Hey Court Jones here.
Welcome to the student critique video, for lesson 10 on Caricature of a Caricature of
a Caricature.
Now, the point of this lesson as I said in the main video, was to give yourself permission
to exaggerate in steps.
The first caricature is sort of the safe one, the one where it can be more like a portrait.
And that's ok, you don't have to worry to much about exaggeration.
The second sketch is where you do a caricature of that caricature, and use that first caricature
as your primary reference.
Along with looking at the photo if you need to.
But you should base your decisions in the second caricature off of the things you did
in the first caricature.
So the first caricature has to be a rock solid likeness.
Otherwise the second caricature is not gonna be a success.
But it should have more exaggeration, it should be a lot more daring and bold in what your
trying to do.
Now the third sketch is the one where you should go for broke, and not care at all how
it comes out.
Regarding the likeness.
And just do the funniest exaggeration you can.
Now if you fail on it, that's not a bad thing.
Usually the second caricature is the one, personally, that I like to use and develop
into a more finished piece.
But the third one is really useful in that it helps show you what you can do and what
the balance of your current skillset are.
They will develop over time the more you push the boundaries of you exaggeration, the further
you can go and still maintain a likeness.
But the third one definitely is the one you should have the most fun, and really just
not stress out about how it comes out.
With that in mind though, I should say, still put effort into it.
A lot of the problems I saw in students drawings in the submissions were the third sketch got
a little sloppy, and haphazard, and kind of rushed.
As if they didn't even give much thought.
And that's not what I want you to do.
I want you to still take time and develop it and put your best effort into that third
sketch.
Just don't stress over the likeness so much, just see what you can get away with, with
the structure and the anatomy.
Try to make it a decent drawing.
One of the other problems I noticed in the student works was the third sketch was not
exaggerated enough.
I'm gonna try to hit home on that every chance I get is if the third sketch isn't that different
from the second sketch I'll try to point that out.
And watch out for that because it is sometimes a hard and scary thing to try to exaggerate
and lose all sense of likeness or anatomy.
But the third sketch is where you have permission to do that.
You have permission from me. So let's get started and look at some student works.
Okay, and here now is Tom Roth's, Elijah Wood.
And I think that's a pretty nice progression, from original Caricature to the final third
Caricature.
The first one has a pretty strong likeness.
It's a little bit sketchy as far as deciding exactly on the exact shape of the contours
that you're doing.
It's a little rough and sketchy where it might make it more difficult for you to make specific
decisions, off of it.
Like I can't see what's going on with the far side of the face, you know, the exact
qualities of the eyebrows.
Everything's just a little bit rough and sketchy, and maybe you should spend a little bit more
time refining your first sketch before moving on to the second and third ones.
You know, the decisions are good, the likeness and exaggeration is good in the first one,
it's just, you know, if I were to nit-pick, I would say that would be your main problem,
is just cleaning it up a little bit more so that your decisions are a little bit more
clear as to what you did.
So it would be more informative for you, for your second and third sketches.
Now, the second sketch, the one in the middle, isn't much more exaggerated than the first
one.
You know, you did a few things, like made the chin a little smaller, made the eyes a
little bit bigger, I would like to see a little bit more brave exaggeration choices in that...in
the second one.
The third one, you actually...you know, you did actually jump off the diving board there,
I think, and do some more extreme exaggerations.
But the sketchiness and unresolved quality of it, is hurting it just a little bit, where
I think you could render it just a little bit more specifically to capture his exact
type and the likeness.
So if I were to just do a quick over-tracing, I would probably pick the third one here to
refine, and develop a little bit further, and also to see if I can push the exaggeration
a little bit further for you.
Okay, one of the things also that happened in your third Caricature, is you turned the
head a little bit more closer towards the viewer, like looking more at us, and turn
it away from profile.
I'm gonna try to get that more strong profile view back as well.
Just remember that, the point of this exercise
really is to get to that third one.
The third sketch is the one where you just go nuts.
Don't worry how it turns out.
The first one is the safe one, it's the one where
it'll please everyone who looks at it.
The likeness is the main priority in that first caricature,
it can be tame, it can be timid, whatever.
The second caricature should be the one you really strive for, the one you really push yourself.
And it's the type of caricature you should really want to do in your heart of hearts.
And the third caricature is the one that you really don't wanna do.
The one that you really think is a bad idea to do these choices.
Because, it helps you push your boundries, you discover
where your limits are, you discover what may work.
You may actually surprise yourself and come up with a sketch that is just
halarious, and works really well.
And still captures a good likeness
You never know until you try, to go over the edge of that cliff.
The third sketch is all about that.
The caricature of a caricature of a caricature exercise is meant to push you
and make you get out of your comfort zone.
So, if you keep on doing it, just keep that in mind.
Go crazy on that third one, and don't worry about what anyone says.
Okay, so I'm pretty happy with this Caricature of a
Caricature of a Caricature, it's a little out there for me, you know, it's a little
more exaggerated than I might normally like to go.
And I might have got away from the likeness, but it's definitely a lot more bold of a choice,
you know, to make these eyes just such ridiculously large proportions.
And you know, I built on what you had underneath, and so, it's pretty close to actually what
you were already doing, Tom, but it's just a little bit more figured out, a little bit
more solidified, the choices are a little more specific.
So that's what I think would benefit your work is when you get to the point where you've
got a decent rough sketch laid in, just spend a little more time cleaning it up, make specific
choices about the shapes of the features, like the nose and the eyes.
And that's my main comment for you, is just, you know, choices are good, just work on your
rendering a little bit more.
So that was just a real quick look at one of the critiques that I do for the students.
In the premium section of the course, I go over a lot more examples of different student
works, different physical types, all of them have different problems.
Different road blocks that we try to work through.
And that's what you'll get if you subscribe to the premium version of this course.
You'll get access to a lot more content, a lot more student critiques.
But I hope this, itself, was informative for you.
To see some of the common mistakes people make on these exercises.
Thanks for joining me and keep looking out for more lessons.