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Title : What about that rule?
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What about that rule?

Art by Dean Cornwell, a "grandstudent" of Pyle

Limn asks:
"Given that you are a huge fan of Howard Pyle (as am I!) there is the principle that he and many illustrators since have talked about. The principle regarding limiting a piece to 2 or 3 (or Loomis' 4) values and having a piece have stopping power from several yards away. However, there are many pictures where this is not the case."

Art by Piotr Jablonski

"I am attaching one such example by Piotr Jablonski (who is PHENOMENAL). He tends to use very heavy shadows and condensed values. So is this an example of what Loomis talks about with a value structure that is low key? Or is this example I have provided simply breaking the Howard Pyle rule? If so, when do you think this is an appropriate strategy/structure to utilize?"

Hi, Limn,
Wow, that is a very striking and memorable image, and you're right: it doesn't really follow the Pyle / Loomis rule. This one is successful, but maybe not so much in a poster-like way. It seems to depend on mystery and suggestion, achieved through gradation and close values. The values are definitely low key as you say, and the image would probably work best when not surrounded by bright white computer screen.

I suppose the lesson here is that the Pyle rule works for making a certain kind of picture, but maybe not for all kinds of pictures. So my advice is to learn all the tricks, be sensitive to how they affect you emotionally, then have them in your toolkit for when you need them.
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Previously: Cure for Middle Value Mumbling
Loomis's Scheme for Value Organization

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