Making Sir Richard Branson a Paperartzi paper sculpture.

Sir RB vlrPart 1. Rough sketch of an idea.

I’ve wanted to show my audience the process of producing one of the Paperartzi paper sculpture caricatures for a while.

So, let me do something more interesting and show how I might turn an actual person into a caricatured paper sculpture!

Sir Richard Branson is a serious inspiration to me, and apart from looking forward to meeting him in person one day, he would make an extremely good prominent to caricature for this Paperartzi exercise I have in mind. His very distinctive brand of appearance makes him perfect for this new adventure.

I start with a rough sketch of how I think Sir Richard B should look as the particular type of the Paperartzi I call the Rip-torns. The Paperartzi logo is a Rip-torn character, and so is Screwella who you see looking sceptically at my sketch of Sir Richard B in the photo.  (The piece of purple paper in the shot is from her outfit, which I left to add some colour balance into the photo).  Rip-torns are the characters whose faces are within roughly shaped, rip-torn pieces of paper, hence the name.  They vary in detail, sometimes just having hands and feet, but sometimes I add a body too.  For Sir Richard B, I wanted to be more representative because people know him and his brand of looks very well.

The pic shows the initial rough sketch where I explore his looks with a big collared white shirt like he wears under a black jacket.  He’s posing with arms stretched out as he would while addressing the public on occasions. I could have him in lots of ways like holding a girl, as he often does for media shots, or riding upon a Virgin plane, but simplicity suits here.  Eyes, mouth and nose are what’s most essential in getting resemblance right, after which you can get carried away with other features like hair, as I intend to here. I also made his eyebrows extra big’n bushy, and his mouth a lot bigger to exaggerate his amazing pearly whites while minimising his lines, to make him more ageless and fun.

In Part 2, I tighten up the drawing, getting it precise because everything from here depends on minimising errors that creep in between drawing and sculpture.  I also experiment with colours.