Caricature Character Design | Elgin Bolling | Skillshare

Playback Speed


  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

11 Lessons (1h 22m)
    • 1. Introduction

      3:47
    • 2. What is caricature?

      4:10
    • 3. Tools

      7:22
    • 4. Line quality

      14:51
    • 5. Drawing CHIBI caricature

      9:47
    • 6. Draw what you SEE

      5:34
    • 7. Points of reference

      6:51
    • 8. The witch away principal

      7:04
    • 9. There is no face!

      6:27
    • 10. Jigsaw puzzle

      5:55
    • 11. Final thoughts and project

      10:11
  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.

75

Students

2

Projects

About This Class

This class will teach the art of drawing caricatures for fun or profit. The course will cover an overview of caricature styles, tools of the trade, concepts and principles of exaggeration, Demonstration of key principles and confidence building exercises and final project.

Meet Your Teacher

Teacher Profile Image

Elgin Bolling

YOUR CRATIVE CARICATURE MARKETING CONSUL

Teacher

Class Ratings

Expectations Met?
    Exceeded!
  • 0%
  • Yes
  • 0%
  • Somewhat
  • 0%
  • Not really
  • 0%
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.

Transcripts

1. Introduction: Hi folks, My name is Elgin subway, sir, for building your creative caricature and marketing consultant and your instructor for this course, caricatured character design, why we study and carry good show? Well, caricature is my number one favorite art form that I use to express myself. Several years ago in New York City where I live, I was walking on the street and I saw it's something that's really typical in New York City. I saw a caricature artist drawing 12 sidewalk. And I stopped and I was amazed of how these people with just a few lines could draw somebody's face and have it looked like them yet. It didn't look like them. I thought it was like a kind of magic trick. And well, I was an artist and I thought that, well, we're all artists. It's the same type of fraternity kind of thing. And so I went up to one of these artists and asked them, how do you do that? And I just, you know, peppering him with questions and he just smiled and stonewalled me and kept going on with his drawing. And I found that as I asked a different artist is thing, nobody was giving up any information. So I finally went out on my own and learn by trial and error. And it was hard to turn it on. I'm not kidding. It was hard to learn it on my own. And I vowed that if I have a learn how to do this, if I have a learn the secrets, you know, to drawing caricature, that I would pass that on to other artists who wanted to really learn. And that's why this course exists. Because I want to pass on to you the art form that I loved and one of the best things I love about caricature art. Unlike forms of art, you can get a, an immediate financial reward for doing this, you know, and that can be a major, major motivator, especially in times like this. In this course, I'm going to teach you a caricature fundamentals. I'm going to go over briefly the different approaches to caricature, you know, set. You can find your own artistic style within those for any one of those variety of approaches. I'm also going to teach you concepts of thinking like a caricature artists. Because 90 percent of being a caricature artists depends on It's a mental kind of thing. It's a way of perceiving, It's a way of thinking, it's a way of conceiving. And once you have that mental trick down, once you know those principles, you're going to find it much easier to do caricature drawing. We're going to do also a sink, a number of different exercises to warm you up and gets you in a certain type of right-brain frame of mind, you know, which is definitely essential to caricature. And finally, we're going to be doing our final project where you're going to do an exaggerated caricature on your own. Plus, I have I'm going to teach you how to do caricature that I guarantee any person can do. And that's coming up in the following video lessons. So I'm looking forward to teaching you. I'm looking forward to seeing what you produce as a result of this course. And let's get started. This is elegant. So we said for Bolding your creative caricature marketing consultant. 2. What is caricature?: What is caricature? Less fine down? A caricature is an exaggerated portrait that amplifies or minimizes a person's facial and or bodily features. For comic effect, there is no one exclusive way to draw a caricature is caricaturist can be expressed in a variety of ways based on an artist's ability or inclination. A caricature can be drawn whimsical and tight to the mike. This one or this one or this one. But I'm a caricature, can be an editorial statement, critique or an idea like this one or this one. But I loved that special effect. A caricature can be drawn semi photorealistic and conventional. Like these. These are the kind that are most likely used for. When you're drawing alive. A caricature can be drawn grotesque and hyper exaggerated. But only for the very brave. Even an inanimate object can be caricatured like that coffee pot. A caricature. It can be drawn with a minimal model of lines and a dash of color. Make this one. A caricature can be drawn with few lines and no color like that one. A caricature can be symbolic, focusing in on a few key facial features. A caricature can be drawn without a head. A caricature can be totally non-representational and avant-garde. As long as you get all the features in like this one here. Which brings us to a close. I presented a variety of caricature styles to encourage you that regardless of your personality and artistic ability, there is a method that you can use to draw caricatures, looking forward to seeing what you create. 3. Tools: First we'll discuss tools for dry media, okay? Pen and paper. Okay. And in paper, a pen and ink first feds. To me. In my humble opinion, this is the quintessential caricature pad. It's the mighty Tombow brush bed, desk. Tom be o w pen. What I love about the Tombow brush pen is this brush right here. It gives you excellent wine quality and control the field very balanced. In your hand, the ink flow is wonderful and what's the best thing about this particular pen is that you can easily perform thick to thin or thin to thick lines that's covered in the line quality portion of this video. Okay, also, it has another end that you can draw. Final lines with. K. Just comes in handy if you're drawing like a very, a weaker character, comparatively speaking, you know, you can draw them with a very fine line. Or if you're drawing a very strong character, you can draw them with a bold line. You know, I definitely recommend this pen, you know, among all others. But if you don't have a Tombow brush pen, you know, because they are expensive. They are, you know, there is a alternative that you can use that will do the trick just as well. And it is the mighty Crayola marker, believe it or not, the Crayola. And I'll talk about the thick marker or that talking about the little thin markers. The thick marker is good because it has something called conical tip. Do you see the way that tapers out this, this particular market, surprisingly, you know, gives you great inflow that lasts a long, long time. You know, you can easily go from thick to thin. You can very alive quality, very, very easily, you know, with this type of pen. And you can get this at any Walmart or CVS pharmacy or any convenience store that has a stationary section. Very affordable and you can get the same type of quality that you can get from a brush pen. Now for you computer uses, what she, what I want you to use is this thing. It's the iPad pencil. Now this is pricing. This is a little above $100, but I guarantee you, if you have, you know, one of these pencils, you know, you'll never use a conventional stylus. Again, this pencil. First of all, it feels good in your hand. You know, it sounds a certain type of weight to it. And you know what's great about this pencil again, you can get. Variation of line quality. All right, of course she going to need in order to draw it that excuse me for a moment. You're going to need an iPad, you know, Midas particular version. And I hope you have it in iPad Pro, you know, it's, it's a 12.9 inch iPad. Okay, now, if you have a, another model, one of the smaller models, you can use that, but unfortunately you won't be able to use the iPad pencil. On the earlier models, you'll have to use a conventional stylists. And the weakness in the music, the conventional stylus is you get one consistent line quality, okay? And for our purposes we want to vary the line so that it looks interesting. Again, this is going to be covered in the line quality portion of these video lessons. So please check that out. For paper. Using dry media. You know, I really recommend that you use. Now I lost my train of thought, it just derailed. I recommend that you use a style of paper called photo layer gloss. Photo layer gloss. Now it's photo paper, but it's excellent for drawing caricatures. And here's why, because the glossy feel of the paper enables your pen. You know, especially if you're using the Tombow brush pen or the Crayola market and allows those two markers to glide over the paper with the greatest of ease. I mean, it's like ice skating. I square it. It is it's just a beautiful field. And it, it, it, it doesn't have the tooth, you know, of a Strathmore paper or a covered stock paper. But if you're using cover stock, you know, especially if you're doing a caricature of a street caricature or for gift caricature, we are giving it out to people. He doing potty caricature. I recommend going to Staples getting nine by 12 covers stock paper. Now why I recommend that size is that I've noticed at parties. Caricature artists have a tendency to give people a big old piece of paper, like 11 by 17, you know, or even bigger, you know, and they rolled this thing up or activities at the party that they can't really get involved with because they carrying this big old caricature around the nine by 12 size enables you to, by a sleeve, you know, for it a transparent sleep loose leaf sleeve. We can put the caricature that added to the person and had them go about that way without having a big old piece of paper that carry around. But your tools are very important. You're going to also need a piece of a tracing paper pad. Now, for digital uses, we're going to be working with layers. You know, obviously, the application that we're going to be working on, my faith might application of choice is Art Studio for iPad, but you can certainly use Procreate or you can use what else? Photoshop, you know, but I'm going to be using art studio, any application you can use that enables you to use layers. So that's your tools. Don't skimp on them because they're good. They're going to carry you and make it easier for you to do this course. Unless of course you prick your finger and then you can draw your blood. I don't know what kind of line quality you get from that, you know, but I digress anyway, looking forward to teaching you guys. This is Elgin Subway. So for Bolding your creative caricature of marketing console. 4. Line quality: Let's talk about line quality. Line quality. You know, it's not often discussed, but is, but it is so essential to making your art look expressive and beautiful. A couple of years ago, I had the pleasure of meeting one of my heroes. He probably never heard of it. Maybe you have, his name is Orion Scorpio Reese. And Ryan, you know, is a he's a filmmaker and independent filmmaker. He's a comic book writer, and he's a comic book artists as well for a lot of independent projects. I guess you can look them up on the web and check out what he's done. But I regret the digress. What I showed why in my artwork that I was so proud of. And up into that point, I was young. I thought I was the best thing since sliced bread, I would show people my work. They would go, Wow, amazing. You're great artists, blah, blah, blah. You know, my my ego would just expand and I showed my work to Ryan and he looked at over and he looked at over and I noticed that he wasn't smiling. He had this kind of serious look on his face. And he said something that was kinda sided, like the voice of Darth Vader, like the voice of doom. He said, Okay, remember you asked me and he proceeded to tell me how much my works up. How was terrible. Oh, he said you're, you're, you're, you're a good artist and you have talent, but you'll wine quality is atrocious. And then he pointed out meticulously every drawing, what was terrible about it. He said You haven't no consistent you have this consistency of live everything looks like a coloring book. It's either a thick mine or as a thin line and it's consistent and it's boring to the eye. He says that. He said, in order to make your art more interesting and more exciting, you have to vary that wine quality, okay, and yet the very end, when you vary it, It's so subtle that your eye picks it up, luke, and it's very pleasing, but you might not notice it at first. And I said, Okay, well how do I develop line quality? And so he gave me a series of exercises to perform every day, you know, before I started drawing. He said now these exercises may seem boring, you know, and you're going to save yourself what, what's the point? And that's what you're gonna do. You're gonna save yourself also. What's the point of doing these exercises? But I guarantee you, just like Ryan guaranteed me, that if you do these exercises when a consistent basis, they're going to show up in your artwork. And your artwork is going to be more interesting. Looking is going to take on a more of a, I would have to say a lyrical quality to it. And people are going to notice the difference and they're not going to know exactly what it is and not going to be able to put their finger on it. But you're going to know it's because of line quality. So don't skimp on these exercises. I provided a video that has these different exercises for you to try it on. I want you to do this not just for the duration of this video lesson, but I want you to perform this every day because this wine quality exercise is not only good for caricature, it's good for any type of drawing that you're doing. You must vary your line quality and it did. And you have to have a certain kind of dexterity to do this. Now you can do this with the Tombow brush pen. You can do this very easily with the grail of market. And it has that great conical tip that I told you about in another video. But what I'm using is the why does my train of thought derail? It's kills. I'm 60 years old. They did. The thing that I'm using is the iPad pencil, you know, and it takes some practice to do it. Okay, I recommend that you practice this, you know, at least 10 minutes or so or day just before you drawing. And you're going to find that your line quality is going to improve tremendously and your drawings are going to look magically. Do this. I think I pronounced that wrong. Let's do this again. Your drawings are going to look magically delicious. This is elegance level a flow from Bolding your creative caricature marketing consultant. Okay, we're in the art studio app here, and it's dark. I've turned up the lights just so that the line quality can be easily seen. What I want you to do is just start drawing a series of lines first, thin lines, then thick, like we're doing underneath via. Don't take it off the paper. Now I want you to go from. These dramatic pauses, thin to thick, thin to thick, thin to thick. Like I said, these exercises are boring exercises, but this so necessary for training your hand to do great quality wines that vary. So and this time we're just doing the verse reverse, thick line followed by a thin line. And you don't want to raise your pen from the paper or your eye pencil from the screen. With the eye Pencil, it takes a little bit of time they get to feel of this, but I guarantee you that you will be able to get it. Especially if you put it on the air brush setting. Although it can work for the pencil setting as well. Now here we're varying the line going from thin to thick to thin. We're just doing it at random, practicing our dexterity. When I started doing these exercises, at first, I kind of sleep walk through them. But then I began to notice that my line quality in my drawings got better and better. I really knew I got the hang of it when people started commenting on how beautiful my lines were at first I didn't see it myself. Like I said, this is something that's very, very subtle. You may not notice it at first. But your hand is automatically going to do this. And it's going to make your drawings that much more pleasing. I suggest that you do this type of exercise on a daily basis. And especially right before you start drawing caricature is just a warm up. It's like a baseball player warming up in the bullpen. You want to warm your arm and your hand up with these particular exercises. Okay, we're back in the art studio app and we are choosing our tool. Of course, you can do this in any other application, Photoshop or Procreate, or on a plain sheet of paper. Right now I want to show you what this line quality thing looks like into caricatures of my favorite subject, that would be me. You know, I'm going to do one just using a consistent line. Followed by one that uses a variation of line quality just so that you can see the difference and how it looks. Ok? And it's not to say that you can't do a caricature just using one type of line. If the lightness is good and it looks like the person that you're drawing, then it's acceptable. Earlier in the video, I showed a example of a person who had drawn a caricature of me in the introduction where the Jew use just line they didn't color in anything, not even the color of the eyeball. And it was perfectly fine. If that's going to be an artistic choice, you can definitely, definitely do that. But like I've mentioned before, what do you draw a consistent line like this? Whether it's a thin line or whether it's a thick line. It's not really interesting to look at. And you're going to put your viewers to sleep, so to speak. They going to get bored looking at the picture and they're not going to really know why. It's not all that exciting to look at. And you want to make your caricature as exciting as possible. That's why we want to use beautiful flowing lines that have nice variation of line quality. And also it just feels good and jazzy to be able to do that, to have control over the art form. Line quality is something that many artists don't pay attention to. But it's just another tool in your artistic toolbox that you can use to help you perform your craft. Ok, now I've erased everything here in the art studio app. You know, if you're using regular paper, of course you can just tear to sheet out and start again. Okay, If you're using dry media I x, I want you to use the Tombow brush pen. Okay, and now we've already started. You can see that the line, you know, I went to already start on the nose that a line is definitely varied. Now you can do the lines very specificly, or you can at random, choose which lines are going to be thick, which lines are going to be thin? Traditionally, people usually do the inside areas in a thin line and the outside areas in a dark line. Or if they want to indicate the shadow, the heavier parts of a particular feature. They'll do that with the Lenovo Dell express that with the line. I'm not doing that here. What I'm doing is purely an artsy type of thing, varying the line quality, just really depending on my whim, so to speak. And again, the reason why we're doing this, it's an aesthetic type of thing. It makes the line look very interesting. It has the idea or form of movement to it. And that's what you want to get. Movement, action. It looks more alive than the other one. The other one looks kind of dead, comparatively speaking, and you want your lines to look as alive as possible. So go ahead, experiment with this. Use your own face, right? And I'll see you on the other side. I'm anxious to see your drawings. 5. Drawing CHIBI caricature : To do our first confidence building exercise. That's right, folks. We're going to draw caricatures now and we're going to draw the easiest kind of caricature. I guarantee you guarantee you that everyone, regardless of your artistic ability. I don't care if you just draw stick figures. You will be able to draw this kind of caricature that people will like. What type of caricature is this? It's called cI be, CHI, BI, she be. Now you've seen cheapy before. It's characterized by a big head, short, stubby limbs, a stout or fat kind of body. If you've seen the Pillsbury Doughboy, you've seen achieve the type character. If you are familiar with the Powerpuff Girls, you've seen HEB caricature, and if you're as old as I am, if you've seen Kimball, the White Lion or Astro Boy, you've seen she be GB is basically a Japanese slang term, that means short cubed. Now what it's used for anime or manga, you know, it's a nice humerus term. But if you call a person HEB as the same way of using an insulting term like Short Stack or Shorty. Want to call a person achieves me, you know, in Japan, but I digress. Now what's so easy about this style of caricature is that anyone can do it because it follows a simple formula. And that formula is this, again, big head, small body, small, stout limbs. That's it. Okay. And also you could draw that big, big eyes now as long as you use subject that you're familiar with. Yeah, I actually I digress. You should use a subject that you're familiar with and that's going to be your own face. Like in my case, I'm going to emphasize aspects of my face that are easily identifiable and you should do the same on your face. So one mind, it would be the goto j that's easily identifiable, is made with a little bit of black in it. These bushy eyebrows that I need to trim, you know, and also my large, large eyes and I could include, you know, you know, my nose with the flaring nostrils but I think that would be, you know. Oh, just a little bit too much. Remember you want to make this a cutie pie type of caricature it and anyone can do it. The great thing about doing this type of caricature is that you can do Party caricature with this. So, so easy, you just pick out the identifying characteristics of the subject that you're drawing. You know, put that into the formula and bang. You're going to have something that did definitely going to be satisfied with. And we'll make you money. You can do this for street caricature. You can do this for gift caricature. You can do this for digital caricature. A sky's the limit. You decide on how you want to do it. But anybody can be any person rather, can be put into that formula and you can draw a caricature. Definitely. So what I want you to do is pause the video, look in a mirror, or you can do it from memory and draw your face as a cheapy style caricature. Now I have an accompanying video of me doing the same exercise. So what you're going to need if you're not using a iPad like I am, you're going to need tracing paper. And well, that's what you're going to be tracing paper pad because we're going to be working with layers. Okay, so I'm looking forward to seeing your drawings, you know, make sure that you upload it to the appropriate place so I can see it in sec if fellow students can see it. And I'm really excited about seeing what you guys are going to do. All right. This is Elgin, somebody said for bowling, you'll create a caricature and marketing consultant and I can't stop saying that. Okay, We're back, come back any art studio app choosing our color. We have already have it on the marker setting. In the art studio app. If you are on Procreate or Photoshop, you can get the equivalent. What we're doing here is we're making the outline. And certainly if you are using tracing paper, just take a sheet and start doing the outline first. Okay, we're going to be working with layers here. And the first thing we're going to do to draw this tree be caricature is withdrawing that signature Big Ed, big circle. If your subject has more of an elongated face, make an oval that you can follow along using this model here. You know that I'm doing, you're doing a short stubby body, legs and the torso are connected. Short stubby arms. Now you can draw these in any pose that you'd like or you can just follow along and mimic the diagram pose that I have here. You're going to draw this initially on your sheet of tracing paper and use this as a guide. I'd like CIDI because it's a very easy, user-friendly caricature to do. Now TB is characterized by large expressive eyes, anime eyes, or compose a cartoon character eyes, brown eyes. Okay, since I'm doing my features in, I'm going to draw it. This big old nose and here the lips and the goto j, k. Now, I'm going to make a copy of that, as is my habit in case I mess it up. And I'm making a, another layer where I'm going to do the inking. At this stage, if you're using dry media, you just take another sheet of tracing paper and put it over that to make a layer using the Tombow brush pen, you know, on this or the conical tip of the Crayola marker. I start with the eyes first because well, because I felt like yeah. So all we're doing at this point is we're just quickly sketching in the details of the TB caricature. What's the great thing about GB caricatures? Again, you don't have to get a quote unquote, photorealistic spot on whiteness. You just get the headlines of the person's face. By the headlines, I mean, those particular characteristics of that person that seems to jump out at you. Maybe it's their eyes, maybe it's their eyebrows. If they have facial day and maybe some mustache. If it's a woman, maybe she has braids. Incidentally, even though I don't have it drawn here, if it's a woman in achieving caricature, traditionally the woman's hair, you know, takes up the hill up bulk of the caricature, you know, behind her. So you draw that here real, real big, you know, if it's got braids and make them down to the floor, you know, whatever hairstyle. In my case, I'm emphasizing the eyes, knows, the eyebrows, the little goatee. And that should read as me. What's great about she be caricature is that it's cute. It's non-offensive. Everyone seems to like it. And you can definitely do HEB caricature for a party caricature or if you're doing it on the street, particularly at kids parties, and it's going to be a big hit, comparatively speaking, you are drawing again, doesn't have to be spot on. I don't think it should cheating. If this is what you can do, this is every bit a caricature. It's a Japanese caricature called a GB. And I would definitely recommend this as your first go-to type of caricature. So the assignment is to do a caricature GB of yourself. Or if you're feeling adventurous, do it of a friend or somebody close to you, a celebrity, I'm just dying to see what you do now. Okay, this is algebra. So we said for bowling, your creative caricature marketing consultant. And I'll see you in the next video. 6. Draw what you SEE: Lot. As caricature artists, it is essential that we learn how to draw what we see, not what we think we see. And most artists have this problem. Caricature artists are not. Many times we are imposing our preconceived notions on what a thing looks like. And drawing the image in our mind that we see in our minds, rather than the image that is actually there in front of us. This is a tricky concept. But in order to break that annoying habit of drawing what you think you see, one of the best ways that I know how to do it is by doing what's called blind contour drawings. That's right. Blind contour drawings. You don't look at the actual picture that you're drawing. You look at the subject that you're drawing. In this next exercise, what I want you to do is put your hand on the table, position at any type of way that you like and take a pen, piece of paper and draw what you see. Now this requires patients, you, what you're going to do is just try to imagine, try to envision that your pen or your pencil is actually tracing your fingers, the folds and the fingers, the knuckles, the hand. That's what you want to imagine in your mind. And let me tell you your drawings. I'm not going to look pretty at all. In fact, they going to look pretty atrocious, but that's good because what this is is a training exercise for your mind so that it will shift and so that you will get in the habit of drawing what you are seeing. Okay, so let's get started with the exercise. Hope you enjoy the upcoming video. Okay, We're going into the art studio app. And for those of you who lack the app, lack dApp. But those of you who don't have the app, you can just use regular pen and paper. What I want you to do is put your hand on a desk right next to your tracing paper or no, right next to your drawing paper. Put your pen on the paper and start drawing your hand. The object of this exercise, to not look at the hand excel itself, but to keep your eyes on the paper. While drawing the head, the hand. The idea is to act as if your pen is connected to your hand. Like you're tracing it. That's it you're actually doing in your mind. What you're trying to do is you're trying to make that switch from your left evaluative side of your brain. Always trying to figure things out to the intuitive right side of your brain, which draws exactly what it sees warts and all. This is going to be a useful exercise when you start to focus on people's individual features. Oftentimes in caricature, we don't want to hurt people's feelings or we want to make ourselves feel better. So we start drawing what we think we see. Well, what we'd like to see, we make corrections instead of drawing what we actually see, what's actually there. And this exercise, a blind contour drawing, helps to break that habit. It's very tedious, but very necessary. And I suggest you do this several times a day. Perhaps do this before you start drawing caricatures. Just to get your mind in that proper space. Blind contour drawing is an exercise taken from this book called drawing on the right side of the brain. It is an excellent, excellent go-to book of sorry, I don't have the author's name bill for what I believe it's online. I believe you can read it for free. And it is really a game changer. It has this exercise and several others, so, but this is one of my favorites, blind contour drawing. You don't have to stop with your hand. You can also do any object, bottles, chairs, anything that you can just draw as contour. Looking forward to seeing your drawings, this is Elgin suddenly said for Bolding your creative caricature, marketing consultant. 7. Points of reference: If something is big, you make it bigger. If something is smaller, you make it smaller. And I mean waist smaller and I mean way bigger. But knowing that principle you say, Well how do I determine what to make small and what to make big? We'll use in my own face as a reference. I'm going to show you how to do it. And this principle can definitely be applied to anybody's face that you look at. You know, and I call it the three points of reference. The first of reference is top of the eyebrow to the hairline. Okay. If they have a hair line that goes all the way back, that will be the top if they're bold. Well, sky's the limit on that one, you know, but that's the first one. Now going this particular reference from the top of the eyebrow, eyebrow, you know, to the bottom of the hair line will give you the reference for how big the forehead is. You know, if it's bigger, you know, you draw it much bigger. You know, if it's smaller, you draw it much smaller, you know? And if it's somewhere in the middle, well, you just kind of make it somewhere in the middle. Okay, but we're going from bigger and smaller than next point of reference is from the nose to the bottom of the nose, to the top lip. You know, once again, if it's bigger, if his whole lot of space in-between there, you're going to make that bigger. Okay? If this a little bit of space, space, you're going to make that smaller. It'll let me just say if you know a point about this space right here, this space, you know, is a very caricature trouble. While I said that look on my tongue, falling off its role is very caricature terrible. You know, especially when you use the three-quarter view of the face. Let me just turn my face three quarters they ago. Alright, when you use that or some people this stretches out, I'll lock, you know, and you can definitely exploit that egg that will in fact, you know, for caricature, I really do recommend the three-quarter view of the face. Okay, Now the third of reference is the bottom lip to the chin. Okay. So again, you know, if it's a lot of space in between male like the bottom of the chin was like, you know, right right down here, you can make that bigger. You know, if it's, you know, a little smaller, distance wise, you make that a little smaller. So those are the three reference points. Again, to cover them, you know, eyebrow. To top of hair line, number one, bottom of the nose to top lip. Number two, bottom of lip to chin. That's three, you know, if it's bigger, you know, the space is wide. If there's big, you know, you make it much bigger. If it's small, you compress it much smaller. You know, on another node, you want to take careful attention to the eye lids like in my case, it a lot of space between the eyelid and the lower part of the eyebrow. That's very important to notice that space, That's something else that you can exploit. You know, I guess that would be a fourth one, you know, okay. You know, because some people there is a lot of space in between that eyelid and the eyebrow. And again, following that rule, If it's a lot of space, you increase it. You know, if it's a little bit of space, you compress it. All right, so you can do that. Okay, what, what, now, what else can we exploit? You want to find when you're looking at a face, especially head on, you want to find what is the largest part of the face and what is the smallest part now is going to be very subtle. You don't want some people, usually the largest space is going to be the head of bed. This is part of the cranium that's going to be the largest and it's going in or going to the smallest is probably going to be the chin. You know, that's what it normally is on the quote unquote average face. But sometimes these angles kinda taper out. Sometimes you have a person with, you know, big cheeks. Oh, then you can exceed that becomes the widest part of the space, you know, and this becomes the smallest. And then when you're, when you're really, if you're really adventurous, sometimes you can even how would I say, impose a shape on a person's face, kind of like a funhouse mirror. Now I don't recommend that method too much because you can go way off the rails doing it like that. But if you happen to be kind of adventurist, you know, you can try that funhouse mirror method. But anyway, the purpose of this video is to focus on those three things. Now how do you notice that when you, if you're doing Party caricature, How do you notice that right away? Well, one easy way to do it is when you have subjects sits down is to squint, to squint. And what you're trying to do when you're squinting, you know, think Clint Eastwood squint, get, just, get just point on. You know, when you squint, you'll be able to pick out the subtle details of the face without being distracted by the actual features, you'll develop a template of sorts of what the face looks like. A, a roadmap almost in no. And that's going to create a mental image in your mind of how you going to exaggerate. So try that out. You know, this of exercises that I have some detailed exercises that I've included in the accompanying video, check those out and practice those, and I'll see you in the next video. This is Elgin subway fare for bowling, your creative caricature marketing consultant. 8. The witch away principal: The witch away principle. This by far is my favorite and my go-to exaggeration concept that I always use whenever I look at a face, he is how it's done. Imagine looking at a face, your face. Well, in this case, my face, I'm going to turn three-quarter view so that it's easier to get this concept down, okay, when you're looking at a face, you looking at the individual features, you're looking at the tilt of the head. Looking at which way to nose is going is what direction the nose is tilted in. And you, and you say to yourself, if a particular body part were to keep going, what direction or which way would it go in? For me? Since my forehead tilts back ever so slightly in this direction, I would choose to draw it going way back in that direction. You know, in the case of my nose, since it just tips ever so slightly up, That's the direction it like it would like to go. And so I would explode the nose out, my nostrils since they're flaring, the direction it seems to want to go in is out. So I would explode that out. The same thing with y loop. There's bottled Luke seems, seems to be because of the size of it. It seems to want to go in this direction, so I would explode that out in that direction. Okay. In the case of my chin, you know, it goes back ever so slightly. It was just just to drop. Okay. It's not a strong Shun. Sad to say. He knows not really a week chin but it goes back ever so slightly. So in the case of the chin, I would make it go probably into my neck. That's the direction it seems to want to go. Now you can do, you can apply the same principle in a frontal view, but it works really, really well in a three-quarter view. And that's the view that I think is best for you to use. So I'd like for you to practice that, you know, on your particular face, you know, get a mirror. Or rather take a snapshot of photos your face, take a marker and mark off the areas of your face where it seems to want to go. The particular features. Now you can apply this principle instantly to any face. In fact, this is one of the ways where caricature artists are able to quickly look at a face and start exaggerating right away. What you wanna do is you want to outline this first with your in your tracing paper. And then once you have the initial sketch down, you take another sheet of paper and then you just start drawing. Over that. Okay, so I'm, I'm dumb Dynasty what you guys come up with using this Which away principle, just another tool in your toolbox that you can use to draw great, exaggerated caricature pairs. I'll see you in the next video. Here's an ugly face for you. This one right here. Okay, applying this Which away principle, it's easier to do it with three-quarter view. And like I said, you have to really, really look at a face closely to notice that a little subtle nuances of it. It's easier to see on some people and a little harder on others because we're not used to really observing what just used to drawing what we think is there or half way looking. Okay, I am here to tell you that, you know, looking at people, It's not a natural thing because we either look at people intently when we want to fight or when we want to become intimate. So this is just something you have to train yourself to do. Which is one of the reasons why have you used their own face or you can analyze mine right here. If you notice, my forehead tilts back a bit. That's the way that it wants to go into which a way principles. So I would make it go further back with my chin. My chin appears to ever so slightly go back towards my neck. So if I'm caricaturing that and asking myself, which way does it want to go? I would definitely make it explode into my neck. My lip appears to want to go forward and down. Okay. At my mouth, one to the two corners of my mouth. It's a sad kind of mouth, so they appear to be drooping. I want gravity to just pool that all the way down while I'm having the bottom part of my lip pushed forward. A particular area that you can exploit in caricature is the space between the bottom of the nose and the top lip. Okay, that space right there where that little groove is, I forget what the technical name of that is borrowed. Some people, that's, there's a lot of space there and you can really just stretch that out. Like a ski slope was like an elephant's trunk. Like I call it the Grinch thing. Kinda like the Grinch mouth. You know, that's definitely something that you can exploit. If you see that jutting forward, you notice my nostrils flare and they appear to be like they want to go up, up, up, up into this, the guy, you know, on 45-degree angles. So that's another thing that I would exploit, as well as the eyebrows, they appear that they would like to do the same thing. Okay? Each individual phase is going to be different. Of course, you're going to have to look at each face and decide which way to Features want to go. But this isn't an essential part of doing exaggeration. You know, practice well. Use either yourself as a model, you know, or if you have a particular face that you like drawing, definitely use that. And I will see you in the next video. 9. There is no face!: A couple of years ago, I was at an event and out of bed when I was looking at the work of this famous graffiti artist, his name was best queen. And India exhibit they had this room that had this gigantic autograph book where you could sign your name, draw pictures, do anything that you want. And a caricature artist that I am. I started drawing caricatures of people who in the room and putting it into book. Because who knows, maybe this was going to be, you know, the, it could be some kind of notoriety thing, you know, for me. So I'm happily doing these caricatures, you know, and this guy walks in and he had this, you know, you had a big nose, you know, a little bit greasy hair and he had to move the little teeny tiny goto j, you know, and I've started to make fun of him. I started to laugh and laugh and it doesn't go TE and everything. And he was having a good time joking around with me and I drew is little tiny goto j and made fun of his nose, the thing and, you know, just had a blast drawing doesn't guy, total stranger, you know, and then, you know, we said our goodbyes and he went on his way to see the rest of the exhibit. All of a sudden, the curator comes running up to me like I committed a crime. And she said, Do you know who you just drew? And I said, Yeah, I drew a guy with a big nose that she said, you just drew Bruce Springsteen. And one is soon as she said the name, by lightening fast brain put all of the elements together and I said, Oh my God, I drew Bruce Springsteen and I didn't even know it. Now, case you guys don't know who Bruce Springsteen is. Hebrew, he made a record a couple of years. One of his most memorable, you know, hits was born in B, who has a bad guy, Bruce Springsteen, I realize I might be working with the generational gap kind of thing. First frame, Spain. The point of this stub, that story is I drew this guy. He's right in front of me and I didn't recognize him as him. And why is that? Because of a caricature principle that I want you to learn. And it's called, there is no face. There is no face. You know, now that sounds kind of weird because in caricature, withdrawing faces in a, well, what I want, what we do is caricature artists. There's a mental trick that we do in order to get the likeness and not get distracted by the facial features and that's shapes. There is no face. There is only shapes. And when you look at a face, you are going to be looking at the various geometric shapes that make up that face, whatever is the eyes, the nose, the mouth. It doesn't matter. It could be a what is the word? An amoeba, amoeba like shape. It doesn't have to be a straight up geometrical shape, although you can, you know, impose that shape once some of the features like my EG, my egg shape, head, you know, for example, that oval shape, you know, head, you know, like these cheeks, you know, which are, you know, a circle and so on and so forth. But there is no face. You look for the various shapes that define features and you draw those shapes. The reason why I couldn't recognize Bruce Springsteen with, I was focusing so much on the individual shapes that I couldn't really see him, you know, and that's the kind of focus that you want to have. You want to be so laser focused on a particular shape of the eye, of a nose, of a natural of the spaces between teeth, you know, that type of thing that you kind of zone out. And forget that you're actually drawing the face. You're just drawing different shapes that wants to juxtapose together. They make up, you know, quote unquote a face. Okay, Now that's a really heavy principle, you know, to get a hold of, but I guarantee it works. And reason why it works is because it takes the pressure off of you. Because a lot of pressure when you're sometimes drawing a person to get it right. You know, as you're drawing, if you're focusing too much on the facial features, wondering if you're getting it right and then you have your internal critic, the left side of your brain starts to make adjustment on what it thinks it sees. And once you start getting into left brain activity, that's when you're going to be crashing and burning. So when you're thinking about shapes, it exercises the right side of your brain. Your right side of your brain knows what the shapes are, it knows what it sees. And if you keep that pen moving, you know, I'm guaranteeing you that you will find it. So again, using your own face as an example, find the individual shapes. Forget about the features. Just draw the shapes. You know what you see, you know, no matter how simple, even if you have to make up, you know, its shape. It doesn't necessarily have to be a geometrical shape, but just the shape. Okay. Draw that of your own face. And the reason why we're using our own face, you know, it's a model is because it's the face that we know. Once we get confident drug our own faces will be more than adequate, will develop more than adequate skill to draw other people's faces. So get going. 10. Jigsaw puzzle: There is no face. And I know that seems like a weird concept expression if you're drawing faces. But if you're drawing caricatures, it really is essential. And here's why. When you're drawing live, you look at a person's face, whether it's a tough looking guy or a very beautiful woman. And sometimes there's a tendency to become so captivated and enamored with the face in a positive or a negative way that you start imposing your feelings on what you're drawing. Like. For instance, a beautiful woman has beautiful eyes, are luscious lips. You say, oh, I know it. Beautiful eyes and luscious lips look like. And you will draw that image that's in your head rather than the image that is right there in front of you. So what you need to do is start to look at the face. Kind of like the jigsaw puzzle pieces that you have to separate and redraw. So step one is you start with the head. Okay, you look at the head shape and you'll notice in the black silhouette, that's exactly what I've done. You know, I've included the Afro in that. Now it's easy to do on an African-American because our air has a tendency not to fly away and to stay intact, kind of like a container. If you're drawing a Caucasian person or Asian or Indian, you know where the hair is, Lucy, you want to treat the air like it's a separate element, like it's a container. It's a puzzle piece. Okay? So that's definitely what you would like, what you need to do. Okay? And the second step is looking at the individual features. In this case, I've highlighted the lips that seems to stand out to me. Now. I could have included the nose and the eye shape, and that wouldn't be good. You know, also that I've chosen not to include it in this example because I happen to know the subject very well since it's my son and I know what the shapes look like. But what you should do is include all of the individual shapes. Eyebrows, the shape of the nose, the shape of the lips, the shape of the teeth. You might notice that in the second example, I do have there the hair separated in that mass that looks kind of like a it looks like a container. That's how I look at it. You've got to sideburns. You have, you know, the whole Afro there. So this is what you wanna do. You want to separate the features of the face, like a jigsaw puzzle that you take apart, you examine them and you put them back together. This also helps with the exaggeration. Once you've taken the pieces apart, you can enlarge the pieces. You know that you still keep the basic shape of the pieces, but you enlarge them. Now I'd like to touch on something that doesn't have to do with this subject, but it has to do with the photograph that I'm using. You might notice that my son, he's slightly in a three-quarter view, but really, really not quite. And you notice that in the picture on the left, the color picture on the left? No. I have him fully in three-quarter and they don't seem to match. I can do this because like I said, I know his face very well and I know what his face does. So in your case, you want to work with the photograph or the, or the subject that you have if you're doing it, my view really want them to turn three quarters so you can see the various planes of their face. It's a lot easier to see it in three quarter. You certainly can do it in in portrait view, I call it, you know, whether just looking at you head on, but it's a heck of a lot easier to do it in three-quarter view because the features sort of stand out and jut out of the face like a landscape. So that's the way did you want to go. So I'm looking forward to seeing what you guys produce. You know, again, like in all of the other exercises, choose a subject that's easy to do. It could be a family member, like I've done here. Could be a good friend, or it could be your own face. I recommend in all of these exercises that you do your own face because the face that's always there with you, it's the face that you are more familiar with and I can't emphasize this enough. Don't fix yourself. Like if your lips and not as full as you'd like them, the bead, don't draw yourself with full lips. Okay, we're not inventing things that are there when I'm venting our ideal self, we are definitely trying to draw what is there. Looking forward to it, seeing what you produce as Elgin. So we said for Bolding your create a character and marketing consultant. And why doesn't that dog shut up? 11. Final thoughts and project: Hi folks. You'll create a caricature of marketing. We have come to the end of our caricature journey. I hope you've enjoyed this class. I know that you guys have gained a lot of knowledge in how to do this art form. You know that at first looks so difficult, but now that you know the secrets, I know that you are going to exploit them and make great caricature is, you know, what I'm really excited about. You know, those of you who are going to do caricature for caricature gigs, street gigs, you know, at festivals, you know, at parties. You know, like I said, at the beginning of this series, you're going to make a lot of money doing this. And this is one of the few art forms that I know that you can pretty much started making money immediately. But let's talk about our final project. On our final project, you know, I want you to make an exaggerated caricature, not achieved the caricature and exaggerated caricature using any and all, you know of the skills, you know, that we've covered previously, all of those principles, I want you to put it to one caricature or maybe several, you know, now I have provided some faces, you know, for you guys to draw. You can choose any one of those faces, their user friendly, they're recognizable, you know, but, you know, I also would like for you to use the subject that we had been using throughout these videos. And that's your face. Okay. Because no matter what face you draw, you, there's no face like your face. And if you can apply these principles successfully to your own appearance, you can definitely apply it to anybody else's. So that's what I would like you to, you like you for you to do, to use the principles that we've outlined to create your own caricatures based on your face or the faces that I provided. Or if you are experimentally adventures, I want you to imagine a face just, an anaphase is just made up of different faces that you've already seen in one of your lifetime. Use your imagination, using all of those principles that we've covered and, you know, make up your own caricature, drawing. It's great practice. Thank you so much again for completing this course and I look forward to seeing what you guys are going to create. Thank you so much. This is Elgin sublease or for bowling, your creative caricature marketing consultant. Okay. We're back in the art studio app for the final project. And a few parting words. Okay, what we're doing here is we are. Doing our exaggerated caricature. And I wouldn't be terribly upset if you did another CI be caricature. But I want you to try the exaggerated caricature this time. And you know, if you're working on dry media, just take a sheet of tracing paper and I want you to start sketching very fast. The features start with the nose because that's in the center of the face, you know. And do the I on the left-hand side. On the right-hand side. Because when you'll cool, what do you do if you do it in reverse? You'll cover it up. And the alignment might be off. Do this as fast as you can. In my case, my flyaway eyebrows, I have them completely flying off of my head. Drawn the large eyes that look like to headlights. Just really, really now pushing the envelope and exaggerating what is specific about my particular face? You're going to exploit. What's particular about your face. Again, grabbing on to some of the major features. Using the witch away principle. Looking where the hook points are. Asking itself, what animal do I look like getting that in your mind. You can, even if you're a venture, is literally draw yourself like an animal. But make sure you maintain that likeness. Okay, now I disappoint, you know, I'm going to create another copy. And then I'm going to create another layer. If you're using dried media, of course, you're just going to take a sheet of tracing paper, put it over this outline, and then start sketching it. Or rather just start inking it using the Tombow brush pen or the Crayola marker with the conical tip. I've even seen theme park artists do this. Not the tracing paper. Of course what they do is they use a very dark marker like a a Prismacolor marker. I design marker. And they'll draw the under sketch. Really, really heavy so that it will show up 12 paper that they put over it and then may start inking over it. So don't get intimidated when you see these grade exaggerated caricatures that a lot of street artists do, there is a trick to it, and this is definitely one of the tricks. Of course, you can also do a very, very light pencil sketch where you exaggerate the features. Now when you're exaggerating, you want to go as fast as you can. And the reason why you want to go as fast as you can is because you want to do this intuitively. You want to exercise that intuitive right side of your brain and you don't want to second guess. Second guessing is the death of doing caricature. You want to activate that right side of your brain. And you do that by going so fast that the left evaluative side of your brain doesn't have any time to evaluate, to judge, to say You're doing it wrong. That's not the shape. Okay? What's great about caricature is that it is very forgiving. If you get in the ballpark, the person that you're drawing, we'll see the likeness, Even though the parts may not all the time exactly be quote unquote. Correct. That's the beauty of this. It's an art form. It's an interpretation. Now this is not an excuse for bad flooring. It should look like them. Okay? You should have the elements of their face. You don't want to invent something that's not there. Okay, So we're almost done here itself. Take your time with this. Make sure you upload the results to the appropriate area. And I look forward to seeing your final creations. Thank you so much. For those of you who are getting tired of drawing my face or drawing your old face. I have some old faithful icons for you to draw an I've chosen these phases like Elvis's here, because they easily recognizable. As far as visual hooks are concerned, there are a lot of visual hooks you can grab onto. And I don't want to make this too complex for you. In the beginning, you can still use any of the principles to do to caricature. This is Gandhi. Now Gandhi is kind of deceptive. It don't just get caught up and saying, Well, I just draw bolded and that'll be in the, you know, there aren't definitely, definitely other things here that you can definitely exploit. You don't I encourage you to use all of the knowledge that you've gained up until this point. Don't Well, try doing it as a, as a TV. You know, he seems to work that way. You know, of course, if you would like to do my face again, well there too, better pictures of it. But I want you to sketch these things out first, you know, as loosely as you can on a tracing paper and then go over it again with a darker marker. You know. Or you can just create it with layers in the art studio app or your Procreate or Photoshop. Hope you have enjoyed this course as much as I have. And I'm looking forward to seeing your creations. This is Elgin subway, sir, for bowling, your creative caricature of marketing consultant.