Famous Artists Cartoon Course Westport, Connecticut enon Inking the head and ube Goldberg Milton Conit Al Copp Harry Haenigsen Willd Molin Gurney Wilms Dick Cavalli Whitney Darrow, Jr Virgil Parteh| Barney Tobeyea Inking the head and figure Up to this time you have been working in pencil ony, Now i fs time vo ware working and practicing with pen and ink. Nesey all newspaper and most magazine cartoons are draea in ink 30 25 soon as pasible you must leara to master those moxt useful fnd versitile tools the pen and the brash. The grent joy of ning with pen or brush the clean cece you achieve. At Bt you wil fel lke dhrowing the boule of ik dough the window 35 you bloc and scratch your way through page alter page of ink jing. But — your blots will payoff in experience, andy will be drawing nice clean lines even before you Know it In no other phase of cartooning does practice pay of so rapidly [Right from he start, work outa sistem for inking the igure. By system we mean the order of inking dhe individual parts that rake up the figure. A sjten for inking has the grea advantage ‘of speed. Ifyou were tofak the fet Ent, you wold fave to wait for them t9 dy belore you could go on with the rest ofthe Bg lure. Also, by always inking the parts ofa figurein the same order (preferably from top to bottom) you will ind there is much es ‘hance of forgeting to ink some par ‘Yu may be terested primarily in brush work, bat you should sho do hoe exercises in pen. If you master the pny the Drs ‘wll be no problem. Anything you can do with & pen you can do with a bras, Remember that for pen work you will needa smooth or high surface board ot paper to draw on, Use 4 good black waterprool {rawing ink anda Gill 170 ar comparaive pen polnc Never be tareless about materials It wil show in your work You wouldn't ‘want your dents to use carpenter’ auger on your teth. Use the proper tols to gee the proper eft.4 ten Fomovs Ariss Coraon Coune Inking the head and figure Holding and using the penexon Fomout Ariss Cartoon Cowrse Inking the head and figure6 exon Famous Arts Coroon Course Inking the head and figure Inking the head Set Inking the figure Be sure your ink is dry before erasing JP. And that you ine penal inact uro art gum or other very p fom for tebniom | soft eraer~ 20 you wont rib of anyCorrecting mistakes on ink drawings Every cartoonist loves to stick his finger into a treshly inked line to see ifthe ink is ry. this creates a mess out ofthe line, we mut have some way to clean up the sineared ine we should bv Anowa was wet all the tine ‘As ilusurated belo, there ae several good ways teen up a masy line oF spot of undesired ink. Regandlst of the method sed to correcta fnked Line, you shoul emeiber that your drawing is going to be reproduced, The camera will pick up any tundssted marks let on the paper. Make a habit of developing neat dean, repair job If the dawing isto badly smen Deer to tear ie ap and start over aaa a eg | pe Come on, aN, (Come on ie COME ON, SIA The sane mathe ories CHAD THE PAL (reg ted ‘ait THE NAL wrnast alos SQ ONTHE HEAD!) GSHE READY ON THE HEAD! iin ~y These are good ways of correcting your mistakes, But ~ the best way is not to make them in the first place ON ee Things to remember when inking1O team Famous Ass Cartoon Coune Inking the head and figure Dos & Don'ts uae ee fe eat! ised Thow to get India is e painful, unless Egan! But he passed on~and secret with him... Ditto for pants expert. shirts... A seod pen- 94 Point will bounce- “wi. once? 7% Your workin space js your Taberatory ~~ put aRttle system into arranging “your tealAssignment plate 1 Famous Artists Cartoon Course Inking the head and figure teen 3(i 3 Famous Artis Cartoon Coun Inking the head and figureAMOUS ARTISTS CARTOON COURSE Student Work ‘lesson 3 To study and practice ‘This Lesson has been planned simply to start you on the right track in using the pen and brush, Those are versatile toole ~~ there are so many possibilities for varie ‘lon of Line and style that it would be impossible to list them all, Just like every other cartoonist, you'll have to start experimenting with pen and brush Lines until. you find the kinds of Lines that suit you and your style, For practice, pencil and Ink the simple figures and heads you learned to drew in Lessons 1 and 2. When Xt comes to inking over your pencil lines, don't tighten up. Let your pen or brush aving freely: nothing looks so anateurish at a lot of unnecesaary little multiple Lines used viere one bold Line could do the job. Work for clean, simple expression with a minimm of details, Think as you ink, ‘The figures in the assignment plates at the end of the lesson were chosen carefully Zor one purpose: to free you from any problens of drawing end composition so that you can concentrate on control of your ink Lines. Don't tackle the plates until you fare confident that you know what your tools will do. We've given you two sets of the plate dravings. Use one for final practice and the other for doing the assignment to ‘bail in to the School. , ‘Your grade on this 1esson wi11 depend on the degree of control of pen and brush that you show us in your work, AssToINeNT 2. On the page marked Assigment plate 1, working line for line directly on the plate, ink over the pencil dravings market A and B, Use a flexible pen and follow the originals just as cloeoly as you can for width and direction of the pen lines. For ‘the larger areas of solid black you should use @ brush. If you feel that you need more pencil guide lines (oa the girl's sweater, for instance), put then in for your= sel’. Do it lightly, hovever: this ie rather eoft paper. If you spoil one plate == well, that's why we included en extra, send the best one to us for eriticlan. ‘sssromaner 2 on the page marked Assigenent, plate 2, using a brush and ink, copy the draicinge Line for Line. As you work, be alert Tor thickness and thinness of the Ines, Your ‘Presgure’on the brush and the @irection in which you drew the lines ere very inpor- fant here. Again, wo have included an extra plate pege for you, Send in the one on ‘which you think you've dene your best work, Our only concern at the monent ie to see how well you dmmonstrate your control of the tocls. Present your assignments in the sane clean, professicnal manner you would use if you were submitting then to the cartoon buyer of a publication. etter your name, address and student number carefully in the lover left-hand corner of each page. tn the Lover right Somer, place the Lesson Number and Assigment Number. Mail to: ‘PMMOUS ARTISTS CARTOON COURSE Westport, Connecticut