Digitized by the Internet Archive in 2016 https://archive.org/details/cartoonscaricatuOOzimm OP Making the Vopld Lauiih bu 0 High Court Jester to His Majesty the King of Laughter Printed and Published by Correspondence Institute of America Scranton, Pa. igio CARTOONS AND CARICATURES; “Be Jabers!” The ripened fruit of nearly thirty years with pen, crayon and brush, worked into a book by Eugene Zimmerman, and copyrighted by him in the archives of Washington, D. C., March, nineteen hundred and ten. “It is to Laugh!” OR, MAKING THE WORLD LAUGH -4r 'N- I j t “Just a drop of ink A makes millions think” Aye, ’Tis so, and in this 1910 edition of my book on Caricature you can get for five plunks (in real Money) the fruits of over twenty . years hard work which has brought me much fame, SOME money and an earnest desire for rest. In publishing my book The Corre- ll spondence Institute of America is doing a noble work for young , aspiring artists. Yours fraternally. 4 CARTOONS AND CARICATURES; Written — by fits and starts — just when I felt like it, and often when I did not — expressly for the young student bent in the direction of Comic Art and Caricature, and incidentally for the coin consideration or compen- sation, which a book as funny and helpful as this ought to bring. Like the works of Shakespeare, Robinson Crusoe, Burns, Byron and other men who have written some good stuff — this book is only interesting to those who are inter- ested in it — so we’ll cut the tail as short as possible. OR, MAKING THE WORLD LAUGH THE AUTHOR. In Caricaturing you will note your own face gradually reflects the leading feature of the person you are sketching. 6 CARTOONS AND CARICATURES; { Married or Single Business Lying Early Experiences 42, This Book is Like Pump- kin Pie 41. Aches and Pains vs. Humor 40. Drawing Faces with the Aid of a Mirror 39. Cost of Line Cuts 38. The Correspondence Schools 37. Wrinkles 36. Shoes that Denote Char- acter 35. Spatter Effects 34. Use of Scratch Board 33. The Country Post Office 32. Safest Way to Ship Drawings 31. Gestures. Drawing Ex- pressive Hands 30. Submitting Jokes in the Rough 29. A Pew Words Along Straight Lines f Bohemian Booze At- 28. I mosphere ^ Reversing a Photograph 27. Midnight Aspirations 26. Gain Friends 25. Bible Subjects and Cari- catures. Captions 24. Water Color Sketch 23. Safe Transmission of Drawings 22. Wash Drawings 21. Humor and Animal Com- posites, and Outline of the Process of Half- tone Engraving 20. Attention to Character- istics 19. How we get Ideas 18. Spontaneity. 17. Be' Modest The Life of a Carica- ■ turist and the Tools ^ he Uses 14. A Heart-to-Heart Talk 13. Practical Knowledge f Introduction. Keyed half ^^1 in fun and half in a ^ serious vein ■ John Maxwell, Editor “The Home Educa- ^ ■ tor,” praises me while g I am living. Few' at- tain such fame and live 7. More Index 6. Index 5. My “Phiz” as it is to-day 4. How I Wrote This Book 3. An Interjection! 2. Copyright Notice I. Title Page You never saw one just, like it OR, MAKING THE WORLD LAUGH 7 96. I say Good-bye, AND 70. The Joys of Bohemia THANK YOU 69. A Man’s Own Castle 95. Odd Remarks by an Odd 68. The Hobo Brand. Two Fellow Important Don’ts 94. The First Great AYork of 67. An Illustrated Joke my Life 66. The Affinity 93, The Man of the Hour 65- Acrobatic Drawing 92. Three Commandments 64. DravAngs Based upon 91. This is a Contrary World Puns 90. Free-lancing 63- Proper Balance, and Re^ 89. / Enos. Hunter, Fisher duction of Drawings 88. \ Guide and Philosopher 62. Hints on Practice 87. One-sided Humor 61. Don’t Waste your Genius 86. The Ear and its Relation 60. Companion Pictures to the Face. Regard- 59 - Character Sketch ing Blacks and Whites 58. Don’t Be Too Nervy > Pencil and Pen Sketches 57 - Blacks and Whites 84. J 56. The Prolific Man 83. Nast, the Founder of 55. Drawing a Sketch on American Caricature Common Packing 82. Lithography Board 81. Gessford takes my Latest 54. Nearly a Soljer Photograph 53 - Good Advice 80. History, Biography, 52. Ideas in the Rough Facts and Fibs 51- Comic Sketch 79. Political Cartooning 50 - Sketch on Charcoal 78. The Pirate Board 77. Two Subjects in Pen and 49 - - Drawing up an Idea Ink 48. The Artist and the Art 76. Where Nature Exceeds Editor Art 47 - Sample of Finished Pen 75. r Being your own Press Sketch 74 - 1 Agent 46. What’s in a Name 73. Wash Drawings 45. The Caricaturist as a 72. Right and Wrong Inte- Hero riors 44. Study the Comic Jour- 71. A Few Pointers nals 8 CARTOONS AND CARICATURES; EUGENE ZIMMERMAN CARTOONIST Known the World Over as “Zim” An Appreciation by John Maxwell, Editor “The Home Educator” >■5 O know Eugene Zim- merman is to love him; to study his work is a liberal education in the power of a few strokes of the pen to create laughter and at the same time hold ' J the respect of all interested. “Zim” has had nearly thirty years in Caricaturing and Cartooning — a longer actual art career than any other living Cartoonist. He takes his work as his Life’s work — ^to do things well he says is a serious thing — a duty we owe to ourselves and our friends, the public. Yet “Zim” as a man is bubbling over with humor. He’s a jolly character — a man among men — King of Cartoonists and Prince of Caricaturists. He, among our great artists of to-day, is credited with having the greatest amount of humor; is well known in all circles of Bohemia and Art — yet, loves the hours best that he spends in Che- mung county, New York. When I first approached him regarding his new book, “Cartoons and Caricatures, or, Making the World Laugh,” I. found him, the Artist in his Studio on Fifth avenue. New York. Later when I was commissioned to get “Zim” to thoroughly revise the Art Course of the Correspondence Institute of America, I found him a man of leisure amid the thousand and one artistic creations of his retreat in upper New York State. In both cases he took life easy, for he feels he deserves to do so and the one great charm about him is his cheery optimism. “Laugh and the world laughs with you.” seems to be his motto, and yet he has had his ups and downs. He is forty years young — as genial as a school-boy, happy as a man always is who loves his work — ^fatherly in his advice — brotherly in his big-hearted friendship for those who admire him — and he has thousands of admirers. Just the kind of a comrade to warm up to — a true artist and a good citizen. When you take into consideration the reputation artists as a rule enjoy for being erratic, it means a lot when I say Eugene Zimmerman has always been a leading cartoonist in political campaigns for the past thirty years and has never been defiled by taint of party politics or plunder and the wealth he enjoys has been the legitimate proceeds of his art. He is a Swiss, having been born in Basle, May 25th, 1862, and two years later, upon the death of his mother, he was sent to live with an aunt in Alsace until the outbreak of the Franco-Prussian war in 1870. The din of war and the clash of strife sunk deep into his youthful nature and he loves to dash sketches of what he thinks they ought to have OR, MAKING THE WORLD LAUGH 9 let him do to cool his martial ardor. (These and nearly one hundred of his sketches appear in the Art Course of the C. I. of A.) The war had just started when they shipped “Zim” in care of a friend to join his father, a baker in Pater- son, N. J. He attended the public schools of that city and received much chastising for drawing pictures on his slate, on the blackboards and in his school books. He asserts his work was not popular with his teachers. He drifted into this and that, and his life story reads like a dime novel, only truth in this case is stranger than fiction. Between the years of 15 and 22, “Zim” tells me he was a star actor on Life’s Stage and played many parts — tragic and other- wise: He was a farmer’s chore boy, assistant peddler of fish, a baker, attended bar, a sign writer, a painter upon fences, and a whitewasher of fences, a worker in a silk mill, odd man on a farm ; with brief intervals between each engagement and his resignation was accepted at all times, for he believed he was cut out for but one career— that of a newspaper artist. His mind was on one subject and in cultivating his artistic talent he undoubtedly neglected at times the duties he was supposed to attend to. He says he endured many hardships but he never despaired of being some day a cartoonist. He reall}^ broke into art by becom- ing a sign painter in New York City. “Zim” admits his signs attracted attention. “They were funny,” is the way he summed them up, and judging them by his sketches I quite believe they were. While working on signs, some of his wprk came to the attention of the proprietors of “Puck,” and he joined them in 1884, when he was but 22 years of age. He served out his three years’ contract and joined “Judge,” and he has been for the past 23 years the great caricaturist of the well-known and world-read publication. His humor is delicate and refined. What Eugene Field was to the poetical world, Eugene Zimmerman is to the world of cari- cature and humor. Some people laugh with their face — others with their whole body — ^ “Zim’s” pictures make you laugh all over. He admits from the depth of his wisdom that seventy per cent of those we meet talk with their hands — and “Zim” draws hands and feet — gestures and facial expressions — ^wrinkles and curves — a dash here and a dot there, as no other car- toonist ever did, and I am pleased to say he has incorporated in the thirty revised lessons of the Art Course of the Correspondence Insti- tute of America, some of his sketches specially drawn as aids to the younq- student in Illustrating, Designing and Cartooning. “Zim” stands without a rival in his field; no cartoonist can show so much with so few dashes of a pen; he seems niggardly with his lines, yet he is most prodigal in the humor he serves up to us. There are many cartoonists and comic artists — many good men with their heart in their work; men I have had the ijleasure of meeting during the past fifteen years — men who are real creators — artists who have established the serial drawings, appearing in all the Sunday editions of our metropolitan papers — that create laughter, inter- est and humor. But who among the vast army of - lO CARTOONS AND CARICATURES; comic artists and cartoonists can in any measure equal “Zim?” Who besides “Zim” can draw a real hand, a real foot, or a smile upon the face and still make it funny? There are none! “Zim” is in a world by himself, surrounded by a million admirers, who eagerly await each week the welcomed copy of “Judge,” wherein appear “Zim’s” refreshing and refined fountains of mirth, happiness and laughter, at the waters of which we may drink abundantly and drive away the cares of a weary brain, and renew the sunshine of happiness. “Zim’s” drawings have a literary finish, an artistic appreciation, and to these he always adds a sprinkling of refined and delicate humor. We as an American people, lovers of refined, delicious humor and funny drawings, must all humbly bow at the shrine of Eugene Zimmerman, who has no equal, therefore no superior in the broad field of his fine humor and comedy sketching. If Byron were living, I believe he would repeat these words in due rever- ence to “Zim; ” “Dreams in their development have breath. And tears and tortures, and the touch of joy.” Eugene Zimmerman is a great man, a great thinker, a great creator and master of originality; the one man who compels millions to latigh. As I have said before, to see him would be to love him — love him because of his genial and sunny disposition; the shake of his hand is a true symbol of loyalty and good, true fellowship. To be in his presence is to be in the atmosphere of happiness, where care is unknown and trouble a stranger. He loves his work; he loves to make othere happy, and the latch string of his heart always hangs ou'^to those who need help, cheer and consolation. May the good fellowship of love always be his, and may he ever be prosperous and happy in this hard world of strife and trouble. As a parting toast in behalf of all those who admire him, who enjoy his soft flow of delicious humor and his funny sketches, I cannot do better than to quote Eugene Field, and apply to “Zim” a toast from us all: “Here’s to you, ‘Zim,’ May you live one thousand years To sort’er keep things lively. In this vale of human tears. And here’s that we may live One thousand years, too. Did I say a ‘thousand years? ’ No, a thousand less a day; For I shvould hate to live on earth. And learn that you had passed away.” OR, MAKING THE WORLD LAUGH n INTRODUCTION F ame brings its glories and its trials. I constantly receive letters asking for “straight tips” how to win out in the Pic- torial field. My spirit is willing, but the flesh is weak; I cannot attempt to answer the thousa*nd and one questions put to me by k indly correspondents, so I do the next best thing. I give you in these pages the concentrated essence of nearly thirty years of experience as a Cartoonist making the world laugh. I write more or less hap- hazard — just as the thoughts come to me — a book of instruction that will, I know, appeal to the young student of both sexes who lack opportunities for personal contact with men of experience, and by whom an Art Education would be diffieult were it not for the excellent method laid down in the Course for Home Study put out by the Corre- spondence Institute of America, Scranton, Pa. Nearly thirty years with the pen, crayon and brush makes m.e one of the “Old Guard,” and although an appreciative public has placed me among the leaders, I can never forget my early struggles, and I want, indeed, I earnestly desire to help on the young student because I want him to LOVE HIS WORK as I have loved it, and that WITH APPLICA- TION is the true secret of Success. After long years in Comic Art, Cartooning and Caricaturing, I give you in pure but simple language, remarks with humor- ous illustrations which will point the way to a good, and I know an honest living, for laughter does more for the world than much of its misdirected energy in a dozen ways. Technical terms I cut out, I do not want to confuse you, as you go on you will absorb them easily enough. Neither do I in the instructions I give you deal with tonsorial art, fancy gardening, or artistic horse-shoeing, nor any other cult with which I am not familiar. Caricature I am thor- oughly familiar with, and with that through these pages you and I will journey — loaf by the wayside for a breathing spell at times, then go on, and I tr ust reach our journey’s end with both pleasure and profit. I really don’t think the dear Lord ever intended that I should write a book. I was driven to it, however, to satisfy the laudable craving for information in the art direction of their talents that all young and aspiring artists (especially those of 12 CARTOONS AND CARICATURES; moderate means and away from art centers) possess. You can read and profit by my experience. I am basking to-day in the sun- shine which a well-spent, hard-worked life brings, but I have gone through, taken all degrees and graduated from the School of Hard Knocks and prof- ited by the buffettings of Fate. My sketches will I trust, help to make the reading less tedious, and the two combined will serve to throw at the cat when ever she sticks her nose nto your business. ALWAYS SMILE — then smile again — then keep on smiling. It’s the finest tonic known. I know it! ALWAYS FACE THE SUN! ‘Don’t hunt after trouble, but look for success, ' ' . You’ll find what you look for; don’t look for distress. If you see but your shadow, remember, I pray. That the sun is still shining, but you’re in the way. ' Don’t grumble, don’t bluster, don’t dream and don’t shirk. Don’t think of your worries, but think of your work. The worries will vanish, the work will be done, No man sees his shadow who faces the sun.” DON’T BACK-PEDAL. Keep on, and in keeping on you will go upward ! Life isn’t all sunshine. We wouldn’t appreciate the sun if clouds did not arise now and again. DON’T WHINE. Thousands of people in small positions whine because their ability has no elbow-room. It is not elbow-room they need; it is “ELBOW-GREASE;” it is energy and strength. Their very whining shows they are too small for the place they are in now. When the right kind of a person has too small a place he does his work so well as to make the the place bigger. Let’s get in and make the job bigger, and in making the job bigger we get bigger, and the world gets our best. My little talk written in a varying tone of seriousness and humor is nearly done. I’ve had a lot to do with publishers, and if you go on and win you will have too, so here’s a little joke for you to illus- trate later on: He was a newspaper publisher and lay ill. The doctor came, put his ear to his breast and said, ‘‘All that troubles you, my dear sir, is that your circulation is bad.” “Circulacion bad. Doctor?” shrieked the man as he shot upright in his bed, “Why, man, we have the largest circulation in the State!” Yours for success. OR, MAKING THE WORLD LAUGH 13 Y oung man, before you start out on your wild and checkered career, permit me to spill a few valuable notions into your head. In the first place try to forget that you are a great artist : And lead a natural life. Don’t be too eccentric. Be like other poor mortals who love to earn an honest living, and the world will love you the better for it. When you get into the public eye you have opeued the way for innocent attacks upon your good name. For in- stance, many families in the middle and lower walks of life deem it an honor to name their last bom after vou. Others feel privileged in calling their pet pugs after you. This much you can tolerate, but when the village cigar maker insists upon placing your cherished name on his latest five cent production, you begin to wish that Destiny had been less kind to you. This is what happened to me, and it fell to my lot to make a label to fit the weed, a sample copy being first presented to me from which to draw my inspi- ration. Let my fate be a warning to fond mothers whose talented sons are forging to the front. 14 CARTOONS AND CARICATURES; TO ^ALK.- GENIUS vs. BUSINESS ABILITY you feel at all discon- tented with your lot (which is more than likely, for most artists do), just make a careful ob- servation of the sur- rounding situation, and take the following into consideration. You are young and have genius, which is always in de- ” mand, and will com- pensate you when fully developed. Your only investment is your brain. The business man may have superior business ability, but he must first invest a sum of money in order to make money. He may invest in mortgages at six per cent, interest, or in merchandise which in time will pay him a profit. Suppose you earn $ioo a week at drawing pictures without the invest- ment of a dollar, all clear profit, as it were, the business man may be obliged to carry a stock of from five to twenty thousand dollars to gain a profit of $ioo per week. He has also rent and clerks to pay, insurance on his stock, etc. So then, don’t you think you should feel contented even at $25 per week if the work is steady and if you are not too anxious to possess automobiles and other luxuries? PREVAILING COMPLAINTS OF STUDENTS The prevailing complaint of the student is that he doesn’t progress as fast as he would like, that his instructor will give him nothing but simple subjects to draw, such as lines and cross-hatching. Suppose you sought a position in a bank, would you not prefer to commence at the bottom and gradually work up to the presidency? Get the proper swing first, just like a child learns music, learn to run the scale, as it were, before you tackle Beethoven. Your instructor is not blind to your faults and in a method- ical way is helping you to overcome them. Your head is like an incandescent lamp, your brain like the carbon. Regulate your lamp of genius with the incan- descent in your bed chamber. When you turn the button the light goes to sleep until summoned again. Let that be your motto — when the light goes out, go to sleep; get good, refreshing sleep, and start in with a clear mind in the morning, and ideas will come to you fast and plenty. Napoleon Bonaparte was a great thinker. He said (according to historians) that his head was like a bureau — full of drawers. Each drawer contained certain thoughts. When he retired he locked all the drawers and went peacefully to sleep. You can do likewise if you’ll exert your will power OR, MAKING THE WORLD LAUGH IS THE LIFE OF THE CARICATURIST T he life of the caricaturist is much the same as the life of the pro- verbial plumber — ^both command large salaries. The caricaturist must have a keen perception of right and wrong, but not so keen that he can detect the political faults of his own party. He represents the only party of purity and reform. In the opposition he must see nothing but corruption and mismanagement — for this he is paid a good round salary. The more fault he can find with his political rivals, the LARGER and ''roundeA' his salary becomes. The caricaturist has opin- ions of his own, but they may easily be remoulded by an offer of a more lucrative position on a newspaper of opposite political faith, whereupon he immediately sees the unpardonable crimes and corruption of the party he has just deserted. When caricature was in its infancy, the man known t o the world as a caricaturist was looked upon as a wonder. He had no predecessors to inspire him; he worked alone and with- out any of the facilities which we enjoy in the present day. Science has bestowed upon us new meth- ods of engraving so simple that it , requires only a few hours to pro- duce results that would have oc- cupied days or weeks in times of wood engraving. Caricaturing is a pleasant voca- tion now-a-days, especially if there is a substantial salary attached to it You may take your profession with you anywhere, and gather material wherever you happen to be. The main point in the profession is “The Lead Pencil” How to carve it, and other ad- vice to the unsophisticated. whenever You sketch in i6 CARTOONS AND CARICATURES; public, in order to throw your audience off the track and make uretr'c T-.rr o. them think that you are a full- £ I r fledged caricaturist, always wear a reckless air and a common twenty-five cent necktie. Sharpen your pencil as though it was born in you. In doing so be careful to use a jack-knife. The style of pencils mostly used by the profession cost about nine cents per dozen net and about twelve cents per dozen minus the net. They are the product of a Jersey lead mine and run in strata like the formation of the earth. The surface pans about 95 per cent, pure lead, gradu- ally running into a bed of clay, now and then striking a vein of quicksand, and a “bum” rubber \i on the end constitutes the lead pencil. If any man expects a bigger layout of real estate for the amount invested, he is not worthy of a place among us. are starting out to may as well start right, pencils in the market, on’s, for instance, if and good tools, you with your work, only pen fit to use. I goo.d picture with 05 However, while you master the art, you Get the best quality of F. W. Faber’s or Dix- you use good material will feel better satisfied A good pen is the find it easier to draw a good pen than to draw a poor picture with a poor pen. The pens that have given the best satisfaction in my kind of work are as follows : Gillott’s No. 290 for fine work on faces. Gillott’s No. 303 for ordinary rough work, and Gillott’s No. 659 Crowquilh Each of these I use alternately. When- ever I find one acting balky I retire it and try another. Condition of Tools Keep your working material and tools clean and in good order. If you allow yourself to become care- SPon less in this respect of your negligence, of tracing paper included in your make it, take any thin linen paper and bit of dry Prussian one side and rub it your drawings will show the effects A sheet should be outfit. To ordi nary sprinkle a blue upon thorough- ly with a cloth. One sheet will last a year and proves very handy in tracing your sketch upon clean cardboard, if you do not wish to work directly upon it with lead pencil. •+touDEK_ . OR, MAKING THE WORLD LAUGH 17 BE MODEST T O be successful as a funny man you should be unassuming. Don’t presume to know it all, and by all means do not force your efforts upon the public and point to yourself as the real thing. Side-splitting jokes and sketches are usually created in seclusion, and not in the midst of an admiring crowd showering praises upon you. Don’t allow your head to get swelled by flattery. Measure your own importance and use common sense in doing so. Take success modestly and don’t go ’round telling people you had a picture published last week — it is more gratifying to have them remind you that they saw your picture in print. And should your drawings be returned marked “not available,” don’t despair, but slam right in and produce more and of better quality, if possible. When once you have made a “hit” the publishers will ask for your i8 CARTOONS AND CARICATURES; entire output, together with those rejected drawings of former days. Don’t ask silly questions such as, “How do you like my style of drawing? ” or “Don’t you think I’m improving? ” Modesty compels the interrogated party to say , “Yes; it is great! ” etc., when down deep in his soul he thinks you’re a Homarus Vulgaris. SPONTANEITY To illustrate to you how easily ideas come to one when one is on the alert for them. Some time ago I purchased a 15 cent package of silver enamel, which was accompanied by a booklet informing the good and eeonomical housewife how to daub it on to make everything look like new. I was at the same time breaking my head over an idea for a double page for “Judge,” which I must get out at once. On reading the instructions Jn said booklet I struck the exact idea that I wanted. Well, you wouldn’t believe it, but that 15 cent package was the best investment I ever made. Though I am interested in all sorts of Get Broke Quick Concerns, that was the first and only time I ever got my original capital out of any silver or gold investment. OR, MAKING THE WORLD LAUGH 19 HOW DO WE GET OUR IDEAS? Vy^ELL, they come to us W in various ways. A caricaturist as a rule re- lies principally upon his own fertile brain for his material. When his re- sources become exhausted, which is often the case, then he resorts to ideas which may come in the mail from outside contributors, or suggestions from friends. He sees many way out of his predicament, as his mind is so thoroughly trained he can cope with any emergency. Every artist has more or less of the so-called emergency material on hand in the rough state. He turns to this, when occasion demands. “ALL YOU NEED TO SAY” but enclose stamps lor a reply. 20 CARTOONS AND CARICATURES; ATTENTION TO CHARACTERISTICS OUPPOSE your subject is a man with decided ^ features. You first observe in his face the characteristic lines. If his nose is inclined to be chubby, then increase its chubbiness a trifle. If it inclines toward the long, lean hook nose, then add a bit to the hook and length. Not enough, however, to lose the resemblance to the original. A high or low forehead you must increase or diminish as the case may call for. Thus you go through the entire body, legs and feet, giving to each member its char- acteristic peculiarity. If your subject possesses a wart on the tip of the nose or elsewhere in sight, then it also belongs there in the picture; but don’t make those unnatural growths too disgustingly conspicu- ous. When possible avoid such offensive adjuncts as warts, corns, bunions, club feet, mutilated hands or anything that is liable to retard the fun in your pictures. Take for example the Hebrew and the Irish face as the two extremes for characteristic curves. You already know that to produce an Irish face you must give it a pug nose, and the Hebrew face the hook nose, though these essentials in drawing do not always exist in nature. I have seen Irishmen with decided Jewish noses, and Jews with noses a little inclined the other way. However, to carry out the purpose of your picture you must stick to these characteristics. OR, MAKING THE WORLD LAUGH 21 HUMAN AND ANIMAL COMPOSITES TT IS part of the caricaturist’s business to see things ^ as they are not. For instance, in transforming a human face into that of an animal, the artist observes the expressive lines of the human face and those of the animal. He then proceeds to amalga- mate the two, being careful to retain the original likeness. AN OUTLINE OF THE PROCESS OF HALF=TONE ENGRAVING The methods employed in producing a half-tone cut are rather complicated and somewhat difficult to describe. In the first place, the drawing (wash drawing) is photographed on to a negative, the nega- tive is developed and dried. Then it is placed over a sensitized copper plate with another glass with lines on it, which is called a screen, placed between the negative and copper plate. The combination fastened in a frame is then placed in a strong light, the light affecting the sensitized plate in the same manner as other photographs are printed. The copper plate is then placed in a bath of acid for a short period. This is called etching. When the plate is sufficiently etched it is washed and mounted on a block of wood and is then ready for the printer. The only difference between half-tone and line cut engraving is the introduction of the glass screen, which has on its surface many very fine black lines. The finest screen used for magazine work contains about 150 lines to the incL; making the cost about double. CARTOONS AND CARICATURES; WASH DRAWING; as prepared for half-tone plate. The engraver should pay careful attention to hand tooling the white portion, such as shirt, cuffs, collar and spats. OR, MAKING THE WORLD LAUGH 23 SAFE TRANSMISSION OF DRAWINGS (See also page 28) T O prevent drawings from being jammed or broken in the mail, enclose them in cardboard tubes or between heavy sheets of pasteboard. The publishers will not be responsible for any neglect on your part in preparing them for safe transmission. COMBINING BUSINESS WITH PLEASURE Fishing is splendid recreation for head-workers. In my opinion, all head-workers ought to fish at least a full ten hours each day and sleep the rest of the time. This rule followed 365 days in the year will be found very quieting to the nervous system. I am sure I have made an error in the title of this book. It should read, “First Aid to the AtRicted.” ;E sign 'painting trade seems to have played a prominent role in the lives of men who have achieved fame in art and literature. There seems to be a sort of relationship be- tween sign writing and comic art. There is no denying the fact that one, in order to be a good news- paper artist, should know some- thing about lettering, for in many instances you will be called upon to make suitable headings for stories and special column head- lines. If you have ever had expe- rience as a sign writer you will, no doubt, realize this fact. 24 CARTOONS AND CARICATURES; PLATE MADE FROM WATER COLOR SKETCH. SIZE OF ORIGINAL, 15x20 INCHES. THIS STYLE OF PLATE IS CALLED “HALF-TONe” OR, MAKING THE WORLD LAUGH BIBLE SUBJECTS AND CARICATURE S acrilegious application of Biblical subjects A STUBBORN PROPOSITION class exists who talk, any way but correctly. to fit political situa- tions should not be attempted. It is bad form to link the name of the Saviour with that of the politician. The more you boil down sap the richer will be your syrup. Likewise with a cap- tion, the briefer the caption, the better the joke. CAPTIONS “Captions in ver- nacular,” means the reading matter below the picture, written in the language of any particular local- ity, without regard to grammar. Every city has its East or West side, where a certain A CUONTRY EDITOR WITH HIS “nOSE ON THE GRINDSTONE*” 26 CARTOONS AND CARICATURES; GAIN FRIENDS I T is cowardly and in very bad taste to caricature deformi- ties when it affects an individual, either in public or private life. The sympathy of your audience will naturally lean in the direction of your unfortunate subject and affect their appreciation of your genius. In ordinary comics which bear no likeness to anyone in particular, you may take such liberties, so long as you do not carry them to the point of hideousness. Aim to make your pictures pleasing, not repulsive; thereby making friends not enemies — ^for upon the merits of your work depends your success. Suspicious Old Hen: “I see the point! I eat with you to-day and you eat with me to-morrow. A sort of reciprocity.” OR, MAKING THE WORLD LAUGH 27 MIDNIGHT INSPIRATIONS A SLATE or pad and pencil kept at your bedside (in a handy place), upon which to dot down inspirations that occur to you while insomnia prevails, will relieve your mind greatly, and in many cases soothe you back to sleep. I don’t know what inspirations look like, but I have often been awakened by them. After my kick- ing over more or less costly bric-a-brac in an effort to find a pencil and paper, my dear wife has assured the children that it was nothing more serious than an inspiration that ailed papa, and that without medical treatment or the aid of a doctor their father’s condition would soon be normal — then he vrould see what a silly goose he was for letting an inspiration disturb him. Upon my word and honor, I’d rather be troubled by skeeters or fleas than inspirations, and so I have resolved to keep a slate and pencil at my bed-side. 28 CARTOONS AND CARICATURES; OHEMIAN OOZE ATMOSPHERE M any promising careers have come to an abrupt end through over-indulgence in “Bohemianism.” A boy, when he enters the art arena, quite naturally thinks it the proper caper to become a thorough “Bohemian.” . To follow this life in its true sense is all very well; but the average art student is quite apt to mix it up too freely with beverages of amber and more ruddy tints — a nerve-wrecking and career-destroying course. Bear in mind, strong beverages are no promoters of powerful ideas, nor is a torpid liver conducive to executing them. Being a head-worker you need rest. Get your natural rest, keep your liver in condition, so that you can enjoy your food; then you will also enjoy your work. REVERSING A PHOTOGRAPH In copying a side or three-quarter view photograph you frequently have occasion to turn the face in an opposite direction. To do this, just face the photograph toward a mirror and copy the reflection. TO REVERSE A PHOTOGRAPH The dotted work in the background of the above cut is what is known as the Ben Day process. It is largely used in lithography, in putting in delicate tints, and in many cases in Ailing in pen and ink drawings. A further descrip- tion of this process would be of no particular vahie ' o the be- ginner. Your Art Director will explain this when necessary. Writers, like doctors, often disagree. If you have already read the opinions of other caricaturists you might have noticed this fact. I am giving you advice from my point of view only. OR, MAKING THE WORLD LAUGH 29 A FEW WORDS ALONG STRAIGHT LINES I N this sketch I have endeavored to show how the long straight lines should be disconnected by other objects cutting into them. Observe the following rules when you are designing the background to a drawing. Avoid long straight or curved lines without some object breaking into them. They are inartistic and disturbing to the eye. The accompanying sketch illustrates how you can make your backgrounds interesting. Draw in your background as though you were arranging a stage setting, putting the various pieces of furniture in such positions as to break up the monotony of blank space and long lines. Frequently a good play falls flat owing to poor arrangement of objects on the stage. I draw this comparison so that you will remember when at the theatre to note the stage arrangement. The object in illustrating this matter is to impress it more vigorously upon your mind, for it is a well known fact that pictures speak louder than words; so I live in hope that should you forget my words you will not forget the pictures. 30 CARTOONS AND CARICATURES; ANNER OF SUBMITTING JOKES IN THE ROUGH W HEN you have established a repu- tation in the Art world, you need only send to the publisher a rough un- finished sketch explaining the joke. The editor, being familiar with the style and quality of your drawing, will advise you to proceed with it or inform you that it is not available, in which case you are out only the little time the sketch has cost you. Kind Lady — Calm yourself, my good man; surely you must have some ties of affection in this world? Discouraged Tramp — No; mum! I know no ties but dose what rail- roads is built on. If you expect any recognition when you rap at the gates of paradise, for goodness’ sake don’t be stingy with your surplus knowl- edge; divide it with your strug- gling art friends. 31 OR, MAKING THE WORLD LAUGH GESTURES P erhaps one-haif of the people we meet “talk with their hands.” The orator puts force into his remarks by using his hands to express his thoughts more pointed- ly. Many public men have peculiarities of gesticula- tion. This is a point worthy of note when cari- caturing a public man. DRAWING EXPRESSIVE HANDS If you wish to put any particular force or expres- sion into hands, use your own as a model. Your hands may contain too many lines or wrinkles; in that case draw only such lines as are absolutely necessary to make them natural, and full of bones and meat; your eye will guide you in observing the lines. necessary from the unnecessary 32 CARTOONS AND CARICATURES; SAFEST WAY TO SHIP DRAWINGS N O matter how carefully you may wrap up drawings for shipment, they do not reach their destination in first- class condition. A tube containing drawings is liable to become crushed in transmission. Whenever I have any- thing of importance to put through the mail,' to make it doubly sure that it will arrive free from mutilation, I saw off a section of one of the hind legs of the kitchen table and wrap my drawing around it. Where tables are scarce a broom handle will serve the same purpose. Drawings wrapped in this manner will defy the ravages of the baggage smasher. Every day drawings are received at the newspaper offices in a horribly mutilated condition — the fault of the artist in every case. The safest way to transmit drawings is by express with valuation attached. Then they are put through at the express company’s risk. OR, MAKING THE WORLD LAUGH 33 THE FINISHED PEN DRAWING, PENCIL LINES ERASED THE COUNTRY POST=OFFICE Did you ever take notice of the public bulletin board in a country postoffice ? The postoffice is usually in one corner of the only grocery or general merchandise store of the settle- ment, and right next to the cod-fish and dried herring counter. On the bulletin board, which is for the accommodation and enlightenment of the community, you’ll find scraps of paper informing you that “Jonas Silleker lost his fals teeth las nite, and will pay a liberal reward for the return of same before Sunday mornin’ at lo o’clock, as he is invited out to dinner and must have ’em to fulfill the engagement. Price no object.” And that Allen’s mill will grind grist Monday. P. S. At too o’clock next week. Lost articles are displayed on this board for identification, and to a man or boy who has a funny streak in his make-up, there is much food for thought. 34 CARTOONS AND CARICATURES ; Drawn on Ross’ ruled Scratchboard No. lo. This board can be had in many designs. Send to art material stores fur samples Ecksteik (after having tooth extracted): “I wonder ccf he will allow me anydings fur that i8 karat golt filling in dees toodh,” OR, MAKING THE WORLD LAUGH 35 SPATTER EFFECTS A very effective background may be made by intro- . ducing spatter work, the treatment of which I will describe, viz: First outline your drawing with ink, allow it to dry, then cover with paper the parts you wish to protect, and leave the parts to be spattered exposed. Use a clean tooth brush. Swab a little ink into the bristles, then shove the brush across a stick or case knife. SNOW STORM EFFECTS Snow storm effects may be had by spray- ing “white” (water color) paint upon the dark background in the same manner as above described. 36 CARTOONS AND CARICATURES; SHOES THAT DENOTE CHARACTER Ep^st 5it)£ T^7HEN you make a character sketch be sure to ^ append an appropriate foot. The one great fault with the youth of to-day is that he reads of fabulous salaries paid to artists on newspapers, and without wishing to taste of the preliminary hardships which lead to large salaries, he expects to land right into a newspaper office: it’s the proper treatment of details that earns big salaries. 37 OR, MAKING THE WORLD LAUGH JOT WHILE JOGGING ^4 SKETCH SHOWING POINTS FROM WHICH WRikKLES START W HENEVER you hear or see any- thing that strikes you as ludicrous jot it down in your sketch book for future reference; perhaps You can work it into car- toon some day. You have noticed the small boy on the street, no doubt, picking up scraps of string, pins, and rusty nails, and jamming them deep down into his pants’ pockets. Did you ever stop to reason out' what he intended to do with them? They were his stock in trade. When he had col- lected enough string he would wind it into a ■ baseball. Heaven knows what he did with the rusty nails and pins! However, that is the way we, too, pick up material that others have dropped, and eventually weave it into a joke or picture. “reception day’’ 38 CARTOONS AND CARICATURES; ROUGH PENCIL SKETCH T he correspondence schools have made it possible for a boy to develop his natural gifts in almost any line of profession or trade. Newspaper art, illustrating, cartooning and caricaturing seem to be playing a prominent part and at a nominal cost. Problems are worked out and trade secrets divulged which to the early youngster meant two or three years’ apprentice- ship without compensation. If there is the slightest art germ lingering in a boy’s sytsem the correspondence school will develop it. OR, MAKING THE WORLD LAUGH 39 FINISHED PEN AND INK DRAWING THE COST OF “LINE CUTS” T he minimum price for line cuts is about fifty cents. That is, if you wish a single cut made one inch square it will cost just as much as a cut containing ten square inches. It involves the same trouble to produce the one as the other, but you can combine a lot of small drawings to be reduced on one large plate, then cut them apart, the}^ will cost only the regular rate of five cents per square inch aside from the cost of sawing apart. CARTOONS AND CARICATURES; DRAWING FEATURES WITH THE AID OF A MIRROR XYTHEN drawing distorted fea- W tures you will observe that your own face assumes simi- lar contortions. Like the tailor, when cutting a piece of cloth. He brings his jaws together in unison with every snip of his shears. You will find it much easier to depict an expres- sion by us- ing a small mirror, thus copying the n e cessary lines from your own c o u n t e n- ance. Ort Beginners are apt to put super- fluous lines into a face, and when the drawing is reduced these lines are brought closer together. The result is a botchy confusion of lines and the expression destroyed. Work up your faces with as few lines as possible, as the expression of the face has much to do with the suc- cess of a comic picture. Just study these four sketches for a few mo- ments ; you will And I them good C examples of k the effect produced by using a few lines only. oucm ! 3oy E>^rR^/v\E. JOY. OR, MAKING THE WORLD LAUGH 41 THE ARICATURIST: ACHES AND PAINS vs. HUMOR T he caricaturist cannot always be funny. He has his aches and pains like other mor- tals. He sometimes bets on what he thinks is a sure thing and for a while has the humor knocked out of his “funny- _ bump.” A bilious attack is not liable to yield side-splitting effusions; therefore, when you find that he is below his usual standard of funniness, you must make allowance for conditions which may have deprived him for the time of his drollery. ONE ON ME! I am not superstitious, but here is one on me. A friend, and a very successful business man, too, noticed that I was signing my name with a downward slant. Said my friend, “Never again sign your name downhill! Always sign it up hill, it looks more prosperous.” From that moment I have signed my drawings up hill, and I really believe there was truth in his assertion. HOW TO INVEST YOUR SURPLUS As soon as you can afford it, especially if you have anyone dependent upon you, lay aside a part of your salary each week for life insurance. If you have no dependents, then take out an endowment policy for ten or. twenty years, payable to yourself. CARTOONS AND CARICATURES; GOOD FROM CENTER TO EDGES iHIS book is like the pumpkin pie that mother used to make: Every bite is good and no particular place to start in. There is no front or back to it — no special place where the villain enters and the green lights are turned on. Ever}^ page finishes its own chapter. The chapters come in small chunks and are easily digested. When you get into the public eye you have opened the way for innocent a t t a c k s upon your good name. For instance, many fam- ilies in the j jmiddle and w*;" lower walks J of life deem ^ it an honor to name their last bom after you. Others feel privi- leged in call- ing their pet pups by your name. This much you can tol- erate, but when the village cigarmaker in- sists on placing your cherished name on his latest five cent pro- duction you begin to wish that destiny had been less kind to you. This is what hap- pened to me and it fell to miy lot to make a label to fit the weed, a sample copy being first presented to me from which to draw my inspiration. Let my own fate be a warning to fond mothers whose talented sons are forging to the .front. THE ABOVE SKETCH WAS MADE ON SCRATCH BOARD NO. 27, STIPPLE FINISH IN IMITATION OF LITHOGRAPH STONE OR, MAKING THE WORLD LAUGH 43 SINGLE OR DOUBLE O CANNOT say whether a man, in order to become famous as a caricaturist, should be married or unmarried. I have known both classes to succeed. In the face of the facts before me, it would be safe for me to state that a man, to be successful in any matter he undertakes, should be either married or unmarried. BUSINESS LYING, IN WHICH ARTISTS ARE NO EXCEPTION TO THE RULE Men are often obliged to lie in business. I have seen so much of this sort of thing that I can hardly refrain from doing so myself. I mean innocent lying, such as women are wont to do when the front door bell rings and the maid, under instructions, informs the ringer that the Mrs. has just left for Paris and would not return till fall. If .you must lie at all, confine it to the six working days, and for heaven’s sake hold the Sabbath sacred and untarnished. VALUE OF EARLY EXPERIENCES DON’T despise the hard knocks in early life; they will prove an after-benefit to you. You are gaining an educa- tion which will be invaluable in your profession. The dif- ferent trades and callings with which circumstances have brought you in contact have taught you how various utensils are made, and how they are used, and how people feel and act who use them; and whenever you have occasion to make a picture embracing these utensils and people, your knowl- edge of them will save you considerable research. I will enumerate a few of my most important shifts of profession before I reached the object of my ambition: Beginning with a baker’s at- tendant, then office boy, news- boy, silk weaver, cotton spin- ner, farmer, fishmonger, wine bottler, sign painter and sten- cil cutter, besides a series of short term engagements too numerous to mention. All this time, however, I had . a desire to make a better man of myself, but owing to the enormous cost of engrav- ing, there was little demanck for artists upon newspapers. 44 CARTOONS AND CARICATURES; PENCIL SKETCH STUDY THE COMIC JOURNALS Y OU’LL find it splendid practice to read over the jokes in the comic papers and build a picture to them in your own way. Do not offer such drawings for sale, as they are not original with you. Dispose only of such draw- ings as you are sure have never appeared in print. SIGN PAINTING AS AN ADJUNCT The sign painting trade seems to have played a piominent role in the lives of the men who have achieved fame in art and literature. There seems to be a sort of relationship between sign writing and comic art. There is no denying the fact that one, in order to be a good newspaper artist, should know something about lettering, for in many instances you will be called upon to make headings for stories and special column headlines. If you have ever had experience as a sign writer you will no doubt realize this fact. OR, MAKING THE WORLD LAUGH 45 FINISHED DRAWING '^HE Caricaturist should be considered in the light ^ of a hero. Ele has the power to make men great who deserve greatness. Many politieal Shining Lights would have gone to the grave unobserved were it not for the pencil of the Caricaturist: and it is also well to remember that many who posed as “friends of the masses” have been sent into obscurity. 46 CARTOONS AND CARICATURES; The drawing room artist invariably signs himself in fourteen syllables, while the comic artist is satisfied with one or two. OR, MAKING THE WORLD' LAUGH 47 PEN DRAWING H ere I show you (as in other cases in this book) a pen drawing as finished after a rough layout. (See page 46). How much the rough study and the finished sketch help you depends entirely upon how closely you go into the details in each drawing. Take the man’s feet and watch the details: then examine in both drawings the hands and the head and you will thereby gain valuable experience. 48 CARTOONS AND CARICATURES; THE ARTIST AND HIS IMPORTANCE ) wiuu uEAVEl Them For_your W HEN you seek the approval of publishers, don’t try to convince the person to whom you submit your sketches that they are the best lot of draw- ings ever offered for publication. Remember this person is an apt critic, hired for the purpose of selecting the most desirable work for publication. He may be the Art Editor. If so, his opinion H law in the Art Department. If your drawings are re- jected it does not signify that your work in not up to the standard. The Art Department may have suf- -Ai£R. material on hand for several issues. In that case, try other publishers. Write your full name and ad- dress upon the back of every drawing and enclose stamps for their return. THE ART EDITOR An artist at any stage of his career approaching an art editor with a degree of modesty, will meet with due courtesy. Don’t insist upon an immediate inspec- tion of your drawings. An art editor is usually a busy sort of man, who jumps from one joke to another without rest. He looks upon original drawings as so much merchandise. Un- less he has ample time to study the drawing and joke and the space it will occupy in the paper, he cannot giv-e them the consideration nec- essary on short notice, and consequently they are turned down when a few days’ delay might make them available. OR, MAKING THE WORLD LAUGH 49 DRAWING UP AN IDEA 1. Write out your joke as briefly as possible. 2. Fix the picture in your mind, so that when you look at the blank bristol board you can already see your picture upon it (but in your mind). 3. Sketch the picture lightly and with some care upon the cardboard with lead pencil, then follow the pencil lines with India ink. When the ink is dry erase the pencil marks. If the sketch is to represent two figures, similar to cut on this page, begin with the two men in the fore ground and grad- ually work toward the background. Make your figures appear as though speaking the words of the joke — not with set jaws. Black and white jokes are called “Comics” or “Insides,” meaning for the inside of the paper. In making a “Comic” don’t be too grotesque in your drawing — keep within the bounds of nature. There is an abundance of humor in nature without the slightest exaggeration ; a little exaggeration flavors it, but too much makes it grotesque and hideous, instead of humorous. 50 CARTOONS AND CARICATURES; SKETCH MADE WITH FRENCH CRAYON UPON GRAY TINTED WATER COLOR OR CHARCOAL BOARD. SIZE OF ORIGINAL DRAWING, 15X20. There is a preparation called “Fixatif,” which, when you make charcoal, crayon, pastel or lead pencil drawings, you spray over the surface of your drawings with a blow pipe that comes with the outfit. This coating, when dry, will prevent the drawing becoming rubbed or marred. OR, MAKING THE WORLD LAUGH 51 LINE CUT CHARACTER SKETCH Reduced to one-half the origina’ size. 52 CARTOONS AND CARICATURES; SUGGESTION OR IDEA SUBMITTED IN THE ROUGH Old Fawn, reproachfully; “Sir!!! Such impertinence.” Census Taker: “Beg pardon, madam. 1 mean, how young are you?” A play on words, illustrating the sound of a word regard- less of its real meaning. OR, MAKING THE WORLD LAUGH 53 MUSIC TO WHICH WE ARE OBLIGED TO HARKEN A years old over in our town tliet can drawer your pitcher so good thet you kin almost recognize it,” Now what that boy wants to do is to learn to draw it so good that you will recog- nize it, not almost recog- nize it. There are a lot of almost artists in the world who can almost draw, and some of them are almost Gibsons, yet there is only one Gibson. The almost never looks any greater in T 'HERE is a boy ten the public eye than the ordinary run of men. Gibson is a master. The fact is demonstrated by his army of imitators, and the reason of it is: he is strictly original. Perhaps the hardest simple object to draw correctly from memory is a silk plug hat; it is so perfectly shaped that the slightest discrepancy in drawing it is perceptible. An open umbrella is also very difficult to draw correctly without a real one as a model. Give a little of your attention to the plug hat and the umbrella. Sometimes a drawing can be made very effective by putting in heavy black shadows, as I have shown in most of the drawings in this book. In caricature there is a happy medium between the gro- tesque and the sublime; when you reach that point in your drawings, stop. PLUG HAT AND UMBRELLA 54 CARTOONS AND CARICATURES; KCMY «