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SES —— (Cerf) Characters PRU Stasis INTRODUCTION BY CHARLES SCHULZ Creating Unique Faces Studying Expressions Conveying ‘Action More than 80 years ago, Walter Foster—a well-known artist, Pecan Res erro ote ee aS a etme eres ee Cn CCE ETT ws ee an mms eee tr rg See Ieee eerie errr Ruperts ete Si cee MCMC ee comin Sum ema Uie Cea) Seem CnC See Oe eee eM eer ean Walter Foster Publishing now provides how-to ee eM eR OR Tne RICO CRs huts a Rn em the rewards of learning to draw and paint. People who have never before picked up a paintbrush or drawing pencil have discovered their EVaeta(eae nT ce Tea TCM CS eco CoO Lear Te OU eLO) Ole arohy We are dedicated to preserving the high stan- ce er ee mena our products, We believe artists are eager to learn, sharpen their skills, and experience ee ee provide the tools to accomplish those goals— See ee are accessible, entertaining, affordable, and Re ee experience with us oF the continuation of a long-term relationship with our products, we ee en RS oy SR ed eae good luck and success and we hope that you Se sone aracters with Don Jardine How do I begin? tthisis an obvious question for everything that we do. Well, Don Jardine can help all of us who have tried, without success, to create cartoon characters that “come to life” for the reader. All too often, beginners will go to one of two extremes; either by drawing, characters that have no personality whatsoever or by drawing characters that are so cartooned that they almost repulse the reader. And although we are surrounded by hundreds of faces every day, it is amazing how difficult it is to put all of the strange eyes, noses, mouths, and head shapes that we see together. And even as we progeess, it becomes still more difficult to create characters who can express a variety of emotions. Don Jardine can help you over these initial, difficult obstacles. He has the answer to the question, “How do I begin?” harks ft dhol, Charles M. Schulz (1922-2000) (Creator of *Peanuts”: Charlie Brown, Linus, Lucy, Sally, Peppermint Patty, Woodstack, and Snoopy!) INTRODUCTION “How Do | Begin?” This is an obvious question for everything that we do, Well, Don Jardine can help all of us who have tried, without success, 10 create bartoon characters that “come to life” for the reader. All 109 offen, beginners will goto one of two extremes; elther by drawing characters that have no personality whatsoever, or by drawing characters that ate so cartooned that they almost repulse the reader. And although we are surrounded by hundred of faces every day, itis amazing how alficutt itis to put all of the strange eyes, noses, mouths, and head shapes that we see together. And even as we progress, it becomes still more difficult to create ‘characters who can express variety of emotions, Don Jaraine can help you over these initial, cificuit obstacles, He has the answer to the question, “How Do | Begin?” Aorta th, debuts, Charles M. Schulz (Creator of "Peanuts": Chattie Brown, Linus, Lucy, Sally, Frieda, Peppermint Patty, Woodstock and SNOOPY!) OBJECTIVE The objective of this book is to help you have FUN creating CARTOON CHARACTERS. If you enjoy this ‘material, you will want fo spend alot of time developing your own cartoons. That's GREAT There is NO SUBSTITUTE for PRACTICE, ‘The more cartoons you daw, the better they will become. And the better they become, the more you will enjoy cartooning. And the more you enjoy I, the Tore you will want to craw! It becomes @ HAPPY MERRY GO "ROUND! If you ae interested in cartooning as a career, you will ‘be pleased fo learn that a GOOD cartoonist hos many options: ftee lance, advertising, television, marketing, Indust. education, entertainment, and publishing — to name a few. And if you can eam a living doing something you would nomally do for fun, you will have much happier lite! Just think about it; When you turn on the TV you see familiar cartoon characters cavorting across the screen... commercial comes on and there are more cartoon pick up @ box of cereal andiits decorated with cartoon want a new ‘shirt, but find it difficult to decide among the many which feature cartoon go to the store to buy a greeting card for a special occasion and it's decorated with cartoon charactes..then you pick up magazine or a newspaper and what catches your eye? MORE CARTOON CHARACTERS! We are @ cartoon-conscious people. We grew up with Chartie Brown and Snoopy. Blondie and Dagwood, Mickey Mouse and Donald Duck, Bugs Bunny, Beetle Balley and the Fintstone's. They, and other popular cartoons were “fiends” of ours — and stil re! ft you want to be a participant in the WORLD of CARTOONING, you will heed this advice: Study ar lean to draw well, research cartooning, practice, and, most importantly, PERSEVERE! You will never make it without ‘determination, so keep trying! Never be satisied with the fist effort, Most cartoons can bbe Improved upon. But don't become discouraged! Cartooning is similar to penmanship — no two people write alike and no two people DRAW alike. And every ‘cartoon you craw is another step in the development of Your own unique style, Finally, REMEMBER what you leam and USE IT — always! Good Luck! Don Jardine, PhO. TOOLS AND MATERIALS Allyouteally need to begin drawing cartoon characters is c pencil and some paper. Almost any pencil will do, ‘and inexpensive paper such as newsprint, bond or typing paper is fine. As you progress there are many tools which make cartooning easier, more fun. and more professional looking. Buy them as you need them, PENCILS — Graphite pencils are the most popular and have the widest range of application, but there are several other types of pencils you might also want fo iy These include carbon and charcoal pencils which blend well and give a wide ronge of values, conte ‘pencils, and wax pencils (most colored pencils are of the wax variety), You should try an assortment of pencils to determine your preference, but here are a few things to consider Harc-leaded pencils (the H Series) hold their point better than soft-leaded pencils (the B Series), The harder leads don't break as easily and the pencil work doesn't smear as readily, The disadvantages fo the harder leads ‘are that they moke lighter lines. they are often dificult to erase, and they sometimes “gouge” the drawing surface. Softeaded pencils make darker lines, are easy to erase when applied with light pressure, and are less ‘apt to damage the work surface, but they must be sharpened frequently, the leads are more likely to break. and the pencil work smears quite easily many sizes. There are also alphabet templates to help you with your lettering.) For making curved lines there {re french curves and flexicurves (spines that can be shaped fo most contours) PENS — Drawing pens range from firm to extremely flexible, Technical pens are very popular (use the fiber nib, NOT the felt nib). Most of the cartoons in this book were done with a technical pen, Experiment and ‘choose the kind that works best for you. BRUSHES — Miony cartoonists prefer brushes over pens. They are difficult to master, but they make beautiful, ‘expressive lines. If you decide to try brush and ink, buy the BEST QUALITY brush you can afford. A red sable #3 watercolor brush Is favored by professionals. DRAWING SURFACES — There is a wide vatiely of drawing Papers and boards available. These include newsprint, bond paper, tracing paper, bristol board, andiillustration board, The latter come in hot press (a smooth surface, best for detailed ink drawings), and cold press (a regular surface, used for many media). There are a few specialty surfaces available also; ask your art supply dealer if he has any examples of artwork done on these surfaces. ERASERS — A kneaded rubber eraser is preferred. Unlike the ort gum eraser, it leaves no “crumbs,” and it doesn't stain or damage the work surface. DRAWING GUIDES — Drawing guides enable you to Grow straight lines, accurate cicles and ellipses, and specific curved lines, For making straight lines there are bevelled rulers, triangles and squares (the plastic, see- thru type are prefered). To make circles and ellipses you can purchase plastic templates which come in SHADING SHEETS — Shading sheets are used to create interest ana provide contrast in cartoons. They come in many pattems and textures. To use, place one over the desired area and lightly rub it down (the backs ore covered with a light adhesive, or wax). Then, carefully cut around the area with an exacto knife or a razor blade, Peel away the areas vou don't want covered ‘and it's complete! This takes a it of practice to perfect, bbut the pattems and textures con really add to your cartoons. DRAWING CARTOON FACES Hete are four basic oval cartoon faces with assorted types of eyebrows, eyes, noses and mouths in various locations. Below each basic face is a male and a female cartoon face, each with features related to the basic cartoon face above. Examine the cartoons which resulted from each of the basic faces. Notice the addition and varieties of hair styles, ears, moustaches, freckles, earrings, the necklace, the bow tle, et cetera, aan 8 AN EASY METHOD... For Drawing Cartoon Faces Begin by drawing a variety ofhead shapes. Then create some hair styles. Try drawing an assortment of eves, ‘ears, noses, mouths, and eyebrows. Then CHOOSE and USE! By drawing different head shapes with various features you can create HUNDREDS of characters. I's fun! Try it Each of these female cartoon faces wos created by fst drawing an oval, then drawing the features selected from page 5. I'S FUN! Draw a few head shapes on scratch paper, then drawn features of your choice. The various combinations drawn in different sizes ond in different locations enable you to create literally THOUSANDS of faces, And, you can add more exagger- ‘ated eyes, noses, mouths. ond hairstyles for an INFINTE number of cartoon faces TRY Ml You may find it interesting, even fascinating, to dupii- cate the faces above in different head shapes and with different hair styles. Using tracing paper. trade features and draw them In different sizes and in different locations. ifs easy — and it works! These male cartoon faces were drawn using the same method used for the female faces. It doesn? take a lot of imagination to change the features in any head shape. or to substitute a different hair style. Use @ 38 graphite pencil on scratch paper o* tracing Paper ond copy some of these heads. Then draw in features from other cartoon faces, or from the features ‘on page 5. Draw the eyes larger or smaller, higher or lower, closer together or farther apart. Add glasses, freckles, a moustache, a beard, longer sidebums or a bubble gum bubble. Experiment, EXAGGERATE! Every NEW combination you use to produce a cartoon face makes it YOUR cartoon. YOU can develop THOUSANDS of mais and/or fernale cartoon faces — young and old. The more faces you craw, the easier It will become, PROFILES AND THREE-QUARTER VIEWS Develop the habit of REALLY LOOKING at the many —EXAGGERATE! That is the way to develop your own people you see every day. Each, obviously, has two cartoons. ‘eyes, a nose and a mouth — but, except for their hair, ‘what makes them DIFFERENT? Their age? Size? Location _ Choose and use from the variety of head shapes. hair of features? Slight variations in shape? Whatever it is styles and features on page 5. PRACTICE! SIXTEEN CARTOON FACES... All With The Same Head Shape Dod THESE four have the SAME FEATURES but DIFFERENT HAIR STYLES. CARTOON FACIAL EXPRESSIONS Laughing ‘Crying Angry Fightened Sleepy These ore key features that lead to detalled faces, such as those below. ANGRY FRIGHTENED SLEEPY ‘STUDIOUS UNCONSCIOUS Here Is a dozen cartoon faces, each with an interest ing expression. Draw some circles and ovals and CARTOON FACIAL EXPRESSIONS In Profile Laughing, crying, onary, tightened, sleepy and stupid Disney animators do — make faces in a minor! ‘re basic cartoon facial expressions. Other expressions ‘re usually variations of these six You cant think of any other expressions? How about surprised, sad, tired, smiling, mean, amazed. yelling, shy, Make up @ Ist of expressions and fry tocreate acartoon contemptuous, diz, ashamed, bashful, suspicious ond foce for each one. If you have problems. do as the puzzled? DRAWING AND DRESSING THE COMPLETE CARTOON CHARACTER To develop a cartoon, professionals usually beginwitha The average human adult male is behween 7 ond 7 ¥ stick figure, a skeletal figure, or @ basic shapes figure, |__ heads tall, Artists, for convenience as well as fo idealize prefer and recommend the latter, but use whatever the figure, usually use 8 heads. ‘works best for you. FULL FIGURE STICK FIGURE SKELETAL FIGURE BASIC SHAPES The EXAGGERATED figure above was created by changing the proportions of the fulHigure. At the right you see the same exaggerated figure with clothes added. Shading sheets were Used to create a finished cartoon figure (see materials page). The ice ‘cream cone was added for interest. Drawing BASIC SHAPE figures such as those below can be o “ball.” This is how major characters ate developed. Ty a few — a few HUNDRED! Think of a character..a clown, a Pencil cartoons can be Inked bum, or a “bag lady,” perhaps. quickly. Adding textures and/or Put some basic shapes together pattems can e done with pen or Gndadd the kind of clothing they brush. strokes..of. you can use might be expected towear,Diaw commercial shading sheets. some props; make them DO something, FULL-FIGURE MALE CARTOONS These cortoons were developed from airplane — youlllcreate more interest in BASIC SHAPE FIGURES. your cartoon characters by having them DO SOMETHING that attracts A finger to the mouth, a hand ina Gttention Pocket, a tapping foot, or holding an This simple BASIC SHAPE FIGURE has been developed many ways: add glasses, c moustache or c beard, or Into four male characters. HUNDREDS are possible. Try change the hai style, 0 ty different apparel, Use your creating a few of your own..They can be changed in imagination. EXAGGERATE! KSREER ESE FULL-FIGURE FEMALE CARTOONS FIGURES can be developed into finished cartoons of ail ages, wearing your choice of clothing and DOING Each of these small BASIC SHAPE whatever you wish. . This is the same BASIC SHAPE FIGURE that wos used on the preceding page, Look at the FEMALE CARTOONS that resulted from it! ACTION CARTOONS ‘A mannequin can help you solve ‘ACTION and FORESHORTENING prob- lems, The two cartoon figures above wore caw fom the same manne guin pore, and eral hundteds mote are EASILY possi Most action figures are drawn on a ¢ diagonal line. If 0 LINE OF ACTION ‘of MOVEMENT. Like ail other cartoons in this book. these action figures were developed from BASIC SHAPE FIGURES. Km 7 aes BER CEA Movement lines help dramatize ACTION in cartoons. The simple car- toon figures cavorting across the ‘ bottom of these two pages may give You some ideas for finished cartoons ‘ ‘of your own. Notice the vatiely of figures and movernents. Dozens of inleresting characters are possible from EACH ONE, Just draw them (or others like them) larger. then acd interesting features, details and var- lous costumes. I's FUN! CARTOON STEREOTYPES House Wife Old Woman Tourist Cheerleader Movie Star Golfers KARTOON KIDS Chon are popu catoon subject | tay ah oomrio denon oe ake coe Sahonvaraae ton Soar SOMETHING you can Sem on eon a Notice that the children on this page range from less than 3 heads fo only 4 heads high. Study each basic shape figure and the finished cartoon which was developed ‘rom it, then fry some of your own, This is good practice! Start your drawings by using a pencil to create basic shape figures, then de- velop the details to your satisfaction before inking. Shacing sheets help by Providing interesting patterns and effec- tive contrasts PRETTY GIRLS Study cartoons of pretty git's in comic sitios, in advertising, and even on television. Pay particular attention to details such as facial features, hair styles, hands and feet. Then PRACTICE! The two fullfigured gitls below were Grown In the same pose, but have very different proportions. Pretty gils come In an assort- ment of sizes and shapes. Knowing basic cnatomy can 'be helpful even fo cartoonists who exaggerate more than most After drawing @ basic shope figure and developing It into good cartoon, try adding a vatiety of costumes. One or ‘two of them may be particu- latly outstanding, making @ world of difference, Draw the full basic figure even though clothing will conceal most of it (see example below). HOW TO MAKE YOUR CARTOONS MORE PROFESSIONAL The cartoon character right below is reproduced the same size it was drawn. The other four are reproductions ‘of the SAME cartoon Enlarging a cartoon offen creates some dramatic effects {as evidenced by the bolder lines and pattems of the lage cartoon at the left. The three smallest cartoons demonstrate how lines and pattems close up (fil in). In fact, the line pattem of the pants has closed up and ‘appears solid black on the smallest figure. Wnen great recluction is anticipated, its safest to use open pattems such as the dots on the crown of the hat and the widely spaced stripes on the shit. This litle character lacks VISUAL 26 STRENGTH. The lines te weak and Here @ bolder line was added for Finally. shading sereen wos applied for ‘emphasis, and a rabbit wos added for further emphasis. The rabbit was pushed Interest. A good Imexovernert back by the overlapping dot pattem. ale PROFESSIONAL TIPS 1. The use of a vatiety of ink shading techniques and/or shading screens makes your cartoons look More professional because they provide an interest- Ing variety of textures, pattems and values (lights ‘and darks). 2. Simplicity, strangely enough, is often the mark of o true professional. Note the works of today’s TOP Cartoonists. See how SIMPLE they recily are. 3 With experience and practice you will draw fester. The resulting line. a confident line, will denote Professionalism. Don't be concemed, at fist, about technique, That will develop with time, 4, Remember, a unique idea is often more important than a unique cartoon, 6. A professional cartoonist always has a number of examples (a potttolio) to show prospective em- ployers or customers. Published cartoons make the best examples, but if your work has never been Published, just use some of your best drawings. PAIL AND JUAN These two cartoons demonstrate the Importance of the background in your ‘artwork. In the fist cartoon, a shading screen was applied to the pail fo contrast ‘with Juan's white trousers, BUT, this makes the pail almost “disappear” into the background, In the second cartoon, you can see how the plain background of the pail is more effective and has better Contrast. A graduated shading screen was used for the second cartoon for ‘added interest To make a good comparison, squint your eyes and look at the two cartoons. This helps to eliminate unnecessary detail so you can identify the most important ‘elements of the cartoons. Notice how the second "Pail and Juan’ is much better than the frst 6 A second color adds A LOT to any cartoon, Professional masking material such as rubylth or ‘amberith (the latter is easier to soe through) is BEST, Just place a sheet of either one over your black and white cartoon, then cut and peel away all areas ‘except where color is desired. 7. A citcle attracts attention more than any other geometric shape. $0, to call attention to on important cartoon, place tin a circle of add a itcle of contrasting color or value (light or dork) in ‘he background, 8 Ty @ variety of drawing and lettering pens to find the ones that work best for you. Ask your art supply decler for recommendations and check lettering ‘and other cartooning books for examples of lines Produced by various pens 9. The very BEST tools (pencils, pens, brushes...) are worth the investment, As stated eatller, every professional cartoonist ‘must keep a portfolio of his or her work. A good Portfolio includes a variety of subjects, mediums ‘and techniques. Top quality LETTERING is also a Gefinite asset and makes one’s presentation more competitive, Waiter Foster Publishing has several books on lettering. Select and study one, then PRACTICE, It fakes a lot of time, effort and determination to develop the skills of a professional letterer, but these skills convert info ADDED INCOME ‘and a great deal of SATISFACTION, FE = LETTERING The fist LAW OF LETIERING Js legibility. To moke your letters easier to read, you need fo STUDY and PRACTICE! Uso guidelines like those in the balloons below. Don't try to design your own letters. Select a complete, ppro- fessionally designed alphabet like those shown here, ‘and don't deviate. Keep the letters OPEN and pay careful atfention fo the space between letters, GOTHIC ‘One of the most common lettering errors made by beginners is mixing upper case (capital) letters with lower case (small) letters. ALSO, if you're not sure of the spelling of the word LOOK ITUPin the dictionary. Avoid using slang words and poor ‘grammar. ABCDEFGHIJKLMNOPQRSTUVWXY 2 abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijkimnopaqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijkimnopqrstuvw xyz ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijkImnoparstuv wxyz Remember that the top balloon is usually fe00 fist Here, the man Is talking. One can tell by the “spout” from the balloon to his, mouth. The gil Is not talking, but THINKING, This is evidenced by the connecting circles of her balloon. Developing an identifying LOGO can bbe helpful fo a cartoonist. This is mine: EES: ara FINAL TIPS 1, PRACTICE! 2. To make straight lines use @ ruler, a tsquare or triangle. 3. Fiber-tip pens have a self-contained ink supply, are Inexpensive. don't spatter or drip, and the ink ries uickly (not fett+ip). 4. Use templates for harc-fo-draw ellipses and circles. 5. Use reference matetial (photographs from mag- zines, catalogs, et cetera) when crowing some- thing youre unsure of (such as props, places and landmarks). 6. PRACTICE! 7, you have trouble drawing facial exeressions, make faces into a minor for Ideas. 8 Use a French curve or a “Ylexicurve” for drawing cured lines 9. PRACTICE! 10. kneaded rubber erasers are great for graphite. They don't leave "cums" and they don't ruin the paper. ‘11. Try sketching with a soft-lead (28 or 38) pencil. They ‘make darker lines with less pressure. 12. youre having trouble attaining extremely dark areas with a pencil try using o 3B pencil, then go ‘over the same area with cn HB. It works! 13, Progress in art and/or cartooning may seem slow (109 stow fo be aware of). So date and put away some of your recent work, Don't look at Itfor atleast sik months. Then compare it fo the work youte Going at that time. If you've been studying and Practicing as you should, you will see a very encouraging difference, 14. Ifyou Use a non-photo blue pen for your preliminary Pencil drawings you won't have to erase the lines ater inking. (This is because the camera doesn't “see” the non-photo blue as it does regular pencil) 15, When you leam something, REMEMBER I. 16. PRACTICE! | 17, Ifyou want to sell your cartoons, a business cards. a good investment fo help biing in business. Don't forget to include your zip code and area code..and ‘@ good cartcon, 18. A pad of tracing paper is a great help when developing @ cartoon. Just de your sketch, side it Under fresh sheet and use it as a guide for making desired changes, No erasing! 19. Keep your work area neat and keep your hands clean so you don't smudge the paper. 20. People enjoy cartoons that are DOING SOMETHING, 21. A mannequin con help with foreshortening and action poses, 22, PRACTICE! 23 Lines add age to any face, so for youth, avoid UNNECESSARY LINES. 24, Large, soulful eyes can create inesistible appeci. 25, When you get an idea for a cartoon, WRITE IT DOWN. 26, Don't forget about seasonal opportunities (such os the Fourth of July, Thanksgiving and Christmas), ‘And, be sure to submit the cartoons about Sik MONTHS in ADVANCE so publishers have plenty of working room, 27. An easy way to transfer a drawing to another sheet of paper Is to cover a shest of tracing paper with graphite, then place it pencilside down between the drawing and the fresh piece of paper. Trace ‘over the drawing with a hard-lead pencil ond the graphite on the back of the tracing paper will transfer to the new paper — just like carbon paper (Dut the graphite is easy fo erase, if necessaiy). 28, Keep a file of reference material, It's well worth the effort 29. Most of the textures and pattems on and/or behind the cartoons in this book were mace with commer- Cial shading screens. They are easy to position (or reposition) ond, as you can see, there is a wide variety to choose from. 30. PRACTICE, CARTOONS. Cartoons are often used for ec cational material. hey fend to catch the attention of the students, {and the Information stays with them longer. ‘ALRIGHT, MEN/LINE UP ALPHABETICALLY ACCORDING TO HEIGHTS Notice how the shading screen on the sergeant emphasizes his importance. Other factors that make him stand out are that he is in the foreground so he's larger than the other characters, and that he is drawn with @ bald line. The spout coming from the bal loon shows that he is speaking, BLACKBOARD Follies] SPELLING. Tt AFRAID PHONICS HASN'T HELPED MIKE'S SPELLING. HE SPELLED Fis GOT)... THEN EXPLAINED THE GH WAS FROM COUGH, THE O AS PRONOUNCED IN WOMEN, AND THETI ASIN NATION? In this cartoon the teacher's blonde hair stands out against the dork blackboard. This was done intentionally to draw atten- tion to her. 54 ' : | / / 30 BLACKBOARD Goldie YUST MULTIPLY 15873 BY ANY NUMBER BETWEEN AND 9... THEN. MULTIBLY THE SUM BY 7. Note the expressions on these characters’ foces. Facial expres- sions can convey many feelings. Pay attention to the expressions fon your characters’ faces. They can make or break your cartoon! The characters in this cartoon direct attention to the message ‘because they are both facing it AFTER ASKING IF | COULD SUBTRACT 45 FROM 45 AND STILL HAVE 45... TOMMY “PROVED IT WAS Possi@ce/* HE Salby “SUBTRACT LINE #2 Eom LINE #1) THEN ADD THe NUMBERS IN LINE! IN LINE #2, AND IN LINE # 3/7 Here Is the character from the cartoon at the top of the page. with the name "Suzy." A character can become well-known if It is always drawn with the same features and characteristics and 's used repeatedly, 31 Walter Foster Art Instruction Program THREE EASY STEPS TO LEARNING ART Beginner’s Guides are specially written to encourage and motivate aspiring artists. This series introduces the various painting and drawing media— acrylic, oil, pastel, pencil, and watercolor—making it the perfect starting point for beginners. Book One introduces the medium, showing some of its diverse possibili- ties through beautiful rendered examples and simple explanations, and Book Two instructs with a set of engaging art lessons that follow an easy step-by-step approach, How to Draw and Paint titles contain progressive visual demonstrations, expert advice, and simple written explanations that assist novice artists through the next stages of learning. In this series, professional artists tap into their experience to walk the os reader through the artistic process step by step, from preparation work and preliminary sketches to special techniques and final details. Organized by medium, these books provide insight into an array of subjects Pe Astiseetibeieeceaie ata pe anbirey Oise nencithatal see lipiey tr ontiter technical vistacled,/uad peplote new media. Written and illustrated by professional artists, the books in this scrics are ideal for anyone aspiring to reach a new level of expertise. They'll serve as useful ae ‘tools that artists of all skill levels can refer to again and again. ‘Walter Foster products are avilable stat and craft stores evecywhere For. fl lise of Waler Fosters tiles, visit our website at waevewaterfostercom lorsend $5 fora catalog and a§5-off coupon WALTER FOSTER PUBLISHING, INC. 23062 La Cadena Drive Laguna Hills, California 92653, Main Line 949/380-7510 “Toll Free 8004426-0099 ar (2005 Wer oe Ping, ne Alek reed There are more than 250 titles in the Walter Foster Art Instruction Program. From our Beginner's Guides in every medium to our classic how-to-draw-and-paint titles, there are books and kits for artists of every skill level—plus an extensive list introducing children to the world of art. Pore epee eer ee ee ; Patsy Tee ee eee pacing eed Peo ree ete or Sari Te se eee 2 Ha A Peer ered Cerny acectias Ae Dean at coor area eee eer Sree a era (apa Darna eee nacel eco baer at cal peo e Payee arr elaaT) era Patron peas scree Cae Peeples) pera ame ey eee Poems co rey renter cn oar ened fee seen Charcrers Keely a See aa Foarregeeh Ceara prriiaeeantdre preainets ee ida (eepdearpiliey en eee eee tert ey Tea eee ee ne Ho a eae ere ES haat me Sree a Penrd St harcoal Drawing at25) oe se tion ajo esa poral (pretreat teed pare allan) Pe Larabee a rena eer cae ort taped otal ae Seven PO Loc ntar} Pern) peop ar Cn oeeyter a er eal Female Nerd PS rea kee cect a eae pheilaierel Pet coke arene en Sanu a [ana eae core ere ee ene e sth naa Taras TES Poo onic ee moana teat eum ELS et cae Ita ad Perea Cat ReMeee payee crc ‘aeons ft rl rae Te aerd Se es er cas reed Pee eed eats Sekine Coal ea ea me ete Petey et eceeae ie ee net ae eeprom cean tng ea peeneenaneny Cty ner ent cman aa one ioe eared perenne) per) as Teese) id ane ee el eos eed ao) Ppserscentehlia fan nine nomeraened ara stot Bieter erage Favorite Pets ows senscdhanpadlecnssiel ben seh enna a ee Ses Outer Space ones eit ee Toy Story oom SSC co ee Se ee eee a pccntlivaaiiad Le ee ee ee rey Feri serps ae So ae posite ela dig ero act Peas ety Ce aa Eons Drawing Heres Rs a a eet ee eer eee ee ee er ee eer Bekcne A Dae oneee ~~ inwo his artistic wodd and shows you how to create fan areay. of unique and ‘omicl carton characters, swith ips on deawing facial expressions, actions, and ‘artoon stereotypes. In this book, he explains his own cartoning techaigues and bis methods of developing ‘8 cartoon characer, More- coves, you'll Sind a wealth ‘of delightful characers to inspite you. This book ie sute to be a welcome sition to any cartoonists ia! TOTOUWINUGREnadpopsto Discover the Geren Canoe Wereo- Find rips on adding movement lines and develop a characte’ pecsomaity. types and how ra depict them, epttion ro convey a sense of acon. Featured artist Don Jardine tas sgh in evel at chol nd calles and has als been a profes of ate Uy of Micnets foc many years: Don has taught aig, loon, a ita, ndscape pins, porcine, package desi, clay eon osc, anatomy, slp, a apreation assaon devia, vorsing andes, an leusing. Do ered an sect of ove tie and eae ofcompltion art Weber Clee in Open, ah Thea he went ow cam acer of cee deren esodaty ‘elation nl mae fase ge in scat mito wth ephan in at om he Universi of Unk, whee he grand pin cum lade, Do earned his Jstotate dorsi eduction adoration (with ener nae and arcielated seraton at he Unversy ‘of Mines A wrt and lasts of amos ac hos, Don edited hatrator Mapusin fot more than 25 years. past pein ofthe Utah ‘Ar Edestor’sAsocaton, Don ao ered at nat expe forthe Nasional Fata Anion in Washington, D.C. Hes ated in Whos Who the Made 0 oration Who's Who Art and Ati. isan 197+ s60100000 ‘CATEGORY: At /Tchniues/Catooning aD 158M 10 1801000055