Dr. Seuss (Theodor Seuss Geisel, 1904-1991) was a life-long cartoonist: in high school in Springfield, Massachusetts; in college at Dartmouth (Class of 1925); as an adman in New York City before World War II; in his many children's books, beginning with To Think That I Saw it on Mulberry Street (1937). Because of the fame of his children's books (and because we often misunderstand these books) and because his political cartoons have remained largely unknown, we do not think of Dr. Seuss as a political cartoonist. But for two years, 1941-1943, he was the chief editorial cartoonist for the New York newspaper PM (1940-1948), and for that journal he drew over 400 editorial cartoons.
The Dr. Seuss Collection in the Mandeville Special Collections Library at the University of California, San Diego, contains the original drawings and/or newspaper clippings of all of these cartoons. This website makes these cartoons available to all internet users. The cartoons have been scanned from the original newspaper clippings in the UCSD collection.
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Dr. Seuss Goes to War by historian Richard H. Minear (The New Press, 1999) reproduced some two hundred of the PM cartoons. That means that two hundred of the cartoons available here have received no airing or study since their original appearance in PM. The cartoons Dr. Seuss published in other journals are even less known; there is no mention of them in Dr. Seuss Goes to War. Dr. Seuss also drew a set of war bonds "cartoons" which appeared in many newspapers as well as in PM. They are the following:
Ted [Dr. Seuss] was haunted by the war in Europe, and one evening in Manhattan he showed an editorial cartoon he had drawn to his friend Zinny Vanderlip Schoales, the brilliant, hard-drinking intellectual.... She had joined the patrician liberal Ralph Ingersoll when he launched the tabloid newspaper PM in New York with the backing of Marshall Field III. Zinny took Ted's cartoon to Ingersoll and PM published it on January 30, 1941...
Our instinct is to make what we draw balanced and uniform. Balanced, uniform drawings are automatically appealing to us. A perfectly uniform and balanced drawing is often seen as an ideal. They can also be VERY boring and uninteresting.
For example, in the figure above, in point 1, the face favors the bottom half of the head shape and is not perfectly centered. Also even the mouth itself favors one side of the face to another. All the features are also very close together rather than being spaced evenly apart.
Point 6. The spacing of the legs here is something well worth pointing out. They are NOT evenly spaced out. By which I mean I favored the outer part of the body to attach them to rather then where the green arrows are actually located. The reason for this is, again, to add interest
I deliberately designed these head to be far more complex than the cat heads. I wanted to show you how elaborate compound forms can get. It's also a good example of the complexity of a human head and why some cartoon heads are harder to draw than others.
The reason for this is that any details you place on top of your figure needs to follow and reinforce the topography. If it doesn't your drawing runs the danger of looking flat where you want to have solidity.
Still, you really do need to be able to understand your character's topography as well as possible at some level. Like I said before, you don't need to draw it all out, but you do need to know it. It will make your characters look more solid in the long run and it will help you be able to draw them from different angles.
It's much more difficult to draw something simple than something complex. There are great draftsmen and cartoonist that do the detail thing really well. They're usually really good at drawing to begin with.
There IS a place for detail, texture and complexity. Mastering simplicity will help you know when those things can best be used and when they can be left out. It's not what you put in that makes your drawings sophisticated, but what you leave out.
This level of cartooning requires you to have some understanding of human anatomy. It's the reason why the Disney animation studio used to hire people based on portfolios full of figure drawings and NOT full of cartoons.
I'm showing you these more advanced set of examples to help you see how far you can take this compound form concept. Also, if you're having trouble drawing in this style, you now know what kind of knowledge it takes to be able to pull it off.
Start with a very basic lite lay in. This doesn't have to be pretty and it can even be flat and graphic. What you're doing is creating a rough road map or your drawing. You're placing the pieces where you want to take the drawing.
You can eventually take this and make it something tighter. Add a bit more detail. Even make it look finished. The purpose of the first sketch is NOT to have a final drawing. It's meant to give you something to create compound forms from.
Once you have the rough lay in, you then go in and work out the compound forms you will use to solidify the drawing, over your lay in. Ideally you'd do this on a separate piece of paper using a lightbox or tracing paper.
You can then start working out more complex compound forms, like the face. This might take a few tries as well. Again, you may use a separate piece of paper. If you do, it would probably be because you're still not sure what the face would look like and it's easier to change stuff around or just start over if it's on another sheet:
By the time you're done, you should have a solid looking design. When I drew the drawing below, I kinda drew the whole process at once on one sheet of paper. This is why you can see all the extra line work on the drawing. Eventually, you'll be do this as well.
Even if you decide to draw the whole thing in one drawing as I did, you should then take another piece of paper and draw over your character using a lightbox or tracing paper, drawing only it's compound forms. This is to make absolutely sure that you know exactly what they are and how they work.
A: There's two ways. The first way is simply to look up reference. Go online and search images for people or animals that are similar to what you want to draw. If you're going to draw cats, look up cats. If you're going to draw a fat guy, look up fat guys. That's where I tend to begin.
Once you've done that though, that's when you go back and remember your design principles. Start flat. Play around with flat shapes. At first, you don't want to worry about drawing 3D forms, you want to get good design. Simply come up with varying flat shape designs and experiment.
The example below is the many variations of Brush Lee I drew before finally finding a version I liked. Notice there's lot's of versions. I didn't get it right the first time. I had to draw lots of different heads. It's okay not to get it right the first time. In fact, assume it's the norm. Getting it right the first time is actually an exception.
They make really generic and boring looking cartoon characters. Instead, use those kind of guides as things to avoid. If an idealized person is eight heads tall, make your character three or eleven heads tall.
But I did exercise and one of the things I did was twisting and turning before a mirror and trying to fit myself (definitely not a hourglass :-)) into basic shapes. For example, breasts are more like sacks or bags than like spheres.
So the initial sketch goes on one sheet, the compound drawing goes on another sheet, but where would the final drawing go? Should I get another sheet to place over the compound drawing and do the final drawing? Also, your example had the facial features in green overlaying the blue compound. That would all be on the same sheet?
I have had problems in the past with my characters looking flat because I tried to cram a bunch of detail one sheet, so I want to get it right this time.
Thanks again, this is a great resource!
Cartoon Saloon, established in 1999 by Paul Young, Tomm Moore, and Nora Twomey, is a world renowned animation studio with five Academy Award and two Golden Globe nominations and many award wins including BAFTA and Emmy. Located in Kilkenny, Ireland, the studio produces brave and beautiful shorts, feature films, and TV series. Cartoon Saloon is the founder and host of Kilkenny Animated, an annual festival of visual storytelling incorporating exhibitions, talks and performances celebrating the creativity of the animation craft.
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Here is my dilemma. For a while now I have had some ideas kicking around in the back of my mind for a web cartoon. I would like to try to put the idea into reality, but I run into one tiny little problem. I can't draw. At all. I've tried, I took classes - at the end I managed a decent stick figure. It's pathetic.
I know there are websites that will give you access to their image libraries and such to create cartoons with but they also put wording in their terms of service that make anything you create using their service, theirs. Not what I want. The program doesn't have to be point and click simple, I can learn a complex program - just don't make me draw by hand!
If you're trying to create a web comic without drawing, I think the answer is not going to be software, it's going to be some creative idea for making unconventional 'function over form' visuals that work as something that carries the content, without needing to look like conventional classic cartoons. 152ee80cbc
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