ape r,
Plate and is working on a big series of Catalina Swimming lea t her, texti les, r ubbe r , gl oss,
uits . . . Jon plans to take a trip to Europe this year. wood , met a l and pla st ics wi tho ut
Peter Heick is turning out those illustrations from his charm- wrinkle, curl or stai n .
ing home and studio in Boston Corners, N. Y. . . . He is busy
with a National Field campaign hut continues to collect old rac-
ing cars and gets his extra-curricular "kicks" spinning along in Dea lers of the bes t art is ts material s sell and
hi s old machines. recommend 5to5et PAPER CEMENT.
John Atherton recently completed a "research" trip from
.'IIassachusetts to Maine ... John gathered a world of material Produ ct of
which will he put to use in his paintings. There'll he a couple
of Atherton fine arts exhibits late this year. THE MONET COMPANY
Up at Arlington, Vermont, Norman Rockwell is finishing a 4 3 South Ave . • Fanwood , N . J .
series of six paintings for the 50th anniversary of the Ford Motor
Company ... These will he the meat of what promises to he one
of the most powerful advertising campaigns in automotive history
. . . Be on the lookout for Norman's Election Day cover for the
Saturday Evening Post.
That amazing westerner, Harold Von Schmidt, is completing
his paintings for a six-part serial slated for the Post in '53 . . .
Von, who is headed West for a research trip of his own, reports
a new hobby- studying the ducks that frequent Dead Man's
Creek on his property, making careful notes while observing
them with his field glasses.
A report from Austin Briggs shows a crammed but exciting
schedule . . . Having completed his annual Christmas ad for
Plymouth he is working on a series for American Airlines for
'53 and will turn out one illustration a month for the Post.
You'll be seeing those Stevan Dohanos Post covers just as
frequently through 1953 . . . He has done over ninety of them
so far in his brilliant career . . • Steve will take time off from
his painting to accept the Ohio Career Medal in Columbus in
October- an award for recognition of achievement . . . Dohanos,
who perhaps does more painting for charity than any other
artist in the nation, has also completed a Sister Kenny poster
for a fall campaign.
Ben Stahl has a program which calls for a variety of assign-
ments . . . From hook covers to fine art, Stahl never lets up
. . . He turns out his assignments from Westport during the
summer months and from Sarasota, Florida, in the winter.
AI Parker will continue his beloved mother and daughter
covers for the Journal and will do a number of American Airlines
illustrations . . • AI beats the drums for relaxation and occa-
sionally plays the skins in jam sessions with Benny Goodman at
the maestro's Connecticut home.
Fred Ludekens has one of the busiest schedules imaginable
. . . A six-part murder-mystery serial will appear in the Post
soon . . • Two covers for True magazine are already set . . .
Also a pheasant cover on Hunting Year Book . . . Fred plans
to take some time off for some trout fishing sessions in Wyoming.
Albert Dorne is writing a book, "How to Paint with Colored
Ink." . . . Al is the foremost authority on this medium and
this will he the first time in the history of publishing that such
a book has been done . . . By popular demand, Mr. Dorne is
also doing a colored motion picture entitled, "How to Make a
Picture," and is hooked for a full schedule of lectures this fall.

25
 Lev P urdy (From page 5)
Weekends have always been devoted to
fin e art with the time between profitably
applied to sketch work. After hi s return
from Europe, Lev spent several years with
the William Esty and Newell Emm ett agen-
cies, and fr ee la ncing. Hi ghly successful in
hi s cho se n career, and having se ttled with
hi s fam ily in Westport, Lev wa s th en pre-
vailed upon by Al Dorne to join th e fa culty
of the Famous Artists Schools.
Art is work and play for Lev and this
interest is shared wholeheartedly by hi s
wife and their twenty-two-year-old twin son
a nd daughter. Indeed, his wife Irene has

Money- emerged as a full-fled ged professional artist

in her own right - and without any formal
art trainin g other than her husband's in-
flu ence and association with hi s many artist

makers fri end s. Always an enthusiastic hobbyist she

had studi ed dancing, singing, etc. and even-
tually decided to try her hand at art. Lev
wa s am used by her early interest, thinking
Student suggestions for turning ideas into dollars it just another fad. However, he sat up and
" There is always work for artists but you The painting above is one of the "custom- took notice when she went out and land ed
have to dig for it," says Geor·ge 'Vat·d, made" paintings for homes done by Alice a job doin g illustrations for a New York
New York, New York. "I letter comic books Wolf McCm·thy, Dallas, Texas, "an idea I department store. A successful career in
and daily strips, work as assistant to comic have found successful," she reports. " The fashion illustration followed and although
artists, work vacation reliefs in my home color scheme and decor of the home estab- she is not active in the commercial fi eld
town newspaper art department, and paint lishes the colors for the board, mat, and today, she ha s taken up ceramics as an
paint. The personalities and preferences of outlet for her artistic talents.
murals on bars and restaurants."
the customer more or less decide the sub- Their son and daughter are both launch ed
ject. Interior decorators are very pleased on promisin g careers in commercial art.
" I paint my friends' pets from photographs. Noa excelled in her art studi es and from
I do them in opaque and oils. So far I have with my idea. Sales have been modest, and
I haven't don e enou gh to establi sh much of her first job in a pattern hou se ha s gone
done two pedigreed angora cats, a cocker on to the art department of Montgomery
spani el, and several thoroughbred race a reputation. I try to kee p my prices rea·
sonable although framin g is expensive." Ward. Frazier would have no part of out-
horses. This is quite a thri ving business if sid e trainin g, preferring to study exclu-
you find the right people." Constance sively with hi s dad. He is now an artist with
Flanagan, Springfield, Massachusetts. the Lennen & Mitchell Agency. That's
"About a year ago I began submi ttin g gag
cartoon s to various magazines and I've man- fast progress for a couple of Lwenly- Lwo-
"I decorate wedding invitations, mount and aged to sel l five cartoons to a trade mag- year-olds, and fir sthand evid ence of Lev's
frame them. I design greeting cards, get- azi ne. Such magazines don't pay much but ability to teach art as well as p1·actice it.
Ling as much as $35 for some. At $200 each it is good ex per ience and gives me an At the Famous Artists Schools, Lev is
I do portraits. I am also working on color opportunity to see my work in print," rega rded with great respect by hi s fellow
jobs for calendars." John Watet·s, Twin Kenneth Dyet·, Fort Lee, New J ersey. instructors. This may or may not be due to
City, Georgia. the bull whip which he handles so expertly.
Braiding whips is a hobby with him and
"Since I've been in the Marines, I pick up " I hand paint ti es ( mo stl y bathing beauties) he ha s quite a collec tion. Along with whip-
ex tra money doing portraits and caricatures for men. I have clone many of them - a cracking to keep hi s associates on their
of my buddies. They like the drawings; I plane for a pilot, a Mexican scene for n toes, Lev claims one other distinctive work
like to do them; and the money sure comes orchestra leader, etc. - priced from three habit. He prefers to work in a cluttered
in handy." Pfc. Rick Davis, Oceanside, to five dollars a tie. I also paint so uvenir atmosphere. A certain amount of co mfort-
California. handkerchiefs and letter 'Hastings, On tario' able disorder provides inspiration, he says.
on all kind s of knick-knacks to sell to you
Americans." Rose M. Baket·, Hastings,
"Two plans particularly su ited for my com- Canada,
munity are: Starting an art appreciation
class for very yo ung children, and decOl·at-
ing store fronts and windows." Jean "I decorate sceni c bathrooms, using oils
Stauffet·, Anderson, South Carolina. and a thin coat of Valspar," reports Beulah
B. Talpey, Claymont, Delaware. "Being of
"My art director at work suggested I show old pioneer stock, most of my activities pay
my sampl es from the Course to the editor for themselves and many times my art crea-
of a farmers' magazine. He gave me a story tions are to cover up so me defect around
to illustrate and I sold it free lance. Now hom e. Then I begin doing the same thing for
I've done three more." At·thm· Gilpin, friends for pay."
Toronto, Canada.
"I keep in tou ch with local business and
"I let all my friends know I design birth industrial concerns," says Shidey Millet·,
announcement ideas, dance posters, club Hagerstown, Maryland. "One of the men
activity notices, show cards, etc. I include an here has a part interest in a shoe factory
illustration plus lettering." David Hares, and owns a shoe store where he retails his
Ferguson, Missouri. own styles and some nationally known shoes.
He has ' mats' for the nationally known
"I do murals for children's room s. I outline material hut none for the shoes he makes.
the main characters with luminous paint I do hi s ske tches for hi s advertising. This
that casts a soft blue glow at night." Joy also applies to pocketbooks or anything Caricature of Lev Purdy by fellow faculty
Demsey, Pine Lawn, Missouri. else where he does not have mats." member Michael Mitchell.
26
You will find useful . ..
art student,
an amateur,
a professional

?
IF SO, you will want to read the coming:
monthly issues of AMERICAN ARTIST
MAGAZINE - America 's most widely read
art publication (readership over 2oo,ooo! )
Mongol Colm·ed Pencil Sketch Kit considered the "Bible" of the Art World.
Folding Table Easel NORMAN ROCKWELL , famous illustrator .
Folding pocket-size kit for quick, on-the- wrote: "Continue my subscription for life."
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colored indelible pencils, to be used dry mium. Can be stored in a drawer. Light in you IDEAS to help you become a more
or with plain water for wash effects, and weight yet sturdy enough to support draw- capable artist. IDEAS to advance you in y_ou1
a pad of 48 sheets of white and colored ing boards, it is adjustable to any angle present work or lead you to a better JOh .
drawing paper. Attached swivel hand grip from horizontal to vertical. Seasoned hard to aid you in selling yo ur paintings, draw-
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a 30-minute soaking. Odorless, non-inflam- sturdy partitioned wood boxes with hinged J City, Zone, State . . ......... .... .
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27
 Volume 3 From Picasso to Surrealism-
112 reproductions in full color .... $17.50
One book of which we are justifiably
proud, since it is about one of your faculty,
*
is Nm·man Rockwell, Illustrator by it happened
Arthur L. Guptill. A great book about a
truly great illustrator, affording an intimate * to me
acquaintance with Rockwell the man, for
the millions who are delighted by the work
*
of Rockwell the artist. It takes the reader
right into Rockwell's home and studio
where he demonstrates just how he goes
about his work. In addition, this is a
treasury of Rockwell's illustra tions, includ-
ing every one of the 24-0 Post covers he
had painted up to the time of publication.
208 pages-50 in full color.
Watson-Guptill Publications, Inc.... $5.00
Another fine book presents all of your
faculty and many of their illustrious col-

We recommend! leagues in th e profession. Forty Illus-

trators and How They Wm·k by Ernest
W. Watson. Forty of the top artists in the
One of the most important departments of field are here represented in a variety of "I was deeply absorbed in oil painting in a
this magazine will be "Recommended ways to give an excellent over-all picture of pasture in the Catskill Mountains when I
Books," its function to review what we contemporary illustration. Some chapters gradually became aware of a herd of cattle
believe to be the finest books on art and stress technical matters; some, training slowly eating its way toward me. My four-
related fields. Our only consideration will and experience; others, a single phase of footed friends slowly surrounded me, step-
be their aesthetic and practical value to the artist's work. Young illustrators will ping on and breaking several of my brushes.
students of the Famous Artists Schools. find thi s book inspiring and informative. The cows gazed with large eyes at my work
It is quite fitting in this first issue to say 332 pages, 9 x 12 inches. 300 illustrations. and gurgled disapprovingly. Suddenly they
something about the fine achievement of Watson-Guptill Publications, Inc ... $10.00 left. I like to think that the smell of turpen-
a man dedicated to an ideal. We liked also a book called Calli- tine drove them away, and not my oil paint-
Harry N. Abrams started out more than gt·aphic Lettel"ing with Wide Pen and ing." Robert Scherer, Washington, D. C.
twenty-five years ago to become an artist. Brush by Ralph Douglass. For some years
The great artists of history made such a now, a growing demand has become evi- "I was so embarrassed at my first life class
profound impression on him that he de- dent for calligraphic styles of lettering for - I was right down front- that I spent the
cided his mission in life would be to some use on book jackets and the like. Many whole two hours drawing the beautiful,
day bring before the public the works of are easy to learn and, once acquired, are but nude, female model's hand." Joseph
these great artists, rather than try to both rapid and effective. 64 pages. Illus- Beck, Melrose Park, Illinois.
achieve personal success in the field of trated. Text hand-lettered. Spiral bound.
art. In the opinion of the most eminent Watson- Guptill Publications, Inc.... $2.50 "I work in a hospital in pediatrics, as a
art cri tics, he has achieved this goal- nurse. When I admit a child, I find myself
The Library of Great Painters. scrutinizing him first as a subject for my
You can save 40% art work. Then I look for symptons." Re-
We could do the students of the Famous
Artists Schools no greater service than becca Gabel, New York, New York.
On behalf of the Famous Artists Schools,
to endorse without reservation this mag- we have made discount arrangements with
nificient contribution to our culture. "Being a novice who had never handled
the two most important magazines in this opaque water colors, I mixed too much
Renoit· Text by Walter Pach- 50 reproduc- country devoted to art. black with the white in starting my set
tions in full color . . . . . . . . . . . . . . . . $12.50 American Artist is the "bible" of the palette. I used up all the white in my kit
Van Gogh Text by Meyer Schapiro-50 professional, student and amateur art worlds. and had to travel fifteen miles to the near-
reproductions in full color ....... . $12.50 Beautifully illustrated and printed. Color est city to get more." Beth Haley, Guil-
El Gt·eco Text by Leo Bronstein- 50 re- in every issue. Regular rate is $5.00 per ford, Maine.
productions in full color .......... $12.50 year ( 10 big issues). Students enrolled
Degas Text by Daniel Catton Rich-50 re- in the Famous Artists Schools may sub- "I did an 8-foot wall mural in my mother's
productions in full color .......... $12.50 scribe at the low group rate of only $3.00 powder room, a full-size painting of an old-
Also, the first volume in a new series, (add $1.00 for foreign subscriptions). Send time drug store window. It consumed sev-
The Library of Great Museums, entitled, your order and remittance to American eral days, many tubes of paint, and much
Art Treasures of the Louvt·e. 100 repro- Artist Magazine, 24 West 40th Street, New of the skin from my face and forearms. I'm
ductions in color-extra large page size. York 18, N.Y. (Give your student number.) allergic to oils!" Jean Hallstead, Clarks
Text translated and adapted from the Art News, America's first fine art maga- Summit, Pennsylvania.
French by Rene Huyghe .......... $12.50 zine, is celebrating its fiftieth anniversary.
This most beautifully designed fine arts "Every time I go to a museum or zoo to
It is impossible to speak about great
magazine is unique in its coverage of art. sketch, a crowd forms. It's embarrassing,
books without bringing into sharp focus
An important feature of each issue is the but sometimes instructive." Drusilla Arter-
8ome of the fine volumes published by
series of five fine full-color reproductions bm·n, Columbia, Missouri.
Skira Art Books. For this issue we choose
of the world's great art. Hundreds of other
Histm·y of Modern Painting, presented
illustrations, reviews and previews of all
in three magnificent volumes. Each is
exhibitions, advance announcements of open
complete in itself and can be bought sepa-
competitions and scholarships plus the
rately. The authors have given objective
highly authoritative articles in each issue
judgments of the works reproduced, so the
make Art News easy to recommend to you
historic and cri tical comments are side by
for regular reading.
side with the illustrations themselves-un-
By special low group rate, students may
rivaled reference books for modern art.
subscribe to Art News Magazine for only
Volume 1 From Baudelait·e to Bonnm·d $4.00 per year. Regular rate is $7.00. Your
80 reproductions in full color ..... $15.00 order and remittance must he made out
Volume 2 Matisse-Munch-Rouault-80 to Famous Artists Schools, and mailed
reproductions in full color ........ $15.00 directly to Westport, Connecticut.
28
 des •• ·
art
,, Costs LESS
to buy
. . illt . •
you will be delighted to know that
the BESJ'I
world -famous A. W. FABER I M P 0 R T E D
Professional artists know from experience that

CRITELL POLYCHROMOS ANCO equipment lasts longer, functions better,

and gives the most for the money.
DRAWING CHALKS
Leading agendes, studios and schools throughout
are again available in a full range of 60 colors the country use A CO stretcher strips, easels, draw-
ing boards and drawing tables, etc.
Ideal far laying in broad areas .
Made with perfed light-proof colors.
Several popular ANCO items:
Matchless body and brilliance per-
mits use on both smooth and rough No. 4 VICTOR
surfaces . Each chalk " gives off" Adjustable Leg Easel
readily and uniformly. Sticks are New improved head with metal canvas holder,
paper wrapped, conveniently sized, tray ... 66" extended, 39" closed. Best
easel value at . ..
'I•" square, about 3" long.
New List Price $425
FABER:CRSff!t NEWARK 4. f'IJ Available in sets holding 13, 18, 24,
pEtJCil COMPANY iNC 36, 48 and 60 assorted colors. All
colors are also available individual- No. 404 LEADER
ly, 1 dozen to box.
Drawing Table
Sturdy, lightweight 23" x 31" table
featuring cast metal tilting arcs ...
height adjustable from 31" to 46"

11 11
List Price $1550
• HI-ART ILLUSTRATION BOARDS
• DUCHESS DRAWING BOARDS
• STERLING AND MAJESTIC No. 702 X-CELL
WATER COLOR BOARDS Straight Edge
• CANVAS PANELS &Board
Smooth, clear pine board . .. accurate, easy-
11 11
NAT-MAT • sliding hard maple and plastic straight edge.

MOUNTING BOARDS List Price 18"x24" $1050 23"x31" $1450

A test will convince • Samples on request

No. 602 ANCO
Biltrite Table
NATIONAL CARD, MAT Most widely-used and versatile
drawing table in schools and pro.

& BOARD CO. New List Price 23"x31"

fessional studios.

$2600 (Other sizes up to 44" x 72")

Manufacturers Ask your dealer or write direct lor free catalog.

4318 Carroll Ave., Chicago 24, Ill.

11422 South Broadway, Los Angles 61, Calif.
 Invitation to
Quality art materials are an investment
in your career. Select from the foremost
brands preferred by professionals as well
as students. For your convenience and
satisfaction- a complete assortment of
the finest materials available.