ffolkes
Draw
Cartoons
Series editors: David and Brenda Herbert
A & C Black • London
Contents Making a start 4
What to draw with 8
What to draw on 10
Line and watercolour 11
Perspective 12
Composition 13
Essential lines 14
The right proportions 16
A cartoon step by step 18
Saying something personal 20
Simplicity and impact 22
Variety 24
Situations 30
Action 32
Caricature 34
A true likeness 38
Tooth and claw 40
Different subjects, different media 44
Finished works 46
Envoi 48
Making a Drawing cartoons can be either a hobby or a profession, to
amuse your friends or try to make an editor laugh. The second is
start very difficult. The person you are most likely to amuse is
yourself (which is very satisfying).
To be a cartoonist requires two simple things, neither of which
are really simple. You have to think funny and you have to draw
in a way that the reader can understand. The thinking funny is
something that can't be taught, but this book may help you to
get your ideas on paper.
It will be hard work as, unlike many other titles in this series
which specialize in a particular subject such as cats, children or
trees, you will have to learn to draw everything - possibly even
including armadillos! (see page 40).
The dreaded piece of blank paper
4
A sketchbook is as necessary to the aspiring artist as was his
mother's knee. Draw everything in sight - deckchairs (which are
particularly tricky), watering cans, wheelbarrows, sofas, the cat
- and keep your sketchbooks for future reference. It may be that
none of these things will ever appear in a cartoon but you are
training your hand and eye and the only way to learn how to
draw is to draw as much and as often as possible (see next page).
Every object around you has its unique shape and colour and the
more you know and can express about them the better.
Be as bold as you dare. It's your piece of paper, and you can do
what you like with it. Experiment with the biggest piece of paper
and the boldest, softest piece of chalk or crayon you can find,
filling the paper with lines - scribbles, funny faces, lettering,
anything - to get a feeling of freedom. Even if you think you
have a gift for tiny delicate drawings with a fine pen or pencil,
this is worth trying as a loosening-up exercise. The results may
surprise you.
Quite often you will find a drawing isn't working out. Maybe the
characters are in the wrong positions or on the wrong scale.
Much better to scrap it and start again. If your second try is even
worse, go and walk the dog or watch television and try again
later.
Cartooning has to be fun. A lot of people will tell you that comic
artists are very serious people and this, only too often, is true.
5
6
What to To find the right materials to suit your drawing - paper, ink, nib
etc. - takes time, just as the business of learning to draw takes
draw with time. It is a good idea to try several different media to find which
you prefer.
Pencils are graded according to hardness, from 9H (the hard-
est, and only appropriate for stabbing yourself or your teacher to
death) to H; then HB; then from B up to 6B (the softest). For most
purposes, a soft pencil (HB or softer) is best. If you keep it sharp,
it will draw as fine a line as a hard pencil but with less pressure,
which makes it easier to control.
Charcoal (which is very soft) is excellent for large, bold sketches,
but not for detail. If you use it, beware of accidental smudging. A
drawing can even be dusted or rubbed off the paper altogether.
To prevent this, spray with fixative. Charcoal pencils are also
useful.
charcoal pencil
Wax crayons (also soft) are not easily smudged or erased. You
can scrape a line away from a drawing on good quality paper, or
partly scrape a drawing to get special effects.
Oil pastels, marker pencils, chinagraph and lithographic chalk
are similar to wax crayons.
Conté crayons, wood-cased or in solid sticks, are available in
various degrees of hardness, and in several colours. The cased
crayons are easy to sharpen, but the solid sticks are more fun -
you can use the side of the stick for large areas of tone. Conté is
harder than charcoal, but it is also easy to smudge.
carbon pencil Pens vary as much as pencils or crayons. Ink has a quality of its
own, but of course it cannot be erased. Nibs don't last very long.
They soon become blunt and lose their delicacy and attractive-
ness.
Special artists’ pens, such as Gillott 303 and Gillott 404 allow you
a varied line, according to the angle at which you hold them and
the pressure you use. The Gillot 659 is a very popular crowquill
pen.
Reed, bamboo and quill pens are good for bold lines and you can
make the nib end narrower or wider with the help of a sharp
pen and ink knife or razor blade. This kind of pen has to be dipped frequently
into the ink.
Fountain pens have a softer touch than dip-in pens, and many
artists prefer them. The portability of the fountain pen makes it a
very useful sketching tool.
Special fountain pens, such as Rapidograph and Rotring, control
the flow of ink by means of a needle valve in a fine tube (the nib).
Nibs are available in several grades of fineness and are inter-
brush handle dipped in ink changeable. The line they produce is of even thickness, but on
coarse paper you can draw an interesting broken line similar to
that of a crayon. These pens have to be held at a right-angle to
fibre pen - broad the paper, which is a disadvantage.
Inks also vary. Waterproof Indian ink quickly clogs the pen.
Pelikan Fount India, which is nearly as black, flows more
smoothly and does not leave a varnishy deposit on the pen.
Ordinary fountain-pen or writing inks (black, blue, green or
brown) are less opaque, so give a drawing more variety of tone.
You can mix water with any ink in order to make it thinner. But if
you are using Indian ink, add distilled or rain water, because
ordinary water will cause it to curdle.
Ball-point pens make a drawing look a bit mechanical, but
they are cheap and fool-proof and useful for quick notes and
brush and paint scribbles.
Fibre pens are only slightly better, and their points tend to wear
down quickly.
Brushes are very versatile drawing instruments. It is a strange
thing, but a large brush that comes to a fine point can be as good
for detail and retouching as a small one. You will discover which
one suits you best.
Two things to remember: you can leave a pen to clean in a jug of
water as long as you like - but never a brush, or it will quickly
lose its shape.
There are plenty of other alternatives: Rembrandt was known to
ink and finger use his thumbnail with great effect.
9
What to A great variety of boards and papers is available in art shops. For
the student a reasonably cheap but sturdy cartridge paper could
draw on be the answer. This has a slight roughness which is suitable for
both pen and wash and, in fact, all the drawings in this book
have been drawn on such a paper.
My own method is first to scribble out an idea in a sketchbook or
on the back of an envelope, then rush it down on a sheet of detail
paper and trace it on to paper or board?
A smooth surface is best
for fine-line drawing. For
watercolour it is preferable
to work on a rougher tex-
ture (more 'tooth', as we
say in the trade) as this
type of paper is less absor-
bent and gives the artist
more time to lay down a
wash.
Many other materials are
available, from cardboard
to cigar boxes, but it may
be wiser to use more con-
ventional surfaces.
10
Line and
watercolour
Line drawing requires a friendly pen or brush and a
smooth piece of paper. Tones can be added not only
by shading but also by a large variety of mechanical
tints which you can cut out and apply yourself.
Watercolour or wash is a more complicated matter.
The paper or board should have a rougher surface
which, being less absorbent, will give you more time
to control the brush and the flow of water and paint.
It is best to work fast; if
washes are allowed to dry
before the work is
finished, hard lines will
appear between one sec-
tion of the drawing and
another. For black and
white drawings, I recom-
mend Lamp Black. For col-
our, my own preference is
for coloured inks which
are brighter than water-
colour and less likely to
produce ugly joins. But
then you have to work
even faster!
11
Perspective Although perspective can be extremely complicated, it is not
necessary for the cartoonist to know a lot about it. For us two
vanishing points will do at the most, and one is often sufficient.
The role of perspective in drawing is to create a sense of depth or
distance. All parallel horizontal lines that go away from you will
appear to converge at the same vanishing point. If an object is
facing you, only one vanishing point is required. When the
object is moved to one side there will be two vanishing points.
Perspective lines can be drawn in lightly with a ruler and pencil.
Don't forget to rub them out later.
12
Composition To tell a story you have to use the right words. To draw a cartoon
you have to use the right lines and sometimes (hopefully) the
right words too.
Before you start on an idea, think how you will place it on the
paper. Sometimes the composition will come into your mind at
once but usually there are a few alternatives. The right one will
make itself clear, given some thought. Try some rough sketches
first.
Think of yourself as a cinema or theatrical director and compose
your drawing with maximum dramatic effect. The scene you are
about to set may be Mrs Hubbard finding the cupboard bare or a
Babylonian feast - two very different subjects and challenges.
What you leave out is just as important as what you put in.
Unnecessary detail that clutters up the basic idea should be
avoided, however much you may wish to indulge yourself. The
point of the cartoon should be as clear as possible.
Very bleak - they are
starving
Haphazard wash to
express pleasure
13
Essential Here are some drawings that show how three very different
characters can be developed from the same simple beginning.
lines
The basic shapes
Adding the first lines to
convey expression and position
14
More detail
A few extras
15
The right People in cartoons aren't like real people in the street, they have
different proportions; their heads are too big and their bodies too
proportions small. But once you get used to this, they may become more true
to life than the real people.
They may look something like this at first . . .
. . . but perhaps they really look more like this.
As always, it is a good thing to have your sketchbook ready, but
be discreet: some people hate to discover they are being drawn.
16
Paul Crum, a marvellous Punch cartoonist in the thirties, did a
cartoon of two people looking at some penguins in the Zoo, with
one saying, 'Why are some smaller than others?’ I find this very
funny, but don't ask me why. There is no answer to the question
of why something amuses some people and not others.
Some being smaller than others may be the starting point for
another cartoon.
A drawing based on the
idea that people are all the
same small size and
dwarfed by their
surroundings.
The blot was a mistake. Maybe somebody exploded.
V
A cartoon I personally do not like to be confined to filling in in ink a
prepared blueprint of a drawing but prefer to make it up as I go
step by step along. Here you must imagine me talking aloud as I work
through the various stages of trying to create a cartoon.
It all starts with a scribbled caption on the back of an envelope.
18
Subject - middle-aged
business man about to
throw himself off parapet.
Or has he already thrown
himself off? No, it's more
interesting to see what
kind of man he is, rather
than seeing only a pair of
trouser-legs and shoes
disappearing out of the
picture.
Choose a dramatic angle
to suggest height and a
sense of danger.
19
Saying The essential thing about a cartoon is that it must say something
personal to the reader about what has just gone on, what is
something going on, and what might go on - and, preferably, that it should
take him by surprise.
personal
Maybe you will have someone particular in mind when drawing
a cartoon like this one . . .
'Sorry, sir, only vegetables.’
'He has a fine mind but he's
homeless with his hands.’
20
To be a cartoonist is not like being an ordinary artist. You cannot
just draw a pretty girl or a tree and leave it at that. You have to
say something about them (even if there is no caption), and that
is the difficult and intriguing part. What can you say about a
tree? Think of Walt Disney's trees in Snow White and the Seven
Dwarfs. Everything is possible.
All your best ideas will say something true about your own
attitudes, however disguised they may be.
1 2
21
Simplicity The essence of a cartoon is that it is a story made understandable
by a few strokes of the pen or brush. It should convey im-
and impact mediately who is talking to whom, why they are there and what
is funny about the situation.
22
However complicated the drawing may become, the focus of
attention must be on the original idea.
23
Variety There are all sorts of things you can do in a cartoon. You can
make fun of authority, be rude about your aunt, make animals
speak, or rebuild Babylon.
The important thing is not to say or draw what has been done
before but something new - even to you.
There are also infinite possibilities for variety in size and shape
when drawing cartoons: some consist of a single drawing, some
of a series of pictures running across the page; some are without
words, others may have a great many words.
The soup was thin, the steak was tough, the vegetables were over-done, the trifle was a
mess and the wine probably corked. I happen to be a masochist so please reserve me a
table for tomorrow.'
24
A personal card
25
'Of course I look smug. All skeletons look smug.’
7 can remember when this was an Adventure Playground.’
26
In the case of the strip cartoon, it is important to remember that
there must be continuity from one drawing to the next. This
requires discipline - it is best to work out the whole sequence
before you start the final drawings.
1 2-
'Think of the children!’
The shape of the picture can vary - according, perhaps, to the
subject, or to the necessity for designing the drawing to fit into
an already defined space (see also the next two pages).
As long as the cartoon is funny, it doesn't
matter how it is presented.
'Bedlington, this soap has woodworm.'
27
The pocket cartoon
'Fortunately I was refused the work-permit.’
The half-page cartoon
'Muriel, I am talking to you. Are you there?'
28
The full-page cartoon
A full-page drawing need not
be elaborate but it must use the
larger space in the most drama-
tic way. (See also pages 22-3.)
Part of the joke here is the dif-
ference in size of the tablets.
Moses is already stooped under
the weight.
'There's a P.S.'
29
Situations One of the pleasures of a good cartoon is a sense of familiarity.
We recognize as old friends the clubman in his armchair with his
port or brandy, or the captain going down with his ship, giving
the final salute. Here are some other situations which also
contain familiar elements.
You must feel in your bones the time and place and make it as
convincing as possible. An extra, telling detail can help a lot.
30
It is difficult to avoid the repetition of certain
cliches. We have all seen too many desert
island jokes, measles jokes and mother-in-
law jokes. Such subjects represent the
greatest challenge just because they have
been done so many times before. But it is
marvellous to think of a new variation.
31
Action As in television, cinema or theatre, one of the most important
ingredients of a cartoon is that things happen!
The pompous man slipping on a banana skin, the custard pie in
the face of the dowager and the bull charging the picnic are three
well-known and loved situations though now somewhat out of
date. (Fashion changes in humour as in everything, so don't
spend too much time looking at old cartoons - except for
pleasure.)
Movement can be conveyed by an exaggerated gesture . . .
. . . or by a facial expression.
Greater momentum can be expressed by 'speed' lines.
32
Action is most effective in contrast to stillness. Here the violence
of the farmer and the bull is accentuated by the serenity of the
suburban gentleman with his carefully arranged picnic.
Provide your own caption.
33
Caricature This is the ancient art of being rude on paper. Everything can be
caricatured, but here we are concerned with the human face.
It is really a question of exaggerating the more obvious character-
istics.
Sort of Etruscan
Rather mediaeval
34
Kind of renaissance
Distinctly Victorian
Of course, the mouth
could have been drawn in,
but it seemed
unnecessary. The slight
blot under the nose was an
accident, but accidents can
suggest unexpected ideas.
35
Two different characters. Look carefully for the more obvious
features, strengths and weaknesses that characterize your sub-
ject - eyebrows, nose, jaw line, hair or lack of it.
By increasing the length of a nose or diminishing a chin you may
probably lose all your friends.
2
1
3 4
The profile is the easiest form of caricature so the most tempting
to try, but let the person's face dictate what you should do.
Some faces may suggest a full frontal attack.
1
2
3 4
37
A true The previous four pages dealt exclusively with the face, but a
likeness is not only conveyed by a head on a pair of shoulders.
likeness Everyone has a different way of crossing his legs, holding a glass
or rubbing his nose. Here is someone doing all three at the same
time.
Even the armchair he is sitting in has its own character.
38
Try to capture your subject in movement. A
characteristic gesture, however fleeting,
may make the difference between a dull and
a vivid portrait.
Here it is helpful to use a sketchbook and
take a number of quick notes, committing as
much as you can to memory. When you
come to making the finished drawing,
choose from both what makes the best
likeness.
39
Tooth One of the largest populations in the cartoon world is that of the
animal kingdom. The curious thing about these creatures is that
and claw they all speak excellent English.
A visit to the Zoo would be a good idea here. The movement and
colour of live animals are an important part of their essential
characteristics and are far more exciting than a print or photo-
graph can convey.
40
Try, always, to capture the unique quality of these individuals -
for individuals they are. Penguins look as though they might fly
but don't. Swans look as if they can't fly, but do.
To my mind, drawing a duckbill platypus is more amusing than
drawing a traffic warden. (On second thoughts there may not be
much difference.)
41
Another great pleasure in drawing animal cartoons is the variety
of patterns and textures you can employ. Here is a selection.
But of course there are lots more.
42
43
Different To enjoy drawing, it is valuable to develop as many skills as
possible, and to be able to control a pen without making too
subjects, many blots and a brush without too many splashes.
different
media
The subject may dictate which medium is to be used. If your aim
is to produce an Oriental style, it must be the brush.
'Your pagoda or mine?'
44
For recreating a typical
nine-teenth-century effect
which will require plenty
of crosshatching, a fine
pen which can manage the
thicks and thins would be
a good solution.
'Do you love me or don't you?'
Charcoal and wash give a
sense of spontaneity to
this light-hearted idea.
'Darling, I think you brood too much.’
45
Finished One of the more curious things about life, among men anyway,
is that so many seem to want to be cartoonists. If only they
works knew!
The truth is that it is a life-long pursuit of the occasional golden
glow, showered by rejection slips.
So let us suppose that you intend to draw not just for your own
amazement but for publication in a newspaper or magazine.
You may prefer to add tone to a line drawing to make greater
impact. These methods have been discussed earlier in the book
but one other way to obtain a mechanical tint is to apply a light
blue wash where the tint is required (this does not photograph)
and ask the printer to add the tint to these areas.
46
When presenting your work it should be as neat and uniform as
possible (cut roughs to the same size) and should include at least
one finished drawing to demonstrate your skill. On no account
explain the jokes in your letter; and send a stamped addressed
envelope for their return. Pack the work with a piece of card-
board or your carefully created cartoons may come back looking
like a bag of crisps.
The use of colour for reproduction is rather a luxury but will
reproduce in black and white if necessary.
Remove all errors with as little visible effort as possible. Some-
one, friend or editor, may wish to hang your drawing on the wall
or publish it in his paper.
It should look like an act of God.
47
Envoi Cartooning can be a very pleasant way of spending time, both in
dreaming up ideas and in putting them down on paper. It gives
you the opportunity of saying a few rude things about what you
have to put up with - your family, school or job, for example.
I hope this book may have helped you to express your own point
of view, to look around you a little harder, and perhaps
eventually to increase your bank balance.
Everyone needs to be entertained and some people even have a
sense of humour. Hopefully, yours.
48
