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WelCOME ASORD.' 70U'F JUST TAFN IKE FHb STEP TOWARDS BECOMING A SU 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 OwMKING A
T0AT TH TIP. M LUF5
KOE O.3T FINE5T
PINT). O,(0O.7(1HE THICK
EST}-
THE LE HR I5AkmtrW
SATitE TO R TE PNCILlER.
INSTEAD O ADAIN THe LEP,
MWPReS LTHE
LEAD IH THE BREL THIS ASO
ALLOW ? MM MEE0M \M
SELECTING ThE LE O
THAT U IlLUE.
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We'RE ALL USED TO THE WOOP
CL|NCHED PENCIL. THEy'RE GRDEO
FROM M16OFT TWRHAk0.
1HbRbARE ASOUT GRDES,
WHICH WIll LW#UL Y
NEEDS.
QQWWWWWWWWWWQQWW
WHER 7 Ht PENILLING,
YOU WILl HAve ERAING. so GT
USEOTO I1, |1$A FACT L1L.
THE IRST THE RFLUR LL
FASHIONED RUBBeR ERASER. BY USIN bML1
CLEAN STROKES you WIll B ABLE TO LIFT
THE |cNCIL jlh{ OUT WITHOUT DMAGING 1ML
PAPER. NEXT, Wt HAY t KNEAED ERASER,
WHICH CAN MOLDeD INTO ANY &APE
NECESSARY, AlLOWING 'OU 1U UT !N
THAT EXTR TIGUT SPT.
0 DRWING E1RIOHT
llNES, RULER AE INVALU
ABLE. ANONO THE MANY TYPS
AVAILABLE, THE LONG ~GUUkF
SATISFIES SEVERAL NEEDS
AND REAllY COPES IN H
FOR 1Hbt LONG LlMt= 1H 1l*
PLE l USED TOETHER WI
TMT~SVNF. PACING VF 1
AROSS 0wIN SURFACE
AND RESTIMGlHE R%PEME
EITHER TO WRRKHTw LEFT
HAND lU_Y TMH FlAfE YOUR
TRIANGLE A|ONO 1hL H0KI7O1L
LlNE OF IT AND DRW YOUR
PARUEl lIHE ALONG THE
STRIGIH sloe OF THE TRiAE.
.
FOR 1HL WOOP
CLINCHED PNIL,
ALMOST Y PRT
ABLE OR ELETRIC
HARFNFK lb
OKAY. FOR LEAD
HOLDERS AND
MECHANICALS, HOW
EVER
,
YOU WILL
NEED A SANDING
BLOCK.
7OU ARE GOING T
NEEO A PlAE STORE
ALL OFWREQIPMN.
SUGES1 A SIMPlE
SHO BITS SMALL,
EASY STOHE AND lS
SHALLOW ENOUGH 1O
AUDW 0I!05EE
EVERYTING YOU'VE
PLACED IN IT . WHEN T
NEED M0RFSPAC.E,
SIMPLV ADD ANOTHER
SHOE SOX AND b
SURE TO NUNBE
THEMFORY
REFERENE.
#5 IMTAT WT
WW WH 1b W1W
ON, T5R HFNPJK
1fltb PAPE 4ND EACH H
A DIFFeRENT PlM.LP1N
Twe PENCilLER. THERE: BOND
LAYOUT PAPR, WHICH GIVES
A CLEAN LOK All YOUR
MW SKETOlES AND TAKES
PNCILS OR PKL EQUAlLY
WELl. P>T PROeSSIONALS
U5L ZBISTo8OAAO WN
|5 USED MAlNLf a
"
COO AT,
AND WE'll GET INTO IT MORE
IN A lUwL Ise.
FOR MOST OF YU STARTING
OT, IT IS SFe TO SrUAT Y
DN'T HAve A ML55l0N
QUIT MWIN 8OMD,
DN'T FRE. A|LYOU REALLY
NEED I5 A SMH FUI
SURFACE ON WKICH TO RES T
AND HOLD WT 1UARE WORI
|N ON.
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MWMWWWWMW
HFR0lC MNE AND FEMALE ARE T4LLER ANP MORE SOLID LOOKING. IN THE CM
OF THE L, HE IS BR040ER, M0FE MSIVE AND N MORE MUSCULAR. THE
WEROIC FEMLE, ALTHOUGH JUST AS FEMININE HER NORMAL COUNTERPART, HAS
A MUCH BROA0ER LOOK AT THf SWOULOERS. IFFERFNTIATIN BETWEEN THe NORML
FIGURE AND TRE HR0I FIGURE IS ALL IMPRTANT IN GETTIN& TE READER 1 TRULY
SEUEVE THAT WH TI-EV SE IS TRULYA WERO, AND N0 SME JERK WH JUST LIKES
1 WEAR HIS P. J. b WORK EVERV Wf
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NOTIE THE FFkEN6f 0fTKffN T6 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 HN CHART FOR Hb AVERE PERSON {WE
SHOULD ALL W 5 AveI.TE MALE IS MUSCULAR. T NOT
OvRDONE. THE FEMAl SHOLD BE sOFTER LOOKING AND LESS
ANGULAR. SHE IS ROUNPED WIE"E THE u IS NRMALLV S1K.
FAT, SKINNY, SHRT OR TALL, THE SIMILARITV OF THE FIcRE IS
T HERE. UE THE HEPA5 A OlW,ANP nE 8D 1$ POPRIONATE
JD IT.
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1kE FIGURE SIULD ALWAYS
:-

BGIN WITH TWE STICK FIGURE.
0-

TWESE MARVELOUS LITTL! .

WILL ENABE WU TO SE 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 T3 6 ST
NBILIT AD CONFIDEN.
Vllb THE SHOT T
GING T INTERPET FOR )UR
REAERS. UNDERSTANDING
BDY LANGUAf COMES IN
PRTTY HAHoY E W
HAf A FUlN bFMRO5$
WITHOUT MY WORS TO
eXPRESS .
\ :
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WE HVE AN EH RfkE
TE ElGERATEP FIGUR. WHILE
THE MUSCULATUE DE5 NT KW
9E CONSTANT AS TME AIfR
/ OT HEA FIGR, IT
PS HEED 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 OP
Mc>~k8
rUSING TE M|O
OF THE MUSLE. TE
ARTIST IS ABLE TSH
THE FMR MOEMNT
AND EFFORT. 0 SUPPORTED
BY ONLY ONE LG, DES
OTHER LEG SW THE
STRAIN OF THE EXTRA
WEIGHT? THIS USUAllY
GES UNNOTICED, SUT
THIS IS ANOTHER ANGLE
THE FKUHAS TO
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 N
BOTH CASES IS THE
SAME, BUT BE SURf
TO EXAGGERATE IT.
LO8Al 'UR
ON .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
R,YAND A
NDHEROEs(r
JulnK).GYOU'LL
HL!MAGNIFY
THIS LlFLCQUITE
A ST.
Jkt FEMALE ODY lb VSTLY
DIFFERENT IN OESI6N F%MTK
Nlb (THANK HEAVENS FORTHAT).

THE MSCles ARE 5NHER

WlTH |SS DETAIL, AN" ARE MORE

CRWN OUT. TE" MO

NO KlMLETHER D lN
Mb MM-

TAKE A LOOK AT THE5E DRWtN

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 DIFFRENT TwK THAT Q
THE FEMALE. THE HEk0IC FFM|FALSO
SHOULD 8EOVFN 5DMEOFTHESE TRITS
|N HER NDbMbNT5 Ab WEU-

WE HTe T REPETITIVe,8T YO CAN'T H MUH tNle0 O THE 6TI!K

F|6bRE A H 1D FLESH M DUT FR 1HE TN1 1DTHE FINISH. mKE IS ANEK
HLPFU SETCH L TME C0MMETt Ktbb

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ON OCCAStONS WWAE YOU HAVE
TO DRAW CHARACTER LARER THAM
HEROIC PROPRTIONS, YOU MUST
STILL SKETOIITOUT FIRSTARfiNG
WITH THE SAME FIGURE AS t
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
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",
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IN AAV COIC, Y
II

L HAVE A CERTJN
NUMBR OF PAGES THAT
Will HAVE "D" SCENES,
THOSE IN WIC ABSOlUTELY
NOTHING HPPENS. ALTH
NOnllNG I HAPPeNIN, TE
READERS ATTENTION SHOD
STILL B HELD. IN THIS SENE,
FIGURE B DOMINATES E
M 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 FtGUE 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/N!
_____________________-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
DECRA5|NG IhE DEPTH OF HL 1UNH
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 TLOEKMUIt0MASIvE fIGRE.
yOU Will 8EGIN TO SE 1HAT DETAIL MN|NI5
ktALI NOT SO NLLbSAKf HLKb.tNTHOUGH
IT' BLY OUT OF 1H STICK FIGURE STAGE,
IT HS ALL THE THll6S YOU WANT TO SHOW.
%W A <mw
HERE IS AT"ER MEmOO 1 BK PRAWU'6 CALLE0 CIRCLIN OTTE
CHARACTER. AGAIN, YUU MUST KNOW T'E SHOT BFORE fINsING l1TFWw
THL FINISHEP EXAMPLE IS ONLY FROM T' VAIST UP, THE FIGURE IS CIRClEO OUT
WITI- THE ENRE FI 6URE INClUDEO FOR FLKbFFfT\fbCAUSLI WANTEO TO SHW
A PARTICUlARY SULKY POSE, 1 PLAYED WM H P1HTO GIYTM IM DFNIMK
HIF O PINTOUTTHE LARGE PRRTIONS HeRE.
_

@@@@@@@@
THE UNFINISHED FIGURE WITHOUT ALL Of IT' DETAIL CAN US A LOT A 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
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HERE ARE A FEW MORE EXAMPLES OF TE FLUIDITY IH
THE WOMH' MOVEMENT. THE L0N$.GREF0L LINS W
1H fEEUNG TAT T0E FEME FIGURE IS GLIDING TM
THE SENE.
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A0tN, 01ic 10t Lt6I0l6OWUN AN
T 50IN OFTF MUSQES. BECUE THE
BRASTS ARE SUPPOATEP BY 1E c01MVL.
NOTICE M Jhb 8REASTS Rf TO MOVEMENT. W
WK bTlf AVOID MAKING 109MOVEMENTS
SEM AWKWRO. THE AIM I5TO SHOW 6MOh MV
N1URALMOVEMENT.
'
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WHEN THE WRITER BRINGS IN HIS SCRIPT, THE P7 IS FAR FROM TOLD FT.THE 6b
bNFT T~1 I S INTERPTEP 8Y TNN1Y 0|FFRN1 ARTISTS Wlll8 1T7 0HFkFN
L.SIMILAR TO fiNGERPRINTS ,NO TNARTISTS SEe A STORY FROM TME SAME M
O VIEW. YOUR JOB / me ARnST BGINS WITl KEEPING THE STORY CLEAR AND VbRY
CAREFUllY MKlNGSU THAT TE 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 AU!HUINTO.
WWWW WWWWWW
WAT IS STORYTELLING ALL ABOUT? BASICAUY YOU MUST GET THE bTK \K55
WITHOUT QISINVOlVIN6 T HE READER IN ANY WAY. IT HA5TO 8E CLEAKPYET AT T"E
SAME TIME SUBTLE BECUSYou POH'T WAN INSULT ANYO'S INTElLIGENCE.
TAlL ORDeR? YEp IT SURE IS, BUT BELILVE ME, IT GETS EAIER A Y O1`P LIKE W
1 MEET A FRIEND OF MINE. HIS NAmE lS M%RNAND HE WAS THE UULW%
SIDEKICK; HER NANE ISELYSE. TWE7 ARL RERETO SWW US HOW MfYQ
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 TAT 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, ,
ALL WE KNOW,ONE OF DUPE'S PWERS IS REveRE SPR M9ON1HR0UHTHE SLES
OF HtS FEET, AND TWTHE'S HNNOUT THWINP N.
AQUKKREAP; IN FIGURES 1 AND , ALTHOUGH DECEN SPEED SHO,ThLf WILL NBE
THE ESTABLISHING SOTS 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 HONOKAE|KAVORIT L SON BY
CREATING A GIANT STATUE OF \IM TO PUT AT Hb TOP OFTMEIR "ALLEST BUllDIN?l
DON'T THINK SO, BVl YOU REALLY CAN'T BE SURE, CN yo? INTEGRATE 7U CHARATEI
TO THE BKGRUND, CON'T ATTAH TMEM TO .
WW
] FIGRE <, LNN IS NICELY
DETACHED FROM THE rNcL LHb
HE SHOULD BE4 WMAT'5 THE PEM?
TIIAT OLD DEVil PERSPECTIVE IS THE
ANSWER. THIS COULD BE A 5HIOF DUPf'S
FLYI NG AWAY FROM THE GROU ND OR 1
COULD BE A SERIOUSLY TeeD O!F DUPE
BECAUSE (KNOWING DUPe'S ADVEN
TURES THE WAY WE 0)5OMEONE U1
HRUNKHIS ASSISTANT ELYSE THE
SIZE OF A WEU PRRTIONED KEWPIE
DL. THATIST 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 A
FIG. o. WR SERIOUS LOOKING DUPfRMAN
KM SUT WHAT COULP B b SERIOU THAT
WOULD CL FOK HIM TO BE AS MERCilESSLY
CROPPED Hb WAY H\HL I IN TRUTH
THERE lNO ACUL NOT TO SHOW L Of
HI Y HtKF.
M WM 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, Tm M.
THAT IF YO DON'T SEe IT FROM THE pOINT OF VIEW THAT TME REPWJL HAve.
IT IS AN IMAGINARY CAMeR THAT CAN |I7 THROUGH THE |MINAKYALIEN 0tMEN0
THAT ARE 5MUCH A PAK OF OK CK4|T bTHAT WE %cRcHUMNS CAN bLLTM.

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, DUPE HA5 lET EVILDOERS lN. L 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 Te RI6T. WH
HAPPENED TMEN? we LOST THE CONTINUITY UCU W 10 LOtGfR BWK
DUPE IS '" RELATION ELYSE. YOU CANNOT LOSE THE SPTIAL RELATIOP mTW
W C H AREk WITHOUT LNG THE READER -

1D fRE4\I FL|EvBlL|T7IN A
INlR10R ANGLE 6HTYU C
THE RRA MN1 OF
YOU CAN !lANG A
PICTURE IS HAN-
I A TILT SHOT,
RDM IS STRAIGHT.
Tj IlS WITH
FL'W"R DTHET|E OR A
TPAT HAS NOT
ROLLED HSS 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. TERE ARE EIGtT OF HIM. NOW DN'T GT ME WRONG,
THAT'S OKAY, BT REMEMBER HOW TNE EVE TRAVELS ACROSS THE FAGE,LFMHl
NUFF SIt?

WMMWWWWWMWWMWWMWWWMM
TM LLL, l1 lb YU KLbMNlLl1T NN LO1lNUl1 LN
AKL OCUR|NG NOW MT B CISEHT Wl1H W1 M Ge SFE, 5 Wl1H1HA1
IN MIND, Kf$ NW MHL5
Jt MWAT DPE M lNT AIEKIE UIVER WHERe LEF lS I'T
AN( VICE VERA. THIS UHE HEN HNPED WM HIM oEN THE PR
LbF1 M TH fiRT WE.
METlN6 ELE FD LUH, 0M LM5ONTHWYDRMR5 WHILE
M lb WTlM[WNAPTAK 10LOMTO OL1 READY, DN'T Hb7!UbKIDDIN).
b ONLTIN WKNO NIIH H l H1 1HL Wo UUb N l

_
CAN'T CONTAIN t !HW1LR WlHlN HLB6UH WlTHOT
1HA HLIKMDNNT5 ARE CONFINEO 1D OL 1HA1 bMALLAMOUNT F SPAE
MM 1HtmAT WITHIN THE WR,D'TMWMA PT OlT.
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HERE AKf f0K bAMFLEb M LW1LK W INTERACTING WITH EACH OTHER
THEIR SITUATIONS. IN PANEL ONE THE PR GY |5 PROBABLY SWEARING 1W BCK ON 1H
WA6, $ WCN 6F THE REACTlON TO WIAT IS OING 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=RI|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 1kEE \ A STRAIGHT
REACTION SHOT. NOTICE THE MUSCLE LINES UNWKTbCLOTHING. IN PANeL FOUR, H
CHARACTERS ARE REACTING TO SOMEHHNG THAT IS OFF CAMERA. Y0UMUSTSEE WHAT
THEY EbLEINGAS WELL A TEY ARE OR TE SCENE HP LLY LOST Hb SELIEVABLE
EDE,
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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
ARENT 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.
L M M - LMHM LUM
HM LM
KNOw3KEHEAD AND FACE,,US LIKE IN AYT\HO EL<E TIAT we HAVE 'ALKED
A8T IN THiS CMIC. YO0 MUST 8EAT LFA5 MooeRATeLY FAMILIARWITM RE %ICS
INVOLED. FIRST, ANOWYOR64W/
LlKE3YE FORENSIC SCIENTISTS OF TDAY, YOUCAN ESABLISH AN.YOtE' IDENTITY T
SUILDING UP OR SMOOTHING OUT1E SKIN ANO F%P ON THE SKULL. FAMILIARIZE
YOURELF WITH 16 CN'URS OFHE %U,T IMAGINE IT FROM ALL AKGLES
[AMSTKNELOWW W AVAILABLE AMVWWERE I6 EXTREMELY t.-rm
AND REl IT"'ESRUTU OP""E FIHISlEO FACE.
AO SIDE VIEW OF WE SKULL. KTlME,
HOWEveR, IT IS STReING TME COMPIF!E
PICTURE. NOICE WEPETRE MOvEMENT Of
iHE MOUH ORIGINATES. Al50 NE THE
HeIGHT OFF W IN RELATION TO 'He "OP
OF THE NOSE ANO ITS BRIDGE.
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AL-O SIOWI IS 3MES%OF THe "FLF5H|NO"

PRocess OF TtE B5|CSKULL.!N ! !L|D WESE
WHERE KE ARnST AOO$ THE CARMLAGFTME
BOte AlD THE LlNN|M OF TME CHARACTE!IZATtO
rTHE FACe. BUT LN` L FOOLEO SYAPPEARANCe!
LTMOUKTtIS FCE 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.YTt OREVeRYTHING ABUT IT. T
FNE 0OE5 ,aT YEHAVE tMb,
WW WWWW
HERE'S THE LOGICAL CONCLUSION OF Te Fl.EIING OUT PROCESS USEO FOR 'E FACE. ALF
r l1 LEFT IN T"e ORIGINAl BONEY FOQM 'O IL.LUSTRATE A LITTLE ASOuT Fl.E5 DEPTI-.

.
A6YOU CAN 5EE \ERE,
MALE OR FEMALE, THERE
IS NO HARD AHO fAST RUL
fOR SKULL SAPE 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, XfCHARe A
SIMILAR Slt IAPE.
,
11E IEAD SOMETIMES MARIES ETHNICALL". PLTHCUOH TWERE Ib tO RULE OR 'TEREOTYPICAL
H1N THpT Eb PAHT THE HEAO {r b BLACK CHARACTER OR TE AMbRICAN INDIAN,eRE
ARE OEFINI1eL' THINGS \HPYOU MUST TO 5MOW TMe DIFFERENCE BbTWEEN RACES. IF 'au
DON' T 8ROADEN T"; NOSE SLiGHTL' OK THE LCK MAN'S \Cb, lt YCU DON'T LENGTHEN l\b
JAW EVER =C LIGnT)`. 'eu W\LL MAKE 'UR READER THIN\ TAT YOUR CO\6 "AS A

PROBLEM.
8EFOfE WEWRAP UP TKI6 l66UE, COULDN'T
ReSIST GwN YOU UONE LITTLE TASTE OF
THE 3lNb W=" COVEf \M PART WC CALt
AND HEO$ IN THE NET ISSUE. THE eAGGER
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 K
AND U6CRW6YJ BECAUSE YOU ARE NOT
HAMPEREO 9Y THE PHYSICAL COtSTRAIHT5 OF Hb
NORmAL>K0lI. CAH LYOVERSLI THE PART
OR eXRESOM -AT'fu WA"TTO EMP"ASlZE)
eSTABu'H TtIE INTENT OF THE CHARACTER INVbU
PT WI THOUT HAVING TO WASTE PACe THATYOU
MAY MOT HAve TELLING b A lITTL.E ABOUT HIM
OR HER ANO THEN GOING ON FROM THEAE. NOW
THAT'S GOOD H7ELLN`
$@ WWW$@
LMMLLL M LLNL- LMPM lV
PM LM
1W M 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 Hb
PLMEIN THE FIRS PLACE. THIS l= SOMETHING 'HAT WLLL. NO FADE AWAY LIKE A FAD, NO,
ieAW 3CHNIl5 8E%STAY AND Y TIE ARTIST MUS BE PREPARED. WITH

C ON 5CEW F|CN,AWIN,THE ARTIST Nb5BEPAR DESIGNER AS WELL

A5AfST. STUDY THe DRAINGS HE,NAGOAR ORAS SOMET\HMG INTERESTING
TO5EE,8uPAM E)AMPLE OF JU MW FAR you MUST GO FO THE SAKE LbPL
UUW OTlE WXVO U!
N LF THE L|L SUPpORT SYSTEMS" YOU MU! LEARN ABOUT SINce 'OY COMIC
INDUSTRY FOCES U=TO CONCbTHTE LME 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 NOMDTAILEO, OR He (OR SHe) CANJUST GO CRAZY
w|TH IT ANO HAve SOMe FUM oeSIGNIKG SOMETHIMG THPT l AS DISTINCTive AS THEIR
OWN STYL.E.
A OTHING TO KNOW I THAT Lu(e "E
EXAGGERTED fiGURE, YOU Ave AG7
AMOUNT Of FREEDOM AS SHOWIMG 1e
FUNCTIONALITY L A MACHINE ANt WHAT
IMPACT IT "AS ON THE REAOER.
FCHWUY IN COMC5 TODAY\= NO LON,GER JUST TE RATGUN ANO THE SPACESHIP
FOLKS, IT THE LIFE OFiHE UiURE THAT INFL.UEN.CE bLHMLOT IN COMIC5 iODA'.
NNY CHARACTERS ARE LIVING IN NOW WITH THE HlNO tLN ORROW AN0THAT |@
PART OF 'E APPEAL OF LbKPlN LF= FROM itE 'LEEK AND FUMCTIO!AL CARS OF
TOMORROW TO THE AWeOME NPLHlN= OF FUTURE WAR. TO NAKF A MACHltIE OF wHAT
l5fXPfT6p YAM O9FRvNT READER SE $OMETItG FROM TOMORROW, 'OU MUST
Be PRTDESIGNER AND PARTRT|9T,
NL IbH!