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Cartoonists are concerned with the outward form of the human body. Cartooning in general falls into three classifications. The old school of true comic art is still very popular.
Cartoonists are concerned with the outward form of the human body. Cartooning in general falls into three classifications. The old school of true comic art is still very popular.
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Cartoonists are concerned with the outward form of the human body. Cartooning in general falls into three classifications. The old school of true comic art is still very popular.
Авторское право:
Attribution Non-Commercial (BY-NC)
Доступные форматы
Скачайте в формате PDF или читайте онлайн в Scribd
Famous Artists Cartoon Course
Westport, Connoctcut
Anatomy teen
Rube Goldberg
Hilton Canift
Al Copp
Harry Hoenigsen
Willard Mullin
Gurney Wiliams
Dick Cavell
Whitney Deerow, Jr
Viral Portch
Borney Tobey
aye 56, 45 Fon AAnatomy for cartoonists
Faced withthe study of anatomy, some suidents start wondering
why they didwe take up. plumbing or cox accounting. But
earning Tite true anatomy ace be that tough. As cartoon
iat, we are concerned with the gutwaid form of the human
dy” We leave the liver and lights the medical stents and
concentrate om what maker 4 person's outside Look the way it
does
‘Cartooning in general falls into three easieations. Fist, we
hve the tueterfe or xdventureeype drawing suc ay i prac
tice by Milton Canif, Let's face it~ with this type of dracing
the artse must have a good knowledge of anatomy apd wie it
Tecan the characters are realistic, heir actions are Hiited to
‘what a real human body can do,
“The cond syle of drawing is best exemplified by the work
Harry Haenlgen tn is "Penny." In this tye, the aris
Simplifies the human foem, bur still maintains most of the true
figure proportions, al appearance and drew are realistic. He
cn exaggerate he setion bl the gues and, IF he wants doit
he an ald real comicstyle characters widhout having dhem look
‘out of place, Al Capp nses this style in his work and he never
hesitates tad characters ofa wily comie type wo his drawings
A great advantage of this style isthe freedom it gives for using
the sexy girl figure without the realistic male companion. A
oof with a dol often makes the doll look beter
"The third style of cartooning is the old school of true comic
art. Exaggeration of form and’ action is unlimited. This isthe
‘original comic style and ist very popula. The Kavenjammer
Kids, Sully Smith and Barney Googe, Blondie and the many
saniznated” syle trp all fall no ths clanibeaton
oth Willa Malin, with his sports citoons, and Rube
Goldberg, with his politial cartoons, are masters of all chee
siyes ease al hee in their work, Willard Malin may dave
ate portrait of a baseball player and then sureound the draw
ing with lite fgures chat would fall into the comic lass, Poli
1 cartooning calls fora trvetote syle of drawing, but Mr:
Gokiberg often finds that he cam put across avery serious idea
by the une of «truly comic character. You vill noice, however,
that each of his comie figures must havea human quality, no
‘matter how exaggerated he makes it
Regatdles of the syle of drawing that you do, there is one
importane thing ta remember all forms, ncding the human
form, have three dimensions ~ width, height and depth. Every
thing, fom «sheet of ane paper to an elephant, ia solid, The
Fgure, whether comic or realistic, must have depth. You are
working on fat surface and automatically get height and
with, but dhe third dimension af depth anne be an iluion
that you ceate with your pen ot rash. By studying the sphere
and ylinder and drawing them in all postions, you wil Bad
ison iglesia teaeteigt yrrlies ee)
Stack up your spheres and cylinders in the right order and
they oil make ular Being, The bei fren of eres tad
cplinders are covered in varying amounts by muscles For eat
teoning we have simplified the muscles for you, too, Instead of
ountles muscles we have broken them down into four groups —
the chest, back, arm, and leg muscles. We are concerned wi
the outside appearance of the human, so we need only study
‘hose muscles that have the greatest effect upon the outside of
the form. Both male and female have muscles, but remember
that the female hides hers under a smooth exterior and they
Ao shove at much athe males,
Because we speak lightly here of anatomy for the earvontst,
je doesn’t mean that it has litle value. ‘The better your under
sanding ofthe human figure, the beter equipped you ill be
for sative. ‘The main thing is not to become 0 anne in the
study of the bones an! muscles that you forget thy you sare
to stu them in the int place. Cartooning is ighe form of
art—not a seience, Boe it doesn't hurt anybody to look under
the hood of his car once in a while to we what mates it 1,Back and chest muscles in action
fe great many mules in the human frame — sme
apparent o the eye, others stall and hidden, The
1, fortunately, docs fave to knov all of them — be
news to be familar only with what oevurs tothe large groups
that show on the surface when the figure performs diferent
actions The twisting, thrusting or pulling of any part of the
figure causes muscles to asnme diferent shapes an postions.
DONT LET THE LAT TERMS USED
OW THESE PAGES THROW YOU--~ THATS
ANATOMY ! FORGET THE TERMS, BUT
IRENEMBER THE FACTS !
In strong pling
sting actions the muscles wretch taut
and become longer ad later. In pushing ations they become
‘compresed and tend to bulge, Apply thee two principles to
sake the actions of your cartoon figures more convincing
‘On this and the following two pages we sow you realist
ravings of the muscles, and how these muscles might be su
‘ested in cartoon gure,
ne npn af and sing an canton,
‘ten mero onpeed oe poe BayThe arm muscles in action
“The Bill of Rights guarantee every ctzen the right
to bear arms — but arms aren’ any good ales you
‘an cartoon the musics that move them, The princ
pl and most easly seen muscles of the arm ate the
shoulder muscle (deltoid), the biceps and weeps and
the supinator longus. The later Is merely") fancy
imam for & long muscle which begins above the elbow
anil extends to the wiist. The supinator wists the
Torearm, and becomes quite prominent as i does so.
"The biceps muscle bends the elbow and exes the
forearm. The wieeps muscle, which runs the entire
length of the upper arm, act in opposition to the bi
cape and sraightens out the armLesson Fomovs Aris Cartoon Couns
Anatomy
The leg muscles in action
“There are many lumps and bump created by the melee in 2
wellleveloped le. Often the scent becomes overawed and
confused by their nmber al appearance an ens up by being
so concerned with drawing them all that he loves sight of the
overall shape and action of the leg fe
Two important muscles govern the shape and action of the
leg. These ae the sartori an the gastrocremius or eal muscle,
which are explained 3¢ the right. ‘These two muscles, in com:
bination, create alternating curves which give pleasing form to
the leg, and ie is this overall form which should be entablshed
frst. Muscle detail, o matter how well drawn, should always be
kept subordinate o overall form.tenon 6 Fernom Ars Cts Couree 9
Anatomy
The female figure
The proportions of the female figure der fom
those ofthe male, A good unidrstanding of these
itlerences will help you exaggerate female char
acteristics [porpones and eeate cite
Altont any Hiberticn mayenon Femous Arts Coton Course
Anatomy
, Clothing the figure
Regardlew of how well you have constructed the figure and made
‘we of the muscle in action, che end resule can be spoils if you do
‘ot clothe the gure propel
‘Remember. tbe figure changes with every action. As the various
forms ofthe fie twist and turn, they become longer or shorter oF
they create angles oF curves Thee movements ate like those of a
accordion being played, We might eal one sie ofthe figure the
rctve” side — here the forms are forced together and compreied
like the pleats ofthe accordion. The opposite, “inflated” sie has the
longer, seeping curves. When you draw the dothing you must keep
in mind these “active” and “inflated” side, together vith any tis:
ing movement of the 110, This will enable you to ceate fold and
‘wrinkle paterns which reveal and emphasize the form and ation of
eae baw abl) eos ey
sincere:a
&&
EEG
Ay‘FIMDIS ARTISTS CARTOON COURSE
Student Work
Tesson 6
‘Mo study end practice
‘The framework of all figures is basically the came. |The proportions of
various parts may vary but the parts themselves shold be established as
binple cylinder forms before we concern ourselves vith adding anatonical
detail -- sixple or complex. he basic form Mgure is something every
cartoonist must practice draving in many diferent positions and actions
== {t {5 a successful, tested vay to draw believable figures. Perhaps it
Seems a far cry from the huorous cartoonist's ides of good, ridiculous
figure. It 18 -- but good exaggeration always cones from understanding
the reality of things.
Make many sketches of skinny, fat and husky gents using the basie figure
0 establish their form -- depending on your om style of drawing. How=
that they beccaie wor
Ings SiN reserble medioal charts inetead of being cartoons.
We vill base cur eriticisa of your draving for this lesson on your under-
standing of muscle structure, igure construction and action together vith
your handling of any forechortening problems waich you encounter.
na sheet of 11 x lé-inch Briatol board, rule
and ink @ panel 7 inches high and 9 inches vide.
In £t drav and then ink vith a pen or brush two
men on a beach. One is @ short, skinny character,
3/h front view, who 1e nonchalantly lifting muge
Darbell with the greatest of ease. he other 1s a‘
big, mscular gent of the athletic type, front or
3/h front view, who ie staring at the Little guy
in aazenent. "te big Tellov vill provide an op-
portunity to show muscle detail but be sure to
eetsbliah good action and facial expression fret.
‘You may follow the gesture-action sketch at the
right for general action and composition if you
Vish or, better still, create your own,
Present your assignment in the sane clean, professional manner you vould use if you vere
submitting {t to the cartoon buyer cf = publication. Letter your nae, address and stu-
dent number carefully in the lover left-hand corner of the page Tn the lover right
corner, place the Lesson Numer, Wail to:
HAMQUS ARTISTS CARTOGN COURSE
Westport, Connesticut