Unlike basic cartooning, caricature focuses on changing the distance, size, and angle of features relative to one another. For example, if a subject has a long chin, Redman doesn't just draw it "big"—he moves the mouth higher and stretches the jaw downwards to emphasize the distance.
: Use Redman's "in-between" method to anchor the eyes, nose, and mouth relative to one another.
Look for what sticks out first. Is it a massive forehead? A tiny chin? Deep-set eyes? This becomes your anchor. 2. Exaggerate the Relationships
If you are looking for a copy of the book, it is highly recommended to check verified digital archives, educational libraries, or authorized out-of-print distributors. Many art academies host legal, scanned PDFs of historical art texts for student research and analysis. Pairing the reading of his book with live sketch practice at local parks or from photo references is the fastest way to turn his theoretical geometry into practical muscle memory.
The PDF content typically breaks down the drawing process into three specific stages: how to draw caricatures lenn redman pdf work
This unique blend of technical skill, industry experience, and a passion for humanity is what makes Redman's teaching so effective and enduring.
Though written decades before the advent of digital tablets, How to Draw Caricatures remains highly relevant for digital illustrators using Procreate, Photoshop, or Clip Studio Paint.
Modern digital artists use Redman’s mapping principles before using digital deformation tools like Procreate's "Liquify" to ensure their digital distortions still retain a recognizable likeness.
The book, available in PDF format, covers a range of topics, including: Unlike basic cartooning, caricature focuses on changing the
Because Redman’s book features highly durable visual instructional layouts, finding a physical copy via used bookstores or online auctions remains highly recommended for artists who prefer having an open book flat on their drawing desks.
Redman’s book organizes the chaotic human face into a highly structured, step-by-step drawing formula. Whether you are reading his physical book or studying a digital PDF copy, his method relies on four fundamental pillars. 1. The Anatomy of Exaggeration
A crucial concept in Redman’s work is the "T-Bar." This is the imaginary intersection formed by the vertical centerline of the face (the nose line) and the horizontal line running across the eyes.
Before you can distort a face, you must understand its exact proportions. Redman’s work focuses on finding the unique rhythm of a subject's face and amplifying it without losing their likeness. The 4 Pillars of the Redman Method Look for what sticks out first
Top-heavy cranium with a narrow, pointed jaw.
Master the profile view. Caricaturing someone from the side forces you to focus entirely on the silhouette of the forehead, nose, lips, and chin without getting distracted by the eyes.
Look at the underlying bone structure. The chin dictates the weight of the lower face. 4. Line Weight and Economy
The relationship between the brow line and the centerline of the face dictates the entire likeness. Redman emphasizes mapping out the "T-Zone" immediately. Are the eyes close to the top of the head or buried low?
One of the first exercises was to draw faces from photographs, focusing on distorting features for comedic effect. Lenn Redman suggested techniques such as enlarging eyes for a surprised look, elongating noses for comedic relief, or exaggerating smiles for friendliness. Mark started with celebrities, then moved on to friends and family, much to their amusement.