Famous Artists Cartoon Course ‘Westport, Connecticut Props and backgrounds ~~ Rube Goldberg Milton Cont Al Capp Horry Hoenigien Willard Malin Gurney Willams Dick Cavalli Whitney Darrow, Jr. Virgil Partch Barney TobeyWha pei our mather?™eee Props, details and backgrounds ‘As we have std belor, the pane is your stage and itis here that {your characters will ct out the parts you have planned for ther, “To help tell your story and give atmosphere, you must build up a background for your actors. You do that by using. props ops a conuaction of the word “properties” means anything pput into the pane other than the figutes. Clouds, wee, Turn ture, mountains, rocks, water, etc all are props. eis the com- bination of these props cht sets the scene for your story. Details are the small pars ofthe prop. table isa prop. Carving on the legs of the table would be detail, An automobile isa prop. The Deadlghts, steering wheel, whess, windshield — there are all decals “You could draw a cartoon strip without any backgrounds, but it would only make the telling of your story ewice as dificult, Your reader could recognize a farmer by his dress, but that same farmer would be twice as convincing ina barnyard, or diving 8 tractor. By the same token, a clown belongs with a cireus back (ound, When drawing a background, itis smportant to achieve sense of realism. No matter how well the drawing is done, iit lacks authenticity or realism, your drawing will not serve its purpose. . ‘Most beginners think that by drawing a great deal of detail they can achieve realism in their background. This isnot rue. Sometimes the whole fedlng ofa background canbe lst because the arst ied for too great a Sense of detail with his props. A steamshovel is 4 wondettul prop, and i built up of many thou. ‘nds of small details Ila cartoonist were to draw a stearshovel In his background, complete down to the last detail, it would become 0 important that everything ese in the picture would be lost Her, a in all other branches of cartooning, simpliciy iS the Keynote. You have already learned how to simplify the ‘human form — now you mu apply the sme rules to prop and Mctgrovn es ba ‘Ast cartonit, i sof vital importance chat you familiarize youl with ss tnaay types of bnchgrounds a» posible. When Jou buy 4 handle for the faucet takes lock aro. Noxie the Drops and detail inthe plumbing hop. ‘They are not the sme 4s the drugiore ot the public brary, Every trade or occupa tion has its own tools. Lear tose, observe and remember. “Tres, re, shrubs and general landhcaping vary throughout the world. A cartoon gag. with an Eakin ay the ke) figure ‘woulds't be very convincing surrounded by palm tee and sot, ‘hie sand. Types of landseape are especialy important in the venture type strip. There the artist contnualy svg for fealsm, and reades wil be very ec of any etal im the Tackgrounds that do not Gt in with the sory. Here your snorgue play an important part. Mont oft cahot tel all ver the world to cllect backgrounds for our ertoonfentre. But we can beild up our morgue vo that we have a complete "ange of landacapes for practically any part af the world some sucessful srtpsyou will noice an ecahenal panel with no props a all ~ only Sgure and a balloon Dut dati fone only where the sting has been well established in he preceding panel, andthe story needs further carication, The fsmssion of props here and there takes experience and rare good Judgment. Don't underestimate the importance of props. They must be there ~ in your readers mind. whether you draw them oF not! this lesson we ave given you as many examples x pouible ef props and decais in small pac, Seady them tl copy thet ‘They ane here for yu to use4 ton 1 5 Femous Ars Canton Cone Props and backgrounds Props and details ! a pe eee et eae ‘ a\. ‘sore thumb — so leave it out. aay f cH An example of simplification is a photo of a power mower, lke th 7 ina prop is lke ied wordage in a your reader know that itis alawn mower. Maybe you're thetype story. You will ove your reader if you bore him with unnecessary tha’ just nats about drawing lawn mowers ~ don't get caried detaMalt sphere6 tenon 1 5 Fanon Ate Corton Coo Props and backgroundseven 1 Fomous Aras Cartoon Coune 7 Props and backgrounds85 mere Props and backgroundslee 1 5 Femew Ari Carton Come 9 Props and backgroundsbailing oF pare oC building tn them. Not only should you have a good pctureidea ofthe ouside of «hove, but You Sts te familiar wih the ape other per of nga There are many Hele diicrences which you Sold notice "The window in Rowse tthe sxe a the window ina cory. For yout mongu clip 2 many hinds of bailing ae posible side and out Thc home an gatdenmagurne ate wonderfol places to find pictares ofthis type Fr industria eype bul, {ook athe as and borow ay trade magazines that your rene fave: Tade magavinesnotonly have bung, they have photon machinery and other industria equipment ‘Remember tha most buildings are ces I their basic form ‘when you draw then simpy them, jut at yo Gk wich the lawn mower: Dont wy to draw etry brick ina brick bulding Jase pt in afew so your reader will known its brick wall 1s che sme with windows, When you sre drawing building in the ditanes, jt nda a fo of the windows ahd the ot "Dike every opporcunity to study te inde of howwes, Fore ample notice the way doors itmed not brea you are go ing o draw iin complete detail, but becoee tt ch eater {oldran something iyo Enow how it made Both the inser and outdes of houses are like people, Over the years they will ike on character. ot wil fd tat our reader vil expect certain types of character live jn cettain ope ct fornia bungelow i ently dierent from 4 howe. Both are houses, sn people climate and background, they are enirely diferent in appear Don’ forge that architecture is changing prety fast these «aye Tllom might be living way ina hows hat oks haunt And next yet is wile ay alk bie into bulking ove of ‘hore moder Rows with more glass init than erow of depart ‘nent store showcases. Make your buildings the sory sb keep up with the ies ian14 lene 1 5 Femows hth Cartoon Come Props and backgrounds Creating the background ‘Whether you draw single panel or a strip, you must decide upon a background belore which your characters will perform. ‘This isn't quite as simple a matter as it fist sounds. Too many (of us get ito the habit of always making the sume two or three backgrounds work for any situation. Frequently the background ia jun as important asthe gure in putting over the idea A good {dea can be ruined by not paying enough attention to the prope And the background 2s a whole. "The important thing isto ereate a sense of realism with your backgrounds. If you have a plumber working on a sink, don't ‘surround him with a bunch of carpenter's tools. Remember that lots of plumbers read the comics, and they wll reset your not having atleast one wrench forthe character to work with. Learn to observe what the other fellow does and uses. When there is fire, che firemen don’t just stand there and admire the beauifal flames. Every fireman, especially in comic, loves to use his ax or squirt innocent bystander. Lock around you —sce what props there are that you can use on some later'day. Look at Your neighbor's backyard —and take a squint at your own, All yards are diferent and they tell a lot about the character of their ‘Keep working on that morgue. Build it up with pictures and drawing of everyting you think you Wi feven wath thingy you ray think you wi of crap you thought you would never= 5 Fonows Art Coreen Caine 15 Props and backgrounds Three scenes — one basic drawing When creating the background for any given situation, remem her that different props and deus wil often do the whole job of changing the scene. Below we have taken one basic drawing ofa building with door and window and by changing the peops and details, we have created thre diferent scenes. Loeteen 1 femous Art Caeon Cone Props and backgrounds Drawing the figure in the background 1 you're lke the rest of us, your mental image of n idea country ~ a tree, a telescope, a path, maybe the suggestion of will inchide the characters and scene has to fit the ators and help them get your idea os 1o your reader. Dreaming up backgrounds int too hard learning fo simplify them for uss f ep drawings show how to go about fing the scen ee | 7 aor ap y cae RWS Re oat oF e iMtenon 15 Fomous Arts Cartoon Course Props and backgrounds 7 Comic strip backgrounds ug a vo sarrenns) SOCOLATE ECLA NST18 taen 1 5 Fomous Arts Cartoon Come Props and backgrounds Things to remember REMEMBER, ALL THINGS: COME TO HIM WHO WAITS,‘FAMOUS ARTISTS CARTOON COURSE Student Work ‘Leseon 15 To suuty and practice Tais is a lesson on hox to draw things. There are enough examples of useful scenes to act as a stimlating swipe file for you, but don't think ve mesnt to save you the trouble of building your ovn morgue. Nothing could do that. For specialized subjects, keep clipping pictures, studying then and filing then in your morgue for future refer~ ence. Don't get into the rut of using the sane background over ant over again for your characters. ‘As you develop the scene your idea calls for, alvays think of simplification. Look lena fee cessed pcet eae ne RLY eat epee cee 2 complete prop vhen just a part of it vill provide the setting. If the scene can be set by draving only the side, windshield and steering wheel of an axto, he will not draw the vhole, space-hogging car. Our oriticism on these assignments will ve concerned mainly with the vay you handle your props, details end backgrounds, At this stage of your Course, however, ve my comment on’ your use of any or all of the teaching in previous lessons. ASSIGNMENT 1 On a sheet of 11 x ll-inch Bristol board, construct ‘tyo panels. They vill be reproinced 5 inches wide ty 3 inches high. Scale your panels up, for your working araving, to 7 inches wide. Center then neatly on your Paper, ne over the other, with about one inch of space ‘between them. Using the layout. sketch on the right far your basic araving in both panels (see page 15), arev he following scenes with pen or brush sha 40k: A. A door-to-door salesnan giving his sales talk to a housewife et the door of a suburban house. ba B. A bus asking a handout from a business executive as hhe comes out of @ downtown building. TMEORTANT - Mark this sheet ASSTOWEND 1. \ ASsTonmcenT 2 on another sheet of 11 x ll-inch Bristol tosrt, con- struct tvo panels the sane size as in Assignment 1. Using the layout sketch at the right for your basic drawing in both panels, drav vith pen and ink the following sens A. A tenenent-builaing interior, with @ seedy- ‘ooking workman at a table, being served dinner by his wife. B. Using the same basie drawing, change the scene to shov a society matron serving tea to an undernourished, poetic-type fellov. DMEORTANT - Mark this sheet ASSIGINEN? 2. Present your eseigments in the sone clean, professional manner you would use if you vere subaitting then to the cartoon buyer of a publication. Letter your nane, eddress end student, number carefully in the lover left-hand corner of each page. In the lover right Sommer, place the Lesson Nusber and Assigment Nmber- Mail to: FAMOUS ARTISTS CARTOCH COURSE Westport, Connecticut