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    57 views322 pages

    Untitled

    Uploaded by

    Marushi Fujin

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    © All Rights Reserved
    Download as PDF or read online from Scribd
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    ri comic & fantasy artist’s photo referenc comic & fantasy artist's photo reference Ej) OSeri ) te niacalea ULL TSES fable of contents Expressions 39 Angry 40 ‘Confused 41 Happy 42 sad a4 Scared 46 Wounded 50 DEMONSTRATION: Make Your Art Tela Story by Mike Lily 56 Action 60 bemonstRaion: How to Choking 62 Use Photo Reference Crawing 64 by Sean Chen 6 Fiying 65 Jumping. 70 Kicking 74 en 7 uting 77 Norman A. Kelyman 10 Punching 82 Loukas Papas 11 Pushing 88 Rory Quinn 12 DEMONsTRamTON: The Body in Jarrett Alexander 13 Motion by Matt Haley 89 Mark AS. Dolson 14 Anthony Catanzaro 15 DemonstRATON: Character Design by Rafael Kayanan 16 Clothes 21 er Cape 22 4 > Dressing 28 Police 33 Street Clothes 34 DEMONSTRATION: Create Mood ky Action, cont. Running 94 Sitting 98 Standing 102 ‘Walking 106 Weapons 108 Blasts 110 Bow 112 DEMONSTRATION: Watercolor Painting From Photo Reference by Mark Smylie 117 Guns 120, knife 128 Nunchucks 130 Staff 130. Swords 132 DEMONSTRATION: Team of Heroes, Collage-Style by Jamal Igle 142 Women Haydee Urena 146 Vanessa Carroll 147 ‘Chane! Wiggins 148 Pamela Paige 149 Zoe Labella 150 Ridada Elias 154 Veronica Bond 152 Clothes 153 Boots 154 Cape 155 Street Clothes 159 Dressing 164 DEMONSTRATION: Think 3-D by Terry Moore 166 Dressing, cont. 170 Gloves 172 Hair 173, €xpressions 176 Angry 177 Happy 179 sad 180 Skeptical 182 DEMONSTRATION: Draw a Beautiful Woman by Greg Land 183 Seared 186 Surprised 192 Wounded 194 DeMonstRATion: Work from Studies by William Tucci 200 Action 204 Crouching 205 Climbing 207 Flying 208, Jumping 212 DEMONSTRATION: Tracing (es, Tracing) by Michael Oeming 216 Lying Down 226 Make-up 227 Punching 230 DEMONSTRATION: Teen ‘Action Hero by Josh Howard 234 Running 236 Sitting 240 Standing 244 DEMONSTRATION: Drawing Energy From a Photo Refer- ence by Thom Zahler 247 Swinging 251 Twisting 252 Walking 253 Weapons 254 Blasts 255 Bow 257 Guns 258 DEMONSTRATION: Draw a Character on a Background by Paul Chadwick 262 Guns , cont. 264 Keife 266 Nunchucks 267 Sticks 268 swords 270 DEMONSTRATION: Evolution of a Cover by JG Jones with cover designer Terri Woesner 274 Swords, cont. 278 & More Stuff 282 DEMONSTRATION: Creating Pitch Art by David Hahn 284 Battle 287 Drinking 292 Loading a Gun 294 DEMONSTRATION: Use Photo Reference to Create a artoonish Figure by Fernando Ruiz 296 Phone 300 Romance 302 slapping 306 smoking 307 Special Lighting 310 About the Artists 314 About the Author 318 Acknowledgments 318 Dedications To Janet You're stil my favorite. To Danielle & Nicole Stick together and help your sister. Everything else will fall into place. To Dad & Mom Thanks for years and years of support and encouragement. How to Use Photo Reference BY SEAN CHEN You'd think that looking at photo reference would bea simple and straightforward process. But it just isn’t, Photographs and comic book pages are two- dimensional representations of three-dimensional objects. ‘An experienced artist can trick the viewer into seeing 3-D people, places or things by leveraging art techniques such as foreshortening, shading and perspective. A good photograph can help you add weight, depth and realism to your illustrations, But first, you need to know how to look beyond the flat image of the photo to see form and motion. t Find Your Photo Look fora photo that gives you the pose you need to tell your story. There are only so many ways thatthe body can move and twist, but there are ifrite ways to draw it Asan arts, you can move your mental “camera” in any possible angle to create a new, fresh and excing illustration. Choose photograph that dosely approximates the picture you want to draw. Itmay not match perfectly but as an artist you can boron gestures and expressions from other photo- graphs or something that you envision in your head, This photograph shows atl, physially powerful man throwing a punch. The low angle ofthe shot makes him seem even taller and mote imposing From an emotional standpoint, a reference Dhoto with two light sources adds drama, Understand Three-Dimensional Space ‘The model inthis photo exists inthe real word, in 3-D space. But the photograph show only a 2-D representation ofthis person. Qur minds allow us to use visual cues to perceive depth and distance ina flatimage. Ty to move the mental camera | mentioned in step 1 to a vantage point directly above the figure, and draw what the model is doing in the 3-D space. This will alow you to see how the body is moving inthe eal world, You can see that this made!’ ody is moving forward hile one ofthe legs remains firmly behind, Most of his body weight ison the lftleg. Allthe ‘other body parts fan out from this point. When the figure is standing at est, itis completely balanced. When the body begins to move, there isa new dynamic as the figute stretches and ‘expands in the 3-D plane. The figue in this position is out of balance. One side is compressed and bears most ofthe weight. The other sde is delivering energy by pushing weight into a punch, Natice how the punch leads the body with forward momentum. It looks almost like a spiral statcase, which gives you a sense of how this shape exist in the real world, These are important details that will make your final drawing breathe with depth, weight and motion, 1 The fists the part ofthe body that ha travelled farthest from its orginal position. 2 The head and shoulders lead the torso. Because ofthe outstretched arm, the shoulders are angled from ther orignal positon. Notice how the angle ciffers from that of the hips. ‘3 The hips remain straight and close to their starting postion. n the starting postion, the hips bear the body's weight, but here the weight has shifted to the model’ left upper thigh and left knee. 4 The model’ right foot remains in its original positon, It anchors the figure and gives him something to push and launch agains. If this model were standing on ice, he would not have the power and thrust shown inthis pose. Ultimately this sa body out of balance. This pose suggests a figure in motion and delve energy, which s something that comic artists must be able to draw. throw off the bala “The natural, at-est state of the body’ Break Down the Body Into Sections Every part ofthe body has weight and volume, Start your draw- ing by sketching the figure with simple ines, When you draw the hips and shoulders, imagine the 3-D space. Notice how the body torques and spirals, just as we discussed in step 2. Look for other anatomy ‘dues, such asthe way the back leg and the hip pivot together. The hip ‘and the eg can bend and move, but the anatomy and mechanics wil stay elatvely consistent in all figures. That, there are only so many ‘ways the leg can move within the bone structure ofthe hip. Imagine each body part to be a cylinder stacked on top of another ‘line, then draw the cylinders. Se bends nerf, ther change to: Te spines let the shoud and ps Changs, andthe shoulder and hp lines go from parallel to angled. Primary light source ‘Secondary, weaker light source &~ Shading &« light sources evel the contours and volume ofthe igure inthis photo, The bones add structure, but the musculature creates complex shadows You can figure out about 70 percent ofthe shad- cows from just knowing the direction of the ight. But to get the core tonality righ, you must analyze the peaks and valleys ceated by the muscles. Remember, also, that bones are not perfectly straight, Use a ‘er to evel the natural curve ofthe bone, and use this knowledge to_cteate a more reali shadows look for the subtleties - fl i all Norman A. Kellyman age: 32 Height: 5°11" (1.8m) Weight: 178 tbs. (81kg) z = E z = ° € o 5 t 5 Loukas Papas Height: 6'1" (1.9m) Weight: 185 tbs. (84kg) emo BY MARK SMYLIE Age: 18 Height: 510" (1.8m) Weight: 150 tbs. (68k9) ow * fs Jarrett Alexande Age: 25 ‘Height: 5' 10" (1.8m) Weight: 170 lbs. (77g) = Zz z = 6 § z é & ° € ® 3 3 For moe action poses, vst eos Mark A.S. Dolson ¢ ie, ; a" ‘ Height: 6' 1" (1.9m) =e Weight: 190 lbs. (86kg) z z s = z $ = g s & ° € o oD 3 Anthony Catanzarc Age: 37 Height: 5°11" 1.8m) Weight: 190 lbs. (86kg) >)) g = & ow &7 oO 5 ey 5 Character Design 4 select Photo BY RAFAEL KAYANAN For this demo, Iwanted to eee eens te fi polsot at aera Fo peri ed he ange Pk ecard I'm going to show you how | start a character design on paper and finish it on the computer. The photos in this book are a great basis for a drawing like this because they give you an appropriately exciting pose for your character. The model becomes the armature on which to build the details of your fictional creature. The finished piece in this demo could be a concept drawing, that is, a drawing to show a film producer ora comic book editor how a proposed character might look ‘Sketch Figure in Pencil Fist |ough out the figure on sketch paper Using a Parker Duofold mechanical pend with an HB lead, The proportions of the figure are approx- imate; at this stage 'm more focused on capturing the gesture. To help me capture the angles, Ladd Straightline onthe outside of te igure to connect the points of tension, suchas elbows, knees andthe tips ofthe hands and feet. 2 Refine the Pencil Sketch ‘With the mechanical pencil | begin to seibble in forms to suggest weaponry and alien machinery or a biosuit | avoid using templates; | prefer to keep my lines lively. By now | have practically abandoned any form of likeness tothe original model. As Irefine the sketch, I rotate the hands bit to add depth and to make itso we'll see more of the blade As| add detail, 'm careful to leave the negative spaces. That keeps the silhouette ofthe character clear and understandable. 4 Create Midtones With Markers, Then Scan | place ashet of Borden & ily 10 Smooth Coton Comp marker paper over the perl ough from stp 2, begin rawing directly on the marker paper sing ight gray Pit rush pn, which s waterproof and contains an exellent fr the kindof hd knework'm laying down. The rrakerpaperissomewhat transparent ad etaisthe marker ink very wel Toutine the shapes want to kee, then dd some darks to spo the wre and suggest more depth. | make sue the blade wil havea. dak area behind ito help pop out. lb adding heavy shadowsin the net stage: eave those areas sone for now. Next scan the marker sheet with a piece of blank wht paper beindt so ta the canner pcs up ll he tones corecty After looking atthe mage some reve, | was nothapoy wth an eyepiece that putin front ofthe et ye, 50 | deleted tin Photoshop ‘You can start otel here that 'm nol folowing the shadows the orignal hotonstead fm imagining tha the ight snot as intensely dtecona asin the photo. I reduced certain shadows to make the it areas wider and brighter. Add Shadows With Markers. Then Scan Now want to athe dep sao rtuntthemader sett same the prevousstep and ue dae PHT tt a mre cee and rene Inesiothe efteyeto inthe ved whee) erased the unwanted onpestont cea “tonne —e oe einer tonal value & Combine Scans "copy the scan from step 5 and paste it into anew layerin the scan from step 4. I set the new layer to Multiply mode and change 'ts opacity to somewhere betiveen 50 and 60 Percent. When you change a layer to Multiply ‘mode, itallows the gray tones (in thiscase) to bbe added on top ofthe lighter surfaces in the layer beneath itwithout affecting the darker ‘tones on that lower layer. Thanks to the Muit- Ply layer, | got deeper midtones without having {to do a second layer of gray marker over the ‘midtone areas on my marker sheet, Erase the Dark Areas From the Multiply Layer From here on out, ll the work willbe in Photo- shop. I take the Eraser tool, using custom shapes that | created, and start to erase on the Multiply layer to “allow the lighter grays beneath it to come through, CO wy & Add Texture and Tone use Photoshop's Noise filter and Levels adjustments to generate a texture, copy and paste the texture into a new layer, set the layer ‘mode to Multiply, scale it to cover the entire fig Ure, and adjust the opacity, {ike having lots of texture options. To save time, | cover sheets of paper with tlifferent kinds of pencil shading, scan the shieets and save the scans for future use, Complete the Concept For more action poses, sit eran For more action poses, vst ieee sens, dressing | dressing EE Create Mood BY MITCHELL BREITWEISER I consider myself more skilled at inking than There are two ways to approach reference material. penciling, Unlike most comic book artists, | never You can produce a rough sketch, then search out fully flesh out my pencils. | make most of my reference that fits what you have already drawn. decisions during inking. | believe this makes Use this approach when you have a clear vision of my artwork more expressive and spontaneous. where you want to take the artwork. Or, if you are experiencing a bit of artist's block, seek out reference first for inspiration. Look around for a photo that jumps out at you or captures the general mood you are hoping to achieve for the finished art. Gather Your Materials re arte materi used forts deme: -—for completely removing pencll mar Plastic eraser—for complete i 1 Pe aoe rngup te the page or for clearing up smudges jcink 3, Higgins Black Magi — +h wit acrylic patfor spate effets and ing mi = textural or 5, Toothbrush—forspattering pant andink fr text atmospheric eects «6. white gel pen-—for working white Iinewor ‘stylistic tool not essential for evey artist , 77, Winsor & Newton Series 7,0: oly sate bs f7mmmecharical dating pect th HB eng ‘9, Woodless H8 pencitfor broader stokes; a0 10 * ing inked edges uring inking ing tape—for masking off areas during Inking, back intoink; 3 Sketch the Scene Fast do a preiminay sketch onary paper you have handy copy papers fine Tokep the sketch loose, ty usin 2 wood- tess penal, which eeates a broader and somewhat cust reference during this stage for lighting and stroke. Use the photo r general structure ofthe figure, Avoid flesing anything outhere, because you will make adjustments in ater stages Designs paramount inthis stp, sere ae some design ts 10 keep in mind: 4. Establish the ight source no every step. 2, Notice that the swords are nt paral Keep them sight offer in oder to lead the viewer from the nearer sword into the figure and back to the other sword, 4. Use the steam or smoke lines in the background to 26 Oe eae wit affects the artwork in cots dn tba Petey tt tay ha eee ee Use the photo : — vee pee ‘to help you get the muscular and Sedona eh re tb a ‘even ean eer le arms on the. = eamonbeatipeotabtnes tant ‘you make the head a bit smaller the figure will ook = ed larger and more imposing. Also noti re figure leans in quite a bit to make the — - esienm TEP Dra Your ayo Standard tata for comic book more scion pose, it to Vicon oe BOOK size eee. Ink It Ah, the big payoft. So far, we have ‘voided detailed linework as much as Possible. Now, with yourinks, focus on dramatic lighting and textural and atmo- spheric effects. Many of today’s artists ‘fe using less linework and hatching Try inking with a brush rather than Pens for its expressive and spontaneous valves. A Brushstroke will give you ‘morelifethan a pen, Although a difficult tool to master, a quality brush will alow You to achieve a wide variance ine ‘weight as wellas a variety of textures Experiment with the dry-brush tech- nique: Partially blot the ink off the brush, then drag it across the paper to create a rough textural effect Use an H8 pencil around the edges of the ink to soften some ofthe hard edges, ‘especialy on figures, where you wanta softer, fleshier fel ts good to look back atthe photo reference while inking. Keep ithandy ‘when working out the details ofthe face, 5 well as to double-check the muscular and vascular structure. Finish by working some expressive lines from your white ge pen back into the rocks and dothing. Also spatter some white acrylic onto the background foran extra touch of texture, Give it once-over, deem it finished, ea] noe | confused dete wounded Ji ¢ z / - s & r~ = MN & fi >, “a j |7 Lag Make Your Art Tella Story BY MIKE LILLY Select a Photo Ilike to make a drawing do more than just show a pose or a moment of action. | want to give the reader an idea of what happened to get the character to that moment, and what might happen next. Photo reference is @ key tool in illustration, About 99 percent of artists use some form of reference to get the shots they want. Use it, but also change it Lately ve been watching my Twilight 2076 ce alot Some of my favo episodes are he one TN a sanded, oe sunivor Often san aeons ‘crashed spcesip, alone and fearing the NOON ‘So when Busy asked me to do this art der?o, wanted to doaspaceman,pUP-YBE DIESE ‘hada dozen ors photos of Anthony fo aD, from for the demo. Right away, ITiked the ae iting poses. thou rm. on Y.-S" iting vetide? A boulder | deed tose ss too ch Theneazed that he hands WP) ingandlitng photos could sts x8) Pe i =) arother ways: wielding swords ray guns oF HOG blasts of energy: Choose your Idea = Inmy sketchbook, | did afew ‘e quick, simple idea sketches with er pene. |e imaging some of he poses with ARONY = vraldngasword But the ot suetchednandsin he pres twat Sometimes | sketch with a marker instead ofa pencil, as | did here when was planning where to put the shadows on the tentacles. x eo the Composition re | settled on the photo of Anthony kneeling. imagined our space- ‘man centered in the composition, slightly tied, with a monster {in the foreground and a cashed ship in the background. Hislone defense against the monster would be the energy blasts coming from his hands At fist | expected | would draw a single monster, but then | thought asnakelike monster with multiple tentacie-lke elements ( ‘would better convey the scifi feel | was going for. Another benefit | ofthe snake idea is that | was able to bend and point the tentacles toward our hero to direct the viewers attention to him, ‘This scenario lets the reader imagine a backstory. Why isn’t the ‘man using a weapon? Perhaps he had one but it was damaged in the crash, or maybe he used up its power fighting other creatures ‘So now, maybe he has used his skill and ingenuity to redirect pow- Saturn is a science-fiction icon. It's a cliché, yes, but one that always seems to work. & Create a Detail Sketch | started another sketch to work out some ofthe details, Some artists work out every detall in sketches before starting the final piece. ‘When | sketch, iF see something | dont like, I make a mental note to {goin another direction when get tothe fina plece. Forme, sketches ‘are how | get my "bad” drawings out ofthe way. Then my better ideas often emerge during the fina. Regarding the photo reference, kept the entire pose except for the facial expression | wanted an angry, pain-iled face to go with the ‘action. [ako could have kept the stoi fae to suggest extreme confi. dence inthe hero, Just by changing a facial expression, ou can give & piece an entirely different mood To top it of, | added the planet Saturn dominating the starry sky. Final Scene To begin the final piece, Ido an underdrawing at board using a ight blue Col-Erase colored penc in avery loose, organic style. That pencil isnot tru onphoto blue, but as long as you use tight, it Won't show when photocopied. Once | get going with the Col-Erase pencil, | use itt indicate some o the deta and shadows. Then I finish off the piece with my HB pene. The HB gives me a nice balance between line and softness | want to change something, | usually use a kneaded eraser Ihets me soten areas or dean up Spots without removing the blue underdrawing. If need to erase both the HB pencil and the blue sermon acionpose vit underdrawing from an area, | use a Staedtler Mars Er TIMED : nM + J u rwpL ng —_—a_ Lich rs \ button aaa lll extyound » — Lt Va i Eutysng The Body in Motion BY MATT HALEY One of the challenges of drawing comics is that you are often called upon to imply motion on fiat paper. When you rely too heavily on photo reference, your art can appear motionless—like a photo. Learn how to interpret photo reference so you can create some- thing original and dynamic. Pick Your Photos Look fora photo that has a dynamic pose. This picture has some forced perspective; the limbs look lke they are com ing right through the photo, Remember, the photo does not have to be an exact shot of what you plan to draw. You're fllotof artists draw the easy pose to get the page Sometimes i's difficult to draw what best serve the story, but that's what you have to do. Sketch Broadly ‘Make a quick sketch using broad strokes. IFyou hold the Peni asif you were writing, youll get very litle movement at the tip of the pencil This is good for detail work, but at this early stage, you want to hold the pencl ikea stick. Slash alin from the head through the spine, This wil suggest the direc- tion in which the figure’s body is moving. Don't wony about the details; right now, you want something free and fluid. You Rough Out the Figure Using thelines you maden step 2, rough out the form ofthe figure using ends, cones and spheres Asyou do ths its very important to draw trough Gee TECHNIQUE below). Even though you don't se the model's backlegin this picture, draw it anyway, Ifyou raw ony one, your figure may appear off balance, and it will be dificult tof later. Your rough should also include basic foreshortening ofthe receding, lines. Notice how the model’ right forearm looks stubby and ‘compressed. Foreshortening suggests depth and di reader, who knows approximately how long the arm should be based on the length ofthe other arm. The artis already starting {to evolve away from the photo, stance to the drawing Drawing through means addi resent sides for HNIQUE Draw the Figure, Then Dress It Refining the contours ofthe figure and adding clothing Isa two-step process. Fist draw the anatomy without any real Ve ty er - i —_< > ; a. . \ i) CG» ay - = “ 5 srandig & iP he Weapons 4 / 67 ” A Watercolor Painting From Photo Reference BY MARK SMYLIE Alot of my artwork is in the genre of fantasy. | paint with watercolor because I like its subdued tones. In this demo, you'll see how | draw, paint, ink and / then add a little texture with colored pencils. to take a look at a set of photos he Build a Rough Sketch Select a Photo For this demo, Buddy asked me 2 had done featuring a male igure First blocked out the pose roughly, trying to capture holding a bow. | chose this pose, the overal gesture and proportions: When drawing which I thought had a very nice from photos, don't use alight box; just set the photo dramatic quality because ofthe next to my drawing paper so | can refertot foreshortening and the model's | made afew adjustment 5 dre. dropped inthe backward lean, ‘arrow, and | adjusted the finger positions on the archer's eb 4 2 ttle bit and toyed with the idea of giving Finish the Pencils ne Next | added the accoutrements. Gis ‘ep nto eae pe WoW look, butt work pxmenlyin the fantasy Benre, so | went wi chains meee ranger nasi, arm ger type bracers, sword bat lus a flow oad ing cloak to hopefully emphasi nse of motion inthe original photo. . 4 ‘Add Color “To prepare for painting, | aped the paper ‘down soit wouldn't buckle. | applied masking fluid to some of the light areas on the characters metal gear to keep them paper-white fora reflective lookin the final painting. Then ! added watercolor, | kept the bow greenish blue asa nod tp the orginal photo, though normally !would probably go fora wood tone for a bow. lor artists prefer to ink fist and ‘some watercol ig, but then use a workable fiative before painting Det cecond. Ifyou ink Ss Ink and Finalize Linked the image with a Rapido- ‘raph technical pen to sharpen the linework. Then | retouched the watercolor abit. Finally, | added some colored penal here and there to shape the colors more exaclly or tolend a bitof texture When | use photo reference, | do not simply copy the photo. The final artwork is inspired — For more ation poses vet ae eeaenn staff ‘aiiealndnnent Team of Heroes, Collage-Style BY JAMAL IGLE I'ma big fan of collage-style art that features a team of characters—such as Drew Struzan’s movie posters for Indiana Jones, Star Wars, Harry Potter and many others. I'm going to show you how to design a collage-style team portrait that could be used for a first-issue cover. Di sicrc Your Concept (Create rough sketch ofthe overall idea. The purpose ofthis sketch ito plan the placement of al the elements of the col- Lage. Atthe same tie, you are beginning {0 design your characters’ costumes and Powers. The idea isto skirt familiar arche- ‘YPes without using existing characters. The ‘eam I™m creating here, Stkeforce Sappho, includes a star-spangled warior princess, a Samurai doi, afer hothea,ahigh-ty. we ee seo ‘and also a scaly fron me mys ashe b Choose a Variety of Photos Pick atleast half a dozen poses to draw from. The members ofa comic book team need to be memorable and distinct from each other, s0 each photo you choose should show different body language and a different [eee i aoc eh ie bed er tee a tas sale 3 Do a More Detailed ‘Sketch sketch again on erry cope paper. Contrue refering othe Pho- tos, but teak te poses abt you don't want to copy them exactly Your goal should be to capture the lighting and the attitude of the pose Roughin te deta that indvguale each character, Create symmetry Srey {believe in symmetry in art. ‘As you place the lights and darks, play with the negative spaces i ei res The crassa the mie ord and fe a eee ound ave wer few shadows ten. we put the kode Re _ Symmetry; it should be @ inthe backgyound so thats dark tones can peek through the spaces priority for any artist. tetween the other characters. This conrathelps the oer characters jpop out ofthe image. aoe on toa thissketeh is done, put down your pencil and just lok & Rough In With Nonphoto Blue Enlarge the sketch rom step 3.0n photocopier trom aye" «1 (22em x 28em) 011" x17" BEM vem), a 140 percent enlargement. Tape the pho- tocopy face down onthe back of asheet of 11" = i" eadem x 43 bluse board or ary oP bristol board. Turn the board face uP, lay iton aight table, and transfer the sketch onto the board with ‘rronphoto blue pend, Tisknd of pencl wort reproduce when scanned or photocopied, 50s vied bese for your final drawing You can make minor tweaks to the drawing 2 YOU ‘When you'e done transfering your sketch Use gum eraser fo remve all nonessential ines. No®- photo tue pens, being wax-ased doit take frapite enc very wel o you want the fished tuslne drawing tobe very Sight and unobtrusive Pencin 8, you're "ination sometimes redrawing Tighten th about how the at witigeg, ee Hal n the pencil dy 0k. info rawing maton you need fo, . ntl it contains al th inking e Women ee Urena Q 2 oO 3 } g ie aq a 5 2 é Age: 22 Height: 5° 7" (1.7m), Weight: 130 tbs. (59kg) Vanessa Carrol Age: 34 Height: 5' 10" (1.8m) Weight: 146 lbs. (66g) art demo sy samat icte Chanel Wiggins Age: 16 Height: 5' 3" (1.6m) Weight: 103 tbs. (47kg) Pamela Paige Age: 26 ‘Height: 5' 10" (1.8m) Weight: 145 tbs. (66kg) me _ E Zoe Labella Age: 22 & 26 Height: 5' 9 (1.8m) Weight: 125 tbs. (57g) art demo sy TERRY MOORE art demo sy THOM ZAHLER Ridada Elias age: 34 Height: 5'2" (1.6m) Weight: 120 lbs (54kg) Veronica Bond Age: 34 Height: 4°10" (1.5m), ‘Weight: 100 Ibs. (454g) street clothes Think 3-D BY TERRY MOORE Like the flowing, uninterrupted body lines in this photo of Zoe (below). But when I draw, I like to remind myself that the body isn't just a collection of lines: it's three-dimensional; it's dynamic. If you draw only what the eye sees, your pictures will always look mechanical. For example, always remember that when you're drawing a person, you're basically drawing muscles and bones with skin stretched over them. Skin and muscles bend and flex; they respond to gravity dif- ferently in people of different ages, weights and sizes. These are the things I'm thinking about when | study the body. Another suggestion: Imagine (and sketch) what the subject would look like from many different angles, not just the angle shown in the photo. It's important to remember that the muscles and bones. you can see are connected to ones you can't see. 2 Find the Contours stat darkening the mor inesto capture the age Capture Body Mechanics and Proportions Lightly sketch the pose with afew crude ines. Early in the prO> cess, mark. centerline and use itto keep the body's weight balanced. For example, since Zoe's shoulders go left of center, ‘you know that something else has to go right (in ths case, the shapes ofthe torso and limbs with more precision. Keep pay: ing attention to balance, but add gravity and mass to your considerations. Where can you see the effects of gravity? You can tell her right leg i bearing more weight than the left because its straight and the tendons above the knee joint are Visible, Go ahead and create those tendons with two lines, ‘You can do this step quickly Even though you're working from the model, what you've drawn is almost generic: This could be almost any woman of similar height and sz. re Fe yj Get Specific Now, check your drawing against the photo ‘on a more detaed level. Study every viewable inch ofthe model, Does she have long, slender fingers, ‘orate they short and stubby? Sturdy ankles, oF skinny ones? Finish her ands and fet. See how the outside ankle bones are lower than the inside ones? ‘And how the Achilles tendon goes all the way down to the heel? Add detall to the hair (and make itlon- ser fyou want to). Now you're taking te drasw- ing beyond a generic representation and making it about this specific woman ‘There sso mech information about this woman inthe photo, could write an entire chapter on her body type, age and lifestyle. We know that she isnot rge-breased, because her bra straps ae skinny andthe skin on er back and around the band of her bra is tautand unstressed. Her softly contoured waist tel us that she doesn’t have pro nounced "sicpack" abs, bu the indentations atthe waistband of her spandex shorts are shallow, so her stomach must be petty fat. The prominent veins cover the muscles of her lower arms indicate that she works out. Her rounded calves, though, are the resultof genetis ice caf musces are something you have to be bom with I thisis all begining to sound very personal, It is To draw the model correct, you have to know ‘what you're looking at whatitoks lik, and how it got that way-even if itshidden. For more action poses vet espana More Angles. Then Anatomical Detail ple of other Sketch a Few ‘Add Clothing and ‘amoment to scribble the pose fom 4 COW see on other sides Like Isai at {ture what's going on around the you see is connected tothe Take angles, imagining what you'd the beginning, being able t Pi bends is crucial, because everything parts you can't see. es _ Leaaded eraser, and draw in ee yt ont an ern ee with the art. Probably not. What are: a ee oe ‘hung up on there—what's| ‘keeping th ——t teh Atel gatos ee eye ee ‘ound, they jut out, they bump into thi or squeeze and deform and bounce back om car Ink Like a Penciller Using a brush or pen, ink the main ines ofthe body, leaving the details for your second pas. Start inking at the head, then work your way down: left arm, right arm, torso, legs feet. As your brush moves around the body, think about the muscles and bones, ‘making bumpsand mounds for muscles siretched and contracted. You need both the skill of an inker and the mind cof apeneiler to make the lines smooth with varying weights that imply mass andlight. Add Final Details nk the detaison the elbows, hands, back, knees and clothing, Fillin the solid black area. Ifthe drawing is going to be computer co: ‘red, say for a comic book, these lines willbe enough forthe colorist to play off of. The colorist can create nice, subtle toning that harsh inking cannot achieve. Erase the remaining pencil ines with the kneaded eraser, and your artis ready to scan. The few stray ink lines (ike around the shorts) can be touched up digitally after scanning a Re reat gloves For more ation poses, sit eile cat Expressions skeptical Draw a Beautiful Woman BY GREG LAND ‘Comic book artists are often asked to draw beautiful women. Yet capturing the subtleties of the way women stand and move can be challenging. A good refer- ence photo will help you to understand how to capture the nuances of the female form. b Find Your Photo Every photograph captures a litle piece ofthe ‘mode's personality. In this case, the photo reveals aplay- ful yetsutry woman. Don't just look atthe surface ofthe photograph; look beyond by imagining what your model is thinking. Read this woman's facial expression and her body language, and you will se someone whois relaxed and con- fident. Her slight smile and faraway gaze reveal a peaceful, private moment. Explore this book to find the photos that either capture a mood and expression that match your vsion| Cr simply inspire you to draw. 2 Photocopy and Find the Outline Make a quick photocopy, enlarging the image to the size you want for your final at Using a marker, “find” ‘your characte’ outine, Remember, you do not have to fl low every detail of the photograph. Your job sto interpret the photograph and make itinto art In this cas, the final image will be a beautiful jungle git, so you should find lines 1odel ook as slender and athletic as possible. that make the mi rr Demonstration Rough a Thumbnail ‘tart with loose perallines that capture the gesture of the pose, using a softlead pen. Late you can go back with a vavety of harder lead pencisto tighten and finish the pece. f necessary trace over the gesture lines that you created instep 2. This will help you maintain the proper scale and propor tons. Eras ines that do not create the right form. Since this isa glamour sketch, go forthe aesthetic ofthe “ideal” female form, Draw longer, thiner limbs. Rough out the hat, clothes ist enough so that you know where your Be oon the Drawing With a Loose Sketch Find the right lines by referring to the refere cette Tighten and Finalize Your Sketch ‘Add shading onthe arms and loindoth based on the shading you seen the photo reference. Inset vsualimagery in the background to convey that this woman sin the jungle. When you ade the background art, keep things flow ingina standard Z patter (see TECH NIQUE below) soyou can control the ‘way the reader absorbs your at. Keep the background simple so that the reader's focus ison the figure. | know what a tree looks like, ho a roalictic fool tn it | ca tte, but when ! raw one, | want there fo Work From Studies BY WILLIAM TUCCI I'm not the fastest artist; in fact, drawing is pretty laborious for me. So | like to do a few quick stud- ies before | go to the finished art. You can work out mistakes and revisions in studies so that when it comes time to draw on the actual board, your art- work will be much cleaner. - Byers Your Photo We're going to draw my character Ana Ishikawa (ala, Sh) being shot with an arow (The tite for ths ilutation ‘ould be: “Please, God, Don't Let Be My Live.) lke this Photo because it could be from the point of view of thea ova Te i energy and drama | need, entre Study the image to get a grasp ofthe body position before 2 a Head Study cis very important when you ae drawing female char aera 1as beautiful, acters. Shi, the subject of this demonstration, hi flowing hair. The model inthe photo has her hai pulled back, sot wil take some rough lines to get Shs hair right. Find the eyes, jaw and nose and indicate them with blue lines. Then, with graphite, work up a faily detailed facial study, even though you may change some of the deta ater. Study, study, study. raw, draw, draw. Study anatomy. Draw from life. Draw from photo reference. You'l draw many things bette lwhen you're referencing a photograph than when (You try to do it from your head. Really know your stuf. Do a Shoulder Study — In your shoulder study, figure out how the clothing material will fold gi agains the contours ofthe body eves pston Fae Wi _ A pe oer erase ei il 2, such as en ecm tia coe tae Co tundra nga bye psn Draw as realistically as possible without tracing the photo, Where's the excitement in tracing? | use photo reference Do a Skirt Study Because of the way the model is lean- Ing and the position of her legs, the natural flow of anatomy is distorted. Moreover, the photos from a slight side angle, o the legs willnot be perfectly symmetrical The model is wearing shorts rather than a ski, so to dress her ike Shi, try to imagine how the skirt would respond to this kneeling postion. Notice that the skit doesnot drape straight down, but rather responds to the curves of her legs. & Do a Rough of the Entire Figure Star the rough using a blue pencilon a fesh piece of eguar copy paper Draw Some lines to indeatethedrecton of the eyes, jaw and nose, anda gesture line (s¢¢ TECHNIQUE below et). This line folows rom the base of the neck through the spin. na standing gure, itsmore evident because the gesture ne { travel down the spine, trough the hip, down the legs, and to the feet where the f y ere A 4 Here oan se how the neck and Z ‘ne potoned There hare lite, and you can see it inthe line. This Beslur line gives youa strong grasp Of the image before you even commit ‘graphite to paper ‘Start sketching over the blueline with soft graphite pencil As you find the 5 gesture line gesture lines a guideline that shows the

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