A caricature is a rendered image showing the features of its subject in a simplified or exaggerated way through sketching, pencil strokes, or other artistic drawings (compare to: cartoon). Caricatures can be either insulting or complimentary, and can serve a political purpose, be drawn solely for entertainment, or for a combination of both. Caricatures of politicians are commonly used in editorial cartoons, while caricatures of movie stars are often found in entertainment magazines.
In literature, a caricature is a distorted representation of a person in a way that exaggerates some characteristics and oversimplifies others.
The term is derived for the Italian caricare—to charge or load. An early definition occurs in the English doctor Thomas Browne's Christian Morals, published posthumously in 1716.
Expose not thy self by four-footed manners unto monstrous draughts, and Caricatura representations.
with the footnote:
When Men's faces are drawn with resemblance to some other Animals, the Italians call it, to be drawn in Caricatura
Thus, the word "caricature" essentially means a "loaded portrait". Until the mid 19th century, it was commonly and mistakenly believed that the term shared the same root as the French 'charcuterie', likely owing to Parisian street artists using cured meats in their satirical portrayal of public figures.
Some of the earliest caricatures are found in the works of Leonardo da Vinci, who actively sought people with deformities to use as models. The point was to offer an impression of the original which was more striking than a portrait.
Caricature took a road to its first successes in the closed aristocratic circles of France and Italy, where such portraits could be passed about for mutual enjoyment.
While the first book on caricature drawing to be published in England was Mary Darly's A Book of Caricaturas (c. 1762), the first known North American caricatures were drawn in 1759 during the battle for Quebec. These caricatures were the work of Brig.-Gen. George Townshend whose caricatures of British General James Wolfe, depicted as "Deformed and crass and hideous" (Snell), were drawn to amuse fellow officers.
Elsewhere, two great practitioners of the art of caricature in 18th-century Britain were Thomas Rowlandson (1756–1827) and James Gillray (1757–1815). Rowlandson was more of an artist, and his work took its inspiration mostly from the public at large. Gillray was more concerned with the vicious visual satirisation of political life. They were, however, great friends and caroused together in the pubs of London.
Published from 1868 to 1914, the London weekly magazine Vanity Fair became famous for its caricatures of famous people in society. In a lecture titled The History and Art of Caricature, the British caricaturist Ted Harrison said that the caricaturist can choose to either mock or wound the subject with an effective caricature. Drawing caricatures can simply be a form of entertainment and amusement – in which case gentle mockery is in order – or the art can be employed to make a serious social or political point. A caricaturist draws on (1) the natural characteristics of the subject (the big ears, long nose, etc.); (2) the acquired characteristics (stoop, scars, facial lines etc.); and (3) the vanities (choice of hair style, spectacles, clothes, expressions, and mannerisms).
See also: List of caricaturists
There have been some efforts to produce caricatures automatically or semi-automatically using computer graphics techniques. For example, a system proposed by Akleman et al. provides warping tools specifically designed toward rapidly producing caricatures. There are very few software programs designed specifically for automatically creating caricatures.
Computer graphic system requires quite different skill sets to design a caricature as compared to the caricatures created on paper. Thus, using a computer in the digital production of caricatures requires advanced knowledge of the program's functionality. Rather than being a simpler method of caricature creation, it can be a more complex method of creating images that feature finer coloring textures than can be created using more traditional methods.
A milestone in formally defining caricature was Susan Brennan's master's thesis in 1982. In her system, caricature was formalized as the process of exaggerating differences from an average face. For example, if Prince Charles has more prominent ears than the average person, in his caricature the ears will be much larger than normal. Brennan's system implemented this idea in a partially automated fashion as follows: the operator was required to input a frontal drawing of the desired person having a standardized topology (the number and ordering of lines for every face). She obtained a corresponding drawing of an average male face. Then, the particular face was caricatured simply by subtracting from the particular face the corresponding point on the mean face (the origin being placed in the middle of the face), scaling this difference by a factor larger than one, and adding the scaled difference back onto the mean face.
Though Brennan's formalization was introduced in the 1980s, it remains relevant in recent work. Mo et al. refined the idea by noting that the population variance of the feature should be taken into account. For example, the distance between the eyes varies less than other features, such as the size of the nose. Thus even a small variation in the eye spacing is unusual and should be exaggerated, whereas a correspondingly small change in the nose size relative to the mean would not be unusual enough to be worthy of exaggeration.
On the other hand, Liang et al. argue that caricature varies depending on the artist and cannot be captured in a single definition. Their system uses machine learning techniques to automatically learn and mimic the style of a particular caricature artist, given training data in the form of a number of face photographs and the corresponding caricatures by that artist. The results produced by computer graphic systems are arguably not yet of the same quality as those produced by human artists. For example, most systems are restricted to exactly frontal poses, whereas many or even most manually produced caricatures (and face portraits in general) choose an off-center "three-quarters" view. Brennan's caricature drawings were frontal-pose line drawings. More recent systems can produce caricatures in a variety of styles, including direct geometric distortion of photographs.
Brennan's caricature generator was used to test recognition of caricatures. Rhodes, Brennan and Carey demonstrated that caricatures were recognised more accurately than the original images. They used line drawn images but Benson and Perrett showed similar effects with photographic quality images. Explanations for this advantage have been based on both norm-based theories of face recognition and exemplar-based theories of face recognition.
Beside the political and public-figure satire, most contemporary caricatures are used as gifts or souvenirs, often drawn by street vendors. For a small fee, a caricature can be drawn specifically (and quickly) for a patron. These are popular at street fairs, carnivals, and even weddings, often with humorous results.
Caricature artists are also popular attractions at many places frequented by tourists, especially oceanfront boardwalks, where vacationers can have a humorous caricature sketched in a few minutes for a small fee. Caricature artists can sometimes be hired for parties, where they will draw caricatures of the guests for their entertainment.
There are numerous museums dedicated to caricature throughout the world, including the Museo de la Caricatura of Mexico City, the Muzeum Karykatury in Warsaw, the Caricatura Museum Frankfurt, the Wilhelm Busch Museum in Hanover and the Cartoonmuseum in Basel. The first museum of caricature in the Arab world was opened in March, 2009, at Fayoum, Egypt.