Drawing

Caricatures
And outlets for
Commissions

Michael Terry
 Drawing
Caricatures
And outlets for
Commissions

By Michael Terry

Published by Creative Paper Publishing

Drawing Caricatures
And outlets for commissions

By Michael Terry

Published by
Creative Paper Publishing
173b Old Dover Road
Canterbury
Kent
CT1 3EP

mike@thepaintbrush.co.uk
01227 504097
www.creativepaperpublishing.com

First published 2014

Copyright Michael Terry 2014

This publication is not to be reproduced as a whole or in part, stored in a retrieval system or

transmitted in any form or by any means electronic, mechanical, photocopying, recording or
otherwise without the prior permission of the publisher.

Publishers Note

The information contained within this book is as a guide only. All reasonable care has been
taken to ensure the accuracy of the information. The publisher disclaims all liability for any
inaccuracies or omissions in the book.
It is advisable to seek expert and legal advice on any subject covered in the book. Foreign
students should seek expert and legal advice, within their own country on any subject
contained in the book.
Index

Introduction

Illustrating for Publishing

The Political Caricature

A Brief History

Face Shape

Working from Photographs

How to work from DVD and TV

Working from Life

Developing a style in Black and White

Guide lines on Pen and Ink work

Outlets for caricature work

Finding Clients

Two important items

Further Help

There are Projects set in the book to help you with your progress.
Introduction

Caricature is the art of the distortion, pulling, stretching and probing

into a likeness to find the salient features.

And there we are!

This is the visual insult, an insult which is quite often appreciated by

the subject. People who have been caricaturised look on it as
flattering, to be thought noteworthy enough to be depicted as such
in a newspaper etc.

I once did a caricature of Janet Street-Porter for The Sunday Times. It

basically consisted of enormous glasses, teeth and a very thin body,
quite unflattering.

After the appearance in the paper she rang me and asked me if she
could have the artwork!
A caricature is not a personal attack on someone, it is purely a
humorous expression of their appearance. Although I have seen
some which are hard not to think of as being a rendition based on a
dislike of the person by the artist.

Basically caricature falls into two different areas, from the sharp
attacking image of the political to the friendlier approach of the
illustrative form.

Illustrating for publishing, magazines and advertising

What I mean here is the type of caricature you see on book jackets or
featured in magazines and in advertising. Usually these are kinder to
the subject, not a personal attack just a benevolent stretching of the
features. If its for a book jacket featuring the author, the caricature
has to be benign in appearance, definitely not offensive.

This also applies to its use in advertising, just an amusing image of

the person concerned. Work of this kind can be frustrating, you have
to hold back not being able to let yourself go and make the most of
the features.

Magazine work is more fulfilling, you are usually given a freer hand.
Caricatures for say the Radio Times couldnt be vicious because of
the accompanying articles or programme details and again are to be
somewhat benevolent. There is some very talented caricaturists
work to be seen within the pages of magazines.

Some styles are very finished like my own work or can have a fluid
pen and ink style of the talented Chris Burke.
The Political Caricature

This is the style which shows caricature at its most satirical and
extreme. The names that spring to mind whose styles reflect this are
Gerald Scarfe and Ralph Steadman. There work has venom in the
line, striking down the self-important and the deceivers. Caricature
used here is cutting and probing, revealing the motives of politicians.
A Brief History

Caricaturising has been around for a long time. Leonardo da Vinci

produced drawings which could be considered caricatures. People
have probably drawn satirical portraits of others well before
Leonardo.

The art form did not take off to any serious extent until the 18th
century. William Hogarth was probably the main proponent of the
time. Caricature in the mid18th century held a more amateur status ,
a social accomplishment. The caricaturist of this time was mainly
engaged in lampooning his peers. There developed a good market
for colourful prints, depicting scandal and gossip of the high society.
James Gillray and Isaac Cruickshank put caricature firmly in place at
this time.

The 19th century saw the rise of George Cruickshank, the son of Isaac
Cruickshank, the French sculptor caricaturist Jean-Pierre Edouard
Danton, Wilhelm Busch, Gustave Dore, Andre Gill and many more
excellent artists in the field.

In the 20th century caricature exploded, the two world wars

providing ample fodder. George Grosz satirised war profiteers,
showing them in brothels and restaurants, his line was sparse and
savage. Edmund Dulacs work in contrast was mild and decorative.
For a simple economical line there is the American Albert Hirschfield
who portrayed mainly actors and performers. His work was
humorous rather than satirical.

Other notable caricaturists of the 20th century are David Low, Vicky,
Osbert Lancaster, David Levine, Trog, Michael Cummings, Gerald
Scarfe, Ralph Steadman and many more.

The three dimensional hasnt been ignored. Peter Fluck and Roger
Law have produced many fine caricatures in latex rubber for Spitting
Image. Combining voices and movement with caricature has made a
memorable and innovative contribution to this field of art.

Looking at and analysing faces

Here we shall look at and analyse the face and its features. You need
to look at someones face and, in your head, turn their likeness into a
caricature. This will come in time, you just need to practice.

Take a look at the people you come into contact with, see on
television or in magazines and newspapers. There is such a variety of
faces out there. Long thin faces, round ones, square ones, triangular
ones, hour glass ones and many more. Features come in a good
variety as well. Noses have all manner of shapes and sizes, some as
big as a Toucans beak and some round and small. The same goes for
mouths, eyes, chins etc.

Carry a small sketch book around with you and discreetly sketch a
likeness and then turn it into a caricature later. Really look at them
and work out what the main features are. Once you begin to be able
to see faces in a caricaturised way, your drawings will inevitably
improve.
Face Shape

First look at the overall shape of the face. This is important because
many times caricatures fail because the artist has concentrated only
on the features of the face but have got the shape of the face wrong.

Project
Below I have drawn some faces for you. Look at these and before
you turn to the next page to see what I have done with them, just
sketch what you think the overall shape of the head makes and
caricaturise that shape.
Well, how did you do?

Some of you will find that more difficult than others but dont be
disheartened, you will get there. Practice this, keep looking and
analysing faces whenever you get the opportunity.
Here are my interpretations of the shapes of the three faces. The
elderly ladys face is quite chicken like. The man in the centre has a
narrow face and the overweight man has a square heavy face.

Project

For this project I want you to find three or four faces that appeal to
you, and then produce drawings in pencil as I have above.
This will help you to understand and get to grips with features.
I dont want you to get involved with a style, just work in pencil.
Remember we are concentrating on getting a good caricature
likeness.

Working from photographs

Photographs will be your main source of reference. Clients will

usually supply you with photographic reference of the person they
want caricaturised. Magazines are usually good at this and
newspapers are particularly good because they have their own photo
libraries.
Some clients resort to using picture libraries. You could use this
yourself but it is an added expense on your part and you have to
return the pictures.
But of course we now have the internet! You can find any celebrity
on Images and the images are right up to date.
I collected photos from magazines and newspapers for years, filing
them under different categories, hundreds of them!
When you do caricatures for members of the public try and get them
to supply as many photos as possible showing different angles. What
you will probably get will be shots showing the subject very small
and looking straight out at you. If the reference is really bad it is best
to refuse the commission. You will not be able to do a good job of it
and they will just say that it doesnt look anything like them, so
always insist that you get good reference.

Getting started

When you have the photos, spread them out in front of you so you
can have a good look at them and compare them. Some will
obviously have caught the likeness better than others.
Study them carefully, check features comparing them in each
picture. Doing this will help you to familiarise yourself with the face.
You will probably find that one has the best likeness but the others
will help in understanding how the face works.

If you are asked to give a particular expression to the caricature and

it is not depicted in your photo reference, then you have a problem.
Everybody has their own type of smile, laugh or scowl. The only thing
you can do is to find reference of someone showing the right
expression. Alternatively, get hold of a mirror, stand it up in front of
yourself and make the required expression. I usually find that I pull
expressions when drawing them anyway. If people could see me they
would probably think I was mad! It is a good idea to practice various
expressions in the mirror, this will help you to understand how they
work. Putting an expression on a face without actual reference of
such is rarely successful. If any client asks you to do this and they do
not have any reference, try and persuade them out of it.

One last thing with photos. If you are going to caricaturise someone
you are familiar with, then as you go through the photos you will
spot the ones that are typical of that person. If you are not familiar
with them then ask the client which ones he or she thinks are typical.
Project

Find a photo of someone you want to do a caricature of and with the

aid of a mirror as mentioned above put a smile or some other
expression on it.

How to work from DVD/TV

Working from DVD is the next best thing to working from life and has
one big advantage- you are not getting involved with your subject.

If the person is a film star then you will probably manage to get a
DVD from one of the video libraries. If they are a TV celebrity, and
they are on something showing at the time, then you can record it
for reference.

Once you have your chosen subject on a DVD you have a reference
source that is infinitely superior to the photo. Whereas a photo is a
flat fixed image the DVD offers a moving image showing a multitude
of angles.

To start with, set up your DVD and sit down in front of it with the
handset at the ready. Have your drawing pad on your lap and a good
sharp pencil to hand. Play the DVD, keep freezing the image when
you get a good clear view. Study the face carefully noting how the
features work together, pick out the prominent aspects. Just run
through the whole tape looking at the different angles of the face.
Look at the way the person uses his or her face and body. Note
mannerisms and the type of personality they have.

Once you have decided on a pose, which you think epitomizes the
person, freeze the image and commence trying to get a caricature
likeness. If you get stuck then replay other good angles. This will help
you to understand the face.
If you have not got a video you can hopefully get a glimpse of them
on TV. You will have to work fast producing short quick sketches.
Together with photographic references these sketches will help you
to get a good likeness. Viewing someone on TV will give you a good
idea of the type of person they are.

Working from life

This is obviously the best way to work except for the fact that you
might feel inhibited by having them sitting in front of you. Dont let
this stop you. If the person is willing to sit for you then they should
be prepared to accept whatever you make of them.

Having them there in the flesh is ideal. You can ask them to move
their pose to suit your preferred angle, you can see exactly what
their features look like in three dimensions. Relax with them. You are
not making a personal criticism of them. This is just an objective
observation and exaggeration of their features.
If you are not confident with getting a caricature of them, start by
sketching their likeness. This will familiarise you with their face. Keep
doing this until you really know how it works. If you are doing street
caricatures, drawing people for cash, then you will probably have to
be economical with the truth. You dont want to upset the customers
and not get paid and put off other customers in the process.

The Project

For this project I want you to work from a DVD or TV as well as from
a live subject. If you cannot find a willing subject you could always
draw yourself!
You may find this quite a difficult project to handle because you have
been used to working from photos. Dont be put off though, it is just
something new and you will get used to it.
Have fun.

Developing a style in black and white

Black and white line work is probably the most commonly used
medium for caricatures.
There is something about the black line of a pen that eminently suits
the caricature. It is like a sword stroke, cutting into the victim.
Slashing at pomposity, arrogance, foolishness and misdoings but can
also be used compassionately. A skilful pen drawing of a caricature
can be a delight.

For this part I want to concentrate on the pen and ink work covering
line, solid blacks and crosshatching. In order to develop a style you
first have to master the technique. You will need to study the work
of the best examples of line work. The artists you should look up are:
Aubrey Beardsley. This artist was a master of line. When you look at
his work, study the way he uses solid black, how they balance with
each other within the composition.

Albrecht Durer. Durer produced some of the finest engravings to be

seen. This is an artist to look at for his crosshatching and line work.

Rembrandt. A master in drawing, his work looks ageless. Now here is

someones etching to study, his use of crosshatching is phenomenal.

Now for some guide lines on pen and ink work.

The directions given here are concerning the use of a nib pen with
Indian ink, there are obviously new pens on the market but I still
prefer what the nib pen can provide. The variation of line from fine
to a wide stroke you get as you draw is very satisfying.
Have a look at the nibs available in your local art shop, buy a few and
try them out until you find one you like.
Same with paper and board, try various surfaces from very smooth
hot press to a rough water colour. I tend to use a NOT surface which
is in between the two, the reason for this is that it provides enough
of a smooth surface for the nib but with a surface cable of taking a
water colour wash.
Using a pen is like using a pencil but you cant rub your marks out!
This is why its best to lightly draw your image in pencil fist and when
you are satisfied with the results then draw over in ink. You can
white over black line with a paint called process white which covers
very well and comes in a small jar like another called bleed proof
white which is used to cover over paint without the colour bleeding
through.

Please try and get hold of the work of the artists mentioned earlier
and many other examples of line work, it will pay off. Of course look
up the work of caricaturists past and present but I dont recommend
copying others work. It is essential to develop your own style and
way of looking at things.
Outlets for caricature work

The outlets for work are quite wide, these cover: newspapers,
magazines, advertising, books, parties, personal commissions and
even street caricatures. Keep your eyes open for every possible
outlet for work.

Newspapers

These are a showcase for caricature work, quite often you will get
the occasional commission but if you are lucky you could get a
regular slot. Work is very pressurised, you dont get much more than
a couple of days for a weekly and half that or less for dailies.

Magazines

These are particularly rewarding, in that it offers caricaturists a good

source of creative work. Deadlines are quite tight in this field, one or
two weeks and for weekly magazines a few days. It is very
stimulating and challenging work, you know your work will be seen
by other clients and illustrators and working to a deadline can bring
out the best in you.

Books

With caricatures for book jackets you are quite often given guidelines
by the art director as to what is required. Book jacket work gives you
scope for creativity and can be great fun.
Deadlines in this field are leisurely, usually weeks or even months.
You need this time because you may have to read the book to get
ideas.
Its a great feeling, when you walk into a bookshop or newsagents
and see your work on the front of a book. You feel like turning
around to someone and saying, Look, I did that!
Advertising

Advertising illustrations function is to sell or promote something. You

could be commissioned to produce anything from an image for a
giant poster, the type you see by the side of the road, to a small
black and white ad to go into a newspaper.
The scope for creativity here is limited, you are required to interpret
in your own style a rough supplied by the advertising agency. This
rough has been produced by the art director for their client, it has
been approved and passed on to you. Working in this field requires
you to work more closely with the art director, every detail has to be
approved before artwork is started. Having said this it is still
rewarding and fun.

Personal Commissions

Occasionally you might get a commission from a friend or from

someone you have been recommended to. Also as a leaving presents
given to someone moving on perhaps from a job.
For these I usually charge between 100 to 200, the higher figure
for commercial clients.

Parties

Here is a source of work that is catching on together with wedding

receptions. You will be required to produce caricatures of the guests.
Some of them will like this but some will not but they will probably
still sit because everyone else will.
The fee for this sort of work would probably be a flat payment for
the whole job.
Street Caricatures

This can be seen in most tourist areas now, I have seen them in
London and Brighton working the tourists. You will probably need a
licence for a patch. Caricatures for this sort of work need to be fairly
kind, you dont want to upset clients otherwise you will put others
off.
You could get 5 upwards per drawing, best thing to do is ask
someone you see doing this type of work and ask them how much
they charge. Reassure them that you are not going to threaten their
patch and will be working somewhere else, this will make them more
likely to open up and talk about how they work.

Finding Clients

First thing to do is to find publications that use caricatures, look

around newsagents. Once you have a list of possible clients you can
ring them to get the art directors names. But you should be able to
get art directors names from the magazine, usually just inside the
front cover.
Start making appointments with clients, see if you can arrange a
number of interviews in one day and as close as possible to each
other. This will avoid you getting exhausted and unduly harassed.
If you cant get to clients, then mail out examples to them. Do try
and get to see clients its well worth it and you will get feedback on
your work.

Lastly two very important items which must not be overlooked.

Getting Proofs

Getting hold of proofs is usually a struggle. If the work was in

advertising chase the client for proof, they look good as they
appeared as an ad in your portfolio.
If it was editorial in a magazine go out and by some copies again they
look good as they appeared.
If you produced your work on computer then you will still have the
image, if your posting the original get it copied first.

Return of Artwork

You should get your artwork back unless you have sold it to the
client, unless you produced it on computer or you sent a scan.
If they have the original, chase the client, the original is your
property. If they have lost it, invoice them for about 50% of the
original fee, tell them first that you are going to do this it might
galvanise them into finding it.
Further Help
I hope this book has been of help, for a more comprehensive
guide to drawing caricatures get hold of a copy of my e Book.

How to Draw Caricatures

Available from my website:
www.creativepaperpublishing.com

There are also books on how to draw, consisting of various

subjects together with general drawing and a FREE e Book
called,
10 Tips to Better Drawing.
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