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Famous Artists Cartoon Course Westport, Connoctcut Anatomy teen Rube Goldberg Hilton Canift Al Copp Harry Hoenigsen Willard Mullin Gurney Wiliams Dick Cavell Whitney Deerow, Jr Viral Portch Borney Tobey aye 56, 45 Fon A Anatomy for cartoonists Faced withthe study of anatomy, some suidents start wondering why they didwe take up. plumbing or cox accounting. But earning Tite true anatomy ace be that tough. As cartoon iat, we are concerned with the gutwaid form of the human dy” We leave the liver and lights the medical stents and concentrate om what maker 4 person's outside Look the way it does ‘Cartooning in general falls into three easieations. Fist, we hve the tueterfe or xdventureeype drawing suc ay i prac tice by Milton Canif, Let's face it~ with this type of dracing the artse must have a good knowledge of anatomy apd wie it Tecan the characters are realistic, heir actions are Hiited to ‘what a real human body can do, “The cond syle of drawing is best exemplified by the work Harry Haenlgen tn is "Penny." In this tye, the aris Simplifies the human foem, bur still maintains most of the true figure proportions, al appearance and drew are realistic. He cn exaggerate he setion bl the gues and, IF he wants doit he an ald real comicstyle characters widhout having dhem look ‘out of place, Al Capp nses this style in his work and he never hesitates tad characters ofa wily comie type wo his drawings A great advantage of this style isthe freedom it gives for using the sexy girl figure without the realistic male companion. A oof with a dol often makes the doll look beter "The third style of cartooning is the old school of true comic art. Exaggeration of form and’ action is unlimited. This isthe ‘original comic style and ist very popula. The Kavenjammer Kids, Sully Smith and Barney Googe, Blondie and the many saniznated” syle trp all fall no ths clanibeaton oth Willa Malin, with his sports citoons, and Rube Goldberg, with his politial cartoons, are masters of all chee siyes ease al hee in their work, Willard Malin may dave ate portrait of a baseball player and then sureound the draw ing with lite fgures chat would fall into the comic lass, Poli 1 cartooning calls fora trvetote syle of drawing, but Mr: Gokiberg often finds that he cam put across avery serious idea by the une of «truly comic character. You vill noice, however, that each of his comie figures must havea human quality, no ‘matter how exaggerated he makes it Regatdles of the syle of drawing that you do, there is one importane thing ta remember all forms, ncding the human form, have three dimensions ~ width, height and depth. Every thing, fom «sheet of ane paper to an elephant, ia solid, The Fgure, whether comic or realistic, must have depth. You are working on fat surface and automatically get height and with, but dhe third dimension af depth anne be an iluion that you ceate with your pen ot rash. By studying the sphere and ylinder and drawing them in all postions, you wil Bad ison iglesia teaeteigt yrrlies ee) Stack up your spheres and cylinders in the right order and they oil make ular Being, The bei fren of eres tad cplinders are covered in varying amounts by muscles For eat teoning we have simplified the muscles for you, too, Instead of ountles muscles we have broken them down into four groups — the chest, back, arm, and leg muscles. We are concerned wi the outside appearance of the human, so we need only study ‘hose muscles that have the greatest effect upon the outside of the form. Both male and female have muscles, but remember that the female hides hers under a smooth exterior and they Ao shove at much athe males, Because we speak lightly here of anatomy for the earvontst, je doesn’t mean that it has litle value. ‘The better your under sanding ofthe human figure, the beter equipped you ill be for sative. ‘The main thing is not to become 0 anne in the study of the bones an! muscles that you forget thy you sare to stu them in the int place. Cartooning is ighe form of art—not a seience, Boe it doesn't hurt anybody to look under the hood of his car once in a while to we what mates it 1, Back and chest muscles in action fe great many mules in the human frame — sme apparent o the eye, others stall and hidden, The 1, fortunately, docs fave to knov all of them — be news to be familar only with what oevurs tothe large groups that show on the surface when the figure performs diferent actions The twisting, thrusting or pulling of any part of the figure causes muscles to asnme diferent shapes an postions. DONT LET THE LAT TERMS USED OW THESE PAGES THROW YOU--~ THATS ANATOMY ! FORGET THE TERMS, BUT IRENEMBER THE FACTS ! In strong pling sting actions the muscles wretch taut and become longer ad later. In pushing ations they become ‘compresed and tend to bulge, Apply thee two principles to sake the actions of your cartoon figures more convincing ‘On this and the following two pages we sow you realist ravings of the muscles, and how these muscles might be su ‘ested in cartoon gure, ne npn af and sing an canton, ‘ten mero onpeed oe poe Bay The arm muscles in action “The Bill of Rights guarantee every ctzen the right to bear arms — but arms aren’ any good ales you ‘an cartoon the musics that move them, The princ pl and most easly seen muscles of the arm ate the shoulder muscle (deltoid), the biceps and weeps and the supinator longus. The later Is merely") fancy imam for & long muscle which begins above the elbow anil extends to the wiist. The supinator wists the Torearm, and becomes quite prominent as i does so. "The biceps muscle bends the elbow and exes the forearm. The wieeps muscle, which runs the entire length of the upper arm, act in opposition to the bi cape and sraightens out the arm Lesson Fomovs Aris Cartoon Couns Anatomy The leg muscles in action “There are many lumps and bump created by the melee in 2 wellleveloped le. Often the scent becomes overawed and confused by their nmber al appearance an ens up by being so concerned with drawing them all that he loves sight of the overall shape and action of the leg fe Two important muscles govern the shape and action of the leg. These ae the sartori an the gastrocremius or eal muscle, which are explained 3¢ the right. ‘These two muscles, in com: bination, create alternating curves which give pleasing form to the leg, and ie is this overall form which should be entablshed frst. Muscle detail, o matter how well drawn, should always be kept subordinate o overall form. tenon 6 Fernom Ars Cts Couree 9 Anatomy The female figure The proportions of the female figure der fom those ofthe male, A good unidrstanding of these itlerences will help you exaggerate female char acteristics [porpones and eeate cite Altont any Hiberticn may enon Femous Arts Coton Course Anatomy , Clothing the figure Regardlew of how well you have constructed the figure and made ‘we of the muscle in action, che end resule can be spoils if you do ‘ot clothe the gure propel ‘Remember. tbe figure changes with every action. As the various forms ofthe fie twist and turn, they become longer or shorter oF they create angles oF curves Thee movements ate like those of a accordion being played, We might eal one sie ofthe figure the rctve” side — here the forms are forced together and compreied like the pleats ofthe accordion. The opposite, “inflated” sie has the longer, seeping curves. When you draw the dothing you must keep in mind these “active” and “inflated” side, together vith any tis: ing movement of the 110, This will enable you to ceate fold and ‘wrinkle paterns which reveal and emphasize the form and ation of eae baw abl) eos ey sincere: a && EEG Ay ‘FIMDIS ARTISTS CARTOON COURSE Student Work Tesson 6 ‘Mo study end practice ‘The framework of all figures is basically the came. |The proportions of various parts may vary but the parts themselves shold be established as binple cylinder forms before we concern ourselves vith adding anatonical detail -- sixple or complex. he basic form Mgure is something every cartoonist must practice draving in many diferent positions and actions == {t {5 a successful, tested vay to draw believable figures. Perhaps it Seems a far cry from the huorous cartoonist's ides of good, ridiculous figure. It 18 -- but good exaggeration always cones from understanding the reality of things. Make many sketches of skinny, fat and husky gents using the basie figure 0 establish their form -- depending on your om style of drawing. How= that they beccaie wor Ings SiN reserble medioal charts inetead of being cartoons. We vill base cur eriticisa of your draving for this lesson on your under- standing of muscle structure, igure construction and action together vith your handling of any forechortening problems waich you encounter. na sheet of 11 x lé-inch Briatol board, rule and ink @ panel 7 inches high and 9 inches vide. In £t drav and then ink vith a pen or brush two men on a beach. One is @ short, skinny character, 3/h front view, who 1e nonchalantly lifting muge Darbell with the greatest of ease. he other 1s a‘ big, mscular gent of the athletic type, front or 3/h front view, who ie staring at the Little guy in aazenent. "te big Tellov vill provide an op- portunity to show muscle detail but be sure to eetsbliah good action and facial expression fret. ‘You may follow the gesture-action sketch at the right for general action and composition if you Vish or, better still, create your own, Present your assignment in the sane clean, professional manner you vould use if you vere submitting {t to the cartoon buyer cf = publication. Letter your nae, address and stu- dent number carefully in the lover left-hand corner of the page Tn the lover right corner, place the Lesson Numer, Wail to: HAMQUS ARTISTS CARTOGN COURSE Westport, Connesticut

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