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ChapterI Pen Lines and Materials The necessary material used in drawing caricatures are few and inexpensiveifwe compare themtothetoolsofsomeoftheprofessions,suchas surgery, etc.. Gillott

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CARICATURING

CHICAGO

Publishers

TMJE UTSHLTEO ST^^TTES

In the writing and illustrating of this book my aim has been to

produce a comprehensive andconcisetreatiseon theartofcaricaturing.

Ithas been made as brief as is consistent with clearnessand complete'

ness

Although the text is brief, no illustrations Ttfere spared The

many plates illustrate all points necessary, and each of the points

illustrated are explained in the text with reference to that particularillustration In addition to the plates there are many caricatures of

famous men included

Acting upon the assumption that it is easier to work if ones

assignments are already made, Chapter XII has been made up of

assignmentsand suggestions, which makesthis book a completecourse

in caricaturing

If you obtain half as much pleasure and profit from the use ofthis book as I derived from writing, and especially illustrating it, Ishallconsider my time wellspent.

Wishing you much success

Mitchell Smith.

6021294

Chapter II The Face and Head 2J

Chapter III Expression 31

Chapter X Lettering 75

Chapter XI This and That 81

Chapter XII Assignments and Suggestions 85

MMWWWTHGK.- AV*ELIGHTTONCS, ORWloeLV SPACED

PLATE

ChapterI

Pen Lines and Materials

The necessary material used in drawing caricatures are few and

inexpensiveifwe compare themtothetoolsofsomeoftheprofessions,suchas surgery, etc.

Thestudentof caricaturingshould procurea number ofdrawing

pens in various sizes. Gillotts drawing pens are perhaps the most

widely used of all pens by cartoonists and pen apdtjnk artists in

generaL For drawing cartoons and caricatures

siw^70J^opand^^

are the ones moat uattk-Qtber si?es and styles oipBSsmay be very

useful; especiaU^^owl poin^ensfordrawing heavylinesforthe

out-lines ofcartoons mttrtTBookarereproduced a number ofcaricatures

that were outlined with a lettering pen which enabled the artist to

get an- effect markedly original These lettering pens may be had m

many sizes, and shaped with round, square or oblong nibs The

student, or, prospective student is advised to obtain some of these,

because every artist should learn to manipulate thelettering pen and

brush in lettering. Nearly -all art work requires more or less hand

lettering

Other materials needed are, black waterproof drawing inkHiggins is very good and pencils for sketching arid drawing All drawings should be completely drawn with pencil before drawing in

ink Art gum erasers, thumb tacks for fastening the drawing paper

or board to the drawing board will also be needed The most

satis-factory material to make the drawings on is a good grade of Bristoli

Board But if the drawings are not intended for publication, a goodquality of heavy, hard surface bond paper gives satisfactory results,

andisalsovery goodforsketching. Caricaturing requires agreat deal

of sketching, and one should keep a supply of good paper for this

15

purpose,to record ideasandimpressionsbefore they escape from the

mindneverto returnfrom that oblivionwhere all things mental andmaterial eventually go

NICOLA

After whichsudden outburst of scholarship and philosophy, let

usconsiderthe manipulation of the pen, for the benefit of beginners

whoarenotfamiliar withthismedium of drawing

The drawing penisheld the same as in the proper position forwriting; that is, with the thumb andfirst and second fingers of thehand

A variety of pen lines are used in cartooning and caricaturing.

Finelines, heavylines, slowlines, fast lines, irregularlines^ and shaky

GLADSTONE

linesare most frequently used On Plate 1 are illustrationsof variouskinds oflines, dots, shadingand etc E,F and G are called Crosshatchlines and they are used for shading There are some examples of

the iUustrations m this book; of F, Plate 1

Graded lines as in Q, R, S, T and U are drawn by increasing or

decreasing the pressureonthepen; theyare best drawn rapidly. Ends

oflines dhat do not havetheir termination in other lines are usually

drawnthusly. Anexampleofthis is Fig 3,Plate 9.

FREDERICK THE GREAT

K on Plate 1 was made with a small camels hair brush, which

every cartoonist should have L is also drawn with the same brush

Linessuch as these are sometimes used to stripe trousers. See Fig 4,

Plate 10.N is dots drawn withthe brush, and M is termed Spatter,whichwillbe later.

Pen Lines and Materials 19

V and W are stamped with pads of denim and knit goods,

respectively.Onecanoften createsomethingoriginalbyexperimenting*

and trying many ways and techniques of drawing an object* or

caricature. The same padused in stamping W wasused in drawing

the caricature of Robert Herrick

HERRICK

In the drawing of caricatures and cartoons or any other com'mercialart, forthatmatter the artist shouldknowsomething aboutthe processes of reproduction for that particular form of art work.For pen andink work the engravingismade on asine printing plate.

It is not necessary, however, to know all about these processes of

The artist should knowthat allwork intended for line

rqproducttonsshould be made on white paper or Bristol Board withblackdrawingink. Thedrawingtobereproducedisphotographed on

achemically treated sineplate, whichis then treated with acid. Thisacideatsawaythesurfaceofthe sine, except the photographed'lines,

which are left in relief, somewhat like printing type Coloredinks do

not photographwell; neither does blackink on colored paper

Drawings are usually reduced about one-half the originaldimensions in reproduction, which makes them really one'fourth the

original sise.Sincethe dimensionsare,of course,reducedinproportion,

it naturally follows that the pen lines are also reduced in the same

proportionin breadth, or thickness. Therefore, in drawing for ductionone shoulduse heavierlinesthanappearinaprinteddrawing.

repro-Studythemanydrawingsin thisbooktoseehowtheyhave been

drawn Notice thatthe outlinesare invariably theheaviest, while the

linesfor shading and such, are finer. Notice also how the lines have

been drawn, and how the pressure on the pen has been decreased

gradually at the end of lines to taper them, and avoid that cut off

appearancethatresultsfrombringingthepentoanabruptstop atthesamepressure,makingthe entire line thesame thickness.

Study an accomplishedartist's workand take

advantage ofwhat

he knows, and put yourown originalideas inthedrawing. Thisistheroad that leadsto success in art.

PLATE

The Face and Head The headisnotsodifficulttokarnto draw, butto learn to draw

itwell requiresdiligentstudyand practice.It may not seem reasonable

to the beginnerwhen told thatit ismucheasier to karn to draw the

headwell, thanit isto draw handswell

Although the features of the head and face are exaggerated in

cartoons, inlifethey followclosely definiteproportions.These tionsareas follows:Theeyesareabout midway between the topofthe

proper-head and the bottom of the chin; the nose is as long as the distance

fromthe nose to thebottomof thechin, andthemouthis ernethirdofthe distance from the end ofthe nose to the bottom of the chin; thetop oftheearsareabout on aline withthe eyebrows, andthebottoms

on a line withthe end of the nose

To draw afront view cartoon of the head, draw a perpendicularline for the center of the face, as B, Kg. 1, Plate 2 This line will be

equidistant from the eyes and split the nose and mouth intwo equal.

parts.Nearthecenter ofthis linedraw ahorizontalline, asFF, Fig 1.

guideforthebottomof theearsand endofnose LinesA and C,Fig. 1

lines necessary indrawing a cartoon, butin drawing a caricatureof adefinitefaceit isbetter to makeguidelinesforthe top of the head and

bottomofchm inthe proportionsoutlinedinthe preceding paragraph.Thenextstepisto placethefeatureswithapencil,beginningwiththeeyes; brows,second; nose, third; mouth, fourth; ears, fifth; and finish

by drawinghair, chin, etc.

Therearemany waysofdrawingthefeaturesin acartoon, which

vary with the different expressions Since the subject of this book is

23

FIG 4

)

PLATE

The Face and Head 25

caricaturing,onlythis willbedealtwith here.Thefeatures aredrawn

lifelike in caricatures, except in ones where extreme exaggeration iff

used To make a drawing appear lifelike is ratter difficult fofbeginners, because there are agreat manylittle tricksfor doing this,

which theydo notunderstand Someofthese methodsare illustrated

inthe caricatures ofVonHindenburgon Mate7.Figure1 was drawn

fromaphotograph with littleexaggeration,whileKg,2isexaggerated

agreat deal.Note in Fig. 2the outlines for the black shadows under

eyebrows, corners of eyes,wrinkles, undernose,undermustache, andunder difrt on the white collar. These outlined shadows have beenblackedinonthelargedrawinggiving it lifeandsparkle.Attentionis

called to the highlights on the eyes, also. This isvary useful, and is

invariablyused tomake theeyeslifelike.The Mack bowtieandothershading give the drawing tone, or color, which heightens the effect.

Do not forget shadows under ears in profiles, and faces other thandirecdyfrontviews.

Caricatures are eitherdrawn from life, orfrom photographs or

portraits.Forthestudentwhohas notstudieddrawing fromlife it will,

perhaps,beeasierto getagoodlikenessbydrawingfromphotographs.

In goodphotographs thewrinkles,shadowy and conspicuousfeaturesare more easily seenwhich helpsone to know whatto exaggerate to

geta goodlikenessofthesubjectbeing caricatured.Highlightsoneyes

and hair are more easily seen and placed correctly on the drawing

Another advantage of drawing from photographs is that the head is

moreeasilyproportionedcorrectly.Thisisbecause thevarious features

can be measured on the photograph and enlarged proportionately in

the drawing For example, if one is going to make the drawing five

times as high as the head in the photograph, he can determine the

correctproportions because hecanmeasure thewidth of the headon

thephoto andgetthe widthofthe headin die drawingaccordingly.

The nose, mouth and other features may likewise be measured and

placedcorrectly.

However, onedisadvantageofdrawing from photographsisthai

youcan onlygetoneviewto workfrom,unlessyouhave photographs

in different positions of the same subject. With two positions it jp

sometimes possible to construct a third view How this is done is

onPlate3withthe<^caturesofEx-Kaiser William

Ionthisplatewas drawnfrom anoldphototaken whilehe was Crown

Prince Fig. 2 was made from alate photograph By using these twodrawingsathird (Fig. 4) was constructedshowing theold man with

BOLIVAR

thesame viewastheoneasGrownPrince Figures 3 and 5 aresimply

caricaturesofthe same subject in differenttechniques anddegrees ofexaggeration.Theshapeofthenose,forehead,hair,andotherfeatures

mFigures4and 5 aresuchthatitwaspossible to drawaprofile also.

Although drawing from photographs has some

The Face and Head 27

drawing fromlife alsohasitsadvantages.Inlifedrawingmanysketches

ofdifferentviewsandpositionscanbemadeto determine thebest,and

thisshould alwaysbe donewhenpossible.Caricatures ofsomesubjects

are betterdrawn in profile,while others areimproved by usingother

positions.There is onlyonesurewaytodetermine whichisbest,and

that isby experiment

CLEMENCEAU

Thereis alsoawaytomeasurefromlifeto aidtheartistin getting

thetrueproportionsinmatinga drawing.To dothis,hold apencilin

a vertical position at arms length and sight over the top of pencil,

putting the topof pencilin linewiththe top of the head, or whateverobjectyou aremeasuring Nextplacethe thumb on thepencil in line

withthebottomof chin*The from yourthumbtothe

top,will beused for the height of thehead in your drawing, placingguidelinesthatfar apart.The pencilisthenheldhorizontallytodeter'mine the width of the drawing The height of forehead, length of

noee, chin, etc., can be properly proportioned by using this method

This method isnot only useful in drawing from life, but is good for

4jwing from still life, also.

The features and proportions characteristic of the difference inthe various ages should also be considered here

Thepeculiarities ofinfancy and early youth are as follows: The

craniumandforeheadaremuchlargerinproportiontothe rest ofthe

head;theeyes aresomewhatbelowthecenterof the head; thefeaturesand head as a whole are more gracefully rounded; the neck is much

smallerthaninanadult, inproportion to thesi2 ofthe head; andthe

legs aremuch shorterin

proportion to the length of the torso. With

agethehead becomesmorediminutive,andthebonystructurebecomes

moreprominentatthe forehead,bridgeofthenose,andthejawbones.

With old age the flesh becomes flabby and falls away from the

bones, causing the bones, muscles, tendons, and blood vessels to be

more in evidence; and furrowing the face with wrinkles in the face

and forehead The dome of the skull appears broader, and the face

shorter, caused bythelossofteethandstraightening ofthelower jaw

boxes The nose is more powerful if not larger and the features ingeneral are more prominent, adding to the character and dignity of

years. Theeyes also appear deeper in their sockets, which illusion is

caused by the aforementioned relaxation and drooping of the flesh

above and belowtheeyes.

Models of advanced

age are easier to draw, and to get a good

likenessof,becauseof thesecharacteristicsmentioned inthepreceding

paragrapLyTbe smooth rounded features of youth are difficult to

drawand obtain a good likenessfor the reason thattheroisnothing,

brverylittleatmost,ino^pfn

rtkhV^">fcj^^ isthe

reason that women and children are sd3o)h4 g6od-^3^ects for

FPIGHT SURPRISE /ANGER ATTENTION

JDITY WEEPING ANTJCIfiATION CONTENTMENT

PLATE

Chapter HI

Expression

Expression is very important m cartooning and caricaturing Just

asacartoonisanexaggerateddrawing, soisthe expressionina cartoon

OnPlate4areillustrationsof twelveofthe most usedexpressions.They are labeled underneath each drawing: fright, surprise, anger,

attention, smile, sneer, pain, laughter, stupidity, weeprrig, anticipatioti,

and contentment Study these drawings carefully and analyze each

expression To help you do this, each expression .shall be considered

separately and their mam characteristics noted

Infright the eyebrowsirelifted and the forehead wrinkled The

eyes are opened very wide, and so is the mouth; and the hair stands

on end,

Surprise is similar to fright except that the mouth is not opened

as wide and theeyebrows arenot lifted asmuch.

knotted, or knit, and irregular, with the forehead wrinkled vertically.

Theeyes are pardy covered by the brows The corners of the mouth

illustration Also the hair stands on end oris disorderly

Note in Attention the shapeof eyes, eyebrows, nose and mouth Study the wrinkles around the eyes, mouth, and forehead in all the

differentexpressionsillustrated

In Smiling the brows are lifted in an arched position. The eyes

are pardy dosed at the corners The cornersof the mouth are drawn

particularexpression desired,

PLATE

Expression 55

The expression Sneer, isdrawn with one eyebrowdrawn downover theeye,whichispartlyclosed.Thenoseisturnedup slightlyandwrinkled One corner of the mouth is up and the other down. The

proper relation should be kept between the features. That is, the

FOCH

corner of the mouth should be elevated on the side on which the

eyebrowis down

The eyebrows in Pain are knotted somewfeat as in anger The

noseis wrinHed andthemouthis-opened.Note particularlythe eyes

and mouth Such mouthsas areused intheillustrations of fright and

would notbe suitable here

Laughter is very similar to smiling. The only difference being,the brows are higher, the eyes more closed, and the mouth opened

wider InUproariousLaughterthe nosemoves upward tomake room

forthemouthto stretch bigandwide, showingteeth, tongue, tonsils,

or whatyou will.

Stupidityisexpressedbydrawingthe eyes abouthalfdosed asinthe illustration,andthemouth drawn down ononeside. Drunkenness

isexpressedmuchthesame.Especiallythe eyes.

IntheillustrationofWeepingnotehowtheeyebrows are drawn

Theeyes arepartly,or entirelydosed, andtearsaredrawntohdpthe

expression.

Study the illustrations of Anticipation and Contentment Note

how the brows, eyes, nose, and mouth are drawn

Although these expressions are suitable for cartoons, expressions

in omcatures are seldom exaggerated as much as the illustrations on

Ptfte4.Theywere drawnthiswayso thatyoumight moreeasily see

JKJWto represent these many expressions

Averygoodthing forbeginnersisto study the expressionsused

in some of the better comic strips. Popeye, and Moon Mullins are

especially good in this respect. Expression should be suited to actionand vice versa. For example, a head and face with an expression of

frightshouldhaveabodywiththecharacteristicaction offright;that

is, fingers far apart, feet offthe ground,etc.

reproductions of caricatures in variousexpressionsand poses of s<5me rather famous men:

Adolph Hitler andAdmiral Coontz;. Figure 1 has a stern look obtained by representing

themouth,orreallythe mustache,inastraightline. InFigures 2and 3

notethat thesame general

principleswere used as inthe expressions,

"Smile" and "Anger" on Pkte 4. Figure4is a two thirds frontviewcaricatureofHitler, smiling.Figure 5 isaprofile ofHitler, angry. His

nosetrouble (mustache) takeson anewaspectin thisdrawing; thatof

aratherstiffbrushperhaps.InFig. 6hehas a grouch, whileinFig. 7

heisrather calm Figures 8 and9 are toillustratethatanimals can be

drawn with almost any expression However, expression is more

difficultwith some animals than with

PLATE