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Top tips for creating caricatures

By Mark Hammermeister
Web: Open Site
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Date Added: 20th April 2015
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Step 5: Painting the Hair

I'm finally comfortable enough to delete my sketch layer and also zoom in and work the finer details. I use progressively smaller brushes as I go along to tighten up the details. I've also decided to start working on the hair. I always draw hair on its own layer, so that if I make any mistakes it's easy to erase. I use a standard soft round brush with Shape Dynamics turned on and draw in each strand of spiky hair one at a time.

Using a series of progressively smaller brushes, I begin to refine the details throughout my painting.

Step 6: Bringing the Fire

My plan from the beginning was to create a visual metaphor depicting Ford's inner rage. I thought it would be fun to make it look like his rage was emanating like a furnace just below his collar. On a new layer, I begin working a bright fiery orange in around the neckline, blending it in with the shadows on the layer below.

I continue rendering the forms using a combination of the hard round brush and one of the rough, "painterlyā€¯ brushes.

Step 7: Close Up Details

The eyes and mouth are two of the most important details to get right on a caricature. I've zoomed in very tightly on the face and continued to sharpen and refine these details. You can see where I've sampled some of the orange color from below and worked it into some of the areas that would catch a bit of the same reflected light.

I've zoomed in very tightly on the face and begun to really sharpen the fine details around the eyes and mouth.

Step 8: Dodge and Burn

In order to make the fiery area around his neckline really pop, I create another layer above the orange color I've already laid down, and set this layer to Linear Dodge. I paint in a bright yellow orange color. I use a soft edged eraser to remove a little of the bright yellow to blend it better with the layer below. I use another Linear Dodge layer to do something similar with the background, only there I paint in a layer of atomic yellow green color.

On a Linear Dodge layer, I paint in a very bright yellow orange color in order to create the fire effect coming up from under his collar.

Step 9: Painting Some Smoke

Among the many brushes I've collected over the years are a huge set by the illustrator named Yang Xueguo, better known as Blur. Among this huge set is a terrific smoke brush that I use to paint columns of smoke coming out from under Ford's collar.

I paint in some smoke coming up from his collar using a custom brush.

Step 10: Adding the pipe

The last thing I do is draw a pipe icon with the pen tool in Adobe Illustrator. I copy and paste this several times into the Photoshop document to create a pattern over the tie. I merge those layers, then use Transform > Warp to make the pattern wrap naturally around the tie. I add a layer mask over the pattern then use a soft round brush on a low opacity to lightly erase some of the pattern, in order to make it blend naturally.

I drew a little pipe in Illustrator, and copied and pasted it several times over the tie.

The final image

Related links:

Head over to Mark Hammermeister's website
Check out our Photoshop eBooks
Grab one of our Photoshop training books

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