The Mad Art of Caricature! : A Serious Guide to Drawing Funny Faces

184 Pages·2016·97.68 MB·English

by  Richmond Tom.

A Serious Guide to Drawing _,
Funny Faces — —
Orns”

JACK Davts legendary MAD Magarin acai etoonistarillstton
The Mad Art
of CARICATURE!
A Serious Guide to Drawing
Funny Faces

by TOM RICHMOND
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This book is for my wife,
‘The Lovely Anna, without whom | am utterly
and truly lost ... and not just on road trips.
Foreword
Preface and Acknowledgments
‘About Cariature and this Book

1. WHAT IS CARICATURE?. .. 2

Creature Equals Peep :
1. BASIC CARICATURE THEORY... 14
3. HEAD SHAPE: THE ALPHA SHAPE... 28
foto ot he Head A a
Drawing nd Bagger ie Hed LF

4. DRAWING AND CARICATURING THE FEATURES... 42

More About Points of Reference a3
THE EYES... 20.2220 eee cece ee eee ee a4
‘Anatomy of the Bye 45
‘Seaing the Eye Shape %
Drawing and Exaggersting the Eye ”
‘THE NOSE . see 52
Anatomy of the Nose 53
Seeing the Nose Shape 4
Drawing and Exaggerating the Nose Fy
THE MOUTH .....- 2000002 e eee ve 4
Anatomy of the Mouth ‘
Seeing the Mouth Shape a
Drawing and Exaggerating the Mouth n
5. CARICATURING THE REST OF THE HEAD... 76

THE LOWER FACE......... 0.000000 7
The Jaw and Chin ”
The Cheekbones : Le 82
The Ens : Das
THE UPPER HEAD..........-.....0- 88
The Eyebrows 2
The Forehead. and Hair ”
6. BEYOND THE FACE... 102
‘The Neck and. Shoulders 103
Drawing) Hands 108
Cariestire and the’ Sexes ne
7. DRAWING LIVE CARICATURES. .. 122
‘The Challenges of Live Caricature 123
Some Basics 18
‘Approaching s ive Carictire 35
‘The. Sequencing Technique ms Lola
Drawing with Line = ut 138
8. CARICATURE IN ILLUSTRATION. .. 142
Narrative In Careature stration v2
Avoiding Leo oan ae va
Cancatre iustration ‘and’ stye us
9. CARICATURES AND MAD... 152
‘MAD bout Caricature. . 182
Caricatures ana AD Parodies 153
A MAD Joo trom Start Fish 156
Conclusion 66

Afterword 168
FOREWORD BY NICK MEGLIN

TOM RICHMOND—AN ARTIST WHO NEEDS NO
INTRODUCTION, BUT | WROTE ONE ANYWAY...

At a recent sel ciscussion ot the
‘North Caralina Museum 0 Art tht focused
cof the Lighter Sie of Norman Rackivel 33
part of their wonder retempective exit
SF that be oved ais’s work, Ihe speakers
Fielded several comments ftom the lige,
appreciative audience alluding to the pa
‘digo where “fine at” ends ane Hust
tion begins. Inasinush as criteria for jay
ment is arbitrary at best, few can oller much
inthe way of carly defined resolution. In
the broadest anaings is highly probable
that Da Viac hime would have parted
Saturday Evening Past covers ithe publics
ton 2xbted in his da, and King Solomon,
cating a Rockwell panting in hat, wal
only be destroying a brilliant siece of art
twoilesatisying neither sie of the would:
De laoel males
Tpead guilty for engaging in similar
of my earliest books, he Azt cf
natn, Lsuggested tht tere
war a dear distinstion between hamowous
illustrator and cartconist Long after the
reed to be mone definitive ix my txt dad
pessed, I relized that a singular aspira
onto eit a comic nesponse through
3 piece oF art—neluced cofegorization to
rcaningless wordplay. Norman Re:kwll
twas as prowl oF hs gag ater as he 8
Ins seriogs themes al didn't compromise
his strong representational approzch to
achievethom Exceptforslight exaggeration
Drexpmssion a: geste, i 3s business as
Uosal for the fanned Mlustator’s Mustator
whether rolema or slapedck. Other ntar
bs in that same edition, Sergio Azagoses,
Jokinny Hart Past Coker, Ameld Roth.
Jaffe, and Jules Feiféer—clasic csetoariss
A-shace exactly that sae goal So much
for definitions,

CCaricatuse is unigne in that it incorpo
satus ¢ Dlerd of both the representation
a humorous approaches. At the core is
the nel to depict a known subjet, no cif
ferent a result than that of sesious porteit
tists ho will also take ibertis wih clini
fal accuracy to echiewe a deeper likeness,
They will exapgecste, condense, shit, oF
whatever they feel negessary 40 adhieve a
Sesived eee.

Just as a well-eonceived and executed
portrait offen says mare about the person
than physical features alone, carcatare,
pecially in political artocning, will exagger=
Ie qualities to help camry a slanted editoral
‘estage be it positive oF negative retiectin
the ap ion ofthe atist snd othe publics
tion in which is appears

‘Waathas become moe important sbout
caricature tome personaly is that even after
Song. protessional ceseer in publishing, |
remain i awe o artists who can draw lines
‘oma tvo-dimensional suriace and transform,
them into a graphic satemen: that travels
far beyond thrae-dimensional realities. As
consummate sketch arts (and some-
time freelance illustrator, ray emmnipresent
fountain pen responds tothe visual stim
that inspires me. There sno magicto this ap
proach abasiceye to hard process lev
tehat T see, But ee mind's eyeto-handl is
something else entirely, to me o prooss bor
dlering on witchcraft and those who engage
in the practice more sercerer than atist ==
Fevially when their drewing looks wore ike
the subject than the photographic retecence

dio achieve it, beezebub, e gone!
“The successful caricatrist emp oys the
ader's imoge memory entiely? another
Aifecult feat braught about by coptoring
attitude and or other significant visual af
tributes coupled sith a sense ofthe inner
Doing that serves to remind us ef that indi-
tual despite our visual memory often be
ing mote distor than che drawing.

‘Themajor easily tecugrizable diference
In approach to caricature is the “llipop
school” (wherein a Lage head is jammed!
‘onto an interchangesble Bucy as in most
cameo pieces, politcal cartoons, ec) and
Ihe narcative continuity fin which te phys
‘cal proportian, ban language, and ation.
ae al ulize to help ceprare the complete
representation asie a MAD Magazine sate,
‘orexample),

While most artists of this later ap
‘roach alsa master the forme, he reverse fe
far les typlcal and serves as one ofthe we
snajor reasons Tom Richmond was invied
‘a join MAD Magazine's Ustal Gang of
‘iss. His ability to combine “ld schoo!
sold drawing with “new schoel” teehrol
gy, especially in areas like evlorization and
‘Speci effects heretofore not at the artist
Tsp nce in tween abo te
Ine gaia’ raion ull soled
amove caveat desiga, Thadiinally lack
Sad while presentation (thes tha sve),
MAD enteted the fulhvolo: work! of wo
ec, publishing fll Uuolle Ly 2001, includ
ing the intrusive aad coanprosiising adver
ements i had sciuputously avoided snes
ts inceplica bul naw accepted i er Lo
survive in the economically lrg. pubis
me work

The other reason Tom was accepted
into the told eo far more important in tat
Fe ability to serve the seitng in 9 fnas re
alistialy drawn. panel-toppanet narrative
‘what MAD satnef all about Clooney,
Gaga, Downey Paltrow Brad and Angelina
Ihave got to Took like who they ee forall

angles and lighting effets thoughout 39 oF
‘move frames, and very few artists cen sue
fain the level the magazine reuse from
Jsoue to due, It alone year to year.
slireetor has easier comparizor—the oc
tors aly look themselves fom scene 9
Sere lt erty aie ait with
pet ras, lk
‘My earlier seation of being ie aoe

fou llent i bviguly lat uverstate=
fet al nose bt a do ae a are,
sary brew. Sew for yourself aver the fol
Tow pages a ane Une alent devs
shaves melts insig ts kaowhede and
inetiuclion fio his fonikdable eaperience
inthat Dack Side act oom, savicature. Ladies
si gentler gove you Tom Rihanond

Nick Megtin
Tom's vend and fret MAD eior