CARTOONING
WHAT IS CARTOONING?
A sketch or drawing, usually humorous, as in a newspaper or periodical,
symbolizing, satirizing, or caricaturing some action, subject, or person of popular interest.
Comic strip. Animated cartoon.
WHAT IS CARTOONING DRAWING?
A cartoon (from Italian: cartone and Dutch: karton—words describing strong, heavy
paper or pasteboard a sketch or drawing, usually humorous, as in a newspaper or
periodical, symbolizing, satirizing, or caricaturing some action, subject, or person of
popular interest. Comic strip. Animated cartoon.
WHAT IS CARTOON ART?
A cartoon is a form of two-dimensional illustrated visual art. .... The term originated
in the middle ages and first described a preparatory drawing for a piece of art, such as a
painting, fresco, tapestry, or stained-glass window.
WHY IS IT CALLED CARTOON?
So, cartoon began in Italian as the word for the material on which a drawing is
made, then became the word for the drawing itself. Next it came to mean a comic drawing,
a series of drawings, or animation.
WHAT IS THE MEAN OF CARTOON?
Cartoon. A cartoon makes a brief, funny comment using illustrations and is often
found on television, in a newspaper or in a magazine
A cartoon can be a satirical or
humorous drawing, a series of illustrations (also called a comic strip), or an animated film.
WHY DO CARTOONS HAVE 4 FINGERS?
Animators often give characters four fingers, because they're easier to draw and it
saves a lot of time. Also, four fingers are the magic number. Giving characters five fingers
has an "uncanny valley" effect, meaning the character looks so real, it's creepy.
WHY ARE CARTOONS GOOD FOR US?
Cartoons and their influence. Cartoons are essential part of every childhood. They
are, certainly, the most popular entertainment for children, but also much more than that.
With the help of cartoons kids can learn about the world around us, about new emotions,
life issues and other important things.
ARE CARTOONS CONSIDERED ART?
Cartoons are art and have a specific market, and some artist i think , they like the
challenge of doing something more complicated, like semi realism, realism or
hyperrealism.
DIFFERENT TYPES OF CARTOONS
 Political/editorial cartoons.
 Gag cartoons.
 Comic strips/panels.
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Animated cartoons.
Illustrative cartoons.
WHAT'S THE DIFFERENCE BETWEEN CARTOON AND ANIMATED?
Animation is the process of making a series of frame-by-frame still images, when
played sequentially, produces an animated motion picture. .... The term cartoon is overly
generalized to encompass everything from editorial/satirical cartoons, comic strips,
children's animated programs and feature films.
STEP NO. 1 Line of action of standing position
STEP NO. 2 Identify the proportions of 3 heads
STEP NO. 3 Add basic shapes for body parts
STEP NO. 4 Put rough details of body parts, costume, etc.
STEP NO. 5 Finally trace the rough image
Draw your final drawing with your own images
TONAL VALUE
WHAT IS TONE?
TONE is the lightness or darkness of a colour. When we add to a colour, it is called
a TINT. When we add to a colour, it is called a SHADE.
WHAT DOES TONE DO?
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TONE gives dimension (it can make things look solid)
TONE can give emotion to an image
TONE can show the direction of light in an artwork (by showing shadow)
TONE can give the impression of distance
TONE HAS DIFFERENT VALUES
Value Light and Dark in a Work of Art
Chiaroscuro
 An Italian term that means "light- dark.”
 In art it is characterized by strong contrasts between light and dark.
 It is also a technical term used by artists and art historians for using contrasts of
light to achieve a sense of volume in representing three-dimensional objects.
 Artists who are famed for the use of chiaroscuro include Leonardo da Vinci and
Caravaggio. Mona Lisa (1503-1519) Leonardo da Vinci
THE VALUE SCALE A
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Simple drawing tool that helps you see and draw values by comparison. It ranges
from white to black, with the center value being called “middle gray.” High key =
white to middle gray low key = black to middle gray middle gray
HOW TO USE A VALUE SCALE
 When you are drawing, hold the value scale next to the object, squint your eyes, and,
see what part of the gray scale matches. Then check the value against the drawing
Seated River God, Nymph with an Oar, and Putto - Giambattista Tiepolo In a highkey artwork, the majority of values are in the High Key lighter to middle gray. Dark accents
are used to lead the eye around the important areas of the painting.
Saint Peter in Prison (1631) Rembrandt in a low-key artwork, the majority of values
are darker Low Key then middle gray. Light values are saved as accents to highlight the
important elements in the painting.
CONTRAST
When creating contrast with light, you pair light and dark values.
 Contrast creates interest in a piece and often draws the eye to certain areas.
 High Contrast: Artwork that uses very little middle values, and primarily values from
opposite ends of the value scale.
 Low Contrast: Artwork that primarily uses a wide range of values. Eden Concert
(1866-1867) Georges Seurat
 Christ in the Garden (1603) Caravaggio Tenebrism Using high contrast for a
dramatic effect.
USING VALUE TO REPRESENT A 3-D OBJECT
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There are NO OUTLINES in a value drawing. Use a difference in value to create
edges.
Using an eraser is useful to add light areas to a drawing.
Keep your pencil sharp.
Before you draw, identify the direction of the light source, which will allow you to
correctly place highlights and shadows.
Squint your eyes to help simplify the shapes and values you see.
THE CAST SHADOW
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This is the darkest dark. It is the shadow that is cast by an object on a surface that
it is laying on. The cast shadow is the darkest where the object and surface touch
and will get lighter as it gets farther away from the object.
SHADOW EDGE
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This value is on the opposite side of the light source. It is not the edge of the object.
Mid-Tone - This is what the actual color of the object is, without any effects from
light or shadow.
REFLECTED LIGHT
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This is the light that is seen around an object, usually between the cast shadow
and the shadow edge. It’s the light that is bouncing off of the surfaces around the
object. This value is never bright white.
FULL LIGHT
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This is where the light source hits the object at full strength. It is usually shown by
the white of the paper. All the areas of gray around the full light should be blended
so that there is a smooth, gradual transition between them.
COFFEE PAINTING
HOW TO MAKE COFFEE PAINT
 Use instant coffee and combine with water and boil down until of thick consistency.
Pour into container.
USING IT AS WATER COLOR
 The more water you add to it the lighter the color and the less water the darker you
get.
 You can only get so dark with the first coat of coffee so you have to let it dry where
you want darker areas to be.
 Layer the coffee on the area you want to be darker.
WHAT DO YOU HAVE TO KNOW
 Coffee is not for giving at all on water color paper meaning you can’t erase all the
color out. But if you paint the coffee on a canvas you can completely take the color
off if you make a mistake.
1. Texture
2. Look alike
3. Lights and darks
HOW DO YOU PREPARE THE PAPER BEFORE YOU PAINT?
 There is no preparation required.
WHAT KIND OF COFFEE DO YOU USE? IT DOESN’T MATTER BUT IF IT’S DECAF?
THERE’S A DIFFERENCE IN THE TEXTURE?
 Cheap 99 cent store coffee, or decaf, or regular, but in instant form.
HOW DO YOU DILUTE THE STRENGTH OF THE COFFEE?
 Just like watercolor--add water to dilute and layer for stronger values or use very
heavy mixture.
OIL PASTELS
Technique
 Oil pastels are actually a pretty old type of art material. They have a wide variety
of uses, and can be used in a wide variety of ways.
 On the following slides we’ll look at a few different oil pastel techniques.
A. Stencil Technique
 The pastel is used for the backdrops , it is covered with an ink wash, watercolor or
diluted acrylic. The pastel repels the shade and shows through.
B. Blending
 Technique based on the blending of colours using the finger, stump or mineral
spirits/turpentine/turpenoid.
C. Impasto
 Thick and dense lines that bring out the texture and the intensity of the colour of
the pastel. The paper is quickly saturated.
D. Hatching and Cross-Hatching
 It underlines the relief and enables to obtain special effects of hues, colours and
textures.
E. Parallel Brush Strokes
 Parallel brush strokes with the tip of the pastel.
F. Fragmented Colors
 Slight brush strokes overlap (of various colours).
G. Scratching
 This technique enables to reduce the excess of paint on a surface, to uncover
previous colour layers or the paper background. An engraving point or a painting
knife may be used, or a scratchboard, or an acrylic background covered with pastel
pasting.