One of the most common problems I hear about from other caricaturists is that women are harder to draw

than men. Many struggle to make their caricatures of women look feminine, and often feel their female subjects look like drag queens.
I think its a myth that women, particularly beautiful women, are harder to caricature than men. Women have the same sets of features that men have, but the need to differentiate the masculine from the feminine forces the caricaturist to modify his or her approach (in most cases) to the different sexes. That doesnt mean that its more difficult to draw either sex than it is to draw the other, but you do have to keep the masculine/feminine difference in mind if you want to avoid the drag queen look that sometimes results in a caricature of a woman.
Superficially there are a lot of facial elements that identify a given subject as male or female. Thick eyelashes, full red lips, soft complexion, high cheekbones, more curved and thinner eyebrows these are feature descriptions that are distinctly feminine. You may notice these items have one thing in common they are all features that women traditionally use makeup to accentuate or to create . If women dont have them in abundance naturally many use makeup to create them or to accentuate what they do possess. Take your cues from what makeup artists do to see what kinds of features say female (and conversely what to avoid on a male caricature to prevent them from looking feminine). If I am drawing a man who happens to have thick, long eyelashes (many do) I will play that DOWN in many cases to accentuate the masculine in the drawing.
These are only superficial things, though. The real differences between men and womens faces lay under the skin with the bones and the skull. This is the basis of the drag queen look the human eye and brain is able to differentiate between a male and female face based on difference and indicators that are more than surface features. Hence a drawing of a face with lots of female makeup level features on the surface but with the structure and other aspects of a typical male face looks like a man wearing makeup.
Skeletal differences between the sexes are well documented. Its not just the different chromosomes that are behind it, either the high levels of testosterone at puberty help enlarge the bones of males, while the high levels of progesterone also help develop male characteristics like greater height and a narrower pelvic bone. The differences also extend to the skull, which is actually the second easiest part of the skeleton forensic scientists can use to determine the probable sex of a skeleton, the pelvis being the first (learned that on NCIS!). In fact the mandible (jaw bone) alone gives examiners a 90% accuracy in determining the sex of a skeletal subject.
The female skull is generally smaller and lighter than the males. Elements like the brow ridge and mandible are usually less pronounced. The female skull tends to be wider than the males which leads to a general softness of features, more prominent cheekbones and a less prominent jawline. The areas above the eye sockets in men tend to be more blunt while the brow itself is more pronounced, but in women that same area is sharper (thus the purpose of eye shadow) while the brow protrudes less.
The jaw is actually a key element to the masculine/feminine definition of a subject, and represents the most dynamic differences between the faces of the sexes. The combination of the wider skull, the less developed mandible and the propensity of the female chin (mental protuberance) to be smaller and more pointed as opposed to a mans wider and more square one makes the female jaw distinct from the male jaw. The upper (top part of the) chin is wider and higher vertically while a females is more rounded and shorter. In fact the male chin is generally larger in every dimension. Big, square jaws inevitably read as masculine and small, narrow and pointier ones read as feminine.
Jackie Os features are classic feminine
Features themselves are also different, often as a result of the skull variance but sometimes of their own accord. Female noses, for example, are generally less angular and the tip is smaller and softer. They have a tendency to be pointier, narrower and vertically shorter (closer to the eyes) than a mans nose.
Spencer Grammer has a small, understated nose, small chin and
wide face that says female
So, what does all this mean in terms of a caricature? Since caricature is all about exaggeration, it makes sense that if you want a subject to be more feminine you should downplay the things that make a face masculine and play up those things that make it feminine. Sounds like distortion, or the exaggeration of features based not on the what the subjects features demand but on some other preconceived notion (which I constantly preach against), doesnt it?
Some rules to drawing faces need to apply in order for the end result to be read as what it is intended to be read as. Drawing kids has certain rules you cannot break (or must break with only the most demanding of reasons) if you expect your caricature to look like a kid and not some weirdly deformed adult. Same thing with women. While its true that some womens faces with bend and even break some of these rules, knowing the general rules will allow the observer to look for them and understand their meaning. If you are drawing a women with an enormous square jaw you can hardly ignore it, but you can look for the other typical female attributes you can then play up to balance things or you can just exaggerate that enormous jaw and know your caricature is going to end up looking like Jessie Ventura in a wig. Hey, if the SUBJECT looks like Jessie Ventura in a wig you cant do much about that. At least you know WHY the caricature doesnt look feminine. You break the rules at your own risk, but you do have to ther observations are based. Any kind of dr
Some examples of Breaking the Rules:
In this one of Rihanna I exaggerated her chin,
but the other rules are in place to help compensate.
This Lena Headley looks distinctly masculine too many harsh angles
While the nose on Scarlett Johansson is not very feminine, the other features
compensate cheekbones, lips, eyes, eyebrows. Chin is bigger but jaw still small.
So, what are the rules for making a caricature of a woman look feminine? The obvious thing is stay away from making the jaw, brow ridge and chin bigger or more pronounced in a womans caricature, and if possible even make these elements a little smaller. When possible play up those features that makeup is meant to enhance, like the sharper areas in the corners of the brows (eyeshadow), higher and more curved eyebrows (shaped eyebows), fuller lips especially the upper lip (lipstick), longer thicker eyelashes (mascara and eyeliner), higher more pronounced cheekbones (blush or rouge), less prominent nose (powder or base that used to avoid highlights that show the edges and draw attention).
Despite the walleyes this drawing shows the exaggeration and
understatement of the eyes, nose and mouth to accentuate the
femininity of the subject.
Personally I always strive to make a womans face SOFTER than a mans. I stay away from harsh, angular lines and features in a womans caricature and use softer, more rounded lines and forms to define the face. I try to use fewer lines and elements that define edges of features. With a linear style of drawing, In general the more lines you use in the face the more masculine (and older) the subject looks. If I want my subject to look more feminine, I will seek to define the features with are few lines as possible. Its an old trick of filmmakers to use softer light and slightly out of focus (or vaseline-smeared lensed) camera on close ups of women to create a dreamy and sultry look to them it eliminates the hard edges of features.
The ultimate feminine face? This caricature of Marilyn Monroe hardly has
Any lines inside the face. Its all softness and suggested features.
Caricaturing a subject is, as always, defined by the demands the subjects features and persona demand of the artist. However that does not mean the caricaturist cannot approach a subject a little differently, and look for specific things they might expect to see, based on things like the age or sex of the subject. Understanding human perceptions and whats behind them with respect to things like male versus female faces only brings another source of observational power to the artist.
Here are some other examples of caricatures of women:
Kim Basinger has the eyes, brows, smallish nose, lips and chin
of the textbook female type
Fergie has a hard jaw, large brow and wide chin for a woman
Soft curves and understated features dominate this sketch of Lucille Ball
A somewhat hard chin but doe eyes and cheekbones make
this drawing of Winona Ryder look distinctly feminine
Another classic feminine face: Audrey Hepburn
Despite the bulbous nose, the other features of
Hayden Panettiere are soft and feminine
Posted in Tutorials | 8 Comments
How to Draw Caricatures: Noses
Tuesday, September 1st, 2009
Part Five: Drawing Noses
In this next (and long delayed) installment of my How to Draw Caricatures series of tutorials we will examine the ever popular and often abused nose.
I think the most common feature that gets exaggerated in a caricature is the nose. Many people actually think the definition of caricature is a drawing with a big nose. What is it about the nose that makes it such a ripe target for exaggeration, so often picked on (pardon the pun) that even the layman notices? Simply put, the nose is the most obnoxious of features. It sits in the very center of the face. It is a very vertical feature when compared to the horizontal nature of the eyes and mouth. It sticks out radically from the plane of the face, much more in relief than any of the other features. Its so prominent that its all too often used as a de-facto way to exaggerate the face. The fact is that the nose is like any other feature its perceived relationship with the other features determines the extent and direction of the exaggeration. Many people have small, button noses that need to be made smaller by way of exaggeration. In some cases the end of the nose may rest close in between the eyes, and in o
The Anatomy of a Nose
The nose is a combination of bone and cartilage made up of various parts that while unique in appearance and relationship in the individual nonetheless, as in any feature, are the same in all people. Starting from the top, the area between the eyebrows is called the glabella. The area directly between the eyes is the root or bridge. The area extending from the root down towards the end of the nose is called the lateral surfaces. The end or ball of the nose is called the apex. The two wings of the nose, the areas that define the outside of the bottom of the nose and the outside of the nostrils are called the ala. The septum is the area that connects the apex to the face and separates the two nostrils, which are the cavities that open into the interior of the nose and the nasal passages. The alar furrow is the crease made by the separation of the ala and the cheek muscles. The nose grows out of the brow, and is connected at the top of the feature by the brow ridge and at the bottom, to the lips/mouth by t
(more)
Posted in Tutorials | 25 Comments
Constructing a Crowd Scene Tutorial
Thursday, January 15th, 2009
Im still not exactly sure how it happened, but somewhere along the line I ended up establishing the reputation of being able to do a crowd scene. I am sure my art director at MAD Magazine , Sam Viviano, can sympathize. He is well known for his work with crowd scenes, and all that implies. Simply put, it means you end up getting a lot of jobs doing complicated crowd scenes because well. you CAN. In the world of freelancing there is never anything wrong with getting jobs. However when a lot of jobs end up being time consuming crowd scenes, you sometimes just wish for a nice, simple single figure illustration job to cross your path. MAD has utilized me on many crowd scene projects, in particular their A MAD Look Behind the Scenes of features that they have occasionally done. Ive done a lot of them for other clients as well.
Its not that I hate crowd scenes. In fact, I like them. They are a LOT of work but when you are done with them they are always something you can sit back, look at and say whew! That one was tough but be pleased with the effort. In fact Ive been known to do much more complicated scenes than the job might necessarily call for just because a really detailed crowd scene is always visually intense and affords the opportunity to make it dense with visual gags, cameos and other fun stuff that makes the viewer really look it over thoroughly. The dense, chicken fat technique of filling space with a lot of gags has always been one of my favorite parts of MAD , and is something Ive always enjoyed incorporating into my work when I get the chance MAD or otherwise. Ive also always subscribed to the philosophy inherent in the famous quote by Wally Wood about doing very detailed and busy art: If you cant draw well, draw A LOT.
Ive been meaning to do a tutorial on how to do a crowd scene illustration, and in late November I was assigned a tough one for MAD that I thought afforded the opportunity to demonstrate how to approach and execute a crowd scene. In consideration of that thought, I saved conceptual sketches and stages of this particular job for MAD so I could use them to illustrate how I go about constructing a crowd scene. (more)
Posted in MAD Magazine, Tutorials | 15 Comments
Drawing Hands
Thursday, December 18th, 2008
Easily the most asked question I get is how do you draw caricatures?. However a close runner up is how do you draw hands?. Im not exactly the king of drawing hands, but I have made a special study of them as they are very important when doing comic book type work hands and their gestures are a big part of acting and therefore of storytelling.
Next to faces, hands are probably the most expressive and intricate part of the human form. In fact, humans probably spend more time looking at their hands than they do looking at anything else over their entire lives. Being that we are all so familiar with the way hands look, a poorly drawn hand sticks out like a sore thumb (sorry about the pun). Oddly enough, hands are something that most artists struggle to draw well. So, with that in mind I thought Id do a tutorial on my approach to drawing hands.
Im a cartoonist at heart, so the hands I draw are not realistic hands by most definitions. However my style of cartooning lends itself more to realistic representation than, say, a certain four fingered gloved mouse or other much more cartoony characters do. Therefore a lot of the information in this tutorial will apply to drawing hands realistically as well as in more cartoon form. Ill attempt to explain the basic anatomy of a hand, things to keep in mind at all times when drawing them and common mistakes and issues that plague many artists when drawing hands.
Breaking Down Hand Structure
As with drawing anything, it all starts with an understanding of the basic form and structure of your subject matter. Hands are certainly no different. In fact, many of the most common problems with drawing hands stems from incorrect notions of the form of the hand. Im not a big stickler for memorizing the names of muscles and bones because it seems to zone people out when you start tossing around Carpal this and Metatarsal that however labels are something that some people need to be able to apply, so some general surface anatomy with laymans terms seems to be the best approach. Here is a breakdown of a hand with the important surface elements labeled:
Not really much to it, is there? Everybody knows what knuckles and fingernails are. Where an artist gets tripped up is not understanding how they relate to one another, and how they move in relationship to one another when the hand starts doing its thing. Things like how the knuckles line up, where the pad creases fall, how the fingers bend and interact these are all important elements to drawing convincing hand gestures. (more)
Posted in Tutorials | 15 Comments
Sunday Mailbag
Sunday, July 6th, 2008
Q: You make cross-hatching look so easy. Mine always ends up looking like a messy patchwork quilt. Whats the secret to good cross hatching?
A: Well, thanks for the compliment but I dont consider myself much of an expert on crosshatching. With me its an exercise in controlled chaos. If you want to see a caricaturist who uses crosshatching to great effect, check out the work of Jan Op De Beeck or Vin Altamore.
Heres a basic crosshatched pattern one layer at a time:
Some History- Crosshatching is a technique for adding values to a drawing by layering intersecting lines together to create the illusion of gradating tones. It was used a lot in the days of engraving and etching, when some form of hatching was almost the only way to achieve any kind of value in the artwork. It was used a lot in the good old days of photostat cameras, especially with inked artwork and cartooning/comics. Photostating was how artwork or photos got transferred to film/plates for printing in the days before everyone had a scanner on their desktop. It was a large machine with a mounted camera over a flat mounting surface and even, bright lighting. The camera took a picture of the artwork and outputted it on either bright white photostat paper as a positive or negative image. The result was camera ready art that could be pasted up onto a layout with type and other elements and then reshot for printing. Photostat cameras could use various screens that would create dot patterns of various densitie
Here are what I consider some very important points about crosshatching:
Do Not Overuse It- Its tempting to try and capture every change in value from an object but that usually results in an incomprehensible mess. I will sometime indicate lesser values but in general only hatch in values that are maybe 40% gray or darker. Basically I will only do the really important values and leave the rest out.
Dont Use a Ruler- There are certain styles that can get away with using a straight edge to do the lines for crosshatching, but in general it makes for a mechanical look with the life sucked out of the drawing. The natural imperfection of hand drawing adds charm and warmth. Use that. I often allow the lines to curve and arc, especially in the second or third layer
Stick to Three Main Layers- More than that and it gets muddy fast. I add all sorts of smaller areas with fourth or more layers, but I usually only use three big ones.
Dont Use Right Angled Lines- I.E. lines that are at 90 degree angles to each other. Very boring and again sucks the life out of the drawing. Using lines that are too close to parallel will create a weird moire sort of pattern, which can be cool if you want that effect but thats also not the best approach.
Vary the Length of Your Lines- Again, your drawing will look mechanical if all your lines end at the same length.
Its difficult to describe in words how to crosshatch. Here is a quick step by step of a partial drawing:
The beginning layer of hatching, mostly one direction. Notice in different
areas I have used different line angles. Its not the same across the whole drawing.
Added the second layer. Usually smaller in area, meant as the
next step in darker value.
Third layer. Further establishes the darker values. The shapes
created are not even or mechanical in any way. Notice I also
use the direction of lines to indicate planes, like the upper right side
of his nose
How to Draw Caricatures: Eyes
Monday, June 30th, 2008
Part Four: Drawing Eyes
Ive written in past tutorials on drawing caricatures that you cant really teach someone to draw caricatures that is more about developing their sight and observation skills and also developing an ability to find that which make an individual face unique and exaggerating it. Since every face is different this is an exercise in personal observation and decision. Therefore after I have gone over the information in my pervious tutorials, I switch gears an concentrate on teaching rookie live caricaturists how to draw the individual features, both how to see them, exaggerate them and how to draw them in line to best effect.
Here is where style becomes an issue. What I have written about previously can apply to almost any style of caricature, from the richly painted to the most minimalist of line. In these next series of tutorials some aspects of what I talk about will relate specifically with a style of caricature like my own based on cartoon line either inked or in some other medium. Therefore those with different sensibilities and styles can take from it what they will and apply what makes sense to them, and ignore the rest. I will try to center my discussion on that which applies to a broader range of styles than just my own.
My method for teaching the individual features begins with a lesson on real anatomy. Im not a big believer in memorizing every anatomical name but I do believe you must have a good working knowledge of how a feature is put together in order to have a good command over the drawing of said feature. Following the anatomy lesson, I talk about different techniques to help see the shape of the feature and understand how to draw it, including realistic proportion. Finally I talk about interpreting the feature in terms of exaggeration and incorporating it into the whole.
Points of Reference
Seeing and drawing anything is all about shapes and the correct drawing of them or in the case of caricature the correct drawing of the exaggeration of them. Either way you still have to see the object you are drawing and understand its form first. We have all seen depictions of artists on TV raising their arm outstretched towards their models with the thumb out from the fist and squinting their eyes before drawing. That is supposed to represent an old artists trick of using their thumb, or hand, or pencil or some other object to measure their subjects features relative to one another, or to see angles or other relationships. The thumb is supposed to be a point of reference a constant that is used to make accurate observations of the subject. Establishing points of reference in the face is key to helping to see shapes and make observations. With each feature and the face overall I will suggest several things I use as constant points of reference, which I can then use as a starting point from which o
Our first feature is the eyes. Ive always felt that the eyes of a caricature are the center of everything, literally the center of the face but figuratively the center of expression, personality and life as it were. Therefore Ive always place special emphasis on the eyes and begin and end with them, after the head shape, as the focus of almost any caricature. (more)
Posted in Tutorials | 6 Comments
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One of the most common problems I hear about from other caricaturists is that women are harder to draw than men. Many struggle to make their caricatures of women look feminine, and often feel their female subjects look like drag queens.
I think its a myth that women, particularly beautiful women, are harder to caricature than men. Women have the same sets of features that men have, but the need to differentiate the masculine from the feminine forces the caricaturist to modify his or her approach (in most cases) to the different sexes. That doesnt mean that its more difficult to draw either sex than it is to draw the other, but you do have to keep the masculine/feminine difference in mind if you want to avoid the drag queen look that sometimes results in a caricature of a woman.
Superficially there are a lot of facial elements that identify a given subject as male or female. Thick eyelashes, full red lips, soft complexion, high cheekbones, more curved and thinner eyebrows these are feature descriptions that are distinctly feminine. You may notice these items have one thing in common they are all features that women traditionally use makeup to accentuate or to create . If women dont have them in abundance naturally many use makeup to create them or to accentuate what they do possess. Take your cues from what makeup artists do to see what kinds of features say female (and conversely what to avoid on a male caricature to prevent them from looking feminine). If I am drawing a man who happens to have thick, long eyelashes (many do) I will play that DOWN in many cases to accentuate the masculine in the drawing.
These are only superficial things, though. The real differences between men and womens faces lay under the skin with the bones and the skull. This is the basis of the drag queen look the human eye and brain is able to differentiate between a male and female face based on difference and indicators that are more than surface features. Hence a drawing of a face with lots of female makeup level features on the surface but with the structure and other aspects of a typical male face looks like a man wearing makeup.
Skeletal differences between the sexes are well documented. Its not just the different chromosomes that are behind it, either the high levels of testosterone at puberty help enlarge the bones of males, while the high levels of progesterone also help develop male characteristics like greater height and a narrower pelvic bone. The differences also extend to the skull, which is actually the second easiest part of the skeleton forensic scientists can use to determine the probable sex of a skeleton, the pelvis being the first (learned that on NCIS!). In fact the mandible (jaw bone) alone gives examiners a 90% accuracy in determining the sex of a skeletal subject.
The female skull is generally smaller and lighter than the males. Elements like the brow ridge and mandible are usually less pronounced. The female skull tends to be wider than the males which leads to a general softness of features, more prominent cheekbones and a less prominent jawline. The areas above the eye sockets in men tend to be more blunt while the brow itself is more pronounced, but in women that same area is sharper (thus the purpose of eye shadow) while the brow protrudes less.
The jaw is actually a key element to the masculine/feminine definition of a subject, and represents the most dynamic differences between the faces of the sexes. The combination of the wider skull, the less developed mandible and the propensity of the female chin (mental protuberance) to be smaller and more pointed as opposed to a mans wider and more square one makes the female jaw distinct from the male jaw. The upper (top part of the) chin is wider and higher vertically while a females is more rounded and shorter. In fact the male chin is generally larger in every dimension. Big, square jaws inevitably read as masculine and small, narrow and pointier ones read as feminine.
Features themselves are also different, often as a result of the skull variance but sometimes of their own accord. Female noses, for example, are generally less angular and the tip is smaller and softer. They have a tendency to be pointier, narrower and vertically shorter (closer to the eyes) than a mans nose.
So, what does all this mean in terms of a caricature? Since caricature is all about exaggeration, it makes sense that if you want a subject to be more feminine you should downplay the things that make a face masculine and play up those things that make it feminine. Sounds like distortion, or the exaggeration of features based not on the what the subjects features demand but on some other preconceived notion (which I constantly preach against), doesnt it?
Some rules to drawing faces need to apply in order for the end result to be read as what it is intended to be read as. Drawing kids has certain rules you cannot break (or must break with only the most demanding of reasons) if you expect your caricature to look like a kid and not some weirdly deformed adult. Same thing with women. While its true that some womens faces with bend and even break some of these rules, knowing the general rules will allow the observer to look for them and understand their meaning. If you are drawing a women with an enormous square jaw you can hardly ignore it, but you can look for the other typical female attributes you can then play up to balance things or you can just exaggerate that enormous jaw and know your caricature is going to end up looking like Jessie Ventura in a wig. Hey, if the SUBJECT looks like Jessie Ventura in a wig you cant do much about that. At least you know WHY the caricature doesnt look feminine. You break the rules at your own risk, but you do have to break them when the situation calls for it.
So, what are the rules for making a caricature of a woman look feminine? The obvious thing is stay away from making the jaw, brow ridge and chin bigger or more pronounced in a womans caricature, and if possible even make these elements a little smaller. When possible play up those features that makeup is meant to enhance, like the sharper areas in the corners of the brows (eyeshadow), higher and more curved eyebrows (shaped eyebows), fuller lips especially the upper lip (lipstick), longer thicker eyelashes (mascara and eyeliner), higher more pronounced cheekbones (blush or rouge), less prominent nose (powder or base that used to avoid highlights that show the edges and draw attention).
Personally I always strive to make a womans face SOFTER than a mans. I stay away from harsh, angular lines and features in a womans caricature and use softer, more rounded lines and forms to define the face. I try to use fewer lines and elements that define edges of features. With a linear style of drawing, In general the more lines you use in the face the more masculine (and older) the subject looks. If I want my subject to look more feminine, I will seek to define the features with are few lines as possible. Its an old trick of filmmakers to use softer light and slightly out of focus (or vaseline-smeared lensed) camera on close ups of women to create a dreamy and sultry look to them it eliminates the hard edges of features.
Caricaturing a subject is, as always, defined by the demands the subjects features and persona demand of the artist. However that does not mean the caricaturist cannot approach a subject a little differently, and look for specific things they might expect to see, based on things like the age or sex of the subject. Understanding human perceptions and whats behind them with respect to things like male versus female faces only brings another source of observational power to the artist.
In this next (and long delayed) installment of my How to Draw Caricatures series of tutorials we will examine the ever popular and often abused nose.
I think the most common feature that gets exaggerated in a caricature is the nose. Many people actually think the definition of caricature is a drawing with a big nose. What is it about the nose that makes it such a ripe target for exaggeration, so often picked on (pardon the pun) that even the layman notices? Simply put, the nose is the most obnoxious of features. It sits in the very center of the face. It is a very vertical feature when compared to the horizontal nature of the eyes and mouth. It sticks out radically from the plane of the face, much more in relief than any of the other features. Its so prominent that its all too often used as a de-facto way to exaggerate the face. The fact is that the nose is like any other feature its perceived relationship with the other features determines the extent and direction of the exaggeration. Many people have small, button noses that need to be made smaller by way of exaggeration. In some cases the end of the nose may rest close in between the eyes, and in o
The nose is a combination of bone and cartilage made up of various parts that while unique in appearance and relationship in the individual nonetheless, as in any feature, are the same in all people. Starting from the top, the area between the eyebrows is called the glabella. The area directly between the eyes is the root or bridge. The area extending from the root down towards the end of the nose is called the lateral surfaces. The end or ball of the nose is called the apex. The two wings of the nose, the areas that define the outside of the bottom of the nose and the outside of the nostrils are called the ala. The septum is the area that connects the apex to the face and separates the two nostrils, which are the cavities that open into the interior of the nose and the nasal passages. The alar furrow is the crease made by the separation of the ala and the cheek muscles. The nose grows out of the brow, and is connected at the top of the feature by the brow ridge and at the bottom, to the lips/mouth by t
Im still not exactly sure how it happened, but somewhere along the line I ended up establishing the reputation of being able to do a crowd scene. I am sure my art director at MAD Magazine , Sam Viviano, can sympathize. He is well known for his work with crowd scenes, and all that implies. Simply put, it means you end up getting a lot of jobs doing complicated crowd scenes because well. you CAN. In the world of freelancing there is never anything wrong with getting jobs. However when a lot of jobs end up being time consuming crowd scenes, you sometimes just wish for a nice, simple single figure illustration job to cross your path. MAD has utilized me on many crowd scene projects, in particular their A MAD Look Behind the Scenes of features that they have occasionally done. Ive done a lot of them for other clients as well.
Its not that I hate crowd scenes. In fact, I like them. They are a LOT of work but when you are done with them they are always something you can sit back, look at and say whew! That one was tough but be pleased with the effort. In fact Ive been known to do much more complicated scenes than the job might necessarily call for just because a really detailed crowd scene is always visually intense and affords the opportunity to make it dense with visual gags, cameos and other fun stuff that makes the viewer really look it over thoroughly. The dense, chicken fat technique of filling space with a lot of gags has always been one of my favorite parts of MAD , and is something Ive always enjoyed incorporating into my work when I get the chance MAD or otherwise. Ive also always subscribed to the philosophy inherent in the famous quote by Wally Wood about doing very detailed and busy art: If you cant draw well, draw A LOT.
Ive been meaning to do a tutorial on how to do a crowd scene illustration, and in late November I was assigned a tough one for MAD that I thought afforded the opportunity to demonstrate how to approach and execute a crowd scene. In consideration of that thought, I saved conceptual sketches and stages of this particular job for MAD so I could use them to illustrate how I go about constructing a crowd scene. (more)
Easily the most asked question I get is how do you draw caricatures?. However a close runner up is how do you draw hands?. Im not exactly the king of drawing hands, but I have made a special study of them as they are very important when doing comic book type work hands and their gestures are a big part of acting and therefore of storytelling.
Next to faces, hands are probably the most expressive and intricate part of the human form. In fact, humans probably spend more time looking at their hands than they do looking at anything else over their entire lives. Being that we are all so familiar with the way hands look, a poorly drawn hand sticks out like a sore thumb (sorry about the pun). Oddly enough, hands are something that most artists struggle to draw well. So, with that in mind I thought Id do a tutorial on my approach to drawing hands.
Im a cartoonist at heart, so the hands I draw are not realistic hands by most definitions. However my style of cartooning lends itself more to realistic representation than, say, a certain four fingered gloved mouse or other much more cartoony characters do. Therefore a lot of the information in this tutorial will apply to drawing hands realistically as well as in more cartoon form. Ill attempt to explain the basic anatomy of a hand, things to keep in mind at all times when drawing them and common mistakes and issues that plague many artists when drawing hands.
As with drawing anything, it all starts with an understanding of the basic form and structure of your subject matter. Hands are certainly no different. In fact, many of the most common problems with drawing hands stems from incorrect notions of the form of the hand. Im not a big stickler for memorizing the names of muscles and bones because it seems to zone people out when you start tossing around Carpal this and Metatarsal that however labels are something that some people need to be able to apply, so some general surface anatomy with laymans terms seems to be the best approach. Here is a breakdown of a hand with the important surface elements labeled:
Not really much to it, is there? Everybody knows what knuckles and fingernails are. Where an artist gets tripped up is not understanding how they relate to one another, and how they move in relationship to one another when the hand starts doing its thing. Things like how the knuckles line up, where the pad creases fall, how the fingers bend and interact these are all important elements to drawing convincing hand gestures. (more)
Q: You make cross-hatching look so easy. Mine always ends up looking like a messy patchwork quilt. Whats the secret to good cross hatching?
A: Well, thanks for the compliment but I dont consider myself much of an expert on crosshatching. With me its an exercise in controlled chaos. If you want to see a caricaturist who uses crosshatching to great effect, check out the work of Jan Op De Beeck or Vin Altamore.
Some History- Crosshatching is a technique for adding values to a drawing by layering intersecting lines together to create the illusion of gradating tones. It was used a lot in the days of engraving and etching, when some form of hatching was almost the only way to achieve any kind of value in the artwork. It was used a lot in the good old days of photostat cameras, especially with inked artwork and cartooning/comics. Photostating was how artwork or photos got transferred to film/plates for printing in the days before everyone had a scanner on their desktop. It was a large machine with a mounted camera over a flat mounting surface and even, bright lighting. The camera took a picture of the artwork and outputted it on either bright white photostat paper as a positive or negative image. The result was camera ready art that could be pasted up onto a layout with type and other elements and then reshot for printing. Photostat cameras could use various screens that would create dot patterns of various densitie
Do Not Overuse It- Its tempting to try and capture every change in value from an object but that usually results in an incomprehensible mess. I will sometime indicate lesser values but in general only hatch in values that are maybe 40% gray or darker. Basically I will only do the really important values and leave the rest out.
Dont Use a Ruler- There are certain styles that can get away with using a straight edge to do the lines for crosshatching, but in general it makes for a mechanical look with the life sucked out of the drawing. The natural imperfection of hand drawing adds charm and warmth. Use that. I often allow the lines to curve and arc, especially in the second or third layer
Stick to Three Main Layers- More than that and it gets muddy fast. I add all sorts of smaller areas with fourth or more layers, but I usually only use three big ones.
Dont Use Right Angled Lines- I.E. lines that are at 90 degree angles to each other. Very boring and again sucks the life out of the drawing. Using lines that are too close to parallel will create a weird moire sort of pattern, which can be cool if you want that effect but thats also not the best approach.
Vary the Length of Your Lines- Again, your drawing will look mechanical if all your lines end at the same length.
Its difficult to describe in words how to crosshatch. Here is a quick step by step of a partial drawing:
Ive written in past tutorials on drawing caricatures that you cant really teach someone to draw caricatures that is more about developing their sight and observation skills and also developing an ability to find that which make an individual face unique and exaggerating it. Since every face is different this is an exercise in personal observation and decision. Therefore after I have gone over the information in my pervious tutorials, I switch gears an concentrate on teaching rookie live caricaturists how to draw the individual features, both how to see them, exaggerate them and how to draw them in line to best effect.
Here is where style becomes an issue. What I have written about previously can apply to almost any style of caricature, from the richly painted to the most minimalist of line. In these next series of tutorials some aspects of what I talk about will relate specifically with a style of caricature like my own based on cartoon line either inked or in some other medium. Therefore those with different sensibilities and styles can take from it what they will and apply what makes sense to them, and ignore the rest. I will try to center my discussion on that which applies to a broader range of styles than just my own.
My method for teaching the individual features begins with a lesson on real anatomy. Im not a big believer in memorizing every anatomical name but I do believe you must have a good working knowledge of how a feature is put together in order to have a good command over the drawing of said feature. Following the anatomy lesson, I talk about different techniques to help see the shape of the feature and understand how to draw it, including realistic proportion. Finally I talk about interpreting the feature in terms of exaggeration and incorporating it into the whole.
Seeing and drawing anything is all about shapes and the correct drawing of them or in the case of caricature the correct drawing of the exaggeration of them. Either way you still have to see the object you are drawing and understand its form first. We have all seen depictions of artists on TV raising their arm outstretched towards their models with the thumb out from the fist and squinting their eyes before drawing. That is supposed to represent an old artists trick of using their thumb, or hand, or pencil or some other object to measure their subjects features relative to one another, or to see angles or other relationships. The thumb is supposed to be a point of reference a constant that is used to make accurate observations of the subject. Establishing points of reference in the face is key to helping to see shapes and make observations. With each feature and the face overall I will suggest several things I use as constant points of reference, which I can then use as a starting point from which o
Our first feature is the eyes. Ive always felt that the eyes of a caricature are the center of everything, literally the center of the face but figuratively the center of expression, personality and life as it were. Therefore Ive always place special emphasis on the eyes and begin and end with them, after the head shape, as the focus of almost any caricature. (more)
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One of the most common problems I hear about from other caricaturists is that women are harder to draw than men. Many struggle to make their caricatures of women look feminine, and often feel their female subjects look like drag queens.
I think its a myth that women, particularly beautiful women, are harder to caricature than men. Women have the same sets of features that men have, but the need to differentiate the masculine from the feminine forces the caricaturist to modify his or her approach (in most cases) to the different sexes. That doesnt mean that its more difficult to draw either sex than it is to draw the other, but you do have to keep the masculine/feminine difference in mind if you want to avoid the drag queen look that sometimes results in a caricature of a woman.
Superficially there are a lot of facial elements that identify a given subject as male or female. Thick eyelashes, full red lips, soft complexion, high cheekbones, more curved and thinner eyebrows these are feature descriptions that are distinctly feminine. You may notice these items have one thing in common they are all features that women traditionally use makeup to accentuate or to create . If women dont have them in abundance naturally many use makeup to create them or to accentuate what they do possess. Take your cues from what makeup artists do to see what kinds of features say female (and conversely what to avoid on a male caricature to prevent them from looking feminine). If I am drawing a man who happens to have thick, long eyelashes (many do) I will play that DOWN in many cases to accentuate the masculine in the drawing.
These are only superficial things, though. The real differences between men and womens faces lay under the skin with the bones and the skull. This is the basis of the drag queen look the human eye and brain is able to differentiate between a male and female face based on difference and indicators that are more than surface features. Hence a drawing of a face with lots of female makeup level features on the surface but with the structure and other aspects of a typical male face looks like a man wearing makeup.
Skeletal differences between the sexes are well documented. Its not just the different chromosomes that are behind it, either the high levels of testosterone at puberty help enlarge the bones of males, while the high levels of progesterone also help develop male characteristics like greater height and a narrower pelvic bone. The differences also extend to the skull, which is actually the second easiest part of the skeleton forensic scientists can use to determine the probable sex of a skeleton, the pelvis being the first (learned that on NCIS!). In fact the mandible (jaw bone) alone gives examiners a 90% accuracy in determining the sex of a skeletal subject.
The female skull is generally smaller and lighter than the males. Elements like the brow ridge and mandible are usually less pronounced. The female skull tends to be wider than the males which leads to a general softness of features, more prominent cheekbones and a less prominent jawline. The areas above the eye sockets in men tend to be more blunt while the brow itself is more pronounced, but in women that same area is sharper (thus the purpose of eye shadow) while the brow protrudes less.
The jaw is actually a key element to the masculine/feminine definition of a subject, and represents the most dynamic differences between the faces of the sexes. The combination of the wider skull, the less developed mandible and the propensity of the female chin (mental protuberance) to be smaller and more pointed as opposed to a mans wider and more square one makes the female jaw distinct from the male jaw. The upper (top part of the) chin is wider and higher vertically while a females is more rounded and shorter. In fact the male chin is generally larger in every dimension. Big, square jaws inevitably read as masculine and small, narrow and pointier ones read as feminine.
Features themselves are also different, often as a result of the skull variance but sometimes of their own accord. Female noses, for example, are generally less angular and the tip is smaller and softer. They have a tendency to be pointier, narrower and vertically shorter (closer to the eyes) than a mans nose.
So, what does all this mean in terms of a caricature? Since caricature is all about exaggeration, it makes sense that if you want a subject to be more feminine you should downplay the things that make a face masculine and play up those things that make it feminine. Sounds like distortion, or the exaggeration of features based not on the what the subjects features demand but on some other preconceived notion (which I constantly preach against), doesnt it?
Some rules to drawing faces need to apply in order for the end result to be read as what it is intended to be read as. Drawing kids has certain rules you cannot break (or must break with only the most demanding of reasons) if you expect your caricature to look like a kid and not some weirdly deformed adult. Same thing with women. While its true that some womens faces with bend and even break some of these rules, knowing the general rules will allow the observer to look for them and understand their meaning. If you are drawing a women with an enormous square jaw you can hardly ignore it, but you can look for the other typical female attributes you can then play up to balance things or you can just exaggerate that enormous jaw and know your caricature is going to end up looking like Jessie Ventura in a wig. Hey, if the SUBJECT looks like Jessie Ventura in a wig you cant do much about that. At least you know WHY the caricature doesnt look feminine. You break the rules at your own risk, but you do have to break them when the situation calls for it.
So, what are the rules for making a caricature of a woman look feminine? The obvious thing is stay away from making the jaw, brow ridge and chin bigger or more pronounced in a womans caricature, and if possible even make these elements a little smaller. When possible play up those features that makeup is meant to enhance, like the sharper areas in the corners of the brows (eyeshadow), higher and more curved eyebrows (shaped eyebows), fuller lips especially the upper lip (lipstick), longer thicker eyelashes (mascara and eyeliner), higher more pronounced cheekbones (blush or rouge), less prominent nose (powder or base that used to avoid highlights that show the edges and draw attention).
Personally I always strive to make a womans face SOFTER than a mans. I stay away from harsh, angular lines and features in a womans caricature and use softer, more rounded lines and forms to define the face. I try to use fewer lines and elements that define edges of features. With a linear style of drawing, In general the more lines you use in the face the more masculine (and older) the subject looks. If I want my subject to look more feminine, I will seek to define the features with are few lines as possible. Its an old trick of filmmakers to use softer light and slightly out of focus (or vaseline-smeared lensed) camera on close ups of women to create a dreamy and sultry look to them it eliminates the hard edges of features.
Caricaturing a subject is, as always, defined by the demands the subjects features and persona demand of the artist. However that does not mean the caricaturist cannot approach a subject a little differently, and look for specific things they might expect to see, based on things like the age or sex of the subject. Understanding human perceptions and whats behind them with respect to things like male versus female faces only brings another source of observational power to the artist.
I think the most common feature that gets exaggerated in a caricature is the nose. Many people actually think the definition of caricature is a drawing with a big nose. What is it about the nose that makes it such a ripe target for exaggeration, so often picked on (pardon the pun) that even the layman notices? Simply put, the nose is the most obnoxious of features. It sits in the very center of the face. It is a very vertical feature when compared to the horizontal nature of the eyes and mouth. It sticks out radically from the plane of the face, much more in relief than any of the other features. Its so prominent that its all too often used as a de-facto way to exaggerate the face. The fact is that the nose is like any other feature its perceived relationship with the other features determines the extent and direction of the exaggeration. Many people have small, button noses that need to be made smaller by way of exaggeration. In some cases the end of the nose may rest close in between the eyes, and in o
The nose is a combination of bone and cartilage made up of various parts that while unique in appearance and relationship in the individual nonetheless, as in any feature, are the same in all people. Starting from the top, the area between the eyebrows is called the glabella. The area directly between the eyes is the root or bridge. The area extending from the root down towards the end of the nose is called the lateral surfaces. The end or ball of the nose is called the apex. The two wings of the nose, the areas that define the outside of the bottom of the nose and the outside of the nostrils are called the ala. The septum is the area that connects the apex to the face and separates the two nostrils, which are the cavities that open into the interior of the nose and the nasal passages. The alar furrow is the crease made by the separation of the ala and the cheek muscles. The nose grows out of the brow, and is connected at the top of the feature by the brow ridge and at the bottom, to the lips/mouth by t
Im still not exactly sure how it happened, but somewhere along the line I ended up establishing the reputation of being able to do a crowd scene. I am sure my art director at MAD Magazine , Sam Viviano, can sympathize. He is well known for his work with crowd scenes, and all that implies. Simply put, it means you end up getting a lot of jobs doing complicated crowd scenes because well. you CAN. In the world of freelancing there is never anything wrong with getting jobs. However when a lot of jobs end up being time consuming crowd scenes, you sometimes just wish for a nice, simple single figure illustration job to cross your path. MAD has utilized me on many crowd scene projects, in particular their A MAD Look Behind the Scenes of features that they have occasionally done. Ive done a lot of them for other clients as well.
Its not that I hate crowd scenes. In fact, I like them. They are a LOT of work but when you are done with them they are always something you can sit back, look at and say whew! That one was tough but be pleased with the effort. In fact Ive been known to do much more complicated scenes than the job might necessarily call for just because a really detailed crowd scene is always visually intense and affords the opportunity to make it dense with visual gags, cameos and other fun stuff that makes the viewer really look it over thoroughly. The dense, chicken fat technique of filling space with a lot of gags has always been one of my favorite parts of MAD , and is something Ive always enjoyed incorporating into my work when I get the chance MAD or otherwise. Ive also always subscribed to the philosophy inherent in the famous quote by Wally Wood about doing very detailed and busy art: If you cant draw well, draw A LOT.
Ive been meaning to do a tutorial on how to do a crowd scene illustration, and in late November I was assigned a tough one for MAD that I thought afforded the opportunity to demonstrate how to approach and execute a crowd scene. In consideration of that thought, I saved conceptual sketches and stages of this particular job for MAD so I could use them to illustrate how I go about constructing a crowd scene. (more)
Easily the most asked question I get is how do you draw caricatures?. However a close runner up is how do you draw hands?. Im not exactly the king of drawing hands, but I have made a special study of them as they are very important when doing comic book type work hands and their gestures are a big part of acting and therefore of storytelling.
Next to faces, hands are probably the most expressive and intricate part of the human form. In fact, humans probably spend more time looking at their hands than they do looking at anything else over their entire lives. Being that we are all so familiar with the way hands look, a poorly drawn hand sticks out like a sore thumb (sorry about the pun). Oddly enough, hands are something that most artists struggle to draw well. So, with that in mind I thought Id do a tutorial on my approach to drawing hands.
Im a cartoonist at heart, so the hands I draw are not realistic hands by most definitions. However my style of cartooning lends itself more to realistic representation than, say, a certain four fingered gloved mouse or other much more cartoony characters do. Therefore a lot of the information in this tutorial will apply to drawing hands realistically as well as in more cartoon form. Ill attempt to explain the basic anatomy of a hand, things to keep in mind at all times when drawing them and common mistakes and issues that plague many artists when drawing hands.
As with drawing anything, it all starts with an understanding of the basic form and structure of your subject matter. Hands are certainly no different. In fact, many of the most common problems with drawing hands stems from incorrect notions of the form of the hand. Im not a big stickler for memorizing the names of muscles and bones because it seems to zone people out when you start tossing around Carpal this and Metatarsal that however labels are something that some people need to be able to apply, so some general surface anatomy with laymans terms seems to be the best approach. Here is a breakdown of a hand with the important surface elements labeled:
Not really much to it, is there? Everybody knows what knuckles and fingernails are. Where an artist gets tripped up is not understanding how they relate to one another, and how they move in relationship to one another when the hand starts doing its thing. Things like how the knuckles line up, where the pad creases fall, how the fingers bend and interact these are all important elements to drawing convincing hand gestures. (more)
A: Well, thanks for the compliment but I dont consider myself much of an expert on crosshatching. With me its an exercise in controlled chaos. If you want to see a caricaturist who uses crosshatching to great effect, check out the work of Jan Op De Beeck or Vin Altamore.
Some History- Crosshatching is a technique for adding values to a drawing by layering intersecting lines together to create the illusion of gradating tones. It was used a lot in the days of engraving and etching, when some form of hatching was almost the only way to achieve any kind of value in the artwork. It was used a lot in the good old days of photostat cameras, especially with inked artwork and cartooning/comics. Photostating was how artwork or photos got transferred to film/plates for printing in the days before everyone had a scanner on their desktop. It was a large machine with a mounted camera over a flat mounting surface and even, bright lighting. The camera took a picture of the artwork and outputted it on either bright white photostat paper as a positive or negative image. The result was camera ready art that could be pasted up onto a layout with type and other elements and then reshot for printing. Photostat cameras could use various screens that would create dot patterns of various densitie
Do Not Overuse It- Its tempting to try and capture every change in value from an object but that usually results in an incomprehensible mess. I will sometime indicate lesser values but in general only hatch in values that are maybe 40% gray or darker. Basically I will only do the really important values and leave the rest out.
Dont Use a Ruler- There are certain styles that can get away with using a straight edge to do the lines for crosshatching, but in general it makes for a mechanical look with the life sucked out of the drawing. The natural imperfection of hand drawing adds charm and warmth. Use that. I often allow the lines to curve and arc, especially in the second or third layer
Dont Use Right Angled Lines- I.E. lines that are at 90 degree angles to each other. Very boring and again sucks the life out of the drawing. Using lines that are too close to parallel will create a weird moire sort of pattern, which can be cool if you want that effect but thats also not the best approach.
Ive written in past tutorials on drawing caricatures that you cant really teach someone to draw caricatures that is more about developing their sight and observation skills and also developing an ability to find that which make an individual face unique and exaggerating it. Since every face is different this is an exercise in personal observation and decision. Therefore after I have gone over the information in my pervious tutorials, I switch gears an concentrate on teaching rookie live caricaturists how to draw the individual features, both how to see them, exaggerate them and how to draw them in line to best effect.
Here is where style becomes an issue. What I have written about previously can apply to almost any style of caricature, from the richly painted to the most minimalist of line. In these next series of tutorials some aspects of what I talk about will relate specifically with a style of caricature like my own based on cartoon line either inked or in some other medium. Therefore those with different sensibilities and styles can take from it what they will and apply what makes sense to them, and ignore the rest. I will try to center my discussion on that which applies to a broader range of styles than just my own.
My method for teaching the individual features begins with a lesson on real anatomy. Im not a big believer in memorizing every anatomical name but I do believe you must have a good working knowledge of how a feature is put together in order to have a good command over the drawing of said feature. Following the anatomy lesson, I talk about different techniques to help see the shape of the feature and understand how to draw it, including realistic proportion. Finally I talk about interpreting the feature in terms of exaggeration and incorporating it into the whole.
Seeing and drawing anything is all about shapes and the correct drawing of them or in the case of caricature the correct drawing of the exaggeration of them. Either way you still have to see the object you are drawing and understand its form first. We have all seen depictions of artists on TV raising their arm outstretched towards their models with the thumb out from the fist and squinting their eyes before drawing. That is supposed to represent an old artists trick of using their thumb, or hand, or pencil or some other object to measure their subjects features relative to one another, or to see angles or other relationships. The thumb is supposed to be a point of reference a constant that is used to make accurate observations of the subject. Establishing points of reference in the face is key to helping to see shapes and make observations. With each feature and the face overall I will suggest several things I use as constant points of reference, which I can then use as a starting point from which o
Our first feature is the eyes. Ive always felt that the eyes of a caricature are the center of everything, literally the center of the face but figuratively the center of expression, personality and life as it were. Therefore Ive always place special emphasis on the eyes and begin and end with them, after the head shape, as the focus of almost any caricature. (more)
I think its a myth that women, particularly beautiful women, are harder to caricature than men. Women have the same sets of features that men have, but the need to differentiate the masculine from the feminine forces the caricaturist to modify his or her approach (in most cases) to the different sexes. That doesnt mean that its more difficult to draw either sex than it is to draw the other, but you do have to keep the masculine/feminine difference in mind if you want to avoid the drag queen look that sometimes results in a caricature of a woman.
Superficially there are a lot of facial elements that identify a given subject as male or female. Thick eyelashes, full red lips, soft complexion, high cheekbones, more curved and thinner eyebrows these are feature descriptions that are distinctly feminine. You may notice these items have one thing in common they are all features that women traditionally use makeup to accentuate or to create . If women dont have them in abundance naturally many use makeup to create them or to accentuate what they do possess. Take your cues from what makeup artists do to see what kinds of features say female (and conversely what to avoid on a male caricature to prevent them from looking feminine). If I am drawing a man who happens to have thick, long eyelashes (many do) I will play that DOWN in many cases to accentuate the masculine in the drawing.
These are only superficial things, though. The real differences between men and womens faces lay under the skin with the bones and the skull. This is the basis of the drag queen look the human eye and brain is able to differentiate between a male and female face based on difference and indicators that are more than surface features. Hence a drawing of a face with lots of female makeup level features on the surface but with the structure and other aspects of a typical male face looks like a man wearing makeup.
Skeletal differences between the sexes are well documented. Its not just the different chromosomes that are behind it, either the high levels of testosterone at puberty help enlarge the bones of males, while the high levels of progesterone also help develop male characteristics like greater height and a narrower pelvic bone. The differences also extend to the skull, which is actually the second easiest part of the skeleton forensic scientists can use to determine the probable sex of a skeleton, the pelvis being the first (learned that on NCIS!). In fact the mandible (jaw bone) alone gives examiners a 90% accuracy in determining the sex of a skeletal subject.
The female skull is generally smaller and lighter than the males. Elements like the brow ridge and mandible are usually less pronounced. The female skull tends to be wider than the males which leads to a general softness of features, more prominent cheekbones and a less prominent jawline. The areas above the eye sockets in men tend to be more blunt while the brow itself is more pronounced, but in women that same area is sharper (thus the purpose of eye shadow) while the brow protrudes less.
The jaw is actually a key element to the masculine/feminine definition of a subject, and represents the most dynamic differences between the faces of the sexes. The combination of the wider skull, the less developed mandible and the propensity of the female chin (mental protuberance) to be smaller and more pointed as opposed to a mans wider and more square one makes the female jaw distinct from the male jaw. The upper (top part of the) chin is wider and higher vertically while a females is more rounded and shorter. In fact the male chin is generally larger in every dimension. Big, square jaws inevitably read as masculine and small, narrow and pointier ones read as feminine.
Features themselves are also different, often as a result of the skull variance but sometimes of their own accord. Female noses, for example, are generally less angular and the tip is smaller and softer. They have a tendency to be pointier, narrower and vertically shorter (closer to the eyes) than a mans nose.
So, what does all this mean in terms of a caricature? Since caricature is all about exaggeration, it makes sense that if you want a subject to be more feminine you should downplay the things that make a face masculine and play up those things that make it feminine. Sounds like distortion, or the exaggeration of features based not on the what the subjects features demand but on some other preconceived notion (which I constantly preach against), doesnt it?
Some rules to drawing faces need to apply in order for the end result to be read as what it is intended to be read as. Drawing kids has certain rules you cannot break (or must break with only the most demanding of reasons) if you expect your caricature to look like a kid and not some weirdly deformed adult. Same thing with women. While its true that some womens faces with bend and even break some of these rules, knowing the general rules will allow the observer to look for them and understand their meaning. If you are drawing a women with an enormous square jaw you can hardly ignore it, but you can look for the other typical female attributes you can then play up to balance things or you can just exaggerate that enormous jaw and know your caricature is going to end up looking like Jessie Ventura in a wig. Hey, if the SUBJECT looks like Jessie Ventura in a wig you cant do much about that. At least you know WHY the caricature doesnt look feminine. You break the rules at your own risk, but you do have to break them when the situation calls for it.
So, what are the rules for making a caricature of a woman look feminine? The obvious thing is stay away from making the jaw, brow ridge and chin bigger or more pronounced in a womans caricature, and if possible even make these elements a little smaller. When possible play up those features that makeup is meant to enhance, like the sharper areas in the corners of the brows (eyeshadow), higher and more curved eyebrows (shaped eyebows), fuller lips especially the upper lip (lipstick), longer thicker eyelashes (mascara and eyeliner), higher more pronounced cheekbones (blush or rouge), less prominent nose (powder or base that used to avoid highlights that show the edges and draw attention).
Personally I always strive to make a womans face SOFTER than a mans. I stay away from harsh, angular lines and features in a womans caricature and use softer, more rounded lines and forms to define the face. I try to use fewer lines and elements that define edges of features. With a linear style of drawing, In general the more lines you use in the face the more masculine (and older) the subject looks. If I want my subject to look more feminine, I will seek to define the features with are few lines as possible. Its an old trick of filmmakers to use softer light and slightly out of focus (or vaseline-smeared lensed) camera on close ups of women to create a dreamy and sultry look to them it eliminates the hard edges of features.
Caricaturing a subject is, as always, defined by the demands the subjects features and persona demand of the artist. However that does not mean the caricaturist cannot approach a subject a little differently, and look for specific things they might expect to see, based on things like the age or sex of the subject. Understanding human perceptions and whats behind them with respect to things like male versus female faces only brings another source of observational power to the artist.
I think the most common feature that gets exaggerated in a caricature is the nose. Many people actually think the definition of caricature is a drawing with a big nose. What is it about the nose that makes it such a ripe target for exaggeration, so often picked on (pardon the pun) that even the layman notices? Simply put, the nose is the most obnoxious of features. It sits in the very center of the face. It is a very vertical feature when compared to the horizontal nature of the eyes and mouth. It sticks out radically from the plane of the face, much more in relief than any of the other features. Its so prominent that its all too often used as a de-facto way to exaggerate the face. The fact is that the nose is like any other feature its perceived relationship with the other features determines the extent and direction of the exaggeration. Many people have small, button noses that need to be made smaller by way of exaggeration. In some cases the end of the nose may rest close in between the eyes, and in o
The nose is a combination of bone and cartilage made up of various parts that while unique in appearance and relationship in the individual nonetheless, as in any feature, are the same in all people. Starting from the top, the area between the eyebrows is called the glabella. The area directly between the eyes is the root or bridge. The area extending from the root down towards the end of the nose is called the lateral surfaces. The end or ball of the nose is called the apex. The two wings of the nose, the areas that define the outside of the bottom of the nose and the outside of the nostrils are called the ala. The septum is the area that connects the apex to the face and separates the two nostrils, which are the cavities that open into the interior of the nose and the nasal passages. The alar furrow is the crease made by the separation of the ala and the cheek muscles. The nose grows out of the brow, and is connected at the top of the feature by the brow ridge and at the bottom, to the lips/mouth by t
Im still not exactly sure how it happened, but somewhere along the line I ended up establishing the reputation of being able to do a crowd scene. I am sure my art director at MAD Magazine , Sam Viviano, can sympathize. He is well known for his work with crowd scenes, and all that implies. Simply put, it means you end up getting a lot of jobs doing complicated crowd scenes because well. you CAN. In the world of freelancing there is never anything wrong with getting jobs. However when a lot of jobs end up being time consuming crowd scenes, you sometimes just wish for a nice, simple single figure illustration job to cross your path. MAD has utilized me on many crowd scene projects, in particular their A MAD Look Behind the Scenes of features that they have occasionally done. Ive done a lot of them for other clients as well.
Its not that I hate crowd scenes. In fact, I like them. They are a LOT of work but when you are done with them they are always something you can sit back, look at and say whew! That one was tough but be pleased with the effort. In fact Ive been known to do much more complicated scenes than the job might necessarily call for just because a really detailed crowd scene is always visually intense and affords the opportunity to make it dense with visual gags, cameos and other fun stuff that makes the viewer really look it over thoroughly. The dense, chicken fat technique of filling space with a lot of gags has always been one of my favorite parts of MAD , and is something Ive always enjoyed incorporating into my work when I get the chance MAD or otherwise. Ive also always subscribed to the philosophy inherent in the famous quote by Wally Wood about doing very detailed and busy art: If you cant draw well, draw A LOT.
Ive been meaning to do a tutorial on how to do a crowd scene illustration, and in late November I was assigned a tough one for MAD that I thought afforded the opportunity to demonstrate how to approach and execute a crowd scene. In consideration of that thought, I saved conceptual sketches and stages of this particular job for MAD so I could use them to illustrate how I go about constructing a crowd scene. (more)
Easily the most asked question I get is how do you draw caricatures?. However a close runner up is how do you draw hands?. Im not exactly the king of drawing hands, but I have made a special study of them as they are very important when doing comic book type work hands and their gestures are a big part of acting and therefore of storytelling.
Next to faces, hands are probably the most expressive and intricate part of the human form. In fact, humans probably spend more time looking at their hands than they do looking at anything else over their entire lives. Being that we are all so familiar with the way hands look, a poorly drawn hand sticks out like a sore thumb (sorry about the pun). Oddly enough, hands are something that most artists struggle to draw well. So, with that in mind I thought Id do a tutorial on my approach to drawing hands.
Im a cartoonist at heart, so the hands I draw are not realistic hands by most definitions. However my style of cartooning lends itself more to realistic representation than, say, a certain four fingered gloved mouse or other much more cartoony characters do. Therefore a lot of the information in this tutorial will apply to drawing hands realistically as well as in more cartoon form. Ill attempt to explain the basic anatomy of a hand, things to keep in mind at all times when drawing them and common mistakes and issues that plague many artists when drawing hands.
As with drawing anything, it all starts with an understanding of the basic form and structure of your subject matter. Hands are certainly no different. In fact, many of the most common problems with drawing hands stems from incorrect notions of the form of the hand. Im not a big stickler for memorizing the names of muscles and bones because it seems to zone people out when you start tossing around Carpal this and Metatarsal that however labels are something that some people need to be able to apply, so some general surface anatomy with laymans terms seems to be the best approach. Here is a breakdown of a hand with the important surface elements labeled:
Not really much to it, is there? Everybody knows what knuckles and fingernails are. Where an artist gets tripped up is not understanding how they relate to one another, and how they move in relationship to one another when the hand starts doing its thing. Things like how the knuckles line up, where the pad creases fall, how the fingers bend and interact these are all important elements to drawing convincing hand gestures. (more)
Some History- Crosshatching is a technique for adding values to a drawing by layering intersecting lines together to create the illusion of gradating tones. It was used a lot in the days of engraving and etching, when some form of hatching was almost the only way to achieve any kind of value in the artwork. It was used a lot in the good old days of photostat cameras, especially with inked artwork and cartooning/comics. Photostating was how artwork or photos got transferred to film/plates for printing in the days before everyone had a scanner on their desktop. It was a large machine with a mounted camera over a flat mounting surface and even, bright lighting. The camera took a picture of the artwork and outputted it on either bright white photostat paper as a positive or negative image. The result was camera ready art that could be pasted up onto a layout with type and other elements and then reshot for printing. Photostat cameras could use various screens that would create dot patterns of various densitie
Do Not Overuse It- Its tempting to try and capture every change in value from an object but that usually results in an incomprehensible mess. I will sometime indicate lesser values but in general only hatch in values that are maybe 40% gray or darker. Basically I will only do the really important values and leave the rest out.
Dont Use a Ruler- There are certain styles that can get away with using a straight edge to do the lines for crosshatching, but in general it makes for a mechanical look with the life sucked out of the drawing. The natural imperfection of hand drawing adds charm and warmth. Use that. I often allow the lines to curve and arc, especially in the second or third layer
Dont Use Right Angled Lines- I.E. lines that are at 90 degree angles to each other. Very boring and again sucks the life out of the drawing. Using lines that are too close to parallel will create a weird moire sort of pattern, which can be cool if you want that effect but thats also not the best approach.
Ive written in past tutorials on drawing caricatures that you cant really teach someone to draw caricatures that is more about developing their sight and observation skills and also developing an ability to find that which make an individual face unique and exaggerating it. Since every face is different this is an exercise in personal observation and decision. Therefore after I have gone over the information in my pervious tutorials, I switch gears an concentrate on teaching rookie live caricaturists how to draw the individual features, both how to see them, exaggerate them and how to draw them in line to best effect.
Here is where style becomes an issue. What I have written about previously can apply to almost any style of caricature, from the richly painted to the most minimalist of line. In these next series of tutorials some aspects of what I talk about will relate specifically with a style of caricature like my own based on cartoon line either inked or in some other medium. Therefore those with different sensibilities and styles can take from it what they will and apply what makes sense to them, and ignore the rest. I will try to center my discussion on that which applies to a broader range of styles than just my own.
My method for teaching the individual features begins with a lesson on real anatomy. Im not a big believer in memorizing every anatomical name but I do believe you must have a good working knowledge of how a feature is put together in order to have a good command over the drawing of said feature. Following the anatomy lesson, I talk about different techniques to help see the shape of the feature and understand how to draw it, including realistic proportion. Finally I talk about interpreting the feature in terms of exaggeration and incorporating it into the whole.
Seeing and drawing anything is all about shapes and the correct drawing of them or in the case of caricature the correct drawing of the exaggeration of them. Either way you still have to see the object you are drawing and understand its form first. We have all seen depictions of artists on TV raising their arm outstretched towards their models with the thumb out from the fist and squinting their eyes before drawing. That is supposed to represent an old artists trick of using their thumb, or hand, or pencil or some other object to measure their subjects features relative to one another, or to see angles or other relationships. The thumb is supposed to be a point of reference a constant that is used to make accurate observations of the subject. Establishing points of reference in the face is key to helping to see shapes and make observations. With each feature and the face overall I will suggest several things I use as constant points of reference, which I can then use as a starting point from which o
Our first feature is the eyes. Ive always felt that the eyes of a caricature are the center of everything, literally the center of the face but figuratively the center of expression, personality and life as it were. Therefore Ive always place special emphasis on the eyes and begin and end with them, after the head shape, as the focus of almost any caricature. (more)
I think its a myth that women, particularly beautiful women, are harder to caricature than men. Women have the same sets of features that men have, but the need to differentiate the masculine from the feminine forces the caricaturist to modify his or her approach (in most cases) to the different sexes. That doesnt mean that its more difficult to draw either sex than it is to draw the other, but you do have to keep the masculine/feminine difference in mind if you want to avoid the drag queen look that sometimes results in a caricature of a woman.
Superficially there are a lot of facial elements that identify a given subject as male or female. Thick eyelashes, full red lips, soft complexion, high cheekbones, more curved and thinner eyebrows these are feature descriptions that are distinctly feminine. You may notice these items have one thing in common they are all features that women traditionally use makeup to accentuate or to create . If women dont have them in abundance naturally many use makeup to create them or to accentuate what they do possess. Take your cues from what makeup artists do to see what kinds of features say female (and conversely what to avoid on a male caricature to prevent them from looking feminine). If I am drawing a man who happens to have thick, long eyelashes (many do) I will play that DOWN in many cases to accentuate the masculine in the drawing.
These are only superficial things, though. The real differences between men and womens faces lay under the skin with the bones and the skull. This is the basis of the drag queen look the human eye and brain is able to differentiate between a male and female face based on difference and indicators that are more than surface features. Hence a drawing of a face with lots of female makeup level features on the surface but with the structure and other aspects of a typical male face looks like a man wearing makeup.
Skeletal differences between the sexes are well documented. Its not just the different chromosomes that are behind it, either the high levels of testosterone at puberty help enlarge the bones of males, while the high levels of progesterone also help develop male characteristics like greater height and a narrower pelvic bone. The differences also extend to the skull, which is actually the second easiest part of the skeleton forensic scientists can use to determine the probable sex of a skeleton, the pelvis being the first (learned that on NCIS!). In fact the mandible (jaw bone) alone gives examiners a 90% accuracy in determining the sex of a skeletal subject.
The female skull is generally smaller and lighter than the males. Elements like the brow ridge and mandible are usually less pronounced. The female skull tends to be wider than the males which leads to a general softness of features, more prominent cheekbones and a less prominent jawline. The areas above the eye sockets in men tend to be more blunt while the brow itself is more pronounced, but in women that same area is sharper (thus the purpose of eye shadow) while the brow protrudes less.
The jaw is actually a key element to the masculine/feminine definition of a subject, and represents the most dynamic differences between the faces of the sexes. The combination of the wider skull, the less developed mandible and the propensity of the female chin (mental protuberance) to be smaller and more pointed as opposed to a mans wider and more square one makes the female jaw distinct from the male jaw. The upper (top part of the) chin is wider and higher vertically while a females is more rounded and shorter. In fact the male chin is generally larger in every dimension. Big, square jaws inevitably read as masculine and small, narrow and pointier ones read as feminine.
So, what does all this mean in terms of a caricature? Since caricature is all about exaggeration, it makes sense that if you want a subject to be more feminine you should downplay the things that make a face masculine and play up those things that make it feminine. Sounds like distortion, or the exaggeration of features based not on the what the subjects features demand but on some other preconceived notion (which I constantly preach against), doesnt it?
Some rules to drawing faces need to apply in order for the end result to be read as what it is intended to be read as. Drawing kids has certain rules you cannot break (or must break with only the most demanding of reasons) if you expect your caricature to look like a kid and not some weirdly deformed adult. Same thing with women. While its true that some womens faces with bend and even break some of these rules, knowing the general rules will allow the observer to look for them and understand their meaning. If you are drawing a women with an enormous square jaw you can hardly ignore it, but you can look for the other typical female attributes you can then play up to balance things or you can just exaggerate that enormous jaw and know your caricature is going to end up looking like Jessie Ventura in a wig. Hey, if the SUBJECT looks like Jessie Ventura in a wig you cant do much about that. At least you know WHY the caricature doesnt look feminine. You break the rules at your own risk, but you do have to break them when the situation calls for it.
So, what are the rules for making a caricature of a woman look feminine? The obvious thing is stay away from making the jaw, brow ridge and chin bigger or more pronounced in a womans caricature, and if possible even make these elements a little smaller. When possible play up those features that makeup is meant to enhance, like the sharper areas in the corners of the brows (eyeshadow), higher and more curved eyebrows (shaped eyebows), fuller lips especially the upper lip (lipstick), longer thicker eyelashes (mascara and eyeliner), higher more pronounced cheekbones (blush or rouge), less prominent nose (powder or base that used to avoid highlights that show the edges and draw attention).
Personally I always strive to make a womans face SOFTER than a mans. I stay away from harsh, angular lines and features in a womans caricature and use softer, more rounded lines and forms to define the face. I try to use fewer lines and elements that define edges of features. With a linear style of drawing, In general the more lines you use in the face the more masculine (and older) the subject looks. If I want my subject to look more feminine, I will seek to define the features with are few lines as possible. Its an old trick of filmmakers to use softer light and slightly out of focus (or vaseline-smeared lensed) camera on close ups of women to create a dreamy and sultry look to them it eliminates the hard edges of features.
Caricaturing a subject is, as always, defined by the demands the subjects features and persona demand of the artist. However that does not mean the caricaturist cannot approach a subject a little differently, and look for specific things they might expect to see, based on things like the age or sex of the subject. Understanding human perceptions and whats behind them with respect to things like male versus female faces only brings another source of observational power to the artist.
I think the most common feature that gets exaggerated in a caricature is the nose. Many people actually think the definition of caricature is a drawing with a big nose. What is it about the nose that makes it such a ripe target for exaggeration, so often picked on (pardon the pun) that even the layman notices? Simply put, the nose is the most obnoxious of features. It sits in the very center of the face. It is a very vertical feature when compared to the horizontal nature of the eyes and mouth. It sticks out radically from the plane of the face, much more in relief than any of the other features. Its so prominent that its all too often used as a de-facto way to exaggerate the face. The fact is that the nose is like any other feature its perceived relationship with the other features determines the extent and direction of the exaggeration. Many people have small, button noses that need to be made smaller by way of exaggeration. In some cases the end of the nose may rest close in between the eyes, and in o
The nose is a combination of bone and cartilage made up of various parts that while unique in appearance and relationship in the individual nonetheless, as in any feature, are the same in all people. Starting from the top, the area between the eyebrows is called the glabella. The area directly between the eyes is the root or bridge. The area extending from the root down towards the end of the nose is called the lateral surfaces. The end or ball of the nose is called the apex. The two wings of the nose, the areas that define the outside of the bottom of the nose and the outside of the nostrils are called the ala. The septum is the area that connects the apex to the face and separates the two nostrils, which are the cavities that open into the interior of the nose and the nasal passages. The alar furrow is the crease made by the separation of the ala and the cheek muscles. The nose grows out of the brow, and is connected at the top of the feature by the brow ridge and at the bottom, to the lips/mouth by t
Im still not exactly sure how it happened, but somewhere along the line I ended up establishing the reputation of being able to do a crowd scene. I am sure my art director at MAD Magazine , Sam Viviano, can sympathize. He is well known for his work with crowd scenes, and all that implies. Simply put, it means you end up getting a lot of jobs doing complicated crowd scenes because well. you CAN. In the world of freelancing there is never anything wrong with getting jobs. However when a lot of jobs end up being time consuming crowd scenes, you sometimes just wish for a nice, simple single figure illustration job to cross your path. MAD has utilized me on many crowd scene projects, in particular their A MAD Look Behind the Scenes of features that they have occasionally done. Ive done a lot of them for other clients as well.
Its not that I hate crowd scenes. In fact, I like them. They are a LOT of work but when you are done with them they are always something you can sit back, look at and say whew! That one was tough but be pleased with the effort. In fact Ive been known to do much more complicated scenes than the job might necessarily call for just because a really detailed crowd scene is always visually intense and affords the opportunity to make it dense with visual gags, cameos and other fun stuff that makes the viewer really look it over thoroughly. The dense, chicken fat technique of filling space with a lot of gags has always been one of my favorite parts of MAD , and is something Ive always enjoyed incorporating into my work when I get the chance MAD or otherwise. Ive also always subscribed to the philosophy inherent in the famous quote by Wally Wood about doing very detailed and busy art: If you cant draw well, draw A LOT.
Ive been meaning to do a tutorial on how to do a crowd scene illustration, and in late November I was assigned a tough one for MAD that I thought afforded the opportunity to demonstrate how to approach and execute a crowd scene. In consideration of that thought, I saved conceptual sketches and stages of this particular job for MAD so I could use them to illustrate how I go about constructing a crowd scene. (more)
Next to faces, hands are probably the most expressive and intricate part of the human form. In fact, humans probably spend more time looking at their hands than they do looking at anything else over their entire lives. Being that we are all so familiar with the way hands look, a poorly drawn hand sticks out like a sore thumb (sorry about the pun). Oddly enough, hands are something that most artists struggle to draw well. So, with that in mind I thought Id do a tutorial on my approach to drawing hands.
Im a cartoonist at heart, so the hands I draw are not realistic hands by most definitions. However my style of cartooning lends itself more to realistic representation than, say, a certain four fingered gloved mouse or other much more cartoony characters do. Therefore a lot of the information in this tutorial will apply to drawing hands realistically as well as in more cartoon form. Ill attempt to explain the basic anatomy of a hand, things to keep in mind at all times when drawing them and common mistakes and issues that plague many artists when drawing hands.
As with drawing anything, it all starts with an understanding of the basic form and structure of your subject matter. Hands are certainly no different. In fact, many of the most common problems with drawing hands stems from incorrect notions of the form of the hand. Im not a big stickler for memorizing the names of muscles and bones because it seems to zone people out when you start tossing around Carpal this and Metatarsal that however labels are something that some people need to be able to apply, so some general surface anatomy with laymans terms seems to be the best approach. Here is a breakdown of a hand with the important surface elements labeled:
Not really much to it, is there? Everybody knows what knuckles and fingernails are. Where an artist gets tripped up is not understanding how they relate to one another, and how they move in relationship to one another when the hand starts doing its thing. Things like how the knuckles line up, where the pad creases fall, how the fingers bend and interact these are all important elements to drawing convincing hand gestures. (more)
Some History- Crosshatching is a technique for adding values to a drawing by layering intersecting lines together to create the illusion of gradating tones. It was used a lot in the days of engraving and etching, when some form of hatching was almost the only way to achieve any kind of value in the artwork. It was used a lot in the good old days of photostat cameras, especially with inked artwork and cartooning/comics. Photostating was how artwork or photos got transferred to film/plates for printing in the days before everyone had a scanner on their desktop. It was a large machine with a mounted camera over a flat mounting surface and even, bright lighting. The camera took a picture of the artwork and outputted it on either bright white photostat paper as a positive or negative image. The result was camera ready art that could be pasted up onto a layout with type and other elements and then reshot for printing. Photostat cameras could use various screens that would create dot patterns of various densitie
Ive written in past tutorials on drawing caricatures that you cant really teach someone to draw caricatures that is more about developing their sight and observation skills and also developing an ability to find that which make an individual face unique and exaggerating it. Since every face is different this is an exercise in personal observation and decision. Therefore after I have gone over the information in my pervious tutorials, I switch gears an concentrate on teaching rookie live caricaturists how to draw the individual features, both how to see them, exaggerate them and how to draw them in line to best effect.
Here is where style becomes an issue. What I have written about previously can apply to almost any style of caricature, from the richly painted to the most minimalist of line. In these next series of tutorials some aspects of what I talk about will relate specifically with a style of caricature like my own based on cartoon line either inked or in some other medium. Therefore those with different sensibilities and styles can take from it what they will and apply what makes sense to them, and ignore the rest. I will try to center my discussion on that which applies to a broader range of styles than just my own.
My method for teaching the individual features begins with a lesson on real anatomy. Im not a big believer in memorizing every anatomical name but I do believe you must have a good working knowledge of how a feature is put together in order to have a good command over the drawing of said feature. Following the anatomy lesson, I talk about different techniques to help see the shape of the feature and understand how to draw it, including realistic proportion. Finally I talk about interpreting the feature in terms of exaggeration and incorporating it into the whole.
Seeing and drawing anything is all about shapes and the correct drawing of them or in the case of caricature the correct drawing of the exaggeration of them. Either way you still have to see the object you are drawing and understand its form first. We have all seen depictions of artists on TV raising their arm outstretched towards their models with the thumb out from the fist and squinting their eyes before drawing. That is supposed to represent an old artists trick of using their thumb, or hand, or pencil or some other object to measure their subjects features relative to one another, or to see angles or other relationships. The thumb is supposed to be a point of reference a constant that is used to make accurate observations of the subject. Establishing points of reference in the face is key to helping to see shapes and make observations. With each feature and the face overall I will suggest several things I use as constant points of reference, which I can then use as a starting point from which o
I think its a myth that women, particularly beautiful women, are harder to caricature than men. Women have the same sets of features that men have, but the need to differentiate the masculine from the feminine forces the caricaturist to modify his or her approach (in most cases) to the different sexes. That doesnt mean that its more difficult to draw either sex than it is to draw the other, but you do have to keep the masculine/feminine difference in mind if you want to avoid the drag queen look that sometimes results in a caricature of a woman.
Superficially there are a lot of facial elements that identify a given subject as male or female. Thick eyelashes, full red lips, soft complexion, high cheekbones, more curved and thinner eyebrows these are feature descriptions that are distinctly feminine. You may notice these items have one thing in common they are all features that women traditionally use makeup to accentuate or to create . If women dont have them in abundance naturally many use makeup to create them or to accentuate what they do possess. Take your cues from what makeup artists do to see what kinds of features say female (and conversely what to avoid on a male caricature to prevent them from looking feminine). If I am drawing a man who happens to have thick, long eyelashes (many do) I will play that DOWN in many cases to accentuate the masculine in the drawing.
These are only superficial things, though. The real differences between men and womens faces lay under the skin with the bones and the skull. This is the basis of the drag queen look the human eye and brain is able to differentiate between a male and female face based on difference and indicators that are more than surface features. Hence a drawing of a face with lots of female makeup level features on the surface but with the structure and other aspects of a typical male face looks like a man wearing makeup.
Skeletal differences between the sexes are well documented. Its not just the different chromosomes that are behind it, either the high levels of testosterone at puberty help enlarge the bones of males, while the high levels of progesterone also help develop male characteristics like greater height and a narrower pelvic bone. The differences also extend to the skull, which is actually the second easiest part of the skeleton forensic scientists can use to determine the probable sex of a skeleton, the pelvis being the first (learned that on NCIS!). In fact the mandible (jaw bone) alone gives examiners a 90% accuracy in determining the sex of a skeletal subject.
The female skull is generally smaller and lighter than the males. Elements like the brow ridge and mandible are usually less pronounced. The female skull tends to be wider than the males which leads to a general softness of features, more prominent cheekbones and a less prominent jawline. The areas above the eye sockets in men tend to be more blunt while the brow itself is more pronounced, but in women that same area is sharper (thus the purpose of eye shadow) while the brow protrudes less.
The jaw is actually a key element to the masculine/feminine definition of a subject, and represents the most dynamic differences between the faces of the sexes. The combination of the wider skull, the less developed mandible and the propensity of the female chin (mental protuberance) to be smaller and more pointed as opposed to a mans wider and more square one makes the female jaw distinct from the male jaw. The upper (top part of the) chin is wider and higher vertically while a females is more rounded and shorter. In fact the male chin is generally larger in every dimension. Big, square jaws inevitably read as masculine and small, narrow and pointier ones read as feminine.
Some rules to drawing faces need to apply in order for the end result to be read as what it is intended to be read as. Drawing kids has certain rules you cannot break (or must break with only the most demanding of reasons) if you expect your caricature to look like a kid and not some weirdly deformed adult. Same thing with women. While its true that some womens faces with bend and even break some of these rules, knowing the general rules will allow the observer to look for them and understand their meaning. If you are drawing a women with an enormous square jaw you can hardly ignore it, but you can look for the other typical female attributes you can then play up to balance things or you can just exaggerate that enormous jaw and know your caricature is going to end up looking like Jessie Ventura in a wig. Hey, if the SUBJECT looks like Jessie Ventura in a wig you cant do much about that. At least you know WHY the caricature doesnt look feminine. You break the rules at your own risk, but you do have to break them when the situation calls for it.
So, what are the rules for making a caricature of a woman look feminine? The obvious thing is stay away from making the jaw, brow ridge and chin bigger or more pronounced in a womans caricature, and if possible even make these elements a little smaller. When possible play up those features that makeup is meant to enhance, like the sharper areas in the corners of the brows (eyeshadow), higher and more curved eyebrows (shaped eyebows), fuller lips especially the upper lip (lipstick), longer thicker eyelashes (mascara and eyeliner), higher more pronounced cheekbones (blush or rouge), less prominent nose (powder or base that used to avoid highlights that show the edges and draw attention).
Personally I always strive to make a womans face SOFTER than a mans. I stay away from harsh, angular lines and features in a womans caricature and use softer, more rounded lines and forms to define the face. I try to use fewer lines and elements that define edges of features. With a linear style of drawing, In general the more lines you use in the face the more masculine (and older) the subject looks. If I want my subject to look more feminine, I will seek to define the features with are few lines as possible. Its an old trick of filmmakers to use softer light and slightly out of focus (or vaseline-smeared lensed) camera on close ups of women to create a dreamy and sultry look to them it eliminates the hard edges of features.
I think the most common feature that gets exaggerated in a caricature is the nose. Many people actually think the definition of caricature is a drawing with a big nose. What is it about the nose that makes it such a ripe target for exaggeration, so often picked on (pardon the pun) that even the layman notices? Simply put, the nose is the most obnoxious of features. It sits in the very center of the face. It is a very vertical feature when compared to the horizontal nature of the eyes and mouth. It sticks out radically from the plane of the face, much more in relief than any of the other features. Its so prominent that its all too often used as a de-facto way to exaggerate the face. The fact is that the nose is like any other feature its perceived relationship with the other features determines the extent and direction of the exaggeration. Many people have small, button noses that need to be made smaller by way of exaggeration. In some cases the end of the nose may rest close in between the eyes, and in o
The nose is a combination of bone and cartilage made up of various parts that while unique in appearance and relationship in the individual nonetheless, as in any feature, are the same in all people. Starting from the top, the area between the eyebrows is called the glabella. The area directly between the eyes is the root or bridge. The area extending from the root down towards the end of the nose is called the lateral surfaces. The end or ball of the nose is called the apex. The two wings of the nose, the areas that define the outside of the bottom of the nose and the outside of the nostrils are called the ala. The septum is the area that connects the apex to the face and separates the two nostrils, which are the cavities that open into the interior of the nose and the nasal passages. The alar furrow is the crease made by the separation of the ala and the cheek muscles. The nose grows out of the brow, and is connected at the top of the feature by the brow ridge and at the bottom, to the lips/mouth by t
Im still not exactly sure how it happened, but somewhere along the line I ended up establishing the reputation of being able to do a crowd scene. I am sure my art director at MAD Magazine , Sam Viviano, can sympathize. He is well known for his work with crowd scenes, and all that implies. Simply put, it means you end up getting a lot of jobs doing complicated crowd scenes because well. you CAN. In the world of freelancing there is never anything wrong with getting jobs. However when a lot of jobs end up being time consuming crowd scenes, you sometimes just wish for a nice, simple single figure illustration job to cross your path. MAD has utilized me on many crowd scene projects, in particular their A MAD Look Behind the Scenes of features that they have occasionally done. Ive done a lot of them for other clients as well.
Its not that I hate crowd scenes. In fact, I like them. They are a LOT of work but when you are done with them they are always something you can sit back, look at and say whew! That one was tough but be pleased with the effort. In fact Ive been known to do much more complicated scenes than the job might necessarily call for just because a really detailed crowd scene is always visually intense and affords the opportunity to make it dense with visual gags, cameos and other fun stuff that makes the viewer really look it over thoroughly. The dense, chicken fat technique of filling space with a lot of gags has always been one of my favorite parts of MAD , and is something Ive always enjoyed incorporating into my work when I get the chance MAD or otherwise. Ive also always subscribed to the philosophy inherent in the famous quote by Wally Wood about doing very detailed and busy art: If you cant draw well, draw A LOT.
Next to faces, hands are probably the most expressive and intricate part of the human form. In fact, humans probably spend more time looking at their hands than they do looking at anything else over their entire lives. Being that we are all so familiar with the way hands look, a poorly drawn hand sticks out like a sore thumb (sorry about the pun). Oddly enough, hands are something that most artists struggle to draw well. So, with that in mind I thought Id do a tutorial on my approach to drawing hands.
Im a cartoonist at heart, so the hands I draw are not realistic hands by most definitions. However my style of cartooning lends itself more to realistic representation than, say, a certain four fingered gloved mouse or other much more cartoony characters do. Therefore a lot of the information in this tutorial will apply to drawing hands realistically as well as in more cartoon form. Ill attempt to explain the basic anatomy of a hand, things to keep in mind at all times when drawing them and common mistakes and issues that plague many artists when drawing hands.
As with drawing anything, it all starts with an understanding of the basic form and structure of your subject matter. Hands are certainly no different. In fact, many of the most common problems with drawing hands stems from incorrect notions of the form of the hand. Im not a big stickler for memorizing the names of muscles and bones because it seems to zone people out when you start tossing around Carpal this and Metatarsal that however labels are something that some people need to be able to apply, so some general surface anatomy with laymans terms seems to be the best approach. Here is a breakdown of a hand with the important surface elements labeled:
Some History- Crosshatching is a technique for adding values to a drawing by layering intersecting lines together to create the illusion of gradating tones. It was used a lot in the days of engraving and etching, when some form of hatching was almost the only way to achieve any kind of value in the artwork. It was used a lot in the good old days of photostat cameras, especially with inked artwork and cartooning/comics. Photostating was how artwork or photos got transferred to film/plates for printing in the days before everyone had a scanner on their desktop. It was a large machine with a mounted camera over a flat mounting surface and even, bright lighting. The camera took a picture of the artwork and outputted it on either bright white photostat paper as a positive or negative image. The result was camera ready art that could be pasted up onto a layout with type and other elements and then reshot for printing. Photostat cameras could use various screens that would create dot patterns of various densitie
Ive written in past tutorials on drawing caricatures that you cant really teach someone to draw caricatures that is more about developing their sight and observation skills and also developing an ability to find that which make an individual face unique and exaggerating it. Since every face is different this is an exercise in personal observation and decision. Therefore after I have gone over the information in my pervious tutorials, I switch gears an concentrate on teaching rookie live caricaturists how to draw the individual features, both how to see them, exaggerate them and how to draw them in line to best effect.
Here is where style becomes an issue. What I have written about previously can apply to almost any style of caricature, from the richly painted to the most minimalist of line. In these next series of tutorials some aspects of what I talk about will relate specifically with a style of caricature like my own based on cartoon line either inked or in some other medium. Therefore those with different sensibilities and styles can take from it what they will and apply what makes sense to them, and ignore the rest. I will try to center my discussion on that which applies to a broader range of styles than just my own.
My method for teaching the individual features begins with a lesson on real anatomy. Im not a big believer in memorizing every anatomical name but I do believe you must have a good working knowledge of how a feature is put together in order to have a good command over the drawing of said feature. Following the anatomy lesson, I talk about different techniques to help see the shape of the feature and understand how to draw it, including realistic proportion. Finally I talk about interpreting the feature in terms of exaggeration and incorporating it into the whole.
Seeing and drawing anything is all about shapes and the correct drawing of them or in the case of caricature the correct drawing of the exaggeration of them. Either way you still have to see the object you are drawing and understand its form first. We have all seen depictions of artists on TV raising their arm outstretched towards their models with the thumb out from the fist and squinting their eyes before drawing. That is supposed to represent an old artists trick of using their thumb, or hand, or pencil or some other object to measure their subjects features relative to one another, or to see angles or other relationships. The thumb is supposed to be a point of reference a constant that is used to make accurate observations of the subject. Establishing points of reference in the face is key to helping to see shapes and make observations. With each feature and the face overall I will suggest several things I use as constant points of reference, which I can then use as a starting point from which o
Superficially there are a lot of facial elements that identify a given subject as male or female. Thick eyelashes, full red lips, soft complexion, high cheekbones, more curved and thinner eyebrows these are feature descriptions that are distinctly feminine. You may notice these items have one thing in common they are all features that women traditionally use makeup to accentuate or to create . If women dont have them in abundance naturally many use makeup to create them or to accentuate what they do possess. Take your cues from what makeup artists do to see what kinds of features say female (and conversely what to avoid on a male caricature to prevent them from looking feminine). If I am drawing a man who happens to have thick, long eyelashes (many do) I will play that DOWN in many cases to accentuate the masculine in the drawing.
Skeletal differences between the sexes are well documented. Its not just the different chromosomes that are behind it, either the high levels of testosterone at puberty help enlarge the bones of males, while the high levels of progesterone also help develop male characteristics like greater height and a narrower pelvic bone. The differences also extend to the skull, which is actually the second easiest part of the skeleton forensic scientists can use to determine the probable sex of a skeleton, the pelvis being the first (learned that on NCIS!). In fact the mandible (jaw bone) alone gives examiners a 90% accuracy in determining the sex of a skeletal subject.
The jaw is actually a key element to the masculine/feminine definition of a subject, and represents the most dynamic differences between the faces of the sexes. The combination of the wider skull, the less developed mandible and the propensity of the female chin (mental protuberance) to be smaller and more pointed as opposed to a mans wider and more square one makes the female jaw distinct from the male jaw. The upper (top part of the) chin is wider and higher vertically while a females is more rounded and shorter. In fact the male chin is generally larger in every dimension. Big, square jaws inevitably read as masculine and small, narrow and pointier ones read as feminine.
Some rules to drawing faces need to apply in order for the end result to be read as what it is intended to be read as. Drawing kids has certain rules you cannot break (or must break with only the most demanding of reasons) if you expect your caricature to look like a kid and not some weirdly deformed adult. Same thing with women. While its true that some womens faces with bend and even break some of these rules, knowing the general rules will allow the observer to look for them and understand their meaning. If you are drawing a women with an enormous square jaw you can hardly ignore it, but you can look for the other typical female attributes you can then play up to balance things or you can just exaggerate that enormous jaw and know your caricature is going to end up looking like Jessie Ventura in a wig. Hey, if the SUBJECT looks like Jessie Ventura in a wig you cant do much about that. At least you know WHY the caricature doesnt look feminine. You break the rules at your own risk, but you do have to break them when the situation calls for it.
So, what are the rules for making a caricature of a woman look feminine? The obvious thing is stay away from making the jaw, brow ridge and chin bigger or more pronounced in a womans caricature, and if possible even make these elements a little smaller. When possible play up those features that makeup is meant to enhance, like the sharper areas in the corners of the brows (eyeshadow), higher and more curved eyebrows (shaped eyebows), fuller lips especially the upper lip (lipstick), longer thicker eyelashes (mascara and eyeliner), higher more pronounced cheekbones (blush or rouge), less prominent nose (powder or base that used to avoid highlights that show the edges and draw attention).
Personally I always strive to make a womans face SOFTER than a mans. I stay away from harsh, angular lines and features in a womans caricature and use softer, more rounded lines and forms to define the face. I try to use fewer lines and elements that define edges of features. With a linear style of drawing, In general the more lines you use in the face the more masculine (and older) the subject looks. If I want my subject to look more feminine, I will seek to define the features with are few lines as possible. Its an old trick of filmmakers to use softer light and slightly out of focus (or vaseline-smeared lensed) camera on close ups of women to create a dreamy and sultry look to them it eliminates the hard edges of features.
I think the most common feature that gets exaggerated in a caricature is the nose. Many people actually think the definition of caricature is a drawing with a big nose. What is it about the nose that makes it such a ripe target for exaggeration, so often picked on (pardon the pun) that even the layman notices? Simply put, the nose is the most obnoxious of features. It sits in the very center of the face. It is a very vertical feature when compared to the horizontal nature of the eyes and mouth. It sticks out radically from the plane of the face, much more in relief than any of the other features. Its so prominent that its all too often used as a de-facto way to exaggerate the face. The fact is that the nose is like any other feature its perceived relationship with the other features determines the extent and direction of the exaggeration. Many people have small, button noses that need to be made smaller by way of exaggeration. In some cases the end of the nose may rest close in between the eyes, and in o
The nose is a combination of bone and cartilage made up of various parts that while unique in appearance and relationship in the individual nonetheless, as in any feature, are the same in all people. Starting from the top, the area between the eyebrows is called the glabella. The area directly between the eyes is the root or bridge. The area extending from the root down towards the end of the nose is called the lateral surfaces. The end or ball of the nose is called the apex. The two wings of the nose, the areas that define the outside of the bottom of the nose and the outside of the nostrils are called the ala. The septum is the area that connects the apex to the face and separates the two nostrils, which are the cavities that open into the interior of the nose and the nasal passages. The alar furrow is the crease made by the separation of the ala and the cheek muscles. The nose grows out of the brow, and is connected at the top of the feature by the brow ridge and at the bottom, to the lips/mouth by t
Im still not exactly sure how it happened, but somewhere along the line I ended up establishing the reputation of being able to do a crowd scene. I am sure my art director at MAD Magazine , Sam Viviano, can sympathize. He is well known for his work with crowd scenes, and all that implies. Simply put, it means you end up getting a lot of jobs doing complicated crowd scenes because well. you CAN. In the world of freelancing there is never anything wrong with getting jobs. However when a lot of jobs end up being time consuming crowd scenes, you sometimes just wish for a nice, simple single figure illustration job to cross your path. MAD has utilized me on many crowd scene projects, in particular their A MAD Look Behind the Scenes of features that they have occasionally done. Ive done a lot of them for other clients as well.
Its not that I hate crowd scenes. In fact, I like them. They are a LOT of work but when you are done with them they are always something you can sit back, look at and say whew! That one was tough but be pleased with the effort. In fact Ive been known to do much more complicated scenes than the job might necessarily call for just because a really detailed crowd scene is always visually intense and affords the opportunity to make it dense with visual gags, cameos and other fun stuff that makes the viewer really look it over thoroughly. The dense, chicken fat technique of filling space with a lot of gags has always been one of my favorite parts of MAD , and is something Ive always enjoyed incorporating into my work when I get the chance MAD or otherwise. Ive also always subscribed to the philosophy inherent in the famous quote by Wally Wood about doing very detailed and busy art: If you cant draw well, draw A LOT.
As with drawing anything, it all starts with an understanding of the basic form and structure of your subject matter. Hands are certainly no different. In fact, many of the most common problems with drawing hands stems from incorrect notions of the form of the hand. Im not a big stickler for memorizing the names of muscles and bones because it seems to zone people out when you start tossing around Carpal this and Metatarsal that however labels are something that some people need to be able to apply, so some general surface anatomy with laymans terms seems to be the best approach. Here is a breakdown of a hand with the important surface elements labeled:
Some History- Crosshatching is a technique for adding values to a drawing by layering intersecting lines together to create the illusion of gradating tones. It was used a lot in the days of engraving and etching, when some form of hatching was almost the only way to achieve any kind of value in the artwork. It was used a lot in the good old days of photostat cameras, especially with inked artwork and cartooning/comics. Photostating was how artwork or photos got transferred to film/plates for printing in the days before everyone had a scanner on their desktop. It was a large machine with a mounted camera over a flat mounting surface and even, bright lighting. The camera took a picture of the artwork and outputted it on either bright white photostat paper as a positive or negative image. The result was camera ready art that could be pasted up onto a layout with type and other elements and then reshot for printing. Photostat cameras could use various screens that would create dot patterns of various densitie
Ive written in past tutorials on drawing caricatures that you cant really teach someone to draw caricatures that is more about developing their sight and observation skills and also developing an ability to find that which make an individual face unique and exaggerating it. Since every face is different this is an exercise in personal observation and decision. Therefore after I have gone over the information in my pervious tutorials, I switch gears an concentrate on teaching rookie live caricaturists how to draw the individual features, both how to see them, exaggerate them and how to draw them in line to best effect.
Seeing and drawing anything is all about shapes and the correct drawing of them or in the case of caricature the correct drawing of the exaggeration of them. Either way you still have to see the object you are drawing and understand its form first. We have all seen depictions of artists on TV raising their arm outstretched towards their models with the thumb out from the fist and squinting their eyes before drawing. That is supposed to represent an old artists trick of using their thumb, or hand, or pencil or some other object to measure their subjects features relative to one another, or to see angles or other relationships. The thumb is supposed to be a point of reference a constant that is used to make accurate observations of the subject. Establishing points of reference in the face is key to helping to see shapes and make observations. With each feature and the face overall I will suggest several things I use as constant points of reference, which I can then use as a starting point from which o
Superficially there are a lot of facial elements that identify a given subject as male or female. Thick eyelashes, full red lips, soft complexion, high cheekbones, more curved and thinner eyebrows these are feature descriptions that are distinctly feminine. You may notice these items have one thing in common they are all features that women traditionally use makeup to accentuate or to create . If women dont have them in abundance naturally many use makeup to create them or to accentuate what they do possess. Take your cues from what makeup artists do to see what kinds of features say female (and conversely what to avoid on a male caricature to prevent them from looking feminine). If I am drawing a man who happens to have thick, long eyelashes (many do) I will play that DOWN in many cases to accentuate the masculine in the drawing.
Some rules to drawing faces need to apply in order for the end result to be read as what it is intended to be read as. Drawing kids has certain rules you cannot break (or must break with only the most demanding of reasons) if you expect your caricature to look like a kid and not some weirdly deformed adult. Same thing with women. While its true that some womens faces with bend and even break some of these rules, knowing the general rules will allow the observer to look for them and understand their meaning. If you are drawing a women with an enormous square jaw you can hardly ignore it, but you can look for the other typical female attributes you can then play up to balance things or you can just exaggerate that enormous jaw and know your caricature is going to end up looking like Jessie Ventura in a wig. Hey, if the SUBJECT looks like Jessie Ventura in a wig you cant do much about that. At least you know WHY the caricature doesnt look feminine. You break the rules at your own risk, but you do have to break them when the situation calls for it.
Personally I always strive to make a womans face SOFTER than a mans. I stay away from harsh, angular lines and features in a womans caricature and use softer, more rounded lines and forms to define the face. I try to use fewer lines and elements that define edges of features. With a linear style of drawing, In general the more lines you use in the face the more masculine (and older) the subject looks. If I want my subject to look more feminine, I will seek to define the features with are few lines as possible. Its an old trick of filmmakers to use softer light and slightly out of focus (or vaseline-smeared lensed) camera on close ups of women to create a dreamy and sultry look to them it eliminates the hard edges of features.
I think the most common feature that gets exaggerated in a caricature is the nose. Many people actually think the definition of caricature is a drawing with a big nose. What is it about the nose that makes it such a ripe target for exaggeration, so often picked on (pardon the pun) that even the layman notices? Simply put, the nose is the most obnoxious of features. It sits in the very center of the face. It is a very vertical feature when compared to the horizontal nature of the eyes and mouth. It sticks out radically from the plane of the face, much more in relief than any of the other features. Its so prominent that its all too often used as a de-facto way to exaggerate the face. The fact is that the nose is like any other feature its perceived relationship with the other features determines the extent and direction of the exaggeration. Many people have small, button noses that need to be made smaller by way of exaggeration. In some cases the end of the nose may rest close in between the eyes, and in o
The nose is a combination of bone and cartilage made up of various parts that while unique in appearance and relationship in the individual nonetheless, as in any feature, are the same in all people. Starting from the top, the area between the eyebrows is called the glabella. The area directly between the eyes is the root or bridge. The area extending from the root down towards the end of the nose is called the lateral surfaces. The end or ball of the nose is called the apex. The two wings of the nose, the areas that define the outside of the bottom of the nose and the outside of the nostrils are called the ala. The septum is the area that connects the apex to the face and separates the two nostrils, which are the cavities that open into the interior of the nose and the nasal passages. The alar furrow is the crease made by the separation of the ala and the cheek muscles. The nose grows out of the brow, and is connected at the top of the feature by the brow ridge and at the bottom, to the lips/mouth by t
Im still not exactly sure how it happened, but somewhere along the line I ended up establishing the reputation of being able to do a crowd scene. I am sure my art director at MAD Magazine , Sam Viviano, can sympathize. He is well known for his work with crowd scenes, and all that implies. Simply put, it means you end up getting a lot of jobs doing complicated crowd scenes because well. you CAN. In the world of freelancing there is never anything wrong with getting jobs. However when a lot of jobs end up being time consuming crowd scenes, you sometimes just wish for a nice, simple single figure illustration job to cross your path. MAD has utilized me on many crowd scene projects, in particular their A MAD Look Behind the Scenes of features that they have occasionally done. Ive done a lot of them for other clients as well.
Its not that I hate crowd scenes. In fact, I like them. They are a LOT of work but when you are done with them they are always something you can sit back, look at and say whew! That one was tough but be pleased with the effort. In fact Ive been known to do much more complicated scenes than the job might necessarily call for just because a really detailed crowd scene is always visually intense and affords the opportunity to make it dense with visual gags, cameos and other fun stuff that makes the viewer really look it over thoroughly. The dense, chicken fat technique of filling space with a lot of gags has always been one of my favorite parts of MAD , and is something Ive always enjoyed incorporating into my work when I get the chance MAD or otherwise. Ive also always subscribed to the philosophy inherent in the famous quote by Wally Wood about doing very detailed and busy art: If you cant draw well, draw A LOT.
Some History- Crosshatching is a technique for adding values to a drawing by layering intersecting lines together to create the illusion of gradating tones. It was used a lot in the days of engraving and etching, when some form of hatching was almost the only way to achieve any kind of value in the artwork. It was used a lot in the good old days of photostat cameras, especially with inked artwork and cartooning/comics. Photostating was how artwork or photos got transferred to film/plates for printing in the days before everyone had a scanner on their desktop. It was a large machine with a mounted camera over a flat mounting surface and even, bright lighting. The camera took a picture of the artwork and outputted it on either bright white photostat paper as a positive or negative image. The result was camera ready art that could be pasted up onto a layout with type and other elements and then reshot for printing. Photostat cameras could use various screens that would create dot patterns of various densitie
Seeing and drawing anything is all about shapes and the correct drawing of them or in the case of caricature the correct drawing of the exaggeration of them. Either way you still have to see the object you are drawing and understand its form first. We have all seen depictions of artists on TV raising their arm outstretched towards their models with the thumb out from the fist and squinting their eyes before drawing. That is supposed to represent an old artists trick of using their thumb, or hand, or pencil or some other object to measure their subjects features relative to one another, or to see angles or other relationships. The thumb is supposed to be a point of reference a constant that is used to make accurate observations of the subject. Establishing points of reference in the face is key to helping to see shapes and make observations. With each feature and the face overall I will suggest several things I use as constant points of reference, which I can then use as a starting point from which o
Superficially there are a lot of facial elements that identify a given subject as male or female. Thick eyelashes, full red lips, soft complexion, high cheekbones, more curved and thinner eyebrows these are feature descriptions that are distinctly feminine. You may notice these items have one thing in common they are all features that women traditionally use makeup to accentuate or to create . If women dont have them in abundance naturally many use makeup to create them or to accentuate what they do possess. Take your cues from what makeup artists do to see what kinds of features say female (and conversely what to avoid on a male caricature to prevent them from looking feminine). If I am drawing a man who happens to have thick, long eyelashes (many do) I will play that DOWN in many cases to accentuate the masculine in the drawing.
Some rules to drawing faces need to apply in order for the end result to be read as what it is intended to be read as. Drawing kids has certain rules you cannot break (or must break with only the most demanding of reasons) if you expect your caricature to look like a kid and not some weirdly deformed adult. Same thing with women. While its true that some womens faces with bend and even break some of these rules, knowing the general rules will allow the observer to look for them and understand their meaning. If you are drawing a women with an enormous square jaw you can hardly ignore it, but you can look for the other typical female attributes you can then play up to balance things or you can just exaggerate that enormous jaw and know your caricature is going to end up looking like Jessie Ventura in a wig. Hey, if the SUBJECT looks like Jessie Ventura in a wig you cant do much about that. At least you know WHY the caricature doesnt look feminine. You break the rules at your own risk, but you do have to break them when the situation calls for it.
I think the most common feature that gets exaggerated in a caricature is the nose. Many people actually think the definition of caricature is a drawing with a big nose. What is it about the nose that makes it such a ripe target for exaggeration, so often picked on (pardon the pun) that even the layman notices? Simply put, the nose is the most obnoxious of features. It sits in the very center of the face. It is a very vertical feature when compared to the horizontal nature of the eyes and mouth. It sticks out radically from the plane of the face, much more in relief than any of the other features. Its so prominent that its all too often used as a de-facto way to exaggerate the face. The fact is that the nose is like any other feature its perceived relationship with the other features determines the extent and direction of the exaggeration. Many people have small, button noses that need to be made smaller by way of exaggeration. In some cases the end of the nose may rest close in between the eyes, and in o
The nose is a combination of bone and cartilage made up of various parts that while unique in appearance and relationship in the individual nonetheless, as in any feature, are the same in all people. Starting from the top, the area between the eyebrows is called the glabella. The area directly between the eyes is the root or bridge. The area extending from the root down towards the end of the nose is called the lateral surfaces. The end or ball of the nose is called the apex. The two wings of the nose, the areas that define the outside of the bottom of the nose and the outside of the nostrils are called the ala. The septum is the area that connects the apex to the face and separates the two nostrils, which are the cavities that open into the interior of the nose and the nasal passages. The alar furrow is the crease made by the separation of the ala and the cheek muscles. The nose grows out of the brow, and is connected at the top of the feature by the brow ridge and at the bottom, to the lips/mouth by t
Im still not exactly sure how it happened, but somewhere along the line I ended up establishing the reputation of being able to do a crowd scene. I am sure my art director at MAD Magazine , Sam Viviano, can sympathize. He is well known for his work with crowd scenes, and all that implies. Simply put, it means you end up getting a lot of jobs doing complicated crowd scenes because well. you CAN. In the world of freelancing there is never anything wrong with getting jobs. However when a lot of jobs end up being time consuming crowd scenes, you sometimes just wish for a nice, simple single figure illustration job to cross your path. MAD has utilized me on many crowd scene projects, in particular their A MAD Look Behind the Scenes of features that they have occasionally done. Ive done a lot of them for other clients as well.
Its not that I hate crowd scenes. In fact, I like them. They are a LOT of work but when you are done with them they are always something you can sit back, look at and say whew! That one was tough but be pleased with the effort. In fact Ive been known to do much more complicated scenes than the job might necessarily call for just because a really detailed crowd scene is always visually intense and affords the opportunity to make it dense with visual gags, cameos and other fun stuff that makes the viewer really look it over thoroughly. The dense, chicken fat technique of filling space with a lot of gags has always been one of my favorite parts of MAD , and is something Ive always enjoyed incorporating into my work when I get the chance MAD or otherwise. Ive also always subscribed to the philosophy inherent in the famous quote by Wally Wood about doing very detailed and busy art: If you cant draw well, draw A LOT.
Some History- Crosshatching is a technique for adding values to a drawing by layering intersecting lines together to create the illusion of gradating tones. It was used a lot in the days of engraving and etching, when some form of hatching was almost the only way to achieve any kind of value in the artwork. It was used a lot in the good old days of photostat cameras, especially with inked artwork and cartooning/comics. Photostating was how artwork or photos got transferred to film/plates for printing in the days before everyone had a scanner on their desktop. It was a large machine with a mounted camera over a flat mounting surface and even, bright lighting. The camera took a picture of the artwork and outputted it on either bright white photostat paper as a positive or negative image. The result was camera ready art that could be pasted up onto a layout with type and other elements and then reshot for printing. Photostat cameras could use various screens that would create dot patterns of various densitie
Seeing and drawing anything is all about shapes and the correct drawing of them or in the case of caricature the correct drawing of the exaggeration of them. Either way you still have to see the object you are drawing and understand its form first. We have all seen depictions of artists on TV raising their arm outstretched towards their models with the thumb out from the fist and squinting their eyes before drawing. That is supposed to represent an old artists trick of using their thumb, or hand, or pencil or some other object to measure their subjects features relative to one another, or to see angles or other relationships. The thumb is supposed to be a point of reference a constant that is used to make accurate observations of the subject. Establishing points of reference in the face is key to helping to see shapes and make observations. With each feature and the face overall I will suggest several things I use as constant points of reference, which I can then use as a starting point from which o
Some rules to drawing faces need to apply in order for the end result to be read as what it is intended to be read as. Drawing kids has certain rules you cannot break (or must break with only the most demanding of reasons) if you expect your caricature to look like a kid and not some weirdly deformed adult. Same thing with women. While its true that some womens faces with bend and even break some of these rules, knowing the general rules will allow the observer to look for them and understand their meaning. If you are drawing a women with an enormous square jaw you can hardly ignore it, but you can look for the other typical female attributes you can then play up to balance things or you can just exaggerate that enormous jaw and know your caricature is going to end up looking like Jessie Ventura in a wig. Hey, if the SUBJECT looks like Jessie Ventura in a wig you cant do much about that. At least you know WHY the caricature doesnt look feminine. You break the rules at your own risk, but you do have to break them when the situation calls for it.
I think the most common feature that gets exaggerated in a caricature is the nose. Many people actually think the definition of caricature is a drawing with a big nose. What is it about the nose that makes it such a ripe target for exaggeration, so often picked on (pardon the pun) that even the layman notices? Simply put, the nose is the most obnoxious of features. It sits in the very center of the face. It is a very vertical feature when compared to the horizontal nature of the eyes and mouth. It sticks out radically from the plane of the face, much more in relief than any of the other features. Its so prominent that its all too often used as a de-facto way to exaggerate the face. The fact is that the nose is like any other feature its perceived relationship with the other features determines the extent and direction of the exaggeration. Many people have small, button noses that need to be made smaller by way of exaggeration. In some cases the end of the nose may rest close in between the eyes, and in o
The nose is a combination of bone and cartilage made up of various parts that while unique in appearance and relationship in the individual nonetheless, as in any feature, are the same in all people. Starting from the top, the area between the eyebrows is called the glabella. The area directly between the eyes is the root or bridge. The area extending from the root down towards the end of the nose is called the lateral surfaces. The end or ball of the nose is called the apex. The two wings of the nose, the areas that define the outside of the bottom of the nose and the outside of the nostrils are called the ala. The septum is the area that connects the apex to the face and separates the two nostrils, which are the cavities that open into the interior of the nose and the nasal passages. The alar furrow is the crease made by the separation of the ala and the cheek muscles. The nose grows out of the brow, and is connected at the top of the feature by the brow ridge and at the bottom, to the lips/mouth by t
Its not that I hate crowd scenes. In fact, I like them. They are a LOT of work but when you are done with them they are always something you can sit back, look at and say whew! That one was tough but be pleased with the effort. In fact Ive been known to do much more complicated scenes than the job might necessarily call for just because a really detailed crowd scene is always visually intense and affords the opportunity to make it dense with visual gags, cameos and other fun stuff that makes the viewer really look it over thoroughly. The dense, chicken fat technique of filling space with a lot of gags has always been one of my favorite parts of MAD , and is something Ive always enjoyed incorporating into my work when I get the chance MAD or otherwise. Ive also always subscribed to the philosophy inherent in the famous quote by Wally Wood about doing very detailed and busy art: If you cant draw well, draw A LOT.
Some History- Crosshatching is a technique for adding values to a drawing by layering intersecting lines together to create the illusion of gradating tones. It was used a lot in the days of engraving and etching, when some form of hatching was almost the only way to achieve any kind of value in the artwork. It was used a lot in the good old days of photostat cameras, especially with inked artwork and cartooning/comics. Photostating was how artwork or photos got transferred to film/plates for printing in the days before everyone had a scanner on their desktop. It was a large machine with a mounted camera over a flat mounting surface and even, bright lighting. The camera took a picture of the artwork and outputted it on either bright white photostat paper as a positive or negative image. The result was camera ready art that could be pasted up onto a layout with type and other elements and then reshot for printing. Photostat cameras could use various screens that would create dot patterns of various densitie
Seeing and drawing anything is all about shapes and the correct drawing of them or in the case of caricature the correct drawing of the exaggeration of them. Either way you still have to see the object you are drawing and understand its form first. We have all seen depictions of artists on TV raising their arm outstretched towards their models with the thumb out from the fist and squinting their eyes before drawing. That is supposed to represent an old artists trick of using their thumb, or hand, or pencil or some other object to measure their subjects features relative to one another, or to see angles or other relationships. The thumb is supposed to be a point of reference a constant that is used to make accurate observations of the subject. Establishing points of reference in the face is key to helping to see shapes and make observations. With each feature and the face overall I will suggest several things I use as constant points of reference, which I can then use as a starting point from which o
Some rules to drawing faces need to apply in order for the end result to be read as what it is intended to be read as. Drawing kids has certain rules you cannot break (or must break with only the most demanding of reasons) if you expect your caricature to look like a kid and not some weirdly deformed adult. Same thing with women. While its true that some womens faces with bend and even break some of these rules, knowing the general rules will allow the observer to look for them and understand their meaning. If you are drawing a women with an enormous square jaw you can hardly ignore it, but you can look for the other typical female attributes you can then play up to balance things or you can just exaggerate that enormous jaw and know your caricature is going to end up looking like Jessie Ventura in a wig. Hey, if the SUBJECT looks like Jessie Ventura in a wig you cant do much about that. At least you know WHY the caricature doesnt look feminine. You break the rules at your own risk, but you do have to break them when the situation calls for it.
Some History- Crosshatching is a technique for adding values to a drawing by layering intersecting lines together to create the illusion of gradating tones. It was used a lot in the days of engraving and etching, when some form of hatching was almost the only way to achieve any kind of value in the artwork. It was used a lot in the good old days of photostat cameras, especially with inked artwork and cartooning/comics. Photostating was how artwork or photos got transferred to film/plates for printing in the days before everyone had a scanner on their desktop. It was a large machine with a mounted camera over a flat mounting surface and even, bright lighting. The camera took a picture of the artwork and outputted it on either bright white photostat paper as a positive or negative image. The result was camera ready art that could be pasted up onto a layout with type and other elements and then reshot for printing. Photostat cameras could use various screens that would create dot patterns of various densitie