How to Draw Super-Powered Heroes Vol. 1

Antarctic Press Presents: How to Draw Super-Powered Heroes Supersize TPB #1, June 2009, is published by Antarctic Press, 7272 Wurzbach, Suite #204, San Antonio, Texas 78240. FAX#: (21 0) 593-0692. Text© Chris Allen, David Hutchison and Brian Denham. Art© Chris Allen, Brian Denham, Ben Dunn and David Hutchison. All other material is TM and© Antarctic Press. No similarity to any actual character(s) and/or place(s) is intended, and any such

similarity is entirely coincicental. Nothing from this book may be reproduced without the express written consent of the authors, except for purposes of review or promotion. "That bullet was probably the best meal they had all year." Printed and bound in Canada.

\

GETTING

STAQTEO!

WHeN YOU STAQT OQAWING, ALL YOU QeALLY NeeO IS PAPeQ ANO A PeNCIL. I f YOU'Qe JUST OQAWING fOQ

fUN, feeL fQee TO SCQIBBLe WHeQeVeQ WITH WHATeVeQ YOU feeL LIKe ANO OON'T WOQQY ABOUT

THIS PAQT, BUT If YOU WANT TO Be A BIT MOQe PQOfeSSIONAL, HAVING THe QIGHT TOOLS IS KeY.

PeNCILS

THe MOST COMMON TYPe Of PeNCIL IS THe SIMPLe #(;) PeNCIL.

AQT STOQeS QefeQ TO THIS TYPe AS AN HB. THe HAQONeSS Of THe GQAPHITe VAQieS WIOeLY IN AQT PeNCILS, fQOM GB (VeQY SOfT)

TO GH (VeQY HAQO).

MeCHANICAL PeNCILS PQOVIOe A CONSISTeNTLY SHAQP POINT

BUT OON'T ALLOW fOQ SOMe Of THe QOUGHeQ QeNOeQING.

THeQe'S A WIOe VAQieTY Of PeNCILS. TQY GeTTING

ONe Of eACH TO fiNO OUT WHICH YOU PQefeQ.

eQASeQS

We

00

NOT QeCOMMeNO THe \

PINK THING AT THe eNO Of YOUQ

l

AVeQAGe #(;)PeNCIL. IT TeNOS TO •

Be Of QeALLY LOW QUALITY ANO

LeAVeS NASTY SMeAQ MAQKS. A

HIGHeQ-QUALITY eQ ASeQ, LIKe A "

KNeAOeO OQ VINYL eQ A SeQ, \

\

GeTTING

STAQTeO!

PeNS

AQT PENS COMe WITH TIPS Of Olffek>eNT s1zes ANO SHAPes,

MEASUQEO BY THe MILL.IMETEQ.

THEY OfTEN COMe IN PACKS Of

fOUQ OlffEQENT SIZES:

.001

,

.01,

.03, ANO .OS, WHICH IS PQETTY

MUCH ALL THe VAQIETY YOU Neeo fQOM A fELT-TIP PEN. BALLPOINT PENS, LIKE THOSe

USEO fOQ WQITING, AQE NOT

QECOMMENOEO, oue TO THe KINO Of INK THEY USe ANO THe

WAY THe INK fLOW WOQKS. CAQTQIOGe PENS HAVe

QEPLACeABLe INK CAQTQIOGes,

BQUSH PENS MAKe IT LOOK LIKE

YOU PAINTEO IN YOUQ INK L.INES,

QAPIOIOGQAPH™ PENS GET LINES

A CONSISTENT SIZE, ANO ... WeLL,

THEQe'S JUST AN INCQEOIBLE VAQIETY. ST AQT OUT WITH JUST SOMe BASIC fELT -TIP PENS ANO

see HOW YOU LIKE THOSe BEfOQe YOU TQY ANY Of THe

MOQe AOVANCEO STUff.

BQUSHeS

TO GET A COMPLETELY OlffEQENT EffECT IN YOUQ WOQK, OQ If YOU

WANT TO use w ATeQCOLOQS,

YOU MAY WANT TO TQY BQUSHES. BQUSHeS AQE A LOT MOQe OlffiCUL T TO CONTQOL THAN

PENS, QEQUIQING MOQE PQACTICE.

L.IKE ALL OTHEQ AQT SUPPLIES,

THEY COMe IN A WIOE VAQIETY Of SHAPES ANO SIZES fOQ

OlffEQENT EffECTS ANO USeS.

1

•

'\

\

GETTING

STAQTEO!

MAQ((EQS

THe MAQKeQ HAS HUNOQeOS Of

USeS ANO IS eSSeNTIAL. fOQ eVeQY AQTIST AT AL.L. TIMeS. MAQKeQS AQe USeO TO fll..L. IN

L.AQGe BL.ACK AQeAS MOQe effiCieNTL-Y THAN A PeN CAN,

BUT CAN AL.SO MAKe A TON Of UNIQUe L.INe TYPeS THAT CAN'T Be MAOe WITH A PeN.

NIBS

NIBS AQe SOQT Of A MIOOL.e GQOUNO BeTweeN PeNS ANO BQUSHeS. THeY HAVe CHANGeABL.e TIPS THAT YOU OIP INTO INKWeL.L.S,

WITH HANOL.eS THAT AQe L.IKe A BQUSH. THeSe PQOVIOe A GQeAT

OeAL. Of CONTQOL. OVeQ YOUQ L.INeS. HOWeVeQ, THeY CAN Be MeSSY ANO QeQUIQe A BIT Of PQACTICe TO GeT USeO TO THeM.

IN((

I f YOU AQe USING BQUSHeS, CAQTQIOGe PeNS, OQ NIBS,

YOU WIL.L. Neeo A BOTTL.e Of INK TO fiL.L. THeM. ONCe AGAIN, we POINT OUT THAT AL.L. THeSe BQUSHeS ANO

SPeCIAL. TY ITeMS AL.L.OW fOQ GQeA TeQ CONTQOL. ANO VAQieTY, BUT If YOU AQe JUST BeGINNING, YOU SHOUL.O PQOBABL.Y JUST STICK WITH THe PeNS TO ST AQT.

l

•

"\

\

GeTTING

STAQTeO!

CUQVES

IT'S VeQY L.IKeLY YOU WON'T JUST Se OQAWING STQAIGHT uNes, sur A w1oe VAQieTY Of CUQVeS ANO CIQCLeS AS weu...

CUQVe TOOLS AQe A GQeAT WAY TO QeMAIN CONSISTeNT.

QULEQS

MAKING STQAIGHT L.INeS IS eSSeNTIAL. NeeOING A STQAIGHT L.INe COMeS UP MOQe OfTeN THAN

YOU MIGHT THINK, ANO HAVING AT LeAST ONe QULeQ IS eSSeNTIAL.

TQIANGLeS AQe USeO TO GeT eXACT ANGLeS, WHICH MAKeS

THeM ALSO VeQY USefUL.

TEMPLATES

1

•

THeQe AQe TeMPLATeS fOQ OQ AWING "

JUST ASOUT eVeQYTHING. THeSe \

eXAMPLeS SHOW A CIQCLe TeMPLATe ANO AN eLLIPSe TeMPLATe, 8UT YOU CAN GeT reMPLA res fOQ sr AQSUQSTS,

AS IMPOQTANT AS ANATOMY

IS TO OQ AWING THe

SUPeQ-HeQOIC fiGUQe, SO IS THe

UNOeQST ANOING Of THe

PLANeS Of THe HUMAN BOOY

.

UNOeQST ANOING WHeQe

LIGHT HITS YOUQ fiGUQe

CAN TAKe A OQ AMATIC

SHOT TO THe NeXT LeVeL!

PLANeS

_

J

HeQe AQe THe PLANeS

Of THe MALe fiGUQe

...

PLANeS

ANO HeQe AQe THe PLANeS

Of THe feMALe fiGUQe.

NOTICe THAT THe PLANeS

AQe QePQeSeNTeO BY

HAQO eOGeS ANO NOT

CUQVeO SHAPeS.

UNOeQST ANDING THAT

THe HUMAN fiGUQe

IS MAOe UP Of A

SYNeQGY Of HAQO

ANO SOfT eDGeS

MAKeS THe

OlffeQeNCe BeTWeeN

A GOOO OQAWING

ANO A GQeAT ONe.

PLANeS

HEQE IS A PLANAQ

OECONSTQUCTION Of THE

fiGUQE ON THE fQONTPIECE

fOQ THIS SECTION. NOTE

HOW

I

AM QEPQESENTING

ALL SUQfACES AS

HAQO-EOGEO

I

fLAT PLANES HEQE

I

EVEN THE ONES

I

SOfTENEO

7

"""'=

~===

=-=---:-:-:-~

He PLANeS

Of

' -

eQ

L001( AT T NeQIC

MALe

HeQe IS A

C~~SAQe

USING

~cfJsTQUCTION

THe FACe. T THIS PLANAQ

y

FACe TYPe.

PLANeS

T Al(e A

L001(

AT THIS

OQAWING. CAN

YOU

BQeAI(

OOWN

THIS

fiGUQe INTO ITS

PLANAQ COMPONeNTS?

USe THe GUIOeS IN THIS

CHAPTeQ ANO PQACTICe,

TIGHTS

THe THING TO ReMeMBeR ABOUT

OR

AWING TIGHTS IS THAT THeY

ARe eSSeNTIALLY SKIN TIGHT

SLeeVeS THAT OBSCURe THe

HARO LINeS OF THe HUMAN BOOY.

A FIGURe IN TIGHTS IS

GOING TO ReLY ON

FORM ANO LIGHTING TO

CONVeY SHAPe, AS

OPPOSeO TO A NUOe

FIGURe,

WHeRe

HARO

MUSCLe

OR SKIN FOLO

LINeS CAN Be USeO

TO OeFINe THe FORMS

OF THe FIGURe.

IT IS THeReFORe

VeRY

IMPORTANT THAT YOU

HAVe AN UNOeRSTANOING

OF THe PLANeS OF THe

HUMAN BOOY TO ORAW

TIGHTS

I

r \

\

OAQKLY COLOQEO TIGHTS QELY

MOQE

HEAVILY ON PLANES ANO

PLANAQ LINES TO CONVEY fOQM

ANO LOOK BeST

WHEN

THEY

APPEAQ TO HAVE A SHeeN TO THEM

.

TIGHTS

He12e, LIGHTLY COLOQeO

TIGHTS AQe SPAQSeLY

12eNOe12eO ANO QeLY

MOSTLY ON FOQMS TO

TIGHTS

HeQe IS AN eXAMPLe Of A

feMALe fiGUQe IN LIGHT

TIGHTS. AGAIN, I'M USING

THe PLANAQ STQUCTUQeS TO

DefiNe HeQ IN HeQ TIGHTS,

AVOIDING HAQD LINeS.

ooq

o

o

o

I'M DESIGNING A CHAQACTE:Q

WITH LOW

-

LE:VE:L MAGNETIC

ABILITIES HE:QE:. THE: CONCEPT

!

HAVE: IN MY HE:AO IS THAT

HE: CONTROLS A SE:T Of

ME:T ALLIC OQBS THAT HE: CAN

MOVE: AQOUNO

I

LEVIT ATE: Off

Oe51GN

I

ACTUALLY STAQT WITH HIS SYMBOL

HEQE.

I

WANT SOMETHING THAT HAS

SOME SCIENTifiC SYMBOLISM TO IT.

AfTEQ SOME QESEAQCH,

I

COME ACQOSS

A SYMBOL

I

THINK

I

CAN USE:

<l>M,

WHICH

IS A MEASUQE Of ELECTQOMAGNETIC

fLUX CALLED A WEBEQ CWETTY NEAT)!

NOW

I

00

A QUICK

COSTUME SKETCH, A

METALLIC JUMPSUIT WITH

A fULL fACEMASK ANO

ENLAQGEO GOGGLES.

AfTEQ GOING THQOUGH A fEW OlffEQENT

0

0

Oe61GN

TIMe TO OQAW

THe fiNAL PieCe!

_;J·---~-L-~

I I .---~---1

:

···

·

·

····

·

·

··

·

f

··J

·

···

···

·

···

····

·

··

·

:

0

(F~·~,1

0

:

~

~,

(

I

.

.

kf}t

\ I " " '

V

/

.

'

D

:

~

l

\~

.

• I I I I

D

r

I

STAQT BY SKeTCHING

IN THe BASIC fOQM ANO

ANATOMICAL HIGHLIGHTS ...

\

(

\

I ~ I \

!

I _ /

~----

G

----

---·

I

-

~---~---~~~---~ ~ ~,---

-Oe51GN

-

-:::::::::===

=-

-:

..

r

_

---~-

_

_

_

__

________

___

__

_

________

___

_______

___

_

____

_

___

..,...

_

L

_

I

-.

I ~---f - - - -I I I

l

r \

I 1\

NeXT,

I'LL

SOLIDIFY THe

ANATOMY ANO AOO IN

THe

COSTUMe

LINeS

...

1 I - . . . - - . . . I

r)

-

I ~---, ~---~~~~---~

·r·-

-

---

;

--

)---~-~·/~ \.../

Oe61GN

,---

---

---1 I

MODELING THE

CHAQACTE:QIN

CHQOM€: ANO

CHECKING MY

ANATOMY

...

p

I'M NOT

SO

SUQ€: ABOUT

THAT LefT

HANO

...

-

,

_

T---. T---. T---. T---. T---. T---. T---. T---. T---. T---. T---. T---. T---. T---. T---. T---. T---. T---. T---. T---. T---. T---. T---. T---. T---. T---. T---. T---. T---. I

0

Oe51GN

WITH THE BASIC

OQAWING OONE,

I

0

TQ ACE

IT UP

ON

MY LIGHTBOX,

SOLIOifYING WHAT

I'VE OQAWN

...

NOTICE

THAT I'M

LEAVING THAT LEfT HANO

ALONE.

IT'S ST

AQTING

TO

STANO

OUT TO

ME.

Oe61GN

I

fiNALIZE MY DQ AWING BY

fiLLING IN THE BLACKS AND

fiXING MY HATCHING LINES

ACCOQDINGLY

.

ALSO

I

NOTICE

THAT

I

CHANGED THE LEfT HAND

TO A MOQE DYNAMIC AND

ANATOMICALLY COQQECT ONE.

I WANTED TO DESIGN A NATIVE

AMEQICAN SUPEQHEQO HEQE,

BUT AVOID THE

''CLICHED"

INDIAN STEQEOTYPE Of

HEADDQESSES AND TASSELS.

''WAKINY

AN'' IS THE LAKOTA

WOQD

fOQ

''THUNDEQ".

IN

NATIVE MYTHOLOGY, IT QEfEQS

TO ''THUNDEQ

SPIQIT" OQ

I

MOQE

Oe5I6N

I AGAIN ST AQT WITH THE

SYMBOL. IN THIS CASE, I

00

A LITTLE QESEAQCH TO GET AN

IOEA Of HOW THE THUNOEQBIQO

SYMBOL IS POQTQAYEO IN

OlffEQENT NATIVE CUL TUQES.

I ALSO FINO A COOL SYMBOL

CALLED A ''NAJA'' THAT IS

ESSENTIALLY AN INVEQTEO

CQESCENT

MOON. THE NAJA

IS A SYMBOL

USEO

BY THE

NAVAJO AS A TALISMAN TO

BQING GOOO LUCK.

WITH MY SYMBOL

COMPLETED

I

I LOOK TO

DESIGN MY FIGUQE. NOTICE

THAT I KEEP THE SUIT SIMPLE

ANO STQEAMLINEO

I

LETTING

THE SYMBOL I

OESIGNEO

BE

A SIMPLE FOCAL POINT.

I

'

... .

\

I \

WITH MY CHAQACTE:Q

OE:SIGNE:O

I

IT'S TIME: TO

00

A fiNAL OQAWING!

I

STAQT BY

SKETCHING IN

A BASIC POSE:

ANO THE: MAJOQ

LANOMAQKS

Of THE: BOOY

.

I

,

...

LOOK AT WHAT HAS

HAPPENED BY STEP

TWO!

AS

I

WAS QEfiNING MY

ANATOMY ANO

AOOING

IN

THE COSTUME LINES,

I

MAOE MAJOQ CHANGES

TO MY fiGUQE'S POSE!

--- ----

~---I

)

Oe51GN

NOW

I

QEfiNE

M

Y

ANATOMY, MOOEL THE

PLANES Of THE fiGUQE

AS THEY QELATE TO THE

OlffEQENT SHAOES Of

TIGHTS, ANO SKETCH IN

A SIMPLE BACKGQOUNO.

--- ---

~

-

-

- - -- -

-

- -

-

-

-

-

-

-

-

- - -

-

--..,....- L -•

Oe61GN

WITH MY BASIC SKETCH OONE,

I

TQACE MY OQAWING ONTO

ANOTHEQ SHEET Of PAPEQ,

QEfiNING MY LINEWOQK

.

NOTICE THAT

I

KEEP THE

fiGUQE LINES SIMPLifiED

ALONG THE PLANES. TIGHTS

SHOULO QAQELY SHOW ACTUAL

Oe51GN

MY fiNAL STEP IS TO

SHAOE IN

MY

BLACKS

ANO QEAffiQM

MY

BACKGQOUNOIOEA

MAKING

IT A BIT

MOQE

QEfiNEO THAN THE

OQIGINAL

VEQSION!

I'M DESIGNING AN

UQBAN VIGILANTE:

CHAQ ACTE:Q HE:QE:

.

NO POWE:QS, BUT

AQMOQ

,

GUNS

,

ANO

A fQIGHTE:NING

LOOK MOQE: THAN

MAKE: UP fOQ THAT!

Oe6I6N

I

WASN'T

TOO HAPPY

WITH

THE OQIGINAL

LOST SOUL LOOk:,

SO

I

BEEfED IT UP

TO TQY TO MATCH

THE INTENSITY Of

THEIQ BOSS.

AS

MOQBIO

AS THIS IS

I

I

ACTUALLY GOT THE IOEA

fOQ THIS

CHAQACTEQ

BY

WATCHING SAOOAM

HUSSEIN GETTING

PQEPAQEO TO BE

HANGED ON THE NEWS!

I

010 A QUICk: Sk:ETCH

Of THE CONOEMNEO

MAN

CHAQACTEQ

fLANk:EO ON EITHEQ

SlOE BY

''LOST

SOULS."

Oe5I6N

I r . • • . . • . . • • . • • • • • •••••• ••••.•...•••.•... J I :o'e~ I I I I I - ~----t

~-

r---

-

WITH MY INITIAL DESIGNS OONE,

_I

_{STAQT MY fiNAL CHAQACTEQ}

OQAWING BY BLOCKING OUT MY

SCENE ANO HITTING THE MAJOQ

ANATOMICAL LANOMAQKS Of

MY THQEE CHAQ ACTEQS.

Oe5IGN

NOW I QEfiNE

THE ANATOMY

ANO

T

HE

COSTUME LINES

.

I I --1 I. .--- - - --- --- --- -~ _I I I

----···-···-···-·-····

·

-r----

-

-

-

-

-

-

-~J---

-

---·---AS

I

MOOEL THE

LIGHTING ON THESE

CHAQACTEQS, NOTICE

I

LEAVE THE GUNS

ANO PILLAQS ALONE.

I

HAVE SPECIAL

QEfEQENCE fiLES fOQ

THESE ANO WILL BE

OQAWING THEM LAST.

---~---₁

I

Oe5IGN

I

TQAC€:

UP

MY

OQAWING

ON A SE:PAQAT€: SH€:€:T Of

PAPE:Q, QE:fiNING AS

I

GO.

Oe5I6N

fiNALLY,

I

fiLL IN MY

BLACKS ANO

AOO

IN THE:

GUNS ANO PILLAQS

.

I

WOULON

'

T WANT TO

CQOSS THESE: THQE:E:!

THIS IS A CHAQACTEQ

I

CQEATEO SPECifiCALLY fOQ

THIS BOOk:.

I

WANTEO TO

SEE WHAT WOULO HAPPEN

WHEN

I

TQIEO CQEATING A

COSTUME AS

I

WENT, SO

THEQE AQE NO PQELIMINAQY

Oe5I6N

"'-

-::::::::::===~

~.t

---...

-1-1

~---,--~ ~

.---

1

:

..

..

....

..

.

.

...

.

..

.

-

·~

~

..

.

....

.

...

.

....

...

:

r

lA

:

\

I ST AQT BY BLOCKING IN

THE

MAJOQ

ANATOMICAL

LANOMAQKS ANO LOOKING

AT

MAJOQ

LANOMAQKS

fOQ

THE COSTUME.

I'M

THINKING CAPE, BOOTS,

ANO A WIOE, HIGH COLLAQ.

I I I I I

}\

.

I

-

-

-

-

-

-

-

-

- --

-

-

-

-

~-

-

-

- -

- -

-

- - - -

-I I I I I I I I I ~ - 1 I

-r---r-Oe5IGN

---

--

---

..

---BY STEP TWO

I

I

HAVE COMPLETELY

ABANOONEO THE

COL.L.AQ

.

I QEfiNE

THE ANATOMY ANO

THE COSTUME

.

I

\

Oe5I6N

,---

---

-

--

---I

,

... .

NOW

I

MOOeL THe fiGUQe.

THeQe'S SOMeTHING NOT

QIGHT WITH THIS OQAWING,

BUT

I

CAN'T QUITe PUT

MY fiNGeQ ON IT

...

YeT.

1

I

I

Oe5IGN

AS I'M TQ ACING

UP

VICTOQIA, I QeALIZe I

HAVe

OQ

AWN

HeQ LeGS

A LITTLe LONG,

so

I

FIX

Oe5I6N

A LITTLe MOQe

f2eftNtNG, ANO

VICTOQIA'S QeAOY

I f

HOW TO O"AW THE

FIGUReS IN CHROMe ANO OTHeR

HIGHLY ReFLeCTIVe MeTALS ReLY

AS

MUCH

ON AN UNDeRSTANDING

OF THe PLANeS OF THe HUMAN

FIGURe AS OF ITS MUSCULATURe.

CHI20Me

WHeN OQAWING A fiGUQe IN

CHQOMe, THe THICK BLACK

''HOQIZON LINeS" QUN

ALONG THe eOGeS Of THe

PLANeS

,

ANO HIGHLIGHTS

ANO QefLeCTION SHAOOWS

AQe QePQeSeNTeO ON THe

PLANeS THeMSeLVeS

.

HeQe

'

S A SeQieS Of CHQOMe

OQBS WITH OlffeQeNT LIGHT ANO

QefLeCTIVe PATTeQNS ON THeM

.

NOTICe HOW THe LINeWOQK IS

KePT SMOOTH. OQAWING A QOUGH

TeXTUQe ON CHQOMe CAN THQOW

Off THe LOOK Of THe TeXTUQe

.

CH/20Me

T AK:e

A

LOOK AT THe ReLATION Of THe PLANeS

Of THe fiGURe ANO THe

WAY

LIGHT fALLS ON THe

fiGURe--IN THIS CASe, fROM A BRIGHT PRIMARY LIGHT

SOURCe ANO A OIMMeR SeCONDARY LIGHT SOURCe.

' I I

:o---

-

'

I '

CHI20Me

f.?eMeMBef.?

:

WHeN f.?eNOef.?ING IN

CHf.?OMe, ALWAYS Be AWAf.?e Of THe

LAf.?Gef.?

,

MOf.?e BASIC SHAPes THAT

Lie UNOef.?NeA TH ANY OBJeCT OeT AIL

Of.? MUSCULA TUf.?e ANO USe THOSe

SHAPeS AS YOUQ Pf.?IMAf.?Y GUIOe

.

CH/20Me

I

STAQT BY OQAWING IN THE

BASIC

fOQM

ANO DEfiNING

THE COSTUME

LINES

...

/

CHI20Me

NeXT, I OeTeQMINe THe OIQeCTION Of

THe LIGHT ANO HOW THe LIGHT AffeCTS

THe fOQMS ANO PLANeS Of THe fiGUQe

.

I'Ve

MAOe MY

GUIDeLINeS BOLO SO

YOU CAN

See THeM

MOQe CLeAQLY.

IT'S ALQeAOY STAQTING

TO LOOK LIKe CHQOMe!

CH/20Me

WITH THE: PLANES Of

THE: fiGUQE: EST ABLISHE:O

I

IT'S EASY TO

QE:NOE:Q

THEM IN CHQOME:

.

I

fiNISH Off THE: fiGUQE:

ANO

AOO

IN THE: BACKGQOUNO

TO

Ot;AW,,,

I

Q1IDliHHB

QeNOeQING A FIGU12e WHO IS

MAOe Of FLAMe OQ PLASMA (THe

STUFF THAT

MA~eS

UP THe SUN)

CAN SeeM OAUNTING, BUT If YOU

QeMeMBeQ A feW QULeS, YOU

CAN OQAW PLASMA FIGUQeS THAT

WIL..L..

MA~e

YOUQ fQieNOS 01200L

.

Flf2e

<

~

THe PQIMAQY THING TO QeMeMBeQ ABOUT fiGUQeS

MAOe

Of fiQe OQ PLASMA IS THAT THeY AQe THe LIGHT SOUQCe

.

THeY eMANATe LIGHT. 50 THe TASK BefOQe YOU IS TO

CQeATe THe ILLUSION Of INTeQNAL QAOIANCe

.

L •

.._""

\.

-(

\___

.

r

~--

_....

_

r

~

}~

A QAOIANT fiGUQe IS

GOING TO QeLY ON A

SeQieS Of SHAPeS ANO

AN UNOeQST ANOING

Of fOQM ANO Of THe

QeLATION Of LIGHT

ANO SHAOOW.

Flt;e

ILLUSTQATING INTeQNAL QADIANCe IS BeST

DONe BY SHOWING A LIGHT GLOWING

THQOUGH A SUCCeSSION Of THQee LAYeQS

.

THe INNeQMOST LAYeQ

IS THe PQIMAQY LIGHT

SOUQCe--THe INTeQNAL

COMBUSTION, If YOU LIKe

.

THe MIDDLe LAYeQ IS QeNDeQING TO

DefiNe THe fOQM. THIS fOQM PQOVIDeS

MOST Of THe CONTQAST BeTWeeN THe

INNeQMOST LAYeQ AND THe

OUTeQMOST LAYeQ. YOUQ DAQKeST

QeNDeQING BeLONGS IN THIS LAYeQ

.

THe OUTeQMOST LAYeQ SHOULD

CONfOQM TO THe SHAPe Of THe

fiGUQe AND IS TQ ANSLUCeNT

IN ITS NATUQe, AS IT

IS

MADe

Flf2e

_j ___________________________________________________________ l

~

I

.---

---

--

--

---

--

----

----

--~

,

/I I I I

I

ST AQ

T W

ITH A SeT OF FIGUQeS

I

FOUNO IN THe ANT AQCTIC PQeSS

POSeFILe SeQieS

.

(THe

M

AIN

FIGUQe IS ON PAGe

BG

OF

POSeF

/L

e

~

AC

TI

ON POSe

COLLeCTION

.)

I

QeWOQK THe

POSe TO FIT THe PieCe

I

HAVe IN

M

INO ANO LOOSeL

Y

SKeTCH IN

MY

tOeA FOQ A BACKGQOUNO.

SINCe THIS IS A COMPLeX COMPOSITION

,

I

LAY IT OUT ON A SHeeT OF LA

Y

OUT PAPeQ

.

/

--- ___ b" ________________ _

Flt;e

NEXT, I ELIMINATE ALL THE

ELEMENTS EXCEPT MY MAIN

fiGUQE ANO DEfiNE HIS

HAQO ESTABLISHING LINES.

I'M PAYING ATTENTION TO

THE INTEQNAL QAOIANCE

EVEN AT THIS STAGE

.

I

Flf2e

(

Flt;e

TIME TO QENOEQ

THE

MIOTONES

USING

MY GUIDELINES!

(

Flf2e

fiNALLY

I

I fiNISH OUT

THE COSTUME ANO

THE BACKGQOUNO

I

fOQ THIS EXAMPLE,

WE'LL

BE DOING

TWO TYPES

Of POWEQ EffECTS:

A POWEQ BUILDUP AND

A

BLAST

EffECT.

fOQ THE POWEQ BUILDING

UP,

I

DQAW

A QOUGH LINE

THAT

WILL

SEQVE

AS

THE

BOUNDAQY

fOQ THE EffECT.

-/

WITH

THE

BLAST,

I

EXTEND

A

LINE fQOM

THE PALM

TO ALIGN

THE

CENTEQ

Of

THE

EffECT

WITH THE QIGHT

SPOT ON THE HAND.

! OQ A W SOMe GUIOeL..INeS

QAOIATING fQOM THe MAIN L..INe TO SUGGeST WHf;Qf;

THe eNeGY SPIKeS WIL...L. Se.

l

•

"\

NOW

!

ST AQT BUILDING

UP

THE

ELEMENTS IN

THE

POWEQ

EffECTS.

!

OPTEO

fOQ THE

''KIQBY

OOTS'' TO

SHOW THE

POWEQ

BUILDING UP ON

THIS SlOE.

I'LL GO FUQTHek> IN

OePTH ON HOW Ck>eA Te THeSe LA Tek>

IN THe eXAMPLe.

I

YOU CAN

SEE THE

CONCENTQIC CIQCLES

WITH

THE ENEQG

Y

SPIKES

MOQE CLEAQLY

NOW

WITH

THE

MAIN BLAST

CENTEQEO

ON THE PALM.

I'Ve SKE:TCH€:0 IN OUQ

MAIN

MeCHANISTIC HE:t:?O

I

SOMeONE:

CAPABLE:

Of

WIE:LOING THIS

KINO Of

AWeSOME:

POWE:Q.

WITH

THE:

E:NE:QG

Y

effeCT fiNALIZE:o

I

IT'S

TIM€: TO

INK!

l

•

"\

..

OKAy

I

WE:'QE:

ALL

OONE:

WITH THE:

INKING

I

BUT

I

THINK

WE:

COULO

PUSH

THOSE:

''KIQBY

OOTS"

A LITTLE: fUQTHE:Q!

LET'S TAKE: A

LOOK AT HOW

TO

00

THIS

QIGHT.

Ill

1

•

STAQT WITH SOMe SIMPLe GUIOeL.INeS

TO Sek'Ve AS THe BOUNOAQY fOQ THe OOTS.

SKeTCH IN SOMe QOUGH OOTS TO GIVe YOU AN IOeA

Of WHAT THeY'LL. LOOK L.IKe.

USE

THIS

NEW POWEQ

WISELY!!

l

•

"\

SPEEO

OUQ SPEEO EffECT HAS

TO ST AQT WITH THE

FIGUQE If IT'S GOING

TO SEEM CQEOIBLE.

-MAKE YOUQ QUNNEQ

LEAN FOQW AQO

I

QEALLY SHIFT HIS

CENTEQ Of GQAVITY TO

COMPENSATE FOQ THE

HIGH Q ATE Of SPEEO.

\

fOQ THE SPEEO AFTEQ-

Ill

EffECT

I

EST A BLISH THE

HOQIZON LINE ANO OQ AW

LINES QECEOING fQOM

OUQ SPEEOEQ TOWAQO

THE VANISHING POINT

.

SPEED

NOW fOR THE COSTUME. IN SPITE

Of THE fACT THAT I'VE GIVEN HIM

A CLASSIC LIGHTNING SOL T

MOTif

I

I WANT TO MAKE SURE I

DON'T CONFUSE THE VIEWER.

OUR GUY IS

LIGHTNING-QUICK. HE USES

HIS SPEED, NOT

ELECTRICAL

POWERS, TO

SHOCK PEOPLE.

THAT'S WHY I GAVE HIS

HELMET A fiN REMINISCENT

Of AERODYNAMIC HELMETS

USED IN RACING SPORTS.

l

•

"\

SP€:€:0

ALL QIGHT

,

HEQ€:

11

AQ€: THE INKS

.

II

I

INK€:0 THE SP€:€:0

Ill

LINES WITH A QULEQ

I

I

ANO MAO€: SUQ€: TO

KEE

P

EVEQYTHING

POINTING TO THE

VANISHING POIN

T.

WHAT? NOT fAST

ENOUGH? OKAY,

I

STILL HAVE SOME

TQICKS TO SHOW!

SPEED

NOW

WE'QE GETTING

SOMEWHEQE fAST

!

!

IN OQOEQ TO

AOO

THESE

EffECTS

I

YOU CAN JUST

TAKE

WHITEOUT

OQ

WHITE

INK ANO GO OVEQ

THE AQEAS

YOU WANT

TO PLACE

THE

EffECT

.

THEN

INK

AN

OUTLINE

TO SHOW

WHATEVEQ

EffECT

YOU

LIKE!

l

•

"\

!N THIS EXAMPLE,

DQ

AMA TIC LIGHTING

IS

GOING TO Be KEY

TO

DEPICTING

THE

POWEQS OUQ

HEQO

IS GENEQ A TING

.

BECAUSE Of THAT

I

I'M PLANNING

TO

EMPHASIZE

HEAVY

BLACK AQEAS AND

NEGATIVE SPACE.

SINCE SO MUCH Of

PICTUQE WILL Be

IN

D

AQKNESS

I

IT's

TEMPTING TO DQAW

JUST

THE

AQEAS

THAT WILL Be

LIT

.

...

BUT IT IS

IMPOQT

ANT

TO

DQAW OUT AS MUCH Of

THE

CHAQACTEQ'S STQUCTUQE AS

POSSIBLE! ! f YOU DON'T

I

YOU CAN

END

UP

WITH

fiGUQES THAT SUffEQ fQOM

BAD ANATOMY, LOPSIDED

fACES, AND BAD SHADING.

\.

SINCE THE LIGHT

SOURCE IN THIS

DRAWING WILL BE

OUR HERO'S HANO,

THAT GIVES ME A

GOOO STARTING

POINT fOR OECIOING

MY LIGHTING SCHEME.

PART Of THE PLANNING fOR

THE LIGHTING ON THE fiGURE

INCLUDES CREATING A GRIO

TO DESCRIBE THE VOLUME Of

THE BOOY SHAPES BETTER.

WITH THIS GRIO,

I

CAN

GET A MORE ACCURATE

tOEA Of WHERE THE

SHADOWS WILL fALL.

l

•

"\

ONCE I'VE DQAWN IN

THE

GQID

I

I CAN

MAKE AN INDICATION

Of WHEQE I WANT

THE SHADOWS TO

BE ON THE fiGUQE

.

QEMEMBEQ THAT If THE

SHADING DOESN'T SEEM

TO CONVEY THE PQOPEQ

VOLUME, OQ JUST IS NOT

WOQKING fOQ YOU, EQASE

AND TQY AGAIN. IT'S

WOQTH GETTING QIGHT.

NOW I CAN ST AQT

THe

INKING

PQOCeSS.

I BeGIN BY OUTLINING

THe SILHOUeTTe Of

THe CHAQ ACTeQ.

AS YOU CAN See,

I'Ve MAOe A LIGHTeQ,

BQOKeN OUTLINe

AQOUNO THe HANO.

I WANT THAT

AQeA TO SeeM

ALMOST OBSCUQeO

BY THe eNeQG Y

SUQQOUNOING IT.

'

I _(

\

_\

/'~

_{I .}

\~\

,,\

\\

(

-~

~

~~

l

•

"\

\

ONCE

I'M HAPPY

WITH

THE BASIC LINEWOQ((, I

CAN STAQT TO fiLL IN

THE SHAOEO AQEAS.

I TENO

TO

USE TWO

BQUSHES: ONE TO GET

INTO THE TIGHT AQEAS

I

ANO AN OLOEQ BQUSH

THAT I USE fOQ fiLLING

THE LAQGE, OPEN AQEAS.

A PEQMANENT

MAQ((EQ

WOQ((S

AS

WELL.

WITH THe MAJOQ

SHAOING WOQK TAKeN

CAQe Of

,

I CAN STAQT

WOQKING OUT THe

eNeQGY effeCT

.

HeQe I JUST WeNT IN ANO

OQeW

OUT SOMe LINeS

AS A SUGGeSTION Of

HOW THe eNeQGY MIGHT

BeHAVe

.

I f YOU WANT A

GOOO

IOeA Of HOW

eNeQG Y effeCTS LIKe

THIS LOOK IN QeAL Life

,

TQY TO fiNO SOMe

PICTUQeS Of A TeSLA

COIL IN ACTION.

l

•

"\

\

AND HEQE IS HOW

THE fiNAL ENEQG Y

EffECT CAME OUT.

I

WAS GOING fOQ A

fEELING Of POWEQ

BUILD TO THE POINT

Of EXPLOSION,

BAQELY CONTAINED.

VAQY YOUQ LINE

WIDTHS

I

AND DON'T

BE AfQAID TO THQOW

DOWN

SOME SPATTEQ

HEQE AND THEQE.

BEfOQE GETTING INTO A

DISPLAY Of HIGH-ENEQG

Y

LIGHTNING STQIKES

I

WE

NEED A HEQO TO

CAST

THOSE BOLTS.

HEQE, I'VE SKETCHED

OUT A BASIC fiGUQE.

AT THIS STAGE, I'M

TQYING TO KEEP IN

MIND WHAT

THE fiNAL

ILLUSTQATION

SHOULD LOOK LIKE.

I

MAKE

SUQE TO

LEAVE PLENTY Of

QOOM

fOQ THE

POWEQ EffECTS

THAT I

WANT

TO

ADD

LATEQ.

l

•

"\

\

r

SINCE THE BOLTS WILL

HAVE SOME EffECT

ON THE LIGHTING,

THE SHAOING NEEOS

TO QEfLECT THAT.

NOW I GO AHEAO ANO

SKETCH IN THE EffECTS

SO I HAVE A QOUGH IOEA

Of WHEQE THEY'LL BE IN

THE fiNAL OQAWING.

I'M ALSO GOING TO

TAKE SOME TIME ANO

QUICKLY QOUGH IN

SOME INOICATIONS Of

SHAOING ON THE fiGUQE.

(I

NOW

I

LIGHTeN UP THe

eNTIQe PieCe ANO STAQT

LAYING OOWN SOMe

MOQe

SOLIO, LeSS SKeTCHY LINeS

TO OefiNe THe fiGUQe.

I

WANT TO

MAKe

SUQe

THAT THe fACe ANO THe

ANATOMY AQe WOQKING

BefOQe

MOVING

ON TO

COSTUMe ANO SHADING.

I''

l

•

YOU MAY NOTICE "\

THAT ! QESIZED THE \

HEAD. IT SEEMED

TO WOQK AT fiQST, 8UT WAS ACTUAU..Y

AT THIS POINT,

I

WANT TO

STAQT DEfiNING THE COSTUME,

AND

I

fELT QIGHT AWAY IT

SHOULD EVOKE SOMETHING

Of THE CHAQACTEQ'S POWEQS.

WHEN THINKING Of

THE ELECTQICITY IN

PAQTICULAQ

,

I

WANTED

TO SEE SOMETHING A

LITTLE DlffEQENT

.

SO

I

GIVE THE BOLTS

A VEQY SHAQP AND

AGGQESSIVE LOOK

THAT YOU DON'T

ONCE

I

LIKE

WHEQE THINGS

AQE GOING,

I

MOVE ON TO

THE SHAOING

.

AS

I

AOO

THE

SHAOING,

I

TQY TO

GIVE IT THE fEEL Of

HAVING MULTIPLE

LIGHT SOUQCES

.

I

LEAVE THE HANO

OPEN WITH NO

SHAOING

I

AS

I

WANT

IT TO SEEM AS If IT

IS CASTING A LIGHT

Of ITS OWN

.

l

•

"\

\

ANO HE:QE: IS THE:

fiNAL OQAWING

WITH

THE: SKETCH

LINES QE:MOVE:O.

WHEN

CQE:A TING

POWE:Q

EffECTS,

TQY TO

KEEP

IN

MINO

THE:

WAYS

THEY

MIGHT

IMPACT THE:

QE:ST

Of THE: OQAWING.

WITH effeCTS LIKe

THIS, TAKe CAQe TO

DQAW THe WHOLe

fiGUQe, eVeN

If

IT

PASSeS BeHIND THe

BeAM

.

DON

'

T TQY TO

GUeSS

,

OQ YOU

'

LL eND

UP WITH BODY PAQTS

WHeQe THeY WOULDN

'

T

ACTUALLY Be

.

LeT'S BeGIN WITH

OUQ QOUGH SKeTCH.

- ₁

-Het:?e

I

WANTeD TO

GeT A feeLING fOQ THe

POWeQ Of THe IMPACT

Of THeSe eYe BeAMS

QIGHT fQOM THe STAQT

.

(2

o

I

I

l

•

"\

DON'T BQeeZe THQOUGH

THIS STAGe! YOU SHOULD

TAKe SOMe TIMe ANO

NOT ONLY DeVeLOP A

GOOO

COSTUMe, BUT

THINK ABOUT HOW IT

QefLeCTS THe CHAQACTeQ

ANO HIS ABILITeS.

NOW

I

SKeTCH IN WHAT

THe BASIC COSTUMe

eLeMeNTS WILL Be

.

)

YOU MIGHT ALSO WANT TO

00

SOMe SKeTCHeS ANO

fiNO OUT HOW THe COSTUMe

WOQKS VISUALLY IN QeLATION

TO THe CHAQACTeQ'S POWeQ

.

1

HEQE AQE THE

INITIAL INKS.

IN THE AQEAS WHEQE

BODY PAQTS PASS

BEHIND THE EYE BEAM,

I'VE QENDEQED THEM WITH

A HATCH LINE SO THAT IT

SEEMS AS If THE BEAM IS

STQEAKING PAST AT A

HIGH Q ATE Of SPEED.

1

..

I GAVE THE OUTLINE Of

THE EYEBEAM A QOUGH

TEXTUQE BECAUSE I

WANTED TO ENHANCE

THE SENSE Of QAW,

UNQESTQAINED POWEQ

BEING UNLEASHED .

NOW fOQ A

LITTLE MOQE

EMBELLISHMENT.

IN THIS CASE

I

I

CHOSE CEQT AIN

PAQTS Of THE

COSTUME THAT I

COULD

DAQk:EN IN

OQDEQ TO GIVE

SOME DIMENSION

TO THE fiGUQE

.

IN

THIS CASE

I

I

THOUGHT IT

MIGHT

BE fiTTING If THE

BLAST

WAVES

COMING

fQOM HIS

EYES fOQMEO A

V-PATTEQN

NOT

UNLIKE THE ONE

ON HIS

CHEST.

WHILE LOOKING AT

THE DESIGN Of OUQ

CHAQACTEQ'S

COSTUME,

I HIT ON ANOTHEQ

WAY

THESE EYE BEAMS

COULO

BE OEPICTEO.

KEEP A SHAQP

LOOKOUT fOQ

OPPOQTUNITIES

LIKE THIS IN YOUQ

OWN

WOQK.

l

•

"\

SKETCH OUT A

fiGUQE IN A

PQOPEQ THQOWING

POSE AND DQAW

SOME

CIQCLES

TO

INDICATE THE

fiQEBALLS

.

NOW LET'S TAKE A

LOOK AT

MAKING

fiQEBALLS.

ONCE

YOU'VE

DQAWN A

CIQCLE,

SKETCH IN A TQAIL

HEADING TOWAQD

THE POINT WHEQE

THE fiQEBALL

WAS

THQOWN.

_'

I

WANT

TO TAKE

SOME

TIME TO

DEfiNE

THE

CHAQ

ACTEQ BETTEQ ANO

ENHANCE THE fiQE

MOTif.

IT SHOULO SeeM AS If HeQ COSTUMe IS MAOe Of fll2e.

QEALLY

I

ANYTHING

YOU CAN

00

TO

QEENfOQCE

THE

ABILITIES

Of

YOUQ

CHAQ

ACTEQ IN THE

MINO

Of THE

VIEWEQ WILL

HELP.

l

•

"\

ON TO THE INKING.

WHEN DQAWING

fiQE, TQY TO KEEP

THE LINE ALIVE

AND MOVING.

TQY TO GIVE IT

A fLOW, AND

DON'T LET IT

GET BOQING

.

fOQ THE fiQEBALLS

I

I

MAKE THE OUTLINE

Of THE ACTUAL

BALLS A BQOKEN,

UNSTEADY LINE,

SINCE THEY AQE

COVEQED IN fLAME

.

I

ALSO

ADD

LITTLE

DOTS TO

THEIQ SUQfACES,

ALMOST LIKE

MINI-SUNS!

'

\

HE:QE: AQE: THE:

fiNAL INk:S

I

WITH

SOME: OlffE:QE:NT

TQE:A T ME:NTS fOQ

THE: fiQE: EffECT

ON THE: BALLS.

WHA TE:VE:Q EffECT

YOU

OE:CIOE:

WOQk:S

fOQ YOU, MAk:E: SUQE:

THAT IT MAT CHE:S

WELL WITH YOUQ

CHAQACTE:Q OE:SIGN

.

l

•

"\

ONe-POINT PeQSPeCTIVe

IS THe MOST BASIC ANO

eASY-TO

-

UNOeQSTANO

Of THe PeQSPeCTIVe

QULeS. SIMPLY PUT, ALL

LINeS QeCeOING fQOM

THe VleWeQ MeeT AT ONe

POINT ON THe HOQIZON.

WHeN CQeATING A OQAWING

USING ONe VANISHING POINT

,

TQY

TO KeeP THe COMPOSITION Of

THe fQAMe IN MINO.

I

TeNO TO

KeeP THe VANISHING POINT Off

CeNTeQ, AS THAT CAN GIVe THe

OQAWING A SYMMeTQICAL feeL

.

/

/

ONe-POINT

ONe Of THe PQOBLeMS WITH

USING ONe VANISHING POINT

IS THe STQONG

INfLUeNCe

IT HAS ON THe eYe

.

THe eYe TeNOS TO Be fOQCeO TOWAQO THAT SPOT OUe

TO THe MAIN PeQSPeCTIVe LINeS ACTING IN A SIMILAQ

WAY TO

T

He fOCUS LINeS We See IN MANGA, OQAWING

YOUQ ATTeNTION TO A SPeCifiC AQeA Of THe PAGe

.

THeQe AQe WAYS TO OeAL

WITH THIS WHICH

I

'

LL

SHOW

IN A LA TeQ eXAMPLe!

l

•

"\

ONE-POINT

TO OQAW THIS CITYSCAPE,! SEGAN SY SKETCHING OUT SOME

SASIC OVEQHEAO LAYOUTS TO GET AN tOEA OF THE PLACEMENT OF SUILOINGS ANO STQEETS ANO

TO OECIOE CAMEQA PLACEMENT.

\

ONCE THAT WAS OONE, !

SKETCHED OUT A VEQY QOUGH tOEA OF WHAT! WANTED TO SHOW. THIS IS TOTALLY FQEEHANO, NO QULEQS. I'VE FOUNO THAT THIS TENDS TO

MAKE THE PLACEMENT OF THE SUILOINGS SEEM A LITTLE MOQE NATUQAL ANO A SIT LESS STILTED.

ONE-POINT

AT THIS POINT,! CAN 8eGIN IQONING OUT THe QOUGH PATCHeS

IN THe SKeTCH.! LAY IN THe MA.:JOQ PeQSPeCTIVe LINe TO THe VANISHING POINT ON THe HOQIZON.

\

eVeN THOUGH IT IS STILL

VeQY QOUGH, !' M LIKING WHeQe IT'S GOING. THIS CITY

IS ALQeAOY ST AQTING TO LOOK PQeTTY CONVINCING.

l

•

"\

ONE-POINT

WHILe THIS IS PQIMARILY A ONe

-POINT PeRSPeCTIVe SHOT, You WILL NOTICe THAT THeRe ARe MULTIPLe VANISHING POINTS ON THe HORIZON.

. -

_--

.

I

THIS IS SIMPLY TO AOO A LITTLe MORe VISUAL INTeReST

TO THe SHOT ANO TO HeLP GeT THe eYe MOVING AROUNO

THe PICTURe A BIT MORe.

ON

E

-POIN

T

NOW THAT MY L.A YOUT IS

PQE:TTY MUCH fiNAL.IZE:O I I

CAN Tl2ANSfE:l2 IT ONTO AN IL.L.USTQATION SOAQO

USING A L.IGHT T ASL.E:.

NOQMAL.L.Y, I WOUL.ON'T PL.ACE:

THE: HOQIZON L.INE: IN THE: CE:NTE:Q Of THE: PICTUQE:, SUT SINCE: I'M PL.ANNING TO USE: IT AS PAQT Of

A L.ATE:Q E:XAMPL.E:, IT WON'T AffE:CT THE: COMPL.E:TE:O WOQK.

l

•

"\

TWO-POINT PEQSPECTIVE

SACQifiCES SOME Of THE

PQIMAL

VISUAL

IMPACT ONE

POINT

PEQSPECTIVE

GIVES US

IN fAVOQ Of

MOQE

DYNAMIC

VISUAL

COMPLEXITY.

WITH

TWO

VANISHING POINTS,

THE

''CAMEQA''

IS

MOQE

fQEE TO

MOVE

ABOUT.

WE'QE

NOT

CONSTQAINEO

BY

THE QIGIO HOQIZONT AL LINES

YOU

GET

WITH

ONE

VANISHING POINT.

I

\

HOk'IZON

I f YOU AQe PLANNING TO SHOW OSveCTS

fQOM THe TOP OQ SOTTOM, YOU'LL NeeO

TO TAKe THe VIeWING ANGL.e INTO ACCOUNT.

THe HOQIZON LINe IS

GeNeQAU...Y CONSIOeQeO THe eYe LINe Of THe VleWeQ. SY CHANGING THe PLACeMeNT Of THe HOQIZON LINe Qel...A TIVe TO THe fQ AMe, we CAN At... Tet:? THe VIeWING ANGL.e Of A SCeNe.

HeAO ON LOOKING OOWN

l

•

"\

\

TWO-PO

I

NT

THek>e WILL Se TIMES WHEN YOU

NeeD TO DePICT AN OSveCT AT

AN ANGLe TO THe HOQIZON.

JUST SeLeCT A POINT ON THe HOQIZON AND DQAW A NeW LINe THQOUGH AT THe ANGLe YOU WANT

THE OSveCT TO TILT.

THe ONLY LIMIT TO THeSe ANGLED HOQIZONS IS THe AMOUNT Of OSveCTS THAT

YOU WANT TO Ck>eATe!

--SOMe TIMES IT WILL Se A COLLAPSING SUILDING I A PLANe TAle::: lNG Off I A CHUNk: Of MACHINEQY SeiNG

CAk>k>leD I eTc.

---

---THIS WILL Se THe HOQIZON LINe fOQ THe OSveCT YOU

WANT TO DQAW. THe VANISHING POINTS ON THIS LINe AQE fOQ THAT OSveCT AND SHOULD NOT

Se USED fOQ ANY OTHEQ!

GIVe IT A TQY

YOUQSet..f!

I

I

AT flt:?ST GLANCe, THIS MIGHT SeeM TO Se A

ONe-POINT~ Pet:?SPeCTIVe SHOT. ACTUALLY;,THIS SHOT HAS

I TWO VANISHING POINTS.

I

ONe Of THe VANISHING POINTS HAS SeeN PLA.CeO fAQ'Off Of THe SOAQO. THIS

SlOe YOU NeeO TO eXTeNO.

/ _..,/'

CAN Se OONe SY TAPING A~

SHeeT'Of PAPet:? TO THe

~

/

'

l

•

"\

,

WITH THe BASIC SKE-TCH

COMPLE-Te, I USe MY

LIGHT TABLe ANO PeNCIL OUT THe OQAWING ON MY

ILLUSTQATION BOAQO.

AS YOU CAN See, eVE-N THOUGH THe PE-QSPE-CTIVE- IS

ALL QIGHT, THe OQAWING ITSE-Lf STILL LOOKS PQE-TTY

fLAT. We'LL SOLVe THAT IN THe NeXT STAGE-S.

THe INKING STAGe IS A GQeAT TIMe TO AOO LITTLe

OeT AILS ANO MAKe THe PLACe LOOK l..IVeO-IN.

IT'S ALSO THe TIMe TO ST AQT AOOING IN THe

HeAVY BLACK Al2eAS TO HeLP AOO OePTH ANO MAKe PAQTS Of

THE PICTUQE P 0 7

l

•

"\

ONE-PO

I

NT

ONCe THe INKING IS OONe, We TAKe THe OQ A WING INTO THe COMPUTeQ ANO AOO SHADING.

THIS AOOS ANOTHeQ INTeQeSTING VISUAL ASPeCT THAT HeLPS KeeP THe eYe ACTIVe

ANO MOVING AQOUNO THe PAGe.

CQeATING A GQANO SeNSe Of scALe CAN Be OlffiCUL T, so

YOU NeeO AN OBJeCT THAT THe VleWeQ WILL KNOW THe

GeNeQAL SIZe Of TO USe AS A GAUGe. IN THIS CASe,

PeOPLe WOQK WeLL.

\

TO SHOW SOMe SUIL.OING-! PRePAReO THIS eXAMPLe STYLe SLOCKS USING THe MULTIPLe VANISHING POINT

IOeA. AS ! WAS LOOKING AT IT, I ReALIZeo THAT IT OOeSN'T CONVeY THe IOeA

VeRY WeLL. THe VANISHING POINTS ARe TOO CLOSe

TOGeTHeR, ANO THe SLOCKS OON'T LOOK AS If THeY'Re ReCeOING

TO OlffeReNT POINTS ON THe HORIZON.

AS A ReSULT, THeRe'S NO ReAL VARIATION IN THe SLOCKS. THIS eXAMPLe vUST OOeSN'T SeeM THAT INTeReSTING. WITH A TOOL AS POWeRfUL AS THIS, TRY NOT TO WASTe IT LIKe ! 010!

~:OJ?'

'

ic:I:l

EXPEQIMENT ANO GEE

WHAT WORKS fOR YOU.

l

•

"\

oCD

OJ

[] 0

MULTI-POINT Pef2SPeCTIVe IS useD

I

I

fOf2 DePICTING osveCTS f2eSTING

I

I

AT Dlffef2eNT ANGLeS ON A PLANe. fOQ INSTANCe, SUILDINGS IN A CITY

DO NOT ALWAYS SHAQe THe SAMe

VANISHING POINTS. ADDITIONALLY, Ill

NOT ALL SUILDINGS HAVe SQUAQe OQ f2eCT ANGULAQ fOOTPQINTS.

CD

0

KeePING THIS IN MIND, YOU COULD GO SO fAQ AS TO GIVe eACH

SUILDING OQ eACH PieCe Of fUQNITUQe IN

A f200M ITS OWN SeT Of VANISHING POINTS.

GOOD LUCK KeePING

TQ ACK Of THeM ALU

THQee-POINT PeQSPeCTIVe IS IOeAL. fOQ DePICTING eXTeQIOQS I

BUIL.OINGSI CITYSCAPeSI eTC. SINCe THe HeiGHT I WIOTH ANO

OePTH Of A SCeNe AQe QeCeOING fQOM THe VleWeQI A GQeATeQ SeNSe Of QeAL.ITY IS ACHieVeO.

WITH THQee-POINT PeQSPeCTIVel

YOU1

Qe

AOOING ANOTHeQ L.AYeQ Of VISUAL. INTeQeST TO YOUQ AQT.

l

•

"\

WITH A GOOO BASIC GQIO IN PLACe,

We

CAN

ST AQT AOOING MOQe SPeCifiC GUIOeLINeS

TO HeLP IN OefiNING THe BASIC SHAPeS.

AT THIS POINT, I'M STAQTING TO feeL SOMe OePTH ANO OIMeNSION IN THe S((eTCH.

THeQe IS A OefiNITe SeNSe Of SHAPe QeCeeOING INTO THe OIST ANCe. NOW I CAN BeGIN

OQAWING OUT THe fOQMS.

NOW, WITH GUioes IN PLACe, CQeATING SHAPeS IN PeQSPeCTIVe IS A SNAP.

ONe QUeSTION YOU MIGHT Be ASKING IS,''WHAT'S WITH

ALL Of THeSe BOXeS?''

l

•

BASICAL.L.Y, ANY fOQM CAN "\

fiT INTO OQ Be BUILT UPON \

A SQUAQe OQ QeCT ANGUL.AQ SHAPe, SO BeGINNING WITH

THeSe SHAPeS IS A

GOOO

WAY TO STAQT ANY TYPe Of ILLUSTQATION.

SO, USING BLOCKS LIKe THIS AS PLACeHOLOeQS ANO GUIOeS CAN SeQVe AS GOOO TIMe-SAVING OeVICe.

PQIMITIVe SHAPeS LIKe THeSe AQe SIMPLY STePPING STONeS TO MOQe COMPLeX CQeA TIONS LIKe BUILOINGS,

CAQS, PLANes, OQ eveN PeoPLe.

TO fiNISH OUT THIS eXAMPLe, I'Ve QeMOVeO THe GUIOeLINeS

ANO AOOeO SOMe BASIC SHAOING. LeAVING THe BACKGQOUNO WHITe, SANS

HOQIZON, GIVeS THeSe fLOATING BLOCKS AN eveN

MOQe SUQQeAL LOOK.

PEOPLE

WHeN PLACING PeOPLe

IN PeQSPeCTIVe, THeQe IS A QUICK TQICK THAT

YOU CAN USe TO LAY

OOWN CHAQACTeQS

WITH fAIQ ACCUQACY.

! f OONe QIGHT, THeSe CHAQACTeQS WILL SeeM

TO QeLATe COQQeCTLY TO ONe ANOTHeQ IN SIZe

ANO QeLATe TO THe HOQIZON IN PeQSPeCTIVe.

ASSUMING THe CHAQACTeQS AQe ON Leva GQOUNO, YOU BeGIN BY

PLACING A MAIN CHAQ ACTeQ ANO ALLOWING THe HOQIZON TO CQOSS

THQOUGH AT A GIVeN POINT --IN

THIS INSTANCe, THe HeAO. If YOUQ GQASP Of PQOPOQTION IS GOOO, YOU WILL Be ABLe TO SCALe THe OTHeQ CHAQ ACTeQS IN QeLA TION TO THe fiQST BY CHANGING THe

SIZe Of THe HeAO. THe QeSUL T IS A CONVINCING ANO PQeTTY ACCUQATe

DePICTION Of CHAQACTeQS QeCeOING INTO SPACe.

l

•

"\

PEOPL

E

SO, YOU See, IT OOeSN'T MATTeQ WHeQe THe HOQIZON

LINe CQOSSeS THe fiGUQe ...

AS LONG AS THe HOQIZON

LINe INTeQSeCTS WITH ALL Of THe fiGUk>eS coNSISTeNTLY,

YOU WILL GeT A PQeTTY

OePeNOASLe QeSULT eACH ANO eVeQY TIMe.

NOW THAT We HAVe A SASIC MeTHOO Of MAKING

fiGUQeS Of THe SAMe QeLATIVe HeiGHT, LeT'S

See HOW We CAN USe THIS TO MAKe OQAMATIC SHifTS IN QeLA TIVe SIZe.

P

e

OPL

e

IN THIS cAse, ONe OF THe FIGUQeS WILL. HAVe A OIFFe12eNT 12eLATION TO THe HOQIZON FQOM THe OTHeQS.

BY PLACING SOMe FIGUQeS CLOSeQ TO THe

v1ewe12, we CAN GeT A BeTTeQ IOeA OF JUST HOW HUGe THIS GUY IS.

SIMPLY BY HAVING THIS FIGUQe INTeQSeCT WITH THe HOQIZON

LINe WHILe THe OTHeQS AU.. STANO WeLL. BeLOW THe LINe,

We CAN CQeATe AN IMPQeSSION OF GQeAT SIZe.

l

•

"\

PEOPLE

AS LONG AS YOU KeeP THeSe SOQTS OF MeASUQeMeNTS

CONSISTeNT, YOU COULO

SOON HAVe AN AQMY OF GIANTS QULING THe HUMAN

QACe! 8UT QeMeM8eQ, THIS IS

vUST A QUICK ANO OIQTY TQICK.

Het:?e'S WHAT OUQ WOUL0-8e Tet:?QOQ LOOKS LIKe AT A MOQe NOQMAL SIZe. STILL 81G,

8UT CLOSet:? TO A GUY

THAT LIKeS PLAYING WITH OOLLS Q A THeQ THAN A

WOQLO CONQUet:?et:?!

To MAINTAIN coNSISTeNCY, YOU WILL NeeO TO HAVe MOQe

ACCUQATe MeASUQeMeNTS OF YOUQ FIGUQeS IN QeLA TION

TO ONe ANOTHeQ.

Ill

P

E

OPL

E

If YOU'QE: PLANNING TO OE:AL.. WITH

CHAQACTE:QS Of OlffE:f21NG SIZeS ON A QE:GUL..AQ 8ASIS, SOME: 8E:ING

UNNATUQAU...Y L..AQGE: OQ SMAU...,

YOU CAN ASSIGN AN AQE:A THE: HOQIZON Cf20SSE:S fOQ E:ACH

CHAQACTE:Q 800Y TYPE:.

f2E:ME:M8E:f2, THIS Tf21CK CAN TQIP YOU UP

If YOU CHANGE: CAME:QA ANGLE: OQ

YOUQ CHAQ ACTE:f2S AQE: ON UNE:VE:N

GQOUNO. IN THOSE: CASeS, YOU WIU...

NE:E:O TO HAVE: THE: SIZE: QE:L..ATIONS Of

YOUQ CHAQACTE:QS WOQKE:O OUT ANO

HAVE: A HE:AL..THY OOSE: Of PE:QSPE:CTIVE:.

l

•

"\

IN THIS SeCTION,! WANTED TO MAKe A QUICK NOTe Of

THe fACT THAT THe WAY IN

WHICH A fiGUQE INTEQACTS WITH ITS SUQQOUNDINGS CAN

HAVe A PQOfOUND IMPACT

ON SPATIAL QECOGNITION.

TAKING A fiGUQE IN THe SAME SU!2f20UNDINGS, IN SIMILAQ POSeS, YOU

CAN MAKe QADICALLY Dlffef2eNT STATeMeNTS

ABOUT ITS SIZe AND POSITION IN SPACe, SIMPLY BY CHANGING

WHef2e ITS SHADOW fALLS IN THe PICTUQE.

Hek>e We HAVe A MOQe ST ANDAQD-SIZeD fiGUQe

LANDING ON A QOOfTOP.

WHILe THe effeCT CAN Se eNHANCeD SY A SOLDeQ OUTLINe

AQOUND THe fiGUQe AND OTHeQ VISUAL CUeS, THe POINT Of THe

eXAMPLe IS THAT A SHADOW CAQQieS A LOT Of CONVICTION.

DON'T UNDek>eSTIMATe ITS POWeQ AND IMPOQT ANCe!

l

•

"\

'

I J .r ; '~

IN

AC

TION

LeT'S PUT SOMe Of THeSe PQINCIPLeS INTO PQACTICe!

I

'

\

---

-I

N ACT

I

ON

! ST AQT Off SY SOLIOifYING THe MAIN CHAQACTeQS. THIS IS AU.. PQeTTY STQAIGHTfOQWAQO STUff.

JUST MAKe SUQe THAT YOUQ CHAQ ACTeQS AQe fOLLOWING

THe SAMe PeQSPeCTIVe QULeS YOU SeT OOWN fOQ THe f2eST Of YOUQ PICTUQe.

(I

YOU MAY NeeO TO SeT OOWN

A PeQSPeCTIVe GQIO TO MAKe SUQe eVeQYTHING AGQeeS.

l

•

"\

I

I

'

"

r' /

.

~ )

'

,--.

.

NOW! WANT TO TUQN MY ATTeNTION TO THe BACKGQOUND. J • ' ,. ~-'·

,.

-,. <

l

"

'

• l \..

-,..

) , ·~

-{

t

~ ·"'I ';:-~ <'

,.

\.. ! ULTIMATeLY DeCIDeD TO CHANGe THe BACKGQOUND Of THIS DQAWING BeCAUSe IT feLT VeQY CLOSeD-Off IN A WAY

YOU DON'T OfTeN See IN A CITY.! WANT TO Be ABLe TO

See DOWN THAT ALLeYWAY.

--

·

--~

-

·-\

l

'

'

\

IN ACTION

LeT'S STAQT LAYING IN THe MAv0!2 LINeS fOQ OUQ BACKGQOUNO. ONCe AGAIN,

I'Ve PLACeO THe VANISHING POINT Off Of THe PAPeQ.! WANT THe VleWeQ'S eYe TO

Be GUIOeO fQOM LefT TO

t:?IGHT, BUT NOT fOt:?ceo QIGHT TO THe POINT WHel2e

THe LINeS CONVel2Ge.

ONCe ! HAVe THe BASIC STQUCTUQe Of THe BUILOINGS OOWN, PLACING

THe SeCONOAQY eLeMeNTS--WINoows,

ooo12s,

SIGN AGe ANO BITS Of OeB!21S--COMeS NeXT.

I

1

l

;.

-l

•

"\

\

..

ANO Hel2e IS HOW THe fiNAL SACKGQOUNO CAMe OUT.

WINOOWS I GQIT I ANO

fiNALLY, OeeP SHAOOW Al2eAS HeLP SQING IT TO Life.

THe ONLY THING LefT TO 00 AT THIS POINT IS TO AOO SOMe INNOCeNT

SYST ANOeQS IN THe STI2eeTS ANO INSel2T THe f012eGI20UNO CHAI2ACTel2S IN THe COMPUTeQ.

! HOPe THAT THIS SeCTION HAS SeeN

INfOQMATIVe ANO

USefUL. IN GIVING YOU A IJF~reJJ..

SeTTeQ IOeA Of HOW POWeQfUL.. A TOOL. PeQSPeCTIVe CAN Se IN SUPeQHeQO COMICS.

•

"\

\

STAQTING A

NEW PIECE.

THE

SECONO

PICTUQE

HEQE IS

TIGHTEQ WITH

POSSIBLE COSTUME

IOEAS

INCLUOEO.

THE fiQST STEP I'VE

TAKEN IS TO QUICKLY

QOUGH

OUT

MY

IOEA fOQ

THE

CENTQ

AL fiGUQE.

AS

YOU CAN

SEE, IN THE

BEGINNING STAGES, THE

STQUCTUQE IS LOOSE,

fLUIO

I

ANO A LITTLE

Off ANATOMICALLY.

I'LL

fiX THOSE

MISTAKES

AS I

MOVE

ALONG.

t