CONTENTS Practice EXeneises Action Approactt Sontpte Heap Consrevetion: Sine Suapes For Vanous Types Feavunss aND EXPRESSIONS Hawes Lerrumxe ANIMATION: Squasti ap Sracrew Wrcr SIMPLINED APPROACH FOR ANIMALS ANIMAL Hans Axouals Pou. anp Tensox Canicarune Banos 10 2 “4 16 7 4 2s 29 30 IngortaNce oF LIVE Fonesuontenine Pansercnve Pesixine Hea ‘Axia Costes Pucxscious Tyres Contnast Isconcaurry anp Disrontion Lavour Baus TREATAENT Foe Props Provs Texrure Use oF BLack. Comorew Dos ss. 32 33 34 0 4“ ~ 50 st 32 3 ” 7The Kuou-RHow e A MANUAL OF INSTRUCTIONS AND SUGGESTIONS ON THE ART OF CARTOONING, INCLUDING ANIMATION. FOR USE OF BEGINNERS AS WELL AS ADVANCED STUDENTS. By Ken HULTGREN RESEARCH PUBLISHING COMPANY 126 West Tain STREET Los ANGELES 13THE AUTHOR Ken Hultgren is the creator of several popular strips currently appearing in some of America’s top comic magazines. His natural ability as a cartoonist was devel- oped and perfected by years of technical training and by experience gained in Disney’s and other Hollywood studios, where he held positions as animator, layout man, and story director. Mr. Hultgren’s war posters, prepared for the govern- ment, attracted wide attention and received high recog- nition in art circles, one of the posters having been granted an official government award. Mr. Hultgren is co-author and illustrator of Daddy and the Gol-Lumph, an unusual, delightfully entertain- ing child’s story book, based upon an imaginative animal world; to be published in June, 1946. THE PUBLISHER.PRACTICE EXERCISES KEEP YOUR LINES CRISP AND CLEAN ~ TRY TO MAKE YOUR. LINES UNIFORM. DON'T “FREEZE UIP’ WHEN INKING- RELAX. Bee ffl ff D RESPECT YOUR. MATERIALS ~ WASH YOUR BSUSH OUT | | THOROUGH Y WHEN YOU'RE THROUGH EVERY CARTOONIST HAS HIS OWN PREFERENCE AS TO THE INSTRUMENT HE USES. T PERSONALLY LIKE A BRUSH NO#2 OR NO.*5 FOR, =X\IBLE RESULTS. WITH PRACTICE YOULL GET CONTROL. TRY FOR VARIETY OF WEIGHT IN YOUR, LINE. IT MAKES FOR A SNAPPER. DRAWING. PATTERN‘ ACTION REGARDLESS OF Low ae oe MAY FINISH A DRAWING, IF YOUR POSE HASNT SPUNCH? OR DOESNT TELL THE STORY | TS NOTA COMPLETE: SUCCESS. ZEWORK YOUR POSE/ ESTABLISH A LINE OF ACTION IN yOuR DRAWINGS. SN ‘> S Ce “NI p77‘ ACTION REGARDLESS OF HOW WELL YOU MAY FINISH A DRAWING, IF YOUR POSE HASNT YPUNCH? OR DOESNT TELL THE STORY, ITS NOTA COMPLETE SUCCESS. REWORK YOUR POSE! ESTASLISH A LINE OF ACTION IN yOuR DRAWINGS. The Know-How of Cartooning by Ken Hultgren Presented by www GartooningClassi¢s.comAPPROACH eo J SYOWING Sel USING OVAL SHAPES FOR HEAD et ae BY DEVELOPING THE POLISHING-OFF STAGE, A COMMON MISTAE WITH BEGINNERS IS INTEREST In Ses WITHOUT FIRST SIVING. @® PROPER 1 CONS SE ICTING THE FIGURE AS AWHOLE. ANP PET aRRE Bese WS us' 7 iy ABOVE 4X neSIMPLE HEAD CONSTRUCTION— SIMPLE SHAPES FOR VARIOUS TYPES ~ 8 Sp Se \D NNFEATURES and EXPRESSIONS EXPRESSION |S FEELING, AND PERHAPS THE BEST WAY TO IDY IT |S TO SET A MIRROR IN FRONT OF YOUR DRAWING CARD AND LET LOOSE WITH SOME GRIMACES OF YOUR OWN. >» By OAR ( BA ( % \ we VA i AN db } Ry tat VEN YOR A) By ae c =. vz Jy SF GA aN. aa ‘~ fm. ? Sk Co Wy CS q << c Sai sl ake ae IDE bs is be eek £ fe e, f & x Ss x ae Sd y ee a ig me G PROGRESSION OF YEARS 3% > a TRY TO FEEL THAT THE FACE IS A RUBBER-LIKE Ge MASS, CAPABLE OF ¥ SQUASHING AND STRETCHING \ », ( J | © a cS x iC ar) «HANDS (CONT)LETTERING Too CROWDED KEEP YOUR LETTERING IN yoUR. BALLOONS WELL SPACED. DONT MAKE THIS MISTAKE ~ PLAN YOUR BALLOON. WATCH SPACING BETWEEN WORDS, AS WELL AS BETWEEN LINES. ACCENTUATE WorpDs THISIS A INYOUR DIALOSUE~ THOUGHT BALLOON. IT RELIEVES THE 7 MONGTONY OF SAMENESS: Ee ee” oO 8 a) a FOR THAT . = FEELING BROKEN BLOCK RY THIS. rN NG Zc ow! Wy Pron DROP SHADOWS ARE SIMPLE AND ARE EFFECT PRACTICE YOUR ALPHABET~ MAKE ITCLEAR AND LEGIBLE /LETTERING (con) B abcdetghijklmnoparstuvwxyz “ BAG NARIOUS TYPES OF _0 “i ts EGNG AWS AWAY EFFECT. PERSPECTIVE CETTERINGu ANIMATION IT WOULD BE NEXT TOIMPOSSIBLE TO |LLUSTRATE _ ALL AZOUT ANIMATION FOR CARTOON PICTURES. JAKES YEARS OF STUDY OF ACTION. STAGING, TIMING, ETC. HOWEVER T WILL MENTION A FEW POINTS HAT May’ DRAWING TO THINK IN TERMS OF ACTION, HEL? YOU IN © WEIGHT AND EXAGGERATION. aR < \p ee IN SS Sw ri Sas 1 Sse ae) BAe I N Z f } oY ~ Te I ANDY Nore FIG.I-NOTE ETCH FOR LEG REACHING SEPING ASTON HEAD TURN GQ- HEAD NORMAL - NOTE DRAG OF JOWLS JOWLS SWING AROUND AS HEAD SNAPS INTO POSITION FiG.®- JOWLS NOW NORMAL AS ACTION ENDS - (SW SQUASHED. BUNCHED UP DOSE CONTRASTED By ELONGATED POSE OF FIG.FORELEGS REACH. FORELEGS HIND LEGS HIND LEGS GATHERING ING FOR GROUND. TAKING WEIGHT, SURETOANG FOR BUSH-OFF HIND LEGS, COMING THROUGH “F )) u, 4 tg ve: Ned HE a . — — Ss BOOY STRETCHING FORE LEGS REACH- FOR TAKE-OFF ING FO@ GROUND AS IN FIRST SKETCH BOUNCING RUBBER BALL CA SIMPLE ILLUSTRATION TO yO : SHOW SQUASH AND STRETCH ) BALL ASSUMES \ NORMAL POSITION BALL ELONGATES IN, NS xt jo 0, FALL AGAIN: = bs ie RES IN SLOW POINT OF ITS ARC/ INTAKE ey add) TRAPS HUS LESS. NOTE: TREME THAN THE FIRST SQUASH SQUisH ByWEIGHT ; ZI OPPOSE A HORIZONTAL INE ENDS NEATH ~ ASIN FIG. FIG.I NOTE LINE OF ACCENT ( NY USING FIG.T AS EXAMPLE- NOT! HOW TEABPLIES IN BGS Tr Uf ANDI Piccin FOR SOME PRACTICE EXERCISES, DRAW A HEAVY SACK AND PUT IT IN SEV- ERAL POSESSIMPLIFIED APPROACH 8 FOR ANIMALS. Note SIMiLariTy y WN eran \ Nb ABMS IN VE AND OTH DRAWINGS BELOW Wi STARTED WITH AN ora AND Bu Be ial (/ 19 ; HORSE EER DOG RABBIT SQUIRREL MOUSEa ANIMALS (cont)ANIMALS (CONT) a BASIC CONSTRUCTION FOR VARIOUS TYPES OF ANIMALS. KEEP YOUR. PROPORTIONS SIMPLE~ TRY TO|MAGINE HOW YOUR CHARACTER. WOULD LOOK IN SILHOUETTE IS IT CLEAR? IS THERE PLENTY OF SPACE AROUND YOUR CHARACTER ? iPANIMALS (cont) NOTE HANG OF EARS FOR THAT WEIGHT>~ 3 \ ( Nore SMALL EVES ANDBIG JOWLSANIMALS (cont) aANIMAL HEADS (A SIMPLIFIED CONSTRUCTION ) a Lek Ak fra a) EmANIMALS LINE OF ACTION - A DEFINITE LINE NER t Ze ~ ONSEN? Byun (“A ACCENT. FALL INTO GENERS LINE OF ACTION, guris Is ~\ ) Note TAIL DOESNT L ) USED AS AN ACCE! ayy TRY OPPOSITION AS IN THE DRAWING a eo pS \ oe oF ACTION 7 OF at DEER. \VorK FORCES AGAINST FORCES - THRUSTS AGAINST COUNTER- THRUSTS.* PULL and TENSION Th TAKING UPTHIS SUBJECT, LETS TAKE A PIECE OF CLOTH AS IN FiG.I AS AN EXAMPLE. FIG.T NOTE REACTION OF CLOTH WHEN TWO OF ITS CORNERS ARE PULLED (AS IN FIG.) <4— PuLL——» NS A AG. NOTE HOW LOWER PART OF CLOTH REACTS To THE PULL Lo ye co FIG. HOws Chom GREE Y ANOTHER SIMPLE EXAMPLE TO ILLUSTRATE BULL AND ISION IN A MORE SOLID MATERIAL. ASSSISSSSS RROPE IN NORMAL POSITION a ROPE ELONGATES IN PULL. FIG. IZ SHOWS CLOTH WHEN ALL FOUR CORNERS ARE PULLED:PULL and TENSION (cont) HERE ARE SOME SF SIMPLE ILLUSTRATIONS: ie ARROWS DENOTE ae ives AND — DIRECTION OF PULL ENSION | FiGURES. 4 —-_ f2 PULL and TENSION (CONT. ) RAB HOLD, CHIP~T WANT TO DEMONSTRATE PULL AND TENSION! Note How THE SWEATER PULLS — \NHAT THAW = .CARICATURE . A. CARICATURE IS AN EXAGGERATED DESIGN OF THE: SUBJECT YOU ARE DRAWING - LOOK FOR OUTSTANDING FEATURES AND UTILIZE THEM IN YOUR DRAWING BY EMPHASIZING THEM. THE FOLLOWING PAIRS Ar 44 SHOW _HOW T WENT a Of A FURTHER TO EXASGERATE~ J ANALYZE YOUR SUBJECT AND LET YOURSELF GO. £a\ & > dy = —KEEP ‘EM GRACEFLL/BIRDS (cont) STUDY YOUR PHOTOGRAPHS: oF BIRDS~ THEN TRY TO BREAK IEM DOWN TO SIMPLE FORMS= IMPORTANCE of LINE LINE CAN SUGGEST WEIGHT, FORM, MATERIAL AND OTHER. THINGS TOO ee TO MENTION. BELOW ARE A FEW EXAMPLES Nore THE WEIGHT N FORESHORTENED Se SeeeeO LN sR ee 5 USEDTO Ge GRES Wetrik NOW vee WEIGHT. ARMS SING. XS Spo EADERS EYE. THE eas ABOVE |LLUSTR, OF UNS aS SA SHASIZE STRESS AND STRAIN OR RELAXATION OF MATERIAL. ae ONE |S USED, ;O SHOV SPECTIVE. N TEAST IN LINE USED IN. ee ? BACKS ROUND,FORESHORTENING * THINK OF YOURSELF AS A CAMERA WITH YOUR LENS NEAR THE OBJECT IN FRONT ILE THE REST OF T RECEDES — TLL GIVE YOU A DRAMATIC FEELING AND DEPTH! HERE ARE A FEW EXAMPLES~ TREES AGE AN EXCELLENT SUBJECT TO WORK ON. TRY SOME WITH THE BRANCHES RUNNING INTO CAMERA WHILE GTHERS DIMINISH. FOR THAT FEELING OF DISTANCE USE FO2EGROUND PROPS AGAINST BACKGROUND.PERSPECTIVE ~ Vass BERS HORIZON LINE HORIZON _ CHARACTERS" IN PERSPECTIVE 5 T FIRST DRAW IN YOu JO KEEP YouR 1 CHARACTERS ANCHORED HORIZON LINE. TO THE GROUND DRAW. TL_DRAW IN THE CHARACTER IN YOUR PERSPECTIVE YOU WISH TO BE TALLEST LINES. IN YOUR PICTURE II ESTABLISH YOUR VANISHING POINTS ON THE HORIZON LINE. (THE PLACEMENT OF THE VANISHING POINTS DEPENDS: ON THE PERSPECTINE DESIRED) TZ DRAW LINES FROM YOUR VANISHING POINTS TO THE TOR BOTTOM AND MIDDLE OF YOUR: TALLEST FIGURE (woos UAE'S V eal. hy SER. CHARACTERS SIRE AS SHOWN OESBOV' E.WHEN PERSPECTIVE DIMINISHES IN A GRACEFUL ARS IT MAKES FOR A fia, PLEASING PATTERN.2 FEMININE FIGURE (APPROACH) \ \ Vrrcse\, gl & WHEN DRAWING THE THE NEXTSTEP~ THE THIRD STAGE~ FENNNERGUPE SIRS PUTIN THEMAN PuLLiT eeree. FOR THEACTION ACTION LINES OF THE POSE (SRUMBERS = Te 215 THE MAIN KegeNTs IN THE FIGURE.FEMININE FIGURE LINE OF \ ACTION ASIN \“ \ FIGURE TL TRY FOR ACTION IN YOUR. BOSE BY ESTABLISHING A DEFINITE LINE OF ACTION. AVOID DRAWING ong CURES A Sree re = \] | Te He. ASSES INTE IN FIG. oven. We. TI BECAUSE ITS ROVERENTFEMININE FIGURE ore niger is 8x HEADS HIGH~ NOTE PROPORTIONS KEEP YOUR GIRLS GRACEFUL. TRY SHIFT- ING THEIR WEIGHT FROM TO YOUR. DRAWING— TRY FOR VARIETY INTHE POSITION OF THE ARMS, LEGS, ETC. NOTE TAPERING LEGS AND THIN ANKLESFEMININE FIGURE (cont)FEMININE HEAD USING A CIRCLE FOR A START.ANIMAL COMICS WATCH THE PULL AND TENSION ON DRAPERY~ IT GIVES WEIGHT TO MATERIAL 7” NOTE DRAG OF adn 7 MATERIAL WHEN BaF PeANIMAL COMICS (conr) S LEND THEMSELVES: FOR SCREW> CHARACTERS ~ANIMAL COMICS a (CONT)ANIMAL COMICS CONT.ANIMAL COMICS 5 J cl “ie ME IS Tecies) Og ds AS oe HEAD WEST AND BODY x Ct z oe RMS AND LEGS: ty T= WBuLD obtue DETAIL MS WZ POLISHING OFF BE Db CHIPS ALSO VERY EASY TO DRAW- THOUGH T WOULDN'T UNDERSTAND WH>~ aes Oe epee A kX) ex € CHIPS BUILD-UP IS THE SAME AS MINEPUGNACIOUS TYPES ANIMAL COMICS GORILLA TYPE ON HEAD, NOTE EMPHASIS ON JAW AS WELL AS te PROTRUDING SLOWER LIP 2 NOTE HOW HEAD IS \¢ BURIED INTO BODy- (.\ ARNIS LONG AND Powse- eo) FUL- BARREL CHESTED & AND SHORT STOCKYEXPRESSION (ANIMAL Comics) a DONT BE AFRAD TO Nie TE EXAGGERATE IN EXPRESSION— LET THE BODY TELL THE € Te STORY AS WELL AS FACIAL ene & expeesion EXPRESSION - wo wor XPRESSIO THE HEART HELPS: py TO PET OVER THE IDEA! Ss x \ ¥ “ener \ J Z 2 $Y = HERES ANOTHER! NOTE THE REACTION ON BOTH OF US ON THIS ONE!“0 eameeciol ANIMAL comics Heres ous More! OTE HOW HEAD a RLATTENS IN Contact, We Gh.T, TINK AND NOTE OFF-Ba1 ANGE ABOUT XDEESSIONS/ 4 ST ae to foe QUST ABOUT ALL 3 ONE. NOTE HOW Xe EYES QUT OF FOCUS. 3 RY Genes AEE ASKEW. 5 STARS Sz Ue Ory wg)CONTRAST Conteast BETWEEN CHARACTERS CAN BE SHOWN BY OPPOSITE PROPORTIONS. THIS GIVES A READER. A MORE DEFINITE PICTURE OF YOUR CHARACTER. aos \\ MAKE YOUR CHARACTERS =~) DEFINITE ~ |F HE'S WEA 7D MAKE HIM WEAK~ TRY TO EXAGGERATE THAT ~\ QUALITY IN EVERY WAY’~ es 8 RALLY Be APBLES TE Nee SreaNS & _ BOASTEUL, ARROGANT, ETC. Serr” TM THE STRONG TYPE MYSELF! CHIP AND T ARE CONTRASTING TYPES.- TAM~AH ~AH~THE EUWIT=, THE DEBONAIR, THE ARISTOCRATIO— > AND CHIP— LL HES THE > MORONIC, IMBECLIC TYPE!2 INCONGRUITY Te MORE INCONGRUOUS THE CHARACTER, THE SILLIER (SMALL HAT ON LARGE S) HEAD) CLARGE Souk ON THI DISTORTION (pzors) ne DISTORTION |S WIDELY’ USED IN_IMAGINATIVE 4 4 ig STRIPS. NOTE INT EXAMPLES THAT PARALLEL LINES ARE SELDOM USED. START A FORM ONE WAY, THEN REVERSE IT. GET VARIETY TO YOUR SHALAYOUT your ae ESTING GET VARIET>~ MOVE AROUND IN your PICTURES—~ALL MEDIUM SHOTS WOULD BE MONCTONOUS LONG SHOT NO SET. zu Le IN PLANNING YOUR_ PANELS IN COMIC STRIPS, SUT. YOUR READES LIKES VARIED GIVE IT TO HIM MEDIUM CLOSE - CLOSE-UP uPBRUSH TREATMENT FOR PROPS WooD STUCCO NOTE FINE LINES: NOTE SUGGESTED SUGGESTING Grail ~ TRESTMENT TO GE OF WOOD a \. UNEVEN Sey POLE FOR THAT ROUND BFRECT CAN BE USED. a WATER. Ware ow BE AWINS THE WAVES LSGESTED WING THE WAVE: PROGRESSIVELS Ma er AS THEY” SOME Loses TO YOu EYss- ROCKS Sane (= CLOSER TO >O1 ROCKS OFFER VARIETY IN SHAPES AND PATTERNS COBBLESTONE —PROPS a TO GIVE YOUR DRAWING LOCAL. COLOR, PROPS PLAY AN IMPORTANT PART. IN MOST CASES YOU CAN SUGGEST BACKGROUND a AN BY VIGNETTES. SCTEXTURE PRESSED = UNPRESSED NOTE THA, MATERI Vv t, +} ” ) foo : he vw te Ww, a \ ef; (sHoeT Fired) a } , WOOL ( OR COARSE MATERIAL) YOu CAN SUGGEST SY BREAKING UP Youre LINE CURTAIN CLIGHT WEIGHT MATERIAL ) KEEP LINES LIGHT AND LOOSE:USE OF BLACK * BLACK SHOULD ALWAYS BE USED IN CONTRAST TO WHITE. BELOW ABE EXAMPLES USING BLACK IN A PATTERN. =S A SIMPLE co AMPLE TRATION SHOWING HOw eo SOOO. =x OF ACK |S USED TO. HOLD OF ROE REC NS OF HERE THE BLACK PATTERN IS USEO WITH SAMENESS. IT BECOMES MONSOTONOUS.USE OF BLACK ® BLACK SHOULD ALWAYS BE USED IN CONTRAST TO WHITE. BELOW ARE EXAMPLES USING BLACK IN A PATTERN. \\ Se UES HERES A SIMPLE ~ STRATION SHOWING HOW OF LACK |S USED TO_HOLD FIGURES TOGETHER . A GOOD EXAMPLE BSOR SPOTTING OF BLACK. AMENESS- IT BECOMES MONOTONOUS.® USE of BLACK (CONT) My DRAWING AT LEFT DIRECTION of LIGHT TN PLANNING A BICTURE WHERE A SIMPLE EXAMPLE OF How IT CAN BE USED. Note How SHADOWS VARY AS LIGHT POINT IS: FARTHER AWé>’ FROM SUBJECT.CHILDREN ® T DRAW My KIDS FROM 3% TO 5 HEADS IN HEIGHT. FOR AVERY SIMPLE CONSTRUCTION, T START WITH A CIRCLE FOR THE HEAD AND A PEAR SHAPE FOR THE BODY RELATION LOWER BART OF HEAD. USING OVAL SHAPES YOU CAN CONSTRUCT AHEAD AT AN>’ ANGLE.CHILDREN (cont)CHILDREN (cont) : A — ws a LE KIDS_HAVE A GENERAL CS SS LRGEOF O6-OEDINSTION— eR NOTE SHORTNESS: OF LEGS IN RELATION TO BODYDOGS SIMPLIFIED ANATOM> NATURALLY” ALL DOGS VARY IN SON! 1ON, BUT A RESE iS SR SNILAR VARIOUS TYPES (NCTE BOW LEGS)DOGS (cont)DOGS (cont)DOGS (cont) a, N\- LE - fe a, ~ ay pee SY i “LE (LG 4, we he