CARICATURES R ICA CAR AT URES A RESOURCE FOR ART EDUCATORS
THE HISTORY
THE ART FORM
FEATURED D ARTISTS
SAMPLE LESSON PLANS
BY J. PAIGE GANDARA-VALDERAS
THIS BOOK BELONGS TO:
IF FOUND PLEASE CONTACT AT:
IN THIS BOOK, YOU WILL FIND A SERIES OF DRAWING EXERCISES AS YOU LEARN ABOUT THE ART OF CARICATURE.
THE FIRST DRAWING CHALLENGE:
WITH THE SPACE PROVIDED PLEASE DRAW A SELF-CARICATURE.
EXPERIENCED OR NOT, THIS WILL HELP GUIDE YOUR UNDERSTANDING OF THE ART FORM AS WE MOVE ALONG!
ENJOY!
It is my honor to present to you, "Caricatures At-A-Glance: A Resource For Art Educators." This book aims to build a connection between the world of caricature and the K-12 Art Education curriculum. This book is filled with caricature history, the art form, caricaturists who have influenced this art movement, and lesson plans + activities for the art educator to use in their classrooms. Though this book's audience is primarily built for the art educator, this collective set is not limited to just the artists! This book can be for anyone who is interested in the art form and those who seek a better and deeper understanding of it. Caricature can be implemented across multiple disciplines. For example, a history teacher could incorporate caricature through political cartoons; a journalism educator could introduce caricature during a newspaper illustration lesson; the theatre arts teacher can discuss caricature with a costume designing or a characterdevelopment lesson; the general education elementary teacher can talk about caricature before taking their class on a field trip to a local theme park or zoo. This book is limitless. My goal with this book is to step into the world of caricature by reading the artists' stories and sharing what we do daily. Our minds are creative, and I invite you to take a closer look at the beautiful worlds we have built around this art form.
The way that this book is structured is unlike any other. In between sections, there are mini activities that you can either illustrate right on the book or make yourself a copy to follow along in a sketchbook. Each section will guide you into the different aspects of our world: life as a caricature artist; artist stories; life on the road and travels; different social media activities that you can also hop on and engage with; the International Society of Caricature Artists (ISCA) -- there is a whole community around the globe, and we are all connected in some way; Caricatures that push the general understanding and meaning; and finally, lesson plans that the art teacher can print out and use in their classrooms with TEKS (Texas Education of Knowledge and Skills) and NAS (National Art Standards) included. In addition to the layout, there are no materials needed besides a drawing utensil and a piece of paper (or this book if you are feeling up for it)! There are also a series of QR codes embedded on the pages that will link you to sharing your creations from this book with others + links to artists' websites and social media. I hope you enjoy this book as much as I enjoyed creating it!
“
Caricature is unique in that it incorporates a blend of both the representational and humorous approaches. At the core is the need to depict a known subject, no different a result than that of serious portrait artists who will also take liberties with clinical accuracy to achieve a deeper likeness." - N. Meglin, 2011, P. X, in Tom Richmond's "The Mad Art of Caricature"
CONTENTS 6 Letter From The Author 12 Rationale For Teaching Caricature 15 What is Caricature? 29 History of Caricature 33 Caricature Artists to Reference 60 A Closer look at the Lives and Work of Caricaturists 72 After School Caricature Classes 78 How To Draw Caricatures 80 Caricature Lesson Plans for the Art Classroom 85 Sample Art from Caricaturists Around The World
LETTER FROM THE AUTHOR
Starting graduate school at The University of Texas (UT) at Austin in Fall 2019, I never imagined that I would be here -- writing and creating a guide like this for art educators. The fact that I am getting to combine two of my favorite things in the world: art education and caricature, is unreal to me. I never imagined that doing research could be so fun and impactful. My favorite aspect of creating this resource is that I feel like I am connecting two worlds -- the art of caricature, and the field of art education... which, in my opinion, do not often cross each other's paths. My main goal in creating this book is to give more representation to the art of caricature. My hope is that this book will give caricature an opportunity to be more visible in the art education curriculum. I believe that caricature is such a beautiful art form that deserves a place in the K-12 visual arts curriculum. Just like any other art form: drawing, painting, sculpture, printmaking, collage, ceramics, photography, etc. -- I believe that introducing students to this art form can create a huge impact, not only in the way that they see the world, but also in the way that they view themselves and others. I am motivated to dedicate my research to caricature and art education because there is a lack of written documentation behind this art form. I have been a caricature artist since late 2012 -- and throughout my time being in this community, I've come to learn so many different approaches, techniques, artists, and mediums. There is so much more to caricature than just a "quick sketch." In fact, we are all a close community and are all
connected in some way, shape, or form. I have been inspired by so many different artists during my time in this group. I believe that there is so much to the art form and so much more to be discovered, and I want to be the one to help write and document it. I also want to take the time to give my thanks to some very important groups and individuals who helped make this book possible. First, I’d like to thank my two graduate school advisers at The University of Texas at Austin, Dr. Chris Bain and Dr. Donalyn Heise. My two advisers helped me believe that such a big vision was possible. I also want to thank every artist who took the time to work with me for interviews and questionnaires. A huge thank you to the International Society of Caricature Artists (ISCA) for inspiring me to document our community in a fun and unique way. To my students who engaged in my caricature lessons. And especially to the 2019-2021 ISCA board for helping me with valuable resources and knowledge. And last, but not least, to my family – and especially my father who passed away during my grad school experience and the process of creating this book. He believed in me; a huge part of my book and life are dedicated to him. In your honor dad, I love you.
BY: HITOMI ISHIHARA, TYO
BY: A.J. JENSEN, GA
BY: ANDREW PUNGOT, NJ
BY: JEFF PECINA, TX BY: ALANI JIMENEZ, PA
BY: ERNIE TURNER, FL
BY: MICHAEL ALVAREZ, TX
BY: ROBERT MORRIS, GA
BY: J. PAIGE GANDARA-VALDERAS, TX
BY: SERGIO MATEOS, IL
RENDITION FROM MULTIPLE PERSPECTIVES One of my motivations for my creating this book came from my first trip to the International Society of Caricature Artists (ISCA) convention in November 2019 in Memphis, Tennessee. Even though I have been a caricature artist since December 2012, I had never been to an ISCA convention. Planning the trip was challenging since I was teaching full time and attending graduate school -- However, my principal and professors at UT helped make that trip possible. I came back home to Texas so inspired by everyone at ISCA: the artists were all incredibly talented and from all around the world; I had the opportunity to view the premier of the first ever caricature film, "American Caricature;” and I really saw how much passion each artist had while creating their pieces at the convention. I returned from that trip excited to tell my professor (and adviser) how the trip went. After all that I shared with Dr. Donalyn Heise, she said, "you know Paige... you can do your research on caricature..." My face lit up and I knew that was what I wanted to do. It was at that point where my book ideas brewed in my head and into existence a few years later. Caricature as an art form deserves more recognition and documentation, and I am here to help bridge the world between art education and caricature art.
AS AN ARTIST & EDUCATOR J. PAIGE GANDARA-VALERAS
SArt is deeply embedded into every part of my life. I remember even before I knew I was an artist – I was an artist. I cannot remember a time when I wasn’t drawing or creating something. I believe that my love and passion for art stemmed from the support of my parents. My parents would sit down with me, draw with me, and taught me how to render at such an early age. However, it was not until my freshman year in high school that I sat inside of an art classroom. As I progressed through high school, my art teachers constantly pushed my creative thinking and technical process. It eventually got to the point where I’d tell myself, “Wow, wouldn’t it be great to draw all day with other artists as a career?” That made me realize it was a possibility. During my senior year in high school, I started working at a mall. Near my work was a stand that sold caricatures. At the time I really didn’t know what all a caricature consisted of, but I remember passing by every day intrigued by the artists’
skill level, speed, and their conversations with guests. I caught myself going into work early just so I could observe this art form. I eventually built up enough confidence to ask them artists, “How can I learn how to do this?” Even though it took a couple of months of waiting and practicing on my own based on generalized observations, I finally received a call from the artists asking if I would be interested in training at the shop for a few weeks. This training was not a guaranteed job, but more of a trial to identify potential. After training for a few weeks alongside a very prominent artist in the industry, I was hired to start working as a caricature artist. I believe that the amount of investment that went into studying this art form changed my perspective – my personal art works were improving, and I was making money by drawing people at the San Antonio River Walk. As I continued honing my skill as a caricature artist, I was also earning
my degree in art education. My curiosity spiraled at the idea of merging my two passions of art education and the art of caricature. As soon as I became a high school art teacher, I reflected on how much learning caricature benefited me and how it could also benefit my own students. Since I found it difficult to include caricature in our daily projects, I decided to offer an after-school program for students who were interested in learning caricature. Over the course of three years, I was able to enhance caricature learning opportunities, increase the number of participants in the after-school caricature program, and found ways to combine caricature instruction within the school day. My interest in art education and caricature has motivated me to dedicate my research to this art forms and create a caricature book that can be used by the art educators. My book aims to help educators feel comfortable learning and teaching caricature in their own classrooms and art curriculum.
I have been an art teacher since August 2017. I graduated from St. Mary’s University and began to teach in San Antonio Independent School District (SAISD). My love for art and education was the foundation of why I chose the career to be an art educator. My experience and love for caricature and art education is why this book exists. The beauty of art education is that there is a sense of freedom to the way one can instruct and teach abstract ideas. Although art teachers have choice in their curriculum, that also poses a problem in our field: how and what exactly do we feel is worth teaching to our students? Art teachers feel the need to balance what they deem as most important during a short academic school year, “While we as university professors generally infuse our perception of meaningful pedagogy into our own coursework and programs, we encourage preservice teachers to develop their own values and philosophies of teaching and to develop units of instruction they believe to be
meaningful to the future students” (Bain, et al. 2021, p. 236). Hence, art teacher’s personal philosophy shapes what and how they teach. That said, it can be difficult to prioritize what should and should not be taught during that year. Sometimes events and experiences in our personal lives motivate what we teach in a classroom setting. Since my personal life includes the art of caricatures, I naturally believe it is important. That value stems from my knowledge and expertise on this subject area – like how a painter might chose to teach more painting than drawing techniques – it all depends on our personal beliefs and how much background knowledge that we have on that subject. Aside from background knowledge, time also plays a factor in creating or implementing changes to a curriculum. According to Bain (2010), “If novice art teachers do believe in going beyond teaching skills and techniques, then they must learn how to advocate for and lead curricular changes from within.
their districts. Rather than overhauling an entire curriculum which could meet with great resistance by established teachers and administrators, novice teachers should consider making incremental changes” (p. 243). The effort to implement caricature into a curriculum may come with its challenges, but this caricature book will help teachers save time by providing resources for readymade-use. I hope this book will also help structure and explain caricature. I have personally experienced the concept of time vs background knowledge to my first year of teaching. Everything was important, but my level of comfort wasn’t always there for each subject that I taught. For instance, teaching sculpture was one of my biggest challenges in my Art I courses. While I knew some basic information about sculpture, it took extra leg work to research how to teach it, how to use a kiln, how to glaze, etc. The amount of time, effort, and work that it took for me was exhausting. I had no real defined knowledge (since my specialty is in drawing), or sense of where or how to obtain valuable resources; it was my first time teaching this media. I believe that it is easier to teach what you know and feel comfortable with, rather than trying something when you lack foundational knowledge. However, teaching new concepts to students helps them grow. My goal with book is to give art educators a valuable resource that they can add to their library to comfortably teach caricature. This book has everything that an art teacher will need to prepare a lesson and implement caricature into their curriculum.
SAMPLES SAM SA AMPLES OF MY M WORK:
FOR TEACHING CARICATURE
IThe reason why I have decided to explore caricature is because I have seen students benefit from learning a multitude of art forms. Art educators may teach illustrations, character design, comic book art, and/or political cartooning. However, where does caricature fall within these categories? Why is that it only acts a subset of other categories in art? Why is it that caricature is not taught as its own, unique, and independent art form? There are many questions that still need to be addressed, which is why I created this book – to explore these issues. In this moment, caricature is not an art form that is typically taught to students in the K-12 art education curriculum. While I further investigate why it is not taught, I am driven to believe that it stems from the lack of understanding as its own, independent art form. In the book, "Rejects: The Extreme Art of Retail Caricature" by Joseph Alexander Bluhm (2007) he states, " It's all too often that a good caricature goes underappreciated.
Exaggeration and likeness are a dangerous combination that can repel the average theme park visitor and even ruin their day" (back cover). There is a lack of understanding in what we do as caricature artists... which, in turn, can steer educators away from possibly teaching this art form. In Bluhm's "Rejects" book, he displays caricatures that were rejected by guests. In addition to the pictures, he also writes about each unique situation and why they decided not to purchase after all -- each of which have to do with lack of understanding and underappreciation of the art form. In this same book, Tom Richmond writes in the foreword, "When faced with the naked truth about their own physical idiosyncrasies, a body presented to them in indelible lines by a stranger who has spent only a handful of minutes looking at them, the reactions can sometimes be startling... shock, denial, anger, embarrassment. Not that it's the caricaturists intention to do this to them..."
IMPACTS IMPA PAC PA ACTS In addition to wanting to shed light on caricature as its own art form, I have also found personal benefits to teaching this art form within my own curriculum. I teach caricature during the academic school year, both in the classroom and outside of the classroom, which I go into detail toward the end of the book. From personal experience, students want to learn, grow, and invest in as many art forms as they possibly can. Students want to experiment with medium, technique, and approaches. I know that students enjoy learning about caricature art because it is an art that they have not been taught before but have some level of exposure -- through theme parks, zoos, and/or other events. My goal for this book is so that this art form can be implemented in the curriculum. I believe that caricature is not taught in the classroom because of a general lack of knowledge around this type of art. My hope is that this resource will give teachers a basic understanding for teaching caricature art. Students are drawn to this art form because of their familiarity and because it is something new. Teaching caricature art is another type of medium and technique to give students new tools in their toolbox. What I like to tell my students is that "you may not resonate with every art form, medium, technique or approach -but at least you will be familiar with it to know whether or not you like it or do not like it."
WHAT A IS AT a closer
• PUBLIC THINKS • INTERNET THINKS • CARICATURISTS THINK In April 2021, I sent a survey to 36 participants at the SA 2020 "Collective" series in San Antonio, TX asking the question: "What word comes to mind when you think of caricature?" The San Antonio Collective is (from their website): "The Collective is a three-day series of workshops, artist talks, and hands-on activities led by San Antonians—all designed to inspire community-driven action. The Collective will coincide with SA2020's online release of the newest community data showing where San Antonio stands on reaching the shared Community Vision." Here are the responses...
The bigger the word, the more times it was used.
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YOUR TURN!
USE THE SPACE PROVIDED TO JOT DOWN SOME WORDS THAT COME TO YOUR MIIND WHEN YOU THIINK OF THE WORD "CARICATURE." WRITE YOUR OWN DEFINITION IN THE SPACE PROVIDED. NEXT, WE WILL SEE WHAT THE CARICATURISTS HAVE TO SAY
HOW GOOGLE GO OOGLE DEFINES DEFIN NES CARICATURE C RICA CA CAT CA ATURE
In many cases, caricature artists do not agree with how Google defines "caricature." It is a generalized notion of how caricaturists are perceived and not the full truth. Here is the definition of caricature on google:
LET'S BREAK BREA AK DOWN THE DEFINITION DEFINIT TION FROM FRO R M RO A CARICATURIST'S C RICA CA CAT CA ATURIST'S PERSPECTIVE PERS R PE RS ECTIVE t os t , m nd i t s i Fir le f bly op di pe cre to in ard ce h nou d u o or pr e w re." u th cat es ri im g "ca en t tiin t r Of stitu d fo r r b o su w n" o " e th rtoo ter. c a a c " ar "ch
Likeness is a keyword in the world of caricature .
There are certain words that are used in google's definition such as "striking" or "grotesque" that can rhetorically give off a negative connotation to the art form
ll od wi go re he A tu e t is a k t ric l" li tha n. a c ee ct aw "f bje dr su ing be
W
hil de e th er f ex e a iin inv gge itely is r no olve atio th t th d, it n in e i to g w onl s ea y ca pt ur im e.
te cia ith an o c w ss t a re ng o os atu thi re, s of M ric ny u d t th ca le. A rica tru she . u op ca he p ity pe e a as t ct is ac b g je cap n lo sub e e om th o s t
Our job as a caricature artist isnt to simply just entertain. Rather, we entertain the ideas that we develop in our heads and bring them into reality.
E ca ver y ric art atu i r s th e th ei as un r ow n vis i io que ap ns w an proa ith ds c tyl h e.
HOW DO WE DEFINE "CARICATURE" "CA C RICA CA CAT CA ATURE" Real definitions from the artists behind the easels.
L
Orlando, F
Williamsburg, VA
ntina
ires, Arge
Buenos A
Miinneapoli
is, MN
Venezuela
, NJ
Fair Lawn
Santa Cruz
, CA
Los Angeles, CA
Austin, TX
São Paulo-Brazil
I
Detroit, M
Chicago, IL
Brooklyn,
NY
San Antonio
, TX
Atlanta, GA
Whitehall, MI
DRAW THIS! IN THE SPACE PROVIDED, USE THE SHAPES THAT YOU SEE TO CARICTURIZE WHAT FIRST COMES TO YOUR MIND! TIPS: ✅ YOU CAN DRAW FACES OR ANIMALS ✅ DON'T THINK TOO MUCH ABOUT IT, JUST DRAW WHAT YOU SEE ✅ YOU CAN ADD COLOR TO MAKE THE IMAGES POP!
SOME EXAMPLES:
A LITTLE BIT OF
GLANCE Caricatures have been around for as long as art has lived. From prehistoric cave paintings, to hieroglyphics, to the use of political cartoons – caricature has always been around. Caricature can exist in just about any type of art – so long as there is a spice of exaggeration, it has been around since the beginning of time and exists in the world today. It is an art form that has continued to evolve through time. Only… it hasn’t been documented in a way that has tracked its evolution. Caricatures have been around for a very long time. From Joseph Bluhm's "Rejects" book, a caricature is a “representation of a person [or subject] that is exaggerated for comic effect, while maintaining a recognizable likeness." Any type of art that has exaggeration, likeness, or a comical effect can be categorized as caricature. While there is little written documentation about this art form, caricatures have been around for since the beginning of time. In "Infinite Jest" by Constance C. McPhee and Nadine M. Orenstein, they note "Since satire developed first as a literary form, it is not surprising to find a textual component woven throughout many humorous prints. Quotes and puns appear in titles, and verses are often used to amplify images" (p. 6). Through all the literary components found in editorials and cartooning, it was still expected to have some form of likeness and recognizability of the subject.
The very first recognizable caricature was credited in 1757 through "The recruiting Serjeant” by politician, George Townshed. It is a satirical, British print. The print is currently housed at the British Museum in London, England. The print is described by The British Museum as, “Satire lampooning the attempt by Henry Fox to form a ministry supporting the Duke of Cumberland, with Fox, as a sergeant carrying a halberd, leading a recuiting party of disparate politicians: Welbore Ellis as a drummer, Lord Sandwich carrying a cricket bat, Bubb Doddington wearing a coat decorated with fleur-de-lis and Lord Winchilsea holding a rudder addressing a fleet carrying Hessian troops from England to Germany; in the background to right is a round temple, topped by the Hanoverian horse rearing above Britannia within is a statue of Cumberland as leader of British forces standing on a pedestal referring to recent failures in north America and the power of German states. 1757. Etching with handcolouring,” (britishmuseum.org). See image. Of the print on this page. In most instances, caricature as we now know it, was mainstreamed in the 1900s. Caricature in the early twentieth century was widely revolved around political cartooning. Today, caricature sketching can be described as a form of entertainment at places such as
amusements parks, fairs, festivals, events, zoos, and other places that hold large public gatherings. A lot of what we recognize as caricature stems from the formation of Kaman's Art Shoppes. Kaman's Art Shoppes is a commercial art shop that exists in places around the world such as Six Flags amusement parks, zoos, and sea worlds. In 1971, Tricia Kaman founded Kaman's Art Shoppes and only had 5 employees that year in Aurora, Ohio. Kaman's expanded their business and created structure within the company. The company recruited young, aspiring artists to train for the business. Kaman's worked with multiple artists to create a style of art that has been implemented around the country. Today, there are 32 locations around the US that contract with Kaman's Art Shoppes. Though Kaman's Art Shoppes created a unique park style that most caricature artists received training from, as artists began to explore the art form more deeply, caricaturists from around the world have put their own take onto the art form. Caricatures now go beyond just the "silly, traditional park sketches." Caricaturists are pushing the truth, while still maintaining the key traditions that have been around since the beginning. Today, caricaturists are creating sculptures, collages, pushing form and exaggeration, running businesses of their own, and experimenting with their own, unique takes to caricature.
Caricature existed during pre-historic times through cave paintings and hieroglyphics.
Accordinig to the book "infinite Jest," the very first recognizable caricaturee in the twentiieth century was recorded. See image above.
The very first caricature book was published in England: Mary Darly's "A Book of Caricaturas"
Political cartooning and newspaper illustrations were very proomiinant duriing this time period.
Caricature art took a turn in the mid to late 1900s when Kaman's Art Shoppes opened its doors for business. It was the birth of modern-day retail caricature
Caricature artists still exist today and the contemporary caricaturists are pushing caricature with different media including drawing, painting, sculpture, and digital illustrations.
TO REFERENCE A COMMUNITY FROM AROUND THE WORLD
Instagram: @seilerpaiiints Location: Chicago, IL
Jason Seiler is a professional artist and illustrator based in the Chicago area. He began his career early and started drawing caricatures even before he knew what the word caricature meant. Today, he illustrates realistic caricature portraits for publications such as TIME, Rolling Stone, New York Times, and MAD Magazine.
Instagram: @ash_stryker Location: Minneapolis, Minnesota
Ash Stryker is an illustrator and caricature artist in Minnesota. While earning her degree in Comic Art at the Minneapolis College of Art and Design, she interned with Tom Richmond in 2018. It was at that point where she really fell in love with the art form and continued to explore and flourish, creating her own style and voice in the work that she produces.
Instagram: @sebastian_martin_illustration location: Phoenix, Arizona
Sebastian Martin is a caricature artist based in Arizona. He stumbled across caricatures by accident when he was drawing coworkers at his office job in a "humorous way." He bagan to expand the humourous drawings and then attended his first International Society of Caricature Artists (ISCA) convention. After attending his first convention, he knew that this was what he wanted to pursue. He has won several awards, including the ISCA Golden Nosey in 2019.
Instagram: @hitomi_ishihara_0v0 Location: Tokyo, Japan
Hitomi Ishihara is a professional caricature artist in Tokyo, Japan. She has won multiple awards at the International Society of Caricature Artists (ISCA) annual convention. She works for Caricature Japan and teaches other artists the art of caricature. After teaching a cohort of students, they have a chance at working for the Caricature Japan company.
Instagram: @tomfaraciart Location: Oberlin, Ohio
Tom Faraci is a caricature artist based in Ohio, but he also travels around the country working various events and fairs. He first became interested in the art form through comic books and cartooning. Tom is the president of the International Society of Caricature Artists (ISCA) and the director of the first ever caricature documentary film, "American Caricature."
Instagram: @ninjasketch Location: Denver, Colorado
Even though Kiko Yamada is a caricature artist based in Colorado, you will very rarely see her in one place. She is predominantly a traveling caricature artist and works events around the US. Kiko is the founder of "Caricature BBQ," a virtual caricature get-together that allows artists to connect (created during the 2020 global pandemic).
Instagram: @art4mad Location: La Crosse, WI
Tom Richmond is an American freelance humorous illustrator, cartoonist and caricaturist whose work has appeared in many national and international publications since 1990. He was chosen as the 2011 "Outstanding Cartoonist of the Year", also known as "The Reuben Award", winner by the National Cartoonists Society.
Instagram: @mae.adao Location: Delaware
Mae specializes in caricature, and more specifically is interested in color theory. She is inspired by limited color pallettes and will sometimes use her favorite cartoons as inspirations for works of her own. She has given presentations at the Internation Society of Caricature Artists convention, discussing her unique approach to color. She also travels around the world!
Instagram: @glennferguson73 Location: Florida
Master caricaturist Glenn Ferguson has a story of overcoming the most difficult of hardship. Glenn was brutally attacked on New Year's Day in 2016 by a disgruntled co worker at a theme park in Florida. The injury to the brain left Glenn with a 50% chance of survival. He survived, but had to relearn to write, read, and draw again. He has since taken his art to new levels, despite undergoing and attack that left him with life complications.
Instagram: @joebluhm Location: Laceyville, PA
Joe is a passionate artist and illustrator who is best known in the caricature community for his book, "Rejects." Rejects focuses on the sketches that caricaturists have fun with, but ones that the public does not quite understand -- hence, "rejected" sketches. It changed the world of caricature and helped the community continue to push the truths and exaggeration of caricature.
Instagram: @nolanium Location: Seattle, WA
Nolan got his start drawing caricatures in 1999 at the theme park Kings Island in his hometown of Cincinnati, Ohio. After spending a decade in the theme park/retail environment, Nolan made the move to Seattle, WA to develop the art-entertainment business Over The Line Art with his business partner Dexter Rothchild. 5 years and 12 artists later, Over The Line Art has become the TOP CHOICE for caricature entertainment in the Pacific North West.
Instagram: @kellyberryart Location: Florida/Lousiana
While Kelly Berry is a caricature artist, she also does many other forms of art. In between her travels around the country working fairs, she also enjoys being home to create her own works of art to display at local shops or art shows. She loves color and all things witches, mermaids, space, and creatures.
CARICATURE VOCAB THERE ARE SOME COMMON WORDS AND PHRASES USED BY CARICATURE ARTISTS. CHALLENGE YOURSELF IN GETTING TO KNOW SOME OF THE LANGUAGE THAT CARICATURISTS USE ON A DAILY BASIS!
PG. 59: WORD SEARCH
PG. 60: CROSS WORD PUZZLE
USE THE WORDS FROM THE WORD SEARCH TO HELP FILL IN YOUR CROSSWORD PUZZLE.
TO THE WORLD OF CARICATURE In this section: • The International Society of Caricatures - Who we are as a community (pg. 61) • Kaman's Art Shoppes - How you can bring a caricature artist into your classroom (pg.) • Retail Caricature - Samples of caricatures sold at theme parks and fairs (pg. 63 • Caricature on The Road - Featured on-the-road pictures. 64) • Caricature Commissions - What are commissions and why we do them (pg. 65) • Caricature as Illustrations - Where else does caricature exist in art (pg. 66)
THE INTERNATIONAL SOCIETY OF CARICATURE ARTISTS There's a whole community of caricature artists around the world, and the International Society of Caricature Artists (ISCA) is what helps to keep all of the artists connected. The International Society of Caricature Artists (ISCA) is a non-profit organization dedicated to the art of caricature, and promotes the art form to the public. ISCA connects artists both virtually and through the annual ISCACON event. Through virtual means, ISCA hosts weekly art contests via social media.
iRecently, ISCA has partnered with "Caricature Resolution" and "Caricature BBQ." Both of these are virtual caricature events , which include daily art prompts, virtual meetups, and (of course) drawing! Every year, caricature artists from around the world gather together for a week engaging in competitions, lectures, seminars, demonstrations, and listening to guest speakers. ISCA has hundreds of members and the number continues to grow on an annual basis.
Kaman's Art Shoppes is a retail caricature and art business that recruits art students. They seek to have younger artists train for the business because they see value in starting caricature at a young age. Kaman's also has other art jobs available such as face paint and henna tattoos. Kaman's artists also enjoys visiting art classrooms and connecting with art teachers. The managers are willing to travel to an art classroom to talk about the job opportunities and recruit. No matter how far, Kaman's artists will travel or join via zoom! Scan the QR code to get in touch!
WE MEET AND DRAW A LOT OF PEOPLE...
WE ALSO WORK WITH FACE PAINTERS
WE LIKE TO HAVE FUN WITH OUR DRAWINGS
WE ARE FAMILY
@CARICATURERESOLUTION 123 posts
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Welcome to another aspect of our world: CARICATURE RESOLUTION! Caricature Resolution was established by a group of caricaturists in 2018 right after an ISCA Con. The group of artists felt like there needed to be an annual, online challenge for caricature artists to engage with one another through an online platform. Caricature Resolution happens every January. Caricature artists from around the world will draw one caricature every day of the month – there is typically a theme every year with a list of different people/celebrities to draw. The list of 31 prompts/ people is published in advance so that artists can begin planning their approaches. When a sketch is complete, the artist will post their drawings using the hashtag, #caricatureresoution + tagging the Instagram account. The account holders will then select their favorite pieces and post them to their page. Over the last few years, Caricature Resolution has grown significantly, reaching artists from different backgrounds and fields. Follow the account to get involved and participate in the challenge! Many artists will meet each other and gain inspiration from the art that is posted on Instagram page. See some examples below from previous challenges!
YOUR TURN!
CHALLENGE YOURSELF FOR AN ENTIRE MONTH AND CREATE YOUR OWN THEM AND LIST OF PEOPLE TO DRAW. STEP 1: CHOOSE A MONTH: _____________________________________ STEP 2: CHOOSE A UNIQUE THEME. THIS THEME CAN BE ANYTHING! VIDEO GAME CHARACTER, FAVORITE ACTORS, INFLUENTIAL FEMALES, YOU NAME IT! THEME: ___________________________________________ STEP 3: MAKE YOUR LIST! USE THE SPACE PROVIDED TO COME UP WITH A LIST OF PEOPLE TO CARICATURE EVERY DAY OF THE MONTH.
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@CARICATUREBBQ 123 posts
123 123 following followers
Caricature BBQ was created at the beginning of the COVID-19 pandemic in 2020. Kiko Yamada, and the rest of the caricature community were out of work because events across the world were cancelled. Caricaturists livelyhood are often dependent on the live work that we do at fairs, events, and theme parks; COVID not only took away the work, but it also took away the strong community of caricature. Caricature BBQ was created as a way to bridge the gap that COVID created in our community. Caricature BBQ is hosted by a different artist every couple of weeks via Zoom. The artists that join the "BBQ" are not necessarily having a real BBQ -- rather, they are on zoom, chatting, eating, and drawing each other as they are connecting in a non-traditional way. After about an hour of drawing and having fun with each other via Zoom, artists will share their art with one another -- both on the zoom call, and on instagram. See some examples below of some drawings made on a Caricature BBQ zoom call. You can also scan the QR code to follow them on instagram and get updates on when the BBQs are happening!
YOUR TURN!
USE THE SPACE PROVIDED TO DRAW SOME OF YOUR FRIENDS AT YOUR OWN "CARICATURE BBQ" WHETHER ITS IN PERSON OR ON A ZOOM CALL, GATHER SOME FRIENDS TO EAT SOME YUMMY FOOD AND DRAW EACH OTHER! USE THIS SPACE TO CREATE YOUR MASTERPIECES OF CARICATURED FRIENDS!
AMERICAN CARICATURE A DOCUMENTARY FILM
...FROM THE WEB American Caricature A Film by Joe Ciomek and Tom Faraci You’ve seen them in magazines, in cartoons, and at just about every densely populated tourist attraction in America. A professional caricature artist will manage not only to capture a person’s likeness, but amplify it - all while exaggerating, contorting, and stylizing the subject’s most prominent features. To some, they are souvenirs. Fleeting entertainment. To others, a powerful tool in the arsenal of effective satire. But what does it mean to the artists? American Caricature will showcase not only the art of caricature, but the subculture surrounding it. From animators, illustrators, cartoonists, and live sketch artists, you’ll hear in their own words what it is that brings them all together, both literally and figuratively. Drawing caricatures for a living is unconventional to say the least, and you’re invited to explore the art form, the passion, the industry, and the community of caricature art in the United States. After all, drawing funny faces is a serious business! The film chronicles the 2015 ISCA Caricature Convention and the year leading up to it, and features interviews with many of the top caricature artists in the world, including Joe Bluhm, Tom Richmond, Jason Seiler, C.F. Payne, Glenn Ferguson, Ali Thome, Len Hernandez, Rob Hren, Stacy Pierce, Dave Smith, Jared Stokes, Sean Evans, Mary Kay Williams, Ty Jones, Sean Gardner, Jeremy Townsend, Chris Chua, Natalie Hume, Emily Byrne, Kayla Archer, Nate Kapnicky, Tony Sobota, Beejay Hawn, and more!
• STUDENT LEARNING • REAL WORLD EXPERIENCE • THE BENEFITS
start offering after school classes. Since I became an art teacher in San Antonio, Texas I always knew that I wanted to teach my students how to draw caricatures. I learned this art form when I was a senior in high school, and ever since then it has helped me become a successful artist nearly a decade later. Not only did the art form help with my technical abilities, but it also supported me financially. Learning the art of caricature has been such an asset in my life. When I became a teacher, I knew that I wanted to give students a similar experience. I hosted my first after-school caricature class after realizing that there was just not enough time during the day and school year to teach caricature. There is so much to the art form: line quality, likeness, personality, rendering, exaggeration, digital... and the list can go on. I realized that if I really wanted my students to get the most out of learning this art form, I would need to make more time for teaching it. It was at that point when I decided to
My first year offering this class I had one student. Then the next year, two... then 5 students... and the class continues to increase attendance each year. I take students through an extensive learning process, which includes learning facial features, face shapes, hair styles, accessories, bodies, coloring, and the business side of caricature. After weeks of learning this art form, we begin to apply our skills through festivals and events on campus such as prom. I introduce students to other American caricaturists. I bring in guest artists to talk to the students and show them their personal approaches to the art form. In addition to guest artists, I also describe job opportunities such as Kaman's Art Shoppes, which hires high-schoolaged students
to work at theme parks. Students are always eager to come to class and ready to learn. Many of the students are hired after taking my caricature class; have gotten to meet artists from around the country; and leave with a new skill set and outlook in a non-traditional art form.
THAT CARICATURISTS USE:
PRISMA COLOR ART STIX OR NEO COLOR 2 WOOODLESS PENCILS
CRAYOLA MARKERS OR OTHER MARKERS. WE ALL HAVE DIFFERENT PREFERENCES
USUALLY A FULL FRENCH EASEL. SOME ARTIST USE HALF FRENCH EASELS.
WE NEED THE PAPER TO DRAW ON. USUALLY A 12X18 SIZED COPY PAPER.
NOT EVERY CARICATURIST USES A DRAWING GLOVE, BUT THEY ARE HELPFUL!
AND OF COURSE, OTHER TOOLS THAT WE EACH FIND HELPFUL FOR OURSELVES.
The "Mad Art of Caricature" by Tom Richmond is what some caricaturists may call "The bible of caricature." This book is a great resource to have in an art classroom for your students to use and reference. You can also click the link above. It will send you to a youtube video by Tom Richmond going over caricature as an art form and how to draw caricatures. Though an hour long, it is worth showing to students as they learn about thiis art form in their art classrooms.
QUICK "HOW TO DRAW CARICATURES"
LESSON PLANS
HERE ARE THREE LESSON PLANS THAT CAN BE USED IN THE ART EDUCATION CLASSROOM AND/OR DURING AN AFTER SCHOOL ART PROGRAM.
1
FACE THE FEAR
STUDENTS WILL EXPLORE, DISCUSS, AND EMBRACE THEIR MOST UNIQUE FEATURES BY CREATING A SELFCARICATURE. THROUGH THIS LESSON, STUDENTS WILL ADOPT A BETTER UNDERSTANDING OF THEIR IDENTIY THROUGH THE ART OF CARICATURE.
2
AMPLIFIED POLICE SKETCH
3
THE STUDENT WILL EXPLORE THE COMMUNICATION ASPECT IN CARICATURE BY CREATING ONE CARICATURE POLICE SKETCH. THE STUDENT WILL BE DESCRIBED A SUSPECT TO ILLUSTRATE IN THE FORM OF CARICATURE.
CARICATURE COLLAGE
THE STUDENT WILL END THE CARICATURE UNIT WITH A CARICATURE COLLAGE. STUDENTS WILL EXPLORE THE CONCEPT OF HUMOR AND HOW IT PLAYS A ROLE IN THIS ART FORM. STUDENTS WILL USE MIXED MEDIA, FOUND OBJECTS, MAGAZINES, AND PEER-DRAWN CARICATURE FACIAL FEATURES TO PRODUCE AN ORIGINAL COLLAGE PIECE.
BOOKS TO
a visual representation of how caricaturist push the boundariies of the art form
CARICATURE
BIRGIT VLK
Vienna, Austria, Europe @birgitvlk
A.J. JENSEN
Atlanta, GA @ajtoonheadz
JORGE TORREALBA
Venezuela @jorgetorrealba
MANNY AVETISYAN
Earth @avetiarts
STACY PIERCE
Williamsburg, VA @Instaandrebland
ANDRE BLAND
Williamsburg, VA @Instaandrebland
CALISSE BASADA
Denver, CO @skiblits
ANDREW PUNGOT
Denver, CO @pungotcha
HALEY LIKES
Ohio @noturgrandpa
ALANI JIMENEZ
Allentown, PA @mr.alanij
ERIK ROWDY ROADFELDT Minneapolis MN @erikroadfeldt
CLOSING ACTIVITY NOW THAT YOU HAVE SUCCESSFULLY GONE THROUGH THE BOOK, HERE IS THE FINAL ACTIVITY:
JOT DOWN YOUR 3 MAJOR TAKEAWAYS AND DRAW YOUR FINAL SELFCARICATURE. COMPARE THIS SKETCH TO THE SKETCH YOU DID AT THE BEGINNING OF THIS BOOK. WHAT CHANGED?
YOU CAN SHARE YOUR SKETCHES BY SCANNING THE QR CODE PROVIDED ON THIS PAGE.
• • •
MY 3 MAJOR TAKEAWAYS FROM THIS BOOK ARE:
FROM THE HEART, Thank you for taking the time to explore an art form that I truly believe has a place to be considered its own, independent art form. My love and passion for art education and caricature is why this book exists. I never got into caricature for the money, or for the opportunities... I dedicated myself to the art form because I am an artist at heart. Caricature was an art form that pulled me in because of its unique approach to art as we know it. I hope that you are leaving this book with a fresh outlook on what caricature is and can be. I hope that you are inspired and the next time that you pass by a caricaturist, you will appreciate the world of it a little deeper. Educators, I hope that you will introduce this art form to your students and that this book is a valuable resource and guide to teaching it in your classrooms. A special thank you to my professors, Dr. Chris Bain & Donalyn Heise for believing in me along the way; my friends and family; my school administration for making my grad school experience in another city easier by working with my schedule. I have so much to be thankful for - with that, I end by giving my final thanks to my father, who passed away during the production of this book. Thank you for being my # 1 supporter. I love you dad (Jesse Valderas).