HOW TO DRAW CARICATURES

These kinds of things always start out with a

definition, but “caricature” is a hard thing to
pigeonhole into a single sentence. How can you, when
the word encompasses the elegant, minimalist lines of
Al Hirschfeld to the lavish, value and color soaked
paintings of Sebastian Kruger to the graphic,
geometrical collages of David Cowles and everything
in between? Despite the wild differences in style and
technique, “caricature” is the tag that is placed on any
of these works of art without hesitation. Obviously
there is a connection beyond a common technique,
school or format. So, what are the universal elements
all caricatures have that identify them as caricatures?
PART ONE: BASIC
I would say there are three essential elements that
THEORY AND THE FIVE transcend style and medium and must be present in a
SHAPES caricature:
• Likeness- If you can’t tell who it is supposed to
be, then it is not successful. All good caricatures
This is the first of a series of
incorporate a good likeness of their subjects.
articles I will post here on The
• Exaggeration- Without some form of
MAD Blog about my theories,
exaggeration, or a departure from the exact
methods and processes
representation of the subject’s features, all you
concerning how to draw
have is a portrait. The level of exaggeration can
caricatures. A lot of this
vary wildly, but there must be some departure. A
information is part of what I teach
straight portrait is not a caricature.
my theme park artists, so it is
• Statement- I believe a caricature must
derived partly from the approach
editorialize in some way. The artist must be trying
of doing live, quick-draw
to say something about the subject. It might be
caricatures. However all of that
something to do with the situation the subject is
can be applied to more studio
drawn in, it may just be a play on their personality
orientated caricature work and I
through expression or body language, it might be
have also added points and
a simple as making visual fun of some aspect of
concepts directly from the less
their persona or image. Exaggeration itself can
time-constrained world of
accomplish this in some cases. The best
caricature illustration. Therefore
caricatures say something more about the subject
this is not instruction for just the
than that they have a big nose.
live caricaturist but for any artist
By my ‘definition’, a successful caricature therefore
interested in caricature for any
looks like the subject, is exaggerated to varying
purpose.
degrees and also has something that third item is often turned way down or ignored
to say about the subject… some completely, but in the case of caricatures for
sort of editorial comment. In illustration, it’s an important part.
“live” caricature at a theme park,

TEACHING SOMEONE TO SEE

I’ve been working with they draw a square… well, compared to Mr. Normal,
young caricaturists at that is all about seeing and the difference would be
theme parks for over two not drawing. The ability to minimal. So why is he so
decades now, and I’ve see, and after that the easy? Because you are
learned one very important ability to exaggerate what SEEING a difference based
lesson… it’s impossible to you see for humorous on perception, and that is
teach someone to draw effect in a caricature… that giving you your springboard
caricatures. I can teach has to be developed. For for a caricature. One
them to DRAW… that isn’t most that means a lot of observation of what makes
so hard. Learning how a drawing and a lot of this person different from
face looks and works by looking. “normal”, and you are off
learning anatomy, how Have you ever been and running. The obvious
expression changes the walking along at the mall or features are easy
features, how the angle the where ever and along observations… it’s Johnny
face is at changes the comes somebody with and Susie Normal or, worse
perception of features, how some crazy, incredibly yet, Johnny and Susie
hair grows and falls about distinct face that maybe Supermodel that are the
the head… those are things sports a gigantic nose or a challenge. That is where
that can be taught. Drawing Cro-Magnon brow or some developing an ability to
caricatures, on the other other obviously out-of-the- “see” becomes important.
hand, is a lot more about ordinary features? There is no face that defies
seeing what makes the Caricaturists have a term caricature, you just
person in front of you for that kind of face… it’s sometimes have to dig a
unique and personal called a “field day”. Think little deeper to find the
interpretation than it is about it for a second… why keys to unlock the more
about making good, is that face so ripe for difficult puzzle. In
confident marks on the caricature compared to the caricature, the old adage of
paper. I can explain to next guy’s? Are the “practice makes perfect”
someone exactly how to features really that has never been truer. The
draw a circle, but if I place different? If you took a ruler ability to see doesn’t spring
a circle before them and and measured the size of up overnight, and I often
ask them to draw it and Mr. Shnozzes’s nose tell eager young
caricaturists they have impossible to help them are general concepts that
about 500 or so bad develop their ability to draw apply to the overall
caricatures in them they them. There are many ways approach of a caricature as
have to draw out first and techniques to help an well as specific tricks and
before they start noticing artist develop their ability tips for individual features
the subtle things that hide to see what is in front of and important, main
inside the “ordinary” face. them, recognize what elements that I will be
Although I say it’s makes what they see sharing over the multiple
“impossible” to teach unique and then amplify parts of this series of
someone to draw that uniqueness to create a articles.
caricatures, it’s not successful caricature. There
 THE FIVE SHAPES

The human face is perceived by many as an

incredible complex object. There are about
52 muscles in the face, depending on your
source and its categorization. Age, sex,
race, expression (the face is capable of
about 5,000 expressions) weight and
environment can all play a role in the look
and perception of a given face. Sounds
pretty complex. Not really. Every building,
no matter how complex, starts out with a
foundation and framework. Look at this
simple drawing:

Place these shapes in their proper

relationship, and you have a human face.
It really is that simple. Drawing the shapes
accurately, so they recognizably represent
the subject’s features, is the basis for a
good likeness. Beyond that is nothing but
details… things like dimples, wrinkles,
eyelashes, cheekbones, etc. They are the
decor to your building… the millwork,
furniture and drapery that makes the place
Show that drawing to any human being in unique and filled with life. Without the
the world and ask them what it is. Barring a strong foundation, however, it can all come
language barrier, they will tell you it’s “a tumbling down.
face”. No other information needed. In it’s What does that have to do with caricature?
most simple form, the human face is made Everything. I mentioned a single word in the
up of only five simple shapes: last paragraph that really is the secret to
caricature as a whole no matter what
technique or approach you intend to
practice:

RELATIONSHIPS

It’s the manipulation of the RELATIONSHIP

of these five simple shapes that create the
foundation for your caricature. In fact, I’d
argue that 90% of the entire caricature
resides in how you relate these five simple demonstrate how you can change the
shapes to one another. It is the foundation relationships of the five shapes and create
upon which the rest of your building is built, very different caricatures:
where the real power of exaggeration is
realized. Make it good and almost all the
heavy lifting is done, the rest merely
referring to details. What do I mean by
“relationships”? I mean the distances
between the five shapes, their size
relative to one another, and the angles
they are at in relationship to the center
axis of the face. Distance. Size. Angle.

In traditional portraiture, the head is divided

into “classic proportions” (we’ll get into that
more next time), meaning the relationship
of the features are within a certain,
No detail, and all the shapes are basically
accepted range of distance to one another,
the same with the exception of the head
size and angle relative to the face and head
shape (again, more on that later… MUCH
shape. You achieve your likeness in a classic
more) but all are distinctly different and
portrait, in it’s most basic form, by correctly
when the details are added will make for
drawing the shapes and then the details of
highly varied caricatures. The difference is
each feature according to the model in front
the relationships between the features, and
of you while staying within the framework of
how they have been exaggerated and
the “classic” proportions. Of course each
changed. Caricature is not about choosing
face varies minutely here and there, but still
one feature and making it bigger, it’s about
you do not stray far from the classic
all the features together and how they
formula. In a caricature, like a portrait, the
relate to one another.
likeness is also achieved by drawing the
Here are some quick studies of the 5 shapes
features as they really look… but you
beneath a few caricature sketches:
change the relationship of the features
based on your perceptions of the face. The
relationships you change are as I listed
before: distance, size and angle. Look at
these VERY simple drawings that
The relationships differ in distance, size and
angle from one another. The bigger the
differences are from “classic” proportions,
the more exaggerated the caricature. It’s
much easier to see the differences when the
details are removed and only the 5 shapes
are left. It’s also much easier to create
those differences at this simple,
fundamental level. It’s easy to get caught
up in details when the important
information rests beneath the rendering.
How does one determine the “correct”
changes to make to a given person’s feature
relationships to make a good caricature of
them? Well, that’s the trick, isn’t it? That is
were that pesky “seeing” comes in. In his
book “How to Draw Caricatures“, Lenn
Redman uses a concept called “The
Inbetweener” as a basis for almost every perceive the face, and exaggerate that
observation. It is basically the classic perception. The result may be different than
portraiture relationships used as a point of how others perceive that face, but if the
reference for making observations. Every three elements we described in our
caricature begins with the observations the definition are present it’s still a successful
artist makes about the subject, and how caricature. Hirschfeld used to say he once
their particular face is perceived by them. drew Jimmy Durante without a nose at all,
MAD legend Mort Drucker has been yet it was still recognizable as Durante.
quoted as saying that there is no “one That’s not to say that any observation is
correct way” to caricature a subject. Any appropriate… after all you can’t give
given subject can have several difference someone with a small, button nose a
interpretations with respect to the gigantic potato schnozz and call it
exaggeration of the relationship of their “exaggeration”. That’s not exaggeration, it’s
features… and each may be as successful DISTORTION. You can, however, choose NOT
as the other. That’s one of the unique things to exaggerate the nose’s smallness but
about caricature as an art form. Portraiture rather find something else to exaggerate.
is basically absolute… Your drawing either That is the caricaturist’s task, to find what it
looks like the person with the correct is about the subject’s face that makes it
features, proportions and relationships, or it unique and alter those relationships to
does not. Caricature is subjective to a point. exaggerate that uniqueness.
The artists’ goal is to draw how they

PART TWO: RELATING THE

FEATURES

Previously I mentioned how the most important jobs, and one of the most
relationships between features are the difficult to “learn”. The actual difference
driving force behind caricature: between the relationship of features of most
“Caricature is not about choosing one humans does not add up to much in terms
feature and making it bigger, it’s about of physical measurements… a “big” nose
all the features together and how they may be only a fraction of an inch larger than
relate to one another.” a “normal” nose. Yet we can see different
Actually caricature is about changing the feature relationships on almost everybody,
relationships between features, meaning some which seem very pronounced. That is
their distance, size and angle relative to one because we spend basically our entire lives
another, from what they truly are and what looking into people’s faces… we go it when
is considered “normal”. Deciding what we interact, work, play, go shopping or to
relationships to change and how much to church… we are social beings and our faces
change them is one of the caricaturist’s are both our identities and our method of
communication. Our ability to observe relate to one another. Consciously making
minute differences becomes very fine those observations, especially for those
tuned. Mostly it’s unconscious, but we see faces in which the unique aspects are not
that fraction of an inch larger nose as “big”, obvious, is the most difficult part of drawing
or we see this person’s eyes as large or this caricatures. There are some techniques and
person’s mouth as small based not on methods you can use to help make those
physical measurements but on our overall observations.
perception of the features and how they

CLASSIC PORTRAIT PROPORTION AND OBSERVATION

It’s important to start somewhere, and the width of an eye, from corner to corner, as
best place is with what is considered the primary frame of reference:
“normal” relationships of features for two
reasons. First, knowing these classic
proportions will help you as a caricaturist to
observe where your subject’s face might
differ by providing a point of reference to
compare it to. Second, once you’ve made
these observations you can use that same
point of reference, the classic portrait
proportions, as a guide to get as far away
from as possible to create your caricature.
Let’s start out looking at the classic human
proportions in traditional portraiture (this is
boring, but it’s important). One method that
has been used for centuries is by using the

In this method, the head is five eye widths wide, with a single eye width between the eyes,
and between the outside eye corners and the outside of the head. The nose is one eye width
wide, and therefore the nostrils are equal to the corners of the eyes. Another simple method
for establishing the “normal” relationship between eyes and mouth is via the equilateral
triangle that should be formed by the points of the outside corners of the eyes, and the center
point of the bottom of the lower lip. Every book on learning to draw the human face has some
similar method of standardizing the proportions of the average face.
Do human faces really conform to these exact relationships? No, of course not. That’s the
point. There are differences from this face to that, some very slight and some more
pronounced, and the caricaturist exaggerates these differences to create a caricature.
Knowing what is supposed to be there is half the battle of seeing where things are different.
Again, making these observations is the trickiest part of doing caricature, but the good news
is you don’t have to come up with a shopping list of deformities in order to do a caricature. In
fact, all you have to do is come up with one good observation. Just one and you can use that
as your cornerstone and build your caricature around it. It could be as simple as: this person
has a skinny face… or big eyes… or a small mouth… or a square jaw… or a bent nose… or
whatever. More than one is better, but just one will suffice?

ACTION AND REACTION

Why is only one observation enough? leave the rest of the face untouched, we
Because “no feature is an island”. What I have a bizarre looking result:
mean is that all the features relate to one
another fundamentally, and you cannot
make a change to one feature without it
affecting the others. This is one of the few
constants you can rely on with respect to
drawing caricatures: Action and Reaction.
In physics every action causes an equal an
opposite reaction. In caricature the action of
changing the relationship of a single feature
to the others causes the others to react in
often predictable ways. You cannot change
There is awkwardness to the “caricature”
the eyes without affecting the nose, mouth,
head shape, etc. and how it affects those
We can’t ignore the effect on the other
other features follows (for the most part) a
features. The act of moving the eyes father
predictable path.
apart forces the other features to react.
Say we make an observation about our
Typically when the eyes move father apart,
subject that the eyes seem far apart. If we
the nose moves closer to the eyes, the
move the just the eyes farther apart and
mouth moves along with the nose, the head
becomes wider and, in turn shorter:
 components to any caricature: The
head shape and the “T” shape.
These are the two elements of a face
I look at first and try to make
observations about, because with
them I can push, stretch and
exaggerate the face to great effect
with relative ease.

The features work Hmmm… looks like

better together here my brother…
When I talk about the “T” Shape I am
Head shape is often
speaking of the geometric shape
Additional the most affected, and
created by the eyes and nose as a
observations can is not coincidentally a
single unit. In simplest terms they
change the path of the big focus. In fact part
create a capital “T”. Sometimes the
reaction. Say our three of this series will
“T” can be short and wide,
observations are that deal entirely with head
sometimes it can be long and thin, or
the eyes are far apart, shapes. For now we
somewhere in between. The angle at
but the mouth is also will stick with the
which the eyes rest to the center axis
far from the nose. interior features and
of the face can change the “T” into
Because of that action, their relationships.
more of a “Y”, or more of an arrow
the lower part of the
shape. I treat the “T” not as a set of
face must be longer, THE “T” SHAPE simple lines but as a contour shape
and therefore the top
with thickness, therefore the stem (or
part of the head I have talked a lot nose) of the “T” can be thicker or
becomes smaller: about simplifying the thinner at one end or the other, and
face by boiling it down the arms (or eyes) of the “T” can also
into the 5 Shapes, but change in thickness to accommodate
it can get even simpler big round eyes or narrow, squinty
than that in terms of ones. Imagine a contour capital “T”
both making drawn around the eyes and nose in
observations and in varying relationships.
playing with the
relationships of
features to make a
caricature. In fact I
believe there are two
absolutely crucial, key
The shape of the “T” reacts to
changes you make to the
relationship of the eyes and
nose. In most cases the eyes and
nose work in a predictable
tandem within their relationship.
Imagine that the eyes and nose
are connected by a string that
travels through a two wheel
pulleys located in the center of
the eyes. The length of the string
is constant. If the person’s eyes
are moved farther apart, the
string pulls the nose closer into
the eyes. If the nose is made
longer, then the eyes are drawn
closer together. All of this takes
place within the “T” shape.
The mouth, nose and chin have
a similar connection. They have
a constant amount of distance
between each other. If the
mouth is perceived as being
close to the nose, the chin
moves a little farther away as a
reaction. There are similar rules
that apply to the head shape,
which we’ll get into next time.
This is extreme simplification,
but I have said before the
simpler you can make the
shapes you are working with, the
easier it is to exaggerate them
and create your caricature. If
you imagine a shape as simple
as a “T”, it’s very easy to
exaggerate that “T” shape and
then plug in the features as they
really look within your simple
shape and you have your
caricature. Take a look at these
caricatures and the “T” shapes
within their head shapes:

The “T” Shape and head anatomy, expression, skin, details caricatures for a
shape combine to create hair and other details work moment and fill up a few
the base of your caricature, to create the likeness and sketchbook pages with
over them the 5 shapes bring the underlying nothing but the head shape
further define the structure to life. It’s still all and “T” shape of the faces
relationships of the built on these simple you see when paging
features, and over the 5 foundations. through a magazine. Draw
shapes the features I would suggest as an one quickly using just your
themselves are drawn and exercise to forget about initial observations and first
things like bone structure, rendering and drawing impressions of the face.
Then look back at it and try it again, this time ability to “see” the
to see where it differs from exaggerating your first try. caricature in a given face
the “normal” template of Do this with a dozen faces a develops.
classic proportion, then try day, and see how your

PART THREE: THE IMPORTANCE OF HEAD but it’s really the “T Shape” and
the head shape together as a
SHAPES
whole that acts are the basic
foundation of a caricature. With
When I first started drawing live caricatures I felt that those shapes and their
the eyes were the most important part of the face, relationships established, the rest
and I put a lot of emphasis and focus on them. I still of the caricature quickly follows
think the eyes are a crucial element, but over the suit.
years I’ve come to believe that the head shape is
the most important part of a caricature.
SEEING THE HEAD SHAPE
The head shape is the fulcrum upon which a
caricature hinges. The heavy lifting of all
I talk endlessly about seeing
exaggeration is accomplished via the shape of the
shapes within the features and the
head, and it is more easily accomplished that way.
face, and the importance of
Considering that the head shape is a single shape, it
drawing those shapes accurately to
is easier to recognize how that shape differs from
capture likeness and to create a
“normal” and it is easier still to draw a corresponding
convincing drawing. Again, it’s
simple shape that exaggerates those properties as
difficult to teach anyone to “see”…
opposed to the more complex multiple relationships
that ability is developed over time
of the features. By stretching and exaggerating the
via practice and hard work. Still,
head shape, you create the framework within which
there are a few techniques and
your other features and their relationships are drawn
tricks I have learned that can help
to achieve your caricature.
artists to better see what is in front
I have spoken of the “5 Shapes” and the importance
of them, and better interpret it in
of their relationships already, but digging a little
their drawing. Many work for any
deeper it’s accurate to say that the head shape is
feature or “shape” within the face,
“Shape 1″ and the other four shapes are planets to
but some are specific for individual
it’s sun, working within it’s all encompassing field of
features. Head shapes have
gravity. If a caricaturist can “see” and exaggerate
several of these tricks for both
the head shape, all the other features fall into place
initial observations and
and follow along. In the last lesson I talked about the
exaggeration.
“T” shape being a focal point of the basic caricature,

CLASSIC PROPORTION
As with Redman’s ‘”Everyman” above and below the observations and come
concept, it’s important to have an eyes, and how those up with a simple head
understanding of classic human two areas relate, is a shape:
proportion an anatomy to have a crucial part of the
springboard from which observations head shape as it 1. Squint Your Eyes:
can be made. This is important both relates to caricature. I This is an old portrait
for helping to see what makes a given will refer to it often. artist’s trick. Squint
face unique by comparing it to those your eyes or close
“normal” proportions, and for helping SIMPLIFYING them so you are
to exaggerate those unique aspects SHAPES looking through your
by giving the artist a “starting point” eyelashes at your
from which to depart as much as The head shape is subject. This eliminates
possible. really made up of a the details and forces

lot of different you to see only vague

features including shapes and forms. That

cheekbones, cheeks, makes it easier to see

brow, jawline, chin, the simple shapes and

forehead, hair, etc. drawn them.

While these are all

important elements 2. Points of

of the whole, at this Reference:

stage we need to I look for these with

treat the head as a every feature I draw.

single shape and What I mean by “points

keep it as simple as of reference” is finding

possible. Simple a specific point or part

shapes are easier to of a feature to use as

The classic adult head is an oval, draw, control and an anchor point from
slightly flattened along the top. The manipulate than ones which you can make
head is exactly divided in half at the with a lot of complex your observations.
eyes, meaning there is equal distance elements to them. It’s Each feature has
from the horizontal line of the eyes to easy to get hung up unique points of
both the top and bottom of the head. on the details and not reference, but in
The head is five eye widths wide, and be able to see past general things like
the widest point is typically at the them to the horizontal or vertical
temples, but can be anywhere from underlying dividing lines can
the cheekbones to just above the foundation. always be used for this
ears. The distance, or more Here are some tricks purpose.
accurately the “mass” of the head to help make initial
With the head shape, the This is a strange but effective way of grasping a
horizontal line create by the eyes simple head shape, and for exaggerating it at the
is a good point of reference. Using same time. Try to associate the head shape of your
this imaginary dividing line, it’s subject with the shape of some inanimate object you
easy to see how much of the head are familiar with. Maybe this person has a head
lies above that lie, and how much shaped like a lightbulb (small, narrow bottom of the
below. I also will look for the face with a big forehead) or that person’s head shape
widest point of the head shape, may remind you of a peanut (squeezed at the
knowing that once I have found temples). Whatever strikes you. I don’t mean you
these points I need only to make draw a light bulb with the face on it, but rather use
sure the rest of the head shape your imagination and keep that object in mind as a
lies in between them. I will also template for the head shape you draw.
look for straight lines along the
contour of the head shape, and
draw them accordingly. Finally, I
will look for points along the face
contour where there is an angular
change of direction. The back of
the jaw and sides of the chin will
often have these points. Any or all
of these points of reference can
help you “see” the rest of the head
shape by comparing what is
around it to the point of reference
you have established.

3. Shape Association:
 Of course, it’s a fun exercise to draw those objects
with faces on them just for fun and practice. Doing
that helps your ability to spot those associations
within your subject’s head shape.

EXAGGERATING THE HEAD SHAPE

I mentioned earlier that the can radically change all large chin, or a small
head shape is a place other aspects of the face. forehead. Multiple
where exaggeration is most Because the head is treated observations are great, but
easily applied to the as a single shape, it is one strong one is all you
greatest effect. This is relatively easy to make need because it will create
because altering the head those exaggeration a cascading effect with
shape to any appreciable decisions and execute your drawing to define your
degree creates a drawing them. Unlike the interior caricature.
radically different than a features of the face, which Here are some methods of
portrait. Any change to the change with expression, seeing and exaggerating
head shape from the the head shape is a the head shape:
“normal” shape has a very constant that only changes
high impact to the viewer, with the angle of the head, 1. Visual Weight:
and the features, by way of and then only as any object One key to exaggerating
their necessary will change when rotating the head shape is to decide
relationships within the in space. When where the “visual weight’ of
head shape, are forced to exaggerating the head the head lies. That can be
follow suit and become shape, all you really need is as simple as using the afore
exaggerated. My analogy of ONE observation about it to mentioned line of the eyes
the head shape being a build your caricature upon. as a reference point and
“fulcrum” is an apt one, It could be as simple as asking yourself “does more
because the slightest observing that the model of the face lie above the
change in the head shape has a skinny face, or a eyes, or below?” That is
visual weight… the relative to some point of reference like the line of
placement of head mass the eyes.

We know that in a “normal” proportioned head the mass is equal. However how we perceive
the face is different than it’s physical measurements. Whenever you can depart from the
equal mass rule it’s important to do so. That is caricature.

2. The Law of Constant Mass:

There are very few exaggerations… the law of constant from? You take it from
“rules” that are mass. By using it, you can take that the top of the head,
universal as it “one observation” about the head and taking away from the
applies to follow through with the rest of the size of the top to make
caricature… things head shape. the bottom bigger. That
like expressions, Imagine you have sculpted a perfectly is the law of constant
posture and unique proportioned head out of wet clay. mass.
physical attributes Your head is done, but you have used
make it almost up all your clay. You decide you want
impossible to be able to create a caricature rather than a
to say “this is always realistic bust of your subject. Looking
true”. Here is one at the model you decide they have a
rule that never large jaw, so you want to make the
changes, however, jaw bigger. With no more clay to work
and it’s a powerful with, you need to get that clay from
tool to create somewhere to pack on to the jaw and
convincing make it larger. Where do you get it
 smaller without affecting the other works sideways, with
areas. A person with a big chin will respect to the width of
automatically have a smaller top of a a face… if the face is
head. Likewise someone with a big very wide you need to
forehead will also have a smaller take mass from both
bottom of a face. This serves to the top and bottom to
create exaggerations of higher create that width. Of
impact, since the perception of a course this will also
large jaw is made more pronounced affect the relationships
when the top of the head is smaller. of the interior features,

The head has only so It’s the same concept as when a gray because they must now

much mass. You value appears closer to white when fit within he

cannot make one surrounded by a much darker value exaggerated head

area bigger or and looks darker when surrounded by shape.

white. The law of constant mass also

3. Rubber Concept:
Another way to think about how the entire head shape is affected by a single observation is to
imagine a head made of soft, goo filled rubber. Now if we make the observation that our
subject has a narrow face, we need to squeeeeze our rubber head like a vice to make it
narrower. The effect of this is that the head bulges out on the top and bottom. If we decide
the head is wide, we pull the outsides out… the result is the top and bottom get sucked in. If
we squeeze the forehead, the jaw bulges out.

What is good about this squeezing, stretching and constant mass and/or the
method is that if we it’s consequences. rubber concept when
imagine the features of our It’s important to trust the drawing a caricature. Even
subject also molded into follow through of the cause if that lantern jawed subject
the initial rubber head, we and effect associated with does not appear to have a
can see how they will the exaggeration of the small top of the head, it is
faithfully follow the head shape via the law of important to follow through
with that moving of the awkward and a lot less observing the head shape,
mass if you want to clear. making good decisions on
emphasize that jaw and The shape of the head is a where to place the visual
maintain a balance in your crucial element to a good weight and exaggerating
drawing… otherwise your caricature… arguably THE that shape is central to an
exaggeration will be crucial element. Accurately effective caricature.

PART FOUR: DRAWING EYES

I’ve written in past tutorials on drawing richly painted to the most minimalist of line.
caricatures that you can’t really teach In these next series of tutorials some
someone to draw caricatures… that is more aspects of what I talk about will relate
about developing their “sight” and specifically with a style of caricature like my
observation skills and also developing an own… based on cartoon line either inked or
ability to find that which make an individual in some other medium. Therefore those with
face unique and exaggerating it. Since different sensibilities and styles can take
every face is different this is an exercise in from it what they will and apply what makes
personal observation and decision. sense to them, and ignore the rest. I will try
Therefore after I have gone over the to center my discussion on that which
information in my pervious tutorials, I switch applies to a broader range of styles than
gears an concentrate on teaching rookie live just my own.
caricaturists how to draw the individual My method for teaching the individual
features, both how to see them, exaggerate features begins with a lesson on real
them and how to draw them in line to best anatomy. I’m not a big believer in
effect. memorizing every anatomical name but I do
Here is where style becomes an issue. What believe you must have a good working
I have written about previously can apply to knowledge of how a
almost any style of caricature, from the
feature is put together in order to have a good command over the drawing of said feature.
Following the anatomy lesson, I talk about different techniques to help “see” the shape of the
feature and understand how to draw it, including realistic proportion. Finally I talk about
interpreting the feature in terms of exaggeration and incorporating it into the whole.

POINTS OF REFERENCE

case of caricature the correct drawing of the exaggeration of

Seeing and drawing them? Either way you still have to “see” the object you are
anything is all about drawing and understand it’s form first. We have all seen
shapes and the correct depictions of artists on TV raising their arm outstretched
drawing of them or in the towards their models with the thumb out from the fist and
squinting their eyes before
drawing. That is supposed
to represent an old artist’s
trick of using their thumb,
or hand, or pencil or some
other object to measure
their subject’s features
relative to one another, or
to see angles or other
relationships. The thumb is
supposed to be a “point of
reference”… a constant
that is used to make
accurate observations of the subject. Establishing points of
reference in the face is key to helping to “see” shapes and
make observations. With each feature and the face overall I
will suggest several things I use as constant points of
reference, which I can then use as a starting point from which
other observations are based. Any kind of drawing can benefit
from this simple concept.
Our first feature is the eyes. I’ve always felt that the eyes of a
caricature are the center of everything, literally the center of
the face but figuratively the center of expression, personality
and “life” as it were. Therefore I’ve always place special
emphasis on the eyes and begin and end with them, after the
head shape, as the focus of almost any caricature.

ANATOMY OF THE EYE

radiate from the pupil out to the edge
of the iris), and the sclera (whites of
the eyes). The tissue surrounding the
eyes include the inner and outer
canthus (the “corners” of the eyes),
the caruncula (the small, reddish, oval
shaped piece of tissue in the inner
corner which is sometime incorrectly
referred to as the ‘tear duct’), and the
semilunar fold (where the eyeball
The human eye is made up of a round orb meets the caruncula). The eyelids
(eyeball) that rests in and slightly protrudes from consist of the upper and lower lid
a socket of bone and tissue, surrounded orbital plates (the actual eyelids that fold
muscles and by covered by skin in the form of down and up to cover the eyeball), the
eyelids. The visible parts of the eyeball include eyelashes or cilia, which are attached
the pupil (black circle in the center of the eye), to the free edges of the lid plates in a
the iris (colored area around the pupil) which double or triple row and are short, thick
includes the stroma (the thread-like fibers that and curved hairs.
SEEING THE EYE SHAPE

Despite what I said about the
importance of the eyes, the eye is
still just another feature and it has
a shape like any other feature of
the face. When I refer to the
“shape” of the eye I am talking about the visible
portions of the eyeball, created by the space
between the upper and lower lids.
 The exterior part of the eyes, like the lids
themselves and the area that surround the eye
also are very important in capturing the eye itself,
but it’s that initial shape that you use and a
springboard for the rest of the eye. In order to
“see” the eye shape, you must ignore the pupil,
iris and all the lines and visual noise that surround
the eye, and look at just the pure shape. Imagine
an eye this pure white like the Exorcist eye… that
white is the shape you are looking for. Remember
also that the eye is not flat, but protrudes quite a
bit from the face and the lids have a definite
thickness to them.

Typically the eye is NOT shaped like a
football or an almond. The upper and lower
lids are not mirror images of each other. In
fact, they are very different. The lower lid is
usually much less of an arc than the upper
lid, moving more straight across from corner
to corner. The upper lid overlaps the lower
lid in the outer corner, and and is farther
removed from the horizontal axis of the eye,
which is created by an imaginary line
connecting the corners. This horizontal axis,
or “corner to corner” line, is a central part of
making observations about the eye, it’s
shape and it’s relationship with the rest of
the face. More on that in a second.
The eye shape is more of an asymmetrical
ying-yang shape that a symmetrical almond.
The upper lid line rises somewhat sharply
from the caruncula, peaks
about 1/3 of the way across the eye and
then arcs more softly towards the outer
corner. The lower lid does the opposite, it’s
“peak” being it’s lowest point, about not
quite 1/2 of the way from the outer corner
in, and arcing to the caruncula. In the
simplest of geometric terms, the eyes are
quadrilaterals with the four points being the
inner and outer corners, the highest point of
the upper lid and lowest point of the lower
lid. Naturally we don’t draw the eyes with
straight lines connecting the dots, but in
“seeing” the shape in simple terms like this
we can use these points of reference to
better capture the shape of the eyes, as
well as using them to manipulate the
feature for exaggeration purposes.
Let’s get back to the angle of the arms of the “T eyes higher than the
“corner to corner” line I Shape” I talked about in an insides? Lower? Even? Are
mentioned earlier. This is earlier tutorial. By looking they the same or is one
very useful in helping to at how that line intersects different than the other?
determine not only the the eye itself, we can see You can use the line to
shape of the eye, but it’s how much of the eye shape exaggerate the angle you
relationship to the axis of lies above the line, how see to great effect. The
the face. Imaging the line much below, where the Corner-to-Corner line is a
going from the outside contour lines of the eye great tool for observation
corner of each eye inward shape travel along that line. and “seeing” the eye itself,
to the inside corner and We can also see at what as well as a point of
then onward to the center angle the eye lies to the reference both both
axis of the face, what we center axis of the face. Are accurate drawing and
really have it the central the outside corners of the observation.

Another method I use for understanding the eye shape is to look for any straight lines in the
contour of the eye. Lines that are straight or nearly straight can be used as another point of
reference for seeing the rest of the eye and also used as beginning points for the actual
drawing of the eye itself. In many cases, the longer part of the upper eyelid, that from the
“peak” to the outside corner, is often close to a flat line. Look for straight lines and observe
their relationships to the rest of the eye shape’s contour to better “see” the eye shape.

EXAGGERATING THE EYE

The exaggeration of any feature must be
done with the whole in mind, and not be
treated as some separate entity. Seen in a
vacuum, it might be tempting to exaggerate
the size of the eyes because they have a
round and wide eyed look. However when
the rest of the face is taken into account, it
might very well be that the eyes need to be
small and beady within a massive face.
Exaggeration in caricature is all about the
relationships of the features to one another,
and not the features themselves taken
individually. However many of the especially the angle the eyes are at relative
observations you might make about the to the center axis, and the shapes of the
eyes can factor into the essential whole, eyes themselves.

The angle of the eyes is the easiest

thing to exaggerate. If the outer
corners are higher than the inner,
then you simply make them higher
still, and vice versa. Once you
make the observation, doing the
resulting exaggeration is easy.
Exaggerating the shape of the eye
is a little trickier. It can be easy to
compromise the likeness, but when
done right it actually enhances the
likeness of the caricature. That’s
because the shapes of features are
also describing the expression of
the subject, and exaggerating
expression is a central part of good
caricature. If someone’s eyes
become squinty when they smile,
drawing them squinty-er will
exaggerate their expression as well
as their face, and expression is
personality. Capturing personality
is an essential goal. If your eye
shape is squinty, make it squintier.
If it’s wide open, make it more wide
open. They should still look like the
eyes you are drawing, but with
your observations as a guide you
turn up the volume a bit… or a lot if
you can without losing the likeness.
Take this set of eyes that are very
round and intense:

We can exaggerate the shape of them as

well as their look by emphasizing the whites
surrounding the pupil/iris, and the
roundness of the lower eye. In this case I
also exaggerate the angle of them by
raising the outside corners. Not by much in or Mort Drucker:

either case here… what I am really

exaggerating and trying to capture is the
intensity of the eyes themselves. Those
little observations combine to allow me to
get that piercing gaze.

An artist’s individual style aside, it comes to

the same… seeing the shapes and
uniqueness of the features and drawing it in
a way that describes it for the viewer to
understand.

Certain styles of caricature will go farther

and “interpret” the shape and actually As always, caricature is about PERCEPTION

change it into a representation of the shape and not hard physical reality. In this picture,

itself. Here are those eyes as might be our perception of the eyes of this model is

drawn by Al Hirshfeld: changed by the makeup surrounding them:

 like the inner whites of her eyes are much
larger than the outer, giving her a “walleye”
look that we can make fun of:

The heavy eyeliner and over-thick exterior

lashes near the outer canthus make her look

Here are some caricatures from some of my sketches where the eyes are a central part of the
exaggeration or personality of the subject. Drawing eyes that really look back at the viewer
can make for a startling effect. Remember the exaggeration of the caricature involves all the
features and their relationships. The eyes may not be as important in another caricature, but
as they are one of the chief agents of human communication and expression, they are always
of import.