Transcripts
1. Introduction: Are you ready to uncover the mysteries of shading
and cross hatching? In my course, I'll
first teach you the concept of
tonality with pencil. Then join me as we
delve into mastering the basics of
crosshatching techniques and pencil shading. Learn how to apply
these skills to geometric shapes like
squares and circles, and then elevate
your artistry by shading and crosshatching
on more complex forms. Finally, you'll even sketch and shade an apple with pencil, bringing your new
techniques to life. Enroll now, and let's explore your artistic
potential together. Before we want to
start our work, I'm just going to tell you about the tools that we
need for our work. It's just a usual etch eraser, a normal pencil,
and a basic pencil. So with only these three tools, we are going to start
our work. So let's go.
2. The Concept of Tonality: Hello again, and welcome to the first episode of
This Tutorial W M. Okay. So first of all, let's start with one of the most important things
in sketching and drawing. Well, this is one of the things that we should
consider right from the beginning and it's the most important
part of drawing, and that is the tonalities. Tonality means our
darkest shades moving toward our lightest
shades that they can actually help us to
volume our work or give some dimension to our
work or even make it prettier. Okay. Now, let's see how
we can create tonalities. So over here, I've got kind
of a stretched rectangle. Okay. Here we are. And I should divide this rectangle into
12 separate parts. So I just try to create 12 separate and equal parts inside of this
stretched rectangle. All right. As you can see, my 12
parts are complete. And in these 12 parts, I want to tell you how you
can create your tonalities. Okay? You know, the tonalities
can be done in 12 numbers in five numbers
or even in 50 numbers. So that depends on you. But I'm just getting a
balanced way over here. The base of it and the
balanced way of it is by 12, but you can make it more
or you can make it less. Dam. Six, seven, eight, nine, ten and 11 and 12. So here we are. Okay, now, then I get my Basix sketching pencil
because it's darker. And then, as you can
see, my first part, the first box is totally dark. It's absolute darkness. It means that your hand
pressure should be very high, and you should just darken
this box as much as you can. Okay. So it's going to be totally
and absolutely dark. Then the second color
palette is still dark. See? It might be just a tad and just a bit lighter than
the previous one, I mean, lighter than box one, but it's still very, very dark. So I'm going I'm starting with the darkest
color that I can create, and then I move toward
making it lighter. Number three is still counted as my dark tonalities
and dark palettes. But as you can see, it's lighter compared to number
two and number one. Because as I told you, as I'm moving forward, I'm just decreasing
my hand pressure just a little bit to make them
a little bit lighter. Number four is still
in the dark palette. But again, as you can see, it's actually lighter comparing to the previous ones. Okay. Okay. Then from color palette number
five, little by little, my hand pressure decreases more and it's moving toward
lighter tonalities. Okay. Number six is obviously
lighter, as you can see. And then I'm going to
work on my number seven. It's going to be much more lighter comparing to
the previous ones. Then I go to my number eight. My tonality is
getting created here. As you can see, it's
going to be perfect. Then I move on to
work on number nine. And box number nine is just
too light, as you can see. Because as I told you, you just have to control
your hand pressure while you're moving
through this rectangle. Basically, the six from
the sixth box on, I mean, from after the box number six, it's been counted as the light palette of our work
and the light tonalities. So as I was saying, from number one to number 12, you should just gradually
little by little, decrease your hand pressure
as you're moving through. So you see, I've got
the darkest area there, and then I get to number 12 that I should
have absolute light, so I don't color it at all. So we call these 12 steps
of shading and coloring these 12 box eternality
so as I told you before, little by little, and gradually, we've decreased
our hand pressure, and we've got these done. Now, we call each one of
them a color palette. For example, palette number one, number two, number
five, and so on. And as I told you before, the tonalities can be worked
in for, I don't know, in 12 boxes or in ten boxes or even 50 boxes
that depends on you. Well let's see what are
the tonalities good for? I mean, what is
their use at all? Well, whether you want
to sketch, I don't know, an egg or a vase or a face or anything that
you want to sketch, you might have to use these tonalities from
number one to number 12. You should have all of these
color palettes in your work. If I use only from six on
plans and from six on boxes, my work is going
to be too light. It doesn't have any excitement, any life in it, or it just gets
so bored, boring. Sorry. And if I use my
dark palettes only, the same thing will happen. I will lose all the details. It would not look
great and so on. So in all of our sketchings, should we should have
these color palettes 1-12. And actually, when a
dark color palette comes exactly next
to a light one, for example, number two, comes next to number 12 or 11, it will make a contrast for us. So that's what we
call a contrast. It means that we place two different shades
right next to each other, one dark and one light. For example, I place
one of my dark palettes here can be anything you want. And next to this, I'm going to use my number ten. So you can see the opposite shades made here
that we call them contrast. We call these contrast
in sketching. So if someone has told you that your sketching or your drawing
doesn't have any contrast, it means that your dark palettes and your light palettes are
not next to each other. It means that you've only used the dark ones or the light ones. Neither is good. So you should have
both the dark palettes and the light palettes
used in your work. One of the practices that
can help you in order to master the tonology
skills is this one. This one, I'm going to
create my tonality, but this time, I'm not
going to use any boxes. So basically, I'm actually decreasing my
hand pressure very gradually. And I do not create any
specific borders here. This can actually help you to control your hand
pressure better. So you start from the
darkest shade that you can create with your pencil,
and as you move on, you gradually and slowly drop your hand pressure until you
get to the lightest color. Okay. So as you can see, I've got all of my colors, all of my analogies
1-12 in my work. So this is one of the best
practices that you can do. It's a bit more challenging
than working in the boxes, but, you know, you can do it. Now, Okay. But the common mistakes in working internality
are these ones that I'm going to tell you. For example, the student will start with a very
strong darkness. And then when they want to
transfer into the light, you see, they don't
do it gradually. They just do it suddenly. So they suddenly drop their hand pressure and
make it really light. This is totally wrong. This is the correct one. This
is the wrong one. You see? Internality, we shouldn't have any separation in
between our colors. You can clearly see that separation and the
border between our shades. So we should never
have this kind of separation and borderline
in our tonality. Another mistake is that students
would assert like this, and instead of dropping their hand pressure so their
shades would get lighter, they just make their lines get further from each other
and they make it smaller. We don't want it to be smaller or get it
further from each other. I want it to be lighter as
it moves on towards the end, and I want your hand
pressure to drop gradually. So that one was also wrong. So while you're working
on this tonality, you should never take your
hand off the paper, never. And you should do it
all in one session. And after you finish
the whole process, you shouldn't go over on it again and shade
some parts again. So you start one time
from the beginning to the end and you don't take your hand off the paper or
you don't go over it again. Let me just do it one
more time for you. I am having strong hand
pressure in the beginning, and then I'm giving
time to my hand to my pencil and slowly
and slowly gradually, I'm decreasing my hand pressure, and I'm making my shades
and colors lighter, as you can see, and as
I'm moving forward, no sudden drops either, and no making it smaller. This is a very correct tonality shaped so I didn't I
didn't stop anywhere. I didn't do anything wrong, and that's the true form of it. So I hope you've enjoyed it. You've learned it, and this is a very, very important thing. You should definitely practice
it over and over again because it's one of the most basic and most important things.
3. Types of Shading (Hatches): Hello, again, and welcome to the rest of the
tutorial with me. Okay. In this part, we are going to learn
how we can shape things and what methods can we use in order to give
something some color. Okay. We have very useful
and common methods in order to shade something
that we can easily use them. The first method and the first
technique is by hatching. Crossover hatching
or simply hatching. You see? I'm just using simple hatches in order
to shade my thing. If my light sources over here, this part is the lightest
and here would be the darkest part of my object. In order to darken this
area with hatches, what would the artist do? Well, you see the artist will
just start hatching from this corneal something
that should be considered over here is that in order to make a place
darker in our object, with this method, you should
place layers and layers of hatches on top of each other
to make that area darker. So as much as I place my hatches layer by layer on top of each other and in
different directions, it will make that
part darker for me. See? So I'm just going
to do it over and over again that my sketches and my shades will get to
the color that I want. Okay. So I'm just letting
it go a bit free. I want it to be free. Just as you can see, again, I continue my
hatching from there. And, of course, I'll do it
again on the opposite side. Then I would move on
to do the last layer, and that's how much
darkness that I need. Okay. And in the next
method of shading, let's see what we do. So far we've learned the hatching technique
that we create hatches and we do that over again until we reach
the color that we want. But this time, I am going
to use very subtle shades. They should be very soft. Very smooth. See? Again, I'm using the hatching technique, but this time, the
difference is that I'm using small hatches very
close to each other. So my hatches are very small
and very close to each other so that they
make a very smooth, subtle and soft shade for me. In the previous technique, I used hatches with longer lines and a bit
away from each other. I actually had a little
space between my hatchings. That's why I needed to hatch in different directions
in order to cover an area, and I needed to do it
layer by layer as well. But this time, as you can see, I'm creating very small lines in order to get softer shades, small lines, and also
they should be very, very close to each other. I get better smoother
shades there. Okay. That's how we do it. Also, from this lower area, I'll do the same thing. So I just work like that. Again, for the darkest area, I'm going to add more layers
of she to make it darker. So that's the same. I just have to do it
over and over again until I want it to be finished. Okay Okay. So as I move on toward
this right upper corner, my shades are getting lighter. I should not have any
specific lines in this method or any trace
of pencil in this method, because I just want to
have a soft, smooth shade. So leave no traces
of your pencil and leave no separate
specific lines there. All right. Maybe even more
darkness can be done here. Just like that. So
easy, easily done. Even from here, I
need more darkness, so I just add my
shades on top of each other until I get the
color that I want there. Okay. Now we go to
the third method. In the third in the
third method, I'm sorry. I'm just tapping my pencil on the paper and I'm just
dragging it all over. It's a bit more free. And as I move toward
the light more, my shades just get, you know, more scattered or spreaded. And they also get lighter, you know. Okay. In the tapping technique, you can work in one
direction only, or you can use
different directions. So another thing that I should tell you is
that these methods of shading is not totally on your taste.
You know what I mean? I mean, it's not like you
draw something and say, Okay, for this drawing, I want to use this method. No. For example, for the
nature or other things, we use the third method. But for some objects that we want to show they're
soft and smooth, we use the second method
or the first method. Basically, the first
and second method are more common in our drawings, but the third method
also is useful. So again, I say, the
technique that you work with depends on the thing
that you are creating. So for example, if it's in a nature or something
that has more texture, we use the third technique. But in objects and
faces, as I told you, we work with the
first two methods of shading, that's how we do it. Again, from the
darkness of my work, I'll add more shades to make
them darker, obviously. So just like that. Easy peasy. We're almost done. Okay. And I'm done with it. I gave you three
methods for shading. Now we want to work on geometrical shapes and we see how we can
actually shape them. So we want to see how we can shade our objects
or anything with these techniques of shading and also getting the tonality
and the contrast right. The first geometrical shape that we want to work
with is a circle. So first of all, I
need a circle, right? That's why I'm going to
create one over here. And then I'm going
to shade it later. So my dear friends, this is my circle. But I want to give some
volume to the circle, so I make it into a
ball maybe or a globe. Depends on you. So this will be the lightest area of my
ball and that would be the darkest because of the
direction of my light source. Another point that I
can give you is that if you want your shade
to be even softer, don't start with
your Bsi pencil. Use a pencil with
a lower number, which is lighter for the primary shades and just for giving a
background color. Because this way you can work better and you can
have better shades. So I'm using my normal pencil my HB pencil or any other
kind of pencil that you like. I want to use a second
method for my bowl here. But anyways, again, I say, I am working with my lighter
pencil because I just wanted to first give it a background
color to make sure that everywhere is shaded and then
work on its colors more. Okay. So as I told you before, in the first technique, I've got some space
between my hatches, but in the second technique, my lines are so close to each other that I cannot see
any space in between them. And that's why it is smoother. Okay. So I'm just working
on my shading. First, I'm going to start
with a normal pencil, and then I'm going
to do it with H B. Sorry, with B six. So first, I'm going to do
only with a simple pencil. And as I move toward the light, obviously, my hand
pressure decreases. So that's how it's done. Okay. Okay. Here we go. And as you can see, I'm adding more darkness, especially from the edges
toward inside of my ball. And I'm making these
shades darker and darker. I'm just doing it very relaxed
and very patient because, you know, you should
not rush through it. As much patience and
time you spend on it, it will get better
results for you. Okay. So let's continue in the next part and complete
this beautiful object.
4. Shading of Geometric Shapes: Hello again and welcome to the rest of this
tutorial with me. Let's go on together and
complete this shading. Just like before, I'm using
my HB pencil in order to apply my shades very
slowly and little by little. I'm just going to continue that. Then from the edges
from the surroundings, I'm just going to add some
more darkness into this ball. Okay. And as I move
toward the light, I just decrease my hand
pressure, just like that. So here we go. Okay. So as much as I can get the
darkness out of my HB pencil, I'm going to use it
as long as I can, as much as I can get the
darkness out of this one. And then later I can switch
to my darker pencil. So also pay attention to the way that I'm shading here and to the direction
that I'm shading here. So the technique of shading is as important as the
direction of the shading. I'm not leaving any white spots, any uncolord or uncovered
parts over here, and I'm just shading all over. And as I told you before, I'm working in
different directions, and I'm also considering
that it's a circle, so I should shade in a
direction and in an angle that I can also show the
shape of my object, that would be better for me. Okay. Then in this lower area, Again, I bring more darkness into my work just making
these parts dark. As I move upward, I decrease the darkness and I blended into the lighter colors. Also, I do the same
thing on this side. Again, as I move
toward the light, my shades will go
lighter, of course. Obviously, this is the most
easiest way to put it. So the main key and
the main point over here is that you'd be able to
control your hand pressure. That is the main key to all of the shadings
that we do to tonality, to the shadings and everything, everything we do, we need control over our hand
pressure. So that's it. I'll just continue the same way. And specifically, as I told you, on the edges of my ball, I'm going to go much darker, and I'm shading over here, too. It's not like I'm frameworking, because I'm not
creating any lines. I shouldn't have any lines. That will actually ruin my work. I am basically fading my
lines with my shading. But it would be definitely
darker all around the edges. That's how it's done. So just like that, we are going to finish
this beautiful shade. We go all the way through. Okay. Now, after I'm done
with this pencil, I'm going to switch
to my Basic pencil, and then I can add stronger
shades into my work. You see? Now, I've got all the darkness that I
could out of that pencil, but now I'm switching
to a darker pencil in order to get darker shades
and a stronger darkness. So I'm starting from here, which is considered the
darkest part of my object, and I'm shading through I also should do
that from this side, from this lower we cannot say quarter but lower
part of our ball. But as you can see, I'm
starting very dark, especially on the
sides, on the edges. And then as I move
toward the light again, I blended and I faded
into lighter colors. But, you know, it's it's
getting darker in general. It's getting darker in general, but especially on
the darkest parts. That's how it's done.
So, here we go. Again, I should increase
the darkness of this area, making it much more darker. You see? I'm getting it
totally dark and then I'll blend it into the rest
of my shades. Here we go. Then for this area
beneath my ball, we've got a shadow. You see this side that
has the darkness, the shadow will actually
go toward that side. You see, for example, in this object in this drawing, the darkest part of my ball is the left side because the light is coming
from the right side. So the shadow is also dragged beneath it and
toward the left side. So wherever is the darkest
part of your work, the shadow is going
to be placed right beneath it and
dragged toward it. And again, obviously,
the part of the shadow, which is the closest to the ball is going
to be the darkest. And as I move away
from the ball, as I go further from the ball, the darkness will decrease, and even the shadow
gets a bit lighter. Okay. So here we are. Just like that, just as easy. I can also drag a bit
of shadow over there, too, but not too much. D not overdo anything in your drawing that
will just ruin it. So just keep shading very
softly and smoothly. It's a shadow of our ball. Should also pay attention to the shape of the
shadow, obviously. This should be kind
of an oval and circle because the shadows
are usually more stretched. So be careful about
the shape as well. So again, I'll switch to my Basis pencil in order to
get my shadow even darker, especially over
here on the bottom. Now let's work on another
geometrical shape this time. I'm going to use a square cube. First, obviously, I should
create my square cube, sorry. That's what I'm doing here. First, I create it, and then I'm going to shade it. So first, I just have a square. Okay. I go out from these corners and then
I'll turn it into a cube, which is what I
need for my work. Okay. Now we are going
to shape this cube. Now, if I imagine that my
light source is over here, so the light is shining
to it from the top. This side would be the lightest. This one would be a medium side, and this one, this side
would be the darkest. So the top side would
be the lightest. The side would be in the middle, it's not too dark
and not too light, and the front side
would be the darkest. So as I told you before, I'm using my HB pencil. I'm doing this one with
my hatching method. So you can also see the difference between the
methods that I'm using here. As you can see, I'm going in all different directions,
one horizontally, one vertically, and I'm using my hatches for
shading this cube. Then obviously, the
lowest part of my cube, the bottom part of
the cube is darker. And as I move off, it gets just a little
lighter, not too much, but a little also from the left side
toward the right side, it's going to be from the
dark toward the light. But in general, this side
is our darkest side. And again, I insist that I'm using the first method of
shading, which was hatching. So I'm hatching in
different directions to cover up everywhere and
to shade the whole thing. Okay. And then I'm also
starting to do it sideways in steep lines from the left down corner
until the upright corner, just like that because
the left hand corner is the darkest point. It's the darkest area
of the whole side. Then I get to the side
which has a medium light. It means that it's not too
light and it's not too dark. So again, I start with my headging I'm
shading horizontally, and then over that,
we go vertically. And then sideways, of course. But as you can see, compared
to the previous side, it's not as dark. It is dark but not that much. It's more darker actually
on the bottom of the cube, and as I move up, I decrease my hand pressure to get lighter shades and
lighter hatches. And that's because as I
told you in the beginning, the light source is above
my cube, right above it. Now this side would be the
lightest part of my work. I don't want to just leave
it white so because of that, I'm just going to light it very, very lightly and pale. So I'm shading it so lightly. Now, with the help of
three color palettes, I could actually create
a cube and volumize it. I used a very dark palette, a very light palette, and a medium one just
to get my cube done. Something important
that I should tell you is that in drawing
and sketching, we do not use lines at all. Let's see. Let me just
show it over here. Let me just create a
pyramid here for you. I mean that we should not
have any specific lines or any lines as borders between
my different shades. This pyramid is created
by lines, okay? But I shouldn't
just frameworking, and I shouldn't emphasize
on these lines. So because when you
emphasize on these lines, it actually turns your
volume into a flat surface. You see, for example, I'm just darkening this
side of my pyramid. And then I actually shade this
side a little bit lighter. And this is volumizing. You see, I do not have any
lines in between them. But if I do frameworking, and you see if I
emphasize on these lines, it turns it into a flat surface, not a volume, a flat surface. So in sketching drawing, we do not have any frameworking or emphasizing on the lines or creating them as borders
or specifically, not at all. I again, emphasize on the fact
that we shouldn't do that. So the difference between this light shade and the dark shade is
actually separating them. The contrast is separating them. So we do not see any
specific lines for that. Okay, let's move on.
5. Drawing and Shading an Apple: Hello again, and welcome to another new part of
tutorials with me. Okay. Here in this part, we are going to
create an apple from zero from the zero ground to
the complete shape of it. And first of all, of course, I need a primary sketch
and primary drawing for the apple and I
want to create here. So first of all, I'm going to consider
a square here. Then inside of this square, I get the general shape of my apple here from
inside of this square. So I'll just place my
apple in this square from here on till I get to the bottom and
a bit of curve here. Okay. I also create this line. It's like creating an
oval on top of it, but not, you know, not
emphasizing on that or anything. Then I've got the
center of the apple, and of course, there
is a dip here. I mean, that there is a
part that has gone in. There is a very big curve, which is the placement
of the apples stem, the wooden part of the apple, which connects it
to the branches. So we call it the apples stem. Okay. Okay. This is a very general shape of the apple that we
could easily create. Now let's do the shading
and make our Apple volume. This is the lightest
part of my apple, and this is the darkest
part of my apple because I placed the
light source over there. So I started with my HB
pencil from the beginning because I told you if you want smoother shades
and softer shades, use your lighter pencil in the primary and background
color of your work. This is the background
color of my work. That's what we call it. It's an expression mostly. So for the background color and for the first and primary
layers of my shades, I use my lighter pencil
in order to that later, I get a softer and
smoother result after all. Okay. Now I've got the curved in parts and the parts which are curved in or there is a dip anywhere, it should be darker,
definitely darker. It doesn't matter if it's on the bottom or if it's on top. Even some lines are
coming out of it and so on. Okay. So just like that, from this behind part of my SEM, I'll do the same thing. This also can
separate some parts and pop the other parts
out of the shape. So this was the darkest
area of my apple. That's why I started
from here to apply the strongest
darkness and I can. Okay. So I just generally divide
my apple into three parts. The bottom parts is the
darkest part of my work. The middle part is
middle as its name, and the top part would be the
lightest part of my apple. This is the lightest part, and the middle part of my apple
is not too dark or too light. It's actually a part for transferring the
darkness strong darkness into the strong light. So the focus and the
concentration of your darkness should be on the lower part on the
bottom part of the apple. Okay. Then I consider more
darkness for this area, obviously, as I just
talked about it. Okay. And as you can see, even the shape of my
shadings are a bit curved and I'm not using straight lines from
one side to the other. I'm actually using
some lines which are a bit bent down or curved. So I can also show the shape
of the apple which is round. So with my shading, I should show the
coloring, the volume, and also the shape of the
object that I'm shading. That's why I'm using curve lines to show that
it's something round. Okay. So I'll just
continue doing that, especially on the edges. I've got more darkness, just as you can see them. Then I want to apply the
darkness on the stem. The stem is mostly dark
because it's wooden, you know. Can also show kind
of a texture here, and even the shadow of the stem placing on
the apple itself. So that should be
definitely dark as well. Then I'll continue my
shading all over here, making it lighter as I move up. Okay. Then I would also consider
more shading for this area, especially on the
left side, which, as I said, is the focus of our darkness and
specifically on the bottom. So bottom left. Here we are. And even for these lower areas, I need shades, but not as
much as the bottom part. I mean, in the middle areas, I also am shading, but as you can see
as I'm moving up, decreasing the hand
pressure and getting the shades that I want in
the colors that I want. But Okay. Then just like that, I'm going to switch to my
Basics pencil because I've got all the darkness that I could
out of my normal pencil. So I switch to my
basics in order to add a stronger darkness into my work and make it
darker wherever it needs, and just complete
this shading here. So here we go. Then, for example, over here, which I've got the
darkest part of my work, I'm going to say darker, obviously, and I can
even have more darkness or better say stronger
darkness with the pencil that I'm
using right now. The way I'm applying
it over here, you see? I'm getting it
really, really dark. Strongest darkness
that is possible here. So and I should also work on the
center of the apple, especially the deep part. As long as I'm holding
this dark pencil, the B six pencil, I should also work on this
dipped area around the stem. I have to make it darker here. I would also work on
the stem a little and on the shadow of
it placing the apple. And so easily it's done now. See? Now, in order to have a more professional and better sketch and drawing, and your hand actually
gets better at work. It's better for you to work on so many different
objects possible. You should practice a lot on
so many different objects. You can even use a picture or even place the object
in front of you and start sketching or drawing
it because that would actually make you a very professional and a very
good artist and drawer. So in order to have a better and more
professional outcome, you have got to practice a
lot over and over again, do different objects, use
different shading techniques, just to make your hand
more comfortable with it. And, of course, I do not forget about the
shadow of my apple. And as I told you before, the shadow is exactly
underneath our object, and it's been dragged toward
the darker part of my apple. The bottom is totally dark. I even emphasize it on the
apple itself a little. And then, of course, beneath it, below it, I get the shadow. And as I move further
away from the apple, my shadow gets lighter. I also drag it a little toward
right, but not too much. Most of it is dragged toward
left, if you can see. So there is a little
on the right side, but most of it is on the left. And again, I emphasize
that as I move further, my shades will just get
lighter and lighter. The shadow gets lighter. So here we are. We've almost got it and
we're almost done with it. Let me just switch to my
basics again in order to move over the
shadow one more time, getting better darkness over here and just make
the whole thing, the whole shadow a bit
softer and smoother. So here we go. And, you know, don't make
it too hard for yourself. Just take it easy and repeat
it as much as you can, as much as you need to. To be comfortable
with drawing and shading to be comfortable with
both of them by your hand, by your mind, even by your eye, as much as you, I mean, it's very say the more
you observe paintings, you observe the objects and their shading
in front of you, you can apply them
better as well. And as you can see, and I told
you in the previous part, I do not have any frameworking or any specific lines showing. Basically, I have faded all
of the lines into my shading, so I hope you've enjoyed it. It was useful for you and I hope you practice a lot and
get perfect in it. See you in the next tutorials.
Amelie Braun, Artist & Cartoonist
