The layout artist must, first of all conceive an idea for the advertisement. Here he has a chance to exercise his originality. The idea must be good before it can be presented in such a way as to attract favorable attention. Really fine work is based on a knowledge of harmony in idea, treatment and design. To attract attention by lack of harmony in combining any of these elements or by using methods unrelated to the message is dangerous and usually defeats the object of the advertisement* For instance, the picture of a little pickaninny slinging mud pies would attract attention, but it would scarcely be appropriate to arouse interest in a brand of perfume.

Next, the artist must decide upon the treatment of his subject and message. Should the illustration be done in oil or water color, in pen and ink or dry brush, in pencil or crayon? Each has a peculiar quality with which the artist must be familiar. Generally speaking, the character of the article advertised and the

audience to which it appeals should determine the general treatment of the subject. If the product is one to appeal to women, the layout must instantly breathe femininity; if it is for men, it must express masculine strength and simplicity* The feminine approach is also a more subtle one; the masculine one, more direct and simple. Not only the sex of the prospective buyer, but also his age, his occupation, his degree of culture, and many other factors must be taken into consideration.

Once his idea and treatment have been decided upon, the artist must determine what kind of design will gain most favorable attention for his product. The following fundamental facts will help in the selection of a design:

One of the most intricate as well as important points is balance. It can be gained in innumerable ways, but the principle most commonly coming into play is the fulcrum - the balancing of a unit when shifted from centre by another unit of equal importance. Relative weights of color as well as size and form of units must be considered. This principle is particularly important in the distribution of a number of units and masses. An appearance of restfulness and dignity is gained by basing the design on the perpendicular centre.

Another device that is usually present is the pointer to guide the eye to a desired point. Once the reader's attention is captured, it must be guided to the message and then to the name or identity of the product. This problem is relatively simple in the formal design where the eye travels directly down the centre; but in irregular patterns the artist must be careful to keep the eye path clear and unobstructed.

The simplicity and emphasis of a single motif gives greater power to a layout. Always come back to your guiding motif if you would have charm and effectiveness of composition.

Action in a picture is always an effective way of catching attention. The human figure can be depicted in a dozen forms of

activity; transport vehicles can be pictured in speed; even an inanimate object can suggest action by the use of unusual treatment of perspective, technique, light and shade, arrangement, etc.

Where the idea permits, a powerful means of creating vitality and force is the dynamic, suggesting force or motion, in which the lines or forms in the design radiate from a common centre usually outside the border. Other designs suggest a source of activity by the arrangement of units based on a spiral or arcs of a circle.

Qualities of dignity, permanence, reliability and endurance are most successfully conveyed by the static design - something quiet, solid, restful like a pyramid or a mountain.

When a group of units of similar size must be worked into a design, it will be easier to acquire a good balance by enlarging one of them. Contrast is necessary to attract attention.

The most important point on the page is about one-third of the distance from the top where the reader's eye first falls. Consequently, if an illustration is used, it should usually go on the upper part of the page; the title should appear immediately below it.

Fashion Drawing Sections

Part-1 Part-2 Part-3 Part-4