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comic&fantasyartist’sphotoreference
ColossalCollectionofActionPoses
BuddyScalera
tableofcontents
DEMONSTRATION:HowtoUsePhotoReferencebySeanChen
MenNormanA.KellymanLoukasPapasRoryQuinnJarrettAlexanderMarkA.S.DolsonAnthonyCatanzaro
DEMONSTRATION:CharacterDesignbyRafaelKayanan
ClothesCapeDressingPoliceStreetClothesDEMONSTRATION:CreateMoodbyMitchellBreitweiser
ExpressionsAngryConfusedHappySadScaredWoundedDEMONSTRATION:MakeYourArtTellaStorybyMikeLilly
ActionChokingCrawlingFlyingJumpingKickingKneelingLiftingPunchingPushingDEMONSTRATION:TheBodyinMotionbyMattHaley
RunningSittingStandingWalking
WeaponsBlastsBowDEMONSTRATION:WatercolorPaintingFromPhotoReferencebyMarkSmylie
GunsKnifeNunchucksStaffSwordsDEMONSTRATION:TeamofHeroes,Collage-StylebyJamalIgle
WomenHaydeeUrenaVanessaCarrollChanelWigginsPamelaPaigeZoeLabellaRidadaEliasVeronicaBond
ClothesBootsCapeStreetClothesDressingDEMONSTRATION:Think3-DbyTerryMoore
Dressing,cont.GlovesHair
ExpressionsAngryHappySadSkepticalDEMONSTRATION:DrawaBeautifulWomanbyGregLand
ScaredSurprisedWounded
DEMONSTRATION:WorkfromStudiesbyWilliamTucci
ActionCrouchingClimbingFlyingJumpingDEMONSTRATION:Tracing(Yes,Tracing)byMichaelOeming
KickingLiftingLyingDownMake-upPunchingDEMONSTRATION:TeenActionHerobyJoshHoward
RunningSittingStandingDEMONSTRATION:DrawingEnergyFromaPhotoReferencebyThomZahler
SwingingTwistingWalking
WeaponsBlastsBowGunsDEMONSTRATION:DrawaCharacteronaBackgroundbyPaulChadwick
Guns,cont.KnifeNunchucksSticksSwordsDEMONSTRATION:EvolutionofaCoverbyJGJoneswithcoverdesignerTerriWoesner
Swords,cont.
MoreStuffDEMONSTRATION:CreatingPitchArtbyDavidHahn
BattleDrinkingLoadingaGunDEMONSTRATION:UsePhotoReferencetoCreateaCartoonishFigurebyFernandoRuiz
PhoneRomanceSlappingSmokingSpecialLighting
AbouttheArtistsAbouttheAuthorAcknowledgments
DedicationsToJanetYou’restillmyfavorite.
ToDanielle&NicoleSticktogetherandhelpyoursister.Everythingelsewillfallintoplace.
ToDad&MomThanksforyearsandyearsofsupportandencouragement.
HowtoUsePhotoReference
BYSEANCHEN
You’dthinkthatlookingatphotoreferencewouldbeasimpleandstraightforwardprocess.Butitjustisn’t.Photographsandcomicbookpagesaretwo-dimensionalrepresentationsofthree-dimensionalobjects.Anexperiencedartistcantricktheviewerintoseeing3-Dpeople,placesor
thingsbyleveragingarttechniquessuchasforeshortening,shadingandperspective.Agoodphotographcanhelpyouaddweight,depthandrealismtoyourillustrations.Butfirst,youneedtoknowhowtolookbeyondtheflatimageofthephototoseeformandmotion.
1FindYourPhotoLookforaphotothatgivesyoutheposeyouneedtotellyourstory.Thereareonlysomanywaysthatthebodycanmoveandtwist,butthereareinfinitewaystodrawit.Asanartist,youcanmoveyourmental“camera”inanypossibleangletocreateanew,freshandexcitingillustration.Chooseaphotographthatcloselyapproximatesthepictureyouwanttodraw.Itmaynotmatchperfectly,butasanartistyoucanborrowgesturesandexpressionsfromotherphotographsorsomethingthatyouenvisioninyourhead.Thisphotographshowsatall,physicallypowerfulmanthrowingapunch.The
lowangleoftheshotmakeshimseemeventallerandmoreimposing.Fromanemotionalstandpoint,areferencephotowithtwolightsources
addsdrama,depthandfeelingtothefigure.
2UnderstandThree-DimensionalSpaceThemodelinthisphotoexistsintherealworld,in3-Dspace.Butthephotographshowsonlya2-Drepresentationofthisperson.Ourmindsallowustousevisualcuestoperceivedepthanddistanceinaflatimage.TrytomovethementalcameraImentionedinstep1toavantagepoint
directlyabovethefigure,anddrawwhatthemodelisdoinginthe3-Dspace.Thiswillallowyoutoseehowthebodyismovingintherealworld.Youcanseethatthismodel’sbodyismovingforwardwhileoneofthelegsremainsfirmlybehind.Mostofhisbodyweightisontheleftleg.Alltheotherbodypartsfanoutfromthispoint.Whenthefigureisstandingatrest,itiscompletelybalanced.Whenthebodybeginstomove,thereisanewdynamicasthefigurestretchesandexpandsinthe3-Dplane.Thefigureinthispositionisoutofbalance.Onesideiscompressedandbearsmostoftheweight.Theothersideisdeliveringenergybypushingweightintoapunch.Noticehowthepunchleadsthebody
energybypushingweightintoapunch.Noticehowthepunchleadsthebodywithforwardmomentum.Itlooksalmostlikeaspiralstaircase,whichgivesyouasenseofhowthisshapeexistsintherealworld.Theseareimportantdetailsthatwillmakeyourfinaldrawingbreathewithdepth,weightandmotion.1Thefististhepartofthebodythathastravelledfarthestfromitsoriginal
position.2Theheadandshouldersleadthetorso.Becauseoftheoutstretchedarm,the
shouldersareangledfromtheiroriginalposition.Noticehowtheanglediffersfromthatofthehips.3Thehipsremainstraightandclosetotheirstartingposition.Inthestarting
position,thehipsbearthebody’sweight,butheretheweighthasshiftedtothemodel’sleftupperthighandleftknee.4Themodel’srightfootremainsinitsoriginalposition.Itanchorsthefigure
andgiveshimsomethingtopushandlaunchagainst.Ifthismodelwerestandingonice,hewouldnothavethepowerandthrustshowninthispose.Ultimatelythisisabodyoutofbalance.Thisposesuggestsafigureinmotion
anddeliveringenergy,whichissomethingthatcomicartistsmustbeabletodraw.
throwoffthebalanceThenatural,at-reststateofthebodyisstandingupstraight(nearright).That’swhenthebodyismostbalanced.Runningandpunching(farright)putthebodyoutofbalance.Incomics,theactionwilloftenmakethebodylooklikeit’sabouttotipover.Usethistoyouradvantagetoheightenthesenseofmotion.Thesefiguresareapproximatelythesameheight,weightandbodytype,but
noticethesubtlevisualcuesthattellthereaderthatthebodyonthefarrightisinmotion.Noticealsohowtheposeonthenearrightisveryrelaxed,comparedtothepictureonthefarright.Bothareeffectiveposesthatconveydifferentmessagestothereader.
differentmessagestothereader.
3BreakDowntheBodyIntoSectionsEverypartofthebodyhasweightandvolume.Startyourdrawingbysketchingthefigurewithsimplelines.Whenyoudrawthehipsandshoulders,imaginethe3-Dspace.Noticehowthebodytorquesandspirals,justaswediscussedinstep2.Lookforotheranatomyclues,suchasthewaythebacklegandthehippivottogether.Thehipandthelegcanbendandmove,buttheanatomyandmechanicswillstayrelativelyconsistentinallfigures.Thatis,thereareonlysomanywaysthelegcanmovewithinthebonestructureofthehip.Imagineeachbodyparttobeacylinderstackedontopofanothercylinder,
thendrawthecylinders.
it’sallconnectedRememberthatthepartsofthebodyareinterconnected.Whenonepartmoves,itaffectsotherparts.Whenthebodyisstableandstraight(farleft),thespineisstraightand
perpendiculartotheshouldersandhips.Whenthespinebends(nearleft),otheraspectschangetoo:Thespine’sangletotheshouldersandhipschanges,andtheshoulderandhiplinesgofromparalleltoangled.
4AddShadingTwolightsourcesrevealthecontoursandvolumeofthefigureinthisphoto.Thebonesaddstructure,butthemusculaturecreatescomplexshadows.Youcanfigureoutabout70percentoftheshadowsfromjustknowingthedirectionofthelight.Buttogetthecoretonalityright,youmustanalyzethepeaksandvalleyscreatedbythemuscles.Remember,also,thatbonesarenotperfectlystraight.Usearulertorevealthenaturalcurveofthebone,andusethisknowledgetocreateamorerealisticshadow.
lookforthesubtletiesNoticethattheshinboneisnotperfectlystraight;thereisaslightnaturalcurvetoit.Thiscausestheshadingtocurveaswell.Payingattentiontodetailssuchasthiswilltakeyourarttoanewlevelofrealism.
Demonstration
CharacterDesignBYRAFAELKAYANAN
I’mgoingtoshowyouhowIstartacharacterdesignonpaperandfinishitonthecomputer.Thephotosinthisbookareagreatbasisforadrawinglikethisbecausetheygiveyouanappropriatelyexcitingposeforyourcharacter.The
becausetheygiveyouanappropriatelyexcitingposeforyourcharacter.Themodelbecomesthearmatureonwhichtobuildthedetailsofyourfictionalcreature.Thefinishedpieceinthisdemocouldbeaconceptdrawing,thatis,adrawing
toshowafilmproduceroracomicbookeditorhowaproposedcharactermightlook.
1SelectPhotoForthisdemo,Iwantedtocreatesomesortofalienbrandishinganexoticblade.IchosethisphotoofMarktodrawfrombecauseIlikedthevantagepointandtheforeshortening.
2SketchFigureinPencilFirstIroughoutthefigureonsketchpaperusingaParkerDuofoldmechanicalpencilwithanHBlead.Theproportionsofthefigureareapproximate;atthisstageI’mmorefocusedoncapturingthegesture.Tohelpmecapturetheangles,Iaddstraightlinesontheoutsideofthefiguretoconnectthepointsoftension,suchaselbows,kneesandthetipsofthehandsandfeet.
3RefinethePencilSketchWiththemechanicalpencilIbegintoscribbleinformstosuggestweaponryandalienmachineryorabiosuit.Iavoidusingtemplates;Iprefertokeepmylineslively.BynowIhavepracticallyabandonedanyformoflikenesstotheoriginalmodel.AsIrefinethesketch,Irotatethehandsabittoadddepthandtomakeitso
we’llseemoreoftheblade.
AsIadddetail,I’mcarefultoleavethenegativespaces.Thatkeepsthesilhouetteofthecharacterclearandunderstandable.
4CreateMidtonesWithMarkers,ThenScanIplaceasheetofBorden&Riley100SSmoothCottonCompmarkerpaperoverthepencilroughfromstep2.IbegindrawingdirectlyonthemarkerpaperusingalightgrayPittbrushpen,whichiswaterproofandcontainsanexcellenttipforthekindoffluidlineworkI’mlayingdown.Themarkerpaperissomewhattransparentandretainsthemarkerinkverywell.IoutlinetheshapesIwanttokeep,thenaddsomedarkstospotthefigureand
suggestmoredepth.Imakesurethebladewillhaveadarkareabehindittohelpitpopout.I’llbeaddingheavyshadowsinthenextstage;Ileavethoseareasalonefornow.Next,Iscanthemarkersheetwithapieceofblankwhitepaperbehinditso
thatthescannerpicksupallthetonescorrectly.Afterlookingattheimagesomemore,IwasnothappywithaneyepiecethatIputinfrontofthelefteye,soIdeleteditinPhotoshop.YoucanstarttotellherethatI’mnotfollowingtheshadowsintheoriginal
photo.InsteadI’mimaginingthatthelightisnotasintenselydirectionalasinthe
photo.InsteadI’mimaginingthatthelightisnotasintenselydirectionalasinthephoto.Ireducedcertainshadowstomakethelitareaswiderandbrighter.
5AddShadowsWithMarkers,ThenScanNowIwanttoaddthedeepshadowareas.IreturntothemarkersheetthatIscannedinthepreviousstepanduseadarkerPittmarkeronittoaddmorecrevicesandcreases.IaddlinestothelefteyetofillinthevoidwhereIerasedtheunwantedeyepiecefromthedigitalfileinthepreviousstep.Iscanthemarkersheetagain,thenusePhotoshoptoadjustthelevelstomyliking.Ikeepthisscanalightertonetoallowleewayforfutureexperimentsintonalvalue.
6CombineScansIcopythescanfromstep5andpasteitintoanewlayerinthescanfromstep4.IsetthenewlayertoMultiplymodeandchangeitsopacitytosomewherebetween50and60percent.WhenyouchangealayertoMultiplymode,itallowsthegraytones(inthiscase)tobeaddedontopofthelightersurfacesinthelayerbeneathitwithoutaffectingthedarkertonesonthatlowerlayer.ThankstotheMultiplylayer,Igotdeepermidtoneswithouthavingtodoasecondlayerofgraymarkeroverthemidtoneareasonmymarkersheet.
7ErasetheDarkAreasFromtheMultiplyLayerFromhereonout,alltheworkwillbeinPhotoshop.ItaketheErasertool,usingcustomshapesthatIcreated,andstarttoeraseontheMultiplylayertoallowthelightergraysbeneathittocomethrough.
8AddTextureandToneIusePhotoshop’sNoisefilterandLevelsadjustmentstogenerateatexture.Icopyandpastethetextureintoanewlayer,setthelayermodetoMultiply,scaleittocovertheentirefigure,andadjusttheopacity.Ilikehavinglotsoftextureoptions.Tosavetime,Icoversheetsofpaper
withdifferentkindsofpencilshading,scanthesheetsandsavethescansforfutureuse.
Formoreactionposes,visitimpact-books.com/colossal-collection
9CompletetheConceptDrawingIcreateacustombrushshapeinPhotoshopanduseitwiththeErasertooltoerasemuchofthetextureandrevealthefinalimage.Thisquicklygivesthedrawingagrittytexture.ForthisconceptdrawingIdidnotwantanimmaculatesurface,butmoreofanenvironmentandsuitthathadsomewearandtear.Tosuggestasettingforthecharacter,Ipastedinanothertoneimage(oneI
hadcreatedwithblackPrismacolormarker)andthenskeweditsothatitrecededintothedistance.WiththeErasertoolandlargerbrushshapes,Iremovedagoodchunkofgraysoverthefigureandthenaddedverticalstreaksonthefloor.Formoreactionposes,visitimpact-books.com/colossal-collection
Demonstration
CreateMoodBYMITCHELLBREITWEISER
Therearetwowaystoapproachreferencematerial.Youcanproducearoughsketch,thensearchoutreferencethatfitswhatyouhavealreadydrawn.Usethisapproachwhenyouhaveaclearvisionofwhereyouwanttotaketheartwork.
approachwhenyouhaveaclearvisionofwhereyouwanttotaketheartwork.Or,ifyouareexperiencingabitofartist’sblock,seekoutreferencefirstforinspiration.Lookaroundforaphotothatjumpsoutatyouorcapturesthegeneralmoodyouarehopingtoachieveforthefinishedart.Iconsidermyselfmoreskilledatinkingthanpenciling.Unlikemostcomicbookartists,Ineverfullyfleshoutmypencils.Imakemostofmydecisions
duringinking.Ibelievethismakesmyartworkmoreexpressiveandspontaneous.
1PickYourPhotoThisphotohasgoodmoodinessandlighting,andtheposewouldlenditselftoaverystrikingcover.
2GatherYourMaterialsHerearethematerialsIusedforthisdemo:1.Plasticeraser—forcompletelyremovingpencilmarks
2.Kneadedrubbereraser—forpickingupexcessgraphiteoffthepageorforcleaningupsmudges
3.HigginsBlackMagicink
4.Whiteacrylicpaint—forspattereffectsandfixingmistakes5.Toothbrush—forspatteringpaintandinkfortexturaloratmosphericeffects6.Whitegelpen—forworkingwhitelineworkbackintoink;astylistictoolnotessentialforeveryartist7.Winsor&NewtonSeries7,no.4kolinskysablebrush
8.7mmmechanicaldraftingpencilwithHBlead
9.WoodlessHBpencil—forbroaderstrokes;alsoforsofteninginkededges10.Draftingtape—formaskingoffareasduringinking
10.Draftingtape—formaskingoffareasduringinking11.Frenchcurvesandrulers
12.Two-plyillustrationboard
3SketchtheSceneFirstdoapreliminarysketchonanypaperyouhavehandy.Copypaperisfine.Tokeepthesketchloose,tryusingawoodlesspencil,whichcreatesabroaderandsomewhatclumsierstroke.Usethephotoreferenceduringthisstageforlightingandgeneralstructureofthefigure.Avoidfleshinganythingouthere,becauseyouwillmakeadjustmentsinlaterstages.Designisparamountinthis
step,soherearesomedesigntipstokeepinmind:1.Establishthelightsourcenow—itaffectstheartworkineverystep.
2.Noticethattheswordsarenotparallel.Keepthemslightlyoffkilterinordertoleadtheviewerfromthenearerswordintothefigureandbacktotheothersword.
3.Usethesteamorsmokelinesinthebackgroundto“agitate”thefigure.Makingthesteamflowinthedirectionoppositethatofthefigurecreatesvisualtension.
4.Makesuretoleavesomebreathingroom.Youdon’twantthearttofeelclutteredorclaustrophobic.
4PencilItNowstartyourpencilsontwo-plyillustrationboard.Pencilingismyleast
favoritestep;Ineverfullyfleshoutmypencils.Trykeepingyoursloose,asI’vedonehere.Usethephotoreferencetohelpyougetthemuscularandvascularconstructionright,aswellasthefacialfeatures.Youcanalsodeviatefromthereferenceabit.Noticehowthearmsontheartspreadoutabitmorethaninthephoto.Ifyoumaketheheadabitsmaller,thefigurewilllookproportionallylargerandmoreimposing.Alsonoticehowthefigureleansinquiteabittomaketheposelookmoreaggressive.
tipDrawyourlayoutsatastandardcomicbooksizetovisualizehowtheartwilllookontheshelvesandtothereader.
Formoreactionposes,visitimpact-books.com/colossal-collection
5InkItAh,thebigpayoff.Sofar,wehaveavoideddetailedlineworkasmuchaspossible.Now,withyourinks,focusondramaticlightingandtexturalandatmosphericeffects.Manyoftoday’sartistsareusinglesslineworkandhatching.Tryinkingwithabrushratherthanpensforitsexpressiveandspontaneous
qualities.Abrushstrokewillgiveyoumorelifethanapen.Althoughadifficulttooltomaster,aqualitybrushwillallowyoutoachieveawidevarianceinlineweightaswellasavarietyoftextures.Experimentwiththedry-brushtechnique:
weightaswellasavarietyoftextures.Experimentwiththedry-brushtechnique:Partiallyblottheinkoffthebrush,thendragitacrossthepapertocreatearoughtexturaleffect.UseanHBpencilaroundtheedgesoftheinktosoftensomeofthehard
edges,especiallyonfigures,whereyouwantasofter,fleshierfeel.It’sgoodtolookbackatthephotoreferencewhileinking.Keepithandy
whenworkingoutthedetailsoftheface,aswellastodouble-checkthemuscularandvascularstructure.Finishbyworkingsomeexpressivelinesfromyourwhitegelpenbackinto
therocksandclothing.Alsosplattersomewhiteacrylicontothebackgroundforanextratouchoftexture.Giveitaonce-over,deemitfinished,signitandcallitanight.
Demonstration
MakeYourArtTellaStoryBYMIKELILLY
Iliketomakeadrawingdomorethanjustshowaposeoramomentofaction.Iwanttogivethereaderanideaofwhathappenedtogetthecharactertothatmoment,andwhatmighthappennext.
moment,andwhatmighthappennext.
Photoreferenceisakeytoolinillustration.About99percentofartistsusesomeformofreferencetogettheshotstheywant.Useit,butalsochangeit
andmoldittosuityourneeds.
1SelectaPhotoLatelyI’vebeenwatchingmyTwilightZoneDVDsalot.Someofmyfavoriteepisodesaretheoneswithastranded,lonesurvivor.Oftenit’sanastronautfromacrashedspaceship,aloneandfearingtheunknown.SowhenBuddyaskedmetodothisartdemo,IknewIwantedtodoaspaceman,pulp-typepiece.IhadadozenorsophotosofAnthonytochoosefromforthedemo.Right
away,Ilikedthepushingandliftingposes.Ithought,hmm…strongguy…
drawhimliftingavehicle?Aboulder?Idecidedthoseideasweretooclichéd.ThenIrealizedthatthehandsinthesepushingandliftingphotoscouldjustaseasilybeinterpretedinotherways:wieldingswordsorrayguns,orthrowingblastsofenergy.
2ChooseyourIdeaInmysketchbook,Ididafewquick,simpleideasketcheswithanHBpencil.ItriedreimaginingsomeoftheposeswithAnthonywieldingasword.Buttheoutstretchedhandsinthephotosaresoexpressive;Ididn’twanttochangethem.Soinsteadofaweapon,Idecidedourherowouldhaveanelectricalchargeemanatingfromhishands.
SometimesIsketchwithamarkerinsteadofapencil,asIdidherewhenIwasplanningwheretoputtheshadowsonthetentacles.
3SketchtheCompositionIsettledonthephotoofAnthonykneeling.Iimaginedourspacemancenteredinthecomposition,slightlytilted,withamonsterintheforegroundandacrashed
shipinthebackground.Hislonedefenseagainstthemonsterwouldbetheenergyblastscomingfromhishands.AtfirstIexpectedIwoulddrawasinglemonster,butthenIthoughta
snakelikemonsterwithmultipletentacle-likeelementswouldbetterconveythesci-fifeelIwasgoingfor.AnotherbenefitofthesnakeideaisthatIwasabletobendandpointthetentaclestowardourherotodirecttheviewer’sattentiontohim.Thisscenarioletsthereaderimagineabackstory.Whyisn’tthemanusinga
weapon?Perhapshehadonebutitwasdamagedinthecrash,ormaybeheusedupitspowerfightingothercreatures.Sonow,maybehehasusedhisskillandingenuitytoredirectpowerfromhisspacesuittocreateacrudebuteffectivedefense.
Saturnisascience-fictionicon.It’sacliché,yes,butonethatalwaysseemstowork.
4CreateaDetailSketchIstartedanothersketchtoworkoutsomeofthedetails.Someartistsworkouteverydetailinsketchesbeforestartingthefinalpiece.WhenIsketch,ifIseesomethingIdon’tlike,ImakeamentalnotetogoinanotherdirectionwhenIgettothefinalpiece.Forme,sketchesarehowIgetmy“bad”drawingsoutoftheway.Thenmybetterideasoftenemergeduringthefinal.Regardingthephotoreference,Ikepttheentireposeexceptforthefacial
expression.Iwantedanangry,pain-filledfacetogowiththeaction.Ialsocouldhavekeptthestoicfacetosuggestextremeconfidenceinthehero.Justbychangingafacialexpression,youcangiveapieceanentirelydifferentmood.Totopitoff,IaddedtheplanetSaturndominatingthestarrysky.
5FinalSceneTobeginthefinalpiece,IdoanunderdrawingonartboardusingalightblueCol-Erasecoloredpencilinaveryloose,organicstyle.Thatpencilisnottrulynonphotoblue,butaslongasyouuseitlightly,itwon’tshowwhenphotocopied.OnceIgetgoingwiththeCol-Erasepencil,Iuseittoindicatesomeofthedetailsandshadows.ThenIfinishoffthepiecewithmyHBpencil.TheHBgivesmeanicebalancebetweenlineandsoftness.IfIwanttochangesomething,Iusuallyuseakneadederaser.Itletsmesoften
areasorcleanupspotswithoutremovingtheblueunderdrawing.IfIneedtoeraseboththeHBpencilandtheblueunderdrawingfromanarea,IuseaStaedtlerMarsplasticeraser.Formoreactionposes,visitimpact-books.com/colossal-collection
Demonstration
TheBodyinMotionBYMATTHALEY
Oneofthechallengesofdrawingcomicsisthatyouareoftencalledupontoimplymotiononflatpaper.Whenyourelytooheavilyonphotoreference,yourartcanappearmotionless—likeaphoto.Learnhowtointerpretphotoreference
artcanappearmotionless—likeaphoto.Learnhowtointerpretphotoreferencesoyoucancreatesomethingoriginalanddynamic.
Alotofartistsdrawtheeasyposetogetthepagedone.Sometimesit’sdifficulttodrawwhatbestservesthestory,butthat’swhatyouhavetodo.
1PickYourPhotosLookforaphotothathasadynamicpose.Thispicturehassomeforcedperspective;thelimbslookliketheyarecomingrightthroughthephoto.Remember,thephotodoesnothavetobeanexactshotofwhatyouplantodraw.You’renotgoingtobetracing;you’regoingtobedrawingwiththephotoasareferenceforstructureandcertaindetails.Thegunreferencecomesfromadifferentphoto.
2SketchBroadlyMakeaquicksketchusingbroadstrokes.Ifyouholdthepencilasifyouwerewriting,you’llgetverylittlemovementatthetipofthepencil.Thisisgoodfordetailwork,butatthisearlystage,youwanttoholdthepencillikeastick.Slashalinefromtheheadthroughthespine.Thiswillsuggestthedirectioninwhichthefigure’sbodyismoving.Don’tworryaboutthedetails;rightnow,youwantsomethingfreeandfluid.Youcoulddothisstepwithanonphotobluepencil,sinceitwon’tsmearanditwon’treproduceonthefinalart.
3RoughOuttheFigureUsingthelinesyoumadeinstep2,roughouttheformofthefigureusingcylinders,conesandspheres.Asyoudothis,it’sveryimportanttodrawthrough(seeTECHNIQUEbelow).Eventhoughyoudon’tseethemodel’sbackleginthispicture,drawitanyway.Ifyoudrawonlyoneleg,yourfiguremayappearoffbalance,anditwillbedifficulttofixlater.Yourroughshouldalsoincludebasicforeshorteningoftherecedinglines.Noticehowthemodel’srightforearmlooksstubbyandcompressed.Foreshorteningsuggestsdepthanddistancetothereader,whoknowsapproximatelyhowlongthearmshouldbebasedonthelengthoftheotherarm.Theartisalreadystartingtoevolveawayfromthephoto.
4DrawtheFigure,ThenDressItRefiningthecontoursofthefigureandaddingclothingisatwo-stepprocess.Firstdrawtheanatomywithoutanyrealclothingotherthanthesnug-fittingclothingthemodelinthephotoiswearing.Thatwayyou’reabletoseetheanatomyclearlyanddrawitaccurately.Now,justasyoudoinreallife,puttheclotheson.Thistwo-stepprocesswillhelpyoutounderstandhowtheclothesshouldfoldanddrape.Ifyoustartwithasilhouetteandthenjustthrowclothesonthefigure,itwill
appearasiftheclothesarepartoftheanatomy,whichjustisn’tthecase.Weexistashumans,andthenweaddclothes.Learninghowtoproperlydrawthefoldsanddrapingofclothingrequiresalotofpractice,sodon’tworryifyoudon’tnailitthefirsttime.
TECHNIQUE
drawingthroughDrawingthroughmeansaddinglinestorepresentallsidesofaform,eventhesidesthataren’tvisible.Drawingthroughaddsweightanddepthandhelpsyoucaptureperspectiveandformmoreaccurately.
5LightItUpUntilnow,therehasbeenverylittleshadowing.You’vejustbeenworkingtoget
thefigureandtheposecorrect.Nowit’stimetogiveyourdrawingsomelifeanddepthwithshadows.Thedominantlightinthisimageiscomingfromtheleft.Toproperlyutilize
thislight,treatitasifitwerewatershootingfromagardenhose.Ifwaterwerecomingfromtheleft,itwouldn’thittherightsideofthemodel’sface.Thesamegoesforlight.Shineadesklightonanartist’smannequintobetterunderstandhowthelightishittingthefigureinthephoto.
aboutthelightingThephotosinthisbookhavetwolightsources.Theprimarylightsource,whichisontheleft,isthestrongerlight,anditcreatesshadowstotherightofthesubject.Asecondary,weakerlightsourcecomingfromtherightaddsalittlelighttotheshadowssothatyoucanseethedetailsinthem.
Formoreactionposes,visitimpact-books.com/colossal-collection
Inkingmakesthewholeillustrationcomealivewithcontrast.Inktheblacks,referringtothephotographagaintoconfirmthedirectionofthelight.
againtoconfirmthedirectionofthelight.Oncetheartisinked,itisdifficulttochangeitback.
6AddDetailandBackgroundThisartbecametherealcoverforacomicbook,soitneededacompletebackground.Here’ssomeextrainformationonhowthiswasdone.
Thischaracterisgoingtoappearslightlybehindthemaincharacter,butyoushoulddrawthroughtheentirefigureonaseparatepage.
Usealighttabletoinsertthefemalecharacterbehindthemaleone.Roughout
Usealighttabletoinsertthefemalecharacterbehindthemaleone.Roughoutyourbackgroundsothatyouhaveasenseofproportionandperspective.
tipWhencombiningtwoormorereferencephotos,trytofindphotoswithsimilarlightsources.
7TheFinishedCoverNowthatthecolorandlogohavebeenplaced,noticehowthisimagecontrolsyoureye.Youwantsomethingeye-catchinginthetopleftcornertodrawtheeyeintoaZpattern).Thisiswheremanypublishersplacealogo.Noticehowtheeyetravelsfromthelogotothewoman’sface,upherhairtothetitle,anddown
therightsideofthecircle.ThecircleguidestheeyetoJack’sface,outhisarmtothegun,downthewoman’sbody,toherrightfoot,rightintoJack’sbody,uptheverticallinesofhissweaterandbacktohisface...rightwherewewantit.Thefullycoloredartwithlogosdrawsthereaderintotheimage.
Aphotoisajumping-offpointthatyoucanuseforinspirationandreference.Butatacertainpointyouneedtoputitawaysothatyouhave
roomtochangeyourimageasyoudraw.Formoreactionposes,visitimpact-books.com/colossal-collection
Demonstration
WatercolorPaintingFromPhotoReferenceBYMARKSMYLIEAlotofmyartworkisinthegenreoffantasy.IpaintwithwatercolorbecauseIlikeitssubduedtones.Inthisdemo,you’llseehowIdraw,paint,inkandthen
likeitssubduedtones.Inthisdemo,you’llseehowIdraw,paint,inkandthenaddalittletexturewithcoloredpencils.
1SelectaPhotoForthisdemo,Buddyaskedmetotakealookatasetofphotoshehaddonefeaturingamalefigureholdingabow.Ichosethispose,whichIthoughthadaverynicedramaticqualitybecauseoftheforeshorteningandthemodel’sbackwardlean.
2BuildaRoughSketchFirstIblockedouttheposeroughly,tryingtocapturetheoverallgestureandproportions.Whendrawingfromphotos,Idon’tusealightbox;IjustsetthephotonexttomydrawingpapersoIcanrefertoit.ImadeafewadjustmentsasIdrew.Idroppedinthearrow,andIadjustedthe
fingerpositionsonthearcher’srighthandalittlebitandtoyedwiththeideaofgivingthefigurepointyears(goingelfwithit,asitwere).
3FinishthePencilsNextIaddedtheaccoutrements.Giventheposeandthebow,IcouldhavegoneforaGreenArrowlook,butIworkprimarilyinthefantasygenre,soIwentwitharangertype:chain-mailshirt,armbracers,swordbelt,etc.,plusaflowingcloaktohopefullyemphasizethesenseofmotionintheoriginalphoto.
4AddColorToprepareforpainting,Itapedthepaperdownsoitwouldn’tbuckle.Iappliedmaskingfluidtosomeofthelightareasonthecharacter’smetalgeartokeepthempaper-whiteforareflectivelookinthefinalpainting.ThenIaddedwatercolor.Ikeptthebowgreenishblueasanodtotheoriginalphoto,thoughnormallyIwouldprobablygoforawoodtoneforabow.Somewatercolorartistsprefertoinkfirstandthenuseaworkablefixative
beforepainting,butIprefertopaintfirstandinksecond.Ifyouinkfirst,youneedtoapplyaworkablefixativetopreventbleeding,andfixativemakesthepaperlessabletoabsorbthewatercolor.
5InkandFinalizeIinkedtheimagewithaRapido-graphtechnicalpentosharpenthelinework.ThenIretouchedthewatercolorabit.Finally,Iaddedsomecoloredpencilhereandtheretoshapethecolorsmoreexactlyortolendabitoftexture.
Demonstration
TeamofHeroes,Collage-StyleBYJAMALIGLE
I’mabigfanofcollage-styleartthatfeaturesateamofcharacters—suchasDrewStruzan’smoviepostersforIndianaJones,StarWars,HarryPotterand
manyothers.I’mgoingtoshowyouhowtodesignacollage-styleteamportraitthatcouldbeusedforafirst-issuecover.
1ChooseaVarietyofPhotosPickatleasthalfadozenposestodrawfrom.Themembersofacomicbookteamneedtobememorableanddistinctfromeachother,soeachphotoyouchooseshouldshowdifferentbodylanguageandadifferentmood.Trytofindphotoswithsimilarlightingaswell,tohelpunifytheimagesinthecollage.Asyoumakeyourselections,thinkaboutwhatheroictypeorpersonalityeachphotosuggeststoyou.
2SketchYourConceptCreatearoughsketchoftheoverallidea.Thepurposeofthissketchistoplantheplacementofalltheelementsofthecollage.Atthesametime,youarebeginningtodesignyourcharacters’costumesandpowers.Theideaistoskirtfamiliararchetypeswithoutusingexistingcharacters.TheteamI’mcreatinghere,StrikeforceSappho,includesastar-spangledwarriorprincess,asamuraidroid,afieryhothead,ahigh-flyingcharacter,atechno-girl,andalsoascalycreaturewhoseroleismysterious(isshefriendorfoefi).
3DoaMoreDetailedSketchSketchagainonordinarycopierpaper.Continuereferringtothephotos,buttweaktheposesabit;youdon’twanttocopythemexactly.Yourgoalshouldbetocapturethelightingandtheattitudeofthepose.Roughinthedetailsthatindividualizeeachcharacter.Createsymmetryandbalance.Asyouplacethelightsanddarks,playwiththenegativespacesaroundthe
characters.Thecharactersinthemiddlegroundandforegroundhaveveryfewshadowsinthem.I’veputthedark,hoodedfigureinthebackgroundsothatitsdarktonescanpeekthroughthespacesbetweentheothercharacters.This
darktonescanpeekthroughthespacesbetweentheothercharacters.Thiscontrasthelpstheothercharacterspopoutoftheimage.Whenyoufeelthissketchisdone,putdownyourpencilandjustlookthings
over.Isthelightingthewayyouwantit?Isthereanythingaboutthedesignthatneedstweakingtomakeitmorebalancedormoreexciting?Makeanyneededchanges.Ibelieveinsymmetryinart.Ashumanbeingswearedrawntosymmetry;
itshouldbeapriorityforanyartist.
4RoughInWithNonphotoBlueEnlargethesketchfromstep3onaphotocopierfrom8½"×11 ߱(22cm×28cm)to11 ߱×17߱(28cm×43cm),a140percentenlargement.Tapethephotocopyfacedownonthebackofasheetof11 ߱×17߱(28cm×43cm)bluelineboardoranytwo-plybristolboard.Turntheboardfaceup,layitonalighttable,andtransfer
thesketchontotheboardwithanonphotobluepencil.Thiskindofpencilwon’treproducewhenscannedorphotocopied,soitisanidealbaseforyourfinaldrawing.Youcanmakeminortweakstothedrawingasyougo.Whenyou’redonetransferringyoursketch,useagumerasertoremoveall
nonessentiallines.Nonphotobluepencils,beingwax-based,don’ttakegraphitepencilverywell,soyouwantthefinishedbluelinedrawingtobeverylightandunobtrusive.
5PencilDrawontopofthebluelinedrawingwithanHBpencil.Asyou’repencilling,youmayfindyourselfredrawingabit.Thisstagecanbealongprocessbecause
asyou’repenciling,you’resometimesredrawing,makingthefinaldeterminationabouthowtheartwilllook.Tightenthepencildrawinguntilitcontainsalltheinformationyou’llneedfor
inking.
6InkInkthedrawing.Forbrushinking,Ilikeano.3ScharffKolinskyRedSablebrushwithJapaneseSumiink(whichIfindtobethebestinkforamatteblackfinish).Forcorrections,IuseFaber-CastellPITTpensandDaler-RowneyProWhiteink.
Demonstration
Think3-DBYTERRYMOORE
Iliketheflowing,uninterruptedbodylinesinthisphotoofZoe(below).ButwhenIdraw,Iliketoremindmyselfthatthebodyisn’tjustacollectionoflines:it’sthree-dimensional;it’sdynamic.Ifyoudrawonlywhattheeyesees,your
it’sthree-dimensional;it’sdynamic.Ifyoudrawonlywhattheeyesees,yourpictureswillalwayslookmechanical.Forexample,alwaysrememberthatwhenyou’redrawingaperson,you’re
basicallydrawingmusclesandboneswithskinstretchedoverthem.Skinandmusclesbendandflex;theyrespondtogravitydifferentlyinpeopleofdifferentages,weightsandsizes.ThesearethethingsI’mthinkingaboutwhenIstudythebody.Anothersuggestion:Imagine(andsketch)whatthesubjectwouldlooklike
frommanydifferentangles,notjusttheangleshowninthephoto.It’simportanttorememberthatthemusclesandbonesyoucanseeareconnectedtoonesyoucan’tsee.
1CaptureBodyMechanicsandProportionsLightlysketchtheposewithafewcrudelines.Earlyintheprocess,markacenterlineanduseittokeepthebody’sweightbalanced.Forexample,sinceZoe’sshouldersgoleftofcenter,youknowthatsomethingelsehastogoright(inthiscase,thehips);otherwiseshe’dfallover.Tohelpyourselfjudgethebody’sproportions,makeroughlyhorizontalmarks
attheheels,knees,wristsandshoulders.
2FindtheContoursStartdarkeningthemajorlinestocapturethelargeshapesofthetorsoandlimbswithmoreprecision.Keeppayingattentiontobalance,butaddgravityandmasstoyourconsiderations.Wherecanyouseetheeffectsofgravity?Youcantellherrightlegisbearingmoreweightthantheleftbecauseit’sstraightandthetendonsabovethekneejointarevisible.Goaheadandcreatethosetendonswithtwolines.Youcandothisstepquickly.Eventhoughyou’reworkingfromthemodel,
whatyou’vedrawnisalmostgeneric:Thiscouldbealmostanywomanofsimilarheightandsize.
3GetSpecificNow,checkyourdrawingagainstthephotoonamoredetailedlevel.Studyeveryviewableinchofthemodel.Doesshehavelong,slenderfingers,oraretheyshortandstubby?Sturdyankles,orskinnyones?Finishherhandsandfeet.Seehowtheoutsideanklebonesarelowerthantheinsideones?AndhowtheAchillestendongoesallthewaydowntotheheel?Adddetailtothehair(andmakeitlonger,ifyouwantto).Nowyou’retakingthedrawingbeyondagenericrepresentationandmakingitaboutthisspecificwoman.Thereissomuchinformationaboutthiswomaninthephoto,Icouldwritean
Thereissomuchinformationaboutthiswomaninthephoto,Icouldwriteanentirechapteronherbodytype,ageandlifestyle.Weknowthatsheisnotlarge-breasted,becauseherbrastrapsareskinnyandtheskinonherbackandaroundthebandofherbraistautandunstressed.Hersoftlycontouredwaisttellsusthatshedoesn’thavepronounced“six-pack”abs,buttheindentationsatthewaistbandofherspandexshortsareshallow,soherstomachmustbeprettyflat.Theprominentveinsoverthemusclesofherlowerarmsindicatethatsheworksout.Herroundedcalves,though,aretheresultofgenetics;nicecalfmusclesaresomethingyouhavetobebornwith.Ifthisisallbeginningtosoundverypersonal,itis.Todrawthemodel
correctly,youhavetoknowwhatyou’relookingat,whatitlookslike,andhowitgotthatway—evenifit’shidden.Formoreactionposes,visitimpact-books.com/colossal-collection
4SketchaFewMoreAngles,ThenAddClothingandAnatomicalDetailTakeamomenttoscribbletheposefromacoupleofotherangles,imaginingwhatyou’dseeonothersides.LikeIsaidatthebeginning,beingabletopicturewhat’sgoingonaroundthebendsiscrucial,becauseeverythingyouseeisconnectedtothepartsyoucan’tsee.Removethegenericlineswithakneadederaser,anddrawinmoreofthe
detailsthatarespecifictothismodel.Ithinkaboutthetransitionpointsofthemusclesonhershoulders,armsandlegs.Mypencilrunsoverherbackandtries
musclesonhershoulders,armsandlegs.MypencilrunsoverherbackandtriesafewlinestoseeifIwanttogotherewiththeart.Probablynot.Whatarethedenimshortsgettinghunguponthere—what’skeepingthemupontheleft?Askyourselfquestionslikethese;theyremindyouthattheseformsareround,theyjutout,theybumpintothingsandpushandsqueezeanddeformandbounceback.OK,inthenextstepyou’llstartinking.Whateveryouhaven’tyetpenciled,
suchasthedetailsoftheshortsandhair,youwilldrawasyouink.
5InkLikeaPencillerUsingabrushorpen,inkthemainlinesofthebody,leavingthedetailsforyour
secondpass.Startinkingatthehead,thenworkyourwaydown:leftarm,rightarm,torso,legs,feet.Asyourbrushmovesaroundthebody,thinkaboutthemusclesandbones,makingbumpsandmoundsformusclesstretchedandcontracted.Youneedboththeskillofaninkerandthemindofapencillertomakethelinessmoothwithvaryingweightsthatimplymassandlight.
6AddFinalDetailsInkthedetailsontheelbows,hands,back,kneesandclothing.Fillinthesolidblackarea.Ifthedrawingisgoingtobecomputercolored,sayforacomicbook,
theselineswillbeenoughforthecoloristtoplayoffof.Thecoloristcancreatenice,subtletoningthatharshinkingcannotachieve.Erasetheremainingpencillineswiththekneadederaser,andyourartisready
toscan.Thefewstrayinklines(likearoundtheshorts)canbetouchedupdigitallyafterscanning.Onthesmaller,sketchedfigures,Itriedtoillustratethebodylanguagewitha
fewbrushstrokes.Ithinkthisposewouldbeinterestingfromanyangle.
Demonstration
DrawaBeautifulWomanBYGREGLAND
Comicbookartistsareoftenaskedtodrawbeautifulwomen.Yetcapturingthesubtletiesofthewaywomenstandandmovecanbechallenging.Agoodreferencephotowillhelpyoutounderstandhowtocapturethenuancesofthe
referencephotowillhelpyoutounderstandhowtocapturethenuancesofthefemaleform.
1FindYourPhotoEveryphotographcapturesalittlepieceofthemodel’spersonality.Inthiscase,thephotorevealsaplayfulyetsultrywoman.Don’tjustlookatthesurfaceofthephotograph;lookbeyondbyimaginingwhatyourmodelisthinking.Readthiswoman’sfacialexpressionandherbodylanguage,andyouwillseesomeonewhoisrelaxedandconfident.Herslightsmileandfarawaygazerevealapeaceful,privatemoment.Explorethisbooktofindthephotosthateithercaptureamoodandexpressionthatmatchyourvisionorsimplyinspireyoutodraw.
2PhotocopyandFindtheOutlineMakeaquickphotocopy,enlargingtheimagetothesizeyouwantforyourfinalart.Usingamarker,“find”yourcharacter’soutline.Remember,youdonothavetofolloweverydetailofthephotograph.Yourjobistointerpretthephotographandmakeitintoart.Inthiscase,thefinalimagewillbeabeautifuljunglegirl,soyoushouldfindlinesthatmakethemodellookasslenderandathleticaspossible.Sketchafewlinestoindicatehowyouthinkjungleclothingwilldrapeonthisfigure.
3RoughaThumbnailStartwithloosepencillinesthatcapturethegestureofthepose,usingasoftleadpencil.Later,youcangobackwithavarietyofharderleadpencilstotightenandfinishthepiece.Ifnecessary,traceoverthegesturelinesthatyoucreatedinstep2.Thiswillhelpyoumaintaintheproperscaleandproportions.Eraselinesthatdonotcreatetherightform.Sincethisisaglamoursketch,gofortheaestheticofthe“ideal”femaleform.Drawlonger,thinnerlimbs.Roughoutthehair,clothesandbackgroundjustenoughsothatyouknowwhereyourillustrationisgoing.
4BegintheDrawingWithaLooseSketchFindtherightlinesbyreferringtothereferencephoto,whichwillshowyouthedirectionofthelight,theplacementofthehands,theangleofthefaceandotherkeydetails.Drawthekindsoffeaturesreadersexpecttoseeonthissortofcharacter,includingfulllips,apetitenose,andeyesthathaveanicedarknessaroundthemtodrawthereader’sgazetothepupils.
5TightenandFinalizeYourSketchAddshadingonthearmsandloinclothbasedontheshadingyouseeinthephotoreference.Insertvisualimageryinthebackgroundtoconveythatthiswomanisinthejungle.Whenyouaddthebackgroundart,keepthingsflowinginastandardZpattern(seeTECHNIQUEbelow)soyoucancontrolthewaythereaderabsorbsyourart.Keepthebackgroundsimplesothatthereader’sfocusisonthefigure.
TECHNIQUE
theZpatternEvenonpinupartlikethis,youwanttocontrolthereader’seye,justasyouwouldonasequentialpage.Designthepagesotheimagesguidethereader’seyeinaZfromtoplefttotopright,thendiagonallydowntobottomleft,thenacrosstobottomright.TheZpatternisingrainedintousbecauseofthewayweread.Ifyoudidsomethingthatwentagainstthat,itwouldbelikemissingagearwhenyoudriveacar:Youcankeepgoing,butyouhavetoretraceyourselftogetintothecorrectgearagain.
Iknowwhatatreelookslike,butwhenIdrawone,Iwanttheretobearealisticfeeltoit.Icouldwaitfortherighttimetositintheyardanddrawthattree,butinreality,Ihavedeadlines,soIusephotoreferencetogetthe
realismI’mtryingtoachieve.
Demonstration
WorkFromStudiesBYWILLIAMTUCCI
I’mnotthefastestartist;infact,drawingisprettylaboriousforme.SoIliketodoafewquickstudiesbeforeIgotothefinishedart.Youcanworkoutmistakesandrevisionsinstudiessothatwhenitcomestimetodrawontheactualboard,
andrevisionsinstudiessothatwhenitcomestimetodrawontheactualboard,yourartworkwillbemuchcleaner.
1FindYourPhotoWe’regoingtodrawmycharacterAnaIshikawa(a.k.a.Shi)beingshotwithanarrow.(Thetitleforthisillustrationcouldbe:“Please,God,Don’tLetItBeMyLiver.”)Ilikethisphotobecauseitcouldbefromthepointofviewofthearrows,whichwillberainingdeathfromabove.ThisphotohastheenergyanddramaIneed.Studytheimagetogetagraspofthebodypositionbeforecommitting
anythingtopaper.Noticethehandintheback;withoutit,itwouldbeimpossibletotellthatthisisahigh-angleshot.Thatimportantdetailwillgivetheillustrationdepth.
2DoaHeadStudyHairisveryimportantwhenyouaredrawingfemalecharacters.Shi,thesubjectofthisdemonstration,hasbeautiful,flowinghair.Themodelinthephotohasherhairpulledback,soitwilltakesomeroughlinestogetShi’shairright.Findtheeyes,jawandnoseandindicatethemwithbluelines.Then,with
graphite,workupafairlydetailedfacialstudy,eventhoughyoumaychangesomeofthedetailslater.Study,study,study.Draw,draw,draw.Studyanatomy.Drawfromlife.Drawfromphotoreference.You’lldrawmanythingsbetterwhenyou’re
referencingaphotographthanwhenyoutrytodoitfromyourhead.Reallyknowyourstuff.
3DoaShoulderStudyInyourshoulderstudy,figureouthowtheclothingmaterialwillfoldgiventhefigure’sposition.Fabricwillpullagainstthecontoursofthebody.BecausethearrowisinShi’sabdomen,thereader’seyewillnaturallytravel
tothisfocalpoint.It’scriticaltothinkaboutthecostumedetailshere,suchashowthegauntletandsleevearebeingaffectedbythepositionofthearm.
4DoaSkirtStudyBecauseofthewaythemodelisleaningandthepositionofherlegs,thenaturalflowofanatomyisdistorted.Moreover,thephotoisfromaslightsideangle,sothelegswillnotbeperfectlysymmetrical.Themodeliswearingshortsratherthanaskirt,sotodressherlikeShi,tryto
imaginehowtheskirtwouldrespondtothiskneelingposition.Noticethattheskirtdoesnotdrapestraightdown,butratherrespondstothecurvesofherlegs.Drawasrealisticallyaspossiblewithouttracingthephoto.Where’sthe
excitementintracing?Iusephotoreferencetostartoff,butwhenIdraw,Iinterpretandmodifytogivethefinalartmoreofa“living”look.
5DoaRoughoftheEntireFigureStarttheroughusingabluepencilonafreshpieceofregularcopypaper.Drawsomelinestoindicatethedirectionoftheeyes,jawandnose,andagestureline(seeTECHNIQUEbelowleft).Thislinefollowsfromthebaseoftheneckthroughthespine.Inastandingfigure,it’smoreevidentbecausethegesturelinetravelsdownthespine,throughthehip,downthelegs,andtothefeetwheretheweightisplanted.Hereyoucanseehowtheneckandspinearepositioned.Theneckisturneda
little,andyoucanseeitintheline.Thisgesturelinegivesyouastronggraspof
little,andyoucanseeitintheline.Thisgesturelinegivesyouastronggraspoftheimagebeforeyouevencommitgraphitetopaper.Startsketchingoverthebluelinewithasoftgraphitepencil.Asyoufindthe
correctlines,tightenwithaharderpencil.IndicatetherainofarrowsaroundShiwithroughlines.Youcanalways
decidetochangetheirlocationlater.Putinenougharrowstoshowthatshe’sunderattackfrommanyenemies.
TECHNIQUE
gesturelineAgesturelineisaguidelinethatshowsthepositionandarcofthespine.Thislineallowsyoutopushorpullthefigurealittleandstillmaintaintheanatomy.Themoreyoudrawfromreferencephotosandreallife,theeasieritbecomestofindthegestureline.
SinceIdon’tuseaninker,Ihavetomakesurethatmypencilsarereallytight.
makeyourartyourownUsingphotoreferencewillhelpyouachieveproperanatomyandperspective,butifyouareaslavetothephoto,yourartwillcomeoutstiff.Sodon’tjustcopy;interpretandmodify.Usephotoreferenceasatool,almostlikethefirstlinkinalongchainthatleadstothefinalart.Compareourreferencephototothefinalarthere,andnoticehowI’vemademodificationstosuitmyneeds.Shi’sbackisarchedalittlemorethanthemodel’s.I’veaddedlong,flowinghair.Thesesmallchangesinthedetailsgivethefinalartenergyandmotion.
Shi©WilliamTucci
6DrawtheFinishedArtAfteryoucompleteyourstudies,putthemonalightboxandtransferthemtoBristolboard.Ifyou’vebeendrawinginanotebookoronscrapsofpaper,youmayneedtomodifythesizeofyoursketchestofitthepanel.Ifso,simplyuseaphotocopiertoscaleyourartupordowntofityourneeds.Placethecorrectlysizedartonalighttableandtransferittothe11߱×17 ߱(28cm×43cm)Bristolboard.Drawintheelementsthatarenotpartofthephotograph.Shi’sweaponisa
Japanesenaginata.Puttingitbehindherhandshowsthatshe’sdroppeditandthatshe’sinrealdanger.Italsocreatesdepthandperspectivebyshowingtheviewerexactlywherethegroundis.Next,drawthearrows.Thisisthefunpart.Thearrowsonthegroundcast
shadows,givingthedrawingextradepthanddimension.Thelightsourceforthephotoistotheleft,sotobeconsistent,makesureallyourcastshadowsfalltotheright.Finishthedrawingbyrefiningthedetails,suchasthebloodstreamingoutof
Shi’swound.
Demonstration
Tracing(Yes,Tracing!)BYMICHAELOEMING
SexchangeforZoe!WhatcanIsayaboutphotoreference?It’sadangerousgameifyoudon’t
knowwhatyouaredoing.BythatImeanartthatlooksphotoreferencedmakes
knowwhatyouaredoing.BythatImeanartthatlooksphotoreferencedmakesmevomitinmyeyes.Realismisfine,butthereisastiffness,alifelessnessthatruinscomicswhentheartistbecomesaslavetothereference.Ithasruinedmanyagreatartistforme.Nowletmetellyou,Iusephotoreferenceallthetime,evenwithmycartoony
style.Beyondreference,Ioftentracephotos.It’snotanuglyword,justsayitoutloud:trace.See,nooneslappedyou,right?SoletmeshowyouhowIusephotoreference.IwilltracethephotoIwasgivenofthisbeautifulmodelnamedZoe…andturnherintoaman!
1FindYourPhotoI’vebeenworkingonacharactercalledFaustus.I’vepickedoutaposeIthoughtcouldworkforhim.
2GetthePhotoIntoPhotoshopInthiscaseIamworkingwithmyCintiq,atabletyoucandrawdirectlyon,justlikepaper.Butallofthesestepscouldbedonewithalightboxandregularpaper.Icouldimporttheimage,savetheimageasaJPEG,butthefasteststepformewastotakeascreenshotandthenpastingitintoPhotoshop.
3CreatethePageandSketchI’vepastedthephotoandturneddowntheopacityabout45%.Onanotherlayer,IsketchoutmyFaustuscharacterdirectlyoverthemodelusingasmallpensize.Iamusingtheposeandenergyofthemodel,thatisall.ButIamtracingit.SometimesIevengrabpartsofthephotoandmovethingsaround.Herright
armistoofarin,Iwanttoflareitoutabitmore.InsteadofdrawinglikeIdidhere,Icouldhavemovedthehandonthephotoanddrawnoverit.Instead,Ijustdrew,usingthephotoasaguide.Ialsosquishedherslightlytomakeherproportionsthickerlikeaman.Ijustselectedtheareaandthendistortedthe
figuretogiveitmoreweight.Theheadfeelsalittlebig,soI’mgoingtomakeitsmaller.I’vealsosketched
outavaguecompositionhere,althoughrightnow,I’mnotsurewhatIwanttodowithit.
4RefineNowIgetridofthephoto(unlessItookitwithaveryspecificpurpose,likelighting,costumeandsuch).HereIonlyneededthepose.Youcanalwayschangethingsyoudon’tlike,includingflippingyourphoto,likeIdidhere.Timetorefinethesketch.Ididsomeshading,andusedasecondphoto,acity
photowhichIthendistortedinPhotoshop.Thiswouldbemuchharderwithalightbox,butitcouldbedone.
5InkInkingisdonedigitallyandthereisalotIcouldgetintoaboutthat,butsincethisisaboutphotoreference,I’llleavethattoanothertime.Thecityphotoisonanotherlayer,sowhenIinkedthisIkepttheforegroundandthebackgroundseparate.Thishelpsthecolorists.Sincethisisjustablack-and-whitepiece,Isimplyturneddowntheopacityonthebackgroundtogiveitmoredepth.Again,thebackgroundistracedbutIonlytracedtheshapes.Bymanipulating
thephotoIevenchangeditscomposition.Iinkeditfreehandsoitlooksandfeelstotallyorganic.Despitebeingdonedigitallyusingphotos,IdaresayitisasnaturalasanythingI’vedone.Thelastpartissimple:justsignit!
Demonstration
TeenActionHeroBYJOSHHOWARD
IchosethispictureofChanelformydemobecauseIlikedthetiltoftheheadandthepositionofthelegs.Iremainedfairlyfaithfultotheposebutwentmyowndirectionwiththeaesthetics.That’swhatit’sallabout—usingthephotoas
owndirectionwiththeaesthetics.That’swhatit’sallabout—usingthephotoasinspirationwithoutbeingaslavetoit.
1SketchThumbnailsFirst,Isketchtheposewitharegularmechanicalpenciltocapturetheshapes,anglesandgeneralfeel.Iliketodoseveralsketchesbeforedecidingwhichonetorunwith.Ialwayshavethreeorfoursketchbooksgoing.
BecauseIinkmyownwork,Icankeepmypencilsloose,knowingI’lltightenthedrawingduringinking.ThisisonewayI’velearnedto
streamlinemyprocess.
2PenciltheBestPoseIredrawmybestsketchontoartboard,thenroughinthedetailsoftheclothing.Thisiswheremyillustrationbeginstodeviatefromthephoto.I’menvisioningateenherodressedinasortofhybridpunk/militaristicstyle.
3InkIinkthedrawingwithfine-pointpensandbrushpens,thenerasethepencillines.Asyoujustsaw,mypencilsareloose,soasIink,Ihaveto“find”thefinalillustrationinmymessoflines.It’snotreallyaschaoticasitsounds,butIalmostalwaysmakeafewcorrections.
AfterIscanmyinks,IcanmanipulatethescanbeforeIcolor.IfIdecide
AfterIscanmyinks,IcanmanipulatethescanbeforeIcolor.IfIdecidethattheheadisatthewrongangleorahandistoolarge,Icanfixit.
4ColorIscanmyinks,thenaddcoloronthecomputer.ThefinalproductisapieceI’dgladlyaddtomyportfolio.
Demonstration
DrawingEnergyfromaPhotoReferenceBYTHOMZAHLER
IusuallystartworkinginlightblueCol-Erasepencil.Ilikethewaythesepencils
IusuallystartworkinginlightblueCol-Erasepencil.Ilikethewaythesepencilsarelikeregularpencils,ratherthanwaxyassomecoloredpencilsare.AndIworkontracingpapersothatIcanoverlaydrawingafterdrawingtotrytochipawayatit.
1FindYourPhotoIlovetheenergyinthisphoto.
2DrawaCurvedLineTostart,Idrewacurvedlinetotrytofollowtheposeandpositionofthespine.Drawingthislinewillhopefullykeepmefromstiffeningtheposeuptoomuch.
3WorktheStickFigureIstartworkingouttheposeasastickfigure,beingparticularlyconsciousofthepositionoftheshouldersandhips.It’sthecontrastbetweenthesethatshowthemovementinthefigure.Mycharactersarecartoony,buttheystillstickclosetorealisticproportions.
Theytendtohavelargerheadsandsmallerbodies,soI’vetriedtoincorporatethatintothestickfigure.
4BlockOuttheFigureI’veaddedtheguidelinestogetthepositionoftheface.ThereareafewpointsthatIpayparticularattentionto:Arms.It’stemptingtotrytomakeherarmscompletelystraight,butthey’re
actuallyhyper-extended.Intryingtostraightenthemoutshe’sactuallybentthemalittlefurtherthanstraight.Itgivesagreatflowtothefigure,helpingthecurveofthearms.SoI’mtryingtomakesureIhavethatbreak.Hips.I’malsotryingtokeepthehipspositionedright.Hertorsoistwisting
justalittlebit.Ifshewerecompletelystraight,you’dseealotlessofherleftlegandtheleftpartofthepelvis.Feet.Thefeetareinteresting,too.They’renotlinedupstraight.Theyactually
pointtowardseachotherslightly.
5BlockIntheAnatomyI’mtryingtoseehowhermusclesoverlap,likehowhershoulderpopsinfrontofthetrapezius(backpartoftheneck).I’vealsostarteddrawingherbreasts.You’llnoticealineI’vedrawnfromherneckdowntothecenterofherpelvis.Thisisbecausethebreastswilloverlapandextendpastthetorsobox,andit’llstartmakingthatcenterlinedriftunlessIworkitout.There’savisualtemptation,atleastforme,tousetheedgeoftherightbreast
asthecenterofthefigure,butthatwillthrowoffthepositionofthenavelandthehips.Workingoutthatcenterlinewillhelpmekeeptruetothepose.I’vealsostartedworkingonthefingers.Upuntilnow,the“mittens”were
fine,butIhavetostartconsideringthem.
6TightentheDrawingI’vestartedaddingthecostume.Thephotoreferenceisinvaluableforfiguringoutthedirectionofthelimbs.Amazoniahastwobandsoneacharm,andtheyhavetocurvetherightwaytogetthedirection.(ThebandsonherrightarmareC-shaped,ratherthangoingintheotherdirection.)I’veplacedherbelt/hipband,too.Thedifferencebetweenthebandonthebustierandthebeltshowshowtiltedthefigureis.Thebustierisclosertostraightonandthereforeflatter.Thebeltismuchrounderbecausewe’relookingdownatthatpartofthefigure.YoucanseeanarrowpointingtoherlefthipwhereI’veadjustedthepose.I
wasturningthefiguretoomuchandneededtoaddmoretothelefthip.I’vebeguntoworkouttheexpression,too.Alotofmycartooninessisinthe
face,soI’mtryingtokeepthatstylizationandmakeitworkwiththegreatexpressionthemodelhas.
7CompletetheFinalPencilStageI’veswitchedfromCol-Erasetoamechanicalpencilnow.Thisisthefinalstageonpencils,andthedarkerpencilswillbeeasiertoinkwhenIthrowitonmylightbox.Everything’sherenow.Thecostumeispresentinfull.YouwillseethatI
adjustedtheV-ornamentonthebustier.Inlookingatit,Irealizedthatitwasdroopingtoofarforwhattheposewas.ThewayIhaditpreviouslywouldhavebeenlopsidedifyousawitstraight-on.So,Ifixedthat.AndIchangedthecurveofherback.Ihadittoocurvedandshewasstarting
tolooklikeshehadahumponherback.Iadjusteditsotherewaslessofherbacktobeseen,butwithoutlosingthecurvepresentthere.Youcannowseethebackcurvingdowntothehips,wherethedirectionreversesanditcurvesoutwardtothehip.I’malsoplayingwiththeexpressionalittlebit.Themodel’seyesarealmost
I’malsoplayingwiththeexpressionalittlebit.Themodel’seyesarealmostclosed,andinanattempttoredrawtheeyes,Iendedupwithadoublelinethatstartedreadingtruerforme.It’soneofthosesituationswhereI’mdrawingnotwhatIsee,butwhatIfeelfromthepose.Themodel’seyesaren’tclosed,butAmazonia’snowwillbe.
8InkIinkonlayoutpaperforthemostpart.Itapethepencilstothebackofthepaperandputitonmylightbox.ThiswayI’mworkingonacleansheetofpaperwithnopencilsonitatall.It’llsavemethestepoferasing.Iinkmostlywithabrush,butIalsouseMicronpensandaFrenchcurve.I
abusemyMicronsandbeardownonthemwhileIwork.Ithinkitshortenstheirlifespan,butitaddslifetotheline.
lifespan,butitaddslifetotheline.Acartoonystylerequiresaneconomyofline.Whenyou’rekeepingitsimple,
everylinehastoberight.IfIwereworkinginamorerealisticstyle,Icouldusealotmorelinestodefinetheshapes.Instead,everylinehastobeplacedjustrightandthemorelinesonawoman,theoldertheylook.Sodefineyourshapesinthesimplestwaypossible.Amazonia’sentirerightarmisdefinedthroughthecontour/exteriorlines,with
theexceptionofalightlineindicatingpartoftheshoulder.Therearemusclesoverlappingatthebendofthearm,butnoneofthemareseen.It’sindicatedfromtheoverlappingofthelinesneartheelbowwhereyoucanseetheupperarmshapegoesinsidetheforearm.Thecurveoftheabdominalmusclesleadingintothepelvisisindicatedwitha
coupleoflinesleadingintothebelt.Thishelpsshowtheleftlegasaseparateobject,ratherthanhavingthemblendtogetherandreadingasasolidshape.
2011Amazonia©copyrightThomZahler
9ColorIworkina“cutcolor”animatedstyle.Itreallyhelpsdefinetheshapeofthefigure.Theshadowonthetorsostrengthensthecurvingthere.Andleavingthehighlightonherrightleghelpsgetabendtoherlegandclarifythatshapeaswell.Mylaststepwasaddingthecurlsinherhair.WhenIfirststarted,Iwouldink
theselinesinbrush,thenscanandreversethem.I’vegottenconfidentenoughwithmygraphicstablettomakethosekindoflinesdirectlyonthecomputer,soInowaddthemrightasIcolor.Hey,that’sit.Ireallylikethewaythisdrawingcameout!
Demonstration
DrawaCharacteronaBackgroundBYPAULCHADWICK
Comicbookartistsusephotographsasastartingpointtocreateavisualstoryinoneormorepanels.Mostreferenceisphotographedinastudiowithsimulateddaylightconditions.Creatinganighttimesceneinanexteriorsettingrequires
daylightconditions.Creatinganighttimesceneinanexteriorsettingrequiresimaginationandmaybesomeadditionalphotoreference.
1FindYourPhotosThemodelhereisinastriking,dramaticposefromaslightlylowpointofview,whichgivesherasenseofimposingpower.Notethestronglightcomingfromtherightside.
2RoughaSketchMakesomeroughsketchlinestogetasenseofperspectiveandproportion.Don’tworryaboutgettingtheposeperfectatthispoint;youarejusttryingtoseehowthesepicturescanbemerged.Thefigureandthebackgroundexistintwodifferentthree-dimensionalworlds,andallyouhavetoworkfromaretwo-dimensionalrepresentationsofthoseworlds.Figureouthowfarthispersonisfromthebuilding.Basedonthewidthofthesidewalkandthephotographer’spositioninthestreet,thispersonwouldbeatleast30feet(9m)fromthebuilding.Theheadisplacedslightlyhigherthantherooflinetokeepthefocusonthecharacter.Don’toverlookopportunitiestochangehairandclothing.
3TightentheSketchBegintighteningboththebackgroundandthefigure.Usearulertocreatetherigidlinesofthebuilding.Addrepeatingelementssuchaswindowsanddoors;theirangleshelpcreateasenseofdistanceandperspective.Theperspectivelinesradiatingfromthepeakandcornerofthebuildingpointtothecenteroftheimage,whichdirectstheeyetothefigure.Addsmalldetailstothebackgroundthatwilladdrealismwithoutdistractingfromthevisualstory.Addcostumedetails.Snapsandbuttonsmakenicerepeatingimagesonyour
character.Whenaddingbeltsandholsters,besuretofollowthecurveofthehips.
tipOnaprettyfemale,delineatethenoseaslittleaspossible.Keeplinesofftheface;infact,letthefacegetwashedoutalittle,becauseeverylinecanlooklikeawrinkle.Ifyouaredrawingayoungwoman,neverdrawthelinethatcomesfromtheedgeofthenosedowntothemouth;thatlineaddsyearstoacharacter’sappearance.
4InkItArtistswhoinktheirownworkcanbeloosewiththeirpencils.Here,Iwentfromloose,fluidpencilsrightintothefinalart.Useabrushtogetanicelineshapeandcurve.Afewboldbrushstrokesmaketheskylookimposinganddark.Thecharacter
nowhasaneeriemoonlitappearance,whilethebackgroundseemsforeboding.Afewwell-placedinkstrokesonthefigureshowthedirectionofthelight,
whichcomesfromtheupperright.Addsmalldetailstothebackground.Beatthebuildingupalittlewithstainsandmissingchips.Thesedetailsaddtotheoverallrealismandmoodwithoutdistractingthereader.
realismandmoodwithoutdistractingthereader.
TECHNIQUE
InkingwithabrushStartfromthethinendofthelineandthenthicken.Practicedifferentmotionsuntilyougaintheproperbrushcontrol.Tryinkingthestroketowardthebaseofyourhandratherthanawayforgreatercontrol.
Demonstration
EvolutionofaCoverBYJGJONESWITHCOVERDESIGNERTERRIWOESNER
Weallknowwe’renotsupposedtojudgeabookbyitscover,butthat’swhatpeopledowhentheybrowsebookstoreshelves.Forthisproject,IMPACTBooksneededcoverartwithattention-grabbingaction,colorandenergy.We
Booksneededcoverartwithattention-grabbingaction,colorandenergy.WeknewsuperstarcoverartistJGJoneshadtheartisticstoppingpowertohelpthisbookleapofftheshelves.Inthislesson,JGJonesgivesyouabehind-the-sceneslookathissketches,
studiesandnotes,whileBuddyScaleraandIMPACTdesignerTerriWoesnersharetheirrecollectionsandobservationsaboutthecoverdevelopmentprocess.
1TERRIIaskedJGtochoosetwoofBuddy’sphotostouseasthebasisforapieceofdynamiccoverartthatwouldengagethereaderatfirstglance.JGpickedthesephotosofPamela.Intheswordphoto,shegrabstheviewerwithherdirectgazeandaggressivepose.JGthoughtthecapefromtheotherphotocouldbeincorporatedtocreatecontrastandvisualinterestinthebackground.Iagreedthattheconceptwascover-worthy.IaskedJGforartwithascience-
fiction/fantasytheme.
2BUDDYIfyouwantthesubjectofaphototolookstronganddominant,youshootfromalowangle.That’swhatIwasdoinghere.
3BUDDYJGflopstheimagebackandforthusinghiscomputer.Inthisearlysketch,heusesbothphotosbackwards,testingwhethertheimage“reads”morenaturallythatway.
4TERRIThisroughthumbnailsketchletmeseehowJGwasplanningtopullthetwophotostogether,sothatIcouldgivehimmyinputbeforehestartedtoinvestalotoftimeincreatingfinalart.
5TERRIJGsaidthisconceptwasinspiredbythewarriorwomenonvariouscoversfromthescience-fictionclassicJohnCarterofMarsseries.Here,youcanseehimstartingtoaddcostumeelementsthatareinthatspirit.Forthissketch,JGfloppedthephotosbacktotheiroriginalorientations.Ina
minute,you’llseewhy.
6BUDDYAsJGtakesPamela’scoreposeandstartstoaddpropsandcostume,hedoesn’tjustpastethemonlikepaper-dollclothes;hewrapsthemaroundthefigure.Thescabbardoftheswordhangsbehindtheleg;thebraceletscurvearoundthewrists;thestrapsandchainsdrapearoundthehips;theloinclothpartlydisappearsbehindtheleadingleg.Allofthesedetailscontributedepthandrealism,enhancingoursenseofthischaracterasa3-Dwoman.
7BUDDYPamelawasinmotionwhenbothofthereferencephotoswereshot.JGdoesagreatjobofaddingvisualcuesthatcapturethissenseofmotion:theflowingcape,theflyinghair.
8BUDDYAfigureinmotionisinherentlyoffbalance.IfyoudrawthelinesofPamela’sframeonthephoto,yougetsubtlecluesastohowshewasmovingwhenIsnappedthepicture.Inthispose,Pamelawaspretendingtoduelwithanunseenopponent.Eventhoughherbodyandshouldersaretilted,shekeepshereyelevelalmostperfectlyhorizontal,whichistypicalofpeoplewithgoodphysicalcontrol.
9BUDDYWhenIphotographedPamela,Iwasusingmorethanonelight.Themostintenselightwascomingfromherleft.Additionalstudiolightsmadeiteasiertoseedetailsthatwouldotherwisehavebeenlostintheshadows.Thesketchaboveclearlyshowsthedirectionofthelightsource,eventhough
JGhadnospecificknowledgeofhowIhadsetupthephotostudio.
10TERRIJGscannedthecoverofthefirstbookinBuddy’sseries,PeopleandPoses,anduseditasatemplateforamock-up.Ididn’taskhimtodothis;hejustdidit,andIwasthrilledbecauseitmadeitmucheasierforeveryoneatIMPACTtovisualizethefinalproduct.Alsoatthisstage,JGstartedpaintingwithwatercolorstoshowmethecolornoteshehadinmind.Thefirstcoverintheseriesfeaturedreferencephotosinthelowerleftcorner.
Forconsistency,Iwantedtokeepthephotosatthelowerleftforthiscoveraswell.SoJGfloppedtheposeagain,backtotheoriginalorientation,tomakeroomforthephotos.
11TERRIYoucanseeJG’shandwrittennotesinthemarginshere.Thecreaturesandotherbackgroundtoucheswereallhisidea.IwasexcitedtoseeJG’svisionfortheentirepiecestartingtomaterialize.
12TERRIIreallylikedtheredtonesJGusedfortheloincloth,andIaskedhimtorepeatthosecolorsinthebackgroundoftheimage.
13TERRIThered-orangepaletteworkedwellwithPamela’swarmskintones.Thehintofpurpleamidtheorangeintheloinclothwasanexcitingcontrast.
14BUDDYAsJGroughsinthebackgroundcreaturesandotherelements,thecoverisgainingdepthandcontext.Withjustafewcarefullychosendetails,heiscreatingacompleteandbelievableenvironmentforthecharacter.
15TERRIBuddy’sstudiofloorwasofcourseflat,yetjustbycurvingthoselongshadowsintheforeground,JGwasabletomakethecharacterlookasifsheisstandingonunevengroundorevensteppingoversomething!
16TERRIThecolorsinthestudieswereprettymuted,soIaskedJGifhecouldbrightenthemupalittleforthefinal.Iwasimpressedbyhowmuchpunchhewasabletoaddwithwatercolors.Tomakethecharacterworkwiththered-and-orangetheme,JGchangedthe
colorofthecharacter’shairfrombrunettetoblondesothatitwouldn’tgetlostinthebackground.
17TERRIBooksinaseriesneedtohaveaunifieddesign,yettheyalsoneedtobeeasilydistinguishedfromoneanother.ThegreentitletreatmentinJG’smock-upscamefromthefirstbookintheseries.Forthesecondbook(thisone),IknewIwouldbechangingthecolorbehindthetitle.IallowedJG’sartworktoguidemychoice.Thepurplethatstartedoutasjustahintofcolorintheloinclothbecameapowerfulyetfemininecolorforthetitletreatment.
Demonstration
CreatingPitchArtBYDAVIDHAHN
IneededartforacomicstoryIwaspitchingaboutacoupleofjuveniledelinquentsontherun.Inoneofthekeyscenes,theboyisabouttorobadrugstoreandthegirlthinksheshouldn’t.Theyhaveabigfightaboutit,andthe
drugstoreandthegirlthinksheshouldn’t.Theyhaveabigfightaboutit,andtheboydecidestodoitanyway.Thisisapivotalmomentinthestory,soIdecidedtouseitforthepitchart.Ichosethetwophotosbelowbecausethegirlcharacterisasmokerandthe
boycharacterisholdingagunandturningawayfromthegirl.
1ConstructtheFiguresFirstIcomposethedrawinginmyhead.Then,usingaregular.05HBmechanicalpencil,Idosketches.Iusuallyconstructfigureswiththeblock-and-cylindermethod,butforthemalehere,Iwentwithahybridofskeleton/cylinder.Ifindthatmethodhelpfulwhenafigureisgoingtobedressedinbaggyclothing.Themodelinthephotolookslikeatough,ass-kickingtypeofguy.My
characterismoretrepidacious,soIneededtotonedowntheposebydroppingthearmsabitanddeflatingthechest.Thefemalemodelconveysjusttherightattitudeformycharacter.Judgingby
theperspectivedistortioninherphoto,itlooksasifthecamerawasabouttwofeetfromherhead.Formyillustration,Ineededthe“camera”tobepulledbackabitmore,soIdidn’tdrawtheperspectivedistortion.
2FleshOutSketchesIputthemeatandclothingontheframes,andthecharactersareborn.WhenIdrawthefacialexpressions,tomethefirstfewpencilstrokesIlaydownarethetruest,soIalwaystrytosticktothosewithminimalerasing.
3SketchBackgroundIdrawthebackground,asimplealleybehindadrugstore,separatelyonapieceofscratchpaper.
4CreateaCompositeIscanthefiguresandthebackgroundasgrayscale300ppiTIFFs,thendropinthefiguresoverthebackground.ThenImovethefiguresaroundandscalethemuntilIgetexactlythecompositionIwant.Ialsolookforerrors.Icanseethatherlefthandistoobigandhisneckistoolong,soIfixthosedigitally.OnceIamhappy,Iprintthecompositeimageasabluelinedrawing.
5MaskandInkImaskoutstarsintheskyareausingspattersoflatexmaskingfluid.ThenIink.IlikeZebraHyperJellgelpens;forfinerdetails,IuseHi-TecPilotpens(Japanese)oraPigmaMicron04pen.Finally,Ipeelawaythemaskingtorevealthestars,andthepieceisdone.
Demonstration
UsePhotoReferencetoCreateaCartoonishFigureBYFERNANDORUIZ
Referencephotosareagreatresource.Usethemanytimeyouhaveashotthat
Referencephotosareagreatresource.Usethemanytimeyouhaveashotthatyoucan’treadilyenvisioninyourmind’seye.Don’tbeafraidtoputavisualinfrontofyourself.It’sperfectlyacceptabletocombinereferences.Asingleshotmaynothaveall
theanswersyou’relookingfor.Plus,it’salwaysagoodideatobeasvisuallyfamiliarwithyoursubjectaspossible.Multiplephotosofthesamemodelhelpyouunderstandhowthatpersonmovesandexistsintherealworld.
1FindYourPhotosInthephotoattheleftabove,thepositionofthemodel’storsoandtheup-shotonherfaceareveryinteresting.(Let’sfaceit,upshotscanbedifficult.We’renotusedtolookingatpeoplefromunderneaththeirjaws.)Thelowerbodyonthispictureisabittooanimated,though—we’redrawinganordinarygirlhere,soshe’snotsupposedtolookasagileasSpider-Man.Theslightforeshorteningonthelegsandarmsintheotherphotoisreallycool.Likeupshots,foreshorteningisoneofthoseaspectsofartthatwilllookglaringlywrongifnotdoneexactlyright.Usereferencetogaugeyourselfandmakesureyou’redoingitproperly.
tipLotsofartistsusethe“gestureline”concepttogettheirdrawingsstarted.Inadditiontotheroughonthispage,checkouttheseotherexamples:•HowToUseAPhotoReference•WorkFromStudies•DrawingEnergyThesketchingstylesaredifferent,butagesturelineisattheheartofallofthem.
2RoughItNowlet’sgettotheactualdrawing.Startwithapieceofwhitetwo-plyBristolboardanda0.3mmmechanicalpencilwithanHBlead.Thisthin,medium-
densityleadwillgiveyouafine,lightlinefortheinitialstageofthedrawing—theunderdrawing.Verylightlysketchthecriticalgesturelinesthatdictatethepose:theshoulder
line,thespinelineandthehipline.Addlinesthatfollowthemovementsofthelimbs.Createafacegridshowingthecenterlineofthefaceandthelevelsoftheeyes,noseandmouth.Allofthisistherawarmatureuponwhichyou’llbuildthefigure.
roughinginwithbasicshapesInthissketcharecertainlinesthatindicatethedimensionalityoftheform,suchastheovalathiplevel.Someartiststakethisastepfurtherandusecubes,spheresandcylinderstoroughintheform.Foranexampleofthis,lookatstep3ofSeanChen'sdemo.
3AddFormNowyou’rereadytostartfleshingoutthefigure.Atthisstage,theartistisakintoasculptorwhoisreadytopackclayonhiswirearmature.Stilldrawinglightly,sketchsomesimplifiedformsoverthe“stickwoman”youdrewinstep
2.Don’tbeconcernedwithdetails,anatomyorevenproportions.Theywillcomelater.Rightnow,justgiveyourlinesamorethree-dimensionalform.Remember,atthisstage,you’restillkeepingyourlineslight.
4AddDetailsAtthispoint,you’reheadingtowardthefinishline.Makeadjustmentstotheposeandproportionsofyourfigure.Nowswitchtoaharder0.5mmpencilthatwillgiveyouaheavierline.Thiswilloverpoweryoursketchyunderdrawingandletyoutightenuptheentiredrawing.Cleanupyourfigureandaddfacialdetails,clothingandanatomicaldetail.Thisisasimplified,cartoonishstyle,sodon’t
overdothedetailorover-renderthefigure.Also,don’tbeslavishlyprecise.Takelibertieswiththemodel’sface,hair,proportionsandotherdetails.Thiswayyoucanmakeherolderoryoungerasneeded,andyoucanadjustherfacialexpressionaccordingly.
5FinishUpContinuetotightenlinesandrefinedetails.Sinceyou’rekeepingthisshotsimple,don’tworryaboutshadowsbeyondtheonecastinthebackground.
Toneswillbedeterminedlaterbythecolor-ist.PlaceXmarksinthemiddleoftheshadowshapetoindicatethattheinkershouldblackentheentireshadow.Maintainyourperspectiveconsistentlybetweenthefigureandthe
background.Thisisespeciallyimportantifyou’reusingabackgroundfromyetanothersource.Nowforthefinaltouch:Signit!
abouttheartists
MITCHELLBREITWEISERMitchellBreitweiser’sarthasappearedinAgentX,Drax,PhantomJackandotherindependenttitles.Hishighlytexturedartshowsauniqueandoriginalvisionforthefuturedirectionofcomics.JustafterfinishingmyrunonDeadpool,Iwasaskedtowriteaninventory
storyincasesomeonemissedadeadline.Thestorysatinadrawerforoverayearuntilonedaymyeditortoldmetheyweregoingtodustitoff.TheartistwasMitchell,whoturnedoutsomegorgeousart.Thebooklookedgreatbutmadealmostnosenseintermsofthenewcontinuityforthecomic,whichhadbecomesomethingcalledAgentX.ImetMitchellataconventionandsomehowheforgavemyawfulscript,andwe’vebeenfriendseversince.
www.mitchbreitweiser.com
SEANCHEN
SeanChenisaleadingartistforMarvelComicswithcreditsonWolverine,XMen,IronMan,Elektraandothertitles.HebuiltadedicatedfanbaseonhisworkatValiantComicswithX-OManowarandBloodshot.Histightlineworkanddetailedbackgroundsarelovedbyfansandenviedbyotherartists.IfirstmetSeanin1993whenIwaswritinganarticleaboutValiantComics.
Hewasquietandreserved,butwheneverhetalkedhealwayshadsomethinginterestingtosay.Despitehisobvioustalenteventhen,Seanwasandstillisrefreshinglyhumbleandunaffected.SeandrewthecoverformyCD-ROMVisualReferenceforComicArtists:Vol.1,whichisoneofthereasonsitwassosuccessful.
www.seanchen.com
PAULCHADWICKEisnerAwardwinnerPaulChadwickisoneofthemostsuccessfulandinfluentialindependentcomicbookcreators.AsthewriterandartistonConcrete,Paulhassetthegoldstandardforwhatcanbeaccomplishedincomicbooks.Hisworkhasappearedindozensoftitles,includingDazzler,Deadpool,GiftsoftheNight,TheWorldBelow,TheMatrixandothers.Paulcontinuestoworkincomicbooks,buthasalsobranchedoutintovideogamesandfilms.BeforeIreallyknewPaulChadwick,IwasafanofConcrete.Iwaswriting,
producingandhostingasmalltelevisionshowcalledComixVision,andattheendofalmosteveryepisodeIwouldtelleveryonetogoreadConcrete.Itwasn’t
untilseveralyearslaterthatIgottointerviewPaul,whoisoneofthenicest,smartestguysyou’llevermeet.
www.paulchadwick.net
AmandaConnerAmandaConnerisoneofthemostsoughtafterartistsworkinginthecomicbookindustry.Heruniquestylebringsexpressionandlifetohercharacters.IfirstmetAmandawhenshewasdrawingGargoyles,butyoucouldtellbackthenthatshewasgoingtobeasuper-star.Asexpected,hercareerskyrocketedandshecontinuestodeliverintelligent,beautifulartoneveryoneofherprojects.MyfavoritesincludeThePro,PowerGirlandTerra.I’mdeeplygratefulforthisfantasticcoverwithstunningcolorsbyPaulMounts!ItfulfillsalongtimegoalofworkingwithAmanda,aprofessionalwhoalsohappenstobeapersonalfriend.
SeemoreAmandaat:paperfilms.com
SeemorePaulMountsat:www.bongotone.com
DAVIDHAHN
DAVIDHAHNIfirstdiscoveredDavidHahnthroughPrivateBeach,asmallindependentcomichewaswritinganddrawing.Iwassoimpressedwithhisconfident,cleanstorytellingstylethatIreachedouttohimimmediately.TogetherwepitchedDConaCatwomanstory.Unfortunatelyitdidn’tgetpickedup,butDavidwentontoco-createBiteClubforVertigo,whichshowcasedhisartwork.IfinallygotthechancetoproducesomethingwithDavidwithhisartlesson.
davidhahnart.com
JAMALIGLEWhenIfirstdiscoveredhiswork,JamalIglewasayoungkidbreakinginonarespectedindiecomiccalledBlackjack.Eventhen,hehadanincrediblesenseofenergyandmotion.JamalisknownforhisinfluentialartonGreenLantern,NewWarriors,Firestorm,Nightwingandhisownco-createdbook,Venture.He’sdrawnhundredsofpagesforMarvel,DCandImage,yetheremainsaccessibletohisfans.Earlyinhiscareer,ItriedtosnagJamalforasmall,indiecomicIwantedtopublish,butourschedulesdidn’tcooperate.FortunatelywegottoworktogetherontheSuperheroteamwhereyou’llseeJamalgoaboveandbeyondthecallofduty.Iaskedforadrawingofonewoman,andJamalgavemeanentiresuperteam.
jamaligle.com
MATTHALEYMattHaleyisthesuccessfulco-creatorofG.I.SpyandthecoverartistforDCComics’Firestorm.HisworkhasappearedinGen13,Batgirl,TombRaider,WonderWomanandothercomics.Inadditiontohisongoingworkasacomicbookpenciler,Matthasextendedhisartportfoliointovideogamesandcommercialart.Inthemid-1990s,Mattwasworkinginapopularartstudiowithseveraltop
comiccreators.HecalledmewhenIwasatWizardtoseeifwewantedtodosomepromotionalstuffonWizardOnline.Mattwasandstillisabundleofartisticenergy.He’sthekindofguyyoucantalktoforhoursaboutlife,comics,women—justaboutanything.
www.matthaley.com
JOSHHOWARDJoshstormedtheindiecomicscenewithhiscreator-ownedDead@17,inwhichheskillfullyblendedmodernhorror,actionandgorgeouswomenallinonefunstory.EverythingJoshdrawsissofluidandnatural—cartoony,yetrootedinrealism.It’samazingwhatheaccomplisheswithafewwell-placedlines.He
seamlesslymeshesseveralartstylestoproducealookthatisuniqueandexciting.I’dnevermetJoshpriortothisproject,butIjumpedatthechancetoseehowhewouldinterpretmyphotographs.Checkouthislessontoseehowhecombinesfunanddangerinonesubtleillustration.
joshhoward.typepad.com
JGJONESJGJonesisoneofthemostexcitingandinfluentialcoverartistsworkingincomicstoday.Hisarthasappearedoncountlesscovers,includingDC’s52,WonderWomanandY:theLastMan;Marvel’sMarvelBoy;andWizardmagazine.Thedepth,textureandenergythathebringstohisartworkaresimplystunning.Hisuseofcolorbringspowerandimpacttoeveryimage.I’vebeenfortunateenoughtoknowJGmanyyears,soI’veseenhisworkdevelopandmature.HeisatruegentlemanandoneofthenicestpeopleI’veevermetinthisbusiness.Checkouttheprogressionofhiscovertoseehowheworkshismagic.
www.jgjones.com
RAFAELKAYANAN
RAFAELKAYANANEversinceIsawhisworkonConantheAdventurer,I’dbeentryingtotrackdownRafaelKayanan.HisincrediblydetailedworkcapturedthetrueessenceofConan’ssavageferocity.Iwasfortunatethathisscheduleallowedhimtocontribute.Thearthegeneratedforthisprojectshowsthedepthandcomplexityofhiswork.
www.rafaelkayanan.blogspot.com
MIKELILLYIfirstsawMikeLilly’sworkwhenIwashiredtowritealicensedcomicbookpropertyforafamousactor.Mikewastheartist,andIwasblownawaybyhisdynamicpencilsandfluidstorytellingstyle.Unfortunatelythebooknevercameout,butIsavedthosepreciousphotocopies.Ourcareerstookdifferentdirections,butIalwaysadmiredtheartMikecreatedforMarvel,DC,Harrisandothers.Thesedays,hiscareerisreallytakingoff,andhisworkkeepspoppingupeverywhereaspeoplediscoverhistalent.Checkouthisartdemotoseeforyourself.
www.mikelilly.com
GREGLAND
GregLandisthered-hotartistwhoseworkhasappearedoncoversandinteriorsforX-Men,Spider-Man,Wizardandmore.Histexturedanddetailedcover-artstyleisevenmoreamazingwhenyouconsiderthathecandosequentialpagesandmaintainthesamequality.Greg’sarthasappearedindozensofcomicsincludingBirdsofPreyforDC.NotuntilhisworkonSojournforCrossGendidpeopleappreciatethefullpotentialofGreg’sartwork.I’dseenGreg’sartandIreallywantedtoshowhimmyvisualreferenceCD-
ROMs.Itriedseveraltimestomeethimataconvention,butitwasalwaystoobusy.FinallyImanagedtogetintouchwithGregafteraconvention,andwehadagreattalkaboutcomics,artandphotoreference.He’saguywhoreallypaidhisduestobreakin,soIhavealotofrespectforhim.
TERRYMOORETerryMooreisanaccomplishedandreveredcomicwriter-artist.Hisaward-winningseriesStrangersinParadisestandsasoneofthefineststoriesevertobepublishedinthemedium.I’dfirstdiscoveredTerry’sworkwhenSiPwasbubblingupasanundergroundsensation.Eventhen,hisartandwritingcouldstealyourbreathaway.Asyoureadhislesson,youwillunderstandwhyTerryisamodernmasteroftheartform.Herevealshowhenotonlydrawsthemodelbutactuallythinksaboutherasaperson.I’veknownTerryformanyyears,andI’mthrilledandhonoredtohavehimbepartofthisproject.
MICHAELOEMINGWhenIfirstmetMichaelAvonOeming,hewasstartingtogainattentionwithhisindyseriesShipofFools.Icoveredhisworkonline,butIknewthathewasarisingstar.Afewyearslater,heburstintothemainstreamwithever-maturingworkonPowers,whichledtoworkonThorandRedSonja.He’sagenuinelyniceandcharmingguywhohelpedmeoutwithaterrificartlesson.Checkouthowhecanturnanordinarywomanintoamalesupervillain.
michaeloeming.com
FERNANDORUIZFernandoRuizhasbeendrawingArchiecomicsforovertenyearsandshowsnosignofstopping.Hisclean,fluidstorytellingstyleisperfectforthefun-lovin’gangfromRiverdale.Foroverfifteenyears,hehasbeenshapingthenextgenerationofartistsasastaffteacherfortheJoeKubertSchoolofCartoonandGraphicArtinNewJersey.ImetFernandoatacomicbookconventionwherehewasbusycreating
gorgeouscolorsketches.Hehasanamazingsenseofcoloranddesign.Weseeeachotheratconventionsandtalkonthephone.He’sareallymellow,cool,generousguy.
generousguy.
WILLIAMTUCCIBillyTucciburstontothecomicbookscenewiththered-hotcomicbook,Shi,ledBillytolaunchadozenothercomicbooktitles,aninteractivecomicbook/gamewithcharactersfromMarvelandDCComics,andmoremerchandisethanyoucanpossiblyimagine.BillywroteanddirectedtheveryfunnyshortfilmSomeTroubleofaSeRRiousNaturewhichheself-publishedthroughhiscompanyCrusade.ThesuccessofShiwhichwonaprestigiousNewYorkfilmaward.ImetBillyataconventioninPhiladelphiawherehewasdebutingShi.The
minuteIsawhisart,Iknewhewassomethingspecial.We’vestayedfriendsthroughallthecrazyupsanddownsofthisbusiness.
www.crusadefinearts.com
MARKSMYLIEIwasworkingatWizardwhenanunusuallywell-designedindependentcomiccalledArtesiacrossedmydesk.Icalledtheartist,MarkSmylie,andwedida
shortfeatureonthisamazingpaintedcomicthathewasself-publishing.Markwasthen,asheisnow,asmartpublisher,andhisArchaiaStudiosPresspublishingventurecontinuestogrow.Markdoesn’tdoquiteasmuchartthesedaysasheusedto,butyoucanseefromhisartlessonthathecertainlyhasn’tlosthistouch.
www.artesiaonline.com
THOMZAHLERThomasZahlerwritesanddrawsaverycleverandcompellingcomicseriescalledLove&Capes.It’sreallyquiteamazingthatnobodybeforeevercameupwithagenuineromanticsitcomwithsuperheroes…andthatThomdoesitsowell.WhatIlikeaboutThom’sworkisthatheknowsexactlyhowmuchtoleaveintotheartandstory,andwhattoleaveout.Checkouthislessontoseehowheusesphotoreferencetocreateenergeticcartoonsandcomiccharacters.
www.thomz.com
AbouttheAuthor
BuddyScaleraisawriter,editorandphotographer.HeistheauthorofthepopularComicArtist’sPhotoReferencebookseriesforIMPACTBooks,andheisalsoknownforhisbest-sellingseriesofphotographyCD-ROMs,VisualReferenceforComicArtists.Hismostrecentwork,CreatingComicsFromStarttoFinish,isavailablefromIMPACTBooks.Hehaswrittenformanymainstreamcomics,includingMarvelComics’
Dead-pool,AgentXandX-MenUnlimited,andhealsocontributedtoMarvel’sall-agesseriesLockjawandThePetAvengers.Ontheindieside,hehaswrittenmanycomicsincludingRichieRich,Elvira,andComiculture.Overtheyears,Buddyhasself-publishedcomicbooksthroughAfterHoursPress,includingNecrotic:DeadFleshonaLivingBody,7DaystoFame,Bonita&Clyde,andParts:TheSitComic.Buddy’swrittenover100articlesonthetopicofcomicsforWizard,Comics
Buyer’sGuideandSpinOnline,amongothers,andhewasthecreatorandeditorofWizardEntertainment’sWizardWorldandWizardSchoolwebsites.Asaneducator,Buddyhashostedandorganizedworkshopsandpanelsat
majorconventionsinlocationsincludingNewYorkCity,NewJersey,Chicago,
majorconventionsinlocationsincludingNewYorkCity,NewJersey,Chicago,LongBeach,andPhiladelphia.Visithiswebsiteatwww.buddyscalera.com.
AcknowledgmentsToPamWissmanYou’vedevelopedandnurturedawonderfulcollectionofuniqueandinspirationalbooks.Thankyoufortakingachanceandlettingmecontributetoyourworld.Iamhonoredandgrateful.
ToAmy“TheProfessor”JeynesThankyouguidingmethroughtheoriginalbooks.Withoutyou,Ialmostcertainlywouldhavegottenlost.
ToVanessaWieland&ClareFinneyThankyoufortheongoingencouragementandpatience.Youbothworkedhardtokeepthisprojectontrack.
ToAmandaConnerThankyouforthisamazingcover.I’msogladthatwefinallygottodosomethingtogether.
And,ofcourse,totheactorsandmodelswhogenerouslygavetheirtimeuntilwegottheshots:LoukasPapasNormanA.KellymanHaydeeUrenaLiamDevine
ChanelWigginsZoeLabellaPamelaPaigeVanessaCarrollVeronicaBondRoryQuinnJarrettAlexanderAnthonyCatanzaroMarkA.S.DolsonRidadaEliasWilliam
Paris
ColossalCollectionofActionPoses.Copyright©2011byBuddyScalera.ManufacturedinChina.Allrightsreserved.Nopartofthisbookmaybereproducedinanyformorbyanyelectronicormechanicalmeansincludinginformationstorageandretrievalsystemswithoutpermissioninwritingfromthepublisher,exceptbyareviewerwhomayquotebriefpassagesinareview.PublishedbyIMPACTBooks,animprintofF+WMedia,Inc.,4700EastGalbraithRoad,Cincinnati,Ohio,45236.(800)289-0963.FirstEdition.
OtherfineIMPACTBooksareavailablefromyourfavoritebookstore,artsupplystoreoronlinesupplier.Visitourwebsiteatwww.fwmedia.com.
EditedbyVanessaWielandandMaijaZummoProductioncoordinatedbyMark
Griffin
MetricConversionChartToconvert to multiplyby
Inches Centimeters 2.54
Centimeters Inches 0.4
Feet Centimeters 30.5
Centimeters Feet 0.03
Yards Meters 0.9
Meters Yards 1.1