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" A u TH or

This Book ts Dedicated to Mary

HOW TO CREATE CARTOONS ALL RIGHTS RESERVED

in ony (Of'm xcpt whr brif tptc ore used In rviewa. , . .

~ fo JiY FIRST PRINTING Copy,ight 1952 by Frank T ashlin

Som of the cartoons In this hook hove been reprint.d through the kind courtesy of tit orlglnol publishrs and grateful oeknowled9ement is due

Simon ond Schuster, Inc., publisher of The World Thot Isn't fotrot, Strous, publishers of The Possum That Didn't E. P. Dutton and Co., publishers of The Bear Thot Wasn't and to the Bell Hewspa~r Syndicate Benton and Bowle Advertising Agency anc! The Soturdoy Review of Literature

Publl,hed by th SCOT Art Publl,hing Ca. 11,1 South Beverly Drive, Los Angeles, Colifornio

Lithographed In the United States by the Antericon Offset Co.

vVhat the Critics Say ABOUT FRANK TASHLIN PORKY PIG'S FEAT WOOOS ARE FULL OF CUCKOOS YOU'RE AH EOUCATION hilarious Looney Tune: lots ot laucbe

IVOOOMAH SPARE THAT TREE One ot the b ~rtoons. wT:~ Screen Gees rt new an l 7 full or

.sheer deltcbf. es.,. a btt ot

WACKY WIGWAMS

1n1eoious werr le Melodie. One of the beat animation Jobs turned out. Brilliant.

PORKY'S ROAO RACE very cood Looney Tune. Better entertainmeot.,. stands out.

Good color rhapsody, done . , excellent.

2

HONOLULU AOVERTISER van sorinC' a e\.tence ts tn the islands,

LOS ANGELES TIMES

PEORIA JOURNAL-TRANSCRIPT van sortnc ls a new coato personality who seems to have lots of t1"',

BR I OGEPORT POST van aorina erlte place aaons the top-notcher5 of the comics,

van Borinc. Every day tbla lnialtable creation troai the Pucktib lmacinatlon ot his c reator Tleb Tash, will rtve ,,it \t.f .rou a wholehearted laucb,.. '" \ ~v t. ~o~\\ or a er\-y a.buckle that wf ll .. .,\.._\\\) o\\f 0 help 1ou start tbe day ott O"'"' \6

PROVIOEHCE (RHODE ISLANOj JOURNAL Van Boriac never sa.,a a word but appeals to old and 1ou.nc' 1th his pranks, otton wiit tul and alwus cigcle-provoklnc..

LOU ISVILLE COURIER-JOUR~AL I olnc over the van aorlng 'iook tor bi flrat

tol) Readers on i.he coaic oo.ge.

HEIV 0RLE:AN$ Veo 80 ver;r r/"'-rJt ta uoa . .,,

TIME:$ PICAYIIHE: ltelJ dre..,

nd

rJ.ght. He'i Jiggled aod not\~~ Jo&eled his .,.., into the 'le.I\ p hearts or thousands of reader&. co\C. AKRON BEACON JOURNAL

C Tith Tash bu the 1oolus to s t wist tbe boor out ot a o Ill I C t r i p _______ _lt_"_t1_ _1_. ___h_i._, __'' ... -iiL...__.l;t:,

Books oood satire wttb ver1 u.us1n1 drawtaas,

PAJIENTS AOAZJ~'I!

Particularly &ausJns bo k 60lNBUROH o

taebltn'a book baa 81 _ 1tttiaance beyond tts te!t Plcturee or its

essa1e. SATURDAY REVIEW DP LITERATURE

Sco;J.,nd BVEHIHC NEI S

OBNINO NUS E119/1nd

............ ~Ju,, BEAR THAT WASN'T blln ls a aad T ... h.lin tells b18 story witb Author hab11 frank TJth a puolt-i&b sense barrage ot 1ncendiar1 an~tlcent J!b~as done a artist ot humor, RUALD exPR-6S cartoon DENVER POST Jf'f:ltJ{8~f "DJUOCURNAL LOS ANGllLl!S t 1" ,re bo OD Mr. T&.sblJ 0 A'l'JON \S& \t ~,>ter, a :rid tt coaes ou: a dtalnr oon' t in \t.\l 11S,A1'19,,,.s

artous 88QUene:.s a UIU rae ot the oet wry &Od ,.~ 1.e~\Og LOS NEY YORI( ut:M. tn ! f' books to coae alone ._-.f#6'IJ;~ taebl1n ts erclleas in bis

"-Oa.11to TRIQUNg one ttae. t,1 t> JJ-_. portrtlY&l of bvman tolblea PA&~ 8AGA.ZlNR " 01 q toda.:,. Book ts priceleae,

prank Tshl1n' ado1~~:o~~ a .f11 !~~,>-clock sailes an A reall7 funn .. book. Q.f v,,,, 1 a of on& a. page. "' ~./. .. 611 in u JtlKE CONOLLY SuCOURlER .. EXPRESS io< \\\.6 P Q#. 'ViriIY rr#to, N,w YorA \

This boy hos ,ally bn busy In oil bronctt., of tho cartoon tree, I romom!Mtr his first drowlng oppe,o,. Ing In tho top humor magazines, Then he a.1orted turning out o ponto-mln comic at,lp Von 8otl"9, un Fron.It Toshfln'a nomo floshed on the actoen between Coming Attroc1ion, and tho How1reel o onlmotot oncf dlrffl of Bvsi Bunny, Porky Pig, Oonold Duck, Mickey Mouse ond Plutt>.

He wo. ol,o conduc-tlng cartoon classes for beglnnera., ond drawing advertising cartoons, Wh-" did this g")' slup7 Somehow, he atoyed awoke long enough to croot several very fine ond pen-1rotlng cartoon books, thot curlously e...auoh though 1otl,os, wore .succe1sful ond found tronslotlon oll over the world In coun-trle whoa.e nome I cant ovon pronounce.

How Fronk 1.s writing and directing mo1ea. and 1elevl1ion film, whore hit lnote 9rophlc obilhy 11 u,ed to llluflrate cenos from his script f Bob Hop, R.d Skelton, Lucille Boll, th Morx B,othe,.., Ray Roget and othot stms,

No human blng could possibly draw o.s Mony ccwtoon o F,onk ho drown , maybe he lsn'1 hvmon, but I hove o &lrong suaplclon thot he la o humon as any cortoonlt con be , I think F,onSr; mua.t hew o syatm of c:lrowlngi which noblea him to do a lot of wOJk In little elm,

I don't lo:now much about u4nt, leaaona Of teoch1n9 but I do know thot Fronlc To,hlln I the only artist who ho, hod auch w1d ond avc.ce,af1;1I oxperlonce In so mony flolda of cortoonln9, He'a. ben o top r,otchff In oll of thorn, If ho ho something to ay about how to creote cortoon.s yoi.,'d bettff 11,tenl You're o cinch to locwn ltowl

Beve,ly Hiiia, Collfa..nlo

with this U O OK Tho drowlng board lllu1trat.d 11 nlc to hove.~But It Is

oxpen1lv, Start out with on IMJCpenslv boord you con hold In your lop and leon ogolnlt o table,

Plywood, Z.. 11by 24 ! w111 do nicely; or If you really wont to economize, uao

the kitchen breadboard.

You con drow with on)' poncll; howov.,, I r ecomme nd o pencil wfth hard load-H or 3, Thl1

wlll ,nc;,ko It ooslor to " your periclllln9 ofter you Ink In the drawing and wlll not smudge tho po~r,

There oro two kind of drowl,ig paper-smooth surfaced and rough surfaced, T,y both and which

you like best, I u10 o slightly rough-surfaced lllustrotlon boord, having found my ink behoves

better on this, You fl'OY lllico tho smooth surface paper better, however, It' ont1roly up to you,

Thero is only one rule In buylnt Ink: It must be (ot &lock and woter-p,ool o It will not run when woter

color point I oppllod. Higgens lndlo tnk 1 tondord,

E.ror or fmportont1 Oo not u th

6

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? ,

WHAT 1$._ THE SCOT ART T ECHNIQUE OF DRAWING?

It is the technique I hove used .through the years in drawing my Animated Cartoons, Comic Strip and Cartoon Books.

CAN ANYONE CREATE CARTOONS USI NG TH E sco,:ART TECHNIQUE OF DRAWING? Yes, anyone can create cartoons using the SCOT Art Technique.

WHAT DOES SCOT ART MEAN?

SCOT Art means

Yes, if you can draw a Square, o Circle, on Oval and Triangles, you con create original cartoons.

IS IT THAT SI MPLE?

Yes, it is that simple! These five simple geometric forms ore the basis for oil my cartoons.

However, if for some reason or other (and I cannot imagine a reason) you cannot draw o Square, o Circle, on Oval or T riongles, do not buy this book. Put it down ond sove your money-you'll need it to pay loxes. But if you can draw these forms, toke it ... this is the easy path to cartooning!

You see there is no secret to creating cartoons. It is os eosy as pie . .. or rather as easy as drowingo Squore,A Circle, on Oval ond Triangles. In other words, as easy os the SCOT Art Technique of Drawing.

On the next page I hove illustrated the five steps in creating comic heads. Read the instructions carefully and even more important look at my step by step drawings carefully. You will see t~e simplicity of the SCOT Art Technique of Drawing. It works!!

1..__ _ _ _ 1. 1. 1

FIRST STEP: Drow the Square, Circle, Oval ond two Triangles in light pencil.

Z-~--~ J.,. '),, 2,.

SECOND STEP: Now add the eyes and eyebrows in penci I as I have .

.

~ . .__ __ __, 3. 3.

THIRD STEP: Pencil in the noses as shown above.

FOURTH STEP: Sti II using your penci I add the 'mouth and cheek lines.

s. s. FIFTH STEP: Add the hair ond ears. When this is done ond you are sotislied with your comic

faoes, go over your penci I lines with pen and ink, careful not to ink in tho ports \ of the basic SCOT Art forms you no longer need. (Indicated in dotted lines.)

When the ink is dry, erase the pencil lines and your cartoon head is complete.

Easy, isn't it? 7

8

........... #d S_

H., I hov drown 14 comic hoda oll ol theM bo .d on the bolc Circle formi Notice thot even though they oll atorted with o Circle, when c~ploted they oll loolt different

...... ~

The Squor. wo, the etortfng oH place for these 10 cortoon heocl, .. Copy the, then u,tng the Sq110re creole )'our own,

....... ~

He,re l used lS Ovo1 ond ended up whh flfte" dlffet11nt comic head, . Try fifteen youraelf,

...... ~

Triangle hoods, The eigh t hoods on top use the Triangle form tnoklng the hood c ome to o point, Notice how different top Trlongle heod1 ore from the ,even hoods b elow where the Triangle lo,m wo, Inverted. Yet both aets of heads ore boaicolly Trlongles,

....... ~

See how simple h Is to create .,. fo, r

comic faces, Al the .,.., ore bosod on the

SCOT Art fOfms of Squore, Clrcle, Oval,

ond Trlontl

@#ourh No Mott., whot

eKp,lon you wont cortoon mouth con

olo be dotl9ned 1.11lng th Squor, Clrcl, Ovol ond T rlongl

fo-rmt.

9

10

Befor w go 011y further allow m to dstroy o myth prvolent In most books devoted to teaching the beginner how to draw cartoons:

lnvoriobly, these books hove o page devoted to the proportions of the cartoon httod. They us~lly state that the eyes ore in t he :ii:oct center of the head; that the bottom of the nose is 1/ 4 the distonce from the chin ond 3/4 the dlstonc from the top of the heod t Tho t the ar are the some length o, the nose ond fit in the Mod ot the some lvI thot the nose does; thot the mouth is 1/3 the distance from the bottotn of the nose to the chin1 etc.

These proportions ore fine If you ore interested in becoming o reolit.tic illustrator Of pointer. In that cose you should to to ort ,chool ond leorn to drow from a,odels.

Hoving bought this hook, however, I osaume you ore interested in b.coming o cartoonist/ That you or. interested in creating comic choroctora with FUHHY FACES/II

If you sticlt to the cliche m.thod of head proportions shown obove1 you will l;mJt you, ron9e of comic heads. Observe what 1 hove done on the next poge. There thirteen Circle heads with Ovol eyes, aTriongle no1e1 and o smiling mouth. Note that although the some Circle, O.,ol and Trlongle1 hove been used, eoch face look$ different than ti, otbersl

Why? Because 1 hove placed the eyes, noses and mouths in different oreos within the circle head.

In oth.r words by not observing the so,colled rules of proportion,, l hove created thirteen different comic heads using the some 1lted Circle with the some shaped nose,# eyes and mouths.

Try some yourself. But remember-put the eyes1 noses ond mouth, wherever you wont to put them within the confines of the circle. Try drawing some heads of your own ond see how many different heods you con make based on the some basic SCOT Art forms.

11

12

_boOieS ___ _ Cortoon bodies oa oy to crot o cartoon heacf, using the SCOTA,t Technique of O,owlng.

All of th comic ftgwr ho b,een create-ct, using Circles for o bo1la, Mote the ,moll block dlosrroma which Illustrate the vorlova al of Clrclea ua.d In constructing th flgvr

~

AU of these bodlel were creot.d, based on $Cf'lor of vorlou1 alx few the orlglnol foundotlon of the choroctera.

Those c:ottoon choroetera were drown ond c:onsttuc-ted on Oval, of different alaos, Ovall ore beat for creating pretty girls,

- ~

Tha,a c:Qmlc figure, ore oil bo.aed on Trlonglas. Not1'.;e how these aata of flou,.a differ one from the other, bo,N on what type of SCOT Art

~ wo1 u1ed oa o basis,

~

% 1nk{eA Wrinkles con be

simple If you wlll reMemb.r to pvt the

wrinkles wliere tlie clothl"9 bends-such

oa 01 the elbow,. the knee, oNJ 1,1nd,

the Ml'!t. Othr wrtnlitles oppeor

wh, clothing Is p1.1lld tight, whr the

buttor.a hold " wh, th ...,olst 1 pulled In.

vTmOLS Note thot collors, ti

lopI, hots, hot, bow ond vets o,e oll

based on Trlongl forms,

'fl 13

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14

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SCOT Art FORMS MIXED UP! On the preceding pages you ho ,een how to create 1ndividuol comic figur entirely consttvcted of Squares, Circles, Ovals ond Triangle,. On thes two pages I hove drown 33 cartoon choractors-ea.ch ba1.d on a variety of SCOT Art forms to molce up eoch individual figure.

Study them and you will observe, for instonce, that one figure is mode up out of a Circle head, o Square body and orms and lttgs of Triangles; while anothet figure is bo1,ed on o Square head, on Oval chest, Circle hips, and Triangle arms and Square legs, etc. Again the block dtogroms beside the figures show what forms were used to create each character. Copy my figures to ~t tho swing of mlx1ng up the SCOTArt forms then start originating chorocters of your own.

REMEMBER to first drow the SCOT Ast forms In light pencil, then odd heod details, the eyes, nose, mouth, hoir ond ear,. Noxt odd c lothtng, remembering the rule on where to place wrinkles. When you have sketched in the hands ond ft.et ond the drawing is complet e in pencil, ink it in. After ink dries erase all pencil fines.

Before you go on to t he following pages make tur you have absorbed everything you have read and seen in this book so 1 ... If you hove diligently 1tudied the SCOT Art Technique of Orow1ng and applied it's principles you con at this point creote oti9inol cartoon c#torocfers of your own!

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15

16

Whotvr field of cartooning you go into., be It comic ,trips, mogazln cartoon,, animated movie cortoon11 ... c., you will find that knowing how to mok your d,o,octers mov is important. Vry lmportontl

Moklng your chorocters move is not difficult! On th. preceding page I h~ used fouT SCOT Art figures to illustrate the elments of action in five simpl phos

FIGURES (1) A,e normal walklng poses, Hatlee l>oth fe.&t of my characters or on the ground. The orm-1 ore relatively straight., not l>.nt at th I bows,

FIGURES (2) Tho liguru are walking laster, How one foot is oll the ground. Hot ice how this makes the choroc-ters seem to be moving mOfe brialcly. The o_rms ore ongulo:r starting to bel\d at the elbows.

FIGURES (3) The cartoon people are running. Both Ifft ore oll the 9round, Hands are cll\ched into fists., the fingers no longer extnded. Elbows ore bent even mOfe, Hot that the shadows beneath people remain at th .som ground lvI. Speed liM& ore odded1 giving the appearance of even greater movement.

FIGURES (') The characters ore running foster. Thoy are higher off the ground. Bodies ore tilted to o mOfe extreme angle. More speed lines ore odded. Clothing is start-ing to loosen up-ties, hot, etc.

FIGURES (5) The chorocter are racing, Notice they e higher off the ground. Hots a.re fly-ing off their heods. There ore more speed lines. Hoir is dishevelled.

Here ore 24' $C01 Art chorocte, In vorlous octlon po E1eomine t1iem, Then draw your own SCOT Art figure ond put them thl"ough their paces , , everything from o normal wolk too fo.-t run. Watch people os they move-your fotnlly ond friends-get your oc:tlon ldeoJ from real llfe; then exo9gerate It, Stond before o mirror and pose yourself to o\s.erve your own action. Remembtr to exog .. gefote-exoggerotlon meona funnier action. 6'~"%~;:,ef

17

18

In creoting expressions for your comic focs lceep In mind that certain parts of the foce ore movable. These ports ore the #toir, eyebrows, eyes, cheeks and moufl,.

By the movements of these ports you con create any expression:

The Angry Expression.

The Happy Expression.

Notice that in this drawing oll the lines of the face turn up when the character is happy.

Notice that oil the lines of tho foce turn down when the chorocter is ons,ry.

The angry exprssion Is just the opposite of the happy expression. Hotice how different the some choroc ter loolc.s when his ex pre ts ion chonges.

The Sad, Sick or Worried Expression.

All the lines of the foce droop. The eye'S ore heavy lidd.d giving o list less look. How this f.llow Is indecisive ond doesn't know what to do. Com pore tho three express ions. Study them.

To discover all the intricate ond ,ubtle expressions the face is capable oi, get fore that mirror ogoln and s tart making faces at your1elf. Do this when you ore alone or your friends will think thot you hove eith.er fallen in love with younelf, or that you hove gone Insane.

On the next page ore t he expressions I got from my own mirror. Notice how the action of the body fits the various expressions. The body must ossumo o pose thot fits In with the xpression on the foe:e. fOf Instance you wouldn't place the "Frightened" heod I hove d1own on the " Shy" body, It wouldn't m.oke sense. The fociol expression ond body pose wouldn't fit togther. Notice the action of the hondt and how they odd to tho total overall exPfession. Also the hair when the character is calm the lv,ir lies flat. When the chorocto, is upset the )lair ts wild, Wo,k on foc:lol expressions . This is what will give "personolity .. to your choroc:ters. Wotch people around you see what happens to their foe-es os their oxprossions change and when you're not doing t hat, stay in front of that mirror, but draw, draw, draw until you con draw any exprossionl

PoMpous

Srern 19

...

Tbe wonderful effects you c&n achieve with a brush full of white paint when it is applied correctly to a solld black area is indeed 1118Jlcal, Though putting white lines on a black background is Just tbe reverse of ordinary Inking which is of course, black lines on a white background, the final reault is tar more than that. The decoration I have drawn on this page Is much more interesting with the build-ing details and the crowds or people outlined in white on black than if I had drawn It black on white, White paint, however, comes into its own with the illustrations on the op-posite page, NOtice the effects created. Drawin9 1. THE INDIAN auF

I flrst inked In the Chief and teepees in solid black ink. Then rlth white I painted In all the details, The feathers, folds In the blanket, fringe on the blanket and leggings, designs on the teepees and the grass, Notica how sharply he stands out,

Drawing 2. SAHrA CLAUS Old Santa first received the solid black treatment, then tbe white was added tor details. Notice how soft his beard and the fur on his clothing seems. A close examination will show this "softness" was created by breaking up the solid b1ack lines with short white lines crossing theui. A good trick to remember hen you asake up your OO'n Christmas cards this year,

Drawing 3. 'niE PRINCESS ,See bow the white applied to her hair and clothing 11akes her COiie to life, All the intricate detail ot her costume is brought out clearly. Examine the cutle and the easy way to suggest brick walls.

Drow/n9 4. THE GUARO The same thing here. Detail all done In 11h!te on black- NOtice the different treatment his beard received c11pared to Santa's above.

Try this white on black technique yourself. You can either use ink and brush In the black area or purchase some inexpensive black paper, and apply your white paint. Create SOile SCOTArt figurn in this manner. You will be pleased and amazed at the effects you achieve, Try a night seen& with snow tailing and lights shining out of windows.

21

22

Ther ore mony cortooni1t1 who con draw on excellent fig~ In outllne but when it comes to shading the figure ond giving it shape and dimension they foll short. Light and shadow rondfting is slmplo if yo.u will remember that there nttd be only three tones In shading ony drawing.

First, 11 the side of the character or tho obJec:t that the llght shines on. Tb;, side clo.sest to the source ol //ght Is loft wliitel Then there Is th,e tide of th character Of obfect that is farthest from the source of llght. This side lorthHt from the //9ht Is tho dorkutl In between tho "lig.ht" aide and the 11dorlc." aide shade in the lnbetween tone. Thia ia the grey middle tone. Tlifs oreo /nbetween is 9roy/ That's all thoro i. to shoding , o light, o dotk ond o middle lone. ObHrvo tho 5 basic SCOT An forms below. All of them hove depth an-d solid form with o white side, grey area and dork side.

Study tf..o some thrtt to.not used in shading the comic faces on tho bottom of the pag. The some rule applies.

On th. opposite page study tho effect of llght on the some charoctft. Fig. 1. Light comes from left making right tide of charoctor dork. Fig. 2. Light comes ltom upper right making lower left of character clork.

fig. 3. Light cllrc-tly above puts the shadows under hat brim, under nose, under chin, etc . Fi9 .(. Li9ht front lower ltft causes block shadow on upper right wall. Fig. 5. Light 11, hidden dlrec:tly behind character and only illt.1mlnote1 the outline of character. fig. 6. Light from th front and below throws ahodow on wall behind chorocter.

1.

3.

,

'

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23

HORtZON LINE OR EVE LEVEL VAlltSHtlH,~ POINT

Consldr th fact that you ore drowing o pictu,. on o llat piece ol popet and that on this some flat plc of paper you wont to gt the illusion of depth, You wont port of your drawing to b. nor ond you want port of It to appear to be miles away. How do you get the effect of dpth on o flat pic of paper?

By using tit rules of pr1pec:tivel Y s, perspective hos definite rules that never change. Only by learning th rules and using them con you ever )(pect to draw a cartoon tho1 has dlmnalon. It's easy. Hr or th ruls. First, you draw a straight line 01 I hove above. This ii called the Horfzon Lin the Ey Level. In othr word1, this line 11 ot your eye level ond Is the angle from which you view the scene. Both ml, of this line ore known 01 the Vanishing Points.

How draw o wrtlcol line across the Hori zon Line 01 I hove illustrated. The lngth of this vertical line will determine the height of the neore1t object In your .,..,.sp pect1ve drawing.

How rule perspoctlve lines as I have done frOffl both Vanishing Paints ta the top and bottom of the vertical line.

Thn, lightly slctch In your charactr and buildings. S.e how the drawing is !:,,ought into "'perspectiv'' by allowing the pen pective line, that come from both Vani,h .. ing Points to f04'm the shape of the man's heod, shoulders, 1atc.hel1 and form the roof line11 window, and doors of the buildings. Notice in this picture th Horiion Line or Eye Level cuts through the man's middle as If you were viewing the scene from o bent ~nee position.

.,,,p,

V.P.

Here Is t ... aome man drown in pe1s,-ctive but from a lower Eye Level. The Horiaon Line ond Vanishing Points ot low at the lvol of hi, Mt as if you wo, viewing tho aeon from o lyin9 down position.

Now tho som,e man aoen frOM o highe, point of viow. Tho Horii.on Line ond Voniahing Polnt .. ar high ot the lovI of tho man"a hat oa if you were th. aom.e hel9ht as tho man, viewlhg the scene ftom a standing position.

Here with the rlslnt crote,Perspective drawing is lllustrotecl from th, .. points of viw.

Fig. 1. The ctote 1 .. below th. Horiaon Lin and the Eye level of the viewer. You con se the top of tit crote.

Fig. 2. The crate ls being raised up. It Is now iust in the middle of the Horizon Line. You cannot see ti>. top ol tbe crate now.

Fig. 3. The crafe Is higher. It hos Leen raised oboff the Horizon Line. Yo11 can tho bottom of tire crot. now.

Hot. that in these th,.. views of the rising crot tho perspective lines all converged to the saffl.e two Vanishing Points.

Just rememlet this: Whon you wont to look down at any obiect or figu-re, make your Horizon Line bigltl When you wont to look up at any obfect or fi9ure, make your Horizon LIM low! That's all there Is to it.

25

26

1 Here even more obiect, 01 well 0 .1 the choroc .. tfts ore held together 01 o single unit by pe,, .. pective lines. Note In this drawing the Horizon Line run, through the center of the drawing.

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- .......

. . .

This Is on example of 1 point Perspective.

Instead of 2 Vanishing Points 01 in the oth drawings thi1 drawing hos only 1 Vonlshir'lg Point ond all the perspective lines in the draw Ing converge to this 1 Point. The next time you ore near o railroad, stand in the middle of tlw ties, look down the tracks and you'll see how they converge and ditoppea, just 01 they do In my drawing.

Here 11 th low Eye Level perspctlv ogoln. S.. how seporote obiects in the room, th, pictures on the wall, the windows, the ceiling oil fit Into per1pe,ctive by running Pfftpectlve lines from the Vaniahin9 Points to the ol>jeds,

A conct pianlat ond his Instrument drawn from o low Eye Level.

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28

0 0

When you wont to bring speclol attention too certoln port of o cor toon c:horoi;ter, you vse wflot Is known os Foreshottenln9 to empho. sl thot portlculor port. For lnstonc, If you were doing on odvertlln9 drowln9 for o shoe s tore you might wont to bring speclol attention to the shoes by usrng Fo,..sho,t~lng oncf feot ure th shoes moklng them lorger thon the recat of the figure, Forehorten1ng Is where o port of the ffgu,- I drown lo,9et In o dltted kind of pe,apectle thon the re.st of the figure. Study the Fore1hortened figures I hc,ve drown, Notice the port, thcrt Ofe Fore-shortenN.

Flo. 1. TM 111ori's cl11 flt, 2, TM u1t1brllo Fit, 3. The on, t1ose Fl9 , ,. The usicio11', hotlds o,w4

on4 flute Flo, .s. The tlo or 11 . ... Flo, 6. The hofJd ond eot of the

eovesdropf*t' Fi11, 7. TM Or1.1M Mojo,n'

t,.,tOf\ ond bO'ton tos,el, Flo, 8. TM Ft of tM lP Flt, 9, The bowllr-g boll Flt, 10, The fi,eon' hos

no,.te Flt, 11. TM rloht let of the

d11t1elnt , 1,1 .. fft. 12. TM f!larble , "" hoM

or ,t. t.oy Flt, 13, T ... cop, ho.,d Pit, 1.4. Th~ Fit, 22, T.he fil4er' 9love Fi9. 23, Tb. eolf-,.' ctut. Flw, 2-', The c-hor' ,evolv, Flo, 25, 'rM .__on' L,-F19. 26. Tlw ,wwsp,ope, o.l'ld

tod ... 't. hoMt. Flt, 27. Tht footboll rl11y,

hoe oM bol Frv, 28. The lioc:k 1119 ond foo,

of the wolklnt 111011 Flt, 29. The of the W-Cll'I

Solid block Is used 1n cortoons for two reoO"nf, One, l to bring attention to the partlculor port of the

conoon you wont feat1i1rflld ond , Two, ia to bolonc.e th.e drawing,

That la to balance o block oroo against o whit orea in p,o~r portion.

Notice how block "naps up" o draw1ng, In the flgur obove I hOYO first drown the man ond wOftlan In oYIUne. 11,en I hove odd.d oreos of block to the om ftgur Yovr eye will tell you that In comporl,on the outllne drow, Ing i onemlc looking and without interest, while the aome flgutes touched up with block ,een'I to corne to life. Use block In yo1.1, cortoon, ond make It count.

Below Is o hofflc: scene I drew for my boo1c " The World Th01 1,n't. 0

Notice how the blacli streets balance the su"oundln9 white oroos malilng tho cars- ond figures stand out.

Th dinner table scene from rho World , is on exomple of using o touch of block to bring th roder' attention to the centers of infere.st. In this cote, It Is th poor husband, whoe solid bloclc suspendet's make him stand out. Tho block hoir of his nogging wife mokes her stond out,

The Tox Collectors squoeiing John Q. Public from "The World , '' is on instance where solid block silhouettes ond oddod whit. detoil sold the idea. Th honds frisking the clothing of John Q. are cleorly shown, blaclc against whito.

Thero o.re times when solid block silhou.ttes with

32

The effects of Snow, Rain, Sunshino, Clouds., Smoke, etc., lend gtoat value to your dtowing when e xecutod corrctly. Rain that really looks wet, clouds that really look soft, sun thot ,eolly seems to shlno, oll odd to the final profe11ionol oppeoronco of your cartoon. Reproduced on these two poges ore examples. of these elements from my books.

Tho effoct of th explo1ion of tho Atom Bomb from "The World '' wos created in this monnor. Fig, 1 shows how I first inked in the billowing mushroom shape. Fig. 2, I hove oddod whito lines breolclng up tho solid block linos. Noto how o soft cloudli~e offoct is ochiovod by this cro11hotchin9 of whit on block.

:1..

The Possum below is happy in a gentle rain. Noto tho slant of tho rain and the rain drops dripping from the leaves and flowort. Over dork areas the effect of rain is ochlved by pointing in the rain lines with white point.

;..s.

' ,.1111 I I ., .-.-..:zr.,!!!11"""', ..,~~i:;;;~;

.

Even though the sun itself is not visible you can tell thot It is shining behind the trees by th. sun-roys emanating upward. The bottom of th clouds ore light with dork shocfows on the top side of the clouds. While this off.ct suggested the 'Possum's homecoming at sunrise, it could illustrate o sun-set as well.

Fodo,y smoke reproduced from "The Bor , .... S.o how ,Imply smoke con bo drown, Almost o doodle-Ilk curlecue line.

A hoovy block curtain of clouds from "The World u. The round shop of the clouds is suggested by only having th. rolling e dg .. of tho cloud, high lighted.

Horo the 'Possum is in a heavy rain. Notice tho way tho shot seems to really be wet. This offocf is created by drawing o reflection of the ttreot light, buildings ond gorboge cons on the pavement.

33

34

Drowing cortoons for odvrtisers offr o lucrative field for the cartoonist who con create Ideas that will bring ottntion too product. The nowspopers ond mogoxines contain many exomples of odver tising cartoons, Study them.

Usually the Art Director of the advertising ogency knows exactly whcrt he wonts for o po.rtlculor com polgn. This wos true in the case of my advertising cartoon, reproduced her J merely dr.w up the .,gags" that lllush'at.d the Art Director's basic idea.

___ , __ __. ____ _

--~---~-,, ... =-~-----............ -.. , -.-.... ,,,_ ____ _ ,e_. __ .,_ ............. __ , ... -.. --.-, ... ., __ _ _,..,.. __ ... _ ......... ..._->

/J:.l.w tt>r~le UllfJ Lik Gor.dThirgs

ike fasy Way --,--------,,--.. -----.. ~- '"'"O - ...... --..,..., ...... _..,.._, _.,......,.,,,__._, __ c__.

___ .. .-i ... _.._

_ .... ,...-flMl!t.-...... ___ .....,

"fur ~le UJlfJ Lik Gor.dThirgs ike fasy Way

...._..,., ___ ... ___ .,...-

_ .. _ ....... __ .. -........-...., ___ ,..~-... -="

----...... .... kt,.,.,._' --.. .... ,,-----e-...

fl :::::;::-_;;::::.,-v.._...,.. ___ _ --.......... ~ ~ GoodG&. ~;I -

As In odveriising cortoon1 your nowsstond offers countltss exomple1 of comic strips for study and exominotion.

On of the moln points t o rmomber where comic strips ore concerned Is to draw them s.imply s.o thot they will reJ)focfuco well on now1poper stoc~.

Se. how 1imply I drew my comic strip or rathr my comic ponel. Von 80,ing, tho main character is cloorly outlined ond olwoy1 woo,1 o solid block coot, which makes him the center of interest no matter what situation he is In.

VAN BORING ( He HY a&JI a word)

VAN BORING

/

( Ht ontr a&)' w.d)

11.II

BU\ XMR> SE: ALf

BUY Xf'IV{f SERL!

35

Examine tho Night Club drawing below. Noto how simply each individual choroct is drown ond then study the occumulotive effect achieved when oil theao simple chorocters ore crowded to .. gether. In other words, units of $imiplicity iom .. m.d together give on effoct that is anything but simple.

~~-:~~ . /. ..,~~ ~~~

In all my books the drawings. that seem to interest and fascinate the reoders the most ore the pages I hove devoted to la.rge crowd scenes.

There is o reason for thisl It is because o drawing filled w1th detail and hundreds of peopl is rarely soon. Most cartoonists wilt not de vote the time or haven't the time to spend on such Intricate drawings. But these drawings of mine do not toke a.n oxces 1ive amount of timo. Why? Bocouse of the SCOT Art Technique of Orowing. This system gets o crowd scone done in a third of the time you would ordinorily spend on It.

Try o SCOTArt crowd scene yourself. Drow the street corner nearest your home or draw your living..foom when all your in-lows ore os1,embled .

Ther are over twenty gags tn The Big City" scene obove. Can you find them?

Note thcrt the four central figures are inked in a heavier line t o make them stand out from the crowd.

38

Ll\St Wo(le ~Solli7 [s:~11\111 Because SCOTArt i# the lost word when it com to a 1lmplifld method of creotlng cartoons. On fh two poo I hove token choract.rs publlshltd in my books and comic strip and have illusttoted the rough SCOT Art fo,mt that hove gone into tho basic consh'uction of these characters.

Hatlee thot In the final drowlng of th choractctrs the basic form, hove In some cases completely dlsoppeor.d. In the final drawing of the ' Possum, for instance you are not conscious thot his head is based on a Triangle form. R-,nember th primary use ol the SCOT Art lorms is to give you a wo,lcing blueprint to build yorJr lino/ drawing on. Kffp drawing and using SCOTA,t putting one form on onothe-r and erecting your characters. lt's like playing with blocks when you put th aeotntric symbols together. Overlapping one form over another your cortoon wlll hove a flow and unified appearance. The four characters at the bottom of this page illustrate this perfedly. S.e how the foundation of SCOTA.rt forms is completely hidden in the flnal completed drawing. Notice the unity of the four people. Jhey ore oil ir, one piece, so to speak, This unity con be orr,ived ot only when th basic construct/on Itself hos a unity ol lorms. Rea,,emb.r that with o Square, Circl, Oval and Triangles you con er.ate any and all cartoons you wish.

39

START A MORGUE A '"morgue" is merely o morbid word used by cartoonists to describe o Iii ing cabinet.

But no matter what you coll it you do need o place to keep the clip-pings you will cut out of newspapers, magazines, etc., of unfamiliar things you may be called upon to draw.

If you were asked to draw a character wearing a Medieval Costume you might be hard put to remember just what a Medieval Costume looks like. However, if your file was kepi up-to-date you would look under the letter "M" for Medieval Costumes.

Under "A" you would hove filed Airplanes, Aard-Vorks, Armadillos. Under "B" Bears, Bees, Birds, etc. Under each letter of the alpha-bet you could find exactly what you wont.

Let the clippings you file away be photographs and realistic draw ings. 00 HOT SAVE CARTOONS drown by other cartoonists. You might unconsciously imitate their style of cartooning and lose your own original ity and individual way al drawing.

~ c !!

0

Frank Tashlin had achieved recognition as a children's writer when he entered the film industry to work in the animation units at Disney and Warner Bros. Both of these early careers would have decisive import for the major films that Tashlin would direct in the 1950s. This early experience allowed Tashlin to see everyday life as a visually surreal experience, as a kind of cartoon itself, and gave him a faith in the potential for natural experience to resist the increased mechanization of everyday life. Tashlin's films of the 1950s are great displays of cinematic technique, particularly as it developed in a TV-fearing Hollywood. They featured a wide-screen sensibility, radiant color, frenetic editing, and a deliberate recognition of film as film. Tashlin's films often resemble live versions of the Warners cartoons. Jerry Lewis, who acted in many of Tashlin's films, seemed perfect for such a visual universe with his reversions to a primal animality, his deformations of physicality, and his sheer irrationality. Tashlin's films are also concerned with the ways the modern world is becoming more and more artificial; the films are often filled with icons of the new mass culture (rock and roll, comic books, television, muscle men, Jayne Mansfield, Hollywood) and are quite explicit about the ways such icons are mechanically produced within a consumer society. For example, in Will Success Spoil Rock Hunter?, the successful romance of Rita Marlow (Jayne Mansfield) causes other women to engage in dangerous bust-expanding exercises to the point of nervous exhaustion. Yet the very critique of mass culture by an artist working in a commercial industry creates the central contradiction of Tashlin's cinema: if the danger of modern life is its increasing threat of mechanization, then what is the critical potential of an art based on mechanization? Significantly, Tashlin's films can be viewed as a critique of the ostentatious vulgarity of the new plastic age while they simultaneously seem to revel in creating ever better and more spectacular displays of sheer technique to call attention to that age. The Girl Can't Help It, for instance, chronicles the making of a non-talent (Jayne Mansfield) into a star, viewing the process with a certain cynicism but at the same time participating in that process. These films are vehicles for Mansfield as Mansfield, and are thus somewhat biographical. As with Jerry Lewis, serious treatment of Tashlin began in France, especially in the pages of Positif, which has always had an attraction to the comic film as an investigator of the Absurd. Anglo-American criticism tended to dismiss Tashlin; for example, Andrew Sarris in American Cinema called him "vulgar". In such a context, Claire Johnston and Paul Willemen's Frank Tashlin had the force of a breakthrough, providing translations from French journals and analyses of the cinematic and ideological implications of tashlin's work. DANA B. POLAN