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The simpsons handbook

Como desenhar os simpsons

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The simpsons handbook

  1. BULGY EYEBALLS AND FREAKISH OVERBITES: AN INTRODUCTION ’ve been a drawer of curves and ovals and squiggly lines for about as long as I can remember. I can even pinpoint the moment when my fate as a lifelong compulsive doodler was sealed: the first day of the first grade. That's when I began to draw, and draw and draw and draw, on whatever surface and with whatever tool I had handy. Why? Because I found school so unbelievably boring that I had to do something—anything—to keep myself from going out of my mind. Eventually, those crude grade-school scribbles grew more polished and refined, resulting in that crude grown-up cartoon powerhouse we all love and worship, "The Simpsons. " And today, ”The Simpsons” remains part of a special but disappearing art form: two—dimensional hand-drawn animation, with heavy emphasis on large heads, beard lines, and comical flab. Back in I993, we put together Cartooning with the Simpsons, the inspiration for this monumental instructional art tome. But as great as the original work was, it looks like a bootleg coloring book for little babies compared to this big ol’ brick. Check out the gatefolds and tracing paper overlays, the oodles and oodles of Simpsons characters, including Milhouse, and the highly professional tips and tricks from the ani- mators who have toiled on the show till they have weird little skin grooves where they hold their pencils. I assure you that if you practice hard and long enough, you too can develop your own special little skin grooves. I've got lots of cartooning advice, if you can stop drawing for a second and pay attention: Keep things simple. (You can convey space, motion, and feeling with surprisingly few lines. ) Save your stuff. (Don't let your mom or stepmom throw it out. ) Always finish what you're working on. (There's nothing like completing a full story. ) Go ahead and copy other styles. (But don't just stick to one. ) Check out the original artwork of cartoonists and artists you dig. (Pros do make mistakes, but you have to see the originals to learn how they fixed them. ) And finally (here's the tough one): Be originall (Keep practicing, develop your own style, and try to surprise yourself. ) This book is full of rules about how to draw the Simpsons characters, and those rules have made it possible for thousands of artists (pencillers, cleaner-uppers, eraser-monkeys, inkers, in-between-the-liners, crayonists, colorizers, mouse-clickers, and magical elves) to draw the Simpsons pretty much the same way. This process has taken us years to get right. But when I started drawing Bart, Lisa, Homer, Marge, (Ind Maggie for the first time, there was no ”right" way to draw them. I had tried, and failed, to draw like the slick professional artists l'd admired. So I gave up trying to be a drawing master and went back to doodling freakish humanoids with no chins. For me, that was when the fun began. Your pal, MM‘ Geese: -06
  2. Welcome to the world of cartoaning. ..”Simpsons”-style! Before you roll up your sleeves and start getting your hands dirty, you'll need a few supplies. Here are some essential items, plus some fancy extras if you feel like pampering yourself. Pencils @— A standard #2 will work fine, but art pencils come in many varieties, from very soft lead (for a dark line) to very hard lead (for a light line). Pick the one that suits you best. Also, you'll notice that much of the rough sketching in this book is done with a light color pencil. Then the final line is put in with a darker lead pencil. You may want to try some of the many color pencils available and find a brand that you like. For a sharp drawing, you'll need a sharp pencil. For that you'll need a Pencil Sharpener@. You can splurge and get a cool, noisy electric model, or economize with one of the hand-crank variety. You might also want to pick up a small portable hand-held sharpener for when you're drawing on the go. Erasers@—— It's good to have a plastic eraser such as a Staedtler Mars for eradicating unwanted darker lines, and a kneaded eraser for getting rid of softer lines and removing dirt and smudges from your paper. Speaking of Papera , you'll need some of that, too. It'll keep you from drawing all over your walls. Any paper will do for practice, even a paper bag. But you may want a good drawing paper, layout bond or bristol board, for your more finished drawings. Pens 9- In animation, the tight pencil drawings are scanned directly, but for printing purposes, a finished ink line is necessary. "Simpsons" comic books, calendars, merchandise art, etc. , all require inking over the finished pencil drawings. Most "Simpsons" artists use a Rapidograph technical pen or a Micron archival ink pen to achieve those consistent "Simpsons"-style lines. White Opaquing Painte such as Pro White is good for covering up inking mistakes, and you can easily ink back over it after it dries. You'll rarely see a perfectly straight line in a "Simpsons" drawing, but a T-square a, Plastic Trianglee, and Rulero will occasionally come in handy for laying out lines of perspective, floor and ceiling lines, etc. , in background drawings and large props. Final lines are done without these items to give the backgrounds and props an organic hand-drawn look. Drawing Board® — A good sturdy surface is essential to a good sturdy drawing. A drawing board is ideal, but a desk or kitchen table will do as well. Some artists like to work with their paper on a flat surface, while others prefer to work at an angle. You decide what works best for you. If you can't afford an adiustable drawing board, inexpensive lightweight boards are available that you can hold on your lap or prop against the edge of a table. If you're working at an angle, White Paper Tapem is essential for keeping your drawing on your board and off the floor. Lighting — Your drawing will come out better if you can actually see what you're doing. If you decide to work at a drawing board, it's a good idea to get an adiustable Clamp-an Lamp Otherwise, make sure your space is well lit or that you have access to lots of Sunlight®.
  4. Mow H’ can be revealed. .. -rise jealously guarded secrets o-F ‘now 'l'o draw Let's s''ar‘l’ wirk l-or«er’s head and worlL our way down -From ‘there. But «First, a Few ground rules -For drawing in the patented Nia'H' Greening style. ts. lo‘l'icel Big, bulgy eyeballs are a r». us‘l'l Shapes and sizes may vary, depending on ‘the design ol'" ‘the individual character, burl’ always Veep 'er« laulgyl As you can see -From "hie rough construction lines on this drawing, l'or«er's skull is htlllrshaped, rm his overall Read is sort of? like a giant ‘thumb. once you've drawn 'l'la‘l' basic Shape, you can add all the other details one lay one, and iloner's head will begin to rake $h0lpe, as it? by r-iagiel observel Ma-H"s characters ALNA‘f$ save an overleitel 3eol<ll Less is indeed Morel Keep i‘l' Simple win. as stew lines as possible! Approximately six eyeballs kigkl
  5. T okay, step by S‘l'ep lel’s eons‘l‘rucl' a 5/4 Fran-i view of iloNiER’$ ll€AD. ce-«er in J we Neal ‘ App; -ow. “-i-‘N eonnecls bIi‘l‘ but I I ‘ , ll/1 ‘eyes’ Fm-l Mir loop- “I¢ - ‘Top or eye ‘to ~ Hz“ ‘ +99 at ma ‘’ l -m+ea l min , |,.3«i1, 7 bag“ Beard line ’ ~ bo'l'l’ono-F I1 ““""“‘*‘ Topofear . ..“ and “Ht ‘*7 “Is lWJ$ up um km or /4 . ::: ::: .i ~°%«e V"*l‘°‘l ekin I. start Mk im basic 2. Esfalslisl. ii. .»si+. oa J ix. 5. Add in me. ‘Wen am»: ‘l. Draw ix. mm/ Lara sun. .. ) ballwldlwnbskape. ‘FofV0!‘d¢f¢a*1‘l~:5o‘l‘1’oN l‘aeo«lereye, welv¢db¢iavid Add-ileeaneeakercdonfie oi-‘1elaa| lsap¢o. v~dm‘l¢ mamwmrmwaw. l>aeLoF‘l¢eod. 5-6i~| ¢“ov-crwpilsavvdnddknr eenfer ol': in ‘man’ +o M side and +oo ~F; h¢“raad. «ken draw kis skirt . ilov«er’s air on lap resembles we "° “: ;L"‘; ‘;L‘f: ‘V I $£l¢' trowel °°i>S. one in «rm to end rm. W s. a. er is. Fronl o-F 'l'e O‘l‘l¢I'l eyeball 1-o M arlker. as hair on ‘Ike sac resembles an ‘ii’ For Mal-fl. um W ‘I'M: ‘ii’ is pcsmovied on ‘l'¢ ¢ud urlk ‘l'k¢ bofion poinf ysf 1'1: 15¢ inside of 'l¢ Mead. Bald. Bold éoodl / 1/ - T‘ - ‘ I To draw fie hank/ beard sape, -Mn! of if liVe a eoeonirf divided in all-', / £¥¢¢p1' 1A‘l' ‘We 5o‘H'or-i Mil-F is A5001‘ l/5 smaller ‘lkaun We lop n. l-V. Mo. Ixlo. / ‘/ eslll “W ‘W6 "9 $l’~s*N~ Fons are round Mk a m: :;°~H. ;:: .f; ..—>€ (1‘‘ (vi hm wen. “- , ,j] Too ‘l'i¢V—. Too ‘l’lsiv. Tus-l’ Fi3‘l’l
  6. new i+’s ‘fine ‘l’o poi all ms boov. learnin’ info aefion as we examine Tl—l€ Mtiiiy Moons oF HOMER D€TEENillxl€1>
  7. ">TUl>€Fl€]> GUll. T‘/ Coi~lD€$C€i«lI>ll~l6 As you can see, oi complete range of eMo‘l'iovs ean be aebieued by ekanging 3us'l' oi Few lines. ll~lTRlG G» U FEARFUL
  8. l-l' may sound like an oxymoron, bu+ bere’s a look ('l' ROME? lbl AC‘l'lobl Remember lbaf I-lomer bends and moves like a real person (be _‘ius+ bends a li‘l“l'le morel). moigb bis arm l5 blafiee bow . prefiy mueb a cylinder ilomerb bair -3 llis sboulders -From sboulder fa band, if ddoizbzs 4-‘row moye &»‘reely up and siill bends in ‘l‘be bis bead Nben in C U down on bis upper ' »- elbow and wrist N>‘l'I°'. *0 body, below «be collar ‘ Meal: Speed wben relaizd. . 9 ~ K/ ‘ . wrisi Elbow 2 / V l dis Keep a sense is? °"l‘l ’l‘9l‘llV roimdness ‘lb ‘l‘be 5“"35“l‘d' elbow and knee joirrls, euen ilben benf ‘lb ‘ibougb s+ai+ie, ‘lbese yiews o«l7 ilomer «From -Fiue main angles are essential ii. exfreme. ‘lo underslanding bow bis body works, and lbus being able ‘l’o draw bim in mofion eonuineingly, Profile
  9. Bony LANGUAGE Sludy ‘Vbese drawings and na'l'e bow ilomer’s res, i>os‘l‘)i'e, and -Faeial expressions +o +ell us wb all work log a'l' be's 'l'bin€-in . o—F ‘l‘be rawings are eommuniearling some'l'bing wi or a Joiee—oyer or word ba oonl
  10. OF Extreme worm’s—eye view Tbese drawings sbow bow di-F-Ferenl w5:: :;"‘: ;f; :l: ‘m. perspee-lives av? -Feel ‘l'be way we ) Disianee be‘l'ween mou-ib and nose see ‘lbe elemenls o-F‘ llomers bead. is greater beeause were seeing more o-F'l'beunidersideo«Fupperlip. Mo(eo«l-' ebinisseencollareon-esin-Froni o«F'beard. £olloirsl«rdsbaek inpersp¢¢‘l'ive. L)’ A $ligb‘l’ overbead view M’ ibis angle we can see ends J bair loops. Nose dips down in+o beard area. Ear is bigber. —_/ 5 Lines ovl: M -Fan om’ in Teeib curve perspeeiive. around inside _j_ j__ ye‘ — Bear 5/4 Rear $ligb‘l’ worm’s—eye view blosepoivfisupinfronroieye. underside o«F upper lip is visible. ilair is skewed in perspeaive. Ear is lower.
  11. Ror«er’s komds are amazingly expressive um a Minimum pr derail. His Fingers are like skort, Far! ‘ lifile Sausages, 50+ flex] $''i| | bend, move, elwrek, grab, pom-t, pick, and geswre : li¥e real -Fingers. As »Ji''k N5 arms omé. [ legs, «Void ‘We ''enp‘’0d’iov ‘fa give I wen ‘foo Muck read omfony. His bare Fee‘? are skofl and «Fort um shabby, round | i‘H'| e foes. a>@g/ r%‘ei95@® His skoes are shaped like $‘'eam ire
  12. And now -Var Somelking complefely dil3Feren‘l’, le*l”$ clroiw ) wt le+’s relax, ‘lake oi deep lsrearlk, and begin we-Vii NAE5€ $ Sure, -lkai-l’ ’rowerin3 koiirdo is iV‘l’iMid0i‘l’iV5, I. sim vifl M. 2- if i; rdwsl: ;«r. | v I sic balls Hf °PP“' ‘Pi ‘Y ""* : ::V—. ‘A66 oin “'41 $‘°‘P¢' vb“ Mr M 45‘: uneer Seeond eye behind ‘We 9; Mare‘-5 MM «Fpruaira eye and nose. tn. 5o‘H’aI ball). Top of ear lines vp >| i‘l bofion J eye and biseds nose. Uwef lip K; gxfends «Frac- bofion or V—/ was iaiii 3. Add faeiail — ‘ details and koiirline. -nay‘-i-¢, wig 3l‘E‘lL ‘T “*3 re-Fine your details. our oops Mir aieross Iorekeuli Tito loops of air between ear and “Nr | ‘:; ’5 are Forekeoid. equal ‘yu- Ilaiir in ‘ we :2.“ ii: «Fair-iily nose W an ' N”. l . wi Foods 4-2 - ski»: as neeklnee wraps around neek. '. ‘C Lower lip _ K'/ eurves 5en4'l~{ six Nziin beads cierass $rov-i neck info wear In: «Front J neck J
  13. Mairi3e’s kaiir naifurailly +il1s baielr. on‘ ‘fbe fop. arixeruise. l'l’ would look Sfi—l7«l-‘ amid «NV-Hard. Tliere are No eyebcill leng‘l‘s belween MQF3£,5 niefuql eye and we bo‘l"l'or« or “era is rousw yer nauuuv one eye belveen he +op o? we nose and ‘lie MoJ‘l. Eyelids wrap around 'l'e eyeball. <r93‘r<ii§‘fl-9rs> Laskes point down mien Line up knir eye is closed narwmlly. loops ‘lo elininarre —- ‘ unruly Mir and a _ ‘*3’ M3‘ “V “"9 “'9 Marl’ fifik eyelaiskl kair at ‘lbe boise _ fkree pearls 1'»: °‘‘- ‘*4 '6€V—- eaieb Side 04‘ ‘be center line. . i~ii>oa1’Aiu-rl ln -his Nicky aren, wken Marge is sad or upset mike sure no oJ¢l'l0ip of fke M Th hm“ eyebrow doesm become a rim eyelask. hm, “ “A foueb in fie center, are“ | ,M$_ km overlap ad’ all ‘ °‘‘‘’'’°‘“’‘’‘ Akx/ i ’ K; Give Marges upper lip a snxocfii curve. Mal’ 1'00 pointy, no+ For squimed eyes, no expression loses energy +oo round‘ laslies point up. Hlsen -he laskes pom down.
  14. H’; nod’ all ahead’ ‘We Nair! L595 Ara»!
  15. Below H or no’, marge us a. ¢. ;~. g.«, t¢m mp-.5¢« oi ». u.r boa; Mur3t$ rycksvs mow. ow Ira. u Jum$'MN3 t>om' uv -n coma oi ox: op um ‘J’: mmxlv Soagtc é. As um u)| $mo. aon ~'un. N uwkds. uargns we c~! A¢$ -.9 yS* . : bu “mu we 59.: I009‘, cf ‘var x411‘. -/S‘; rx. zyekagxn curu 0-. ’ slmymw and m —; .. ..» lays 6% yes‘ No‘ ? am we >0-ac- ». —" s. ..‘r be"-‘(:7 cur nc {A/ tuna dun Jr” 4, . y‘ . r¢l. .,-¢c pt: -.-'-. 'W . .' ‘fur: /r> saw no ‘>‘». —,,4 m/ ,u, -,; nr,4rJ. vs . r¢ new . m .4 , ,uz*, ~. -3.»; gr ((o‘(_L «WI 4&1 mess. Mu '. --_» m pa puma. 2/5 : /K V_/ J “x. .. ., 4, «z , /5 cruk gas‘ Sku: »< 4,. “ . . :1 , ,. um» . n.c Ida’. Mr-as ___r_—_ , M’ W" "' '''r‘ 5,. mg w>»
  16. Mow le‘’)$ looL ad’ OF
  17. :‘-’>a‘-AT:4"£<. -‘H*a'>'»‘ '[= fS§‘(érJ. ’!fl]3'-
  18. 3+», cu‘? or m way! H"s MAEGE OM T~€ MOVE 1ou5. gr arm IS pI'¢H] mack an c[| II6¢r -Fro: -. sou| der +9 mud, .+ fll bends 1' 15.: UV‘ “°; :Z $: ‘lbmI awduvlrist Marge S and moves like a real p¢FSO9. $-may -rkese Views or Marge From me main 0m3lz$. ‘Te[ are essevvfial -to urders+avdiv3 kovl Ker hoax; worV-5, and hos lasing ahle ‘Yo 3N2 Ker a comimivxg sense o«F mo‘'iov in your drawings.
  19. $€LECTN€ ? EE$? €CTN€ ‘tkese drawings skew kow AH? -?er¢n+ poiVd'S a? view kead. a-F-F241’ ‘now we See ‘We elevnewfs o-F Margés €)<‘'reMe ~Io ) —e/ e View $pa¢¢ hduccn and Top 9? ad dam-s~: s. air -s Forcsar+. m¢ " H’ ’ - ' n ‘lwmt Bantam and nose is 5(¢q''¢r $ [3 Horas‘-: ,Y“, ¢°; -hi: _ baausc uc ar: sacmg more 05' its NOISG FOIVWS Uwdarsuda ogpupper hp is Ii$iH¢. """‘“‘d‘ °: “""r h“ ”“u““ cvrvas 09 m -Vrom J nul. ‘
  20. A riAiv1>y—1>Arv1>yeu1>€ To ‘ MAia(>€’s iiAiv1>s (Amp Fear) nlkereas Roner's Fingers are snort and slushy, Marge’s are long and slender. Es Because o-F ms, ‘Were may he Mofe - _ +evni>*'a‘'ion fa give ‘lkevo. foo muck real K _ anorromy. bon’+ give in! you ean keep hen simple, yet s’rill expressive. _ . eel K/3;. yy V: Like ker kands, Marge’s -Feel’ are «Fairly long and slender. Ref slioes -Fii snugly.
  21. jou’ll amaze your Friends and con«Found your enemies Wlxen you unlock -hie vnyS‘l'erie$ o-l7 lnow ‘l'o draw First le‘l”s s‘l'ar‘l' a‘l’ ‘five command center, BAET’$ iicnb l/ Z Barlk Music kead shape 2. Cenfer kis eye Leween ‘We le-F1’ is a cylinder. 1‘ink o-F a fin can. and rigkt sides of ‘nis kead, Wt iusf Below ‘lke oriZon'| 'al cen'l'er line. Ris neck is a ‘{ shaller cylinder 'la'l' exfends -From he hofiom is? is kead a1’ an angle. ‘five ‘lap of N5 ear is in line wifi. , nebofionorkis » / eye and bi$: £l’$ ' kis nose. $oFfen fie neck line. 3. Begin To add Nair i>oin‘l‘s al‘ evenly 4. Md 15¢ res+ or Bnr"f'S Mir pcwnfs spaced infervals. Add kis nose, ear, and (Kline ‘lofalr-no more, no lessl). Give him oi moirfii. Draw is second eye, 1'ueY¢d beind brow bump, pupils, lower lip, and ear detail. in first eye and we nose.
  22. ‘Ike ‘Top of eacli liair (>OiWl' is rounded and eacli pain? bows owl’ sligid-ly. WWW Lille all fie Simpsons --- - ' carac1‘ers, Bar‘l"s ieefii are in a conical arrangement nmetker fie M is open or closed, Too PUFW1. Soak“ -Key slovld retain ‘ikis shoe. ‘W: M , y ‘ «Follow ‘llie direcfion ol‘ Bair'l’$ eye! -»all is Iiipproxit-ia‘l'ely +5., ,“y_ 1,“, seven pupils wide. .. ivlien drawing -the classic Bari grin, malie sure you nave al’ least -rliree inferior toorn lines. :3 As win all sinpsons Family members, Barl"s nose curves up , us+ a bit T‘ Tkere is oi nldle also no»: «lie gen, 5|,3‘-i- nu, ‘ 5902:: decreases as ike . ‘l’ curve away oil’ on ‘hie sides o«F M ‘font Bar+’s kair.
  23. Mow, unless you mm in draw only c| oS¢—upS, we’d barter learn kow 1'0 draw is we bags BARTB Bow +a.1I(. ,m skoesl). z Tm can Mad fiallfikuped ’ belly ~- k, $12”-. won 479:1’ 1'ubu| nr legs I L sfufi by Hoéling m Add eyes and urns. Md nose, ear, and -fingers. Pvt m pupds, ear Aeml, 15.: base shapes. €s+o. b|. s n eercfzr lmz -For raferenu be-Vme B«r+'s Mr and alumna. and ska: ddml. slum odd-mg dermis. B , - Barf’; ‘l’ofS¢ us wt -mo ‘ ‘L/ C‘$+ 1 IC 0 I . ' MAE sure u+ ‘ Wraps around ‘M: «Farm at" 1. $1'onAL ” .5‘ , ‘‘y__ I / I ( 4-’ v Q m>rnA| shndivwg pose, Bar'f)s logs and 5521' um: kw 15¢ Ans-t can slide around M sfommk ‘W3 "4 ‘WW P'°*'"= '5 °' ‘*4 3”“ W‘ = “=“N spueé, Svpporhwa 1%. : r¢$‘r J N3
  24. THE MU: I’TU1>NoU$ Nxoobs oF BART once again, vxdhee kow v1i'‘ Minor vqriamovxs in ''e mm and eyes, you can creocte a wiée range o-F eho‘hovS‘. AM6$T-HDDEM R‘/ $TEECAL
  25. 7‘ B€Fux>1>. a> EAGER . fl MAD J / _ N‘/ 7‘ . T 1>uNBFoum>a> Amuse» FLEADIMG 4 ANED l>$APPoNTE}>
  26. Re may be Known as an underackiever, bun’ ‘Kai doesn'-i' mean Bari’ _', vs'l’ s'l'ands around. fou need ‘l'o learn now ‘lb draw name ow Bari’; skoulders are mobile. ‘‘ey “"‘v' J M 83”‘ can swing around. r-. onIin»3 in ‘lKree—dir~ensional Space, noel’ on a «Flat 'Na—clih: nsional Eur-Vane. +’s inpor+an+ 'l'o esralalisli We line 047 ae+ion in any pose, ‘lken build your drawing along ‘l‘ia‘l' line. zue-i ‘l‘¢og hsgdg at Bar? is leaning skirfsleeue Forward, e’s visible solidly plan+ed Arr-i LOMM -Forward in soaee Pain owl’ underside J of soe A s Barr leans forward in Kldfe how skid flies up Foo« plnvfisé directly ‘his pose, nia‘| 'i¢e kw fie wei-3H lo iwdieafe N up and down haM¢h¢V‘l' beneafii lead Var great! o«F. isLodyisonone-Foo-l. o«FBor+'s~odyaservns. liaalanee we index Finger exfends direefly -Fron M line of -he arn. K. ) 1oogk s'l'a'l'ie, 'l'l«e$e views of Tou5Sar'hISpT¢H]hu¢ ,5.‘- a cylinder «frolvn snoulder +o hand, if still BW*_ ‘Fr°“| Ne kends in we elbow and wrist 'W‘'‘ “S 9‘ ml“ 6 are ¢$$£V'l1Ql ‘lb MN undersfanding “W sligktly iiow kis body 1/ ‘*'33‘‘*‘‘‘- works, and -Ms K wrisi 1'—-/ being able ‘lb draw kiwi in Mo+ion Keep a sense 07 roundness +o ‘°, NM‘i, alY_ ne ellsow and knee Joints, even when herd’ fa ‘llie extreme.
  27. Bo1>l€$ OF EllD€tlC€ Study Mg drawings and no-riee kow -We expressions, geslvres, and Mo‘l'| .OI combine fo ‘l’ell 'l'e s'l'ory.
  28. ALL THE Anl6L€‘> Tbese drawings sliow liow di-l7«Feren‘l' perspeetives aiF¥eet low we see tlie elevnen‘l’$ o«F Barts luead. sligkt overlead view At -ibis angle we can see ne -Flat (yer spiky) 1'09 J Bart’; bead nlose dips down. Ear is kigber. $li5li‘l' worn’s—eye view nlosepawd'$upin«Fronto«Feye. Unelerside o«F upper lip and bael teetl. are visible. car is lower. Front View 5/4 Front P/ rohie 5/4 Rear Rear view éxtrene worn’s—ye view $paee between eyes and top o«F liead div-iiruslies. Dl5‘l'll'. £¢ between vnonrfli and nose is greater beeause we‘re seeing More oF -llie underside 0‘ upper l| Pi collar einies up in «Front o«F neelt.
  29. HAND IN€ ) , (Ann Poor Fawou-ry 9? 1 ‘ LA ken ‘ e: M:. ::‘: }|: /I E; ::: SSiJe A ‘/ ‘ wflk « Minimum ox? <¢‘'ai| . Also like g: F‘ , ‘ Rongr, H5 -Fingers resemble skofl’, -Fad’ f ‘ r ‘ ‘ ) 3 - | i‘H'le samsqges, wt hey i cud, ‘ ’ M . Move, clu-'c, swipe, poi , in , and Q2 ‘’‘‘’‘‘'v; —‘-_-: ; :3 _ rudely gesture like rea in ers. / ' ~__. it. ‘ ( ( ' . 5 ac v @323 V ‘ V R‘ u . ‘ - . I I . ‘I H $or"' and Fort yxifi. siubby, shaped | i€e sfeam irons. rgma | i'“Hg -toes. _
  30. v om oJer0cieJivg mood? okay ‘Vev‘. Le+’s draw gfl Nell ge' rigkf 1'o ‘Ne palm’. .. . ..(ae’mal| y eigd' poiwfs) vlifk S Read eirele €ye I. s+o. r+ urrk ‘No eaneenfne eureles. Tkese wll become LISQIS Read and eye. Z. Add 1‘e ear, nose, and upper hp, ‘Ken draw ‘We afler eye bekynd fie forward eye and ‘fie nose. Now «Ad We Nlxf eurele. Tke aur eurele IS no‘? eoneerxfne vM' fie Read and eye. 5. Block . -x L. sa’s mr, meek, and neellaee. Esiabhsk koruzonful and yer-heal eenfer lmes on in ma. Danae kmr pomfs mfo -Ikree groups grace-Fully 51>! -‘ neel | l1’c vpper lyp. based on fies: eevxfer lmes. 4. ‘|1gH'cv up and add dchzulsl P05-| ‘S, eyelaskes, neekloee.
  31. éyelaskes '; ;;;1;; net 1'00 s«>r‘1'. No‘? «loo long. or 4,; +. , 5" l _ 139- of ‘war k ‘ EV‘ . I '/1 eyes lslol ‘ ' lslol ‘/ esl Even Spofi , Lisals lead is "l| /4 L60 Ms ei31' pearl‘; 9: Mr, lasles. eyeballs ‘fall. ‘mnlt of . .sn‘s W 4 ‘led necklace as a or‘ ‘l: :e 0:34 'lrwe: °(‘IaoUe°vP$ donvf around ker neel. Draw lkroogk ker fig l“°r‘7‘°'m‘l “'“'¢V) “Ml Luke Marge, Lusa’s lalskes curve out «Fran U541 W15 Meellalee kas five L ,5‘ *“° “'= ‘°*‘ N mm). a yunlslung pom . n we eewrer or n. 4.. four laskes mas m Front an ‘No m*° 5“ ‘ °" "A “I" lwrhally Slsovllllg un lsaelr. G map" on eufker sude. $oMe nole oll>ou‘l' ‘l’ee‘'l ‘M Mm or H”; S As urrk OM smpsons Famly V W“ W8 5°92 arehng ‘mangles v-Iufk lugklly rovnded fuss, NO. A v-embers, . «sa's <reell are l' a eonucal arrangement wkelker fie N>r‘ | S open or closed, «key skould relmn ms $alpe. oeeasuonally, you nay want ‘To draw Llsa «from a s| ;g+ly Inore Iromal Um-I. len domg fins, leave A spaee lsefween G006‘ ker eyes. 1‘. s goes «For / Llsa generally as men draumg a +oo‘l. y gm, Teelk are never “'6 22”“; Sue «an skaulng always slam ‘l’e toward arawn . n dovlvle rmls ' 16$! / ‘vAs¢7 mm . s open. 1’oa‘l' m lune urlk me mt. hue n. s~eve2| $orne -Freslx notes on ‘llxe eyes Ar pl,4 ‘‘ese apply to ALL smpsons ekaraefersl Meyer l 1 l W“ 9,45 From ms sllgkfly I 0,, £105“; or r-«ore -Frontal mew, I a| : 0,“. Lnsa as an exfra game; 30.31 .5, 0, kuur pom-l‘ slvowng. htfhllg pom’ eonple+e elrcle -For ‘he £‘f¢llld. MO! Yea“ Add kaur Never eross -he eyes! pom lerel
  32. ) Mow ‘lkal you’ve mastered ‘We nallenalies o-F ler lead, le«"s sum i'l’ all up will BOD’ I. By no»: you know 2. Add lead delalls as 5. Add arms and dress dehul. 4. Refine «Xe shapes and add -final L, ” is NO kemls 4-all -mxt you block un prevsously dareefed. €sfablls M Ozvrhnve fa add -Fuelal elenevtls. de‘l’uuls. Pu‘? un lseauds or neellaee. ( lus Skoesy) «le base slapes neeldaee, dress slape, and skoes. seven dress poms, evenly spaeed. Add fingers. Cot-xplefe slvoe delml. P ' ' -F. rs+. ' eyllndrleal legs or ler sou, l~l9oaTAu-rl me-r mo ball «key l~o«‘ ln rougk draulngs, 07 lmler body. sweep up nleely ’ always draw -lkrovgk ' mo ler neeL. -Forward elenenfis like arms and legs lo esfablisl. «le «Form under-ea'll.
  33. T-E NAMFo,1> Noo1>S oF USA 1>$A>>oMTEb Tekkmgb $P€(. ULATJ€ Anmoyéb PLEA‘. -ED l>$TRE$$Eb
  34. ASToM$RE]> mmucnouy DREAM
  35. Slse doesn’+ 305+ lalll. '“£ 'l'alllL, Lisa wall! -5 ‘lke wall (and runs, and jumps, and sLlps. ..). Le'l"s learn kow ‘l'o draw All or ‘Me P(£llOUS nales regarding MoJeIev‘l’ apply *0 Lisa foo, km no-hce fie 3l’(lLE: i.'l, Flowing lines in txese Lisa a¢‘l'iov poses klcfle ‘We line «>5 action in ms running pose. l$ plued dirgcfly under xer ma : o>> good balance as se lcans iorward. Mal’: low er dress «Flies VP and baclr. ‘lb K As Ll$Q leans {Forward in "‘“‘ °‘‘'‘ 5"‘ ‘"“"‘5 Fvrlker mdicafe lner body's Forward notion. ms pose, notice law 1%. : we. -3l. + “'5” J “N "" l‘35‘ oFkerboéyi$on‘l'is«Fool'. sway ‘lkese S‘l’al‘l'iov0lf, ' views 9-? Lisa Fron -l7N¢ angles 1'0 undersland kow ker body works. ms will allow you ‘lo draw ‘nor in rno‘l‘lov More convincingly. €235? Frorcl View 5/4 From’ 5/4 Rear
  36. FRESH PEE$P€C‘l’ll€$ Tlnese diverse views lllvs‘lYa‘l'e kow di-l-'-Feren‘l' i>er'$Pecl'iveS a-FFec+ fie way we see he elenievrls o-F Lisa’s keaé. F $li5‘l’ overhead view $li3d’ worva’s«eye view €x'l'rer-ie WOrV'l)$’e{€ view A1’ ms angle 1'ere is More wose ooinls up in $'ron+ $oace belween eyes and fogs ol' Space between —‘| $4l, $ eyes and o: eye. Underside 0-? upper kead div-iinislses. Disfanee belween file +op ol-' . er lead. Mose dlps lip is visible. Ear is lower. nioirlk and nose is 5I'eni‘l’er because down. €ar is kiglier. Lower lip we're seeing nore o«F‘ fie underside and neel are dirnimslsed. J vpper lip. Heel-lace evrvts op in $ronl' o-F neel.
  37. vow 'l’a'l' you lxave Lisa down pal’, i'"ll be oi snap ‘l'o draw As you would expec+ by now, we’ll s+ar~i wi‘l’ NAGGE $ READ l Head circle l. $‘l‘0if‘T um a donirlt Eye (#40 sprinV-les, please‘) 2. Add ‘lke ear and nose, «ken draw -he oder eye lsekind ‘hie -Forward eye and ‘We nose. Add ‘le cylindrical neck skape. 3. Block . n or piicrer and add ‘lke air circle. ‘l‘e lioiir circle is nod’ concenfric wrlk M lead and eye. Black in Maggies kair. fou can also draw an inside circle 11> define liow deep eack Nair poinl soi. ~ld -3o. Maggie as ‘K poinls of hair, bin 1ey are not in fie sane arranger-ienl‘ Md éflwk QM have“. as Lisas. $ee if you can $pa1' fie di-F—Ference'
  38. ~iA(>c= ie’s PAClFl€E sucnive C‘/ CLE Mfl33|¢. $ eyelasles are like l—l$4l, $, exceprl‘ flat se only as ‘lree of lien‘ Tkey are of equal lenqw and are equally spaced. Tke poiV‘l'S o-F Mag-3ie's kair are so-Pl’, arcking ‘lrioingles will‘ liglclly rounded ‘lips. / / 2' led wr n | . MO‘. '3 (Too : oi3V‘ly'l) Niaggies lead is 4 V2 eyeballs kigk. llair poiM"$ are arranged in oi s—s—z selvp on a 'l'il‘l'ed axis.
  39. W yoo ‘MAY. you can get away wrrk gas’: drawing a Fomless sleeper under Mag5ie’s Read, -tkink. again! ‘were? «A fmy baby Figure unéer ‘Mai’ ‘Wing. $o lei’? learn kow -to Jrau. .. ~Aeee’s Bony Z. AAdkead&: 'culs as prexnoosly darecfed and H04’. m Ker am. 6 nd ' I l. Black m 15.: base; sum Furst Shah nrov—sap¢d Fart J 5. no.4 «saw you've and odd Jami dermis. """"““‘* "““3‘3“" ‘°"V' Dm. ‘__r°‘_3d‘, M ywcmoddkerslctper. my ‘Wyn, wrap rt snugly arbond ‘ ¢r oppcr boéy and In :1’ Rang loosely from Mr befly. has and Four? are 5|: -gkfiy sug-3es+e¢
  40. //
  41. Tkivxll. on baby ¢av"' aonmunicofie as well as Ker parewfs or older siblings? Nell, -l‘kivL again‘. Here are Tl-€ MAM)‘ Noo1>$ oF NA66€ K DOUBTFU
  42. ’ ’ T
  43. Asll. any no-tker, babies can be a Randall, and 'l‘e $iMpsovs’ baby is no e)(cep‘l'ioV. you'll Ham’ ‘lb learn ‘lb draw MA(>6€ N Moflou lv ae'l'iov s‘v~o‘’s reveal par‘l’s o-F Maggie under bef sleeper, like a
  44. Try 1'0 eaplure a sense oi? ‘lke awV-ward mfion of a real baby. Geswres skould be eu‘l'e and babylilfe.
  45. >oM1' oF view As wilt Lisa, no‘'e bow di‘FFeren-V perspeL‘l‘NeS aF-Fed’ low we see ‘We elemevifs o«F Maggie’s Read. $ligH’ overkead view B ‘ibis angle here is More space beweevi Maggie's eyes and 15¢ top of ber bead. Bow does run breav. airl. ne as usual. Mose clips dam $lig‘l’ worn’s—eye view *°Wd M4-~‘»= ~'~ Ear is b--am Exirene i. :orin’s—eye view Nose poms up in Front o-F eye. Space belbleen eyes and mo of bead Air-. inises. So»: is hgker on bead. Distance between paei¥‘ier and nose is gfea‘l'er. allar eurves vp in Iron’: a? neelc.
  46. iiAv1>s (Avb F€€'i’l Aciaoss Ti€ vviaseiay Maggie's bands are basically -iiie same as Lisa’s, bu’! muck smaller. Even ‘lkovgk -ibey’re snail wiik s-tubby li'H'le 4-‘angers, Maggie's bands can bend, Move, clvfck, grab, (>OiV‘l’, pick, ' and geslure like any dlker c~arae‘l'er’s.
  47. flu. -M. f/ his supponrme cAs1' , ‘ V‘ I,
  48. Let’s leave tie primary Simpson ‘Family members For a wkile and explore some ol'-‘ ‘l‘e secondary cbaracters, S‘l’ar“livg wi-tb By now you skould be pretty ¥amiliar wrtk ‘lbe metkod of building a ckaracter -From Familiar Slx0ipeS, so we’ll dispense wiik ‘“e usual eovS‘l’ruc‘l’iav notes and just -Focus on specific details ‘l‘a‘l' Make ‘llxe residenls o«F $| >rivg«F'iel<l uniquel Use cone skapes «For Grampas bead. ‘ibis cone establiskes bis kair. Grampas eyes are usually a‘l' Four poiV'l'S / — . old—age bumps o? kair, similar in and wrinkles skape ‘l’o Bar‘t’s upper lip
  49. New lanes give Grauxpafs alorfkivxg a Bell/ lime wrinkled looV—. -F1av1$ $Moc‘’H{ kg irdb ckest ‘Ike Nqv/ M0069 of érampa N$l>€ 119! Gram” N/ ars dercmresl. 1-? you ever draw kin wmovr hen, cov"' -Verge! ’ ‘‘kq‘' flex] are wktzd‘ Veep N5 lips -From receding iV‘'o HS mm!
  50. €yes are smaller flan Simpson «Family Members, and -were is always a Space BQll‘SlxQped kead between lkem. always srrs -Forward on neeV. . Hair wraps around mu 0; bald ma. $leei>{ w e[elid$ Wl'“ D 9 bags onder eye$ Busky unibrow as Ear ms usually 'l'I'iaiV3ulaI'. *8‘ °* . -t3~ TWO ‘leelk 3 kang over K’ upper | »> -s beard. Draw wrmlded. beard firsf as Add ‘MW °“‘ W5‘ de‘l'ail ‘l'o beard.
  51. M-sbaped arm bair [like on side :2? l'lamer’s bead) ’ x rJ$l1>€ rii>I. s we ___, «-" y i Nillie’s body cbanges wben be @ ‘; V / l‘ / /l lakes oi-‘F bis sbir~r. rlis usual 7' ‘y 1*’ 1 narrow cbest sloucbed baclL, and pauncby belly are replaced by ‘Ms manly pbysique.
  52. l'loo‘l', monl. llerels Simpsons anima+or and publicily ari'is+ Iulelus l>la€TE wi-lb -Furfber +ips on drawing Fay aiV": r«io~ Va mgr: ii. in. er iiillie; Kw’ tar¢VwL$ na «e >~ iw rye will ! earVmJ¢ ae line, *9 Hal: sole '9 «A V’ yell ‘lllllllllifi < a r ‘ eel e . ,_j ‘ ~ ‘V’ 9 wllies DQWK: V‘ N04’: new we body poswre belps aeseribe we need skew anger L/ ,l’—:7 w, uiliie isnw always a my . _ -3muc you can alfer big head , _ l _ , easily by Nlilglvlg we nape is: - (e r y 7 bis eyeliroa and mm
  53. Despile bis good nawre, Barney Space between 09.6,‘ ms Q Ball—sbaped bead laasv eves «Furrowed brow. wi‘l‘b ‘lkicl neclL {air Se? Nab on bead, euen wiib eyes. Tbree ‘l'ezl‘ sbow Wen moirlb Rair is sbarp is ‘[0564. and busby.
  54. Barney is -We beads ‘hall. lM$ll>E ‘1'Pl Barneyls bail’ does baye a specific design consisfing o-F +bir+een poinfsl Four poms on +op widb ‘'4o—i>I'°'~3¢d a part in fbe cewfer cowluck. Key Tbree busby poinls in back DR: $bs0f'l’ pom? and one long poinf For sideburns
  55. U Mose is big and round and ‘tall-es up 5/'-l o? ‘tbe space between ‘lbe center of bis bead and €yes are V‘ V K m centered , '5 "‘° ' vertically on — bead and set / ——§ very wide apart. ‘ Nlilbouse bas a gasses cylindrical bead V2 fill witb convex e. e_ °“ ‘ sides. Tbe top " Mat 5 evlses‘ at bis bead and sbort and bis moutb line b conical. are convergent. Add lair M Add stem and . bridge ‘to glasses. ‘Tbe stem rests against Ear sits sligbtly bis bead above bis ear. above ‘tbe bottom Milbouse bas ‘tbicl, line or bis eyes. rectangular eyebrows.
  56. | Z. 5. Arms are Milkougg q5 Q rwals Hider body similar ‘lb ‘Wan legé. Bar~+’s, km um a wider, sxor-rer ‘J akesl. (gt 2 ‘r—skir~t rides ‘ Fed_ are kigk on belly. small and ‘¢1ed3e— His [:35 are loflg ““‘: fi:: ‘“; ::f“ THE MANY Moons oF Mlu-loU$€ msu>€ Tl? ! & Nken Nlllkouse takes 047-? Ms -3lalSSe$, kas eyes ¢ are -two | i‘H'le ans. Q Nev kc closes NS e/ e5, 'l‘e/ are ‘No | i‘H'l: lines.
  57. Eyes are oval 0 and sef apart ' Rounded ' nose [>OiV‘'5 ¥m: ::: er$ 9 down +0»-Iolrcl Mad _ upper lip. 15 al 5Q“'Sqpe gar is sglr eevvlerea an al well Lalo»; eoniml ve4L. *““"*® Mrs. r. kals -Four skor-t ex/ elaskes pef eye. Three lanes Draw ‘fkrge iv<lieol'l'e circular skqpes 5341 5‘v‘= €P fa 351-akligk ‘ ‘ OF NIH’. Ker‘ hairdo. x>on’+ -Forge‘? (V ‘*"""lV Add ‘l'ex‘l: re 1'0 kalir. $«e)$ Bart's feaeker, so remember ‘fa add 'l1re<l bags under ken’ eyes!
  58. .. .,a O . ' , - . ) Collar of {G} . 4 xy 9 swea-l'er wraps -' _ around necL Q ‘ Ball oi? lower ‘ . ' / body is sligkrly _ V ( , — / larger. ‘ A/ 4 I $| "““" I K . Sensible slices ‘ will‘ oi -Fla-r keel Tlxe Many Moods cal: Mrs. Kroilmppel N$lD€ TPl Tkougli lier usual loov. is plain and fired, / Mrs. firabappel can A I Q loci amazingly sexy i-F ske wards lo (and More g lN>of"l'0lI‘<l', i-F you want ‘lb draw Ker +ka+ uayl). N J
  59. KR| l!'I'Y ‘I'll! IIIVIII ‘ 0 G Eyes overlap. V-rus*y’s basic lead 5eey_ 5,1335 SMPE *5 Wen smiling. ‘lke same as Roner’s. Upper “P is long and «? a''. [X Rair on ‘lap is 9 dot«ie—saped. Hair is Q scalloped like Mar3e’s. r und laaclt. . “:47 lead. _/ Male, beard area.
  60. l’-rusiy’ i oops um lies in we most
  61. lley, key, ltidsl l'lere’s $il~lpSOVS avlir-lafor EElCV— TEAM will More lips on low ‘lb draw your ol’ pal. .. WW Krvsw is truly an‘ or our Faivorira claracfers in ll: :as1' +o draw. ltleil drawing lxlh, llirilc or llaher in II olpun oulrrr 1ley are very $iVlll0( in body p(aPof‘'lO‘IlS and lead slope. (nasty is very expressive in (very way. wlen drawing good over—+le—«pp poses, your drawings and ‘la read iii clear ample Slla~JrV"1:S. llere are some elahplzs or iilal l iieavi in my drawings, l always wry +o «liiilr. graolieallyi Take A loalL Al’ ‘N: nor sillouems ANN: if you guessed lley were Kmsly, my , pb is don: lohserve we reawres llai ladle llese slaramrs uiiiqup and try ro draw new so ‘la1' ir only wakes ci second ro lie rend elearly. Loal on Figure all For zr»s«y’s ‘llgy, leyl' Pose, l smloled lis onus clear away ‘ran lis lair Awd body. ms reads very clearly gr-apllcally. ln Figure 51., l i-ode sure rnis+y‘s dollar was separnf: -Fran ll: had or lis lair and mi lis slir-rsleeues overlapped ll; urns. Tlis l$ a good rule rp keep lV i. irid as you draw misty, or any carac+er. l stress ms reolniqve +o ny animfiori crew and lope llis will he lelprul in you, rool AW. T/ -/ATS I72’ I'LL GET YOU FOR THIS; TRAN, YOU LITFLE FISHER’
  62. QQEEGWII IQI Bob’s kead sxqpe as . . E elids are an | ov3er version _ _ * 5, Y 947 Hoherls Ninmllv ‘‘kuMb—Sa; >ed ma. 3 “PY- €[e$ are Se‘? apart hwy Bob’s Smile Upper 1. us I ma _ and slznde: ‘/7 (V kqs as sl.3+ I wave ‘to it Meal i5 shun Moss 6 long Md wmm‘_ 27 and hflavxgulqr, |>OiV‘'iVg down ''owArd hp. €s+a&las Bol>’s crazy air$‘/ le um skarv. Fin shapes ‘‘or’ -new axrf -From ‘| ‘ke-J‘ | ive$ o4-‘ Ms kzqd. Add scalloped skqpes to kaur.
  63. $kir+ collar Slander similar ‘l’o srts low on m; guns “€41. W4“ low on «way «From 5¢. ,|a¢r NS“)? Tl? ! Nlsen drawing BoL’s Read and Mir, ‘lkivlll. er? al palm ‘tree! NQVlQ6Ql Moods 0-? V Sideslxow Bola
  64. Ball esmkalaskes ‘1— skaspe o«F K ponpaldour Long, l : ‘mom )lQ| ' ’ , l Tlxouglx Levw/ s S ' ‘[1 Read is vo‘l' round, ' r , °PP: :ll"’ fbj: V In) La ' $3 kis e/ es prdlrude Ski. L S ‘ “3 O NOTE flan M951’ ’ or‘ Q ' ‘ ' , ‘arm up cou"acl'ers'. ‘ S '3 V’ ms ball mpg M ~ eslqbllslles “lg Lon Slender A lllllslt parat«. e+ers a? K/ Ll A Ms -Feadvres on R ' fie upper purl 7 ‘mar’ of NS kead + / , HO hm, , 4’ . " l I Roar slopes bolell. I 4-"ran ponpqdour l and down baell. ‘ J skull.
  65. slender $vss>ev~ders bay kold ‘ms mm up ckes+ line -Flows $moo‘’v«l{ i! ‘l'o belly um no break. Long, slender skoes vlfik keel and sole derail N$lD€ ‘fl? ! Use ‘lke same bolll and ‘mangle eomsiruefion melted -For Levmxfs keold -From atker views ‘to alekieue cl ¢or$is'l'ev‘’ model.
  66. éyes are small wa-rk lwlges oF sV-in above and below ‘lkem. Carl kals on J fixumbrskaped Ulwer lip is lead like rlomer, 5’QrP and N‘. “M Q friomgular. -Nvwxer meek. Hair mass is some»: ka+ square and am -For ‘l'o ma knell. o-F Cqrlls keold art an angle. Ear si'l'$ jus‘l' below eye line. Neel’. -Flows SModl‘l[ info lower lip.
  67. . e almosl always wears a jacket and sweafer. lhl$lI>€ ‘l'Pl ‘ms eubie drawing will kelp you underslaad 'l’e angles o—F Carl’s Read!
  68. Mr. Burns’ lead is an oval awe Ears si’r Nab, si‘l“hv3 on a conical veeV. . even wilb eyes. -4' Meek. exfends Nose is long -From sloulders w-. “ and lriangular, a‘l' rougkly a J 5fl: *,e: :ol. ‘.: :“' e)<‘l’evding well ‘lS—degree beyond upper lip. angle. rlair wraps 9 around kead. D when in a Foul ‘temper, bis brow eomes in —Fron‘l' o-F NS eyes in a continuous line. Teelk are small and skarp. Tkey are seen wken kis Moirlk is closed.
  69. Mr. Burns is rougbly -Five beads 'l’all. , lM$lI>€ TP$l. Mr. Burns age $pO‘l'$ are arranged in a -triangular «Formafion poinhng +oward bis nose‘. ilis brow can ebange sbaoe as needed ‘to suit his expression! Read jU‘l'$ ouf -From body, well over bis Feel’. are ‘foo sborl; exposing ‘Tbe Many Moods 0-? Mr. BUVWS
  70. Amniian, slaekersl siinssons aninaiiun layoirl mist direecor, and Bongo zoinies LoVVrilarl'ivig misi siiluli Lasvlimni will now slur: aaaiiioninl iiss far drawing 9 %EIRE% linen l draw L nmgongry Burns, l iii. runiniiga or {A res airierem nings niii bllp ht caofivre fie Feel is: lis cbarader Asia. tron lin lging ii ml, spindly isla niin, l. sbares elnriimrisriss yin ll lira luulnirel. an insm (graying namis), and ‘lb: iiill, yltrn—+in €ll£V -mu zones on or ‘lb: mrfiser slip in ‘close znsisin-iers or in «lira Lind‘ Mr airns‘ iiiin expression is ii surby OWE ngsi or il. ii. .. he lisisics in il. niiial. ariiiiing fa ne rigklvbvnebed wer, lis nriis rs nave lis. angry, ,iis« eurye lis Inaufb clown, draw «be rgrelgaii ll7A like u rroiining inilrsu, ism up like Di pfilylvlg nan+is win a z~i~liwrs—n—dny s-win’ lis eves ¢laSed iiglilyl ii. .. of ii *; “S “: :“'**: :*'l seowl ii. ys. only iiii is Lilflle up i, M : s<; >:«r«y- era in tr "’‘'''L “W “: Lorner or lis lnovfb and open lis eyes . i er i. W in. basis swoops wn over is Mr sens is my old ss lis sisim . s A’u>lr Ldvrd riinsiini yin lis iigi iigliiy lm as Vley Mn‘ ‘mm an id ms '2 bold lii. VF nis ml is bl. lzb£A, AtA iii iirns LIA? ’ he . ir. .in Vlubtd v9 IRS slssin si la» liinging own iiy lis siiiss mwmm mm “.5 _‘| __W wide and yisi liiye ii J¢r] gleam old null as it ii is made ism or Llay, and ii , isi wraps iis. ir iiisina me but oi‘ lis bead and is clamped al DVCV lis ears by Ms sideburns xey eyes or: a. wry: er ‘lb: «as or bis bead ms . l'rir*io legs M72 £6JeV€< sy W M” mm M back of 'le bead '0; issrs, ms iingie really slgiis ii. Sl-A-pee slsiiiors Y9» Lllll iiisis see lilac lye Vdi(| |7:¢ lis lair sn lgn sees is: lis bzilé, wssiiing inane N4 lis: We draw ls . iir. Sfifillsda sii si. gl»iy MC 7nV: Soi’7r-itd lis nose gying . « a baaklike ussgsrins. ysi ll iiss Awe Wm-e iii. 590‘: in lis lm WE’ we only ». .e i n. V‘) rrsnv in; mi see ms Ellllfuj iiiiu . *2 wears ole BVVNS liiss iisiisi nary élliéflfi «ii snndly. WA Nth! band; Illd WV-ac. :. i,. ri ii. my iiiiiiiig iiiissi siiinng ii I iseaklive 'lh£S Depending on as iigi. iiii grfihlr , mg L ht: nssiii uVVm-i li liiiss sbould A siisii Am-gb »4i‘ me —-i iigi. sr iii I4rkS l HOPE THESE DRAWINGS WILL HELP MAKE YOUR DRAWINGS EEH}/ I/XCELLENZ’ r. g.ri
  71. Me& K06 on " bq| |—sqped keqd on a $li3k‘’| { conical ne¢L. Foyml «Fcadvcs are sumlnr +o «M: smpsonk 9 Fan-«N. (Could my Lg r. Iu+. a7) / Full keqd o-F Mir wraps vead'l/ around keqd and Mugs éown below ear. Dov"’ -Forget’ ‘We $‘'et~ o5 NS glasses. Smile pee‘! -S ouf «From bekivxd Mvs‘‘qce Skape is like ‘We Q , w5+M‘e_ upper fkird of a circle ' and overlaps ‘We opper lip. ‘luedk kaur Skovld be ‘trearted as on Hair wraps around Solid ¢l, ,d. _ «Forekead. We N, $5_
  72. . 5. J ">kir'l' collar ' , LlVe w. lI , w a skapecl cbesi’ ‘ I l W “ "“""‘l'es-; ique S: ::q: ::er nowsmnv l ~‘ *: ::: lL: *:: :;~= “ ' iV‘l'o belly walk ‘ mm“ M 'fl" " ‘ VJ '° 573“! skoolders are narrow in lime, and be bas cl paonck » 4) Arm is narrow a+ ‘. ‘lke sboulder and wider a'l' ‘five v1I'iS‘l'. wed kals impeccable Poswre. W; M“, Nay. Tlxe Many Nloocls o—l: Med Flanders N$lDE TlFl ‘Ike lenses in Med’; glasses are ‘l'an3en‘l'iall ( 1'0 one anatker. ‘mev never overlap. ’l‘ Remember, ‘lke lenses are no‘l’ Med? ex/ es. ms eyes are acwally bebind 'l'. em.
  73. EQQEEDDG WJHDGEMIMJ i’ Q Ca C ilis ears si+ ia } Eoilplfs head is oi wide on MS bead. oval a‘l’op a very wide Upper lie is goyyjgql ‘Fad’ and | 'OUV<l. Add gig Smnav laican+ bair. mm x. ) ‘. Z”il‘’Cf ‘ ® 39 *2 3 ' iiis nose is similar 'l'o Bair~i’s, nougl. sor'l’er. § UnliVe mos‘l‘ simpsons eairaie+ers, Eailplis Full lower lip nose doesn’+ go in -l7ron'l' of kis eye.
  74. Eailplis pos‘lJre is very s‘l'rai3‘l'. Feel‘ are long and se'l' apart. and narrow. N‘>lJ>E Tl? ! Always draw a curving liorizonial line across Ealplss -l-orebead lo es+ail>lis liis $igVa‘lUr‘e bowl-cirl’ liairs-lyle! ‘ ‘Ike Many Moods o-F EQlP Nlggvm
  75. Read is oval—saped. Nose and mou‘l'lx are > placed Forward “ 6 on Read. klecV- is a*l' a ‘l5-degree angle From skoulders. Space between Large nleanderllxal brow ) flail’ MQSS lS square and si1's ad’ an angle on l>acV. o? bead. Rail’ is Ear srrs scalloped wi'l‘ 9inpoin‘l’ nos+rils law an’ bacll. long sideburns. Baa on pug nose o«l7 neck. under eye
  76. lly long. Arms bang mus” low on U sboulder. +3 ‘ms. Cbesf line 5l“""‘Y flows smoo‘lbly in‘l'o belly wrrb no brealL. Smallisb «l7ee'l' lbl$lD€ TlPl Moe bas seven scallops o«F bair on 'l‘be ‘lap and _ bacL, and Eve around / / bis Face (only Four wben in profile as be is bare). Tbey are uneven in size, giving bim an unruly lool’. l.
  77. Large oval eye is nearly as wide as bis beald) l’-ang’s bead is basically ‘l‘be sbape oUer5i. .e is o? a long balloon Si M or a coclL+oi£/ 1:10,? °; : gym I_ K/ ‘S "“5"l‘~ around moirlb ‘ can break lne /3 or kead" Cavernous Body Flares 5 Mm oud’ a‘l’ bo‘l“l’oM. / N Brow Read rlai-tens oxrf a H43‘ brf a‘l' fbe Top, bin ) dips in ‘lbe cen‘l'er. (’ Long, poiniy ears girl’ ou‘l' a1’ ‘vl5—d¢gree angles from bead.
  78. I‘ Plead is rougbly '-l eyeballs bigb. Space belmei is rlelmel collar - bas rd’ r wide a'l’ , ,An‘ SP¢; ‘u‘: “: ‘lop, 'l'QP£l'lVg _ R S ,1 W fend’ cles W down ‘l'o ‘l‘be 0‘ a round narrow 5062 are usually bu*H‘on on o-l7 ‘lbe X _ llglei) Esfablisb a -Fla‘l' mound L perm: gemucles ’ sbape -For ‘‘be ‘l'en‘l'acles. W“ “aw | iM5_ lbl$lD€ TlPl lncongmfy can bring bumor fo your drawings. Talte one space monsfer bevrl’ on 'lbe conquest of €ar‘lb and driven by a ravenous bunger for buman «Vlesb. blow sbow ° ° bim deligb+ed by a ‘l'as'ly and re«l-'resbing ice cream cone, °f' and you bave increased 'l‘be comedy quo‘l‘ierd' in your drawing enormously!
  79. Greelings, scribbler oi? crude ear‘lbly bieroglypbicsl Prepare ‘lo be Furlber illumina‘l'ed on ‘l’be majesly ‘lba‘l' is (or sang and sodas % ir doesn’+ mafier, ney lool oiiuily alilcell Drmurbial no. named as or II i. o,l. ring“ ‘ bi uninafiian n. msa. i.. , / ' 4.y4.l: V4196 Use ‘lbe single N ': :f. '-xi brow +o express o. ,,i. ., various emirflons. / rrear no Primary 6 miracles live a band ~ cranial sltin momlings Lansfnmfl $4-liv-My sesraions leooll ifron «be roe view, my balls No "rorelegsf no long Eigellian arm ieniaelesf and xgnofiwpkolofi: a single «ail. Tbinli. or a carl'ilage~li‘ie _m‘§‘; ‘, 3:; M bone moivre. Tbe single , , V, ” W , ,,, ,;’, M cyclopean eyeball ms lV‘l'D sinpsons aninaior FAUL ‘nJ€El ii cavernous soelzei ' / cius eoiinvnieaeionl
  80. ® Conic / $ 3ooV— Guy VMS ca bqll—skaped kead. disappears am-o Uppgf lip Bulbous vo$e wflk no lower Slopes down. lap Ji$iHe. Roar —floJ$ but «way -From skull Beard line as su33es+ed and gorhsers ivrfo q pom/ fail. bx] a jagged line similar 17> ‘Ike kair -tkq'' wraps arovvxd Rov». er’s keqd.
  81. Bank is kuncked, Z, . , . 1-,5i, .* ,5,-‘*5 bxrl‘ N5 posture i5 ‘ 4 ‘‘ -i-‘3H- M ' 51'1") igkf. Re ) «ms and ) '5" °°P‘4 ' over c= s+ war lib Mae o( “M 5:1” Mr. Burns. 5 , Belly is Q l. e :35 Wk Ams are “ M ewoog «Fqf and fa $w>1>or‘l' +r»>¢rcé a 9”“ I Slip-on kglznnis $~oe$ Mslbe -rl>! Auemuarre CB6’s usual ¢ov<eS¢endiV3 expression um urns crossed over kis ample cliesfl
  82. Eyes are oval—saped E“ . and set apart csiablisli Main skapes o«F kair Firs-l-. ' l d. O‘l“l'o as a keayy 6 4 ow brow ridge. Tke lines o-F ‘lke Brow 30 VP at a Sll3‘l' angle ioward he cewler. Add bags under eyes ‘lb complete ‘M dazed avid confused lool. ( oval keadplsorie Q orl-+o’s keoid is a is: 32:3 / :.°: ,‘: g:: i:, d ball Skape on Q ' H cylindrical vieclt. J d°""" similar lo MFS. Krall>a4>pel’s. Upper lip is . ,:e: ::: :“: :a Pillboxrslxaped ‘°"‘3 “"“ semi lead. in wi‘l‘ long ""'°"‘3""‘“ visor 2 Pupils res+ under brow.
  83. iwsibe -ri= |. o‘Ho’s normal posture is a -Forward slouck wi-lk bevw Knees. To kelp ackieue ‘lkis, 1 I draw an S curve -Firsf and build your drawing on ‘ll«a'l'l
  84. Use converging ‘lo es+al>lisx shape ars and Rx -M71s. ) swusoill _ “ a wide kead on a conical I¢LV. . ( Eyes are pual f $nou-l’ is long and ‘triangular.
  85. «Vern. sa. i+a's Li‘H’le llelper is a grenwia. Re Has a long oval cbest ikaf ‘l’0P¢I’$ down 1'0 a slender abdomen, and ‘Kin, ye? muscular, legs. Snowball ll bas a long, capsule—saped Read iufs ouf at a Tbougk liaunckes aren”r seen in body on sborl, cylindrical legs. ‘l5-degree angle -From body. ibis sianding pose, ibey are evidenl wken you see Snowball ll si‘H’ing, running, elc. Tlxe Many Moods o—l7 Tlxe $lvnpSovS) Fe‘l’S D lrd$lI>€ 'l'Pl. of course, you can slow di-FFeren+ expressions on $an'l'a’s Li‘l'l’le rlelper by cbanging kis eyes and rwou-lli, buf you can also use bis earsl
  86. blelsonis bead is a wide oval on llis Pug nose is an elongated a wide, sbor-i, cylindrical necl’-. oual 'l‘ba‘l’ is bisecled by ‘l‘be line o«F bis bead. Blocll. in basic bair Bo‘l'b oval eyes overlap and -luclr. in bebind nose. ‘Vb rieauy brow bangs order‘ ‘lbree feelb eyes. sbow iv/ ben noirlb is closed. 5”“ 5”‘ l"l°"‘ His upper lip is long ‘Yes’ and -lriangular. sbaggy bair breaV-s in‘l’o six | >oiV‘l"sI we on bis bangs, ‘No in -l7ron‘l' of bis ear, and ‘No sweeping away -Frown bis neclc.
  87. gglso, ‘ bas Arms are a buncbed “"" *“‘“ P°S‘lUFe. bang loo! on and sbor‘l's. ‘ vest M large. ‘Q ' / $ocV-s are rolled like rlis legs are 'lbin and st? Wide 3”. ” apart Tbey are also posifioned -? orward on 'l‘be blo'l’e bow welson’s ri¢3b*l' leg is directly under bis bead ‘fo give balance +o bis Forward sloueb. iwsibc TPl. DeSl>i‘l'e blelson’s 3ir‘l’n, be moves wi'l'b speed and agill‘l, ', especially wben puncbing ou+ smaller V-idsl. use s‘l‘rong lines ol'. ac'l’ion ‘ wben you draw bii-i en a in in sucb 5aac'l'i? Ji‘l[l ’/
  88. Lis-l'en up, dingusesl $iMpsons cbaracler anima-l'or and mercbandise ar‘l'is'l’ Rob oliver is going 'l'o give you ibe ’-l-l-l on bow be draws bl€L$Obll ‘nlbenever l can, veep blelson's sbovlders and arms Forward on bis body l avoid brealtlwg info lbe bvnebed line o-F bis back. He’; a sloucby bully. . e'l"s Veep bin -lba+ way. OFl’en wben rougb—sce’rcbing blelson, will skip ‘rbe derail and draw, for I7S‘l'9l7££, one line «For ibe eyebrows fa convey ‘lb: mood quickly and easily. i love sV(l'Luilq win a Pen H’ ‘areas be To cohmrl ‘lo [by lines, yer ii RllDNS n. is sray rougb Always babe sure io Veep a good buncb in nelson’; back ii’; um nave; bin ibreateriingl ilere we can see bow ‘l'be bair wraps around bis bead‘ 5: : _'= ':: M 1ba+’s i+ eae eii re as , R H) N“, N: For nflw. $ll-All din uisiiy my V“ “*= " nelson iron ‘ filly angle‘ ?
  89. Rd W Bo‘l’b l‘l’eby and d|5K, _:aP¢d - $CrQ‘lZ/ bGJe $cra‘l'cby bas sbark. .Fin—sbaped ears. $cra'l'cby's upper lip , is more oval-sbaped. licby bas round, ‘ overlapping eyes 0 . and an oval nose. . Bloclt. in «Fur $cra+cby's eyes are round and sel' apart l-lis nose is a rounded iriangle. Scrafcby bas ‘lbree iv-Prs ovb bair on Top and -rbree at ‘lbe back of bis bead. J‘ Add cleavage ‘lo $cra'l'cby’s upper lip. lfcby bas ‘lbree N5“ o«F Ivr on bis -Forebeaud and one at ‘lbe back of bis bead.
  90. Bo‘l‘ have oval -Fur p(A‘lZl~e$ on Add H-ckxfs lfcky Ms Q Sher‘? ‘‘ V ‘»~. ‘ Read and belly balls are r. ,.. .3u, K 9°“ ~°°'s= * ‘V ***“$‘- KWf«; *r: =*$'~; :l fie Same $iZe on boil‘ H'c[ ' N $"°‘*‘w' ‘Ike NaleJolen-' Maykem o«F l‘l’6l/ ancl Scrafclxy ) FUM FACT! Hcky and $<ra1'ck/5 HRH’: gloves are based on ‘Vkose or many classic cartoon ckaracfers of ‘Ike H305 and N405!
  91. Apu’s lead is a ball $i‘H’ing on a long conical neclL. rlair pad‘ can be es’raLlised ‘ wifi a ‘ls-degree angle -From ‘We center of ‘l'ke e[e. -Forge‘? he pencil MuS‘l‘acel
  92. Fal‘ egfskaped lsody $l~or"l' legs se‘l' wide aparl’ y .1 Tlxe NaV/ Moods o«F Clxie-F Niggum tJ$lb€ -r>! occasionally, ckiel-‘ Wigguh removes his police a'l'. ms is mi liis lair loo’—s liVe ondernealkl
  93. Listen up, scovlv‘-Flaws! $ihp6oV$ unit-in+iovi direcifr - A‘ ) arid seqoevice drlf'¢¢’l'Of' on ‘Tue $| hP$fl7$ Maui: DEMO gill/ BEE @fl@@@Ml i-r’s Au. N THE eyes Ann Moimi iiiggwi as a N3: Aarit‘N of expressions ‘Wat are all based ofl eaéirig only iiis eyes and Wl‘l~ lis iealoiisly guarded drawing hes‘ . ,, ielp ariiculawe Mr tllpfcssions, uii3,iii~’s lead since sways relamiely ca-isiam. one 96‘ ny -Fayame sinasaris cur elaiicy age, » is Aiaruclkrs is draw. ms aesi, a ANDERSON, is my Siihpll Im Ieiids nsei: youqzg unpgiz *° « WWW °‘ *''W’'‘9 W3 ARREST FOR MAKING MY BUTT LOOK 7'00 BIG. ’ ‘ ii, ,.. .,i a. .,i+_i. - _ lisaled ii. . ii, em i. ma 1-aiiiiiy, iii has basic iimmi mm see. «ii «iii. «er cuts ma. riiie ii»: awry g. ..ais. ..i; Pliers is a 44>llSL‘l'iI>V or uiagia ezeressiovis. As you can see, ‘here are SaM£Tih¢S only we aitrere-ices Lei»-eeri eyes and i-aims, A lot of Fimiy sinpsavis ll£‘l'| Ha is based on «e emitras+ Leiiieeii emtiisris. Nlgfilh is always AI-«J$i? 5 s/ ken ie IRMV skifis rm. iwy ('0 mi or ye. yersa l iii»: you Flu» TllE$€ 1'i>$ rELPFvi. | iieirenyeracesmdeorderiiisaavesi-eiaugmidixeiaeaxassiiieis, SD am iiieaeaer l draii wi. ,., ii. , fie rm ma, i «iris is: is dorms
  94. EDLZWHFW EXDUID Qfilllillflfll Since Party and selna are ‘twins, ‘tkeir basic lead sliapes are ‘tlse same: a ball sitting on a cone. Marge's, only oi bi-t longer. l>a'l‘l{’s lxair is one oval Mass Add scallops like Niargels kair, ‘tlia‘t Fits like a lielrviet. necklace, and earrings. $elna’s lCll' is sliaped Again, add ‘ilie Bovvier like a trapezoid vJi'l'lx a «Family curls ‘to ‘tlse liair, p0lf'l' in ‘tlie center. necklace, and earrings.
  95. 4/“ - ldecklace is like a Ar‘! -«S are wide, dam i, ir-a, ,,, .ii,3 ‘l"3P€f‘iIN3 arovnid neck. cylinders. r_)Y Dress is wide and bell—sbaped. K. lfitay Patty and Selna are -Five bead balls kigli. l‘¢35‘€: ¢*Wd¢ tleh or? dress -Falls lsa selna's dress is sleeveless and yfxml 3"“ between knees and ankles. kas a stirpe around we borH‘o1-i. to M ankles. msine mi , , ‘(lie Many Moods ol-‘ Party and $ell‘n0l I ( / %/% Pa+ty’s necklace is a series of small balls connected by a visible String ‘tliat rvns tlirougk ‘tken. $elna’s necklace is oi series 0-? oval sliapes ‘llat attack to eacli ollier. Patty and $elna liave sliglstly di-F-Verent tastes in jewelry, anotlier way to tell tken apart‘. Patty bias long triangular earrings. selm las big rovnd ones fifl liang below lier ear -From invisible liooks.
  96. ruou mu you’ye learned 1'0 draw -we $iM(>Sov Family and some of ‘| '¢ir -Felbvl $prm3Fieldiams, you’Il mm +o ye able +o aopaar n iv1'¢r1whvg um om arrker. M ‘NS pcivd’ you my be asking, Row hall is MiaU5e aohpqred 1'0 Barf? $ I’-mg skor-rer ‘hm Hon¢r? ' Pcere is ex Kandy $Z€«2ELATorJ$l-HP CRART 1'0 kelp you answer +. ose q0¢S‘1ov$ -For yourself!
  98. Al'l’ou3 -We $im>sovs c‘v~arac'ers usually wear he same ¢lo‘l‘eS, ‘'le/ occasionally clxavxge iV‘l’o o‘l‘er duds as ‘'e Si‘lUa‘l’iov ¢ic‘a'l’es. Here are several ‘lypical cosfume ckavxges For various ckaraders. $LE€PN€AR
  99. E. on N N N
  100. x . .l . . . , ‘ . .4_ H BACKGROIJNDS AND Pkbcps
  101. HTEHJE Ql][lflE'3Q@l3{lQ° ; K I -r EEIIEDIJ Le+’s 'l'allL about backgrounds. flay may no‘l' be qvi‘l'e as ihpor‘l’an‘l’ as no ckaracfers, and you may never see a T-sl~ir'l' «Feawring Marges corncob cur'l'ains, but le+’s «Face i‘l', wi-rlioirl’ backgrounds ‘l‘ne cliaracfers would -flounder in an eMp‘l[ void. ol>serva‘l'ional details are key elemenfs o-F every $iMpsons baclfi-ground drawing. ln ‘llsese Li+cen views, nofice ‘l‘lia‘l' even +lsoug ‘hue lines are simplified +o worL well wi'l‘ M siyle oi? 'l‘e ckaraciers, -l-key sfill give -hie impression o-F being real spaces. ‘Elie pe"speL‘l’Ne$ aren’+ skewed, and no elemen-is aren’+ drawn in a car'l’oony' way. l-Vs all based on real ob3ec‘'s and real arclii-reciure.
  102. ~—— spends more fine Wi‘l'Livg TV -lkan doing W repairs. T , . , Tkese ‘lkings may seem insignificard; bu-r ikey kelp / . nloliee luow ‘llie delails o«F -l'~e backgrounds 'l’ell you /7" -wings about ilie ckarac+ers.1e drawing ‘Taped ‘lb ne Fridge ‘ ' +ells you -Visa’: Marge and ilomer are proud parents. We $'l'ool in -he corner reminds you -ka+ Bari needs ‘lb fale oi i'ime—ou-l' every once in a wnile. ‘Ike cracV— in we wall is evidence ‘l'a'l' iiomer ,5 / ’ l / creaie -he illusion +ka-l- file $ihpsoI$ are real ckaraci-ers exisfing in a real universe. / l
  103. iiniiti QDD£]E3Ql3:C: sl; ° FEW I: ~a@@m Mofice ‘lne liglif perspective lines in ‘lkese l V l views o-F M ‘N room, all going ‘l'o single vaflislxing poin‘l'$ i , “ ‘ l in ‘lke cenler of: ‘tlie drawings. ‘1‘nis is V-nown as ‘ove'pOiVfi’ -, y ’ i _, W‘ perspec+ive. ' As ike viewer, his [>eFsi>e4‘l'Ne places us in y i ‘lke cev‘l'er o-F file room at about eye level wi'l' he ~ ‘ vanisking poiV‘l'. 1‘ne angle at wlnicli we see all ol-‘ -he elevaenls in ‘lne room is laased on ‘lkai’ one—poin'l' perspecfive. , ,.-, T.1,_eee . 7.
  104. l‘ , ‘ l“. i_i ’ -. .: :T. f * J l , ./ i ‘ ”‘: “*“ ‘ / ‘y *v__ l . _i y ' —. _ l For example, i-F we were able 1'0 see «lie 1'09 or iiomer’s siereo, even -iliougk we can’+ see ‘llse ‘lbp o«F ‘lne sliel-F i'l"s si‘H’mg on, ‘l‘«e s‘l'ereo would be ou'l' av? perspecfive or wed’ in correc‘l' relahonsliip wi'l'li ‘lne vanislsinigpoinl: nlo‘l’e1‘l~a‘lweCN. lsee‘ll«e+opso-F-l'ke s‘l'ereo speakers. 1a+’s because hey are below we vanisking point and, nus, below our eye line. ’ I l
  105. .3 ’‘‘'. '.l; r'; ’''_'; I_: lIlIlIIIl_l‘ iii. can you ‘fell wlia‘l' perspecfive was used ‘Yo crea-l‘e ‘ibis drawing? l-F you said "one—poin‘l', ' reward yoursel-F wi'l a ‘fall, cool nor: (or a piclcled egg if you’re underagel). ‘Ike vanisliiing poin'l' is _ius'l' +o -ilie le«F‘l' 0? tie door. Mo-lice bow ilie lines o-F ‘We -Floor, ceiling, pool ‘l'able, bar, el'c. , all go ‘lb ‘lkaf | >oiV‘l'. blow ckeclf. ou'l' ‘lne Tl. you can fell ‘lbal i‘l"s banging o—F-l7 ne wall at an odd angle because ‘lne lines don"? rela'l'e a‘l' all 'l'o ‘lne vanisbing point ‘Ike pencil skading liere Fur-ilier lielps ‘lb illus‘lra‘l'e -lliasl he elements in his drawing are based on observing real objects. EVQNNM in ‘lne room bas convincing -Form, sbape, weigld’, and delail.
  106. cg J- ray Iililsefiil , B'Ri l ‘Bill ‘tlie cake‘. Simpsons background designer Lance wilder lias obviously been to a comic book. s'l'ore or two in kis day. “Z obsei'va‘l’ional details are so convincing you can almos'l' shell 'l‘lie moldy paper and greasy onion rings. ‘Ike do‘H'ed lines indica‘l'e placemen‘l' oF eleMev‘l‘s like a comic book. rack (in ‘tbe cen‘l’er on? ne -Floor) and oner display ‘Fixlvres nai bave been removed to allow us a better view.
  107. /‘ I 1iiese views 04‘ APUZS retail establiskment are drawn in a 'l'wo—poin‘l' perspecfive. ln ‘llie case 0‘? 'l‘be -First view. we ‘lne viewers are a‘l' a vantage poin‘l' looking down on ‘lbe room. we can ‘l‘ell ‘tnat our eye line is above ‘tlie top of‘ tie Squisbee Maclsine because we can _ius‘l' barely see i‘ls ‘top surface. tdo‘l”ice bow ‘lbe lines od-' ‘the Floor, Magazines, coun'l'er‘l'ops, etc. , all go ‘to poin‘l‘s on ‘lbe eye line (or korizon line) 0J‘l'Side ‘lne drawing on botk we rigid and ne led-“t sides.
  108. We ‘lwo—poiM' peFSP¢¢‘l'N¢ allows us ‘to see ‘l’ne room at an odd angle. we're not in M center of ‘‘ne room as we were in M simpsons’ Tv room. now we’re ol'-IF to tie side andwecansee‘lwosideso«Fnosto-Ftlieelementsintlieroom. ilowever, i‘? we were standing directly -Facing, say, ne Sqvisbee macliine, our perspective would cbainge to one’pOlV‘l' and we would see only ‘tlie vwcwne's back surFace.
  109. , tlerels a rare example o«l'-" l‘l‘bfee'poiV‘l' peFSPec‘l’Ne. . « were obviously looking down on ‘lbe room From sucb a beigbt tbat ‘tbe “IR 83 7-, , ; borizon line is well oi-‘F ‘tbe page. ‘ibis bird’s«eye view is wbat also creates W ‘tbe ‘tbird point in wbat would otberwise be ‘two—point perspective. ‘fou can Follow ‘tbe borizontal lines o? tbe classroom door, ‘tbe booksbelves, tbe sides oi? ‘tbe desks, and tbe windows ‘to ‘tbe first vanisbing point o—F£ ‘tbe top of tbe page. Tbe lines o‘? ‘tbe -Fronts and backs o-F tbe desks . go to ‘tbe Second vanisbing point o»l"‘F ‘to ‘tbs rigbt at ‘tbe page. Tbe ‘lbird vanisbing point is o-F‘? tbe bottom o—F' tbe page. Notice bow ‘tbe classroom door is wider at tbe top ‘tban it is at tbe bottom? Normally ‘tbe vertical lines ad: ‘lbe door would be parallel to eacb otber, but because our vantage point is so bigb, ‘tbose lines also recede into perspective. All tbe vertical / lines in ‘tbis drawing go to ‘lbe ‘tbird vanisbing point.
  110. ; Ci'{T: ‘rCiii%l E@E2@QW FPDULE Qflgm, * fi? » 5'. ge ff, ’ . . J», .. ,.. — «~ ‘vr’ ~ “nil g 4 4 l . Q . . I A“. W. 2 , _ C . v*I? €fiU“ ‘ms drawing is a ‘l’ricL/ one. Because of ‘We circular cenfer ring area and bleacker placement -there are lo+s of per$pec‘l’N¢S going on kere. Tie cameras, ligkis, props, and Applause signs are all art odd angles ‘l’o eac oriker and 1'0 we general perspecfive o? «be room. iiouever, i’r’s a very organized ckaos. ‘rke 4-'loor lines, ceiling lines, and proscenium arck are aclvallv in a one—poin+ perspeclive. Mam] oF we o‘l'er eleto. en‘l's kave a ‘No—| >oiV‘l' perspeciive because M are not a1’ rigid angles wi'l‘l« ‘lbs rest of -l'ke room. yer, ever/ fixing works ‘logeiker ‘lo nalte one believable and «Fan-l'as+ic drawing!
  111. // Most of us don’t know wbal’ ‘lke ' i of an actual nuclear power plant looks like, birt ‘tkese views of’ Rowers work . station are pre-Hv convincing. we ’ know wkat most oF -tkese dials, knobs, and sHfi‘be$ do, but nertiier does tloner.
  112. Tie complexity and detail o-F ms console only increases N Rumor of '“¢ idea ‘l‘a-t tlotner actually works ‘lliere. '
  113. wken it comes to “fine simpsons, " idle bands are tbe car-toonist’s playground. ttere are a couple of pages of props to give tkose bands sometking to do. Like tile backgrounds, -tke props in tbe Simpsons universe are very observational. ‘fiiey liave a very and—drawn, organic look, yet, as you can see by tbe Slxadiflg on tkese preliminary ske-tciies, tbeir design comes -From observing real obiects. For comparison, a -Few of tbe preliminary sketcbes are $owV wi-tb Mlr Final animation line counterparts. ""v AND CREATIVE FWEADLINE HERE EElE'FRAHE BHINE
  114. All the individual aspects at drawing that we've examined are essential to building a scene with characters interacting in a setting. Whether your goal is creating an animated cartoon, a comic book, or an illustration, sooner or later you have to bring all the elements together. So why wait? Let's do it now! The opposite page with overlays illustrates the evolution of a scene from its rough, block-shape layout stage, to a rough pencil sketch, followed by a tight pencil drawing, and ending with the final ink line illustration in full color! Study them well and use them as a guide to build your own cartoon masterpieces!
  115. ( l / *— / ’ M ) . .51 , n I / Q! l xii‘! /’ . ; ‘- . 7‘; ' l / ~' 3 ! db . —_"_V-‘§z‘ From basic lines and circles to vivid character illustrations, 4"“; The Simpsons Handbook is a tribute to the time-honored tradition of , ! hand-drawn animation. This lavishly detailed artist's manual unveils the complex _‘_»> ‘- secrets behind the deceptively simple and universally loved ”Simpsons" characters. ‘ t- {:7-'. With creative insights, artists’ sketches, helpiul insider hints, and step-by-step instructions, ! enter the imagination of master doodler Matt Groening, creator of ”The Simpsons, ” f and receive some professional "how-to" advice from many of the animators and J i , , directors who have made the show the comedic standard, as well as the longest running animated show and situation comedy in television history. usssaés CAN $49.95 - i HARPER wmfiwwog W, W;; m;; ;.WWdmMWA= D 2007 MAN El0EttlllG HOWGIBHS, NIL iltl SIMPSOIIS O I ltd NEUTIITN (£l| TlllV l0X FILM LORPMATION. All llCvlll§ PJSEWW. .4