Light and shade Famous Artists Cartoon Course ‘Westport, Connecticut tenon Rube Goldberg Mitton Conf Al Copp Hory Hoenigsen Willard Molin Gurney Willi Dick Cavalli Whitney Darrow, Jr. Virgil Parich Barney TobeyLight and Shade ees tet eerie a ener et el ree ein SEU pepe oie vei ates ete ee ere ee eed tease ee Supt orcnbadng So you canoe br cy br epaet Bye ee etre ona ieg Stas te wold ve bss ee ten enough, Max et ‘aon ay they can nme i an sats wor bye Savant Tor oie reo he bane hin that he ose can im prove or coverup tele of eaten or bc Unwing Eta reat nn of penscacks dane aria fe jetherhy yi earring era cetyiinw 0 oo Tad wid any contng owt ols he a. ST asc el src kang the poe ee eet erect ‘dma mga citi a eco dors the sn oft lege Postar cep eos te co op ves opal ee omnia ee ey meeteneer same Ekim ide or jet tl he gh try med tobe You cn a ete ea ae lee Sading "ly Deed cero the army Congest Ss coe by yt nc ofthe rent pent ‘she i dvngs were ed ah Gln eng pe Galeec, In he ate This howe, wht pape geo fata of tg eve he rosso ea, {Sind aceany ole sa egy pect sad ing sn wich wee so ben when reproduced ht (Glens wide (eee syle wien pated Gore tour coumon Neva the per at heseppe ae pit Onno ey glad grade At pape nd epetacon tet Shoup wat ced Any Coote doo mae ice wok Be eprodced Hee epson spe ai ‘Take look at Harry Haenigsen’s strip, “Penny,” and you will sce how he has succeeded in almost enuscly eliminating shading ‘fa scratchy kind. Instead, he uses solid blacks to give his work ‘depth and feeling. Harrys favorite advice to the beginner ix you don’t know how to shade — don't.” He doesnt imply you shouldn't learn to shade, ut docs mean that until you sre ready to apply shading in the right manner and amount. iti Detter to leave it out of any work you are doing to sll. ‘The type of shading we have been discussing isthe scratchy poe line kind with which most of us love to 6 up blank spaces. Crosshatch and stippe ae vomeshat old hat now, although they turn up occasionally in a good pen drawing. But, there are ‘other types of shading that are Yery necesary to your work ‘Among these are the solid black, used as shadows onthe ground and on the walls of buildings. These solid blacks are often vised to aid the composition or to point up the center of interest. ‘Other «ype of shading or shadow are those all mportane ele touches of black which we put snder the lid of a table top oF tinder the tos of a pair of shoes. On one ofthe following pages, ‘ou willsce how chase itl touches of shading help give aiciy (Of form to the objects, and Keep them tied to the ground or any other surface. “The type and style of shading you should ute wil often de ‘pend on the immediate job you are doing Ife to be repro- duced in a newspaper on newsprint, keep your shading to a ‘minimum, Later on, we shall ake up wash and wash shading. And the halftone method of reproduction. ‘Shading is fan, but learn how to do it correctly, Practice and play with unt you can dash i off with just the right amount ‘Of lines. To save youre Tot of headaches, always faish your drawing in outine, then put in all the shading with pencil. ‘Study the effect IF you lke it and the shading isn't overdone, {nk it in. A good shading job, dane witha pen, should give the reader the feeling that he is loking at dstinet tones, noe pen + at all This cannot be achieved without the most con- scicnsious prac1 re Light and shadeLine shadingShadows —with and without 88A ere Light and shade Fading into distance ) )a 4 Famous Mise Cartoon Coune light and shade Emphasis, mood and composition Shading is wel in pointing vp what i important in your pie ture, in eablising the mood ofa situation, and in helping to ‘eaten interesting comport ‘Strong contrast of light and dark will grab and hold a reader’ auiention, drecting it to the areas you wish to emphasize. Weird Shadows wil create a spooky, menacing effect. The judicious use flight and shade will help wrengihen und balance the compe ‘ion of your plcune Emphasis ‘CompositionAERRCICCERRR RCE ee:2 “oes Light and shade Warning! w shad[FAMOUS ARTISTS CARTOON COURSE ‘Student. Work ‘esson 14 Bo stuty and practice Our chief aim in this lesson is to teach you the essential principles of light and shade. Good shading gives your work life; bad shading will ruin it. You learn the lavs and techniques of sheding here, but you must also learn to judge what 1s the right amount of shading for the job in hand, Alvays keep in nind the market you are aiming at, the nethods of reproduction and quality of paper thet will be used in printing your vork. For your practice work, create several cartoons, each with a definite light source, and raw your shading and shadovs in proper relationship to it. Then do the same drawings over with the light source at a different point to'see how the rules work and if you cen improve the looks of things. Try all types of shading and try solid blacks, but renenber ‘that simplicity is the best policy for cartooning. When you feel you understand the subject, tackle your assigments. We will criticize your assigments for this lesson chiefly on your understanding of the principles taught in the text. ASsTGNEENT 1 on an 11 x lisinch sheet of Bristol board draw two panels, each 10 inches wide and 6 inches high, as in ‘the @ingrans at the right. In the upper panel draw fan Indian tepee and a flat~roofed Mexican adobe hut | standing on @ flat level plain in the same placenent as their basic forms in the top diagram, They are in strong sunlight, with the light rays coning down in the direction and angle indicated by the three- Ginensional arrove, Shade these dvellinge and draw ‘the cast shadovs to this Light direction in ink, using pen or brush. In the lover panel draw a large beach ball and a garbage can resting on grassy ground and follow the Sane procedure ae in the dreving above ~~ noting al carefully the light Airection. serait 2 om another 11 x 2h-inch shest of Bristol board draw a panel 10 inches wide and 8 inches high, In it drow ‘the figure of a tramp seated on a box, his back to the wall of @ shack. He is cooking a stolen chicken over a compfire at night. At the other side of the fire drav the figure of the local constable, vho has Just entered the scene and caught the tramp'in the act. The campfire is the only source of light in the scene, so shade your figures and objects accordingly with either brush or pen. Try to give the figures ‘action and facial expression which will make the sit- uation as interesting, drenatic or hmorous as you possibly can, You may use the sketch at the right for figure placenent or, if you wish, cone up with your on composition. DPORTANT - Mark this sheet (ASSTGWONT 2. Present your assignnents in the sane clean, professional manner you would use if you vere submitting then to the cartoon buyer of a publication. Ietter your nme, address and student number carefully in the lover leftshand corner of each page. In the lover right comer, place the Lesson Number and Assigment iumber. Nail tor FAMOUS ARTISTS CARTOON COURSE BE SURE to £111 out the return shipping label Westport, Connecticut and enclose it with your assigments. This helps a lot in getting your assignments back quickly.