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VOLUME1

A n tarctic Press Presen ts : How to Draw Super-Powered Heroes S upersize TPB #1, June 2 009, is published by Antarctic Press, 7272 Wurzbach, Suite #204, San Antonio, Texas 78240. FAX#: (21 0) 593-0692. Text © Chris Allen , David Hutchison and Brian Denham. Art © Ch ris Allen, Brian Denham , Ben Dunn and David Hutchison. All other material is TM and © Antarctic Press. No similarity to any actual character(s) and/or place(s) is intended, and any such similarity is entirely coincicental. Nothing from this book may be reproduced without the express written consent of the authors, except for pu rposes of review or promotion. "That bullet was probably the best meal they had all year." Printed and bound in Canada.

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GETTING

STAQTEO!

WHeN YOU STAQT OQAWING, ALL YOU QeALLY NeeO IS PAPeQ ANO A PeNCIL. If YOU 'Qe JUST OQAWING fOQ fUN, feeL fQee TO SCQIBBLe WHeQeVeQ WITH WHATeVeQ YOU feeL LIKe ANO OON'T WOQQY ABOUT THIS PAQT, BUT If YOU WANT TO Be A BIT MOQe PQOfeSSIONAL, HAVING THe QIGHT TOOLS IS KeY.

Be A BIT MOQe PQOfeSSIONAL, HAVING THe QIGHT TOOLS IS KeY. PeNCILS THe MOST COMMON TYPe

PeNCILS

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

AQT STOQeS QefeQ TO THIS TYPe

AS AN HB . THe HAQONeSS

Of THe

GQAPHITe VAQieS WIOeLY IN AQT PeNCILS, fQOM GB (VeQY SOfT) TO GH (VeQY HAQO) .

MeCHANICAL PeNCILS PQOVIOe A CONSISTeNTLY SHAQP POINT BUT OON'T ALLOW fOQ SOMe Of THe QOUGHeQ QeNOeQING.

THeQe'S A WIOe VAQieTY Of PeNCILS. TQY GeTTING ONe Of eACH TO fiNO OUT WHICH YOU PQefeQ.

TQY GeTTING ONe Of eACH TO fiNO OUT WHICH YOU PQefeQ. eQASeQS We 00 NOT QeCOMMeNO

eQASeQS

We 00 NOT QeCOMMeNO THe

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PINK THING AT THe eNO Of YOUQ

l

AVeQAGe #(;)PeNCIL. IT TeNOS TO Be Of QeALLY LOW QUALITY ANO

LeAVeS NASTY SMeAQ MAQKS.

A

HIGHeQ-QUALITY eQASeQ, LIKe A KNeAOeO OQ VINYL eQASeQ, ALLOWS fOQ AN eASY fiX .

"

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\ PeNS AQT PENS COMe WITH TIPS Of Olffek>eNT s1zes ANO SHAPes, MEASUQEO BY THe MILL.IMETEQ.

PeNS

AQT PENS COMe WITH TIPS Of Olffek>eNT s1zes ANO SHAPes, MEASUQEO BY THe MILL.IMETEQ. THEY OfTEN COMe IN PACKS Of fOUQ OlffEQENT SIZES: .001, .01, .03, ANO .OS, WHICH IS PQETTY MUCH ALL THe VAQIETY YOU Neeo fQOM A fELT-TIP PEN.

BALLPOINT PENS, LIKE THOSe USEO fOQ WQITING, AQE NOT QECOMMENOEO, oue TO THe KINO Of INK THEY USe ANO THe WAY THe INK fLOW WOQKS.

CAQTQIOGe PENS HAVe QEPLACeABLe INK CAQTQIOGes, BQUSH PENS MAKe IT LOOK LIKE YOU PAINTEO IN YOUQ INK L.INES, QAPIOIOGQAPH™ PENS GET LINES

A CONSISTENT SIZE, ANO

THEQe'S JUST AN INCQEOIBLE VAQIETY. STAQT OUT WITH JUST SOMe BASIC fELT-TIP PENS ANO see HOW YOU LIKE THOSe BEfOQe YOU TQY ANY Of THe MOQe AOVANCEO STUff.

.WeLL,

BQUSHeS

TO GET A COMPLETELY OlffEQENT EffECT IN YOUQ WOQK, OQ If YOU WANT TO use wATeQCOLOQS, YOU MAY WANT TO TQY BQUSHES. BQUSHeS AQE A LOT MOQe OlffiCULT TO CONTQOL THAN PENS, QEQUIQING MOQE PQACTICE.

L.IKE ALL OTHEQ AQT SUPPLIES, THEY COMe IN A WIOE VAQIETY Of SHAPES ANO SIZES fOQ OlffEQENT EffECTS ANO USeS.

GeTTING

STAQTeO!

THEY COMe IN A WIOE VAQIETY Of SHAPES ANO SIZES fOQ OlffEQENT EffECTS ANO USeS. GeTTING
THEY COMe IN A WIOE VAQIETY Of SHAPES ANO SIZES fOQ OlffEQENT EffECTS ANO USeS. GeTTING
THEY COMe IN A WIOE VAQIETY Of SHAPES ANO SIZES fOQ OlffEQENT EffECTS ANO USeS. GeTTING

1

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GETTING

STAQTEO!

\ GETTING STAQTEO! MAQ((EQS THe MAQKeQ HAS HUNOQeOS Of USeS ANO IS eSSeNTIAL. fOQ eVeQY AQTIST
\ GETTING STAQTEO! MAQ((EQS THe MAQKeQ HAS HUNOQeOS Of USeS ANO IS eSSeNTIAL. fOQ eVeQY AQTIST

MAQ((EQS

THe MAQKeQ HAS HUNOQeOS Of USeS ANO IS eSSeNTIAL. fOQ

eVeQY AQTIST AT AL.L. TIMeS.

MAQKeQS AQe USeO TO fll

L.

IN

L.AQGe BL.ACK AQeAS MOQe effiCieNTL-Y THAN A PeN CAN, BUT CAN AL.SO MAKe A TON

Of UNIQUe L.INe TYPeS THAT CAN'T Be MAOe WITH A PeN.

NIBS

NIBS AQe SOQT Of A MIOOL.e GQOUNO BeTweeN PeNS ANO BQUSHeS. THeY HAVe CHANGeABL.e TIPS THAT YOU OIP INTO INKWeL.L.S, WITH HANOL.eS THAT AQe L.IKe A BQUSH. THeSe PQOVIOe A GQeAT OeAL. Of CONTQOL. OVeQ YOUQ L.INeS. HOWeVeQ, THeY CAN Be MeSSY ANO QeQUIQe A BIT Of PQACTICe TO GeT USeO TO THeM.

IN((

If YOU AQe USING BQUSHeS, CAQTQIOGe PeNS, OQ NIBS, YOU WIL.L. Neeo A BOTTL.e Of INK TO fiL.L. THeM.

ONCe AGAIN, we POINT OUT THAT AL.L. THeSe BQUSHeS ANO SPeCIAL.TY ITeMS AL.L.OW fOQ GQeATeQ CONTQOL. ANO VAQieTY, BUT If YOU AQe JUST BeGINNING, YOU SHOUL.O PQOBABL.Y JUST STICK WITH THe PeNS TO STAQT.

ANO VAQieTY, BUT If YOU AQe JUST BeGINNING, YOU SHOUL.O PQOBABL.Y JUST STICK WITH THe PeNS

l

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\ GeTTING STAQTeO! QULEQS MAKING STQAIGHT L.INeS IS eSSeNTIAL. NeeOING A STQAIGHT L.INe COMeS UP MOQe

GeTTING

STAQTeO!

\ GeTTING STAQTeO! QULEQS MAKING STQAIGHT L.INeS IS eSSeNTIAL. NeeOING A STQAIGHT L.INe COMeS UP MOQe
\ GeTTING STAQTeO! QULEQS MAKING STQAIGHT L.INeS IS eSSeNTIAL. NeeOING A STQAIGHT L.INe COMeS UP MOQe

QULEQS

MAKING STQAIGHT L.INeS IS eSSeNTIAL. NeeOING A STQAIGHT L.INe COMeS UP MOQe OfTeN THAN YOU MIGHT THINK, ANO HAVING AT LeAST ONe QULeQ IS eSSeNTIAL.

TQIANGLeS AQe USeO TO GeT eXACT ANGLeS, WHICH MAKeS THeM ALSO VeQY USefUL.

USeO TO GeT eXACT ANGLeS, WHICH MAKeS THeM ALSO VeQY USefUL. CUQVES IT'S VeQY L.IKeLY YOU

CUQVES

IT'S VeQY L.IKeLY YOU WON'T JUST Se OQAWING STQAIGHT uNes, sur A w1oe VAQieTY Of CUQVeS ANO CIQCLeS AS weu CUQVe TOOLS AQe A GQeAT WAY TO QeMAIN CONSISTeNT.

1

TEMPLATES

THeQe AQe TeMPLATeS fOQ OQAWING JUST ASOUT eVeQYTHING. THeSe eXAMPLeS SHOW A CIQCLe TeMPLATe ANO AN eLLIPSe TeMPLATe, 8UT YOU CAN GeT reMPLAres fOQ srAQSUQSTS, WOQO 8U88LeS, ANO eveN LeTTeQS.

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AS IMPOQTANT AS ANATOMY IS TO OQAWING THe SUPeQ- HeQOIC fiGUQe, SO IS THe UNOeQSTANOING Of THe PLANeS Of THe HUMAN BOOY.

UNOeQSTANOING WHeQe LIGHT HITS YOUQ fiGUQe CAN TAKe A OQAMATIC SHOT TO THe NeXT LeVeL!

PLANeS HeQe AQe THe PLANeS Of THe MALe fiGUQe _J
PLANeS HeQe AQe THe PLANeS Of THe MALe fiGUQe _J

PLANeS

PLANeS HeQe AQe THe PLANeS Of THe MALe fiGUQe _J
PLANeS HeQe AQe THe PLANeS Of THe MALe fiGUQe _J

HeQe AQe THe PLANeS Of THe MALe fiGUQe

_J

PLANeS ANO HeQe AQe THe PLANeS Of THe feMALe fiGUQe. NOTICe THAT THe PLANeS AQe
PLANeS
ANO HeQe AQe THe PLANeS
Of THe feMALe fiGUQe.
NOTICe THAT THe PLANeS
AQe QePQeSeNTeO BY
HAQO eOGeS ANO NOT
CUQVeO SHAPeS.
UNOeQSTANDING THAT
THe HUMAN fiGUQe
IS MAOe UP Of A
SYNeQGY Of HAQO
ANO SOfT eDGeS
MAKeS THe
OlffeQeNCe BeTWeeN
A GOOO OQAWING
ANO A GQeAT ONe.
PLANeS HEQE IS A PLANAQ OECONSTQUCTION Of THE fiGUQE ON THE fQONTPIECE fOQ THIS SECTION.
PLANeS HEQE IS A PLANAQ OECONSTQUCTION Of THE fiGUQE ON THE fQONTPIECE fOQ THIS SECTION.

PLANeS

PLANeS HEQE IS A PLANAQ OECONSTQUCTION Of THE fiGUQE ON THE fQONTPIECE fOQ THIS SECTION. NOTE

HEQE IS A PLANAQ OECONSTQUCTION Of THE fiGUQE ON THE fQONTPIECE fOQ THIS SECTION. NOTE HOW I AM QEPQESENTING ALL SUQfACES AS HAQO- EOGEO I fLAT PLANES HEQEI EVEN THE ONES I SOfTENEO UP IN THE fiNAL OQAWING.

7 """'=~====-=------:-:-:-~ He PLANeS Of '- eQ L001( AT T NeQIC MALe HeQe IS A
7 """'=~====-=------:-:-:-~ He PLANeS Of '- eQ L001( AT T NeQIC MALe HeQe IS A

7 """'=~====-=------:-:-:-~ He PLANeS Of

'-

eQ L001( AT T

NeQIC MALe

HeQe IS A C~~SAQeUSING ~cfJsTQUCTION

THe FACe. T THIS PLANAQ y FACe TYPe.

HeAO, CAN Be BU APPLieD TO AN

PLANeS TAl(e A L001( AT THIS OQAWING. CAN YOU BQeAI( OOWN THIS fiGUQe INTO ITS

PLANeS

PLANeS TAl(e A L001( AT THIS OQAWING. CAN YOU BQeAI( OOWN THIS fiGUQe INTO ITS PLANAQ
PLANeS TAl(e A L001( AT THIS OQAWING. CAN YOU BQeAI( OOWN THIS fiGUQe INTO ITS PLANAQ
PLANeS TAl(e A L001( AT THIS OQAWING. CAN YOU BQeAI( OOWN THIS fiGUQe INTO ITS PLANAQ
PLANeS TAl(e A L001( AT THIS OQAWING. CAN YOU BQeAI( OOWN THIS fiGUQe INTO ITS PLANAQ

TAl(e A L001( AT THIS OQAWING. CAN YOU BQeAI( OOWN THIS fiGUQe INTO ITS PLANAQ COMPONeNTS?

USe THe GUIOeS IN THIS CHAPTeQ ANO PQACTICe, PQACTICe, Pk>ACTICe!

HOW TO DRAW

HOW TO DRAW

TIGHTS

TIGHTS THe THING TO ReMeMBeR ABOUT OR AWING TIGHTS IS THAT THeY ARe eSSeNTIALLY SKIN TIGHT

THe THING TO ReMeMBeR ABOUT ORAWING TIGHTS IS THAT THeY ARe eSSeNTIALLY SKIN TIGHT SLeeVeS THAT OBSCURe THe HARO LINeS OF THe HUMAN BOOY.

TIGHT SLeeVeS THAT OBSCURe THe HARO LINeS OF THe HUMAN BOOY. A FIGURe IN TIGHTS IS
TIGHT SLeeVeS THAT OBSCURe THe HARO LINeS OF THe HUMAN BOOY. A FIGURe IN TIGHTS IS
TIGHT SLeeVeS THAT OBSCURe THe HARO LINeS OF THe HUMAN BOOY. A FIGURe IN TIGHTS IS

A FIGURe IN TIGHTS IS GOING TO ReLY ON FORM ANO LIGHTING TO CONVeY SHAPe, AS OPPOSeO TO A NUOe FIGURe, WHeRe HARO MUSCLe OR SKIN FOLO LINeS CAN Be USeO TO OeFINe THe FORMS OF THe FIGURe.

IT IS THeReFORe VeRY IMPORTANT THAT YOU HAVe AN UNOeRSTANOING OF THe PLANeS OF THe HUMAN BOOY TO ORAW eFFeCTIVe TIGHTS.

TIGHTS I r \ \ OAQKLY COLOQEO TIGHTS QELY MOQE HEAVILY ON PLANES ANO PLANAQ
TIGHTS
I
r
\
\
OAQKLY COLOQEO TIGHTS QELY
MOQE HEAVILY ON PLANES ANO
PLANAQ LINES TO CONVEY fOQM
ANO LOOK BeST WHEN THEY
APPEAQ TO HAVE A SHeeN TO THEM.
TIGHTS He12e, LIGHTLY COLOQeO TIGHTS AQe SPAQSeLY 12eNOe12eO ANO QeLY MOSTLY ON FOQMS TO CONVeY
TIGHTS He12e, LIGHTLY COLOQeO TIGHTS AQe SPAQSeLY 12eNOe12eO ANO QeLY MOSTLY ON FOQMS TO CONVeY

TIGHTS

TIGHTS He12e, LIGHTLY COLOQeO TIGHTS AQe SPAQSeLY 12eNOe12eO ANO QeLY MOSTLY ON FOQMS TO CONVeY THe

He12e, LIGHTLY COLOQeO TIGHTS AQe SPAQSeLY 12eNOe12eO ANO QeLY MOSTLY ON FOQMS TO CONVeY THe FIGUQe.

TIGHTS ooq o oo ooo HeQe IS AN eXAMPLe Of A feMALe fiGUQe IN LIGHT

TIGHTS

TIGHTS ooq o oo ooo HeQe IS AN eXAMPLe Of A feMALe fiGUQe IN LIGHT TIGHTS.
TIGHTS ooq o oo ooo HeQe IS AN eXAMPLe Of A feMALe fiGUQe IN LIGHT TIGHTS.
TIGHTS ooq o oo ooo HeQe IS AN eXAMPLe Of A feMALe fiGUQe IN LIGHT TIGHTS.

ooq

o oo

ooo

TIGHTS ooq o oo ooo HeQe IS AN eXAMPLe Of A feMALe fiGUQe IN LIGHT TIGHTS.

HeQe IS AN eXAMPLe Of A feMALe fiGUQe IN LIGHT TIGHTS. AGAIN, I'M USING THe PLANAQ STQUCTUQeS TO DefiNe HeQ IN HeQ TIGHTS, AVOIDING HAQD LINeS.

fiGUQe IN LIGHT TIGHTS. AGAIN, I'M USING THe PLANAQ STQUCTUQeS TO DefiNe HeQ IN HeQ TIGHTS,
fiGUQe IN LIGHT TIGHTS. AGAIN, I'M USING THe PLANAQ STQUCTUQeS TO DefiNe HeQ IN HeQ TIGHTS,
fiGUQe IN LIGHT TIGHTS. AGAIN, I'M USING THe PLANAQ STQUCTUQeS TO DefiNe HeQ IN HeQ TIGHTS,
fiGUQe IN LIGHT TIGHTS. AGAIN, I'M USING THe PLANAQ STQUCTUQeS TO DefiNe HeQ IN HeQ TIGHTS,
fiGUQe IN LIGHT TIGHTS. AGAIN, I'M USING THe PLANAQ STQUCTUQeS TO DefiNe HeQ IN HeQ TIGHTS,
fiGUQe IN LIGHT TIGHTS. AGAIN, I'M USING THe PLANAQ STQUCTUQeS TO DefiNe HeQ IN HeQ TIGHTS,
fiGUQe IN LIGHT TIGHTS. AGAIN, I'M USING THe PLANAQ STQUCTUQeS TO DefiNe HeQ IN HeQ TIGHTS,
fiGUQe IN LIGHT TIGHTS. AGAIN, I'M USING THe PLANAQ STQUCTUQeS TO DefiNe HeQ IN HeQ TIGHTS,

I'M DESIGNING A CHAQACTE:Q WITH LOW- LE:VE:L MAGNETIC ABILITIES HE:QE:. THE: CONCEPT ! HAVE: IN MY HE:AO IS THAT HE: CONTROLS A SE:T Of ME:TALLIC OQBS THAT HE: CAN MOVE: AQOUNO I LEVITATE: Off Of, OQ USE: AS PQOJE:CTILE:S.

Oe51GN 0 0 0 I ACTUALLY STAQT WITH HIS SYMBOL HEQE. I WANT SOMETHING THAT

Oe51GN

Oe51GN 0 0 0 I ACTUALLY STAQT WITH HIS SYMBOL HEQE. I WANT SOMETHING THAT HAS
Oe51GN 0 0 0 I ACTUALLY STAQT WITH HIS SYMBOL HEQE. I WANT SOMETHING THAT HAS

0

0

0

I ACTUALLY STAQT WITH HIS SYMBOL HEQE. I WANT SOMETHING THAT HAS SOME SCIENTifiC SYMBOLISM
I ACTUALLY STAQT WITH HIS SYMBOL
HEQE. I WANT SOMETHING THAT HAS
SOME SCIENTifiC SYMBOLISM TO IT.
AfTEQ SOME QESEAQCH, I COME ACQOSS
A SYMBOL I THINK I CAN USE: <l>M, WHICH
IS A MEASUQE Of ELECTQOMAGNETIC
fLUX CALLED A WEBEQ CWETTY NEAT)!
AfTEQ GOING THQOUGH A fEW OlffEQENT

NOW I 00 A QUICK COSTUME SKETCH, A METALLIC JUMPSUIT WITH A fULL fACEMASK ANO ENLAQGEO GOGGLES.

Oe61GN _;J·------------------------------------------------------~-L-~ I I .---------------------------~--- 1 TIMe
Oe61GN
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1
TIMe TO OQAW
THe fiNAL PieCe!
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I STAQT BY SKeTCHING
IN THe BASIC fOQM ANO
ANATOMICAL HIGHLIGHTS
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-:::::::::=== =- -: _--- ~ -

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NeXT, I'LL SOLIDIFY THe ANATOMY ANO AOO IN THe COSTUMe LINeS
NeXT, I'LL SOLIDIFY THe
ANATOMY ANO AOO IN
THe COSTUMe LINeS

- ~----------------~ ----------~~~~--------~

I

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·r·- - ----------------- ; -- ) --- - -- ---- - ---- -- ------ - ---- - ----~- ~ ·/~ \

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Oe61GN 1 MODELING THE CHAQACTE:QIN CHQOM€: ANO CHECKING MY ANATOMY p ,----------------- ---------- ----- I

Oe61GN

Oe61GN 1 MODELING THE CHAQACTE:QIN CHQOM€: ANO CHECKING MY ANATOMY p ,----------------- ---------- ----- I I
1 MODELING THE CHAQACTE:QIN CHQOM€: ANO CHECKING MY ANATOMY p

1

MODELING THE CHAQACTE:QIN CHQOM€: ANO CHECKING MY ANATOMY p

MODELING THE CHAQACTE:QIN CHQOM€: ANO CHECKING MY ANATOMY p

1 MODELING THE CHAQACTE:QIN CHQOM€: ANO CHECKING MY ANATOMY p
1 MODELING THE CHAQACTE:QIN CHQOM€: ANO CHECKING MY ANATOMY p

,----------------- ---------- -----

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I'M NOT SO SUQ€: ABOUT THAT LefT HANO

I'M NOT SO SUQ€: ABOUT THAT LefT HANO

- ,_T--------------------

Oe51GN WITH THE BASIC OQAWING OONE, I TQACE IT UP ON MY LIGHTBOX, SOLIOifYING WHAT
Oe51GN
WITH THE BASIC
OQAWING OONE, I
TQACE IT UP ON
MY LIGHTBOX,
SOLIOifYING WHAT
I'VE OQAWN
0
0
NOTICE THAT I'M
LEAVING THAT LEfT HANO
ALONE. IT'S STAQTING
TO STANO OUT TO ME.
Oe61GN I fiNALIZE MY DQ AWING BY fiLLING IN THE BLACKS AND fiXING MY HATCHING

Oe61GN

Oe61GN I fiNALIZE MY DQ AWING BY fiLLING IN THE BLACKS AND fiXING MY HATCHING LINES

I fiNALIZE MY DQAWING BY fiLLING IN THE BLACKS AND fiXING MY HATCHING LINES ACCOQDINGLY. ALSO I NOTICE THAT I CHANGED THE LEfT HAND TO A MOQE DYNAMIC AND ANATOMICALLY COQQECT ONE.

I WANTED TO DESIGN A NATIVE AMEQICAN SUPEQHEQO HEQE, BUT AVOID THE ''CLICHED" INDIAN STEQEOTYPE Of HEADDQESSES AND TASSELS. ''WAKINYAN'' IS THE LAKOTA WOQD fOQ ''THUNDEQ". IN NATIVE MYTHOLOGY, IT QEfEQS TO ''THUNDEQ SPIQIT" OQ I MOQE COMMONLY, ''THUNDEQBIQDS''.

Oe5I6N I AGAIN STAQT WITH THE SYMBOL. IN THIS CASE, I 00 A LITTLE QESEAQCH
Oe5I6N I AGAIN STAQT WITH THE SYMBOL. IN THIS CASE, I 00 A LITTLE QESEAQCH

Oe5I6N

I AGAIN STAQT WITH THE SYMBOL. IN THIS CASE, I 00 A LITTLE QESEAQCH TO GET AN IOEA Of HOW THE THUNOEQBIQO SYMBOL IS POQTQAYEO IN OlffEQENT NATIVE CULTUQES.

I ALSO FINO A COOL SYMBOL CALLED A ''NAJA'' THAT IS ESSENTIALLY AN INVEQTEO CQESCENT MOON. THE NAJA IS A SYMBOL USEO BY THE NAVAJO AS A TALISMAN TO BQING GOOO LUCK.

USEO BY THE NAVAJO AS A TALISMAN TO BQING GOOO LUCK. WITH MY SYMBOL COMPLETED I

WITH MY SYMBOL

COMPLETED I I LOOK TO DESIGN MY FIGUQE. NOTICE THAT I KEEP THE SUIT SIMPLE

ANO

STQEAMLINEO I LETTING

THE SYMBOL I OESIGNEO BE A SIMPLE FOCAL POINT.

Ill

' I I \ \ WITH MY CHAQACTE:Q OE:SIGNE:O I IT'S TIME: TO 00 A

' I

I

\

\

WITH MY CHAQACTE:Q OE:SIGNE:OI IT'S TIME: TO 00 A fiNAL OQAWING!

OE:SIGNE:O I IT'S TIME: TO 00 A fiNAL OQAWING! I STAQT BY SKETCHING IN A BASIC

I STAQT BY SKETCHING IN A BASIC POSE:

ANO THE: MAJOQ LANOMAQKS Of THE: BOOY.

I STAQT BY SKETCHING IN A BASIC POSE: ANO THE: MAJOQ LANOMAQKS Of THE: BOOY. \

\

~-------------------------------

I

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LOOK AT WHAT HAS HAPPENED BY STEP TWO! AS I WAS QEfiNING MY ANATOMY ANO AOOING IN THE COSTUME LINES, I MAOE MAJOQ CHANGES TO MY fiGUQE'S POSE!

--- ---- ~--- I

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Oe51GN NOW I QEfiNE MY ANATOMY, MOOEL THE PLANES Of THE fiGUQE AS THEY QELATE

Oe51GN

Oe51GN NOW I QEfiNE MY ANATOMY, MOOEL THE PLANES Of THE fiGUQE AS THEY QELATE TO

NOW I QEfiNE MY ANATOMY, MOOEL THE PLANES Of THE fiGUQE AS THEY QELATE TO THE OlffEQENT SHAOES Of TIGHTS, ANO SKETCH IN A SIMPLE BACKGQOUNO.

--- --- ~---------- --- --- -------

 

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I

Oe61GN WITH MY BASIC SKETCH OONE, I TQACE MY OQAWING ONTO ANOTHEQ SHEET Of PAPEQ,
Oe61GN WITH MY BASIC SKETCH OONE, I TQACE MY OQAWING ONTO ANOTHEQ SHEET Of PAPEQ,

Oe61GN

Oe61GN WITH MY BASIC SKETCH OONE, I TQACE MY OQAWING ONTO ANOTHEQ SHEET Of PAPEQ, QEfiNING

WITH MY BASIC SKETCH OONE, I TQACE MY OQAWING ONTO ANOTHEQ SHEET Of PAPEQ, QEfiNING MY LINEWOQK. NOTICE THAT I KEEP THE fiGUQE LINES SIMPLifiED ALONG THE PLANES. TIGHTS SHOULO QAQELY SHOW ACTUAL HAQO ANATOMICAL LINES.

Oe51GN / / MY fiNAL STEP IS TO SHAOE IN MY BLACKS ANO QEAffiQM MY

Oe51GN

/

/

MY fiNAL STEP IS TO SHAOE IN MY BLACKS ANO QEAffiQM MY BACKGQOUNOIOEA MAKING IT A BIT MOQE QEfiNEO THAN THE OQIGINAL VEQSION!

I'M DESIGNING AN UQBAN VIGILANTE:

CHAQACTE:Q HE:QE:. NO POWE:QS, BUT AQMOQ, GUNS, ANO A fQIGHTE:NING LOOK MOQE: THAN MAKE: UP fOQ THAT!

Oe6I6N AS MOQBIO AS THIS ISI I ACTUALLY GOT THE IOEA fOQ THIS CHAQACTEQ BY
Oe6I6N
AS MOQBIO AS THIS ISI I
ACTUALLY GOT THE IOEA
fOQ THIS CHAQACTEQ BY
WATCHING SAOOAM
HUSSEIN GETTING
PQEPAQEO TO BE
HANGED ON THE NEWS!
I 010 A QUICk: Sk:ETCH
Of THE CONOEMNEO
MAN CHAQACTEQ
fLANk:EO ON EITHEQ
SlOE BY ''LOST SOULS."
I WASN'T TOO HAPPY
WITH THE OQIGINAL
LOST SOUL LOOk:,
SO I BEEfED IT UP
TO TQY TO MATCH
THE INTENSITY Of
THEIQ BOSS.
Oe5I6N I r . • • . . • . . • • . •
Oe5I6N
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.
.
• .
.
• • .
• • • •
• • •• ••• • •••.•
••
• .•
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- ~----t

~-r------- -

WITH MY INITIAL DESIGNS OONE, I STAQT MY fiNAL CHAQACTEQ OQAWING BY BLOCKING OUT MY SCENE ANO HITTING THE MAJOQ ANATOMICAL LANOMAQKS Of MY THQEE CHAQACTEQS.

-------··r·

Oe5IGN .- -- - - ----- ----------------- --- -~ I NOW I QEfiNE THE ANATOMY

Oe5IGN

Oe5IGN .- -- - - ----- ----------------- --- -~ I NOW I QEfiNE THE ANATOMY ANO

.- -- - - ----- ----------------- --- -~ I

NOW I QEfiNE THE ANATOMY ANO THE COSTUME LINES. I I ----···-········-·····-·-···· ·
NOW I QEfiNE
THE ANATOMY
ANO THE
COSTUME LINES.
I
I
----···-········-·····-·-···· ·

I

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--1

I.

-r-----------

~J---------------------------------------------------·--- AS I MOOEL THE LIGHTING ON THESE CHAQACTEQS, NOTICE I LEAVE

~J---------------------------------------------------·---

AS I MOOEL THE LIGHTING ON THESE CHAQACTEQS, NOTICE I LEAVE THE GUNS ANO PILLAQS ALONE. I HAVE SPECIAL QEfEQENCE fiLES fOQ THESE ANO WILL BE OQAWING THEM LAST.

-----------------------~--- 1

-

• - ••••

I

- •••••.•• - •••••••• - •• - J

Oe5IGN I TQAC€: UP MY OQAWING ON A SE:PAQAT€: SH€:€:T Of PAPE:Q, QE:fiNING AS I

Oe5IGN

Oe5IGN I TQAC€: UP MY OQAWING ON A SE:PAQAT€: SH€:€:T Of PAPE:Q, QE:fiNING AS I GO.
Oe5IGN I TQAC€: UP MY OQAWING ON A SE:PAQAT€: SH€:€:T Of PAPE:Q, QE:fiNING AS I GO.

I TQAC€: UP MY OQAWING ON A SE:PAQAT€: SH€:€:T Of PAPE:Q, QE:fiNING AS I GO.

J

Oe5I6N fiNALLY, I fiLL IN MY BLACKS ANO AOO IN THE: GUNS ANO PILLAQS. I
Oe5I6N fiNALLY, I fiLL IN MY BLACKS ANO AOO IN THE: GUNS ANO PILLAQS. I

Oe5I6N

fiNALLY, I fiLL IN MY BLACKS ANO AOO IN THE:

GUNS ANO PILLAQS. I WOULON'T WANT TO CQOSS THESE: THQE:E:!

THIS IS A CHAQACTEQ I CQEATEO SPECifiCALLY fOQ THIS BOOk:. I WANTEO TO SEE WHAT WOULO HAPPEN WHEN I TQIEO CQEATING A COSTUME AS I WENT, SO THEQE AQE NO PQELIMINAQY Sk:ETCHES fOQ VICk:Y!

Oe5I6N "'--::::::::::===~~.t------------------------------------------------------ -1-1
Oe5I6N
"'--::::::::::===~~.t------------------------------------------------------
-1-1
~-----------------------------------,--~
~
I
I
.-------------------------------- 1
I
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:
r lA
:
\
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I
ST AQT BY
BLOCKING IN
THE MAJOQ ANATOMICAL
LANOMAQKS ANO LOOKING
AT MAJOQ LANOMAQKS
fOQ THE COSTUME. I'M
THINKING CAPE, BOOTS,
ANO A WIOE, HIGH COLLAQ.
I
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I
-- - - - -- - ---- -- -
~--- --- - -- - - - - - - -
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1
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I
Oe5IGN --- 1 BY STEP TWO I I HAVE COMPLETELY ABANOONEO THE COL.L.AQ. I QEfiNE

Oe5IGN

Oe5IGN --- 1 BY STEP TWO I I HAVE COMPLETELY ABANOONEO THE COL.L.AQ. I QEfiNE THE

---

1

Oe5IGN --- 1 BY STEP TWO I I HAVE COMPLETELY ABANOONEO THE COL.L.AQ. I QEfiNE THE
BY STEP TWO I I HAVE COMPLETELY ABANOONEO THE COL.L.AQ. I QEfiNE THE ANATOMY ANO

BY STEP TWO I I HAVE COMPLETELY ABANOONEO THE COL.L.AQ. I QEfiNE THE ANATOMY ANO THE COSTUME.

----------------- -- --------

I

\

Oe5I6N ,--- ----------- --- --------------- 1 I ,   I I . I NOW I

Oe5I6N

Oe5I6N ,--- ----------- --- --------------- 1 I ,   I I . I NOW I MOOeL

,--- ----------- --- ---------------

1

I

,

 

I

I

.

I

NOW I MOOeL THe fiGUQe. THeQe'S SOMeTHING NOT QIGHT WITH THIS OQAWING, BUT I CAN'T QUITe PUT

MY fiNGeQ ON IT

YeT.

Oe5IGN AS I'M TQACING UP VICTOQIA, I QeALIZe I HAVe OQ AWN HeQ LeGS A

Oe5IGN

Oe5IGN AS I'M TQACING UP VICTOQIA, I QeALIZe I HAVe OQ AWN HeQ LeGS A LITTLe
Oe5IGN AS I'M TQACING UP VICTOQIA, I QeALIZe I HAVe OQ AWN HeQ LeGS A LITTLe

AS I'M TQACING UP VICTOQIA, I QeALIZe I HAVe OQAWN HeQ LeGS A LITTLe LONG, so I FIX THAT AS I AM TQACING.

Oe5I6N A LITTLe MOQe f2eftNtNG, ANO VICTOQIA'S QeAOY fOQ ACTION!
Oe5I6N A LITTLe MOQe f2eftNtNG, ANO VICTOQIA'S QeAOY fOQ ACTION!

Oe5I6N

Oe5I6N A LITTLe MOQe f2eftNtNG, ANO VICTOQIA'S QeAOY fOQ ACTION!

A LITTLe MOQe f2eftNtNG, ANO VICTOQIA'S QeAOY fOQ ACTION!

I f HOW TO O"AW THE FIGUReS IN CHROMe ANO OTHeR HIGHLY ReFLeCTIVe MeTALS ReLY
I
f
HOW TO O"AW THE
FIGUReS IN CHROMe ANO OTHeR
HIGHLY ReFLeCTIVe MeTALS ReLY
AS MUCH ON AN UNDeRSTANDING
OF THe PLANeS OF THe HUMAN
FIGURe AS OF ITS MUSCULATURe.
CHI20Me HeQe'S A SeQieS Of CHQOMe OQBS WITH OlffeQeNT LIGHT ANO QefLeCTIVe PATTeQNS ON THeM.
CHI20Me HeQe'S A SeQieS Of CHQOMe OQBS WITH OlffeQeNT LIGHT ANO QefLeCTIVe PATTeQNS ON THeM.

CHI20Me

HeQe'S A SeQieS Of CHQOMe OQBS WITH OlffeQeNT LIGHT ANO QefLeCTIVe PATTeQNS ON THeM. NOTICe HOW THe LINeWOQK IS KePT SMOOTH. OQAWING A QOUGH TeXTUQe ON CHQOMe CAN THQOW Off THe LOOK Of THe TeXTUQe.

TeXTUQe ON CHQOMe CAN THQOW Off THe LOOK Of THe TeXTUQe. WHeN OQAWING A fiGUQe IN

WHeN OQAWING A fiGUQe IN CHQOMe, THe THICK BLACK ''HOQIZON LINeS" QUN ALONG THe eOGeS Of THe PLANeS, ANO HIGHLIGHTS ANO QefLeCTION SHAOOWS AQe QePQeSeNTeO ON THe PLANeS THeMSeLVeS.

CH/20Me TAK:e A LOOK AT THe ReLATION Of THe PLANeS Of THe fiGURe ANO THe
CH/20Me TAK:e A LOOK AT THe ReLATION Of THe PLANeS Of THe fiGURe ANO THe

CH/20Me

TAK:e A LOOK AT THe ReLATION Of THe PLANeS Of THe fiGURe ANO THe WAY LIGHT fALLS ON THe fiGURe--IN THIS CASe, fROM A BRIGHT PRIMARY LIGHT SOURCe ANO A OIMMeR SeCONDARY LIGHT SOURCe.

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CHI20Me f.?eMeMBef.? : WHeN f.?eNOef.?ING IN CHf.?OMe, ALWAYS Be AWAf.?e Of THe LAf.?Gef.?, MOf.?e BASIC
CHI20Me f.?eMeMBef.? : WHeN f.?eNOef.?ING IN CHf.?OMe, ALWAYS Be AWAf.?e Of THe LAf.?Gef.?, MOf.?e BASIC

CHI20Me

f.?eMeMBef.? : WHeN f.?eNOef.?ING IN CHf.?OMe, ALWAYS Be AWAf.?e Of THe LAf.?Gef.?, MOf.?e BASIC SHAPes THAT Lie UNOef.?NeATH ANY OBJeCT OeTAIL Of.? MUSCULATUf.?e ANO USe THOSe SHAPeS AS YOUQ Pf.?IMAf.?Y GUIOe.

CH/20Me I STAQT BY OQAWING IN THE BASIC fOQM ANO DEfiNING THE COSTUME LINES /
CH/20Me
I STAQT BY OQAWING IN THE
BASIC fOQM ANO DEfiNING
THE COSTUME LINES
/
r
CHI20Me NeXT, I OeTeQMINe THe OIQeCTION Of THe LIGHT ANO HOW THe LIGHT AffeCTS THe
CHI20Me
NeXT, I OeTeQMINe THe OIQeCTION Of
THe LIGHT ANO HOW THe LIGHT AffeCTS
THe fOQMS ANO PLANeS Of THe fiGUQe.
I'Ve MAOe MY
GUIDeLINeS BOLO SO
YOU CAN See THeM
MOQe CLeAQLY.
IT'S ALQeAOY STAQTING
TO LOOK LIKe CHQOMe!

CH/20Me

WITH THE: PLANES Of THE: fiGUQE: ESTABLISHE:O I IT'S EASY TO QE:NOE:Q THEM IN CHQOME:.

I fiNISH Off THE: fiGUQE:

ANO AOO IN THE: BACKGQOUNO TO COMPLETE: THE: SCE:NE:!

TO Ot;AW,,,

I Q1IDliHHB

QeNOeQING A FIGU12e WHO IS MAOe Of FLAMe OQ PLASMA (THe STUFF THAT MA~eS UP THe SUN)

CAN SeeM OAUNTING, BUT If YOU QeMeMBeQ A feW QULeS, YOU CAN OQAW PLASMA FIGUQeS THAT

MA~e YOUQ fQieNOS 01200L.

WIL L

Flf2e THe PQIMAQY THING TO QeMeMBeQ ABOUT fiGUQeS MAOe Of fiQe OQ PLASMA IS THAT
Flf2e
THe PQIMAQY THING TO QeMeMBeQ ABOUT fiGUQeS MAOe
Of fiQe OQ PLASMA IS THAT THeY AQe THe LIGHT SOUQCe.
THeY eMANATe LIGHT. 50 THe TASK BefOQe YOU IS TO
CQeATe THe ILLUSION Of INTeQNAL QAOIANCe.
A QAOIANT fiGUQe IS
GOING TO QeLY ON A
SeQieS Of SHAPeS ANO
AN UNOeQSTANOING
Of fOQM ANO Of THe
QeLATION Of LIGHT
ANO SHAOOW.
L
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Flt;e ILLUSTQATING INTeQNAL QADIANCe IS BeST DONe BY SHOWING A LIGHT GLOWING THQOUGH A SUCCeSSION
Flt;e ILLUSTQATING INTeQNAL QADIANCe IS BeST DONe BY SHOWING A LIGHT GLOWING THQOUGH A SUCCeSSION

Flt;e

ILLUSTQATING INTeQNAL QADIANCe IS BeST DONe BY SHOWING A LIGHT GLOWING THQOUGH A SUCCeSSION Of

ILLUSTQATING INTeQNAL QADIANCe IS BeST DONe BY SHOWING A LIGHT GLOWING THQOUGH A SUCCeSSION Of THQee LAYeQS.

THe INNeQMOST LAYeQ IS THe PQIMAQY LIGHT SOUQCe--THe INTeQNAL COMBUSTION, If YOU LIKe.

THe MIDDLe LAYeQ IS QeNDeQING TO DefiNe THe fOQM. THIS fOQM PQOVIDeS MOST Of THe CONTQAST BeTWeeN THe INNeQMOST LAYeQ AND THe OUTeQMOST LAYeQ. YOUQ DAQKeST QeNDeQING BeLONGS IN THIS LAYeQ.

THe OUTeQMOST LAYeQ SHOULD CONfOQM TO THe SHAPe Of THe fiGUQe AND IS TQANSLUCeNT IN ITS NATUQe, AS IT IS MADe UP Of fiQe OQ PLASMA.

Flf2e _j _l ~ .-----------------------------------~ I , / I I I I I STAQT WITH
Flf2e
_j
_l
~ .-----------------------------------~
I
,
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I
I
I
I STAQT WITH A SeT OF FIGUQeS I
FOUNO IN THe ANTAQCTIC PQeSS
POSeFILe SeQieS. (THe MAIN
FIGUQe IS ON PAGe BG OF
POSeF/Le ~ ACTION POSe
COLLeCTION.) I QeWOQK THe
POSe TO FIT THe PieCe I HAVe IN
M INO ANO LOOSeLY SKeTCH IN
MY tOeA FOQ A BACKGQOUNO.
SINCe THIS IS A COMPLeX COMPOSITION, I
LAY IT
OUT ON A SHeeT OF LAYOUT PAPeQ.
----------
b"/
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Flt;e I \ NEXT, I ELIMINATE ALL THE ELEMENTS EXCEPT MY MAIN fiGUQE ANO DEfiNE
Flt;e I \ NEXT, I ELIMINATE ALL THE ELEMENTS EXCEPT MY MAIN fiGUQE ANO DEfiNE

Flt;e

I

\

NEXT, I ELIMINATE ALL THE ELEMENTS EXCEPT MY MAIN fiGUQE ANO DEfiNE HIS HAQO ESTABLISHING
NEXT, I ELIMINATE ALL THE
ELEMENTS EXCEPT MY MAIN
fiGUQE ANO DEfiNE HIS
HAQO ESTABLISHING LINES.

I'M PAYING ATTENTION TO THE INTEQNAL QAOIANCE EVEN AT THIS STAGE.

Flf2e ( \

Flf2e

Flf2e ( \

(

\

Flf2e ( \
Flf2e ( \
Flt;e TIME TO QENOEQ THE MIOTONES USING MY GUIDELINES! ( \
Flt;e
TIME TO QENOEQ
THE MIOTONES USING
MY GUIDELINES!
(
\
Flf2e fiNALLY I I fiNISH OUT THE COSTUME ANO THE BACKGQOUNO I ANO I'M ALL

Flf2e

Flf2e fiNALLY I I fiNISH OUT THE COSTUME ANO THE BACKGQOUNO I ANO I'M ALL OONE!
Flf2e fiNALLY I I fiNISH OUT THE COSTUME ANO THE BACKGQOUNO I ANO I'M ALL OONE!
fiNALLY I I fiNISH OUT THE COSTUME ANO THE BACKGQOUNO I ANO I'M ALL OONE!
fiNALLY I I fiNISH OUT THE COSTUME ANO THE BACKGQOUNO I ANO I'M ALL OONE!
fiNALLY I I fiNISH OUT THE COSTUME ANO THE BACKGQOUNO I ANO I'M ALL OONE!

fiNALLY I I fiNISH OUT THE COSTUME ANO THE BACKGQOUNO I ANO I'M ALL OONE!

fOQ THIS EXAMPLE, WE'LL BE DOING TWO TYPES Of POWEQ EffECTS: A POWEQ BUILDUP AND
fOQ THIS EXAMPLE, WE'LL BE DOING TWO TYPES Of POWEQ EffECTS: A POWEQ BUILDUP AND
fOQ THIS EXAMPLE, WE'LL BE DOING TWO TYPES Of POWEQ EffECTS: A POWEQ BUILDUP AND
fOQ THIS EXAMPLE, WE'LL BE DOING TWO TYPES Of POWEQ EffECTS: A POWEQ BUILDUP AND
fOQ THIS EXAMPLE, WE'LL
BE DOING TWO TYPES
Of POWEQ EffECTS:
A POWEQ BUILDUP AND
A BLAST EffECT.
-/
WITH THE BLAST, I
EXTEND A LINE fQOM
THE PALM TO ALIGN
THE CENTEQ Of THE
EffECT WITH THE QIGHT
SPOT ON THE HAND.
! OQA W SOMe GUIOeL INeS
QAOIATING fQOM THe MAIN
INe L
TO SUGGeST WHf;Qf;
THe eNeGY SPIKeS WIL
L.
Se.
INe L TO SUGGeST WHf;Qf; THe eNeGY SPIKeS WIL L. Se. l • "\ \ fOQ

l

L TO SUGGeST WHf;Qf; THe eNeGY SPIKeS WIL L. Se. l • "\ \ fOQ THE

"\ \

fOQ THE POWEQ BUILDING UP, I DQAW A QOUGH LINE THAT WILL SEQVE AS THE BOUNDAQY fOQ THE EffECT.

NOW ! STAQT BUILDING UP THE ELEMENTS IN THE POWEQ EffECTS. I YOU CAN SEE
NOW ! STAQT BUILDING
UP THE ELEMENTS IN
THE POWEQ EffECTS.
I
YOU CAN SEE THE
CONCENTQIC CIQCLES
WITH THE ENEQGY SPIKES
MOQE CLEAQLY NOW
WITH THE MAIN BLAST
CENTEQEO ON THE PALM.
! OPTEO fOQ THE
''KIQBY OOTS'' TO
SHOW THE POWEQ
BUILDING UP ON
THIS SlOE.
' \
I'LL GO FUQTHek> IN
OePTH ON HOW
Ck>eATe THeSe LATek>
IN THe eXAMPLe.
I'Ve SKE:TCH€:0 IN OUQ MAIN MeCHANISTIC HE:t:?O I SOMeONE: CAPABLE: Of WIE:LOING THIS KINO Of

I'Ve SKE:TCH€:0 IN OUQ MAIN MeCHANISTIC HE:t:?OI SOMeONE: CAPABLE: Of WIE:LOING THIS KINO Of AWeSOME: POWE:Q.

WITH THE: E:NE:QGY effeCT fiNALIZE:o I IT'S TIM€: TO INK!

l

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OKAy I WE:'QE: ALL OONE: WITH THE: INKING I BUT I THINK WE: COULO PUSH

OKAy I WE:'QE: ALL OONE:

WITH THE: INKINGI BUT I THINK WE: COULO PUSH THOSE: ''KIQBY OOTS" A LITTLE: fUQTHE:Q!

LET'S TAKE: A LOOK AT HOW TO 00 THIS QIGHT.

Ill

1

STAQT WITH SOMe SIMPLe GUIOeL.INeS TO Sek'Ve AS THe BOUNOAQY fOQ THe OOTS. SKeTCH IN

STAQT WITH SOMe SIMPLe GUIOeL.INeS TO Sek'Ve AS THe BOUNOAQY fOQ THe OOTS.

SKeTCH IN SOMe QOUGH OOTS TO GIVe YOU AN IOeA Of WHAT THeY'LL. LOOK L.IKe.

SKeTCH IN SOMe QOUGH OOTS TO GIVe YOU AN IOeA Of WHAT THeY'LL. LOOK L.IKe. USE

USE THIS NEW POWEQ WISELY!!

l

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OUQ SPEEO EffECT HAS TO STAQT WITH THE FIGUQE If IT'S GOING TO SEEM CQEOIBLE.

OUQ SPEEO EffECT HAS TO STAQT WITH THE FIGUQE If IT'S GOING TO SEEM CQEOIBLE.

SPEEO

WITH THE FIGUQE If IT'S GOING TO SEEM CQEOIBLE. SPEEO - \ MAKE YOUQ QUNNEQ LEAN
- \ MAKE YOUQ QUNNEQ LEAN FOQWAQO I QEALLY SHIFT HIS CENTEQ Of GQAVITY TO
-
\
MAKE YOUQ QUNNEQ
LEAN FOQWAQO I
QEALLY SHIFT HIS
CENTEQ Of GQAVITY TO
COMPENSATE FOQ THE
HIGH QATE Of SPEEO.

Ill

Ill

fOQ THE SPEEO AFTEQ- EffECT I ESTABLISH THE HOQIZON LINE ANO OQAW LINES QECEOING fQOM OUQ SPEEOEQ TOWAQO THE VANISHING POINT.

' \

SPEED NOW fOR THE COSTUME. IN SPITE Of THE fACT THAT I'VE GIVEN HIM A
SPEED NOW fOR THE COSTUME. IN SPITE Of THE fACT THAT I'VE GIVEN HIM A

SPEED

NOW fOR THE COSTUME. IN SPITE Of THE fACT THAT I'VE GIVEN HIM A CLASSIC
NOW fOR THE COSTUME. IN SPITE
Of THE fACT THAT I'VE GIVEN HIM
A CLASSIC LIGHTNING SOLT
MOTif I I WANT TO MAKE SURE I
DON'T CONFUSE THE VIEWER.
OUR GUY IS
LIGHTNING-
QUICK. HE USES
HIS SPEED, NOT
ELECTRICAL
POWERS, TO
SHOCK PEOPLE.

THAT'S WHY I GAVE HIS HELMET A fiN REMINISCENT Of AERODYNAMIC HELMETS USED IN RACING SPORTS.

l

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SP€:€:0 11 AQ€: THE INKS. II I INK€:0 THE SP€:€:0 LINES WITH A QULEQ ANO
SP€:€:0
11
AQ€: THE INKS.
II
I INK€:0 THE SP€:€:0
LINES WITH A QULEQ
ANO MAO€: SUQ€: TO
KEEP EVEQYTHING
POINTING TO THE
VANISHING POIN T.
Ill
II
KEEP EVEQYTHING POINTING TO THE VANISHING POIN T. Ill II WHAT? NOT fAST ENOUGH? OKAY, I

WHAT? NOT fAST ENOUGH? OKAY, I STILL HAVE SOME TQICKS TO SHOW!

' \

ALL QIGHT, HEQ€:

SPEED NOW WE'QE GETTING SOMEWHEQE fAST!!
SPEED
NOW WE'QE GETTING
SOMEWHEQE fAST!!

IN OQOEQ TO AOO THESE EffECTS I YOU CAN JUST TAKE WHITEOUT OQ WHITE INK ANO GO OVEQ THE AQEAS YOU WANT TO PLACE THE EffECT.

THEN INK AN OUTLINE TO SHOW WHATEVEQ EffECT YOU LIKE!

THEN INK AN OUTLINE TO SHOW WHATEVEQ EffECT YOU LIKE!

l

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ANO GO OVEQ THE AQEAS YOU WANT TO PLACE THE EffECT. THEN INK AN OUTLINE TO
!N THIS EXAMPLE, DQ AMATIC LIGHTING IS GOING TO Be KEY TO DEPICTING THE POWEQS
!N THIS EXAMPLE, DQ AMATIC LIGHTING IS GOING TO Be KEY TO DEPICTING THE POWEQS

!N THIS EXAMPLE, DQAMATIC LIGHTING IS GOING TO Be KEY TO DEPICTING THE POWEQS OUQ HEQO IS GENEQATING.

BECAUSE Of THAT I I'M PLANNING TO EMPHASIZE HEAVY BLACK AQEAS AND NEGATIVE SPACE.

SINCE SO MUCH Of PICTUQE WILL Be IN DAQKNESS I IT's TEMPTING TO DQAW JUST THE AQEAS THAT WILL Be LIT.

IT's TEMPTING TO DQAW JUST THE AQEAS THAT WILL Be LIT. BUT IT IS IMPOQTANT TO
IT's TEMPTING TO DQAW JUST THE AQEAS THAT WILL Be LIT. BUT IT IS IMPOQTANT TO
IT's TEMPTING TO DQAW JUST THE AQEAS THAT WILL Be LIT. BUT IT IS IMPOQTANT TO
IT's TEMPTING TO DQAW JUST THE AQEAS THAT WILL Be LIT. BUT IT IS IMPOQTANT TO
BUT IT IS IMPOQTANT TO DQAW OUT AS MUCH Of THE CHAQACTEQ'S STQUCTUQE AS POSSIBLE!

BUT IT IS IMPOQTANT TO DQAW OUT AS MUCH Of THE CHAQACTEQ'S STQUCTUQE AS POSSIBLE! !f YOU DON'T I YOU CAN END UP WITH fiGUQES THAT SUffEQ fQOM BAD ANATOMY, LOPSIDED fACES, AND BAD SHADING.

\.

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SINCE THE LIGHT SOURCE IN THIS DRAWING WILL BE OUR HERO'S HANO, THAT GIVES ME

SINCE THE LIGHT SOURCE IN THIS DRAWING WILL BE OUR HERO'S HANO, THAT GIVES ME A GOOO STARTING POINT fOR OECIOING MY LIGHTING SCHEME.

PART Of THE PLANNING fOR THE LIGHTING ON THE fiGURE INCLUDES CREATING A GRIO TO DESCRIBE THE VOLUME Of THE BOOY SHAPES BETTER.

WITH THIS GRIO, I CAN GET A MORE ACCURATE tOEA Of WHERE THE SHADOWS WILL fALL.

l

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ONCE I'VE DQAWN IN THE GQID I I CAN MAKE AN INDICATION Of WHEQE I

ONCE I'VE DQAWN IN THE GQID I I CAN MAKE AN INDICATION Of WHEQE I WANT THE SHADOWS TO BE ON THE fiGUQE.

INDICATION Of WHEQE I WANT THE SHADOWS TO BE ON THE fiGUQE. QEMEMBEQ THAT If THE

QEMEMBEQ THAT If THE SHADING DOESN'T SEEM TO CONVEY THE PQOPEQ VOLUME, OQ JUST IS NOT WOQKING fOQ YOU, EQASE AND TQY AGAIN. IT'S WOQTH GETTING QIGHT.

' \

NOW I CAN STAQT THe INKING PQOCeSS. I BeGIN BY OUTLINING THe SILHOUeTTe Of THe
NOW I CAN STAQT
THe INKING PQOCeSS.
I BeGIN BY OUTLINING
THe SILHOUeTTe Of
THe CHAQACTeQ.
AS YOU CAN See, I'Ve MAOe A LIGHTeQ, BQOKeN OUTLINe AQOUNO THe HANO.

AS YOU CAN See, I'Ve MAOe A LIGHTeQ, BQOKeN OUTLINe AQOUNO THe HANO.

I'Ve MAOe A LIGHTeQ, BQOKeN OUTLINe AQOUNO THe HANO. I WANT THAT AQeA TO SeeM ALMOST
I'Ve MAOe A LIGHTeQ, BQOKeN OUTLINe AQOUNO THe HANO. I WANT THAT AQeA TO SeeM ALMOST
I WANT THAT AQeA TO SeeM ALMOST OBSCUQeO BY THe eNeQGY SUQQOUNOING IT.

I WANT THAT AQeA TO SeeM ALMOST OBSCUQeO BY THe eNeQGY SUQQOUNOING IT.

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\~\,,\

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ONCE I'M HAPPY WITH THE BASIC LINEWOQ((, I CAN STAQT TO fiLL IN THE SHAOEO
ONCE I'M HAPPY WITH THE BASIC LINEWOQ((, I CAN STAQT TO fiLL IN THE SHAOEO

ONCE I'M HAPPY WITH THE BASIC LINEWOQ((, I CAN STAQT TO fiLL IN THE SHAOEO AQEAS.

INTO

I TENO TO USE TWO BQUSHES: ONE TO GET

THE TIGHT AQEAS I

ANO AN OLOEQ BQUSH THAT I USE fOQ fiLLING THE LAQGE, OPEN AQEAS. A PEQMANENT MAQ((EQ

WOQ((S AS WELL.

' \

WITH THe MAJOQ SHAOING WOQK TAKeN CAQe Of, I CAN STAQT WOQKING OUT THe eNeQGY effeCT.

HeQe I JUST WeNT IN ANO OQeW OUT SOMe LINeS AS A SUGGeSTION Of HOW THe eNeQGY MIGHT BeHAVe. If YOU WANT A GOOO IOeA Of HOW eNeQGY effeCTS LIKe THIS LOOK IN QeAL Life , TQY TO fiNO SOMe PICTUQeS Of A TeSLA COIL IN ACTION.

l

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AND HEQE IS HOW THE fiNAL ENEQGY EffECT CAME OUT.

I WAS GOING fOQ A fEELING Of POWEQ BUILD TO THE POINT Of EXPLOSION, BAQELY CONTAINED. VAQY YOUQ LINE

DON'T

BE AfQAID TO THQOW

DOWN SOME SPATTEQ HEQE AND THEQE.

WIDTHS I AND

' \

BEfOQE GETTING INTO A DISPLAY Of HIGH-ENEQGY LIGHTNING STQIKES I WE NEED A HEQO TO
BEfOQE GETTING INTO A DISPLAY Of HIGH-ENEQGY LIGHTNING STQIKES I WE NEED A HEQO TO
BEfOQE GETTING INTO A DISPLAY Of HIGH-ENEQGY LIGHTNING STQIKES I WE NEED A HEQO TO

BEfOQE GETTING INTO A DISPLAY Of HIGH-ENEQGY LIGHTNING STQIKES I WE NEED A HEQO TO CAST THOSE BOLTS.

LIGHTNING STQIKES I WE NEED A HEQO TO CAST THOSE BOLTS. HEQE, I'VE SKETCHED OUT A

HEQE, I'VE SKETCHED OUT A BASIC fiGUQE. AT THIS STAGE, I'M TQYING TO KEEP IN MIND WHAT THE fiNAL ILLUSTQATION SHOULD LOOK LIKE.

l

IN MIND WHAT THE fiNAL ILLUSTQATION SHOULD LOOK LIKE. l • I MAKE SUQE TO LEAVE

I MAKE SUQE TO LEAVE PLENTY Of QOOM fOQ THE POWEQ EffECTS THAT I WANT TO ADD LATEQ.

"\ \

NOW I GO AHEAO ANO SKETCH IN THE EffECTS SO I HAVE A QOUGH IOEA
NOW I GO AHEAO ANO
SKETCH IN THE EffECTS
SO I HAVE A QOUGH IOEA
Of WHEQE THEY'LL BE IN
THE fiNAL OQAWING.
r
I'M ALSO GOING TO
TAKE SOME TIME ANO
QUICKLY QOUGH IN
SOME INOICATIONS Of
SHAOING ON THE fiGUQE.
' \

SINCE THE BOLTS WILL HAVE SOME EffECT ON THE LIGHTING, THE SHAOING NEEOS TO QEfLECT THAT.

(I

NOW I LIGHTeN UP THe eNTIQe PieCe ANO STAQT LAYING OOWN SOMe MOQe SOLIO, LeSS

NOW I LIGHTeN UP THe eNTIQe PieCe ANO STAQT LAYING OOWN SOMe MOQe SOLIO, LeSS SKeTCHY LINeS TO OefiNe THe fiGUQe.

I WANT TO MAKe SUQe THAT THe fACe ANO THe ANATOMY AQe WOQKING BefOQe MOVING ON TO COSTUMe ANO SHADING.

YOU MAY NOTICE THAT ! QESIZED THE HEAD. IT SEEMED TO WOQK AT fiQST, 8UT WAS ACTUAU Y WAY TOO 81Gf

I''

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\

AT THIS POINT, I WANT TO STAQT DEfiNING THE COSTUME, AND I fELT QIGHT AWAY
AT THIS POINT, I WANT TO STAQT DEfiNING THE COSTUME, AND I fELT QIGHT AWAY

AT THIS POINT, I WANT TO STAQT DEfiNING THE COSTUME, AND I fELT QIGHT AWAY IT SHOULD EVOKE SOMETHING Of THE CHAQACTEQ'S POWEQS.

SO I GIVE THE BOLTS A VEQY SHAQP AND AGGQESSIVE LOOK THAT YOU DON'T NOQMALLY

SO I GIVE THE BOLTS A VEQY SHAQP AND AGGQESSIVE LOOK THAT YOU DON'T NOQMALLY SEE.

WHEN THINKING Of THE ELECTQICITY IN PAQTICULAQ, I WANTED TO SEE SOMETHING A LITTLE DlffEQENT.

' \

ONCE I LIKE WHEQE THINGS AQE GOING, I MOVE ON TO THE SHAOING.

AS I AOO THE SHAOING, I TQY TO GIVE IT THE fEEL Of HAVING MULTIPLE LIGHT SOUQCES.

I TQY TO GIVE IT THE fEEL Of HAVING MULTIPLE LIGHT SOUQCES. I LEAVE THE HANO

I LEAVE THE HANO OPEN WITH NO SHAOING I AS I WANT IT TO SEEM AS If IT IS CASTING A LIGHT Of ITS OWN.

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ANO HE:QE: IS THE:

fiNAL OQAWING WITH THE: SKETCH LINES QE:MOVE:O.

WHEN CQE:ATING POWE:Q EffECTS, TQY TO KEEP IN MINO THE: WAYS THEY MIGHT IMPACT THE: QE:ST Of THE: OQAWING.

WHEN CQE:ATING POWE:Q EffECTS, TQY TO KEEP IN MINO THE: WAYS THEY MIGHT IMPACT THE: QE:ST

' \

WITH effeCTS LIKe THIS, TAKe CAQe TO DQAW THe WHOLe fiGUQe, eVeN If IT PASSeS BeHIND THe BeAM. DON'T TQY TO

eND

UP WITH BODY PAQTS WHeQe THeY WOULDN'T ACTUALLY Be.

GUeSS, OQ YOU 'LL

LeT'S BeGIN WITH OUQ QOUGH SKeTCH.

-

1-

Het:?e I WANTeD TO GeT A feeLING fOQ THe POWeQ Of THe IMPACT Of THeSe eYe BeAMS QIGHT fQOM THe STAQT.

(2

o

I

I

I WANTeD TO GeT A feeLING fOQ THe POWeQ Of THe IMPACT Of THeSe eYe BeAMS

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NOW I SKeTCH IN WHAT THe BASIC COSTUMe eLeMeNTS WILL Be. DON'T BQeeZe THQOUGH THIS
NOW I SKeTCH IN WHAT THe BASIC COSTUMe eLeMeNTS WILL Be. DON'T BQeeZe THQOUGH THIS

NOW I SKeTCH IN WHAT THe BASIC COSTUMe eLeMeNTS WILL Be.

DON'T BQeeZe THQOUGH THIS STAGe! YOU SHOULD TAKe SOMe TIMe ANO NOT ONLY DeVeLOP A GOOO COSTUMe, BUT THINK ABOUT HOW IT QefLeCTS THe CHAQACTeQ ANO HIS ABILITeS.

TAKe SOMe TIMe ANO NOT ONLY DeVeLOP A GOOO COSTUMe, BUT THINK ABOUT HOW IT QefLeCTS
TAKe SOMe TIMe ANO NOT ONLY DeVeLOP A GOOO COSTUMe, BUT THINK ABOUT HOW IT QefLeCTS
TAKe SOMe TIMe ANO NOT ONLY DeVeLOP A GOOO COSTUMe, BUT THINK ABOUT HOW IT QefLeCTS

)

YOU MIGHT ALSO WANT TO 00 SOMe SKeTCHeS ANO fiNO OUT HOW THe COSTUMe WOQKS VISUALLY IN QeLATION TO THe CHAQACTeQ'S POWeQ.

ALSO WANT TO 00 SOMe SKeTCHeS ANO fiNO OUT HOW THe COSTUMe WOQKS VISUALLY IN QeLATION
ALSO WANT TO 00 SOMe SKeTCHeS ANO fiNO OUT HOW THe COSTUMe WOQKS VISUALLY IN QeLATION

1

HEQE AQE THE INITIAL INKS.

HEQE AQE THE INITIAL INKS. IN THE AQEAS WHEQE BODY PAQTS PASS BEHIND THE EYE BEAM,
HEQE AQE THE INITIAL INKS. IN THE AQEAS WHEQE BODY PAQTS PASS BEHIND THE EYE BEAM,
HEQE AQE THE INITIAL INKS. IN THE AQEAS WHEQE BODY PAQTS PASS BEHIND THE EYE BEAM,

IN THE AQEAS WHEQE BODY PAQTS PASS BEHIND THE EYE BEAM, I'VE QENDEQED THEM WITH A HATCH LINE SO THAT IT SEEMS AS If THE BEAM IS STQEAKING PAST AT A HIGH QATE Of SPEED.

1

NOW fOQ A LITTLE MOQE EMBELLISHMENT. IN THIS CASE I I CHOSE CEQTAIN PAQTS Of
NOW fOQ A LITTLE MOQE EMBELLISHMENT. IN THIS CASE I I CHOSE CEQTAIN PAQTS Of
NOW fOQ A LITTLE MOQE EMBELLISHMENT. IN THIS CASE I I CHOSE CEQTAIN PAQTS Of
NOW fOQ A LITTLE MOQE EMBELLISHMENT. IN THIS CASE I I CHOSE CEQTAIN PAQTS Of
NOW fOQ A LITTLE MOQE EMBELLISHMENT. IN THIS CASE I I CHOSE CEQTAIN PAQTS Of
NOW fOQ A LITTLE MOQE EMBELLISHMENT. IN THIS CASE I I CHOSE CEQTAIN PAQTS Of
NOW fOQ A LITTLE MOQE EMBELLISHMENT. IN THIS CASE I I CHOSE CEQTAIN PAQTS Of
NOW fOQ A LITTLE MOQE EMBELLISHMENT. IN THIS CASE I I CHOSE CEQTAIN PAQTS Of
NOW fOQ A LITTLE MOQE EMBELLISHMENT. IN THIS CASE I I CHOSE CEQTAIN PAQTS Of
NOW fOQ A LITTLE MOQE EMBELLISHMENT. IN THIS CASE I I CHOSE CEQTAIN PAQTS Of
NOW fOQ A LITTLE MOQE EMBELLISHMENT.

NOW fOQ A LITTLE MOQE EMBELLISHMENT.

NOW fOQ A LITTLE MOQE EMBELLISHMENT.
NOW fOQ A LITTLE MOQE EMBELLISHMENT. IN THIS CASE I I CHOSE CEQTAIN PAQTS Of THE
NOW fOQ A LITTLE MOQE EMBELLISHMENT. IN THIS CASE I I CHOSE CEQTAIN PAQTS Of THE
NOW fOQ A LITTLE MOQE EMBELLISHMENT. IN THIS CASE I I CHOSE CEQTAIN PAQTS Of THE
NOW fOQ A LITTLE MOQE EMBELLISHMENT. IN THIS CASE I I CHOSE CEQTAIN PAQTS Of THE
NOW fOQ A LITTLE MOQE EMBELLISHMENT. IN THIS CASE I I CHOSE CEQTAIN PAQTS Of THE
NOW fOQ A LITTLE MOQE EMBELLISHMENT. IN THIS CASE I I CHOSE CEQTAIN PAQTS Of THE
NOW fOQ A LITTLE MOQE EMBELLISHMENT. IN THIS CASE I I CHOSE CEQTAIN PAQTS Of THE
IN THIS CASE I I CHOSE CEQTAIN PAQTS Of THE COSTUME THAT I COULD DAQk:EN

IN THIS CASE I I CHOSE CEQTAIN PAQTS Of THE COSTUME THAT I COULD DAQk:EN IN OQDEQ TO GIVE SOME DIMENSION TO THE fiGUQE.

THIS CASE I I CHOSE CEQTAIN PAQTS Of THE COSTUME THAT I COULD DAQk:EN IN OQDEQ
THIS CASE I I CHOSE CEQTAIN PAQTS Of THE COSTUME THAT I COULD DAQk:EN IN OQDEQ
THIS CASE I I CHOSE CEQTAIN PAQTS Of THE COSTUME THAT I COULD DAQk:EN IN OQDEQ
THIS CASE I I CHOSE CEQTAIN PAQTS Of THE COSTUME THAT I COULD DAQk:EN IN OQDEQ
THIS CASE I I CHOSE CEQTAIN PAQTS Of THE COSTUME THAT I COULD DAQk:EN IN OQDEQ
DAQk:EN IN OQDEQ TO GIVE SOME DIMENSION TO THE fiGUQE. I GAVE THE OUTLINE Of THE

I GAVE THE OUTLINE Of THE EYEBEAM A QOUGH TEXTUQE BECAUSE I WANTED TO ENHANCE THE SENSE Of QAW, UNQESTQAINED POWEQ BEING UNLEASHED.

OUTLINE Of THE EYEBEAM A QOUGH TEXTUQE BECAUSE I WANTED TO ENHANCE THE SENSE Of QAW,

IN THIS CASE I I THOUGHT IT MIGHT BE fiTTING If THE BLAST WAVES COMING fQOM HIS EYES fOQMEO A V-PATTEQN NOT UNLIKE THE ONE ON HIS CHEST.

WHILE LOOKING AT THE DESIGN Of OUQ CHAQACTEQ'S COSTUME, I HIT ON ANOTHEQ WAY THESE EYE BEAMS COULO BE OEPICTEO.

KEEP A SHAQP LOOKOUT fOQ OPPOQTUNITIES LIKE THIS IN YOUQ OWN WOQK.

KEEP A SHAQP LOOKOUT fOQ OPPOQTUNITIES LIKE THIS IN YOUQ OWN WOQK.
KEEP A SHAQP LOOKOUT fOQ OPPOQTUNITIES LIKE THIS IN YOUQ OWN WOQK.
KEEP A SHAQP LOOKOUT fOQ OPPOQTUNITIES LIKE THIS IN YOUQ OWN WOQK.
WAY THESE EYE BEAMS COULO BE OEPICTEO. KEEP A SHAQP LOOKOUT fOQ OPPOQTUNITIES LIKE THIS IN

l

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SKETCH OUT A fiGUQE IN A PQOPEQ THQOWING POSE AND DQAW SOME CIQCLES TO INDICATE THE fiQEBALLS.

NOW LET'S TAKE A LOOK AT MAKING fiQEBALLS.

ONCE YOU'VE DQAWN A CIQCLE, SKETCH IN A TQAIL HEADING TOWAQD THE POINT WHEQE THE fiQEBALL WAS THQOWN.

' \

I WANT TO TAKE SOME TIME TO DEfiNE THE CHAQACTEQ BETTEQ ANO ENHANCE THE fiQE MOTif.

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

QEALLY I ANYTHING YOU CAN 00 TO QEENfOQCE THE ABILITIES Of YOUQ CHAQACTEQ IN THE MINO Of THE VIEWEQ WILL HELP.

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ON TO THE INKING. WHEN DQAWING fiQE, TQY TO KEEP THE LINE ALIVE AND MOVING.

WHEN DQAWING fiQE, TQY TO KEEP THE LINE ALIVE AND MOVING. TQY TO GIVE IT A
WHEN DQAWING fiQE, TQY TO KEEP THE LINE ALIVE AND MOVING. TQY TO GIVE IT A

TQY TO GIVE IT A fLOW, AND DON'T LET IT GET BOQING.

fOQ THE fiQEBALLS I I MAKE THE OUTLINE Of THE ACTUAL BALLS A BQOKEN, UNSTEADY

fOQ THE fiQEBALLS I I MAKE THE OUTLINE Of THE ACTUAL BALLS A BQOKEN, UNSTEADY LINE, SINCE THEY AQE COVEQED IN fLAME .

A BQOKEN, UNSTEADY LINE, SINCE THEY AQE COVEQED IN fLAME . I ALSO ADD LITTLE DOTS
A BQOKEN, UNSTEADY LINE, SINCE THEY AQE COVEQED IN fLAME . I ALSO ADD LITTLE DOTS
A BQOKEN, UNSTEADY LINE, SINCE THEY AQE COVEQED IN fLAME . I ALSO ADD LITTLE DOTS
A BQOKEN, UNSTEADY LINE, SINCE THEY AQE COVEQED IN fLAME . I ALSO ADD LITTLE DOTS
A BQOKEN, UNSTEADY LINE, SINCE THEY AQE COVEQED IN fLAME . I ALSO ADD LITTLE DOTS
A BQOKEN, UNSTEADY LINE, SINCE THEY AQE COVEQED IN fLAME . I ALSO ADD LITTLE DOTS
I ALSO ADD LITTLE DOTS TO THEIQ SUQfACES, ALMOST LIKE MINI-SUNS!

I ALSO ADD LITTLE DOTS TO THEIQ SUQfACES, ALMOST LIKE MINI-SUNS!

I ALSO ADD LITTLE DOTS TO THEIQ SUQfACES, ALMOST LIKE MINI-SUNS!

' \

HE:QE: AQE: THE:

fiNAL INk:SI WITH SOME: OlffE:QE:NT TQE:ATME:NTS fOQ THE: fiQE: EffECT ON THE: BALLS.

WHATE:VE:Q EffECT YOU OE:CIOE: WOQk:S fOQ YOU, MAk:E: SUQE:

THAT IT MATCHE:S WELL WITH YOUQ CHAQACTE:Q OE:SIGN.

EffECT YOU OE:CIOE: WOQk:S fOQ YOU, MAk:E: SUQE: THAT IT MATCHE:S WELL WITH YOUQ CHAQACTE:Q OE:SIGN.

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ONe-POINT PeQSPeCTIVe IS THe MOST BASIC ANO eASY-TO - UNOeQSTANO Of THe PeQSPeCTIVe QULeS. SIMPLY
ONe-POINT PeQSPeCTIVe
IS THe MOST BASIC ANO
eASY-TO - UNOeQSTANO
Of THe PeQSPeCTIVe
QULeS. SIMPLY PUT, ALL
LINeS QeCeOING fQOM
THe VleWeQ MeeT AT ONe
POINT ON THe HOQIZON.
/
WHeN CQeATING A OQAWING
USING ONe VANISHING POINT, TQY
TO KeeP THe COMPOSITION Of
THe fQAMe IN MINO. I TeNO TO
KeeP THe VANISHING POINT Off
CeNTeQ, AS THAT CAN GIVe THe
OQAWING A SYMMeTQICAL feeL .
/

' \

ONe-POINT ONe Of THe PQOBLeMS WITH USING ONe VANISHING POINT IS THe STQONG INfLUeNCe IT

ONe-POINT

ONe-POINT ONe Of THe PQOBLeMS WITH USING ONe VANISHING POINT IS THe STQONG INfLUeNCe IT HAS

ONe Of THe PQOBLeMS WITH USING ONe VANISHING POINT IS THe STQONG INfLUeNCe IT HAS ON THe eYe .

POINT IS THe STQONG INfLUeNCe IT HAS ON THe eYe . THe eYe TeNOS TO Be
POINT IS THe STQONG INfLUeNCe IT HAS ON THe eYe . THe eYe TeNOS TO Be
POINT IS THe STQONG INfLUeNCe IT HAS ON THe eYe . THe eYe TeNOS TO Be
POINT IS THe STQONG INfLUeNCe IT HAS ON THe eYe . THe eYe TeNOS TO Be
POINT IS THe STQONG INfLUeNCe IT HAS ON THe eYe . THe eYe TeNOS TO Be
POINT IS THe STQONG INfLUeNCe IT HAS ON THe eYe . THe eYe TeNOS TO Be
POINT IS THe STQONG INfLUeNCe IT HAS ON THe eYe . THe eYe TeNOS TO Be
POINT IS THe STQONG INfLUeNCe IT HAS ON THe eYe . THe eYe TeNOS TO Be
POINT IS THe STQONG INfLUeNCe IT HAS ON THe eYe . THe eYe TeNOS TO Be
POINT IS THe STQONG INfLUeNCe IT HAS ON THe eYe . THe eYe TeNOS TO Be
POINT IS THe STQONG INfLUeNCe IT HAS ON THe eYe . THe eYe TeNOS TO Be
POINT IS THe STQONG INfLUeNCe IT HAS ON THe eYe . THe eYe TeNOS TO Be
POINT IS THe STQONG INfLUeNCe IT HAS ON THe eYe . THe eYe TeNOS TO Be
POINT IS THe STQONG INfLUeNCe IT HAS ON THe eYe . THe eYe TeNOS TO Be
POINT IS THe STQONG INfLUeNCe IT HAS ON THe eYe . THe eYe TeNOS TO Be

THe eYe TeNOS TO Be fOQCeO TOWAQO THAT SPOT OUe TO THe MAIN PeQSPeCTIVe LINeS ACTING IN A SIMILAQ WAY TO THe fOCUS LINeS We See IN MANGA, OQAWING YOUQ ATTeNTION TO A SPeCifiC AQeA Of THe PAGe.

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ATTeNTION TO A SPeCifiC AQeA Of THe PAGe. l • "\ \ THeQe AQe WAYS TO

THeQe AQe WAYS TO OeAL WITH THIS WHICH I 'LL SHOW IN A LA TeQ eXAMPLe!

ONE-POINT

ONE-POINT TO OQAW THIS CITYSCAPE,! SEGAN SY SKETCHING OUT SOME SASIC OVEQHEAO LAYOUTS TO GET AN

TO OQAW THIS CITYSCAPE,! SEGAN SY SKETCHING OUT SOME SASIC OVEQHEAO LAYOUTS TO GET AN tOEA OF THE PLACEMENT OF SUILOINGS ANO STQEETS ANO TO OECIOE CAMEQA PLACEMENT.

\

ONCE THAT WAS OONE, ! SKETCHED OUT A VEQY QOUGH tOEA OF WHAT! WANTED TO SHOW. THIS IS TOTALLY FQEEHANO, NO QULEQS. I'VE FOUNO THAT THIS TENDS TO MAKE THE PLACEMENT OF THE SUILOINGS SEEM A LITTLE MOQE NATUQAL ANO A SIT LESS STILTED.

' \

ONE-POINT AT THIS POINT,! CAN 8eGIN IQONING OUT THe QOUGH PATCHeS IN THe SKeTCH.! LAY

ONE-POINT

AT THIS POINT,! CAN 8eGIN IQONING OUT THe QOUGH PATCHeS IN THe SKeTCH.! LAY IN THe MA.:JOQ PeQSPeCTIVe LINe TO THe VANISHING POINT ON THe HOQIZON.

IQONING OUT THe QOUGH PATCHeS IN THe SKeTCH.! LAY IN THe MA.:JOQ PeQSPeCTIVe LINe TO THe

\

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eVeN THOUGH IT IS STILL VeQY QOUGH, !'M LIKING WHeQe IT'S GOING. THIS CITY IS ALQeAOY STAQTING TO LOOK PQeTTY CONVINCING.

ONE-POINT WHILe THIS IS PQIMARILY A ONe- POINT PeRSPeCTIVe SHOT, You WILL NOTICe THAT THeRe
ONE-POINT
WHILe THIS IS PQIMARILY A ONe-
POINT PeRSPeCTIVe SHOT, You WILL
NOTICe THAT THeRe ARe MULTIPLe
VANISHING POINTS ON THe HORIZON.
.- .I
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THIS IS SIMPLY TO AOO A LITTLe MORe VISUAL INTeReST TO THe SHOT ANO TO HeLP GeT THe eYe MOVING AROUNO THe PICTURe A BIT MORe.

NOW THAT MY L.AYOUT IS PQE:TTY MUCH fiNAL.IZE:O I I CAN Tl2ANSfE:l2 IT ONTO AN IL.L.USTQATION SOAQO USING A L.IGHT TASL.E:.

ONE-POINT

NOQMAL.L.Y, I

WOUL.ON'T PL.ACE:

THE: HOQIZON L.INE: IN THE: CE:NTE:Q Of THE: PICTUQE:, SUT SINCE: I'M PL.ANNING TO USE: IT AS PAQT Of A L.ATE:Q E:XAMPL.E:, IT WON'T AffE:CT THE: COMPL.E:TE:O WOQK.

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I TWO-POINT PEQSPECTIVE SACQifiCES SOME Of THE PQIMAL VISUAL IMPACT ONE POINT PEQSPECTIVE GIVES US
I
TWO-POINT PEQSPECTIVE
SACQifiCES SOME Of THE
PQIMAL VISUAL IMPACT ONE
POINT PEQSPECTIVE GIVES US
IN fAVOQ Of MOQE DYNAMIC
VISUAL COMPLEXITY.
WITH TWO VANISHING POINTS, THE
''CAMEQA'' IS MOQE fQEE TO MOVE
ABOUT. WE'QE NOT CONSTQAINEO BY
THE QIGIO HOQIZONTAL LINES YOU
GET WITH ONE VANISHING POINT.
\

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THe HOQIZON LINe IS GeNeQAU Y CONSIOeQeO THe eYe LINe Of THe VleWeQ. SY CHANGING
THe HOQIZON LINe IS
GeNeQAU
Y
CONSIOeQeO THe
eYe LINe Of THe VleWeQ. SY
CHANGING THe PLACeMeNT Of
THe HOQIZON LINe Qel
THe fQAMe, we CAN At
ATIVe
TO
Tet:?
THe
VIeWING ANGL.e Of A SCeNe.
HeAO ON
HOk'IZON
LOOKING OOWN
ANGL.e Of A SCeNe. HeAO ON HOk'IZON LOOKING OOWN If YOU AQe PLANNING TO SHOW OSveCTS
ANGL.e Of A SCeNe. HeAO ON HOk'IZON LOOKING OOWN If YOU AQe PLANNING TO SHOW OSveCTS
ANGL.e Of A SCeNe. HeAO ON HOk'IZON LOOKING OOWN If YOU AQe PLANNING TO SHOW OSveCTS
ANGL.e Of A SCeNe. HeAO ON HOk'IZON LOOKING OOWN If YOU AQe PLANNING TO SHOW OSveCTS
ANGL.e Of A SCeNe. HeAO ON HOk'IZON LOOKING OOWN If YOU AQe PLANNING TO SHOW OSveCTS
ANGL.e Of A SCeNe. HeAO ON HOk'IZON LOOKING OOWN If YOU AQe PLANNING TO SHOW OSveCTS
ANGL.e Of A SCeNe. HeAO ON HOk'IZON LOOKING OOWN If YOU AQe PLANNING TO SHOW OSveCTS
ANGL.e Of A SCeNe. HeAO ON HOk'IZON LOOKING OOWN If YOU AQe PLANNING TO SHOW OSveCTS
ANGL.e Of A SCeNe. HeAO ON HOk'IZON LOOKING OOWN If YOU AQe PLANNING TO SHOW OSveCTS
ANGL.e Of A SCeNe. HeAO ON HOk'IZON LOOKING OOWN If YOU AQe PLANNING TO SHOW OSveCTS
ANGL.e Of A SCeNe. HeAO ON HOk'IZON LOOKING OOWN If YOU AQe PLANNING TO SHOW OSveCTS
ANGL.e Of A SCeNe. HeAO ON HOk'IZON LOOKING OOWN If YOU AQe PLANNING TO SHOW OSveCTS
ANGL.e Of A SCeNe. HeAO ON HOk'IZON LOOKING OOWN If YOU AQe PLANNING TO SHOW OSveCTS
ANGL.e Of A SCeNe. HeAO ON HOk'IZON LOOKING OOWN If YOU AQe PLANNING TO SHOW OSveCTS
ANGL.e Of A SCeNe. HeAO ON HOk'IZON LOOKING OOWN If YOU AQe PLANNING TO SHOW OSveCTS
ANGL.e Of A SCeNe. HeAO ON HOk'IZON LOOKING OOWN If YOU AQe PLANNING TO SHOW OSveCTS
ANGL.e Of A SCeNe. HeAO ON HOk'IZON LOOKING OOWN If YOU AQe PLANNING TO SHOW OSveCTS
ANGL.e Of A SCeNe. HeAO ON HOk'IZON LOOKING OOWN If YOU AQe PLANNING TO SHOW OSveCTS
ANGL.e Of A SCeNe. HeAO ON HOk'IZON LOOKING OOWN If YOU AQe PLANNING TO SHOW OSveCTS

If YOU AQe PLANNING TO SHOW OSveCTS fQOM THe TOP OQ SOTTOM, YOU'LL NeeO TO TAKe THe VIeWING ANGL.e INTO ACCOUNT.

TO SHOW OSveCTS fQOM THe TOP OQ SOTTOM, YOU'LL NeeO TO TAKe THe VIeWING ANGL.e INTO
TO SHOW OSveCTS fQOM THe TOP OQ SOTTOM, YOU'LL NeeO TO TAKe THe VIeWING ANGL.e INTO
TO SHOW OSveCTS fQOM THe TOP OQ SOTTOM, YOU'LL NeeO TO TAKe THe VIeWING ANGL.e INTO
TO SHOW OSveCTS fQOM THe TOP OQ SOTTOM, YOU'LL NeeO TO TAKe THe VIeWING ANGL.e INTO
TO SHOW OSveCTS fQOM THe TOP OQ SOTTOM, YOU'LL NeeO TO TAKe THe VIeWING ANGL.e INTO

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TWO-PO INT THek>e WILL Se TIMES WHEN YOU NeeD TO DePICT AN OSveCT AT AN
TWO-PO INT
THek>e WILL Se
TIMES WHEN YOU
NeeD TO DePICT
AN OSveCT AT
AN ANGLe TO
THe HOQIZON.
SOMe TIMES IT WILL
Se A COLLAPSING
SUILDING I A PLANe
TAle:::lNG Off I A CHUNk:
Of MACHINEQY SeiNG
CAk>k>leD I eTc.
Off I A CHUNk: Of MACHINEQY SeiNG CAk>k>leD I eTc. JUST SeLeCT A POINT ON THe

JUST SeLeCT A POINT ON THe HOQIZON AND DQAW A NeW LINe THQOUGH AT THe ANGLe YOU WANT THE OSveCT TO TILT.

THe ONLY LIMIT TO THeSe ANGLED HOQIZONS IS THe AMOUNT Of OSveCTS THAT YOU WANT TO Ck>eATe!

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

--- ---

--

THIS WILL Se THe HOQIZON LINe fOQ THe OSveCT YOU WANT TO DQAW. THe VANISHING POINTS ON THIS LINe AQE fOQ THAT OSveCT AND SHOULD NOT Se USED fOQ ANY OTHEQ!

POINTS ON THIS LINe AQE fOQ THAT OSveCT AND SHOULD NOT Se USED fOQ ANY OTHEQ!

GIVe IT A TQY

YOUQSet

f

!

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II AT flt:?ST GLANCe, THIS MIGHT SeeM TO Se A ONe- POINT~ Pet:?SPeCTIVe SHOT. ACTUALLY;

II

AT flt:?ST GLANCe, THIS MIGHT SeeM TO Se A ONe- POINT~Pet:?SPeCTIVe SHOT. ACTUALLY; ,THIS SHOT HAS

I TWO VANISHING POINTS.

I

ONe Of THe VANISHING POINTS HAS SeeN PLA.CeO fAQ ' Off Of THe SOAQO. THIS CAN Se OONe SY TAPING A~ SHeeT' Of PAPet:? TO THe SlOe YOU NeeO TO eXTeNO.

~/

/ ,/'

'

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,

WITH THe BASIC SKE-TCH COMPLE-Te, I USe MY LIGHT TABLe ANO PeNCIL OUT THe OQAWING ON MY ILLUSTQATION BOAQO.

AS YOU CAN See, eVE-N THOUGH THe PE-QSPE-CTIVE- IS ALL QIGHT, THe OQAWING ITSE-Lf STILL LOOKS PQE-TTY fLAT. We'LL SOLVe THAT IN THe NeXT STAGE-S.

' \

THe INKING STAGe IS A GQeAT TIMe TO AOO LITTLe OeTAILS ANO MAKe THe PLACe
THe INKING STAGe IS A
GQeAT TIMe TO AOO LITTLe
OeTAILS ANO MAKe THe
PLACe LOOK l

IT'S ALSO THe TIMe TO STAQT AOOING IN THe HeAVY BLACK Al2eAS TO HeLP AOO OePTH ANO MAKe PAQTS Of

THE PICTUQE P07

l

"\ \

ONE-POINT ONCe THe INKING IS OONe, We TAKe THe OQAWING INTO THe COMPUTeQ ANO AOO
ONE-POINT
ONCe THe INKING IS OONe, We
TAKe THe OQAWING INTO THe
COMPUTeQ ANO AOO SHADING.
THIS AOOS ANOTHeQ
INTeQeSTING VISUAL
ASPeCT THAT HeLPS
KeeP THe eYe ACTIVe
ANO MOVING
AQOUNO THe PAGe.
' \

CQeATING A GQANO SeNSe Of scALe CAN Be OlffiCULT, so YOU NeeO AN OBJeCT THAT THe VleWeQ WILL KNOW THe GeNeQAL SIZe Of TO USe AS A GAUGe. IN THIS CASe, PeOPLe WOQK WeLL.

\ ! PRePAReO THIS eXAMPLe TO SHOW SOMe SUIL.OING- STYLe SLOCKS USING THe MULTIPLe VANISHING
\
! PRePAReO THIS eXAMPLe
TO SHOW SOMe SUIL.OING-
STYLe SLOCKS USING THe
MULTIPLe VANISHING POINT
IOeA. AS ! WAS LOOKING
AT IT, I ReALIZeo THAT IT
OOeSN'T CONVeY THe IOeA
VeRY WeLL. THe VANISHING
POINTS ARe TOO CLOSe
TOGeTHeR, ANO THe
SLOCKS OON'T LOOK
AS If THeY'Re ReCeOING
TO OlffeReNT POINTS
ON THe HORIZON.
AS A ReSULT, THeRe'S NO
ReAL VARIATION IN THe
SLOCKS. THIS eXAMPLe
vUST OOeSN'T SeeM THAT
INTeReSTING. WITH A TOOL
AS POWeRfUL AS THIS, TRY
NOT TO WASTe IT LIKe ! 010!
l
"\ \
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EXPEQIMENT ANO GEE

WHAT WORKS fOR YOU.

oCD [] 0 OJ Ill MULTI-POINT Pef2SPeCTIVe IS useD II fOf2 DePICTING osveCTS f2eSTING II

oCD

[]

0

OJ

oCD [] 0 OJ Ill MULTI-POINT Pef2SPeCTIVe IS useD II fOf2 DePICTING osveCTS f2eSTING II AT
oCD [] 0 OJ Ill MULTI-POINT Pef2SPeCTIVe IS useD II fOf2 DePICTING osveCTS f2eSTING II AT
oCD [] 0 OJ Ill MULTI-POINT Pef2SPeCTIVe IS useD II fOf2 DePICTING osveCTS f2eSTING II AT
oCD [] 0 OJ Ill MULTI-POINT Pef2SPeCTIVe IS useD II fOf2 DePICTING osveCTS f2eSTING II AT

Ill

MULTI-POINT Pef2SPeCTIVe IS useD II fOf2 DePICTING osveCTS f2eSTING II AT Dlffef2eNT ANGLeS ON A PLANe. fOQ INSTANCe, SUILDINGS IN A CITY DO NOT ALWAYS SHAQe THe SAMe VANISHING POINTS. ADDITIONALLY, NOT ALL SUILDINGS HAVe SQUAQe OQ f2eCTANGULAQ fOOTPQINTS.

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

KeePING THIS IN MIND, YOU COULD GO SO fAQ AS TO GIVe eACH SUILDING OQ eACH PieCe Of fUQNITUQe IN A f200M ITS OWN SeT Of VANISHING POINTS.

SUILDING OQ eACH PieCe Of fUQNITUQe IN A f200M ITS OWN SeT Of VANISHING POINTS. GOOD
SUILDING OQ eACH PieCe Of fUQNITUQe IN A f200M ITS OWN SeT Of VANISHING POINTS. GOOD
GOOD LUCK KeePING TQACK Of THeM ALU

GOOD LUCK KeePING TQACK Of THeM ALU

PieCe Of fUQNITUQe IN A f200M ITS OWN SeT Of VANISHING POINTS. GOOD LUCK KeePING TQACK

CD

0

' \

WITH THQee-POINT PeQSPeCTIVel YOU 1 Qe AOOING ANOTHeQ L.AYeQ Of VISUAL. INTeQeST TO YOUQ AQT.

WITH THQee-POINT PeQSPeCTIVel YOU 1 Qe AOOING ANOTHeQ L.AYeQ Of VISUAL. INTeQeST TO YOUQ AQT.

THQee-POINT PeQSPeCTIVe IS IOeAL. fOQ DePICTING eXTeQIOQS I BUIL.OINGSI CITYSCAPeSI eTC. SINCe THe HeiGHTI WIOTH ANO OePTH Of A SCeNe AQe QeCeOING fQOM THe VleWeQI A GQeATeQ SeNSe Of QeAL.ITY IS ACHieVeO.

l

"\ \

WITH A GOOO BASIC GQIO IN PLACe, We CAN STAQT AOOING MOQe SPeCifiC GUIOeLINeS TO

WITH A GOOO BASIC GQIO IN PLACe, We CAN STAQT AOOING MOQe SPeCifiC GUIOeLINeS TO HeLP IN OefiNING THe BASIC SHAPeS.

AT THIS POINT, I'M STAQTING TO feeL SOMe OePTH ANO

OIMeNSION IN THe

S((eTCH .

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

OQAWING

OUT THe fOQMS .

' \

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

NOW, WITH GUioes IN PLACe, CQeATING SHAPeS IN PeQSPeCTIVe IS A SNAP. ONe QUeSTION YOU MIGHT Be ASKING IS,''WHAT'S WITH ALL Of THeSe BOXeS?''

l

BASICAL.L.Y, ANY fOQM CAN fiT INTO OQ Be BUILT UPON A SQUAQe OQ QeCTANGUL.AQ SHAPe, SO BeGINNING WITH THeSe SHAPeS IS A GOOO WAY TO STAQT ANY TYPe Of ILLUSTQATION.

"\

\

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

SO, USING BLOCKS LIKe THIS AS PLACeHOLOeQS ANO GUIOeS CAN SeQVe AS GOOO TIMe-SAVING OeVICe. PQIMITIVe SHAPeS LIKe THeSe AQe SIMPLY STePPING STONeS TO MOQe COMPLeX CQeATIONS LIKe BUILOINGS, CAQS, PLANes, OQ eveN PeoPLe.

' \

LIKe BUILOINGS, CAQS, PLANes, OQ eveN PeoPLe. ' \ TO fiNISH OUT THIS eXAMPLe, I'Ve QeMOVeO

TO fiNISH OUT THIS eXAMPLe, I'Ve QeMOVeO THe GUIOeLINeS ANO AOOeO SOMe BASIC SHAOING. LeAVING THe BACKGQOUNO WHITe, SANS HOQIZON, GIVeS THeSe fLOATING BLOCKS AN eveN MOQe SUQQeAL LOOK.

SOMe BASIC SHAOING. LeAVING THe BACKGQOUNO WHITe, SANS HOQIZON, GIVeS THeSe fLOATING BLOCKS AN eveN MOQe
PEOPLE WHeN PLACING PeOPLe IN PeQSPeCTIVe, THeQe IS A QUICK TQICK THAT YOU CAN USe

PEOPLE

WHeN PLACING PeOPLe IN PeQSPeCTIVe, THeQe IS A QUICK TQICK THAT YOU CAN USe TO LAY OOWN CHAQACTeQS WITH fAIQ ACCUQACY.

ASSUMING THe CHAQACTeQS AQe ON Leva GQOUNO, YOU BeGIN BY PLACING A MAIN CHAQACTeQ ANO ALLOWING THe HOQIZON TO CQOSS THQOUGH AT A GIVeN POINT--IN THIS INSTANCe, THe HeAO. If YOUQ GQASP Of PQOPOQTION IS GOOO, YOU WILL Be ABLe TO SCALe THe OTHeQ CHAQACTeQS IN QeLATION TO THe fiQST BY CHANGING THe SIZe Of THe HeAO. THe QeSULT IS A CONVINCING ANO PQeTTY ACCUQATe DePICTION Of CHAQACTeQS QeCeOING INTO SPACe.

PQeTTY ACCUQATe DePICTION Of CHAQACTeQS QeCeOING INTO SPACe. l • "\ \ !f OONe QIGHT, THeSe

l

"\ \

!f OONe QIGHT, THeSe CHAQACTeQS WILL SeeM TO QeLATe COQQeCTLY TO ONe ANOTHeQ IN S IZe ANO QeLATe TO THe HOQIZON IN PeQSPeCTIVe.

PEOPLE

SO, YOU See, IT OOeSN'T

MATTeQ WHeQe THe HOQIZON

LINe CQOSSeS

THe

fiGUQe

MATTeQ WHeQe THe HOQIZON LINe CQOSSeS THe fiGUQe AS LONG AS THe HOQIZON LINe INTeQSeCTS WITH

AS LONG AS THe HOQIZON LINe INTeQSeCTS WITH ALL Of THe fiGUk>eS coNSISTeNTLY, YOU WILL GeT A PQeTTY OePeNOASLe QeSULT eACH ANO eVeQY TIMe.

WILL GeT A PQeTTY OePeNOASLe QeSULT eACH ANO eVeQY TIMe. NOW THAT We HAVe A SASIC

NOW THAT We HAVe A SASIC MeTHOO Of MAKING fiGUQeS Of THe SAMe QeLATIVe HeiGHT, LeT'S See HOW We CAN USe THIS TO MAKe OQAMATIC SHifTS IN QeLATIVe SIZe.

' \

Pe OPLe IN THIS cAse, ONe OF THe FIGUQeS WILL. HAVe A OIFFe12eNT 12eLATION TO

Pe OPLe

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

SIMPLY BY HAVING THIS FIGUQe INTeQSeCT WITH THe HOQIZON

LINe WHILe THe

OTHeQS

AU

STANO WeLL. BeLOW THe LINe,

We CAN CQeATe AN IMPQeSSION OF GQeAT SIZe.

BeLOW THe LINe, We CAN CQeATe AN IMPQeSSION OF GQeAT SIZe. l • "\ \ BY

l

"\ \

BY PLACING SOMe FIGUQeS CLOSeQ TO THe v1ewe12, we CAN GeT A BeTTeQ IOeA OF JUST HOW HUGe THIS GUY IS.

PEOPLE

PEOPLE AS LONG AS YOU KeeP THeSe SOQTS OF MeASUQeMeNTS CONSISTeNT, YOU C O U L

AS LONG AS YOU KeeP THeSe SOQTS OF MeASUQeMeNTS CONSISTeNT, YOU COULO SOON HAVe AN AQMY OF GIANTS QULING THe HUMAN QACe! 8UT QeMeM8eQ, THIS IS vUST A QUICK ANO OIQTY TQICK.

Ill

To MAINTAIN coNSISTeNCY, YOU WILL NeeO TO HAVe MOQe ACCUQATe MeASUQeMeNTS OF YOUQ FIGUQeS IN QeLATION TO ONe ANOTHeQ.

Het:?e'S WHAT OUQ WOUL0-8e Tet:?QOQ LOOKS LIKe AT A MOQe NOQMAL SIZe. STILL 81G, 8UT CLOSet:? TO A GUY THAT LIKeS PLAYING WITH OOLLS QATHeQ THAN A

WOQLO CONQUet:?et:?!

' \

PEOPLE If YOU'QE: PLANNING TO OE:AL WITH CHAQACTE:QS Of OlffE:f21NG SIZeS AQ   ON A

PEOPLE

If YOU'QE: PLANNING TO OE:AL WITH CHAQACTE:QS Of OlffE:f21NG SIZeS

AQ

 

ON A QE:GUL UNNATUQAU

Y L

AQGE:

OQ SMAU

,

8ASIS, SOME: 8E:ING

YOU CAN ASSIGN AN AQE:A THE:

HOQIZON Cf20SSE:S fOQ E:ACH CHAQACTE:Q 800Y TYPE:.

f2E:ME:M8E:f2, THIS Tf21CK CAN TQIP YOU UP If YOU CHANGE: CAME:QA ANGLE: OQ YOUQ CHAQACTE:f2S AQE: ON UNE:VE:N GQOUNO. IN THOSE: CASeS, YOU WIU

NE:E:O TO HAVE: THE: SIZE: QE:L

ATIONS

Of

YOUQ CHAQACTE:QS WOQKE:O OUT ANO

HAVE: A HE:AL THY

OOSE: Of PE:QSPE:CTIVE:.

l

"\ \

IN THIS SeCTION,! WANTED TO MAKe A QUICK NOTe Of THe fACT THAT THe WAY
IN THIS SeCTION,! WANTED
TO MAKe A QUICK NOTe Of
THe fACT THAT THe WAY IN
WHICH A fiGUQE INTEQACTS
WITH ITS SUQQOUNDINGS CAN
HAVe A PQOfOUND IMPACT
ON SPATIAL QECOGNITION.

TAKING A fiGUQE IN THe SAME SU!2f20UNDINGS, IN SIMILAQ POSeS, YOU CAN MAKe QADICALLY Dlffef2eNT STATeMeNTS ABOUT ITS SIZe AND POSITION IN SPACe, SIMPLY BY CHANGING WHef2e ITS SHADOW fALLS IN THe PICTUQE.

' \

Hek>e We HAVe A MOQe STANDAQD-SIZeD fiGUQe LANDING ON A QOOfTOP. WHILe THe effeCT CAN

Hek>e We HAVe A MOQe STANDAQD-SIZeD fiGUQe LANDING ON A QOOfTOP.

WHILe THe effeCT CAN Se eNHANCeD SY A SOLDeQ OUTLINe AQOUND THe fiGUQe AND OTHeQ VISUAL CUeS, THe POINT Of THe eXAMPLe IS THAT A SHADOW CAQQieS A LOT Of CONVICTION. DON'T UNDek>eSTIMATe ITS POWeQ AND IMPOQTANCe!

l

"\ \

IN ACTION LeT'S PUT SOMe Of THeSe PQINCIPLeS INTO PQACTICe! ' I J .r ;
IN ACTION
LeT'S PUT SOMe Of THeSe
PQINCIPLeS INTO PQACTICe!
'
I
J
.r
;
I
' \

'~

-------

-

IN ACTION ! STAQT Off SY SOLIOifYING THe MAIN CHAQACTeQS. THIS IS AU PQeTTY STQAIGHTfOQWAQO

IN ACTION

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

MAIN CHAQACTeQS. THIS IS AU PQeTTY STQAIGHTfOQWAQO STUff. (I JUST MAKe SUQe THAT YOUQ CHAQACTeQS AQe

(I

JUST MAKe SUQe THAT YOUQ CHAQACTeQS AQe fOLLOWING THe SAMe PeQSPeCTIVe QULeS YOU SeT OOWN fOQ THe f2eST Of YOUQ PICTUQe.

l

"\ \

YOU MAY NeeO TO SeT OOWN A PeQSPeCTIVe GQIO TO MAKe SUQe eVeQYTHING AGQeeS.

I

I

/

)

'

"

r'

~

.

I I / ) ' " r' ~ . ' NOW! WANT TO TUQN MY ATTeNTION

'

NOW! WANT TO TUQN MY ATTeNTION TO THe BACKGQOUND. J • ' ,. ~ -'·
NOW! WANT TO TUQN
MY ATTeNTION TO
THe BACKGQOUND.
J
'
,. ~
-'·
,.
-
,. <
l
{t
-
·-
~
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<'

,.

\

·~

-,

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·

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),

-

';:-~

--·

,. \ ·~ • -, l · " ' I ), - ';:-~ --· ! ULTIMATeLY

! ULTIMATeLY DeCIDeD TO CHANGe THe BACKGQOUND Of THIS DQAWING BeCAUSe IT feLT VeQY CLOSeD-Off IN A WAY YOU DON'T OfTeN See IN A CITY.! WANT TO Be ABLe TO See DOWN THAT ALLeYWAY.

--~

' \

IN ACTION

-

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

LeT'S STAQT LAYING IN THe MAv0!2 LINeS fOQ OUQ BACKGQOUNO. ONCe AGAIN, I'Ve PLACeO THe VANISHING POINT Off Of THe PAPeQ.! WANT THe VleWeQ'S eYe TO Be GUIOeO fQOM LefT TO t:?IGHT, BUT NOT fOt:?ceo QIGHT TO THe POINT WHel2e THe LINeS CONVel2Ge.

ONCe ! HAVe THe BASIC STQUCTUQe Of THe BUILOINGS OOWN, PLACING THe SeCONOAQY eLeMeNTS--WINoows, ooo12s,

ONCe ! HAVe THe BASIC STQUCTUQe Of THe BUILOINGS OOWN, PLACING THe SeCONOAQY eLeMeNTS--WINoows, ooo12s, SIGNAGe ANO BITS Of OeB!21S--COMeS NeXT.

l I

1

;.

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ANO Hel2e IS HOW THe fiNAL SACKGQOUNO CAMe OUT. WINOOWS I GQIT I ANO fiNALLY, OeeP SHAOOW Al2eAS HeLP SQING IT TO Life.

THe ONLY THING LefT TO 00 AT THIS POINT IS TO AOO SOMe INNOCeNT SYSTANOeQS IN THe STI2eeTS ANO INSel2T THe f012eGI20UNO CHAI2ACTel2S IN THe COMPUTeQ.

' \

! HOPe THAT THIS SeCTION HAS SeeN INfOQMATIVe ANO USefUL. IN GIVING YOU A SeTTeQ

! HOPe THAT THIS SeCTION HAS SeeN INfOQMATIVe ANO

USefUL. IN GIVING YOU A SeTTeQ IOeA Of HOW

POWeQfUL

A TOOL.

IJF~reJJ

PeQSPeCTIVe CAN Se IN

SUPeQHeQO COMICS.

"\ \

STAQTING A

NEW PIECE.

THE SECONO PICTUQE HEQE IS TIGHTEQ WITH POSSIBLE COSTUME

IOEAS INCLUOEO.

THE fiQST STEP I'VE TAKEN IS TO QUICKLY QOUGH OUT MY IOEA fOQ THE CENTQAL
THE fiQST STEP I'VE
TAKEN IS TO QUICKLY
QOUGH OUT MY IOEA fOQ
THE CENTQAL fiGUQE.
AS YOU CAN SEE, IN THE
BEGINNING STAGES, THE
STQUCTUQE IS LOOSE,
fLUIO I ANO A LITTLE
Off ANATOMICALLY.
I'LL fiX THOSE
MISTAKES AS I
MOVE ALONG.

t

\

STAQTING A NEW PIECE. I OQAW ANO INK EVEQYTHING IN AOOBE ILLUSTQATOQ, SO MY PQOCESS
STAQTING A
NEW PIECE.
I OQAW ANO
INK EVEQYTHING
IN AOOBE
ILLUSTQATOQ,
SO MY PQOCESS
MAY BE A BIT
OlffEQENT THAN
MANY Of YOUQS.
THE THOUGHT
PQOCESS IS THE
SAME, BUT A BIT
MOQE EOITABLE.
I QEMOVEO THE
COSTUME ANO
CONTINUEO TO
PENCIL A MOQE
COMPLETE
fiGUQE.
l

NOW IT'S TIGHT ENOUGH fOQ ME TO STAQT INKINGI so I 'LL MOVE TO THAT STAGE.

STAQTING A

NEW PIECE.

EACH Of THESE IMAGES HAS BEEN ON A SEPAQATE LAYEQ, ANO THE INKING STAGE IS OONE ON A LAYEQ ABOVE ALL THE PENCIL LINES.

TO INK, I TUQN THE OPACITY OOWN ON THE SKETCH LAYEQ SO I CAN CLEAQLY SEE MY INKS AS I GO.

t

\

STAQTING A

NEW PIECE.

I'VE ALMOST

COMPLETEO THE INKING STAGE. I'VE NOT INKEO THE COSTUME YET. I WILL OQAW A LOOSE SKETCH Of THAT IN THE NEXT STAGE.

I TOOK A PICTUQE Of MY HANOS HOLOING A BQOOM TO QEfEQENCE AS A MOOEL.

PICTUQE Of MY HANOS HOLOING A BQOOM TO QEfEQENCE AS A MOOEL. HANOS AQE EXTQEMELY IMPOQTANT
PICTUQE Of MY HANOS HOLOING A BQOOM TO QEfEQENCE AS A MOOEL. HANOS AQE EXTQEMELY IMPOQTANT

HANOS AQE EXTQEMELY IMPOQTANT BECAUSE THEY CONTAIN SO MUCH EXPQESSION. PEOPLE ALWAYS USE THEM WHEN TALKING I ANO EVEQYONE PAYS ATTENTION TO THEM. SO WHEN YOU GET ONE WQONG EVEN SLIGHTLY I PEOPLE WILL NOTICE.

ONCE I fiNISH INKING, I TUQN Off THE SKETCH LAYEQ SO I OON'T HAVE TO SEE IT ANYMOQE, OQ IT CAN QUICKLY BECOME CONfUSING.

NOTE THAT I ALSO AOOEO A BACKGQOUNO. IT'S IMPOSSIBLE TO HAVE A SUPEQ HEQO If THEY'QE NOT SOMEWHEQE OOING THEIQ HEQOICSI SO I OON'T WANT TO SEE YOUQ HEQOES ON BLANK BACKGQOUNOS!

If THEY'QE NOT SOMEWHEQE OOING THEIQ HEQOICS I SO I OON'T WANT TO SEE YOUQ HEQOES

l

STAQTING A NEW PIECE. I'VE OQOPPEO IN SOME CLOTHES ANO WQINKLES TO SEE WHAT I

STAQTING A

NEW PIECE.

STAQTING A NEW PIECE. I'VE OQOPPEO IN SOME CLOTHES ANO WQINKLES TO SEE WHAT I LIKE,

I'VE OQOPPEO IN SOME CLOTHES ANO WQINKLES TO SEE WHAT I LIKE, ANO I FEEL PQETTY GOOO WITH THIS OUTFIT, SO I'LL FINISH THIS UP.

t