| fe y, v2) Ie Discover step-by- step techniques wr PO Trae Uo N ‘ i vampires, adventure N | 1 CUCU 4 4 By Jacob GlaserThe Art of Drawing Fantasy Characterspate © 2010, 2011 Walter Foster Publishing, Inc. Artwork on cover, back cover, and pages 1-144 © 2010 Jacob Glaser. Artwork on page 8 (hapes and forms) © 2007, 2010 Christopher Speakman. All rights reserved. Walter Foster is a registered trademark Digital edition: 978-1-61059-821-7 Softcover edition: 978-1-60058-166-3, ‘This book has been produced to aid the aspiring artist. Repro- duction of the work for study or finished artis permissible. Any art produced or photomechanically reproduced from this publica- tion for commercial purposes is forbidden without written consent from the publisher, Walter Foster Publishing, IncThe Art of Drawing Fantasy CharactersContents Gernine Stare. ‘Mummy 70 Tools & Mate 6 Evil Scientist, n The Elements of Drawing 8 Werewolf 7 Basic Pencil Techniques 9 Grim Reaper 7 Creating Textures 10 Succubus 80 Perspective Basics 11 Hell Hound 2 Boogeyman 86 Science Fiction maa ais Man-Eating Plant 88 Gray Alien “4 Banshee on Ray Gun Is Cthulhu of Brain in Jar 20 Masked Maniac 98 Android 2 Alien Lord 26 —_AbvENruRE Cuaracrens. space Hera 28 Young Hero 102 Alien Beast 32 Evil Soreerer 104 Cyborg 34 Gnome Dragon Slay 108 Space Pope 36 Druid m2 Starfighter Pilot 40 Swordsman us Robot Attack Pod 2 Drow us Alien Heroine 44 Barbarian Warrior 120 Alien Trucker 48 Jester 12 30 —_Blacksmith 126 Sidekick 34 Maiden 12s Archer re Honnon ChaRacreRs. 56 King of the Dwarves B+ Frankenstein's Monster 58 black Knight 136 Vampire 2 Undead Warrior bs Zombie ot Avenging Angel 140 Witch 66CHAPTER 1 Getting Started In this book, I'l showease my process of drawing characters and props from three speculative fictional traditions: science fiction, horror, and fantasy or adventure, Each genre has its own unique conventions and characters that populate movies, television shows, videogames, and jiterature. I have chosen various archetypes and icons from each genre and developed them to Iluminate at least one way of approaching character illustration I prefer to do most of the basic work in the concept sketch or thumbnail stage, but for the purposes of this book, 1 work at full size so you can see the complete process. The best way to increase your ability to make convincing drawings is to continually study the world around you, especially human anatomy. I have also found great value in studying the processes of other artists, and I hope that seeing mine will be helpful to you,Tools & Materials ‘One of the best things about drawing is that you can draw anywhere, anytime with just a piece of paper, an eraser, and a pencil. As your skills increase, you'll mostly likely want to expand your drawing tools, but it’s best for beginners to just start with the basics. When you do start to purchase more supplies, remember that you get what you pay for, so purchase the best you can afford at the time and upgrade whenever possible. Although anything that will make a mark can be used for some type of drawing, you'll want to make certain your magnificent efforts will last and not fade over time, Also remember that everyone has his or her own preferences, and that experimentation is key. Here are some basic materials that will get you off to a good start ‘Sketch Pads Comesienty bone Glawig pads cane inawide ‘arity of ses, teres They porte handy for malig eu sketches an when ring uo. Youcan See alae tehbokin the clo Salone wth yu ening gu lngresens whe youtavel Seah tomeclum-gram paper teste alld thetoth aaeal ae Drawing Papers for Fishes ons ofa ug See sheets dawing paper bes They ‘ee able na age pees ~ toveryrough The cold peaed sre sth most vest. natal oth, ot makes 2 104 surfer avy oft ferent dramingiecies Charcoal Papers chars Ble ina varity of eures Same ofthe sre rites re Inyour ravings These papers aisocome na arty of ees ‘eh cana depth ne isa rere our davies. ag Work Station You dort need astuloto ron, bet i's god idea to set pa work aes th god ahing a enough cor frou work an yoyo tel Wh ight you tonne aan wit ight bulb pd aoa white anescee ght have both warm (lion and coal iu) Sg. Youalso need a confab chal anda "able peteraly era wiedow fraught) Yu may aso want to puchase caving bre hat can Be sed ferent heghts and anes. 2 shown above / a ‘Sharpeners You%tavays nant to keep peat sharpener mandy, 8 one ‘tor point to makes, cen ies, ats preter to se vege handheld. Sharpener, which fords more convo oe the shape fhe enc ti. You canals. Dyrabing it apis rouphdeawing pape % Ugh Tale iit tates ary fhe ap oF tabletop noes to ‘the 200pouné ste! morse ave my stad. They a ery Sell fortacg owing nto ‘ean sheet of paper anor composing mut fom st ‘or. orto na bet ow irl tape yur sheen to {hein th te clan sheet ontop oi an ace ay. ‘his ean deunconfrtsb, ‘tough and reauresdayighPencus Drawing pencils are classified by the hardness of the lead (actually graphite), which is indicated by a lewer. The soft leads (beled “B” for “black” make dense, black marks, and the hard leads (labeled “H” for “hard” produce very fine light gray lines. An HB is somewhere between the two, making it very versatile. A number accompanies the letter to indicate how hatd oF soft it isthe higher the number, the harder or softer the pencil (For example, a 4B is softer than a 2B.) In this book, 1 switch between a 2H and a 2B pencil, but every artis as his or her own, preferences. Any of the leads can be sharpened to the point you want (as shown at right) achieving a different effect. The result will aso depend on the texture of your paper. Practice shaping, different points and creating different effects with each pencil by the pressure you put on the pene ut Device Wher chosing pen input deve, ase your decision an evel of Sens and personal comfort. use a medium sized Wacom tbe and wos at ‘art aning lager, tough know several ass who use the smallest andes ab Its avaible i's choi f personal ste and conf, Dictrat PAINTING You'll notice that I don't provide step-by-step instructions for the colored finals in this book; instead, I comment on my color choices. | chose not to include exact instructions because all software programs are different and all artists will use them differently, so it won't help to explain my process with my program, But to me, talking about color choice is always helpful ‘There are many complicated brushes, textures, and gadgets to experiment with, but I find that the most useful brush is a basic shape, like a circle or ellipse, that has the ability to easily control ‘opacity, size, and the brush edge (the “hardness” and “softness” of the stroke). The fundamentals of painting with physical media such as watercolor and acrylic also apply to digital painting — especially in regard 10 color theory (see “Color Basies” at right)—so learning them will help you become a stronger digital artist as wel ‘mun poet hn Ha wtha sep pant padies cs ns ad oer, 20d cool Wiha ound poi youzan make lightly {hick ines and shade smal area. i fat point a fiat stetching Fat For wie strokes use the Raters pon of 48. Alas, ‘sharps edge ah be eo abe ne ines oo PAINTING SorTware AND PEN INPUT Devices “Many projets inthis book include a painted final, which 1 create using painting software. Several products exist to simulate the experience of painting for digital artists; Lan imagine a ‘mote forgiving environment in which to lear and experiment with color, valu, line, and composition. Youll need access a computer with a monitor that can dsplay good levels of values and colors, as wel as painting software and a pen input device. There are many options for painting software, including Corel Painter® and Adobe Photoshop®. Both ae great programs backed by teams that continue to improve their stability, creative options, and ease of use. While painting with a mouse is possible and the results can be impressive, you won't get the most out of your painting sofware without a pen inpat device, which allows you to use an electronic pen as you would a pencil or brush Cotor Basics Color theory isan extremely broad topic, o Tl ust touch on the absolute basis. The primary colors are red, yellow, and blue all, other colors are derived from these. A combination of primary colors results ina secondary color, such as purple, green, oF ‘orange: and a combination of a primary and a secondary color results in a tertiary color (like red-orange or yellow-green). Pairing ‘complements such as red and green results in a stiking contrast ‘that can add excitement to a painting, However, when mixed, complementary colors “gray” cach other, resulting in a neutral color such as gray or brown. Colors are also considered either cool ‘or warm, which helps express mood. Warm colors—reds, oranges, and yellows—are associated with passion, energy, and anger, whereas cool colors—blues, greens, and purples—evoke a sense of ‘peacefulness andl melancholyee The Elompents of Drawing Drawing consists of three elements: line, shape, and form. The Shape of an object can be described with simple ‘one-dimensional line. The three-dimensional version of the shape is known as the object's “form.” In pencil drawing, variations in value (the relative lightness or darkness of black or a color) describe form, giving an object the illusion of depth. In pencil drawing, values range from black (the darkest value) through different shades of gray to white (the lightest value). To make a two-dimensional object appear three-dimensional, you ‘must pay attention to the values of the highlights and shadows. When shading a subject, you must always consider the light source, as this is what determines where your highlights and shadows will be. ‘MovING FROM SHAPE TO FORM ‘The first step when creating an object isto establish a line drawing to delineate the flat atea that the object takes up. This is Jown as the "shape" ofthe object. The four basic shapes—the rectangle, circle, triangle, and square—can appear to be three dimensional by adding a few carefully placed lines that suggest additional planes. By adding ellipses to the rectangle, ci triangle, you've given the shapes dimension and have begun to produce a form within space. Now the shapes are a cylinder, sphere, and cone, Add a second square above and to the side of the frst square, connect them with parallel lines, and you have cube. ‘ectagte cle pines ee [ADDING VALUE To CREATE FORM A shape can be further defined by showing how light hits the object to create highlights and shadows. Firs direction the source of light is coming, (In these examples, the light source is beaming from the upper right.) Then add the note from which shadows accordingly, a8 shown in the examples below. The core shadow is the darkest area on the object and is opposite the light source. The cast shadow is what is thrown onto a nearby surface by the object. The highligh isthe lightest area on the object, where the reflection of light is strongest, Reflected light, often overlooked by beginners, is surrounding light that is reflected into the shadowed area of an object. Wigighe Wight core 4 shadow er etected ‘iat i core Cast shadow Cast shadow shadow ‘isin ignme Cn ee isa Basic Pencil Techniques ae ‘You can create an incredible variety of effects with a pencil. By using various hand positions and shading, techniques, you can produce a world of different stroke shapes, lengths, widths, and weights. If you vary the way you hold the pencil, the mark the pencil makes changes. It’s just as important to notice your pencil point. The shape of the tip is every bit as essential as the type of lead in the pencil. Experiment with different hand positions and techniques to see what your pencil can do! GRIPPING THE PeNciL Many artists use two main hand positions for drawing. The writing position is good for very detailed work that requires fine hand control. The underhand position allows for a freer stroke with more arm movement—the motion is almost like painting. (See the captions below for more information on using both hand positions.) ale Using the Writing Position his ania postion pode themst contol Th acc» __Usingthe Underhand Position Pc up he pvc with your hand ott, holing the ‘te, pres estat est ae pret for rendering ine eas and aces When your __pncl between he thumb ad index ner the alin igs an et onesie the andisin hs oon pace aclan shee paper ender yourhandt prevent smudeng, peel You can create beaut shang am hs poor. PRacricING Basic TecHniques By studying the basic pencil techniques below, you can learn to render everything from the rough, wrinkled skin ofa monster to the soft, smooth hair of a tower-bound maiden. Whatever techniques you use, though, te side-to-side direction, with each stroke ending below the last, can create unwanted bands of tone throughout the shaded area. Instead, try shading evenly in a back-and-forth motion over the same area, varying the spot where the pencil point changes direction. nber to shade evenly. Shading in a mechanical, Hatching Thistase meted ot shading ates lng CFosshatehing For cher shsing place yest prt Grading To rene grate als (rom dt i, anareawtha sees ofparalelstotes The caserthe el stoesor tp of ene another at ring ales. Ain, apy haw pressure wth ese four peel gradual ‘os the dsr fone wl, ‘make dare values by placing te stokes se together. ghening the pressure a5 youstse ARS SS ‘Shading Darkly 8y applying hea pessuetothe pen Shading with Texture Foramoted texture us the fo you can creat dak, ea reas of shag. ‘ie fhe pencltipoaply smal uneven stakes. ety the ines wha erg al otis. _3 “creating Textures. Textures are not eitities that exist on their own; they are attached to a form and are subject to the same basic rules as all other forms. A texture should be rendered by the way it is affected by the light source and should be used to build the form on which it lies. Texture shouldn't be confused with pattern, which is the tone or coloration of the material. Blindly filling an area with texture will not improve a drawing, but using the texture to build a shadow area will give the larger shape its proper weight and form in space. You should think of texture as a series of forms (or lack thereof) on a surface. Here are some examples to help you. Cloth Teenie com wilependonthesnciness Leng Malr Longa theca. nasadreconarda Seales Drawn 2 series of teocng Sache plates, dss ofthe mate Thor mates wilhawe Row i sete spatter depend onthe weg ofthe scales il become moe conpessed 3 they allow farms ‘re wie that bunch nd conform shapes estas antes pois Long a eshers ito smal that cede rte ptr ae, use smite Patel Aewiniles mov tuna sfomand vay ton forms—simpy esteachform at town subform tiatis que to crests amor and chal epicure place, they compress ardbecme more dense pao hee frm ere mber tht each fr il be (whichis an exampe of rshartning seepage ‘tected byte same le igh soue Wood ivetoush an ot sanded down, wood ismade Shor Fne Hale Starting atthe pont closet othe Metal Polshed nett moved surface ard eles 3 ‘pel siting ines. Theres ay and dewcon othe ewe the hsp tewarthe pete plane andcan be aloecimage whatever sauna nge pattenttatyou needs obser andtten eloutinyour —indatd a dos Moig cut an ine Shacowe areas, ton sgt ells shown hero ince Sharp ana tangs ‘hems become long and mae dese. Iino. The shapes eee wi be abstract with har ‘dae andthe reece ht lb very rh. Feathers and Leaves Asi stor tat, stifeuders Curly Male Win culy aks irporantofolowshe Rape The sees of aed cords at makeup ope Ce eaves are lngard at ck The fom doses tothe _paternot highligh, cre shacow,andfcteight (ee ate pate hat compresses asi wraps around asa viewerarecomoresed ad thosefather away fomthe pate 8), Uslyand wd pater wilinaease the mpres-_ané moves nay fromthe piu pane. one onay. ‘Son of radad otal haPerspective Basics Another important aspect in creating convincing drawings is the understanding of the basic principles of perspective, or the visual cues that help create the illusion of depth and distance in a drawing. Perspective can be broken down into two major types: linear and atmospheric. In linear perspective, objects appear smaller in scale as they recede from the picture plane. In atmospheric perspective, objects that are farther away have fewer details and appear bluer and cooler in color, whereas objects closer to the viewer are more detailed and warmer in color. With linear perspective, it’s important to remember that the horizon line (an imaginary horizontal line where receding lines meet) can be the actual horizon or a line that falls at eye level. When working on any drawing, having an idea of the eye level of the viewer is important so you can apply perspective to the forms. When drawing figures, ellipses are especially useful in establishing and enforcing the direction and topography of forms. FoRESHORTENING {As with linear perspective, parts of the body that are closest to the viewer seem larger than those farthest away. To represent this in your drawings, you must use foreshortening, which pertalns only to objects that are not parallel to the pleture plane, Because of your Viewing angle, you must shorten the lines on the sides of the neatest object to show that it recedes in the distance, For example: If you look at someone holding his arm straight down against the side of his body, the arm is vertical (and parallel to the picture plane), so it appears to be in proportion with the rest of the body. But iFhe raises his arm and points it ditectly at you, the arm is now angled (and no longer parallel to the picture plane) and appears disproportionate. (The hand looks bigger and the arm looks shorter.) Translate this shift in size relationship to your drawing, and you'll convey an accurate sense of foreshortening, NG a EN Ines cated bythe op and btm ofthe quate; ao extend the cere otal neo height reat seresofedangs that duce walang he zeal ee. Co tothe square and raw cae om it to patin oe ofthe quarters, 35 sown bere Repeat hs same cuveln he enaningquartrs um the paper as you ra ithe, and you wha crete prt cole ihn he gure, Repeat th poe in each he naowng etna produce ange of lle. Use this ehoreswhenveryu have ity LUT) ips describing sutace fey in perspective. lipses describing simple sutace of anton. Foreshortening As cscssed bore, ahenalinb or Elipses in Perspective The wes basilar yer. ne the halon ne a wast Pgh, lpses ‘ther een hea ge) moves that th ceteris round the tors hat taro the ground appeat as staieh lies. lips above tis ine apear asi were becomes perpen tote pcre pare, hefrms hat loking up at then, and elpes below the lie apes sf we are oning down on hem The cose tho viewer fo the inal op hv ebictepen to roto onde ns, oir hc more emai tise becomes Tho lo ee mevng eR nd ih ofthe elt of xe Gabi POM. Ieanigthat hey ae teshorened.Undesancng the These the elpses move toward the cere, the Mave tey ope Up. ae the clser te ewer So he oe, Me ast foms andthe elpsesthat descbethe surface wil more ana he eft. aly you undestnd and drow foreshore formsScienceic Eiackiowis This subject is a cultural icon; the challenge is to portray it in a way that isn’t boring or cliché. Alien abductions have been actively chronicled since the 1960s, but accounts of interactions between humans and aliens go as far back as the 19th century. Some people believe we are part of a massive science project being conducted by these little gray men, The classic gray alien is often described with striking similarities by abductees and witnesses from all over the world Whether this is due to mass hallucination or people conforming to popular images, the gray alien makes a great antagonist to any space hero. > Concept Statches These sal nig nema op and ep me fem alg et vl hh They al aow ne ogee wh he aa ters ania, ensue and tos. Ty ting he heads to res, sume, of vena andere the roel enkance yr nal raming _ oO bE St Mt r\ LA Yarn} he ‘Step One Hen sa 2 drain, tendo hol my 2H pen bout 2." away rom he ‘pts keep myn rom geting detaed muring klnston qh. or eae, "Sut wih afew gulch ies esas he greta Shape aa geste fhe ite Then fine the shapes 2dngceterines othe asc fom. plate 2 hota ine, 35 les mporart to tnow where the viewer's eve levels plae his aio teow o8 he © the row Se, wait souls and nee To eaggerte he pone mate healer’ ght © Satouder a NS et Met a eget nde gb SUES row tough Shapestoesur the they make sense ‘Step Two hove srt deeapag he ales paces. Fthave strange fom my encep sets icoroste her, Buin ts case sy jit am haps and ale sre they flow th form ofthe als body A ths stage ilexperiestingt see what ke,Step Three Theaters age heads 2g eta ing out te orm, creat age, assy eyes deeoning the ocular caves card. 50 periment wi some costume eta, ‘ereronmen a5 want hi fave sae ‘one imagine he's just landed atthe ‘eae of foresina ity populated ess seth a tee stp, Some ase ne ae are oa terepesent the ar of fing saucer, The to ofthe stump isbelow the zon Ison Yo catechins oak (ate bas tat was rune ne cdc shape othe samo. Step Four Newt sith 10028, recap star ng tor are ening the ets theca easing consrcton ies 3 1 decide use he ih om he ay nana ambient moaigt she wo ours fa th baclghtng om efit ner the ges of some forms Suareseectedtiat whch lhe efi fomsinskadon an gia fer feltoshapes locate ie eos biting aut grape wth kates aa: “ree lS ‘Step Five tcontoue to dine ne in ad Ws suroundings ‘th he 28 pec. When ang stadows othe backround, rae sare oe alight sores in minder iste the ay fn is to arava tom the background cst an tahton Instead, thee source inthe background wl come nthe towing open oo. ‘Step Six Ater arena alot ny lnes with he 28 and eveopng the st ofthe backround especialy he ‘pacehip and ee) ean py ecg with abneaded Staco underneath te atento gaurd hn. Wak a¥ay fromthe caving fo ew mints ad care back wth aesheyeto see mised anne step seven | sessed cols tree, Aight cee stat wth greyscale it Ing and coos othe gt saues and reflected ahs hs case he ight starces ane the mooi (hte) he ry gun ite, nd he hp dors ans hs agent). The dle’ sins rays, bat aa is Diu, purl, ond ren.ties Ray Gu Ray guns are descendents of today’s firearms. The shape of the gun itself and the way it is used by a character can be very telling about his or her personality and the world he or she inhabits. Take a look at photos of real guns; you'll note that they all have some general characteristics in common, ae iat especially when it comes to the handle and trigger. tang bts ane pieces for "ast gn lok oa casos anak an imine that a un shoulda, 0 prbatiy tor nay rom ht ee a ee i eel ‘Step One ah 2H perl ety daw aga belp meth caret prspecthe jou may waite dw 9d Snduseaighboxto place he pido tre draniga cece perspective, Fer reproduction purposes, tenes a dhe anda ere xa eta the mayo ter hy sete he tera shop ofthe gun, beeping ia Pod that led to ftina bara ante had 1 inp tap rn ne snd entre ‘oe 3 ire out wht hse in tooo nately un 8 ‘Step Three | darken my preveus tees and use te tat ‘ecge of my pec oh daw shapes ard det that thin wtok cool Athi point experimenting ad tnt igre atthe freon and character fhe ‘gu erase Te parts that doe Keep bulng Shapes htt gt. comin toreerence the gia Gran but hep evening lose hen sts, dean ‘Step Four Now tat know what wanttheFaltlok 1a, use the 3 pen sa dating Ines and dere. png the specie srctres Iegp refering he gto srt my Ges ken, a etree lines ‘omake sire the perspece des accaBrain i in a Jar A brain in a jar is a standard evil/mad scientist prop. For some reason, brains stuck in jars eventually turn evil (more so if i's a Brain from Outer Space). But if you're a brain in a jar, do you really have anything better to do than to think evil thoughts? A brain that is detached from a body yet still able to think and perhaps (with mechanical or minion aid) act ‘upon those thoughts is a danger to all. Concept Sketches Tis is ube 2 meso be dessedup th some technology de sueto reference phos or dagrans of eins so tha he shape and texture wl be ecoginbe, ‘Step One sh 324 onl ty etch he pose. dram the han ie a ellos ‘onthetp of atom ote jr then ans skeen he gene shape ofthe braiminde "Wer Net ghee up he mao stu othe jt, cls w tlaet do ths, bt "night fo out that pas of he bate sg out ota the tap and botom ofthe jar concept Sketches. Swords re cnpetonaly se heya ke pet ot ds ‘that move th eye around am re athe en faving the nerd in some nave, doar Facing poe, howd proes sme ulin mtr by efletely mashing fc. ‘Step Two Hos oft boey be coveted byte robes but SE forms. spend mare tne onthe ‘cate aed hom soe te oxy, hough Te keep nyse hk ing about the bay, placa song ‘ete down the chest nd daw reli indenting the abdoren Step One |use 22H tiehty ‘etch apse based on the concept torso tat hemasif ey ae parte body inthis sketch The forms ar oterac and many ofthe‘Step Three cide he ‘ther ofthe les positon. ad anor that showing. ebb around aia expe atthe right sour. Step Four eer cont fein nes tn the make settle sone tino et od expeston on he sible pet the fae and dine he shape othe head 25 il deine he Stape he hood ‘Step Five 1 ot sue abut ‘ome of he aes bu elite ‘eves 0 ile wal or apa Trash the ndeiing suture sot se an HB pent light seth eas belo oe seth ales. tel my ¥9y ‘rou te folds ithe sit and ‘eco pate, ays ekg, te forns they ate wapeoe 2and shadowson the ure dee te hand onthe "aks ot queria so erase for om ‘Step Seven Whie|waito sort out the ard we 9 20 Sects hat see gh ome. wake Some in of energy coming ‘tecatces he ground stake inet daw confecteht an elec in the pang stage. a earken Ines and create shad Illy et £08 fel or ttehan nag sketch tin wat some fhe eres to be et show tat lg shtig then, sol ease some graphite (such si the raided cords eur Ms Soule) ad gate the ines as they move i shadow. Step Eight sil sing he 26,1 Irishthecatins en bsp a few fal stadows Then crete————“Sidekick Every hero needs a sidekick, especially in space where you can travel for years without encountering civilization. The sidekick serves as a sounding board to reveal the inner workings of the hero's brain, I like drawing sidekicks because they can be just about anything, from a small robot dog to a huge reptilian humanoid. Since there is little chance we are going to need to be interested in the sidekick’s love life, you can make the sidekick as ugly as you want. ‘Step One | eiargead rae te concept stteh an Concept Sketches. Theshapes fortis character ae ess, bt thik want odo something the the Hae onter fom Bugs Bunny bit mare tush ‘Step Three Ihave» goddes of whee am ging with ‘this ehaacter, 5 ump ight ino the acl xression ard add ow mor corume die. ‘Step Two ith 22H pen Warstate erough ams Ina acta shapes, indtng same ofthe anatomy ane Costans The lpesof he andor ew more dts with the an thes then ines, ting my way au i he ome,—_— ate@ Horror Characters eae saeco geo cag aE.* Frankenstein’ 5 Monster Written at the beginning of the Industrial Revolution—when science seemed to hold the keys to man’s progress—Mary = Kl) | ow Shelley's story of Dr. Frankenstein's attempt to defy the laws INA, y of nature spawned the allegorical tale of science run amuck. q* Frankenstein's monster is unable to find his place in the world pi &£ +) other than as a horrible, monstrous mistake. Giving a creature the mind of a child but the body of a huge, powerfully built man made for unfortunate mistakes, Concept Sketches tm oking ors pose ht shows the ching ented walk ome one learing to wathor jst unfair itis oo Step One 1 cede on pose ‘einen of bay aring 0 wal els good const and lee cotived tan he tnd Karo episat with 92 pena hy race the pose sig ih bo foci on api the pose Step Two Su wartng ey, "hud upthe bast ors ne surface lace 2 horizon ew inte ame since want he Pai of ewanda Features. a0 [nd syrnetry. als ot hie rmsareovetapping and create ard edges to define form, decton and Staow ees ‘Step Four | wokdckinto Be ace, tying to get the pe Sonaity aa a winace across. aswell as sue to {ast ign santo gesture inthe cost, king ‘ofthe fr of he rape an hom hey wap ard the aay. wast someting erent rote sonar ove sled st la Bors—maybe 2 more nace Step Five | develop moredetat of he surface anatomy and eothing want te cthingtoreeambe wel orn andme-domns, 0 nate oles a aye ee. him in at daw alo the forms the shoes ard ‘some src tol te eo ay bats. ao “tantolndate some othe sadam ptersin ele 9‘Step Six Yow at have2 Strangle were ant 9 ‘Step Seven | wk ny way ‘ough thet, oting ard then alg Shodan. The Sires ose tng, bat make ‘sre once tt ne 3 power ehest nceaeath AL ‘he waits the om ino a stern of wines and ‘compression ls AS ul forms, abo ct tenes olinconanstihes or te ‘erent batt have beer aoe 2 ‘Step Eight Fist erase as ‘much of ecosrcton bes {lca Then, afer ote ithe fom, go back though twaveamere sunken ott istoce, > Step Wine iwsntto inate many ieee pes ‘fsa pane peter ond ap ao ing too much ‘een ih seems tbe the ‘Sanda oor for onthe ays a stipesto the shit tog a sbonger indication ‘tach mind tapped na brates os2 : | ao ‘Vampires are the risen dead who have been cursed by the bite of another vampire (or other means) and can only derive sustenance from the blood of the living. Modern Western folklore holds that most vampires are charming and elegant with an air of decrepit age and ancient evil. At their best, vampires are able to attract and repulse victims at the same time. Depictions of vampires greatly vary in popular culture, and the bloodsucking undead are used as analogies for all sorts of human behavior. As story elements, they possess a seemingly endless well of melodrama built into the conflict between their once human existence and their true vampire nature. ‘Step One ight sketch the pose wih 224 pen star Irgwth the conten ne faction) a afew Ens deo thes, es, and ams. ning ager ce ofteproprion an poston fhe igure. Fm at wore about belngon eat because os ely rove evnting sean ait | dele the career, ‘Step Four Stl using 2, caine develping the ces ture adie. want falcata ere ‘on ard etre blr star acinar thay bearer tera. ant hands ok ages and pow and the igs sh. Then begin afin eta tthe ceat, pats nd sows. ‘Step Twe Ichange the see ofthe hen ti and tart etn major aes of eg, nein the Coat want the character tohavea snes body ith ns of {ge and atopy, s exaggerate js and bone stuc ‘Stop Five tow sth 3.26 1 start dking tines ard ating shadows, easing onsution ies 3 | Tate ad caning nes oe Po show mation, Then acer pate tthe vest and change the shape ee ‘Step Three Veni are dpi inal Kinds cos: ‘umes and lating peer thas om the Edvadan) 2,50 eel a coat ith sone deals em farm want he cts have 3 nd of nd tadleeesin ‘Step Six cc’ the checker pte soe moves eta kneaded eraser. coaine worn up shadows ond fing in dk ates ofthe coh, ean wie areas or elon also add Kayes elges tote coat show ap.aOriginally, the myth of the zombie wwas derived from tales of Voodoo worshipers who believed that powerful magic could reanimate the dead and transform them into servants of the sorcerer. These days, “zombie” can refer to any corpse brought back to life through many means, the most popular being by viral infection, which appeals to our highly skeptical modern minds. Zombies are in essence broken humans: rotting human bodies lacking the ‘mental capacity beyond that of a feral animal, consuming with no thought to consequence or morality, moving en mass like caitle from one feeding ground to the next. ‘Step Thee sil sng be 2H perc, workup mare spe ‘Mecetals an ty to eae an andend nao the a ‘ener dows the oso and rate wich fomsare ove lean ote fro enfree he detion he shapes. Concept Skatches wont pose tat «broken and staggering bt stil testing. Step One | ay the ene ofthe concept sees so enlarge aodac using ightbox nd 2 pena focusing may onthe motion and shape othe pose | want gethe energy athe pose tow so that wl cary "hough a work the deta 4 (23) Lary ‘tp Two a ty athe bk fe leaves der forms trying to get a good silhouette for the pase, % ry tty ot postion rhe ea “4 | & Ay aN " \ as J ‘Step Four | wokup moro hea etl dig getre inthe pais, tink ‘thehips, es, utc, ar highs, 25 ell {the rape alo the lowers and fos ytes ina ana start weg east wart gett ‘Step Seven {hold on he hands and move back phe body toa surtace tenure and stadows. aso ‘ada checkered patent the het and darken the Fayed aes of ath and kn ‘Step Eight iho aes, hands, nd et wh 28 ad then go bak ‘wat otra texture an daven the dep shadows ofthe hala back shoul. [ao ge back through he whole gue develop ay ext eres ease ‘ontitantine, and ean 08ae efoe ve laced ter arene. Rave geod ‘ony doth, ome, when fea that he overall Struc hsb seed Tepenty can ead lat of wasted work and ‘veored dag econ the es, Mary ines then nes cei ares hen blo ee them Laying inal es Step Six !neep working with he 28, Irving donno the tors dts THining most f es ara frm ese, so create dep shadows whee apr semanas thing abu the orm 2 3D place es ad earsWitches have a better reputation these days than they did in Cotton Mather’s time, but the idea of supernatural power used for evil by a loveless old crone still has the power 10 instill fear. Twisted by the evil forces to which they have aligned themselves, witches use their powers to stay beautiful or just go with it and look the part of a scary old hag, In the past, a fear of old women with an affinity for herbal medicine transformed into a hysteria that left us with a ghastly mythology of witches eating babies, souring milk, turning people into animals, and consorting with devils. ‘Step Two Yow star pling mor speci foms spndnga it more tine onthe face et amide of ow it il tec he boy postin. When pla, te lorns, sutace aratony iss impetantthn boy proportions a he ‘recon af muir toms. Concopt Sketches | ct few fhe common gonty hatand oom wth desis bt dc oo arent rae ete eso nerorting sore soo rsa: eke apd ving the wid ow er oon Step One None ofthe concept sachs se eaty iat want but use afew ofthe hea tosh a pose ‘ty 23H peel Ue the am ad ging trom Back an bk bed ype sa inde ao a | ‘Step Three |r tha he way \ twcaggerate he thst ofthe ight 2m, sol renoe potions wih SS ‘Matindcates es cing own "workout ame sua deta ond ave fun davigalthe fol ft Not fiw be conrad bye Costume but helpsme understand the forms eter ana get tothe ‘haracera Bmore‘Step Four Ww sar eting he fae eda tte resi, hich mano Be et the for ofthe body ane ty ference the pose and or ol exch shape with he Step Five iit arking hy, este the sua tx tur especialy on herfae a ae ry outa fen ess ‘ith he cote nda le braces and pay ‘Step Six | hav oenerhd tie raning 3 and some oth dtl arenvocting 20 eran ent deal th he read eases Meth the 2B enc ewo eae snd sone fhe a and veo ease Then gp ack into the an bluse withthe 20 get th ow fab andtatht wont. orPreservation, either by natural conditions or by human intervention, leaves behind eerie, fresh- looking dead people that are thousands of years old. Mummies, although real and on display in ‘many museums, have given rise to a familiar curse: the mummy who is seeking revenge on those who despoiled its tomb. Mummies exist in many cultures and areas in the world; they are not exclusive to Egypt. Tam partial to the mummified remains of the Bog People left from ritual killings of the Celts, but I'll see what speaks to me as I build the character. Step One tn Concept Sketches Horr Stn dy wut tke eh Ing creatures he zomes and mune and speeds them up, mmakiegthem suethumaly fst pesonaychak his upto lay wing and peers ie ow, decent my. rely pati on of eons Bt boar with 22H pena The ee tof ainean in mach ‘we ich show tough proienty et noting the majors, ming ste they ate moe detald than hey sly are alti stage becuse yg Figure ot wat there om ‘Step Two How nat nave esieetat Stucre dw, Igo though and tart ade Inet dimensional fr. The ea eet cowte ye i ate bul up the pse a he a hands a5 wl making sure the loka if 70 set ofthe usc to gre Stop Thre sillusine he a4 f these deta fc ete Z rai eet, na, pees ans tongue. rw esa ides the ny mater ling se ey wap Soindthe forms diets mary Isom a mth and tats, ybe 5 ge Hn cestume de ets tha anor speci but appear V4to outne the bandages and then erase ertons beneath. Genera shadows vlloccuronthe shadow planes an so whee he (eh es onthe bg of ‘nase place shacons ‘here can and afd sme ‘ater. aye es the eyoueu tome. ‘Step Six | wrk bck in re abi and lose it flan inthe bk tetera the ft pi. ‘Step Five tconioue natn bandage. ao bald up shadows tem paces inthe facetoheghte the sunken decomposed ‘Step Seven Switcing betweena2Bard 24 Sine the forma ad Baek toughen o bats Uupmerestadows and add texte. ta scolingto te Detclles o mata hem peas shade (eh 5 ‘onthe cot and ude the el) The ree arasto ‘take thelr aa tn Gutte bandages weet lighting song to giethe fomsmare dimension.Evil Scientist Dr. Jekyll, Dr. Frankenstein, Dr. Moreau: Where would we be without our mad scientists? Mix a man (or woman) with a vision and a slight God complex, add a lack of foresight into the potentially horrific consequences, or a tragic science lab accident, and you get horror gold. In an age when witchcraft seems less credulous, these are the new SS ene purveyors of the bizarre and terrible Se eS curses on humanity: Science gone awry. The challenge here is to show both madness and discovery. Step One Non ofthe tuna ‘ees exact what want, at go head wih oe othe poses, stetcing iewtha aH pel ee the character, ‘Step Two | gh bck in ‘he bast fos, yng get ania ofthe placement of Falsoblockinsome othe cos tue, since he wilety be Step Thee sill sine he 211 bald the clothing and dea of thefae andar Most ofthe periment wi he haan same ‘tas onthe cos. np‘Step Four sow! puts bt more Step care, aed oto cages, Aika move deta, nga tx ‘ure Note how the sess points ‘areas tress pons tthe west ‘where th cot sbtoned sree Thehipe Nes hy seth Step Five mfeene Ines ard tat non the prominent Nex 1ade Shadows, sng the beaker & the lpht source Thearm | : othe gt sta og so! frase tand erat # we) hither making the propor ‘Step Six How sche 4838 and continue moving nn ta th en, ding ‘ons ant os edges. Tato a sess es nt fs tthe cost. atti Foi lam ostyconemed thes an formsStep Seven |deciethe ha isn eht ‘sit ‘singe 28, move nthe ron he igh bling up the absicfods. ep this awing prety pen ice lbe cobringi wart rom 964 cloed ‘Shad adnan deed how ant Tolght it besides the plowing beaker‘ements mang itlock ke 2 dk wb or warehouseer Nee The lycanthrope, or werewolf, is a human with the ability (under his control or not) to turn into a wolf-like killing machine, complete with sharp claws and teeth, superior hearing and smell, and a lack of remorse about killing humans. The full moon is often associated with this change and is featured in many werewolf stories, but it is not a part of all werewolf mythologies. The challenge in this project is to do more than just draw a man with a wolf head; we must portray the feral nature of a beast like this. Concept Sketches | wonte fue tobe engasedin ic, ping rn —abestl og Ths poses ect casual yet eaten ‘Step One tessa he bes otng the move ‘men fhe spi. the ‘hems, adhe dst tio of he wet ith he Dh ight sta devine fae potlned so athe Step Two Now Howson ures reming with is ‘he spec dei, one anes wing hough he ard epessn. tell vecoreedin fr, bat wat tomate saree unde: ‘yn anatomy oi fore Star aig er pate ‘ { ¥ i =f x Oe ON \ \ Step Te Sing wie \ h frerigoesepsanerinve | Step Four 2 bvk te c, 2 ising te ea i A rang it are web fous ‘ott et ato ; ‘enn be mt nd ong we Sicha nthe on j oe ets ao ere sec tea ptadaanecne 11/7 Seatne mene open abn tens heage ste rer ney Sess mies Td ins oteioconkte Sreimportat, a ned 9 con ‘nove epotion he al Sse So j Soares sa ‘teat ao icrneaneanrtocte tral wane 6‘Step Five Now start making ny ales ‘th he 8, begin th he face an back ‘an shoulder ese he rete ep On ‘Step Six want hefigure to be tt Fromabove so mave thro the resto te aay sin in. cetuethe powerless sees mang is reams long ge the inpesion tate an nano allows a semiapght sin. ke the conrastathe Mowing an the hv mscle forms s01 conte thea and try neestig shapes theta Step Seven !fishtherest, ‘of ie igure and thengo bck to darken forms tat cee, ‘cele est shade, and se planes that oe up ed ere Fira, pac afew ines oe pound indcate a cast shoe ‘wand some ground tenure.8 Death, or rather the personification of death, takes on many guises in world mythology, but for this project want to focus on the traditional Western version. The skeleton who wears a black robe and carries a scythe comes to us from a 15th-century European interpretation of the four horsemen of the Apocalypse (Pestilence, War, and Famine are the others). In a mostly agrarian society, the scythe symbolized the end of the life cycle and came to represent a deadly weapon with which to collect souls. The black cloak, while mysterious and foreboding, most likely mimicked of the mythological Greek character Charon, who takes souls across the river Styx. I want to create a character that is frightening but also has aspects of ethereal beauty. Step One | use 22H pera ‘ely sketch te hase, Faxing pore. The movement ofthe spe, placement ofthe the sheuders othe pes feelin hese ew ne, ut epitonse soar ast 9s wth aor oes a tengo tomore specie pacerere of Inte and costume eet Sshapedtube of siting abe "i thin of tat form a ‘hw. nate the aor anton sed plcementolrms. Step Thre No det my that wie abla elaborate tomin the next stp kee he ings tee ning et ‘etx how they shuld tame the gre Concept Sketches oskngtox apas tat shunted, looming and mystery several some more active tan thers bat a sarting ls conoraton ‘Step Two how as abit more bressuron the pene ody ont ame deta. wast he raped ‘obetohane ath, Honing