Hey, MC Peeps! (I’ve inducted you all into a gang.)
This most recent weekend past, April 18-20th, was Wondercon in sunny (read: hot) Anaheim, CA. The local portion of the Making Comics crew (Patrick Yurick, Kevin Cullen, Adam Greenfield, and Devin Larson — me) were there to hang out with Storyforge Productions (Rachel Beck, Shelley Couvillion, and a bunch of cool people to whom I failed to make a proper introduction) and Jason Brubaker, all while promoting comic awareness.
Intimidated by the writing process? Having a hard time getting what’s in your head down on paper? (Do you even use paper? If so, does it have “From the desk of…” printed at the top or is it 23 napkins that you snatched from the coffee shop?) In any event, I want to teach you the “quick and dirty” way of making a script for your comic. It’s not as complicated as you might think, and you don’t need any fancy software to do it either! (more…)
In my opinion, there are three phases to drawing the figure: gesture, construction, and rendering. None of these phases is independent from the others. Gesture captures the essence of the figure’s pose — it records the kinetic energy of a moment in time. If anything can be said to breathe life into a drawing, it’s gesture. Construction is the phase where knowledge of shape and anatomy are employed to methodically build a three-dimensional figure within the page. This is the part of figure drawing where many of the visual “problems” of the figure — problems that involve not just anatomy but perspective — are solved. Rendering draws focus to issues of appearance, primarily lighting. Proper lighting grounds the figure and accentuates depth.
Often, these phases overlap. Gesture and construction can happen at the same time, with rough lighting and shadows added before either phase is fully resolved. Some people skip construction entirely and rely on rendering to establish the form. However you choose to approach things, know this: gesture is the most important. More than a rough sketch or plan to be finalized later, it is the soul of your drawing. Everything else builds off of it and threatens to diminish its impact. (more…)
Proportion Practice: Read the article, then download the worksheet!
Figure drawing is a challenging pursuit. To be competent at drawing the body you have to seamlessly integrate knowledge of gesture, weight, anatomy, and perspective. It’s challenging… but it’s also rewarding. You can’t escape learning the principles of figure drawing unless you’re making a comic about an inanimate object, so in the end, difficulty is somewhat of a moot point. You will learn to draw the human form (if you haven’t already) so you might as well discover how to love it now. Take heart! We here at Making Comics will be here to help every step of the way. The first step is learning to see the body in terms of basic shapes, and how those shapes relate to one another in terms of relative size (also called proportion).
This is not a guide about how to draw the figure. This is a guide about how to see the figure. In future articles we will be addressing the actual process of drawing the figure in detail. (more…)
Casual consumers of comic books around the world often have no idea of the work involved in producing the entertainment they enjoy. Effort and workload aside, merely the size of the team required for an idea to manifest can boggle the mind. Dozens of people handle specialized roles from writer to penciller, inker, colorist, letterer, and editor. Printers are needed to produce the physical copies and a distribution network is required for those comics to end up in your local comic shop.
Or maybe the comic in question is of a new breed — a webcomic — and most of the jobs are handled by one person.
This article is intended to be a quick reference for the most common methods of comic creation, both from the professional side of things as well as how those methods scale when applied to smaller projects.
60 Pieces In 60 Minutes Read the article, then grab the activity sheet!
When beginning any project there is always this moment of “oh man, what do I do first?” For the longest time I would start in the worst way possible by diving head-first into projects and working only on the parts that excited me the most. I consistently ignored the big picture in order to focus on the details. I learned a couple of things from trying to work this way for nearly a decade:
I never finished a project working in this manner.
I still do this and always risk failing to complete projects as a result.
It wasn’t until I worked on defining the scope of my project that I understood what I needed to “hyper-focus” on.
I’m about to drop some zen thinking on you, so listen up. Ready?
What separates the mindset of a seasoned artist from an amateur?
The amateur has fewer questions.
BaBOOM! (drops the mic)
…OK so… maybe that bears explaining a bit further. Everyone starts off with more or less the same vacuum of knowledge when it comes to art and the rules that govern the visual world. Beginners tend to focus on the immediate questions (how do I draw Batman jumping off a roof? What does his costume look like?) whereas experienced artists see the task before them with greater nuance (what’s the most effective composition? Is Batman foreshortened correctly? Is the lighting accurate?). The experienced artist realizes the depth of complexity even the most basic image can present in a way the beginner does not.
Not every comic book story starts with conflict. Some creators look for places to start that are non-intuitive like the ending of a story. Check out your favorite comic. Open it to the first pages – what do you see? You will start to notice that almost all stories begin with conflict. Now sit down and take your own characters (or invent new ones) and imagine them in the same situation. What happens when you put these new characters in a similar conflict? What elements need to change to make sense?
Read the article, then grab the activity sheet! It provides guided examples that students can use to establish good warm-up techniques.
Warm-up exercises are a critical component of the art process. In sports, professional athletes know that in order to achieve peak performance from their muscles it’s necessary to gradually work up to the demands that are placed on them. Art is no different, save in one respect. Muscle control is certainly a factor but the real benefit of warm-up drawing exercises is the way they engage your mind.
Confused? You may have heard of the famous Drawing on the Right Side of the Brain by Betty Edwards. It theorizes that the two hemispheres of the brain control separate thoughts processes. In most people, the left brain is active much of the time, allowing you to verbally and logically navigate through the world around you. But the right brain is where visual and creative processes reside and it’s that part of the mind we are trying to engage when we draw. These warm-up exercises will help you to work up to thinking visually and should be used daily.
Everyone has to start somewhere, and if you’re interested in drawing this is it.
