Creating a Professional Caricature Commission
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| Author | Michael White |
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| Genre | How-To |
| Published | EF Issue 2015.1 |
Publication date | Winter 2015 |
| Pages | 21-24 |
| Website |
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A step-by-step demo on how to draw a multi-person commission by Michael White, Winter 2015, pages 21-24.
Article Transcript
When it comes to caricature commissions, there’s a lot that goes on between first contact and getting paid. Usually it all begins with a phone call or an email. The client asks “Do you do that sort of thing?” I reply “of course I do.” Deadlines and budget are next to be agreed upon. Both can vary. Before settling on either, I ask “how much do you want to spend?” From their reply I can gauge if it’s the kind of job I want to do or pass on. Some potential client’s concept of what they want and what it should be worth are disproportionately out of line with each other and you may have to educate them gently. However, in most cases, I find that when you let the client set the budget at first contact, they usually offer a greater amount than expected. I’m always sure to remind them that my work is guaranteed. Meaning I will do anything it takes to make sure they are happy. For instance, I let them know that they will see and direct each stage of the production so that in the end they get exactly what they wanted. This always makes a client happy. I always tell the client, “I’m not going to sell you something you don’t want to buy.” If you are confident, they will be confident in hiring you. In this case, Shawn contacted me to paint him and six of his best buddies commemorating his bachelor party in the Florida Keys. He wanted me to create one, make copies and give them all a framed caricature at his wedding. So for an 11”x 14” full-color caricature of seven guys, a boat, some Florida lobsters a touch of type and a two-week deadline, we agreed on a price. I asked and he supplied me digital photos and some Facebook contacts to use as reference. He also did a little stick figure sketch for me with notes on it showing me basically what he was thinking. If a composition is complicated and the client already has a vision, I ask them to do a quick, simple stick figure drawing to help get me on the same track. This really helps a lot. He was able to make composition notes and give me some back story on body situations. For instance, one guy got badly sunburned the first day while another was sick the whole time and another was always making everybody drink rum shots.
Step A
So here’s how the magic happens. As always, I begin the drawing light and loose, full size on the final paper surface. I like to use 3 Ply Vellum Bristol or Cold Press Illustration Board. High Quality thick paper looks and feels more professional. In this commission I used a #2B Graphite Pencil on 3ply Vellum Bristol with the aid of a kneaded eraser for cleaning up the sketch. I make sure to show the client this really rough layout first. This is mostly for size and composition only. I don’t want to waste time doing a lot of intense detail drawing only to find out I need to change the composition by adding, subtracting or moving something. These days, I use my smart phone to photograph the work and zap it over to the client.
Step B
If the client is happy with the rough sketch, I create a cleaned up line drawing like this one. I try not to draw too heavily but I want it too look well thought out. Ultimately the drawing has to catch the likeness, be well composed, neat and clean, and easy to adjust if needed. That ‘s what you want to show to the client at this stage. Shawn loved it and I moved on to the next step.
Step C
Using very versatile water-soluble Windsor Newton Designers Gouache paint to block in the skin tones. Goauche can be used like watercolors, or with less water it lays down nice and solid, more like acrylics. I do both, depending on what I’m painting. Lucky for me, Windsor Newton has a premixed tube color called Flesh Tint that is just about perfect for all of my subjects in this piece. When it comes to painting a caricature, I love to start with the ¼" or ½" Angular Flat Loew-Cornell Nylon Brush. I use this for blocking in big areas. I always start the painting by covering all the faces, bodies and exposed skin with a corresponding flesh tone. I put it down like this...
Step D
In my opinion, it’s essential to establish some strong line quality in a caricature. For details and line work as presented in Images D and E. I love my #2 Windsor Newton Series 7 Red Sable Brush. It’s been the favorite of many a comic book artist for over 60 years. It gives the most amazing flexed line with both paint and ink, but unfortunately it’s getting harder to find because of issues with Red Sable availability. In a pinch, Escada Brushes are pretty good. I find, however, that with a steady hand and some practice, you can use most any #1, #2 and #3 Round Nylon brush to great effect. Finding the perfect brushes is just a matter of trying a lot of things until you find your favorites. Other comic book artists taught me to handle a brush for inking by locking my wrist and controlling my stroke, lifting up for thin lines and down for heavy lines. Now, no matter what I’m painting or painting with, I take that notion into the work.
Step E
One of my last steps in a commission is adding the darkest blacks. I prefer ink for that chore. Specifically Higgins Black Magic Ink. I use it for the blackest black areas like the pupils in eyes. It’s also good for nostrils, black hair, clothing or just a strong holding line where needed. For some elements, I use a brush; for others I use pens. Micron Ink Pens are great for dead weight lines, the kind you might want to get with a straight edge, triangle or French curve to embellish mechanical or man-made things. For instance, thin things like string, fishing line, scales, smoke or lettering. Get ready for a shocker: Even a nice, sharp, dark pencil works for some of these final linear solutions. Sharpie Markers and Prismacolor Pencils also offer some options to adding the last gentle touch-ups and tweaks to a caricature masterpiece. Can you tell what specific materials I used to finalize?
Step F
Finishing the commission is a necessity for meeting deadlines and getting paid. Once you think you are done, shoot it over to the client. My client Shawn loved it and I didn’t have to do too much else, but there were a few obligations to fulfill. I had to scan it and doctor up the scan to reflect the true color and quality of the original. I then burned the now digital Photoshop file to a disc and took it to my favorite printers. They in turn printed out a sample copy for me to approve. Once I gave the word, they printed out nine copies for me. I always have a few extra made for my portfolio and files. It’s good to have a favorite copy shop. They did all this while I waited, and I even used their large-scale paper cutter to cut the prints down to fit the frames I bought for the client. I ran home and popped the prints into the ready-made frames I purchased at Walmart.
My deadline had arrived. When it came
time to get paid, I carefully packed up the
7 individually framed caricatures in my car
and met Shawn halfway between his place
and mine. The plan was that he was going to
reimburse me for the frames and I was going
to charge him the agreed amount for the
art and labor. That didn’t happen. What happened
was better. He was so thrilled with the
work and my customer relation skills that
he ended up paying me an extra $150. Later,
over the weekend, he texted me to tell
me how much the guys really, really loved
the caricature. That made me feel so good
that I asked him to send me pictures of his
wedding so that I could do a free party-style
caricature of him and his new wife. I’m sure
this is not the last I’ll see or hear from Shawn
and his friends. You all know this but I’ll just
put it in words, when you give, you always
get back, and isn’t that the beauty of being a
caricaturist? I think so.
Check out more of Michael’s work on his
Instagram, Facebook pages and also on his
YouTube channel.
Information on all can be found on his website
at www.michaelwhiteart.biz.
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