Q: Do you do personal commissions? I’d really like to get a caricature done of my wife for a Christmas present. If you do, what does it entail and how much does it cost?

A: Many years ago I stopped doing personal commissions for a number of reasons. First, I didn’t have the time. I am usually swamped with publication work and it’s hard to squeeze in personal commission jobs around the edges. If I were to take them on, it would be at the expense of publication jobs.

The second reason is that I’d have to charge an outrageous fee to do personal commissions. This is because of the previously mentioned reason of having to sacrifice professional jobs in order to get the personal commissions in. I’d have to charge the same sort of rates I’d charge for the publication stuff, and to be honest I’m embarrassed to do that. My average rate for a full-page magazine illustration is about $1200, and a personal commission is comparable to that in time spent. Asking $1200 for a personal commission is, to me, ridiculous. I could name several dozen professional caricaturists who could do just as good a job as I could (or better) for far less than that.

Thirdly, personal commissions are often a real pain in the posterior. Invariably, it’s always a battle with the client over the caricature itself. Usually I am being commissioned to do caricatures of people the client is very close to, often a relative, friend or co-worker. These are people they are in constant contact with and with whom they have the kind of close dynamic I would never be able to duplicate working from a few photos. As a result, there is a often great deal of “this doesn’t quite capture them” or “don’t make them so heavy” that becomes frustrating. I am far from a “mean guy” caricaturist, but I am working cold drawing a person I have never met from a series of sometime lousy photos, trying to capture a person the client knows intimately. The bottom line is I am trying to capture from a bunch or two-dimensional pictures not the way the subject looks but the way the client thinks the subject looks, and that leads to difficulties.

The last real personal commission I had was the one that broke the camel’s back for me. It was probably ten years ago, and I was contacted by a wealthy family from the Hamptons who owned some fancy restaurant in that area, and wanted a family group caricature done for their eatery. After several revisions it became obvious to me these people thought they looked like Bo Derek when they looked a lot more like Bo Diddley. I was even being overly kind to them, and they still demanded some ideal they did not match. I killed the job and have not done another since, with the exception of the occasional one for special occasions, like this one:

I did this as a present for outgoing NCS president Jeff Keane

That said, I am seriously considering changing my policy on this. I might do something like Mort Drucker did when my wife commissioned him to do a caricature of me (something he also rarely, if ever, does). Mort agreed to do a simple pencil rough of me first, and then send it to Anna for approval. If she liked it, he’d do the commission piece as agreed. If she did not, then it would simply end there and he suggested she could look at some MAD originals instead. In other words, no revisions or art direction. That might work for me to do a similar with for an advance on the commission price. If the client likes it, the advance goes toward the final cost and we proceed. If they do not, I keep the advance for my time and they are not obligated further. Might work… I’d be more inclined to consider commission work if I could eliminated the frustration of reason number three above. Something to think about.

Thanks to Bill Johnson for the question. If you have a question you want answered for the mailbag about cartooning, illustration, MAD Magazine, caricature or similar, e-mail me and I’ll try and answer it here!

Q: Knowing that you’re a huge Batman fan, which version of Batman (TV or movie) do you feel came closest to living up to the character and who would be your favorite villain? Also, I know you’ve had some of your work animated, but did animation itself ever appeal to you as a career?

A: Please forgive the self-indulgence of answering a more personal opinion question here. Let’s take the second one first, as it’s the more pertinent professional query. I never considered animation as a career because I don’t have the patience for it. I might have been able to do character design given proper study and application, but it just didn’t interest me much. If anything, I think I’d be best at storyboarding animation as I enjoy graphic storytelling more than anything else. I have gigantic respect for those that do work in animation, as it takes enormous talent and skill to do so. I guess I’ll just continue to be a fan of great animation and enjoy it from the theater chair or my couch.

As to the Batman question, this comic I did for the ISCA magazine Exaggerated Features pretty much say it all:

Click for a closer look…

Click for a closer look…


Click for a closer look…

I did that before seeing Batman Begins or, of course, The Dark Knight Returns. I liked the first film a lot and loved the second. Best of the live action stuff IMHO, but nothing beats the Paul Dini/Bruce Timm version from Batman: The Animated Series. The perfect blend of the peak of human physical potential, mental detective skills, use of great wealth for equipment and advantage, and the vengeance driven psyche without going overboard with the darkness and psychotic angle. Greta stories, great style, great show. To be fair, I never watched The Batman, Batman Beyond or The Brave and the Bold shows.

Favorite bat-villain: it’s not a very original opinion but the Joker is the greatest comic book villain ever created. Ever. Period. End-of-story.

Actually, I do love the old 60′s show and can appreciate a comic take on the character. That cartoon above was done from a traditional comic-book fan’s perspective, which usually accounts for zero sense of humor about their beloved characters.

Thanks to John Nelson for the question. If you have a question you want answered for the mailbag about cartooning, illustration, MAD Magazine, caricature or similar, e-mail me and I’ll try and answer it here!

Q: I was really impressed with your book, and I also appreciated the reasons you gave as to why you decided to self-publish. I am wondering, though, how are you fulfilling your orders? Are you packaging them up yourself, or using some shipping service? What problems have you encountered in shipping your orders?

A: Actually that was one aspect of the self-publishing process I meant to mention but forgot to in that post you cited. It’s another example of how today’s technology enables a self-publisher to operate as efficiently and quickly as an established distributor.

PayPal has it’s faults, but the tools it brings to the seller are amazing, both in receiving payments and shipping. I already had a merchant account, and was able to quickly and easily create a “Buy Now” feature that included a drop-down menu for options, pre-determined shipping costs that dynamically changed with the buyer’s shipping address and a checkout feature. This allows anyone in any country to purchase the book in any currency with either a Paypal account or an accepted credit card. Once purchased, I get an instant email informing me of the order, which I have routed to a special folder in my inbox. When we do a fulfillment session, which is still once a day at this point, either The Lovely Anna (aka “Shipping and Handling”) or I print out these orders as receipts. Then we log in to PayPal.

Once in our PayPal account, each transaction is listed in chronological order and has a “Print Shipping Label” option listed. Clicking on this allows us to prepare and print out a shipping label as well as pay for postage. One label, with address filled in from the order form, included paid postage, that prints on my desktop printer. We got special self-adhesive labels that are the exact size for the PayPal postage shipping label, with a tear-off other half that contains the shipping receipt and tracking info. If it’s an international shipment, we have an extra customs form step, but it is equally quick and convenient.

Then I sign/draw in the books as directed, we place the receipt in the front of the book, put it in a poly sleeve (bought in bulk from a plastics company), stuff it in the envelope (also bought in bulk from a packaging company) with label affixed, seal the envelope and stack them into a box. The best part? NO WAITING AT THE POST OFFICE. I drop them off in the lobby and then head home. Shipping complete.

I would say this process would be impossible or at least ten times more difficult and time consuming without the automated PayPal selling/shipping tools. I’d had to have paid to get a shopping cart and credit card processing system set up online, had to probably hand address each envelope, or at best type each out in a label-maker program, then stood in line with a box full of books each day and painstakingly did each individually at the post office window. There were days at the beginning of shipping where we did 80-100 books a day catching up on pre-orders. That would have taken hours at the post office, and I would have been lynched by other customers in line behind me.

Yes, it does take time and effort to keep up with the process, but the alternative is to give a fulfillment company/distributor 35% or more of the cover price plus pay for storage. Eventually we may go that route, but for now it’s still kind of fun signing books and dropping them off at the post office, and getting emails from people who are happy with their purchase. I did recently sign with a distributor for libraries, though. Follett Library Resources Inc. and Book Wholesalers Inc. will be carrying my book distributing to K-12 libraries and public libraries respectively.

Thanks to Bill White for the question. If you have a question you want answered for the mailbag about cartooning, illustration, MAD Magazine, caricature or similar, e-mail me and I’ll try and answer it here!

Q: Can you share how much time an average project (such as the “workplace posters”) takes you to produce? Does your Cintique make a difference in that timeframe?

A: That’s a question I get often and it’s one that is impossible to answer. Each project is different and factors like multiple revisions, complexity of the image and even just “having a bad drawing day” come into play.

Specifically, I will say one of those workplace posters take me about 1 1/2 to 2 days to do from sketch to final, although complexity of the scene makes a difference. This one:

…took only a long day to do. This one:

…took closer to three days. A page in MAD takes about 2-3 days from rough to final colored art. Splashes about 3-4 days:

Click for a closer look…

Painted illustrations like this one:

…take me a lot longer. I can basically noodle away on these things forever. The one above probably took two days to paint, but I could have spent two more days tightening it up further.

It’s all relative. Some days things just flow off the end of the pencil almost effortlessly, and some days I wear out a whole eraser trying to get one stupid hand right. As for the Cintiq, at first it actually slowed me down as I spent too much time rendering things that ended up printing so small the detail was wasted. Now I have my technique with the Cintiq down, which includes doing most of the rendering/coloring at 50% of zoom, so it does help make things go faster.

Thanks to Nick Nix  for the question. If you have a question you want answered for the mailbag about cartooning, illustration, MAD Magazine, caricature or similar, e-mail me and I’ll try and answer it here!

Q: What advice would you give on preparing and showing a portfolio for obtaining freelance work?

A: This question isn’t really from anybody specifically, but last week when visiting the Savannah College of Art and Design I did a round-table portfolio review for a group of students, and I thought some of the questions and information disseminated there would make for a good Sunday Mailbag post.

First off, let me say that the era of hauling around and showing a physical portfolio to art directors in pursuit of work is all but over. The term “portfolio” used to mean the leather case containing the bound samples of an artist’s work. Now it simply means the work itself, as more and more “portfolios” are websites. That said, much of the advice that used to apply to those physical portfolios still applies to showing your work to art directors, no matter what way this is done.

Here are what I think are some of the most important elements in preparing showing a portfolio in the pursuit of work:

1. Show them what they want to see, and nothing else- In the case of a specially tailored viewing (i.e. sending or showing work directly to an art director or potential client), do a little research and give some thought to what it is they are looking for. It does you little good to show funny animal illustrations to the art director of a sports magazine. That’s not to say you have to show that art director nothing but sports-related art, but try to focus what you do show them to what is relevant for their needs. In the case of a sports magazine, that would obviously be sports illustrations but also anything with action, caricatures, people or maybe crowd scenes. Also, the type of art they seem to lean towards matters. If most of the illustrations they use are on the realistic side, the goofy cartoon stuff would likely not appeal to them.
2. Leave out the sketches and unfinished work- It might be interesting to show other artists parts of your process, or other aspects of your artwork to show how “well rounded” you are, but art directors don’t care about that stuff. Unless part of what they are looking to hire someone for involves conceptual work or life drawing (like animation work, for example), leave that stuff out. They only want to see finished work that they can imagine printed in their publication or incorporated into their project.
3. Don’t overwhelm them with too many pieces- Fifteen to Twenty pieces are enough for them to get a solid idea of your abilities. Too many and it gets too long and arduous for the art director to slog through. Too few and it looks like you haven’t done much work.
4. Include as many published pieces as possible- Also either use an actual tear sheet or printout of the finished layout (type and graphics included). At worst include a label with client name and publication date. Any published pieces are like gold in your portfolio because it demonstrates to the client you have completed a job for a client, met a deadline and did work that met with client approval and was published/used.
5. Start and end the portfolio with your best pieces- This is an old cliche but a good one. You want to start and end strong, as that both gets the art director’s attention at the beginning and leaves them with a (hopefully) memorable piece at the end. The success of a portfolio showing is measured not by how impressed the art director is at the time they see it, but by how long they remember your work as the days (and potential jobs) go by.

The prevalence of virtual portfolios makes some of those points harder to accomplish, but they are still important. It might be easy to put up every single piece of art you have ever done in your website portfolio, but that is not wise. You can and should have more pieces up than twenty, but many dozen are too much. I keep my online portfolio limited to 45 pieces, which is plenty of pieces but still manageable to go through… especially using the scrolling thumbnail feature I have incorporated into my website design.

I always thought it would be a great feature on someone’s website to allow for a private portfolio section, where an artist can send an email link to an art director and invite them to look at a specially tailored selection of pieces just for them. That might be too much work to do very often, but it would allow an artist to put together a perfect amount of well-selected pieces to show.

Thanks to Nobody in Particular, MN  for the question. If you have a question you want answered for the mailbag about cartooning, illustration, MAD Magazine, caricature or similar, e-mail me and I’ll try and answer it here!

Q: You must have accumulated a ton of digital artwork since you’ve been working as a professional illustrator. How do you go about saving, backing up and archiving your files so that you never lose them?

A: That’s one of the things that sucks about digital artwork—you are one electrical surge away from losing it all unless you are careful to back things up.

I tried several methods to make sure I properly backed up all my work. First, I would pick up my computer, open the drive bay door and attempt to shake out all the 0′s and 1′s that made up the binary code of my art files, scoop them up and keep them in empty coffee cans in my basement. This did not work well because all those 0′s and 1′s got all over the place and I was sure I’d lose some and when I poured them back in later to reconstitute my image, Harry Plodder’s nose would be missing or something. Worse, those 0′s and 1′s were apparently so small I couldn’t even see them, and I was afraid no matter how hard I shook the computer some would be stuck in there. So, I abandoned that idea.

Next, I thought I’d print the binary data out on paper, put them in folders and file them away. That way, although I’d have to retype it all should my original files get lost (no big deal, how long could that take?), they’d be safe for posterity. This idea I also abandoned when my first attempt to print the binary code of a MAD page went through an entire ream of paper before my printer started smoking and I pulled the plug.

Finally, I decided to everything up on DVDs. This is also not the best method, as DVDs apparently deteriorate or at least as technology becomes more advances and formats change, early DVDs become harder to read. My newer Macs don’t like my very oldest DVDs anymore. I had to use a friend’s computer to read these files and transfer them to a thumb drive to store elsewhere.

These days I have a double redundant backup plan. I have two external hard drives hooked to my studio computer. One is used as a Mac OS X “Time Machine” drive, which in general backs up all my files. The other drive uses a program called SuperDuper that backs up just my documents and art files daily. That was all three drives would need to fail at once to lose anything.

Eventually I might turn to cloud storage for another alternative. These files are big and it would take a long time to back this up on Dropbox or similar, but having an offsite storage plan would even guard against fire or some other localized natural disaster

Bottom line- BACK UP YOUR FILES. Disaster will strike, eventually.

Thanks to Matthew Cox for the question. If you have a question you want answered for the mailbag about cartooning, illustration, MAD Magazine, caricature or similar, e-mail me and I’ll try and answer it here!

Q: I know you do a lot of different kinds of humorous illustration, but you are primarily known for doing caricatures. What first got you interested in drawing caricatures? Was it something you started doing as a kid, or did you discover it later?

A: I started typing out an answer to this one, then realized that the following excerpt from the preface of my book said it better, and I’d already written it!…

From The Mad Art of Caricature!:

When I was a young man, drawing caricatures for a living never struck me as something I was interested in doing. I never opened a magazine and saw a great caricature of some celebrity and realized in a forehead-slapping moment of epiphany, that’s what I want to do! In fact, I wasn’t even aware caricature was an art form. The whole thing kind of snuck up on me, and the people to blame are Mr. Chilson and the Fasen Brothers.

Mr. Chilson was my seventh-grade art teacher at Longfellow Middle School in La Crosse, Wisconsin, in 1979. The school was so small that we had our art classes in the same room they held the shop classes, sitting on barstools at tall worktables, while another grade’s art class was going on at the same time on the other side of the large workshop. One day Mr. Chilson started a lesson on caricature. I was sitting in the back, not paying attention, as usual, and drawing in my notebook. While Mr. Chilson was explaining what a caricature was, I was drawing one of the other teacher, who was only a few dozen feet away from me . . . except I didn’t know it was a caricature. To me, it was just my drawing of the other teacher.

“RICHMOND!” Mr. Chilson yelled in my ear. “You are in THIS class, not THAT one!” He was standing next to me. One of the drawbacks of being absorbed in a drawing at the expense of paying attention in class was that I never heard the teacher coming. That resulted in many startling yells in my ear. He snatched away the notebook, glanced at it, glared at me, and then instructed me loudly in front of everybody to see him after class as he returned to the front of the room with my confiscated notebook in hand. Resigned to getting detention at the least, I meekly hung back and watched my schoolmates shuffle out following the bell.

Instead of giving me detention, Mr. Chilson sent me around the school over the next several days to draw about two dozen of the teachers, and then he displayed my work in the glass case at the top of the stairs right in front of the art/shop room.  I guess he liked my drawing of the other art teacher—or maybe he hated the guy and sent me around to draw all the other teachers he disliked so they could be ridiculed publicly and I’d be to blame. I was never sure. Regardless, that was my first exposure to the art of caricature, as well as my first understanding of what caricature was.

I then promptly forgot all about caricature for about six years.

In 1985, I was at the University of Minnesota in Minneapolis, attempting to study commercial art. It had been a year or so, and I’d had only one art class as they were impossible to get into as an underclassman, and the one I was “lucky” enough to get into was a complete waste of time. “Alternative Sculpture” was one of those art classes that was 99% pretension and 1% actual, useful art instruction. I was skipping it one day, hanging about the commons area, when I spied a flyer on the wall asking “Can You Draw?” It ended up being an ad seeking caricature artists to draw at the local amusement park for a company called Fasen Arts. I suddenly recalled Mr. Chilson and my seventh-grade show and thought this would make a great summer job. I secured an interview and dragged an overflowing folder of drawings I’d done from some magazine photos with me to meet with Steve Fasen, an accomplished caricaturist and the owner of Fasen Arts.

I didn’t get the job.

Some weeks later Steve called and offered me a spot at a different theme park near Chicago, about 450 miles southeast. I was later told this opportunity opened up only because someone else had backed out, but that hardly would have mattered to me at the time—nor does it matter in hindsight. I packed up my things and moved to Waukegan, Illinios, where I spent the summer drawing caricatures with a group of very talented artists headed by Steve’s brother Gary, a brilliant caricaturist and illustrator. There I learned a great deal about drawing and cartooning, discovered the realities of making a living as an artist, renewed my appreciation for a certain magazine that would later become an important part of my life, and, most importantly, fell in love with the art of caricature completely and for good.

That pretty much sums it up, except to add that I continued to draw caricatures all through grade and high school, although I wasn’t really conscious what I was doing was “caricature’. I was just drawing funny pictures of my friends and teachers. I did a series of comic stories casting myself and my high school friends as infants but imbuing them with our current personality traits and faults. Those were caricatures, in a way. Lord knows I got in trouble a few times for drawing my teachers in less-than-complimentary ways. Still, I was pretty dense and never put the term “caricature” and what I was doing together until that job at Six Flags.

Thanks to Rich Griffin for the question. If you have a question you want answered for the mailbag about cartooning, illustration, MAD Magazine, caricature or similar, e-mail me and I’ll try and answer it here!

Q. You may have covered this already but when drawing clothes, do you look for real examples in perhaps magazines to see how a material would crease in certain positions. Or do you just imagine in your head how it would look? So basically my question is, Tom, how do you draw clothing so well!?

A: I’m not sure I would agree that I draw clothes all that well, but thanks for the kind words. I do think I have improved quite a bit in the last few years on how I draw clothes, particularly simplifying the folds and such so they don’t look overwrought and too “wrinkly”. I was guilty of that early on in my career, and have learned over the years that less-is-more, and that if the folds and wrinkles you draw describe what is going on well, you don’t need that many of them. To answer one of your specific questions, I mostly just imagine these things in my head when I draw them, as I do not have the time or need to get references for every position of every figure.

With regard to drawing clothes, I would first cite a piece of advice I received from longtime MAD artist and current art director Sam Viviano. Sam told me he often will sketch out a figure as if they were nude first, then draw the clothes over the figure. In this way he both avoided the tendency to miss the accurate drawing of the figure beneath because he would be so busy thinking about the dynamics of the clothing, and made sure the figure looked like they were really wearing the clothes rather than them being painted on (see most superhero comics). I do this sometimes, and it really does help when you are struggling with a figure.

Drawing clothes is like drawing anything, you need to make good observations and understand the basics of what you are drawing to do it convincingly. This is especially true in cartooning, where simplification demands an understanding not only how something works, but what the most important basics elements are. Things like seams, buttons, cuffs, collars… knowing how they basically work and developing a repertoire of how to draw them is essential. There are not that many different kinds of clothing… pants are pants with only superficial changes in look and design. Knowing how pants are generally constructed means you can draw any type of pants by just observing the details. Certain types of pants, like jeans, are almost universal in their sameness. Men’s suit jackets are almost all the same, and follow the same tendencies with movement. Ditto shirts, skirts, etc.

That said, when people ask about drawing clothes, mostly they are asking (as you have) about how to draw folds and wrinkles so they look convincing. That really isn’t all that complex when you think about it. Clothing tends to wrinkle, crease and fold the same way with the same actions, positions and movements, with only the type of cloth making a difference. A thicker and coarser cloth, like a wool sweater, will wrinkle and fold in a bigger and less complex manner than thinner cloth like silk, for example. The dynamics of the folds and wrinkles are the same, however. Learning the basics of how clothing wrinkles and folds will get you through 90% of all the drawings of clothing you do.

The more you have movement from a “neutral” position (i.e. the way clothes would hang from a hanger) the more wrinkles and folds are evident:

Understanding the dynamics of where cloth is pulled and where it gathers helps to figure out where the stresses and folds happen. Folds and creases always emanate from a stress point, usually a joint like the elbow, knee, shoulder, crotch, etc. In a bent elbow area, for example, the outer part of the elbow is “pulled”, and therefore stretched with little or no creases/wrinkles. However in the crook of the elbow, the cloth gathers and is compressed together, creating folds:

Even in a neutral position, the weight and clingy nature of clothes will cause some creases and folds:

There are lots of different kinds of folds that you see all the time. Here are a few to look for:

You are (usually) wearing the perfect reference for learning to draw folds… your own clothes. Take a look at how the cloth gathers across your chest, how your lower pants legs gather past the knee as they go down to the cuff at your ankles, what happens when you sit down with the folds at your knees and waist… observation and experimentation with drawing will build that repertoire of folds and how to draw them.

Finally, I’d recommend the following resources for learning how to draw clothes:

Drawing the Head and Figure by Jack Hamm- If you do not own this book, you are missing one of the essential learning tools for drawing of the past century. IMO it’s the best overall book on drawing the human figure ever published based on its simplicity, conciseness, ease of understanding and richness of content. There are many more comprehensive books on various specifics out there, but this one is a must have even if it is dated-looking. Short but brilliant chapter on drawing folds in clothes, especially useful on learning how men’s suits are drawn.

Dynamic Wrinkles and Drapery by Burne Hogarth- It is not often I recommend a Hogarth book, because I am no Hogarth fan. I think most of his books are overly complex, with impossible and convoluted figures in positions that defy physics, and ridiculously over-drawn and over-rendered illustrations. This one, however, is shorter and less pretentious than most, and breaks down the types of wrinkles into fairly easy-to-understand categories… just imagine his illustrations with about 1/10 of the wrinkles he overdraws on them and you will get the idea.

I’m sure there are others, but these are the two on my bookshelf.

Thanks to Rob Rollason for the question. If you have a question you want answered for the mailbag about cartooning, illustration, MAD Magazine, caricature or similar, e-mail me and I’ll try and answer it here!

Q: I wanted to ask you a question about your Photoshop coloring technique: how do you avoid getting ‘spotting’ in Photoshop when you’re using washes? I’m referring to the crossover area between one wash and another: where they intersect there’s an area of brush-shaped darker color caused by laying down a wash with less-than-100% opacity and crossing over it with another wash of less-than-100% opacity. How do you avoid that? Your finished pieces never have that artifacting, which probably has a better term than “spotting.” The video tutorial, while fantastic on its own, does not have the resolution to show something that detailed. So I thought I’d take a shot in the dark and ask! I’ve found all the Mad artists I’ve contacted have been more than receptive to my questions (I had a 6 month or so running conversation about crowd scenes with Tom Bunk a few years ago). It seems like you like to answer fans’ questions too, especially something like this where other people may find it helpful too.

A: I don’t avoid it, I embrace it.

If I understand what you are asking about, that transparency effect is part of the overall effect of making the digitally colored artwork look little real media. Actual watercolor washes do the same thing IF the layer you are washing over is dry.

This study is done is done in real watercolor:

Noe here’s a close-up of a section of the image. You can see that each wash has that darkening of values and mixing of color as one is placed over the other:

Granted, this is not the best example because this is a loose study and not a finished piece, but you get the idea. It’s not something to avoid, it’s a part of the technique and something you have to make work for you.

Here’s a digital colored piece to demonstrate the Photoshop version of the effect:

Here’s a closeup so you can see the wash effects:

It’s smoother than the rough watercolor study, but you can see the same dynamic with the washes overlapping each other creating variations in value and color. The line work holds it together as well.

The basic technique digitally is the same as it is with real watercolor—you build form by building values through washes. All your washes have “holes” in them where you want the lightest values to be. That’s the white of the paper coming through. The next layer of washes has “holes” in different places, creating different values of highlights. When you work digitally, you have the added advantage of being able to completely erase or paint 100% opaque white back over the washes to create lighter values later, whereas with real media painting with white or lighter colors over your washes takes away some of the tranluscent qualities of the color and creates  “chalky” feel to it.

One more point, the process of printing really has an impact on the harshness of some of the edges of these values. What looks stark and blotchy on the screen melts together somewhat in print, giving you a softer and more blended look.

Thanks to Anthony DeLellis for the question. If you have a question you want answered for the mailbag about cartooning, illustration, MAD Magazine, caricature or similar, e-mail me and I’ll try and answer it here!

Q: Hey Tom! I sometimes find myself drawing fairly complex settings for many of my cartoon layouts and more often than I would like to admit I frequently end up illustrating things -especially oval related objects- using Photoshop tools. Earlier this year you posted an illustration of some folks washing dishes with stacks of plates all around the sink area. Do you use tools like the “Elliptical  Marquee Tool” to help you achieve some of your artwork or is everything done freehand?

A: Here is the illustration he’s talking about:

Click for a closer look…

While I am all for using the computer to make doing things faster and easier, I won’t do anything to interfere with the cohesive feel of the piece. In other words, if doing something on the computer will make it look out of place in the illustration, I won’t do it that way.

In this illustration, I had to draw several stacks of plates and platters of different sizes all about. The figures and the rest of the illustration were hand-drawn and inked, then scanned and the color done in Photoshop. It would have been easier to leave the dishes out of the inked drawing and use the ellipse tool in Photoshop to create them digitally. Then the dishes would have been perfect ellipses, easy to do and gone much faster. The problem with that is they would have been “perfect ellipses”, with uniform and perfect contours. That would have looked very out-of-place with all the lines and forms inked by hand. They would have looked “digital”, something I try to avoid.

I did use a trick in this illustration to simplify the stacks of dishes. Using an ellipse template (the old-fashioned plastic kind for drawing ellipses of different sizes) I drew just the top plate of each stack in pencil (no food or scraps on it, just the plate) and then inked it with the rest of the drawing. Then after I scanned in the drawing and separated the lines onto their own layer, I selected each top plate line drawing and cut/pasted each to their own layer. Then I created a new layer under each plate and colored it, then merged each with the lines above so I had a single full color plate on a separate layer at the top of each stack. After that it was a simple matter to copy the layers multiple times to create the stacks. I was able to make them “lean” and be somewhat uneven. I would maybe turn one of the layers slightly to break up the monotony. Then I added drips and scraps here and there.

The results are convincing as being totally hand-drawn and in keeping with the rest of the illustration because the lines defining each plate ARE hand-drawn. Using the ellipse template for the pencil drawing keeps the shapes accurate but hand-inking it gives it the right look, imperfections and all. In the same spirit, I hand-ink all the straight lines in the cabinets, flooring and tiles for the same reason… a cohesive, hand-drawn look.

Thanks to Nick Nix of Cicero, ID for the question. If you have a question you want answered for the mailbag about cartooning, illustration, MAD Magazine, caricature or similar, e-mail me and I’ll try and answer it here!