Action (May 1941 - Mar 1958)

of the Lot FOR ART'S SAKE By LLOYD HARTING No matter what you say about art or artists, or how you say it, you can always stir up a heck of a good argument, so I'll start off with Webster's definition of art — i.e., "Skill in performance, acquired by experience, study, or observation, knack. . . and so on into a wordy definition of an insignificant little three letter word. If my understanding Is correct, anything from cooking to prevarication could be classified LLOYD HARTING, illustrator in the Art Dept., is the artist who draws the covers for "Action", and author of "For Art's Sakel" appearing in this issue. under that heading. However, tor the purpose of this article, lets stick to the general principles of a specific branch of learning commonly called "Art"; that' presumably lurid out-of-this-world profession that produces a mess on canvas entitled "Sunset over Damifyno" and cops the blue hankie for a still life of ham and eggs with whole wheat toast. Or a hunk of stone dubbed "Aphrodite at the Pump," which looks like a cross between grandpop's pet cow and the three-headed guardian to the gates of Hades. Artist — "One versed In learned arts. An artisan. A schemer. . . ." Here we get no place In a hurry, but I'm in no mood to argue with Mr. Webster, or his follow-up men. Funk & Wagnalls. To some people the word "Artist" means a weird Individual, clad in a smock and beret with flowing tie, long hair, big feet, baggy pants and empty pockets, tucked away in a garret full of cobwebs, pouring out his soul (and whiskey) for posterity — a round of gay parties, with a few orgies thrown in, innumerable nude women, hangovers, Greenwich Village, Montmartre, Vienna . . . (good stuff). But If you entertain any of the foregoing Impressions of artists, I take this opportunity of dispelling them! Fortunately for everyone and everything, 99 out of 100 artists are good solid everyday men and women. No berets, flowing ties, etc. Smocks, yes, but not the pretty pink and lavendar, rose and chartreuse, but gray, tan and such, worn not for art's sake, but for cripe's sake — cleaning bills are high. Ten to one you can't tell an artist from anyone else on the Lot and their studios are clean and efficient. Let's go! Starting with the Urban building, commonly known as the Art Department, we find the art directors. Illustrators, draftsmen, model builders, matte shot and scenic departments, title and insert men. The art directors, illustrators, draftsmen and model builders are under the supervision of LYLE WHEELER. Into this department comes the script, via petit femmes. It Is read and reread, then an art director is assigned to the picture and he breaks it down (or breaks down) Into the number of sets needed. Hours of research follow as to period, style, architecture, color, etc. He roughs up the plans and elevations of the sets, smoothes them out and roughs them up again. After losing several heads of hair and substantially adding to the paper drive, he arrives at something that fits the action, period and mood; which accommodates cameras and technical equipment, actors, directors, producers, etc. He then calls In the illustrator and tells him the shot he wants, to best show the set, acquaints him with the action, discusses color and furnishings and turns him loose. The Illustrator's (ob is to show his set exactly as It will appear when constructed (we hope). An accurate mechanical projection, even to degree of camera lens, is made and the characters placed in the action specified. A complete Illustration is made, one that will show the scene as it will appear when shot. Costuming has to be checked as well as furnishings and props; lighting studied and color worked out. In addition to this, scale models are often made which give a very comprehensive Idea of the set In three dimensions. This department is under ELDO CHRYSLER. These are submitted to the director and producer and assuming that they are ok'd, they are put Into working Matte Artists at work in the Artist room of FRED SERSEN's Special Photographic Effects Dept. form. The draftsmen, HARRY SHERMAN at bat, make specific plans and elevations, designs and details — the same as you would receive from an architect if you were to build a house. These are turned over to construction and we're off — let's hope not far! • Special features are needed to fit the script. They have to be designed and made — posters, signs, musical settings, stage sets, scenic backings and miniatures. These are all worked out In the Art Department before moving to the departments which execute them. Locations have to be selected to fit given