Cartooning, Caricature and Animation Made Easy
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Cartooning, Caricature and Animation Made Easy - Chuck Thorndike
CARTOONS
THE SECRETS OF CARTOONING
THE AUTHOR
The author of this little book has been drawing cartoons for over twenty-five years. Starting out as a contributor to high school publications, he then worked in a Seattle engraving shop, next on the San Francisco Bulletin, then drawing animated (movie) cartoons, and later in the Marine Corps he contributed to the Leatherneck.
After the war, during three years of art school, he contributed to college publications. Then followed a trip to New York where he has served as art director for several advertising agencies and national magazines. He is connected with several newspaper syndicates, and contributes to the Saturday Evening Post, Life, Judge, College Humor, Ballyhoo, Hooey, and other magazines, including several foreign publications.
FOREWORD
This book is published as a much-needed and compact method of instruction for the ambitious art student and cartoonist.
Based primarily upon the experience of teaching hundreds of cartoon students throughout the country, its purpose is to fulfill most of their needs and answer their questions.
It is a fact, opinions to the contrary notwithstanding, that an accomplished cartoonist is, to a very large extent, his own boss. The amount of his success depends almost entirely upon his own talents, his ability to concentrate on his work, the confidence that the people he is working for hold in him — but probably most of all, the amount of satisfaction he or she gets out of doing a good job.
It is the hope of the author that the reader gets as much pleasure and benefit out of this book as he has had in preparing it.
MATERIALS
It is obviously impossible to list all of the necessary materials here, but here are the items which are really fundamental necessities. Please remember that a workman is only as good as his tools
— so the better the materials, the better the job. Note: See p. 58 for materials for advanced techniques.
WORK BENCH
DRAWING TABLE — A good-sized, adjustable-top table, about 40 inches by 30, is the handiest to use. However, if you can’t get this, use a thin-veneered drawing board (which won’t warp) on a table. Get a 75 or 100 watt BLUE GLOBE and keep this light above you and to your LEFT. (if you’re right-handed)
A TABOURET or stand should be at your right, with a shelf for your pencils, pens, brushes, colors, ink, water jar, etc. It should also contain drawers in which you keep some of your reference clippings.
PAPER
Use cold-pressed paper or BOARD, about 3-ply, for wash drawings. Hot-pressed or smooth-surfaced paper, whether kid or vellum, should be used for pen-and-ink work. Coquille paper or Ross board for sport or other drawings, requiring lithographic crayon. SCRATCH BOARD for working white lines on a black surface. (Thumb-tack your paper down when doing lettering and borders, using T-square and triangle — when sketching adjust the paper to suit your convenience.
PENCILS
Use a HARD pencil, #H or 3, about 5 inches long, with eraser attached, for lettering. Soft, 6B pencil, for sketching people, etc. Medium or #2 for preliminary drawing before inking in. Lithographic or grease
pencil or crayon for gray-tone effects on sport drawings, etc. Blue pencil for indicating Ben-Day effects. White pencil for working on black paper.
PENS
Use a fine copper pen point for delicate line or thick-and-thin
outline (adapt kind suitable to your touch). Use a small stiff or ball-pointed pen for small lettering (as in strips, etc.). A large round-pointed pen should be used for cartoon poster lettering or large caps
in balloon talks, etc.