Light and shade
Famous Artists Cartoon Course
‘Westport, Connecticut
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Rube Goldberg
Mitton Conf
Al Copp
Hory Hoenigsen
Willard Molin
Gurney Willi
Dick Cavalli
Whitney Darrow, Jr.
Virgil Parich
Barney TobeyLight and Shade
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‘Take look at Harry Haenigsen’s strip, “Penny,” and you will
sce how he has succeeded in almost enuscly eliminating shading
‘fa scratchy kind. Instead, he uses solid blacks to give his work
‘depth and feeling. Harrys favorite advice to the beginner ix
you don’t know how to shade — don't.” He doesnt imply
you shouldn't learn to shade, ut docs mean that until you sre
ready to apply shading in the right manner and amount. iti
Detter to leave it out of any work you are doing to sll.
‘The type of shading we have been discussing isthe scratchy
poe line kind with which most of us love to 6 up blank spaces.
Crosshatch and stippe ae vomeshat old hat now, although they
turn up occasionally in a good pen drawing. But, there are
‘other types of shading that are Yery necesary to your work
‘Among these are the solid black, used as shadows onthe ground
and on the walls of buildings. These solid blacks are often vised
to aid the composition or to point up the center of interest.
‘Other «ype of shading or shadow are those all mportane ele
touches of black which we put snder the lid of a table top oF
tinder the tos of a pair of shoes. On one ofthe following pages,
‘ou willsce how chase itl touches of shading help give aiciy
(Of form to the objects, and Keep them tied to the ground or
any other surface.
“The type and style of shading you should ute wil often de
‘pend on the immediate job you are doing Ife to be repro-
duced in a newspaper on newsprint, keep your shading to a
‘minimum, Later on, we shall ake up wash and wash shading.
And the halftone method of reproduction.
‘Shading is fan, but learn how to do it correctly, Practice and
play with unt you can dash i off with just the right amount
‘Of lines. To save youre Tot of headaches, always faish your
drawing in outine, then put in all the shading with pencil.
‘Study the effect IF you lke it and the shading isn't overdone,
{nk it in. A good shading job, dane witha pen, should give the
reader the feeling that he is loking at dstinet tones, noe pen
+ at all This cannot be achieved without the most con-
scicnsious prac1 re
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Light and shade
Fading into distance )
)a 4 Famous Mise Cartoon Coune
light and shade
Emphasis, mood and composition
Shading is wel in pointing vp what i important in your pie
ture, in eablising the mood ofa situation, and in helping to
‘eaten interesting comport
‘Strong contrast of light and dark will grab and hold a reader’
auiention, drecting it to the areas you wish to emphasize. Weird
Shadows wil create a spooky, menacing effect. The judicious use
flight and shade will help wrengihen und balance the compe
‘ion of your plcune
Emphasis
‘CompositionAERRCICCERRR RCE
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Light and shade
Warning!
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‘Student. Work
‘esson 14
Bo stuty and practice
Our chief aim in this lesson is to teach you the essential principles of light and shade.
Good shading gives your work life; bad shading will ruin it. You learn the lavs and
techniques of sheding here, but you must also learn to judge what 1s the right amount of
shading for the job in hand, Alvays keep in nind the market you are aiming at, the
nethods of reproduction and quality of paper thet will be used in printing your vork.
For your practice work, create several cartoons, each with a definite light source, and
raw your shading and shadovs in proper relationship to it. Then do the same drawings
over with the light source at a different point to'see how the rules work and if you cen
improve the looks of things. Try all types of shading and try solid blacks, but renenber
‘that simplicity is the best policy for cartooning. When you feel you understand the
subject, tackle your assigments.
We will criticize your assigments for this lesson chiefly on your understanding of the
principles taught in the text.
ASsTGNEENT 1
on an 11 x lisinch sheet of Bristol board draw two
panels, each 10 inches wide and 6 inches high, as in
‘the @ingrans at the right. In the upper panel draw
fan Indian tepee and a flat~roofed Mexican adobe hut |
standing on @ flat level plain in the same placenent
as their basic forms in the top diagram, They are in
strong sunlight, with the light rays coning down in
the direction and angle indicated by the three-
Ginensional arrove, Shade these dvellinge and draw
‘the cast shadovs to this Light direction in ink,
using pen or brush.
In the lover panel draw a large beach ball and a
garbage can resting on grassy ground and follow the
Sane procedure ae in the dreving above ~~ noting al
carefully the light Airection.
serait 2
om another 11 x 2h-inch shest of Bristol board draw a
panel 10 inches wide and 8 inches high, In it drow
‘the figure of a tramp seated on a box, his back to
the wall of @ shack. He is cooking a stolen chicken
over a compfire at night. At the other side of the
fire drav the figure of the local constable, vho has
Just entered the scene and caught the tramp'in the
act. The campfire is the only source of light in the
scene, so shade your figures and objects accordingly
with either brush or pen. Try to give the figures
‘action and facial expression which will make the sit-
uation as interesting, drenatic or hmorous as you
possibly can, You may use the sketch at the right
for figure placenent or, if you wish, cone up with
your on composition.
DPORTANT - Mark this sheet (ASSTGWONT 2.
Present your assignnents in the sane clean, professional
manner you would use if you vere submitting then to the
cartoon buyer of a publication. Ietter your nme, address
and student number carefully in the lover leftshand corner
of each page. In the lover right comer, place the Lesson
Number and Assigment iumber. Nail tor
FAMOUS ARTISTS CARTOON COURSE BE SURE to £111 out the return shipping label
Westport, Connecticut and enclose it with your assigments. This
helps a lot in getting your assignments back
quickly.