【正文】 aped, pearshaped or eggshaped. In animation the head shape may change perspective and form many times during a scene. To simplify matters, a framework in proper perspective must be drawn first, then the details are constructed over this form. 1/ this character starts with a ball shape. 2/ draw an elliptical guideline around the first shape that will divide the face in the middle lengthwise. This determines the tilt of the head. 3/ draw the eye guideline at right angles to the second circle. This sets the face up or down. 4/ the base of the eyes and the top of the nose tie into the eye line. The perspective makes the left eye bigger than the right eye. 5/ now the details are drawn over the framework. Start with an egg shape draw guidelines around it, and then draw the face. Turn the egg in various positions and draw the same face. Animation presents the same challenge! Add a few details and draw these heads in every position using the egg as a guide. Cartoon studios often make small clay models to help the animator draw difficult characters from different angles. Egg head model method The egg is the basis of a great many cartoon heads. Draw an egg like this and study it from all angles. Add details and design some original heads of your own. Watch the perspective change as you tip or tilt the egg model. Following the center and middle guide lines will help you construct heads. More head construction All animated cartoon characters can be reduced to a basic formula. This formula makes them easier to master and ensures uniformity throughout a film, even if several different artists work on the same character. / draw an oval with perspective guidelines. / add nose construction, make sure it fits solidly. / now draw ovals for the eyes. / be aware of the perspective when constructing the remaining details. Study this basic formula, then draw the dog in different positions. Assemble these heads as though they were solid and hinged together. Facial expressions The job of an animator is the same as the job of an actor in live action pictures. Both should be masters of portraying emotions. Studying your own grimaces in a mirror is a must. Pick a character you know and go through the expressions with him, as I have here with this little pup. Stretch and squash on heads A cartoon head can be stretched or squashed to strengthen an expression. Notice that the oval containing the eyes does not change much, but the mouth area varies greatly. Small details react along with the larger form in which they are contained. The wide variety of expressions shown here is the result of stretching and squashing selected areas of the face. Notice that the eyes reflect the expression of each stretch and squash. Hands Cartoon hands are tricky to draw, study the hands shown below. The fingers should be placed unevenly to prevent a monotonous quality. To draw the hand, begin as if it were a mitten (a amp。 b), then add the two middle fingers by following this shape (c). Now put in the little finger, varying its position to prevent monotony (d). It is also a good idea to exaggerate the base of the thumb. More hands Draw your own hands (simplified) from a mirror. This way they appear as they do in a drawing. The cute character The cute kitten 1. Develop the kitten180。s body with a circle and an oval. 2. Add perspective guidelines. 3. Place the eyes and the nose. 4. Build the ears and the legs. 5. Add the details to plete the kitten. Notice the large paws that add to the cute look. The more plex the pose. The more steps it takes to develop. Cute pup Begin with a basic construction of circles and ovals. Then draw perspective guidelines to place the features. Notice that the tongue accentuates the happy expression of the mouth, and the cheeks overlap the eyes, accenting the expression. a sideways glance like this is a cute expression. Goose gander These are the progressive steps that are taken by an animator to construct and draw a cartoon character. 1. Draw a line of action to establish the general stance of the figure. 2. Add rounded masses for the head and the body. 3. Draw perspective lines around these masses to establish the front, side, and tilt of the body and head. 4. Construct the arms, legs, and eyes on (or anchored to) their proper places on the perspective lines. 5. Fit or hinge the details into their positions. 6. Clean up the character around the construction lines. Rowdy rabbit Draw rowdy rabbit from every angle. Use perspective guidelines to assemble the solid parts. When constructing an animated character, visualize it as a threedimensional puppet that you are joining together with solid masses. Build puppet parts when constructing a character for animation. Each part has a definite place according to the formula. The parts join according to a for