View Full Version : Well...I'm here!
01-01-2002, 04:29 PM
Hello everyone!! I just got back to Chicago, joined the Wet Canvas gang last night. Not sure yet how everything works, but I'm sure I'll figure it out soon enough...catch ya'll later!
01-01-2002, 04:42 PM
Welcome to WetCanvas! Having seeing some of your work already, I am excited that you joined
01-01-2002, 04:50 PM
Just got home from Green Bay today, and was really pleased to see you got connected to WC already! What a privilege to be one of the first to reply to you! I call that a COwinkeedink!
Let's start a conversation here and help you break in. I have the advantages of a few of Jason's images on my system. I'll put up a morphed view I did of Jason's actual face, and a more recent cartoon of him that Jason did. (The photo of Jason is actually a couple years old). After that, I'll post an inked caricature that represents sorta your hair look from your playing in the band.
Its interesting to see your flexibility here, because they are two very distinct styles.....
I have the advantage of knowing Jason, and both images capture him quite well, yet both are so very different. How do you attribute, Jason...to two such different styles yet picking up on your personality? I guess what I'm asking is, there is similarity yet such difference. What unique feature of the face or head is most important?... and perhaps you'd like to comment on that a bit further!
(btw, I know the answer to this....! hee hee heeee)
However...I'll warn you that I intend to show the image of a commission you did recently of a woman, which really impressed me...and we can ask other questions about that!
01-01-2002, 06:56 PM
In doing caricature, the most important thing to capture are the eyes. Without capturing someone's eyes correctly, you have already failed at what you're trying to do, and that is capture the spirit behind that person, the thing that makes them so unique, so different. Other features are important, the nose, the mouth, forhead, ears etc...but without getting the eyes right, something will look funny to you.
Instead of just drawing eyes, study the eyes. I usually look at the white space in someones eyes, the negative, that helps capture the certain person's eyes. Also there is a triangle on the face that is very important. This triangle will help in exaggeration. It will help determine whether someone's eyes are a little closer together than most, or farther apart, it also will help to determine how big or small, how short or long you should draw the nose.
The triangle if you already haven't figured it out, is done by connecting the eyes to the nose...if you focuse on that and kind of let the rest of the head go out of focus, you will start seeing people in a more humorous way...I hope this helps explain a little bit....
As far as the two different styles go, the one done in pen and ink was done a while ago, and was more of a cartoon/portrait, not too much exaggeration, and the graphite one, well, I had some fun with my features, but both are accurate, because of the eyes.
01-02-2002, 01:18 PM
I've been looking at a number of caricature artists, including editorialists...(as I expose my students to a variety of techniques), and see many kinds of approaches to achieving a finished image. This "Reno" by editorial cartoonist Michael Ramirez shows as best I can tell, a mix of brush applied India Ink, some pointalism to achieve variation in values, parallel line and cross hatching etc;
This seems to be one art form where little direct schooling exists, where most artists arrive at their style by years of experimentation. It might be interesting for readers Jason, if you gave us a brief detailing of your typical mediums from beginning to end, including coloring. I know you have a fat lead holder pencil that I personally am going to want to try and find and order for myself, along with leads.
Take us from a sketch, to inking, and coloring. I know you used watercolor or acrylics for a period of time, but you tend to favor a special watercolor marker now. Is that a common method of coloring for cartoonists and caricaturists?
Oh...and looking at this Reno, I tried to imagine that Ramirez probably used something similar to your triangle arrangement. I found it interesting that you said that you focus on the triangle area and sorta let the rest of the head go out of focus. Hahahaha...sorta sounds like my ole squinting of the eyes thing. Yikes!
However, I will remember that method of yours and try it with some students.
01-02-2002, 08:32 PM
Welcome to WC Jason! Iseiler, those pictures looks cool!
01-03-2002, 03:31 PM
First off...thanks for the nice coments Drip24 (?)
Sorry it took so long for me to reply, I have been very sick, so I'll try to this short and sweet.
For paper, I have found that the best for me is Bristol board, smooth. I use Strathmore. There's a lot to choose from out there, but I have found that the Bristol Board smooth has a lot more uses than it says on the bottom of the pad when you first by it. It says it's good for airbrush and pen and ink...but it's also great for GRAPHITE. Becasue of it's nice smooth surface, it let's you get really nice rendering, and blending...it is also good for erasing.
As far as pencils go: By this point if it's going to be a finished piece, I'll have done a couple different sketches, so the client knows what there's going to get, sometimes they don't like to know the truth about themselves. After I have a finished sketch, I use my light table and then start from there. I place the face where I want it, and then start going over the lines lightly. After I have my lines drawn, then I use a fat pencil (Staedtler Mars 780)and put some gray in there, again lightly, and using a blending stump, I start blending.
The rest of the pencils that I use are all ALVIN DRAFT/MATIC pencils. I start off with 0.3, move up to 0.5, and then to 0.9
Like my dad said there are many different techniques. My technique after capturing the person the way that I see them is to make it as reall as I can. I try not to have harsh lines where there are no harsh lines. For example. When you look at the nose straight on there may be a harsh line on the bottom of the nose, but for the most part, the sides of the nose and the rest of the face are soft lines, shades and patterns in the skin that give the face it's shape, it's 3D look. Another thing, there are only certain places on the face that have black on them. The nostrils, usually and parts of the eyes. You can also find lots of black in the hair, so what I like to do is use differnt kinds of lead, to give texture. When doing a graphite drawing, I have found that using different pencil sizes and thickness will help get a better finished result than if you do it all with the same pencil. Some kinds of let get a blacker black, some have nice gray tones. Again this is what works for me, it takes some time to find what really works for you.
For my color pieces, I do almost the same thing. After my lines are drawn on the paper, I use a TRIA marker, I use
Pantone162-T This is the flesh color that I use for my base color. Where there are light reflections, shines on the forhead or nose, I keep those the white of the paper. After that I build up those reflections with acrylic white, and then from there on, I build up the drawing with color pencils, watercolors, and sometimes but rarely acrylic paint. I sometimes will go in with my white and touch up areas of white in the eyes or the reflection on someones nose, but that's usually about it.
The kind of color pencils I like to use are Berol, (Prismacolor) For watercolor, I like to use pelican and Dr Matin dyes...
I hope that this makes sense to you, I may have left some stuff out, still not feeling to well.
Like I said this is what I like to use, and as always I will keep expierementing (spell check) with other things, and come up with other ways to do this.....it never ends.
01-03-2002, 03:47 PM
Welcome to WetCanvas Jason!!:clap: :clap:
01-17-2002, 09:19 AM
Hi Jason :)
Welcome to WetCanvas.
Love what I have seen so far and look forward to more.
01-27-2002, 03:16 PM
first of all * thank you* for sharing your ~ trade secrets ~...I'm sure that I am not the only one that will be running out to add these supplies to their stockpile ...!
I enjoy your creations so much & respect your advice on materials :p
additionally as inspiring as your artwork is the ~ SPECIAL RELATIONSHIP ~ between you & your father.
to develop a special father/son relationship such as this is an ART in ITSELF.
CONGRATULATIONS to BOTH OF YOU for displaying *the best all around display of ART * I have seen in a long while.
* please share my sentiments with your DAD *
vBulletin® v3.5.8, Copyright ©2000-2019, Jelsoft Enterprises Ltd.