15 Secrets of Caricature Artists

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The word caricature likely conjures up images of street artists on boardwalks or outside museums working up quick, humorous sketches of visitors, to the delight or dismay of their subjects. But the exaggerated illustrations of caricature include a lot more than what you see on the boardwalk—and can be more art than kitsch. We spoke to three experts in the field about the subjects caricature artists love and hate to depict, the best way to make their job harder, what they do if you don't like their drawing, and how they can tell when you really don't want to sit for a portrait.

1. THEY WANT YOU TO KNOW IT'S OLDER THAN YOU THINK.

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Some of the greatest artists in history practiced caricature as a means to develop their skills. Eileen Owens, curator of "Biting Wit and Brazen Folly: British Satirical Prints, 1780s–1830s" at the Philadelphia Museum of Art, says Leonardo da Vinci was one of the first artists to use caricature, in the “grotesque” sketches of unusual faces and heads that populated his notebooks. (His 16th-century biographer, Giorgio Vasari, wrote that Leonardo was “so delighted when he saw curious heads, whether bearded or hairy, that he would follow anyone who had thus attracted his attention for a whole day.”) Many other well-established Renaissance artists dabbled in caricature on the side, as breaks from their rigorous training: "It was a lot more huge noses, big hair, ways to poke fun at faces. You had to be adept at drawing to know how to exaggerate," Owens says.

The form gained momentum in late-17th century Italy, when Pier Leone Ghezzi “started making funny little drawings that poked fun at well-to-do Romans and tourists,” according to Owens. From there, it spread to Britain, where it became so popular that publishing companies sprung up for the sole purpose of printing caricatures. Publishers also rented out portfolios of caricatures by the day, and hung prints in their windows, to which crowds flocked to see the latest depictions of a buffoonish Napoleon and laughable upper-crust fashions. Owens says, “This was your chance to keep up with the gossip—kind of like People magazine today.”

2. MANY OF THEM ARE SELF-TAUGHT.

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Lots of caricature artists learn on the job, in part because there's not a ton of specific training available. Illustrator Tom Richmond, who spoofs movies for MAD Magazine (among other gigs), says, "Only a handful of art schools teach cartooning or caricature as a major part of curriculum, so it's hard to find instruction on how to do it. Caricature is such a specialized sort of thing, and diverse; you can’t teach it like you teach people how to draw comics, where [there's] storytelling technique and sequential art tricks and a science behind it, so to speak." Overall, what Richmond and others strive for is to “translate [your] art skill [into caricature], really lean into it—no matter how you practice.”

3. IT CAN BE GREAT TRAINING FOR OTHER ART FORMS.

Richmond says that when he teaches at workshops around the country, he always recommends—no matter what facet of the industry they are interested in—that students try their hand at live drawing, "maybe even volunteer at the local homecoming or draw for free at a daycare center." Having to work quickly with a model in front of you develops a sensitivity to gesture, to how the body leans and how weight is distributed, that's different from the skills you get "shading something for hours," Richmond explains. When you "go back to doing longer pieces, you've got an inner eye that sees things you missed before. It's great discipline for the developing eye."

4. THEY’RE NOT (NECESSARILY) OUT TO MOCK YOU.

Caricatures have been defined as "portrait[s] with the volume turned up." But that doesn't mean they have to be mean-spirited. Richmond says, “Caricature is a depiction of someone in a humorous way, but at its best it has a narrative behind it—you’re pointing out something about their presence, not just making fun of their features.” He explains that he’s not examining someone’s face to find a nose or a chin or dimples to blow out of proportion, but "trying to understand who you are as a person and exaggerate that.”

"I want to make [clients] smile or laugh," says CeCe Holt, who sketches at events and amusement parks, and is also business manager for the non-profit International Society of Caricature Artists (ISCA). "I never want to make anybody cry."

5. THEY DON’T SWEAT IT WHEN SOMEONE DOESN’T LIKE THEIR LIKENESS …

Just because caricaturists strive to capture your essence doesn't mean you're going to like it. People can be in denial about their appearance, with a radically different idea of their weight, for instance, or even whether they have freckles. In Holt’s experience, party guests usually don’t make a fuss about their caricatures, since they haven’t directly paid for them. But when the occasional amusement park patron kicks up a fuss, “I just say I’m sorry and move on to the next person.”

Richmond is similarly blasé, pointing out that when a caricaturist is drawing a quick sketch for $15, the occasional bad portrait is bound to sneak in. "Sometimes they refuse to pay, or come back later and want their money back. Live caricature can be hair-raising, which is why I prefer working with art directors."

6. … BUT SOMETIMES CUSTOMERS RETALIATE.

Christopher Walken's caricature in the foreground at Sardi's following its unveiling in 2010. Jemal Countess/Getty Images

Occasionally, customers do try to turn the tables. Ipecacxink, a caricature artist at a Midwest theme park, writes in a Reddit AMA about a boy she accidentally made very upset with her drawing. "I went to lunch right after I did it. Apparently while I was gone, he came back and drew a circle with spikey hair, glasses, and frowny eyebrows and a note that said, 'How do you like someone making fun of you?!' under it. He then placed it on my chair. It was hilarious. I saved it."

At Sardi's—the Times Square tourist destination known for its wall of caricatures—some of the celebrities depicted have gotten mad enough to take down their pictures, the restaurant's owner told AMNew York. It used to be that the in-house caricaturist (who's paid in meals instead of money) would hand over unfinished versions to the subjects first, to get the seal of approval, before going on to later exaggerate their features. That's stopped, but these days the caricatures have become less humorous, and more like regular portraits—which helps keep the peace between the restaurant and its famous clientele.

7. THEY CAN DO PORTRAITS IN AS LITTLE AS THREE MINUTES.

When she’s sketching guests at amusement parks like Worlds of Fun in Kansas City, Missouri, Holt aims to churn out a black-and-white portrait in three minutes. Working at a wedding reception, where she might add color, six minutes is the max. Much of this has to do with fitting in as many guests as possible—“You have to be fast to get through the crowd or they’ll leave,” she says.

For Holt, the need for speed means she has to “go with her instincts; there isn’t time to second-guess” a depiction. For Richmond, working quickly means caricaturists develop a "sixth sense" for how to capture expressions: “You develop an instinct for people, whether they’re energetic and outgoing, or more quiet." Some of that means honing in on their signature details: "Friends behind will be going, 'It’s the smile! That's exactly how he looks!'" Richmond says.

8. BORING-LOOKING CUSTOMERS ARE THE HARDEST.

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The caricaturist's worst fear is the customer who comes in looking exactly like the girl (or guy) next door. "Most people are surprised to hear that what I consider to be the most difficult sort of person to draw is one that is completely average looking," caricaturist GertrudisSlugworth, who works at a theme park, wrote on Reddit."I will get a bland looking individual every once in a while, and when it happens I usually try to focus more on things like clothes, hair, or jewelry to get a decent likeness."

On the other hand, people who are naturally distinctive-looking are often artist favorites. Richmond says he particularly loves drawing Slash, the guitarist from Guns N’ Roses. “He’s already funny looking, with no features, just glasses, hair, and a big top hat, so you don’t have to work that hard,” he says. “You can just do him standing there with his guitar by his ankles, like he plays it, or exaggerate how he puts his head back, which shows a lot about him as a player.”

9. THEY MAY CHANGE THEIR TECHNIQUE TO SUIT THE WAY YOU LOOK.

When she first started in the business, Holt says she dreaded drawing people who weren’t thin; she was afraid they might take offense at her portraits, although she didn’t intend any. Over the years she’s honed a technique in which she draws faces using a soft line that thickens toward the bottom. The result is “Cute, but they still feel like it looks like them,” Holt says.

GertrudisSlugworth writes that for people with obvious deformities, she may forego exaggerations, even though those are normally the hallmarks of caricature: "I find the best way to handle it is to go more realistic than exaggerated, depending on their attitude. Sometimes if it's an easy fix (e.g missing an eye), the customer will just ask to be drawn as 'normal.' For the most part though, people recognize any obvious deformities they have, and accept your portrayal of them."

10. STREET ARTISTS HAVE AN ADVANTAGE.

PATRICK HERTZOG/AFP/Getty Images

Richmond says that artists "sitting in front of a museum while the subject is in front of them have more of an advantage" than he does when it comes to creating an expressive caricature, since he often has to work from photos, which don't show gesture and personality in the same way. "When I'm working from 2D photos, all you’ve got is what the photo shows you, and it's basically superficial. It doesn’t really do it."

Holt agrees: "Working from a picture is different from getting your first instincts from a person." When a freelance client wants her to draw someone from photos, she says she'll at least ask for multiple photos to work from, especially body shots, which help to show posture—yet another indicator of the subject's personality.

11. THEY'RE INCREASINGLY IN DEMAND.

Richmond says that although staff cartoonists may be disappearing at newspapers as that industry shrinks, editorial cartooning—which often relies on caricature—“is experiencing a boom right now." Some of this is thanks to the heated political climate, he notes. But there's a deeper reason, too: "Most media stories, TV shows, or articles are, at bottom, about people and need images of people to illustrate [them]," Richmond says. "Caricature is one thing you can’t do with a camera, so when you need a humorous touch, caricature is a great solution."

12. THERE'S A CARICATURIST CONVENTION.

The ISCA hosts an annual convention each November that draws hundreds of caricaturists from around the world. Aside from a week of guest speakers, seminars, and demonstrations, the main attraction is a days-long competition in which the artists draw each other for prizes in categories like best color technique and most humorous. (The big award there is called the Golden Nosey.) Richmond says, “The variety of styles [there] is crazy: acrylic painting, pastels, airbrush, sculpture, and everything in between.” Holt says there's even an artist who spits ink out of his mouth.

13. THEY MIGHT HIDE THINGS IN THEIR PORTRAITS.

Astrid Stawiarz/Getty Images

Richmond says that a favorite stylist of his is the late Al Hirschfeld, who for decades hid his daughter’s name, Nina, in his cartoons of cultural icons for The New York Times. (Hirschfeld would append the number of Ninas to his signature, creating a kind of game for readers). Ipecacxink says she "used to draw a picture of my face in [subject's] pupils sometimes. Really tiny. Or, I used to draw a little radioactive symbol somewhere in the drawing. We had to wear these god-awful neon yellow shirts to work, and I always felt we were radioactive."

14. THEY CAN TELL WHEN YOU DON'T WANT A DRAWING.

Occasionally, parents, friends, or partners will purchase a drawing for someone who just isn't interested. In that case, the caricaturist can probably pick up on it: "They either wouldn't look at you, wouldn't smile, or just sit down funny," ipecacxink writes. "I tried to handle it professionally. I would talk, if they wouldn't talk, I'd be quiet, but smile like an idiot when it was all said and done ... I always tried to be friendly to lessen the likelihood of them leaving without paying."

15. THEY MIGHT BE SWAPPING THEIR PENCILS FOR A TABLET.

Some contemporary caricaturists paint portraits, like Owens’s traditional satirical masters once did. They may also be adept with other analog media, like bullet-tip markers, color sticks (basically colored pencils with no wood casings), pen and brush, and paper. But thanks to the changing needs of publications in an online age, which want all files submitted electronically, caricature artists working in their studios have also gone digital. Holt sometimes works on an iPad Pro with an Apple Pencil in Procreate. Richmond now does all his coloring on a computer or a tablet. “[A tablet’s] so convenient, because it’s like having unlimited amounts of paper, and your pencil never needs to be sharpened, and all your tools fit in a tiny bag,” he says. “But it’s still about the creativity behind it. Computers can’t do it all on their own.”

Looking to Downsize? You Can Buy a 5-Room DIY Cabin on Amazon for Less Than $33,000

Five rooms of one's own.
Five rooms of one's own.
Allwood/Amazon

If you’ve already mastered DIY houses for birds and dogs, maybe it’s time you built one for yourself.

As Simplemost reports, there are a number of house kits that you can order on Amazon, and the Allwood Avalon Cabin Kit is one of the quaintest—and, at $32,990, most affordable—options. The 540-square-foot structure has enough space for a kitchen, a bathroom, a bedroom, and a sitting room—and there’s an additional 218-square-foot loft with the potential to be the coziest reading nook of all time.

You can opt for three larger rooms if you're willing to skip the kitchen and bathroom.Allwood/Amazon

The construction process might not be a great idea for someone who’s never picked up a hammer, but you don’t need an architectural degree to tackle it. Step-by-step instructions and all materials are included, so it’s a little like a high-level IKEA project. According to the Amazon listing, it takes two adults about a week to complete. Since the Nordic wood walls are reinforced with steel rods, the house can withstand winds up to 120 mph, and you can pay an extra $1000 to upgrade from double-glass windows and doors to triple-glass for added fortification.

Sadly, the cool ceiling lamp is not included.Allwood/Amazon

Though everything you need for the shell of the house comes in the kit, you will need to purchase whatever goes inside it: toilet, shower, sink, stove, insulation, and all other furnishings. You can also customize the blueprint to fit your own plans for the space; maybe, for example, you’re going to use the house as a small event venue, and you’d rather have two or three large, airy rooms and no kitchen or bedroom.

Intrigued? Find out more here.

[h/t Simplemost]

This article contains affiliate links to products selected by our editors. Mental Floss may receive a commission for purchases made through these links.

10 Secrets of Epidemiologists

Epidemiologists are fans of charts.
Epidemiologists are fans of charts.
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Unless you know an epidemiologist or are one yourself, those “disease detectives” might not have occupied a very large portion of your brain. Last year, that is. Now, with the coronavirus pandemic at the top of mind—and at the top of so many headlines—there’s a good chance you’re at least aware that epidemiologists study diseases.

To be more specific, the Centers for Disease Control and Prevention (CDC) defines epidemiology as “the study of the distribution and determinants of health-related states or events in specified populations, and the application of this study to the control of health problems.” So what exactly does this mean? Mental Floss spoke with a few epidemiologists to shed light on what they do, how they do it, and which germ-friendly foods they avoid at the buffet.

1. People often mistake epidemiologists for skin doctors.

Since the word epidemiologist sounds like it might have something to do with epidermis (the outer layer of skin), people often think epidemiology is some offshoot of dermatology. At least, until the coronavirus pandemic.

“Prior to that, no one knew what I did. Everyone was like ‘Oh you’re an epidemiologist—do you work with skin?’” Sarah Perramant, an epidemiologist at the Passaic County Department of Health Services in New Jersey, tells Mental Floss. “I would be rich if I had a dollar for every time I got asked if I work with dermatologists.”

2. Epidemiologists don’t discover a new disease every day.

Though some epidemiologists do look for unknown diseases—certain zoonotic epidemiologists, for example, surveil wildlife for animal pathogens that might jump to humans—most are dealing with diseases that we’re already familiar with. So what do they do every day? It varies … a lot.

Epidemiologists who work at academic or research institutions undertake research projects that help determine how a disease spreads, which behaviors put you at risk for it, and other unknowns about anything from common colds to cancer. But it’s not just about devising experiments and studying patient data.

“I like to tell my friends and family that my job is about four different jobs in one,” Dr. Lauren McCullough, an assistant professor in the department of epidemiology at Emory University’s Rollins School of Public Health, tells Mental Floss.

Writing, she says, is “the most important part.” It includes requesting grants, devising lectures and assignments, grading her students’ work, writing about her research, and more. She also sits on admissions committees, reviews other epidemiologists’ studies, and oversees the many people—project managers, data analysts, technicians, trainees, etc.—working on her own research projects.

Those who work in the public health sphere are often monitoring local outbreaks of diseases like the flu, Lyme disease, salmonellosis, measles, and more. If you test positive for a nationally notifiable disease (any of about 120 diseases that could cause a public health issue), the CDC or your state health department sends your electronic lab report to the epidemiologist in your area, who’s responsible for contacting you, finding out how you got sick, and telling local officials what steps to take in order to prevent it from causing an outbreak.

3. Epidemiologists have to make some uncomfortable phone calls.

At least the person on the other end can't see your expression of consternation.Andrea Piacquadio, Pexels

Epidemiologists sometimes have to ask pretty personal questions about drug use and sexual activity when trying to figure out how someone got infected, and not everyone is happy to answer them. “I’ve gotten hung up on many a time,” Dr. Krys Johnson, an assistant professor in Temple University’s department of epidemiology and biostatistics, tells Mental Floss.

Some simply aren’t willing to accept that they might have been exposed to a disease without knowing it. After several employees at a certain company tested positive for COVID-19, for example, Perramant started calling the rest of the workers to tell them to go into quarantine; this way, she could prevent sick people who weren't yet showing symptoms from spreading the disease without knowing it. But not everybody was open to her advice. “They would just swear up and down, ‘I haven’t been in touch with anybody who’s positive, please don’t call me again,’” Perramant says.

But there are plenty of cooperative people, too, especially victims of foodborne or diarrheal illnesses. “They really want to know where they got sick because they’re so miserable that they never, ever want to deal with that again,” Johnson explains. Parents of sick kids are also generally forthcoming, since they want to keep their kids healthy in the future. And then there are those who don’t have any problem spilling their secrets to a stranger.

“There was one woman who was very memorable,” Johnson says. “I called her about her Hepatitis C, and she was like, ‘Oh, honey, I did drugs back in the ’80s. That’s where I got my Hepatitis C. I pop positive every time!’”

4. Epidemiologists deal with a lot of rejection.

Public health epidemiologists have to learn to just shrug off all the rude tones and dial tones, and epidemiologists in academic settings need thick skin for different reasons.

“There’s just a lot of rejection,” McCullough says. “‘That idea isn’t good enough; this paper isn’t good enough; you’re not good enough.’ That is just a resounding thing. There’s a high bar for science; there’s a high bar for federal funding; and it takes a lot to cross that bar. So in the academic setting at these top-tier institutions, you really just have to have a thick skin.”

5. Just because epidemiologists' guidelines change doesn't mean they're wrong.

Sometimes, McCullough explains, the story of a disease can change over the course of one study. When you look at the first 100 people in a 10,000-person study, you’ll see one story emerge. By the time you’ve seen 1000 people, that story looks different. And after you’ve seen the data from all 10,000 people, the original story might not be accurate at all.

Usually, epidemiologists can complete the whole study of a disease and draw conclusions without the world clamoring for half-baked answers. But with a brand-new, highly infectious disease like COVID-19, epidemiologists don’t have that luxury. As they’ve learned more about how the pathogens spread, how long they can survive on surfaces, and other factors, they’ve changed their recommendations for safety precautions. Everyone else in the world of epidemiology expected this to happen, but the general public did not.

“If we say something this week that contradicts what we said last week, it’s not that we were wrong,” Johnson says. “It’s that we learned something between those two time points.”

6. Being an epidemiologist would be easier if people kept better track of their behavior.

Often, people omit vital information about how they got exposed to an illness because they just don’t remember all the details. You could easily recall devouring a few slices of the decadent chocolate cake your mom baked for your birthday last Friday, but you might not be able to name every bite of food you ate on a random Thursday three weeks ago.

“People aren’t telling us the whole truth, but it’s not that they’re being intentionally obtuse,” Johnson explains. “With recall bias, unless there’s a reason for us to really remember, we’re not going to remember everything we actually ate.”

This has made it especially difficult to trace an aerosolized disease like COVID-19.

“All my friends going into the Fourth of July were like, ‘Should we have a get-together?’” Perramant says. “And I said, ‘You can have people over, but you better take an attendance list. You better have a little spreadsheet on Google Drive that has every person’s name and their phone number, so that when one person tests positive and gets sick this week, when I call you, you will be able to give me that information like that.’”

7. Epidemiologists have reason to be wary of buffets, cruise ships, mayonnaise, and cubed ham.

It's all fun and games until someone eats warm egg salad.Tim Meyer, Unsplash

Infectious disease epidemiologists may have accepted that germs are a part of life, but they also know where those germs like to congregate.

“I don’t go to buffets, I have never been on a cruise ship and I don’t intend to, I’m super conscientious when I fly,” Johnson says. “And I’m really aware of whenever mayonnaise-based things are put out at family functions. If you’re ever at a potluck and people come down sick, the first thing people say [they ate] is potato salad or egg salad, because mayonnaise can spoil so quickly.”

“[Cubed ham] is one particular microbe’s very favorite thing to multiply on, so if you’re gonna have ham, make it a whole ham,” she says.

8. Teaching people is a really rewarding part of being an epidemiologist.

In addition to actually leading lectures in the classroom, academic epidemiologists also work extremely closely with their students on research projects; McCullough estimates that she’s in contact with hers at least once a day when they’re collaborating on a study.

“To work with someone so closely, and to watch them progress as a scientist and as a person, and then to have to let them go and send them out into the world, I find that very rewarding,” McCullough says of her trainees. “As a scientist in an academic institution, there’s not a whole lot of immediate gratification. Our papers get rejected, our grants don’t get funded, but the trainees are always a source of immediate gratification for me, so I hold them close to my heart.”

Epidemiologists in other spheres have teaching opportunities, too. When a community experiences a disease outbreak, public health epidemiologists like Perramant are responsible for helping the general public understand what they can do to prevent the spread.

“I like to teach kids about infectious disease and infection prevention for what’s relevant to them. We’ve had a couple of large outbreaks at summer camps, and last summer I put together a training for camp counselors,” Perramant says. “That’s always a part of my job that I really love.”

9. Epidemiologists have a unique understanding of racial disparities.

At this point, it's exceptionally clear that COVID-19 is disproportionately affecting people of color in the U.S. They're more likely to be exposed to it, they have less access to testing, and the preexisting conditions that place them at a higher risk can be the result of systemic racism. When these trends started to become apparent, McCullough got flooded with phone calls asking why. Her answer? This isn’t new. As she’s seen in her work as a breast cancer researcher, Black women are more likely to die of that disease than their white counterparts, and similar health disparities exist across the board.

McCullough explains that the general public is finally realizing what epidemiologists already knew: That poor disease outcomes in minority, low-income, and rural populations aren’t because of anything those people are doing on an individual level. Instead, it’s a result of systemic issues that keep them from leading financially comfortable, healthy lifestyles with access to healthcare and other resources.

“It’s not just COVID—it’s almost every single chronic and infection ailment that’s out there,” McCullough explains. “So this is a real opportunity for people to step back and take an assessment of where we are in terms of our healthcare system, and what we’re doing so that everybody has equitable outcomes. Because people shouldn’t die just because they live in a rural area, or just because they’re poor, or just because they’re Black or Hispanic.”

10. They've had to deal with a lot of “armchair epidemiologists” lately.

Until this year, epidemiologists had to suffer through people mistaking them for dermatologists. Now, during the coronavirus pandemic, people finally know at least a little about their jobs. In fact, people are so confident in their newfound epidemiological knowledge that many are fancying themselves experts on the subject.

“At the beginning of 2020, there were like 500 epidemiologists, and now there are about 5 million. Everybody thinks they’re an epidemiologist,” McCullough says. “There’s a science to it, and it’s a science that requires training. We went to school for a really long time to be doctorally trained epidemiologists.”

It’s not just about advanced degrees, either. Beyond that, you need years of firsthand experience to grasp all the nuances of understanding methods, interpreting data, translating your findings into recommendations for the general public, and so much more. In short, you can’t just decide you’re an epidemiologist.

Perramant has her own analogy for the recent influx of self-proclaimed epidemiologists: “It’s like armchair psychology. Poolside epidemiology now is a thing.”