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FOUNDATIONS IN
COMIC BOOK ART
Fundamental Tools and Techniques for Sequential Artists
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JOHN PAUL LOWE
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FOUNDATIONS IN
COMIC BOOK ART
Fundamental Tools and Techniques for Sequential Artists
JOHN PAUL LOWE
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WATSON GUPTILL PUBLICATIONS
Berkeley
КЖ1Я
DEDICATION
This book is dedicated to:
My mom, for encouraging me to pursue whatever interested me.
My children Jonah, Koji, Atticus, and Bete for inspiring me.
My teachers, for sharing their knowledge with me.
My students, for teaching me,
My wife, Erin, for putting up with me.
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CONTENTS
FOREWORD, ix
PREFACE, xi
1. Anyone Can Draw
4. The Figure
The Two D’s: Desire and Discipline •2
Gesture Drawing • 52
Necessary Materials •2
Foreshortening •55
Exercise: Drawing Objectsfrom Memory • 5
Exercise: Drawing Figures from Memory 56
Drawing Multiple Figures •57
2. Learning to See
Drawing Straight Lines •10
Exercise: Freehand Drawing •10
5. Visual Problem Solving
Thumbnail Drawings •62
Exercise: Composing Thumbnails •65
Seeing Forms •11
Using Photo Reference • 66
Contour Drawings •14
Exercise: Defining Volume through Line •16
Drawing Multiple Objects •17
Visual Research
•
68
Using Photoshop with Photographic
Reference •70
3. Perspective Basics
How to Divide a Square
22
Creating Blue Line Pages to Ink •72
Б. Inking
Creating Symmetrical Curves within
Two Squares • 24
Inking Tools •76
The Cube Method •25
Pen Inking Techniques •86
Perspective Drawing •35
Placing Objects •44
Exercise: Inking with a Pen Nib •90
Brush Inking Techniques •100
Exercise: Inking with a Brush •103
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7. Advanced Inking
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Techniques
Using Unconventional Materials to Create
Unique Textures •112
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Masking an Illustration • из
X-Acto Knives and Straight Razors •117
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Sponges, Toothbrushes, and Other
Alternative Inking Tools • ns
Black-and-White Design
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8. Software Applications
in Comic Book Art
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Creating a Grid in Photoshop •124
Using the Perspective Tool in Manga Studio • 130
Using Manga Studio to Apply Screentone
Patterns •13B
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CONCLUSION -141
CREDITS
143
INDEX •144
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FOREWORD
One of the saddest lessons you will learn when you go
to art school is that your art is not very good. One day in
sophomore year you will look down at your Dali-inspired
colored pencil drawing of anthropomorphic lizards, and
you won’t be able to ignore it any longer. You'll look
up at your professor and see it in her eyes: she thinks
you're a bad artist. She thinks you’re a bad artist, and
she doesn’t think you’re ever going to get better.
“Very creative,” she'll say.
"Thanks,” you’ll say.
John Lowe thinks you can get better. In fact, he’s
sure you can get better. He's sure you can get good.
This is what makes John Lowe a great teacher and
an unusual one. If you are his student, he is interested
in you and he is interested in your art. He finds out
what your goals are, and he doesn't let you forget
them. He finds out what your comfort zone is, and he
jabs and teases you out of it. He finds out what tools
you’re used to using, and he doesn’t let you use them
anymore. He finds out how much homework you're
used to doing, and he assigns twice as much. He takes
artwork you were up all night working on and tells you
to change everything. He tells you to change everything,
and you squawk in disbelief, and John laughs and say,
“Nothing’s precious."
And it's true: nothing you put on paper is precious.
You have something else that’s precious, and it’s
something John will find for you when you can't find it
yourself anymore. It’s why you started drawing in the
first place. It’s in your hand, your eyes, your heart. Don't
lose it. Don’t let it get away.
Eleanor Davis
SCAD Alumna
Eleanor Davis a cartoonist and illustrator. She created
the graphic novels The Secret Science Alliance and The
Copycat Crook. Her work has been recognized by the
Society of Illustrators and Print. She has won the Theodor
Seuss Ceisel Honor and the Russ Manning Award.
Originally from Arizona. Davis now lives in Georgia.
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PREFACE
I decided to become a comic book artist when I was
in the seventh grade. I told everyone I knew about my
career decision, whether they asked or not. I wasn’t
bragging — I knew that making my intent public would
make me less likely to back out of it.
I earned a degree in fine art from the University
of Tennessee, Knoxville. I had several exceptional
professors who taught me how to draw from
observation. If comics only required the ability to draw
from life, I would have felt comfortable with the portfolio
that I took to the offices of Marvel and DC comics the
year after I graduated.
However, comic art requires additional skills, many
of them. A comic book artist is required to demonstrate
an understanding of perspective, composition, page
and panel design, acting, and staging. A comic book
artist must be able to create things that don’t exist,
which means he or she has to have the ability to make
constructive (instead of observational) drawings. My
college training didn't prepare me for that.
Fortunately, my drawing skills helped me land a
position as an inking assistant for one of my favorite
inkers Josef (Joe) Rubenstein. I didn’t do much more
than fill in large areas of black ink, and cut Zip-a-tone
patterns out, but I got to see an amazing inker working
on real comic pages every day. Joe was also kind enough
to critique the inking sample pages I was working on at
night. I was inking for DC Comics within a year.
Throughout the 1990s I worked with some of the
most talented comic artists in the industry, and over
the course of that decade they helped me develop my
drawing and storytelling skills.
I began working as a sequential art professor at the
Savannah College of Art and Design (SCAD) in 2002.
SCAD became my home, and teaching became my
passion. Creating classes and lectures, and mapping
out syllabi and lesson plans, forced me to structure
my thoughts. I love teaching. It’s the most exciting
and rewarding job I've ever had. I always look forward
to entering the classroom and seeing the work my
students produce.
When I began writing, I imagined the book my
students (and my younger self) would want to discover
at the library. When choosing what to cover, I considered
what I believe to be essential rules for drawing, If it
wasn’t essential, I removed it.
Learning to draw requires you to learn to see
differently. And each of us sees things in a unique way.
The chapters in this book are arranged sequentially and
should be followed in order. The first chapters deal with
learning how to see and interpret the world around you
(observational techniques), and howto create things
from your imagination (constructive techniques).
The latter chapters are devoted exclusively to
producing comic book pages. You will learn how to use
tools, techniques, and software to create comic pages
quickly. Speed is important. Comic artists, on average,
need to produce at least one finished comic page per day.
The most rewarding part of teaching is watching
young artists develop their artistic voices. That's another
reason I avoided writing a book that centered on
specific techniques. All too often, students who rely on
learning how to create artwork based on a very rigid
technical approach developed by another artist, produce
homogenous pieces of art. I like idiosyncrasies. This
book contains tried and true principles that will allow you
to develop an artistic style that belongs to you.
I look forward to seeing what you produce.
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ANYONE CAN DRAW
2
FOUNDATIONS IN COMIC BOOK ART
The Two D’s: Desire
and Discipline
Desire is the easy part. Almost everyone wants to excel at
something: sports, music, writing, acting, dancing, or creating art.
And the fact of the matter is that all people can succeed if they
dedicate themselves to intelligent study and consistent practice.
That is what separates those who will eventually succeed in their
chosen field from the dilettantes.
Most people don't realize how many skills a successful
sequential artist has to master. A thorough knowledge of anatomy
and figure drawing, composition, design (both within a panel and
in arranging several panels on a page), storytelling, shot selection,
and perspective is essential.
As a comic artist, if you work with a writer, you are required to
draw anything that he or she can imagine: a crowded New York City
street, a coliseum filled with spectators and participants, Berlin
during World War II, and so on. If something doesn't exist, such
as a planet no one has seen before, you must create that world, its
buildings and vehicles, and its inhabitants. I realize this sounds
intimidating, but when you have honed your talent, it’s an exciting
and enjoyable challenge.
Every artist has the same hurdles to overcome. We have all
struggled with feelings of ineptitude and frustration. Thoughts
such as "My human figures never look right," “I'll never learn
perspective," “This is just too hard," “I’m not fast enough," “They
are better than me,” and “I don’t have a chance” have all gone
through everyone's head at one point or another. I’ve certainly had
all of those thoughts. However, dedication and daily practice will
quell those fears.
I have taught sequential art for over a decade and have had the
pleasure of seeing former students go on to successful careers,
If you are considering a career in comics, the most important
question to ask yourself is "Do I love drawing and telling stories?"
Every comic artist I know works at his or her drafting table for
at least eight hours a day. Most of them put in more hours than
that. They do it because they love it and wouldn’t consider doing
anything else.
Necessary Materials
Learning to draw well requires you to invest time, not money. I love
that. If you own a pencil and some printer paper, you're good to go.
However, there are some standard drawing tools that most comic
artists use daily.
PENCILS
There is a wide assortment of graphite drawing pencils available.
These pencils are typically sold in a range from 6H to 8B. The
H series denotes a hard lead; the pencil lead becomes firmer and
produces a lighter line as the numbers increase. Conversely, the
В series signifies a softer lead and produces a darker line as
the numbers increase.
Since comic art is primarily linear, it isn’t necessary to purchase
a full range of pencils. A standard #2 pencil uses an HB lead that is
great for preliminary drawings or sketching, but has a tendency to
smudge if you run your hand over the drawing. Many artists prefer
to sketch or do their layouts with an HB (most school pencils are
HB) or 2B pencil and use a 2H pencil for their final drawings.
The shading for the drawing below was done twice: once with an
HB pencil (below, top) and once with a 2H pencil (below, bottom).
win awards, create their own comic characters, and have their
creations optioned
for film and television. Teaching confirmed a
suspicion I've always held: talent is overrated. Sure, some students
came in and displayed such artistic facility that I knew from the
time they turned in their first assignments that they would be
working professionally in a short time. But those were the (very)
rare exceptions. The majority of students I teach begin at the
same skill level. They like drawing and have filled up sketchbooks
with their favorite characters, but they don't know how to draw
two or more characters interacting, how to place those characters
in an environment by using perspective, how to portray subtle
emotions, or how to pace a story. That’s why they came to college
to study comics.
The determining factor in a student's success is his or her
willingness to work consistently and intelligently. Successful
students listen to constructive criticism, study books to improve
their storytelling and drawing skills, gain the ability to analyze their
work objectively, and, perhaps most important, draw daily.
ERASERS
A kneaded eraser is the best option when you draw. It is pliable,
it doesn’t leave any residue on the page, and it will not adversely
affect the surface of any paper. If you need to erase a large area,
such as the entire page after you have inked it and want to remove
the remaining pencil lines, use a large white rubber eraser.
PAPER
You should not invest in high-quality paper until you start
producing finished pages. Buy a ream (500 sheets) of printer paper
and an inexpensive sketchbook. I prefer a 9-inch by 12-inch spiral-
bound sketchbook because you don't have to hold it open like a
book, which can be irritating when sketching.
Anyone Can Draw
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An HB pencil (most
standard #2 school pencils
are HB) is a great sketching
tool, but the lead is soft and
it often smudges.
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Pencil companies are abundant. You can buy mechanical
pencils (no sharpening required) that hold a Q.3-. 0.5-, 0.7-, or
0.9-mm-diameter piece of lead. You can purchase pencil sets
if you want a range of leads from firm to soft. But really, all
you need is an everyday school pencil and a handheld pencil
sharpener.
A kneaded eraser is wrapped in plastic and looks and feels
like putty. You can purchase white rubber erasers in large
and small sizes. The large size is great for erasing pages of
11-inch by 17-inch original art. The Helix eraser pictured here
houses a pencil sharpener; that's pretty nifty.
3
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FOUNDATIONS IN COMIC BOOK ART
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These drawings were created with a variety ot materials:
pencils and colored pencils, watercolor, ink and ink wash.
quill nibs and brushes, and ink dyes.
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DRAWING
OBJECTS
FROM MEMORY
This is one of the best exercises for any aspiring comic artist.
It isn’t complicated, and thanks to the Internet, you have an
unlimited resource for interesting things to draw.
You'll need a blue pencil, a ballpoint pen, and a timer of
some sort for this exercise.
l.
Choose a photograph of an interesting object.
2.
Look at it for one minute and try to commit as much
information to memory as possible.
3. Turn away from the computer or minimize the window the
object is displayed in and try to draw the object in blue pencil
in two minutes.
Sketch in the basic shapes first.
4. Look at the object again and spend the next two minutes
making an observational drawing in ballpoint pen on top
of the pencil drawing. If you made mistakes in your initial
sketch (and you will), correct them with the pen.
This exercise will improve your visual memory and make you
observe the world around you more closely. Learning to draw well
requires careful observation and analysis.
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Place the specific features, as you remember them, on top
of the basic shapes you drew.
Look at this toaster and try to memorize its basic shapes and
the placement of specific features.
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Look at the object again and use a ballpoint pen to
draw its details from observatioa If you remembered
something incorrectly, adjust it using the pen.
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A lot of technical
skills are necessary
to create comic pages,
but when you have
mastered those skills,
every day is more like
play than work. The
skills and techniques
displayed in these
examples include
an understanding oi
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figure drawing, inking,
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perspective, visual
pacing, page layout,
and composition.
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10
FOUNDATIONS IN COMIC BOOK ART
Drawing Straight Lines
The old adage “I can't even draw a straight line" is erroneous.
Anyone can do this with practice, and learning to draw straight
lines without the aid of a ruler is worth the investment in practice
time. It will make your drawings look more confident, save you a
lot of time, and allow you to draw freehand perspective grids (I’ll
elaborate on this in chapter 3). Drawing long straight lines requires
you to draw by using your arm, and to do that you must hold the
pencil differently.
FREEHAND DRAWING
Make sure to clear everything off the drawing surface before
you begin.
Place your elbow on the table and hold the pencil in an upright
position, rotating your hand so that your palm is resting on the
paper, this positioning prevents you from using your fingers or
wrist, which will cause your line to curve, when you draw. Now,
using your elbow as a fulcrum, draw a line across the paper.
After you get comfortable drawing straight lines, draw a
series of equidistant parallel, straight lines. Draw at least ten
lines per group.
Everyone has a natural stroke. When I draw freehand
straight lines, my arm moves from left to right at a
45-degree angle. Some of my students find that their natural
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stroke moves from top to bottom or vice versa. Find your
natural stroke; you can always move the paper around to
accommodate it.
You should also practice drawing straight lines that connect
two points. Keep doing this, varying the distance between
the points (some can be short distances, but others should
be much longer), until you can draw straight lines through
them at will.
Learning to See
Seeing Forms
Artists must train themselves to see the simple forms of any object
first and to recognize that anything they see can be placed within
cubes, spheres, cylinders, or cones.
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Train yourself to see the underlying form(s) of any object. The
underlying forms of all these objects have been highlighted.
Identifying the basic shape or combination of shapes in the object
you are sketching is a fundamental principle of good drawing.
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FOUNDATIONS IN COMIC BOOK ART
Complicated objects are composed of various combinations of
these basic shapes. Before you draw anything from observation,
study your subject and ask yourself, "What is the underlying shape,
or shapes, of the thing I’m drawing?"
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This freehand box
construction helped the
artist locate the placement
of the building's features
and see a complicated
object as a simple form.
Details were applied to
the box. turning it into an
interesting building. The
small figure was placed in
the drawing as a point of
reference for the building's
height.
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Learning to See
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This bottle is composed of two basic shapes: a box and a
cylinder. The majority of the bottle is found within a box. The
stem and cap are located within a cylinder, which houses two
sets of ellipses (circles drawn in perspective).
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This box helped the artist visualize how much space the skull’s
shape takes up. The drawing begins with the placement of
general shapes. By adding details and altering the lines of the
basic shapes the artist makes this an interesting drawing.
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14
FOUNDATIONS IN COMIC BOOK ART
Contour Drawings
Contour lines, especially in comic book art, play a crucial role in
the way the viewer perceives the surface of a figure or object. They
map out the surface of an object that would otherwise look flat and
create volume within a linear drawing.
Look at some shapes. It's hard to see them as anything other
than flat patterns, as if someone had outlined a silhouette. But you
can create several unique interpretations of those basic shapes by
drawing different directional lines across them, manipulating their
surfaces.
Contour drawing also makes an artist aware of the way subtle
shifts in lines can create significant shifts in the way an object is
perceived. When you are practicing contour drawings, see if you
can "feel” the object you are drawing imagine the sensation of
running your pencil along the surface of the object. Then draw
through it to the other side.
It’s easiest to explain this with a simple example. A football has
two stripes that wrap around it. When you make a contour drawing,
you want to feel your way around those stripes. Don’t just draw a
line on the surface; draw an ellipse all the way through the football
as if you can see through the material to the other side. It takes a
little practice, but when you start perceiving things this way, your
drawings will improve quickly.
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Each ol these complex shapes began as a simple freehand
ellipse drawing. The direction in which the lines are drawn
modifies the way the surface is perceived. Contour lines
transform shapes into forms.
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Learning to See
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The contour lines on this figure help you picture the complex
forms of an organic figure.
The contour lines also help you place clothing and folds
correctly.
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FOUNDATIONS IN COMIC BOOK ART
DEFINING VOLUME THROUGH LINE
Draw some generic shapes and then draw contour lines within
those shapes.
Modify one shape several times by using only contour lines.
Trace over photographs with contour lines. This will help you gain
a better understanding of the planes and surfaces of any figures,
faces, or objects you draw.
Study the example below. The basic shapes were identified first
and drawn in blue pencil. This approach allows you to concentrate
initially on basic shape relationships to help you see proportions
correctly. Contour lines were added next to give volume and detail
to the drawing. Then a ballpoint pen was used to identify the
contours of the subject.
I chose to draw this bottle because
it is made up of a combination of
interesting shapes.
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I began by drawing the most basic
shapes in blue pencil with freehand
straight lines. These shapes are
rectangles and triangles.
I then added details, focusing on the
bottle's contour lines.
t
I used a ballpoint pen for the final
drawing, using the underlying blue
pencil lines as a guide. The exterior
line is thicker than the interior lines;
this helps the viewer read the interior
lines as details within the bottle.
Learning to See
Drawing Multiple Objects
When you have become adept at seeing and drawing the underlying
forms of any subject you choose to draw, and at adding specific
details on top of those shapes, you’re ready to practice drawing
multiple objects. A still life will train you to draw a group of objects
and make them proportionaly to one another. Here are two
techniques to help you make a good observational drawing:
• Plumb lines. Plumb lines are a series of straight vertical or
horizontal lines that are used to help you determine where
objects align with one another. Hold your pencil or another
straight object such as a skewer at arm’s length to establish
the size relationships and angles of the objects you are
drawing. You can also apply this technique to photographs.
•
Quadrants. When working from a photograph like in the
example below, draw a rectangle around the subjects you
want to draw and draw a vertical line and a horizontal line
through the rectangle’s midpoints. The four quadrants this
creates help you place the objects more accurately within
your drawing. If you are working from life, make a viewfinder
by cutting a rectangle out of a sheet of printer paper
discarding this rectangle and putting marks on the vertical
and horizontal midpoints of this frame. If you feel very
ambitious, tape strings to the midpoint marks, creating four
quadrants within the viewfinder.
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PLUMB LINES
The blue lines are the
horizontal plumb lines. The
red lines are vertical plumb
lines. I’ve used the tissue
box as a point ol reference.
Its left edge aligns with the
middle of the glass and with
the end of the banana. Its
right edge touches the stem
of the banana and reveals
a small negative space
between the stem and the
banana’s body. The drapery
edge hits the tissue box on
its left-hand side.
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If you were drawing the
objects pictured here, ask
yourself these questions
about the placement of the
objects in the quadrants:
How high is the box in
relation to the banana?
Where does the drapery
intersect the box? What is
angle of the banana?
This is the final pencil sketch. You can see that it has
employed plumb lines and quadrants and utilized contour
lines to better represent the shape of the banana.
27
18
FOUNDATIONS IN COMIC BOOK ART
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pictures filtered through your unique
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shown in this illustration (the bicycle, the various building
shapes and facades, the van. etc.) seems correct,
even though
they are drawn in a style that would
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BASICS
22
FOUNDATIONS IN COMIC BOOK ART
How to Divide a Square
It sounds silly, but the square is the most valuable and necessary
shape for any type of technical drawing (environments, props,
vehicles, etc.). If you can train yourself to draw one perfect square,
you can place and multiply additional perfect squares infinitely. This
is an invaluable tool for perspective drawing.
1
A square is composed of four equidistant sides, and
you can locate its vertical and horizontal midpoints by
drawing an X through it and then drawing a horizontal
and vertical line through the center of this X.
2. You can also locate smaller squares inside it by placing
a single point on the X and drawing a horizontal and
vertical line from this point, parallel to the original sides
of the square. Complete the square. Each time one of the
new lines connects with the X's line, change direction,
until you end back at your initial point.
3. If you want to make a larger square, simply extend the
X beyond the initial square, locate a point, and draw
parallel lines.
Perspective Basics
HOW TO CREATE ADDITIONAL SQUARES
1.
Once you have one perfect square, you can create other
squares around it. To add a square on the right, for
example, extend the top and bottom lines of the initial
square and draw a line from the top left comer through
the vertical midpoint on the right side of the square, until
it intersects with the newly extended line.
2. When it touches this point, draw a vertical line from this
point, parallel to the side of the initial square. You've
just created a second perfect square. You can repeat this
process infinitely.
3. You can also create additional squares above or below
the initial square with this technique.
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HOW TO CREATE ADDITIONAL
RECTANGLES
1. Locate a smaller area within the left rectangle.
2. Draw a line from the upper corner of the smaller shape
through the midpoint until it touches the bottom line of
the right rectangle. Draw a perpendicular line up to the
top line.
3. You now have a smaller, mirrored shape.
25
2H
FOUNDATIONS IN COMIC BOOK ART
Creating Symmetrical Curves
within Two Squares
The ability to place symmetrical curves within two squares is
extremely beneficial when you are working with perspective
drawing, and it isn't very hard. Almost every manmade structure
incorporates symmetrical design.
L Look at the two squares in this illustration. I've placed
a simple curve in the left-hand square. I know the curve
begins at the bottom left corner of the square on the left,
and so a symmetrical curve will end at the bottom right
corner of the square on the right. Locating one additional
point on the curve will help me mirror this curve.
2. Place a dot on the curve.
3. Draw a vertical line through the dot. This creates two
sections within the square.
4
Find the midpoint by locating an X within the new sec¬
tion you just created. Draw a line from the upper corner
of the new section through the midpoint between the two
squares until it touches the lower horizontal line.
5. Draw a horizontal line, starting on the first dot and
extending to the right until it touches the new vertical
line. Mark it with a new dot.
6. This new dot will help you draw a mirrored curve within
the right-hand square. Start your line at the midpoint
(the point on the top left-hand side of the right section),
draw' through the point you mirrored, and continue the
curved line until you touch the bottom right-hand corner
of the right section.
Perspective Basics
The Cube Method
A square placed in perspective is a cube, and if you can learn to
recognize and draw accurate cubes (think of them as boxes with
equal sides), you can draw any object, vehicle, or environment
quickly and easily and place it in a perspective drawing.
I
4
Learning to draw freehand cubes properly is
critical, as they will be used for several of the
approaches covered later in this book.
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25
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FOUNDATIONS IN COMIC BOOK ART
MAKE YOUR OWN CUBE
Why is drawing a cube so important? Every inorganic object you
observe or want to invent can be constructed with cubes: buildings,
cars, chairs, city blocks, and so on. This may sound like an
overstatement. It is not.
7
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Scan this pattern, print it, cut it out.
and assemble it with tape. Place it
on your drawing table and rotate and
look at it. Now draw it from several
different angles with freehand
straight lines (page 10). Practice this
until you can recognize and draw a
perfect cube in any direction.
В
Perspective Basics
DRAWING THE PLANES OF THE CUBE
The best way to demonstrate drawing a cube is through a few
step-by-step lessons. The cubes I have used to illustrate these
principles were designed in Adobe Illustrator for clarity, but I don't
use computer programs to make any of my initial drawings.
As you work through these lessons, draw the cubes with a
pencil, or a series of colored pencils (varying line color can help
prevent confusion), and freehand straight lines. Here you will use
a principle called orthographic projection to create these cubes;
this sounds much more complicated and technical than it really
is. Orthographic drawings use a series of parallel lines to give the
illusion of depth.
Read and draw along with each of the following examples. Make
several of these drawings until they become second nature.
1. Draw a freehand cube.
2. Extend lines from the inside corners so that you can "see"
the back of the cube. Imagine that you are drawing a
cube made of clear plastic.
3. Draw an X on the front plane of the cube. This will
determine the vertical and horizontal midpoints of
the cube.
4. Draw a vertical line through the X. When it touches the
top line, change directions and draw it across the top.
Now draw a line down the back and connect the two
bottom lines with a line running across the bottom of the
cube. I call this running around the cube.
5. Repeat step 4 with the horizontal midpoint. You have
now divided the cube into four sections.
П
6. This is the horizontal section.
7. This is the vertical section.
Ж
27
18
FOUNDATIONS IN COMIC BOOK ART
LOCATING SYMMETRICAL POINTS
ON A CUBE
If you have to draw a plane, how do you locate where to place the
wing on the far side of the aircraft, the one that's partially obscured
by the fuselage? If you need to draw a car in perspective, how do
you locate the correct placement of the headlights?
The following lesson will help you understand how to create
symmetrical forms accurately.
1.
Draw a freehand cube, so all sides are visible, and place a
dot on its front plane.
2. Now extend a line parallel to the top left edge, past the
cube.
3. Run around the cube until your line intersects the line
you drew through the cube.
4. The dot on the other side should be placed, where the two
lines intersect.
5. Make another dot on the front plane, in the lower-right
section of the cube.
B. Run around the cube along the bottom this time, until
your line intersects the line you drew through the cube.
Extend a parallel line from the first dot through the
vertical line, opposite.
7. You’ve now located another dot in precisely the same
location as the first dot on the other side of the cube.
Perspective Basics
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Locating the Grill
This technique was used to locate the grill on this freehand
drawing of a truck. The grill is located in the center of the
front panel of the truck. After drawing a rectangle with the
approximate dimensions of the truck’s body, the artist drew an
X in the front section to locate the midpoint. Then, she created
a new section on the left-hand side and used the mirroring
technique to find the other section. This approach also helped
her place the truck's lights.
30
FOUNDATIONS IN COMIC BOOK ART
CREATING OBJECTS BY PLACING SHAPES
WITHIN THREE SECTIONS
Finding symmetrical dots and locating and bisecting sections can
seem a little abstract initially. This method is easy to understand
and will help you begin to visualize objects in a new way.
Create three or more shapes and place them within squares.
Draw an isometric shape and place the shapes within their squares
and then connect the dots. What did you create?
Isometric shapes are constructed using only parallel lines. So
when constructing a cube or a section within a cube, you really only
draw lines that go in one of three directions. Look at the lines used
to construct the shape here for confirmation.
1,
Draw these three simple geometric shapes within three
squares.
2. Draw a metric cube and then draw a vertical section
in the middle of it. Since the middle square contains a
slightly smaller square, draw an X in the middle section
of the cube, place a dot on the X. Create a smaller square,
using the X as a guide.
3. Draw the other shapes on the front and back of the cube.
4. Connect the corners of all three shapes.
5. Trace the new lines you made with pen. Erase the cube
construction drawing. You’ve just drawn your first object!
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Perspective Basics
CREATING CYLINDRICAL FORMS
WITHIN A CUBE
Your art would look stiff and blocky if all your drawings consisted of
straight lines. Cylinders and curved lines add variety to the surface
of the objects you draw. Fortunately, you can use squares to help
you locate and draw ellipses and cylinders accurately and easily.
1.
Draw an isometric cube and place an ellipse on the
bottom plane. Remember, an ellipse touches all four sides
of a square in perspective.
2. Draw an X on the top plane.
3. Create a smaller square on the top plane, using the X as
your guide.
4. Draw an ellipse within this square.
5. Draw lines connecting the two ellipses.
6. You've just drawn a
cone.
7. If you turn it upside down, you’ve just drawn a glass.
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FOUNDATIONS IN COMIC BOOK ART
CREATING COMPLEX SHAPES WITHIN A CUBE
Everything can fit within a cube or can be created by using cubes as
building blocks. Make that a mantra.
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1. Draw a cube and add planes at its horizontal and
vertical midpoint. Place X's on the front and one side of
the cube.
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2. Draw a vertical line through the X on the left-hand side
and run it across the top.
3. Draw a vertical line from the point where the top line
intersects the vertical section to where it meets the
horizontal section.
4. This line creates two new sections on the upper part of
the vertical plane.
В
5. Place a dot on the closest new section.
6. Draw a vertical line through this dot to the point where
the horizontal and vertical planes intersect.
7,
Locate the midpoint of the line you created in step 3.
8. Draw a line from the top corner through this horizontal
midpoint. Stop when you touch the vertical midpoint.
9. Extend the line up to the top.
В
10. Draw a parallel line from the point you added in Step 5
to the new vertical line.
11. You have now placed two new points within the cube.
12. Make a new point along the bottom plane of the original
cube and repeat this process to find its mirrored point.
13. Connect the corners, leaving the back section open.
8.
14. You've just created a complex figure within a cube.
Perspective Basics
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Creating a Vehicle with a Box Construction
This vehicle sketch was made with a ballpoint pen and began
as a simple box construction. It was turned into a complicated
form by combining the techniques covered in this chapter.
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FOUNDATIONS IN COMIC BOOK ART
CREATING COMPLEX CYLINDRICAL FORMS
WITHIN A CUBE
When you understand how to locate and draw cylinders within
cubes, it’s time to up the ante and create more complex drawings
by combining cylinders of varying sizes.
1. Draw a cube with a horizontal section at its midpoint.
Draw X’s on the top and middle planes and place smaller
squares within them, followed by ellipses. Draw a large
ellipse on the bottom.
2. Draw lines connecting the ellipses.
3. Erase the construction drawing. You
cylindrical container.
now have a curved
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Perspective Drawing
Almost all drawings use perspective. The only ones that don't are
easily recognizable they're flat illustrations, such as logos or
hieroglyphs. Perspective gives drawings an element of depth. A
comic artist must have the ability to draw people and environments
from any vantage point quickly and accurately. Therefore,
proficiency in perspective drawing is a required skill.
When it is taught properly, perspective drawing isn't very
hard. The key is to take your time and fully master each technique
before moving on to the next. At times you will probably become
confused. When that happens, read the lesson again and keep
making drawings until you understand the principle fully.
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The red line indicates this drawing’s horizon line. Think of the
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as eye level. In this drawing, the lens’s eye level is just below the
woman’s ear.
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COMMON ELEMENTS IN PERSPECTIVE
DRAWINGS
• Horizon Line: The horizon line in a drawing represents
the viewer's eye level. The easiest way to understand this
concept is to think about using a camera. You look through a
viewfinder or at a screen display to frame a picture. Although
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distance between your eyes and the ground remains the
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• The Standard Horizon Line: Most family photographs are
taken by someone standing directly in front of his or her
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subjects. This means the horizon line (eye level) of those
photographs falls somewhere between 5 feet 6 inches and 6
feet.
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• The High Horizon Line: If you take a picture from the balcony
of a very tall building, your eye level is hundreds of feet in
the air. In comics, this eye level is referred to as a down shot
or a bird's-eye view. These angles often are used in comics to
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establish a scene’s setting.
• The Low Horizon Line: If you lie on your stomach and take
a picture of a toddler, he or she will appear huge because
your eye level is just a few inches from the ground. In
comics, this eye level is referred to as an up shot or a worm'seye view. In storytelling, a low horizon line is usually used
when you want to make a person or object look imposing
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and powerful.
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When you're drawing, every panel on every page should have a
horizon line, even if there aren’t any backgrounds in the panel.
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When any object begins to turn away from you, its sides begin to
recede, diminish, and converge toward vanishing points.
In a drawing like this one, where the eye level is very
high (picture yourself on the third floor of this house
looking down), the horizon line lies outside the panel.
Perspective Basics
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When an object turns in space and
you can see at least two sides of it. its
parallel lines will begin to converge toward
vanishing points. Vanishing points are marked
by dots on the horizon line.
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Different obleclii can have different vanishing points, but with a tow exceptions
I'll covet later, those vanlshlna points must he located on the same horizon
line Think of the horizon line as representing your eye level. The easiest way to
understand that Is to think about taking a picture. The horizon line is your eye
level as you look through your viewfinder. In most snapshots, the eye level is
somewhere between five to six feet— the height of the person taking the picture,
However, if the same person took a picture from the balcony of a fifth-floor
apartment, the eye level, or horizon lines, would also be located five floors above.
Perspective Basics
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The horizon line in this drawing is very low in the composition. A
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FOUNDATIONS IN COMIC BOOK ART
ONE-POINT PERSPECTIVE
A one-point perspective drawing is made up of vertical, horizontal,
and perspective lines. All the vertical lines in the drawing are
parallel to one another, all the horizontal lines are parallel to one
another, and all the lines that recede converge toward a single
vanishing point.
One-point perspective drawings are a useful learning tool (the
single vanishing point prevents confusion), but they aren’t very
practical unless you are drawing a single item from one side. As
soon as an object turns, you see two sides of it, and when that
happens, you need two vanishing points.
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Perspective Basics _41_
TWO-POINT PERSPECTIVE
A two-point perspective drawing is made up of perspective lines
that recede to one of two vanishing points and vertical lines that
are parallel to one another. However, although any given object
uses two established vanishing points, remember that other
objects in the drawing, when moved, may need new vanishing
points. Any time you see two sides of an object, perspective
drawing is required. The nearer part of the object is closer to you,
and therefore bigger. Lines begin to converge as the object recedes
into space. Look at the illustration below.
Almost every object you draw in two-point perspective has
vanishing points on one horizon line. The only exception to this is
an object that is tilted up or down. For example, if you are drawing
a table covered in books and one of the books is resting on another
book, its lines will converge and recede toward a new horizon line.
Two-point perspective is the most commonly used drawing
technique in comics, and once you understand it, three-point
perspective is a snap.
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viewing a scene through a wide-angle lens.
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Perspective Basics
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THREE-POINT PERSPECTIVE
In three-point perspective drawings, all the lines converge to
points. The third point serves as a nexus for all the vertical lines in
the panel, and it can be placed above or below the horizon line. The
third point needs to be placed far from the horizon line. If it isn’t,
the converging lines will make the drawing look distorted.
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The tabletop is drawn in one-point perspective in this drawing, but
the cubes sitting on its surface are drawn in two-point perspective.
Because the cubes are turned in different directions, each of them
has a different set of vanishing points.
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11
FOUNDATIONS IN COMIC BOOK ART
Placing Objects
HOW TO REMEMBER ESSENTIAL
INFORMATION ABOUT OBJECTS
The questions above should sound familiar. Every artist I know
has dealt with them at one time or another. The inability to create
believable environments is frustrating, and can limit, if not prevent,
a career in comics.
Fortunately, they don’t have to be so daunting. You just have to
simplify how you see things. The only information you need to draw
inanimate objects in perspective, and place them correctly, is the
object's height, width, and depth.
The easiest way to visualize this concept is to imagine a box
fitting around whatever you are drawing. If you needed to build a
wood-paneled box for your refrigerator, how tall would the wood
need to be? How wide would the panel need to be to cover the
front and back? How long would the sides be?
Next, look for significant details. My refrigerator has a top and
bottom door. The bottom door takes up approximately two-thirds
of the refrigerator's height. The freezer door takes up the top
one-third of the overall space, and there is a small vent under the
bottom door. The door handles are on the left-hand side, and they
are set in from the edge slightly.
1. This is the front and side view of a simplified refrigerator.
Since a refrigerator's exterior isn’t complicated, you only
need a front and side view to construct it, from any angle.
2. Start by drawing a rectangular box, with the approximate
dimensions of your refrigerator.
3. Locate a point on the box’s NEAR corner that corresponds
with the division between the refrigerator's bottom and
top doors. Mark it with
a dot.
4. Using the dot as a starting point, draw a contour line
across the front of the box. Extend the line along the
box’s left side slightly to indicate the refrigerator’s doors,
which are relatively narrow. Draw a vertical line up the
side of the box, from the end of this line.
5. Place dots on the NEAR corner to indicate the placement
of the door handles.
6. Draw horizontal lines from these dots across the front of
the door.
7.
Draw two dots at the top, front edge of the box, cor¬
responding with the handles' width and placement.
8. Draw vertical lines down from these dots.
9. The intersecting lines create two rectangles. You will
place your handles here.
10. Extend horizontal lines out from EACH corner of both
rectangles.
11. Decide how far out you want to extend your handles,
and draw a horizontal line across the two bottom lines.
Extend a vertical line up from the near corner.
12. When your line reaches the top near corner, change
direction, and draw another horizontal line until it
reaches the other line. Then draw a vertical line down to
the point where you began. You now have a construction
drawing of a refrigerator in perspective. Now fill in some
details!
1
Have you ever drawn several people in a room, only to realize they
don't look like they’re all standing on the same floor? Have you ever
been confused when you try to place objects in an interior space?
How do you know that the objects you’ve placed in your drawing
are spaced correctly on the ground and are in perspective?
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Perspective Basics
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FOUNDATIONS IN COMIC BOOK ART
THE PERSPECTIVE GRID
Now it’s time to place these in a perspective grid! (For more
on using Photoshop to create grids, see “Creating a Grid in
Photoshop" on page 124.)
You can find several perspective grids with a quick Internet
search. The most important factor when working with a pre-drawn
grid is to make sure that the grid lines create perfect squares in
perspective.
Since your graph paper is comprised of squares, all you have
to do, initially, is transfer your simple geometric shapes onto your
perspective grid. Transferring shapes from graph paper to the grid
is as easy as counting squares.
The best part about this method is that there is no guesswork
as to where things overlap, and you know that all the objects you
draw lie on the same ground plane.
As your skills develop, you may notice that using a pre-drawn
grid isn’t necessary; you can construct your own freehand grids
and develop your drawings within those. However, it's best to
use pre-drawn grids, with perfect squares, until you have mastered
perspective drawing.
1. This is a two-point perspective grid comprised of perfect
squares. You can use each square as a unit of measurement.
If you've created a floor plan with graph paper, you can easily
transfer it onto a perspective grid.
2. Each square, on both the floor plan and perspective grid,
represents a square foot. Transfer the floor plan pattern onto the
grid. Add a doorway and some rectangles onto the walls.
1
GRAPH PAPER
You can, and should, use graph paper to draw a floor plan when
need to draw complicated interior and exterior environments.
This plan allows you to visualize how the room, or scene, will look
from different angles, and prevents you from making mistakes
concerning the arrangement of objects.
Graph paper helps you to reduce the objects you intend to
draw to basic geometric shapes. Because the paper uses a grid
comprised of perfect squares, you can use them as units of
measure. The area that a square represents is up to you. Each
square could represent a foot, ten feet, or a hundred feet.
For this example, I've decided each square will represent one
square foot. I’ve plotted out a simple bedroom, and used squares
and rectangles to note the lengths and widths of every object
within it.
Perspective Basics
_
3. The bed in this room is
approximately two and
a half feet off the ground.
Extend lines from the
rectangle that represents
the bed to the line that
represents where the
floor and wall meet. Draw
vertical lines two and a half
feet high. Connect with a
horizontal line.
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Draw vertical lines from
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object in the room.
48
FOUNDATIONS IN COMIC BOOK ART
i
5. Using the grid’s
horizontal lines as a
guide, extend lines
from the corners of
the wall pattern until
they touch the vertical
lines extending from
the opposite corners
of the rectangle that
represents the bed.
Note: I removed the
other vertical lines for
clarity’s sake.
a box
that is two and a half feet
high, six and a half feet
long, and four and a half
feet wide.
6. You’ve just created
Perspective Basics
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7. Use this same procedure
for every other object in
the room. The wall grid
allows you to determine
the varying heights of the
objects.
This technique removes
any guesswork— you know
where objects overlap,
and that each object is
placed correctly on the
wall or ground-plane.
Adding additional visual
information gives the room
character and suggests the
type of person who lives
there.
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IN COMIC BOOK ART
Gesture Drawing
Creating dynamic figures quickly is fundamental for a comic book
artist.
Gesture drawing is quick, easy, and fun. You should never spend
more than two or three minutes on a gesture drawing, and it can be
done in as little as five seconds.
When making a gesture drawing, you should try to feel the
pose and convey that feeling on the page. One of the best ways to
do this is to actually take the pose, noting the various twists and
turns that occur in your body and the way those positions affect
your muscles.
Try this: Bring one leg forward and lean your torso over it. Can
you feel the muscles in your thigh contract as the weight of your
body shifts to that leg? Or try this one: Clasp your hands together
and raise them high over your head in an exaggerated stretch and
then lean back. Do you feel your lower back contracting as your
abdomen stretches out?
Translate those feelings to lines on the page. Don’t be
afraid to exaggerate in your drawings. Gesture drawing is about
communicating an idea, not making a beautiful work of art. Have
fun with it. Use any drawing tool you have handy: a pencil, a
ballpoint pen, a crayon, a broad piece of charcoal, or a fountain pen.
Try different approaches. Pick up a ballpoint pen and make a
drawing without lifting the pen from the paper. Allow it to flow
around and through the drawing as you observe your model. Try
holding the pencil so that you learn to draw with your entire arm,
not just your wrist and fingers.
Gesture drawing is a great way to warm up when you get to the
drawing board.
Make it a daily practice. From there, you can then move to more
complex figure studies.
If there is a college or art center in your city, check to see if it
offers figure drawing sessions you can attend. If it doesn’t, look
for websites that have interesting photos to reference. These two
websites were set up for artists looking for figures to draw:
• www.posemaniacs.com. This website has thousands of
poses, and you can rotate each pose 360 degrees. The
male and female models are skinless computer renderings
(so that you can study the underlying musculature of the
bodies). This will improve your drawing and help you better
understand anatomy visually.
• www.artists.pixelovely.com. This website is full of
photographs of both clothed and nude models. The home
page allows you to choose whether you want to draw clothed,
nude, or both and allows you to select the subject’s gender
(or draw both sexes). You also select the amount of time you
want each pose to be displayed.
This is a sketchbook page of
gesture drawings.
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are good examples of
drawings.
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ballpoint pen is a good tool tor this exercise because it forces
you commit to the marks you make.
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Foreshortening
Foreshortening occurs when a figure or object is viewed at an
unusual angle.
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In this photograph, the model’s leg is very close
to the lens, causing it to seem unnaturally large
in relation to the rest of her body. You can use this
effect to create dramatic drawings in your comics.
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Start with the body part nearest you when you draw a
foreshortened figure. It will serve as a reference point and
help you determine the size and placement of the model’s
other features.
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Now draw your own foreshortened figure, using your
construction drawing as a reference.
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DRAWING FIGURES FROM MEMORY
Memory drawings help you improve your visual memory and
vocabulary. When you have a limited amount of time to take
in as much information as possible, you train yourself to
process the salient information without delay. You learn to
identify plumb lines, angles and relationships between the
pelvis and the shoulders, and directional angles of limbs,
and to locate horizontal and vertical midpoints quickly.
Look at a picture of a
figure for one minute,
taking mental notes
and committing as
It's best to start this practice by using photographs.
With a quick Internet image search, it’s easy to locate very
interesting poses that couldn’t be held by live models.
Cameras can capture gymnasts, martial artists, and other
athletes in motion.
The process for this exercise is identical to the
techniques you used for drawing objects (see page 3).
If you perform this exercise often, you’ll improve your
retention of visual information in a short time. It will train
you to separate significant details from the superfluous, and
you’ll soon be ready to draw moving figures from life.
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much information to
memory as possible.
Note any visual
information that
will help you draw
the image when the
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Minimize your
window or turn
away from
your monitor or
photograph and
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picture’s no longer
in front of you. Is one
shoulder higher than
the other? How are
the elbows, knees,
and feet placed?
What is the figure’s
vertical midpoint?
Its horizontal
midpoint?
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drawing of the
subject in two
minutes, using a
blue pencil.
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Pick up a ballpoint
pen, look at the
photograph, and
make a two-minute
observational
drawing on top of the
pencil drawing. Note
what you got right
and wrong.
A
The Figure
Drawing Multiple Figures
Drawing several figures within the same panel is one of the first
major challenges a budding comic artist faces. I’ll show you a couple
approaches that you can take, but one of the best ways to overcome
this hurdle is to make a habit of making multiple-figure compositions
in your sketchbook. A quick Internet search will provide you with
interesting photos taken from a variety of vantage points.
Observational drawing requires you to make a visual analysis of
whatever you intend to draw. The subject really doesn't matter; it
could be a still life, a car, a feral cat, or a group of people. I begin by
looking really looking at my subject. I note plumb lines, angles,
quadrants, and midpoints.
My approach to drawing a group of people is very similar to my
approach to drawing a foreshortened figure: I begin with the person
in the foreground; it’s the shape that takes up the most space.
When I have established that figure, I use it as a reference point to
help me place all the other figures in the composition.
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It’s best to draw the closest figure first when you’re drawing
people. Then use plumb lines and quadrants to
help you place the other figures.
a group of
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You can transform an
ordinary photograph
into a dynamic drawing.
The photograph serves
as a springboard for the
drawing and can help you
visualize a difficult pose or
composition. Once you have
blocked in the basic shapes
and gestures, you can take
as many liberties as you
want.
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Thumbnail Drawings
Thumbnails are small sketches used to generate visual ideas
quickly. They allow you to create multiple versions of specific panels
or entire comics pages in a short time.
Generally, comic artists draw two types of thumbnails: rough
and tight. Rough thumbnails can be as small as an inch or two in
height. This prevents you from overrendering a drawing and also
forces you to concentrate on the arrangement of shapes within a
panel and the way the shapes within individual panels "read” when
placed side by side on a page.
You can even use an iPad or any other pressure-sensitive digital
tablet to create rough thumbnails.
Most comic pages are drawn on Bristol board, which has blue
lines and guides printed on it to help ensure that the panel borders
have a consistent width and that the ratio of height to width is
correct.
You can also use templates for creating your thumbnails.
Templates are just smaller versions of comic pages, and they are
easy to make. Simply scan a page that has these guides and reduce
its size in Photoshop. Two-, four-, and eight-page templates printed
on 8.5-inch by 11-inch printer paper are used the most frequently by
comic artists.
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If you scan this example into Photoshop, you can create your
own templates, fitting two, four, or eight pages on a single
sheet of 8.5-inch by 11-inch printer paper.
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This artist used a template to create thumbnail layouts lor his story. Each page is approximately 2 inches
by 4 inches. The small size makes you consider composition and the use ol small shapes. At this stage,
details are unnecessary.
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When you have determined the final compositional layout of
a page using rough thumbnails, you may find it helpful to create
tight thumbnails. Tight thumbnails are drawn on a larger sheet of
paper. Most artists use an 8.5-inch by 11-inch sheet of printer paper
with printed guidelines that correspond to an 11-inch by 17-inch
Bristol board page. The larger drawing area allows more details to
be added and makes drawing horizon lines and vanishing points
manageable. These templates also create consistently spaced panel
borders, and you can enlarge them in Photoshop to a standard-size
art board.
Some artists prefer to draw individual panels on separate pieces
of paper. When they have finished all the drawings for a page, they
scan them and organize them with a computer program.
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This artist created her tight
thumbnails with a computer.
With tight thumbnails, you
can include more details, like
indications of shadows and
text box placements.
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Visual Problem Solving
COMPOSING THUMBNAILS
Create three to five rough thumbnail compositions for the
following scene. Make very small panels, no larger than 1 inch
by 2 inches, for each of your drawings.
INTERIOR, PRIVATE DETECTIVE'S
OFFICE DUSK
A MAn wielding A g«»\ e*\4ers 4ht Pi's o-f-fice,
fÿeÿfening +o st,oo4 hi"*- The defecfive is behind his
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Ask yourself a few questions before you begin drawing:
What does the detective’s office look like? Is it clean or filled
with clutter? If the latter, what kind of clutter? How would you
draw this scene if you wanted to make it dramatic and place
the emphasis on the man with the gun? What if you wanted
to make it comedic? How many ways can you arrange these
three people and a small dog in this environment?
Have fun!
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Research and superb drawing and compositional skills were
necessary to create this interesting and specific interior
space. Try recreating the thumbnail that the artist may have
used to compose this image.
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FOUNDATIONS IN COMIC BOOK ART
Using Photo Reference
If I were given a dollar every time I heard someone say, "Using
photographs for reference is cheating," I’d be a rich man. It’s a
common misconception and one that I shared when I was younger.
I thought that a real comic artist could draw anything from his or
her imagination. However, although some artists don’t rely heavily
on photographic reference, almost all of them have to use it at
some point.
A photograph can help you capture any number of poses.
Several artists I know who have to draw a page a day use
themselves exclusively as their models; they're both artist and
muse. Photo reference for objects and environments also allows
you to add specific details, which prevents your images from being
too generic.
The only thing you want to avoid is being a slave to photo¬
graphs, simply tracing a picture to create a drawing. Unless you’re
a skilled photographer and know how to avoid the visual distortions
created by different focal lengths, most of your photographs will be
distorted to some extent, and if you simply draw on top of them,
your drawings will look awkward and stiff.
However, if you use a photograph as a point of reference to
help you visualize a difficult pose, it can be an extremely useful aid.
Taking photographs today is easier than ever. Digital cameras can
be purchased for under $20, and almost every smartphone has a
camera built into it.
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This panel was drawn by using those pictures on the opposite
page for reference. You can use a projector, light box, or software
program to create a composition that incorporates your photo
reference. However, remember that your photos are reference,
and you can’t simply trace over them.
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The final inked image is impressive. It is well composed,
the car and buildings have specific details, and the black
placement and inking make it very energetic. The photographs
of the car and building allowed the artist to give the illustration
specific, idiosyncratic details.
_47
(o8
FOUNDATIONS IN COMIC BOOK ART
Visual Research
Consider this scenario: You’ve just been assigned a story that takes
place in New York City in the 1920s. The main character, David
Duncan, has an office in the Flatiron Building, but he commutes
daily via commuter train from his suburban house in White Plains,
New York. Each day, Mr. Duncan stops at a newsstand in Grand
Central Station to purchase three newspapers: the New York Herald
Tribune, the New York Times, and the Evening World.
These newspapers will become significant later, after Mr.
Duncan is framed for the murder of a prestigious stage actress.
Each of these papers documents his arrest and the salacious
allegations in front-page stories.
Mr. Duncan is incarcerated on Blackwell’s Island (the majority
of the story will take place here) before being exonerated.
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To do this story justice (pun intended), you'll need to do a lot of
research. In addition to finding photos of all the buildings involved,
you’ll need to find references for the various types of clothing worn
in the 1920s by these character types: successful businessmen,
street vendors, policemen, and so forth.
Since the newspapers play a prominent role in the story, you’ll
need to find images of them from this era and deconstruct the way
they were designed. How did the front page of each newspaper
appear? What typeface did each paper use?
Since the majority of the story takes place in a penitentiary, you
will have to learn about its history. Who was imprisoned there?
What were the living conditions?
You get the idea.
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Here is a good and enjoyable way to create unique characters:
take photographs of friends and exaggerate their features.
Turn them into heroes, villains, monsters, and the like.
Visual Problem Solving
IMAGE COLLECTIONS
Before the Internet was ubiquitous, locating reference
material could be a tedious and time-consuming process.
Illustrators used to collect photographs from magazines,
separate them by subject, and house them in drawers and
filing cabinets. This type of reference collection had a specific
name: morgue.
The good news is that researching is easier than ever. It’s
just a click away. Everyone knows Google and Wikipedia, and
generally, these two sites can either provide you with all the
references you need, or suggest another specific website that
contains the material for which you are looking.
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yndon
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thls illustration. I was able
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to locate numerous
photographs and
newspaper headlines in a
matter of
minutes from my desk at
home.
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nL FOUNDATIONS IN COMIC BOOK ART
Using Photoshop with
Photographic Reference
You can use Photoshop or other software programs to help you
incorporate photographic reference into comic drawings.
Channels
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You can import a photo into Photoshop by using a
scanner, or by opening up a photograph you have on
your computer. Take a photograph and import it into
Photoshop. Most photographs will be imported as RGB
(Red-Green-Blue) files (full color). Change the image mode
to greyscale (Image > Mode > Greyscale).
Lower the opacity of the
layer to approximately
83 percent and create a new
layer (Layer > New Layer).
Once the layer is unlocked.
you can change the opacity
by using the slider bar in the
Opacity window.
Change the image mode
back to RGB (Image > Mode
>RGB) and create a new
layer. Select a brush or pen
tool and a color and draw on
top of the photograph, using
it as a point of reference.
Block in basic shapes and
significant features that will
help you create your own
ri.
drawing,
Layer from Background...
New Layer
Name: Layer
l|
Use Previous Layer to Create Clipping Mask
OK
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Cancel
This new Photoshop file is assigned to the background
layer, and that layer is locked (meaning you can’t alter it).
Right-click the layer and a new dialogue box will appear.
Click "Layer from Background.” You can now change the
name of the layer (but you don’t have to) and click OK. The
layer is now unlocked.
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At this point, you can trash
the photograph or click the
eye symbol to make it
disappear. The eye symbol
is located on the left-hand
side of every Layer created
in Photoshop, Lower the
opacity of the drawing
you just made to less than
50 percent. Create a new
layer and select a new color.
Refine your drawing.
If you work digitally, you can
create your final drawing on
the computer. If you prefer to
finish the drawing by using a
pencil, as I do, delete all the
previous layers, lower the
opacity of the final drawing
to approximately 20 percent,
and print it out. The lowered
opacity creates a faint print
that you can draw on top of.
71
Visual Problem Solving
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Robert Bouches used Photoshop over my initial pencil drawing
to create this full-color digital painting.
72
FOUNDATIONS IN COMIC BOOK ART
Creating Blue Line Pages to Ink
When you have completed your drawings, scanned them, and
designed the final page, use a large-format printer (a printer that
can accommodate an 11-inch by 17-inch page of Bristol board) to
make a blue-line print.
Levels
Preset:
N
:
Custom
Channel: Cray
B.
:
Input Levels:
k'
USING PHOTOSHOP TO CREATE
BLUE LINE PRINTS
Pencilers used to send comic art to inkers via FedEx or UPS, but
the computer has made that unnecessary. Today a penciler can
scan his or her artwork and send it to an inker via email. The inker
downloads the image, converts the lines from gray to blue, prints
the page out on Bristol board, and inks it. When the inker has
finished the page, he or she scans it. With a few quick adjustments,
all the blue lines drop out, leaving only the ink lines.
Even if you ink your own pages, you may want to use this method,
because you won’t need to erase the page when you’re finished.
ЕД Edit
Image
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Type
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Close All
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Open Recent
6
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2. Scan the penciled page as a greyscale image at a minimum of
300 dpi (dots per inch) and save it as a JPEG or PNG file. When
it opens in Photoshop, you may want to adjust the image by
using levels. Choose Image > Adjust > Levels and use the slider
036S
bars until you are satisfied with its resolution.
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12
Ouotone Options
Place...
Я
Import
Export
Automate
Scripts
File Info...
Edit
Variable Data Sets...
Video Frames to Layers...
Images from Device...
Notes...
Preset:
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Type:
Monotone
Ink 1:
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PrintPrint One Copy
N036P
Image
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Cancel
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3. Choose Image > Mode > Duotone. A box titled "Duotone Options’’
Type
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Open...
Browse in Bridge...
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Open Photoshop and choose File >
Import > Images from Device. If you
have already scanned the page,
choose File > Open.
will open. Click in the Ink 1 color window and the Color Picker
window will appear.
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380
BLUE LINE
The term blue line, as it applies to comics, is a carryover
from the pre-personal computer age. Artists used light blue
pencils and markers to make construction underdrawings
of figures and compositions. When the drawings were
finalized, the artists would complete their illustrations in
pencil or ink on top of the blue structural drawings. The
blue lines would disappear as if by magic when they were
photocopied. Erasers weren't necessary.
Visual Problem Solving __ZI
4. The C (cyan), M
C: 18
%
M: 7
%
Y: 0
%
K: 0
%
Duotone Options
(magenta),
Y (yellow), and К (black)
channels are located in the
bottom-right section of this
window. Change the C channel
7%,
to 18%. change the M to
to
and set the other channels
Preset;
I Custom
__
Type;
Monotone
t
Ink 1:
0%. There is a lot of latitude
out
here; as long as you zero
the
the К channel, you can ink
page and drop the other colors
these
to
returning
by
out later
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blue line
the
your selection, type "blue line" in
now
5. When you have made
you have created. The page has
window by the new color
inking.
and
printing
ready for
been converted and is
settings.
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INKING
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t UUJMUATIUNS IN COMIC BOOK ART
Inking Tools
PEN NIBS
Illustrators, calligraphers, and comic book artists use pen
nibs almost exclusively. Although there used to be numerous
manufacturers of pen nibs, the only American company still
producing the crow quill variety of nibs is Speedball. The nibs are
still referred to as Hunt nibs by most artists, after the C. Howard
Hunt Pen Company, which created the nib. (The barrel of every nib
still bears the original manufacturer’s imprimatur.)
Speedball sells an inexpensive sketching project set that
contains six different pen nibs and two penholders. If you have
never inked with a nib before, this is the best and most economical
way to get started. The set allows you to experiment with a range of
nibs that vary in size and flexibility.
Although technology has made it possible to ink artwork digitally,
the majority of comic book pages still are inked with a pen or a
brush. These tools are remarkably versatile and, when mastered,
can be used to create an astonishing variety of marks, effects, and
textures.
This chapter will introduce you to the tools and techniques that
I’ve used as a professional comic book inker. You will begin with
some basic but crucial exercises to develop your skills and your
understanding of how the nib and the brush behave. These lessons
will become increasingly complex and enjoyable. But first, here are
the tools you’ll need.
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as of this writing, Speedball sells an artist’s set that has
six different nibs and two holders for under $10.
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Inking
The inner circle of this nib holder is for cylindrical nibs; the outer
ring holds broad barrel nibs.
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Pen nibs have two types of barrels: cylindrical (Hunt 102 and
Maru pens) and broad barreled (Hunt 108 and G pens). The
holders are cheap (around $1), and the Japanese companies
make a universal penholder for both types of nibs.
7
Two Japanese companies, Tachikawa and Deleter, also sell three
excellent nibs: Maru, G, and Saji. These nibs are well constructed
and have a very long life span. The Maru pen is similar to the Hunt;
it has a very sharp point that is capable of making a very fine line
and is flexible enough to produce a wide variety of marks and line
widths. The G pen is larger but is capable of making lines as fine
as those made with the Maru nib, and it is virtually indestructible.
I’ve used the same G nib for over six months; most of my Hunt
102 nibs lasted only a week, at best, before they lost their flexibility
and fine line. The Saji nibs have a spoon point, which means the
tip is rounded; most nibs have a very sharp point. This spoon point
makes it easy to make marks in any direction, but it tends to have
a slightly thicker line. Several pen manufacturers make nibs with
spoon points, and they all work perfectly with whiteout.
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FOUNDATIONS
Try using different nibs to ink the same subject to get a feel
for how each nib reacts and behaves. Firm nibs are great for clean
line work, but it might be best to use a flexible nib to create a gritty
surface texture. The only way to know what works for you is to
experiment and practice using as many tools as possible.
A FEW OTHER NECESSARY ITEMS
FOR INKING
WHY INK WITH A PEN NIB?
Here’s a question many beginning sequential artists ask when
they are introduced to a crow quill pen (a drawing pen that must
be dipped into a container of ink to "load" it): “Why can't I use
a Pigma Micron or some other mechanical pen?” It’s a valid
question. Many comic artists use them. They contain acid-free,
archival ink and, because they can be held like a pencil, are easy
to use. They're very convenient, are easy to carry, and are great for
location sketching. I sometimes use them when inking pages
for certain things. These things include mechanical backgrounds
and elements that require uniform line consistency. However, they
—
are incapable of producing the varying line widths and the textured
patterns and marks of a pen nib.
Reluctance to use a pen nib stems from being unacquainted
with the tool. If you are unfamiliar with pen nibs, you may be
confused about which one to use. After all, they come in an array of
shapes and sizes, and the tips can be either firm or very flexible.
The best way to overcome your disinclination to use a nib is to
avoid using any other tool to ink with for a while and make a habit
of practicing every day with a nib. If you do this, your hand will
adapt very quickly and you will feel comfortable using a nib in less
than two weeks.
• A container for water to keep your pen clean
• A cotton rag or coffee filter to wipe away excess ink
• A pad of legal paper or an old magazine to use as a
surface onto which you can shake out excess ink from
the pen
• A straightedge razor blade or X-Acto knife to scrape
away any dried ink from the nib
ANATOMY OF A PEN NIB
Pen nibs vary in shape, size, and flexibility. Drawing nibs
can be identified by their sharp tips. Although any nib can
be put to use as a drawing tool in the hands of a skilled
artist, most broad-tipped nibs are used for hand lettering
and calligraphy.
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You can purchase pen nibs by the gross (144 nibs) at a
significant discount. You can also find them occasionally
on Craigslist and eBay at bargain prices.
Inking
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A good brush, in the hands ol a
skilled artist, can produce lines
as thin as those from a crow
quill pen, and the only limit on
its maximum width is the size
of the brush itself. This highly
detailed cover illustration was
inked entirely with a brush.
80
FOUNDATIONS IN COMIC BOOK ART
BRUSHES
PURCHASING BRUSHES
A good brush is an inker’s best friend. It holds much more ink
than a pen nib; this means that unlike a nib, you can use it for long
Although most high-quality sable-hair watercolor brushes come to
a fine point, there are occasional duds. Purchasing brushes online
almost always saves you money, but I order at least three when I
buy them from a website. Most of the time all three brushes are
excellent, and on the rare occasion when they aren’t, I have never
received more than one defective brush in any single order. All the
large and reputable stores have return policies that allow you to
exchange defective items free of charge, and they pay for the return
shipping.
uninterrupted periods. It can be used on almost any paper; it glides
over the paper’s surface and will not pick up tiny paper fibers the
way a pen does. The brush is also capable of producing the greatest
range of line widths.
CHOOSING BRUSHES
Although you can use any brush for some things, such as filling in
large areas of black and creating special effects, your primary brush
should be a genuine sable-hair watercolor brush. For the last fifteen
years I’ve used either a Raphael Series 8404 size 2 or 3 brush or a
Winsor & Newton Series 7 size 2 or 3 brush for all my professional
inking jobs.
A quality sable-hair brush is a result of great design, materials,
and craftsmanship. It has several significant advantages over other
brushes, one of which is crucial for comic book artists: it always
comes to a fine point. That feature is worth its weight in gold. A
big brush, such as a size 4, is capable of producing a line as fine
and thin as that of a size 00 brush. A good brush also has a longer
life span than do cheaper brushes, so don't be tempted by the
lower prices. A novice inker should begin with a size 2 brush a
quality version Raphael or Winsor & Newton can be found online
for under $20.
>
—
/
ART SUPPLIES WEBSITES
The following websites are reputable and keep an extensive
array of art supplies in stock. All of them run sales regularly,
so it's a good idea to shop around before purchasing
materials.
>
• www.dickblick.com
• www.utrechtart.com
• www.pearlpaint.com
• www.jerrysartarama.com
• www.amazon.com
Г'1
You need a high-quality sablehair brush for inking. All brush
companies manufacture a large
assortment of brushes, and so
a brush's series number is very
important. Pictured here from left
to right are the Windsor & Newton
Series 7, the Escoda Series 1212,
and the Raphael Series 8404—
my personal favorite.
Inking
The greatest advantage of purchasing brushes from a retail
store is that you can test them. Bring a bottle of water and your
sketchbook (which you should always have with you, right?) to the
store. Let a salesperson know you would like to test a few brushes.
Most art stores keep them locked up or behind the counter to
prevent them from being stolen because of their size (small)
and relative cost (higher than most other brushes). Dip the brush
in your water until the bristles are saturated and then roll it on a
piece of paper, rotating it as you pull it downward, until most of
the excess water is gone. The brush should come to a fine point.
Make a few test marks to confirm that it does not lose its point
immediately. If it doesn't, you know you have a good brush.
—
MAINTAINING AND CLEANING BRUSHES
A good brush can withstand thousands of working hours, if you
clean and maintain it properly. Never, ever leave a brush sitting in
a container of water. It will misshape the brush’s tip, and excess
water can get caught between the wooden handle and the metal
ferrule, causing the handle to become unstable or split.
Dip and swirl your brush in a container of water every twenty
minutes and wipe it off on a cloth when you're at the drawing table.
This prevents ink from drying out near the ferrule of the brush,
which makes it harder to clean later and can prevent the brush tip
from coming to a fine point. When you have finished with the brush
for the day, rinse it out with cold water.
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Use brush soap or mild hand soap to thoroughly clean
the bristles of your brush every two weeks. When you've
finished cleaning it, make sure to rinse it with cold water
and then use your fingers or mouth (you did just clean the
brush!) to twirl the bristles back into a point. This helps the
brush retain its shape.
81 FOUNDATIONS IN COMIC BOOK ART
INK
You’ll also need to purchase waterproof black ink (it is often labeled
India ink) to use with your brush and pen nib. There are several
types of ink on the market and just as many brands.
When choosing ink, consider its opacity and viscosity. What
you choose depends on the tool you will be using. Opacity is easy
to determine: if your ink is a uniform, deep black, then it is very
opaque; if it contains different shades of gray when it dries, it
isn't. Viscosity is mostly determined when ink is used with a nib.
If it doesn’t flow freely from the nib, the ink is too viscous. To thin
it out, add a little water to your ink, or switch to using a brush
for the thicker ink. When you use a pen, you need a free-flowing
continuous line. If your ink is too thick, it will get clogged in the nib,
disrupt your lines, and lead to frustration. A thicker ink is needed
for the brush. A brush is often used to fill in large black areas, and
thinner inks will dilute and create gray, washed-out areas.
Really almost any ink will suffice for a pen. If you buy a brand
of ink that’s too thick, you can just add some distilled water to
it and dilute it to your liking. Higgins standard drawing ink has
the advantage of being sold at almost every local megastore (in the
stationery or arts-and-crafts section), so it's readily available to
everyone. But while this ink works great with pens it flows from
—
—
the pen freely and makes a nice dark line it tends to wash out and
create areas of gray when used with a brush, particularly if you have
to erase a penciled underdrawing.
You have to be more selective when buying ink for brushes.
The ink needs to be both opaque and resistant to dulling when
an eraser is used on it. Holbein has an excellent Special Black
variety that flows freely and produces a lush, deep black. The only
drawback is that you can only find it at specialty art stores or online,
and it’s pricier than most. Higgins’ Black Magic and Eternal ink
varieties are thicker than drawing ink and work well with the brush.
Koh-I-Noor sells Universal Ink for its Rapidograph pens, and it
works well with both nib and brush. I’ve heard other professionals
say that something in the ink’s formula is more corrosive than
other inks so it has a tendency to shorten the life of a brush, but
I’ve never noticed this.
Many large online art stores are now producing art supplies
and materials of their own. Like generic items in a grocery or
retail store, they are usually cheaper and the difference in quality
is minimal. The best way to find ink that works for you is to read
online reviews and order a few small bottles (you can usually find
them online for under $5) with which to experiment.
I use two containers of ink on my drawing table. One container
holds pen ink, and the other ink for brushes.
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Drawing inks, like brushes, are made by several
different companies. Most local art supplies stores
carry them in 1-ounce containers, but you can also
buy them by the pint and the quart online.
Inking
WHITEOUT AS A DRAWING TOOL
Most people think of whiteout as an inking eraser, something used
solely to correct mistakes. However, whiteout can be used in many
ways: to create patterns, to thin lines, to add designs into black
areas, and to create halos around characters or objects.
I prefer Dr. Ph. Martin's Bleed Proof White, an opaque, bright
white watercolor. Its consistency when the bottle is first opened is
fairly thick, but perfect for use with the brush. It usually takes only
one stroke to cover an ink line. If you want to use it with a pen,
you’ll need to add some water to it. Rather than adding water to the
entire bottle, mix a small amount in a separate container. I keep two
containers of white: one for use with a pen and one for with brush.
When using whiteout with a pen, lettering nibs with bowl
points, such as the Hunt #512, are preferable. These nibs have a
fine line but can be moved freely in any direction without tearing
the paper.
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Whiteout was used on the trees after this image was inked
to increase the contrast between the trees and the house.
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84
FOUNDATIONS IN COMIC BOOK ART
PAPER
Unlike pencil drawings, which you can make on any unlined paper
create a greater range of dry brush textures on vellum than on a
smooth surface.
Several companies manufacture Bristol board that includes
printed blue line guides with rectangular margins for the live,
crop, and bleed areas. They also have vertical and horizontal rulers
printed along the paper’s edges to ensure that panel borders are
easy to place and that panel gutters are a uniform size.
In addition to the choice of surface textures, most companies
make different "series” of their paper. The lower numbered series'
papers are cheaper in both price and quality, but they are a good
option for beginners to practice on. The 300-level series boards are
available, inked pieces require high-quality paper because sharp
pen nibs tend to tear into thin, inexpensive paper. Most American
comic book artists use 11-inch by 17-inch sheets of Bristol board
when they ink pages or covers.
Bristol board has two options for surface texture: plate and
vellum. Plate paper has a very smooth glasslike surface and is ideal
for both pen nib and brush. The vellum surface, also referred to as
"kid” finish, is slightly "toothy" (it has a raised surface like a very
fine sandpaper); this allows for some inking options that can’t
be produced on a slick surface. For example, it is much easier to
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will send you samples of their paper if you write to them
and request it. (For more information, visit the company
website at www.bcemylar.com/CAS/artboards.cfm.)
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presentations, and you can buy a ream (500 sheets) of this paper
for approximately $15.
You should experiment and work with as many paper
surfaces as possible: hot- and cold-pressed watercolor paper,
vellum, illustration board, and so forth. Every paper has unique
characteristics and will react to ink and tools differently. Gaining an
understanding of these idiosyncrasies and the potential effects you
can create by harnessing them will pay big dividends later.
durable enough for most professionals. The 500-level boards are
superior in every way, (and include a "semismooth" option that has
a very slight surface texture), but they cost almost three times as
much as the 300-level boards.
However, there are other economical alternatives for novices
looking to hone their skills. Any drawing or sketch paper that is
more than 70 pounds will hold up to a pen nib. Borden & Riley
makes Bleedproof Paper for Pens, sold in pads with 40 sheets
of paper, for about S10. Canson sells a mixed-media sketchpad
with 60 sheets of paper for around the same price. I’ve also
used 32-pound laser print paper to good effect for classroom
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Canson and Borden & Riley sell sketchbooks and pads of
paper that can withstand a nib’s tip and cost only about
$10 for 60 sheets of paper— perfect for practicing and
improving your inking skills.
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FOUNDATIONS IN COMIC BOOK ART
Pen Inking Techniques
Observing, drawing, and inking objects from life will help you
improve your skills quickly. Many young artists believe that if they
aren't drawing from their imagination, they’re "cheating.’’ Nothing
could be further from the truth. Drawing and inking from life will
help you understand how things are constructed and how light
plays across different surfaces.
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lines and textures on this comic page; a brush was used to fill in
the large areas of black.
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FOUNDATIONS IN COMIC BOOK ART
FUNDAMENTALS
Remember, if you have never used pen nibs before, the best way to
familiarize yourself with them is to play around .
Take out a piece of Bristol board and begin making marks. The
beauty of using Bristol board is that it is thick enough that you can
use the back for practice without worrying about it being seen from
the front.
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Try drawing straight lines and curved lines, moving the nib in
different directions, and changing the pressure on the nib while
making a line to see how it affects the line's shape and width.
Each nib has individual characteristics. Some produce very
fine lines but are very sharp, which means you have to rotate the
penholder in your fingers if you change the direction of the line;
some move freely in any
direction but may not be as
flexible or have the ability to
make a very fine line; other
pens are very flexible and
can produce a wide variety
of marks but may be difficult
to control in areas where
precision is needed. You can
think of very flexible nibs as
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pressure. Firmer nibs require
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a line that may be only slightly
thicker than the original line.
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The bold and gestural areas of
black in this comic page were
made with a brush. All the thin
lines were made with a nib, and
the artist chose not to use a
ruler when inking the structural
elements in the page.
Inking
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ART
INKING WITH A PEN NIB
This exercise is designed to help you explore a nib’s versatility
and begin to train yourself to control lines. After creating a
series of squares, you will begin to fill them in with a series of
lines and marks. Each line should begin on one side of your
square and end on the opposite side. Try not to allow the inked
line to end before touching the square's border and try not to
extend the line past it.
Most important, do not rush your line. I have seen students
who think the line will be straighter, cleaner, and more confident
if they make a quick stroke. This is a mistake. It is better to take
your time, even if the line wobbles or falters. Your lines, along
with your confidence, will improve over time; trying to speed
through this or any other exercise never helps.
• Draw thirty-five l-inch squares on a sheet of Bristol board.
Leave at least a half inch between squares.
• Scan the page after you have completed this; it will serve
as a digital template for future exercises.
• Look at examples on the opposite page and try to
replicate the lines and patterns.
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• Create your own patterns after you have completed this
exercise.
• Try using a variety of nibs for the exercise. Not only is it
good practice, it will help you identify the nib or nibs that
work best for you.
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FOUNDATIONS IN COMIC BOOK ART
CREATING VALUE WITH LINE
Line defines a person or object’s shape, and value defines its form.
Value, when used in the context of art, is defined as the relative
lightness or darkness of a surface. Creating areas with value in
a drawing that is primarily linear produces depth and prevents a
drawing from looking flat. Note: tone and value are the same in
this context.
Some media, such as charcoal and drawing pencils, are
relatively easy to manipulate to create a broad range of values.
Simply apply more pressure if you want a darker line, and use an
eraser to lighten the value if you find that an area is too dark. Ink
is solid black, so lines and marks have to be built up to create
successful value transitions.
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Creating a few value scales is the best way to practice and to
understand how to create tonal transitions. There are two basic
approaches to creating value scales: stepped and continuous.
For stepped value scales, the lightest value is at one end of the
scale and the darkest value is at the other end.
A continuous value scale is created inside a long rectangle. The
transition from dark to light is smooth and subtle. The examples
on the opposite page were created within a series of l-inch boxes
and use different mark-making approaches to create a complete
tonal range.
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This inked drawing demonstrates the range
of textures and values you can create using a
nib. Study the variety of marks used to create
different surface textures: wood, stone, glass,
etc. Note how the value range transitions from
light (at the bottom of the drawing) to dark
(at the top, and most dramatically, in the cast
shadow), creating the illusion of light.
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Stepped value scales use a
series of uniform-sized boxes,
usually either five or ten. For
comics, a five-step value scale
is sufficient. That is because
a five-step scale creates the
illusion of a full value range
on the printed page.
This continous scale uses
organic cross-hatching.
This continuous scale was
created primarily through the
use ol vertical lines. The pressure
This continuous scale
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Create three to five of your own stepped and continuous
value scales.
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FOUNDATIONS
CREATING TEXTURES AND SURFACES
After you’ve become comfortable with the pen and with the tech¬
niques covered earlier in this chapter, it's time to start applying
those skills and approaches to real-life subjects and compositions.
You can use tone to provide a realistic distribution of light and
shadow; you can also use it to create interesting monochromatic
compositional designs through the distribution of areas of black,
white, and gray. Both of these approaches are beneficial, especially
when you learn to ink.
Working from observation and trying to re-create the various
textures and surfaces of different objects (wood, glass, metal,
fur, etc.) will require you to examine your subjects thoroughly
and experiment with mark-making and the ways in which you can
combine those marks.
Drawing and inking objects from observation is instructive and
a great way to get accustomed to using your pen in different ways.
Although comic illustration for the most part doesn't adhere to
naturalistic styles (instead relying on design, pattern, and a good
distribution of black, white, and gray). Drawing and inking everyday
objects is always a good idea. You are more likely to experiment
with your inking tools if you aren't focusing on perfecting your
comic book pages.
Everyone has a preconceived idea about how his or her comic
illustrations should look, and this often inhibits experimentation,
which prevents discovery. When you understand the full range of
marks a nib is capable of making, and get accustomed to making
those marks yourself, new discoveries will find their way into your
comic book work.
TRY IT
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Take an object, light it with a single light source, and spend
no more than ten minutes making a good linear construction
drawing in pencil. Complete the drawing with pen and ink.
Make a few of these studies and use a different nib for each
one. This will to teach you to draw with ink, and not just
trace pencil lines.
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The examples on this and the following pages demonstrate an
array of pen inking approaches in working with diverse subjects.
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FOUNDATIONS
THE RAISED-RULER TECHNIQUE
Long, straight lines are often used to construct inanimate objects
such as buildings, props, and vehicles. Artists often use T-squares
and rulers when pencilling them. Pen nibs can also be used with
rulers and, once again, have several advantages over mechanical
pens: you don't need to switch tools to create lines with different
widths, you can create line-width variations within a single line, and
multiple lines can be inked without moving the ruler.
A metal ruler with a cork bottom is the best choice for inking
with a nib. A nib can scratch and create divots in a plastic ruler,
disrupting a neat line and rendering the ruler useless. A nib glides
across a metal ruler, and the cork bottom creates a beveled edge
even if you don’t lift the ruler off the paper’s surface.
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However, becoming comfortable with lifting a ruler off the surface
of the paper is important. Once you have become proficient with this
technique, it can be applied to other tools, such as French curves.
— TRY IT
Take three to five objects that have different shapes and
surfaces and arrange them in an interesting composition.
Make a linear pencil drawing, scan it, print out three copies
on Bristol board (either vellum or smooth), and ink it.
Concentrate on how you can use mark making to distinguish
the objects you’ve chosen and create an illustration that is
visually appealing.
3. After you are comfortable with this technique, try creating lines
of different but consistent widths by changing the pressure on
the pen, as in the above examples.
1. Begin practicing the raised ruler technique by laying your
ruler on a piece of Bristol board. Place your thumb on the
bottom of the ruler; this will prevent it from moving when
you ink a long line,
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2. Lift the ruler with your fingers until the bottom metal edge of
the ruler rests comfortably on the paper. I usually rest my index
finger at the top of the ruler, between the ruler and the paper,
to stop it from slipping up or down. After dipping your nib in
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4. Now create a series of long lines, varying the pressure of the
pen as you’re drawing the line. Create lines that begin thin
and get consistently thicker and lines that begin thick and get
consistently thinner, by varying the pressure as you make the
lines, allowing them to bounce and skip.
Inking
USINC A NIB WITH A FRENCH CURVE
Once you are comfortable using a nib with a straight rule, you are
ready to use it with a French curve. Most French curves are beveled.
their outer edges are raised off the paper's surface, preventing
ink from bleeding under when you ink with a nib. However, most
curves are made out of plastic, so you must lift the French curve
high enough to touch the nib’s barrel. If you don't, you can easily
chip a good curve and will have to replace it.
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The lifting technique you use with a French curve is identical to
that used with a ruler. After finding the right curve for the line
you intend to ink, place your thumb on the bottom of the curve
and lift the opposite side with your index finger. If you feel more
comfortable leaving the curve on your drawing surface, make sure
to shake out the excess ink from your nib before you begin inking
the line.
FOUNDATIONS IN COMIC BOOK ART
Brush Inking Techniques
The brush is probably the most versatile inking tool available.
It holds a lot of ink (so you don’t have to dip it in an inkwell
constantly), it can produce lines that range from razor thin to
incredibly thick, and because it doesn’t gouge the paper’s surface,
it dries very quickly.
HOLDING THE BRUSH
For fine detail work or when you are working in small areas, hold
the brush the same way as any other drawing tool — with your
fingers positioned close to the brush’s ferrule. This provides more
control, but limits the mark-making range. However, when you
want to make long sweeping lines, hold the brush perpendicular
to the paper. The stroke will emanate from the arm, not the fingers
and wrist. This takes some practice, but the sooner you begin,
the sooner you will become comfortable with it. Mastering this
technique augments your set of skills and provides unique inking
possibilities.
Before you begin, clear everything from your drawing table
except ink, water, and a piece of paper. You don’t want anything to
interrupt your brushstroke, as one of the biggest advantages of this
technique is that you can make very long lines. Place your elbow
on the table first (it will serve as a fulcrum, and it can’t do that if
it isn't resting on a solid surface). Lower your hand over the paper
without touching it and make a few “ghost" strokes in the air over
the paper, using your elbow as a pivot point. Position the paper to
correspond to the natural sweep of your stroke. After doing that,
lower your hand until your palm touches the paper and then lower
the brush until it just touches the paper. Now lock your hand and
fingers in place they shouldn’t move after you establish how thick
—
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2. Lower your lingers until the brush just touches the paper. The
lingers not holding the brush will be used to support your hand
and prevent it from moving up or down, providing a consistent
line.
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1. Rest your elbow on the drawing table, hold the brush perpen¬
dicular to the paper (this will seem awkward when you lirst try
it, but it's critical), and lower your arm, allowing the palm ol your
hand to make contact with the paper lirst.
Inking
101
—
you want the line to be and begin pulling a straight line using
your arm. Your hand should never move up or down.
This always feels awkward when you first try it, and people’s
hand positions vary, but the one thing you have to keep in
mind here is that the brush must be held straight up and down,
perpendicular to the paper. I extend my pinkie finger for additional
stability, but there isn’t a single right way. If you have never inked
this way before, don't worry about anything other than maintaining
a consistent line width. Make thin lines, thick lines, and lines of any
other widths in between. The brush is truly remarkable and capable
of more line variation than any other inking tool.
Learning how to hold and control a brush is vital and isn’t very
hard. If you practice daily, you can master it quickly.
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4. Play around with the brush. Here I’m holding the brush at a
45-degree angle while pressing down a lot. This creates a very
thick line that has straight, square edges.
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3. Pull a line across the paper slowly, focusing on creating a line of
uniform length.
5. Create a thin to thick line by holding the brush at a slight angle
and increasing the pressure while you make the stroke.
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INKING WITH A BRUSH
When you have become comfortable with the brush, it’s time
to do some structured exercises. This exercise is identical to
the pen exercise, as is its goal: learning to control the brush
while discovering its unique characteristics and possibilities.
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• Print out the series of l-inch squares you created and
scanned for the pen exercise on page 90.
• Bristol board is preferable but not necessary; a brush
can be used on almost any type of paper.
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• Look at these examples, try to re-create them, and
remember, especially when using a brush, to make
straight lines and to try to begin the line at one side
of the square and end it when it touches the opposite
side. Confident inking is the result of learning to control
your tools. If you can make a consistent straight line
with a brush, you can create that same line with any
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CREATING TEXTURES AND SURFACES
WITH A BRUSH
— TRY IT
Trying to re-create the fine lines that a pen makes with a brush is
challenging and will help you to master brush use. The brush is also
capable of creating an enormous variety of marks that a nib can’t. A
sable-hair watercolor brush is capable of making more marks than
any other inking tool. Load it up with ink and draw thick lines by
pressing down on it, wipe most of the ink from the brush and create
textures using dry brush techniques, and stipple with the brush, etc.
Play with the brush on paper, and see how many different textures
Ink at least two of the objects that you initially drew for the
pen studies with a brush (remember to always scan your
pencil drawings).
Select new objects to draw and ink. Ask yourself what
surfaces and textures lend themselves to the fluid lines and
remarkable range of line widths that are unique to the brush.
Play and experiment.
and marks you can make.
In the examples shown here, the artist uses a brush to interpret
her composition in three unique ways:
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within the composition.
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interpretation of household
objects.
Right: This drawing was created
using a variety of inking tools and
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FOUNDATIONS
IN
COMIC BOOK ART
FEATHERING
Feathering is a great way to make transitions between black and
white areas. It is often used by (but not limited to) "mainstream”
comic artists and inkers to create a slick, professional look.
You should be able to quickly add this skill to your inking
arsenal, as long as you have a good brush.
1.
Dip the brush into the inkwell and bring it to a nice
point by twirling it on a spare pad ol paper. A good
sable-hair brush will assume an inverted teardrop
shape with a razor-sharp point.
4. You’ll notice that the brush has made a nice thin to
thick line with very little effort on your part.
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2. Hold the brush at a 45-degree angle above the paper
and. using your wrist, push down.
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3. Pull the line toward you as it reaches its widest point.
5. For practice, make a number of these lines side by
side. As you gain confidence with this technique,
make your lines longer. This technique can also be
used with nibs and a raised ruler or a French curve if
you need to make longer, converging lines.
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DRY BRUSH
If a slick and smooth approach doesn’t suit your style or if you
want to create some interesting areas of contrast within your inked
drawings, you may want to consider using the dry brush technique.
This technique isn’t difficult, but if you choose to use it extensively
to create a full range of values, it requires patience and takes a
while to master.
Dry brush techniques work best on vellum surfaces. The paper’s
"teeth" create hills and valleys, which cause the brush to skip
along its surface. You should also experiment with cold-pressed
watercolor paper; its surface is even toothier, which creates distinct
lines and patterns.
This technique can be hard on your brushes, and so it's best
not to use a new sable-hair brush for this approach. Use a cheap
synthetic brush or an old sable-hair brush (never throw old brushes
away) instead.
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Remove most of the ink from the brush. It’s best to use
a vellum surface for this; it removes the ink quickly, and
3. Denser, dark
areas require several strokes.
the uneven surface spreads the brush’s hairs apart.
4
2. You can make your lines very dry and light if you
remove almost all of the ink.
4. Each of these lines was made with a single brushstroke.
Most of the ink was removed from the brush before
the line at the top was drawn. Each successive tier
contained progressively more ink.
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The textural dry brush marks in this image provide a nice
contrast to the bold brush lines used on the figures.
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ADVANCED INKING TECHNIQUES
FOUNDATIONS IN COMIC BOOK ART
Using Unconventional Materials
to Create Unique Textures
Generally, you never use just one tool when inking. Both the
pen and the brush have unique characteristics, and discerning
utilize a combination of both to best depict their subject
matter. Combining both tools increases the range of possibilities
significantly.
Pens and brushes are a comic book artist’s primary inking
tools, but anything that can make a mark can be used. After all,
as long as it leaves an impression on the paper, you can darken it
in Photoshop or any of several other software programs to create
solid black marks or textures.
artists
Lithographic crayons, children’s crayons, and soft graphite
pencils can be used to create gritty surfaces. You can apply ink to
many kinds of fabric, lace, and other materials and press them
against your paper. Cotton balls, Q-tips, and sponges create
distinct tones and textures.
You can also rub textures onto lightweight printer paper with a
lithographic pencil, as long as the surface you're working with is firm
enough to withstand the pressure. These marks can be scanned,
adjusted, and easily applied to your illustrations with a software
program. Once they’re scanned, be sure to save and organize them
so you can reuse them in the future.
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drawing to create the daffodils’
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illustration. This created
organic areas of white
and contrasts nicely with
the graphic approach
used for the figure.
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Masking an Illustration
You can mask off simple shapes with bits of paper, and in a pinch
you can use an X-Acto knife, printer paper, and a light box to create
more complicated shapes. However, frisket film, a low-tack sheet of
clear vinyl, is the best choice for masking off intricate areas.
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Frisket is a thin translucent plastic film backed with a
It is always a good idea to mask areas off you don't want to be
affected when you're working with materials that aren’t easy to
low-tack adhesive. It adheres to the paper but can be
removed or repositioned easily, and it won't harm the
paper or remove ink.
control— sponges, fabrics, sheets of plastic, and so forth.
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Take a sheet of frisket and position it over the area you want to
keep clean. You can see through the sheet of frisket. Use an X-Acto
knife or razor blade to cut out frisket matching the space you need
to cover. Remove the film from the back of the frisket, apply it to the
paper, and cut away any excess.
Advanced Inking Techniques
Now that the area is covered.
you can pick up your
toothbrush (or sponge, cotton,
cloth, etc.) and apply it freely.
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Lift the frisket off after the ink has dried.
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I decided the tree limb looked too graphic in this illustration, and
so I shook most of the ink out of the toothbrush and applied it to
the trunk. When that dried, I took a razor blade and cut out organic
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areas of white.
Advanced inKing Tecnmques
X-Acto Knives and Straight Razors
You can use X-Acto knives to cut into paper and create a thin,
organic white line within a black area (think concertina wire atop
a prison’s walls). Straight razors will also do the trick, and I prefer
them because they are more durable and their points are less likely
to break. A razor is ideal for reflective surfaces or when you need to
create a picture that includes something exploding.
Note: You should always wear some sort of eye protection when
working with a razor blade. Although it's rare, the tips can snap and
fly into the air.
If you hold a razor blade at this angle and drag it across the paper, it
skips across the paper, picking up divots of paper as it travels.
By reversing the angle, you can create an organic white line as you
drag the blade across the paper.
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Skipping the razor blade over
the paper’s surface created the
divots on this page; the lines
were created by dragging the
blade along the surface.
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Sponges, Toothbrushes, and Other
Alternative Inking Tools
You can use anything that can be dipped in ink to make marks:
sponges, toothbrushes, Q-tips, sticks, fingers, crumpled paper
towels, and so on. Sponges are particularly useful and come in all
shapes and sizes. You can cut or tear an old household sponge (or
a new one if you’re a spendthrift) into a few different shapes and
sizes, and you can purchase an assortment of sea sponges in the
pottery section at most art supplies stores. The marks a sponge
makes depend on the sponge’s consistency and the amount of ink
you use with it. Generally, you’ll want to remove most of the ink by
dabbing the spouge on a scrap piece of paper before applying it to
your piece.
You can also use items from the kitchen. What types of marks
does a Brillo pad make? How about a dishrag? Crumple up some
paper towels, napkins, and newspaper and dip them in ink.
Experiment with varying levels of ink and see how many unique
marks you can create.
Dentists recommend that you replace your toothbrush every
three months to ensure proper dental hygiene. Don't throw them
away! You can use them to create interesting splatter patterns. Just
dip an old soft-bristled toothbrush in ink and tap it on a scrap piece
of paper so that you won’t drop a big blob of ink on your page.
When the excess ink has been removed, hold the toothbrush above
the page and flick the bristles with your thumb. If you don’t have
gloves handy, use a butter knife or a ruler on the brush’s bristles.
If you want to create a smaller, more controlled splatter effect, try
using a pen nib and a credit card. Just hold the card firmly in one
hand and the pen nib in the other and flick the nib against the card.
If you don’t mind getting your hands dirty, dip your fingertips
in the ink, dab most of the ink off, and then use your fingertips on
the page. It creates a unique texture that can be used for smoke
effects, or to create a "gritty" surface.
If you’re feeling really adventurous, pick up a stick or cooking
skewer and try to ink a drawing with it. I’ve seen a video of Alberto
Breccia, an amazing comic artist from Argentina, creating a
beautiful ink drawing with a straightedge razor blade.
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Hold the brush in your hand and flip the bristles with your thumb.
You can also drag it across an old credit card (or something
similar) if you don’t want to get your hands dirty. Try this a few
times on a scrap piece of paper until you can control the range of
the ink splatter.
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Apply a small amount of ink to an old toothbrush. If you have
a bottle of ink with an applicator, you can use it to drop a small
amount of ink onto the brush, or you can dip the brush in an inkwell
and tamp most of it out on a separate sheet of paper.
Right: The smoke in this illustration
was created by using the splatter
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technique and applying whiteout
with the fingers.
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FOUNDATIONS
ART
Black-and-white Design
Learning how to design in black and white and with tones improves
your ability to see and create compositions that have a good tonal
range. A well-designed black-and-white image will always look
good, with color or without.
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SCREENTONES
A screentone (often referred to as Zip-A-Tone) is a thin sheet of
plastic film covered with halftone dot patterns or textures. The back
of the film is coated with a low-tack adhesive such as frisket. The
dot patterns vary in density and size, and there are hundreds of
different patterns and textures on the market.
Screentones work particularly well with black-and-white comics
and newspaper strips but rarely are employed in comics that use
computer coloring; (as are most of the comics being published in
the United States today. Screentone might have become obsolete if it
weren’t for manga comics). Most Japanese comics are still published
in black and white and use screentones exclusively.
Black-and-white comics often rely on textures and patterns to
enhance their visual appeal, but creating them by hand is a timeconsuming process. Time is a commodity most working comic
artists don’t have particularly manga artists, who often have to
produce ten to twenty pages a week. Screentones cover large areas
with patterns or textures quickly and enhance the artwork. The line
work used by the artist can be more “open” and less detailed; this
approach can save a lot of time.
The largest contemporary manufacturer of screentones is a
Japanese company named Deleter. Thanks to the Internet, its
products are easy to access and purchase. The only drawback is
that at $5 to $7 per sheet, they’re a little pricey.
A library of digital tones can be purchased for the price of a few
sheets of screentone. It never needs to be replaced, it’s tones can
be applied with the computer, and a large tone collection is often
included with some excellent computer software programs such as
Manga Studio (more on this in chapter 8). If, however, you think
of your pages as artifacts and plan to sell your original artwork,
nothing beats the real thing.
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This incredible piece of art
was created entirely with
Manga Studio.
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The digital tones make this energetic drawing even more
visually interesting.
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SOFTWARE APPLICATIONS IN
COMIC BOOK ART
FOUNDATIONS IN COMIC BOOK ART
Creating a Grid in Photoshop
So you hate lining up your ruler with a perspective point every
time you want to draw a line, or you don’t have a table or ruler big
enough to create a distant vanishing point. No problem. Adobe
Photoshop can save you a lot of time and effort.
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This complicated interior drawing was made by utilizing the
principles of box construction and a grid for placement.
Software Applications in Comic
Window Help
Proof Setup
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Proof Colors
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Gamut Warning
Pixel Aspect Ratio
Pixel Aspect Ratio Correction
32-bit Preview Options...
Zoom In
Zoom Out
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5. Click the mechanical wheel icon located next to the Sides
window. Make sure to check the Star box and then type in 99
in the Indent Sides By box. Nothing else should be checked.
Screen Mode
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Show
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1. Open Photoshop and create a new 8.5-inch by 11-inch
document. Go to the View tab and select Rulers irom the
drop-down
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menu.
2. Move the cursor over the ruler at the top of the page and drag
down a blue line. This will be your horizon line.
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6. You will find a Fill and Stroke window on the left-hand
side of the same toolbar. Click each box and change it to
the color of your choice. I prefer to use a blue line for the
left vanishing point.
3. Select the Polygon tool from the Photoshop tool bar. The
Polygon tool is located in Rectangle tool's drop-down menu.
#
Sides: 99|
J Align
Edges
4. When you choose the Rectangle tool, its preferences will
be located at the top of the Photoshop window, above the
ruler. Make sure that the Align Edges box is unchecked and
change the number of Sides to 99.
7. Place the cursor at a point outside of the canvas on your
horizon line where you want to place the left vanishing point
(holding down the space bar and the command and option
keys will allow you to shrink the canvas size). Click and drag
the cursor, and radial lines will appear. Drag them until they
extend through the canvas.
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Select
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New Adjustment Layer
Layer Content Options...
Layer Mask
Vector Mask
Create Clipping Mask
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Smart Objects
Video Layers
8. If the vanishing point is far away from the canvas, you can
use the same tool again, placing it in the same location, and
rotate it as you extend the lines. You can do this as many
times as necessary. A new layer is created each time you use
the Polygon tool.
Rasterize
New Layer Based Slice
Croup Layers
Ungroup Layers
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Combine Shapes
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Align
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Lock Layers...
10. Click on the background layer
and you will see your completed
grid. If you don’t see the layers
window, go to the Window tab at
the top of the screen and check
Layers in the drop-down menu.
Merge the layers: Layers > Merge
Layers or Merge Visible.
Link Layers
Select Linked Layers
Merge Layers
Merge Visible
Flatten Image
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9. When you create the right vanishing point, click the Fill
and Stroke boxes and change colors. Repeat these steps as
necessary.
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11. You now have a perspective grid to print out and use. You
can create several of these grids quickly and save them as
templates to use again and again.
Software Applications in Comic BOOK Art
CREATINC A THREE-SIDED CRID
IN PHOTOSHOP
A three-sided grid will help you place objects and figures in space
correctly. This particular grid method is one of the quickest and
most effective ways to create intricate establishing shots.
Begin by using the same steps you used to create your first grid:
create a new document, display the rulers, drag the horizon line
down from the top ruler, and then select the Polygon tool and check
Filter 30 View
Last Filter
Help
Window
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Grid Size
to make sure all its properties are correct. You don't need to change
the color of the lines for this grid; you’ll discard them later.
Create two vanishing points on the horizon with the Polygon
tool. You need to use the Polygon tool only once on each side, but
try to make at least one perfect square when you drag the lines out
from the second vanishing point.
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1. Once you've made the basic
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2. Click the Create Plane tool in the upper left-hand corner of the
new window and trace a perfect square by using the vanishing
point lines. A blue anchor point and line will appear as you make
the first box.
new layer
and then click Filter > Vanishing
Point. A new window will appear.
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3. Click the Edit Plane tool (located
move and resize pi;
directly above the Create Plane tool)
and drag the midpoints of the square
to fill the ground plane.
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4. Switch back to the Create Plane tool and click and drag one
of the midpoints from the initial square up. This creates a
second, vertical plane.
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B. Switch back to the Create Plane tool and click and drag the
horizontal midpoint of your vertical plane. Select all the planes
by holding down the shift key and clicking on three planes.
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Export to 3DS...
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7. With the planes selected, click the drop-down menu located
beside the Edit Plane tool and select Render Grids to
Photoshop. Hit the OK button in the upper-right hand side of
the window. Delete your Polygon layers.
5. Use the Edit Plane tool to adjust the top right and left corners
of the new vertical plane. Make the sides as straight as
possible. If the lines on screen turn from blue to red, you
have to adjust them until they are blue again. You can use
the Edit Plane Tool only for the first two planes you create.
It’s a good idea to create planes that extend well beyond the
canvas; this minimizes distortion.
Grid Size: 100
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8. Use the Grid Size slide bar (located in the upper left corner
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and number of squares in the grid.
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9. You've just made a three-sided grid.
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Create your own set of grids, using different horizon lines.
Create a grid file and fill it up.
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FOUNDATIONS IN COMIC BOOK ART
Using the Perspective Tool
in Manga Studio
The professional version of the art program Manga Studio (EX)
includes several special perspective rulers that the regular version
(Debut) does not. These rulers are well worth the slightly higher
price tag. You can create small freehand perspective drawings,
scan them, import them, and then complete your drawing. The
rulers allow you to create a horizon line and use one, two, or three
vanishing points. After you establish the height of the horizon line
and create vanishing points along it, any line you draw will either be
straight or recede to your vanishing points.
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•Create new Photoshop document
Create new layer in frontmost document
Cancel
1. Create a freehand sketch using a grid you’ve created. Scan it
in as a 300-dpi 8-bit greyscale PNG or JPEG image and save
it to your desktop.
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page.
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4. Select your drawing. A new
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allows you to change the
scale or adjust the position
of your drawing (you can
also adjust the scale of the
image by dragging the red
anchors around the image).
The Image Adjust tab has
two tabs of its own: Layer
Settings and Filter Settings.
Filter Settings allows you to
change the image's contrast
or resolution.
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5. Layer Settings allows you
to rename your drawing.
However, the most impor¬
tant step at this point is to
make sure that the Color
Model tab is set to Gray
(8 bits). Occasionally, the
program will import your
file as a 2-bit grayscale file,
and it will appear incom¬
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8 bits, the resolution clears
up immediately. Click OK.
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B. Click the Layer tab on the
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screen. Choose New Layer.
A New Layer window will
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layer Perspective and
choose the Ruler layer in
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menu. Click OK.
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layer Type
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11. Lock the perspective layer by clicking the Lock Layer icon in
the Ruler Layer window. This will prevent you from moving it
accidentally. If want to change the position of the vanishing
points later to draw an object that is in a different position
but still has its vanishing points along the same horizon line
(remember chapter 3 on perspective?), just unlock the layer,
select the object mover tool, hold down the shift key, and
reposition the vanishing points. Then lock the layer again.
10. Move the vanishing points
into place by clicking on
them while holding down
the shift key (you must
hold shift to prevent the
horizon line from moving
while you adjust these
points). They will turn from
purple to red when they
are selected. Make sure
to click the background,
returning the color of your
point to purple, before
moving to the other vanish¬
ing point. You can move
the perspective lines that
emanate from the vanish¬
ing points in the same way:
click on them to move them
and click the background
to deselect them when you
have them in the desired
position.
Software Applications in Comic Book Art
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BOOK
1% FOUNDATIONS IN COMIC
ART
Using Manga Studio to Apply
Screentone Patterns
TIP
has hundreds of screentone
The art program Manga Studio
very easy to place and manipulate
patterns in its toolbox, and it’s
with Manga Studio, it’s
them. It's also fun. If you aren't familiar
Assistant window. This
best to begin by using the Beginner’s
basic tools, pallets, and
function arranges all of the program’s
of the computer screen.
options on the right-hand side
book, I have used Manga Studio
Note: for the purposes of this
version 4 for all examples.
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1. Open Manga Studio and
Assistant.
Assistant: Window > Beginner’s page 130 for
(Refer to
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Import your inked
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Software Applications in Comic Book Art
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3. Navigate to the right of the computer screen
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4. Click and drag your screentone over
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a tone on your drawing. Thus, if you use
three tones in an illustration, each will
have its own layer.
137
FOUNDATIONS IN COMIC BOOK ART
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5. If you use Beginner's Assistant, a Properties window will appear
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can make it appear by selecting Window > Properties.) The
Properties window allows you to modify the scale, the line
density, the brightness and contrast, and the angle of the shapes
used to create the tone.
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Software Applications in Comic Book Art
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Hi
My son, Koji (age ten), drew this character recently, and I
drew my version of it for him. I inked it by using both brush
and pen nib and then added digital tones.
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CONCLUSION
Drawing comics isfan, but it's also a lot of work. Figure drawing,
being able to construct objects and environments from your
imagination, and having a true understanding of perspective all take
time. You have to dedicate hours and hours to active learning.
In my experience, the key to success is setting small goals and
pursuing them relentlessly. When you master one goal, name a
new one and get started. If you take this approach, the day will
comi -sooner than you think when you have more abilities in your
possession than you have left to master. When you master all the
necessary skills, creating comic art feels much more like play than
work.
Make drawing a daily practice. You will become better, and faster if
you devote an hour a day, every day, to drawing. The better you get, the
more fun drawing becomes. You’ll find that the hours fly by while you
create worlds that only exist in your imagination.
Enjoy!
—
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CREDITS
Note: Unless noted below, all art is by John Paul Lowe.
ii: Jorge Corona
/
iii: Maxwell Faria
v: Mike Wieringo and John Lowe,
Pulse is © Chris Wozniak
vii: From top to bottom: Jarrett Williams,
Becky Dreistadt, Jarrett Williams, and
Jeremy Sorese
viii: Jeremy Sorese
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xii: Becky Dreistadt
4: Ariela Kristantina
5: Eleanor Davis and Jerry Sorese
6: Tradd Moore
7: Jorge Corona
8-9: Alex Wilson
11: Jeeyon Kim
12 Ian McGuinty
14: Jeeyon Kim and Ian McGuinty
15: Zhenya Okun
17: Jeeyon Kim
18: Maxwell Faria
19: Jeremy Sorese
20-21: Jeremy Lawson
26: Lee Barrow
29: Ariela Kristantina
35: Jorge Corona
36: Jorge Corona
39: Jorge Corona
40: Tradd Moore
41: Becky Dreistadt
42-43: Jorge Corona
49: Amy Sherrier
50: Tradd Moore
51: Zhenya Oleum
52: Zhenya Okum
54: Ariela Kristantina
56-59: Ariela Kristantina
;
60-61: Jeeyon Kim
63: Alex Rivera
64: Ru Xu
65: Ariela Kristantina
66-67: Patric Reynolds
71: Robert Boucher
74: Mike Wieringo
79: Tradd Moore
83: Laura Neubert
86: Eleanor Davis
87: Drew Wei ng
88: Patric Reynolds
90-91: Jeeyon Kim
92: Eleanor Davis and Steve Beach
93: Jeeyon Kim
94: Drew Weing
95: Eleanor Davis
96: Chris Wright
97: Jeeyon Kim
104: Ariela Kristantina
105: John Paul Leon, The Winter Man
108: Mark Schultz
109: Drew Wiens
no: Kristian Donaldson
in: Yunfan Zhou
112-113: Liz Fleming
109: Kristian Donaldson
119: Jack Ciolli
120: Angael Davis
121: Kristian Donaldson
122-123: Jorge Corona
124: Amy Sherrier
130: Veeraya Kanchanobhas
136: Angael Davis
138: Angael Davis
139: Koji Lowe
140: Jarrett Williams
144: Tradd Moore
146-147: Tradd Moore
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A
Adobe Photoshop
for blue line prints, 72-73
perspective grids with, 124-29
photo reference with, 70-71
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Bird’s-eye view, 36
Black-and-white design, 120
Blue line pages, 72-73
Bristol board, 84-85, 88
Brushes
advantages of, 79, 80, 100
choosing, 80
ink for, 82
/V
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INDEX
maintaining and cleaning, 81
purchasing, 80-81
/
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Brush inking techniques
creating textures and surfaces, 104
dry brush, 107-8
exploring, 103
feathering, 106
C
/
Characters, creating, 68
Clothing, placing, 15
Contour drawings, 14-16
Cubes
complex shapes within, 32-34
cylindrical forms within, 31, 34
drawing, 26-27
locating symmetrical points on, 28-29
planes of, 27
Curves
French, 99
symmetrical, within squares, 24
Cylinders, 31, 34
freehand, 10
gesture, 52-54
from memory, 3, 56
straight lines, 10
symmetrical curves, 24
underlying forms and, 11-13
See also Figures; Objects; Perspective
drawing; Thumbnails
Dry brush techniques, 107-8
E
Erasers, 4
F
Feathering, 106
Figures
drawing, from memory, 56
foreshortening of, 55
gesture drawings of, 52-54
multiple, 57-58
resources for drawing, 52
Floor plans, 46
Foreshortening, 55
Forms, seeing underlying, 11-13, 34
French curves, 99
Frisket, 113, 114
C
Gesture drawing, 52-54
Goals, setting, 141
Graph paper, 46
Grids, perspective, 46-49, 124-29
H
Horizon line
with Adobe Photoshop, 125-27
definition of, 35, 36, 38
high, 36
D
importance of, 36
Desire, importance of, 2
low, 36, 39
with Manga Studio, 130, 133-34
standard, 36
vanishing points and, 37, 38
Discipline, importance of, 2
Doubts, 2
Down shot, 36
Drawing
contour, 14-16
cubes, 26-29
as daily practice, 141
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Ink, 82
Inking
Perspective drawing
with Adobe Photoshop, 124-29
cube method for, 26-34
grids, 46-49. 124-29
horizon line and, 35-39
with Manga Studio, 130-35
mirrored points and, 25
one-point, 40, 43
Objects
creating, by placing shapes within
three sections, 30
drawing, from memory, 3
foreshortening of, 55
multiple, 17-18
placing, in perspective, 44-49
remembering essential information
about, 44
Observational skills, importance of, 3
One-point perspective, 40, 43
Orthographic projection, 27
black-and-white, 120
blue line pages for, 72-73
digital techniques for, 76, 109, 120
masking and, 113-16
tools and materials for, 76-85, 112,
117-19
workspace for, 89
See also Brush inking techniques; Pen
inking techniques
L
orthographic projection and, 27
placing objects in, 44-49
proficiency in, as required skill, 35
squares and, 22-23
symmetrical curves and, 24
three-point, 42
two-point, 41, 43
vanishing points and, 36-38, 40-43
Photo reference
with Adobe Photoshop, 70-71
for character creation, 68
using, 66-67
Photoshop. See Adobe Photoshop
Plumb lines, 17
P
Paper
for inking, 84-85
for pencil drawings, 4
Pencils, 2, 4
Pen inking techniques
creating textures and surfaces, 94
creating value with line, 92-93, 97
exploring, 90
with French curves, 99
fundamentals of, 88
with raised ruler, 98
Pen nibs
advantages of, 78
characteristics of, 88
ink for, 82
purchasing, 76-78
Lines
contour, 14-16
plumb, 17
raised-ruler technique for inking, 98
straight, 10
M
Manga Studio
Beginner's Assistant window for, 136,
138
perspective tool in, 130-35
screentone patterns in, 109, 120,
136-39
Masking, 113-16
Memory, drawing from, 3, 56
Moire patterns, 136
Q
Quadrants, creating, 17
R
Raised-ruler technique, 98
Razor blades, 117
Rectangles, creating, 23
Research, 68-69
Rulers, 98
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Index
147
Thumbnails
S
Screentones, 120, 136-39
Sequential artists
composing, 65
definition of, 62
challenges faced by, 2
key to success for, 2, 141
observational skills of, 3
technical skills required for, 2, 7
tools and materials for, 2, 4-5
Shapes
creating complex, within cubes, 32-34
isometric, 30
seeing underlying, 11-13, 34
Software. See Adobe Photoshop; Manga
Studio
Splatter technique, 118, 119
Sponges, n8
Squares
creating additional, 23
creating symmetrical curves within, 24
dividing, 22
perfect, within perspective grids, 46
Still life, drawing, 17
Straight lines, drawing, 10
Success, key to, 2, 141
Surfaces, creating, 94, 104
rough, 62
templates for, 62-63
tight, 64
Toothbrushes, 118
Two-point perspective, 41, 43
U
Up shot, 36
V
Value, creating, 92-93, 97
Vanishing points
with Adobe Photoshop, 125-27
convergence toward, 36, 37
horizon line and, 37, 38
with Manga Studio, 130, 134
single, 40
three, 42
two, 41
Volume, defining, 16
W
Whiteout, 83
Worm’s-eye view, 36
T
Textures, creating, 94, 104, 112
Three-point perspective, 42
X
X-Acto knives, 117
Z
Zip-A-Tone. See Screentones
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