Famous Artists Cartoon Course Westport, Connecticut The head in detail seen Rube Goldberg Mion Canif Al Capp Horry Hoenigsen Willord Molin Gurney Williams Dick Cova Whitney Dorrow, Jr. Virgil Portch Bamey Tobey conrot @ 1958, 145 Fen Ah ano xS aru ee CA aT REDetails of the Comic Head In Lexon One you stuiied the simple comic head, drawing it fom a toy balloon. Now you are weady to consider the comic head in a more detailed manner. Of couse the other parts of the body must Gt in with the type of head you draw. But re- rember that the observer's atzention is Set forased on the face and head. Henee, these parts are allimportant.» ’A mate exaggeration of features docs not always convey char acter Thete must be mobility inthe features and feeling that 4 Ihuman being i pictured by the Hines representing the fax, no matter how comic or grote the face may be. On the oppoite ‘ae is shown the head of Apollo, conceded tobe the most ely proporcioned of the Greek gods, Sucrounding Apollo ate heads fhat are about ae diferent in beauty and symmetry fem hima at powsibl. Ye thee comic heads and faces ar a5 alive as that of the perfect Apolo, and perhaps convey nore characte. More cover, they aré not ugly dn an unpleasant sense. A face can be AW 7 Incereting, hamely coma rally proportioned, and not be ugly Uslines is something that should be avoided in cartooning. It takes experience to know what is grotesque without being ly. "The heads of the characters establish the mood ofa espn, ‘Aellnown cattoonist who has several asnante co putin his Inking and leering never allows them to touch the heads. He Knows that he must do them himself to keep the strips flavor. "The faces in cartoons must havea vague familiaty av though you had met them before. You snust feel like calling them Joe {And Bil and Mabel and Jim. They are people — funny people — but Hang people ‘As yout dave facial expresions, you sill probably find your ‘own face tying to match the face you are drering. Done worry this normal for cartoonist. It may be highly arousing (0 {our friends who catch you in the act bu if ie helps you get the drawing right, go ofA style develops ‘There is no limit tothe way you can combine the features or ‘weit them in pen and ink or brish and ink. There are two basi avons why one earlooonists work looks different trom an ‘Other’ Fist, one cartoonist may craw eyes lose tether while the other draws them far apart. Or one may draw big noses and small chins while the other likes big chins and smal smells. ‘These differences are easily spotted: But the main differences will be found in such Le things asthe thickness or chinness Of line or smoothness or roughness of line. They may be hard 10 fee, but they give each invlividual caropnist what is called “ape ‘The beginner in cartooning willy worries because he hasn't developed a sve. Some beginners sit around worrying o much about syle that they never have time to do the one thing that will give thera what they want ~ actual drawing. I'you practice nd draw you can no more help developing a syle than a baby dluck ea Bel swissng whem it goes in the water. Drawing & like writing. Everyone who write in long hand has 2 stsle— and the prisons are full of guys who tied to copy someone es ‘The way you hold the pen, the shape of your hand, even the vray you think all jafuence what cates ofthe end of your pen twith the ik. OF course you can belp tis style along a oom as ou seit develoging but don’t ry to force i, One ofthe easiest, {things for editors to spot is a fared style, and they don’t ke fe Be youtselt~ its eases and the tesla will be beter, Cartooning the head are et iin a ot andiome here sil, gow, lowbrow, 4 setae te bow 5 Lemos he som ondme ene | The head in detail The head and neck 1 you balanced an enrich ogg on a tin can you'd have a good representation of the basic forms of the head and neck and ther relationship to each other in their normal postion, However. the head cin astime many odher atdeader: i can tt forere Dackivard, or sideways an well ay tr (rom sie to se ‘Combine these actions wth the appropriate fail expressions and you can reveal your characters leelings much more cesty nd emphatically. A. pugnacious exprenon, for example, be fomes eten more pughacious ifthe bead juts forward blige fy. A stated or teghtened expression is heightencd by a backivard thrust of head and neck These and simular head ge: tres wil give ie and snimation to your cartoon figs, ‘When youre faced with » problem of expresion, is goad idea to net ott the station ‘or emotion in ont of ror the atttles your ea assumes with various facil expres sions. I often help to exaggerate thew head gestures —but 3. Was base your exiggeration realityBasic expressions Here you see a variety of features that expres some ofthe ho man emotions. Note thatthe balltype nose has lite t do with the expremion, When showing “auity” the nose fy caraed up to emphasize the hauteur of the subject, but generally the nove has Title to do with expresion bectse ie is immovable unless the whole head it turned. The eyes and the mouth are keys to changing, moods, Raised eyebrows, the frown (a line between the eyebrows), the droopy lid, the lowered eyebrows, the up- right parvw circles with the eyeballs in the center the closed ‘jes all help you quiely get across the expres "The trouth — scented By check and Lip lines — vital part of any expression The tet showing from one side the round, open mouth, the Isughing mouth with the vised farmers, the puckered mouth witha suggestion ofthe lower Ip the lopsided mouth; the lage mouths the small mouth ~ all hate ther place in th great cycle of man emotions, Constant practice ~ and an cecasional peek into your mirror ~ ill bring You to a point where these devices will become automatic in your work. ‘They will immediately come to your mind ~ and Thence the dip of your pen or pencil ~ as soon at you want 3 duracter to thow an emotion in your eattoon eration Hepat —Ue gh he ons oftenon 4 Femous Artis Coroon Cour The head in detail8 mm iencmaoe The head in detail Phy By The comic eye os KEN is By its placement within the jon of your character’ gue nc ofthe eyebrow in relation to the eye i impor the right expression, so study the suggestions be face into a ihe action of the eye~A Fomous Aris Coron Cone The head in detail The comic nose ‘There's something fundamentally fanny shout nose. It ticks into other peoples busines ~ it ells «rat it makes 4 sound Ike a foghorn, Best ofall, you can use i very eetvely to create ‘haracier. Lage or small, 4 nove isa cartoonist ‘The human schnozze has only four basically diferent shapes, However, by combining the characteristics of one group with those of another and adding a dash of exaggeration you can come ‘up with counties comie variations You ean use almost an) ou Tandish shape, ax long ari looks though your character ex breathe through it Here area few ofthe thous of posblies Pracice them and have the fur of creating some of your own10 tron coo The head in detail Gewese Ovwow & YW 6 OSS ] =enon, 4 Famous Artis Cortcon Cove The head in detail u The ear “The ear Hstens to gossip, brushes agains revolving doors when i sticks out too far, and serves ay a mooring for strange looking ea ings Tecan contribute tothe character of the bead (he caul flower ear ofthe prizfighter is a good example) but not tthe facial expression. In it nateral sate the ear ix complicated ~ {all of confusing ridges and convolutions~ but, since simply is the enence of cartooning, we ean streamline fe down ta It ‘verall shape and very litle eee Drawing hair on the head ‘When you diaw hair on the eomie head, remember this vary innportant point — be sure to draw the outline of the tap ofthe hhead in peneil before you put ha on it, Many beginners draw ‘he face snd then piles stack of hay on top for hai. The? for ft that there i 3 solid head wnder the air, and create a hend| which all out of proportion. When drawing a character for Strip ora continued feature, you want the head t look the same every time. To get the same shaped head — pencil the shape tinder the baie every ime, megane Seco12 Lesion Fomovs Ari Corteon Coun The head in detail Hair to indicate type Hai, othe Ick oft can inate the spp of character you wish ‘o.draw. Sophisticate or yoke, glamor type orpinser —by thelr Ta you sll Know them and draw them. Hair an be fanny rserious, Lear to wei ‘When crawing hai, t sometimes helps co change frm pen to brush of froma Gill’ 170 10 Cillo. 200, Fair ie exible and demands + exible ine, Don't wie a thousand lines where {yee would do the trick. Try 1o make i appeat to grow fiom the sealp by “eombing” ic with the pen or brush, lewing the ink ttroke follow dhe fw of the hai strane, A beard te born Hair on the face Everyone is intrigued by a beard. Look at the posters on the Fences in you town Ifthe faces do act have a mustache or beard dawn on hem, they sz ikelyto have ome by the time you nih iis leon! Like the Nair, beans and mustches ean indicate character and sype. They can make a figre look domineering or down: iedeen aiabebi orgie Siyles in mustaches ae beards xem to grow funnier as they vary ~ maybe beens hair on the fae seem vo wnnecessry al foie, Futility basi eomie factor in buman natare Treat the heart or mustache the same ae the hai: don’t ove draw and keep your lines sharp and clea, Here area few ag setionstee 4 amon Ase Cotoon Come The head in detail 13 Milton Canift Putting the parts together You've seen how to construct the eyes, nose, mouth, chin and cats of 2 comie character and how to decorate the esl vith bnnr. Using the balloon head of Lewon 1, now isthe time 10 fexperiment and practice the busines of putting the parts to ether. This shouldbe fun and if youre going tobe a eattoonit, this experimenting wil continue fora lifetime ‘Combining festures isan endles pastime — the results are cendlesly surprising. Most of the characers you develop will wind up inthe waste baster This sa natural state ofaffis and Comes tinder the heading of experience. Some of them, however will smile or snk or gate up 3t you from the paper and et Your mind working along new and delightful lines There are Sharacers and, whats more, theyre your characters — your own personal, Beautiful babies, They make life worth living. Keep that pencil of yur eareing for them. "Tp give you concrete examples of how the combining process srorks, ere are some examples by dhe faculty. Each tan has ‘arte with a penciled balloon, placed the features and hed i the drawing. No eo are alike; they vary from eomie to realistic, ‘but the process they ised was the same, The rele ae good, solid cartoon character. or heads Lute a Gillot crowguill pn #689, Ice a very exible ppen and you can gets wide varity of lines with itLiked Gillot #290 when 1am work 1g L have always Ii fn a amooth surfaced paperlarry HaenigsenFANOUS ARTISTS CARTCOY COURSE Student Work ‘lesson ls To study and practice In this lesson you learn to add the fine pointe to the basic heads you drew in Lesson 1. Here are expressions, heat gestures and different ‘types of eyes, noses, mouths, chins, ears and hair for you to experinent with. Ixperinenting with features ie the process by vich you arrive at hew characters -- a process that never ends for professional. cartoonists. For practice, swing balloon ovals in peneSl as you did in Lesson 1. Then ‘think of an expression and the best, simplest way to get 1t into your draw- ing. Don't trust to luck. Plan your faces carefully; the features must be Sn the right locations. Once the features are located correctly, small re- Tinenents of expression can be addei, When you éo your inking, leave out unnecessary Mines to make the drawings as simple and direct as possible. Never ase tvo Lines where one will do the job. We will eritiesze and grade’ your work on the basis of the vay you construct, ‘these heads and the effectiveness of the head gestures and facial expressions. ‘he assignment you are to mail to the School for erttictem Present your aseigment in the-sane clean, profes Om a sheet of 11x TH-inch Bristol bourd, using pen and ink, draw six heads Ghree groups of tvo heads) about the size of the examples on pages 13 -- 15. Put necks ahd collare on all of then, Hore azo your eubjects and views A side view of a hero or good-euy type. He is sailing at the head of «+ 7 Group 1 ‘An innocent-locking teen-age girl -- three-quarter front view. A three-quarter front view of @ detemined-looking business man vho ds just about to fire... Group 2 ‘A weak character, side view, who is surprised at the news. A middle-aged wonan, three-quarter front view, She wears earrings and has a vain, disdainfwl expression because . . . Group 3 ‘An elderly seafaring character, three-quarter front view, with or without hair on his face, is winking at her. ional ranner you vould use if you were submitting it to the cartoon bwyer of a publication. Letter your name, address, and student mimber carefully in thé lover left-hand comer of the page. In the lover right Semner, place the Lesson Number. Mail to: FAMOUS ARTISTS CARTOGHY COURSE Westport, Connecticut,