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Post by toonMom on Jan 3, 2004 9:43:37 GMT -5
I really have trouble in this area. I start a drawing, I make the nose really big, then by the time the drawing is finished the nose looks like normal size and all exaggeration is gone. Does anyone else have this problem? I don't know why I have so much trouble with this!
Share your thoughts and suggestions on this subject here.
I am on a quest to learn to exaggerate, I'll be back to share what I have learned.
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Post by corky on Jan 12, 2004 20:52:07 GMT -5
you could try using a grid (drawn on tracing paper) overtop the drawing. then use the squares to measure the nose, the eyes, or whatever. then draw the nose two squares longer than what it is. so, let's say the nose measures two squares long. you could try drawing the same shape four squares, but keep everything else the same size and shape.
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Post by toonMom on Jan 12, 2004 21:23:10 GMT -5
That's a good idea! I never thought of that.
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Post by donalboy on Jan 20, 2004 19:28:22 GMT -5
Perhaps waiting until the end to put the nose on will help you proportion the face how you want in comparison with the exaggeration. If I want to really bring out something through exaggeration I often put it into the late stage of the image, not the first. It may sound strange, but the REST of the image - the more "normal" parts- form the major substance of what makes the picture really work, and brings out the majority of the character. The twinkle of the eyes, the dimples, the subtle nuances of hair, cheeks... these are critical, whereas an exaggeration speaks for itself.
As you convey joy in a cartoon, it's more than the expression on a face; it's the animation of the posture, the dance in the step. Charicatures share the same quality as other cartoons in this manner. Perhaps by simply saving the major quality for the end and building the balance of the image around it would help you build compositions "on purpose" instead of "by accident."
It took a long time to work with only a pen, leaving behind the pencil, trusting in the penwork alone. Once I did the fear of mistakes went away and my compositions became more fluid and purposeful. Don't ever be afraid of "blowing" the image you're working on. It may be disappointing but the sun will rise tomorrow and you'll be a better artist when the fear of mistakes is replaced by the simple joy of drawing free.
Don
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Post by toonMom on Jan 20, 2004 19:42:27 GMT -5
That's very interesting Don, I will have to try that sometime. What you say about fear is very true, as I am drawing, the fear of ruining my piece is always lurking in the back of my mind.
I look forward to seeing some of your caricatures in the near future.
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Post by donpinsent on Sept 16, 2004 20:34:47 GMT -5
i know this is an old topic now, but i'm just new here, and i do have a tip that someone might be able to benefit from, even if this is not a problem for you anymore, toonmom. i still have this happen to me from time to time, not really sure why it happens. what i usually do is, if i find i've lost the exaggeration of a certain feature or various features but still have a decent likeness, i'll just do the drawing again, copying each feature from the first, but proportioned differently. so if the nose is the feature you most want exaggerated, draw the nose the same size as or bigger than on the first drawing, then draw everything else smaller. pretty simple, really. just remember that finishing a drawing does not necessarily mean being locked into anything. there are always re-draws. well, except in a "live" caricature situation, in which case you're pretty much stuck with your first drawing. but oh well, give it to the customer and at least you never need to look at it again!
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Post by toonMom on Sept 17, 2004 5:24:25 GMT -5
Thanks Don!
All topics are still open for discussion (unless they are locked). If you have something to add to one, please do.
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Post by vidal1951 on Feb 10, 2005 16:58:13 GMT -5
ToonMom, Don. Dear friends, will repeat what I say to my students when I play this topic: "The cartoon is very different to the portrait and for more difficult. We need to schematize it three-dimensionally and to represent it two-dimensionally. Many deform the physical features and they don't respect their personal characteristics, losing the resemblance and transforming that character into a jelly or in a sight. When she/he is carried out a cartoon it is necessary to keep in mind that it will characterize a person that laughs, she/he cries, she/he has feelings and personality; it is not a puppet neither a comic ribbon, neither a painting, neither a portrait. We will stand out a main characteristic and that pattern should shine, to become a character that when they see it, they recognize it and realize its virtues and its defects. That is the challenge and the challenge for who carries out a cartoon and it stops who wants to learn how to carry out a true cartoon." Well, I will think aloud: To maintain that exaggerated transformation in my cartoon, the first thing that I make is to observe the pattern well in the pictures, drawings, videos, and any other image of the pattern. I investigate on him the physical and psychological aspects… and I begin to write down the main characteristics and to visualize them in first notes or sketches. I determine that features will transform (one or two, maximum) and the other ones will be supplemented harmoniously in the composition that I begin to design. I select the plane that I will use: First plane, First first plane, Clouse up, Perspective, etc. I enlarge the picture or drawing for their analysis of proportions, tracing their features and simplifying them to the maximum and replacing it for geometric figures with volume. Example: the nose is a pyramid, the head it is an ovoid one or sphere, as if it was a robot, I go him arming and then we locate the diffuse effects of light and shade. I work with transparent papers and I begin to work with pencils of colours for layout. With these sketches escaneados in the computer the tools and filters or pictures are applied for the due manipulation of the image giving him a true real finish and of quality to the work, thinking that it is to participate in an international competition of cartoons. If she/he is laughing it should it turns and to feel, if she/he is crying equally, it should have until tears… The most important thing is that one has security and trust in what is making. While more cartoons make, they will go clearing up all your doubts and every time they will be better. vidal1951 www.vidal1951.ec.nu
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Post by vidal1951 on Feb 10, 2005 17:42:33 GMT -5
Any examples:
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Post by vidal1951 on Feb 10, 2005 17:46:17 GMT -5
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Post by dmcaricature on Feb 11, 2005 10:46:40 GMT -5
Vidale: You teach caricature but do you actually draw them? (as opposed to your Photoshop stuff) I went to your site and without English hard to get around. The 2 examples of your lesson I like..are they yours?
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Post by vidal1951 on Feb 11, 2005 15:01:27 GMT -5
Friend DMK, of course that I draw cartoons... How could I teach something that could not make it? In the matter of Project of Diseño Graph's Career we see Cartoon and I have to teach them live to the students and then I demand each student to take like I model her partner and vice versa and we draw and we draw until getting a respectable cartoon. I belong to the generation of professionals that you/they carried out their designs in paper and bristol board with pencil, charcoal, sanguine, pencils of colors, watercolor, témpera, acrylic, oil, aerógrafo, mixed technical collague,y. If a professional doesn't have a good drawing base, that will see cuanado she feels in front of a computer that is more another tool... but quicker and with more alternative... It is planned, it designs and it is believed outside of the computer. The students want to create with the computer... There the problem is. I take more than 15 years teaching design and every time, they want to depend on the computer... A professional can not depend on her you/he/she should be served as her for a better work presentation, in visual quality and technology. Before the layout existed that was carried out manually and with the best quality, to be approved, previous to the relización of the final art. With the computer the sketches finished... A good work is demanded and of quality... At least it should have a roughout before the computer... I will put the translation in English in the site and these examples that I teach in the tutorial, the original it belongs to a Spanish caricaturist that made me the cartoon, the escanié, it passes it to the computer and I transformed it so that he see the difference of the resemblance, but with their same lines and style. Here the computer helped us very much. As I know of photographic retouch, I like to manipulate a picture, to alter it, to paint it and to transform it in a fotocaricatura, taking advantage of the tools, filters and photoshop effects. It is necessary to know how to draw, but it is necessary to take advantage of the technology. The computer will never become trained to draw. I will send you for mail a nude with the technique of the fingernail, so that you see that if I draw. vidal1951 www.vidal1951.ec.nu
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Post by vidal1951 on Feb 11, 2005 15:12:31 GMT -5
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Post by vidal1951 on Feb 11, 2005 15:37:36 GMT -5
Other example of exaggerations.
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Post by vidal1951 on Feb 12, 2005 11:35:28 GMT -5
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