`¯Vb mÖN ¯ �MCÖ/CóCC/C´


UWMWÆNÇ
X JHH ¯ S�
=Ñ|PT
P�LÅN FkDMþ�
L˯TbHlNO
¯bTEH KIHLHHc|MLk-
¶Ü|TDP
ETEVcNA
ÖH¯Üb�7
1ImH�1oDmwC·¬k �cm·.Nu¬·' ÎÝ�¬uLsn.• .b;S|:cr •. u|vtione G+Brook/ Fres¬em P e°erBr ·!>¦1"�h f +•¸i ÷ t1¯�´"H `f-¯I?. cnr:.Pi ":s*ino C BIc�
Fsrn ProutOnNR :a¤rO¬�ecI1:rma¡ or.SoIscnP rI�a·: ´|B.f·OBox? •.Br ^. .Î1�¹¯rh 7 ` 1 �! ·I·e ·_ ,,�c;· ro¬t· 1ܬ:,5·>·\�.·uvan.t¤~II ! cIs~s÷i.nc
Pr¢ $1º¬Û !Û|\ u1 IUr' ¢d¯·-surJ'¨7-:sC ×nu.
Fe¤mv�FoUI º¤me Man.e0oe« r-�¡÷mo·c|a&�++d«~4 ·• F ^!Îλ ~eICc�IrG¡U[,#r •#r +|µ¶ç�mWl°¹ 1^ !l 1m1·¹°f°1"¶% ·h»·w I·n· ¢qv·orI·1?r·VB!x Vί´
G·OuÞ
CWPûfη ¨îYf f/SÞî îG/5, YWîJC×ïY,Hk0M
WelCOME ASORD.' 70U'¥F JUST TAFN IKE FÍHb¯ STEP TOWARDS BECOMING A SUC SSFUL
OMIC ARTIST. IN OR0bR 1 SlL ON A STRONG fOUNDTION, YU MUST FIRST LEARN THE
ItS.
HERE W HAVE THE MECHANICAL
PENCIL. THE LEAD IS ADVACED BY
EITHER TWISTING nE TO, PUSHING
A 6UTTOH O¯wMKING A
ßT0AT TH TIP. ¯MÎ LÐâUF5
KOE � O.3ÍTÆ FINE5T
PINT). O,¶(0O.7(1HE THICK­
EST}-
THE LE HR I5AkmtrW
SATitE TO R TE PNCILlER.
INSTEAD O ADAIN THe LEP,
ß MWPReS LTHE
LEAD IH THE BREL THIS ASO
ALLOW ? MM MEE0M \M
SELECTING ThE LE O
THAT �U ÞIlLUE.
#
We'RE ALL USED TO THE WOOP
CL|NCHED PENCIL. THEy'RE GRDEO
FROM M16OFT TWRHAk0.
1HbRbARE ASOUT ÎÎ GRDES,
WHICH WIll LWÑ#UL YÑ
NEEDS.
� QQWWWWWWWWWWQQWW
WHER 7 Ht PENILLING,
YOU WILl HAve ERAING. so GT
USEOTO I1, |1´$A FACT LÎ1ÍL. �
THE íIRST ÍÛTHE RFLUR LLÞ
FASHIONED RUBBeR ERASER. BY USINÇ bMLÑ1
CLEAN STROKES you WIll B ABLE TO LIFT
THE |cNCIL jlh{ OUT WITHOUT DMAGING 1ML
PAPER. NEXT, Wt HAY Åt KNEAÜED ERASER,
WHICH CAN Ø MOLDeD INTO ANY &APE
NECESSARY, AlLOWING 'OU 1U UíT !N¯
THAT EXTR TIGUT SPT.
Î0 DRWING E1RIOHT
llNES, RULER AE INVALU­
ABLE. ANONO THE MANY TYPS
AVAILABLE, THE LONG ¯~GUUkF
SATISFIES SEVERAL NEEDS
AND REAllY COPES IN HÞ¥
FOR 1HÜbt LONG LlMtÛ= 1HÊ 1Ñl*
PLE lÜ USED TOETHER WI�
TMT~SVNF. PACING VF 1
AROSS ² 0wIN SURFACE
AND RESTIMGlHE R%PEME
EITHER TO WRRKHTw LEFT
HAND ØlU_Y TMH FlAfE YOUR
TRIANGLE A|ONO 1hL H0KI7O1¤L
LlNE OF IT AND DRW YOUR
PARUEl lIHE ALONG THE
STRIGIH sloe OF THE TRiAE.
.
FOR 1HL WOOP
CLINCHED PNIL,
ALMOST ÆY PRT­
ABLE OR ELETRIC
ÇHARF£NFK lb
OKAY. FOR LEAD
HOLDERS AND
MECHANICALS, HOW­
EVER
,
YOU WILL
NEED A SANDING
BLOCK.
7OU ARE GOING T
NEEO A PlAE Ã STORE
ALL OFWREQIPM£N.
Î SUGÚES1 A SIMPlE
SHO B¥ITS SMALL,
EASY ¯ÛSTOHE AND lS
SHALLOW ENOUGH 1O
AUDW ¥0I!05EE
EVERYT�ING YOU'VE
PLACED IN IT . WHEN T
NEED M0RFSPAC.E,
SIMPLV ADD ANOTHER
SHOE SOX AND b
SURE TO NUNBE�
THEMFOR�Y
REFERENE.
#5 IMTAT Æ WT ¥
WW WH 1b WÅ1W Ç
ON, T5R£ ÆêÏHFNPJÜK
1fltb Ü PAPE� 4ND EACH H
A DIFFeRENT PlM.ÎLPÏ1ÜN¯
Twe PENCilLER. THERE: BOND
LAYOUT PAPR, WHICH GIVES
A CLEAN LOK ²ÜAll YOUR
MW SKETOlES AND TAKES
PNCILS OR PÑKLÑ EQUAlLY
WELl. PÜ>T PROeSSIONALS
U5L ÆZBISTo8OAAO WN
|5 USED MAlNLf ·a
"
COO AT,
AND WE'll GET INTO IT MORE
IN A lU¯wÑL Ise.
FOR MOST OF YU STARTING
OT, IT IS SFe TO S¥rUAT Y
DN'T HAve A ML55l0N
QUIT MWIN 8OMD,
DN'T FRE. A|LYOU REALLY
NEED I5 A SMÜH¿ FUI
SURFACE ON WKICH TO RES T
AND HOLD WT 1ÜUARE WORI­
|N ON.
Ío�¿
`


P£NSIPINKS;"NAT,
�� ������������ ��� ..
"
. ... ....... .
CMAH1bH1WO
Ï W0|PNTÛÛ
PNY |ÆTÍÎ
. ,uz J¸es_
¨1ML
FlUUHb`
� MWMWWWWMW �
¼ HFR0lC MNE AND FEMALE ARE T4LLER ANP MORE SOLID LOOKING. IN THE CM
OF THE ÅÔL¢, HE IS BR040ER, M0FE MSIVE AND N MORE MUSCULAR. THE
WEROIC FEMLE, ALTHOUGH JUST AS FEMININE Æ HER NORMAL COUNTERPART, HAS
A MUCH BROA0ER LOOK AT THf SWOULOERS. ÞIFFERFNTIATIN BETWEEN THe NORML
FIGURE AND TRE H¢R0IÇ FIGURE IS ALL IMPRTANT IN GETTIN& TE READER 1 TRULY
SEUEVE THAT WH TI-EV SEþ IS TRULYA WERO, AND N0 SME JERK WH JUST LIKES
1 WEAR HIS P. J. ´b ¯ WORK EVERV Wf´
BFB0|0PB0P08T|0NB
I
¯ *¨
I
_
1
1 6HI� Z hlFFL[5 J hAVEL
• ¿ � .
·= ~


^
· | ·

��
·t
4 0P0lh
l
.
1
¨
6 KMEE 9 80TT0V0FEEI
NOTIE THE ØFF£kEN6f 0fTKffN T¬6 REALISTIC FIGURE N THe WEROIC FIGURE. TWI MOST
IMPORTANT THIN 10 BQ LEAND FRW THIS COMPARISON IS THE RELATIONSHIP BETWEEN
THE HEA AND THE BODY.
HERE YOU SE¶ ThE H£N CHART FOR ÅHb AVERE PERSON {WE
SHOULD ALL W 5 AveÞ¹I.TE MALE IS MUSCULAR. ÕT NOT
OvRDONE. THE FEMAl SHOLD BE sOFTER LOOKING AND LESS
ANGULAR. SHE IS ROUNPED WIE"E THE u IS NRMALLV S1Kæ.
FAT, SKINNY, SHRT OR TALL, THE SIMILARITV OF THE FIcRE IS
T HERE. UE THE HEªPA5 A OlW,ANP nE 8D 1$ POPRIONATE
JD IT.
BFk||8T|0 PB0P0BTI088

�'

I
_
_
| `
.
\
.
.

� �

¯
¸
f


`

|

L
7

¦
�� -~ ¬
1 ChI!| ¿ dIH|E5 § NÅVtL Å 6hÛId


|


¿`
t

T
+
r

`

/

(
|
¦

4

·z �/
Y I'

, .
`
· W
¹
· ¨\ :
. •
·

|

/.
b S0TT0M ÛF �dEE
+ ,.
.

1
@ 80TTÛMÛlFL|1
WWWWWWWWWWWWWWW �
1kE FIGURE SIULD ALWAYS
:-

BGIN WITH TWE STICK FIGURE. ¹
0-
!
TWESE MARVELOUS LITTL! � � .

WILL ENABE WU TO S£E A

THE ACTION SOULD BE IN A

SENe.
,

.

TAKE NOTE OF TWE HERIC
PSE TO TNE fGHT. NOTic
HW OLV THE PSE OTE
FIGURE lS Æ T3 6 ST
NBILIT AD CONFIDEN.
VlÜÆlÏb THE SHOT TÆ
GING T INTERP�ET FOR )UR
REAERS. UNDERSTANDING
BDY LANGUAf COMES IN
PRTTY HAHoY �E W
HA¥f A FUlN ³ bFMRO5$
WITHOUT MY WORS TO
eXPRESS ÎÃ.
\ :
>

1

WE HVE AN EH RfkE Û
TE ElGERATEP FIGUR. WHILE
THE MUSCULATUE DE5 NT KW
¯ 9E Æ CONSTANT AS TME AIfR­
/I OT HEA� FIGR, IT
PS HEED Ý HAvEA CETAN
MU OWLlE%lT FOR
T REAER TO WJ..
FOLLOW THe FIGURE'S ATION.
THESE EXGGERATED fiGURES
INCLUDE ELves, GNOMES OR
HEROES WHOSE POWERS SME·
HW ",STORT ¯L IM DF
THt AVE_AGE hFRB ÛOPï·
Mc>~Ïñ¦k8
þrUSING TE M|O
OF THE MUSLE. T�E
ARTIST IS ABLE TSH
THE �FMR MOEMNT
AND EFFORT. 0 SUPPORTED
BY ONLY ONE LG, DES ¯Ü
OTHER LEG SW THE
STRAIN OF THE EXTRA
WEIGHT? THIS USUAllY
GES UNNOTICED, SUT
THIS IS ANOTHER ANGLE
THE FKUHAS TO ÕÞ
CONCERNED WITH.
WHEN UFEK MAN
PICKS UP THE FLANET
WHUZZAT, WE BElIEVE
HECAN D IT WITH
THE SE EFFORT IT
WOULD ¯AKE FOR)OU
OR M TO LIFT UPA
QUART OF MILK. THE
MJbLL MOTION ÍN
BOTH CASES IS THE
SAME, BUT BE SURf
TO EXAGGERATE IT.
LO8Al 'UR
ON Æ.NOTICE
HOW THE MUslES
ARE SEPARATED BY
EXAMINING THE
MEMENT Of YR
0WNMUSLES ANI
O OTHE� AMD
YU. U5tT\b
KNWE0E 1 HELP
YIN \R DRW­
ING, OLY KEMEM·
ÜR,YAND ¡A
NDHEROEs(r
JulnK).GYOU'LL
H¥L!MAGNIFY
THIS LlFLCQUITE
A ST.
Jkt FEMALE þODY lb VSTLY
DIFFERENT IN OESI6N F%MTKç
Nålb (THANK HEAVENS FORTHAT).

THE MSCles ARE 5NÏHER¸

WlTH |ÕSS DETAIL, AN" ARE MORE

CRWN OUT. TE" MÆO¡

NO KlMLEÆTHER D lN
Mb MM-

TAKE A LOOK AT THE5E DRWtN Æ
W WI LL 5FE TKATTHE FFM|F IS N0E
GRACEFU AND eXPRESSive. SHE NOYeS
LlGHTLY,O SFTLY, ALWAYS KFEFlNG 0tW
FEMININE QUALITY. THE BODY LANGUA6E
OFTHEMA|E I5 DIFFçRENT TwK THAT Q
THE FEMALE. THE HEk0IC FFM|FALSO
SHOULD 8EOVFN 5DMEOFTHESE TRITS
|N HER NDbMbNT5 Ab WEU-
��
WE HTe T Õ REPETITIVe,8T YO CAN'T H Ý MUH tNle0 O THE 6TI!K
F|6bRE A H 1D FLESH M DUT FR 1HE õTN1 1DTHE FINISH. mKE IS ANEK
HLPFU SETCH L TME C0MMETt íKtbb·
·
'
'

ON OCCAStONS WW€AE YOU HAVE
TO DRAW CHARACTER LARER THAM
HEROIC PROPRTIONS, YOU MUST
STILL SKETOIITOUT FIRSTARfiNG
WITH THE SAME FIGURE AS Åt
STANDARD HERO, SIMPlV LENGTHEN
TKE MAJOR AXIS PoINT$, ESPECIALLY
THE HIPS AND SHOULDERS. IT WILL
NOW 6E MUH SIMPlER TO FLESH IT
OT AND KEEP THE PRPER PRO­
PRTIONS.
¯
IN ATlON SCENES, 'WAMT"O
SUGEST MOVEMENT. yU HAVE Å
CATCH THE FIGURE IN MIO-STRIDE AND
SHOW IT FRM 1MEANLOTMc
·CAMER". ¥WilL MAVE TO CUT A
PIECE OFF OF YOUR FULL FIGURE.
TI-I$ IS CALLED FORESHORTENIN6.
IT'S IMPRANT TO DW THE FULL
FIGURE FIRST AND THL� REMOVE
THE PARTS THAT WOLO NOT 6E
VISIBLE TO THE "CAMERA",
`

(

r

@g@g �
IN AAV COIC, Y
WII
.
L HAVE A CERTJN
NUMBR OF PAGES THAT
Will HAVE "D" SCENES,
THOSE IN W�IC� ABSOlUTELY
NOTHING HPPENS. ALTH
NOnllNG I HAPPeNIN, TE
READERS ATTENTION SHOD
STILL B HELD. IN THIS SENE,
FIGURE B DOMINATES �E
MO D BY EXUDN COFIDNE
AD SEEMING T e OA8I­
CALLV DEEP IN THOUHT.
WHILE FIGURE A IS
08VlOlY A UNINTEREST­
IHG ZOM&E.
A
V/
i
_c\
/
.. -
'",/ \
HERe, £,£1 IN AN e>REMElY UWFINtSt(ED
FORM 'OU CAN see THE OlFFERENCE
BETwEEN AN UtllTERESTING POSE AND
ANO AN ePRISSIVE ONE. IN FtGU�E A
THE SUBJECT IS STRAIGHFORWARD AMD
OPEN. MOW THIS I NOT NEcesSARilY A
eAO THI\, eUT WE WANT TO SHOW E­
PRESSLO� ANO INTENT WITHOUT TEXT.
FIGRE B IS ALSO STRAIGKFWARO, BUT
IT IS FAIRLY oevlou l\AT TWE CI\A'ACTE�
MEANS 8S/NS!
� ______________________-'3
OeIVIOUSlY, THERE ARE MANY DIFFEREIT
KINDS OF MASSIVE FIGURES. REMEMBE�, THE
VILLAIN, REGARDLESS OF STATURE, |5STILL
DFWN USING HEROIC PRoPRTIONS. YOU CAN
CHANGE THE WAIST SIZE BY INCREASING OR
DECRçA5|NG IhE DEPTH OF ÃHL Ü1UNH
UNDER THE RIB CAGE. HIE DEEPER THE
STOMACH, THE nllNNER THE WAISTLINE LOOKS.
THE OVERMUSCLEl BODY SEEMS 1 BE
ALWAYS CLENCHED. THe RIPPES ARE
EVERYWI-ERE AND THE MUSCLES REACH
TO ALMOST EVERV MOVEMENT. ANOTHER
WAY TO CONTROL HIE IMAGE IS BY
INCREASING OR DECREASING HIE SIZE
OF THE PECTORAL MUSCLES OF THE CHEST.
M"E 5UktTHE LEGS ARE MOT TO LA%E
FOR THE MIDSECTION.
AT T�LOEKMUIt0MASIvE fIGRE.
yOU Will 8EGIN TO SE 1HAT DETAIL MN|NI5
ktALI¥ NOT SO NL£LbSAKf HLKb.t¥íNTHOUGH
IT' BLY OUT OF 1H£ STICK FIGURE STAGE,
IT HS ALL THE THll6S YOU WANT TO SHOW.
°%W A <mw
HERE IS A�T"ER MEmOO 1 BK PRAWU'6 CALLE0 CIRCLIN OTTE
CHARACTER. AGAIN, YUU MUST KNOW T'E SHOT B€FORE fINsING l1TF·Wïw
THL FINISHEP EXAMPLE IS ONLY FROM T'€ VAIST UP, THE FIGURE IS CIRClEO OUT
WITI- THE ENRE FI 6URE INClUDEO FOR FLKbFFfT\¥f·ôbCAUSLI WANTEO TO SHW
A PARTICUlARY SULKY POSE, 1 PLAYED ÜWM ÅH¢ ÜP1HTO GIYTM£ IM DFNIMK
HIF ïO PINTOUTTHE LARGE PRRTIONS HeRE.
_¸� �� ¸� �

_
´ �


@@@@@@@@ ••
THE UNFINISHED FIGURE WITHOUT ALL Of IT' DETAIL CAN ¼ US A LOT AÐ HK
TO PENCIL THE STICK FIGURE IN MOTION. NOTICE THE UPPER RIGHT HAND FIGURE. IN
ORDER TO ESTABLISH PROPER BALANCE, THE HEAD IS lNP DIRECT UNE WITH THE FOT
THAT |5 SUPPORTING THE BOOY'S WEIGHT.
WWWWWWWWWWWWWWWWWWWWW
I
· "
HERE ARE A FEW MORE EXAMPLES OF TE FLUIDITY IH
THE WOMH' MOVEMENT. THE L0N$.GREF0L LINS W
1HÜ fEEUNG TAT T0E FEME FIGURE IS GLIDING TM
THE SENE.
\ ·^
1
1
`-
Í
|

^

A0tN, ×01icë 10t Lt×6I0ë¤l¤6OWUNÐ AN
T 50IN OFTF MUSQES. BECUE THE
BRASTS ARE SUPPOATEP BY 1E c0ëã1MVL.
NOTICE M Jhb 8REASTS Rf TO MOVEMENT. W
WK bTlf ¼ AVOID MAKING 10ë9ëMOVEMENTS
SEM AWKWRO. THE AIM I5TO SHOW 6MOh MV
N1URALMOVEMENT.
'
ܯLMY¯ÜLL1MÜ - LMÅH¯ÜM ¯MMÜÜ
WHEN THE WRITER BRINGS IN HIS SCRIPT, THE þÇP7 IS FAR FROM TOLD ¥FT.THE 6b
bNFT T~1 I S INTERP�TEP 8Y TN£N1Y 0|FF£R£N1 ARTISTS Wlll8 1T7 0HFkFN
ÕÎLÜ.SIMILAR TO fiNGERPRINTS ,NO TNARTISTS SEe A STORY FROM TME SAME ÝM¯
O VIEW. YOUR JOB / me ARnST BGINS WITl KEEPING THE STORY CLEAR AND VbRY
CAREFUllY MKlNGSU� THAT T�E READR NEVERGETS COFUSEP. IF YOU ARE
FOLLOWING THE SRIPT AND IT CAllS FR SOMEnUNG THT YOU PRSONAllY BEUEVE
Q ABSURD, YOU MIGHT JST D IT 1HAT WAY AND YL WilL lOSE THE READERS. ITS
A TRAP, LIKE MANY on-ERS, THAT ARTISTS AKfVERY PRONE TO íAU!HUINTO.
� WWWW ÆÆWWÆWÆWÆÆÆÆWÆWÆÆ
W�AT IS STORYTELLING ALL ABOUT? BASICAUY YOU MUST GET THE bTK Þ\K55
WITHOUT QISINVOlVIN6 T HE READER IN ANY WAY. IT HA5TO 8E CLEAKÆPYET AT T"E
SAME TIME SUBTLE BECUSÛYou POH'T WAN Å INSULT ANYO�'S INTElLIGENCE.
TAlL ORDeR? YEp IT SURE IS, BUT BELILVE ME, IT GETS EAIER A Y O·1`P LIKE W
1 MEET A FRIEND OF MINE. HIS NAmE lS ÖMÑ%RNAND HE WAS THE UULW%
SIDEKICK; HER NANE ISELYSE. TWE7 ARL RERETO SWW US HOW MfY½QÞ
STORY. AND TO START OYOURGLOSSARY, CRoPPING IS WHEN You SELECTlVElV
REMOVe APIECE OF THE FIGURE BECUSE IT IS UNNECESSY. IN 1MbCASE HOWVER.
iT WAS nE CROP T�AT WA UNNLCE55AK.
1 N FIGURE 1,Wb SEE WKA\ IS SUPPSED TO BE DUPE SPEDING OK TMCY. 1 "
INCORRECT, HOWEvEK.FIRST OFF WE NEED TO ESTALISH THAT OUPE CAN FYTGET
HIM CREDITABLE WITH \HE READERS. FOR ALL WE KNOW, THIS IS A SHOT OF MM
CHECkiNG OUT THE LOAL PtGEON ATIVIT7BY MAMGtN6 OT THE WINDW, Æ,Ý
· ALL WE KNOW,ONE OF DUPE'S PWERS IS REveRE SPR M9ÎON1HR0UHTHE SLES
OF HtS FEET, AND TWTHE'S HNNOUT THõWINP ÆN.
AQUKKREAP; IN FIGURES 1 AND ¿, ALTHOUGH DECENÅ SPEED SHO¯,ThLf WILL NBE
THE ESTABLISHING S�OTS THAl yOU WILL NEED TO REALISTICAlLY HOLD THE RfRS.
MEANWHILE, BK AT ¯HE RANCH,IN |IGURE 3 WE LEFT OUK HEKO SPEEDIN OVER HIS
CITY URBANOPOLl5, OR DID WE? DID lHE CITY COUNCIL HONOKA�E|KÎAVORIT L SON BY
CREATING A GIANT STATUE OF \IM TO PUT AT ÄHb TOP OFTMEIR "ALLEST BUllDIN?l
DON'T THINK SO, BVl YOU REALLY CAN'T BE SURE, CN yo? INTEGRATE 7ÛUÑ CHARATEI
TO THE BKGRUND, CON'T ATTAH TMEM TO ¡Ã.
ÆÆÆÆÆÆÆÆÆWWÆÆ �
]¤ FIGRE <, ÛÎLÑNN IS NICELY
DETACHED FROM THE rÅNcL ÛLHb Åþ
HE SHOULD BE4 Õ WMAT'5 THE PßEM?
TIIAT OLD DEVil PERSPECTIVE IS THE
ANSWER. THIS COULD BE A 5HIOF DUPf'S
FLYI NG AWAY FROM THE GROU ND OR 1Ã
COULD BE A SERIOUSLY TeeD O!F DUPE
BECAUSE (KNOWING DUPe'S ADVEN­
TURES THE WAY WE 0)5OMEONE ÇU1
õHRUNKHIS ASSISTANT ELYSE º THE
SIZE OF A WEU PRRTIONED KEWPIE
DL. THíATIST WANTED TO bWWU
A NICE M OFF SH, AND ISTEAO we
GT A BACKGROUND THAT THE CHAR­
ATERS BLENDED INTO, ANP ATOTAllY
CONFUSING SCeMe.
ANOTHER CROPPING PROBLEM, lLK AÏ
FIG. o. Þ WR¥ SERIOUS LOOKING DUPfRMAN
K£M· SUT WHAT COULP Bí b SERIOU THAT
WOULD CL FOK HIM TO BE AS MERCilESSLY
CROPPED ¯Hb WAY ¯HÞ\HL Iõ¯ IN TRUTH¸
THERE lõNO íACUôL NOT TO SHOW ÆL Of
HIõ ÞY HtKF.
M WM Î b7
1 MFAN THE PINT OF VIEW TWT W T
��� �
NTl4 THE COIC. THE PURPSE OF GOD STRYTelLING IS TO GET TH
5 8± w�|t INVOLVING THE REPRPMUCH AS pBl. YU, Æ Tm M.
Û THAT IF YO DON'T SEe IT FROM THE pOINT OF VIEW THAT TME RÐEPWJL HAve.
IT IS AN IMAGINARY CAMeR THAT CAN |I7 THROUGH THE |MÆINAKYALIEN 0tMEN0
THAT ARE 5MUCH A PAK OF OK CK4|T bTHAT WE ¨%cRc¨HUMNS CAN bLLTM.



• Ý



O
•• •
'


¬
m

• M


• •

, DUPE HA5 lET EVILDOERS lNÛ. ÜLͯ ¯H ""S FIMRS �LE
TO WK FRO THAT AlTERNATE UNIVEJSE, IN THE FIK>! %NEL1
W

LOvELY ELYSE IS FACING HIM fROM TlE lEFT AND vdM l6O T�e RI6T. WH
HAPPENED TMEN? we LOST THE CONTINUITY UCU W 10 LOtGfR BÜWK
DUPE IS '" RELATION ÃÛ ELYSE. YOU CANNOT LOSE THE SPTIAL RELATIOP mTW
W C H AR¡Ek WITHOUT L�NG THE READER ÃÛ-
æ

1D fRE4\I ñFL|Ev¤BlL|T7IN A
INlR10R ANGLE 6HTYU C
THE RÐRA MN1 OF
YOU CAN !lANG A
PICTURE IS HAN-
I A TILT SHOT,
RDM IS STRAIGHT.
Ü Tj. IlS WITH
FL'W"R� DTHET¤ô|E OR A
TPAT HAS NOT
ROLLED ÆHSS 1Ht FLOOR
BECAUS THE ROOM IS NOT
REAlY ON ATILT.
HERE IS A SHOT O DUPE KC|N ACROSS TOWN TO FIND THE CAPTURED ElVSE. CA
W SEe HIM? HOW CAN'T Y. T�ERE ARE EIGtT OF HIM. NOW DN'T GT ME WRONG,
THAT'S OKAY, BT REMEMBER HOW TNE EVE TRAVELS ACROSS THE FAGE,LðFMHlØ
NUFF SIt?

WMMWWWWWMWWMWWMWWWMM �²¹
TM õLLLÑ, l1 lb YÛUÑ KLbMNÜlÛLl1ÏT ÆÅÎNÍÂÍN LO1lNUl1 LN
AKL OCUR|NG NOW MT B CISEHT Wl1H W1 M Ge SFE, 5 Wl1H1HA1
IN MIND, Kf$ NWÑ MHL5°
Jt MæWAT DPE M Ô¯Ý lNTÖ ÆAIEKIE UIVER WHERe LEF lS I'T
AN( VICE VERA. THIS ÕUHE HEN HNPED Õ WM HIM oEN THE POR ¯ ¯Ü
· LbF1 ÎM TH fiRT WE.
M£ETlN6 ELE FD LUH, 0M L£M5ONTH£WYDRMR5 WHILE
M lb WTlM[WNAPßÆTAK 10LOMTO OL1 READY, DN'T ¯Hb7!ÛUbÏKIDDIN).
¯b ONL¥TIN WKNO NIIH ¯HÅÏ lÜ ¯HÅ1 1HL ÜÑWÑo UUbÏ ÜN´¯ �l

b


��_
CAN'T CONTAIN ¯t !HÂW1LR Wl¯HlN ÃHLBÆ6UH WlTHOT
1HA¡ ¡HLIKMD£N£NT5 ARE CONFINEO 1D OL¥ 1HA1 bMALLAMOUNT OF SPAE.
MM£ 1HtmAT WITHIN THE ÜWR,D'TMW£MA PT OlT.
· . .
M º >·
¯-ª
-¾´~·'+· ·
Î
¯´` •
I
-

Í.

�\
· �


�´
|`· '

' ·- �

¹ J°

¸
·
··

r
_) |!1 ¡
_
·
_· ì |�_¯
4

¬ ¸¸ �_
~
·· ¬ ·
.
¸ { ª ` ' , • �
»

·


|
-

HERE AKf f0ÞK b¹AMFLEb MÎ LW1LK Õ¡ÏWÑ INTERACTING WITH EACH OTHER ¶
THEIR SITUATIONS. IN PANEL ONE THE POR GY |5 PROBABLY SWEARING 1ÜW BCK ON 1HË
WA6, $ W£CN 6£F THE REACTlON TO WIAT IS ÜOING ON FROM HIS HANDS.FAtIAlEX­
PRESSION [FACLNEXT ISH), AND HIS BPLANGUMEv T MU5T lEARN 10 SE ABE TO
COMMUNICATE FEELINGS WITHOUT THE ACOMPANVING WORDS, Ok THEY WilL NOT BE
BELIEVABLE. DID YOU EXPLAIN OUT LOUD WHAT WAS GOING ON THE LAST liME P=ÛRI|LA
SWUNG BY YOUR WINDOW? PANEL 1W I5A CONFRONTATION AND A REATION ALL !N ONE.
YOU CAN FIT THIS MUCH CONTENT INTO A PANEL roo, BUT REALIZE THE LIMITS TO WHAT
YOU CAN FIT INONE PANEL WITHOUT SEEMING CRWOED. PANEL 1�kEE \Ö A STRAIGHT
REACTION SHOT. NOTICE THE MUSCLE LINES UNWKTbCLOTHING. IN PANeL FOUR, ÅHç
CHARACTERS ARE REACTING TO SOMEHHNG THAT IS OFF CAMERA. Y0UMUSTSEE WHAT
THEY ÆEbLEINGAS WELL A T�EY ARE OR T�E SCENE HP ÃÃÞLLY LOST ÃHb SELIEVABLE
EDE,
� ·+ �
6
-+
Í
í
.*
�� -
¬ .
THE IllO'S ON THE PREVIOUS PAGE WERE EXAMPlES Of 8TH THe ClOSEUP ANO THE
LONG SHT RESPeCTIVELY. W ARE CONCENTRATING ON TH ESTA8llSHIN SHOT HERE.
DD EITHER O 1ESE INTRODUCE OR TELL W SOMETHING? NO, HERE HJVE LEFT
THE READERS I N THE DRK.THIS IS A PRIME NO-NO IN OUR BIZ, THE READERS IAVE
SIGNED ON BECAUSE Tley WANT TO bE PRIvY TO JHING5 THAT EVEN HIE CHARACTER
AREN·T IN ON YET. IN THE CP¯ THE LONG SHOT, YOU CAN'T TAKE UbOT OF VIEW �
THE PARTlClPAtTS WHILE TRYING TO INTRODUCE US TO nEM.
GRID BELOW IS A UASIC GUIDE TO THE ESTABLISIING SHOT. JUST START 1HE
I FROM THE CENTRAL HORIZON LINE AND PENCIL YOUR UNES IN LiGITLY. THEN
JUST ERE THE GRID LINES AD YOU HAVE YOUR PRSpecTlVE.
ÎÅLÜÜ ÅMÜ MÜÅÜÜ - LMÅH¯ÜM ÎLUM
HÅM¯ LMÜ
¯ KNOw3KEHEAD AND FACE,,US LIKE IN A�YT\HO EL<E TIAT we HAVE 'ALKED
A8T IN THiS CMIC. YO0 MUST 8EAT LFA5 MooeRATeLY FAMILIARWITM ¯RE Þ%ICS
INVOLED. FIRST, ANOWYOÞR64W¢/
LlKE3YE FORENSIC SCIENTISTS OF TDAY, YOUCAN ESABLISH AN.YOtE' IDENTITY ÛT
SUILDING UP OR SMOOTHING OUT1E SKIN ANO F%P ON THE SKULL. FAMILIARIZE
YOURELF WITH 16 CN'URS OF¯HE %U,¾¥T IMAGINE IT FROM ALL AKGLES
[AMSTKNELO¯ÓWW W AVAILABLE AMVWWERE I6 EXTREMELY �t.-rm¿
AND REl IT"'ESRUTU OP""E FIHISlEO FACE.
AOÐ SIDE VIEW OF WE SKULL. ¯KTlME,
HOWEveR, IT IS STRe�ING TME COMPIF!E
PICTURE. NOICE W¥EPETRE MOvEMENT Of
iHE MOUH ORIGINATES. Al50 NE THE
HeIGHT OF�F ÜÑW IN RELATION TO 'He "OP
OF THE NOSE ANO ITS BRIDGE.
`


\

¡
¹
' ·
._
, I

{
I
-
'
."" .

·-
v

·

r
·
r
·
}


AL-O SIOWI IS 3MES%OF THe "FLF5H|NO"
PRocess OF TtE B5|CSKULL.!N ¯!Þ !L|D WESE
WHERE ¯KE ARnST AOO$ THE CARMLAGF¯TME
BOte AlD THE ÔLlNN|MÚÜ OF TME CHARACTE!IZATtO
¯rTHE FACe. BUT ÜLN`¯ ÜL FOOLEO SYAPPEARANCe!
ÅLTMOUKTtIS F¤CE WA A'LIGHT MASCULItI.E LOOK
TO IT THE FLE)tBtllTY OF USIN.G "FSKULL AS A
eUIDe 1 YOUR FACE IS SUCH THAT YOU CAN. $LL
CHAMGE AN.YT�t� OREVeRYTHING ABUT IT. TÑ
FNE 0OE5 ,aT YEHAVE ÞÜtMÜbÑ,
WW ��� WWWWÆÆ
HERE'S THE LOGICAL CONCLUSION OF T�e Fl.EIING OUT PROCESS USEO FOR '�E FACE. �ALF
¼r l¯1Ü LEFT IN T"e ORIGINAl BONEY FOQM 'O IL.LUSTRATE A LITTLE ASOuT Fl.E5� DEPTI-.
·

´
.
í

· �

.
A6YOU CAN 5EE \ERE,
MALE OR FEMALE, THERE
IS NO HARD AHO fAST RUL
fOR SKULL S�APE AND
'TIU$, ileRE 1$ LITTLE
'(OU CA' DO TO SIMtLARI2E
'(OUR FACE, \NTlf CASE OF
THE FeMALE CHARACTeR
AND THe MALE, eEL.IE"e IT
OR tWT, X£fC;HARe A
SIMILAR Slt �IAPE.
,
11E IEAD SOMETIMES MARIES ETHNICALL". PLTHCUOH TWERE Ib tO RULE OR 'TEREOTYPICAL
¯H1NÖ THpT ªEb ÞPAHT THE HEAO {r ¯�b BLACK CHARACTER OR T�E AMbRICAN INDIAN,�eRE
ARE OEFINI1eL' THINGS \HPYOU MUST ÜTO 5MOW TMe DIFFERENCE BbTWEEN RACES. IF 'au
DON' T 8ROADEN T"; NOSE SLiGHTL' OK THE ÜLÅCK MAN'S \ÅCb, lt YCU DON'T LENGTHEN l\Íb
JAW EVER =C ÜLIGnT)`. 'eu W\LL MAKE 'UR READER� THIN\ T�AT YOUR CO�\6 "AS A

PROBLEM.
8EFOfE WEWRAP UP TKI6 l66UE,Ä COULDN'T
ReSIST GwN YOU ÜU�¯ONE LITTLE TASTE OF
THE 3lNb W=" COVEf \M PART ¯WC CÝíALt
AND HEO$ IN THE NET ISSUE. THE e�AGGER­
ATED FACE. EVEN MORE lAN THE E)GERATEO
80, l¯!AS THE ABILITV TO CNcTO-E
REAoeRS MORe ABUT -e CIARACTER THAN
,LMOST A""Tl\IMG ELSE (WHEN IT 15 CALLD íK
AND U6ÞCRW6YJ BECAUSE YOU ARE NOT
HAMPEREO 9Y THE PHYSICAL COtSTRAIHT5 OF ¯Hb
NORmAL>K0lI.°ÛÜ CAH LßYOVERSLI� THE PART
OR eXÝRESÛOM -AT'fu WA"TTO EMP"ASlZE)
eSTABu'H TtIE INTENT OF THE CHARACTER INVbUíª
P¯T WI THOUT HAVING TO WASTE �PACe THATYOU
MAY MOT HAve TELLING Üb A lITTL.E ABOUT HIM
OR HER ANO THEN GOING ON FROM THEAE. NOW
THAT'S GOOD Û¯ÔH7¯ELLNÛ`
ÆÆÆÆÆ$@Æ� WWWÆÆÆ$@
¯ÜLMMLLL¼Ý ÎM LLNÎLþ- LMPܯÜM lÎVÜ
ÜPM¯ LMÜ
1W ÑM OTHERWORLDl.Y 'ETTING, M0T LIKELY THE PEOPLE WILL SE ALIVE BeCAUSE OF
LIFE SUPPORT $VS1EMS THAT ARE A$ COMPLIC'eD AS ANYTHIHG iHAT GOT THEM TO ¯HbÍÞ
PLMEIN THE FIRS PLACE. THIS l= SOMETHING 'HAT WLLL. NO FADE AWAY LIKE A FAD, NO,
ieAW 3CHNI¥l5 8E%¯STAY AND Y TIE ARTIST MUS BE PREPARED. WITH
Í
C ¯ ON 5CEW F|CN,AWIN,THE ARTIST Nb5BEPAR DESIGNER AS WELL
A5AfST. STUDY THe DRAINGS HE,NAõGOAR ORAS SOMET\HMG INTERESTING
TO5EE,8uPAM E)AMPLE OF JU MW FAR you MUST GO FO THE SAKE LÛb¯P¡L
UUW O¥TlE WÛ�ðÆ�XVO U!
¼NË LF THE ¨L|ÝL SUPpORT SYSTEMS" YOU MU!r LEARN ABOUT SINce 'OY� COMIC
INDUSTRY FO�CES U=TO CONCbTHTE LM�E WHOL.E SPECTRUM Of SU8JECTS, IS !E
GOOD OL SPACESUIT. THE SPACfSUIT IS A STRANGE AND WOMDERFUL THING FOR THE
ARTl5T, HE CA' MAKE IT ]W KEY AND NOMD€TAILEO, OR He (OR SHe) CANJUST GO CRAZY
w|TH IT ANO HAve SOMe FUM oeSIGNIKG SOMETHIMG THPT lÔ AS DISTINCTive AS THEIR
OWN STYL.E.
A ÇOÛTHING TO KNOW I� THAT Lu(e "E
EXAGGERTED fiGURE, YOU �Ave AG7
AMOUNT Of FREEDOM AS ¯ SHOWIMG 1e
FUNCTIONALITY LÝ A MACHINE ANt WHAT
IMPACT IT "AS ON THE REAOER.
¯FCHWUY IN COMC5 TODAY\= NO LON,GER JUST T�E RATGUN ANO THE SPACESHIP
FOLKS, IT THE LIFE OFiHE ÝUiURE THAT INFL.UEN.CE£ ¯bLHMLÍÅOT IN COMIC5 iODA'.
NNY CHARACTERS ARE LIVING IN NOW WITH THE ¯HlNOÜ ¯t¯LN ORROW AN0THAT |@
PART OF 'E APPEAL OF LbK¯PlN ÕLF=« FROM itE 'LEEK AND FUMCTIO!AL CARS OF
TOMORROW TO THE AWeOME NPLHlNÎ= OF FUTURE WAR. TO NAKF A MACHltIE OF wHAT
l5fXPfT6p ðYAM Oß9FRv¤NT READER ¯ SE $OMETIItG FROM TOMORROW, 'OU MUST
Be P¤RTDESIGNER AND PART¤RT|9T,
NL IbH!
ÆÆ
Æ
ÆO

Sign up to vote on this title
UsefulNot useful