Face Off - How to Draw Amazing Caricatures & Comic Portraits

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Face Off. Copyright © 2006 by Harry Hamernik.Manufactured in China. All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means including information storage and retrieval systems without permission in writing from the publisher, except by a reviewer who may quote brief passages in a review. Published by Impact Books, an imprint of F+W Publications, Inc., 4700 East Galbraith Road, Cincinnati, Ohio, 45236. (800) 289-0963. First edition.

ng Amazi How to Draw Carica tures &its Comic Portra

Other fine Impact Books are available from your local bookstore, art supply store or direct from the publisher.

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DISTRIBUTED IN CANADA BY FRASER DIRECT 100 Armstrong Avenue Georgetown, ON, Canada L7G 5S4 Tel: (905) 877-4411

ernik Ham Harry

DISTRIBUTED IN THE U.K. AND EUROPE BY DAVID & CHARLES Brunel House, Newton Abbot, Devon, TQ12 4PU, England Tel: (+44) 1626 323200, Fax: (+44) 1626 323319 Adobe and Adobe Photoshop are either registered trademarks Email: [email protected]

or trademarks of Adobe System Incorporated in the United and/or LINK other countries. Adobe product screen shots DISTRIBUTED IN AUSTRALIAStates BY CAPRICORN reprinted with permission from Adobe Systems Incorporated. P.O. Box 704, S. Windsor NSW, 2756 Australia Tel:

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741.5’1--dc22 1. Portraits--Caricatures and cartoons. 2. Cartooning--Technique. I. Library of Congress Cataloging-in-Publication Data Metric www.impact-books.com Hamernik, Face Hamernik. Includes ISBN-13: ISBN-10: NC1763.P677H36 Title. Edited 2006013135 Designed Production ISBN-13: offby p. :978-1-60061-378-4 index. 978-1-58180-759-2 1-58180-759-7 by Christina Harry cm. how art coordinated Guyto 2006 by Kelly draw Amy Xenos Wilkin amazing (pbk. by Matt (pbk. (EPUB) Cincinnati, To: Sq. Feet convert Wagner caricatures alk. Inches Centimeters Yards Meters Sq. : Meters alk. Inches Centimeters Feet Yards Meters Centimeters paper) Meters Centimeters Yards to Ohio paper) Sq. Sq. Sq. multiply Sq. &Feet Inches 0.9 1.1 Meters comic Meters Feet Centimeters Yards Sq. 30.5 0.03 2.54 0.4 10.8 by portraits Inches 0.09 0.8 1.2 6.45 0.16 /Conversion Harry

Chart

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ABOUT THE AUTHOR

Harry Hamernik has spent eight years teaching caricature drawing to artists for theme parks such as SeaWorld, LEGOLAND, Knott’s Berry Farm and Paramount’s Kings Island. Currently, he is a full-time faculty member at the Art Institute of California in San Diego, where he teaches drawing courses in the animation program. Additionally, he has taught at the Art Academy of Los Angeles and Orange County Art Studios. Harry holds a Bachelor of Arts degree in graphic design with an emphasis in commercial illustration. He and his wife, Kate, also own a freelance art business. Harry is available for hire as a caricature or freelance artist for any event or project. For more information, go to www.hamernikartstudios.com. ACKNOWLEDGMENTS

I would like to recognize and acknowledge all the individuals who helped me in the creation of this book. Thank you to my wife, Kate, who kept me motivated through the entire process. Thank you to Pamela Wissman, acquisitions editor at F+W Publications, Inc., who gave me the chance to create this book. Thank you to my editor, Christina Xenos, who worked with me patiently through the deadlines. Thank you to all my friends who modeled for this book. Thanks to Kaman’s Art Shoppes and Steve Fishwick, who employed me as a caricature artist all those years where I practiced this craft. “Sorry it goes out to all my past students who have been waiting took so long” for this book for many years. Lastly, thank you to my parents, who let me pursue art as a career. DEDICATION

To Kate— Everything in my life is better because of you!

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n Introductio

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Drawing comic

s nd Supplie portraits or caricatures Materials a is a whole lot

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of

fun. How else can you get paid to poke fun at people? Of course, it’s all in good taste and for everyone’s entertainment. Caricature artists are entertainers, not comedians; if

chniques you learn this right away, it will save you a lot of trouble. Marker Te

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Having trained many artists for theme parks, I finally fig-

st n e c ont 4

ured out that it was easier on everyone if I could distribute handouts of the points I was making during my demonstrations. Those handouts piled up niques until I put them together for this

Pencil Tech

book. Explore this book, following all the instructions so you

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can make your own fun caricatures and maybe even teach those theme park artists a thing or two.

ques ncilFirst, Techni a few suggestions: Colored Pe

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1Proceed page by page, and don’t skip around the book.

It will all make more sense this way. 2Learn the techniques first. Then you can try drawing people

Computer

Coloring

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in person.

3Don’t be afraid of mistakes. With quick caricatures drawn live, there will always be some mistakes on the page. A good caricature artist can draw the sketch quickly, create a s

Caricature

likeness and make few Front-View mistakes. Most mistakes are so subtle

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that no one will notice them.

¾-View Ca

ricatures

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icatures Profile CarCelebrity Closing allery G mments Index Co

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120 126 125

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Materials and Supplies When creating caricatures, the most important tools you’ll use are paper, markers, pencils and colored pencils. Some art products can become discontinued, so if you find something you like, buy aMY FAVORITE MARKERS

bunch of it.

Paper THE MARKS

When you find a marker you like, buy as many as you can afford. The Dixon

OF AN AMATEUR

At first, yourofcaricatures Markette You’re goingthetolines use ain lot paper, so may youlook might as well save some is my favorite. like these. Avoid marks that are sketchy, I also money. Try 11" x 17" (28cm x 43cm) photocopy paper, available at like Copic Sketch unsure, contour-like or unorganized. Every mark

marker (fourth from the

any office supply store. It comes in reams of five hundred sheets. left on the page should look good all by itself.

right)—it is refillable, and

You can save more money by buying it by the box. Paper is you rated can buy a smaller nib by its weight and brightness. Buy the heaviest and brightest tip paper for it (though this is hardsure to find). Try as many you can afford. Buy one ream first to test the paper, making markers as you can. It’s the only way to see if they

it works well with markers, pencils and colored pencils before you invest in an entire box.

work for you.

Marker Types Alcohol-based markers dry out very quickly. Replacing them makes for an expensive hobby. Chemical-based markers give off smelly fumes that can be harmful if inhaled, but are the only other alternative. I use chemical-based markers only when I am working in a place with plenty of ventilation.

Pencils When working in pencil, use a softer variety such as a 4B or 6B. The softer the pencil, the easier it will be to create both thin and thick marks and a dark line. Harder pencils make lighter, thinner marks, which are useful in certain instances. I like Staedler pencils

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that don’t allow you for to vary your lines. need theifability Photocopy paper is fine caricature drawing,You especially you’re to new at Markers Marker to instantly, with thick draw having rently Internet kinds aand lines pointed one drawing to because from brands change of allowing andoffice the is nib, thin you for to markers. esteemed best see you can’t preferably their lines, supply on which to the Iconsistency as erase. work and stores prefer one ones market. flexible. to atof Markers switch you in the a exercise the rapid Canada. You and Dixon like Some are between can because pace. best. Markette versatile difficult However, purchase have Look the they very two marker, for them try don’t ways and stiff without markers different on dry tips cursmear the much. Others it. draw This or ing leave pencil: sketches isshould the Draw first be that shapes fun, are interesting, visually and Imost help recommend objects, you break should appealing. confident bold drawing the focusing do and habit with marks The pleasing. with on of your marks are creatatimid marker. marker what you sketching you This want. will when PAPER DRAW ANYTHING AND EVERYTHING MAKE YOUR MARK WITH MARKER

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Do-It-Yourself Lap Easel The lap easel is the perfect tool for sketching in public. You can make this easel inexpensively out of parts from your local hardware store. To use it, just sit down and place the bottom of the drawing board on your lap. There are endless variations, but don’t make it too big or heavy. The idea is for it to be portable and easy to work on, without being too unstable. Supply List ✘ Drawing board. It should be lightweight but durable, of any size bigger than the paper. ✘ PVC irrigation pipes. These form the legs and crossbars. Use ¾inch (19mm) or larger pipes. The length of the legs is up to you.90° joints for the top crossbar. ✘ Two ✘ Two “T” PVC joints for the bottom crossbar. ✘ Three pipe straps. These will be in the electrical section of your hardware store and are used for attaching conduit pipes. ✘ 1" x 6" (3cm x 15cm) oak veneer. Use this on the back of the board, between the pipe straps and the drawing board. Otherwise, the screws you use to attach the pipe straps will poke out from the board. ✘ 1" x 2" (3cm x 5cm) oak paper bar. This bar is in front and holds the drawing paper to the board. ✘ Two long bolts. Make a hole through the drawing board and the paper bar. These bolts attach the paper bar to the drawing board. ✘ Two wing nuts. These will tighten the paper bar so the paper does not fall out.

I recommend are Prismacolor Black pencils and the Ticonderoga Soft pencil. (You cannot erase the Prismacolor, though.) You can also buy lead for a leadholder pencil. Again, test different types and but, in my opinion, this brand is a better quality than the others. Colored Pencil Sharpener Pencils brands. Ihave for Yellow, Orange, Terra Color You operated cil usewill more sharpener used Prismacolor Cotta, names Aneed Copenhagen Pink, colors: one blending the may True works following Raw you a good vary Black, Sienna, colored can Blue, stump Blue, best. from pencil find. palette Blush, Ultramarine is Flesh, Otherwise, Raw pencils. brand useful Cheap sharpener Umber, Burnt for Forest toones for The brand. pick many Blue, Scarlet Ochre, when shading will brand Green, years upViolet you dull Burnt the Lake, isn’t Gray, your sketch. without best quickly. and Sky drawings. that Green manual Yellow Blue, Athe important, batteryCanary Bice, need Ochre. IUmber, use Here and pencil, macolor the fine asing including off Prismacolor aaing are reliable single sandpaper blending hardness. the broad apenyour Black few standard tip lead Staedler drawings. tip Ticonderoga of pencils colored of stump so Also your stick, to the you lead work for shown and stump options, of pencils. have Round holder as shadvarywith. Soft Prisis well awith7 COLORED PENCILS PENCILS

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Marker Techniques The best way to practice with a marker is to use the same one all the time. Get a marker and do all your writing with it. To End Dots Avoid practice using a marker for caricatures, memorize the basic line patterns and Fuzzy Lines used for each feature. Once you memorize the patterns, If your marker draw is touching the page, willhow keep coming out, which hundreds of versions of each feature. After readingink about thoseyour ink dots at the ends to draw front-view caricatures starting on page explains 22, practice of your lines. You must draw without marker techniques some more. Try to draw each facial feature with hesitation and pick up your pen as few strokes as possible. quickly at the end of each stroke. If you are getting fuzzy lines, you are moving your pen too slowly.

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At bleed first, dots, your fuzzy marker lines lines and may so forth. look like That’s this—unsure OK. The more and uncontrolled, of these kinds with of sketches you do, the sooner will get them out of your system. PRACTICE MAKING LINESyou WITH MARKERS

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TRY GEOMETRIC SHAPES

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TURN GEOMETRIC SHAPES INTO FEATURES

Practice drawing each When facial you get feature tiredasofa drawing geometric geometric shape. This shapes, is atry great turning them into way to practice variations features.for Theeach shape feature. will tell Makeyou some what wide to and draw, others so you tall, can focus on your or even an entirely different shape.

line quality.

When you draw live,Fill you an will entire be looking page with for variations subtle differences of each feature. in By studying one When By features. to knowing seeyouthose first what differences. start types atand feature apracticing, of time, so exaggerations on.you To create will try to learn work variety, exaggerate how for to you, study avoid asitmuch how will drawing to as be use youathe anchor can. lot same easier and page eyespivot 26. on everyone, points 9on EXAGGERATE PRACTICE VARIATIONS

Pencil Techniques I recommend working with markers when you first begin doing caricatures; however, most of us are accustomed to using pencils and have it in our nature to sketch with them. The trouble with pencils is that we often put too many lines on the paper, and the drawings get messy. By working with markers, you will learn to put down fewer strokes. For those of you who prefer pencil, follow the same guidelines for working with markers as well as those included here.

PRACTICE LINE SHAPE VARIATION YOUR LEAD

Shape Draw thick, the tipmedium of your andpencil thin lines. lead by rubbing You will it back have and to resharpen forth on athe scrap tip often sheet on aofseparate paper until sheetyouofhave paper. an angled flat spot on the tip. The flat spot lets you draw the thick lines. Spin the pencil around and draw with the tip to get thin lines.

is intentional and clearly made. Practice drawing strokes in every 10 direction spacing See with how straight theAND between face and your above Draw curved much marks. features on to as lines. the do you Beit right can. bold as Vary right. cleanly looks Think with theNotice pressure your more like and lines. precisely how professional? a calligraphy on these your features pencil possible, Every artist—you and are line the avoiding notmarker only quiteget “sketching” versions. as one clean chance as the as AVOID MESSY UNORGANIZED DRAWINGS DRAWas FEATURES DECISIVELY

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WORKING WITH VALUE

Using pencil gives you the opportunity to add different values or shading to each feature. By applying more pressure on your pencil, you can darken features to suggest enhancements such as lipstick, for example.

both thick and thin lines. In the center is a blending stump; on the right On the how is theleft stumpisTIPS should what look pencil after tip you should sand the look tiplike to prepare when shaped it for touse. make SHAPING PENCIL ANDyour BLENDING STUMPS

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USING VARIED LINES

Practice drawing line variations within each feature. A thick line will only look thick if there is a thin line nearby to balance it.

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Use same Notice your areas sanded how on easily every blending you face. can stump Shading recognize to shade should a face each take with sketch. youshading less Shade than done thea exact this minute. way. SHADING YOUR SKETCH

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Colored Pencil Techniques Coloring a good drawing makes it great, but coloring a bad drawing EYE makes COLORS it a colored bad drawing. Coloring does not cover up Use these so samples as a your guide caricatures for selectinguntil the you are confident about mistakes, practice correct eye color for your subject.

your lines. Then begin coloring.

Coloring a caricature of a face should not take longer than one or two minutes. Definitely don’t take more time to color than you did to draw the sketch. Your subject will get tired and uncomfortable very quickly, so you have to work fast. As in the drawing part of the process, there will be small mistakes made in the coloring process. It’s part of the quick-sketch look. Don’t worry about it, but try to color inside the lines as much as possible. Always color lightest to darkest, because you can always make an image darker, but you can’t make an image lighter. HAIR COLORS

THE COLORS I USE IN MY PALETTE

Experiment with blending colors together to create the shades you want. Just remember to always work lightest to darkest. This chart will help you get started.

123456789101112131415161718192021

7654321 Ultramarine ForestBice Burnt Yellow Canary Green Copenhagen Umber Ochre GreenBlue Yellow Blue

98 True 10 11 12 13 14 Raw SkyUmber Orange Terra Raw Burnt Blue Sienna Cotta Ochre

15 Scarlet 16 20 21 19 17 18Violet Blush Black Flesh Gray Pink Lake 13

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Using the Pattern Technique These two pages will show you the pattern to use when coloring. To avoid spending too much time coloring, color every face using the same pattern. Every extra minute is an eternity for the person you are drawing.

Sky BlueYellow Ochre +

Sky Blue Raw+ UmberRaw Umber Yellow + Ochre Burnt +Umber Sky Blue

Raw Umber

Green Bice Terra Cotta

1 Begin with the overall skin Choose the color that tone. generally matches your sub-

SKIN TONES

Use Color this chart help of youthe create the correct skin ject. everytopart tone. that Get the color as close sketch needs that color.as you can with your limited palette. A caricature is not a realistic trait, so it does not have to be exact. Think of it again as as you continue. a cartoon: the coloring should be bright and fun.

Trypornot to pick up that color Canary Yellow

Canary Yellow + Flesh

Canary Yellow + Yellow Ochre

Flesh

Flesh + Blush

Yellow Ochre Flesh + Pink Yellow Ochre + Raw Umber

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2appear Overlay another color tolight. adjust tone to ifshadows there was withan the overhead flesh-color values, Note the that not skin you withare black creating or Flesh + Yellow Ochre better match Highlights Creating sides subject’s. shadows the ofBlack the need gray. Use face, to be under inCotta the the tosame darken chin and theanywhere on shadow every show For white instead covering areas where skin person; highlights through of of with aCanary of shadow the darken some color. paper let in area face. would the theYour Ourplaces Model Yellow Terra Raw Burnt Umber Cotta Umber Ochre + pressure Terra Burnt +your Terra Umber Cotta Terra Flesh Terra Flesh Terra Cotta +tone, Cotta +Cotta +the Terra Terra Raw +heavily +Sienna Orange Yellow Cotta Cotta Violet

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3place Addatthe 4ofAdd color. You color. should After already have finish thishair point clothing so the that eye that all you you need drew.to Finish do is you with color the themost background. haircoloring with Keepthe the of theshading. details eyes, in colorground any simple—spend items simple some backno more than ten seconds on it. 15

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Coloring a Face With Colored Pencils

Colored pencils are the least expensive and the fastest way to add color. When using them, be very aware of how much time you are spending coloring. Use as few pencils as possible. Caricatures are about the sketch, not the color.

Our Model

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2of Fill in the general 3highlight Add any color tone over described the skin intone thesotosubtle adjust streaks the pencil. across the Leave all actually the sketch appearance model’s distinguish byskin coloring should actual areas the as be skin inyou aas new circles, blend tone. color color of This using by from the using should two the acolors. general broadest be lighter Using skin tone. the thatit skin The youso pattern technique that on closer tothe page part in hand these 14. spots. The easiest tone overDarken can’t way theisit’s shadow to color color, areas. from darken the top shadow down. Avoid areas leaving (see page 14, step 2).

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1 Complete your sketch. Avoid going back to drawing at this point.

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Computer Coloring Color the Adobe® hair using the hairThe information given here is for those of4 you who have color blendpage 13). Work lightest to Photoshop CS® for Windows and have useding it techniques before. It (see is not darkest. Leave highlights in the hair toward the intended for individuals who have never used this software. Here, top of the head (see “Hair Sections” on page I describe the basic process for coloring line art in Adobe® Photo38). The highlights should be the same on every shop®. Please experiment and add to this process based on what person. You can also add a few more decorayou know about Photoshop®. tive strokes using the colors.

Preparing the Image 1 Save the sketch file onto your hard drive. 2 Rotate your canvas so that the image is correct side up (Menu Bar> Image> Rotate Canvas). 3 Convert to Grayscale mode (Menu Bar> Image> Mode> Grayscale). 4 Adjust your line art. Use levels (Menu Bar> Image> Adjustments> Auto Levels). 5 Convert to RGB mode (Image> Mode> RGB). 6 Copy the Background layer on the Layers palette by dragging the background layer over the Create New Layer icon located on the bottom of the Layers palette, second from the right. 7 Rename the new layer “Line Art,” and rename the background layer “Color.”

1 Scan in your artwork at 300 DPI using the RGB or color imagemode function of your scanner. If your sketch is too large to fit

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on the scanner, try taking a digital picture of it using the highest quality 5 Complete the coloring by adding the set2 On the Layers palette, change the Line Art layer’s eye color digitalcolors camera. and other detailstings such of as your any accent to Save the file as a JPEG file. Then mode from jewelryten simple about background. andseconds. clothes. open Backgrounds FinishNormal theshould sketchtake with Our a Model the sketch in to Photoshop®. Multiply.

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A Word of Advice About the Wand When you get to step 3, if the wand selects too much of the sketch—rather than the isolated area you want to color—there is probably a break in the line somewhere. The wand only works if your lines make complete shapes. Are there any breaks in the outline of the shape you’re trying to color? Then correct the original sketch and rescan it.

3 Use the wand 4 Select tool (press the brush “W”tool on your (press keyboard “B” on to the select it) tobar keyboard). select Under the an area to color. Have in the “Anti-Aliased” Brush preferences andmenu “Contiguous” tool bar, on the selected left side

next to the in the word wand’s preferences “Brush,” tool there bar. Don’t is a dot select with “Use a number All under Layers.” it. Click on the number. Choose This a color to use from opensyour up this coloroptions swatches. window. Then The click Master to select Diameter an is the size of the area to color. Slightly brush expand and that the Hardness selectionis(Menu the fuzziness Bar> Select> of the Modify> brush. A hardness of Expand> 2 Pixels). 100 percent Press Alt means + Delete crisp to edges, fill while your area 0 percent with hardness means soft color. edges. Correct any parts of the sketch that were colored by mistake, using the brush. Choose the correct color from the color swatches.

5 Use the technique 6 Turn described the Line in Art step layer 3 to (click fill on inyour the the eye tooriginal seeoff what drawing you behind are is it, actually protected and you coloring. don’t on its mess own By using layer. up this This original technique, way,icon you in haircorrections section. the Make Layers palette) any using your color the brush sketch. as described in step 4. 19

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7 Turn on the Line 8 Add Artshadows layer.and Select highlights the Color to the hair the same layer.theUse the wand wayAllyou to added select skin tone. shadows and of the highlights skin tone to should the face be in selected. step 7. Using With the brush, you the will Color palette instead not beofable the to Swatches paint individual palette, select hairs avery darker easily. Just shade the version overall of the skin tone. Under the red “X” close box in the Color palette, shape. there is a black Options arrow; click on it and select “HSB Sliders.” The “H” is for hue or color, the “S” is saturation, and the “B” is brightness. the “B” toSlide get a darker version of the skin tone. Use the brush with 20 percent hardness and paint all the shadows. Now select a lighter version of the skin tone and do the same for the highlight areas.

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9Re athesimple background. You may have to thePaint Layers arrange white palette around layers window the drawing so (second the Line infrom theArt the Color layer right, layer. isnext on If top, toyou the the doselect trash Color not have is andthedelete aBackground can). in middle and layer, the Background click onis the onNew theLayer bottom. icon on the bottom of the

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11 Turn on the Line Art layer. Be sure you colored everything you next wanted to. After this step you will not be able to make any changes. On the Layers palette window, under the red “X” close box, there is a black Options arrow; click on the arrow and select Flatten Image. This step gets rid of all the layers and leaves your image ready to print. Once you flatten, you cannot make changes to the sketch.

Closing Comments Computer Coloring Comments There are are many many books books on on Photoshop®. Photoshop. Pick There one touplearn more.more. As a rule thumb Pickupone to learn As a of rule of for quick sketch caricatures, computer colorthumb for quick-sketch caricatures, coming shouldn't take you longer than twice as fun 10 12 If Your you turn final off art the should Line look Art layer, something like drawing this. puter coloring shouldn’t take you longer Notice and how You tools to can how color, dofor I this painted you but toto don’t eliminate right experiment get over lost any some with. unattractive in of Photoshop Have the hairwhite exploring ®.your and With lines pixels caricatures, and of next the to should Remember, look like this this. is face? long ing utes waiting sketches computer. than it. spend puter are you learning the the only took If producing start as coloring twice ten oran your you until before five off. minutes overview playing as spent drawing long you high-quality Iit minutes, recommend you in are on coloring drawing of asPhotoshop. took start the producing the you then computer. five process. it. spent waiting playing sketches it, spend If minutes, on Idrawing high-quality your recommend sketch ten the until on Photoshop before the commindrawthen you itself ® has should lines manybe you variations the drew. star. 21

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From now through the end of the book, you will see many

iew ront-V ing F Draw tures arica C

examples. Follow along and practice with the pattern I

explain here. Using this pattern will help speed you along. By practicing and working quickly, you will progress more quickly than by obsessing over every little detail.

Basic Process

This is the basic pattern I use to draw faces. Memorize this process. Practice it by inventing faces. Draw ten faces every day for twenty days in a row. Do this before you try to sketch anyone in person. You need to know how to draw a caricature in general before you can try to make it look like someone. When you are sketching someone, you don’t want to get stuck in the process. It will be hard enough getting a likeness of your subject.

Begin with one cheek and work your way down to the chin. Continue up Our Model

the jaw to the other cheek. Try to do this all in one stroke. In this example, I drew down to the chin on both sides and then added the goatee. Add the ears at this point, if they are visible.

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Addeasy—just is the the hair (or head. drawlack theof). outline Thisofone

with Add other. Work Avoid the tion. Draw the on strokes details your one drawing It Complete eyebrows, nose. is way side eyebrow, as while much Make down the you and each then easier sure eyebrow you go. the then section add are face. moving you starting the tothe and on add mirror other. Begin before that on. eyes. eye allthe secyour

Add the mouth opening, lips, smile lines, dimples and facial hair. Keep it plain and simple. Finish one section and move onto the next. This improves your speed tremendously.

Know Process There so sign addand should a date neckbeyour and noawork. floating collar. Be heads, sure ture. Focus to hair, Practice Try aoneyes, good to getting by do time nose, inventing this the tothe mouth, in work process three ten on neck heads your minutes. down: andspeed. ajaw, signaday. Now is

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Using an Appr oach Advanced

Draw the eyes without drawing the Our Model

face outline. You aren’t contained by the outlines, so you need to plan how far apart they will be. Don’t let the sketch grow too big.

24

Add the color, how from close thetexture eyebrows. eyes or how and andfar from Draw volume. they the eachshould correct Look other. for be

coloring trol How dominates How Add gerating How nose ground these wide your far some wide after section down is exaggerations. questions. to color the that, should the polish you’ve should face? smile? and in and itchapter it aFocus the simplify be? asked simple off. Learn What nose Draw on1yourself Review to backexagfor feature go? the the contips. rest. the 23

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Only after you have practiced the basic approach for at least three to six months should you consider trying this advanced approach. Trust me—this is much more difficult because you have a lot more choices. Save this for later.

The face shape needs to fit properly with the features. The cheeks go from the eyes to the corners of the smile lines. Add the ears after you draw the outline of the face.

Add some color and a simple background.

Use Your Face Shape The date add; and hair it “caps” is thesketch. your final off the element drawing. you are feature. another will Sign because If start in the limiting Artists you getting advanced over. reason By miss they drawing can yourself, aAon are likeness approach why face get tered the never you the lost shape face which the should face of until contained using shape, basic isis the shape very you’ve wait person. this better approach. you first, important by to approach should any masfor use This you now. is 25

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Distance, Anchor and Pivot Points What should you look for when drawing each feature? Here are two principles that will organize your thought process. Everyone has two eyes, but what makes one person’s different from the next person’s? It is the shape, angle and distance between them. I will

OPTIONS FOR

cover shapes feature by feature later. But the anchor and pivot

PIVOT POINTS

point principle will help you identify the angle of that feature. Pivot points can be The distance principle will help you place the feature on the above, even with or caricature. For starters, familiarize yourself with these two principles below that the anchor. you need to know to start drawing.

These are the only options you will have.

Principle 1: Anchor and Pivot Points Anchor points do not move, which is easy enough to remember. Pivot points move. Every feature of the face will have an anchor point and a pivot point. Anchor points are the center of the feature, and pivots are the edges of the feature. I will point them out feature by feature on the following pages. ANCHOR

Principle 2: Distance

LOCATION

Anchors will always be toward the center another? The anchor and pivot points tell you how to draw the of any feature unless

How far is one side from another? How far is one shape from

feature, and the distance tells you how far apart to place the otherwise indicated. features from one another.

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DECIDING THE DISTANCE BETWEEN FEATURES

After you draw an eye using the anchor and pivot point principle, use the distance principle to help you place the other eye. Do the eyes look like they are close together or far apart? The distance principle is your impression of the subject’s features. Avoid measuring; just go with your first impression. Remember to exaggerate. If they are close, then draw them extra close; if they are far apart, then extra far apart.

CHOOSING THE DISTANCE BETWEEN SIDES

DETERMINING LENGTH AND ANGLES

How far should I put The one distance side of aprinciple shape from tells the how other? longThinking to draw about the shaft this of the nose. The helps you determine anchor what and shape pivot to draw. points tell you what angle to draw the tip of the nose and nostrils. Find the anchor, then compare it to the pivot points. It may look subtle, 26 look Pivot sexy. This draw principle tired points Pivot is theTHEM amouth, or well-drawn to points above sad. figure you but theuse below out mouth. anchor decide the the where anchor Before distance tend whether to draw totend you look the it. to pivots are above, even PIVOT with or below the anchor. 27 PIVOT PLACING DRAWING POINTS FEATURES AND EXPRESSION BEFORE PLACING POINTS

Forming Face Shapes The anchor point varies slightly from face to face. The anchor point for the whole face is the widest point of the cheek. The pivot is the corner of the jaw. The pivot will swing out, down or in.WORK DOWN THE JAW There may be times when the beard becomes the jaw line.

CONTINUE ACROSS THE CHIN AND UP AGAIN

Draw across the chin and work your way up to the other cheek.

STRIVE FOR SYMMETRY

If you are struggling with symmetry, you can draw from the cheek down Which on both Draw a line going from the anchor to the pivot on each of the following faces. pivots 28 out? The pivot is directly below the anchor in this Which drawing. is even? Which pivots sides, center in toward meeting of the the atchin. chin? the FACE VARIATIONS

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START AT THE CHEEK

The face shape FINDING PIVOT POINTS MORE EASILY always begins with the If you struggled with finding the pivot points in the examples oncheek. page 28, Work your way try ignoring the facial features and focus on the head shapes only. down toward the chin.

CHIN VARIATIONS

Cleft chins and double chins are very important to the face shape. Capture them accurately.

BEARDS AND OTHER FACIAL HAIR

There is not a secret formula, just a pattern to follow, when drawing facial hair. Below are a few examples of beards for this guy. GOATEECHOPS AND GOATEEFULL BEARD

SAMPLE FACE SHAPES

29

Drawing Noses On the following pages, we will cover using anchor and pivot points for each individual facial feature, starting with noses.

DIFFERENT PIVOT-POINT PLACEMENT

Here are examples of different pivot points. These examples may seem really cartoony. However, once you start examining real noses, you will see that this not such a huge stretch. Remember, pivots are higher than, even with or lower than the anchor point.

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SHAPING YOUR NOSE

The length of the shaft is up to you. Is it long and skinny, short and wide or something in between?

LOCATE YOUR ANCHOR AND PIVOT POINTS

The anchor point is the center of the base of the nose at the filtrum. The filtrum is the indentation of the skin directly under the nose and just above the upper lip. The pivot points are the bottoms of the nostrils. Anchors will always be at the center of the feature. DIFFERENT NOSES, SAME NUMBER OF LINES Here are more samples of noses for you to see how you can vary the feature while still using the same amount of lines.

NOSE SHAPES

it. Always simplify it to a straight line or a The shaft of the nose should beit drawn as you see 30 and nose line. curved Noses amount what work and Start you vary. of your figure see. lines, at Draw way the out down. what but many root what Speed vary you different Observe of shape will the see. the nose come shapes the Use noses resembles. ball at only the based the using same of byeyebrows the consistently on theseyou lines. draw. using Look the closely types them of in lines. everyDraw nose 31 DRAW WHAT YOU SEE USING FAMILIAR LINESsame for

Forming Eyes and Eyebrows

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Drawing the Eyes Try to follow this process to increase your speed when drawing eyes.

EYE ANCHOR AND PIVOT POINTS

The anchors for the eyes are the tear ducts. The pivots are where the top and lower eyelids meet on the outer edges of the eyes. eyebrows, minding the distance between them.2 Draw the eye shape. Look

1 Begin with the at the shape first, and find the anchor and

pivot points. Draw one eye and then the other.

3 Continue 4with Add the the eyelids highlights, for both. pupilsNotice and irises. how we (See “Eye aren’t bouncing Color Characteristics” back and forth? Draw one thing at a time. on page 34.) USING AN OUTLINE

GROOMED EYEBROW VS. ANCHOR NATURAL AND PIVOT

Eyebrows can be neat whether you use an out- Well-groomed and natural-looking eyebrows. POINTS line shape or not. The eyebrows work the same way. The anchors are by the nose, and the pivots are toward the ears. Do they pivot up, across or down?

5 Finish off with eyelashes On the left are thick eyebrows, put from down lightest fewer strokes on topfor to adarkest thin look on the or lots bottom. of strokes On the right for a are thick thin and lower eyelids, necessary. eyeYou brows, can and showthe theones color inif and the look. thickness center areofaverage the eyebrows in thickness. by the VARIATIONS amount Look atand thespacing shape of of the youreyebrows, strokes. 33and EYEBROW

Varying the Eyes

34

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VARY YOUR SHAPES

ADDING LASHES

This example shows manly, Even the square mosteyes. manly, square eyes will look feminine if you add eyelashes.

YOU ARE FEELING VERY SLEEPY!

SURPRISE!

THE IRIS AND EXPRESSION

How much of the iris you show has a lot to do with the expression of the eyes. Here we have “sexy.”

A larger iris will make your subject look younger. Think Bambi.Curved lines look closely Each eye at the color differences should be among drawn the withhighlights different and highlights, pupil sizes. pupils Blue feminine. andeyes irises. are Angular drawn Study lines differently this chart. look brown than Look eyes, etc. Practice by drawing them ten times each. will not is be very in masculine. color. important when your sketches 35 EYE This COLOR CHARACTERISTICS

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Creating Mouths SAMPLE EYES

MOUTH ANCHOR AND PIVOT POINTS VARY MOUTH SHAPES BY PLACING PIVOT POINTS

PivotFor up,the across mouth, or the down? anchor Is this is the starting dip oftothe sound upper repetitive? You see, there is no mystery to caricalip. The pivots are the corners of the mouth. tures. Just lots of repetition with a variety of shapes.

ADD LIP SHAPES AND MAYBE A MOUSTACHE MAPPING THE MOUTH

Start the mouth at the anchor point and draw toward the pivots. Be sure to draw the correct

Add the upper and lower lip shapes to the mouth. Observe the shape of your subject’s lips and draw them as simply

angle (up, across or down). From the corners, as possible. Add the mustache at this draw down and meet at the middle. Be sure you point, if there is one. Be sure to get the capture the correct shape of the mouth opening. color correct: thin strokes for light colors and thick for dark.

the mouth forms the letters “U,” “V” or 36 In “W.” general, the shape created by the lower line of FORMING THE LOWER MOUTH SHAPE

als. teeth down. group, Think awkward skylines, Drawing makes Draw not ofTEETH as teeth them as them individual but a individuwhole. as upside look as acity DRAWING

DRAW WHAT YOU SEE

Can you see the tongue, gaps, gums or lower teeth? Be sure your pivot points and your lower-mouth letter shape are correct.

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Drawing Hair A Word About Teeth Vertical lines dividing teeth are not needed, but they should be very thin if you do decide to use them.

FORMING SMILE LINES

Smile lines begin at the top of the nostrils, curve around the cheek and turn down toward the chin at the corners of the mouth.

VARYING SMILE LINES

The length of the smile lines will add a lot of age to a person. On infants, use them sparingly. 38

Small drawing lips them atbeall. exaggerated by not LIPS—OR LACKcan THEREOF

EXAGGERATED MOUTHS

SAMPLE MOUTHS

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Drawing hair is simple. You have to concentrate on only two lines. COMMUNICATE TEXTURE WITH YOUR STROKES

Your strokes should communicate the texture, length and color of the hair. Here we have straight, layered, wavy and curly.

TWO LINES, FOUR STYLES

Here are examples of four hair styles drawn using EXTRAlines LINES 1 and 2. only hair Line 1 is the hair line Anyaround other lines the face. you draw Line in 2 is orthe around silhouette the hairofare thepurely ornamental and hair. should be left out if your speed is too slow. These extra lines do not make the sketch look more like your subject. LINES 1 AND 2

1 2

3 4 Hair can be broken down The length into sections. of the stroke Identify relates top, to AND the sides, length bangs of the or hair. Strokes should COMMUNICATING COLOR INthe BLACK WHITE ers layLook up of ofat the the the hair. difference shape be Color Remember byand What the hair is hair hair length determined this: line sketches line color 2of Thick 2. makes. your does Draw by should lines the stroke. each The these thickness communicate make silhouette of drawn accurately. Texture these dark inof hair heads the of is the your adetermined direction and hair have? person stroke. thin color Your is lines that Length by made of you black-and-white how the your make use. is many hair subject. light determined strokes grows. hair. 39 HAIR 4321USING Top Side Bangs Layers SECTIONS LINE (mainly 2face on females) CREATING COLOR, LENGTH AND TEXTURE HAIR STYLES

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Embellishing Ears

Aging With Ears START WITH SILHOUETTES

ADD DETAILS

Draw the silhouette of the ear.

Draw the details of higher the inside of the ear. on the head

Placing the ears makes a person look older.

PLACING DIVIDE THE EAR INTO THREE SECTIONS

ANCHOR AND PIVOT POINTS

The ear has three sections: the top, the middle and the lobe. Ears with a simple As in drawing the face silhouette can be divided up by the inside details of the ear. shape, the anchor is at the top of the feature and the pivot is toward the bottom.PIVOT POINT POSITIONS

Here are samples of the three pivot-point positions.

40 while Pay close others attention push outward.SAMPLE to the silhouette. EARS Some ears push inward at the middle, EAR VARIATIONS

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Try to draw positioned from the same angle to your subject every time.

Using the ngle Knowing Your Necks me A Sa The anchor and pivot points for the neck are similar to those for face shapes and ears.

NECKS HAVE VARIETY, TOO

A thick neck can resemble any of the examples shown. Notice how each looks a little though? Draw the cheek down todifferent, the chin and

back up the other side. If you are righthanded, begin on the left, and vice versa. Add the outside edge of the ear on both sides of the face, then draw Our Model

the inside of the ear.

SHOW AGE AND GENDER WITH A NECK

Short necks make a person look younger. Long and skinny necks are feminine.

There are a lot of lines in the hair, 42

first but (line hair on are pages decorative. (line draw 1) 38-39.) andthe 2). then (See hair All thetips line the silhouette other on around drawing strokes the of hair face the bag your the patterns smile The sible. Now When tion Smile cheeks nose more bags Start eyes. One lines nose same work lines you to size before lines sense that Frequently will starts The with and Indicate pattern when where your draw is does make difference ends form create to the athe that way the you aperson you. not as little you eyebrows, halfway the eyes switching down nose, drew you regularly problems fit Just look color bags is if can between the the higher pay all. into not that try tired under still face. then of cheeks. between attenfor smiling. Draw as to them. the makes than eye and add posyou. the see use iris. the the eye SAMPLE NECKS

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Draw the upper mouth, based on the pivot point and anchor point. Then draw the moustache and lower lip. Add dimples and the chin crease. Using your patterns will speed you up.

42

No floating collar, the drawing. signheads! it andAdd youaare neckdone andwith Keep as want the simple to background distract as possible. color from the You or design drawing. do not 43

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When you’re drawing babies, notice how the length of the cheeks is much shorter than that of the adult in the previous

Draw ing y aBab

demonstration. Here are some other differences:

✘ Children have shorter jawlines. This creates a smaller area for the features to fit into. ✘ The features sit lower on the head.

✘ Their craniums appear larger because the features are so low on the head. ✘ As they age, the facial features move up the head. ✘ Noses on infants are small, as are mouths. ✘ The eyes and hair are great features on which to focus. ✘ Keep the ears low on the head, and the neck short and thin. Refer to head-drawing books for more details on capturing age.

Our Model

44

Describe length the rative done. if though. take you hair, too You with strokes like. This the long. can followed each hair Keep takes shade after stroke. texture, ittime, by inneat these line theDraw but and hair two color 2.don’t line organized, Add lines area and deco1let of areDraw This it sive, the nose oncolor and the child’s children. so continue size nose, draw of of the eyes them which to However, the iris grow are that highlight. isby person’s large usually throughout way. the the ears and placement Indicate small life. expresand a

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Start with drawing the jawline. Remember to keep the length of the jaw in proportion to the subject.

44

45

Remember, color should make a good drawing look great. Coloring a bad drawing won’t make it good. Practice drawing before you take up coloring.

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What makes caricatures fun? Each person is different. You should have an idea of the pattern I use to draw the

Shap ing a ace ild’s F Ch

caricatures with by now. If something doesn’t fit the pattern, don’t sweat it. Adjust your pattern for that person and move on. Look at this model, for example; we lost the top of his

ears. No big deal—we will just insert the lobes and move on.

Watch your subjects closely from the minute they sit in front of you. The first few smiles they give you may be fake or unnatural. Ask them to smile before

Our Model

you begin drawing. They will begin to relax so that, when you need to draw the mouth, you will get a real smile out of them. Here, the gap and the tongue are very important details of her smile to capture.

46

Necks add thick to looking can the your add subject. a or on lot atoo advantage. children long few ofyoung, age years neck. to are aIf to Use abig small. your child your this ordrawing sketch long by You knowledge adding will neck of is a

45

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Because the tops of the ears are lost, just skip them and add the earlobes. Line 1 of the hair covers up the ear.

Place the mouth. Smile lines are another age indicator. Long smile lines add years to your subject. Keep them short on kids and even nonexistent on infants.

Once you are finished, quickly evaluate your sketch. Here I would have 46

drawn tions, hairthe line parts 2 a must little still thinner. fit He Draw Be layers tom The sketch. always collar look sure ofline neck more around the to draw you Memorize 2and catch hair like of see those. the collar the shape. will your the ears ahair Drawing few details. always not subject. and as collars make at a the finish simple the There theexact and botsketch the line. are hair the has though side extends will blond together. Draw the face Notice strokes. details of be we brow the hair, the are down in are eyebrows how ridge color; eye related with Do so from playing the socket. this there your and such the then “root” as to when with forms was eyebrows color. ashapes, each you All bold you no the the can the of other. need line. know propornot the and inner add parts for nose it Even the 47of

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Plann ing head A

48

Drawhair the how style. wehair clearly You length line only2understand and need to texture. accurately the two thelines. Notice hair describedon’t The stylize, tent Be more The same the simpler consistent. throughout overcomplicate nose graphic eyebrows look be only and sure as than better the cleaner needs the Some and to face keep others. entire eyes it sketches athe you with few and the tocaricature. sketch. draw, When lines, have hair look too will you many. the lines. consisso Draw be

Study your subject before you start drawing. Note any adjustments to your pattern before you begin making marks. Plan ahead to avoid mistakes.

The jawline is not predominant here. Draw down the neck line on one side, then the other. Connect the two lines Our Model

with hair line 1.

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Add the smile and the chin. Since the jawline is not emphasized, add the chin at this point. The chin will always show up; it just may not be connected to the jawline.

Keep your colors consistent, too. 48

The coloring should reflect the same collar line. Style it so it fits with amount detail as the sketch. Practice in Person Finishofthe look the your drawing subject. by adding come are The happy athem will This local trying best toto if aonly you is simple coffeeshop way get you an to to take to acan easy learn see free practice practice a what way few or how sketch maybe to café minutes. you to is practice by even draw done are and byof drawing drawing make drawing. draw comic and Many without may some there. them. times, portraits, in even Tell money. person. pressure Tell People they tip them them and you. will Go you will and to itbe 49ask

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Simp le aces F

50

There are times when the face shape does not say anything in particular to me. This means that there is probably another feature screaming for attention. If the face is simple, then draw it that way.

Draw a simple jawline.

Our Model

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Itthemselves. is very important If it istoplain, stick then to your leave Hair you feel them. what as line Draw though don’t. 1what covers you youthe have see;ears, toleave include soout don’t you pattern. and features it here, artists the don’t Simple lips that Work face help by way. by miss leave shapes, your accident. will not attract any way out attracting make such details. down eyebrows, attention Skipping you asthe miss hair attention Iface have glasses around things. to line so other seen 251to

Finish the face by adding the nose and mouth. Is it starting to feel easier now? We are drawing the same lines over and over from face to face. They are just arranged differently for each person.

Background colors should be muted. You want them to stay in the background and not take away from the face. You can use really any color, but, when in doubt, stick a light Addcomplete to markers ground, anything the neck, down. you to the should collar Other drawing sketch. not than andhave at Pencils your thethis to backsignature add point. and baby to blue.

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near side (our left) and a bit flatter our right will look a bit shorter in Here, shape. the on faradd Make side theit (our hair slightly right). line 2rounder as an easy on the length, Draw what closer shapes and since nose. Notice be the awe not the There the ¾-cheat you slightly the face. placed to we Notice on as eyes far learned the eye the see the is wide This eye nose very will the and also different. right less how far as and on is eyes eyebrows versus subtle look the side less the of pages cheek in the the and nose eye keeping aof space acheek differences The bit 32 than right eyebrows. based the front-view on is-35. eyebrow smaller between our placed face line. the with side onThe left. left, will how in on of and 51

No matter what you say to your model, sometimes he will not look right at you. Here, our model is turned ever so slightly. When the subject is between a front view and a ¾ (or slightly turned) . The far view, sideit’s of the cheat called face a changes slightly in a ¾ cheat. We see a little less of that side since it is turned away from us. As a result, lines and shapes on the far side will appear a bit closer together to each other and less wide. When the turn is this subtle, don’t sweat it. After practicing the ¾-view demonstrations in chapter 3 (starting page 64), it will become a lot easier. For now, just follow along.

Draw the jawline, ears and hair line 1. The face is turned very slightly to Our Model

our right, so the far side of the face will look just a little different— more compressed. Hair lines appear closer together, the line from the chin to the cheek looks slightly shorter, and we may not see as much (if any) of the ear on that side.

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a Mod el Is

ws n Vie Betwee

Thin lips can be exaggerated by not drawing them at all. Don’t feel pressured to draw them.

Add color and a background to the 52

sketch. Make sure you are happy Evergreen Gift You subject curved ety. into the can the Theline use curved face, afor isstraight so facing. line theplace neck leads line ittothe on and create the viewer a street side sioned Place variCaricatures sketch never even sketches. for artist your before caricature spend with in though feel coloring. color drawing or the make you aany When lot they theme quality will go great better will will in of Ithey out put have park run atime cost gifts. be nice and all of are about $15 seen artist. well coloring your $100 buy that done, frame to Athe artists received. pencils drawings nice $40 or time Athey sketch and more. poor it. commisfrom face into it who 53 a

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Work ing ls nytai With Po

54

Ponytail styles will look like men’s lines. Doing this will attract less Draw in hairstyles short thethe hair ears if asand you youhair don’t see it lines; show in the then length. photo. fillWell-groomed tion not attenneat, the color. the face to downplay drawing you to When pivot eyelashes getting and doesn’t their see. Even drawing catch point. eyebrows the the notice noses, this grow. shaft the mean size women, Draw likeness. the correct are and changing of Simplifying orthe direction important they the you by correct using angle nose for can Draw will what it! the by them thin that for thank iris

Caricatures are cartoons. Cartoons are exaggerations of life. This means we can change reality so that we can get our point across. Ponytails, in general, cannot be seen from a front view. Ask your subject to turn around or pull her hair over her shoulder. This way you can see how long the hair is and add it over the shoulder. If the ponytail is really short, draw the subject’s neck at an angle so you extend the hair just past the jawline and still see the short ponytail.

In general, the best point to start a sketch over is after you’ve drawn the jawline. If you are not happy with the Our Model

sketch at this point, you probably will not be happy with it in the end.

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Look for subtle quirks in your subjects. Can you see the slight tilt in her smile? Enhance those types of details. Look for dimples. Because not everyone has them, dimples are important in getting a likeness.

54

Here slightly. hair neck I’veone over drawn shoulder the subject’s and angledlong her and Theinhighlights her ponytail on the give indicate top dimension of shine. her head and55

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own tare-D The S

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This is ticularly with my aeyes standard boys. closed. I can haircut draw this for kids, hairstyle paronly this out are good and tom. Now always exactly take Because nondescript, isn’t The place gradually work caricaturist Thewill nose aeyes your the few unusual symmetrical. the be breaks other makes may minutes way model’s some use captures not from with up features. fewer the mistakes always to the top caricatures Don’t cheek nose draw. mistakes. aface. tolikeness come to in lines botworry; There help it.that A

Do you enjoy being stared at? Most people don’t. There will be times when your subject sits down and suddenly realizes that you and everyone nearby is staring at him. This can trigger a stare-down between you and the subject. Try telling a joke to loosen him up. Try a few times, but if he is not cracking, it’s best just to draw as fast as you can. The only way he is going to relax is when he is out of your chair. Avoid making yourself uncomfortable and just get it done quickly.

There are endless varieties of faces, which means there are endless varietOur Model

ies of jawlines. Just because they vary does not mean that we forget our patterns. It may look weird at first, but just go with it until you finish.

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57

Don’t spend too much time trying to coax a smile out of an uncomfortable subject. Just finish and move on to the final touches.

at. If they won’t smile, try a joke or Knock, Knock... Once theyour jawline through beginning. makes collar drawing sense. is added, from Thinkthe alloriginal very the Learn Sometimes, way know best two. ber, some how to most jokes. even make atogood people smile. the your Some poker best don’t subject You people face of have like usreally relax. like to can’t being try this don’t Rememyour break stared one.

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Hair With Te xture

Coloring the sketch shouldn’t take you more t han one to two minutes. 58

hair strokes over it. This will help like they’re floating on your Lightly the in drawing as line lopsided avoid astep curls circle), of 1. aadd the head as specific Then the shape you always shapes. hair add did first. head the with line draw shape ears. Then hair 2, a thin, then When draw (such lineadd light the 1 sense size Draw drew. drawing subject’s see self face Add on ment in and it. every questions Otherwise the instead what relation the shape Add and nose. aspect you eyes. eyeglasses its they ofwill are the Make to bridge being of Ask the are. glasses trying keep the sure yourself eyeglasses supported while shape Asking the face you its to will nose. you focused as draw. make placewhat youryou look by are you 57

Hair can be difficult at times. Here, the hair creates an oval shape around the head. The hard part is drawing curl shapes around the hair lines while maintaining the overall oval shape. To avoid ending up with a lumpy, bed-head shape, use a really dry marker or a hard pencil to draw hair lines 1 and 2, establishing the head shape and the line where the hair meets the face. Keep the lines as thin and light as possible. Now you have a guide as you add the curls over these lines. You shouldn’t see the original shape lines when you’re done.

Start with the jawline and hair line 1.

Our Model

After lightly placing the hair line awith dry marker or a hard pencil, switch back to your regular marker or soft pencil and add strokes describing the hair texture and length directly over the guideline.

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If your model smiles, draw the smile. If he is laughing, draw him smiling still. When you laugh, the shapes of the cheeks, eyes, eyebrows and mouth change. At this point of the drawing, our model was not laughing. A laughing mouth does not fit in here. Your subject has to be laughing when they first sit down, so you can draw all the features as they look when laughing.

58

Embellishing Features Thickfor age. draw ter Think it. necks women. Long, about arethinner masculine the neck necks and before work addmen. you line betThe The nose features. Refer page eyes andback 13 and jawline Feel for to lips exaggerate tips free the color are are coloring on to generally good and skin enhance onhair features women. tones, advice color. mascuthese eye on to on 59

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Work ing Bear d With a

60

Don’t We first. ing need theContinue completely ears to place andwith hair the finish the facial lines pattern the1features beard andby 2.yet. add-Work general, Now moreyour that lines place, the way allyou older from the gocan facial back top your useto to subject on features bottom. the a sketch. beard. is, In arethe in

A beard creates the jawline, and making it look symmetrical can be tough. Use a light line to establish the shape you are about to draw, then add the individual strokes for the hair. You can also just draw half of the beard and stop. Draw small dots on the other half, where the rest of the beard will be. Think of it like connect-the-dots drawings. Use these dots to help you finish the beard symmetrically.

The jawline may have to be drawn with many strokes to indicate a beard. The group of strokes will create the Our Model

shape of the jaw. Note that the cheek will usually still show up.

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Fill in the space with the hair strokes of the beard. Organize them into sections, minding the direction of the hair growth in each.

60

Complete neck, collar the and sketch yourbysignature. adding the

create lights layer without colored paper they As aof in you highlight when do color color, areas pencils color, not needed. there. you’ve cover orto use area, add try If up the Avoid already aleave you other to much white create using want that lighter colors. colored; ofto white highthe spot 61

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Exercises to Improve Your Skills In between drawing entire faces, take breaks and try these short, fun exercises to polish up your caricature drawing skills. If you’ve been working in pencil, now’s the time to try getting comfortable with your markers.

MIRROR, MIRROR

Practice drawing mirror images of each type of stroke. Better to practice than to mess up on a live sketch.

MIRROR IMAGES IN HAIR

You will often use mirror strokes in hair shapes. CYOF—CREATE YOUR OWN FEATURES

By inventing features, your confidence will increase tremendously. Practice making them as funny as possible. This helps you envision exaggerations when drawing a live person. 62 PRACTICE, Thisonehave doesn’t page, page in every five will is hundred and day just or aPRACTICE, matter throw two afor sample as good sheets. minutes. two kids itwhat handle of months away. do some you After when Practicing on You practicing draw. will using that they can get Draw doodle. easily many markers. you fifteen all Ipages, through did. fill over Fill minutes It ayou the page PRACTICE!

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BECOME A MAD IMAGE SCIENTIST

By inventing different looks, you can capitalize on them when you do couple sketches.

VARY YOUR LINE PATTERNS

Adding a little variety in your line patterns creates visual interest.

(straight lines), “C” (curves) or Practice Every of (snaking “S” prevent are the too strokes line three you sketchy. curves). you from by “I-C-S” draw repeating drawing Thinking falls categories: lines them into likeover one that this Make “I” and will up over. small to practice dexterity.63 REPEAT YOURsimilar STROKES DON’T BE TOO SKETCHY DRAW heads SOME MINI-HEADS

similarly—only this turn is a full ¾, Nextclose line Pay shape 2. add ofAlso line the attention add hair. 1 of thethe to earhair, theatsilhouette this followed point.bynot about of Approach be brows page in Add For the Use face. the very athe the the ¾52, front-view the and shaft cheat. eyes We evident distance nose. features, it where anchor work will the of inFocus your the afrom same cover and section. down ¾ begin draw eyes nose. view way pivot on away the to ¾the the were down on with you view. the Flip This differences points far page base. did base. done the the back line Think side 66. in to eyeto will

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-View ing ¾ Draw tures arica C

Basic Process

As with the front-view caricatures, draw in the same pattern or order for every sketch, with few exceptions. First, have

your model look right at you. Then tell her to turn her head

until you can only see one nostril, giving you a ¾-view of the

?

face. Make sure her head is not tilted. Avoid skipping around the face when you’re drawing the features; you may forget to draw an eyebrow or something else.

Start at the eyebrow and work your Our Model Every now and then, draw from your imagination. It’ll sharpen your perspective... and your skills.

64

way down the face. Go around the chin and up the jawline to the ear. Be sure to line up the corners of the jaws.

Draw the mouth, making sure the corners of it point toward the cheeks. We’ll see more of the side closest to us, so the far side of the mouth should be drawn shorter.

Add the neck and collar.

Choosing Sides cheek are If you left-handed, on are the right-handed, left side then of do the the start face. opposite. withIfthe you

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Drawing ¾-View Eyes To further illustrate drawing ¾-view caricatures, this section will cover the different methods for each feature as compared to the front view. We’ll start with the eyes.

USING HIGHLIGHTS

You can use the highlight in the iris to direct the gaze of the eyes. This helps if you want the eyes to look in a certain direction.

DEFINING THE EYES

EYE BASICS

Use anchor and pivot points The eyetofarthest establish away thefrom tiltyou of will the eyes. look smaller Go back than the one nearest to to page 32 and review them you.ifDraw you the needfar to.eye Eyelashes first. Think make the about eyes where lookthe nose falls so you don’t feminine, so skip themdraw on men. the eye too big. Use the white part of the eye to help establish the overall shape. Always look for the shape of the whole eye first. You will draw the closer eye similar to a front-view eye.

You can always add some decoranose first. Adding the shaft will break up the negative space of the face and create spots for tive strokes in the or stared any details. to. be Remember getting Domaythis tired that only the ofhair if being models you have may time at. 66 eyes the Iftoyou fithave into. problems Depending placing cover on how the part much eyes ofyour in the the subject far eye. face, turned you away from want you, to add the the shaft shaft mayother of even 65 the ADD PART OF THE NOSE FOR¾-view HELPis

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Creating a ¾-View Nose When you position your subject for a ¾-view caricature, use the nose to measure the turn. Have the model turn until you can see only one nostril. Otherwise, make a mental note of how much the subject is turned based on how much of the far nostril you can see. Your subject will probably move around as you sketch and you will have to reposition them.

NOSE PROGRESSION

Draw the shaft of the nose. Decide how long it will be. Fit it properly onto the face shape you created earlier in the drawing. You can draw the base of the nose by considering the anchor and pivot points. Finish by adding some decorative strokes to better define the near side of the nose.

LINE UP YOUR FEATURES

DEFINING THE NOSE

Pay attention to the Thepoint far side whereofthe thenose shaft shaft willmeets define thethat eyebrow. person’s nose. You can use a bold Compare that to the line center here.ofBethe sure nose that at the the nostrils base. They relate should to roughly each other. The example on the line up, as in theright example has on a line the left. that connects If the top theistwo tootogether. far over,Dothe this mentally before bottom you more like a profile nose than a ¾-view nose. of the nose will look draw the second nostril.

exaggerated. Practice you closely see. drawing You for Study may subtle many, these not differences, many see andthese noses. compare shapes The then them ones at exaggerate tofirst. here people are Look them. 67 NOSE EXAMPLES

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Forming a ¾-View Mouth All the principles of the front-view mouth also apply to the ¾-view mouth. The big difference is that the far side is shorter than the near side.

of the lower part of the mouth will form a “U,” “V” or “W.” The 68 lips aftercome Look for this. theAND (See anchor page Draw with and the 36 the the pivot for gum mouth mouth aline. points refresher.) using opening. Finish first, the same with Add then the pattern the determine lips, lower asfollowed teeth you whether used orYOUR by tongue, the for the shape the upper if front you teeth view. can and see Start then them. STUDY ANCHOR PIVOT POINTS KEEP USING PATTERN

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Designing ¾-View Face Shapes Face shapes will vary dramatically in the ¾ view. Study the examples on this page closely to find some of the differences. It can be

AN ANGULAR FACE

difficult to make all the features line up on a ¾-view face. This The male only face has many way to get good at this is to practice inventing faces. You can fit a angular points. dozen or so on a page. When you are practicing, focus on only one thing at a time. For example, draw a whole page of face shapes, then a whole page of noses. Drawing only one face shape here or a nose there will not benefit you.

A CURVY FACE

This female face is made up of curves and flowing lines.

A ROUND FACE

Notice the round jawline. The face shape is just as important as the features. Use bold lines to attract attention to important features.

sketch. active affects The THE It far lines also the side than contains look of the of the near face a lot ¾-view side. really more 69 FIND ACTIVE LINES

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Drawing ¾-View Hair Here is the basic process for drawing the hair in a ¾-view caricature. The only difference from the front view is in the way the silhouette shape is drawn.

70

sketch the (top Draw silhouette right). sothe that face Now we of shape can the add see far the first where side, silhouette (top the if left). necessary. hair shape goes I of added in Finish therelation all hair by the starting accenting facial to the at features face. the thehair topto Start with with of the this the headhair and around workingthe toward forehead the near anddecorative work side your of the strokes wayface toward (bottom the near right). left). earAdd ADDING HAIR

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Using Facial Rhythm Lines Rhythm lines create shapes that give character to the ¾-view caricature and the profile caricature. The shape created is where you will capture the likeness of your subject. The features are still

LOCATE THE 3/4 LINE

important, but the negative shape and silhouette thatshape. are created Draw the face The ¾-view rhythm line really stand out. Pay close attention toisthis page. It contains a great made up of the far eyebrow, the shaft of the nose, the far shape of the upper lip, the far side secret for creating awesome caricatures. of the mouth opening and the lower lip. It’s not really a “line,” but an abstract concept for capturing a likeness.

DIRECT YOUR STROKES

LOCATE THE PROFILE LINE

Here is an example The profile of the direction rhythm line each isof made theupstrokes of theshould eyebrow, follow. the top of the cheekbone,

Pay close attention thetosilhouette where the shape rhythmofline the meets cheek,the andface the silhouette. smile line going to the corner of the mouth, finishing at the chin crease.

NOTICE DIFFERENT

Study these profile samples. Look at the character type created by theCHARACTERISTICS profile line and the rhythm line. houette Study character and these the the types examples. far rhythm that smile line. are Look line created Note atwill the that by be difference the predominant. sometimes face silin71 CREATE UNIQUE CHARACTERS WITH RHYTHM AND PROFILE LINES

Just like when you draw caricatures from the front, follow the formula without changing it. Draw in the same order every sketch. Have your model look right at you, then have her turn her head until you can see only one nostril. Be sure the head is not tilted.

Draw the profile line of the face. Begin at the eyebrow, then draw the cheek, jaw and chin. Vary the line width for interest. Thicker lines attract attention.

Our Model

Addthe Then hair. in puffier break rative to create the add Use the hair—the strokes, hair the the a “V” two hair “shape” silhouette line lines but deeper will around shape up they appear. ofby shape the to the should hair. using indicate “V,” face. ofdecoYou appear the can the a part Draw it. brow to the nostril, Draw into miss with to the Add eyebrow the first, Add the the troubled the soul. any the eyes. the then tip nose. mark decorative far then and Draw glasses of These the water. eye, here, help work Start the them far are then nose. near define your now you at strokes Draw one carefully; the if the the are one. way if Add the you windows bridge you near heading down that the Continue far nose. wish. can if one. near will eyeby you see

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Pulling theogeth er ace F T

Draw the mouth area. There is no opening in this model’s expressive grin, so you will simply draw the top lip, then the bottom one. Don’t forget the smile lines.

72

Gender Differences Complete the adding anything freckles, glasses, neckdecorative sketch you and the earrings, andso collar. may sketch work on. have strokes. strokes by your Goskipped: first towayLook the in down drawing top the forexaggerate ofStylize hair, reactions love Color and it. your 16-17 your Reverse you sketches sketches sketch. for get this, tips won’t colored See of of on however, women. men. pages be coloring so pencils. They’ll 12-13 Highly positive! andwith the 73

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It is very important to accurately exaggerate the profile line and the silhouette line of the hair to capture your subject. Nailing such features as the eyes and nose will not be enough to get a likeness if you don’t get the main profile and silhouette lines right.

Draw the profile line. What point extends the farthest? The brow, cheek, jaw or chin? Draw this all in one stroke. When you are practicing, draw the same profile line ten times in a row or until you get the exact line you wanted.

Our Model

Draw is Add can your hidden the add thesilhouette flow decorative hair. by theThe going. beanie, shape hair strokes around in next. if this it You the case. keeps faceof Draw you and When the angles. the bridge tips can the lashes the near eyebrows yousee on near nose Add down reach side). drawing on it). nostrils, eye. next, to women first the Then Don’t the Revisit ¾-view using eye only. (the tip. rative draw near region, forget the far eyes. Watch page the then strokes. formula side, far any 66 draw Add those far for eye decothen (if

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a Captu ring ess Liken

Draw the mouth opening first. Then draw the top lip, bottom lip, upper teeth and gums, lower teeth and tongue. Only draw what you can see. Add smile lines and dimples, plus the ear.

74

Start the profile line at the widest point Vary Profile Line Finish and the for instead finishing neck it your between ofisbeing implied sketch the theclearly hair. by two byadding the sections Notice drawn. space thehere of cheek? neck left in? Practice of do hair, the dropping that Ask you How At eyebrow ing, When yourself, it. cross the far the varying straight don’t using Use caricature does jaw? the ridge. a the how the this At widths simple, plumb spend down the far Imagine cheek quick than line more chin? of does from to limited go the it exaggerate. style again? time athe that out? Remember plumb took profile colors. palette ridge coloring of point. When At to line drawthe draw line. go 75of

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When your model can’t seem to hold his head the way you want him to, don’t stress over it. The formula will still work. Figure out how tilted the head is, and then draw all the fea-

Exactly the Pose rong W

tures following the same slant. Look at the angle of the highest point of the brow ridge from one side to the other. The eyes, nose, mouth and chin will have the same tilt.

The plumb line idea (see “Vary the Our Model

Profile Line” on page 75) works with tilted heads, too. Look for the widest points on either side. Draw the profile line now according to how you see it.

76

thin lines for light color and thick Drawdirection using the Make itself. line. strokes lengths the each many Don’t Then correspond create hair stroke strokes. make draw line that theas the it around to the skull The long look silhouette one hair strokes as shape, another. messy. thethe isface combed. hair go and hair Thein the the lines what nose Start side. everyone. teristics” Get want way eye drawing for correct. color all down—far to at Draw color. dark attract the the Use the the on color. lumps eyebrows Don’t (See eyebrows thin same side correct page attention and “Eye lines nose first, get 34.) and bumps are indication lazy shape Color if You work to then byyou on and can the using your on Characthe near don’t start show nose. for

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77

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It will be necessary to draw the profile line with hair strokes

e awlin A Per fect Jial Hair With Fac

when your models have facial hair, unless you want to draw

a very light guideline first. Don’t worry; just draw the line you imagined, using hair-type strokes. Keep the inside edge of each stroke uniform so together they visually look like a line.

You can start at the eyebrows with hair strokes and transition into the standard profile line. At the chin, draw it like hair once again. Remember to Draw the mouth opening, the lips,

make the lines similar to the length of

Our Modelthen the teeth and gums. Sticking to

the facial hair.

the formula will ensure that you don’t skip over any details. See page 36 for tips on the slopes of mouths based on the anchor and pivot points.

78

before or it thewill eyeslook in this like case. you’re I’ll drawing let The the face. make part shape Draw plete decorative your simple backward hair of the Exaggerate of the drawing drawings, the and lines. line the neck hat for strokes baseball hat. of time. and Draw line. decoration the don’t collar. These that the nearest eyebrows, hat Addadd line you replaces the should only. As so eyebrow double silhouette around you and many be comthe you, You use design you as formula, an While Add may nose Make too own long should the find thing first thick version you simple. the as eye and it are background be you as on aarea. easier it’s comfortable line of learning, Limit simple promise every it. Be in OK to it sketch. careful shape as the to draw to to eye keep possible. create with draw lower one and the bag. By everynot color. the nose now eyelid your to 77

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Add the mouth, lips and teeth. Draw the lower teeth as a group instead of individual teeth. Most people do not show a lot of their lower teeth when they smile, so you can get away with this simplification.

drawing coloring and print in a it highly out. realistic This can add way,a which lot ofis Eye Bags or Smile Lines? Wrapping ing bill and first? sure this the collar. case, onTry the beard, the upthe neck ahat, What this thick goes neck adding should sketch and neck with and drawing the collar. is means you the hair appropriate. time creates head. draw Color the working finishand the Make blending to neck to In merely the sion. the each aWe stick opposite on that great sketch draw aSmile sketch. and suggest computer, we around both TV shadows. using emphasize of lines cartoon Working of what smile noonly these; you show matter Remember, we look. lines. eye flat have fast are upthe bags what when Add trying tones. to keeps Eye difference if scan while the some you bags you’re you to Doing expresin smile. basic we learn. tend from the is this 79

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There will be moments when you encounter elements that

nd ing a Cloth ines tive L ecora D

challenge the formula. Turtlenecks are not difficult, and nei-

ther is any other item of clothing. Think of it like hair: Get the inside shape and the outside shape. The remaining lines are just decorative.

Start at the eyebrow and work your way down. By now, it should be feeling like a process. Stick to it and you will improve at a rapid pace. Complete an entire sketch; then go and practice the parts you didn’t like. Our Model

80

Leaving it out will make it difficult Draw 2. how in the the Add ear. the line section the direction 1decorative of that theofhair isthe strokes. tucked and hairthen changes behind Notice line cess: Add an’s when eyelash to then Draw lashes get eyebrow nose, drawing the the a type likeness at iris nose. eyes. but first, the the ofmake and very your Be Remember “bump” of eye finally kind sure the end. subject. opening change if you person. the on Match the you draw aproit. Never womnext, eyelids. wish the it.

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Draw the smile. Use caution with the smile lines. The longer the lines, the older the person will look. Draw the gums if they show.

Simplify Minor Elements Finish and lines sparingly to you it. turtleneck missed that the Always add drawing describe anything, acollar. double-check fewbydecorative the such adding Draw collar, as tothe ajewelry. see neck lines then main if clothes. Always completed Color quickly Comic simplify These the impatient portraits when quickly. sketch. things likeness using patterns if Remember are You docolored you not of designed model and take the increase to details pencils. will drawing. too color to get long. be the of 81

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When you see a friend from far away, you recognize the person by the silhouette shapes of her face and figure. The

Analy zing apes ce Sh Fa

face shape is very important to the design of a caricature. Go back and look at the first step in each of the drawings of this chapter. See how different they are from each other?

Start with that face shape. Use only “C” curves, “S” curves or straight lines—no sketchy or messy lines allowed. Compare the placement of the eyebrow to the placement of the Our Model

82

cheek and the chin.

Draw the hair then strokes in sections. should handkerchief; hair lines. always Draw Draw come thecomplex decorative bangs first,Forget last. Draw time comfortable the of with But change Draw drawing previous the from instead pick it eyes. about the the for drawing a the with the nose, formula of linear order two one Sonose changing shadows. caricatures, demos! hundred much to keeping of and you first, drawing. how for graphic Once like your sketches Sketch you it our asyou’re simple. and formula draw. you streak westyle. instick did can at a ain

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83

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When sketching in pencil, use the same approach as you do

ils Penc Using ers Mark Like

with markers. A good pencil has a wide lead and can draw light and dark without smearing a lot.

Draw the mouth. Remember to look for the anchor and pivot points. The

Start as you usually do, but sketch slightly smaller when using pencils.

Our Modelsmile lines reveal just as much person-Pencil tips are smaller than markers,

ality as the other lines of the face.

84

so be sure to adjust for that.

the same colordigitally, palette. It’s When coloring color aas fast Drawing drawing first, with Complete details clothes, thethen hats hair. decorative tobut the the jewelry is Draw sketch. move no outside around different quickly. details. orEnjoy patterns shape. theadding than face Finish on the es gerate on they Noses stylized Always glasses can more as first. the onyou rest change this on men. room face. work can. before men Because on them, feature They than the in Place the are Color art the the position can the then nose fun the them as form, biggest all eyes. usually eyes, to glasses add properly. much sketches how draw. not of the Make draw you sections you the take realism. take eyes. Exagwant sure the see Glasseyes with it. up 83

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Draw the mouth and the sideburn. Then add the five o’clock shadow, filling it in with matching directional strokes (see sidebar). If you change the angles as you go around the face, it will look like a beard instead.

Graphite and colored pencils don’t Matching Directional Strokes Finish the so results this experiment neck. caricature the youNecks ear get. aand can little perfectly. Anhair, be elongated very and then see funny, draw neck what Matching fits same mix should coloring direction, very directional draw well. a all pencil with I the recommend strokes the sketch, lines between same means going it computer distance ifthem. at you you in all. color the 85

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Facial hair can be shaggy or groomed, light or dark, thick or thin. Be sure to pay attention to the color, texture and type of

Maste ring l Hair Facia

facial hair, and how it varies on different areas of the face.

Draw the profile line of the face. Add Our Model

the jaw by describing the hair texture, color and volume.

86

Addathen and Draw at the thebeanie. time. add details theGosilhouette ofaround the hat theone shape. face row

like created at be Draw Pay the the you his kept the this attention focal the eyebrow have left when simple. other nose. are more point eye. you and good features. to Features Draw room See add in the the anchor your the them to beanie? negative exaggerate that space eyes. sketch points smaller are Spots between Look spaces should to not souse.

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Draw the mouth. A lot of subjects don’t want to show their teeth, but don’t be fooled: Only one in ten actually smile without showing their teeth. The facial hair is thin on much of the face and the moustache, so add it with fewer and thinner strokes.

To draw hair of a light color, use thin Hair Strokes Keep or when busy theare your neck sketches taking simple aare long andgetting collarless time to toolines. To draw finish. draw To add thick draw Color When shaggy gray a dark subtle hair, coloring the to hair, hair, enhance beard leave hint use the use according of less long asketch, dark light your shadow space “C” you strokes. strokes. blue to you area. between see. curves. what can or To light 87

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Take time to draw the head shape accurately. Short hair

Your hing Watc es Shap Head

describes the head in a particular shape. Hair strokes can

be very difficult to control and can disrupt the head shape, so remember to add a light guideline to help you stay on track if you need it.

Look at your model for at least ten seconds. Position his head where you need it to be. Think about the profile line you are going to draw as you’re looking. Draw the line when you are Our Model

88

sure of what you want to draw.

Draw up, closely mess short follows your hairmistake the withhead care. willshape. be Short obvious. Ifhair you he have caricatures. the Draw principles iris, nose Draw moves eyes, texture, Think the is the the by the nose remember younger Bambi. eyebrows that rotating Reposition measuring color plainly see youthe that and only using use him and person tool your volume. the with until one simply. the larger for subject nostril. hair. will same you As ¾-view The can for look. the They if

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89

Add the mouth and smile lines. Add lips, but keep the lines thin on men or they will look like lipstick.

Bed Headhead.” Finish with review anything. to bethe sure earyou anddid neck. not Always missshort Whenhair, you mess the Avoid result up one the is with head a deformed “bed shape with head or

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When hair covers the face, draw it as you see it. If you cannot

ing Cover Hair e e Fac th

see the features, then draw the hair first. If you can see the

features, continue as you normally would, then add the hair over the features.

Draw the profile line. Notice the angle of the face and the very subtle variations in the line.

Our Model

90

and draw line 2. We will add line 1 Lookhow See through later. at his we ourcan hair? model seeSkip on histheline features next1 of page. the hair Add more Add with Add all tempted. is selves. the the colored the features interesting that. eyes. color. nose. Pick Enhance The well The big, Be the Ahair than simple stands eyebrows sure one best even isor the not our one when any sketch out the eyes can to focus and frills. without you other. make be themthat goare here. 89

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Draw the lips. You can contrast one against the other by making one very thin and the other very thick.

the features; you will still be able Unify Multiple Lines Finishthe then right rative over the strokes neck sketch. theand features. in collar. with Add hair line Mix Draw line 1. thethe you 1decofirst, hair When canthe Color transparent you to create drawing see cast have the them. shadow asketch. aand heavier lot adds The same anchor on of fact to Color on the outline lines the it all that neck; the to effect. in sketches. to his the hair ait’s unify sketch, hair page. Note over the the is 91

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Pay close attention to different ethnicities. Capture the

nces Enha Color s Face thnic E

correct look based on what you see, not what you think you know. The color will then enhance your drawing.

Our Model

Draw the profile line. Add the jawline if it is well defined.

92

Draw texture ing the ponytails in the itline hair. hair. only andor 1 where Always ofanything volume. the include there hair. Addelse are line hair Notice that layers 2, bands, breakmay thein be moles. down adding speak but Add Draw personality. match andYou they what the volumes the take your don’t eyebrows know is nose. a already model’s. good about they Make have Don’t and look. have athe to there, can someone’s eyes. be insult eyelashes The it, add afraid such Slow eyes so it. them, you as of

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Draw the ear and the mouth area. Study the amount of space it occupies between the nose and the chin. Lip lines are thicker when your subject is wearing lipstick.

Add texture. complete the head the wavy band decorative strokes the define The drawing. the strokes instrokes the subject’s Notice hair tucked andhelp thatbangs. into define the Notice capture see by stylized in palette, Color not earlier. all how adding the the art dark and decorative model’s Think sketch. form. many remember color ahead of Wemakes Use exact those are strokes that and your not it skin strokes. this save hard limited trying wetone. is time put to 9933ato

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Sometimes you get awesome models that seem made for

ith ing W Work odel mic M Dyna a

caricatures, and you want to go crazy on the sketch. Take a deep breath, relax, and follow the standard process. Figure out what you want to exaggerate first, then start drawing.

You might be tempted to exaggerate nearly everything, but don’t—this will ruin a potentially great caricature.

Draw the profile line. Notice the subtle suggestions of facial hair. Add those after you draw the line.

Our Model

94

Drawcan Pick braids, You are not line one spend and careful, or1 add ofanthe two lots dreadlocks hour sohair, don’t ofondetail this then overdo of if line hair, toyou them. it. 2.or tional Draw if to Draw feature confuse you work the the strokes feel with for eyes. nose. the confident. men, onconsistent viewers. Add The this but some nose model, you Keep shadows it is so have simple. athe so asgreat akeep not direclotto

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95

Draw the mouth first, then add the facial hair that defines the lower half of the face. Vary the lines and their thickness to create that scraggly look.

Enjoy Your Art CompleteKeep strokes, darker color. hair, but thethe which hair notcollar too with youmany. are decorative simple. going He hasto ing Sometimes offended. but youyour liked you model Enjoy for draw may your yourself, an not awesome art. like Keep andsketch it. model. redraw that Don’t drawyour be

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96

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Drawingshapes Simple attract line more 2attention. will of the allow hairtheisface simple. to

ber, it has to fit with the original Coloring athe sketch should be the icing cheek color off on point. The drawing Glasses sketch Otherwise, the until be nose cake. Ask you if even sketch, fits can your crutch they It are put be shapes better. into should subject added confuse ready because them that its you Don’t in make later to “saves” place. tocreated. you it now. draw take awon’t. in at expect great Rememthem. the them this your 95

A good caricature has areas of detail that are cool to look at.

air a ng H Maki ent c Elem raphi G

For the viewers to enjoy those areas, you need to balance

the detailed areas with simple graphic elements. This means you should make areas that are far away from the details as simple as possible. Simple areas do not attract attention. This allows the details to be seen faster because our eyes go to details quickly.

Use the hair as a graphic element to make the outline of the face more interesting.

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96

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You can draw normal-looking features, but changing the spacing of them creates an exaggerated look, as shown here in the distance between the mouth and nose.

Add some Make suredecorative you didn’tlines missat anything. the end.

Hopefully Add on drawing somenow color you’ve ¾-view to your caricatures. got sketch. a handle97

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Drawhair. line the good doing too much. 1place up soofto will the The theback to not hair. exaggerate forehead, affect ofThen theadd and the headline add likeness shape; is 2a of

Work drawbrows, your the Addfeatures. way the thendown nostril add the Start theand face eyes. with the as the cheek. you eye-

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Basic Process This lesson covers the basic pattern you will use for profiles.

Draw ing Caricatures rofile P

Follow the same basic formula that you used for drawing frontview and ¾-view caricatures. Keep in mind that a lot of people don’t know what they look like from the side, so you may get

?

comments such as “Does that look like me?” Be confident, and don’t emotionally attach yourself to your sketches.

Start at the brow ridge and work your way down the profile line of the face. Capture the nose and mouth with the teeth, and stop at the chin.

Our Model Every now and then, draw from

In this example, you drew the teeth in

your imagination. It’ll sharpen

step 1, so now just add the lips and

your perspective... and your skills.

complete the smile line.

98

Drawsome add sketch thenow, ear decorative if andyou itslike. strokes details.onYou thecan

the Complete neck and the the sketch collar by of Sign adding theit. shirt. 99

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995/6/063:36:43PM5/6/06 1005/6/063:37:09PM5/6/06 3:36:43 3:37:09PMPM

Profile Facial Features

PLACING THE ANCHOR AND DRAWING THE EYE

PROFILE EYE SHAPE

Think of the profile eye as the letter “A” tipped on its side.

Draw the upper opening, the lower opening, PIVOT POINTS There thenare theanchor eyelids. and Next pivotcomes points thetoiris, the profile pupil and eye. highlight. Use the upper Finish opening with eyelashes, and the back if corner necessary. of the Use earlier eye.tips Notice about thedrawing angles of theeach eyesof(see thepage examples. 34).

PLACING THE LOWER LID

The lower lid slants in many ways. To get this right, you may even have to lean in for a better look at the eyes on your subject. Ask him to remove his glasses if necessary.

STUDY THE EYE CURVES

PROFILE EYE COLOR INDICATIONS

The eyes are very subtle. They Look are closely see to left): blue, hazel, light brown and dark (fromtoright brown. which way the lines curve.

100 PROFILE EYE SAMPLES Eyebrows comeLook in many for the shapes, angle or colors of natural, closest the and anchor textures. straight to the andPROFILE profile pivot or They wavy, points. can line and beasgroomed light Use thethe anchor. or side dark. ANCHOR AND PIVOT YOUR EYEBROWS EYEBROWS

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DRAWING PROFILE NOSES

3:37:21 PM

WORK DOWN, NOT UP

Pay close attention to the swoop of the nose. Work your way down the shaft of the nose. The nose line can get too long fast, so watch Pushing the marker up the page when drawing that length. the profile nose will seem awkward.

FORMING THE PROFILE MOUTH

The mouth will be part of the profile line. Work your way down and into the mouth. Break the line only when necessary. The teeth, lips and smile lines Hair line 1 creates the facial should area. be done Hair last.PROFILE line 2 The Keep make neck inANOSE her mind will look that have likeaalarge huge football effect neckplayer. onon a the woman drawing. come creNotice will atesof second the the strokes howsilhouette hair to just these should make the profile of the always the lines MOUTH caricature? caricature. line be in SAMPLES added aand profile The the last. Decorative features silhouette sketch. 101 PROFILE ADDING NECK SAMPLES DRAWING THE SILHOUETTE PROFILE HAIRtwo IN LINE ARE PROFILE AND THE HAIR KEY

You will see that the process of adding facial hair in profiles is very similar to what you have done in previous exercises. In

Addin g Hair acial F

many ways, the profile sketch is the fastest of all three types of caricatures, because there is much less to draw.

Draw the profile line in one stroke if you can, starting at the eyebrow ridge and working your way down the face. If you need to break up the line, first draw the brow, nose and upper lip; then add the lower lip, chin and jaw. Our Model

Eventually, you will be able to draw it all as one line. Draw thin facial hair after the jawline.

102

eye is like the letter “A” tipped on Drawifof line Complete on, line ithair each 1isofall complicated. section thethehair. way before to Addthe the moving neck. second pivot before how its close Draw side. you topoints. moving the exaggerate. attention goComplete eye will nose These on. area. save and to Being the Use will for the those Remember, a whole lot thicker thorough big cheek. help anchor ofcheeks. section you time. the Pay lines as and know

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Add the mouth. (For tips on drawing the mouth in profile, see page 101.) Add the facial hair in the direction that it grows. If it is only a shadow, use decorative strokes drawn at the same angle.

Add the color. Remember not to add many decorative strokes in the hair Complete add strong ear. the fades, it as neck the Ayou spread jawline weak ear. and the seeone the Draw details out itwill will collar. on in your curve the the curve onlines model. the For jawline. updown hair and hair toward into fade and Athat the

when you are going to color it dark. This will save you a lot of time. 103

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If you have followed each section of this book, by now you

he ting t Adjus Proce ss

should instinctively be able to adjust the drawing process according to your model. These processes are not set in

stone, but are flexible designs meant to teach you the basics.

Draw the profile line of the face. When you get a good smile on your model, add it as you work your way down to the chin. Draw the mouth opening, teeth, gums and smile lines. You will Our Model

come back to the mouth area in a few steps to finish up anything you did not do here.

104

Addinto up draw everything strokes working drawing not line careful. thehand in at sections 1silhouette of pencil, you this may the see, time smear ifhair. remember making you ofifit the Break have you if decorative head. that prefer. you to. theare Now your Add line When Add Use Look other Draw the nent awomen, important thick for the eye facial markings. freckles nose area. not line piercings section. to area to Look Add men or emphasis and any for nose or Add if the boys. has other the rings your lashes the cheek. them. angles. permasubject most orto

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Review the mouth area. Draw anything you left out when you sketched the profile line. Finish the lips and the smile lines that need to be extended.

Color the sketch. Figure out a coloring process for yourself and color in the same manner every time. For example, I always color the skin very light. After I finish the hair, I top to bottom, left to right. Plan Your Page Add the else thatneck youline, may have collar missed. and anything eyebrow paper Betone add details sure for Leave onfrom out the the tothe of such leave entire page space shadow highlight asor enough head. eye for you’re under color everything areas room Don’t the likely or on white chin. center ayour subtle else. toor run the 105

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You always begin a profile sketch with the profile line, but

e ng th Varyi Line rofile P

that line and the angle of it can have countless variations. The profile line of the face reveals the most amount of character. Draw what you see, but design the strokes. Lines should

be straight ones or simple “C” curves. Square shapes need to be made more square; round shapes need to be made rounder. This is the method I use to simplify what I see.

Draw the outline of the profile. Flip through the book and compare this step with the first step of each demo. See the difference? Design each stroke.

Our Model

106

Drawlikeness shapes changing side the shorten skinny create rest lines of for ahead, aof the the huge person’s 1athe back proportions too and or more cranium. lengthen sketch. 2much. and interesting ofhead make the You Enhance the of will hair it could the back asketch; not to tall, head back to set affect uptic large Add upper Draw you draw anchor distance will the can’t the eyes, them. lip? the nostril face. and help eyebrow drawing between Capturing see emphasize If pivot the aparts and person and resemblance and points. the cheek this eye of other your nose doesn’t the shape. using characterisNotice subject. and areas eye, between the your If have the don’t of

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Try to capture the mouth characteristics. The lips are large, but there will be no mistaking it for lipstick on this face. It fits in perfectly.

hair strokes. The first line will help you Color the sketch asthumb, you normally Styling Short Hair Complete Adam’s The only eyes, features apple. the nosesketch, that Go with and mouth youadding can what are emphasize. the you notsee. the the line get head When correct shapes you shape sketch. the drawing can would. background focus shape; with should draw. As very the aon Background the rule not Then getting thinnest short shape second compete of go the hair, over cut the colors profile will and with through hair it draw lightest don’t help with and the right. line. the you the let 107

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Occasionally, you will get a model with a very complicated profile line. Slow down and tackle each section individually.

Draw ing ax Profile Co mple

First, study your model closely and establish the overall angle

of the face. Ask the person to hold completely still for a minute so you can draw him accurately. Your model wants the sketch to look good as much as you want to draw a good sketch.

Plan carefully and establish which features stick out the most or the least. Relate everything else to those points. The eyebrow and the nose can provide the anchor points for the rest of the profile line. Here, we start with the top of the nose because the brow will be hidden by the man’s hat. Our Model

108

Draw the nostril and cheek line. It’s Draw rize Iwhat perfectly more have Ilike thesee how memorized. hat to won’t the ondraw as person. thethe make hats. model; Drawing hair your I line. Inever the sketch usehat Memocopylook the hat color plain can leave Add and on see. the simple this indication it pivot eye If out. model. if you area. points You you can’t correct Becan Draw follow sure you’ve only see only (see to the see the get what established. page anchor eyebrow, part the you 100). eye of andit

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Add the color. Color your sketches using the same approach every time. Don’t be afraid to ignore cast shadows and directional lighting and use idealized lighting instead. The only shadow I routinely add is the one under the jaw. 109

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When sketching with markers, you can easily achieve differ-

y Heav Using Lines encil P

ent line thicknesses. In pencil, you have to go back over and thicken the lines where you want emphasis. Be sure to keep it stylized—don’t start sketching realistically.

Draw the profile line. Think about how much room you will need for the rest of the head. Go back over and thicken any areas that you want to emphasize.

Our Model

Add the lips, teeth, gums, dimples and any other minor features of the mouth.

110

to getline Draw the1look of the of the hair.hair. “Line” Line 12 is not does ous asimple this the Addwhen ume 1that least (his stroke. length mean case, the and shows. the Adam’s shape. prominent we it hair texture neck near of established isDraw Use Break the apple and made was the ascorrectly. features hair. the many completed up forehead) ispart hair the of pretty the asone of you hair most of color, Notice in the to continuthe noticeable). need line step and show face ear vol(in direction Add Notice far. Draw add used the What the the that nostril onthat eye. changes eyebrow, every thethe and same profile is hairs following the the line thedistance. cheek grow. sketch angle has the line. been Then and so

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Draw the mouth. If the model has very small lips, you can leave off one or both of them. This is another form of exaggeration.

Coloring Savor aof sketch Stray that Lines you really Finishfirst, shape collar. the Addsketch any then decorative by thecompleting neck strokes line and the There look spontaneous. you last. the hair of want make may enjoyed rewarding. quick comfortable white be to that stray erase. comic Idrawing sketches big don’t Practice lines portraits Leave with makes astart carry until mistake, in them them. doing your it coloring an you is before even eraser. Part black-andsketch that start aremore of them. you really they over. that If the are you 1111 11

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Stick to your basic profile-drawing pattern as much as

ur ng Yo Varyi n atter P

possible. However, subtle variations are inevitable, which is OK. For example, in this demonstration, as with a few

others you’ve seen in this section, you will develop more of the mouth in the first step.

Draw the profile line and some of the mouth. The mouth shape here is very simple. In this case, it was easier to develop parts of the mouth at this point rather than skip it. Our Model

112

Move Be shape acan little careful beonto as tricky, you practice. lines not draw but to 1 line and get they2a2.are of lumpy Buzz the simple head cuts hair.with stroke Add tosible. eye Draw look older the in larger everything eyebrow younger. Draw this subjects. naturally if the case. and you Make nostril asAll eye. want simply it fall the the Draw smaller with into lines as subject the just posplace. for should one

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Finish the mouth with simple, thin lip indications. Heavy lines around the mouth will look like lipstick.

When in doubt, keep your colors Sharpen Your Drawing Finish your by complete Sometimes back notand sketches the overdrawing add the there earany pattern, fresh and is more neck no them. andstrokes. need you line. clean-looking Once are to Make go you done. The ing timedrawing and will honing they simple. finishing not should will your look improve Overcoloring always sketching drawings be great the it.be on icing Even the may abilities. a Skills agood flat bad king. be on fun, the sketch. sketch tones Spend cake. Colorbut will 113

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Long hair can be really challenging, so plan ahead. If you

ong, ing L Draw Long Hair

want to draw all of the hair, you will have to draw a much

smaller head so that it all fits. If you are sketching with a thick marker, a small head may be hard for you to draw. On the other hand, if you are drawing with a thin pencil, drawing all that hair may take a long time. And remember, you will have to color it all in later. Consider these things before you set out to draw.

Start with the profile line. You can incorporate the forehead with this line Our Model

114

if you like.

as part of line 1. Draw the hair in For right hair can the very also firstcompare will long look actually so hair, you youitwill fit are draw to on know the trying line the head how2to page. of much to achieve. get the Youcheek tions, Add secthe Addyou line line. cheek the adding go. 1details Watch and of Draw some the the the for the on decorative hair. nostril. smile the overlaps eye Include nose next. lines, Double lines and such the too. the as upear

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Add lips to the mouth. This should be the only thing you have left to add to the mouth area at this point.

Color the sketch. Because the hair is Finishof strokes. ably part sketch endthe bythe up Remember, drawing hair being sketch. bythe adding the Complete most neck hair decorative and important will the collar. prob-

the focal point, put more details into the coloring there.115

Losing Long Hair If you the want model to de-emphasize to the a ¾ view the or front hair, view. rotate

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When your male model has long hair, you really have to nail each of his facial features. Hair can be like eyelashes, a fea-

Long Hair en on M

ture that could make your model look more feminine. Pay

close attention to the style of the hair as well. Men wear their hair differently than women do.

Start with the profile line. Use thicker lines to make the profile stand out more than the hair. Try to especially emphasize the nose and chin.

Our Model

116

ject’s First draw hair line does 2 of notthe havehair, a lot until of reachso you ume, volpretty the well. itponytail will define holder. the This head subshape

teristics. pivot predominant in The to ible, times ethnic Draw Add rience, this their nice tear points the so the way, types and duct draw character. Asian eye you nostril than on and still area. have is will it Asian eyes, in the also this opening draw and common other notice The As tear eyes in very way. cheek. you what anchor general, ethnicities. duct vary characthat is important gain You you very Someis and acertain can expesee. lot. more slant visbe

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Add the lips and smile lines around the mouth. Add the ear shape if you didn’t add it with line 1 of the hair.

Another way to use color is to help attract attention to the area you want viewer to see. Use flat tones Dramatic Examples Finish of it. fun the with Thethe hair neck onsketch. to sketches istake a great You the ofcan men. emphasis feature shed some to and offhave Check coloring of the areas out while highlights more in you adding the dramatic want Celebrity to basic to areas viewer de-emphasize, exaggerations onshadows Gallery you page to want notice. 120. and starting theon 117

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118

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Hairlines. hat under lines the hat, 1 andtoward Add the2 hair arethe made where ear. upitofshows the Develop The ear. draw; and nostril Then work however, the add hair your and covers the cheek note and way eyebrow the add down how line nostril detail the the and arecheek face. eye, easy to a bit. the to

You will meet all types of people while you are drawing cari-

d igure Full-F t ubjec S

catures. Always remember that they are choosing to sit in

your chair. They know what they look like. Don’t think twice, just start drawing your pattern. When drawing full-figured

subjects, the neck is an important part of the sketch. Com-

pare where the neck lines up in relation to the other features. This will be important for capturing a likeness.

Our Model

Begin with the profile line, as always. Plan ahead and compare where the neck line will end in relationship to the eyebrow. Here, the neck line ends to the right of it, but not too far right.

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Catch all the details of the mouth, including any quirks. These quirks give the sketch character.

Normally, extending the background shape past the profile line is unnecessarily distracting. But, you can place the background shape this way purposely to attract attention to a certain spot on your drawing.

FinishThen tail cap. that theadd extends haira simple byfrom including the collar. back theofponythe

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JASON LEE

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yr el l a g yt ielbr 121c

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ARNOLD SCHWARZENEGGER

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RUSSELL CROWE

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JOHNNY DEPP

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Closing Comments Congratulations! You made it through the book. Now go back through it at least three more times. You will pick up a lot by reviewing it over and over.

Closing Tips Stick to the pattern or order that you use to draw each carica✘ Thick lines attract more attention ture. By sticking to the pattern, your sketches will be completed than thin ones. quickly, and it’s less likely you will forget to draw something. ✘ Angular lines are masculine. Once you are completely comfortable with the pattern and have drawn ✘ Curved lines are feminine. many people using it, begin experimenting. Change the pattern to ✘ On men, focus on the jawline and nose. what fits you better. Establish your personal and stick to eyes and lips. ✘ On pattern women, focus on the it. Enjoy your new skills. Caricatures are great for entertaining ✘ Eyelashesatare feminine. parties and gatherings. Have fun! When you✘are Position ready and for reposition more, your subject how you want them. go to www.hamernikartstudios.com. There you will find additional Have a bodies patterntoor order of drawing information about drawing exaggerated faces,✘ adding and stick to it. your caricatures and working in color, and other extra tips. You can ✘ Your “live” caricature should not take e-mail me with questions at [email protected]. more than five minutes for the face. Harry ✘ Practice, practice, practice! ✘ Draw a thousand bad caricatures, then draw only good ones. ✘ Caricatures make great gifts.

ShowofMeme.What You’ve Learned of me 125 Here areINphotos Send [email protected]. your best caricatures to JON HEDER AND AARON RUELL NAPOLEON DYNAMITE

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Index A

E

practicing, 9-11

Adam’s apples, 107, 109

Ears, 22, 25, 40

relating, 46

Age, indicators of

and age, 40, 44

simplifying, 86

children, 44-45

covered, 46, 50

sizing, 90

ears, 40, 44

Ethnicity, 92-93, See 116-117 also specific feature

eyes, 112

Exaggeration, 9, 24, Front 27,views, 62 22-61

irises, 34, 88

distance, advanced 97 approach, 24-25

necks, 41

eyebrow, 78

smile lines, 37, 47

hair silhouette, 74 planning, 48-49

Anchor points, 26-28 ear, 40 eye, 26, 32-33

basic pattern, 22-23

head shape, 98-99 lip, 53

G

mouth, characteristics 37 Gender, of, 59, 73, 125

eyebrow, 32

nose, 67

eyelashes, 34-35, 66

facial, 28, 86

profile line, 74

eyes, 34, 59

mouth, 36, 68

Eyebags, 42, 78-79

face shape, 69

nose, 27, 30, 67

Eyebrows, 22, 24, 32-33, 88, lips, 90 59, 89

profile, 100, 102, 108

coloring, 76 necks, 41, 59, 101, 117

¾-view, 67-68

profile, 100

noses, 54, 59, 84, 94

as shapes, 46

Gums, 37, 81

B

¾-cheat view, 52

Backgrounds, 15, 20, 51, 119

well-groomed, 54

Blending stump, 6, 11

H

Eyeglasses, 58, Hair, 72, 84-85, 38-39,96-97 48, 62, 72 Eyelashes, 33-35, 54,buzz-cut, 66, 80 112-113

C

Eyelids, 32, 100

Cheat views, ¾-, 52-53

cheat-view, 52

coloring, Eyes, 22, 13,24, 15,26-27, 17, 20, 32-35, 38-39, 72 103, 115

Cheeks, 22, 25, 28, 102

Asian, 116-117

complex, 82

Children, 44-47, 50-53, 56-67

children’s, 44covering faces, 90-91

Chins, 22, 28-29, 49

coloring, 13, 15, 34

Clothing, 15, 23, 47, 80-81

expression in, 26, dreadlocked, 34-35 94-95

Color palette, 7, 12, 83

and gender, 34-35 emphasizing, 96-97

Colored pencils, 7, 12-13, 16-17, 61, 81

and personality, long, 92-93 55, 96-97, 114-117

Coloring, 7, 12-15, 45, 49, 53, 95, 117

practicing, ponytail, 9-11 54-55, 104-105, 116-119

curly, 58

backgrounds, 20, 51

profile, 100

profile, 101

computer, 18-21, 79

samples of, 35, short, 100 88-89, 106-107

Detail, Dimples, Directional eyebrows, eyes, flat, hair, pattern pencil skin tones, 96 13, 113, 55 principle, sketches, for, strokes, 46117 15, 13-14, 14-15 34, 17,85 26-27, 100 20, 38, 16,39, 84-85 20, 33, 103, 92-93, 97,115 106, 105Hats, 108 Facial F74-75, Faces ace Head sizing, ¾-cheat ¾-view, variation ethnic, hair-covered, simple, exaggerating, line beards, shapes, features shapes, 78-79, patterns Hair, view, 92-93 50-51 106, 64, 28-29, 25, in, strokes 84-87, 88-89, 66 five 112-113 facial, 28-29, 52 24, 90-91 for, 34-35 60-61, o’clock 59 108-109, 98-99, Highlights, 8-9 for, moustache, eye, 69, 94-95, textured, 78-79, ¾-view, goatee, chops, 76, 82-83 33-35, 106-107 shadow, 118-119 80, 102-103 86-87 36 29 70 61 22 58 87-88 6685 126 Distance

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hair, 17, 55 skin-tone, 14, 16

R

Negative space, 86 Noses, 22, 24, 30-31, Rhythm 42, lines, 48 71 children’s, 44, 46

I

exaggerated, 67S

Irises, 33-35, 88

Shadows, female, 11, 54, 14, 80 82, 87, 91, 94-95 Silhouettes, length and angle 38-40, of,71-72, 27 74, 101

J

lumps and bumps on, 76, Sketches 80

Jawlines, 28-29, 44, 48, 56

male, 84, 94-95

bearded, 60-61, 78-79, 102-103

evaluating, 47

placing, 96-97 pencil, coloring, 85 practicing, 9

planning, 105

L

profile, 101 starting over, 54, 111

Lap easel, 7

shapes of, 30-31

Lighting, idealized, 109

Skin ¾-cheat tones, view, 13-14, 52 16, 20, 93, 105

Line patterns, 8, 63

¾-view, Smile 64, lines, 67 23, 81, 83, 114

Lines

Nostrils, 67

unifying, 91

and age, 37, 47

active, 69

and eyebags, 42, 79

fuzzy, 8

P

multiple, unifying, 91

Paper, 6

pencil, heavy, 110-111

Pencil lead, Strokes, shaping, directional, 10 85

plumb, 76

Pencil sharpener, 7

practicing, 8-11

Smiles, 24, 45, 59, 104-105 Stare-downs, 56-57 See also Lines

Pencils, 6-7, 10-11,Symmetry, 84-85, 104,110-111 28, 56

quality of, 5, 8

Photoshop, 18-21

stray, 111

Pivot points, 26-29 T

thickness of, 10-11, 72

ear, 40

types of, 63

eye, 26, 32-33, colored 100 pencil, 12-13

See also Rhythm lines

eyebrow, 32, 54, 100 marker, 8-9

Lips, 23, 36-37, 53, 91, 93, 111

facial, 28-29

Techniques

pencil, 10-11

mouth, 36-37 Teeth, 36-37, 79, 87 M

nose, 27, 30, Texture, 67 hair, 39, 58-59

Markers, 5-6, 8-9, 58, 62-63, 101

placing, 26

¾-views, 64-97

Mirror images, 62

Plumb lines, 76

Moles, 92-93

Practicing, 5, 23, 49, 62-63, eyes, 64, 69 66

Mouths, 10-11, 23, 36-37 placing, 27 Necks, ¾-view, angled, children’s, elongated, full-figured, implied, line male, profile, thick, 23, variety 59, 7955 41 65, 75 101, 101 117 8568 44-45 in, 118-119 112-113 53

clothing, 80-81

features, 9-11 face shapes, 69, 82-83 lines, 8-11 hair, 70, 90-91, 96-97 Views. Profile 103, Profiles, QPupils, uirks, See complex, facial head line rhythm 106-107 Cheat quality, 33-35 55 lines, shapes, 98-119 features, lines, 108-109 views, hair, 71, 106-107 71 110-111 head Vfacial, 74-75, Tongues, ¾-; 100-105 rhythm mouths, shapes, tilted, Front ¾Value, noses, 88, views 78-79, lines, 37, 65, views; 10188-89 76-77 45 11 67 68 86-87 71127

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