01163m CARB-JAC-Booksales 25/1/06 9:40 AM Page 1

Franklin Bishop

the the
cartoonist’s cartoonist’s

the
bible Create great cartoons

bible

cartoonist’s
in a wide range of
styles and media,
from comic-book line art to digital manga.

Learn how to exaggerate and distort

your characters to great comic effect;
render funny expressions and
body language; add backgrounds,
lettering, and speech balloons.

Includes advice on finding inspiration

and developing your own style,
insider tips from a professional

bible
cartoonist, and information
on presenting and selling
your finished artwork.

Franklin Bishop
FRANKLIN BISHOP has spent almost his entire life
drawing cartoons. He now teaches professional
cartooning skills to young people, art students, and
mature students. He has delivered highly successful cartoon
courses for the Workers’ Educational Association and County Council
Education Departments in the UK, is a tutor at the University of
Nottingham School of Continuing Education, and the Head Tutor for
the cartooning course at The Learning Institute (UK & USA). ISBN-13: 978-0-7858-2085-7
Franklin lives in Nottinghamshire, England.

Cover illustration by Robin Lawrie Printed in China An essential reference for the practicing artist
 The
Cartoonist’s
Bible
 The
Cartoonist’s
Bible
AN ESSENTIAL REFERENCE
FOR THE PRACTICING ARTIST

Franklin Bishop
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Contents
Introduction 6
What is a cartoonist? 8

Tools and materials 10

Getting tooled up 12
A working space 14
The pencil 16
Inks 18
Pens 20
Gouache 22
Watercolor 24
Acrylic paint 26
Papers 28
Using computers 30
Coloring on a computer 32
Comparing materials 36
Starting to draw 38 Types of cartoon 102 Expressions file 162
Sketching from life 40 The single-panel cartoon 104 Anger 164
The face 44 The captionless cartoon 108 Joy 168
Profiles 48 The political cartoon 112 Sorrow 170
Express yourself! 50 Cartooning for animation 114 Boredom 172
Stick figures 52 Manga 118 Fear and horror 174
Drawing figures 54 Comic strips 124 Surprise 176
Hands and feet 58 The graphic novel 128 Thinking 178
Don’t hesitate, exaggerate! 60 Greeting cards 130 Devious and sly 180
Children 62 Caricatures 132 Stupidity 182
Growing older 64
Tricks of the trade 66
Clothing 72
Stereotyping 74 Glossary 184
Animals 76 Resources 186
Anthropomorphism 80 Index 188
Backgrounds 86 Credits 192
Color 90
Lettering and balloons 92
Composition 94
Creating focus 96 Going professional 134
Foreshortening 98
How to generate ideas 136
Perspective 100
Think funny! 138
The cartoon ideas file 140
How to sell your cartoons 142
How to price your work 144
How to take a brief 146
Copyright 148
Filing and storing cartoons 150
Get professional 152
Syndication 156
The greeting cards market 158
6

Introduction
Being able to draw cartoons is one of the great pleasures
of life. Cartoons are fun to draw and give enjoyment to
others who see them. We are all born with a natural
inclination to draw or make images on paper and it is up to
each individual to either develop it or let it stagnate and
disappear. If you have always wanted to be a
cartoonist, or if you need practical advice to improve
your cartoon drawings, or even if you hope to
become a professional cartoonist then this book will
provide you with everything you need to know, from
the basics of cartoon drawing to insider hints and tips Find out about
from a professional cartoonist—everything in fact that will tools and
help you to maximize your own unique cartooning skills. materials
The contents of this book are unique and completely
practical. Not only will you learn how to draw cartoons in
many formats including up-to-
date advice on CGI (computer
generated images) and Manga
comics but you will learn easy,
foolproof methods of how to
always be able to think up
new humorous ideas for
cartoons and how to give
yourself the best
chance of selling
your work and
seeing it
published.
Learn how to use
basic techniques
and styles
 7

There are many books on cartooning but this Look at the possibilities
one is exclusive in that it gives you the priceless provided by new media
benefits of a professional cartoonist’s insider hints
and tips that would take years of hard work to
learn on your own. There are lots of clear "how-to-
do-it" sections carefully designed to encourage and
develop your drawing skills plus lots of trade
secrets about cartooning direct from an expert to
give your cartoons the "wow!" factor. There are
explanations of the various types of cartoon
work including the growing popularity of
comic strips and the ever-increasing demand
for cartoons for greeting cards. Learn how to
find little-known niche markets for your
cartoons that you never realized existed.
There is also an extremely useful and
comprehensive Expressions File that means you
will never struggle to draw just the right look
on your cartoon characters! Also included is a
valuable Cartoon Resources file to signpost
you on to further information about all
aspects of cartooning.
8

What is a cartoonist?
Can you spot a cartoonist in a crowd? What does a cartoonist look like?
Tall or short? Male or female? Short or long hair? Are they rich? Do they
have a college education? Where do they live?
The truth is that every cartoonist is different and an
individual. That is the great thing about becoming a
cartoonist—anyone can learn to draw cartoons
provided they have the desire and willingness to
learn. You may not end up becoming a millionaire or
world famous (although who knows!) but you could
certainly find that you have a real skill to entertain
yourself, your family, and your friends, and perhaps you
will even see your work published and be paid for it.
This book offers a practical storehouse of knowledge
about all the skills of cartooning. You do not need
any special artistic ability to become a cartoonist—
you just need a love of drawing, enthusiasm, and
a willingness to have fun. Every cartoonist was
once a complete beginner. We often start off in life
as incredibly uninhibited cartoonists—and then as
we grow up we allow our natural skill to wither
away as we face criticism and are pressurized to learn
more "practical" skills in order to get a job and make
our way in life. Rediscovering those lost and natural
cartooning skills of our early years can be a very
enjoyable experience and this book will show you how to do this.
 9

So what is a cartoonist in the modern

understanding of the word? What does he/she
do? The word originates from
"cartone," which was the name
of a pasteboard the Italians
used to make a full-size
drawing for wall paintings
in the fourteenth and
fifteenth centuries. It was
some 250 years ago that
satirical drawings and caricatures
began to be called cartoons.
Cartoons create a blend of
picture and idea that is unique and
does not really work in any other
format. Most cartoons are
humorous in as much as they tell a
joke. They make us laugh but they
can also be serious and make
political points, powerfully
summarizing a situation that
would require hundreds of words
to explain.
Cartoons are increasingly
popular and we find them
everywhere—in advertisements,
on TV, in newspapers, books, movies,
and magazines. They make us laugh
and stimulate our brains. We grow up
reading cartoon books and watching
cartoon characters on TV—they form
an integral and influential part of our
life. Imagine how much more thrilling it
will be to be able to draw your own
cartoons.
Begin the adventure!
Become a cartoonist!
 CHAPTER ONE

Tools and
materials
12 TOOLS AND MATERIALS

Getting tooled up
Scalpels
Scalpels are invaluable for trimming
your artwork and much more accurate
than using scissors. Scalpel handles
and packs of blades are easily
available from art materials stores.

The great advantage of being a cartoonist is Light box

that you do not need to spend a fortune on A light box is simply a lit screen
expensive equipment or materials. Ultimately that enables you to see through
all a cartoonist needs is something to draw opaque paper and original artwork
with and some paper to draw on. so that you can trace and amend the
Of course, to be able to draw with drawing on a new sheet of paper.
consistency you will need a good supply of These are not essential
pencils, pens, and some decent paper. As and can be expensive but they
you gain new drawing skills you will decide are useful if you intend to be a
on just the right drawing implements that professional cartoonist. Sizes range
suit your style and your favorite type of from A4 tabletop boxes upward.
paper. Cartoons can be produced in all kinds
of media, techniques, and styles, but it is a
good idea to start with black-and-white
drawings. As you gain confidence, you
can move on to explore color and a wider
range of more advanced and sophisticated
drawing tools, including the many
possibilities of computer-generated cartoons
(see Using computers, page 30).
 GETTING TOOLED UP 13

Drawing board
These can vary from a simple piece of plywood to
a purpose-made, freestanding drawing board
complete with an attached parallel motion
device. If you don’t have the space for a
large freestanding drawing board, a
fold-flat tabletop drawing board can be
particularly useful (a good size to start with
is A3). To complement your drawing board you will
also find it useful to have a set square since this,
together with a T-square, will allow you to set up your artwork
accurately. Throw in a ruler too and your drawing board will be ideal
for efficient working.

Cutting mat
To avoid leaving nasty deep scratches over your
tabletops or drawing board a cutting mat is another
desirable item to have—it is simply a plastic mat that
stops the blade cutting through to the surface below
when you are trimming paper or card to size.

Miscellaneous items
Drafting tape is low-tack and is great for
sticking down your paper onto the board while
still allowing you to remove it without damaging or
tearing the sheet. A dry glue stick is incredibly
useful for a cartoonist especially if you are
putting a patch of paper over your original
artwork with a correction on it. Process White
is an item used by professional cartoonists. It is
a thick, opaque pure white type of
paint that is used to cover up
mistakes on original artwork and
allows you to draw over it.
14 TOOLS AND MATERIALS

A working space
It is a fact that cartoons can be drawn in just
about any place you care to think of, but if
possible, do try and get yourself a set area or
room in which you can work without too many
distractions such as pets, children, and loud
music (unless you happen to work well in such
an environment).
A coffee table is usually good enough to start
with, or if all else fails then you can set up shop
on your lap! As you acquire more and more pens
and paper and other cartooning equipment you
will find yourself needing more space in which
to work successfully so plan ahead and mark
your territory from the start! Your own cartoon-
dedicated work space will become absolutely
essential and will help you to get in the right
frame of mind for producing cartoon work
Many possibilities
Where you work will depend on
whenever you are there.
where you feel happiest and most
Wherever you decide to set up your working
at ease. You may only feel happy
cartoon space try and have some shelves nearby
in a large space overlooking a
for all the books and files you will inevitably
captivating view. But perhaps
acquire. It is also very convenient to have a
this would give you agoraphobia
storage area for your paper since there is
and you may prefer the bustle
nothing worse than constantly having to stop
of a kitchen table. If working
and find some paper from elsewhere just when
at home disagrees with you,
you are in the middle of a creative flow! A filing
try renting space in a graphic
cabinet for storing in logical order all of your
design studio.
finished cartoons is also a great asset.
 A WORKING SPACE 15

Creating a good working space

A lamp angled directly
onto the work area not
only provides clear
light to work by but
Keep all your drawing
will also reveal
tools and materials
any inconsistencies
within easy reach and
in inking or
in some kind of order.
color quality.

A light box is not

essential, but in
professional
practice it can
A desktop prove invaluable
drawing board for a number
with adjustable of tasks.
tilt should be
firmly based so it
cannot slip while
you work.

A parallel motion
device attached to
the drawing board
is useful for ruling
up borders, strips,
and frames.

Choose a work table or

desk of a height that
enables you to reach An adjustable chair with
your work comfortably, supportive back is best if you
without stretching are going to be spending
or slouching. long hours working out ideas
and concentrating on
finished work.
16 TOOLS AND MATERIALS

The pencil
The pencil is the most basic,
and perhaps the most
important, drawing instrument
Monochrome media
Most cartoonists use graphite pencils—soft
for a cartoonist. It is perfect for
lead (marked B series) are good for dark
getting ideas down on
lines, while H series make lighter lines. Try a
paper and for
combination HB pencil to combine the best
sketching out your
qualities of the two types. Graphite
characters,
sticks are shaped like pencils without
backgrounds,
the covering of wood—try the all-round
and settings
grade of 2B.
before
Making marks isn’t everything; you will
inking over
also need erasers to remove some of them.
and coloring.
Avoid erasers that are gritty or smear the
A pencil is easy
pencil lines; always buy good quality flexible
to carry
white erasers that remove marks without
around to
abrading the paper.
record notes;
it lends itself to sketching and
rough work, and can always
be easily erased if mistakes are Colored pencils
made. Once drawn to your Colored pencils are very easy to draw with
satisfaction, a penciled cartoon and, unlike watercolors, they are easy to carry
can then be inked over and, around to make sketches on the spot. There are
when the ink is dry, any two basic types: both can be used directly on
remaining pencil marks erased. paper, but the water-soluble kind can also be
used to create color washes to achieve an
effect that is very
similar to watercolor.

HOT TIP!
When you are sketching cartoon ideas
it is best to use a pencil (HB series) for
directness and spontaneity of line.
 THE PENCIL 17

Erasers
White plastic
erasers clean up
marks without abrading
the paper surface.

Pencils Mechanical Graphite sticks Ungraded

Good-quality pencils Some graphite pencils
pencils have Mechanical pencils sticks are coated Soft, black, ungraded
properly defined are designed for in lacquer, but pencils have large
grades and even- technical use and so thicker uncoated diameters and thick
grained wood make a standard- sticks give faster leads, and are useful
casing. width mark. sideways use. for broader work.

Pastel pencils
Pastels have a soft, brittle, dusty core
that makes a matte mark. The marks
generally need to be fixed (sprayed
with a chemical that stops it from
rubbing off). These can give lots of
subtle color effects. Using colors in
cartoon drawings can result in very
distinctive results and are well worth
experimenting with.

Graphite pencil is a A mechanical

sensitive medium pencil has a finer,
allowing variable more consistent
line and shading. touch because of
the narrow lead.
18 TOOLS AND MATERIALS

Inks
The majority of cartoons that you see A fountain pen
published are drawn with ink. Ink- handles easily.
finished cartoons are the most easily
reproduced for the printing process in
magazines, newspapers, and books.
However, using dyes is another option to
consider—these are very fine liquid colors
with nothing added, so you literally dye
the paper you are coloring. A technical pen
is designed to
provide a fine,
Dip pens are
consistent line.
versatile and
T ypes of ink work well, once
The most important aspect of black you learn how
to handle them.
drawing ink is whether or not it is
waterproof. The dried ink line work
must not be soluble if you are going
to apply color washes over your Using pens
cartoon. India ink, also called "encre The traditional dip pen is still used
de Chine," is the best to use but by some cartoonists because it gives
make sure it is fully waterproof as a very individual mark on the paper,
some specially ground non- but they can be difficult to master.
waterproof types are sold under the Nibs tend to wear out and break,
same name. Always buy a large and they can be very messy in
bottle—it is more economical and inexperienced hands. Fountain pens
means you will not run out of ink in can be used for cartooning and give
the middle of a drawing. Colored most of the advantages of a dip pen
inks also need to be waterproof to without the worry of dripping ink
avoid reacting with any black ink accidentally over your valuable
line work. artwork. Technical pens have also
been developed that give a
consistent line in graphic work and
vary in thickness—but they do not
lend themselves to
expressive drawing
and can produce very
mechanical looking
line work.
Non-waterproof ink Writing ink Drawing pen ink
 INKS 19

An old brush
that has
splayed is
still useful.

For washes of
A cotton swab is
tone and color,
an excellent tool for
choose a large
laying solid colors.
roundhair
brush from a
watercolor
range.

Using brushes
Brushes are the most expressive way of
applying ink but they are not every cartoonist’s
favorite due to the difficulties in mastering
the technique of drawing with a brush. However,
they are excellent for applying a background wash to
cartoons and add depth and tone to black-and-white
drawings. You need to keep two types of brush, one for
drawing and another for applying color. Sable brushes Brushes for drawing
are expensive but the most responsive and expressive must be good quality
types that are flexible
in use. The cheaper synthetic and acrylic/sable mixed
and maintain a clean
brushes are not so supple. Use an acrylic brush for point, in order to
filling large areas of black or you could (as some produce a clean,
professional cartoonists do) use wads of cotton or effective line.
bits of a sponge dipped in ink and dabbed over the
paper instead.
20 TOOLS AND MATERIALS

Pens
The fiber-tip pen has become an
essential part of the cartoonist’s drawing
armory. Available in a wide range of sizes
and shapes and charged with different inks
of all colors they can be used for a great
variety of cartoon work.
The opaqueness of the black and
the range of colors gained from using
a fiber-tip pen are particularly suitable
for reproduction. The alcohol-based ink
generally used has the benefit of drying
very rapidly, thereby reducing the possibility
of smudging your artwork. But the real attraction of
using fiber-tip pens in cartoon drawing is their
immediacy—they are quick and easy to use and
generate spontaneous line work. They also Markers are
allow you to draw delicate detail in a cartoon. available with
The fiber-tip pen (as opposed to traditional wedge- or chisel-
shaped tips, thick
ink pens with hard-to-control and often
bullet points, or fine
unreliable nibs) has liberated the cartoonist from fiber-tips. They are
worrying about the drawing instrument and allows comfortable for free,
full focus to be placed upon the drawing itself. simple cartooning
styles and a thick
One drawback to using fiber-tip pens is their tip gives a lively
relatively short lifespan as the tip loses its directional line.
definition and shape and the ink dries up.
 PENS 21

When you want to apply color to a large

area of your cartoon choose a fiber-tip pen
with a large chisel-shaped tip. It can be
difficult to get a consistent block of color
using a fiber-tip pen and it takes practice to
gain confidence in using them, but for black
line work a fiber-tip pen is ideal.
The fiber-tip pen lends itself well to
applying color to cartoons because it is less
messy and quicker to dry than watercolors
or gouache. However, problems can occur
when laying one color over another so
There is little that can be done to prolong make sure that you test them on a separate
the life of a fiber-tip but taking care to piece of paper before you start. Applying
replace the cap after use will help. Always small areas of color detail with fiber-tip pens
have a few spares at the ready so that you can be more difficult so it is important that
don’t find yourself with a dried-out pen in you familiarize yourself well in advance
the middle of drawing a cartoon. before coloring in your cartoon original.

TECHNIQUES
Always use fiber-tip pens with an alcohol-
based permanent black ink for drawing line
work in your cartoons. This will ensure that if
you want to apply color to your cartoon the
black line work will not mix and smudge.

Ballpoint pens
Ballpoint pens are simple to use and produce a
surprising variety of line but they are not
commonly used for printed cartoon work. However,
non-clogging and smooth flowing ballpoint pens
can be marvellous to draw with so it is well worth
experimenting with them to see if they suit your
cartoon style. All these examples (left) were
produced using varying types of ballpoint pens.
22 TOOLS AND MATERIALS

Gouache
Color in cartoons can add life and interest so it is
important to get to know the various mediums and
techniques available. Gouache is watercolor paint with
the addition of white pigment. It is ideal for producing
large areas of flat, even color to which, when dry, can
be added extra detail. It can be used in thin washes or
applied in thick, opaque layers. It is thicker and more Why use gouache?
flexible than watercolor and its smooth texture means Gouache comes in tubes or
that it reproduces well in print and can be used on plastic tubs and is cheap to
colored paper. use if you limit the size of
your cartoons to fit onto A4
or A3 paper.

Using gouache
This color cartoon by Clive
Collins makes clever use of
the "negative" white line
contrasting with the black
keyline drawing and bright
gouache color. It attracts
the eye and leads into the
joke. The carefully drawn
fence establishes depth,
while the grassy texture
comes from marker strokes
overlaid with wash.

Important properties of gouache

Permanence Opacity Staining
The permanence rating Most colors are opaque Some gouache colors
is usually given on but some, like bright will bleed through
the tube and indicates yellow, are not. any color put on top of
the durability of the them so be aware of
color, i.e. how likely it this before you ruin
is to fade. your artwork.
 GOUACHE 23

Vivid contrast
The strong colors of gouache paint mean here that the
dark sky contrasts vividly with the lighter moon and cow.
Gouache is an excellent medium to use in illustrations for
children’s stories because it is so bright and vibrant.

Transparent wash Blending wet- Opaque color Opaque color over

and glaze into-wet dried layer
24 TOOLS AND MATERIALS

Watercolor
Watercolor is a friendly medium for beginners, but a
difficult one to master. The main characteristic of
watercolor is that it is transparent and can be used very
wet. It is one of the most expressive and beautiful
mediums with lots of different techniques used to
achieve various effects. In cartooning it is often used on
Paint
black-and-white line drawings as a wash of gray tone to
add atmosphere and depth. A cartoon in black line work
choices
Watercolors can be bought in
can also have added tone on selected areas by applying
tubes or as small solid blocks
a diluted ink wash.
often sold in boxed sets with a
wide range of colors available.

1
Brushes
Brushes intended for
pottery or painted effects
2
(1–4) can be used for
drawing with ink or
watercolor. Inexpensive
Asian brushes (5–8) are
3 excellent, so long as the
hairs don’t shed. The
brown-haired types have
some point when wet; the
white-haired ones are limp
4
and are used for washes.
A squirrel mop and good

5
sable brushes (9–11) are a Ink wash
major investment. An ink wash has been used
to give depth to the woman’s
6
skirt and the man’s T-shirt.

Watercolor wash
8 A simple watercolor wash on this
dinosaur gives it life and really
9
makes it stand out against a
10 white background.

11
 WATERCOLOR 25

Applying watercolor as a wash

2. Use smaller areas of wash to

strengthen the shapes. When adding
1. The line drawing must be in
cast shadows, make them much
waterproof ink and completely dry
deeper in tone.
before you start work. Wet the paper
with clean water and introduce a pale
gray wash.

3. Be sparing
with tonal detail,
as shown here by
the figure under
the light. It
only needs a
suggestion of
shadow to show
how the form
curves away from
the light source.

4. The gradual, wet-into-wet

build-up of wash technique permits
an extremely fine control of tone
and texture.
26 TOOLS AND MATERIALS

Acrylic paint
Whereas traditional oil paints are rarely
used to create cartoons (and need to be
applied on special canvas paper on
board, which is expensive), acrylic paints
are much more convenient and, being
water-based, eliminate the problem of
waiting a long time for paint to dry.
Acrylic is the newest of all the painting
mediums and does have a lot of
attractions for the cartoonist—when it
dries it has a tough plastic surface
which cannot be removed, but it can
still be applied as a thin wash.
Liquid acrylic can be used to
achieve a watercolor-like effect.
Chroma colors are another type
of acrylic paints originally
Types of acrylic paint
Acrylic paint comes in tubes
developed for coloring cartoon and pots, which need to be
cells (cartoons painted on a clear sealed carefully as
plastic kind of sheet for photographing) alcohol-based acrylic
used in animated cartoon movies. paint dries very fast.

Squeeze carefully
Always squeeze tubes of
acrylic paint very gently—
otherwise you’ll have
blobs of paint flying
everywhere,
including onto
your cartoon
artwork and
possibly
household pets!
 ACRYLIC PAINT 27

Uses of acrylic paint

• When dry, acrylic paints are
completely waterproof.
• Acrylic paints dry rapidly.
• The dry acrylic paint surface
is tough and resilient.

Transparent glazes of bright Opaque layers painted directly

color laid over one another. on top of dried color.

Paint mixed with an impasto Dry-brush technique.

medium can be used very thickly.
28 TOOLS AND MATERIALS

Papers
It is not essential to use high-grade
paper for cartooning, but a firm,
resilient surface helps to create a clean
How big?
You will soon find that one particular
image and makes the original artwork
size of paper suits you best—A4 or A5
more durable (plus, of course, it is
are usually the most comfortable sizes
much nicer to draw on). You should
to use. However, it is always worth
try as many different types of paper for
trying out a larger size of paper
your cartooning as possible and
(perhaps A3 or A2) and seeing how
discover how various paper textures,
that affects your drawing style. Do
finishes, and colors affect your cartoon
bear in mind, however, that using
drawing style. Remember that the
larger sizes of paper makes it more
paper must be thicker than normal to
difficult to post or scan your artwork.
be suitable for any work you do using
watercolor or gouache, otherwise it
will cockle and wrinkle.
To do basic sketching and black line
cartoons, size A4 white photocopying
paper is quite adequate and you can
Cartridge paper
Cartridge paper is good for sketches
buy this economically in packs of 500
and brush-drawings and offers a
sheets. Go for a minimum paper
heavy, resilient, and smooth surface.
weight of 80gsm or preferably
100gsm. The weight refers to the
thickness of the paper—the higher
the number the thicker the paper.
Cheaper papers will tend to feather
the lines of fiber-tip pens. For
your finished artwork it is
always advisable to buy
the best quality paper you
can afford—ask to try
out your pens on a
test sheet first so you
can see if the ink line
stays crisp.
 PAPERS 29

Layout and tracing paper

Layout paper is semi-transparent
white paper used for rough
artwork, fiber-tip preliminary
sketches, and color tests (but not
for painting). You can work from
one rough or layout to
the next stage
by tracing over.

Art boards
A popular type of art board is Bristol
board, which is available in various
thicknesses and is often used for
illustration, graphic work, and
cartoons; it is very
smooth and takes ink
beautifully, but is
also expensive.
30 TOOLS AND MATERIALS

Using computers
With the right software and computer accessories you can
easily create all manner of exciting and vibrant cartoons
without needing to use the conventional pen, pencil, and
paper. The emergence of computer-generated cartoons
has opened up a vast array of new creative possibilities for
twenty-first century cartoonists.
Most PC operating systems include a program that will
allow you to draw, paint, and edit images. You can draw
an image directly onto the screen freehand, or else scan in
an already drawn image. The computer program will allow
you manipulate the size and shape of the image, to pick
colors from a palette or create new “custom” colors, and
combine visual images with type.
As you begin to discover the possibilities of drawing
on-screen you will probably want to upgrade from a basic
Changing the size
Once you have scanned
package to more sophisticated and specialized software.
your artwork in to the
There is a wide choice available, although some programs,
computer you can reduce
primarily aimed at professionals, can be very expensive.
the size to see how it will
However, as these are continually being revised and
look when printed in a
improved, it is often possible to pick up older versions
publication (where it
quite cheaply.
will almost certainly be
reduced). It is important
to know how your
artwork will look when
Drawing freehand reduced because fine
One vital piece of equipment is a stylus and detail may disappear or
drawing tablet. Drawing with a mouse can be turn into black blobs. You
awkward and clumsy as it is held quite need to know if this is
differently from a pencil or pen, whereas a stylus likely to happen and
replicates the natural drawing movement, and redraw it, if needed.
you will find it easier to draw directly onto the
screen. Tablets come in a
range of sizes, with
commensurate
differences in price, but
smaller ones are well
within the budget of
most artists.
 USING COMPUTERS 31

Scanning: bitmap and vector images

If you scan a photograph, or a drawing of your own and
then zoom in on an area, you will see the mosaic of
Bitmap or raster
colors, called pixels, that make up image at 100% and
the image. Images made up from 400%.
pixels are known as bitmap or
raster images, and are the most
common type for color work as they
can create very subtle gradations of
tone and hue. However, they do
have one disadvantage: because
each image contains a set number
of pixels, they are what is known as
resolution-dependent, which means that
they will lose detail and appear ragged
(pixelated) if they are enlarged too much or printed
at a low resolution.
Vector images, on the other hand, are resolution-
independent, and can be enlarged as much as you like
Vector image at 100%
with no loss of definition. This is because they are and 400%.
made from curves, lines, or shapes that are defined by
mathematical equations. Illustrator is a vector-based
drawing programme. The shapes in Photoshop's shape
menu, which allows you to incorporate lines, circles,
rectangles, and so on into an image, are vector-based,
as are the many variations of type, and any clip-art
images you might like to import. Most software
applications designed for painting and image-editing
use bitmap images, but some of the graphics
programs—usually titled Draw rather than Paint—
support vector graphics.

Bézier curves use

points and
handles to adjust
the shape of
vector images.
32 TOOLS AND MATERIALS

Coloring on a computer
Applying color to cartoon
artwork can be done easily
using a computer with software
Using Photoshop
There are three ways to select colors in
such as Photoshop, Illustrator,
Photoshop: selecting from a standard or
or Painter. While traditional
personalized grid (1), mixing colors using
methods of coloring cartoons
sliders (2), or picking from a rainbow color
by hand continue to be used
bar (3). It is also very easy to match a color
by many cartoonists, the
in your work by clicking on the picker tool
advantages of using computers
(4) then on the color you wish to match. The
with ever increasing
foreground and background boxes in the
sophisticated software is
tool bar (5) used with the large color picker
unleashing a new generation
(6) give you control over areas of color.
of hi-tech cartoonists.
There is a range of standard brushes and
drawing tools, and options for customizing
THE ADVANTAGES
them (7). The tool bar also has the usual
Applying watercolor, ink washes,
digital equipment including selection,
and paint to original cartoon
drawing, and cloning (8).
artwork always has the potential
to become messy and mistakes 1
can often occur. With computer
software mistakes can be easily
rectified on screen. A computer
paint program can also emulate
a vast range of traditional
media including pen and ink, 6
3
watercolor, fiber-tip pens, oils,
gouache, charcoal, crayon,
and lots more. The results are 2
impossible to differentiate from
7
hand-applied methods and can
be as subtle as anything applied 8
by hand. A computer never runs
out of materials and once
4
applied, color can be removed
or altered in seconds with no
waiting for wet surfaces to dry! 5
 COLORING ON A COMPUTER 33

Using Illustrator Using Painter

Illustrator offers color options Color options in Painter are more
for linear work and solid areas. sophisticated than those in Illustrator
Colors can be selected in three and Photoshop. The color selector (1),
ways: by picking off a color allows you to choose tone with the
grid (1), using sliders of the central triangle, and control the hue
constituent colors (2), or selecting with the outer colour wheel. Color can
from a rainbow color bar (3). also be chosen with sliding bars (2),
There are also options to specify and tested in a sample window (3). You
the weight and fill of the line (4). can match colours with the picker tool
The usual range of standard or (4). Various drop-down menus (5,6,7),
customized brushes is available give you control over surface, drawing
(5), as is digital equipment such implement and the sharpness or
as selection, drawing, distortion, texture of the implement.
and cloning (6).
4
1
6

7
2 6

3
4

3 5
5

2
34 TOOLS AND MATERIALS

Using color frustrating, but can also lead to exciting

Any software designed specifically for discoveries—you will enjoy this form of
drawing and painting provides a range of picture-making more if you regard it as a
tools, from pens, pencils, pastels, and whole new approach with its own
colored pencils to various different brushes. characteristics rather than trying to
Painter, for example, has a vast range of replicate the effects achieved with
brushes and drawing implements, conventional materials.
enabling you to work in more or less any
media you choose. Photoshop Elements
only gives a choice between pencil,
various shapes of brush, and airbrush, but
it is possible to achieve many different
effects by varying the opacity and pressure,
and by working one color over another.
Choosing colors varies according to the
program, but in most cases there is a
palette or color wheel, and all you need to
do is click on the chosen color. A useful
tool in this context is the eyedropper,
which allows you to precisely match an (1) Painter Classic is a
existing color. For example, if you want to fairly basic program, but
repeat a color from one area to another, does have a good
select the eyedropper tool and click on the selection of drawing and
color you want. This is also useful if you painting implements,
are copying a photograph and want to which can be modified
use the same colors to “translate” it into a by choosing different
colored drawing or painting. sizes and opacity values.
When you are learning a new piece of The brushes used here
software (which can take some time), are, from left to right,
the best course is to familiarize yourself starting at the top:
with the brushes and other drawing colored pencils, square
implements by simply doodling. Digital chalks, waxy crayons,
drawing tools, especially those in the dry- and leaky pen. Note that
media groups, don't always give quite the all the drawing and
same effect as real-life ones, and you may painting implements are
find that you can achieve a more realistic referred to as brushes in
colored pencil or pastel effect by using a the programs.
different implement. This can be
 COLORING ON A COMPUTER 35

(2) Adobe Photoshop is primarily a photo-editing

program, but a lot can be done with the basic brushes
and pencils, and colors can be softened and blended
by using the blur and sponge tools, or the eraser set at
medium opacity. The examples here were made with a
variety of brushes and pens, some from the
calligraphic and square selection found under the
Brushes menu.

(3) Painter offers a vast (4) A further selection of (5) The later versions
array of brushes Painter's dry-media of Painter, from 7
divided into different brushes, from left to onward, offer a new
categories. The three in right, starting at the top: category of liquid ink,
the top row, charcoal, charcoal in two layers, which produces
square chalk, and sharp square chalk, sharp strong, rich colors and
chalk, are all from the chalk, scratchboard tool, offers an exciting
dry media group, while flattened pencil, and array of different
the second row, dry colored pencil. The brush variants, of
bristle (here used with scratchboard tool is an which (from left to
wet eraser), runny wash excellent drawing right) graphic camel,
camel, and wet sponge, implement, and if you calligraphic flat,
are found under the are using a pen and sparse camel, dry
watercolor heading of tablet rather than a bristle, airbrush, and
the Brushes palette. mouse, the line can be coarse camel are
varied simply by shown here. Liquid
increasing or ink must be used on a
decreasing the pressure. layer of its own.
36 TOOLS AND MATERIALS

Comparing materials
When you first begin drawing cartoons it
is a good idea to extend your experience Different approaches
and experiment with a variety of drawing
As well as discovering the style
implements and materials. You may well
and materials that suit you best,
find you do not like some; however,
it is also worth considering the
others you have never thought to try
effect that different materials
before may turn out to be perfect for
will have upon the mood and
your purposes. Although for almost all
feel of your work. Each of these
cartooning you will need to draw upon
Cinderellas has been drawn
some kind of paper or card there is still
using different materials, to
great fun to be had by, for example,
emphasize different aspects.
drawing onto colored paper with colored
inks, pens, and paint—try everything and
see what happens.
It is generally good to buy the best Fiber-tip pens
quality pens and papers that you are able Primary colors and a
to afford but it is more important to find black outline mark out
this Cinderella as
materials that you enjoy working with
being for young
and that enhance your work rather than children. The
to use expensive items that don’t give you medium suits the
the freedom to get your work down on artistic style, which
has elements of
the paper as you want to. If you find that
caricature about
the cheap fiber-tip pens available at a it. The message
nearby store are just right for your conveyed is
cartooning work then stick with them. immediate. Such
a style is not as
Most art stores and suppliers will let you
easy as it looks—
try out pens and paper before you buy so the best way to
don’t rush in and buy something just start is to try
because it looks good and is highly doing a well-
worked figure,
priced. A cartoonist doesn’t have to and then
spend lots of money to be productive. simplify it.
Ideas, which cost you nothing to
produce, are the most important asset
you will ever have—much more valuable
than any equipment!
 COMPARING MATERIALS 37

Colored pencils Pen and ink

The artist has This is a highly stylized
used colored Cinderella. Here pen and ink
pencils to have been used to create a
create this clean, crisp image but one
romantic, without depth. Although it has
realistic not been explored here to its
Cinderella. full extent, this is a medium that
Colored allows the artist to put in as
pencils allow much detail as he or she wants.
areas of light
and shade to
be created
using the Watercolor
technique of The translucent quality
hatching. of watercolor allows the
This gives application of several
depth to the layers, thereby creating
creation, and tone. Watercolor is
is a pleasing another medium that
effect. can be as loose or as
tight as you wish.

Brush and ink

Using brush and ink, the
artist has given this
form a rough, sketchy
quality. The
rendering appears
haphazard and off-
the-cuff, in part due
to the chosen
medium—though ink
and wash can give a
more controlled line.
This is a loose,
immediate style that
would be most
appropriate to a Stippling
retelling that broke The time-consuming
the traditional mold. technique of stippling
has been used to
create tone on
this figure.
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39 (TEXT BLACK plate)

CHAPTER TWO

Starting to
draw
40 STARTING TO DRAW

Sketching from life

Life is happening all around you—people
are doing something all the time so get
into the habit of doing as much sketching
of them as you can. Small sketchpads are
great for carrying around in your pocket
and don’t forget a pencil and pencil
sharpener. Sketching real people may
seem a little odd for a cartoonist but it is
tremendously important to draw the
human form and get to know all of its
possible shapes from thin to fat, short to
tall; how humans look when they are
walking, swimming, and doing countless
other activities. Constant sketching will
sharpen your observational skills and make
you really look at how the human form in
particular operates. Animals, of course,
also provide good material for sketching
but can be much more challenging since
they will not hold a pose for you so this
encourages you to get marks down on Fast sketching
paper rapidly! It is very useful when Your sketches should be done
sketching to make notes alongside of rapidly and spontaneously—
colors for future reference. don’t try to capture too much
detail, just get down enough to
capture a brief impression of the
people you have seen.

Sketchbook choices
A small sketchbook to carry in a
bag or pocket will always be
handy when wanted. Spiral-bound
books are easier to open flat, but
the ring binding does not allow
you to extend sketches across two
pages if required.
 SKETCHING FROM LIFE 41

Sketch
everywhere
Always try to carry a
sketch pad and pencil
with you everyhere so
that you can make
quick sketches of any
interesting faces you
might see. Producing
sketches quickly will
improve your drawing
skills and sharpen
your eye for getting
down essential
elements first—and
this will help you to
produce better
cartoons.
42 STARTING TO DRAW

On location
It is not possible to finish
every drawing on
location, but there will
always be another
person, or the same
one in a different pose.
Record as much as
you can, whenever
you can.
 SKETCHING FROM LIFE 43

Studies of movement
For fast-moving studies, concentrate
on the largest forms and the dynamics
of the pose, and glean the details from
resting figures.
44 STARTING TO DRAW

The face
Drawing cartoon faces can be tremendous
fun. Don’t be afraid to experiment by
exaggerating the features—really big
noses, for example, immediately add
humor and focus. Begin by drawing faces
in pencil to loosen up your hand and get
your lines flowing.
Humans as a species have eyes, noses,
mouths, ears, and usually some hair on
the top of their head—so what is it that
makes us different from each other? The
shape of the head and its proportions help
to make us each distinct so exaggerate
these in your cartoon faces.

Expressive lines
Even with very simple linework,
these heads convey a whole range of
expressions and different characters.
Hair can be drawn with only a few
lines and by avoiding too much
detail, you can create really simple
but effective characters.

Character heads
All of these characters immediately tell us
something about themselves or their
profession. They are all drawn using
cartoon conventions of dress and facial
appearance to convey instantly who or
what they are.
 THE FACE 45

Block heads
It takes a while to master any new
medium. Experiment with the line
quality of your pencil, brush, or pen by
drawing simple squares, circles, ovals,
hearts, and triangles. Animate them
with whatever eyes, nose, and mouth
they ask for. See how much expression
you can pack in with as few lines
as possible.
46 STARTING TO DRAW

Stretch and squash

Cartoon characters are often shot
into orbit, confronted by escaped
monsters, or placed in some
other extreme situations that
requires extreme emotions.
To get the most out of these
situations, try imagining your
character’s head as a ball
made of soft rubber, and allow
it to stretch out or squash
together and flatten Shapes
out as needed. Simple shapes work
best for heads. Making
Don’t be afraid to
the mouth distort as
exaggerate—a lot! well creates a really
strong expression.

The mouth says it all

Lots of large teeth in
cartoons make for great
smiles or brilliant grimaces.
Distort the shape and size
of the cartoon mouth as
much as you like to
exaggerate the emotions.
 THE FACE 47

At a glance
The human face tells us a great
deal about its owner—whether
Eyes and mouth they are male or female, old or
Dots close together for young, pretty or ugly, intelligent
eyes, combined with a
or stupid, fat or thin. Here is a
downturned mouth,
give an angry or selection of faces that are
annoyed cartoon face. instantly recognizable from
everyday life. You don’t need to
be told any more about these
characters. The face alone
says it all.
Eyebrow power
Eye dots with white
spots and upturned
eyebrows make for
a happy cartoon
expression.

Crafty look
Heavy lidded
eyes, sloping
Raised eyebrows, and
eyebrow lines around the
A puzzled look is mouth create a
achieved by a crafty look.
raised eyebrow,
together with the
swiggly mouth.

Geeky
A pair of glasses
always help when
creating a geeky Goofy
character. Add Eyebrows high
to this small dots above the eyes and
for eyes and a a toothy smile make
toothy grin. for a goofy look.
48 STARTING TO DRAW

Profiles
While a front view of the
face gives the cartoonist lots
of opportunity to highlight
features such as the nose,
eyes, mouth, and hair,
the profile also allows
plenty of opportunity for
exaggeration. A person
looks very different in profile
because we only see one
side of the face. Some
cartoonists use only the side
profile in all their drawings
and it works surprisingly
well, rather like the ancient
Egyptian paintings.

Happy birthday
One key to defining a Hair or no hair?
character is to pinpoint his or All of these profiles are exactly the same.
her age accurately, with a The only difference is the hair. It is
minimum of trivial details. It important to understand how one single
doesn’t take a mass of lines to detail like hair style can dramatically
make a face mature; it only change a character’s whole appearance.
takes a few—in the right
places. See how this woman
ages before your eyes.
 PROFILES 49

Female profile
The profile of this woman
can be altered drastically
depending on the style of
hair she is given. Adding
accessories such as dress
collars, jewelry, and
eyelashes also changes a
character. Try it yourself
and see how different you
can make a single
character appear, just by
changing a few details.
50 STARTING TO DRAW

Express yourself!
The point of a cartoon is often made
through facial expression. You cannot
afford to let the viewer miss the point, Facial expressions
so your depiction of this inner feeling Facial expressions are important
needs lots of exaggeration to be in cartooning, and you are the best
effective and funny. In many gag model in this case. Stand in front
cartoons you must also make it clear of a mirror and contort your face.
who is doing the talking—a well- This will help you to capture fear,
drawn open speaking mouth is anger, puzzlement. But in
essential in your cartoon repertoire. cartooning general perceptions
You also need to be able to depict can rule, no matter how unrealistic
any emotion needed, such as anger or they are. For example, the man
happiness. This involves a combination opposite is scared—his hair is
of effective facial features, especially standing on end!
eyebrows. Get the expression right
and your cartoon character will really
come to life.
Hate

Anger!
Sweat beads and action lines,
combined with facial features of
gritted teeth and down-sloping
eyebrows help to make this woman
appear very angry.
 EXPRESS YOURSELF! 51

Fear

Happy Quizzical
52 STARTING TO DRAW

Stick figures
Using the stick figure method of Stick figures are easy
constructing cartoon characters simplifies
Start with a simple stick
the process of drawing the body and is a
figure in the pose you want
good place to start. Like everything else in
and add clothes and a
cartooning you’ll need to practice a lot
face. Complete the
and learn to exaggerate and distort the
figure by adding
proportions of the body. Acquiring an
hands, feet, and
understanding of the human skeletal and
other details.
muscular structure is certainly useful to any
artist, including cartoonists—it is worth
studying a few books on the subject
because once you know the rules you can
then break them with confidence in your
cartoon drawings.

LESS IS MORE
A cartoon only needs to give the viewer
enough clues for them to understand
what is going on in the scene. You
don't need to produce highly
technically correct drawings for the
humor to be understood. This
applies equally to cartoon
bodies—draw just enough
clues and the viewer’s
imagination will
provide the rest!
Try elongating
bodies, making them wider, or
stretching them. Look at the
examples shown here and see
how much you can simplify
body shapes to create a really
humorous appearance.
 STICK FIGURES 53

Get the pose you want

You can add muscles to your
stick figure, making them an
Olympic athlete, or else just
draw an average guy.
54 STARTING TO DRAW

Drawing figures
Just by looking around us, we
can see a great diversity of
shapes and sizes—all of which
we cartoonists can caricature.
Notice, for example, how the
difference between male and
female in cartooning terms is
accentuated by broad hips, 1 2
shapely legs, and upper torsos.
Cartoon superheroes have
large torsos to make them look Step by step
impressive but you do not have Here are the typical steps for drawing a full-
to follow the usual look—you figure cartoon. Start with a line for the spine,
could for instance create a add circles for the joints, and draw ovals for the
non-muscular superhero with a heads, hands, and feet. Add two more ovals for
very thin body! Cartoon heads the hips and torso and a couple more for fingers.
can be huge in relation to the Then start fleshing out the form, leaving the
body—it gives you the chance details for last.
to show really large features for
indicating emotions.
 DRAWING FIGURES 55

Shape up!
Give your
4 characters odd and
memorable shapes
by exaggerating
their body sizes.

Stereotypes
Each of these characters is
a stereotype—from the
overweight
policeman to the
glamorous beauty
contestant.
Although they
shouldn’t be over-
used, stereotypes are a
great aid to cartoonists
because they are
recognisable and convey a
lot of information to the
viewer very quickly.
56 STARTING TO DRAW

Heavyweight
A soft, pear-shaped body and short,
squatty legs give this round-edged
giant an ungainly quality. Notice
that the little patch of ground
creates a setting and anchors him
to the page.

Speed demon
The action line is angled and the
character’s arms, legs, and hair all stretch
out wildly. Speed lines and little clouds of
dust make it clear that she’s really burning
up the asphalt.
 DRAWING FIGURES 57

Drama queen
Head thrown back 4
and hips thrown
forward, this character
strikes a dramatic pose.
She is standing still, but her
figure is very much alive, thanks
to the action line making a roller coaster curve
through her figure. Add a wild-eyed expression and arms
all aflutter to increase the dramatic gesture. Remember,
overacting is a good thing in a cartoon character!

3 4
58 STARTING TO DRAW

Hands and feet

Hands and feet in cartoon figures can be a time and it looked less cluttered on the big
great source of fun and can really make a screen. It’s a peculiarity taken from the
character amusing. The best advice with cinematic format but not all cartoonists use
drawing hands and feet is to keep it simple. this approach and if you feel happiest
Don’t bother trying to get them anatomically drawing the full complement of fingers then
correct. Keep it bold and impulsive and that’s fine.
draw with confidence. Study how other Cartoon hands do not need details such
cartoonists depict hands and feet in their as fingernails unless it is essential to the
work. Look at the techniques that you think character—a femme fatale could be shown
work and those that don’t; how are hands with long fingernails, for example. It will,
drawn when waving, making a fist, or however, help you to observe and make
holding a cup for instance? sketches of people using their hands when
One of the first things you will notice they are talking, gesticulating when angry,
about hands in cartoons is that they are not or playing a sport perhaps.
very lifelike—for example, very often they
only have three fingers. This is because in
the early days of cartoon animation
movies the artists found that by Hands up!
drawing only three fingers they saved By keeping it simple and
spontaneous you can give your
cartoon characters really
effective hands. Forget about
anatomical accuracy! Look at
this example to see how
simply-drawn hands and
fingers add to the fun of
cartoon characters.
 HANDS AND FEET 59

Expressions of
character
Hands are very expressive
of character, and are
always of prime interest to
the artist. If you look at the
selection here, you will see
how much they can vary,
sometimes bearing little
relation to the hands we
know in real life.

Stand by your feet

Feet are a very important part of the human
HOT TIP! body. Notice how the heel bulges out behind the
Get rid of those
line of the back of the leg. Also note how people
inhibitions about
can stand with their feet at an angle, like a clock
drawing hands and
saying ten to two. The legs will be wider apart if
feet by speed
the character is fat, and parallel if the character
cartooning. Make
is seated. Remember, too, that footwear can pin
yourself draw much
down a character as easily as a hairstyle.
faster than you would
normally and you will
get great spontaneity
of line work in your
cartoons. Don’t worry
about detail—just get
down a hand shape
fast and you’ll be
surprised at how well
this works!
60 STARTING TO DRAW

Don’t hesitate, exaggerate!

The marvelous thing about being a cartoonist is being able to distort
and exaggerate to create humorous characters. The world that the
cartoonist creates on a piece of paper come entirely from the
imagination with no rules as to what is right or wrong! Once you
realize what a tremendous amount of freedom this allows then you
can really enjoy being the master of your own cartoon world.

Get away, castaway!

Making the castaway larger
than the island is an example
of how exaggeration can be
used to create a new and
different scenario.

Bodily transformations
Distortion and simplification
are the cartoonist’s bywords for
creativity. Every cartoon that
you draw is a tiny melodrama
that you populate with
unique characters.
 61

Surprised?
Huge eyes and the word
“Yow!” really do exaggerate
this character’s surprise.

Cat alert
The simple construction of this cat and
the lively zig-zag fur pattern make for a
great cartoon character. The exaggerated
human features increase the fun.
62 STARTING TO DRAW

Children
Cute and sweet or little monsters—the
cartoonist can have lots of fun drawing
children. Facial features such as eyes can
be exaggeratedly large while noses can be
small—it’s a case of mix and match.

Simple faces
Cartoonists can really simplify
the depiction of children with just two
dots for eyes, a line for a nose, and a
longer line for the mouth.

Profile
Details of the face in profile can also
be reduced to just a few lines to show
an eye, an
ear, mouth,
and hair.

The scream
The classic cartoon baby
scream is really just a black
hole with one upper tooth
and a tongue coming out
over the bottom lip.
 CHILDREN 63

Big head
The cartoon heads of children
can be much larger than the
body. Note also the extra detail
of eyelashes on this girl’s face.

Cute and easy

Black dots or ovals for eyes are
good for babies along with the
brief curve of a line for the
nose and similar for the mouth.
This is a cute cartoon baby.

Fruit head
The young child’s head
is basically pear-
shaped with an ear
stuck on the side.
Freckles and other
details can be added
just for fun!
64 STARTING TO DRAW

Growing older
The human figure changes
dramatically with the passage
Teenager
The plump child has become
from babyhood to adulthood,
a thin, uncertain young man,
the most noticeable difference
with typical sloppy dress,
being in the relative proportions
ackward posture, and
of head and body. In middle
adolescent spots.
and old age people alter in
shape rather than proportion,
either accumulating fat and
spreading in certain areas, or
becoming stringy and skinny.
The posture typically becomes
more hunched, and flesh begins
to sag, producing pouches and
wrinkles.

Child
The head is
still large in
proportion to
the body, but
more
revealing are
the posture

Baby and
clothing— Adult
The nappy
thumb in A reasonably fit,
proclaims this
mouth and muscular, and
figure to be a baby,
shorts. broad-shouldered
but equally so does
adult male,
its large head and
confident and ready
rounded limbs.
to face
the world.
 GROWING OLDER 65

Middle age
Ten years later, the smile is
still hopeful and the
expression alert, but the
beer-belly has become quite
pronounced.

Late middle age

The face and figure are
now beginning their
drooping descent into
old age.

Old age
The body has shrunk, making the
feet and hands appear
unnaturally large, and the head
is no longer carried upright.
66 STARTING TO DRAW

Tricks of the trade

Among all the basic information
that it is necessary to put into a
cartoon, you will often also
States of mind
A character’s state of
need to include hints of
mind is easily shown by
movement suggesting what has
something happening
just happened and what is
around its head—
about to happen. This can be
you can use
done in many different ways. There
symbols to
are a host of "tricks of the trade" you
make the
can use that will quickly add a touch of
thought
professionalism to your work and create easy-to-
process
read action and movement in your cartoons.
visual and
When you want to make your cartoon characters
visible.
appear to move then you’ll find action lines very useful.
They add visual impact and help give life to your
cartoons, acting as a kind of illusion to make your static
cartoon contain indicated movement.
Sweat beads are another very handy device in
cartoons, and you can even turn a dry cartoon scene
into a rainy one by the mere addition of some lines and
bouncing raindrop shapes! A person knocked senseless
or drunk can be indicated by floating star shapes
around their head. These conventions for indicating
various movements and states are visually accepted and
understood all over the world—although try not to
overuse these devices or they can detract from the
essential elements of the cartoon.

Adding motion
The waiter on the left is drawn
without any action lines while the
waiter on the right demonstrates
how effectively action lines can be
used to bring a cartoon to life.
 TRICKS OF THE TRADE 67

Curved lines and

hearts show this
character is stupidly
in love.
This character is
literally looking
daggers.

Confusion is shown
here, with thoughts
going off in all
directions, but firing
Closed eyes, open mouth, and
blanks.
snoring Zs always mean sleep,
whether or not the character is
in bed.

A lightbulb is an
instantly
Tears flying off recognisable
this baby’s head sign that a
indicate its misery. character has
just had an idea.

Raindrops
Make it rain on your
character by adding
just a few lines!

Liven up your characters!

This character would be quite static
without the action lines that make
him appear to be jumping for joy.
68 STARTING TO DRAW

Wobble lines are drawn

Suggesting movement parallel to the wobbling
In addition to the action object—vary the line
lengths to fit the shape.
shown in poses and
gestures, movement is most
usually and easily shown
with linear devices, long or "Smoke rings" diminish
in scale to show the
short, straight or curved.
distance being
covered—smaller
equals further away.

Directional lines
make the overall
flight pattern of a
running character.

Broken line puts

movement into solid
shapes.

Move it!
A turning head with
multiple eyes is a great
trick for suggesting
rapid movement, while
a character with sweat
beads, action lines,
and a raised foot
suggests very active
laughter.
 TRICKS OF THE TRADE 69

Precarious
position
The angle of the
body indicates
this is unlikely to
be the perfect
handstand.

Biff, baff!
Fights offer lots of
opportunities to use exaggerated
facial expressions and action
lines. Notice the use in these
cartoons of a flying star and
sweat beads to add impact.

Alarming
The fear and alarm of this
The zigzag character is shown by the lost
outline suggests
shoe, the terror of the bulging
shock waves
running through eyes, the clawed hands, and the
the body. hair standing on end.
70 STARTING TO DRAW

Sounds
Cartoons use lots of visual equivalents for
sounds. Think about the quality of the
sound and what kind of line or shape can
interpret it.

This chick is still

learning and its song
is shrill and jagged.

A one-note whistle
swells out in a cloud
of air—give it some
momentum with
Curving lines speed lines.
are “sweet” and
music has its
own symbols.

Lines that fan

out suggest
increasing
volume; straight
lines are hard,
direct sounds.
Floating musical notes alongside wavy
lines emanating from this opera singer
are excellent cartoon devices for creating
a sound effect.
 TRICKS OF THE TRADE 71

Drunks and drunkenness

Drunkenness has a whole range of devices relating
to the person’s physical state and actions. Start with Mood devices
the overall body language, like this drunk’s free but
unsteady movement.
Burst bubbles
are a standard
device to
indicate a
Movement lines drunken or
do not always dazed state
show speed— of mind.
this is a slow,
weaving path.

A swirling line
above the head can
indicate someone
who has been
knocked out or hit
The double line
by something and is
on the shoe soles
gives him an feeling dazed.
unstable base.

Create a mood of
depression with a
black scrawl of lines
above the head.
Three ways to show drunkenness. Notice the use of two Lines under the eyes
swirling rings round the top of the heads with and a crooked line
accompanying stars and the dopey eye look, slanted
eyebrows, and wavy mouth. Putting a tongue hanging
for the eyebrows
out of the mouth adds another extra dimension of add to the gloom.
drunkenness.
72 STARTING TO DRAW

Clothing
Remember that in cartoons you
are communicating visually. Your
Clothing is everything
How you clothe your characters
audience should be able to
defines to a great extent how
understand your character’s
the viewer perceives them.
personality without having to
Play with different costumes
read a word. Certain articles of
and try unexpected
clothing can be very effective as
combinations.
instant visual clues—some have
endured for such a long time
that they have become clichés
Fashion gone wrong
to indicate a profession or This style victim has it all
status; for instance, a scientist’s wrong—the clothes don’t
white lab coat, a spy’s trench fit and his shirt is
creased and stained.
coat, a burglar’s striped T-shirt. Clumsy shoes complete
In cartoons the clothes are vital a picture of fashion
clues for the viewer as to who disorientation.
the characters are and where
the scenario is placed.

Summarizing character
Clothing is essential to building your characters but often just
a single prop can summarize a character. Many of these will
seem almost too obvious. But the reader has to take in the
situation in a split second, so all the signs must be very clear.
 CLOTHING 73

Comfortable and casual

This character’s comfortable
clothes are suggested by
smoothly drawn lines. The
pattern on the trousers is
inessential but livens
up the drawing.

Heroine
This Supergirl lookalike
has the basics right—
color co-ordinated, and
pants outside her
tights—but is she really
steady enough on those
heels to save the world?

Cowboy style
An traditional old-time
Shapeless cowboy typically wears a
Whatever shape checked shirt and baggy,
this lady has is rumpled chaps.
lost in her sturdy
coat, given one
continuous all-
round curve by Teen angst
the plaid pattern. The baseball cap
and cell phone
are recognizable
accessories to a basic
teenage dress code.
74 STARTING TO DRAW

Stereotyping
Cartoons are full of stock
characters and stereotypes that Space girl
instantly tell the viewer exactly While including
who they are. There are all the necessary
borderline stereotyping areas, costume and
where something that makes context for a
one person laugh could seem spaceman
offensive to another. But, in stereotype, this image
general, stereotypes are good, also plays with
reliable material for cartoonists. convention: a young black female is
Stereotypes are easily substituted for an older white male.
understood even though they
usually bear no relation to
reality. The archetypal cartoon Superhero
prisoner wearing a suit covered The superhero genre
in arrows is a shorthand image stereotypes male
that everyone understands—it bodies, but is easy
is visual symbolism established to satirize.
over generations of cartoonists.
The exaggerated
Uniforms are very useful for musculature is lightly
stereotyping because they rendered.
identify without personalizing.
You as a cartoonist have to Generic costume and
cape are juxtaposed
decide just where to draw the with "girly" pink
line. Settings can be equally slippers.
stereotypical—the desert island
with the single palm tree is an
iconic cartoon stock image.
Any male face
The bristling cacti that Wild West could be substituted
symbolize the Old Wild West is The cowboy here without
another mainstay perpetually is identified disturbing the
stereotype.
employed by cartoonists. by the Stetson
hat, boots,
and lasso, as
well as by the
background.
 STEREOTYPING 75

The clothes make the cartoon

A character’s clothing defines who they
are. Certain costumes and items of
clothing are so familiar that they have
become stereotypes in themselves.
Always remember, though, that some old
stereotypes may have
gone out of
Unusual influences
The design of comic
fashion now, to
characters can be
the point where they will
influenced by many
not be recognizable to
unlikely things, including
your audience.
abstract art. Why not put
both eyes on the same
side of the head? Have
Obnoxious tourist the nose face east and the
This guy’s Hawaiian shirt, toes face west. Feel free
baggy Bermuda shorts, plus to be as wacky as you
colossal feet in beach want to be.
sandals instantly pegs him
as a stereotypical tourist.
Stubble and
shades equal
"bad" attitude.
Rough wrestler
The figure of the wrestler,
like the superhero, is also
a stereotypical male body.
The vinyl disc
The wrestler cuts
clinches the
a rough, hairy,
now outdated
menacing figure.
stereotype.

The wrestler’s costume

rarely covers more than a
Rock DJ
small part of his body. The stereotypical DJ: note
the importance of clothing
styles, which vary
according to the musical
genre and soon date.
76 STARTING TO DRAW

Animals
Animal physiques vary
enormously, from long-legged Pert and alert
giraffes to plump pigs. However, One way to draw a four-legged cartoon
a few tips and principles for beast is to start with a line drawing of a
drawing cartoon four-legged four-legged table (1). Draw a kidney bean
animals will help you to tackle shape around the tabletop for the body and
any creature you want to draw. a circular head (2). Add tubular legs and
If you have a pet dog or other some further details (3). The finished dog
animal then now’s your chance seems to be standing solidly on the
to use them as an ideal model ground (4).
for your cartoons. Watch how
your pets walk, run, lie down,
jump, stretch, and what antics
they get up to. This is all
invaluable information to a
cartoonist especially when you
come to include animals in 1 2
your work.

Sit, table, sit

Beginning with the table
shape, try thinking of the 3 4
table legs as rubber hoses
or wires, which you can
bend to create any pose you
want. Then just cover the
tabletop with a body shape,
and add a neck and head.

1 2 3
 ANIMALS 77

From sketch to finished cartoon

To turn an animal into a cartoon, study the real
thing and do a few sketches of it. Look out for
standout characteristics. For example, a bulldog
has a barrel chest and an enormous jaw. Emphasize
these features. Exaggerate and simplify. In spite of
The bulldog is sturdy and their formidable appearance, bulldogs are very
muscular with a large head
and broad body.
sweet-natured.

1. Here the head, chest,

and hips of the dog have
been simplified into three
circles. Her prominent
mouth has been enlarged
and her eyes have moved
closer together.

3. The completed bulldog

deliberately lacks the
2. By adding powerful, slightly menacing look that
bowed legs, big clumsy feet, a short cartoonists usually bestow
ear, and some wrinkles, character upon the breed.
begins to show through. Here, characteristic
wrinkles add to the
dog’s warm
appearance.

HOT TIP!
Keep it simple! Use straight and
curved lines and dots for eyes
when drawing a cartoon dog's
face. Ears are good for creating
expressions too.
78 STARTING TO DRAW

Get them moving! This kangaroo is

realistically
Once you have mastered the 1 proportioned, but with
basics, you need to learn how to some areas rounded
add movement to your cartoon and exaggerated.
Clues such as the
animals. Start by looking at how ears flapping back
real animals move, paying show the direction
particular attention to how their of movement.
legs work. For example, a dog's

2
front legs bend in a similar way to
human arms, but their back legs
are a whole other matter. Always
start your drawing with the
animal's backbone (action line)
and then flesh out the initial stick
figure from there.

1
3

This horse's
face and feet
are comically
outsized. The body 3
proportions have been made
plumper and cuter than those of
a real horse, but the realistic leg
construction suggest natural and
authentic movement.
 ANIMALS 79

This elephant is essentially just a big

balloon with legs, trunk, and tail. The
trunk and tail are extended,
emphasizing the direction he's
3
traveling in.

1 2

Slippery characters
Animals such as turtles, snakes, and fish don't
necessarily make as warm or cuddly a character
as a furry mammal. However, you can play up
their more exotic body contructions to create
eccentric and interesting characters.

Realistic fangs
contrast with a
droll smile on
this serpent.
Snakes make
interesting characters
because their bodies have
such flexibility of movement,
allowing them to coil,
writhe, and curl around
all kinds of objects.

The realistic elements of this fish have been

exaggerated to create a more distinctive
character. Notice the goggle eyes and fat lips.
80 STARTING TO DRAW

Anthropomorphism
Anthropomorphism means giving human attributes to
things that are not human. It can apply to inanimate
objects that are given human features such as arms
Simplification
If you have trouble
and legs, or to animals. This is a wonderful excuse for
drawing an animal face,
cartoonists to really go wild with their imagination
take a simple basic face
and create all kinds of life forms where none
and draw around it the
existed before!
animal’s most dominant
Often anthropomorphism
feature, such as the
depicts animals standing
lion’s mane or the
upright just like humans
cat’s whiskers.
with two legs and two
arms, although of course
we know they have four
legs in real life. Spectacles
can be placed on animals,
as can clothing and shoes.

Almost human!
As cartoonists, we love to
humanize our animal
friends. The most common
tricks are having the
animals walk on two legs,
and putting them in human
clothes as seen here.
ANTHROPOMORPHISM 81
82 STARTING TO DRAW

Human into animal

Just as an animal can assume human form or
characteristics, a few extra touches can turn a
human into any animal you choose.
Consider how you
might portray a
running man as an
animal—perhaps by
changing the feet
and hands to paws
and adding a tail.

The rounded ears and

circle at the tip of the nose
have created an instant
teddy bear.

The addition of
ears, nose, and
tail complete the Use the dominant
transformation. characteristics of the animal
The hands are you want to portray—in this
sufficiently case, the long snout and thick,
generalized to fleshy tail of the alligator.
be read as
either paws
or hands.
 ANTHROPOMORPHISM 83

The transformation from female

human to teddy bear has
involved changing the clothing
as well as adding ears and
turning the feet into paws.

For the more "feminine"

form of a cat, the feet have
been reinstated and a slinky
skirt chosen.

To turn this girl into a cow, the

wings of the bow have
become horns and the
feet have spread into
hooves. A nice touch of
humor is provided by
the hands holding out
the skirt, as though in
amazement at the
unusual attire.
84 STARTING TO DRAW

Appliances with attitude

Everyday domestic appliances can all be
brought to life simply by adding a pair of eyes
and a mouth. A whole individual character can
be created with just a few lines.

Make a toaster look really

pleased with its excellent
hot slice of toast by giving it
a smug face.
 ANTHROPOMORPHISM 85

Food for thought

Make an ice-cream
cornet come to life
and look so good it
eats itself!

Flying friends
Planes are perfect for cute
cartoon characters especially since
once you have put eyes and a mouth
onto them the wings and landing
wheels look like arms and legs.
86 STARTING TO DRAW

Backgrounds
The purpose of a background in a cartoon is to
show your readers when or where your characters
are. Graphically, this means drawing the surfaces
that surround a figure or figures in order to convey
all the information necessary to help the reader
locate the cartoon.

Flat marker tones

differentiate the
elements of the
panorama.

A silhouette can
be painted in with
Indian ink over
pen line. Making choices
When drawing a landscape
you must decide what your
Time and place cartoon requires. Do you
A city skyline can be rendered as line or need to show a specific
silhouette according to how dark your image place or a generic scene?
needs to be. Ask yourself: is it day or night?

Building a background
The background not only needs to place your
characters but should also complement them.
Treat the background as if it were built from the
figure outward, gradually shaping it around
your character/s.
Show that your horizontal
ground is not empty. Make
it an environment: break
the horizontal with a
vertical line.
 BACKGROUNDS 87

Earth-color washes for Blank canvas

the interior background This generic
convey grime.
coastline works as
a familiar, but
Stereoty pes unassuming,
Backgrounds can background against
also use established which to place
stereotypes. This your characters.
background provides
the setting for urban
angst and decay.

Ground the floating figure Distinguish the environment Dramatize the drawing.
on a horizontal surface. —turn it into a location. Use Render areas of black
A simple horizon line pictorial details and props or graduated tone to add
is enough. to define time and place weight, solidity, depth,
as precisely, or as vaguely, or mood.
as necessary.
88 STARTING TO DRAW

Classic setting Working over the line drawing

with colored pencils allows the
The classic desert color to carry atmosphere.
landscape is shown
here, complete with
cactus, vultures, and
burning sun.

Space
This iconic
background is the
setting for well-
known images and Conveying mood
motifs—in this case, The size of the carriage, its
of space exploration exaggerated perspectives,
and space fantasy. and non-naturalistic colors
all spell menace for the
solitary little girl.

Autumnal gold, Seasonal variations

brown, and purple A few small details in a
are applied in thick
background can indicate a
pencil strokes.
particular time or season.

Familiar background
This generic suburban
street scene contains both
typical and stereotypical
elements.
 BACKGROUNDS 89

Background props
General background props also
give a cartoon instant placement.
These can be picked up from other
cartoonists, but it is always best to
go back and study the real thing
for yourself before attempting to
draw it.
90 STARTING TO DRAW

Color
Color is one of the best ways to add impact The publisher usually determines the color. A
to your cartoon. However, it is always more full-color printing process, on the other
expensive to print in color so try not to use hand, works by overprinting four colors—
color when none is required. If you have the magenta, cyan, yellow, and black—as a
option of color, you should ask series of minute dots that combine to
yourself whether it is merely give a full range of colors.
decoration or is it a vital There are many ways to
element of the image. get from a piece of
finished artwork to a
COLOR IN printed color copy of
PRINT your cartoon. None of
Spot or second color them should affect
in a cartoon is just one how you invent your
color added to black gags but each can
and white that enlivens influence the kind of
or adds drama—it is often artwork you produce and
employed in comic books. the way that you draw it.

Monochrome printing Spot colors

Printing in a single color—usually You can choose spot
black—is called monochrome colors from the
printing. Most newspapers and extensive ranges of
magazines contain monochrome inks available as
sections that include cartoons. solid colors.
For these, you can draw line
artwork, line and wash, or use
percentage tints. Four colors
In the four-color process,
you produce full-color

T wo or three colors artwork, which is separated

electronically into an
Printing two or three colors usually
image made of cyan,
involves printing black plus one or
magenta, yellow, and
two extra colors.
black dots.
 COLOR 91

Color adds clarity

Here, objects are
differentiated by the
various distinct colors
used.

The natural fade of the sky

is reversed to heighten the
contrast with the tree.

Clothing colors and A red/green complementary

shading stick to a contrast increases focus on
limited range of red, the face.
blue, and gray.
Using white
Local color is used sparingly
in the image. By leaving the
background white, attention
is focused on what is
essential for a gag.

Unusual coloring
Here, the envious green is
inserted in a picture
otherwise colored quite
naturalistically,
emphasizing the "storyline."

Making a point
A comment on unhealthy
lifestyle—the man’s grayed
coloring shows that a diet of
The red
burgers is doing him no good
tongue makes
at all. a horrid,
greedy focal
Bright-colored, dripping relishes point in the
are based in reality but over-lush. gray face.
92 STARTING TO DRAW

Lettering and balloons

The caption under a cartoon
(if it needs one—some cartoons
use no words and rely on the
Balloons
Lettering containing dialogue and thought
purely visual joke) is usually
is usually separated from a cartoon’s
set separately by the printer/
picture area by enclosure in a white space
publisher so all you need to do
with a linear border: the word balloon.
as the cartoonist is to write it
The speech or thought balloon’s tail points
legibly using a light blue pencil
from the center of the balloon to the mouth
(this will not be reproduced
of the character.
when the cartoon is printed).
However, some cartoonists do
put their lettering in speech
balloons as part of the actual
cartoon. You may want to use
lettering in your cartoon,
particularly in a comic
strip and so you will
need to develop your
lettering skills for it to
be effective and look
professional. Alternatively,
you could utilize computer
software to generate consistent
lettering on your cartoon.
 LETTERING AND BALLOONS 93

Sound-effect lettering
Sound-effect lettering does not have
to obey the strict graphic rules that
govern words inside balloons and
captions. Feel free to use any type
that suits your cartoon.
94 STARTING TO DRAW

Composition
Composition is all about how
you arrange the characters,
Bear minimum
This cartoon of a bear
settings, and various props in
tells the viewer at
a cartoon. This is an important
a glance all they need
consideration because it
to know about
will determine how
the scene. The grumpy
successful your cartoon
expression of the bear
is in terms of it
and his position
being instantly
halfway up a tree
understandable and
in a forest can
funny. The length of
be understood
time a person takes
immediately.
to scan a cartoon
The cartoonist has
with their eyes is less
managed to convey a lot
than a second and the viewer
of information with the minimum of lines or
will spend perhaps only a few
detail. The background forest consists of a few
seconds trying to understand
wavy lines while the tree the bear is climbing is
what is happening in the
simply drawn. Even the bear, of which we can
cartoon, so you have to ensure
only see the head and four legs,
your composition makes the
is very cleanly rendered. The viewer’s
cartoon’s point straight away.
imagination does the work of translating
If the viewer has to struggle
these few visual clues into locating the
to understand the cartoon in
scenario and what is happening.
any way then it has failed in
its objective.

Setting the scene else be about to leave—only a caption

Look at this cartoon scene of a man will tell us which, and hopefully the
and a room. Without a caption he gag as well. Compare this to the
could be read as the woman’s cartoon of the bear in the tree above
husband, a salesman, or a friend. In and you will appreciate the difference
this composition there are lots of in drawing styles—but both work very
background props such as the TV set, well because they are well thought
cup and saucer, books, an infant, a out compositions that give all the
dog, furniture, a picture on the wall, information the viewer needs to
and even the wallpaper design. He understand the locations.
could have just entered the room or Remember the viewer always looks
 COMPOSITION 95

The background story predicament appear all the worse.

In these three cartoons, the Finally, the "background" becomes
changing composition gradually a second character in the cartoon,
alters the point of the gag. In the giving the scene a completely
first, the window cleaner is in a different context. The way the huge
bad enough position, having lost ape brandishes the tiny ladder
control of his ladder. The revises the viewer’s sense of scale.
background detail looks like Without seeing the background
residential houses, suggesting he buildings, we can’t assess how far
is two or three floors up. In the the man is from the ground, but
second cartoon, the change of that is no longer an important
background to the simply drawn feature of the storyline.
but unmistakable
blocks of high-rise
buildings makes his

at the cartoon first

then reads the gag
line second, if there
is one. After reading
the gag line the
viewer may then
return to look
again at the
cartoon just to consolidate
their understanding of the gag.
96 STARTING TO DRAW

Creating focus
In cartoons we use various
devices to help focus the
viewer’s attention on certain
areas where emphasis is
needed to heighten the humor
or raise tension. There are
many ways you can direct your
viewer to the focal point of the
cartoon. A thicker line quality, a
splash of color, a dramatic tonal
contrast are all useful effects to
achieve focusing on a specific
area of the cartoon.

Method of focusing
A clever use of composition and color
makes the woman in this cartoon the focal
point. The two dogs, one on a level with
her head and the other looking up to her
from over the fence, lead the eye to the

Monochrome focus woman. The gradual alteration of the sky

tone also helps to highlight the central
Use of a gray wash around
figure. The line work is bold and simple
the central figure is
enabling the whole scenario to be
extremely effective at
understood very quickly.
focusing the eye on the
figure in a crowd.
 CREATING FOCUS 97

Focusing devices

Use a bold line. Not only does the dog fill

more of the visual field than the man, the
thick contrasting lines of its face and
forepaws, and the foreshortening of its
figure, bring the dog into focus.

The visual field is divided into simple areas

of black and white related by the direction of
hatching. This converges on the crystal ball,
emphasized by the direction of the
background figure’s gaze.

The videotape is a solid black area

within a white area, which is, in turn,
within another solid black. In the white
area, the gaze of the figures combines
with these divisions to signal the tape’s
importance.

You can focus your reader’s eye using color

contrasts with great richness and complexity.
Here, contrast moves focus between the
bright, warm colors of the figure in the
doorway and the second figure.
98 STARTING TO DRAW

Foreshortening
Foreshortening is an
exaggerated perspective effect
Distortion
Bear in mind that cartoons are not architectural
that can be applied to figures
renderings. Once you understand perspective,
and objects. Its value in
you can use the rules to make something
cartooning is that it can add a
believably three-dimensional and then distort
dynamic quality—making
reality for effect. The principles of perspective
objects and characters seem to
can then be applied to people, animals, and
leap out at you from the page.
curvy objects through foreshortening.
It is a technique often used in
comic strips where action and
movement is necessary.

Foreshortening the figure

This follows the basic principle of near/large
and far/small. This is easier if you break down
the shapes into basic building blocks of spheres,
ovoids, cylinders, and cubes.
The hand held up in anger
is a set of curved cylinders
and ovoids. To draw the
cartoon version, start with a close-
up of the hand and draw back,
showing smaller proportions, to
give a 3-D effect.

When you are foreshortening the child’s

figure, start with a very large sphere for
the head. Even without foreshortening,
children’s heads and faces are drawn
proportionally larger than adults’.
 FORESHORTENING 99

Making the back end of this bossy

buffalo smaller than his chest and
further enlarging his face brings him
nose to nose with the viewer.

The lines of this

cottage have
been curved
into a
friendly face.

Exaggerating his
body position
and drastically
enlarging his left
foot help this
character to jump
off the page.

Drama
You can use foreshortening to accentuate the drama
of cartoons, by stressing the depth of a picture. The
foreground character’s foreshortened arm runs
through several depths of picture, combining the
division between foreground and background with
focusing devices.
100 STARTING TO DRAW

Perspective
Perspective can be used in a
simple or complex way to add
visual impact to a cartoon. If
One-point perspective
Draw a horizon line—representing your eye
your cartoon characters are not
level—and fix a vanishing point on it. The
shown in any context—just as
further the point is to one side, the more
isolated figures or a head-to-
objects on that side are compressed. Vertical
head arrangement—then you
planes that face you are drawn flat-on and
do not need to worry about
undistorted. Lines can then be drawn back
perspective, but as soon as
from corners and edges to the vanishing
you introduce an implied
point to create the sides of a cubic shape that
background space or situation,
recedes directly away from you. In a solid
the viewer subconsciously
shape you see the underside if the object is
expects it to conform to basic
above the horizon line, the top plane if the
rules of perspective because as
object is below. But you can also treat them
humans we have been taught
as hollow forms. Make construction lines in
to read spatial information in
pencil, then ink in the appropriate shapes.
this way. Total distortion of
space is of course valid in a
cartoon if it is part of the
concept you have imagined.
Points of view
Here, the same cartoon has
been drawn from different
points of view. The change of
view changes the shape of the
picture and also changes where
the viewer’s sympathies lie.
 PERSPECTIVE 101

Horizon
Horizon

Vanishing point

This side In this street scene, the

compressed notional viewpoint is directly
as closer to
in the center, hence the central
vanishing
This side vanishing point. If the artist
Vanishing point point
expanded
as further were to move to the right, it
away from would be left of center.
vanishing
point

Unusual perspective
The first cartoon (above) uses normal
perspective but you may wish to
try an unusual viewpoint and
perspective to add drama. In the second
cartoon (right), the ground level viewpoint adds impact to the desk
and the man sitting behind it. This view is sometimes referred to as
the "devil’s eyeview" because it is very melodramatic.
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CHAPTER THREE

Types of
cartoon
104 TYPES OF CARTOON

The single-panel cartoon

A single-panel cartoon is literally a cartoon Single-panel cartoons will often utilize
in just one panel, either with or without a cliché and familiar domestic or work
gag-line. It is designed to fit into a small situations such as relationships between
oblong space or panel in a magazine or husbands and wives, parents and children,
newspaper. This kind of cartoon is very lovers, and bosses and employees.
popular and can be drawn in any style and Stereotypical locations and situations are
deal with almost any subject. To specialize recycled continually, for example the desert
in producing these cartoons you need to be island, the office desk and secretary, or the
able to originate fresh ideas and gag-lines boardroom of a company with assembled
on a regular basis, and will also need to a executives. These cliché situations and
good understanding of grammar and the locations are an endless source of amusing
ability to pare your ideas down to get the gag-lines for cartoonists and can be
maximum impact. Readers will spend only constantly reworked and made topical.
two or three seconds looking at a cartoon Viewers are comfortable with these familiar
and reading a gag-line before moving on, cartoon locations and situations and are
so the single-panel cartoon has to make its ready and willing to be amused—all you
point almost instantaneously. have to do as the cartoonist is to provide
this receptive ‘‘audience’’ with a wry smile,
a silent laugh, or (if your cartoon is really
good) then a good belly laugh!

Clichés
The desert island scenario is one of the
great all-time cliché settings used by
cartoonists. Here we see two castaways—
one looks like a new arrival while the other
has been in situ for some time (his beard
indicates this) and his laconic advice is
made darkly humorous by the encircling
sharks. Notice that this cartoon cannot
work without the gag-line and the gag-line
“Start worrying at high tide.”
likewise needs the cartoon.
 THE SINGLE-PANEL CARTOON 105

Instant placement
Cartoons should provide visual shorthand,
giving just enough information and clues
so that the viewer knows instantly what
and where the cartoon setting is. In this
cartoon, just a few visual clues (deck
rails, lifebuoy, man in “Cloning, not CLOWNING!’
captain’s uniform) tell
us that the setting is Puns
the deck of a ship, This cartoon relies upon
without the need similar sounding words
to draw in any with totally different
more detail. meanings being confused,
as well as a touch of the
absurd. Word play can often
“Tell me Captain, be particularly effective in
which side is port single-panel cartoons.
and which is gin?”

Exaggerating the familiar

In this situation, notice that the gag-line is
not the man in the shower talking—it is a
kind of third person observation on the scene.
However, the cartoon could work equally
well without a gag-line or caption. The
humor comes from the universal experience
of taking a shower where the temperature
control is difficult to regulate. Also notice the
exaggerated scale of the shower unit—it’s
huge! Don’t be afraid to exaggerate lettering
or distort scale in a cartoon to get the joke
across to the viewer—it all adds to the humor!
Precisely because this is a cartoon the viewer
Taking a shower calls for
will accept the scale distortions.
a big decision.
106 TYPES OF CARTOON

Recognizable situations
Hotel bedrooms are another great
setting for cartoons. The dilemma
posed here is quite bizarre and the
humor is heightened by the viewer
being able to see what the woman
cannot. It uses large lettering to label
items and plenty of sweat beads and
action lines to focus attention on the
man. Note that this cartoon could work
“Get forensic in here now—I
without the caption.
want the porridge thief
apprehended fast!”

Using familiar stories

This cartoon is a modern take
on a traditional nursery
rhyme—another effective way
to generate fresh humorous
ideas. The bear’s demand for
modern police tactics to arrest
the villain completely turns the
old nursery rhyme on its head. “Hurry up and finish ironing your pants
and come to bed dear…”

Making the familiar absurd

The innocent comment of the man
coming into the house from the garden
is made humorous by what he cannot
see just behind the door. The humor in
this cartoon is based upon absurdity,
another great weapon for the
cartoonist. The size of the aphids is
greatly exaggerated, and the situation
“Well dear, the pesticide’s got rid of the is made ridiculous by having them
aphids from the garden.” assume the human attitude of sitting
comfortably on the sofa.
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THE SINGLE-PANEL CARTOON 107

“Quit moaning, will you—at least

we’re not in the burgers.”

Setting the scene

The reliable cliché of the
psychiatrist’s office can
provide endless ideas, as Takeaway humor
can transposing animals Fast food and takeaways provide plenty of
into human situations. ideas for cartoonists. In this cartoon the flat
Notice how few clues blocks of color (added on the computer) give
are needed to let the a lively feel to the scene.
viewer know where the
chicken is located—the
stereotypical cartoon
psychiatrist, complete
with bow tie and
“Ever woken up in
glasses, and the
the middle of the
obligatory couch are
night and imagined
more than enough to set
there’s your exact
the scene.
double in bed
beside you…?”

“But why? Why

did I cross the
road?” Surreal touches
This cartoon is a good example of dark
humor. The joke is not so much funny
as unnerving and perhaps surreal,
although nothing about the scenario is
weird in itself.
108 TYPES OF CARTOON

The captionless cartoon

The captionless cartoon can be either single- or
multi-panel but almost always relies upon the
visual image to make the joke rather than a
caption or gag-line—although it may
sometimes include within the cartoon
words on signs or notices that are
essential to the gag. This kind of cartoon
is difficult to create and for that reason
cartoonists who can consistantly produce
good captionless cartoons are fairly rare.
The captionless cartoon has to be
understood by the viewer quite quickly in
order to work effectively. One of the world’s
best and most prolific cartoonists in this
specialized area is Sergio Aragonés, whose work
is often populated with many characters. Visual puns
A clever visual pun from
the Dutch artist Wessum.
In this cartoon the viewer
is expected to make the
connection between the sign
and the water deflection to
realize the joke.

Hidden joke
The elephant is a long standing
favorite for many cartoonists and
this meticulously drawn cartoon by
Hoffnung is all the more enjoyable
because we are compelled to study
it closely before realizing the
brilliant joke element it contains.
 THE CAPTIONLESS CARTOON 109

Global humor
Egyptian cartoonist Hassan Moustafa
demonstrates the universal nature of humor HOT TIP!
without using a single word in this family The subject of human
scenario cartoon. The joke element of this vanity and a man’s
cartoon is for the viewer to find and then to desperate effort to
use their imagination to supply mental impress a woman is a
images of what happens next. scenario that most
people will be able to
relate to. Being able
to recall similar
situations and thus
identify with the
cartoon is what makes
the cartoon funny.
Embarrassing
situations are great
material for
cartoonists—simply
turn them into a
cartoon scenario!
110 TYPES OF CARTOON

Using text within the cartoon

Using words on placards and T-shirts are
useful techniques in captionless
cartoons. The humor in this cartoon
(right) relies on the inappropriate
message on the man’s T-shirt.

Signs in shops, notices, and written

information are all fertile sources of gags
for cartoonists. In this cartoon (left) the
joke relies upon a familiar situation
experienced by anyone browsing the
magazine shelves in a store. Try to think
up variations on this scenario to create
new cartoons.

Cynical humor
A very common scene of a street
beggar is here given a cynical twist
by showing him blatantly saying why
he is in need of money—not to help
himself but to continue funding his
alcoholism. This kind of cartoon is
designed to shock and may even
reinforce prejudices. It would be
more likely to be found in satirical
magazines rather than in more
mainstream media.
 THE CAPTIONLESS CARTOON 111

HOT TIP!
Thinking up ideas for
captionless cartoons
does require a very
original approach. To
get started, look at some
captionless cartoons
and then with each one
Placing items out of context try to come up with a
Good old Santa Claus is an ideal stock figure for new sign or location or
cartoons. Here the idea of grocery store different characters to
checkouts combines neatly with the stocking create a new, original
hung up for Santa to fill with presents. cartoon. You may find it
Taking signs out of their usual environment difficult at first but be
and placing them in a totally unexpected scene persistent and you’ll
can often result in amusing scenarios. find that ideas will form.
Do this on a regular
basis and you will find
in time that your mind
Out of place will sharpen up and
Take a you’ll cultivate much
skateboard and more of an awareness
a lazy young of amusing situations
skateboarder, that can be turned into
put them on a cartoons. What you
running are really doing is
machine in a exercising that part of
health club your creative brain, and
and you’ve got with regular exercise
a cartoon. Try you’ll make it fitter and
to bring together the cartoon ideas will
disparate things or flow—try it and see!
characters in your cartoons—it requires a
bit of ‘‘off the wall’’ thinking but it can
result in some amusing cartoon ideas.
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112 TYPES OF CARTOON

The political cartoon

A political cartoon polarizes support or
criticism depending upon who or what is
the subject of the joke. They usually deal
Personification
A political cartoon
with a current or very topical event, which
commenting on the
means the cartoonist has to create them
rising cost of education,
very quickly to catch the mood of the
this uses the device of
moment. For this reason political cartoons
personifying the huge
have a very short shelf life—once the
fees that students are
controversial subject has become yesterday’s
made to pay for their
news then the cartoon is no longer relevant
education to make its
or interesting. Like all cartoons it is a
point. This type of
disposable item once used and seen.
cartoon has no room
However, cartoons can make very strong
for subtlety in getting
statements on a political subject often by
its idea across to
the viewer.

The newly graduated

student is about to be hit
by a Big Bill for his
university education.

Global themes
The political content of this cartoon could
be relevant to many governments in
many different countries. Resentment
against government taxes and workers’
demands for increased wages are a fairly
constant feature. Making a monster of a
political policy is an effective metaphor
and is widely used by cartoonists.
 THE POLITICAL CARTOON 113

simplifying a complex situation

between individuals or countries and
“Which credit card
have more impact than the printed
would you like—
word—the old adage that a
the 6%, 18%, or
picture is worth a thousand words
34% annual
can be true when a great political
interest?”
cartoon appears in the media.
Cartoons in this genre can also be
used as political propaganda.
To be a successful political cartoonist
you need the ability to grasp and
understand a whole range of political
issues, sometimes at very short notice, and
then produce a cartoon that relates directly A surprising twist
to the elements of controversy with acerbic Crime is a subject that the cartoonist
wit. Political cartoons can be very powerful can depict with wry humor to make a
and often provoke outrage—the genre is social and political point—in this
very widely seen in America and Europe. case, a common mugging scenario is
turned on its head by having the
victim surprize his attacker with a
totally inappropriate question.

Social commentary
Older people participating in
activities that were once the
preserve of the young is an
increasingly common sight and
a political and social topic of
discussion. This cartoon
highlights the issue with wry
humor and there are many
other areas where older people
could be put in amusing
situations by the cartoonist.
“He’s the oldest skateboarder in town.”
114 TYPES OF CARTOON

Cartooning for animation

To animate is to bring something to life— the amateur cartoonist at home via a PC
in this case, cartoon characters. Cartoon and some easily available software.
animation has been transformed due to the There are two traditional basic methods
power of the computer, with movies such to animation: the first is called "straight-
as Toy Story and Finding Nemo proving ahead," which is creating a sequence of
incredibly popular and attracting new growth or movement. The second
audiences to the classic genre. Not all cartoon method is "pose planning," in which the
animation has to be at such hi-tech levels, animator draws the extremes of an action
however—simple animation of cartoon and then adds in-between drawings to
characters is also possible and within reach of smooth the total action.

Here is a range of
traditional animated
cartoon characters.
Notice the
large amount
of distortion in the
figures, such as
short legs, large
heads, and the general
stereotyping for easy-to-
recognize characters.
 CARTOONING FOR ANIMATION 115

Straight-ahead animation
To practice straight-ahead animation, start with a simple object, such as
a flower. Then place a piece of tracing paper over the initial cartoon
drawing and redraw the flower in the same position, only slightly taller
and fuller. Continue this process, making the flower taller and fuller as
you progress. This cycle can take as few as five or six drawings—or as
many as you wish, depending on the size of the flower. To see how your
drawings will look in "animated" form, cut out the individual drawings
after drawing them on thin card and place them in order to make a
"flip-book" and when you flip the pages you will see your flower
"animated" and appear to open.

Flip-book
A flip-book is an easy and fun method of
creating your own animated drawings. Hold
the flip-book in one hand and then with your
other hand flip through the sheets quickly but
separately as shown (right) to see animation
in its most basic form.
116 TYPES OF CARTOON

Pose-planning animation
Pose-planning animation involves using extremes and
in-betweens to take a character from one gesture to
another. The extreme poses are planned first, and
then the in-betweens are sketched in to connect
the extremes. In the example shown opposite,
a puppy is attracted to a butterfly and starts
1
with extreme pose (1) and ends with extreme
pose (4) with just two in-between sketches
(2-3). The more in-between drawings, the
smoother and more natural the overall
movement will appear in animation.
 CARTOONING FOR ANIMATION 117

2 3 4

USING COMPUTERS artwork for 2D cartoons and comic strips

Computers have made the traditional process because it enables perspective (buildings
of animation much more efficient and faster, or objects in particular) to be quickly
with software to create 3D (three dimensional) generated with any viewpoint, and then
animated films now available for home printed out and traced for the comic strip.
computer use. This has enabled the amateur It also allows the cartoonist to create
home cartoonist to produce animation backgrounds with astonishing variation
sequences to a high professional standard. and detail.
Besides using 3D animation software for movie There are many processes involved in
making it can also be excellent for generating the making of an animation, depending
on how complex and subtle the finished
result is planned to be. If working in this
genre is your aim, then it is best to try to
get a job in the actual animation industry
and learn from the bottom just what skills
are involved and required. Artistic skills

Computer animation need to be allied to a knowledge of the

technical production side and of course
A striking example of
the ability to work as part of a team, since
cartoon animation created
all modern major animations call for a
by using a computer. Notice
wide range of specialized skills to bring
the incredible background
them to fruition.
detail and lifelike
rendering for surfaces.
118 TYPES OF CARTOON

Manga
The tremendous surge in popularity of software) virtually anyone to produce
manga comics in recent years has professional-quality artwork for this genre
spawned a whole new generation of of cartooning.
comic strip artists who are adopting the
unique manga drawing style. Originating STYLIZATION IN MANGA
from Japan, ‘‘manga’’ refers to comics or Stylization is probably the most significant
cartoons drawn in a specific style. Most recurring element of manga artwork. The
young Japanese fans of the genre use the characters are drawn with stylish and sharp
term ‘‘anime’’ meaning animation because linework. In manga there is much less text
the comic strips are drawn with a great than in traditional Western style comics and
sense of movement. Over 40% of all light manga artists put greater emphasis upon
entertainment magazines and books facial expressions to convey emotions rather
published in Japan are in the manga style than use words. Eyes are often drawn much
and read by people of all ages and social larger than usual and with highlights
standing. Western cultures are increasingly around them to indicate emotive states of
not only enjoying manga but also mind. The use of onomatopoeia, or written
adopting it as a cartoon style. sound effects to represent noises, is also
The advent of the digital age has made common in manga.
a huge difference to manga with home
computers enabling (with the right

Visual shorthand in manga

Visual shorthand is used to tell
readers what they need to know about
a character’s emotions—without the
need for exposition, explanatory text
Sparkles Ghost leaving
panels, or dialog. Extreme happiness nose
in romantic situation Dead

Vertical lines Bubble from nose Mushroom cloud Pounding vein

Shocked Sleeping Sigh of relief Angry
 MANGA 119

Teenagers
These are a couple of manga teen characters.
Notice the characteristic large manga eyes
and the mascot. It is common for characters
to have mascots or creatures that can talk.

Spiral/helix Chick on head Scribble cloud

Dizzy Innocence Very angry

Hair bristling Hearts Beads of sweat Bubbles above

Annoyance, irritation Romance, in love Embarassment, head
nerves, discomfort Drunk
120 TYPES OF CARTOON

Typical features of the shoujo style are large

eyes with sparkling highlights and the
economical use of linework—for instance, notice
the few lines drawn for the nose and mouth.

Shoujo
Shoujo is the Japanese word for
‘‘girl.’’ Shoujo manga refers to
comics produced in Japan
specifically for girls to read. It has
a style of comic artwork designed
to appeal to female readers and
the comics are almost exclusively
written and drawn by women, Shounen
with stories focusing strongly on Shounen is the Japanese word for
relationships and romance as ‘‘boy.’’ Shounen manga are comics
well as emotional struggles and intended specifically for boys,
complex, mature plots. although the audience has now
widened to include both sexes. The
central characters are always boys
and the accent is on action and
movement with some kind of conflict
involved. ‘‘Speed lines’’ or ‘‘action
lines’’ are frequently used.

Robots
Giant robots are a popular recurring
theme in shounen manga, often
representing great power granted to
a young male character.
 MANGA 121

COMIC EFFECTS IN MANGA

However dramatic the action or emotional Hyperstylization
the scenes might be in a manga story,
Zombie gaze
humor remains a key ingredient of the
This exaggerated gaze
genre. Early manga had a strong comic
emphasizes the
focus, and it has evolved to contain ever
character’s emotional
more outrageous ways of presenting
state. The mouth extending
humor. One of the ways it does this
beyond the bottom of the
is through exaggeration of the style
face gives the impression
of the manga used to illustrate
that the mouth is open much
funny situations without relying
wider than it ought to be.
on dialog. This method is called
“hyperstylization”—it enables
an emotional state to be
Wobbling limbs
Giving characters’ arms
portrayed in an amusing and
and legs an almost jelly-like
entertaining way.
quality creates the
impression of a

Non-human characters character dancing or

moving in a daze, with
In manga, non-human characters
a blank and blissful
and animals tend to react to the lead
expression, oblivious to
characters’ emotions and sometimes
what others think of them.
reflect the reader’s feelings, so that the
reader feels they are watching the
Floating cheeks
action alongside the non-human
This character’s cheeks
character. Animals also act as
are drawn so that they
protective guardians, giving
appear to hover away from
the main character
the skin—an exaggeration
strength or
indicating a moment of
supernatural
extreme happiness.
powers.

Simple body
Reducing the shape of the
limbs to a simple point makes
the character look simple
and cute, though also
ridiculous.
122 TYPES OF CARTOON

CREATING MANGA
ARTWORK DIGITALLY From concept to completion
Much of manga artwork is
created with the use of a
computer, using software such
as Adobe Photoshop or Corel
Painter. To create manga in this
way calls for an artist being
skilled in all aspects of cartoon
creation, from initial pencil
sketches to inking, coloring,
lettering, and special effects.
Some manga artists draw
directly onto the computer
using a drawing ‘‘tablet’’ and
stylus, later manipulating it
using sophisticated software
programs to produce finished
artwork. However, depending 1. When you’ve conceived your story, sketch out
on which software and character designs (above) so that you begin with a
hardware you buy, it can be feel for what they will look like. With short stories, it is
relatively expensive to set up. less important to develop these designs, as characters
Before doing this it might be will only make a brief appearance, but with larger
wise to try drawing manga stories more detailed designs are necessary.
with just the traditional tools of
the cartoonist to get a
real ‘‘feel’’ for the genre— 2. Sketch out the pages as
and then transfer your ‘‘thumbnails’’ with very
artwork to the computer rough artwork. These can
later by scanning it in. It is easily be changed and
important to get a good adjusted until the story
scanned image to ensure flows nicely, before
that you make your pencil you produce final
lines of a consistent darkness ink versions.
without any smudging.
 MANGA 123

WEB MANGA COMICS

3. After drawing Comics no longer need to be
out neat line art in printed on paper—they can
pencils, apply your instead be displayed on a
inks. In this website. The Internet is a
example, the wonderful means of exposure for
speech bubbles are comic artists, both amateur and
going to be added professional. The international
by computer, so the popularity of manga-style comics,
artist has left them combined with the convenience
off the original lines. of reading comics online, has
allowed even beginners to gain a
global audience for their artwork.
The advantage of going online is
4. A combination of that it will cost you virtually
flat, gray tones and nothing, and you will get quicker
pattern tones have and more immediate feedback
been used to add from readers of your comics to
shade and definition to help you improve—although
the artwork. Speech you must be prepared to
bubbles have been accept criticism.
added, paying attention
to the original sketches
for their placement. The
page is now finished,
and ready to go to print.

5. The final printed version, printed in Sweatdrop

Studios’ anthology Love, Sweat, & Tears. You can
see it here with another page from the comic,
working as part of the whole.
124 TYPES OF CARTOON

Comic strips
Comic strips essentially tell a story, which in order to devise a successful comic strip.
may be humorous, serious, romantic, fantasy There are two basic formats of the comic
and horror, or educational and instructive. strip; one is the continuity strip (an ongoing
Traditionally found in newspapers, some adventure over a period of time), while the
comic strips have proved to have great other is a stand-alone strip that tells a gag or
longevity and remain popular with a complete story each time it appears. To
succeeding new generations of readers—for draw a continuity strip, you will need to be
example, Peanuts by Schultz has enjoyed a able to write consistantly good scripts and
global audience for many years. generate new ideas all the time to maintain
When creating a comic strip, you are the continuity, which can be very
inventing an entire world from your demanding if your strip runs every day.
imagination. Drawing comic strips demands Even a weekly strip can be time consuming,
lots of different skills and the ability to with the pressure on all the time for
constantly keep the strip going with fresh completed artwork and new gags or story
plots and story lines. You as the cartoonist lines. Study a range of comic strips that
need to know all of your characters appear regularly and try to analyze the jokes
intimately because unless they come alive or how the pace of an ongoing adventure
for you they will not come alive for the is varied, and how the cartoonist draws
readers. You have to totally believe in your different scenarios and keeps the strip fresh
characters and know everything about them and interesting.

Topical comic strips

This is a topical cartoon strip, drawn during the Olympic Games. The humor is
derived from the would-be athlete failing miserably in running against his pet
dog. Notice the simple background details and devices such as sweat beads.
 COMIC STRIPS 125

Frame by frame
This is a rough layout for a four-frame
strip. It runs almost like a movie
scene. The first frame locates the
action with two characters in a car,
the second frame moves in closer to
the two characters in dialog, the third
frame introduces emotion moving in
even closer to focus on the reactions
of just one character, and the final
frame wraps up the action and
delivers the punch line.

The breakdown
Whether you have just two panels or many pages to fill with your strip, the
first stage in its construction is the rough breakdown. Some cartoonists
pencil out "thumbnail" sketches at a fraction of the finished artwork’s size,
while others compose their sequences at the same size that their finished art
will be. Either way the aim is the same: taking a scripted or visualized
continuous sequence, you literally break it down into the picture, word
balloon viewpoints, or sound effect shapes that best carry the narrative.

The development of
a page from roughs
to finished pencil
layout. The page is
broken down from
an original script,
which will have
been sent to the
artist by an editor
or a scriptwriter,
with panels
numbered and
picture, action,
and dialog
described.
126 TYPES OF CARTOON

Time and place

In just three panels, using very little detail, an
intriguing story is unfolded with the final panel
leaving the reader to imagine what happens next.
Notice how the cartoonist can leap through time
and different locations in each frame.

Animal star
A dog or other animal
can often be the star
Use of frames
These two examples of a Dr. Frankenstein comic
of a comic strip—
strip illustrate how a more imaginative use of
especially a charming,
differently shaped frames can make a strip more
funny one, such as in
dynamic. The upper three frames work well, but the
this example by Anne
lower three frames incorporating a circle, a square,
Wehrley. The smooth
and finally a star shape make it much more
color was applied
interesting visually. Notice how little background
using a computer
detail there is in most frames and how this
software program.
maintains the focus on the characters.
 COMIC STRIPS 127

Silhouettes
One of the most effective
methods of dramatically
varying your drawings
is to use silhouettes.
They draw attention
because of the strong
contrast between black Silhouettes
can portray
and white on the page Silhouettes like this establish action.
and can help to create a mood of romance.
diverse moods ranging
from menace to
romance. Use sparingly Silhouettes can
focus the
for the best results.
attention on
characters.

Silhouettes are excellent Silhouettes can make

for an overall view. a scene sinister.

In this comic strip, the

second frame uses the
silhouette method to focus
on the group of figures
without being cluttered
with detail.
128 TYPES OF CARTOON

The graphic novel

The graphic novel has enjoyed a
recent renaissance of popularity.
The layout is very much in the
cinematic mode with dramatic
closeups and wide-angle
viewpoints. Fantasy is a common
theme, along with dark gothic
terror and, of course, science fiction,
but new genres are also appearing
in line with modern tastes.

Page layout
The way you lay out a page gives
that part of the story a particular
mood. A formal layout simply
relates a series of events; a
splash panel adds force and
excitement to one particular
event; an informal layout
Use of color
This stylishly drawn cartoon strip has
encourages the reader’s
a good balance of black and white
involvement.
combined with vivid color to give it
great impact for the reader.
Formal la
yout
(Berni W
rightson) Informal
layout (R
Splash panel on Tiner)
(Brian Bolland)
 THE GRAPHIC NOVEL 129

Shots
Like a movie director, you
need to be aware that the
distance from which you
view something—each
"shot"—affects the reader’s
emotional reaction to that
part of the story. Over the The long shot is used to orient
the reader when there is a
story as a whole, your change of scene, or a shift in Ultra-closeup is
choice of shots can entirely the viewpoint. used to accentuate
transform the reader’s the emotion of a
concept of the tale. single character.

The medium shot can

be an action view or
a mood-setter.

Use the closeup when you

want readers to identify with
one character.
A general view conveys
the relative positions of The up-shot makes
characters and the figure more
surroundings. impressive and can
be used to add
menace.

The angle-shot
slightly
The down-shot disorients the
renders the reader reader and can
a voyeur—someone add shock-
watching but not value to a
involved. scene.
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130 TYPES OF CARTOON

Greeting cards
Greeting cards require a specialized approach
to cartooning. Millions of greeting cards are
purchased every year and the demand for
new and different cartoons to fill these cards is
huge. As the trend for sending cards has
broadened from traditional birthday and
seasonal greetings, to non-specific cards with
a blank panel for personal messages and
cards for virtually every occasion you could
think of, so the need for appropriate cartoons
has increased. The greeting card market is
always searching for something new—to be
successful, the cartoonist has to be aware
of market trends and catch the mood of
the moment.
A greeting card is much more than a folded
piece of card with a design printed on it. It is
an extremely important method of
communication—and the reasons for sending
cards can vary now from traditional wedding
congratulations to get well wishes! Color is
always important and adds impact and attracts
browsers to the design.
Birthday greetings
A distinctive birthday card. The
message inside reads, ‘‘Yes, you’re
really that old! Happy Birthday!’’

Best wishes
Inside the card, the message reads, ‘‘Now
it’s your turn…Keep in touch!’’ This is a
general card, not for any special
occasion, but for sending between
friends. A lot of people increasingly
prefer to send greeting cards to express
their sentiments, as it is a lot easier than
writing a letter. It is another reason why
cartoons will always be in big demand
for the greeting card industry.
 GREETING CARDS 131

Simple and Cards for all occasions

effective Imagine when the only time
Cartoonist Anne people ever sent greeting cards
Wehrley used to each other was on birthdays,
a computer possibly on Valentine’s Day,
program to add and at Christmas. The fantastic
color to a lively news for cartoonists is that now
group of people there are cards for virtually
and their dogs every day of the year! Here are
creating an just a few of the events that you
amusing can now buy a card for to send
design for a to someone.
birthday card. • Halloween
• Jewish holidays such as Yom
Kippur and Hanukkah—to
design for these occasions
you need to study what cards
are currently on sale.
Christmas time • Moving home—everyone
A simple idea for a Christmas moves at some time!
greeting card that manages to be both • Grandparent’s Day
charming and amusing. The cartoon • Christmas—apart from the
snowman traditional themes, there
may be a is a growing demand for
well worn cards with alternative
cliché but Christmas humor.
it never • Birth of a child
fails, • Engagement
provided you • Passing your exams or
can inject a little driving test
bit of magic
into it.
132 TYPES OF CARTOON

Caricatures
What is a caricature? A
dictionary might describe it as
"a drawing of a person or
thing utilizing exaggeration of
characteristics." Caricatures can
be of anyone—politicians,
sporting personalities, pop stars,
or just close family and friends.
How to get started
A good way of developing your caricaturing
Caricaturing is a particularly
skills is to first draw a realistic rendition of
topical branch of cartooning
the person (left), then do another drawing
and will always be popular, so
(middle) that exaggerates features such as
if you can make your forte you
the nose, hair, and jaw line. Finish by
will always be sure of work.
making a final drawing (right), which goes to
Developing a unique style of
extremes while still maintaining the basic
drawing is vital to making your
head shape. Practice this until you can go
caricatures work. It can be quite
directly to the extreme caricature either
daunting to sit in front of
from a real person sat in front of you or from
someone and draw a caricature
a photograph.
of them, so it is best to begin by
using photographs of famous
people to develop your skills.
When you are confident of your
ability then you can move on to
real people. A caricature can be Expressive
just the face or the whole figure The world-
of the person. The acid test of famous opera
any caricature is that it is singer
recognizable as the person Luciano
drawn—it is for this reason that Pavarotti is
really good caricaturists are rare. ideal for
Study the work of caricaturists caricaturing
in newspapers and magazines and this
and see what facial features drawing by Peter
they exaggerate. Look at Maddocks captures
caricatures by someone like him in a typically
Gerald Scarfe to see some expressive gesture. Notice
really extreme exaggeration the amusing inclusion of wavy
techniques. musical notes in this caricature.
 CARICATURES 133

Using computers
These caricatures of Mick
Jagger by Peter Clarke break
away from the traditional
hand-drawn caricature. The
artist has used a computer to
distort and exaggerate scanned
in photographic images. Notice
the extreme and realistic detail
this method produces.

Checkpoints for drawing a caricature

• Decide what features distinguish • The ears—are they large or small?
the essential character of the • Does the person wear any
person. distinctive clothing?
• What is the basic shape of the • Are there any props that are
person’s head? associated strongly with the person
• The forehead—high or low? (for example, in the case of ex-
• Hairstyle? President Clinton, a cigar).
• The nose shape (always a good Including props can immediately
feature to exaggerate). help the reader identify the person.
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 CHAPTER FOUR

Going
professional
136 GOING PROFESSIONAL

How to generate ideas

While every cartoonist can gain
more proficiency in their
Exaggerating real life
Start by drawing everyday items, and then
drawing skills by applied study,
slowly exaggerate them. The details of this
it is also essential to develop
doghouse—the bowl, the bone, and the
a reliable method of generating
simple construction—are recognizably
new and original ideas—
true to life, even though they are also
otherwise you will be a talented
cartoonlike. The faucet looks accurately
cartoonist with nothing to draw.
drawn, even though parts of it have been
Where does a cartoonist get
made fatter and the drip is not realistic.
their ideas from? The answer is
The alarm clock is still identifiable as an
anywhere and everywhere.
alarm clock even though it is distorted to
A political cartoonist will
show its movement and ringing.
naturally need to keep up with
current affairs, but radio,
television, and newspapers are
rich sources of ideas for all
cartoonists and you never know
what could inspire you next.
Become aware of how people
behave all around you. Watch
them, observing quirky
situations and details, and
noting expressive gestures and
facial movements. Listen to
conversations—bus, plane, and
train journeys are particularly
good for this. The best comedy
often comes from exaggerating
the familiar and recognizable.
 HOW TO GENERATE IDEAS 137

Distorting stock
scenarios
An effective way of
creating something new
is to take a stock situation
or cliché and put your
own unusual, original
spin on it, as in the
examples below.

Two stock scenarios—the

desert island and the cliché
burglar—are mixed together
here to create an unusual and
slightly bizarre cartoon. It is
then up to you as the
cartoonist to come up with a
rationale for this scenario.

A well-used stock
scenario for the
cartoonist—the
fortune teller and her
client—is in this case
given an unusual
spin. Notice that the
stock devices of a
crystal ball and the
name Madam Rosie
indicate the scenario
immediately, without
the need to provide
lots of unnecessary
details.

“I’m getting a message from a very nice pair of shoes…sorry,

it’s your great grandfather!”
138 GOING PROFESSIONAL

Think funny!
It may seem obvious but it does help if you These scenarios continue to work provided
are a cartoonist to develop an awareness of the gag-line is fresh or topical. Draw your
the humor in everyday life. Masters of own version of the desert island with
comedy take their humor seriously and castaways and try to think of at least five
many study all aspects of what makes original captions. This is a good exercise to
humans laugh. There are certain patterns get your creative mind working.
to be found in humor and in why some Always bear in mind that generally a
things make us laugh while others don’t. great gag-line will sell a poorly drawn
Try reading books analyzing humor for a cartoon but a brilliant cartoon drawing may
deeper insight—this can help you to not sell a poor gag-line. Many of the world’s
develop new cartoon scenarios. most famous cartoonists are not technically
Equally important is to try adopting a fantastic artists but they do know how to
‘‘think-lateral’’ approach to life—attempt to put a humorous point across effectively. If
come up with ‘‘off-the-wall’’ solutions to you can learn to combine great art with
situations found in everyday life. great gags then you will have all the genius
Work at those clichés. Everyone is necessary for cartoon glory!
familiar with the classic cliché scenarios that
appear in cartoons, such as the desert
island or ‘‘Waiter! There’s a fly in my soup.’’

Unexpected humor
Even the most unlikely of
scenarios, such as the
death of a diner, can be
cartoon material. Here, the
unsentimental matter-of-
fact comment by the waiter
provides some black humor.
Try to develop a wry eye to
everyday situations and
you’ll find that you’re able
“Sorry madam, it is not management policy to to inject humor into almost
discount the bill if your partner dies.” any circumstances.
 THINK FUNNY! 139

Observing and recording Learning from other

cartoonists
There’s no substitute for watching, and
gaining inspiration from, real life and real
people. Regardless of how incredible Both new and old jokes can
and exaggerated your be an endless source of
cartoons may become, inspiration to create
they will always original cartoons and gags.
need to contain Collect, buy, or borrow as
details grounded many books on cartoons
in what is instantly and of cartoons as you can.
recognizable Old, out-of-date cartoon
and realistic. books can be a wonderful
Get into the habit of source of new ideas—
recording any and every idea simply try rewriting the
that occurs to you. Ideas will gag-lines and redrawing
often surprise you at the oddest times, and if the cartoons in your own
you don’t record them as soon as possible, you style and you should be
will soon forget them. Always try to carry with able to produce some great
you a notepad and pencil, or even a new material.
Dictaphone. Note down
things which make you
laugh and things that
surprise you or seem
unusual. A digital
camera is also a
helpful item to carry
around, to enable
you to record
visual inspiration
quickly and efficiently.
140 GOING PROFESSIONAL

The cartoon ideas file

There is one item that is absolutely essential
for any cartoonist—a cartoon file. This will
build into one of the most valuable
reference and ideas tools you will ever have.
Buy a large storage file or box (A4 is a good
size) and begin using it to organize your
ideas and sources of inspiration. Into this file
you will put any cuttings or photocopies of
cartoons or illustrations that particularly
catch your eye.
Decide first of all how you are going to
categorize your material. There are
numerous ways of doing this—you could
keep one file entirely for single-panel Once you have an ‘‘ideas file’’ you
cartoons, another file for strip cartoons, and should never again struggle to
yet another for caricatures, for example. The come up with original cartoon
choice is yours. Under these general and gag ideas.
divisions, create a filing system based on the
alphabet, so that in the single-panel
cartoons file under “A” you could file all
cartoons that contain aircraft, animals, ants,
etc. This will help you to quickly locate a QUICK REFERENCE
cartoon with animals when you need one. Let’s say that you had to come up with a
The main use of this kind of ideas file is to new cartoon about desert islands. Sitting
compile a collection of a variety of cartoons down in front of a blank piece of paper is
that will become a superb reference tool— about the worst thing you could do. Unless
not to copy from but to provide inspiration you are a genius you will find that ideas do
and spark off your own ideas. The file will not just jump instantly into your mind. You
also act as a reference point for studying will need the stimulus of your ideas file to
how other cartoonists draw unusual items, help inspire you to create new cartoons.
characters, places, or interiors. How do you do this? Simple! Look up in
You will quickly appreciate the value of your cartoon reference file any cartoons
your own cartoon file. Try to add clippings under ‘‘desert islands’’ and try to rework the
of cartoons every week and look out for not jokes you find by thinking of variations on
only good examples of cartoons, but also for the gag-lines or by completely redrawing the
those that you feel are not so well executed. cartoon in your own style. By doing this
 THE CARTOON IDEAS FILE 141

regularly you will sharpen up your cartoonist’s eye

and mind to be more receptive to generating new
cartoon material. And it works! Remember, a
professional cartoonist cannot rely upon occasional
flashes of inspiration to create new cartoons— Be organized
editors and publishers require new ideas on a Try and get in the habit of
regular basis and often at short notice. Once you filing your own notes and
get into the ‘‘idea-generating” mindset you will find ideas as well, to enable
that you will be able to come up with new cartoon easy access when you need
ideas with ease and your work will improve in inspiration fast.
quality.

Using the Internet for inspiration

The Internet is a marvelous resource for obtaining reference material for
your cartoons file. You can use a search engine to find many thousands of
websites dealing with cartoons. Instead of cutting out cartoons from
magazines, you can print off any material that interests or inspires you.
Accessing cartoons on the Internet means you can keep right up to date
on topical issues and observe any new styles that are developing. Try
looking at cartoon sites where you do not understand the language and
observe the differing styles of drawing that may give you ideas for
improving your own cartoons.
142 GOING PROFESSIONAL

How to sell your cartoons

In many respects creating and drawing
cartoons is the enjoyable side of the Presenting your work
business—selling your work is much more of When visiting a potential client
a challenge. Being a freelance cartoonist can always take along a small
be a profitable career but you need to portfolio containing an
approach it in a professional manner to appropriate selection of your
maximise your chances of being successful. cartoon work—making sure it is
To give yourself the best possibility of only your very best work. Allow
selling your cartoons, study the market the client to browse through your
carefully before submitting anything. Only portfolio at their own pace and be
submit work to a publication once you have available to answer questions.
ascertained their specific requirements.
Knowing what they want and only sending
in cartoons that you know are suitable will well-known publications where the
greatly increase your chances of having your competition is fierce and chances of having
work accepted for publication. It is a waste work accepted are slim. To give yourself the
of your time and the publication’s if you best possible chance of success, start by
send in totally inappropriate and unsuitable sending your cartoons to smaller, niche
cartoons—for instance, cartoons of car market publications, of which there are
mechanics are not likely to be of any use or thousands. The pay may be much less to
interest to a gardening magazine. begin with but once you have got a
foothold in the commercial world you can
BEATING THE COMPETITION begin building a reputation from which you
There are many thousands of would-be can progress to larger publications.
cartoonists in the world all competing for
work. The biggest mistake they all make is to
start by submitting their work to the most
 HOW TO SELL YOUR CARTOONS 143

THINK OUTSIDE THE BOX

The market for cartoons is a lot wider than you
might think. Study any and all printed material
that comes your way, from grocery store
handouts to takeaway menus. You will find that
cartoons are used a lot and since somebody
has to provide them, why not you? Almost any
business or individual that markets to the public
will at some time or other need to enlist the
skills of an illustrator or cartoonist. Your
HOT TIP!
Always be aware
cartooning skills will always be in demand if
that there is a lot of
you take the time and effort to seek out those
money to be made
in need. Perhaps there is a page in your local
from cartoons so it
community newspaper that could be enlivened
literally pays you to
by some cartoons? Never be afraid of making
be business-like in
speculative approaches, suggesting your
your dealings with
cartoon ideas. Remember to emphasize the
publishers and editors.
benefits to the intended publication that your
Leave the funny stuff
cartoons could generate. Editors are not
in your cartoons!
interested in being philanthropic—they will
need to be convinced that what you have to
offer will benefit them, their publication, and
their readers.
144 GOING PROFESSIONAL

How to price your work

When you begin producing cartoons
professionally and for publication, you have
the right to expect to be paid for your
work. Never produce a cartoon and give it
away for free—unless it is beneficial to you
for publicity purposes, or for a charitable
cause. Being a cartoonist is a skilled art and
occupation in exactly the same way as a
writer, actor, or painter. As a professional
you expect to be paid for your services.
It is only when you begin to be paid
for your work that you leave the ranks of
the amateurs.

HOW MUCH?
There is no industry standard of pay rates Agree the fee
for cartoons so fees will differ from one Don’t worry about how much you
publication to another and from one will be paid for your cartoons
country to another. Try to find out what since with a sensible attitude and
particular magazines pay before submitting by producing good work you will
your work—write to the editor or find that in general all publishers
telephone them. If a publication you have will pay you a fair fee. The main
contacted has never previously printed a thing to remember is to have an
cartoon then you need to have a realistic agreed fee before you commence
figure in mind to quote. Remember it is not a cartoon assignment—then you
only the artwork the editor is buying—it is can stop worrying about "how
also the thinking time and creative mind much?" and just enjoy cartooning!
that produced the cartoon. As a general
rule you should aim for at least $35 per
hour per single cartoon. Time yourself to
see how long it takes you to produce an
original cartoon and then you will know publication. Be prepared to negotiate on
how much of your time you are expecting your fee. For example, if there is a likelihood
to be paid for. Be realistic, though, about of a regular cartoon spot for you then you
how much the publication you are can afford to accept smaller fees than you
submitting to can afford—a local, small- would for just a one-off cartoon appearing
circulation publication is unlikely to be able once only.
to afford as much as a national daily
 HOW TO PRICE YOUR WORK 145

Getting paid
A purchase order is a legal document laying out the rights and
duties of both publisher and commissioned artist. You will usually
be expected to sign a purchase order and return it with an invoice
when your work is complete. Just as it is important to present your
cartoon artwork professionally and on time so you must submit
your invoice for payment in a professional manner.

Description of work:
this is a precis of the
written brief.

Deliver by: the

required
deadline.

Conditions:
always check the
small print for
copyright terms.

Always
include your
Address your name and
invoice to the address.
person who
commissioned Include your
you, using their own reference
full name and the
and title. publisher’s.

Include the
Itemize the work you
agreed fee.
have supplied.
146 GOING PROFESSIONAL

How to take a brief

When you are commissioned to produce deadline, it is up to you to keep to the terms of
cartoon work (rather than submitting the agreement. You have no right to later
work on spec), you will be given a brief. demand more time or money because the
This is a guide from the editor/publisher work takes longer than you originally
describing what they require from you. estimated. If a real disaster prevents you from
This will tell you vital information, such as delivering on time, let the client know as soon
whether the cartoon should be in color or as you possibly can.
black and white, and the size of the page Always stick to the brief even if you have a
that the cartoon is required to fit into. You "better idea" halfway through the job; you are
should make sure that you understand commissioned to supply only what was agreed
everything in the brief before starting upon in the original brief.
work, because if you don’t you could Prove yourself able to meet deadlines and
spend hours creating a cartoon that is get the job done as required and publishers
ultimately useless and for which you will and editors will recognize you as a reliable
not be paid. person to deal with and with luck will offer
Once you have agreed to work to a you more commissions in the future.
specific brief for a specific fee and

Meeting your brief this is part of the job—but if the

• Provide the correct size or proportion client wants the artwork to be
of artwork as specified. Find out completely reworked, then try to
whether the editor wants it the same negotiate an extra fee for this.
size as the printed version or larger. • Deadlines should always be met. If
• Is the artwork required in black and you feel a proposed deadline is
white or in color? Black and white unrealistic, either negotiate an
artwork is for reproduction in line extension before beginning or
only, whereas in half-tones gray refuse the work.
washes can also be included. • When you send finished artwork to
• Are you allowed to include any the client ensure it is well packed
words or captions? If so, should they and insured against loss. Finished
be handwritten or set in type for artwork is usually presented with a
printing? mask, or window mount, bordering
• Are you clear on the fees to be paid the image and a protective cover
and are they acceptable? sheet of paper or clear acetate over
• Prior to sending in finished artwork the mask. Make sure the envelope is
the publisher may ask you to present card backed to prevent the artwork
rough sketches for approval. Minor being crushed or bent in the post.
amendments may be requested and
 HOW TO TAKE A BRIEF 147

From call to wall

A brief can Once briefed, you
come by can begin work.
phone, mail, The client may
email, or as want to see
the result roughs of how you
of a visit to envisage the job.
a client. When these have
been approved,
you can proceed.

Always be Once any changes

prepared to do have been taken
amendments in, submit the
and revisions, finished artwork
however, if by mail, email, or
the client in person.
requests them.

Then wait for the

Remember the final aspect of the job—seeing
check to arrive, and
your finished work published.
start pursuing the
next big job.
148 GOING PROFESSIONAL

Copyright
As a cartoonist you need to be
aware of the copyright law and
how it applies to and affects you
US copyright law
Although you do not need to register
and your original work. Actual
your copyright to have it protected, no
ideas or jokes are very difficult to
action for infringement of copyright can
copyright—until the point when
be undertaken in the US unless the
they are committed to a tangible
copyright of a work is registered.
format such as a drawing or
To register copyright, a copyright
piece of writing. Copying a work
notice should appear somewhere in the
already printed in a publication
published work. Within three months of
and attempting to pass it off as
publication of such work, the copyright
your own work is breaking the
owner or the owner of the exclusive
law and infringes the copyright
right of publication must deposit within
of the original creator.
the Copyright Office two complete
Copyright protection of your
copies of the work for the use of the
own work is also important
Library of Congress. Publication without
because it allows you to prevent
a notice or with an incorrect notice will
the unauthorized use of it by
not automatically invalidate the
others without your express
copyright or affect the ownership.
permission. If you do grant
However, any error or omission should
permission for another party to
be corrected as soon as possible to
use your work then you are
prevent the eventual loss of protection.
entitled to charge a fee for
Contact the US Copyright Office website
reproduction rights.
www.loc.gov/copyright for up-to-date
Whenever you create an
details, fees, and forms.
original cartoon you should get
into the habit of writing on the
back of the artwork or just
below it the copyright symbol ©
or the word ‘‘copyright’’
WHO HAS THE COPYRIGHT?
followed by your name and
Usually when you obtain a publishing agreement it
year of origination.
will be made clear to you who has the ownership of
your artwork and its copyright. Copyright will usually
be with the publisher; for advertising and book
illustration work, you may be asked to assign
copyright totally, to enable the image to be
published in any market your client enters without
further reference to you. Alternatively you may be
 COPYRIGHT 149

surrendering rights for specific uses only. Some publishers

may pay you a one-off fee but no royalty payments (a
payment for each book sold), while others may pay a small
fee and a higher percentage of royalty payments. Always
read through carefully any publishing contract before you
sign it so you understand fully what rights you are signing
away. Publishers are in business to make money, but will deal
with you honorably and will explain the contract to you, so
never be afraid to query any aspect you are unsure about.

Photocopying
Photocopying
printed matter
from magazines,
newspapers, and
books without
written permission
from the publisher is
illegal in many
countries. Certainly
photocopying
anything and
reproducing it in
other printed
material or
electronically
requires express
permission from
the copyright
holder(s).

“Duplicating yourself without official

permission again, Jenkins?”
150 GOING PROFESSIONAL

Filing and storing cartoons

When you first start out cartooning you was accepted or rejected and returned. This
never imagine that within a very short time helps you to keep an accurate check on
you will have so many that you need to where your cartoons are and who is and
use a filing and storing system. Twenty who is not buying them. It also prevents
cartoons soon become two hundred you from sending the same cartoons to a
and that is when you have to have a client twice!
methodical method of filing all of them, so Over time, your records will also show
that you can easily and quickly retrieve you which cartoons are selling and which
them when needed. A good filing system are not. Remember that cartoons that are
will save you time and worry, especially not selling can always be redrawn or the
when you are sending out cartoons to caption updated—sometimes only a very
many different publications at once. minor adjustment to a cartoon is all that’s
An effective filing system will help you to needed to turn it into a very saleable item.
keep track of work and the accompanying
letters that you send to clients. It is not
difficult. Every time you send artwork to a
prospective customer, make a copy of it
and file it with a unique reference number
or code. You also need to keep a record of
the date sent and to whom and whether it

Keep good records

A good filing system will
enable you to quickly locate
any cartoon you have drawn
and save time—nothing is
worse than not being able to
find that cartoon you drew
last week and want to work
on now!
 FILING AND STORING CARTOONS 151

Storing your work digitally

Once you’ve started scanning and creating images on the computer, you’ll
soon find that your hard disk will eventually run out of space. And the fuller
the hard disk, the greater the chances of it crashing when it is needed most.
Storing electronic artwork is much like storing any other digital file. The
main thing to remember is to back up your hard disk regularly. This is vitally
important! Without backing up, you could lose everything in one fell swoop.
Basically, backing up means copying your entire hard disk to some other
storage medium periodically. There are programs available to help you do
this, especially if you want to do cumulative backups (ie, backups that you
add to over time, whenever you’ve gathered enough new material, rather
than backing up the whole lot at once). External hard drives are another
excellent solution for backup—if you can afford one. You can also partition
them, and use different partitions for different areas of backup. If your main
hard disk is getting full, they’re also great to give you more usable space.
They’re certainly the fastest of all the options, but also the least portable.
Below are some other ways of storing digital files.

Zip disks
Zip disks are removable hard disks
that come in two sizes, 100MB and
250MB, and need a special drive to
read/write them. The disks are fairly
expensive unless you buy them in
bulk, but they are good for sending
files to publishers.

CD writers
The best all-around solution is a
CD writer. Using special writable
and re-writable CDs, you can fit
up to 700MB on a single disk,
allowing you to back up large
hard disks cheaply. You can get
CD writers that connect to Macs
and PCs externally or internally.
152 GOING PROFESSIONAL

Get professional
By presenting yourself in a professional text messages should be replied to as soon
manner you will always have much more as possible. Attending to these points will
chance of being successful in the define you as a reliable and good cartoonist
commercial world. Having an eye-catching in the eyes of editors and publishers and is
letterhead is essential and a great start but it very likely to bring you more commissions.
does not stop there—you also need to keep When you are established as a
to deadlines when you supply cartoon professional cartoonist your record-keeping
artwork, you need to know how to say ‘‘no’’ needs to be faultless. You need to know at
to undertaking work that you cannot a glance which cartoons you have sent to
complete because of other commitments, who and where, and whether they have
and you always need to be looking for work been sold or rejected (see Filing and storing
to keep busy. Your correspondence with cartoons, page 150). You will always get
editors and publishers needs to be concise rejection slips—they are part of the business
and answered promptly just as telephone or of being a cartoonist unfortunately—but
you do not want to make the mistake of
re-sending rejected cartoons back to the
same publisher, or worse, to an out-of-date
company address or contact name. Keep
meticulous records, including copies of
invoices, and keep accounts of income and
expenses as separate records. Always keep
copies of your cartoon work that is
published in magazines, newspapers, and
books since these will be part of your
portfolio to showcase your work to new
prospective clients.

Self-promotion
Professional-looking business
cards and letterheads are
essential. Make sure your
name and contact details are
prominent and clear.
 GET PROFESSIONAL 153

Pitching your work someone’s eye. For large-scale

To avoid wasting time, effort, and publications, check whether there
expense, follow a few simple is a specialist cartoon editor.
guidelines when making your • Make sure that the letter or email
business contacts and sending in you send with your submission is
work on spec: clear, concise, and easy to
• Make sure you have an up-to-date understand. Ask someone to
address for the publication or proofread it before sending—
agency you are applying to. Even spelling mistakes never create a
the largest companies can move good impression.
premises. Always telephone to • Follow up your submission with an
double-check an address if the email or a phone call a week or so
company is new to you. later. You can pretend to be
• Study the publication’s areas of checking that your work has
special interest and the way in arrived safely, but in reality, this is
which their cartoons are presented. an excellent way of jogging an
Make sure that both the style and editor’s memory.
content of the work you are
submitting will be appropriate to
the publication’s market.
• Send your work to a specific editor
or art director—this is much more
effective than a general submission.
When deciding who to target, keep
in mind that the editorial content of
your cartoons may be as important
as the drawing style in catching

Emailing files
Don’t try to send anything too large over the Internet using an email
program. The maximum is about 10MB at a time, and even this can be risky.
If you do have to send large files, ask your publisher if they have a File
Transfer Protocol server that you can use to upload.
154 GOING PROFESSIONAL

MARKETING YOUR WORK You can also use the Internet to search
GLOBALLY for publishers who may require the
What you are marketing as a cartoonist is a services of a cartoonist. If the publisher is
combination of ideas and drawings. These located in a country other than your own
skills are not limited to merely your own then you need to research their
country—they can be sold globally if you credentials. You can do this online or by
put in the time and effort. Increasing public searching in foreign trade directories at a
access to high technology communications business library to establish their status and
systems means that direct conversations with confirm addresses.
a potential client on the opposite side of the Humor is not the same all over the
world are both possible and inexpensive via world—what is amusing in the US may
email and the Internet. not be amusing in, say, China and vice
As a professional cartoonist you should try versa. Political cartoons in particular are
to establish your own website to showcase usually meant for a very specific audience
your work and to allow potential clients to and do not travel well. Some subject
contact you immediately. There are lots of matter could also be quite acceptable in
free ready-made website templates onto one country yet be offensive in another—
which you can place your cartoon work and so try to be aware of different social and
contact details. Having your own website cultural taboos to avoid submitting
means instant exposure globally for you as a inappropriate work to a foreign publisher
cartoonist, making you and your work who may well be insulted by it.
available to a much wider market.

Global humor
The fast-food burger bar
has become fairly
ubiquitous in all
countries and this
means that cartoons
about them travel well.
Here, the lackadaisical
response to the irate
customer is cynical
but amusing.
 GET PROFESSIONAL 155

Setting up a website
Step-by-step details of how to set up a website would take up a whole book,
but here are a few pointers to get you started.
• Free web space: There is loads to be had, so cast around and find a site
where you can post your files for nothing.
• Macromedia Flash and Dreamweaver: You can download 30-day trial
versions of these essential programs from the macromedia.com website.
You can also find all kinds of great tutorials online for these applications.
• Free Internet Service Provider: You don’t necessarily have to pay for your
ISP. A few ISPs do offer free internet connections. All you pay for is the
phone call. However, a better solution is to splash out for broadband. If
you are spending a lot of time online, having broadband means you do not
pay for the connections to the internet—and it is a lot quicker to use.

GIF and JPEG images

Remember to use the right file format for
your images. The most common formats
are GIF and JPEG. In general, GIFs
should only be used for images that have
mostly flat colors, because these will
compress well (and you can only use a
maximum of 256
colors anyway).
Images that
are more like
photographs,
because they Images for the web
have a wide When drawing for web pages,
range of tonal you can scan in drawings
values, should and touch them up in a paint
be saved as JPEGs. program, or create the whole
These show a larger thing from scratch in the paint
number of colors and program itself. The most
are excellent with tonal important factor is how long
values, but every time the page will take to load in
you save a JPEG, you the reader’s browser—if it
lose a little more picture is too large, most people
information, so only save images after won't bother.
you have finished working with them.
156 GOING PROFESSIONAL

Syndication
Syndication entails the distribution
of your cartoons to as wide an
audience as possible—a comic strip,
for example, may appear regularly in
several newspapers; not only that,
but it could also be syndicated
globally and appear in translation. If
your cartoon work is syndicated it
will generate more income than if it
was contracted to appear in just
one journal. There are syndication
agencies that will undertake the
selling and licensing of your
Money, money, money
Syndication for your cartoons means
cartoons but this is a very
much more money and on a regular
competitive market and is difficult to
basis. Your cartoons are reproduced in a
break into until you have become
number of publications, possibly
professionally established as a
nationwide or even globally, and you
cartoonist with a lot of published
are paid a fee
work to your name.
each time
The most successful comic strips
they appear
such as Garfield and Peanuts are
in print.
syndicated all over the world and
This could
have been for decades, providing a
provide a
high income for the cartoonists. An
regular
established syndicated cartoon can
source of
also result in spin-offs such as
revenue
merchandise, greeting cards, and
over many
soft toys—providing a further
years or
lucrative income.
even a
lifetime
if your cartoons
prove
popular.
 SYNDICATION 157

Try collaboration
If you want to create and syndicate a long-running comic strip it is essential
to understand that you will need to be able to constantly generate new ideas,
possibly over many years. A number of comic strips are produced by two
people, a cartoonist and a scriptwriter. This is a system that can work very
well. Not only is the workload shared, but another person can help by
providing a different viewpoint and a fresh perspective.
The comic strip below—“She’s got the house” by Fred Balser and Anne
Wehrley—is a good example of cartoonist and scriptwriter collaboration.
Their work together produces a lot of wry humor from contemporary
male–female relationships.
158 GOING PROFESSIONAL

The greeting cards market

One of the biggest opportunities Cute and funny cartoons
for professional cartoonists is the are always popular on
greeting cards industry. People greeting cards so there is
are spending and sending more lots of work for
and more greeting cards each cartoonists!
year, especially in the USA and UK.
There is a constant and growing
demand for cartoon designs for cards
and if you have the aptitude for this
genre of cartooning then you could
be very successful and establish a
great career.
The largest greeting card market in the
world is in the US, because there are so
many ‘‘sending-days,’’ much more than in
any other country. Greeting cards are sent
on Thanksgiving Day, Independence Day,
Halloween, Mother’s Day, and dozens more
besides, as well as the non-specific cards
with thoughts and good wishes that are
sent between friends. To break into this
specialized and lucrative area of cartooning
it is necessary to do thorough market
research before submitting your cartoon protect all parties from possible future
designs to publishers. It is worthwhile, accusations of theft of ideas or breach of
however, because there is a lot of cartoon copyright. Never send your original cartoon
work available and many greeting cards artwork, but always good-quality
publishers will accept freelance contributors. photocopies or computer laser printouts in
When submitting your cartoon designs to black and white or full color, as most
card publishers it is good practice to send a publishers will not be prepared to accept
preliminary letter first asking for their design responsibility for any loss of artwork.
briefs, current requirements, style, and fees As an example of how a greeting cards
paid. In your letter it is advisable to include a company operates it is worth noting that
concise résumé of yourself and any out of about 200 or more cartoonists each
published cartoon credits. You may be month who send in samples of their work,
required by some publishers to sign a only between one and four will be asked to
disclosure agreement, often before they will come in to the office for an appointment. It
look at your work—this is designed to is a very competitive market. A good idea to
 THE GREETING CARDS MARKET 159

get yourself noticed is to have some postcards

printed showing your very best cartoons—
commissioning directors are more likely to keep
these on their desk as an aide-memoiré to contact
you in the future.
As well as the major card companies, there are
much smaller niche markets for the cartoonist to
approach, such as local businesses who often send
out greeting cards at various times of the year.
Although they may usually buy off-the-shelf cards
you could offer them your original work to use
instead. A little prior research will give you ideas for
cartoon illustrations appropriate to each business.

A sample brief • Jokes about famous people

The following points are from a particularly anything that is
real brief for greeting cards and clearly detrimental or libelous
indicates what the industry is not acceptable, neither are
expects from cartoonists. depictions of well-known
• We are publishing a vast amount named brands that may be
of new products and need lots protected by copyright laws.
of new ideas and artwork on a • We prefer a cartoon style that
daily basis. is not too stylized. We use
• We publish cards that are contemporary images that the
contemporary and topical. sender and recipient can
• We do not wish to publish identify with. Human and
material that is sexist, animal cartoon characters
homophobic, or racist. We should look modern (in their
will not publish material clothing and accessories, for
referring to sensitive subjects example) and lots of color
such as child abuse, AIDS, should be used to liven up
incest, disabilities, or any the scenes.
illegal activity.
160 GOING PROFESSIONAL

E-CARDS
Cartoon-style e-cards are becoming increasingly
popular because they are so easy and quick to
use. Electronic cards can be sent via a computer
to any global destination without postage charges
and they arrive instantly. They can also make use
of new media to incorporate animation and
sound, which gives the recipient a visual and
aural experience that traditional paper cards
cannot match.
The good news for cartoonists is that e-cards
offer fantastic opportunities for originating,
designing, and creating artwork. The demand for
new, innovative e-card designs is ever increasing
so the cartoonist who can develop original ideas
and characters will always be in demand by
Get well
Sending a sick friend a
publishers. Although cartoon and e-cards can be
humorous cartoon greeting to
totally originated on the computer, using software
get well is an ideal subject for
such as Corel Draw and animated with
an e-card. Using lots of bright
Macromedia Flash, many more can be drawn
colors and fancy lettering help
using traditional materials such as pen and paper
to make the message lively.
and then scanned into the software to be
enhanced and animated in digital format.
Although e-cards are moving to the forefront of
the greeting card market,
the familiar and traditional
Animate it!
An e-card like
occasions still dominate,
this can be
such as birthdays,
animated to make
Christmas, and get well.
it really special—
However, these are
for instance, the
supplemented by
woman could
contemporary and
wave her arm
alternative greetings, so
backward and
there is still plenty of
forward as the
scope to be imaginative
words “Happy
in subject and content.
Birthday” float
into the sky.
 THE GREETINGS CARDS MARKET 161

Selling your cartoons to e-card companies

A quick search of the Internet will reveal how popular e-cards are and
websites offering them need a constant supply of ideas and artwork to
refresh their ranges. Look at eToon.com, for instance, who are always
looking for new e-card material.
To adopt a truly professional approach, you should create your own
personal website displaying your e-card designs. Then send any
company you wish to approach an email with your website address
inviting them to view your work.
Payment is usually clearly stated, although you will find it varies
tremendously with e-card companies so keep up to date with fees by
checking e-card websites regularly.

HOT TIP!
M-cards or Mobile cards are
digital greeting cards sent from
one cell phone to another in a
GIF file format. It only costs a
couple of dollars to send one
and they can be viewed on
almost any modern cell phone.
This form of greeting card has
the potential to become hugely
popular and promises to be
a good market for selling
cartoons. Look at the website of
DevilCards.com to see current
examples of m-cards. They will
also buy ideas for m-cards.
 CHAPTER FIVE

Expressions
file
164 EXPRESSIONS FILE

Anger
Facial expressions offer a
marvelous opportunity for a Female
cartoonist to really exaggerate
and distort the face well beyond
what is possible with a real 1. In the cartoon
human face. As a cartoonist world, facial
you can use simplification and features only need
distortion to express varying a few simple lines to
degrees of anger with great begin to transform this tranquil-
success and humor. looking female into…
In cartoons it is vital that the
facial expressions on the
characters you draw convey
exactly the feeling required to
make the cartoon effective. Get Male
the wrong expression on a face
and the humor of the cartoon
will not be clear. Facial 1. This male
expressions of anger in a character looks a
cartoon can range from slightly bit docile—so let’s
annoyed to absolutely furious! start to make him
angry!

Female
profile
1. Now try the
same techniques
on a female head
in profile. Right now
she is totally peaceful.
 ANGER 165

2. …a slightly 3. Increase the

angry mood. anger with lines
Notice the only around the eyes
lines added are the and thick dark lines
downward sloping eyebrows—an easy under the eyes. Notice the mouth with
and very effective method to give the clenched teeth showing—this female
face an instant angry look. is getting really angry now!

2. Simply add 3. Even steeper

downward sloping
sloping eyebrows eyebrows with
and he instantly looks lines around the eyes,
slightly annoyed with something a snarling mouth full of clenched
or someone. teeth—throw in some flying sweat
beads and hey-presto!

2. Put some 3. Now make

gritted teeth in, her mega mad
the sloping with bigger teeth,
downward eyebrows, flying sweat beads,
and a few action lines, and things and lines around the eye.
begin to hot up.
166 EXPRESSIONS FILE

Male
profile
1. See how 2. Use the
easily you can sloping eyebrow
make your cartoon technique, a
face angry. This man snarling wavy mouth
is quite calm and serene. full of teeth, then a few flying sweat
beads and action lines to indicate a
bit of shaking going on and this man
is suddenly very angry.

The front view of these heads show

the classic signs of anger. Notice the
massive, gritted teeth (always
exaggerate for the best effect) and
sweat beads.

Lots of Once you

bared teeth have
and black perfected
round the the methods
eyes all help of conveying
to get the look anger you can
of anger across. really distort the
face to get strong emotions showing.
Notice how an exclamation mark can
also be used to indicate anger.
 ANGER 167

HOT TIP!
Devices such as flying
3. Really sweat beads, action lines,
thicken the lines exclamation marks, and
under his eyes and downward sloping
alter the mouth shape eyebrows are the classic
to get him even more irritated. cartoon techniques for
When you’re a cartoonist all you indicating anger and they
need are a few strokes of your pen can be applied equally
to generate anger. well to cartoon animals.

The more Make the

you add hair on the
thick black head
lines around ragged and
the eyes, enlarge the
the more it nose. It’s all
increases the angry good fun and great
look of your cartoon face. for an angry look!
168 EXPRESSIONS FILE

Joy
One of the best ways of expressing
joy in the faces of cartoon characters Female
is by exaggerating the size of the
smile and the teeth. The eyes can be
drawn open and large or closed. 1. The
Experiment by adding flying sweat beginning
beads and action lines to emphasize signs of joy
the joyful emotions. If you look at real can be
people showing joy you will be able indicated by a
to notice the facial changes taking wide smile and a little dash
place as they laugh and smile—then directly underneath.
you can learn to exaggerate them.
For instance, look at how the face
creases around the eyes and mouth
when someone laughs and try
adding crease lines to your cartoon
faces. Study animated movies of
cartoon characters and see how they
portray joy. Use the same techniques
and you’ll soon have an array of Male
blissful cartoon characters.

1. This
male
cartoon
face has a
nice wide smile
that anyone would be
proud of—just a simple curve is
all it takes.
 JOY 169

2. The real 3. Complete

fun starts and utter joy is
when you shown by the
open the wide banana-
mouth and fill shaped mouth, now
it with teeth! Notice that the smile is with two rows of teeth showing and
lopsided and actually begins level crease lines either side. Try this on
with the eyes (impossible in real your own cartoon characters and
people but this is cartoon world so it make them full of joy.
works) and ends just under the nose.

2. The 3. Manic
same curve joy comes
for the complete
mouth is with an
present, but this enormous
time it has another curve below grin that is literally
it and some teeth have been ear-to-ear with perfect
added to bring increased joy to teeth showing.
this man’s face.
170 EXPRESSIONS FILE

Sorrow
Cartoonists can condense a
whole lot of information into a
cartoon using just a few lines and
marks. Those few lines can instill
incredible emotion and none
more so than those that make a The main
cartoon character look sorrowful. ingredients
This is a powerful emotion, but it of sorrow in
can also be made amusing in the cartoon terms
context of a cartoon. are the half-closed
eyelids, the slanting downward
eyebrows, and of course the flying
tears, which are just the same as the
flying sweat beads.

In this cartoon, notice the

effect of the shape of the open
mouth—with no teeth showing.
 SORROW 171

Float the Adding

words ‘‘Boo- just one
Hoo’’ above teardrop
the character’s under the
head in traditional eye is a very
cartoon style just to make sure effective method of showing grief in
everyone knows the sorrow of the a cartoon character. Also notice the
situation. Black under the eyes is horizontal lines under the eyes.
another device that intensifies sorrow.

The eyes are both slanting, as Put the word ‘‘Sob’’ alongside
is the mouth, in this variation. the head just to make sure
your readers empathize with
this cartoon character.
172 EXPRESSIONS FILE

Boredom
Although boredom is quite a
negative and dull emotion, in
cartooning terms it can be
expressed quite vividly. Use This
these techniques to convey character is
good solid boredom. so bored
that his
tongue is
hanging out.
The cartoon device of a black cloud
floating above the head indicates a
gloomy or bored state of mind. The
lidded eyes and black lines on the
cheeks all add to the boredom factor.

Drooping
mouth, lines
under the eyes,
and that vacant
stare tell you
that this character
is bored!

Notice here
how the mouth
is just a line,
slightly down-
turned at the
end, and how the
lines under the eyes
suggest that this character is
really fed-up.
 BOREDOM 173

Multiple Increase
lines both the lines
below and above
above the and
eyes create below the
a tired and eyes and
bored look, supplemented by drop a dot below the mouth—
the short horizontal line for this man is really bored.
the mouth.

A cartoon profile means that you

can concentrate on just one eye
to create a bored expression. A
heavy eyelid combined with lines
under the eye and a neutral,
slightly downward line for the mouth
creates a perfectly bored character.

Boredom in Capture
female faces the classic
can be shown cartoon
by heavily- “bored look” by
lidded eyes drawing lidded eyes and half-
and pouting pupils, along with a couple of
lips. Notice how lines below—simple! Notice the
moving the pupils to shape of the eyes is elliptical,
the corner of the eye emphasizes the which also helps to show
bored look. boredom in the face.
174 EXPRESSIONS FILE

Fear and horror

Fear and horror are closely-linked
emotions and in the cartoon face
Open up the
you can really make good use
mouth and let
of a number of devices to create
the big tongue
quivering, shaking, and traumatised
hang out from
characters—great fun! The cartoon
the center—this
tongue comes into its own with
is a great cartoon
fear and horror as do clenched
device to indicate fear.
teeth and sweat beads. Throw in
Notice the shape of the open mouth.
some action lines to make the face
Plenty of sweat beads flying off the
tremble and you are all ready to
face also help increase the fear factor.
frighten the life out of them!
Practice your skills by drawing a
bland cartoon face and then
redrawing it using some of the
techniques shown here to show Words can be
fear and horror. very effectively
employed in
cartoons to
amplify emotions
—in this cartoon,
placing ‘‘AHHH’’ near
the character’s mouth helps to make
the scene more intense and amusing.

The classic
clenched teeth
look—notice
how the lower
lip appears to be
being sucked into
the mouth. Eyebrows
very solid and angled upward help
the overall effect so much that you
almost feel sorry for him.
 FEAR AND HORROR 175

Notice in this HOT TIP!

cartoon that Flying sweat beads are
the tongue is great fun to use but
coming from the always make sure you
bottom of the keep them off the cartoon
mouth to give a face itself—otherwise
slightly different effect. The upper lip it will look like your
is also drawn using straight lines. character has contracted
Also note the lines above the eyes. some horrible disease
like the unfortunate man
shown below!

This female
character has
hair waving in
fright and
action lines
radiating from her
face to indicate shock
and surprise—all excellent tricks
of the cartoonist to create a shock-
horror look.

A front view of
the cartoon
head showing
an elliptical-
shaped mouth
with tongue and
upper teeth visible.
176 EXPRESSIONS FILE

Surprise
Cartoon characters are constantly
getting all kinds of surprises in
comic strips as well as in single-
Massive eyes
panel cartoons so you must be
and a tiny
able to draw this expression
open mouth
regularly and effectively to make
are the
your cartoons enjoyable. Bear in
components
mind that very often you will be
that make this
able to include the whole body of
woman look
your cartoon character and this
surprised.
gives you the opportunity to
exaggerate the level of surprise
even more. As you may well guess
in the cartoon surprise face there
are lots of action lines.

A front view
of the cartoon
head with
just a small
circle for the
mouth to give
the surprised look.
Notice also the pupils of the eyes are
close together with eyebrows raised.

You can almost

hear the gasp
from this
cartoon face
as he is
surprised—the
use of the
exclamation mark
accentuates the action.
 SURPRISE 177

From the side Gaping

view, you can mouth and
see the mouth hair
is open but standing
with no teeth on end—
showing. Action classic
lines shake cartoon touches
the head. give this character a
big surprise.

Another An
example of the unexpected
small circle for mild
a mouth. This surprise
time the lines here—notice
are omitted from the action
under the eyes. lines to indicate
he has turned his head.

A front view Another

with just a example of
small circle for the small
the mouth to circle for a
give a mouth.
surprised look. This time
The pupils of the the lines are
eyes are also close omitted from
together with eyebrows raised. under the eyes.
178 EXPRESSIONS FILE

Thinking
The eyelids play a major role in
getting characters to look as though
Creating a
they are thinking. The action lines
thinking head
tend to take a back seat but the line
is easy enough
of the mouth becomes important in
when you
getting just the right expression of
realize the
deep thought or just pondering a
importance of the
second or two. Capturing a thinking
eyelids—half closed
look in cartoon terms doesn’t need
or almost completely shut they
to be difficult if you study the
indicate thinking.
methods shown here. Remember
that all cartoon facial expressions
are simply a form of visual
shorthand that the viewer interprets
almost subconsciously. Really pout
those lips and
give the eye a
grafty look to
create a woman
who is really
pondering over
something.

Devices can be
used to tell us
what the
character is
thinking about—
the heart floating
above the man’s head and his
eyelids at a sloping angle plus the
sloping eyebrows mean that love
is on his mind.
 THINKING 179

Downward Drawing the

sloping cartoon head
eyelids and turned away
one up- slightly allows
raised you to draw the
eyebrow eyelids almost
suggest this closed. The short and
character is deep in thought. slightly downturned mouth line adds to
the suggestion of thought.

A sideways Try raising the

glance eyebrows slightly
with one to give a more
eyebrow quizzical look.
raised is Using small pupils
another and a closed mouth
surefire method further suggests
of suggesting thought. deep thought.

Using the This character, with

cartoon one eye wide
device of an open, is much
exclamation more likely to be
mark above thinking actively
or to the side about what is going
of the head on near him.
indicates a sudden thought,
perhaps an alarming one.
180 EXPRESSIONS FILE

Devious and sly

When you want your cartoon
characters to get up to all kinds of
A nasty sly
tricks and adventures you need to
look
be able to give them the occasional
requires
sly look and you can do this easily
gritted
with a few tricks.
teeth in an
Once again the eye shapes and
almost
eyebrows to a large extent dictate
upside down
the mood in cartoon characters—
pyramid shape
gritted teeth can also play a role in
and down slanted eyebrows. Notice
creating a sly expression.
the extension lines to the mouth going
up to the cheek—these are an
important feature in the sly look.

The side views of the head

demonstrate how the shape of the
mouth alters the sly look from
calculating in the first cartoon to
amusingly sly in the second and
third cartoons.

Good use of
angular
lines in this
face gives
it a hard
look. Notice
no teeth are
shown. The eye
shape is different also.
 DEVIOUS AND SLY 181

Here the A variation

main point on the sly
to notice look this
is the time with
narrowed gritted teeth
slanted eyes on show.
with the Also notice the
pupils in the extra line above
corners to give a furtive the eye making an eyelid effect for
and sly look to the character. more slyness!

Two particularly sly and

devious faces sharing
the common cartoon
attributes of slanting
eyebrows and the same
shaped mouth but one has
lines under the eyes adding a
touch of venom.
182 EXPRESSIONS FILE

Stupidity
Depicting stupidity in a cartoon
character allows you to use the full
range of devices and techniques.
Cartoons make a lot of people
laugh at the stupid characters and
the even more stupid antics they get
up to so it is your job as a cartoonist
to recognize the elements of
linework that help make your
characters look stupid.

Now here’s an archetypal stupid-

looking cartoon character—notice
the dopey-looking eye due to the
eyelid being half closed and the
solitary front tooth, both ideal in
the cartoon world for creating a
hapless chap.

A dim- Using a tiny

looking circle for a
character is mouth combined
achieved by drawing lines with double sloping eyebrows
below the eyes and giving and half-closed eyes give this
him pursed lips. guy non-movie star looks!
 STUPIDITY 183

Here’s another approach—look at Using the same techniques as in

how the eyes share a common the previous cartoon this has the
eyelid that is half-closed to make addition of floating bubbles
the face look dopey. The crooked above the character’s head that
mouth line and sloping eyebrows in cartoon terms indicates he is a
plus the lines immediately under bit stupid.
the eyes all contribute to this
unfortunate character.

Placing an The question

exclamation mark mark above the
above the head helps head is another
to increase the look of variation on giving a cartoon
puzzlement in a character. character a sense of confusion.
184

Glossary
Anthropomorphism Cliché Fiber-tip pen
The attribution of human Something that has become These have fine points made
characteristics to non- overly familiar or of a synthetic material and
human things. commonplace. are available in a range of
point sizes and colors. The
Artboard CMYK ink may be water-soluble,
Heavyweight paper used Cyan, magenta, yellow, and in which case it can be
for drawing and painting. black—the inks used in four- blended with a brush. The
Bristol board is the best color printing. more permanent inks tend
known type of artboard. to be alcohol based.
Color wheel
Art(work) A circular diagram of the Flat color
Any illustrative matter color spectrum used to show An area of color in which
prepared for reproduction, the relationships between there are no modulations
such as illustrations. the colors. of tone.

Bézier curve Copyright Foreshortening

In object-oriented The right of the creator of an A perspective technique
drawing applications, a original work to control the used to create the illusion of
mathematically defined use of that work. Ownership an object receding into the
curve between two points of copyright does not always background (or advancing
(Bézier points). mean ownership of the work into the foreground).
itself, nor does it necessarily
Bitmap cover worldwide rights. Fountain pen
A text character or graphic A pen that is supplied
image comprised of dots or Devices with ink from a reservoir
pixels (picture elements) A set of conventions used in its barrel.
in a grid. Together, these by cartoonists that act to
pixels—which can be black, represent actions, noises, Freehand
white, or colored— make up and states of mind. They A drawing done without
the image. make things visible that are the help of any special
not physically present. equipment for accurately
Body language creating straight lines,
The gestures, movements, Dip pen circles, symbols, etc.
poses, and expressions A pen, typically with a
that a person uses to replaceable split sheet GIF
communicate. metal point, that must be Stands for Graphic
repeatedly dipped into an Interchange Format. A
Caricature external inkwell while computer image format
Ludicrous exaggeration of writing or drawing. used for images with less
the characteristic features than 256 colors. Good for
of a subject. Dots per inch (dpi) bold graphics.
The unit of measurement
Cartoon that represents the Graphics tablet
1. A drawing intended as resolution of a device such An input device that allows
satire, caricature, or humor; as a printer, imagesetter, or you to draw or write using a
2. A simplistic, unrealistic monitor. The higher the dpi, pen-like instrument as if
portrayal. the better the quality. you’re working on paper.
 GLOSSARY 185

gsm (grams per square Line work Proportion

meter) Art work without shading or The harmonious relation of
A unit of measurement color added. parts to each other or to
indicating the substance of the whole.
paper on the basis of its Manga
weight, regardless of the Refers to a variety of styles Props
sheet size. and influences from The visual elements of a
Japanese comics. scene, apart from the setting
Highlight and the characters. Usually
The brightest part of the Outline objects and items used by
subject. A line that marks the outer characters.
limits of an object or figure.
Horizon line RGB
The horizon line in Palette Red, green, blue—additive
perspective drawing is a 1. A dish or tray on which colors.
horizontal line across the an artist lays out paint for
picture. It is always at mixing or thinning. May be Satire
eye level—its placement made from wood, metal, A work in which human
determines where we seem plastic, or ceramic. vice or folly is attacked
to be looking from, a high 2. Also used to describe the through irony, derision, or
place or close to the ground. range of colors a painter wit. Satire is used to reveal
uses in a particular work. flaws in human behavior or
Inking institutions with an intent
Tracing over the rough Penciling to reform.
pencil lines of a cartoon The step of roughing out a
with ink. cartoon or comic to ensure Scanner
the correct placement of An electronic device that
JPEG drawings such as figures converts artwork and
Stands for Joint and backgrounds. transparencies into digital
Photographic Experts form so that they can be
Group. A computer image Perspective manipulated by a computer.
format used for images with Any graphic system that
lots of colors or with a creates the impression of Shading
continuous tone. depth and three dimensions Graded markings that
on a flat surface. indicate areas of light or
Lettering shade in a painting or
The drawing of letters to Pixels drawing.
create text such as dialogue Any of the small, discrete
and captions. elements that together Sketch
constitute an image on A rough drawing, often
Light box a computer or digital made as a preliminary
A glass-topped box with a video screen. study.
powerful light source. Used
by cartoonists to trace Process white
artwork and inking. An opaque white gouache
used for correcting and
masking artwork that is
intended for reproduction.
186

Speech bubble TIFF

A (usually) circular shape Stands for Tagged Image
used in cartoon drawing to File Format—a computer
indicate speech. Dialogue is image format used by most
written within the shape page layout and imaging
and a pointer designates programs for pictures; the
the speaker. files are easily compressed.

Speed lines Two-dimensional (2-D)

A device used to indicate A flat image, lacking in
movement. depth.

Stereotype Vector graphics

A standard mental picture A computer image made up
that is held in common by of curves as created by
members of a group and drawing programs that use
that represents an the PostScript language.
oversimplified opinion or
prejudiced attitude. Viewpoint
The direction from which
Stick figure you look at something.
A drawing showing the
head of a human being or Wash
animal as a circle and all A method of creating tonal
other parts as straight lines. values in an image using
watered down ink to create
Technical pen gray tones.
These pens generally utilize
an ink-flow-regulating wire
within a tubular nib,
enabling them to produce
precise, consistent ink lines
without the application of
pressure.

Thumbnails
Small rough layouts of
cartoons used by some
artists as a guide for the
actual artwork.

Three-dimensional
(3-D)
Giving the illusion of depth
or varying distances.
 187

Resources
Cartoon Organizations Email: cartooncentre@ Further Reading
freeuk.com
Anonima Fumetti Web: www.cartooncentre. Anatomy for Fantasy Artists,
(Italian cartoonists’ com Glen Fabry, Ben Cormack
society) (Barron’s Educational
Centro Nazionale del Series, 2005)
Fumetto The Federation of
C.P. 3242 Cartoonists’ The Animator's Survival Kit,
Ufficio Postale Marsigli Organizations Richard Williams (Faber &
Torino Reuchlinstrasse 17 A Faber, 2002)
Italy 70178 Stuttgart
Tel: +39 011 433 1465 Germany The Art of Making Comic
Email: segreteria@anonima Tel: +49 711 5283371 Books, Michael Morgan
fumetti.org Email: mpohle.cartoons@ Pellowski, Howard Bender
Web: www.anonima t-online.de (First Avenue Editions, 1995)
fumetti.org Web: www.fecoweb.org
Cartooning for the Beginner,
Christopher Hart (Watson-
Association of Graphic Artists Guild Guptill Publications, 2000)
American Editorial 90 John Street
Cartoonists (AAEC) Suite 403 Cartooning with The
PO Box 37669 New York Simpsons, Matt Groening,
Raleigh NY 10038-3202 Bill Morrison (Harper
NC 27627 Tel: +1 212 719 3400 Paperbacks, 1993)
U.S.A. Email: admin@gag.org
Tel: +1 919 329 8129 Web: www.gag.org The Complete Cartooning
Web: http://editorial Course: Principles,
cartoonists.com/index.cfm Practices, Techniques, Brad
Japanese Cartoonists’ Brooks, Tim Pilcher, Steve
Association Edgell (Barron’s Educational
Australian I – 4 – 6 Ginza Series, 2001)
Cartoonists’ Chuo–Ku
Association Tokyo 104 Drawing and Cartooning
PO Box 318 Japan 1,001 Figures in Action, Dick
Strawberry Fields Web: www.nihonmanga Gautier (Perigee, 1994)
NSW 2016 kakyokai.or.jp
Australia Drawing and Cartooning for
Tel: +61 1300 658 581 Laughs, Jack Hamm
Web: www.abwac.org.au La Maison des Auteurs (Perigee, 1990)
de Bande Dessinée
(French cartoonists’ Duane Barnhart’s
The Cartoon Art Trust society) Cartooning Basics: Creating
c/o Wintle Ltd Web: www.mdabd.com the Characters, Duane and
2 New Burlington Place Angie Barnhart (Cartoon
London W1S 2HP Connections Press, 1997)
United Kingdom
Tel: +44 (20) 7287 2867
188

Index
A backing up 151 children 62–63
acrylic paint 26–27 balloons 92 clichés 138
squeeze carefully 26 Bézier curves 31 clothing 72–73, 75
types of 26 bitmap (raster) images 31 color 90–91
uses of 27 black outlines 36 coloring on a computer
anger (facial expression) block heads 45 advantages 32
164–167 boredom (facial expression) using color 34–35
animals 172–173 using Illustrator 33
from sketch to finished brief using Painter 33
cartoon 77 defined 146 using Photoshop 32
get them moving 78–79 from call to wall 147 comic strips
pert and alert 76 greeting cards market 159 animal star 126
sit, table, sit 76 meeting your brief 146 the breakdown 125
slippery characters 79 Bristol board 29 frame by frame 125
animation, cartooning for broadband 155 silhouettes 127
computer animation 117 brush and ink 37 time and place 126
e-cards 160 brushes 19, 24 topical comic strips 124
flip-book 115 acrylic 19 use of frames 126
pose-planning animation Asian 24 comparing materials 36–37
114, 116–117 sable 19, 24 composition 94–95
straight-ahead animation business contacts 153 computers
114, 115 animation 117
traditional characters 114 C caricatures 133
anime 118 captionless cartoon changing the size 30
anthropomorphism cynical humor 110 coloring on 32–35
almost human 80–81 global humor 109 drawing freehand 30
appliances 84 hidden joke 108 manga 122
flying friends 85 out of place 111 programs 30, 32–35
food for thought 85 placing items out of scanning: bitmap and
human into animal 82–83 context 111 vector images 31
simplification 80–81 using text within the storing your work
art boards 29 cartoon 110 digitally 151
visual puns 108 copyright
B caricatures photocopying 149
backgrounds checkpoints 133 US copyright law 148
background props 89 expressive 132 who has the copyright?
blank canvas 87 how to get started 132 148–149
building a background using computers 133 cutting mat 13
86–87 cartoon ideas file
classic setting 88 quick reference 140–141 D
conveying mood 88 using the Internet for deadlines 152
familiar background 88 inspiration 141 desk 15
making choices 86 cartoonists 8–9 devious and sly (facial
seasonal variations 88 cartridge paper 28 expression) 180–181
space 88 CD writers 151 digital drawing tools 34
stereotypes 87 chairs 15 distortions 60, 98–99, 137
time and space 86 character heads 44–45 drafting tape 13
 INDEX 189

drama 99 filing and storing cartoons greeting cards

drawing board 13, 15 keep good records 150 best wishes 130
drawing tablet 30 storing your work birthday greetings 130
Dreamweaver 155 digitally 151 cards for all occasions 131
drunks, drunkenness 71 flip-book 115 Christmas time 131
dry glue stick 13 focus, creating e-cards 160–161
focusing devices 97 sample brief 159
E method of focusing 96 simple and effective 131
e-cards 160–161 monochrome focus 96 growing older 64–65
emailing files 153 foreshortening
erasers 16, 17 distortion 98–99 H
exaggeration 60–61, 105, 136 drama 99 hands 58–59
expressions file foreshortening the hard drives, external 151
anger 164–167 figure 98 humor
boredom 172–173 global 154
devious and sly 180–181 G learning from other
fear and horror 174–175 GIF images 155, 161 cartoonists 139
joy 168–169 going professional observing, recording 139
sorrow 170–171 the cartoon ideas file unexpected 138
stupidity 182–183 140–141
surprise 176–177 copyright 148–149 I
thinking 178–179 filing and storing cartoons ideas, generating
150–151 distorting stock scenarios
F get professional 152–155 137
face the greeting cards market exaggerating real life 136
at a glance 47 158–161 Illustrator 31, 33
block heads 45 how to generate ideas inks
character heads 44–45 136–137 types of ink 18
children 62 how to price your work using brushes 19
expressive lines 44 144–145 using pens 18
stretch and squash 46 how to sell your cartoons Internet 141, 154
facial expressions 50–51 142–143 Internet Service Provider
see also expressions file how to take a brief (ISP) 155
fear/alarm 69 146–147 invoices 145, 152
fear and horror (facial syndication 156–157
expression) 174–175 think funny 138–139 J
fees 144 gouache joy (facial expression)
feet 58, 59 properties 22–23 168–169
fights 69 using 22 JPEG images 155
figure-drawing vivid contrast 23
drama queen 57 why use gouache? 22 L
heavyweight 56 graphic novel lamp, angled 15
shape 55 page layout 128 layout paper 29
speed demon 56 shots 129 letterheads 152
step by step 54 use of color 128 lettering 92, 93
stereotypes 55 graphite sticks 16, 17 light box 12, 15
file formats 155
190 INDEX

lines pastel 17 Q
action 66, 68 ungraded 17 quick reference 140–141
black outlines 36 pens 18
expressive 44 ballpoint 21 R
livening up characters 67 dip 18 raindrops 67
fiber-tip 20–21, 36 records 150, 152
M fountain 18 rejection slips 152
M-cards (mobile cards) 161 technical 18
Macromedia Flash 155 perspective S
manga one-point 100–101 scalpels 12
comic effects 121 points of view 100 scanning 31, 151
creating manga artwork unusual perspective 101 self-promotion 152
digitally 122 photocopying 149 selling your cartoons
from concept to Photoshop 31, 32, 35 beating the competition
completion 122–123 Photoshop Elements 34 142
hyperstylization 121 pitching your work 153 presenting your work
non-human characters pixels 31 142–143
121 points of view 100 think outside the box
robots 120 political cartoon 154 142–143
shoujo manga 120 global themes 112 sending in work on spec 153
shounen manga 120 personification 112 set square 13
stylisation in manga 118 social commentary 113 shadows 25
teenagers 119 a surprising twist 113 shoujo manga 120
visual shorthand 118–119 portfolio 152 shounen manga 120
web manga comics 123 pose-planning animation simplifications 60
monochrome printing 90 114, 116 single-panel cartoon
mood devices 71 pricing your work clichés 104
movement 66, 68, 78–79 agree the fee 144 exaggerating the familiar
muscular structure 52 getting paid 145 105
how much? 144 instant placement 105
P Process White 13 making the familiar
Painter 33, 35 professional behaviour absurd 106
Painter Classic 34 emailing files 153 puns 105
papers global humor 154 recognizable situations
art boards 29 marketing your work 106
cartridge paper 28 globally 154 setting the scene 107
layout, tracing paper 29 pitching your work 153 surreal touches 107
photocopying paper 28 self-promotion 152 takeaway humor 107
size of 28 setting up a website using familiar stories 106
weight of 28 154, 155 skeletal structure 52
parallel motion device 15 profiles sketching from life
partitions, hard drive 151 age 48 drawing in a park 42
pen and ink 37 children 62 fast sketching 40
pencils female 49 sketch everywhere 41
colored 16, 37 hair 48 sketchbook choices 40
graphite 16, 17 puns 105 studies of movement 43
mechanical 17 purchase order 145 sketchpads 40, 41
 INDEX 191

sorrow (facial expression) states of mind 66–67 W

170–171 suggesting movement 68 washes
sound-effect lettering 93 types of cartoon ink 24
sounds 70 captionless cartoon watercolor 24–25
speed cartooning 59 108–111 wet-in-wet 25
sponge 19 caricatures 132–133 watercolor 37
squirrel mop 24 cartooning for animation applying as a wash 25
states of mind 66–67 114–117 brushes 24
stereotyping 74–75, 104, 114 comic strips 124–127 ink wash 24
stick figures 52–53 graphic novel 128–129 paint choices 24
stippling 37 greeting cards 130–131 watercolor wash 24
storage 14, 15 manga 118–123 web pages 155
see also filing and storing political cartoon 112–113, web space, free 155
cartoons 154 website 154, 155
straight-ahead animation single-panel cartoon work table 15
114, 115 104–107 working space 14–15
stupidity (facial expression)
182–183 V Z
stylus 30 vector images 31 zip disks 151
surprise (facial expression) visual shorthand 105
176–177
syndication
regular payments 156
try collaboration 157

T
T-square 13
thinking (facial expression)
178–179
tools
cutting mat 13
drawing board 13
light box 12
scalpels 12
miscellaneous items 13
tricks of the trade
adding motion 66
alarm 69
drunks, drunkenness 71
fights 69
liven up characters 67
mood devices 71
precarious position 69
raindrops 67
sounds 70
192

Credits
Quarto would like to thank the following artists for
supplying work reproduced in this book:

Nick Abadzis, Julie Anderson, Roger Armstrong,

Rachel Ball, Tony Banks, Preston Blair,
Sian Burston, Joanna Cameron, Paul Campion,
Janie Coath, Gary Cross, Nina Davies, Selina Dean,
Jane Dennis, Bojan M! Djukic, Simon Ellinas,
Carl Flint, Russell Harvey, Bill Hewison, Jack Keely,
Dave Kemp, David Lewis, Peter Maddocks,
Hassan Moustafa, Ed Nofziger, Woodrow Phoenix,
Dan Ruscito, Paul “Mooncat” Schroeder,
Hayden Scott-Baron, Ian Sidaway, Catherine Slade,
Ross Thomson, Anne Tout, Carson Van Osten,
Laura Watton, Anne Wehrley and Steve Whitaker.

All other illustrations and photographs are the

copyright of Quarto Publishing plc. While every
effort has been made to credit contributors,
Quarto would like to apologize should there have
been any omissions or errors—and would be
pleased to make the appropriate correction for
future editions of the book.
A QUARTO BOOK

Published in 2006 by
CHARTWELL BOOKS, INC.
a division of BOOK SALES, INC.
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New York, New York 10001, USA

Reprinted 2009, 2010

Copyright © 2006, 2011 Quarto Inc.

All rights reserved. No part of this

publication may be reproduced,
stored in a retrieval system, or
transmitted in any form or by any
means, electronic, mechanical,
photocopying, recording or
otherwise, without the permission
of the copyright holder.
ISBN-13: 978-0-7858-2085-7
ISBN-10: 0-7858-2085-X
QUAR.CARB
Digital edition: 978-1-61058-353-4
Softcover edition: 978-0-7858-2085-7
This book was designed
and produced by
Quarto Publishing plc
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Designer Karin Skånberg
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Publisher Paul Carslake

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