1FUN WITH A PENCIL

ALSO BY ANDREW LOOMIS
Figure Drawing for All It’s WorthCreative Illustration
Drawing the Head and Hands
Three-Dimensional Drawing

2

Spacer3

FUN
WITH A PENCIL

ANDREW LOOMIS

4COPYRIGHT 1939 BY ANDREW LOOMISFIRST PUBLISHED BY THE VIKING PRESS IN MAY 1939
BY THE MACMILLAN COMPANY OF CANADA LIMITEDREPRODUCED FOR EDUCATIONAL USE IN DECEMBER 2001

All drawings and text within this book are the property of
their respective copyholders and should not be reproduced
for any reason. They may only be used for the
purpose of practice and study.
5

DEDICATED TO EVERYONE WHO LOVES A PENCIL

6

MR. WEBSTER DEFINES DRAWINGAS DELINEATION. THAT DOESN’TTELL YOU HOW MUCH OF A REAL“BANG” THERE IS IN IT. MAYBE
HE NEVER KNEW. MOST FOLKSLOVE TO DRAW EVEN WHEN
THEY KNOW LITTLE ABOUT IT. IT
STARTED WITH THE CAVE MAN,AND STILL SURVIVES ON THE
WALLS OF PUBLIC PLACES... BECAUSE IT’S SO MUCH FUN, AND
SO EASY, IT’S A SHAME NOT TO BE
ABLE TO DO IT BETTER.
ANDREW LOOMIS

7ALL THAT YOU NEED TO KNOW, TO START
THIS BOOK, IS HOW TO DRAW A CIRCLE. . . .

And it can be as lopsided as the family budget, andstill work out.

Don’t start out with that old gag, “I couldn’t draw a straightline.” Neither can I, freehand. If we need a straight line, we
can use a ruler. Now please try it, just for fun.

8

HOWDYFOLKS!

Who am I? Oh, just one of Andy’s little funny folk.
But I’m important! He gave me a job. I’m the spiritof the book, by jeeminy, big nose and all. I represent
all the blue in here. My right name would be Basic
Form, but that’s much too high-sounding. He thinksthat name would scare you away. So he just calls me"Professor Blook’’ and lets it go at that. Now, I’ve got
a few interesting things to tell you.
9

Since Andy cannot talk to you personally, he put me inhere so we can really get together. It’s tough on Andy,
for that guy really loves to talk, especially "shop talk.’’
Now this plan of action is based on the use of simple
forms that are already known and familiar to you, andwhich you can certainly draw.
From these simple, known forms, we build otherforms, which without some constructive plan would
be too complicated to draw. For instance, the top of
the head, or cranium, is nearer to a ball in shapethan anything else. So we start with a bull, and add
to it the shapes we want. We thus "arrive’’ at the outlines that are needed instead of guessing at them. Only
the most talented end experienced artist can draw atonce the final outlines. That procedure is most difficult, and is the reason most people give up drawing.
But knowing how to "construct’’ makes drawing simple
and easy, and a delightful pastime to anybody. By building preliminary shapes and developing the outlines onthem, we know WHERE TO DRAW OUR REALLINES. There is hardly anything that cannot first be
constructed by the use of simple forms.
“Santa had a belly, like a bowl full of jelly.’’ Now that
was a real observation. We know just whet it must hove
looked like. In fact we can see it shaking! Now, the idea
is to draw the bowl before the belly. If the observationis correct, it ought to be a simple matter to make it fairly
convincing as an abdomen for old Nick. Of course wewill cover it with his coat and pants, but we’ll be pretty
sure the pants don’t spoil the big idea. I
picked on Santa because he’ll never complain that I’mbeing too personal over his appearance. I might justas well have chosen your next-door neighbor, his lunchbasket may be equally rotund, and shake some too.
Every form is like some simpler form, with this or thatvariation, and with pieces added on. The simplest

10Forms we know are the sphere, the cube, and the egg.
Before we could walk we recognized the sphere in
Dad’s new golf bulls; the cubes were in the sugar bowl;
as for the eggs, well, the nicest ones were Easter eggs.
I say, “Draw a line.’’ You cannot know just what I
mean. A straight line? A curved line? A jagged line? A
wiggly line? There are a thousand kinds of lines; bemore specific. But it I say draw a ball, a cube, an egg,a cylinder, a pyramid, a cone, a rectangular block, ineach case the image you get is perfect. You know exactly what I mean. Instead of “line,’’ we shall think interms of concrete and tangible “form,’’ and proceed
as if we were handling lumps of clay. You can appreciate the value of such a method, for you know the fundamentals even before you start; they are obvious toanybody. If you never saw a ball, you should quit rightnow.
As you proceed to build all sorts of shapes out of
simpler ones, it is amazing what you can do withthem, and how accurate and "solid’’ the resulting drawings will appear. The surprising part is that, when theconstruction lines are erased, very few could guess how
it had been done. Your drawing appears us complicatedand difficult to the other fellow as mine might seem toyou now. It takes on a look of professional workmanship, which indeed it has, since the professional artist
has by some method had to “construct’’ his work to
make it “professional.’’If you will give the following pages even your amusedattention, I am satisfied you will find much that will
surprise you in the way of ability but perhaps you heretofore never guessed you had. If it absorbs your interest, you might find yourself clever enough to amaze
those about you. Just now take my word for it that themethod is simple, practical, and, I believe, possible foranybody to follow.

11

TAKE A GOOD LOOK AT THIS PAGE
A circle is a flat disk. If you draw the “inside” contours, it
becomes a solid ball, with a third dimension. We shallbuild other forms, like lumps of clay, onto this solidity.
The construction will be erased, but the solid appearance
will remain, giving form or the appearance of reality.

12

PART ONEHOW TO DRAW FUNNY FACES

Get a pencil and paper quickly! Draw lightly all you see printed inblue. Take one stage at a time, on one drawing, until the last stage;then finish, with strong lines over the light ones, the lines we haveprinted in black. That is all there is to learn! These are "selected’’ or"built in’’ from the basic forms. I call the basic drawings “Blooks,’’
after myself .
13

HERE WE GO!
I promised you that all you need to know, to start this book, is how to draw alopsided ball. Whatever shape you draw can be used as a foundation for a funny
face. Do the best you can, even if the ball looks more like a potato.

14THE FUN STARTS!
The big idea is to start with a “form.” Then develop other “forms”
on it. Build your final lines in by selecting, eliminating the lines
you do not use. I leave mine in to show how it’s done.

15

A SURE METHOD FOR ANYBODY16

IT’S REALLY GOING TO BE EASIER THAN YOU EXPECTED
Now, if the first drawings you do are not the last word in cleverness, don’t bediscouraged. You will soon get the idea. When you begin to sense form, youwill have the whole works. Then we’ll polish up, and they will have to admit
you are good.

17THE “BLOOK BALL”
If you will now turn back to page 12 and look at the string of balls, you will seethat we are getting right into big business. You need some practice on these.
Never mind if they are a little off.

The better you can draw these balls in any old position you wish, the better you
are going to be. The line from the top to bottom is the “middle” line of the face.
The horizontal line, which looks like the equator, is the “eyeline,” and it also
locates the ear.
18

JUST PRACTICE ON THESE “BLOOKS”

19

THE BEST WAY TO GO ABOUT IT

20WE ADD ANOTHER LINE TO THE BALL
Look at the diagram. This last line goes completelyaround the ball, thought the axis at each end, and cuts
the eyeline just halfway round on each side of the middle
line. The ear joins the head at the point of intersection of
the eyeline and the earline.

21

THERE IS NO LIMIT TO THE VARIETY
I am a lot more anxious to have you understand the method andcreate your own forms than to copy mine. But copying mine
now will get you started.

Always construct the head from the cranium down. There is noother satisfactory way. You can see by now that the position of
the ball determines the pose of the head. The pieces you build
on determine the character.
22

“BLOCKY” TREATMENT LENDS CHARACTER“Blocky” shapes always combine interestingly with round shapes.
It is a good idea to make the final lines angular even around curves.
It gives a sense of bone and ruggedness of character. You would
not do this when drawing pretty girls or babies.

Now I’ve got a surprise for you. Instead of drawing all there
lunkheads, let’s try something real. I’m going to pose for you.
23

BLOOK POSES

24

EXPRESSION

25

EXPRESSION

26

DIFFERENT EXPRESSIONS OF THE FACE

27

TRICK STUFF
Try this on the folks. Tell them draw two overlapping circles, anysize. Draw a middle line through both and build on your own pieces.
You can make a head out of any combination. Of course, tell themto draw lightly.

28

TRICK STUFF
Draw a circle. Attach two smaller circles, not far apart, anywhere. You can put a third above and between them. Thendraw the middle line so it passes between the two small circles.
Proceed as usual.

29

HERE’S A STUNT
Draw three balls, one of them small, in any position. Connect the larger balls. Draw a middle line under the small ball.
This suggests a head. Now use your imagination to complete
the drawing.

30

DON’T MISS THIS PAGE
Here we combine the ball with other basic forms. With “solid
forms” to build on, the head begins to take on more reality.
You can almost anything you want to with the supplementary forms, and come out all right. The is real character drawing, and a challenge to you.

31

PROJECTION
This page is for the clever folks. It is a method of projecting
the characters you have created into various poses. Try it withvery simple heads at first. You must use your eye and build
very carefully.

32

VARIETY BY DISTORTION
Take any head. You can distort it by the following methods.
This is valuable in caricature. You can trace a photo, and draw
from the tracing, or take any of your own drawings and distort them.

Here again is a chance for your own invention. Draw a squarearound your subject. Divide each way into eight or more parts.
If you wish to distort separate features, change the size of thesquares into which they fall. Make the line cut through eachsquare as it does in your copy, but changed to fit the new
proportion of your squares. 1/2, 1/3 square, etc.
33

BABIES34

BRATS

35

THE DIVIDED BALL AND PLANE METHOD
The Method Developed by Andrew Loomis, Which Makes
Construction Simple for Any Type of Head.

We go now into the most important section of thebook. The method here worked out is a development of the simple groundwork you have alreadyaccomplished. It need not frighten you, since it isbut slightly more complex than the work up to thispoint.
The cranium, as you perhaps have realized, is nevera perfect ball in shape. To draw it correctly we must
make alterations, some slight and others quite exaggerated, to fit the various types of skull. Nevertheless, we can take as a basic form a ball sliced off at
the sides, leaving it a little wider one way than theother, and adding to it or taking some away. The
forehead may be flattened, cut down, or built up as
the case may be. The cranium may be elongated,widened, or narrowed. The facial plane may also be
altered as we see fit without destroying our working
principle. The plane simply attaches to the ballwherever we want it, which makes our method
entirely flexible, so that we can represent any typeof head we choose. All other methods I have yet seen
do not start with a form anything like the skull, or
make any allowance for the variety of shapes.
36

After this book was published, I learned with interest that a similar basic
head form has been used foryears by Miss E. Grace
Hanks of the Pratt Institute, Brooklyn, and that she
has written a book basedon this method.

THE DIVIDED BALL AND PLANE METHOD

37

THE DIVIDED BALL AND PLANE METHOD
It is this flexibility and freedom built into themethod that should make it of certain value. On
page 37 I have given a set of measurements I consider ideal, but these need not be adhered to. To
me the real value of the method is that it makes
possible the accurate construction of the head
without copy or model or, when a model is used,that it allows you to render the type recognizably
and with certainty. It possesses powers of exaggeration for comic drawing and caricature as well
as of serious interpretation. It opens an avenue ofapproach to the novice, dispenses to a large extent with the necessity for tedious and prolonged
study, and gives almost at the outset the muchneeded quality of solidity which usually comes
only with a knowledge of bone and muscle structure.
If you glance at page 39, it will be evident how
the ball and plane is designed to give that appearance of actual bony structure. The skull lies within
this basic form. But over and above this in importance is the helpful guidance it gives in placing
the features in their correct positions, in relation
to the pose of the head. This will come very
quickly, and soon the eye will detect anything
obviously “out of drawing.”
Many years ago I sensed the lack of any methodof approach having any marked degree of accuracy. I was told to draw the head as an egg or oval,
and to proceed from there. Fine for a straight front
view. But what of the jaw in a profile? There isbut a slight hint of the skull formation in an egg
shape alone. Again, I was told to build the headstarting with a cube. While this aided one in sensing the perspective, it gave no hint of the skull.
How much of the cube was to be cut away? Since
then I have heard of “shadow methods” and others, yet in every case a previous knowledge of thehead was necessary.
38THE DIVIDED BALL AND PLANE METHOD

39

THE DIVIDED BALL AND PLANE METHOD
What I wanted was a method whereby, if a headlooked wrong, I could find out what was wrong
with it, Tampering with a painted head to correctsome bad construction or drawing usually ruined
the work done. The necessity of starting the headcorrectly in the first place was obvious, so that thefinishing could be approached with the confidence
that after hours of work it would not go “sour.” Withclosing dates of publications imminent, it is riskybusiness to proceed without a full knowledge ofwhat you are doing.
So this method evolved from personal necessity. I
might state here that in the beginning I had not theslightest intention of putting it in book form. However, when the plan did work itself out finally, I
was struck with its simplicity. It was one of thoseinstances that make you wonder why you or somebody else had not thought of it before. The fact thatit tied up with our first childish scribbles, which
after all are a crude statement of form unhamperedby superficial detail, only increased my enthusiasm.
Why, then, could not such a plan be made available to all, from the child scribbler to the professional artist? The plan changes but slightly fromthe first round ball and added forms to the professional piece of work, the difference lying in theability of the individual. It all hinges on the properbuilding of the ball and its divisions. Approachedwith the understanding that one is drawing solids
instead of lines, the method becomes surprisingly
simple.
I do not doubt but that these few pages will proveof inestimable value to many practicing artists, who
I know have been confronted with the same difficulties of bad drawing and closing dates. But primarily the book is for John Jones, who always
wanted to draw but could not.

40

AS APPLIED TO DIFFERENT TYPES

41

SOME HEADS BASED ON PAGE 41
This page must give you some idea of the unlimited variety of types and characters possible through building by
the Divided Ball and Plane method. There are thousands oftypes, and each looks different mostly because of the skull
rather than the features. It’s fun to study an individual, andtry to figure out what kind of ball and plane go together tomake up his face. You really learn to look deep into character, and beneath the surface. This method calls for no clairvoyance, but a quick eye and a skillful hand.

42

COMIC HEADS BY THE DIVIDED BALL AND PLANE
The above are simple applications of the method. These are no
more difficult than by the previous plan of attaching forms
directly to the ball. However, the chance of error is greatly lessened. You might as well have the complete method as part ofit. Time spent on these pages will prove of sound value to anyone sincerely interested in the drawing of the head. It is suggested that you go on with the book and come back to thissection at intervals. As you try you will improve. By all means
do not give up. That hand of yours will be doing surprising
things before long.
43THE PRETTY GIRL
A pleasing head of a girl depends ninety-nine percent on how well
you draw it. More exactly, the ball must be drawn well, the construction lines correctly placed on the ball and plane, and the features nicely placed. Remember there is the width of an eye between the eyes. Do not place the mouth too low or get the nose toolong. I have used a pen here. Try it sometimes.
44A METHOD OF CHECKING
The blue lines in the diagram above are our same construction lines.
They may be done on tracing paper over any face. You can thus quickly
find a feature that has been incorrectly placed. You can also “find” theball and plane position in a photographic head this way. Whether you
are building or tearing down, the method applies.

45

THE WOMEN FOLKS

46

TWENTY KIDS

47

ETERNAL YOUTH

48

THE OLD FOLKS

49

OH, BOY, OH, BOY! NOW THE FUN REALLY STARTS

50

PART TWO

PUTTING THE HEAD ON THE BODY

51

THE COMIC FIGURE
You know, I’ve a hunch you have been itching to
get into this portion of the book. Well, it is really
going to be great fun to create little people of yourown, doing anything you want them to. There isnothing hidebound in this plan either. Take it in easy
doses for the fun that’s in it. Whether the folks you
draw will ever bring home the bacon is a matter ofcircumstance and how clever you get to be. But it’sworth the effort to get that bang out of being able to
do it.
When you were a very little boy or girl your brain
children probably looked like these. If they did,
you had a great deal of undeveloped talent, and if
you have not been drawing ever since, it’s a real
shame. When the little youngster starts to draw,
he instinctively does a better job than he does lateron. He goes to essentials, a crude representationof the bulk without the detail. Soon he forgets the
body and starts drawing buttons and clothes witha face on them. Result: he gets discouraged andtransfers his attention to some pretty blond curls
or a new bicycle.
In all seriousness, I say that Nos. 1 and 2 of themarginal drawings have great possibilities; 3 and4 still have hope. But 5 verges on those awful drawings in public places.

52

Now we start with something very much like 1 and 2.
For want of a better name we shall call him“Doohinkus.” All we need do is add some sort of box
for a pelvis, some pads for hands and feet, some balls
at the joints, and a straight line across for shoulders.
We thus give him the following characteristics.
Head is a ball.
Chest is a ball.
Pelvis is a box slanted out at back and in at the sides.
The spine does not go through the chest ball butaround the back of it.
The legs are not straight but curve in to the knees
and out toward the foot.
Forearm is slightly curved.
Chest ball is divided by a line through the middle
and flaring lines at the bottom, like a Y upside down.
The reason for the curve on the bones is that they
thus become “springy” and shock-absorbing.
Without those curves we would be nervous wrecks
before we were in short pants or panties as the casemay be.
Every limb is movable in practically all directions.
The chest ball is fixed to the spine but the spine bends
in all directions. It can also twist or turn, so that there
is a wide range of movements possible between spine
and pelvis.
The human body is just about the nicest bit of mechanics we have in the world. We can walk, run, jump,
climb, stand erect, sit, all without any oiling or burntout sparkplugs. Our motor starts and stops once. If
we take care of the engine it will outlast any metal
one. Let’s go!

53

HERE WE GO!
The proportions of your little figures may be varied in any
sort of way. Below we show a variety of comic exaggerations.

54

WE START ON THE FIGURE
We shall start at once to put them into action. There will always
be movement of the parts. Draw this page carefully and become
thoroughly familiar with the movement of each part.

55

DOOHINKUS MOVES ABOUT. STUDY THE FRAMEWORK56

PURPOSELY OFF BALANCE

57

DO SOME OF THESE

58

TRY THESE, THEN INVENT SOME OF YOUR59

BUILDING ON THE FRAMEWORK60

BUILDING ON THE FRAMEWORK61

A WAY TO SET UP THE ACTION
Take any jointed doll if possible, one jointed at the
waist. This fellow was a plain wooden art-store mannikin. In order to make him exist for you as something more than wooden chunks, I dolled him up, withpaint, putty, and a bit of hair from the bathroom rug.
Then I got busy with my candid camera. He is a queerlooking little guy, a sort of cross between Groucho
Marx and a cigar-store Indian; but he is made of parts,
and it is the appearance of these parts in action that
we are interested in. In this way Doohinkus Mannikin is better than a live model. The black lines on
him help you his bulk, just as they do on the ball.
Take some of these poses. Start by drawing the framework in the approximate action. It is not importantthat you maintain the same proportions, and you can
substitute any head. Change him to suit yourself, butwatch the positions of the parts carefully. Build oneach part as you it. Note whether lines at joints curve
up or down, how the part is tipped toward or awayfrom you, you can exaggerate the action of the hips
and shoulders, as those actions were quite limited in
the mannikin. You can also, if you wish, render thelight and shadow on the parts.
Tracing these, or copying without building, will do
you no good. But if you will “build” a dozen or so,
you will be able to set up figures of your own, in almost any action. The correct assembling of the partsof the figure is much more important than actual
knowledge of the bones and muscles. You cannot put
clothes on your figures properly without knowing theaction of under the clothes, and the flexing and pulling of the material over them from one part to another.
Pages 66 and 67 will show how to go about it.

62

DOOHINKUS MANNIKIN SHOWS YOU THE PARTS IN ACTION

63

BUILD FIGURES FROM THESE
START WITH THE FRAMEWORK

64

AFTER DRAWING THESE, TRY SOME OF YOUR

65

HOW YOU USE THE DOOHINKUS POSES
Here is the way to go about the preceding poses. I have chosen figure
No. 8 at random. First, it is a good idea to know what the normal
figure is like. You needn’t draw this unless you are interested. The
bottom figures illustrate how the exaggerated is based on the normal.

66

JUST PLAY WITH THE FIGURES
The main idea is to enjoy yourself. Some day you may justput clothes right over the framework. But it is better always
to sketch in the figure. Do not follow the photos literally. Do
a lot of inventing, I wish I had more space here, but perhaps
these will give you a working basis.

67

THE SUIT

68

THE DRESS

69

HOW TO DRAW A HAT CORRECTLY

70

FREAK HATS

71

THE HAND

72

FEET

73

NOW WE BUILD THE FIGURE AND PUT ON SOME CLOTHES

74

EXPERIMENT ON FELIX THE ICE

75

TRICK STUFF

76

TRICK

77

NOW HAVE SOME FUN

78

TRY TO WORK OUT THE CONSTRUCTION YOURSELF

79

EXPERIMENT WITH THESE

80

I’M PUTTING YOU ON YOUR OWN

81

THESE OUGHT TO BE INTERESTING82

BUILD THEM UP; DON’T JUST COPY

83

NOW LET’S MIX UP THE RACES

84

YOU CAN DRAW THEM ALL BY OUR METHODS

85

ALSO THESE

86

AMONGUSMORTALS

87

DOWN ON THE FARM

88

WHEN YOU AND I WERE YOUNG, MAGGIE89

ANNABELLE

90

JUST NATURALLY ATHLETIC

91

VAMPS92

AND MORE VAMPS

93

FORESHORTENING
Unless one has a sound method of building,foreshortening is very difficult. In the figure at theright, the parts resemble the Doohinkus photos. If
you think of the figure as sections fitted together,
foreshortening takes
fully as we built the head in Part One. Think ofsolidsBelow, we obtain foreshortening by projecting a profile into a front view, or the reverse, as we did withthe head. Establish the desired tilt and position of
the parts, then by parallel lines build the other position of the figure so that all important points coincide. When the figure is close, increase the parts
that are closest and diminish the parts that are awayfrom you. I did not do this, fearing it might confuse
you. I personally prefer the method at the top, using the eye, but often a difficult problem can beworked out easily this way, and it is well to know
how.

94

THUS ENDETH PART TWO
Here’s Gas House Nellie back with us, and what awallop! She’s here to show you there’s no foolin’
about those little Doohinkuses, You can get more
real stuff into your figures in two minutes this way
than in two days of trying to horse around with thefinished drawing that has not been planned out. If
Nellie isn’t really slamming this guy, I’m a
Chinaman. I can almost hear it.

95

NOW THAT I’VE GOT ALL OF YOU, WHAT TO DO!

96

PART THREE

A WORLD FOR YOUR FIGURES TO LIVE IN

97

PERSPECTIVE

98HOW TO ESTABLISH FIGURES ON THE GROUND

99

PERSPECTIVE IN THE FIGURE

100

COMMON FAULTS

101

FURNITURE

102

HOW TO PROJECT FURNITURE ONTO THE GROUND PLANE
Here is an excellent method for building furniture and figures on a ground plane. It
is simpler

103

BUILDING AN INTERIOR FROM A GROUND PLAN-I

104

BUILDING AN INTERIOR FROM A GROUND PLAN-II

105

BUILDING AN INTERIOR FROM A GROUND PLAN-III

106

BUILDING AN INTERIOR FROM A GROUND PLAN-IV

BEDTIMEAnd here is the finished drawing. It’s fun to try inking in some of yourpencil drawings. Get a bottle of waterproof black drawing ink. You
can get a box of school water colors, also, and get still more fun out
of it. Knowing just what is the correct perspective helps so much togive that solid, finished, and professional look. This procedure opens
up a whole world for the little figures you have learned to draw. It is
worth while to see what you can do with this method. It offers a possibility of setting some work, besides the thrill of doing it. Now we shalltake up a new subject.
107

LIGHT AND SHADOW: THE PRINCIPLE

Rays of light travel in straight lines. From any spot, the middle ray, the “perpendicular to source,” would meet the earth and pass through its center. At the
point directly under the source we establish the point DL, meaning “direction oflight.” S will mean “source” at the top of the perpendicular,
From the farthest limit of the shadow to DL, then up to the source and back to theshadow, forms a triangle. The third corner of the triangle will be called At, meaning “angle of light.” DL may be the vanishing point of the shadow or the base fromwhich it proceeds outward.
108

A SIMPLIFIED METHOD FOR GROUND SHADOWS109

LIGHTANDSHADOW

110

LIGHTANDSHADOW

111

LIGHTANDSHADOW

112

THE LAST HILL
I have a chosen a problem here that would be very difficult without some understanding of the fundamentals given in Part Three. By the use of perspective, together with the effect of light and shadow, we create the illusion of space, form, anda quality of existence.
This drawing may have the “feel” of having been sketched from life, because of thefundamental principles applied to it. However, it was done from the imagination,
without any copy, simply to show you the possibilities.
It is a great storehouse of material. By all means, draw from that great source. Do
not just copy. “Build” with what you observe for yourself to be true. Try to get theindividual quality of each thing you draw. It is that quality that makes the artist
interesting.

113

TIME’S UP, FOLKS. WE GOTTA GO. ‘BY.

114

THE AUTHOR’S CORNER
I guess all you folks will forgive me for reserving a tiny
corner of the book as my own. Everything must eventually come to an end, and so with this book, my first effortof this kind. It has been a concentrated effort. At times I
have seen the daylight fade and come back again without sleep. I’ll never tell anybody the actual time it took
me to make these (it seems) thousands of drawings. I’msure he would not believe me. I’m dreadfully tired but
immensely happy. It has been intensely interesting, for I
have retraced the ground of years ago. It has carried meback to the first struggle for knowledge that might earn
me a living. It has reminded me of the early drawings
which so often came back.
How simple it all might have been, had I in the beginningbeen able to assemble these working principles, put themin order, and work with them as I do now. But they werebits of knowledge plucked out of the air like bits of fluff
from a seed pod. Only a few within your grasp, just a
few to take root and flourish. Strangely, the simplest facts
always are the latest in being understood. And when theyare. Their utter simplicity is the best reason for theiracceptance, even at the cost of having to sweep out thepet theories and ideas accumulated over half a lifetime.
At best, how do I know that I’m any more right now thanin my student days? The answer is that of the convalescent who has suffered and got well again. Lack ofknowledge can be greater torture than the effort of acquiring it. I know only that I am happier in my work thanI was then. It has gained publication in places that once
seemed hopeless for me. I can approach the work withpeace of mind and confidence boon of experience. This
book is an effort to transplant that peace of mind to somefew thousand others who otherwise must fall victims to
the selfsame devices which contrive to make before they
can make even a meager start.

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WHEN ALL IS SAID AND DONE, NATURE IS YOUR
BEST INSTRUCTOR

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LEARN TO DRAW FROM LIFE

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I can think of no field of endeavor so sadly lacking in simple
organization of its working principles. Nothing quite so haphazard, hit-or-miss, as the whole field of artistic endeavor. I
am not a cartoonist, but I choose caricature for the beginner:
principally because there is fun in it, and from the start I
want him to feel a little of the creative joy he is entitled to.
When artists begin to compile and set down their combined
experience, give freely and humbly what little they can add,
as do the other sciences, then art may have some chance toreestablish itself in the hearts of everyday people even against
the mechanical perfection of the camera; even in a period ofsocial adjustment and financial depression. The mental depression of our era weighs heavier on our race and futurethan do our dollars or lack of them. A little joy from the inside must be welcome to almost anybody. Perhaps my book isa step in that direction.
Yes, folks, I’m tired, but I’m happy. My little job, feeble as it
may be, is done. I wait as breathlessly to see how you will likeit as 1 ever waited for the verdict of any art editor or director.
I’d give many more sleepless hours just to feel with you thatfirst thrill of having createdeven if it be mere lines of a pencil. You’ll get to love thoselittle folks you draw, even if they are a bit unwieldy and only
a little bit human.

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