comic & fantasy artist’s photo reference: colossal collection of action poses

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