J.C. Leyendecker was an American illustrator who was most popular for his vibrant and sophisticated portrayal of late 19th and early 20th century human figures, clothing, and products. Leyendecker’s style has been emulated by artists for decades because of its simplicity and elegance. Although his works weren’t necessarily featured in museum halls, they were admired by a much wider audience through advertisements and other forms of media. The reason I chose Lyendecker for this issue is because I think that beginner and intermediate artists can learn a lot from Leyendecker’s style. As someone who draws often, I am often faced with the challenge of properly portraying texture, shape, and color. Leyendecker nails these factors in all aspects, so I often try to emulate his work to improve my own art.
To get a better understanding of the aspects of Leyendecker’s drawings that I’ll be focusing on, I chose a piece by Leyendecker that I especially admire. Although it probably is overshadowed by better pieces he has produced, this advertisement featuring the “Arrow Collar Man” sticks out to me the most. What many didn’t know about Leyendecker was that he was actually gay, which at the time would have been considered socially unacceptable. However, Leyendecker broke these boundaries by portraying the men in his illustrations based on his own sexual interests, typically modeling them after his own lifetime companion, Charles Beach. Leyendecker created the “Arrow Collar Man ” based on this model. The character was an expert usage of sex appeal to sell men’s products, as can be told by his chiseled jawline, undeniable style, and rugged build. Although many may say that this was the only eye-catching aspect of Leyendecker’s art, I beg to differ.
The reason I always reference Leyendecker when making my own drawings is that he is a master of texture and color. As someone who does a lot of portraits, I spend a lot of time drawing hair. The most difficult part of this process is actually clearly defining the shape. When drawing hairstyles that are tangled and intricate, it can be difficult to know where to start. However, Leyendecker’s approach is technical and simplistic. Rather than drawing individual strands of hair, Leyendecker defines the geometry of the hair before he adds the detail. Take for example the “Arrow Collar Man” in the advertisement. The top of his hair looks like a bunch of crepes that have been folded over one another, conveying its curliness. Studying hair using this geometric technique can be really helpful in understanding the animated nature of hair, better defining how it behaves and giving it texture. Leyendecker was also well known for his portrayal of clothing. Although his drawings of hair may not be super realistic, the way he depicts clothing certainly is. Take for example the pink dress the woman is wearing in the advertisement. We can tell how it hangs loosely on her body, and how it folds precisely at the bottom as she walks down the stairs. Replicating the animated nature of clothing without reference is extremely difficult because of how different fabrics operate. In Leyendecker’s case, we could remove all color from the painting and still know what texture each fabric has. We know the “Arrow Collar Man’s” suit is tailored and has rigid fabric because of how still it sits. The same goes for the white coat worn by the woman next to him, which contrasts nicely with the loose fabric of the dress she is wearing.
Understanding this technique can give an artist’s drawings so much more life. This is ever intensified by Leyendecker’s absolute class with color. In the reference advertisement, the skin of the “Arrow Collar Man” and the woman that accompanies him glisten in the light, further defining the angularity of their faces. The woman’s dress is shining, and the man’s suit disappears into the darkness of the negative space of the painting. Their cheeks are pink with color, and their skin is glistening with life. And the stairs and the chandelier…I’m going in circles. Before I overanalyze this piece, I’ll close on this: learn from the masters. Using other artists for reference isn’t a crime. Pick up a pencil and some paper, look at the works of Leyendecker or your favorite artist, and improve your art.
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