DRAWING CARTOON PEOPLE FACES to choose from. See if OOU6OC OVEDE RCH CM *SO+GASSHBOO* G0. cRepkeeece OPFO@AO~Sdd¢raw a few head shapes on scratch paper; then draw in features of your choice. The various combinations drawn in different sizes and in different locations enable you to create literally thousands of faces. And you can add more ‘eaggerated eyes, noses, mouths, and hair styles for an «afinite number of cartoon faces, Each of the cartoon faces below was created by first drawing an oval and then adding some features selected from the previous page. Every new combination you use to produce your cartoon! Keep praeticing—the , the easier drawing them will become. ‘a cartoon face make: more faces you dtUVKAWING CARIYYIN ANIMAL FALLS [iziworantt ami dawcharact in many ect the details, step by step. Start with these frontal views positions. You must lean to draw thei heads and faces to Draw your lines lightly so that once your pencil drawing is stuich various body positions. Begin by deciding the direction complete, you can ink over it with a brush or pen. When the your animal will face, and draw the basic shapes. Then add ink is completely dry, erase any pencil lines that show, MOUSE. | ecAR, ! | ! | cat | | RABeIT | AS.PROFILE VIEWS | pris also start with basic shapes, and then details are ‘Try changing the features or details of the examples to make | added. Remember to take your time, and try not to become —_your own characters. For instance, change the shapes and | discouraged. Draw each character several times until you are sizes of the eyes, noses, mouths, and ears. satisfied with it, With practice, you will be able to draw any animal you wish! OM 7 _ = O49) OD) i“Yor an easly stor a character's entire personality by One good way to practice is to make faces in a mirror and tering is facial expression. This can be done by changing draw what you see. Study the expressions shown below, and one feature, such as the mouth, eyes, or the hair. However, try to determine which features help create the character's the mouth, will expression. Practice by copying the cartoon faces here, but e, and so forth. alter their features to change their expressions. making a change in one Feature, sucl affect the cheek, which will affect the OoBeb ANGeY FRIGHTENED UNCONSQ0US STUDIOUS @) @&) © | | Sty 2PROFILES AND THREE-QUARTER VIEWS velop the habit of really looking at the many people you variations in shape? Whatever it is, exaggerate! That isthe see every day. Each, obviously, has two eyes, a nose, way to develop your own cartoons! Choose and use from the rd a mouth—but, except for the hat, what makes them variety of head shapes, hair styles, and features on page 30. different? Theit age? Size? Location of features? Slight Practice! Study the examples above. \Vhich features have been exaggerated? Which features have been simplified? Think about the details and how they make each character urique.FACIAL EXPRESSIONS Ly | UNcoNSacuSe en re h ‘NGI La t J \ pe fern feWhen animating, it is essential that you feel the character’s movernents in your own body before you begin to move the character—very much as Actors must feel their way into a part before playing the role. The greater your imagination, the greater your potential for producing convincing animation If you tun your own head rapidly to the side, you may become aware that your eyes either blink fully or half-close as your head turns. In other words, your own personal breakdown position has an eye change, which you can integrate into your animated head movement by closing the eyes on breakdown (5), ©) | | I A few additional tips concerning eyes may be helpful here. If, for example, the pupil is moving from one side of the eye to the other, itis also essential that the action move on an arc—otherwise, a sliding effect will occur. The movement of the pupil should by oy} one side of the eyeball, up or down, then it f the circle of the eyeball is stretched slightly If the pupil is moving on becomes more convincing i where the pupil touches it,When the character is moving and looking in one direction, the eyes should lead the direction of the head as early in the action as possible © ® ‘ Tae Keep in mind that if the pupil in the eye is very small (A), it gives a dazed, weak, unconvincing look to the character's expression, On the other hand, if the pupil is very large (B), it gives the impression of receptivity and interest. (a) @) O ® If the pupil touches the rim of the eyeball, it appears forceful (A), Butif itis surrounded by white, it looks somewhat vague (B). (a) (8) OO When an eye blinks, never draw a straight line in midposition for the breakdown. Either make it curve upward just above the center line, or make it curve downward just below. wRons AicHT niont | |‘The fewer inbetweens from an open to a closed position, and a closed to an open position, the more alert and intelligent the character will seem. The more inbetweens used, the sleepier, or stupider, the character will look. This is an alert blink: When an eyelid moves on a sleepy blink, it often works best if the pupil is carried down with the eyelid: © (3)DON JARDINE STRAIGHT FROM THE HORSES MOUTH Densstng bears interested in drawing cartoons relatively late in life—when he was between 40 and 45 ‘years “young.” Although he has long been involved with other types of art, especially painting, he finds that cartooning can be done much more quickly and easily. In addition, Jardine ‘comments, “Cartooning is entertaining. People enjoy it.” Jardine also appreciates the fact that cartooning lends itself fo many commercial applications. He explains that, as director of education for Art Instruction Schools, the world’s oldest and largest home-study art school, his cartoons were used for many promotions. The most famous examples are the “Draw Me" characters. These characters were used for advertisements that challenged readers to “draw me” for the chance to win a scholarship to Art Instruction Schools. Jardine relates an amusing story about the contest. As he recalls, the school received a drawing of “Cubby” the bear from a “Chuck Jones.” Because the drawing was exceptionally well done, Jardine wondered if it could have been submitted by the Chuck Jones-—one of the greatest animators of all time. Ie was! When Jardine called to tell Jones he had won, Jones's daughter, who answered the phone, relayed het father’s confession: he just wanted to make sure that he hadn't lost his touch! When asked about his favorite comic strip, Jardine had a hard time choosing. “I love them all, but I would have to say Hank Ketchum's Dennis the Menace. The art is head and shoulders above the rest, and the story line is interesting to read and study,” Jardine comments. “The use of black and white and of silhouettes is excellent.” He also names Beetle Bailey by Mort Walker and mentions that Charles Schulz. is a very good friend of his—and that Peanuts is probably the most popular comic strip in the world. Although Jardine doesn’t have a favorite cartoon, he finds many of them delightful, especially those with the Disney characters or Bugs Bunny. Jardine believes thatthe most important characteristic of cartoons, as distinct from other art forms, is their entertainment value. “Most people seem to enjoy cartoons becauise they are cute. And they are expressive.” He adds, “Cartooning is also a very individualistic art form. A ceartoonist puts his personality into his cartoons.” Many professional cartoonists begin with a story line and then draw the characters around the theme. But Jardine doesn’t operate this way, because his cartoons are usually done for specific clients for a particular purpose. For example, aclient may ask the artist to draw a cartoon for a holiday or other special occasion. He begins with pencil sketches, doing a variety until he has something he thinks the customer will be pleased with, He then presents the roughs and lets the client choose which one he should complete. When asked what tips he would give to aspiring cartoonists, Jardine replies that he has been asked this question so many times that he now has a stock answer: “Always remember to exaggerate size, shape, and location, Now you know everything you need to know for becoming a cartoonist.” “Then he adds, “But aso study aut, Learn the other aspects of art such as composition, subordination, perspective, line, rhythm, color, shape, size, and s0 forth. The principles of fine art are also important for cartooning,” “CUBBY” ‘The artist sums up his advice as follows: “I believe th: enjoy cartooning, there’s probably no better pursuit be all you need is pencil and paper. And the mote cartoor | do, the better you will be, And the better you are, the 1 you will have. And the more fun you have, the more y do, [all this the ‘happy merry-go-round.”