BFISH is ajack ofa trades creative work- shop that has been producing mind-blow- ing animation, design and illustration for over ten years. The secret to S8fish’s success is a feisty team ofincredibly talented and versatile artists who constantly challenge them- selves and each other. Their combined artistic knowledge is enough to fill ol ‘umes, but currently they are working ‘on unloading it one book at atime. [Making Faces:Drawing Expressions for Comics and Cartoons op ‘ight© 2008 by Bch Manufetured ns Srannore. Al is rezerved Sopot ‘ofthis book maybe epraciced any form ry aye tone mech ‘almesns neudeg invention sorage an retavlsstemevithodt erin iwiting fem the publsbe cept by viewer f Who may uote Ere paeges a ese Publibed 9 WPACT ooh an mpintor Faw Publestors Me, 4700 Fost brat = Fosd,Cincrnat vo, 45235 fc) 283.0563, Fe tio. ‘Other Fine MPACT Books ere avaleblefom your lal bookstore rt supply Sot or direc fom the pubisher st uenrapaietonscoes, wee 54321 DISTRIBUTED CANADA BY FRASER DRECT Georgetonr ON CansdsL7GSS# ei 0090774411 DISTRIBUTEDINTHEULX AND EURDFE SY DAVID ECHARLES Bruna Heusa, Newton Abbot Devon 212 4PU, Erland ek) 1626323200 fa 144) 126323319 mat: postnstewadayidrckeslsCouk DISTRIDUTEDIN AUSTRALIA BY CAPRICOPA LINK 0 Box 704.5 Who NSWL 2750 Austral 1a 024577355 Library of Congress Cataloging in Publication Data Beh Naling aes-dawing exprcsions fr comicr and cattoane/SFen em. Inches index TSENG 40001-049-3 (abe alk paper ISBN 976-1 -e0001-362-3 EPUB) ‘acl enpresioninar.2 Dianing-Techniae, 3. Conn books ss etc Tectwgue. LTH 7aS\-ded—— zonen00755 ete by sme Boctsge Designedby Wendy Dunning Production coordinate by Mett Mager METRIC CONVERSION CHART ‘TOCOW SET Inches Centineters fect Centimeters Yards Meters To Centimeters Inches Cortimeters Yet Meters Yarde vauurresy 3y 254 04 305 003 oF 4INTRODUCTION: THE POWER OF EXPRESSION 8 THE ARTISTS OF 8FISH 12 1|The Fundamentals 2|Scenarios x SCENARIO 1: BILLY FINDSAFLOWER 40 happy + joyful + about to sneeze + sad SCENARIO 2: THE VILLAIN 50 angry + deep in thought + conniving - possessed SCENARIO 3: STAGES OFFEAR 60 laughter « dread - terror - horror SCENARIO 4: TUNA FORLUNCH 70 something stinks + disgusted + annoyed « hopeless SCENARIO 5:THEHOBO 80 ctazy + yummy + drunk + hung-over SCENARIO 6:GINAGETSALECTURE 9% rolling eyes - confused + dumbfounded - hostile SCENARIO 7: BETSYTHE FARMGIRL = 100 sassy + flirty + happily surprised « pouty SCENARIO 8:THEFIGHT 110 ready foraction + growling « yelling + attacking + slugged in the gut » electrocuted + exhausted + gloating - cowering SCENARIO 9: LOVEISINTHEAIR 130 shy = coy « seductive - infatuated 3|Storytelling « framing body language + zombie & cave girl - spaceman vs.alien monster + noir interrogation « the rematch + westem standoff « mexican standoff - damsel in distress - superheroteam - supervillains « battle scene CONCLUSION 168 ) GALLERY 169 INDEX 174It's no big surprise that art and expression are commonly considered synonymous. In some art movements this may not be the case, but once we enter the world of comics, its unarguable. Comics began as a“pulp" medium: their primary pur- pose was to grab the reader's attention with sensationalism and larger-than-life drama. Comics have since expanded into broader areas of sophistication and sub- tlety, but they still are all about expres- sion. All comics have characters, and all characters have expressions.Chances are, you already know how to draw some expressions. You can draw someone that looks happy, sad or angry. But you can get only so far with happy, sad and angry. Ifyou truly want to create characters that are realistic, three-dimen- sional and engaging, you have to start delving into the infinite number of varied and complex expressions beyond happy, sad and angry. Why? Because the human experience (even for superheroes) is way more interesting.4@ ‘You have either reached 3 page that is unavailable for viewing or reached your viewing limit for this book.4@ ‘You have either reached 3 page that is unavailable for viewing or reached your viewing limit for this book.| received a head tart in iluetnation at the age of twelve when mu mom made good con her threab of throwing, out the TV. While the TV took a two-year sabbatical in ‘the garage, | polished my drawing, ile. have been a professional illustrator since high school and haven't worked 2 day zines. The only thing Hove more than Sich, which | established in 1995 are my wife and three daughiens. | wae born into a long tine of designers and architects who were ‘adly dizappointed when | chowed ‘them my frat monaten (Over time, my ablities to dieappoint became ever stronger with each new tool | acquired. With an arsenal of deadly artistic weapons under ny bell (eg the computen, my Wacom tablet acrylics: inks bcs had the power to destroy! ‘Then | found out there were people who actually tked my work, and my evil plan of artiste disappointment began to crumble beneath me. So | took a jab 2 {an art director for Bf inbich is how I got this gigs Bon Simonson \ Brandon Dayton a2 Wve always hated coloring booke. My mother reports that when we were childners she would buy my brothers and | coloring booke and we would proceed +o draw in the empty spaces. Coloring in someone else’s drawing is fine, but the paccive filing of white eye view. There arenitany big surprises asyou lookat afiownin profile Kind of bburnmer, ‘Worm’s-Eye Smile ‘The smile stil follows the curve ofthe face but thebotom lipbecames mare neutral and itisthe comers of the mouth that ind catethe smile,4@ ‘You have either reached 3 page that is unavailable for viewing or reached your viewing limit for this book.4@ ‘You have either reached 3 page that is unavailable for viewing or reached your viewing limit for this book.4@ ‘You have either reached 3 page that is unavailable for viewing or reached your viewing limit for this book.MOVEMENT ‘ : “The muscles of the eye are considerably simpler than those of the mouth, They tend to work in unison ina lot ‘ofsituations, but every face is different; so, just as with ‘the mouth, the combinations can get very interesting. The Squinting Muscle This muscle controls the squinting functions cf the eyeby drawing the evaliés closer together. ‘The Surprise Musclos ‘Onilmuscle rates the eyelid, as in surprise, I-cammoely wexks in conjunction with another musce that abs the eyebrows end wrinkles the forehead. A few talented people x \ canusethe former by iselto rele one brow % \ atatime vote than anything a whitespace shorring between the top eyelid and the itis , tT? communicates suprse. The raed eyebrows (L® re the king onthe cake, YY” The Angry Bye . = TheTiowningmusclebrings the eyebrows down toward the center ofthe face above thenose tof woitsirconjunctonwith Z—~ Hie guninginates = , =4@ ‘You have either reached 3 page that is unavailable for viewing or reached your viewing limit for this book.4@ ‘You have either reached 3 page that is unavailable for viewing or reached your viewing limit for this book.4@ ‘You have either reached 3 page that is unavailable for viewing or reached your viewing limit for this book.Hopefully your drawings wont look like freakish bowl THE HEAD ing ball orange-eyed, bearded mutants—unless you ‘Try these variations: ‘want them to + Change the shape ofthe head and face, Try any ran- Now, after we've spentall this time talking about the" Som shape and then fite cranium and fae inside, rules for drawing faces, let’ start breaking them and see what we get. + Vary the placement of your construction lines. Keep wrapping them around the form, but place the eye line, nose line and mouth line at different levels. af as fo DQ Vary the Shape but Maintain the Centerline You canmove most ofthe construction linesarcund, but ‘onitmess too mich with the centerlne. Its an important anchor forthe rest ofthe structure. Explore the Variations When we add features to the face, things star to get Interest- ing As you vary the shape of the head, you will be naturally inspired to vary all other features on the face4@ ‘You have either reached 3 page that is unavailable for viewing or reached your viewing limit for this book.4@ ‘You have either reached 3 page that is unavailable for viewing or reached your viewing limit for this book.4@ ‘You have either reached 3 page that is unavailable for viewing or reached your viewing limit for this book.ARTIST'S NOTE ecaptesions that ae spl ar turer nthe book show more ul on Be Luanted to start w gener. That way,when seenatios ces something fo locking at simple Pte Yo understand and duplieate in fer snono ate alze exaggerated to sole var ., vanted to wee “ 7) snake thera clear and veadable, and make the elements that sypify them Thats why Pilly dicated through the are ggante whats going4@ ‘You have either reached 3 page that is unavailable for viewing or reached your viewing limit for this book.4@ ‘You have either reached 3 page that is unavailable for viewing or reached your viewing limit for this book.4@ ‘You have either reached 3 page that is unavailable for viewing or reached your viewing limit for this book.«| SCENARIO J OYFUL Billy has just encountered a pristine, perfectly formed flower. Itfils his heart with immaculate joy JOYFUL and HAPPY are pretty similar expressions, so this is where getting more subtle and specificis important. Ask yourself how this expression is different from happy. What's going through Billy's mind that’s different from the last demo? Draw tho Basic Structure 7 starwith thesimplied head shape we usedinthe last hemo, but give the jaw some more length. The mouth Isgoingtoopen Add your co thisone, soyouwant to stretch the face ruction lines. Rough In the Features Make the expression bigger'than the ast demo. raw his eyes wider his eyebrows higher, end epen tvs mouth to exaggerate the smile raw his cheeks squished up higher hisface by the power ofhissmile, Indicate the ¢ hismout Add Details rapes pull anc wis: the face around them. 10C« of hal Clean Up ‘lean up the artwork sureyour li the pr set atthe ends This they/te wrapping around the form instead of ving fet onthe Paper ious demo Make ilmake them feel lke Add Color Use the same colcring scheme astor the pievous demo, and voila! Youve got a happy kid4@ ‘You have either reached 3 page that is unavailable for viewing or reached your viewing limit for this book.4@ ‘You have either reached 3 page that is unavailable for viewing or reached your viewing limit for this book.4@ ‘You have either reached 3 page that is unavailable for viewing or reached your viewing limit for this book.<1) SCENARIO SAD Billy, with a single sneeze, hes now destroyed the one thing he loved the most. The flower that had once filled his heart with joy is now a. tuin of scattered petals. The grief is more than Billy can bear, Draw the Basic Shape Start with an oval head shape Draw the construction }inesco that the eye line isata normal level ago. Rough In the Features 12 Diowtheshape che eyes nth the ey dosing che ise Daw a stander Haan rout shape nthe cemerspuled down Add Details and Strengthen Forms The eyebrows are importanthere, Drew them so that the push up the middle of the head. Strengthen the most impor tent orms, especialy the eyes and the mouth Add indication ofthe eth inside the mouth Finish wth the sof-serveice ‘eregm har. Clean Up -2 again, dean up the expression Keep yourfocus ‘on the overall shape of the face ard the mportantelements of the expression, Add details round the eyes,on the cheeks andi cn the chin to descrie the tension in the form. Add Color tomake the formsmore4@ ‘You have either reached 3 page that is unavailable for viewing or reached your viewing limit for this book.4@ ‘You have either reached 3 page that is unavailable for viewing or reached your viewing limit for this book.4@ ‘You have either reached 3 page that is unavailable for viewing or reached your viewing limit for this book.SCENARIO ANGR The villain has been foiled by the hero once again, and he is angry. Once | was foiled;| was so furious it took three grown men and one orangutan to snap me out ofit. Draw the Structure Dravra crele forthe cranium and a U-shape for the jaw. sanstwuction lines for the eyes, nose and mouth Rough In the Features 7. ty cre tn shape ofthe etre. squlncred brow and lowered comers ofthe mouth expressanger | gave him an open mouth 7omeke him look even more angry Add derail Add Details 52 Refine the Form Refine the form of his face by adding some contoursto the sss using thin end thick steikes Adi more detalisto the ears andiace. CleanUp Darker the linssand acd subtle shading to define the contours Add Highlights and Shadows Make suteyou know where your light source now where to put the shadow Wrap the shadow around the form sot doesnt look Nat.4@ ‘You have either reached 3 page that is unavailable for viewing or reached your viewing limit for this book.4@ ‘You have either reached 3 page that is unavailable for viewing or reached your viewing limit for this book.4@ ‘You have either reached 3 page that is unavailable for viewing or reached your viewing limit for this book.2 SCENARIO CONNIVING..... he has an idea that pleases him, he begins to work it out in his head, Se curcer Basic Strnc meen the Features Sevier and Cone | Rough n the Feaeures 2: seein ce ‘Add Color and Shadows eet the moad with yo I you add too mus lock i 564@ ‘You have either reached 3 page that is unavailable for viewing or reached your viewing limit for this book.4@ ‘You have either reached 3 page that is unavailable for viewing or reached your viewing limit for this book.4@ ‘You have either reached 3 page that is unavailable for viewing or reached your viewing limit for this book.SCENARIO Stages of Fear In this demo, Brandon will use a typical security guard character to walk you through a range of emotions associated with fear. Starting with laughter, the situation will deteriorate into dread, terror and finally horror as our character's composure slowly unravels. ARTIST'S NOTE Hepert S9pro204@ ‘You have either reached 3 page that is unavailable for viewing or reached your viewing limit for this book.4@ ‘You have either reached 3 page that is unavailable for viewing or reached your viewing limit for this book.4@ ‘You have either reached 3 page that is unavailable for viewing or reached your viewing limit for this book.3 SCENARIO DREAD siisiessi:omexeneresingosanwinoe00 Dread is the anticipation of something unpleasant. It's imagining ail the terrible things that the sound down- stairs could be. It’s easily the most interesting of all the fear emotions, because you can draw it out forever. So, after having laugh with his pal, Mr. Guard hears a sick noise. His blood runs cold, Draw tho Basic Structure ‘DL starwth the blockshaped cravium and massive U-shaped chin Add constuction Ines, Rough In the Foaturos This expression needs o show potentiat energyin reserve. Het scared bul vying rot to let fear overcome him, 0 the expression won't be big Rough in the nose with con- struction lines Draw the mouth with the coiners dropoed to'show ahintof distiess, Diane the eyes wath the pups Jooking in the direction of the creepy noise IThis whole head ‘were turned in the direction of the noise. it ywould imoly ‘confidence. With only the eyes changing lection, we se atoniy his concen with the nose, Buta his hestation to onfrontt Drayy his ey rows relsed in distress, and elongate. ihe rape of the cheeksto show them being pulled down by themouth Add Details Extend the shape of the cheeksto showhowthey. Interact with the roving mouth, Add shape and anostilto thenose and detall lines wr speing around radiating out from the larger forms Again, fnish with the hairand mustache fo lowing the ditection ofthe fornsof the face. Clean Up Inkthe draving asin the previous demo indicate the hairwith big fast brushstrokes Ifyou'e drawing on bistal boat helps to weat acarton glove with the fingers and thumb cut out This wil keep yourhand from sticking tothe surfaéeand willhelpyou make long, smooth stokes Add Color shadows yap around the form,4@ ‘You have either reached 3 page that is unavailable for viewing or reached your viewing limit for this book.4@ ‘You have either reached 3 page that is unavailable for viewing or reached your viewing limit for this book.4@ ‘You have either reached 3 page that is unavailable for viewing or reached your viewing limit for this book.4@ ‘You have either reached 3 page that is unavailable for viewing or reached your viewing limit for this book.4@ ‘You have either reached 3 page that is unavailable for viewing or reached your viewing limit for this book.4@ ‘You have either reached 3 page that is unavailable for viewing or reached your viewing limit for this book.4@ ‘You have 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3 page that is unavailable for viewing or reached your viewing limit for this book.4@ ‘You have either reached 3 page that is unavailable for viewing or reached your viewing limit for this book.4@ ‘You have either reached 3 page that is unavailable for viewing or reached your viewing limit for this book.4@ ‘You have either reached 3 page that is unavailable for viewing or reached your viewing limit for this book.4@ ‘You have either reached 3 page that is unavailable for viewing or reached your viewing limit for this book.4@ ‘You have either reached 3 page that is unavailable for viewing or reached your viewing limit for this book.‘Adobe Photoshop, 17,122,160, 182 Aging face, 35 Airbrush spatter 19 Alen menste, 150-151 ‘Angry 52-53 Angry eye, 32 Annoyed, 76-77 ‘Asymmety. 36 ‘Attacking, 118-119 Battle scong, 165-167, Bil Finds Flower, 40-49 Bidseye ven e,33 fronn.28 head 23 mouth, 25 Body anauage, 146-147 oy 40-49, 70-79 Captain Thunder 110, Seealio Superherofght aye git zombie and 148-149 Centetine,23 Cheeks, 35 Chir, breaking up 353 (Closeups, 142-143, 155-157 Confused, 94-95 Comiving. 56-57 Cote Panto, 17,162 Cover splash page, 162-165 Coneting 128-129 Coy, 134-135 {Craniurn 20,72 Crazy, 62-63 toss hatching, 19 Damen distess 160-161 ayion, Brandan, 12 demonstrations, 40-49, 60-69 gallery, 170,171 Deep in thought, 54-55 Dasgustec 74-75, Drawing 18, Dred, 6-55 Dunk, 86-87 a7 ‘pumbounded, 96-97 fen ascreative workshop, 4 arisisof 12-13, See also centres ferinaivual ortts lectrocuted 122-123 Emo" gh 30-99 Enticing, 143 Epicanthic eye 31 Equipment, 16-17 Establishing shot 144 Exhausted, 124-125, Expression creating 11 four points, 10 ‘maintaining. 145, poerof 3-9 asstory, 10 “Extreme the, 120 ‘areme-angleshovreverse shot 154-155 Extteme long shot, 144 Eyes) 30-38 arary 32 bird eye view, 33 eplcantic, 31 cetreme closeupot 142 feminine 31 Ins wraps around fornof eyebal,21 mechanicsof 31 movement of 32-34 profile view, 31 roling 92-93 squinting muscle, 32 Surprise musts, 32 ‘three-quarters view, 31,33 varations,37| wortseye view, 33, Bebrow lowered, 102 alse 33,102 Eyal 30 Gyaling, 21 Faca.20 aging 35 compressed, 146 ‘pen, 146 ly, 143 vations of 36-37 Feay stages of 60-59 Feminine eyes, 31 Fim noi 152-153 Fy, 04-105 Freming, 42-145 ‘closeups, 142-143 long stots, 144-145 medium shots, MS Frown big, wei 24 bie 36, 2 ‘open-mouth 29 Frown muscles, 24, 32,35 Gallery, 169-171 GaGetsa lecture, 90-93 ait cave, 48-149 fern, 109-108) teenage, 90-99 Gass u.27 Gating, 126-127 Geaphicstabiet 17 Gowling, 114-115 Happily surprised, 106-107 Happy, 2-43 Harkes Ernest 12 Head, 20-23 bese view, 23 ‘raniarn20 foce,20 profile view, 22 shapovatiations 35 simple,21 ‘hee-quartar bird eye view, 23 thrice quarter worms eye view, 23 thtee-quarters ew, 22-23 worms-eve view,22-23 Hobo, 80-89 Hopeless, 78-79 Horror 68-69 Hostte, 98-99 Hung over, 88-89 Idiotic surprise, 107 Infatuateo, 138-139 Infomercial surprise, 107 Inkspatter, 1 Inking, 19,151 Interior splash page, 166-167 Involuntary physical states, 10 Jawand mouth, 24-20 closeup of, 143 drawing a longer jaw, 29 frown, 28-29 less jaw, 27 Jar slide, 24 Jar swings 24 tps, 26 pout,27 profloviad, 25 pucker 27 spre 28-28 see, 27 three-quarters view, 25 See ako Youth Joyful, 44-45 Laughter 62-63 Line ofaction 147 Line qual, 19 Lips ‘asclay sna, 26 threethean method for drawing, 26 vatiations 37 Long shows 144-145 Loos Bake, 13 demonstration, 90-99 gallery, 169,170 Loveis in the Air 130-139 Meshes 16 Materials, 16-17 Medium shot 142 Metvic convesion chart 4 Mexican stand, 198-159 Murorimage, 174@ ‘You have either reached 3 page that is unavailable for viewing or reached your viewing limit for this book.ART TECHNIQUE/DRAWING. “DON’T DO THAT W-: ITH YOUR FACE-—IT’LL STAY THAT WAY.” -MOM Chances are, you already know how to draw some expressions. But face it, your stories can only get so far with *happy/"sad” and angry! oider to give your characters some character, yo need to know what they look lke when they'e aboutto ™ a a they smell something stinky or when they're in ae sale eay lotto. Lucky for you, that’s what Making Faces contains everything you need to give your characters 4 wide range of expressions! «Part 1: The Fundamentals. !iow to draw heacs, mouths, noses and eyes, and how they change shape when they move «Part 2: The Scenarios. Over 50 step-by-step demonstiations fora variety of expressions and situations, Each scenetio shows four or Five expret" froma single characte, from simple emotions to more subtle and complex vations so you see how a face changes with each emotion and how the same expressions appear on. vatiety of other characters. « Part 3: Storytelling. How to move yout story along using expres 10, point cf vew, body language and composition. See how Itall comes togeter with damcelsin distress, a noir-style interrogation and other situations ilustrated with a diverse cast of characters from hobos fo superherone i ‘uide will help you create the looks that say itl us $22.99 Z1698 (can $25.50) | 52209 wa