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10 months ago 艺术是解释而不是模仿： 要理解艺术，要去看被公认的大师的作品，而事实可以从自然中获取。我们必须认识到艺术是解释而不是模仿。
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迪恩·康威尔（Dean Cornwell）的艺术理念 关于画布和构图的建议： 建议设计画布/构图时，避免常见的前景、中景和远景等分的摆放。最好有一种或另一种的充足空间。在使用光影时，要充分利用所有的元素。如果是线描，那就完全是线描。
有多样的空间和形状： 画布设计时要有多样的空间和形状。设计画布时，不要忘了签名，以免破坏画面。照片看起来好像刚刚被相机随意拍摄，没有思考过程（碰巧拍到这种效果）。
以自然为范本： 画面看起来好像是由其他图片制作而成，而不是自然的产物。从自然中获取一切，包括小插图的边缘、树木、叶子的边缘等。插图透视是自由手透视。
对模型的处理： 在工作室中使用模型时，总是在寻找模型之前几乎完成画面。有时把模型放低，专注头部绘制；再抬高一些，专注身体绘制；再抬高一些，专注脚部绘制，以获得画面的效果。
创意的本质： 可以用文字表达的是故事的创意，而不是图像的创意。图像的创意需要考虑到良好的设计、美好的色调、颜色价值和光等因素。
图像设计的建议： 不要“做”所有的事情。强调一些地方（突出点），有大而快速的区域，以及贯穿细节的点。
捕捉画面的灵感： 捕捉画面的灵感。不同的人有不同的家庭，生活方式等。
背景素材的获取： 获取背景素材时，要去原始的来源，而不是其他插画家作品的剪报。建立自己的文件，并用自己的素描进行创作。
超越相机的能力： 做相机无法做到的事情——相机无法添加精神层面，无法超越其模型的心智。测试你的作品，问自己“相机能做到我所做的吗？”如果你能创作出真实的画面，你就不必担心相机。
艺术的重要性： 有一点是肯定的——艺术很重要！人类在能读写之前就画了画，而且他仍然看着画。让我们达成共识，它们应该是优秀的。
关于艺术的定义： 谈到艺术，弗兰克·布朗温（Frank Brangwyn）表示，最好的艺术是为最好的目的服务的。
古老大师的创作目标： 从我们所能阅读到的古老大师的作品中可以看出，他们并没有着眼于创造艺术，而是致力于做好给定的工作。
成为插画家的目标： 没有人能够在这不是他们生活的唯一目标时，希望成为一名插画家的成功者。
风格和真理： 学生似乎认为重要的第一件事就是获得一种风格。我们追求的是真理，而风格是人自己的一部分，它站在观察者和想法之间，总是会分散注意力。
艺术是解释而不是模仿： 要理解艺术，要去看被公认的大师的作品，而事实可以从自然中获取。我们必须认识到艺术是解释而不是模仿。
艺术家的品质： 在任何时候，艺术家的选择质量是最重要的。无论你做什么，都要尽力做到最好，当你犹豫不决时，不要去做它。
艺术与文学的区别： 艺术是一门与文学完全不同的语言。任何可以用文字表达的东西都不适合绘画。
做相机无法做到的事情——相机无法添加精神层面，无法超越其模型的心智。测试你的作品，问自己“相机能做到我所做的吗？”如果你能创作出真实的画面，你就不必担心相机。
Dean Cornwell
https://artandinfluence.com/more-dean-cornwell-quotes
Suggestion for designing canvas/composition – it is well not to have commonplace placement that is equal parts of foreground, middle distance, and distance. Better to have ample spacing of one or other.
When you use light and shade use it for all there is in it. If making a line drawing, then make it entirely a line drawing.？
Have variety of space and shapes. When a canvas is designed it’s impossible to sign it without spoiling it. Said picture looked as if a camera had just clicked without any thought, (happened to get it that way).
Picture looked as if it were made from other pictures instead of nature. Go to nature for everything. Natural edge of vignette, tree, edge of leaves.
Illustration perspective is free-hand perspective.
Study still life in different lights, outdoors, in doors, sunlight, etc. Have simple still lifes. Just one or two objects. Observe nature, relative values, and different lights, as moon and sunlight, night etc.
Regarding model in studio, always have picture practically finished before seeking models. Sometimes has model low for working on head, higher for working on body, and still higher for feet to get it as picture is laid in.
Ideas that can be told in words are story ideas and not pictorial ideas. Pictorial ideas require consideration of nice design, sweet lovely tones, and color values and light, etc.
Don’t “do” everything. Sort of accent (bring out spots), nice large quick areas, and spots of detail carrying through.
Get the spirit of the picture. Different people have different kind of homes, do/live differently, etc.
For background material, go to the source, not clippings of another illustrators work. Build you own files with your own sketches
Do what the camera can’t do- the camera can’t add the spiritual; it can’t go beyond the mentality of its models. Test your work ask yourself “Can the camera do what I have done?” If you can make a real picture you won’t have to worry about the camera.
One thing is definite-ART IS IMPORTANT! Man drew pictures before he could read or write and he still looks at pictures. Let us then agree they should be good.
In speaking of art, Frank Brangwyn says the best art is that which serves the best purpose.
From all we can read of the old masters they did not set out to produce art but to do well a given job
No one can ever hope to attain success as an illustrator when this aim is not their sole purpose in life.
Any picture made by a rule is most likely to result in looking like rules and hence will always lack distinction and personality.
The first thing a student seems to think important is that of acquiring a style. It is truth we are striving for and style is a bit of the man himself that stands between the observer and the idea and is always a distraction.
Every thought in the artists mind is always manifest in the result. If you are thinking of how the paint is put on your canvas the result will be this is your message.
To understand art apart from facts one must go to the work of acknowledged masters, while fact may be gained from nature. We must realize that art is interpretation not imitation.
It is the quality of selection in everything at all times that makes for the artist. Whatever you do, do it as well as you can, whenever in doubt, don’t do it.
Art is a language complete and distinct from literature. Anything that can be said in words is not a subject for a painting.
A picture so limited to any one line in the story is not worthy of space.
I have known illustrators to lack imagination to the extent that they allow or depend on the model to give them an interpretation. Very rarely have I ever found a model that can get into a pose in spirit or drawing the way I would like it on canvas. You should know enough about drawing so that your action or posture is definitely established on your canvas before ever calling the model.
I have always started without drawing in the charcoal first but with lots of medium and very large brushes working entirely in tone and mass. In laying in your picture this way after a few hours at a distance of twenty or thirty feet your canvas should look complete and finished. Until this is so it is not a lay-in and until you have a good lay-in no thought should be given to the use of models.
Drawing is an indispensable aid to the illustrator. By this I do not mean academic drawing, this is of practically no value.
A successful picture is a thing conceived as a whole and cannot be attained by the sum of its parts. The sum of the parts is never as great as the whole.
It is impossible for any man to paint and not leave traces of his personality. In the work of big men, despite this, the idea is never obscured by technique or manner of presentation.