![]() ![]() Joy, sorrow, anger, and other moods are shown chiefiy in the face and you should learn all you can about how to draw them.Ī good way to begin is to study the faces of the people around you, and the different moods they express. Later in the Course we will show you how the whole figure can be used to express emotions, but, for now, we are concerned with the head and face. If a cartoon character is to be animated and interesting to the reader, it must express exactly the right emotion. Girls add up to more than half of the human race. For now, this page will give you a good basic start. Later in the Course, girls will be treated in greater detail. Remember to keep the outlines of the face smooth and simple and give emphasis to hair, eyes, and lips. Girls’ heads are constructed the same way as any others, but they will appear cuter and more glamorous if the eye line is drawn lower than halfway. Every successful cartoon character has its own distinctive hairdo. ![]() When it comes to hair, anything goes – from the last precious few of the almost bald gent to the weird result of milady’s latest visit to the beauty parlor. In the simple cartoon head, hair makes the head male or female. Keep in mind, however, that since the features are evenly balanced on each side of the center line, this line serves as a fixed guide for locating them. Even with balloons of the same shape a shift in the eye line can be the start of a new character. While the eye line is usually halfway between the top of the head and the chin, interesting cartoon characters of many different types can be created by raising or lowering this line. ![]() As you see here, just a couple of varied shapes can be the start of a whole cast of interesting characters – Milquetoasts and mugs, debutantes and dowagers, seadogs and swamis. Changing the shape of the basic balloon head is the key to creating many different cartoon types. If it does, you can place the features correctly in relation to the center line and maintain the three-dimensional effect. Regardless of the form, your center line must follow the curve of that form. The same thing must be true of the different-shaped cartoon heads you draw. The balloon changes its shape but it still keeps its three dimensions. Imagine that you are grasping a toy balloon in your hands. The round balloon head is only the beginning. Human heads come in almost every shape, from a lima bean to a toy top – and so do cartoon heads. If everyone had his or her hair shaved off, you would see that there is as much variety in the human head as there is in the top of a range of mountains. Establish these guide lines first and you should have little trouble locating the features properly no matter at which angle the head is tilted or turned. Then start drawing in the eyes, nose, mouth and ears, following the principles demonstrated here.īy combining the curved eye line with a curved center line, the head can be drawn to face in any direction and at whatever angle you wish. This will give the head a solid, three-dimensional quality and keep you from drawing flat, pancake-type faces. Sketch these lines as though they go completely around the balloon. After you have gotten the hang of drawing the balloons and can dash them off easily, you are ready to swing the two guide lines in. Practice drawing balloons about the size shown here, because most of your work as a cartoonist will call for heads this size or smaller. The freely drawn balloon will be only a guide for the general shape of the head, so make it light – you can strengthen the outline later. To form your balloon, swing the pencil around several times on the paper. Drawing the balloon headīefore beginning to draw cartoon heads, you must learn to draw the balloon shape freely and quickly. A good understanding of the emotional differences between people will help you to create cartoon characters that will react properly to any set of circumstances and leave no doubt in the reader’s mind as to the type of people they are. Jn general, you must become a psychologist. As an observer and recorder of the human race, you must have an awareness not only of the surface differences between people but also of what makes them tick. Each of us has different features – even twins are not really identical – and, in addition, each of us has a definite and individual personality. The good Lord is an expert at putting people together so you can identify them easily. You say, “You look fine” or “You look sick” or “You look sad” or “You look happy.” You recognize Joe or Bill or Mary by the eyes or nose or ears or hair. When you meet a friend the first thing you look at is his face. Check out the other Lessons on IAMAG here. This lesson artists are: Rube Goldberg, Milton Caniff, Al Capp, Harry Haenigsen Willard Mullin, Gurney Williams, Dick Cavalli, Whitney Darrow, Jr. Learn to Draw Cartoons is a series of articles based on the Famous Artist Cartoon Course book, now in public domain. ![]()
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