Wyeth Shape Design Analysis

This week I broke down the shapes in N.C. Wyeth's Treasure Island endpaper illustration for my classes during a discussion about shape design. The hallmark of all great narrative artwork is effective composition and I think good composition hinges directly on strong shape design. When designing an attractive composition, it is very important to consider the following items: 

1. Positive shapes (the shape of the actual object you are depicting)
2. Negative Shapes (the shapes around those objects)
3. Masses of Light and Shadow
4. How these masses merge into larger shapes
5. How all of the above shapes and masses relate to one another

The top sketch shows a simple tracing of the major positive shape masses as well as the major shadow masses. See how simply Wyeth groups together his major forms in this piece.

Within those broad masses, are the shapes that define and separate the individual elements. In this case, the individual figures and details. This gives definition and nuance without breaking up the overall mass of the sihlouette.

The major light and dark tonal masses also act to define the individual forms. Note how many of the light and dark masses merge into one another when simplified.

Here is a posterized and desaturated version of the piece. More variation of shape is added to the broad shape and value relationships. to further strengthen the overall effect of the already effective shapes and silhouettes. No positive or negative shape is left unexamined. the result is an exciting and dynamic composition that jumps from the page and invites the viewer in.

By analyzing great paintings in depth, one can gain insights and new appreciation for the reasons why certain works are so appealing and effective. I think it all boils down to great shape design and composition.

See my master copy of this painting previously on Life Needs Art here

Master Illustrator Copy part 2

My version of N.C. Wyeth's Treasure Island endpaper (detail).

In my last post, I showed my version of a J.C. Leyendecker painting. Here's my copy of a classic Wyeth image. As I painted, I determined that Wyeth must have given a slight warm tint to the canvas or possibly he was using a warmer version of black since his darks have a warmer cast than my version. 

Here again, the scale and medium used in the Wyeth piece are vastly different since my exercise was painted roughly 7" x 10" and Wyeth's is likely somewhere between 30" to 48" in width. Mine is Acryla brand gouache and Wyeth painted in oil. That said, it was very fun challenge to try to capture Wyeth's brush strokes and value arrangement.  

Influenced by the Best

"Thunderbird" -Sunset magazine "cover"

Oil on canvas, 18" x 24" by Greg Newbold

Whether we want to admit it or not. All artists are influenced by what they see. Whether it's our surroundings, the things we like, photography or the work of other artists, we seek out and internalize the visual material that resonates emotionally within us. During my MFA journey at the University of Hartford, we were given the assignment to create a magazine cover in the style of a Golden Age Illustrator. I of course immediately wanted to pay tribute to one of my favorites, N.C. Wyeth.

The 1914 Dixon cover that inspired me

While researching possible magazines in which to insert my painting, I thought o the several magazine covers created by another of my favorite painters, Maynard Dixon. I figured why not pay homage to both artists at once. I found a grainy photo of Maynard Dixon that gave me enough information to start from and with the addition of a palette and brush, I created a heroic view of Dixon painting in a landscape much like the ones he loved to paint.

Giant in the Clouds- by N.C. Wyeth

I tried to create the scene with the design, color and brushwork  sensibilities of Wyeth, especially the clouds and the way that the figure drops off into mostly shadow. In the end, I think it also shows  quite a bit of the influence both artists have had on my own work.

Frank Schoonover's Studio

The Schoonover Studio - 1616 North Rodney Street, 

Wilmington, Delaware

In the summer of 2009 I had the pleasure of visiting several iconic illustrator's studios including N.C. Wyeth and Howard Pyle. The last stop on the studio tour was Frank Schoonover's studio on Rodney street in Wilmington Delaware.

Frank Schoonover at the easel

The studio was established by students of Howard Pyle when space at Pyle's Franklin street location grew inadequate. Frank Schoonover and Stanley Arthurs joined forces to secure funding on a new studio building that included four working spaces.

Schoonover and Arthurs moved in on March 8, 1906. Fellow illustrators N.C. Wyeth, Henry Peck, Clifford Ashley and Harvey Dunn would soon follow. Schoonover eventually purchased the building and worked there for the remainder of his long career.

Grandson John Schoonover poses in front of some of Frank's artifacts

Now owned and curated by grandson John Schoonover, The building still functions as a working studio as well as a gallery and museum of Frank Schoonover's work and artifacts. John was gracious enough to give us a tour on almost no notice after we left the Howard Pyle Studio earlier that morning. I got an email earlier today announcing the launch of a new Schoonover studio website. Check it out and if you are ever in the Wilmington Delaware area, call John and make a visit to The Schoonover Studio.

More info at the new Schoonover Studios Website
A great Frank Schoonover book available here
Schoonover bio by Jim Vadeboncoeur here

Like Father Like Son

Indian Ambush- sketch by Andrew Wyeth

Years ago I came upon a copy of the October 1965 issue of American Heritage that contained an essay and portfolio on the work of illustration giant N.C. Wyeth. On the last page, son Andrew who's fame and accomplishment as an artist would eventually eclipse that of his father recounted his informal art lectures at the feet of N.C..

Such instruction  was typically general such as describing "the quality of folds in a drapery and the way light comes across it. But once young Andy was drawing an Indian ambush (see above) and his father showed him what was wrong: the [natives] had taken over the entire picture, obscuring the mounted soldier whose danger was the point of the drawing. In a quick pencil sketch (see below) the elder Wyeth brought the imperilled rider more to the foreground and hid his attackers behind the trees.

Revised Indian Ambush sketch by N.C. Wyeth

Of his father N.C, Andrew said "we had a remarkable friendship, of course he was my only teacher, and he was a wonderful, remarkable person. When he died, I was just a clever watercolorist- lots of swish and swash. When he died- well- now I was really on the spot and had this terrific urge to prove that what he started in me was not in vain." 

It is evident in this rough sketch the level of skill N.C. possessed as he so easily corrected the flawed composition. The fact that the drawing survived is proof of this lesson's impact on his son. Andrew learned well and, I think through him and grandson Jamie, the Wyeth tradition turned out just fine .

The Power of Silhouette

Harvest - by Maxfield Parrish

The term silhouette was named after the French government official Etienne de Silhouettte who because of economic crisis in 1759, was forced to imposed harsh economic policies upon the French people, in particular the very wealthy. As a result, his name became synonymous with anything that was done very cheaply, including the making of cut paper portraits.

Silhouette type portraits were popular at the time before the advent of photography mainly because they could be produced quickly and at very little cost. An artist with a modicum of skill could produce a portrait likeness with such basic materials as black card paper and scissors. 

End paper art for Treasure Island - by N.C. Wyeth

One of many Kuppenheimer ads done by J.C. Leyendecker

The best illustrators also understand the power of this simple concept to carry their artwork as evidenced by these examples from some of my favorite Golden Age illustrators.

Rosie the Riveter - by Norman Rockwell

The above Parrish piece reduced to black and white still caries the dramatic intensity of the original

Even when reduced to black and white, these images still retain their readability, narrative content and compositional heft because the artists understood the power of the silhouette.