LIGHTNING CARTOONS AND “FAKE” SKETCHING
A NOVEL FORM OF DRAWING-ROOM ENTERTAINMENT
AN exhibition of skill which cannot fail to win appreciation from any
audience, particularly one composed largely of grown-ups, is that of
making lightning cartoons and sketches. It is, however, a form of
entertainment which should be undertaken only by those possessing some
artistic qualifications. Although lightning cartoons do not call for any
great genius, yet those with an inherent taste for caricaturing will
find themselves the best exponents of the work.
On the other hand, the task may be undertaken by any youth with even a
moderate knowledge of drawing, because by the observation of the few
rules hereafter indicated, quite passable and pleasing results may be
obtained. The apparatus required is simple and easy to procure. The
first essential is a cheap easel, which can be purchased for fifty cents
from any art store. To give it a presentable appearance for a
drawing-room entertainment, it should be stained with any oak or
mahogany composition. Those who possess a bent for carpentering will
perhaps prefer to make their own easel. It can be made from 2 inch
battening. First cut two pieces to the required height, and glue or
mortise together with two stays, A and B (Fig. 1). Drill holes for the
reception of pegs at CC. A further length, D, will also be needed for
the back stay, hinged at E. F shows a section of the hinging.
[Illustration: FIG. 1.--Easel for lightning cartoons.]
The next requisite is a large drawing-board. Half-a-dozen large sheets
of cheap cartridge paper should also be procured. These latter may be
fixed to the drawing-board by nails driven firmly into the top right-
and left-hand corners in such a manner that each sheet can easily be
removed after it has been drawn upon. The media employed for plain
black-and-white drawings are thick sticks of charcoal or soft crayon.
It should be borne in mind that as lightning sketching permits of no
erasures, each subject must be thoroughly committed to memory before a
public demonstration on the paper is attempted.
The best subjects for a beginner to attempt in black chalk or crayon are
caricatures of celebrities, those selected all possessing some
particularly marked or prominent feature, _e.g._ the late Mr. Gladstone,
with his remarkable forehead, striking nose, and the characteristic high
collar.
Idiosyncrasies of well-known people should also be seized upon; for
instance, the eyeglass and orchid so universally associated with Mr.
Joseph Chamberlain. It will be found that if these peculiarities are
properly portrayed and accentuated, but very few strokes of the crayon
will suffice to produce an unmistakable likeness. The budding cartoonist
should also bear in mind that boldness of execution is essential, the
strokes being put to paper with free and large sweeps of the hand.
The subjects intended to be drawn must be selected beforehand, the order
of their appearance also being prearranged.
To obtain the correct mental picture of each character or subject, it is
at first recommended to attempt only heads. Let the young cartoonist
first procure a pronouncedly good photograph, in profile preferably, and
copy this in detail, gradually omitting half tones or shadings until the
likeness is apparent when only the minimum of strokes is used. As soon
as the ability to do this has been thoroughly acquired, the outlines
should be drawn again and again until the hand has become so accustomed
to the correct presentation of the portrait that it can draw it off in a
second or two. The lightning cartoonist must live up to his reputation
for speed.
[Illustration: FIG. 2.--Method of drawing in leading characteristics.]
[Illustration: FIG. 3.--Complete cartoon.]
[Illustration: FIG. 4.--Showing characteristic features drawn in first.]
[Illustration: FIG. 5.--The final stage.]
Now, to treat with the order in which the various features and leading
characteristics are to be drawn in. A start is generally made with the
curve above the nose, taking the stroke down and round to the nostril
(A, in Fig. 2); then the upper lip, mouth, and chin (B), if possible,
without breaking the line. Next take the chalk and draw the crown of
head and curve of forehead, beginning at the right-hand top of head,
presuming the face to be in profile to the left. With a sweeping stroke
draw in either the outline of the hair or bald head, coming back to the
forehead and finishing at the point from which the start was made (C,
Fig. 2). Now, leaving the outline of the face, return to the point at
which the curve for the hair or head was started, and bring round
another bold sweep down into the nape of the neck (A, Fig. 3). Shading
may be put in according to judgment. The eye must next receive
attention, afterwards the ear, and, lastly, the collar or any other
distinguishing mark.
SIMULTANEOUS DRAWING
A welcome variation to the above is produced by a brief exhibition of
simultaneous drawing with both hands. The best method of procedure is to
take a piece of chalk in each hand, and, bringing them together in the
middle of the top of the drawing (A, in Fig. 6), take each hand round
and down, the right hand drawing the profile, the left the back of the
head, and so complete the picture by working off the lines respectively
on the right side with collar and tie, and on the left with the neck and
back of coat. In Fig. 6 the dots show the other lines necessary to
complete the effect.
[Illustration: FIG. 6.--Simultaneous drawing with both hands.]
A FIGURED FACE
Another diversion may be caused by drawing at lightning speed a figured
face. How this is to be accomplished is not at first apparent when you
sketch in to all intents and purposes at random a few detached numerals,
such as appear in Fig. 7; but the addition of extra figures produces the
very expressive countenance depicted in Fig. 8.
[Illustration: FIG. 7.--Figured face partly finished.]
[Illustration: FIG. 8.--Figured face complete.]
A deal of fun may also be extracted from outline representations of an
egg. Commence by sketching in with quick strokes three or four of these.
Fill in the individual expression of each by such series of lines as are
suggested in Figs. 9 and 10, and as a climax pin to each a suitable
paper costume or fancy collar, frill, or tie, as shown in Figs. 11 and
12. These latter aids to the equipment of the lightning cartoonist must
be prepared beforehand from colored tissue paper, kept behind the easel,
and instantaneously fixed on to the large sheet of cartridge paper by
means of pins. The effect will be both novel and grotesque.
[Illustration: FIG. 9.--A cheerful “eggspression.”]
[Illustration: FIG. 10.--A mournful “eggspression.”]
[Illustration: FIG. 11.--Egg drawing complete.]
[Illustration: FIG. 12.--Egg drawing complete.]
SMOKE PICTURES
To produce wonderfully picturesque and striking examples of land and
seascapes in the space of a few moments of time appears at first sight a
task almost beyond the capabilities of the amateur draughtsman. Yet such
effective additions may be made to the programme of the lightning
cartoonist by his following out the subjoined simple instructions.
First procure a large sheet of iron or tin, enameled white. To purchase
this in a prepared state is rather expensive, but a very fair substitute
can be made by coating the tin or iron with ordinary white enamel.
Smoke the enamel surface to a uniform blackness by passing it backwards
and forwards over an ordinary small hand-lamp, the glass chimney of
which has been removed. Fix the black sheet to the easel, either resting
it on a wooden rack or across the pegs.
[Illustration: FIG. 13.--Sketch to memorize for smoke picture.]
[Illustration: FIG. 14.--Completed smoke picture.]
Before commencing on the actual drawing, memorize a suitable subject,
such as a stretch of water gleaming under the moon, with light
reflections, as in Fig. 13. The effect of the finished picture may now
be obtained by wiping out the black so that the white enamel shows
through and forms the lights. The removal of the black may be
accomplished either with the fingers or by means of a soft piece of rag.
In view of the fact that the fingers form a better medium for drawing
than does the rag the use of the former is recommended, but as the
cartoonist may have arranged to follow this part of his entertainment
with other drawings on white paper, he would do well, while dealing with
the smoked surface to cover his finger-tips with stalls cut from old kid
gloves. These can be discarded without the necessity for a break in the
performance, as would be the case were the fingers blackened in the
process. Fig. 14 shows the finished smoke picture produced from the
sketch in Fig. 13.
[Illustration: A. Blue. B. Brown. C. Green. D. Dark green.
FIG. 15.--A reversible scene.]
[Illustration: FIG. 16.--Initial sketch for “house on the cliff”
drawing.]
TOPSY-TURVEYDOM
Yet another variation in lightning cartooning is provided by the ability
of the artist to produce pictures which, when turned upside down, show
exactly the same view. These are best done in colored chalk or pastel,
which is a softer medium and more workable. Landscapes are peculiarly
adaptable to this purpose. Fig. 15 suggests a realistic example.
[Illustration: FIG. 17.--House on cliff drawing completed.]
Yet a further pleasing addition to the entertainment may be made by
sketching such a scene as Fig. 16 suggests, afterwards over-coloring
with white the part representing the sea, and also the jutting rock
marked A up to the dotted line; then turning the whole picture on end,
blacking in on the whitened portion windows and doors, as shown in Fig.
17. The result will be “The House on the Cliff.”
SHADOW DRAWINGS
A very interesting entertainment is to be brought to a close by a short
exhibition of shadow drawing. The apparatus required is a magic lantern,
before the lens of which is fixed a prepared plate consisting of glass
previously covered with a coating of lamp-black and water. A sheet of
calico should be attached, some distance away, to the wall. Between the
plate and the lantern, and a little to one side, stands the operator,
who with the aid of a stick or stump sketches the subject upon the
plate, the light filtering through throwing an enlarged presentment of
the picture upon the calico screen.