Redman introduces the concept of the "T" formed by the eyes and the nose. This is the foundation of any face. Is the bar of the T (the eyes) wide or narrow?
Understanding the man behind the book reveals why it's so effective. Lenn Redman (1912–1987) was an artist who mastered nearly every creative medium imaginable, becoming a monumental figure in American art and entertainment.
A core concept in the book is identifying the "average" or "in-betweener" face—a standard, neutral point of reference. Redman explains that for a caricature to be effective, you must identify how a specific face differs from this average. Is the chin narrower or broader than average? Are the eyes closer together or wider apart? 2. The Art of Exaggeration how to draw caricatures lenn redman pdf
One of the most crucial lessons in the book is Redman's distinction between a good caricature and a meaningless scribble. He stresses that the goal is , not distortion . Exaggeration means playfully amplifying a person's most prominent, natural features. Distortion, on the other hand, is randomly altering features in a way that fails to capture the subject's true likeness. Redman’s method ensures that your drawing remains a kind and fun representation of the person, not a cruel or unrecognizable cartoon.
After you draw a caricature, hold it up to a mirror. Suddenly, your "sure thing" drawing will reveal its mistakes. Redman used this trick constantly to reset his eyes. Redman introduces the concept of the "T" formed
At the heart of Redman's teaching method is a powerful concept he called The idea is deceptively simple: to effectively caricature a face, you first need a baseline or an "ideal" face to compare it to. By comparing your subject's features to those of this average, neutral "Inbetweener" face, you can clearly identify what makes their face unique.
Redman’s approach is systematic. He breaks down the chaotic process of caricature into manageable steps. 1. The Structure First, Exaggeration Later Understanding the man behind the book reveals why
Long, narrow faces with vertical emphasis. The Cube/Square: Strong, angular jaws and wide foreheads.
This principle focuses on how lines and shapes balance each other out. If you make one feature drastically larger, you must adjust the surrounding features (like the cheeks or jawline) to maintain the subject's recognizable likeness. 3. The 3 T’s: Type, Trait, and Tilt
Look for the direction of the tilt, the thickness of the lids, and the distance between the brows.
Before you can exaggerate, you must understand the norm. Redman famously used the concept of an "in-betweener" or an average face to serve as a baseline for comparison. Practice drawing a basic, balanced face. This is your starting point for all future exaggerations.
