The caricature assignment was agreed upon around 1 p.m. on Tuesday, March 4, to run in Sunday’s, paper (March 9). I was given a Web site that was currently running a performance by Sam Harris, the subject of the caricature, from his new CD. From this visual, I could see what Sam looks like now compared to our archived images.

  After visiting with the Editor and our Internet artist about an idea I had of doing an animation of one of my caricatures, they agreed and I wanted to document the process. So, here goes…

  First, I collect as much information as I can about the subject: What instrument or instruments he plays; any characteristics in clothing, jewelry, behavior on stage, or appearance that Sam prefers that will help in immediate recognition by our readers. Second, I collect as many images of Sam as possible from our photo archives so I can see him from different angles and get features such as the color of his hair, eyes, skin, height (although I usually do a cartoon body that is very small in comparison to his head) and facial features such as any scars, moles, facial hair that are distinctly Sam’s.

  The first sketch is done in pencil. This is done to capture general shapes -- the shape of ears, face, eyes and hair.

  The next step is to scan the pencil sketch into my computer. The rendering is then executed using a pressure sensitive stylus and tablet connected to my computer. My favorite tool has always been my airbrush. I use that feature of a photo software called Photoshop. I call the various photos of Sam up one at a time, depending on the feature most visible in that image. I then open my sketch in a second window and place them side by side. Photoshop has a feature called layers. This allows me to paint over my pencil sketch. I will use layers to help keep some of the elements separate. For example, the hair is usually on a layer by itself. Skin colors are on a second layer. The body is on a third layer. This is very similar to preparing an airbrush painting where I would do these elements at different times as the piece evolves.

  Placement and rendering of the eyes is critical. The eyes will “sell” the piece. If you get the eyes right, most of the rest will fall into place.

  At times one of my colleagues will miss-label one of my pieces as a “photo-illustration”. As you can see, they are not. But rather photorealistic. It is one of the highest compliments I receive. My special thanks to Mike Maddux for his help in making this work on our Web site.