Cartoon-Drawing

presentsFREEGUIDE TOCARTOONDRAWINGSLearn How to Draw CartoonFaces Like an Expert

FREE GUIDE TO Avoid End Dots CARTOON DRAWINGS and Fuzzy LinesMarker If your marker is touching the page, inkTechniques will keep coming out, which explains those ink dots at the ends of your lines.The best way to practice with a marker is to use the You must draw without hesitation andsame one all the time. Get a marker and do all your pick up your pen quickly at the end ofwriting with it. To practice using a marker for drawing each stroke. If you are getting fuzzy lines,cartoons, memorize the basic line patterns used for you are moving your pen too slowly.each feature. Once you memorize the patterns, drawhundreds of versions of each feature. Try to draweach facial feature with as few strokes as possible.Practice Making Lines With MarkersAt first, your marker lines may look like this—unsure and uncontrolled, withbleed dots, fuzzy lines and so forth. That’s OK. The more of these kinds ofsketches you do, the sooner you will get them out of your system.This content has been abridged from an original book, Drawing Cartoon Faces by Harry Hamernik and 8fish, F+W Media. © F+W Media, Inc. All rights reserved. F+W Media grants permission for any or all pages in this premium tobe copied for personal use.2 www.artistdaily.com

FREE GUIDE TOCARTOON DRAWINGSTry Geometric Shapes When you get tired of drawing geometric shapes, tryPractice drawing each facial feature as a geometric shape. turning them into features. The shape will tell you what toThis is a great way to practice variations for each feature. draw so you can focus on your line quality.Make some wide and others tall, or even an entirely differ-ent shape.Exaggerate Practice VariationsWhen you first start practicing, try to exaggerate as much Fill an entire page with variations of each feature. Byas you can. When you draw a live model, you will be look- studying one feature at a time, you will learn how to avoiding for subtle differences in features. By knowing what drawing the same eyes on everyone, and so on.types of exaggerations work for you, it will be a lot easierto see those differences.3 www.artistdaily.com

FREE GUIDE TO CARTOON DRAWINGSPencil TechniquesMarkers are a great way to start drawing cartoons,but most of us are accustomed to using pencils. It’sin our nature to sketch with them. The trouble withpencils is that we often put too many lines on thepaper, and the drawings get messy. By working withmarkers, you will learn to put down fewer strokes.For those of you who prefer pencil, follow the samemarker guidelines as well as those included here. Shape Your Lead Practice Line Variation Shape the tip of your pencil Draw thick, medium lead by rubbing it back and and thin lines. You will forth on a scrap sheet of paper have to resharpen the until you have an angled flat tip often on a separate spot on the tip. The flat spot sheet of paper. lets you draw the thick lines. Spin the pencil around and draw with the tip to get thin lines.Avoid Messy and Unorganized Drawings Shaping Pencil Tips and Blending StumpsSee how the face above on the right looks more profes- On the left is what your pencil tip should look like whensional? Every line is intentional and clearly made. Practice shaped to make both thick and thin lines. In the center isdrawing strokes in every direction with straight and curved a blending stump; on the right is how the stump shouldlines. Vary the pressure on your pencil and the spacing look after you sand the tip to prepare it for use.between your marks. Be bold with your lines.4 www.artistdaily.com

FREE GUIDE TO CARTOON DRAWINGSWorking With ValueUsing pencil gives you the opportunity to add differentvalues or shading to each feature. By applying more pres-sure on your pencil, you can darken features to suggestenhancements such as lipstick, for example.Use Varied LinesPractice drawing line variations within each feature. Athick line will look thick only if there is a thin line nearbyto balance it. Shade Your Sketch Use your sanded blending stump to shade each sketch. Shade the exact same areas on every face. Shading should take you less than a minute. Notice how easily you can recognize a face with shading done this way.Draw Features DecisivelyDraw features as cleanly and precisely as possible, andavoid sketching as much as you can. Think like a calligraphyartist—you only get one chance to do it right. Notice howthese features are not quite as clean as the marker versions.5 www.artistdaily.com

FREE GUIDE TOCARTOON DRAWINGSColored Pencil TechniquesColoring a good drawing makes it great, but coloring a the sketch. As in the drawing part of the pro-bad drawing makes it a bad drawing. Coloring does not cess, you will make small mistakes in the coloringcover up mistakes, so practice your drawings until you process. It’s part of the quick-sketch look. Don’tare confident about your lines. Then begin coloring. worry about it, but try to color inside the lines as much as possible. Always color lightest to darkest, Coloring a basic cartoon face should not take because you can always make an image darker,longer than one or two minutes. Definitely don’t but you can’t make an image lighter.take more time to color than you did to drawA Colored Pencil Palette1 2 3 4 5 6 7 8 9 10111213 14 15 161718 19 20 21 1 Forest Green 8 Raw Umber 15 Scarlet Lake 2 Burnt Umber 9 True Blue 16 Violet 3 Yellow Ochre 10 Sky Blue 17 Gray 4 Canary Yellow 11 Orange 18 Pink 5 Green Bice 12 Terra Cotta 19 Flesh 6 Copenhagen Blue 13 Raw Sienna 20 Blush 7 Ultramarine Blue 14 Burnt Ochre 21 Black6 www.artistdaily.com

FREE GUIDE TO CARTOON DRAWINGSEye ColorsUse these examples as a guide for selecting thecorrect eye color for your character.Sky Blue Yellow Ochre + Sky Blue + Yellow Ochre + Raw Umber Raw Umber + Burnt Umber Sky Blue Raw Umber Green Bice Terra CottaHair Colors Skin TonesExperiment with blending colors together to create the Use this chart to help you create the correct skin tone. Getshades you want. Just remember to always work lightest to the color as close as you can with your limited palette. Adarkest. This chart will help you get started. caricature is not a realistic portrait, so it does not have to be exact. The coloring should be bright and fun. Canary Yellow Canary Yellow + Flesh Flesh Canary Yellow + Yellow Ochre Yellow Ochre Flesh + Blush Yellow Ochre + Raw Umber Flesh + Pink Yellow Ochre + Terra Cotta Flesh + Yellow Ochre Raw Umber Flesh + Canary Yellow Raw Umber + Terra Cotta Flesh + Terra Cotta Terra Cotta Terra Cotta Raw Umber + Burnt Umber Terra Cotta + Raw Sienna Burnt Umber Terra Cotta + Orange Black Terra Cotta + Violet7 www.artistdaily.com

FREE GUIDE TOCARTOON DRAWINGSUsing the PatternTechniqueThese two pages show the pattern to use when Creatingcoloring. To avoid spending too much time coloring, Highlightscolor every face using the same pattern. For highlights in the skin tone, let the white of the paper show through some instead of heavily covering the area with color.8 www.artistdaily.com

FREE GUIDE TOCARTOON DRAWINGS 1 Color the Foundation Begin with the overall skin tone. Color every part of the sketch that needs that color.Try not to pick up that color again as you continue.2 Add Shadows 3 Color the Hair Overlay another color to adjust the skin tone. Use pressure Add the hair color. You should alreadyto darken the shadow areas of the face. Your shadows need to be have most of the details in place at this point,in the same places on every person; darken the sides of the face, so all you need to do is color the hair with someunder the chin and anywhere a shadow would appear if there was simple shading.an overhead light. Note that you are creating the shadows with theflesh-color values, not with black or gray.9 www.artistdaily.com

FREE GUIDE TOCARTOON DRAWINGSThe 4 Pointsof ExpressionsExpressions Show: 4. Involuntary Physical States: Bad gas, sickness, pain,1. State of Mind: What we would commonly call relief. Sometimes the body feels something so intensely and so rapidly that it shows up on the feelings. But state of mind also means thoughts, face before we can even do anything about it. and thoughts about what you’re feeling and feel- ings about what you’re feeling. (Complicated, we Expressions Are Stories know.) Now, try to think of some sort of story that isn’t going2. Personality: This is an extension of state of mind, to make use of expression in one of the four ways but more fundamental. Who your character is we’ve outlined. You can’t—and you know why? should show on their face. Stories are all about how people react to their own3. Relationships: Expressions are essential to showing state of mind, to each other and to the world around how two people feel and think about each other. them. And the expressions of your characters are the For example, when a man and a woman exchange best tools you have to communicate those reactions. flirting glances, we know exactly what their rela- tionship is.10 www.artistdaily.com

FREE GUIDE TO The Face and Cranium Together CARTOON DRAWINGS You can think of the way they fit together as a bowling ball with aThe Head beard.Remember, always start with the big shapes first. When Um… Yeahit comes to expression, that means learning how to draw Remember that this just givesthe head. This lesson is the foundation of everything else you the general shape of theyou’ll be doing, so take the time to master it. head. Do not try to put the eyes and nose of your face The Cranium where the bowling ball holes The head is made up are! of two main parts: the cranium and the face. The cranium is a big sphere with the sides lopped off; it makes up the bulk of the head. The Face The face is a tapered box with a sloped bottom. It hangs off the cranium from the eyes down to the chin and jaw. Wrapping Around the FormWhen we look at a face straight on, the constructionlines form a simple cross. When we start moving thehead around, the construction lines stay in the sameplace in relation to the features and thus help toestablish direction and dimensionality as they movein relation to the picture plane. As you draw a head turned to one side, imaginethat you are wrapping extended construction lineslike string around three-dimensional shapes. Thistechnique is called “wrapping around the form.”11 www.artistdaily.com

FREE GUIDE TO CARTOON DRAWINGSDemonstrationLet’s draw a simple head from the front. Too high!1 Draw a Circle 2 Add the Face as a \"U\" 3 Add Construction Lines Start by drawing a circle. Shape Add one line splitting the head in half verti-This is your cranium.Think of it Next, add the face. You can do this cally, and another splitting it in half horizontally.Theas a round ball, not a flat circle. by drawing a \"U\" shape to define the horizontal line is called the eye line.The vertical line jaw. is called the centerline. Make sure your eye line is in the middle of the head, not in the middle of the cranium.The middle of the cranium is too high for the eyes.4 Add Nose and Mouth Lines 5 Add Features and Details Add another horizontal line halfway between the eye Finally, add the facial features. Place the eyes about oneline and the bottom of the chin.This is where the bottom eye-width apart. Place the ears underneath the eye line.of the nose will sit. Make another line one-third of the waydown from the nose to the chin.This is where the mouthwill sit.12 www.artistdaily.com

FREE GUIDE TO The Box Profile CARTOON DRAWINGS Construct the profile view within a box divided into four quadrants. The head is about as long as it is tall,Different Views of the Head and the jaw and ear fall right along the halfway lineLet’s practice some simple head shapes from different from front to back.points of view. Don’t worry about the features fornow; just focus on the cranium, face and construction Keep Practicing!lines. Keep practicing drawing basic head shapes fromProfile View different points of view (POV). There are a millionThe profile view has an eye line, but no centerline. different angles to discover. Try to draw a head fromThat’s because the centerline here represents the edge a completely different POV. If you get stuck,of the face. The back of the jaw sits about halfway referring to a simpler POV can help.between the front and back of the head, and the earsits right behind the jaw. The head doesn’t sit right on top of the neck whenin profile. The neck actually extends out of the body ata 30º to 45º angle.Three-Quarters ViewThis is where things get interesting. The three-quar-ters view is simply the face rotated halfway betweenthe front view and the profile view. This view is calleda three-quarters view because now you can see three-quarters of the face. It can be constructed by combin-ing the front and profile views.Construction LinesNotice that the height of the head and the eyeline stay in the same place as you rotate thehead. The only thing that moves is the centerline.13 www.artistdaily.com

FREE GUIDE TO This might be a good time to check your sketches CARTOON DRAWINGS in a mirror. If they don’t look symmetrical in the mirror, adjust them until they do.Worm’s-Eye andBird’s-Eye ViewsA worm’s-eye view is a picture in oblique perspectivefrom an extremely low eye level, with the horizon atthe bottom of the picture or below it. Imagine you’rethe worm looking up at an object. A bird’s-eye view is a view as seen from above, likea bird would see. It’s just like when you fly in a planeand look down. The Secret Weapon: Maintain the Centerline The Neck As you tilt the head up and down, notice that the center- line stays in the same place, while the placement of theThe neck is not a part of the head or the face, eye line, nose line and mouth line changes.but it can make a big difference with expres-sion. A body standing upright and perfectly still Worm’s-Eye Viewcan give you all the points of view of the head Remember to think of the headon this page, and the neck does it all. and features as three-dimen- sional, and always wrap yourBird’s-Eye View construction lines around theUse the same construction form. The head shape is verylines as a reference to create important. Once you masterthe bird’s-eye view. Notice this, everything else will fall intohow the eye line, nose line place.and mouth line curve asthe head tilts up and down.They’re wrapping aroundthe form!14 www.artistdaily.com

FREE GUIDE TO CARTOON DRAWINGSDrawing Eyes1 Start With a Circle 2 Add Construction 3 Indicate the Iris 4 Sketch the Eyelids Like all good drawings, Lines and Pupil Sketch where the eye-start with a basic shape: in Sketch construction lines Use your construction lines lids are going to be.The topthis case, a circle. that intersect in the middle. to draw two circles in the lid should cover the top of center.These will be the the iris a bit and overlap the pupil and the iris. bottom lid on the outside. Make sure to indicate a divot 5 Add Details on the inside corner of the Darken the pupil and iris and give the eye a highlight that sug- eye for the caruncle (that gests the direction of the light. Be sure to indicate the edges of your pink thing in the corner of eyelids and don’t go overboard with the eyelashes. A solid group of your eye). eyelashes is much more appealing than individual hairs.Try to follow this process to increase your speed when drawing eyes.1 Begin with the eyebrows, minding the distance 2 Draw the eye shape. Look at the shape first, and find between them. the anchor and pivot points. Draw one eye and then the other.3 Continue with the eyelids for both. Notice how you aren’t 4 Add the highlights, pupils and irises. bouncing back and forth? Draw one thing at a time.5 Finish off with eyelashes and lower eyelids, if necessary.15 www.artistdaily.com

FREE GUIDE TO CARTOON DRAWINGSCreating MouthsMouth Anchor and Pivot Points Vary Mouth Shapes by Placing Pivot PointsFor the mouth, the anchor is the dip Pivot up, across or down? Is this starting to sound repetitive? You see, there isof the upper lip. The pivots are the no mystery to cartoon portraits. Just lots of repetition with a variety of shapes.corners of the mouth.Mapping the Mouth Drawing TeethStart the mouth at the anchor point and Think of teeth as a city skyline.draw toward the pivots. Be sure to draw Turn the skyline upside downthe correct angle (up, across or down). and you have teeth! DrawFrom the corners, draw down and meet them as a group, not asat the middle. Be sure you capture the individuals. Drawing individualcorrect shape of the mouth opening. teeth makes them look awk- ward as a whole. 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.Forming the Lower Mouth ShapeIn general, the shape created by thelower line of the mouth forms a \"U,\"\"V\" or \"W.\"16 www.artistdaily.com

FREE GUIDE TOCARTOON DRAWINGSThe Jaw The Jaw Swings...The jaw is the largest moving part of the face. It oper- The jaw is hinged to the skull right in front of the ears,ates any time you open your mouth: talking, eating, and it swings back and down.yelling or whatever. The jaw almost always works in conjunction withyour mouth muscles, but also notice how it moves byitself and what it does to the face.The MouthThe mouth is made up of the lips and a mass of seveninterconnected muscles that sit under and around thelips. The illustrations show three basic mouth shapesand describe which muscle groups make them. ... and Slides The jaw also has limited side-to-side as well as forward and backward movement.The Mouth The Frown Muscles A Big, Weird FrownOnce you know the basic mechanics These muscles pull the sides of the The muscles extend all the way downof the mouth’s muscle groups and lips down toward the side of the face, the neck onto the chest. When youhow they transform the face, you can causing general frowning motions. do a big frown, you’ll feel your neckcreate an infinite number of unique tighten up all the way down to yourmouth shapes. clavicle. That’s a big frown!Profile View Three-Quarters View The Smile MuscleWhen relaxed, the corners of the lips The mouth in three-quarters view doesn’t This major muscle draws thedon’t extend back very far; they stay in just wrap around a cylinder. The lips sit on corner of the lips up and awayfront of the eyes. Notice the slope from top of a mass of muscles, so they stick out a from the middle of the face.the nose to the chin. The bottom lip little bit.sits behind the top lip, and the chin sits A natural smile, with nobehind the bottom lip. Indicate a centerline when you draw the other muscles engaged, will mouth in a three-quarters view. It’ll keep you part the lips to show the top17 www.artistdaily.com aware of the contour of the mouth and lips. row of teeth.

FREE GUIDE TO CARTOON DRAWINGSDrawing HairDrawing hair is simple. You have to concentrate on only two lines.Lines 1 and 2 Extra LinesLine 1 is the hairline around the face. Line 2 is the Any other lines you draw in or around the hair are purelysilhouette of the hair. ornamental and should be left out if your speed is too slow. These extra lines do not make the sketch look more like 1 your subject. 2 34Hair Sections Hair StylesHair can be broken down into sections. Identify the top, Remember this: Thick lines make dark hair, and thin lines makesides, bangs or layers of the hair. light hair. The length of the stroke relates to the length of the hair. 1 Top Strokes should be drawn in the direction that the hair grows. 2 Side 3 Bangs 4 Layers (mainly on females)18 www.artistdaily.com

FREE GUIDE TOCARTOON DRAWINGS 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 only hairlines 1 and 2. Communicating Color in Black and White What hair color does each of these heads have? Your black-and-white sketches should communicate the hair color of your subject.Using Line 2 Creating Color, Length and TextureLook at the difference hairline 2 makes. The silhouette of a Color is determined by the thickness of your stroke.person is made up of the face shape and hairline 2. Draw Length is determined by the length of your stroke.these accurately. Texture is determined by how many strokes you use.19 www.artistdaily.com

FREE GUIDE TO CARTOON DRAWINGSEmbellishing EarsStart With Silhouettes Add DetailsDraw the silhouette of the ear. Draw the details of the inside of the ear.Divide the Ear Into Three Sections Placing AnchorThe ear has three sections: the top, the middle and the lobe. Ears with a simple silhou- and Pivot Pointsette can be divided up by the inside details of the ear. As in drawing the face shape, the Pivot Point Positions anchor is at the top Here are examples of the three of the feature, and pivot-point positions. the pivot is toward the bottom. Example EarsEar VariationsPay close attention to the silhouette. Some ears pushinward at the middle, while others push outward.20 www.artistdaily.com

FREE GUIDE TO CARTOON DRAWINGSKnowing Your NecksThe anchor and pivot points for the neck are similar tothose 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 different, though? Show Age and Gender With a Neck Short necks make a person look younger. Long and skinny necks are feminine.21 www.artistdaily.com

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