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The article features illustrator Newell Convers Wyeth. He was a graduate of the Massachusetts Normal Art School and the Eric Pape School of Art in Boston. Wyeth was accepted to the small class organized by the famous illustrator Howard Pyle and became a full fledged member of the Howard Pyle School of Art. He was first commissioned by a magazine called "Success."

The article features illustrator Don Hedin. Hedin was educated in the public grammar, studied at Pratt Institute and briefly at the Art Students League after his stint in the army, and in 1948, joined the Reader's Digest. It is inferred that Hedin is known for his sense of humor as evidenced by his children's book illustrations and Christmas card designs and his accurate eye is shown in his paintings. His works include "Lowell's Bench" and "Gran's Blue Cupboard."

The article focuses on American illustrator Felix Darley. Darley was born in Philadelphia, Pennsylvania in 1822 and began his professional career as an illustrator at the age of 20. He is considered as the first popular illustrator in the U.S. who learned to draw by studying pictures available to him and observing the life around him. Darley was offered a job by writer Edgar Allan Poe as an illustrator for a magazine called "The Stylus."

The article discusses the evolution of the illustrated book, both for children and adults. It cites several typographic designers who served as teachers for the artist in book design, including Bruce Rogers, Frederic Goudy and Elmer Adler. The influence of the American Institute of Graphic Arts is also explored. The institute presented its inaugural exhibition "The Fifty Books of the Year" in 1923," which showed American publishers examples of fine books. It also presents several book illustrators, including Howard Pyle and Randolph Caldecott.

The article features scientific illustrator Rudolf Freund. When asked about the start of his career, Freund mentions he was given work by publishers because of his association with the American Museum of Natural History. He attended public schools in Philadelphia, Pennsylvania then took classes at the Graphic Sketch Club after high school and the illustration course at the Philadelphia Museum College of Art. His pictures have appeared in magazines such as "Life" and "Scientific American."

The article discusses the changes in American illustration from the late 1930s to the early 1960s. The author believes that the 1960s has not surpassed the two preceding decades but there was certainly an improvement in general illustration standard, there are more first-rate illustrators and less mediocre picture-making. He also observes the increase in competition among illustrators, improvement in training and the rise of illustration talent from more sources.

The article discusses the accumulations of illustration from different historical periods. It profiles the most notable Redskin illustrators in the U.S. during the latter part of the 19th-century led by Howard Pyle, Frederic Remington, and Arthur B. Frost. The author infers that the proliferation of magazines with a circulation of a million or more is the most obvious factor in the growth of illustration in the U.S. It is also suggested that some of the finest illustrations are hidden in smaller publications, journals, and catalogs.

The article presents information on illustrator Edward Shenton. It is stated that he became an editor for the Penn Publishing Co. after studying at the Pennsylvania Museum School of Industrial Art and the Pennsylvania Academy of the Fine Arts. It is also mentioned that he was able to do pictures for books like "On to Oregon," by Honoré Willsie Morrow, "Fighting Frontiersman: The Story of Daniel Boone," by John Bakeless, and "Long Hunter: The Story of Big Foot Spencer," by Ed Winfield Parks.

The article offers information on book illustrators. The illustrators have to work fast while the inspiration is high which develops their alertness in decision making and execution. It explains the process of planning and executing an illustrated book such as "The Chronicles" which include text selection, format, and picture size. It also presents a profile of Henry Pitz who has illustrated more than 200 books on various subjects.

The article details the life and works of husband-and-wife illustrators Paul and Marie Nonnast from Doylestown, Pennsylvania. Paul has been a teacher of illustration at the Moore Institute of Art in Philadelphia up to the time he met his wife Mary, who was his student. While Paul's work has been almost entirely in the fields of advertising and magazine, Mary concentrated on drawing animals as living creatures. The couple has received awards at the Seventeenth Annual Exhibition of the Philadelphia Art Directors Society.

The article features Charles Dana Gibson, a U.S. graphic artist-illustrator of contemporary life. It describes his pen-and-ink sketches of real life which created the Gibson girl, one of the first American pin-up girls. He sold his first work to "Life" magazine and his works were found in every media all over the country during his time. According to the article, his famous Gibson technique is seen in one of the most complete pictorial documents any age has left.

The article discusses the career and artworks of U.S. illustrator Jacob Landau. Having evident artistic talents as a child, he was transferred into a more advanced illustration class at the Philadelphia Museum School of Art during his preparatory years. According to Landau, the concept of eclecticism in art has a positive side. Aside from being an artist, he also teaches anatomy, graphics and illustration classes.

The article profiles artist Lynd Ward and his illustrations. Ward studied at the National Academy for Graphic Arts in Leipzig, Germany where he acquired a technical knowledge of book structure and design. He also studied design theory, methods of teaching and history of art at Columbia University. The author describes Ward as a meticulous draftsman and adds that Ward's sense of pulsing and dramatic composition is one of his best assets. His works include illustrations for "The Biggest Bear," "Little Baptiste," and "Innocent Voyage."

The article profiles French book illustrator and painter Edy Legrand. It was the book, "Voyages et glorieuses decouvertes des grands navigateurs et explorateurs francais," that launched the work of Legrand to the U.S. Other books that featured the works of Legrand include "Macas et Cosmage," "Voyages," "Faust," and "Divine Comedy." In March 1953, 140 of Legrand's art pieces, mostly paintings he had done in Morocco, were featured in an exhibition in Casablanca.

The article features McCann-Erickson & Co. creative director Jack Tinker who was recognized as the Art Director of the Year by the National Society of Art Directors in 1952. The author states that one of the achievements of the illustrator is his creation of Mister Friendly, a drawing of an early-middle-aged insurance man complete with a briefcase and umbrella. According to him, the figure is a helpful symbol to convince clients that an insurance firm is also willing to pay and has a warm heart.

The article focuses on the multi-racial background of successful illustrators in the U.S. It cites the contribution of foreign illustrators such as Feodor Rojankovsky and Fritz Eichenberg to U.S. illustrative art. It mentions the possible growth of the international wing of American illustration. It notes that implications of the increased number of foreign countries who are claiming that their illustration is becoming Americanized.

The article provides information about illustrators Catherine Barnes, Edward Smith, and Henry McNaught. Most of Barnes' pictures were made for color productions, and her technique is simply applying opaque watercolor flatly. Smith's illustrations were made for clients like the Westminster Press, John C. Wilson Co., and the Baptist Publication Society. McNaught attended illustration classes at the Philadelphia Museum School of Art.

The article explores how husband-and-wife artists Joseph and Beth Krush work as an illustrative team in Pennsylvania. Although they commonly work on separate projects and have different art style, the Krushes sometimes collaborate on the same drawing or set of drawings. Beth Krush creates illustrations for book publishers and children's magazines. Meanwhile, Joseph Krush creates record album designs for RCA.

The article features U.S. illustrator Isa Barnett, who is described as a solid and strong talent in the field of illustration. It says that illustration can be considered a grueling profession as it requires a concentration of energy at incessant intervals. According to the author, Barnett likes to deal with emphatic tonal statements, energetic rhythms and big forms in his works. The interest of Barnett in seeking out knotty problems and exercising his gift is also discussed.

The article features Howard Pyle, the father of American illustration. Pyle is a Quaker from Wilmington, Delaware who was destined to be a great and prolific picture-maker due to his gift of combining his unyielding sense of devotion and capacity for work, which made him the captain of the school of young illustrators. He was educated at the school of Mr. Van der Weilen in Philadelphia, Pennsylvania. After completing his training, he transferred to New York City to enjoy the thirty-five years of his most prolific and fruitful creative work.

The article features Austin Briggs, a cartoonist and illustrator. Briggs describes his approach as a journey of self-examination, training and innovations. Briggs shares that after getting a good start as an illustrator, he had a period of self-doubt which led him to find the appropriate way to express his views. He comments that drawing from photographs are more difficult than drawing from models as photographs are deceitful.

The article features the American illustrator Howard Willard in 1950. His brilliant brush calligraphy, which looks twentieth century American, reportedly derives from Chinese brush drawing. It is stated that Willard is a worldwide traveler who collects materials with interesting textures and old magazines and almanacs, which are sources for his illustrations, and that he has a passion for collage and typography. His drawings in books and magazines, such as "Reader's Digest," are also noted.

The article features American illustrator David Stone Martin. It discusses Martin's formal education and training, his skills, and the opportunities and experiences that helped him grow as an illustrator. It also describes his creative process, artistic style, and work ethic. Martin's refusal to commit himself to any one field has led to a diverse body work which includes record album covers, book-jacket design, sketches, story illustrations for magazines, and advertising drawings.

The article features illustrator Roger Duvoisin. He received art training at the Ecole des Arts et Metiers and the Ecole des Beaux Arts. After which, he began painting murals and designing stage scenery and became interested with poster design and illustrations as well as ceramics. He also became a textile designer when he moved on to Lyons and Paris in France. He traveled and settled in America when he was sent to work there. He started his career as a book writer and illustrator when the silk company where he worked closed shop during the depression.

The article focuses on the works of Jon Whitcomb, an illustrator based in Darien, Connecticut. Whitcomb's success and popularity is attributed to his ability to portray the pretty girl motif in a particularly refreshing and enticing way. The author observes that Whitcomb's colors are always sparkling and brilliant and his illustrations always have the "new" look. Several examples of Whitcomb's illustrations are provided.

The article features Juke Goodman, an art director of Saks Fifth Avenue in New York City. He says that the successful fashion illustrators are those who could portray elegance and sophistication. As far as Goodman is concerned, there are no more than a dozen first rate artists which include Margaret Sommerfeld, Dorothy Hood, and Carl Erickson. He predicts a great future for artists in the world of fashion art.

The article presents information on American artist Frederick Siebel. He was born in Vienna, Austria in 1914 and was raised in a hop farm in Czechoslovakia. Siebel's schooling at the Vienna Academy instilled in him the skills of sound draftsmanship, and the qualities to be hardworking, restless, and aggressive. He arrived in the U.S. in 1936 where he established a brilliant career as an illustrator for publications like "Vogue," and "Collier's."

The article features Mexican-born illustrator Miguel Covarrubias. In early 1920s, he traveled to New York where he settled and started his career as an illustrator for publications such as the "World" and "Vanity Fair." He provided a Mexican interpretation of Negro subject matter and offered a sunnier pictorial outlook that his North American audience embraced. He also illustrated a number of classics and created advertising drawings and cartographs. His published works include "Island of Bali" and "Mexico South."

The article focuses on pen and ink drawing used by painters as a medium. The use of pen and ink in drawings is said to be more economical and practical. It is the favored medium as images could be transferred to metal plates producing facsimiles of the original drawings. Limitations faced by pen illustrators include space, time, editorial policy and reproduction. Works of artists Darrel Austin, Albert Gold and Mitchell Siporin are discussed.

The article features Lyle Justis, a romantic illustrator whose core of work is the pageant of the U.S. Justis's best work include drawings of sailors on liberty, service-canteen entertainment, "Treasure Island" illustrations, and illustrations for "The Tree of Liberty" to be published by Rhineheart Co. He begins with a work sheet, a large sheet of textured paper, and draws using Chinese ink ground from the stick, or in bottle or tube form.

The article features illustrator Saul Steinberg. His first drawings were published in the U.S. in the "New Yorker" and "Harper's Bazaar" in the early 1940s. Steinberg studied architecture in Italy and did some drawings for a local publication in Santo Domingo. He arrived in the U.S. in 1942, married painter Hedda Sterne, and entered the U.S. Navy where he made many of his sketches. One notable project of Steinberg was the bar decorations for four ships of the American Export Line.