Photoplay (Jul - Dec 1921)

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104 Photoplay Magazine — Advertising Section Amazing Method of Learning Art Teaches Drawing in Half Usual Time No matter how you now draw you can — right in your own home during your spare moments — learn Illustrating, Cartooning and Designing. NEVER before has learning to draw been made so easy. This new method now makes it ix>ssible for ANYONE to learn Art. No matter what your present ability may be — no matter if you feel that you have no special "talent" — we can quickly train you for this most fascinating highlypaid profession. Even those whose work was not as good as the above figure on the left, have quickly been able to draw figures like the one on the right. You learn at home by mail, and the work you send us receives the personal attention and criticism of one of America's foremost Artists— Will H. Chandlee. It is just as if this great Artist stood over your shoulder while you worked. With this instruction and criticism you will be amazed at the rapidity of your progress. First you learn to draw straight lines, then curves. Then you learn how to put them together. Now you are drawing simple pictures. Shading, Action, Perspective and all the rest follow until almost before you realize it, you can be drawing pictures that bring $50 to $300 and more. Big Demand — High Salaries Newspapers, Magazines, Department Stores, Advertising Agencies. Business Concerns — all are eagerly seeking men and women able to handle their Art Work. Splendid salaries are paid these trained Artists anywhere from $3000 to well over $10,000 a year. And this uncrowded fast -growing field is as yet but in its infancy. Each day comes some new demand for men and women who can draw cartoons or comic strips —who can illustratestoriesor draw covers — for Fashion Artists, Advertising Artists, Commercial Designers. FREE BOOKLET Mail coupon today for our handsomely illustrated tree booklet. "How to Become an Artist" and learn how you can easily quality for this great profession. Read the life-stories of many of the now-famous artists, and other interesting facts about An. Especially note our special " Free Artist's Outfit" Offer to i limited number of new students. Fill out the attached coupon nnd mail it TODAY ! WASHINGTON SCHOOL OF ART, 1689 Marden Bldg., Washington, D. C. Washington School of Art, Inc. 1689 Marden Bldg., Washington, D. C. Please send ine, without cost or obligation, your free booklet How to Become an Artist," and details of your special Short Time "Free— Artists-Outfit' ' Offer. -lit' her Mr,, ,]/>■ , . ■■ I EASY TO PAY— TAKE 10 MONTHSll SPECIAL LOW PRICES30 DAYS TRIAL Genuine blue-white diamonds, full of brilliance, and fiery radiance. s«M direct In you by DIAMOND IMPORTFRS at wholesale prim. K»rfc diamond 11 **t in a 14 karat solid pold ring Included free of charge. Choose your ring and give finger size. One. carat S195.00. Former retail cash prle* S32S.00; 3-4 carat 5140.25; 1-2 carat S97.S0; f-4 carat S48.75. If satisfied pay 1-5 of price and balance In 10 monthly payments. We jruarantee to satisfy you or refund your money. Order direct from advertisement or write for 128-Dage catalog; ^ BGUTTERfeSONS m&SSSff&'^ff'Y. Love and Co. (Continued from page 47) hoard on all sides lamentations and inquiries about Doris May, he did more than figure. One fine morning he walked into the palatial office of Thomas H. Ince and in all friendliness said something to this effect: "I'm sorry I've got to leave you but I'm going to become a producer myself. I am going to star Doris May. I have her under contract, I have the money in the bank, and a signed release from Robertson Cole. Miss May's dressing room is being decorated in gray and lavender and we start work next Monday." Mr. Ince shook hands and grinned and wished the new producer success. He didn't feel quite so happy, we are told, when he discovered that Hunt Stromberg had also signed William Seiter, who directed all the MacLean pictures and is one of the best comedy directors in the business, as well as Billy Camm, who acted as cameraman under Seiter. But then, as Doris May said to her erstwhile partner — and Miss May and Mr. and Mrs. MacLean are exceedingly good friends, by the way — "I need them so much worse than you do, Doug. You've been on the stage and you've been a star quite a while, and you know a lot and I'm just a poor little girl trying to get along — (or something like that) — so don't be cross." As this is written, the camera is being cranked for the first scenes. In America, in the 20th Century, it is always a thrilling thing to see young men with fire and confidence and ability starting a new business venture. Miss May is only nineteen — and the men of the company aren't much older. Yet they have all grown up with the picture industry. They are trying, too, the business plan that has proved so successful in other lines — co-operative percentage of profit. And I'd like to bet a month's salary that they'll make good, and that perhaps we've witnessed the birth of a new producing organization that will really last. Anyway, it's one of those little business dramas we all enjoy. Doris May grew up with the business. She was only fourteen when Cecil deMille — who was a friend of her mother's — allowed her to double for Mary Pickford in "The Little American" in the water-and-aviatiort stuff he could not afford to have his star attempt. Later, Thomas H. Ince saw her walking up the street past his studio — he was in the old Biograph lot then — and called her in. He had some tests made of her and immediately cast her for the lead with Charles Ray in "Mamma's Boy." She played six pictures with Ray, under the name of Doris Lee. Then she went with MacLean. She was married three months ago to Wallace MacDonald, well-known leading a delightful man, and the two live in little Hollywood bungalow and are ideally happy. A Broadway Farmerette (Continued from page 43) personal appearances every night in a Broadway theater at ten o'clock. By the time she gets home it is by no means early — she gets more encores than anyone on the bill. And of course one can't rise early when one gets to bed so late. And yet, do you know, Hope is healthier than any early-to-bed exponent I ever saw; she has the clear eyes and skin of perfect health. And if you don't think she's wealthy you should glance at her salary check which buys her all her twenty diamond and sapphire and emerald and pearl bracelets, and her yellow diamond and black pearl rings, and her diamond and platinum pins, and her imported gowns, and her blue-ribbon canines. As to her wisdom, she's a star at twenty-two, gives every evidence of being an even bigger star at twenty-three, has three stage contracts she can sign any time she wants to, and has money in the bank. Even Solomon would have approved of her. In the hottest days of last summer, Hope toured the Middle West — making personal appearances. .She is indefatigable when it comes to her work. She had to sing — she has a really fine voice of unusual timbre — twice a day, between parties given in her honor by the elite of the aforementioned Middle West. And now — let's be serious: She has less theatricalism than any film personage I ever met. With all her jewels and with all her beauty, she is simplehearted as an honest-to-goodness country girl. And generous. And sympathetic. And she doesn't think she's good! "I was terrible in 'A Modern Salome', I admit it. I acted all over the place. I stepped into a star role when most actresses are doing atmosphere. I never had any stage or screen experience in my life before I made that picture. And I didn 't even go to dramatic school long enough to satisfy myself, although the teachers told me I was all ready to make a sensational success. Every advertisement in FHOTOPLAY MAGAZINE is guaranteed. "That," she emphasized, "is the most important thing of all. I know that when I 'm satisfied with my work, I must be good. I 'm my own harshest critic. And I may say that very few times indeed have I ever patted myself on the back." The first picture starring her, "A Modern Salome", was not what one could call an unqualified success. But her astute manager, Jules Brulatour, knew that it wasn't good, and realizing that, he engaged a director of more finesse, secured a better story, spared no expense in the staging, and the result was "The Bait " — not a great picture, but a good one. In it, Hope Hampton proved herself a real actress and more than ever, a real beauty. Then came "Love's Penalty". And therein lies a tale. "Love's Penalty" had a "sex" story. It was well told and gave the star an opportunity for emotional acting of which she took full advantage. But it was not, as Photoplay Magazine pointed out in its review, a picture the whole family could see. Mr. Brulatour read the review. And he immediately ordered the picture pulled apart and put together again. After an expert film editor had recut and retitled it, leaving out all the questionable scenes, in fact, after practically rewriting the story, it was "Love's Penalty" sans sex, and plus a more wholesome heart and human interest. There are few producers who have done what Brulatour had the courage and the patience to do. If he continues to give Miss Hampton such cooperation, she will soon have proved herself one of our most interesting silversheet personalties. "Star-Dust", from Fannie Hurst's story, is the new H. H. production. In it the star has wider scope and more human situations than she has ever had. It's a simple story of simple people, which, Miss Hampton believes, is what the public — or the better part of it — wants and enjoys. It 's too bad the color process hasn 't been