How to draw comics the marvel way stan lee
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Feb 06, 2014
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About This Presentation
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Slide Content
How to Draw
Comics
the
Marvel Way:
Stan Lee
and
John Buscema
NEW YORK
Comics
the
Marvel Way:
Stan Lee
and
John Buscema
NEW YORK
Dedicated to John Buscema, the Michelangelo of the comics.
Stan Lee
Dedicated to Stan Lee, who knows talent when he sees it.
John Buscema
Oh well, you win somo, you lose some!
But seriously, folks—
Dedicated to every wide-eyed guy or gal who has ever held a pencil,
en, or crayon and dreamed of telling fantastic stories through pictures;
to everyone who's ever thilled to the sight of a dazzling drawing and
longed to be able to copy it or beter stil to create an original!
In short, to everyone and anyone who's ever wanted to be
“Soft
Stan Lee
Dedicated to Stan Lee, who knows talent when he sees it.
John Buscema
Oh well, you win somo, you lose some!
But seriously, folks—
Dedicated to every wide-eyed guy or gal who has ever held a pencil,
en, or crayon and dreamed of telling fantastic stories through pictures;
to everyone who's ever thilled to the sight of a dazzling drawing and
longed to be able to copy it or beter stil to create an original!
In short, to everyone and anyone who's ever wanted to be
“Soft
CONTENTS
Preface
‘The Tools~and the Talk—o! the Trade!
‘The Secrets o1-Form! Making an Object
‘The Power of—Perspectivel
Let's Study—The Figure!
Lets Draw the Figure!
‘The Name of the Game is-Action!
Foreshorieing! The Knack of Drawing the
Figure in Perspective
Drawing the Human Head!
Composition!
Draw Your Own Comicbook Page!
The Comicbook Cover!
‘The Arto! Inking!
Bibliography
‘Acknowledgments
a
st
C2
109
125
197
Preface
‘The Tools~and the Talk—o! the Trade!
‘The Secrets o1-Form! Making an Object
‘The Power of—Perspectivel
Let's Study—The Figure!
Lets Draw the Figure!
‘The Name of the Game is-Action!
Foreshorieing! The Knack of Drawing the
Figure in Perspective
Drawing the Human Head!
Composition!
Draw Your Own Comicbook Page!
The Comicbook Cover!
‘The Arto! Inking!
Bibliography
‘Acknowledgments
a
st
C2
109
125
197
PREFACE
ve been planning to write this book or years, but it took Big John Buscema to
light the fire and get the whole thing started, Here's how it happened.
You know how tis. You intend to paint the bar, or mow the lawn, tidy up your
room, or write a book—bu you keop putting it off because there area ilion other
things you'd rather do. Well that's the way it was with me. Ive spent so many
years as editor, art irector and writer of so many superhero yarns that Just
Couldn't bring myself to write the one book that | knew would have to be written
sooner or later—the one book that Marvel fans everywhere always ask or whon-
{ever | doliver one of my ling litis lectures on some campus or other. Namely,
the book you're now so gratefully grasping in your penci-smudged litle paws.
‘Why has it been so eagerly requested? Simple. You see, while there's a veritable
plethora of "Howto Draw” manuals gallantly glorifying any bookseller’ shelves,
Up to now there been no book available to tell a budding young Buscema, or
Kirby, Colan or Kane how to draw comicbook superheroes, and-most importantly
how to do tin the milly magnificent Marvel style. Yep, | knew I'd have to write
it someday, and it all came together when Big John organized his comicbook
workshop.
Eariyin'75 Johnny told me he was going to teach a course In drawing for the
comics. My curiosity aroused, | visited one of his classes and was absolutely
‘amazed atthe quality and depth of his instruction. You know how rare itis 1 ind
the foremost person n some eld who can cua teach a el a peer
fom me, had certainly found him that day—and | was doubly
fortunate in tht Novas a org end as wel as aCo-workr a Marve Comics
sti iin etn ci tt
It was a shame only a comparative handlul of students could learn what he had to
teach about comiebook artwork shame that ofen wore able tos ath oat
ve been planning to write this book or years, but it took Big John Buscema to
light the fire and get the whole thing started, Here's how it happened.
You know how tis. You intend to paint the bar, or mow the lawn, tidy up your
room, or write a book—bu you keop putting it off because there area ilion other
things you'd rather do. Well that's the way it was with me. Ive spent so many
years as editor, art irector and writer of so many superhero yarns that Just
Couldn't bring myself to write the one book that | knew would have to be written
sooner or later—the one book that Marvel fans everywhere always ask or whon-
{ever | doliver one of my ling litis lectures on some campus or other. Namely,
the book you're now so gratefully grasping in your penci-smudged litle paws.
‘Why has it been so eagerly requested? Simple. You see, while there's a veritable
plethora of "Howto Draw” manuals gallantly glorifying any bookseller’ shelves,
Up to now there been no book available to tell a budding young Buscema, or
Kirby, Colan or Kane how to draw comicbook superheroes, and-most importantly
how to do tin the milly magnificent Marvel style. Yep, | knew I'd have to write
it someday, and it all came together when Big John organized his comicbook
workshop.
Eariyin'75 Johnny told me he was going to teach a course In drawing for the
comics. My curiosity aroused, | visited one of his classes and was absolutely
‘amazed atthe quality and depth of his instruction. You know how rare itis 1 ind
the foremost person n some eld who can cua teach a el a peer
fom me, had certainly found him that day—and | was doubly
fortunate in tht Novas a org end as wel as aCo-workr a Marve Comics
sti iin etn ci tt
It was a shame only a comparative handlul of students could learn what he had to
teach about comiebook artwork shame that ofen wore able tos ath oat
‘ofthe master. Then | planted the seed. If he were toillustrate a book onthe
subject, he could reach thousands of aspiring artists all at the same time.
‘Obviously, no one book can substitute for an entre art course, but atleast wo'd
be able to present a broad overview, illustrating Ihe most important elements of
sive, drama, and design that go into the making of a Marvel supernero feature.
‘Without looking up from his drawing board, he mumbled his usual monosyllabic,
‘grunt, which long years of friendship had taught me to interpret as note of
‘assent. Spurred on by his display of unbridled enthusiasm, | knew the project
‘could be delayed no longer, John Buscema would organize, prepare, and
¡llustrate our book—based on the highly successful course he teaches in his own
Workshop-and | would do the writing and sneakily steal a disproportionate sh
‘of the credit, as is my wont, So, hero wo aro!
‘Okay, I won't keep you from the good stuff any longer. Just remember one thing.
“The pages that follow were created to give you an informed insight into the way
the most popular comicbook superhero strip are designed and illustrated.
They’ bring you as many artistic tip, tricks, secrets, and suggestions as
litle volume, And, in return, all we ask of you le
Don't tel our competition what you've learned!
Excelsior
Stan Lee
New York 1977
subject, he could reach thousands of aspiring artists all at the same time.
‘Obviously, no one book can substitute for an entre art course, but atleast wo'd
be able to present a broad overview, illustrating Ihe most important elements of
sive, drama, and design that go into the making of a Marvel supernero feature.
‘Without looking up from his drawing board, he mumbled his usual monosyllabic,
‘grunt, which long years of friendship had taught me to interpret as note of
‘assent. Spurred on by his display of unbridled enthusiasm, | knew the project
‘could be delayed no longer, John Buscema would organize, prepare, and
¡llustrate our book—based on the highly successful course he teaches in his own
Workshop-and | would do the writing and sneakily steal a disproportionate sh
‘of the credit, as is my wont, So, hero wo aro!
‘Okay, I won't keep you from the good stuff any longer. Just remember one thing.
“The pages that follow were created to give you an informed insight into the way
the most popular comicbook superhero strip are designed and illustrated.
They’ bring you as many artistic tip, tricks, secrets, and suggestions as
litle volume, And, in return, all we ask of you le
Don't tel our competition what you've learned!
Excelsior
Stan Lee
New York 1977
THE TOOLS-
AND THE TALK- OF THE TRADE!
‘Since very few of us draw with just our fingernails, let's start
off with what you'll need, Then we've got to make sure we're
all speaking the same language. This parts the easiest.
AND THE TALK- OF THE TRADE!
‘Since very few of us draw with just our fingernails, let's start
off with what you'll need, Then we've got to make sure we're
all speaking the same language. This parts the easiest.
Here we go! On these two pages you! find just about everything
you'll need to get you started, One of the nice things about being a
omicbook artists the fact that your equipment ie no big deal.
Let's just give the various items a fast once-over
eter a sof end, some
Ith nar reos apoyos
Eraser. One at gun an
‘smith knoades ora
india int Any good brand ot Sens cleaner to use,
black india inks okay
nite sang pit.
frersininking >
Goad
ss
D
A glass jar This holes tho
arr cianimg your
Pushpin Handy forkeoping your
illustration pape trom sipping
‘ofthe drawing board
Perspocive.
you'll need to get you started, One of the nice things about being a
omicbook artists the fact that your equipment ie no big deal.
Let's just give the various items a fast once-over
eter a sof end, some
Ith nar reos apoyos
Eraser. One at gun an
‘smith knoades ora
india int Any good brand ot Sens cleaner to use,
black india inks okay
nite sang pit.
frersininking >
Goad
ss
D
A glass jar This holes tho
arr cianimg your
Pushpin Handy forkeoping your
illustration pape trom sipping
‘ofthe drawing board
Perspocive.
ve. Invaluable for drawing
orders andkeping ines pra
Ruler For everyone who says “1
San’ draw astaight ine without
‘ler Now you Ve no excuse!
station paper ous py
iol Boar, largo enough fo
comodato afar 10 x 15
Drawing board his can bo a
Fou sheet taten
This pain hunk of any kindof
Seh ed pe or sopla
Ink compass.
gonna ra a,
Sou might as well get pene compess,
{Go even ough Johnny torgtto
raw one ory
Mel now ee aro you
da
Of course, there are some things we omitted, Ikea chair to sit on
and & light so that you can see what you're doing in case you work
Inthe dark. Also, i's a good idea to have aroom to work in—
‘otherwise your pages can get all messy in the rin. But we figured
you'd know all his.
‘And now, onward!
orders andkeping ines pra
Ruler For everyone who says “1
San’ draw astaight ine without
‘ler Now you Ve no excuse!
station paper ous py
iol Boar, largo enough fo
comodato afar 10 x 15
Drawing board his can bo a
Fou sheet taten
This pain hunk of any kindof
Seh ed pe or sopla
Ink compass.
gonna ra a,
Sou might as well get pene compess,
{Go even ough Johnny torgtto
raw one ory
Mel now ee aro you
da
Of course, there are some things we omitted, Ikea chair to sit on
and & light so that you can see what you're doing in case you work
Inthe dark. Also, i's a good idea to have aroom to work in—
‘otherwise your pages can get all messy in the rin. But we figured
you'd know all his.
‘And now, onward!
st to make sure wo ll uo the same language |
standing won wo retro things, e's review th
the elements that make up atypical comicbook
Keep zooming along.
standing won wo retro things, e's review th
the elements that make up atypical comicbook
Keep zooming along.
ETES
HER
=|
him to sos the figures trom
head to toe, is called a
medium shot
‘And here we have along shot. In fact, since it
shows such an extreme wide-angle scene, you
‘might oven call ita panoramic long shot
without anyone geting angry at you.
Movin’ right along, we now
introduce you to one of
Marvel's many widely heralded
close-ups, so called because
the "camera" (meaning the
readers eye) has moved in
about as close as possible.
HER
=|
him to sos the figures trom
head to toe, is called a
medium shot
‘And here we have along shot. In fact, since it
shows such an extreme wide-angle scene, you
‘might oven call ita panoramic long shot
without anyone geting angry at you.
Movin’ right along, we now
introduce you to one of
Marvel's many widely heralded
close-ups, so called because
the "camera" (meaning the
readers eye) has moved in
about as close as possible.
THE SECRETS OF- FORM!
MAKING AN OBJECT LOOK REAL.
Anyone, even you or I, can draw some sort of circle or square. But how do
We make it look like the real thing? How do we make a reader feel as if he
can just reach out and touch it? How do we stop it from just lying there,
flat and one-dimensional, on the page? How do we give it length (pretty
easy), width (not hard), and depth (this is the tough one)? In short, how do
we give it the proper form?
Now that we've bothered to ask, let's see how Big John can help us find
the answers...
MAKING AN OBJECT LOOK REAL.
Anyone, even you or I, can draw some sort of circle or square. But how do
We make it look like the real thing? How do we make a reader feel as if he
can just reach out and touch it? How do we stop it from just lying there,
flat and one-dimensional, on the page? How do we give it length (pretty
easy), width (not hard), and depth (this is the tough one)? In short, how do
we give it the proper form?
Now that we've bothered to ask, let's see how Big John can help us find
the answers...
{One of the main things hat can rin a drawing i the appearance of
FLATNESS. Too many beginning ats, and even soma olsimer,
renato concen en hh an lt, wl neicing o Waly
Important dimension of depth wen Just another name for hicimos
To sait another way, whatever you raw should soem to have
this. shouls Rave blk body, weight. hould seem aa. Mit
Just ook at wort make
se gett ra yoursa nk ot evening: 25 being
sides having ns ing trough bec
‘Tcl around tines de a wola 109 ane em.
Incidental, dont et impatint wth this elementary tt. We know
you're anxious to start drawing Captain America batting Dr. Doom, ut
‘ven Buscema hed to havo ati prolmiary jazz down pat ire
ones! Stay witht forthe ext few pages and we promise yout fing
much ro o it ringe when you comet hen
End of commercial
Ses ho sketches onthe opposite page? They serv o lustre that
‘most object canbe reduced to theo simple goomati shapes A) the
SPHERE (orb 8) a CUBE (obo) th CYLINDER e
As we move along, youl soe that most every rang based on one
moco of thee theo hoy shapes
FLATNESS. Too many beginning ats, and even soma olsimer,
renato concen en hh an lt, wl neicing o Waly
Important dimension of depth wen Just another name for hicimos
To sait another way, whatever you raw should soem to have
this. shouls Rave blk body, weight. hould seem aa. Mit
Just ook at wort make
se gett ra yoursa nk ot evening: 25 being
sides having ns ing trough bec
‘Tcl around tines de a wola 109 ane em.
Incidental, dont et impatint wth this elementary tt. We know
you're anxious to start drawing Captain America batting Dr. Doom, ut
‘ven Buscema hed to havo ati prolmiary jazz down pat ire
ones! Stay witht forthe ext few pages and we promise yout fing
much ro o it ringe when you comet hen
End of commercial
Ses ho sketches onthe opposite page? They serv o lustre that
‘most object canbe reduced to theo simple goomati shapes A) the
SPHERE (orb 8) a CUBE (obo) th CYLINDER e
As we move along, youl soe that most every rang based on one
moco of thee theo hoy shapes
1 plane is equally easy. As you can
800, it's composed of a number of simple
cylinder.
rain you t “think through" the
‚draw. Don't Just see them as they
any combination of our three basic
‘cube, anda ay be the most important words we
‘can teach you-next to Make Mine Marvel, of course!
800, it's composed of a number of simple
cylinder.
rain you t “think through" the
‚draw. Don't Just see them as they
any combination of our three basic
‘cube, anda ay be the most important words we
‘can teach you-next to Make Mine Marvel, of course!
‘As promised ts 00 how what eve learned lates o
{he human igur.Inthis quick sketch of Daredevil,
- molle e as cube or ab cage and ip ara, wile
Vi Oylnders form the basic construction o his arms and
a lega. Even the it band round is ig follows the
fom ot cyngor
\
‘The same goes for faces. This one le =)
also based upon a cyinder—which has 1
‘boon cutoff at the sides.
{he human igur.Inthis quick sketch of Daredevil,
- molle e as cube or ab cage and ip ara, wile
Vi Oylnders form the basic construction o his arms and
a lega. Even the it band round is ig follows the
fom ot cyngor
\
‘The same goes for faces. This one le =)
also based upon a cyinder—which has 1
‘boon cutoff at the sides.
NOW, LET'S GET A LITTLE HEAVIER.
OKAY, OKAY! IT'S TIME TO START PUTTING
ITÄLL TOGETHER INA PICTURE. 60 WHAT'RE
URN THE PAGE,
O POTENTIAL PRODUCER OF PHANTASMAGORIC
PICTURE PANELS!
OKAY, OKAY! IT'S TIME TO START PUTTING
ITÄLL TOGETHER INA PICTURE. 60 WHAT'RE
URN THE PAGE,
O POTENTIAL PRODUCER OF PHANTASMAGORIC
PICTURE PANELS!
modified tobe sure,
‘The important thing about allthis sto train yo
‘The important thing about allthis sto train yo
Here's more ofthe: 110 make sure we've left nothing out
‘And now, got your ruler,
Toquare, and tangle
ready, "Cause it's time
for
‘And now, got your ruler,
Toquare, and tangle
ready, "Cause it's time
for
‘THE POWER OF- PERSPECTIVE!
Just as FORM is all-important in making an object look real, so is
PERSPECTIVE vitally necessary in making a scene look accurate—in
making things appear to be correctly placed in the foreground,
background, and all the places in between.
tant an ey subject, but youve got to master in order to draw a comic
trip—and we promise to make it as simple and as cle an. (And,
any consolation, is Just as tough for us to explain as Ir you
to learn!)
So, since we're al in tis thing together, let's y
Just as FORM is all-important in making an object look real, so is
PERSPECTIVE vitally necessary in making a scene look accurate—in
making things appear to be correctly placed in the foreground,
background, and all the places in between.
tant an ey subject, but youve got to master in order to draw a comic
trip—and we promise to make it as simple and as cle an. (And,
any consolation, is Just as tough for us to explain as Ir you
to learn!)
So, since we're al in tis thing together, let's y
As usual, we study the pix on the page opposite And this time the
are two new words you've got to make a par of your conscious and
‘subconscious vocabulary. The words are HORIZON LINE,
Basically, the horizon line simply represents the viewer's eye level
thats the spot inthe picture where your own eyes would be i you were
there observing the scene,
Lets start with some litle examples. Notice the cube onthe frst line of
drawings (A). you take tana turn itso that we're looking atithead-on
(6), you'll see thatthe two sidelines on top seem to be coming together,
the way tran tracks appear to come together as they recede farther
into the distance. Okay then, let's continue drawing those two lines until
they meet (©). The point at which they meets the natural horizon line,
‘ands consequently our own eye level. This is called ONE-POINT.
PERSPECTIVE because the perspective lines converge upon the one
single point
However, if we turn the cube and then follow the converging lines to
‘ther ultimate meeting place, we get a TWO-POINT PERSPECTIVE (D)
and Im not gonna insult your intelligence by tling you why we've
‘changed its name! Incidentally, you notice tha the cube is below the
horizon line and therefore below your own eye level.
In figure (E) we've merely redrawn the cube exactly at your eye level,
while in figure (F) we've drawn ita third way, showing how to put it
above eye evel
‘Study it awhile. I's not as complicated as it may sound, honest!
are two new words you've got to make a par of your conscious and
‘subconscious vocabulary. The words are HORIZON LINE,
Basically, the horizon line simply represents the viewer's eye level
thats the spot inthe picture where your own eyes would be i you were
there observing the scene,
Lets start with some litle examples. Notice the cube onthe frst line of
drawings (A). you take tana turn itso that we're looking atithead-on
(6), you'll see thatthe two sidelines on top seem to be coming together,
the way tran tracks appear to come together as they recede farther
into the distance. Okay then, let's continue drawing those two lines until
they meet (©). The point at which they meets the natural horizon line,
‘ands consequently our own eye level. This is called ONE-POINT.
PERSPECTIVE because the perspective lines converge upon the one
single point
However, if we turn the cube and then follow the converging lines to
‘ther ultimate meeting place, we get a TWO-POINT PERSPECTIVE (D)
and Im not gonna insult your intelligence by tling you why we've
‘changed its name! Incidentally, you notice tha the cube is below the
horizon line and therefore below your own eye level.
In figure (E) we've merely redrawn the cube exactly at your eye level,
while in figure (F) we've drawn ita third way, showing how to put it
above eye evel
‘Study it awhile. I's not as complicated as it may sound, honest!
Hero, just because Johnny hates to let hs ruler goto waste, he's given you a
‘couple more examples showing how the principles of perspective apply to
any streetscene,
In his first drawing, despite the size of the scene
and the numberof bullings, you notice that
everything converges towards one point; therefore
its a ONE-POINT PERSPECTIVE.
You can guess what we're about totell you
about this drawing. The perspective lines are
‘converging to two diferent points (along the
‘same horizon line, of course): Therefore, we
have an undeniabie example of—TA DAAAA~
a TWO-POINT PERSPECTIVE. And 1
more to come...
‘couple more examples showing how the principles of perspective apply to
any streetscene,
In his first drawing, despite the size of the scene
and the numberof bullings, you notice that
everything converges towards one point; therefore
its a ONE-POINT PERSPECTIVE.
You can guess what we're about totell you
about this drawing. The perspective lines are
‘converging to two diferent points (along the
‘same horizon line, of course): Therefore, we
have an undeniabie example of—TA DAAAA~
a TWO-POINT PERSPECTIVE. And 1
more to come...
WELL, IT HAD”
TO HAPPEN. THESE
TWO PICS OFFER you
EXAMPLES OF SCENES
CONTAINING THREE-POINT
- CAN YOU FIND.
THE THREE VANISHING POINTS?
OOPS, WE FORGOT TO
TO HAPPEN. THESE
TWO PICS OFFER you
EXAMPLES OF SCENES
CONTAINING THREE-POINT
- CAN YOU FIND.
THE THREE VANISHING POINTS?
OOPS, WE FORGOT TO
(8 Let's say you want to draw he inside of a room. Sounds simple,
huh? But what about the furniture? You want it to look natural, to
ook asf it belongs, and most important o
the pieces aren't floating in space. They have Lo seem accurate
and realistic in relation to each other. Well, that's what perspective
is all about.
© Inthe two illustrations on the f
ing page, notice how John makes
viewer's eye level may be, everything falls into place pleasingly
because the perspective is correct.
© And, did you notice the way the chair atthe bottom ofthe lower
Pic is angled (turned) diferently han the other pleces of furniture,
80 that it goes o diferen vanishing points? This gives us a third
and fourth vanishing point on the same horizon In.
@ ¡tit seems awfully complicated to you, don't worry. Johnny had to
explain it tome about a half-dozen imes—and I'm still wrestling
with most oft! Anyway, let's go to the next page and tackle a
problem or two .
huh? But what about the furniture? You want it to look natural, to
ook asf it belongs, and most important o
the pieces aren't floating in space. They have Lo seem accurate
and realistic in relation to each other. Well, that's what perspective
is all about.
© Inthe two illustrations on the f
ing page, notice how John makes
viewer's eye level may be, everything falls into place pleasingly
because the perspective is correct.
© And, did you notice the way the chair atthe bottom ofthe lower
Pic is angled (turned) diferently han the other pleces of furniture,
80 that it goes o diferen vanishing points? This gives us a third
and fourth vanishing point on the same horizon In.
@ ¡tit seems awfully complicated to you, don't worry. Johnny had to
explain it tome about a half-dozen imes—and I'm still wrestling
with most oft! Anyway, let's go to the next page and tackle a
problem or two .
‘Okay. First we'll consider some explanatory diagrams, then we'll see how they apply
to pictures we might use in our magazines.
One of the main purposes of our study of perspective Isto allow us to tit objects, to
twist them around and turn them without making them seem distorted or incorrect.
“These diagrams demonstrate how it's done inthe very simplest way. So, here we go
Wie al know that a perect cele wl fit portetly
‘within apertect square
two change the angle (the position) o
‘square, then seo how th ile must change also.
‘Seenowit becomes sn oval
Now thn, i we draw a cubo (wo squares in
erepoetve, side-by-side), and then draw two
‘vate within ho squares, and connect he oval,
de ‘Ne ond up wih auheel-áraun In perspective.
st thought you'd tke o es how to x
heaving
to pictures we might use in our magazines.
One of the main purposes of our study of perspective Isto allow us to tit objects, to
twist them around and turn them without making them seem distorted or incorrect.
“These diagrams demonstrate how it's done inthe very simplest way. So, here we go
Wie al know that a perect cele wl fit portetly
‘within apertect square
two change the angle (the position) o
‘square, then seo how th ile must change also.
‘Seenowit becomes sn oval
Now thn, i we draw a cubo (wo squares in
erepoetve, side-by-side), and then draw two
‘vate within ho squares, and connect he oval,
de ‘Ne ond up wih auheel-áraun In perspective.
st thought you'd tke o es how to x
heaving
2 ‘Suppose you wantto divido a wall int io equal
I, butte complicate the process tho wal i,
th Ines converging
vanishing pan), You moraly
Uso the samo procedure we demonstrated in
trample 22 above=mark o tive equal visions
nthe side ofthe walang then draw a straight ine
‘rom eomerto com
Y Yeurpin of son wit be oun exact er
| Eraso te original guidelines, and you end up with
your iv aqualvortcal sions, alin ho correct
| Perspective.
‘Now then, wo just know that you've been
ating your lors cha 1 drew a
‘checkerboard oo Im perspective. Here's
your base square shape, at any
‘angle you wish,
Gaine parallel tothe bottom ofthe
“rawing, mark of ae many square as you
From those points, now draw i
cerdo onda nro.
jour diagonal ine, and wero
‘ress the ines youve orginal
you have your exact dvsion pots or
eric! squares In perspective,
Since you've been such a good sport about the dull tu, now let's go tothe next page
and see what bearing all his has on some zingy comiebook drawings.
I, butte complicate the process tho wal i,
th Ines converging
vanishing pan), You moraly
Uso the samo procedure we demonstrated in
trample 22 above=mark o tive equal visions
nthe side ofthe walang then draw a straight ine
‘rom eomerto com
Y Yeurpin of son wit be oun exact er
| Eraso te original guidelines, and you end up with
your iv aqualvortcal sions, alin ho correct
| Perspective.
‘Now then, wo just know that you've been
ating your lors cha 1 drew a
‘checkerboard oo Im perspective. Here's
your base square shape, at any
‘angle you wish,
Gaine parallel tothe bottom ofthe
“rawing, mark of ae many square as you
From those points, now draw i
cerdo onda nro.
jour diagonal ine, and wero
‘ress the ines youve orginal
you have your exact dvsion pots or
eric! squares In perspective,
Since you've been such a good sport about the dull tu, now let's go tothe next page
and see what bearing all his has on some zingy comiebook drawings.
LET'S STUDY- THE FIGURE!
This ist, gang! This is what you've been waiting for! The
preceding sections gave the basics you need—the cereals
and vegetables. But here's where you get to the main course
and the dazzling desserts!
This ist, gang! This is what you've been waiting for! The
preceding sections gave the basics you need—the cereals
and vegetables. But here's where you get to the main course
and the dazzling desserts!
(© Tere might be someting more important than igure rang in
comicbook artwork, but we sure don't know what ie! Everything is
8406 nom you draw he charac th ees an he
neverending ore of suporing sr Super camiconk are
the stories of people, period! And we're going 1 ty to teach you
‘everyting you ough fo know about drawing tose poopi and drawing
them as dramatically and heroically a possible
(© Lets tr than average os Ike you me Mos average guy a
about six-and-a-half heads tall But take alook a his ketch of Reed
Richards. Notice that he's elgh-and-treo-quarters heads tall, wo
raw a hero he's got to look lke a herohe should e
Proportions. Unfortunately, the normal six-and-a-h
proportions would make him seem somewhat dumpy when drawn ina
Marvel mas,
(© Noodiess to say, we also make 1
ips real narrow. N
raun much more a
(© Another good point to remember ih elbows fal justa ti bit below
the wast Tissue of both men and women,
comicbook artwork, but we sure don't know what ie! Everything is
8406 nom you draw he charac th ees an he
neverending ore of suporing sr Super camiconk are
the stories of people, period! And we're going 1 ty to teach you
‘everyting you ough fo know about drawing tose poopi and drawing
them as dramatically and heroically a possible
(© Lets tr than average os Ike you me Mos average guy a
about six-and-a-half heads tall But take alook a his ketch of Reed
Richards. Notice that he's elgh-and-treo-quarters heads tall, wo
raw a hero he's got to look lke a herohe should e
Proportions. Unfortunately, the normal six-and-a-h
proportions would make him seem somewhat dumpy when drawn ina
Marvel mas,
(© Noodiess to say, we also make 1
ips real narrow. N
raun much more a
(© Another good point to remember ih elbows fal justa ti bit below
the wast Tissue of both men and women,
(© And, speaking of women—whare would Reed Richards be without his
stunning Sue?
(© Notice that she tools eight-and-hree-quarters heads tal, with her
ps much wider in elation o her shoulders than they would bo on
a male.
(© obviously, wo do not emphasize muscle on a female. Though we
assume she's nota weakling, a woman is drawn look smooth and soft
8 opposed tothe muscular angular rendition of a man.
{© Were aso found that its proferablot draw a female s heed slightly
smell than males. Infact, she's generally drawn somewhat smaller
allover, except forthe bosom,
© As a gue, you might remember thatthe hand (on both male and
female) always fall mic-high on the body when the figure standing.
stunning Sue?
(© Notice that she tools eight-and-hree-quarters heads tal, with her
ps much wider in elation o her shoulders than they would bo on
a male.
(© obviously, wo do not emphasize muscle on a female. Though we
assume she's nota weakling, a woman is drawn look smooth and soft
8 opposed tothe muscular angular rendition of a man.
{© Were aso found that its proferablot draw a female s heed slightly
smell than males. Infact, she's generally drawn somewhat smaller
allover, except forthe bosom,
© As a gue, you might remember thatthe hand (on both male and
female) always fall mic-high on the body when the figure standing.
“The main purpose of this lo (we'll save
‘our publisher fortune in ypeseting by
Note that the superhero larger,
with broader shoulders, more
‘muscular arms and legs, a heavier
chest, and even a more impressive
stance. There's nothing weak
more dramatic, more imposing than
an average guy.
Perhaps the most important single,
Point to remember is that yo
should always slightly exaggerate
the heroic qualities of your hero,
and attempt t ignore or
negative, undramatic quals.
‘But, what about the villains? Glad
you asked. Next page, please...
‘our publisher fortune in ypeseting by
Note that the superhero larger,
with broader shoulders, more
‘muscular arms and legs, a heavier
chest, and even a more impressive
stance. There's nothing weak
more dramatic, more imposing than
an average guy.
Perhaps the most important single,
Point to remember is that yo
should always slightly exaggerate
the heroic qualities of your hero,
and attempt t ignore or
negative, undramatic quals.
‘But, what about the villains? Glad
you asked. Next page, please...
> Wouldja believe that virtually the same rules apply tothe villains
i as to the heroes? (When it comes to drawing them, at any rate!)
i as to the heroes? (When it comes to drawing them, at any rate!)
One thing you must always
remember. (Because there
may be a test!) Learn the
rules we give you. Make them
part of your permanent
memory bank, but always be
flexible. Sometimes you'll want
to stretch the rules abit. The
Key point is this=you can only
bend the rules successfully
after you've learned them
porte
‘Naturally, there are exceptions to every
rule. Even though we told you that the
average superhero is eight-and-three=
Quarter heads high, you can run into à
Cuddly character Ike The Thing who
might be only six heads high. But then,
you wouldn't want him to look ike Mr.
Fantastic, would you? (Just thought of
something. For all you semantics
students, here's something to mull over.
“The phrase “average superhero” just
hasto be a non sequitur, right? Funny,
‘the things that pop into your head when
‘you're pounding the keyboard!)
remember. (Because there
may be a test!) Learn the
rules we give you. Make them
part of your permanent
memory bank, but always be
flexible. Sometimes you'll want
to stretch the rules abit. The
Key point is this=you can only
bend the rules successfully
after you've learned them
porte
‘Naturally, there are exceptions to every
rule. Even though we told you that the
average superhero is eight-and-three=
Quarter heads high, you can run into à
Cuddly character Ike The Thing who
might be only six heads high. But then,
you wouldn't want him to look ike Mr.
Fantastic, would you? (Just thought of
something. For all you semantics
students, here's something to mull over.
“The phrase “average superhero” just
hasto be a non sequitur, right? Funny,
‘the things that pop into your head when
‘you're pounding the keyboard!)
4 =>
And now that weve LITER
‘studied the figure— \ / x
And now that weve LITER
‘studied the figure— \ / x
LET'S DRAW THE FIGURE!
‘This part is dynamite! So let's not waste a second—!
‘This part is dynamite! So let's not waste a second—!
thea hing a ladging ats neds et-contnce
And here's the way to
"Most anyone can draw a stick figure. (Even Irving Forbush)
‘Thoy/re simple, they re fun, and most important of al they're
‘the easiest way for you to get the action and the position you
want for your characte
Don't try to do a complete drawing all at once. Spend al the
time you can doodling with stick figures. Stay with them for
hours, days, weeks if you fee keit, unt they become
second nature to you—until you can create virtually any pose
you can think of
And here's the way to
"Most anyone can draw a stick figure. (Even Irving Forbush)
‘Thoy/re simple, they re fun, and most important of al they're
‘the easiest way for you to get the action and the position you
want for your characte
Don't try to do a complete drawing all at once. Spend al the
time you can doodling with stick figures. Stay with them for
hours, days, weeks if you fee keit, unt they become
second nature to you—until you can create virtually any pose
you can think of
x)
Notice how you can add ovals forthe rb cage and the
hips. Then, fr the arms and legs, you can start building
‘the figure by adding cylinders.
IPN For example, sty ou watt raw ron Man
We Ina crouch, about to spring at some malicious
A miscroat First you gt te proper poston
7 Senne te
"Which conceal it, but by drawing through, you
make certain you've got every par of the anatomy
Positioned in the right place.
Finally, having finished fleshing out th figure, you
‘erase the construction lines which have been
{drawn through and get a result somewhat Ike this
final figure of ol Shel-head. (That is, you'l get it
A you practice as long as Johnny dai)
hips. Then, fr the arms and legs, you can start building
‘the figure by adding cylinders.
IPN For example, sty ou watt raw ron Man
We Ina crouch, about to spring at some malicious
A miscroat First you gt te proper poston
7 Senne te
"Which conceal it, but by drawing through, you
make certain you've got every par of the anatomy
Positioned in the right place.
Finally, having finished fleshing out th figure, you
‘erase the construction lines which have been
{drawn through and get a result somewhat Ike this
final figure of ol Shel-head. (That is, you'l get it
A you practice as long as Johnny dai)
on this page, the same thing
holds true for Spidey. We decide
the pose we'd Ike to draw and start
Stickfiguring it. Notice the way his
lett knee is bending towards you?
‘That's called "toreshortening." I's
‘done alot in comicbook artwork.
nd here's where we
tar fleshing him out
again. Just add those
clever ite cylinders as.
You go. See why we
to train your eye until the lines
almost begin to take shape in your
imagination before you start puting
them down on the pape
: y
holds true for Spidey. We decide
the pose we'd Ike to draw and start
Stickfiguring it. Notice the way his
lett knee is bending towards you?
‘That's called "toreshortening." I's
‘done alot in comicbook artwork.
nd here's where we
tar fleshing him out
again. Just add those
clever ite cylinders as.
You go. See why we
to train your eye until the lines
almost begin to take shape in your
imagination before you start puting
them down on the pape
: y
Now then, for those of
you who've mastered the
tion ofthe human figure,
there's another approach
10 forming the body. I's
as basic and obvious as.
the simple process of
scribbling! So, it you're a
more advanced student
you may get a Kick out
ofthis...
over underestimate tho im
portance of scribbling. Alter
You've started with your stick
figure, bull it up by scribbling
—as in the drawings on this
pago. As John explains I, t's
like being a sculptor and
building a figure with lay.
You just keep adding these
loose litle lines until the
figure starts taking shape.
‘Another important thing about
scribbling is that it helps you
toloosen up and get a feeling
of movement and action. Do
your scribbling lightly, and try
to tran your eye to spot the
lines that are correct and to
‘the figure with your pencil, you
‘emphasize the important lines
‘and eventually lose the others.
you who've mastered the
tion ofthe human figure,
there's another approach
10 forming the body. I's
as basic and obvious as.
the simple process of
scribbling! So, it you're a
more advanced student
you may get a Kick out
ofthis...
over underestimate tho im
portance of scribbling. Alter
You've started with your stick
figure, bull it up by scribbling
—as in the drawings on this
pago. As John explains I, t's
like being a sculptor and
building a figure with lay.
You just keep adding these
loose litle lines until the
figure starts taking shape.
‘Another important thing about
scribbling is that it helps you
toloosen up and get a feeling
of movement and action. Do
your scribbling lightly, and try
to tran your eye to spot the
lines that are correct and to
‘the figure with your pencil, you
‘emphasize the important lines
‘and eventually lose the others.
‘As you can see, the same
technique applies for any
poso, any mood, and any
person, male or female, young
or old. Can you now easily
recognize the progress ofthe
sketches? Can you see how
We start with a primitive stick
figure and continue to scribble
‘overt, thinking in terms of
Imaginary cylinders, until wo
‘end up with the pose we want?
"over never et yourselt
technique applies for any
poso, any mood, and any
person, male or female, young
or old. Can you now easily
recognize the progress ofthe
sketches? Can you see how
We start with a primitive stick
figure and continue to scribble
‘overt, thinking in terms of
Imaginary cylinders, until wo
‘end up with the pose we want?
"over never et yourselt
THE NAME OF THE GAME IS- ACTION!
Action! A Marvel specialty! A Marvel Trademark! Sharpen
your pencil, pilgrim—here's where we separate the men
from the boys!
Action! A Marvel specialty! A Marvel Trademark! Sharpen
your pencil, pilgrim—here's where we separate the men
from the boys!
‚Just being able to draw the igure is only half the job. When you're
book superharo sagas, youve goto be able to move =
‘action!
loosen up, try 1 feel the action.
[Notice how the ist drawing and the lat one in that particular sequence
00m tohave the most Impact-1ho most action. Ina Marvel story, the
{artist would use ether of those shots rather than thotamer ones In
Remember, in these sketches al you noog is three or four tines to
‘establish the action. See the two sketches onthe bottom ofthe page?
[Notice how Johnny caught all the action ho wanted in just he fowest of
lines and see how skilfully he was able to build ont. Youll be doing
this, too, once you've had enough practice,
Try to exaggerate your action—koop
the iguro lose, supple, always in
Notice how three or four ines
book superharo sagas, youve goto be able to move =
‘action!
loosen up, try 1 feel the action.
[Notice how the ist drawing and the lat one in that particular sequence
00m tohave the most Impact-1ho most action. Ina Marvel story, the
{artist would use ether of those shots rather than thotamer ones In
Remember, in these sketches al you noog is three or four tines to
‘establish the action. See the two sketches onthe bottom ofthe page?
[Notice how Johnny caught all the action ho wanted in just he fowest of
lines and see how skilfully he was able to build ont. Youll be doing
this, too, once you've had enough practice,
Try to exaggerate your action—koop
the iguro lose, supple, always in
Notice how three or four ines
Pay particular attention tothe contr line drawn trough the figure Always remember every pose has a certain “him it. With
from topto bottom. Ti nos always raw ft: gives you tho an determino that hythm and thon
‘cue, orthe swing, tha you want your figure to have.
from topto bottom. Ti nos always raw ft: gives you tho an determino that hythm and thon
‘cue, orthe swing, tha you want your figure to have.
Now lets study some figures in motion and seo which we like and
which we don't—and why.
Figures 1 and 1A are both rough sketches of somebody running.
But not
much mi
has mo
urgency.
which we don't—and why.
Figures 1 and 1A are both rough sketches of somebody running.
But not
much mi
has mo
urgency.
‘Same thing goes for figures 2 and 2A. Both depict a character
reacting to a punch inthe jaw. While 2s a perfectly clear, undor-
that's Marvel!
reacting to a punch inthe jaw. While 2s a perfectly clear, undor-
that's Marvel!
Even when characters are just standing, the same rules apply. Notice
the figures on he facing page...
In each case, the smaller figure is okay. But just okay. Not particularly
‘dramatic, not overly heroic, and certainly not very interesting
Now then, se how the larger figures, which illustrate the same poses,
have more drama to them, more heroism, and far more interest.
‘The variations may not seem to be major, and yet as simple a device as
thrusting the head farther forward, or spreading the legs farther apart,
can make all the diference in the word, Basically the smaller figures
are perfectly adequate drawings; but the larger ones are Marve-tyle
drawings!
(On the two following pages (68 and 69) you
{roe-and-easy, and—although each was done
with just afew ketchy nee al
‘of how to get that Marvel
{eating in even In simplest o rawinge
the figures on he facing page...
In each case, the smaller figure is okay. But just okay. Not particularly
‘dramatic, not overly heroic, and certainly not very interesting
Now then, se how the larger figures, which illustrate the same poses,
have more drama to them, more heroism, and far more interest.
‘The variations may not seem to be major, and yet as simple a device as
thrusting the head farther forward, or spreading the legs farther apart,
can make all the diference in the word, Basically the smaller figures
are perfectly adequate drawings; but the larger ones are Marve-tyle
drawings!
(On the two following pages (68 and 69) you
{roe-and-easy, and—although each was done
with just afew ketchy nee al
‘of how to get that Marvel
{eating in even In simplest o rawinge
Wel, we know you're anxious to
start drawing a complete figure now,
It begins to assume the proper form.
Stops 4) and 5)~as we have to
{ell youtare onthe next page
$) In Chapter Two, remember how wo added
black tones to cur various spheres, cubes,
‘and oylnder in order to give them form?
ce how wo accomplish the same thing on
‘the human igure. There be more about tis
Inter just wanted to whet your appetite!
start drawing a complete figure now,
It begins to assume the proper form.
Stops 4) and 5)~as we have to
{ell youtare onthe next page
$) In Chapter Two, remember how wo added
black tones to cur various spheres, cubes,
‘and oylnder in order to give them form?
ce how wo accomplish the same thing on
‘the human igure. There be more about tis
Inter just wanted to whet your appetite!
Now thet you've become an expert
on drawing Spidey rom the back,
{ry your own ferent drawings in
ous ater poses But reenter
method, building
‘rom aneignaleontersine sketch
have nally plicated the
Completo drawing. I good
practice,
real
it help make you
he
impertance
ori skh
Las follow those same fo stops agan, thie time
cing wih ur of Soler tan. ryt won
Pm vna voy sm
on drawing Spidey rom the back,
{ry your own ferent drawings in
ous ater poses But reenter
method, building
‘rom aneignaleontersine sketch
have nally plicated the
Completo drawing. I good
practice,
real
it help make you
he
impertance
ori skh
Las follow those same fo stops agan, thie time
cing wih ur of Soler tan. ryt won
Pm vna voy sm
FORESHORTENING!
THE KNACK OF DRAWING THE FIGURE
IN PERSPECTIVE!
‘This chapter's a short one— but i's vitally important, Take your time with it
and make sure you thoroughly understand all the main points. Without a
knowledge of foreshortening, all your figures could end up looking like
they were drawn on pyramids by the ancient Egyptians!
THE KNACK OF DRAWING THE FIGURE
IN PERSPECTIVE!
‘This chapter's a short one— but i's vitally important, Take your time with it
and make sure you thoroughly understand all the main points. Without a
knowledge of foreshortening, all your figures could end up looking like
they were drawn on pyramids by the ancient Egyptians!
‘You hardly eve look
usually some part
back away Itom you,
pi
Here, once again, our practico with spheres, cubes, and eyinders
‘will stand us in good stead, Using these geomotic shapes forthe
‘ody wi make roblom figure
foreshortoning.
‘asthe px on the 1
tited away rom your eye they seem to
‘sorter. (That's where the word "Tores
object seems to got shorter as
Horo's a simple experiment you can ty. Hold a drinking glass
straight up in front of you, Now ttt slomly back See how its body
seme to ehorton a8 you do so. That's oreshorining, ight?
‘The same rulos apply whether you're above the
{igure and looking down att (A) or below it and
looking up (8).
usually some part
back away Itom you,
pi
Here, once again, our practico with spheres, cubes, and eyinders
‘will stand us in good stead, Using these geomotic shapes forthe
‘ody wi make roblom figure
foreshortoning.
‘asthe px on the 1
tited away rom your eye they seem to
‘sorter. (That's where the word "Tores
object seems to got shorter as
Horo's a simple experiment you can ty. Hold a drinking glass
straight up in front of you, Now ttt slomly back See how its body
seme to ehorton a8 you do so. That's oreshorining, ight?
‘The same rulos apply whether you're above the
{igure and looking down att (A) or below it and
looking up (8).
(© As you analyze the figures onthe facing page, notice how the
cubes and cylinders always shorten as they go away from you.
‘As a matter of fect, might help you to think ofthe entire igure
as a bunch of connected building blocks, The arts (you) has the
task of stringing hom out and arranging them inthe proper
Position—making sure that they're correctly foreshortened as they
{it away rom the viewer's eye.
‘© onthe pages that follow, you
in perspective taken from actu
In Marvel Comics. Next to each drawing, John has sketched the
"building blocks” and perspective ines to lusrate how each of
the problems was solved by the artist.
examples of various problems
wings which have appeared
'8 By comparing the finished drawing with the corresponding
building-block sketch, you should be abe to see how the rules we
have given you apply to almost any type of ilustraton.
cubes and cylinders always shorten as they go away from you.
‘As a matter of fect, might help you to think ofthe entire igure
as a bunch of connected building blocks, The arts (you) has the
task of stringing hom out and arranging them inthe proper
Position—making sure that they're correctly foreshortened as they
{it away rom the viewer's eye.
‘© onthe pages that follow, you
in perspective taken from actu
In Marvel Comics. Next to each drawing, John has sketched the
"building blocks” and perspective ines to lusrate how each of
the problems was solved by the artist.
examples of various problems
wings which have appeared
'8 By comparing the finished drawing with the corresponding
building-block sketch, you should be abe to see how the rules we
have given you apply to almost any type of ilustraton.
‘The samo goes for the shot of The
4 ‘Thing, on the right-hand side of the
feck
tion on the printed page,
4 ‘Thing, on the right-hand side of the
feck
tion on the printed page,
DRAWING THE HUMAN HEAD!
Or even the inhuman head we're not prejudiced!
Or even the inhuman head we're not prejudiced!
N —
\ |
RO KE
ne \
Most everyone can draw faces and heads of some sort—even if the
head is just a simple circle with two dots for eyes and a straight line for
the mouth. (Sometimes it you omit the nose in such a sketch no one will
‘even miss it
However, the time hath come for us to study heads drawn in the
Marvel manner. And, since we have to begin somewhere, let's examine
the sketches on these pages,
Notice thatthe head drawn in profile should generally fit into a square
5 shown), with the nose and part ofthe chin protruding.
Also note thatthe eyes usually come midway inthe skull, between the
top of the dome and the bottom ofthe chin.
It you divide the skull Into four even quarters, from top to bottom, the
‘nose will usually be inthe second quarter up from the chin-wih the
‘ars falling in about the same level
In th full view the head isn't perfect oval because
As you can also see,
ably
‘tho jaw has a slope which makes the bottom of the skull consi
narrower than the top.
\ |
RO KE
ne \
Most everyone can draw faces and heads of some sort—even if the
head is just a simple circle with two dots for eyes and a straight line for
the mouth. (Sometimes it you omit the nose in such a sketch no one will
‘even miss it
However, the time hath come for us to study heads drawn in the
Marvel manner. And, since we have to begin somewhere, let's examine
the sketches on these pages,
Notice thatthe head drawn in profile should generally fit into a square
5 shown), with the nose and part ofthe chin protruding.
Also note thatthe eyes usually come midway inthe skull, between the
top of the dome and the bottom ofthe chin.
It you divide the skull Into four even quarters, from top to bottom, the
‘nose will usually be inthe second quarter up from the chin-wih the
‘ars falling in about the same level
In th full view the head isn't perfect oval because
As you can also see,
ably
‘tho jaw has a slope which makes the bottom of the skull consi
narrower than the top.
For starters, let's draw atypical hero-type head. Since everything is easier
when you've got a few rules to follow, here are some tips you ought to
remember:
“Tho head is general ve eyes wid.
“There is one eye's distance between the two eyes.
To determine the with ofthe mouth draw an equilateral triangle,
idge af no nose, The tangle i”
ofthe nose, igh? Of couse!
Ve by where tho wo nos
ross the mouth line! The same shortcut apple 1 ho chi
‘Simply start your trianglo underneath th nose, through the lower
lp (whore it starts 1 turn up) and, wen it touches the bottom of
‘tho hoed~Eurokal That's tho width of he hint
[A ths stage, Keep your faces simple. Notice there are no extra
fines in th forehead or around the nos or chin,
Keep the nose somewhat small and make the chin strong and frm.
{Give the hai body and thickness. Dont ust et ite flat onthe head,
Koop the mouth simple, Notice the cure of
‘mal simple line forth lower ip
0 upper lipand just
when you've got a few rules to follow, here are some tips you ought to
remember:
“Tho head is general ve eyes wid.
“There is one eye's distance between the two eyes.
To determine the with ofthe mouth draw an equilateral triangle,
idge af no nose, The tangle i”
ofthe nose, igh? Of couse!
Ve by where tho wo nos
ross the mouth line! The same shortcut apple 1 ho chi
‘Simply start your trianglo underneath th nose, through the lower
lp (whore it starts 1 turn up) and, wen it touches the bottom of
‘tho hoed~Eurokal That's tho width of he hint
[A ths stage, Keep your faces simple. Notice there are no extra
fines in th forehead or around the nos or chin,
Keep the nose somewhat small and make the chin strong and frm.
{Give the hai body and thickness. Dont ust et ite flat onthe head,
Koop the mouth simple, Notice the cure of
‘mal simple line forth lower ip
0 upper lipand just
“There are, of course, thousands of variations on these tle rules. However,
remembering these basic principes will make It easier to draw the many
<ifferent types of faces that await us...
remembering these basic principes will make It easier to draw the many
<ifferent types of faces that await us...
As you can seo, there are many
diferent types of good-looking
‘males, be they human, amphibian,
or whatever. However, the
important point to remember is—it
you general follow the rules we've
racterheroic-looking, no
ina his origin or his facial
diferent types of good-looking
‘males, be they human, amphibian,
or whatever. However, the
important point to remember is—it
you general follow the rules we've
racterheroic-looking, no
ina his origin or his facial
Drawing the good guy Is, as you can probably tel, a somewhat
formularized task. But drawing the bad guy—ah, that's whore the fun
is! That's where you can let your imagination run rit and realy do
your thing!
As you know, your average vilo and vicious villain comes in ll sizes,
shapes, and categories. So, when creating his head, you can use any
shape that grabs you~square, round, wide, narrow, pear-shaped,
whatever. Of cure, you hve o be Sure thet his looks complement his
aracter and personality. The types of villains available o you are
‘aly tines, ero ar the song ones, th y ones te aly
ones, the paranoid ones, the ruthless ones, the grotesque ones, the
‘deceptive ones, the allen ones, and too many others for us to mention
Since we have to pay for our own typewriter ribbons!
So, if you'll courageously turn the page, we!l give you a selection of
sample types, with various different head sizes and head shapes. You
Pays your money and you takes your choice!
formularized task. But drawing the bad guy—ah, that's whore the fun
is! That's where you can let your imagination run rit and realy do
your thing!
As you know, your average vilo and vicious villain comes in ll sizes,
shapes, and categories. So, when creating his head, you can use any
shape that grabs you~square, round, wide, narrow, pear-shaped,
whatever. Of cure, you hve o be Sure thet his looks complement his
aracter and personality. The types of villains available o you are
‘aly tines, ero ar the song ones, th y ones te aly
ones, the paranoid ones, the ruthless ones, the grotesque ones, the
‘deceptive ones, the allen ones, and too many others for us to mention
Since we have to pay for our own typewriter ribbons!
So, if you'll courageously turn the page, we!l give you a selection of
sample types, with various different head sizes and head shapes. You
Pays your money and you takes your choice!
Now we come to almost everybody's favorite part—drawing the face of a
pretty gi-and few people are as well-qualified as Big John himsol to give
you al the info you need. Not only is John one of the atime greats in the
field of superhero strips, but he also is almost without peer when it comes.
10 portraying beautiful females. And, i you need any further proof, read on...
ection, because
NOTE: We're going to devote quite a bit of space to thi
ine is usually more dificult to produce
the semblance of a beautiful he
than a drawing of a hero.
‘As usual, lt start with five basic steps—the profile frst:
‘raw the head within an imaginary sa
Tecating the eo ine alway down the face.
Place eye and nove. Notice how the nose
tits out and up rom the skull~and's rather
pretty gi-and few people are as well-qualified as Big John himsol to give
you al the info you need. Not only is John one of the atime greats in the
field of superhero strips, but he also is almost without peer when it comes.
10 portraying beautiful females. And, i you need any further proof, read on...
ection, because
NOTE: We're going to devote quite a bit of space to thi
ine is usually more dificult to produce
the semblance of a beautiful he
than a drawing of a hero.
‘As usual, lt start with five basic steps—the profile frst:
‘raw the head within an imaginary sa
Tecating the eo ine alway down the face.
Place eye and nove. Notice how the nose
tits out and up rom the skull~and's rather
Flaco the mouth wal formar tom the ti / \
Not that owe lor han |
e pari ir
ge |
ER
‘ow tho extension ep natn
Senso ips Tartan nose
and chin? ica <}
Pace the eyebrow but at 00 lona
all eue, ring chin erard
nd tnd proper postlning of host by
ani aight o rom mouth 1 oye
Male na sorted away rounded
and meer lat Kau ho esos ol
mass dent ty 0 e Î
a oor kee fe ar and ty no at Ñ
‘onthe damea's dome i
Not that owe lor han |
e pari ir
ge |
ER
‘ow tho extension ep natn
Senso ips Tartan nose
and chin? ica <}
Pace the eyebrow but at 00 lona
all eue, ring chin erard
nd tnd proper postlning of host by
ani aight o rom mouth 1 oye
Male na sorted away rounded
and meer lat Kau ho esos ol
mass dent ty 0 e Î
a oor kee fe ar and ty no at Ñ
‘onthe damea's dome i
Tell you what, We‘ operate on the honor system. John and | wil take your
word for the fact that you've been faithfully practicing drawing the femal
profile. We'll assume that you've got it down pat now and are ready to tackle
the front-view drawing. See how we trust you?
‘This time, just so you don’t take things too much for granted, we'll hit you
with a foal of six steps. But don't worry about... they're each adorable!
ar «wot groportiond ey shape Draw tho usual eyo tne, midway on th
(8007 Told you not to worry al remember? A
1006 rule of thum for
you-the head Is vo eyes wise,
Draw an equilateral ange (all he sides ‘About one-thed ofthe way up from th top
ing exactly the same length, natch} from ‘tthe ip t th oy ine indicate tho nose.
tho outide ofthe eyes tothe conte ino of Ada racetul eyebrows we
the face. Paco your choëk ines and and Satoh int
Indicate no ara forthe mouth, the head, preforaby
above the ayes,
ono at ach side of
word for the fact that you've been faithfully practicing drawing the femal
profile. We'll assume that you've got it down pat now and are ready to tackle
the front-view drawing. See how we trust you?
‘This time, just so you don’t take things too much for granted, we'll hit you
with a foal of six steps. But don't worry about... they're each adorable!
ar «wot groportiond ey shape Draw tho usual eyo tne, midway on th
(8007 Told you not to worry al remember? A
1006 rule of thum for
you-the head Is vo eyes wise,
Draw an equilateral ange (all he sides ‘About one-thed ofthe way up from th top
ing exactly the same length, natch} from ‘tthe ip t th oy ine indicate tho nose.
tho outide ofthe eyes tothe conte ino of Ada racetul eyebrows we
the face. Paco your choëk ines and and Satoh int
Indicate no ara forthe mouth, the head, preforaby
above the ayes,
ono at ach side of
Naturally, being able to draw a head is only par ot. The big thing eto be
able to animate the head, to put interesting expressions onthe face. So, hare
wo go again.
“The faces on these pages wore all constructed exactly lke the ono you've
just been studying. Notice how John is able to chango the expression
often as he likes simply by making slight alterations in the mouth th
and the eyebrows. Each expression is obvious. Each expression i different
And each expression can be mastered by you you'll merely study them
Carefully and follow these few simpl
Keep your female faces simple. Use no ex
forehead, or around the mouth or nose.
pression lines onthe
We repeat, you don't need a lt of lines to show expression, or to change an
expression, Keep it clean and open.
Study your own face making different expressions
yourself and seo what happens to your face when you do. Most artists aro
their own best modols—and the only equipment you need isa mirror.
Virtually the same rules apply to male faces as to female faces (regarding
expressions). So study this section carefully, and apply the same formulae
tothe various male charactors you may wish to draw.
able to animate the head, to put interesting expressions onthe face. So, hare
wo go again.
“The faces on these pages wore all constructed exactly lke the ono you've
just been studying. Notice how John is able to chango the expression
often as he likes simply by making slight alterations in the mouth th
and the eyebrows. Each expression is obvious. Each expression i different
And each expression can be mastered by you you'll merely study them
Carefully and follow these few simpl
Keep your female faces simple. Use no ex
forehead, or around the mouth or nose.
pression lines onthe
We repeat, you don't need a lt of lines to show expression, or to change an
expression, Keep it clean and open.
Study your own face making different expressions
yourself and seo what happens to your face when you do. Most artists aro
their own best modols—and the only equipment you need isa mirror.
Virtually the same rules apply to male faces as to female faces (regarding
expressions). So study this section carefully, and apply the same formulae
tothe various male charactors you may wish to draw.
Never forget-once you learn the basi rules,
its fun to change them and come up with your
‘own versions. But you must know the rules
perfectly before you can begin editing or
revising them.
its fun to change them and come up with your
‘own versions. But you must know the rules
perfectly before you can begin editing or
revising them.
But how about a ile variety? Suppose we
want to draw a more sophisticated type, or an
older woman? Well, that's why we told you to
learn the rules firs, and then have fun editing
them, Here's what we mean...
want to draw a more sophisticated type, or an
older woman? Well, that's why we told you to
learn the rules firs, and then have fun editing
them, Here's what we mean...
By the way, those two swingy earrings which John lightly sketched help to
give the impression of sophistication, also. Naturally, jewelry, clothes,
halrdos, and everything else about a woman (ora man) help to create the
proper look and mood.
"Now, for a somewhat older woman, simply round out the jawi
very slight double-chin effect, and with just
eye, ses how you gi
you can see, her ear
‘suggesting maturity
give the impression of sophistication, also. Naturally, jewelry, clothes,
halrdos, and everything else about a woman (ora man) help to create the
proper look and mood.
"Now, for a somewhat older woman, simply round out the jawi
very slight double-chin effect, and with just
eye, ses how you gi
you can see, her ear
‘suggesting maturity
Just to make sure we haven't missed anything,
1 points or
‘and let's 800 wh
ber
they'd
look tke if they happened to be done wrong.
DO tit the eye upward on
outside.
es
DO drau nose tited
DO draw sma
(5)
DONT draw nose ted up
100 much. DONT:
large notre.
—~ EN
Ses E
PFP
2 @
DONT ty to draw Individual DONT a eyes op.
tyelashes, DONT draw eye too DONT draw eyobrows as a
long and narrow. Simp ure
| \
DONT draw bumps on DONT let tip of ose dí
‘raw nose. i's always one
Simple smooth tne)
1 points or
‘and let's 800 wh
ber
they'd
look tke if they happened to be done wrong.
DO tit the eye upward on
outside.
es
DO drau nose tited
DO draw sma
(5)
DONT draw nose ted up
100 much. DONT:
large notre.
—~ EN
Ses E
PFP
2 @
DONT ty to draw Individual DONT a eyes op.
tyelashes, DONT draw eye too DONT draw eyobrows as a
long and narrow. Simp ure
| \
DONT draw bumps on DONT let tip of ose dí
‘raw nose. i's always one
Simple smooth tne)
>
7
Nor
DO learn to draw a mouth with a
pleesing shape.
— Je
DONT ty to draw bow lps
ern,
uf
DONT draw anguia tips.
‘rwanda tone Se
AN
lace upper tp tete PONT pu upper ito far DONT make lips 100 thick.
forward or make too thin DONT fet ower ip jt too far
DONT make cin to weak, forward. DON'T make chin too
prominent.
(On page 106 we presenta series of beautifu-gir heads in diferent
positions, to allow you to see how the beauty romaine no matter what
Angle. Notice how the nose is always led upward, regardless ofthe
head's position
On page 107 we've included females" heads drawn by diferent artist,
to enable you to familiarize yourself with different styles and techniques.
7
Nor
DO learn to draw a mouth with a
pleesing shape.
— Je
DONT ty to draw bow lps
ern,
uf
DONT draw anguia tips.
‘rwanda tone Se
AN
lace upper tp tete PONT pu upper ito far DONT make lips 100 thick.
forward or make too thin DONT fet ower ip jt too far
DONT make cin to weak, forward. DON'T make chin too
prominent.
(On page 106 we presenta series of beautifu-gir heads in diferent
positions, to allow you to see how the beauty romaine no matter what
Angle. Notice how the nose is always led upward, regardless ofthe
head's position
On page 107 we've included females" heads drawn by diferent artist,
to enable you to familiarize yourself with different styles and techniques.
IO
Wy
Y
Y
Wy
Y
Y
COMPOSITION!
Putting the picture togethert
Putting the picture togethert
© Cal it composition, alt layout, call it design al add
italy
simpler the design, the easier I wi and
“and enjoy. Make your designs exciting, starting, powertul-but keep
thom simple.
© Lets consider the facing page. Next o three typical Marvel panels
woe used shaded diagrams to indicate tho simplo, direct flow of
the design
‘areas taking form inthe artists mind. Sometimes, after.
‘rawn, too many Important elements fall outside the basic shaded
areas. In such instances, ho ast changes hi drawing Until everything
falls within a pleasant, unified mass.
your eye to ind auch patterns, the most complicated
itself 10 similar analysis as soon as you look at it. As a
ct, ets turn the page and study some addtional examples,
‘Dearing in mind that no two shapes are apt tobe alike
italy
simpler the design, the easier I wi and
“and enjoy. Make your designs exciting, starting, powertul-but keep
thom simple.
© Lets consider the facing page. Next o three typical Marvel panels
woe used shaded diagrams to indicate tho simplo, direct flow of
the design
‘areas taking form inthe artists mind. Sometimes, after.
‘rawn, too many Important elements fall outside the basic shaded
areas. In such instances, ho ast changes hi drawing Until everything
falls within a pleasant, unified mass.
your eye to ind auch patterns, the most complicated
itself 10 similar analysis as soon as you look at it. As a
ct, ets turn the page and study some addtional examples,
‘Dearing in mind that no two shapes are apt tobe alike
important element of design isthe so-called
‘Obviously you, as the arts, can draw a scene
sad-on;
you can tit (the viewer's eye) upward, or down, or
Sideways, or any way you wish, just as a movie director can
arrange his camera shots to suit is own taste.
Hore are thr
‘three diferent
xamples o diferent camera angles depicting
nes. Let's study them together for a moment.
Dr. Strange is entering a room. its a
at, simple, obvious camera angle. Same sun, but by changing ne
Nothing realy dramatic or unusual ‘Samora angle soe how the scono has a
about Senge of urgency, of Imponding drama.
‘Obviously you, as the arts, can draw a scene
sad-on;
you can tit (the viewer's eye) upward, or down, or
Sideways, or any way you wish, just as a movie director can
arrange his camera shots to suit is own taste.
Hore are thr
‘three diferent
xamples o diferent camera angles depicting
nes. Let's study them together for a moment.
Dr. Strange is entering a room. its a
at, simple, obvious camera angle. Same sun, but by changing ne
Nothing realy dramatic or unusual ‘Samora angle soe how the scono has a
about Senge of urgency, of Imponding drama.
© Lots play a game. Let's tke a typical Marvel Comics situation—somothing
{© On the facing page wo present our fst verion-the way any average
‘comicbook might present such a story, Let's take a good look and see what's
happening
(8 As you can seo, he page begins with some sort of nutty monster breaking
Into Avengers headquarters. Panel 2 shows th reaction of three of our
heroes. Panel 3 shows Cap, ron Man, and The Vision rushing to do battle
withthe intruder. Panel 4 as of Shol-head swinging at the big
Behemoth, In panel 5 the monster has grabbed and ited ron Man, about to
do him irreparable bodily harm. And finaly, panel 6 shows Cap and The
Vision pondering their next move, Got the picture? Good!
© Now en seta amis bio ose val rc We cn
pa
at af an seing ln power and dynamism, oo many ol
Panels have all the main elements placed 100 neaty inthe center.
© Well. wo could go on and on. Butt be easier just to turn the page and ses.
how t's done the Marvel way!
à AY N NW Y,
{© On the facing page wo present our fst verion-the way any average
‘comicbook might present such a story, Let's take a good look and see what's
happening
(8 As you can seo, he page begins with some sort of nutty monster breaking
Into Avengers headquarters. Panel 2 shows th reaction of three of our
heroes. Panel 3 shows Cap, ron Man, and The Vision rushing to do battle
withthe intruder. Panel 4 as of Shol-head swinging at the big
Behemoth, In panel 5 the monster has grabbed and ited ron Man, about to
do him irreparable bodily harm. And finaly, panel 6 shows Cap and The
Vision pondering their next move, Got the picture? Good!
© Now en seta amis bio ose val rc We cn
pa
at af an seing ln power and dynamism, oo many ol
Panels have all the main elements placed 100 neaty inthe center.
© Well. wo could go on and on. Butt be easier just to turn the page and ses.
how t's done the Marvel way!
à AY N NW Y,
© Now this is more ike it! Look at panel + this close-up ofthe
Final in
he two Avengers aro much more grace! looking, and the ti of
Ihelr bodies gives a feeling of ar more urgancy and excitement.
fora reader 10 06 characters ho are pretty much the same size throughout
the page.
© Now, we give you another two pages ofthe same type of thing. Without
any comments rom us, so you can tol why the second versan Is
Infiniti botar han the rt. you needa few cues, youl notice more
Interesting and varied perspective shots, more variety inthe siz ofthe
panels: See how many other pains of Improvement you can nd in
second version. I'l bo good practice for you In training your eye to tela
fair layout rom a really good one,
Final in
he two Avengers aro much more grace! looking, and the ti of
Ihelr bodies gives a feeling of ar more urgancy and excitement.
fora reader 10 06 characters ho are pretty much the same size throughout
the page.
© Now, we give you another two pages ofthe same type of thing. Without
any comments rom us, so you can tol why the second versan Is
Infiniti botar han the rt. you needa few cues, youl notice more
Interesting and varied perspective shots, more variety inthe siz ofthe
panels: See how many other pains of Improvement you can nd in
second version. I'l bo good practice for you In training your eye to tela
fair layout rom a really good one,
Itwe can do it~ so can you!
As far as we know, this the first time this technique has ever been offered
to anyone outside he halcyon halls of Marvel! On the pages that follow,
ete going to show you, step by step, exactly how a page might be penciled
fora comiebook.
et originally done fra stip
Called CAPTAIN BRITAIN, published by Marvel Comes fr distribution and
sale in Great Britain. The artist was given aplt description rather han a
complete script coniining dialogue. Therelor, wo won't concern ourselves
with captions or dialogue balloons, but merely with drawing the panels.
‘according to In pot.
Now, hero's what we have to draw. In pane! 1, Captain America, followed by
Captain Britain, races down a corridor on a rescue mission. Panel 2 depicts
the villainous Rod Skull aiming a gun at his enemy, Nick Fury, who hovers
above him, held aot by twin jet-packs, which he wears on Ns back. Fury
reacis in surprise ashe hears his name called by Captain America. Panel 3
sa shot ofthe Sal fing point-blank at poor ol Fury! In panel , Fury
‘drops to the floor as Cap rushes to help im. Panel ne Ska
ingles Avenger. And we
Captain Britain, holding his unique armo:
Although you've already seen the finished product onthe chapter head on
page 124, the important thing for you now sto see Just how the whole thing
inthe final artwork.
“This i the rt draft, done purely fr layout
and action—just to position the characters
Basically it consists ofa se of stick figures,
ving tho artist an dea of what his page may
Took ike and now the action wl low rom
panel to pane
to anyone outside he halcyon halls of Marvel! On the pages that follow,
ete going to show you, step by step, exactly how a page might be penciled
fora comiebook.
et originally done fra stip
Called CAPTAIN BRITAIN, published by Marvel Comes fr distribution and
sale in Great Britain. The artist was given aplt description rather han a
complete script coniining dialogue. Therelor, wo won't concern ourselves
with captions or dialogue balloons, but merely with drawing the panels.
‘according to In pot.
Now, hero's what we have to draw. In pane! 1, Captain America, followed by
Captain Britain, races down a corridor on a rescue mission. Panel 2 depicts
the villainous Rod Skull aiming a gun at his enemy, Nick Fury, who hovers
above him, held aot by twin jet-packs, which he wears on Ns back. Fury
reacis in surprise ashe hears his name called by Captain America. Panel 3
sa shot ofthe Sal fing point-blank at poor ol Fury! In panel , Fury
‘drops to the floor as Cap rushes to help im. Panel ne Ska
ingles Avenger. And we
Captain Britain, holding his unique armo:
Although you've already seen the finished product onthe chapter head on
page 124, the important thing for you now sto see Just how the whole thing
inthe final artwork.
“This i the rt draft, done purely fr layout
and action—just to position the characters
Basically it consists ofa se of stick figures,
ving tho artist an dea of what his page may
Took ike and now the action wl low rom
panel to pane
‘This is where the artist stars building his figures, using the spheres, cubos, and
cylinders we studied earlier. Notice how he will draw through a figure wherever
‘necessary, And see how the original tick-igure line now becomes his action
“center line.
cylinders we studied earlier. Notice how he will draw through a figure wherever
‘necessary, And see how the original tick-igure line now becomes his action
“center line.
‘This is it—the “tleshing-out” process, which we discussed in Chapter Five. As you
can see, from spheres, cubes, and cylinders i's not a very big step to the completed
figure—at least not once you've learned how to draw the face, the body, and al the
other things we've been so brillant explaining!
can see, from spheres, cubes, and cylinders i's not a very big step to the completed
figure—at least not once you've learned how to draw the face, the body, and al the
other things we've been so brillant explaining!
Okay! Since you dig such a great job on that ono, les
try another!
‘This timo let's see you draw your own page-In the
‘same stages as you've just observed—betore you look
at the pages tha follow. Then you can compare your
‘wn handiwork with oure~ane there's always the
Chance that your wil be better!
Here's the plot:
SS milly zings him with
‘teensy cosmic bot Spidey, having been knocked of his fet, decidas to
{ight back. Spider-Man quickly ips some webbing a Ihe Surfer, catching it
around his ankles. Finally, the Surfer, wrapped in Spidey webbing, loses
bis balance and topples ofthe rooftop.
‘This scenario was written so that each sentence describes a separate panel,
{or total of six panels tothe page.
“That's it. You're on your own. Sketch out a page as best you can, following
the scenario nd then comparo it with our version. Ramemiber now, do the
stick figures fs; then the spheres, cubes, and cylinder: and finally the
fleshing out. You can compare each process with ours as you go, Enjoy!
try another!
‘This timo let's see you draw your own page-In the
‘same stages as you've just observed—betore you look
at the pages tha follow. Then you can compare your
‘wn handiwork with oure~ane there's always the
Chance that your wil be better!
Here's the plot:
SS milly zings him with
‘teensy cosmic bot Spidey, having been knocked of his fet, decidas to
{ight back. Spider-Man quickly ips some webbing a Ihe Surfer, catching it
around his ankles. Finally, the Surfer, wrapped in Spidey webbing, loses
bis balance and topples ofthe rooftop.
‘This scenario was written so that each sentence describes a separate panel,
{or total of six panels tothe page.
“That's it. You're on your own. Sketch out a page as best you can, following
the scenario nd then comparo it with our version. Ramemiber now, do the
stick figures fs; then the spheres, cubes, and cylinder: and finally the
fleshing out. You can compare each process with ours as you go, Enjoy!
publishing company.
{© But now, bofore wo go on tothe next chapter, ll Just take a minute
to review the “design” ofthe panels you've just been studying.
Remember thatthe design I a important asthe base drawing-in
fact, the design is par of th
sic drawing. Note the design patterns
Ñ
Intend to draw.
© Okay, summary time's over. On tothe next goodie we have in store
for you
{© But now, bofore wo go on tothe next chapter, ll Just take a minute
to review the “design” ofthe panels you've just been studying.
Remember thatthe design I a important asthe base drawing-in
fact, the design is par of th
sic drawing. Note the design patterns
Ñ
Intend to draw.
© Okay, summary time's over. On tothe next goodie we have in store
for you
MAN CALLEN
DATA
pl PACE Wire À a
E Mu
DES
DATA
pl PACE Wire À a
E Mu
DES
THE COMICBOOK COVER!
Without which you cannot tell a book by!
Without which you cannot tell a book by!
‘As you can Imagine, the cover i probably the single most important
Page in any comiebook it catches your eye and intriguos you, heros
chance you may buy the magazine. it doesnt cause you to pick I
Up. means one fost sale
Since we thought you'd be curious about the comments and criticieme of
those layouts, her’ a sample fr you to mull vor
ma 100% correct, We just
{uy show you how wo fee about hese things, to lp you formulate
your ow decisions and opinions
‚er
Page in any comiebook it catches your eye and intriguos you, heros
chance you may buy the magazine. it doesnt cause you to pick I
Up. means one fost sale
Since we thought you'd be curious about the comments and criticieme of
those layouts, her’ a sample fr you to mull vor
ma 100% correct, We just
{uy show you how wo fee about hese things, to lp you formulate
your ow decisions and opinions
‚er
Because ofthe importance ofthe cover, and because I serves as a full-color |
‘advertisement or the magazin tal, al the elements ol he itustration |
‘must be vory careful put together Here are some ofthe things which the il
artist must always
‘Aways leave enough room athe op of he sro forthe
{ogee of he magazine). ñ
in porn mus be dawn aıne stc de te
eno
Stars tne or so degree.
ta important, the att must
ras in Na tation. The expression
‘Since he color ona cove
“The drawing mut de
10 ga the magazin and road the story. bu must
‘ding away. or tip the Yonder of ay sur
enough ru 1 cope witha present Now, one agar es
trace the progress of ou rain rom the nl ugh tae lo
comple páncl version Tho fia tad cover an o see, course, on
pago 196, whore it was used 1 introduce this unforgettable chapter.
‘advertisement or the magazin tal, al the elements ol he itustration |
‘must be vory careful put together Here are some ofthe things which the il
artist must always
‘Aways leave enough room athe op of he sro forthe
{ogee of he magazine). ñ
in porn mus be dawn aıne stc de te
eno
Stars tne or so degree.
ta important, the att must
ras in Na tation. The expression
‘Since he color ona cove
“The drawing mut de
10 ga the magazin and road the story. bu must
‘ding away. or tip the Yonder of ay sur
enough ru 1 cope witha present Now, one agar es
trace the progress of ou rain rom the nl ugh tae lo
comple páncl version Tho fia tad cover an o see, course, on
pago 196, whore it was used 1 introduce this unforgettable chapter.
THE ART OF INKING!
No matter how beautifully a page may be drawn in pencil, it cannot be
printed in a comicbook unless black india ink is applied to the original
Pencil drawing. That means someone has to trace over the initial penciled
artwork with elther a paintbrush or drawing pen, transforming each
illustration into a carefully “inked” final product.
However, always remember that an inker is not merely a person who
traces a penciled drawing. The inker has to be an artist himself. (Or
herself. No chauvinists wel) A gifted inker can make mediocre penciling
ook great; while a mediocre inker can make great penciling look dull
Inking is vitally important. The more you know about i, the better. And
here's where we begín..
No matter how beautifully a page may be drawn in pencil, it cannot be
printed in a comicbook unless black india ink is applied to the original
Pencil drawing. That means someone has to trace over the initial penciled
artwork with elther a paintbrush or drawing pen, transforming each
illustration into a carefully “inked” final product.
However, always remember that an inker is not merely a person who
traces a penciled drawing. The inker has to be an artist himself. (Or
herself. No chauvinists wel) A gifted inker can make mediocre penciling
ook great; while a mediocre inker can make great penciling look dull
Inking is vitally important. The more you know about i, the better. And
here's where we begín..
Inking can tend tobe tiresome, and it requires
rolentless concentration. Therefore, you should
make sure your posture is correct. Whatever you
do, don't slouch over your drawing board. Sit up
straight—slouching will make you weary and
lates,
TIP: The ink in your pen points and brushes will
become hard and sti if you don't keep them clean.
Always keep a jar of clear water at hand and soak
both brushes and pen points when they're not
es
Even though india Ink Is more permanent than pencil, don't get uptight
if you make a mistake. You can always paint over your error with opaque
white paint, and—as soon as the paint dries-you can Ink right
over
For ruling lines (which inkers are continually called upon to do) you
an use a ruling pen. No need to dip it Into the ink, though. You merely
Toad a brush with ink, and then run it over the pen until he pen is led.
Later on, when you feel more adventurous, you can actualy rule tines
with your brush, I's far more dificult, but it often pays of because
Your finished ines wil nave more characte, mor interest. They wont
as tiff and totaly u ines ruled with a pen. Merely hold a
fur at abou a s-aogre angle, and by ayn pressure Your
rush, you can make lines of virtually any thickness.
rolentless concentration. Therefore, you should
make sure your posture is correct. Whatever you
do, don't slouch over your drawing board. Sit up
straight—slouching will make you weary and
lates,
TIP: The ink in your pen points and brushes will
become hard and sti if you don't keep them clean.
Always keep a jar of clear water at hand and soak
both brushes and pen points when they're not
es
Even though india Ink Is more permanent than pencil, don't get uptight
if you make a mistake. You can always paint over your error with opaque
white paint, and—as soon as the paint dries-you can Ink right
over
For ruling lines (which inkers are continually called upon to do) you
an use a ruling pen. No need to dip it Into the ink, though. You merely
Toad a brush with ink, and then run it over the pen until he pen is led.
Later on, when you feel more adventurous, you can actualy rule tines
with your brush, I's far more dificult, but it often pays of because
Your finished ines wil nave more characte, mor interest. They wont
as tiff and totaly u ines ruled with a pen. Merely hold a
fur at abou a s-aogre angle, and by ayn pressure Your
rush, you can make lines of virtually any thickness.
Your best bets to become equally facile with both pen and brush. The pen is easiest when
you're just inking black lines, but you'l needa brush for filing in solid black areas. Of course,
You can also use your brush for drawing lines, but it's more dificult than the pon-it requires
greater contol on your part. The lines must be clean, sharp, and decisive—not ragged or
Scratchy. Stil, we suggest you learn to use a brush—leatn to virtually draw with your brush
instead of merely tracing the pencil lines. You should feel you're creating them anew with the
brushfeo! that you're drawing themotherwise the finished drawing may seem si and lieles,
Try duplicating these various strokes and, even better, see how many of your own you can create.
‘And now, let's take a few typical examples of inking and study them. We'll ee if we can tel
‘what's good about them—and what needs improving
29 || 3%
(7 vi
you're just inking black lines, but you'l needa brush for filing in solid black areas. Of course,
You can also use your brush for drawing lines, but it's more dificult than the pon-it requires
greater contol on your part. The lines must be clean, sharp, and decisive—not ragged or
Scratchy. Stil, we suggest you learn to use a brush—leatn to virtually draw with your brush
instead of merely tracing the pencil lines. You should feel you're creating them anew with the
brushfeo! that you're drawing themotherwise the finished drawing may seem si and lieles,
Try duplicating these various strokes and, even better, see how many of your own you can create.
‘And now, let's take a few typical examples of inking and study them. We'll ee if we can tel
‘what's good about them—and what needs improving
29 || 3%
(7 vi
Here's a wellinked panel, shown the size it was originally worked on,
OY ASSEMBLE SEE IST AS L PLAWMEDS
YOUR LEURS X MOR 1S MOBILIZING.
THE SOA:
HAS BEEN,
SOUNDED!
His FORCES!
OY ASSEMBLE SEE IST AS L PLAWMEDS
YOUR LEURS X MOR 1S MOBILIZING.
THE SOA:
HAS BEEN,
SOUNDED!
His FORCES!
taken the same panel and overworked it—used too many
looks in its
h more dificult
| size,
1g has made
ries
hharder to road, less pleasant to look at, and will also be me
HAS BEEN
SOUNDEDY
looks in its
h more dificult
| size,
1g has made
ries
hharder to road, less pleasant to look at, and will also be me
HAS BEEN
SOUNDEDY
Using the same penciled drawing once again, we go to another extreme.
This time the inker didn't get nearly enough varity in his lines, or in
his black areas. As you can see, his lines are almost al the same
weight, wih no feeling of “thick and thin." His solid black areas are
100 skimpy and too spotty; they're scattered al over the panel in no
definite pattern, and seemingly for no particular reason. The figures
‘dont stand apart from each other and they all seem to blend in with
the background. As you can ses, is just as bad to keep a panel too
light as iis to overwork the drawing,
This time the inker didn't get nearly enough varity in his lines, or in
his black areas. As you can see, his lines are almost al the same
weight, wih no feeling of “thick and thin." His solid black areas are
100 skimpy and too spotty; they're scattered al over the panel in no
definite pattern, and seemingly for no particular reason. The figures
‘dont stand apart from each other and they all seem to blend in with
the background. As you can ses, is just as bad to keep a panel too
light as iis to overwork the drawing,
1es a penciler indicates in his ponciled drawings where the black areas should
ong black
‘areas, for oo litle oF too much black can weaken or totaly destroy a penciled drawing.
White the black masses of course give a drawing solidity, they also help focus
important elements in a picture by attracting tho eye toward any desired area. Equally
important isthe use of solid and strong black masses to create dramatic moads within
the drawing. Now, let's study some examples to help us clarity these points
Notice how the heavy black areas here are
Concentrated on just one side ofthe figure.
‘There are almost no blacks inthe light area on the
other side. This technique serves to accomplish
{wo things: 1) It gives the figure a feeling of
dimension, of roundness, 2) I directs the reader's
attention to the characters head by framing the
head with massive black areas, directing the
readers eye 10 Ih allimportant fearful face,
In this panel we have similar lighting,
with one bright light source
‘one side ofthe body and casting the
source in each panel.
ong black
‘areas, for oo litle oF too much black can weaken or totaly destroy a penciled drawing.
White the black masses of course give a drawing solidity, they also help focus
important elements in a picture by attracting tho eye toward any desired area. Equally
important isthe use of solid and strong black masses to create dramatic moads within
the drawing. Now, let's study some examples to help us clarity these points
Notice how the heavy black areas here are
Concentrated on just one side ofthe figure.
‘There are almost no blacks inthe light area on the
other side. This technique serves to accomplish
{wo things: 1) It gives the figure a feeling of
dimension, of roundness, 2) I directs the reader's
attention to the characters head by framing the
head with massive black areas, directing the
readers eye 10 Ih allimportant fearful face,
In this panel we have similar lighting,
with one bright light source
‘one side ofthe body and casting the
source in each panel.
‘Now let's analyze two more typical panels
through the use of simplified diagrams. inthe
top panel, the artist's main purpose was to
create a mood of fear and menace. Once
again, notice how boldly and simply he
applied his black masses, The heavy shadow
seems o totaly engulf the smaller white
figure, which is sharply highlighted for
maximum emphasis. Inthe corresponding
panel on the right we Ve reduced the entre
design to its simplest form, so that you can
easily discern the crisp contrast between the
Stark black and white values,
‘Always remember—the placement of your
black areas creates a define pattern in every
picture. This pattern must never be too
‘Complicated, or too busy, lest it contuse the
reader. Whenever an illustration causes.
confusion in a reader's mind, it also causes
he reader's attention tobe diverted, thus
breaking the dramatic mood that each
preceding panel has attempted to create
In other words, Charlo, Keep it simple—and
oop it clear!
Here we have an extremely complicated scone. Ye, despite the woalt of detal, note how the
placement ofthe black areas creates a pattorn which seems to draw the reader's eye smoothly
‘across the picture, Notice also how the three figures in the center have been given just enough
black dabs-especialy around their heads-1o allow them to stand out from the background.
Next time you study a panel in order to analyze the inking technique, train yourself to squint
Your eye and try to recognize Ihe way the black areas are massed for design, in the same way
as we've attempted to show you by use ofthe two simplified panels on this page.
through the use of simplified diagrams. inthe
top panel, the artist's main purpose was to
create a mood of fear and menace. Once
again, notice how boldly and simply he
applied his black masses, The heavy shadow
seems o totaly engulf the smaller white
figure, which is sharply highlighted for
maximum emphasis. Inthe corresponding
panel on the right we Ve reduced the entre
design to its simplest form, so that you can
easily discern the crisp contrast between the
Stark black and white values,
‘Always remember—the placement of your
black areas creates a define pattern in every
picture. This pattern must never be too
‘Complicated, or too busy, lest it contuse the
reader. Whenever an illustration causes.
confusion in a reader's mind, it also causes
he reader's attention tobe diverted, thus
breaking the dramatic mood that each
preceding panel has attempted to create
In other words, Charlo, Keep it simple—and
oop it clear!
Here we have an extremely complicated scone. Ye, despite the woalt of detal, note how the
placement ofthe black areas creates a pattorn which seems to draw the reader's eye smoothly
‘across the picture, Notice also how the three figures in the center have been given just enough
black dabs-especialy around their heads-1o allow them to stand out from the background.
Next time you study a panel in order to analyze the inking technique, train yourself to squint
Your eye and try to recognize Ihe way the black areas are massed for design, in the same way
as we've attempted to show you by use ofthe two simplified panels on this page.
Here's a different application of blacks. On the previous page we saw the black areas used in a
very realistic way; here we have an example of blacks being used decoratively. Notice how the
black highlight lines on the ship seem tobe aimed directly atthe figures, focusing the reader's
attention on Reed, Sue, and the baby. Notice also how the blacks in Ihe upper areas ofthe
bodies encircle the three heads, directing your eye right 10 the cluster of faces.
Next we have what seems tobe a complicated arrange
ent of blacks buts actually
the reader's eye around the
fight side of the pane
Never add blacks merely because
you've got some extra ink in your
Pen or brush. Always have a
definite reason—either to enhance
the design ofthe panel, or o help
Clarity a complicated layout. Of
equal importance, of course, isthe
use of black to emphasize a certain
‘mood. And, speaking of mood...
very realistic way; here we have an example of blacks being used decoratively. Notice how the
black highlight lines on the ship seem tobe aimed directly atthe figures, focusing the reader's
attention on Reed, Sue, and the baby. Notice also how the blacks in Ihe upper areas ofthe
bodies encircle the three heads, directing your eye right 10 the cluster of faces.
Next we have what seems tobe a complicated arrange
ent of blacks buts actually
the reader's eye around the
fight side of the pane
Never add blacks merely because
you've got some extra ink in your
Pen or brush. Always have a
definite reason—either to enhance
the design ofthe panel, or o help
Clarity a complicated layout. Of
equal importance, of course, isthe
use of black to emphasize a certain
‘mood. And, speaking of mood...
Hey, how lucky can we be! Here's a perfect example of the use of blacks to create a certain mood!
By squinting our eyes, or observing the simplified panel onthe right, we can instantly see that
all th black areas are in crio, simple vertical or horizontal forms, thereby creating a calm,
motionless scone—with the dramatic exception of the larg, slanting black masses on the
winged gargoyle, which add a sudden feeling of shock, of uneasiness, of impending dang
and menace!
‘The large, vertical black designs within the fence bars are also tremendously important in
illustration, for they serve to unity the entre picture. Without them, the whole design would
‘seem to fall apart.
Tage par ne
Bese UE | icon
SESE MENTAL, FIN HOW,
In the panel below we have an entirely diferent feeling. Here, In order to dramatize the mood of
the panel, the black designs seem to be jumping all over the place, creating a scone of chaos
‘and action. But even here, note that the pattern—though seemingly jumpy-is also quite untied
and consistent, helping to rivet the readers eye on the action within the picture. From the
standı bstract design, the black areas are arranged to create a pleasing, exciting
circular movement.
As you once again squint your eye to study the scene, notice how the two slashes of black
‘across the bottom ofthe picture, from right o let, add to the action and also act as a
tnitying force.
By squinting our eyes, or observing the simplified panel onthe right, we can instantly see that
all th black areas are in crio, simple vertical or horizontal forms, thereby creating a calm,
motionless scone—with the dramatic exception of the larg, slanting black masses on the
winged gargoyle, which add a sudden feeling of shock, of uneasiness, of impending dang
and menace!
‘The large, vertical black designs within the fence bars are also tremendously important in
illustration, for they serve to unity the entre picture. Without them, the whole design would
‘seem to fall apart.
Tage par ne
Bese UE | icon
SESE MENTAL, FIN HOW,
In the panel below we have an entirely diferent feeling. Here, In order to dramatize the mood of
the panel, the black designs seem to be jumping all over the place, creating a scone of chaos
‘and action. But even here, note that the pattern—though seemingly jumpy-is also quite untied
and consistent, helping to rivet the readers eye on the action within the picture. From the
standı bstract design, the black areas are arranged to create a pleasing, exciting
circular movement.
As you once again squint your eye to study the scene, notice how the two slashes of black
‘across the bottom ofthe picture, from right o let, add to the action and also act as a
tnitying force.
For our tinal two examples,
notice how this fist pictur is
handled with extreme realism.
The light is obviously coming
from the ltt, casting every
thing on the right in deep
‘shadow. See how the heavy
black shadow areas emphasize
the feeling of a horror story.
You know it isn't a humor
stip ora romance, just by
looking atthe design ofthe
panel. Also, observo the way
the black areas in the back
ground give a feeling of
authenticity and detail without
detracting from the two
important figures themsoWves.
‘The panel is heavy, it's lush,
¡Ys melodramatic: and yet i's
clear and compelling. Ina
word, i's Marvel!
‘Okay, let's consider the bottom
panel, Notice how the large black
areas on the building seem to point
directly to the most important
‘element ofthis picture, the leaping
figure of Spider-Man above the
roof. Of course you've already
‘observed how the black designs in
the figures of the police at the
lower left serve to counterbalance
the large black masses on the
building. Another interesting point
the agitated staccato pattern of
black and white on the officers
seems to emphasize their action
and frustration,
In summation, the pencilor draws his panels in pencil, and then they must be finished by the
Inker. And, as you can see, itis upto the inker to decide where, and how boldly to apply his
black ink. The inker figures very importantly in determining the mood, the design, and the clarity
‘of each panel. Thus, when you study a comicbook’s artwork, you must always be conscious
‘of two elements—the basic penciled drawing, and the inked version, Together, they add up to
a completed illustration which is proudly presented to Marveldom Assembled!
notice how this fist pictur is
handled with extreme realism.
The light is obviously coming
from the ltt, casting every
thing on the right in deep
‘shadow. See how the heavy
black shadow areas emphasize
the feeling of a horror story.
You know it isn't a humor
stip ora romance, just by
looking atthe design ofthe
panel. Also, observo the way
the black areas in the back
ground give a feeling of
authenticity and detail without
detracting from the two
important figures themsoWves.
‘The panel is heavy, it's lush,
¡Ys melodramatic: and yet i's
clear and compelling. Ina
word, i's Marvel!
‘Okay, let's consider the bottom
panel, Notice how the large black
areas on the building seem to point
directly to the most important
‘element ofthis picture, the leaping
figure of Spider-Man above the
roof. Of course you've already
‘observed how the black designs in
the figures of the police at the
lower left serve to counterbalance
the large black masses on the
building. Another interesting point
the agitated staccato pattern of
black and white on the officers
seems to emphasize their action
and frustration,
In summation, the pencilor draws his panels in pencil, and then they must be finished by the
Inker. And, as you can see, itis upto the inker to decide where, and how boldly to apply his
black ink. The inker figures very importantly in determining the mood, the design, and the clarity
‘of each panel. Thus, when you study a comicbook’s artwork, you must always be conscious
‘of two elements—the basic penciled drawing, and the inked version, Together, they add up to
a completed illustration which is proudly presented to Marveldom Assembled!
Well, that wraps it up for now, gang. Naturally, we've only been able to
‘scratch the surface o this fascinating, almost limitless subject,
‘and informative overview of what i takes to draw for
the comicbooks. all anyone can really do is point the way-give you a
few tps, à few suggestions. The hard work, alas, must be done by you.
‘And yet, the beautiul thing about being a comicbook artist—even about
String to be one-is that you have to love it in order to want to dot
Nobody gets into this field because someone else advised it, or because
it soomod like a practical thing to do. No, being a comicbook illustrator
is being engaged in a labor of love, and when you really enjoy what
you're doing, that's almost reward enough.
At any rate, weve told you all we can~at least for now, inthis, the
first volume of ts type ever published. You've gained some insight into
what's required ofthe comicbook arts, and you've learned the typos
‘of things you must master in order to make the grado. The rest is up
to you.
{One last word before we turn you loose to unleash your talent upon a
breathessiy waiting world. To be a great singer, you've got to sing.
‘To be a great pianist, you've got o play piano. And to be a great artist
(and Marvel isnt interested in any other Kind), you've got to draw!
Draw! Draw! Wherever you go, whatever you do, whenever you have a
spare minute—draw! Sketch everything you see around you; sketch
your trends, your enemies, relatives strangers, anyone and everyone.
Become ao facie wth a pencil pan, or brush as you are wth a kite
and fork. The more you draw, the better you'll bo. And we want you to
bbe-the best!
Excelsior
‘scratch the surface o this fascinating, almost limitless subject,
‘and informative overview of what i takes to draw for
the comicbooks. all anyone can really do is point the way-give you a
few tps, à few suggestions. The hard work, alas, must be done by you.
‘And yet, the beautiul thing about being a comicbook artist—even about
String to be one-is that you have to love it in order to want to dot
Nobody gets into this field because someone else advised it, or because
it soomod like a practical thing to do. No, being a comicbook illustrator
is being engaged in a labor of love, and when you really enjoy what
you're doing, that's almost reward enough.
At any rate, weve told you all we can~at least for now, inthis, the
first volume of ts type ever published. You've gained some insight into
what's required ofthe comicbook arts, and you've learned the typos
‘of things you must master in order to make the grado. The rest is up
to you.
{One last word before we turn you loose to unleash your talent upon a
breathessiy waiting world. To be a great singer, you've got to sing.
‘To be a great pianist, you've got o play piano. And to be a great artist
(and Marvel isnt interested in any other Kind), you've got to draw!
Draw! Draw! Wherever you go, whatever you do, whenever you have a
spare minute—draw! Sketch everything you see around you; sketch
your trends, your enemies, relatives strangers, anyone and everyone.
Become ao facie wth a pencil pan, or brush as you are wth a kite
and fork. The more you draw, the better you'll bo. And we want you to
bbe-the best!
Excelsior
BIBLIOGRAPHY
Suggested books to study for more detailed instruction
on the various subjects touched upon in his volume,
‘Anatomy Books
Bridooman, George, Brdgeman's Gude to Drawing tom Lt (Stern)
, Bridgeman’s Lite Drawing (Dover).
Hogar, Burne, Drawing the Human Head (Watson-Guptil.
— Dynamic Anatomy (Watson-Guptl).
Vanderpoel, John, The Human Figure (Dover)
Books on Composition
Fabri, Ralph, Artist's Guide to Composition (Watson-Guptl)
Graham, Donald W., Composing Pictures (Van Nostrand Reinhold).
Watson, Ernest, Composition In Landscape and Still Life (Watson-
Guti).
Suggested books to study for more detailed instruction
on the various subjects touched upon in his volume,
‘Anatomy Books
Bridooman, George, Brdgeman's Gude to Drawing tom Lt (Stern)
, Bridgeman’s Lite Drawing (Dover).
Hogar, Burne, Drawing the Human Head (Watson-Guptil.
— Dynamic Anatomy (Watson-Guptl).
Vanderpoel, John, The Human Figure (Dover)
Books on Composition
Fabri, Ralph, Artist's Guide to Composition (Watson-Guptl)
Graham, Donald W., Composing Pictures (Van Nostrand Reinhold).
Watson, Ernest, Composition In Landscape and Still Life (Watson-
Guti).
Porspective
Cole, Rex, Perspective for Artists (Dover).
‘Animal Drawing
Hamm, Jack, How to Draw Animals (Grosset & Dunlap)
Laidman, Hugh, Animals: How to Draw Thom (Dutton).
‘Mood and Philosophy Behind Comics
Lee, Stan, Bring on the Bad Guys (Simon and Schuster
Origins of Marvel Comics (Simon and Schuster).
—— Son of Origins of Marvel Comics (Simon and Schuster
The Superhero Women (Simon and Schuster).
Cole, Rex, Perspective for Artists (Dover).
‘Animal Drawing
Hamm, Jack, How to Draw Animals (Grosset & Dunlap)
Laidman, Hugh, Animals: How to Draw Thom (Dutton).
‘Mood and Philosophy Behind Comics
Lee, Stan, Bring on the Bad Guys (Simon and Schuster
Origins of Marvel Comics (Simon and Schuster).
—— Son of Origins of Marvel Comics (Simon and Schuster
The Superhero Women (Simon and Schuster).
ACKNOWLEDGMENTS
‘The illustrations used in this book were drawn by the following art
who are among the greatest and most respected names in the
comicbook field. We thank them, one and.
(in alphabetical order)
Pencilors: Neal Adams Gone Colan
Ross Andru Jack Kirby
John Buscema — John Romita
Inkers: Mike Esposito — Paul Relnman
Frank Giacola Joe Sinnott
Jim Mooney George Tuska
“Tony Mortellaro John Verpoorten
Tom Palmer Al Weiss.
‘The illustrations used in this book were drawn by the following art
who are among the greatest and most respected names in the
comicbook field. We thank them, one and.
(in alphabetical order)
Pencilors: Neal Adams Gone Colan
Ross Andru Jack Kirby
John Buscema — John Romita
Inkers: Mike Esposito — Paul Relnman
Frank Giacola Joe Sinnott
Jim Mooney George Tuska
“Tony Mortellaro John Verpoorten
Tom Palmer Al Weiss.
HERE’S SOME
PANDEMONIOUS PUFFERY
FROM THE SiS cer’)
PANDEMONIOUS PUFFERY
FROM THE SiS cer’)
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