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Art Lessons: Caricature

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[MUSIC]
Why, hello everybody.
Thank you for joining me today.
Great cup of artist work coffee.
Really gets me going.
So, caricature.
Caricature is so important.
I love it.
I worship caricature artists, looking all
the way back to the days of Dore.
Check out Dore, D-O-R-E, one of the most
brilliant draftsman of all time.
Honore Daumier, French cartoonist,
caricaturist, who was also a political
satirist.
And actually, Edgar Degas said that he was
the top three draftsman of all time.
That's a pretty important thing to note,
art historically speaking.
If Degas is saying that you’re one of the
greatest draftsman that’s ever lived,
you gotta check out Daumier, if you don’t
know him.
Contemporary caricature artists are, Al
Hirschfeld.
He does all the beautiful, musical,
lyrical line drawings.
David Levine.
He used to do all of the book review stuff
for the New York Times.
Sebastien Kruger, you should check him
out.
He is, he's the only one I'm talking about
right now that's still alive.
What do these people all have in common?
When you're a good caricature artist,
you're seeing beyond just the classical.
You're seeing into something, that is the
essence of somebody.
And you're able to take that essence and
make fun of it and play with it and
distort it.
Put it through your own visual stylistic
lens.
That's really important stuff to do.
I don't consider myself a caricature
artist.
I don't really sit there and do
caricatures per say.
But, I think it's an important craft to be
able to look at somebody, and to be able
to kind of find something that's funny
about them, something that's humorous.
Something that is insane, or different, or
unique, and caricature it.
I do it to a certain extent in my painting
usually to
emphasize something emotional poignant
about somebody.
So, I think it's an important thing to
have and, and let's.
I'm kinda going to do a demo right now.
I've never drawn Roger before but he looks
very interesting and
I wanted to give it, a shot.
And so, the thing about doing caricatures
though is you've gotta be careful who your
subjects are so you don't get punched in
the face,
because obviously you can really offend
people.
Many political satirists have gotten in a
lot of trouble.
So, really, looking at Rodgy Rodge.
And, you know, the same thing with
drawings.
Like, I like to take measurements, top of
his head right there.
And really, he's kind of, he's kind of got
this, like, you know,
it's a little boxy, the head like that.
The ears go out a little like that.
Pointed here.
And I would make his kind of face exist in
this area right there.
So you have the brows.
I'm doing just a little version here on
the side.
The brows dipping
around and the nose.
Like that.
Coming up and the forehead, back.
And that's what I'm distorting.
I'm kinda thinking about the length of
the, of the head and.
Playing with that obviously,
his, his mustache and his beard and his.
Funny expression.
[LAUGH] It's not funny, man.
It is.
It's funny.
It's pretty funny.
And kinda the pointed, little bit here.
And neck comes out and it's long here.
Now I just started here small, so you
could kinda see how,
what the essence in the spirit is.
And it is the same thing with gesture,
right?
It's always like, what's the, what's the
spirit of the center.
So, good caricature artists usually have
one thing in common.
They're usually really good draftsmen.
Cuz they're really able to see what's
important, what's not important, and
they're really good filters of
information.
Dore and Daumier were two of the greatest
draftsmen that ever lived and
they're two of the greatest artists that
ever lived.
So, caricature art, it just something that
they decided to do.
[SOUND]
And
this goes down here, like that.
His beard, comes out to here,
like that, down.
And, I'm just using a prisma stick.
[SOUND]
Now
there's obviously some really crappy
caricature artists out there.
I mean I've had caricature artists do me
at amusement parks, and I'm like,
that doesn't look like me.
But there's also some also really just
like seriously stupendous,
caricature artists out there too.
So I'm kinda downplaying his nose.
For me his nose is not really what makes
him unique.
You have a cleft, huh?
You have a cleft that you cover up.
[NOISE] The ear kinda goes way out.
My daughter has that too.
She’s got one of those ears that goes
kinda out.
It’s cute on my daughter, not on [LAUGH].
It’s cute on you too.
It's really cool on there.
I really love these shapes here, actually.
Roge got some good shapes going on.
And still, like getting that ear red,
getting the inside of that ear.
You know, the head goes back, emphasizing
his balding thing.
He said before we started, how do you want
my hair?
Funny guy, okay.
There he goes, Rogie Dodgie.
Yes, Sir.
His eyes are pretty dark and actually his
eyebrows are pretty dark too.
And pretty thick so I'm gonna emphasize
them on the way back over there.
And I'm drawing with, with prisma so I can
erase.
[SOUND] I just can't.
All right, so you know sometimes I'll be
like, you know what,
maybe I'll just use this little drawing
instead because this little drawing might
just serve the purpose.
[MUSIC]
[MUSIC]
[SOUND]
And that nose has
its own unique shape that actually I
haven't got down yet.
It's got a bump here.
Bump like that.
Then it comes out like that.
And still always trying to find the
center.
There's a pinch here of that nose too.
So, it's kinda like emphasizing features
that are not as
that you really wanna push, like making
the nose a little smaller.
Making the forehead way bigger.
And I would even extend that a little bit.
Kinda let's see, cuz it does come to a
point.
So I just, maybe even make it like that.
It comes around.
Eyebrow comes up, like that.
[SOUND]
And he's got a line here a little bit.
And his moustache needs to be way darker.
And this connects here.
So a lot of it is just drawing.
[NOISE]
And
this.
[NOISE] And see that chin
actually lines up with his
corner of his mouth here.
So that proportion, I'm actually gonna get
right.
[SOUND]
I'm gonna get that proportion right.
[SOUND]
And this goes back,
the eyes go back here, like that.
Just tucked in here.
He's a very good model, very good sport.
A very good sport.
On this, see the differ, the patterns of
that beard.
See the patterns of that beard?
How this comes out that, don't come
towards me.
[LAUGH] This comes out that way, this
comes down then this goes around.
Those kinda things are gonna give you a
likeness.
It's very interesting.
So even if I'm, even though I'm distorting
him.
Right?
I'm making his forehead gigantic.
Making the forehead gigantic.
Kind of emphasizing this part here and
this part here.
I'm getting into kinda the here.
[NOISE] And squinting down just to keep
that a darker dark here.
Squinting down all of this in here is more
lost.
So, this beard goes darker.
See, immediately it looks more like him.
The second I hit that dark right there.
See that feels Rogeresque, Rogerisque.
There's a little Rogerism when I do that.
Even the same thing right there.
That's what I'm talking about.
There you go.
Right there.
See, that's gonna look more like him.
So it's really getting those certain
proportions and measurements that
are actually existing there, and then
playing with some other ones.
So yeah, I'm playing with how distorted
his head is up here.
But I'm also [NOISE] kind of keeping
a certain realism of proportion.
So, I wanna get that here a little more,
like that.
And its casting a shadow.
And I'm gonna lose that edge of that mouth
there, just a little edge lost.
Bring that up and there's another thing
going on with the pattern of his
beard that goes this direction, that
direction.
Up here, squint, squint.
And see that?
You're gonna get [NOISE] like that.
And then you might want to cheat like oh,
no,
we're seeing the side of his head here
just a little bit, like that.
[SOUND]
And
this, you can see his, his zygomatic arch
actually pretty intensely.
Right, like that.
[SOUND]
And then just get a little bit of that
shirt on there.
So a little of that seam coming down.
A button here.
So when you do, do caricature, you know,
make sure to kind of play off the things
that
are interesting about the character.
I'm gonna get that pocket going around
too.
Just with interesting shape.
What's Roger got in his pockets?
Roger and his pockets.
He's got something in there, man.
Raji Daji.
[SOUND] Bam.
I'm gonna do that last pocket here.
Like that.
And I'm just going to glaze back some of
the lights here.
[SOUND]
Just glaze it back a little bit like that.
So, [NOISE] it's more of an emphasis right
on that nose highlight and that ear.
I'm gonna take that ear down here a little
bit.
I'm gonna push some darks into the ridge
of the antihelix.
I'm gonna push some darks into the concha
of his ear.
So even though I'm making kind of a
comical drawing.
There's a certain level of understanding
classical basics.
Understanding the anatomy of that ear.
Now obviously, I put his ear way higher,
way higher.
In fact, I'm gonna push that other ear in
there, like that.
And just kind of exaggerate it, like it's
going way back over there.
See that?
Soft edge.
Bam.
I’m gonna just cast a little shadow, cuz
the light's coming mostly from above.
I'm gonna cast a little shadow coming
down, like that.
Yeah.
[SOUND]
Awesome.
Wait.
[SOUND] Little movement that way.
Soften that edge.
Okay.
Awesome.
[LAUGH] Good job.
Caricature, very important for
all portrait artists to understand even if
you're doing classical portraiture.
And really also for
caricature artists to understand the
importance of draftsmanship.
Because caricature is a really a blend of
distortion and
really observational draftsmanship.
Really paying attention to what's there so
that you ca, then can distort it.
[MUSIC]