Cartoon Pencil Sketches Biography
source(google.com.pk)A cartoonist is a visual artist who specializes in drawing cartoons. This work is often created for entertainment, political commentary or advertising. Cartoonists may work in many formats, such as animation, booklets, comic strips, comic books, editorial cartoons, graphic novels, manuals, gag cartoons, graphic design, illustrations, storyboards, posters, shirts, books, advertisements, greeting cards, magazines newspapers or video game packaging.
Contents [hide]
1 History
1.1 In the West
2 Comics
3 Animation
4 Books and exhibitions
5 Creation
6 Art styles
6.1 Tools
7 See also
8 References
8.1 Works cited
9 External links
9.1 Societies and organizations
9.2 Communities
9.3 Miscellaneous
History[edit]
In the West[edit]
The English satirist and editorial cartoonist William Hogarth, who emerged In the 18th century, has been credited with pioneering Western sequential art. His work ranged from realistic portraiture to comic strip-like series of pictures called "modern moral subjects". Much of his work poked fun at contemporary politics and customs; illustrations in such style are often referred to as "Hogarthian".[1]
While never a professional cartoonist, Benjamin Franklin is credited with having the first cartoon published in an American newspaper.[2] In the 19th century, professional cartoonists such as Thomas Nast introduced other familiar American political symbols, such as the Republican elephant.[2]
Cartoon of a snake severed in eight pieces, each piece labeled with the initials of an American colony. The caption reads, "Join, or Die".
Benjamin Franklin's "Join, or Die" (1754), credited as the first cartoon published in an American newspaper.
A man in late middle-age, facing left, drawing at an upright drawing board.
Charles Dana Gibson was an influential American cartoonist in the early 20th century.
During the 20th century, numerous magazines carried single-panel gag cartoons by such freelance cartoonists as Charles Addams, Irwin Caplan, Chon Day, Clyde Lamb and John Norment. These were almost always published in black and white, although Collier's often carried cartoons in color. The debut of Playboy introduced full-page color cartoons by Jack Cole, Eldon Dedini and others. Single-panel cartoonists syndicated to newspapers included Dave Breger, Hank Ketcham, George Lichty, Fred Neher, Irving Phillips and J. R. Williams.
Comics[edit]
Comic strips received widespread distribution to mainstream newspapers by syndicates[3] such as the Universal Press Syndicate, United Media or King Features. Sunday strips go to a coloring company such as American Color before they are published.
Some comic strip creators publish in the alternative press or on the Internet. Comic strip artists may also sometimes work in book-length form, creating graphic novels. Both vintage and current strips receive reprints in book collections.
The major comic book publishers (such as Marvel or DC) utilize teams of cartoonists to produce the art (typically separating pencil work, inking and lettering while the color is added digitally by colorists). When a consistent artistic style is wanted among different cartoonists (such as Archie Comics), character model sheets may be used as reference.
Calum MacKenzie, in his preface to the exhibition catalog, The Scottish Cartoonists (Glasgow Print Studio Gallery, 1979) defined the selection criteria:
The difference between a cartoonist and an illustrator was the same as the difference between a comedian and a comedy actor—the former both deliver their own lines and take full responsibility for them, the latter could always hide behind the fact that it was not his entire creation.[4]
Animation[edit]
A hand holding a pen draws a portly cartoon figure on paper.
Dip pens have traditionally been a popular drawing tool for cartoonists.
Animated cartooning is created for short films, advertising, feature films and television. It is also sometimes used in live-action films for dream sequences or opening titles. An animation artist is commonly referred to as an animator rather than a cartoonist.
Books and exhibitions[edit]
There are many books of cartoons in both paperback and hardcover, such as the collections of cartoons from The New Yorker. Prior to the 1960s, cartoons were mostly ignored by museums and art galleries. In 1968, the cartoonist and comedian Roger Price opened the first New York City gallery devoted exclusively to cartoons, mainly work by the leading magazine gag cartoonists. Today, there are several museums devoted to cartoons, notably the Billy Ireland Cartoon Library & Museum, run by curator Jenny E. Robb at Ohio State University.
Creation[edit]
Comics artists usually sketch a drawing in pencil before going over the drawing in India ink, using either a dip pen or a brush. Artists may also use a lightbox to create the final image in ink. Some artists, Brian Bolland for example,[5] use computer graphics, with the published work as the first physical appearance of the artwork. By many definitions (including McCloud's, above) the definition of comics extends to digital media such as webcomics and the mobile comic.
The nature of the comics work being created determines the number of people who work on its creation, with successful comic strips and comic books being produced through a studio system, in which an artist assembles a team of assistants to help create the work. However, works from independent companies, self-publishers or those of a more personal nature can be produced by a single creator.
Within the comic book industry of the United States, the studio system has come to be the main method of creation. Through its use by the industry, the roles have become heavily codified, and the managing of the studio has become the company's responsibility, with an editor discharging the management duties. The editor assembles a number of creators and oversees the work to publication.
Any number of people can assist in the creation of a comic book in this way, from a plotter, a breakdown artist, a penciller, an inker, a scripter, a letterer and a colorist, with some roles being performed by the same person.
In contrast, a comic strip tends to be the work of a sole creator, usually termed a cartoonist. However, it is not unusual for a cartoonist to employ the studio method, particularly when a strip become successful. Mort Walker employed a studio, while Bill Watterson eschewed the studio method, preferring to create the strip himself. Gag, political and editorial cartoonists tend to work alone as well, though a cartoonist may use assistants.
Art styles[edit]
Scott McCloud, whose work Understanding Comics identified the different styles of art used within comics.
While almost all comics art is in some sense abbreviated, and also while every artist who has produced comics work brings their own individual approach to bear, some broader art styles have been identified. Comic strip artists Cliff Sterrett, Frank King and Gus Arriola often used unusual, colorful backgrounds, sometimes veering into abstract art.
The basic styles have been identified as realistic and cartoony, with a huge middle ground for which R. Fiore has coined the phrase liberal. Fiore has also expressed distaste with the terms realistic and cartoony, preferring the terms literal and freestyle, respectively.[6]
Scott McCloud has created "The Big Triangle"[7] as a tool for thinking about comics art. He places the realistic representation in the bottom left corner, with iconic representation, or cartoony art, in the bottom right, and a third identifier, abstraction of image, at the apex of the triangle. This allows placement and grouping of artists by triangulation.
The cartoony style uses comic effects and a variation of line widths for expression. Characters tend to have rounded, simplified anatomy. Noted exponents of this style are Carl Barks and Jeff Smith.[6]
The realistic style, also referred to as the adventure style is the one developed for use within the adventure strips of the 1930s. They required a less cartoony look, focusing more on realistic anatomy and shapes, and used the illustrations found in pulp magazines as a basis. This style became the basis of the superhero comic book style, since Joe Shuster and Jerry Siegel originally worked Superman up for publication as an adventure strip.[8]
McCloud also notes that in several traditions, there is a tendency to have the main characters drawn rather simplistic and cartoony, while the backgrounds and environment are depicted realistically. Thus, he argues, the reader easily identifies with the characters, (as they are similar to one's idea of self), whilst being immersed into a world, that's three-dimensional and textured.[9] Good examples of this phenomenon include Hergé's The Adventures of Tintin (in his "personal trademark" Ligne claire style), Will Eisner's Spirit and Osamu Tezuka's Buddha, among many others.
Tools[edit]
Artists use a variety of pencils, paper, typically Bristol board and a waterproof ink. When inking, many artists preferred to use a Winsor & Newton Series 7, #3 brush as the main tool, which could be used in conjunction with other brushes, dip pens, a fountain pen and/or a variety of technical pens or markers. Mechanical tints can be employed to add grey tone to an image. An artist might paint with acrylics, gouache, poster paints or watercolors. Color can also be achieved through crayons, pastels or colored pencils.
Eraser, rulers, templates, set squares and a T-square assist in creating lines and shapes. A drawing table provides an angled work surface with lamps sometimes attached to the table. A light box allows an artist to trace his pencil work when inking, allowing for a looser finish. Knives and scalpels fill a variety of needs, including cutting board or scraping off mistakes. A cutting mat aids paper trimming. Process white is a thick opaque white material for covering mistakes. Adhesives and tapes help composite an image from different sources.
See also[edit]
Comic book creator
Editorial cartoonist
List of cartoonists
List of newspaper comic strips
Harvey Award
Mangaka
The Someday Funnies
Webcomic
Women in comics
Charles Griffin was born in Ruislip, Middlesex, on 20 May 1946, the son of Alec Griffin, a furniture manufacturer's agent. Educated at Berkhamsted School, Hertfordshire, he spent two years at the Royal Military Academy, Sandhurst, where he had some of his first caricatures and cartoons published in the RMA journal, Wishstream, between 1965 and 1968. Griffin failed to graduate, claiming later that he was kicked out after caricaturing the commanding officer.
In 1971, after working as a hotel barman, furniture salesman and personnel manager, Griffin enrolled at Harrow School of Art, and subsequently studied at Corsham School of Art and at Bath Academy of Art from 1971 to 1973, specialising in graphics. He then worked as a designer and paste-up artist on The Villager from 1973 to 1974, and afterwards worked in advertising. In 1976 his first published caricatures appeared in the Chelsea F.C. programme.
In November 1976 Griffin sold his first drawing - a pocket cartoon - to the Daily Mail, and subsequently began freelancing for various publications, including Punch, Daily Mirror, Sunday People, Tennis World (from 1977 to 1981), New Civil Engineer (from 1979 to 1985), Observer (from 1981 to 1983), and The Times (from 1982 to 1983). He also taught art part-time at Camberwell School of Art.
In 1983 Griffin joined the Sunday People full time as Political Cartoonist, and in 1985 took over from Keith Waite at the Daily Mirror, which Robert Maxwell had bought the previous year. As a contemporary noted, Griffin now worked "from Sunday through until Thursday each week in a tiny narrow office opposite the Daily Mirror building in Fetter Lane." He began by roughing out the cartoon in pencil, then, after receiving the editor's approval, consulted his photo files before working up the final version in ink. His drawings were large to accommodate the high level of detail. In November 1989 the words "Fuck Maxwell" appeared in the background of a Griffin cartoon, as graffiti on the Berlin Wall, but he resolutely maintained that someone at the Daily Mirror had doctored his finished artwork.
In 1994 Griffin explained that he produced two or three roughs a day, which he showed to the editor of the Daily Mirror before lunch. The editor would then pick one - not always Griffin's favourite. There were occasions when all the roughs were rejected, but this was usually because the editor was running a heavy news story across pages six and seven of the next day's paper, and either wanted a cartoon on that subject or a less light-hearted cartoon. Griffin knew how to avoid rejection on political grounds - "I wouldn't do anything anti-Labour." In 1994 Griffin won the UK Press Gazette/British Press Awards 'Image of the Year' prize for his work on the Daily Mirror.
In December 1995 Griffin was headhunted by the Daily Express, to take over from Rick Brookes as political cartoonist. He began work in January 1996, and concentrated as much on Royalty as on politics, introducing a style that his predecessor Cummings - still working for the Sunday Express - did not like. "His opinion of social comment cartoonists was that we just drew the worst of society," Griffin recalled: "he once affectionately called me a slob cartoonist." In 1998, when Rosie Boycott became editor of the Daily Express, Griffin left to draw the Saturday cartoon for the Sun, replacing Franklin. In 2000 the Cartoon Art Trust voted him "Caricaturist Of The Year".
Influenced by Carl Giles, Mort Drucker and David Levine, Griffin used to draw on cartridge paper but found that a dip pen scratched the surface, so now uses a smooth coated paper (Excelda). He claims that he thrives "on pompous people coming a cropper."
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