VOLUME1

Antarctic Press Presents : How to Draw Super-Powered Heroes Supersize TPB #1, June 2009, is published by Antarctic Press, 7272 Wurzbach, Suite
#204, San Antonio, Texas 78240. FAX#: (21 0) 593-0692. Text Chris Allen, David Hutchison and Brian Denham. Art Chris Allen, Brian Denham, Ben
Dunn and David Hutchison. All other material is TM and Antarctic Press. No similarity to any actual character(s) and/or place(s) is intended, and any such
similarity is entirely coincicental. Nothing from this book may be reproduced without the express written consent of the authors, except for purposes of
review or promotion. "That bullet was probably the best meal they had all year." Printed and bound in Canada.

GETTING
STAQTEO!

WHeN YOU STAQT OQAWING, ALL YOU QeALLY NeeO IS

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

PeNCILS

THe MOST COMMON TYPe Of

PeNCIL IS THe SIMPLe #(;) PeNCIL.
AQT STOQeS QefeQ TO THIS TYPe
AS AN HB. THe HAQONeSS Of THe
GQAPHITe VAQieS WIOeLY IN AQT
PeNCILS, fQOM GB (VeQY SOfT)
TO GH (VeQY HAQO).
MeCHANICAL PeNCILS PQOVIOe
A CONSISTeNTLY SHAQP POINT
BUT OON'T ALLOW fOQ SOMe
Of THe QOUGHeQ QeNOeQING.
THeQe'S A WIOe VAQieTY
Of PeNCILS. TQY GeTTING
ONe Of eACH TO fiNO
OUT WHICH YOU PQefeQ.

eQASeQS
We 00 NOT QeCOMMeNO THe
PINK THING AT THe eNO Of YOUQ
AVeQAGe #(;)PeNCIL. IT TeNOS TO
Be Of QeALLY LOW QUALITY ANO
LeAVeS NASTY SMeAQ MAQKS. A
HIGHeQ-QUALITY eQASeQ, LIKe A
KNeAOeO OQ VINYL eQA SeQ,
ALLOWS fOQ AN eASY fiX.

"
\

GeTTING
STAQTeO!

PeNS

AQT PENS COMe WITH TIPS Of

Olffek>eNT s1zes ANO SHAPes,
MEASUQEO BY THe MILL.IMETEQ.
THEY OfTEN COMe IN PACKS Of
fOUQ OlffEQENT SIZES: .001, .01,
.03, ANO .OS, WHICH IS PQETTY
MUCH ALL THe VAQIETY YOU
Neeo fQOM A fELT-TIP PEN.
BALLPOINT PENS, LIKE THOSe
USEO fOQ WQITING, AQE NOT
QECOMMENOEO, oue TO THe
KINO Of INK THEY USe ANO THe
WAY THe INK fLOW WOQKS.
CAQTQIOGe PENS HAVe
QEPLACeABLe INK CAQTQIOGes,
BQUSH PENS MAKe IT LOOK LIKE
YOU PAINTEO IN YOUQ INK L.INES,
QAPIOIOGQAPH PENS GET LINES
A CONSISTENT SIZE, ANO ...WeLL,
THEQe'S JUST AN INCQEOIBLE
VAQIETY. STAQT OUT WITH JUST
SOMe BASIC fELT -TIP PENS ANO
see HOW YOU LIKE THOSe
BEfOQe YOU TQY ANY Of THe
MOQe AOVANCEO STUff.

BQUSHeS

TO GET A COMPLETELY OlffEQENT

EffECT IN YOUQ WOQK, OQ If YOU
WANT TO use 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!

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.

"\

GeTTING
STAQTeO!

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.

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.

TEMPLATES
THeQe AQe TeMPLATeS fOQ OQ AWING
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 OQ AWING THe SUPeQHeQOIC 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
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. NOTE
HOW I AM QEPQESENTING
ALL SUQfACES AS HAQOEOGEO I fLAT PLANES HEQE I
EVEN THE ONES I SOfTENEO
UP IN THE fiNAL OQAWING.

" "'=~====-=------:-:-:-~

'-

He PLANeS Of
eQ L001( AT T NeQIC MALe
HeQe IS A
USING
THe FACe. T THIS PLANAQ y FACe TYPe.
HeAO,
BU APPLieD TO AN
CAN Be

C~~SAQe

~cfJsTQUCTION

PLANeS

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

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

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

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

TIGHTS

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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 THe FIGUQe.

TIGHTS

ooq

o oo
ooo

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.

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
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

0
0

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

Oe61GN

_;J------------------------------------------------------~-L-~
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.---------------------------~--1

TIMe TO OQAW
THe fiNAL PieCe!

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: ~

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.

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I STAQT BY SKeTCHING
IN THe BASIC fOQM ANO
ANATOMICAL HIGHLIGHTS...

\(

_/

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

Oe51GN

- -:::::::::====--:..r _

-.

--- ~ -

________________ __ ____________ _______ ___ _____ ____ ..,... _L_

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- ........ - - .................. I

f - - - - - - - - - - - - - -

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NeXT, I'LL SOLIDIFY THe

ANATOMY ANO AOO IN
THe COSTUMe LINeS ...

-r-------------------; -I

~----------------~----------~~~~--------~
,
\...../

) --- - -- ---- - ---- -- ------ - ---- - ----~-~/~

Oe61GN

,----------------- ---------- ----1

MODELING THE
CHAQACTE:QIN
CHQOM: ANO
CHECKING MY
ANATOMY ...

............................. I

p
0

I'M NOT SO
SUQ: ABOUT
THAT LefT
HANO ...

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

Oe51GN

WITH THE BASIC

OQAWING OONE, I
TQ ACE 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 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 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.

WITH MY SYMBOL
COMPLETED I LOOK TO
DESIGN MY FIGUQE. NOTICE
THAT I KEEP THE SUIT SIMPLE
ANO STQEAMLINEO I LETTING
THE SYMBOL I OESIGNEO BE
A SIMPLE FOCAL POINT.
I

Ill

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

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

\
~-------------------------------

--- ----

~---

,.....
I

LOOK AT WHAT HAS

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

Oe51GN

--- --- ~ - - - - -- --- - --- --- -- - ----..,....- L-

. . . . . . . . . . . . . . . . . I

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.

Oe61GN

WITH MY BASIC SKETCH OONE,

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

Oe51GN

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

I'M DESIGNING AN
UQBAN VIGILANTE:
CHAQ ACTE:Q HE:QE:.
NO POWE:QS, BUT
AQMOQ, GUNS, ANO
A fQIGHTE:NING
LOOK MOQE: THAN
MAKE: UP fOQ THAT!

Oe6I6N

AS MOQBIO AS THIS IS I I
ACTUALLY GOT THE IOEA
fOQ THIS CHAQACTEQ BY
WATCHING SAOOAM
HUSSEIN GETTING
PQEPAQEO TO BE
HANGED ON THE NEWS!
I 010 A QUICk: Sk:ETCH
Of THE CONOEMNEO
MAN CHAQACTEQ
fLANk:EO ON EITHEQ
SlOE BY ''LOST SOULS."

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
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I

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~----t

r------- -

.... . ... ...... J

:o'e~

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
ANO THE
COSTUME LINES.

I
--1
I.

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

--------

~J------------------------- - ---------------------------AS I MOOEL THE

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

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

- - - . - - - J

Oe5IGN

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

Oe5I6N
fiNALLY, I fiLL IN MY
BLACKS ANO AOO IN THE:
GUNS ANO PILLAQS. I
WOULON 'T WANT TO
CQOSS THESE: THQE:E:!

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

Oe5I6N

"'--::::::::::===~~.t

------------------------------------------------------.. . . -1-1
.--------------------------------

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

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~-

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Oe5IGN

..

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

I \

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

Oe5I6N

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

,.................. .
I

NOW I MOOeL THe fiGUQe.

THeQe'S SOMeTHING NOT
QIGHT WITH THIS OQAWING,
BUT I CAN'T QUITe PUT
MY fiNGeQ ON IT...YeT.

....................... I

Oe5IGN

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

Oe5I6N

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

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.
NOTICe HOW THe LINeWOQK IS
KePT SMOOTH. OQAWING A QOUGH
TeXTUQe ON CHQOMe CAN THQOW
Off THe LOOK Of THe TeXTUQe.

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 WAY LIGHT fALLS ON THe
fiGURe--IN THIS CASe, fROM A BRIGHT PRIMARY LIGHT
SOURCe ANO A OIMMeR SeCONDARY LIGHT SOURCe.

:o--'

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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 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 ...

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
WIL..L.. MA~e YOUQ fQieNOS 01200L.

Flf2e

THe PQIMAQY THING TO QeMeMBeQ ABOUT fiGUQeS MAOe

Of fiQe OQ PLASMA IS THAT THeY AQe THe LIGHT SOUQCe.
THeY eMANATe LIGHT. 50 THe TASK BefOQe YOU IS TO
CQeATe THe ILLUSION Of INTeQNAL QAOIANCe.

.._"" \.

<
~

(
\___

.r

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.
~--

...._

r~
}~

Flt;e

ILLUSTQATING INTeQNAL QADIANCe IS BeST

DONe BY SHOWING A LIGHT GLOWING
THQOUGH A SUCCeSSION Of THQee LAYeQS.

THe INNeQMOST LAYeQ

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

THe MIDDLe LAYeQ IS QeNDeQING TO

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

THe OUTeQMOST LAYeQ SHOULD

CONfOQM TO THe SHAPe Of THe
fiGUQe AND IS TQ ANSLUCeNT
IN ITS NATUQe, AS IT IS MADe
UP Of fiQe OQ PLASMA.

Flf2e
_j _ _ ___________ __ _____________ _ _______ _ _ _ _ _ _________ _ _ _ _ __ __ _ l

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

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I STAQT WITH A SeT OF FIGUQeS I

FOUNO IN THe ANT AQCTIC 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
MINO 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"/ __________ _ _____ _

_ j _________________________________________________ _

Flt;e

NEXT, I ELIMINATE ALL THE

ELEMENTS EXCEPT MY MAIN
fiGUQE ANO DEfiNE HIS
HAQO ESTABLISHING LINES.

I'M PAYING ATTENTION TO

THE INTEQNAL QAOIANCE
EVEN AT THIS STAGE.

Flf2e

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 OONE!

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.
! OQ A W SOMe GUIOeL..INeS
QAOIATING fQOM THe MAIN
L..INe TO SUGGeST WHf;Qf;
THe eNeGY SPIKeS WIL...L. Se.

"\

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 THE
CONCENTQIC CIQCLES
WITH THE ENEQG Y 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
AWeSOME: POWE:Q.

"\

WITH THE: E:NE:QG Y

effeCT fiNALIZE:o I
IT'S TIM: TO INK!

OKAyI WE:'QE: ALL OONE:

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

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

..

STAQT WITH SOMe

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

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

USE
THIS NEW POWEQ
WISELY!!

"\

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

\
MAKE YOUQ QUNNEQ
LEAN FOQWAQO I
QEALLY SHIFT HIS
CENTEQ Of GQAVITY TO
COMPENSATE FOQ THE
HIGH QATE Of SPEEO.

fOQ THE SPEEO AFTEQEffECT I ESTA BLISH THE

HOQIZON LINE ANO OQAW
LINES QECEOING fQOM
OUQ SPEEOEQ TOWAQO
THE VANISHING POINT.

Ill

'\

SPEED

NOW fOR THE COSTUME. IN SPITE

Of THE fACT THAT I'VE GIVEN HIM
A CLASSIC LIGHTNING SOLT
MOTif I WANT TO MAKE SURE I
DON'T CONFUSE THE VIEWER.
I

OUR GUY IS
LIGHTNINGQUICK. 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.

SP::0

ALL QIGHT, HEQ: 11

AQ: THE INKS. II

I INK:0 THE SP::0 Ill

LINES WITH A QULEQ II
ANO MAO: SUQ: TO
KEEP EVEQYTHING
POINTING TO THE
VANISHING POINT.

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

SPEED

NOW WE'QE GETTING

SOMEWHEQE fAST!!

IN OQOEQ TO AOO THESE

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

"\

THEN INK AN OUTLINE

TO SHOW WHATEVEQ
EffECT YOU LIKE!

!N THIS EXAMPLE,
DQ AMA TIC LIGHTING

IS GOING TO Be KEY
TO DEPICTING THE
POWEQS OUQ HEQO
IS GENEQ A TING.

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

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

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.

\.

'\

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.

"\

ONCE I'VE DQAWN IN

THE GQID I I CAN
MAKE AN INDICATION
Of WHEQE I WANT
THE SHADOWS TO
BE ON THE fiGUQE.

QEMEMBEQ THAT If THE

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

'\

NOW I CAN ST AQT

THe INKING PQOCeSS.
I BeGIN BY OUTLINING
THe SILHOUeTTe Of
THe CHAQACTeQ.

AS YOU CAN See,

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

'
I

\\

_(

/'~
I
.

"\

\~\ ,,\
\\

-~

~ ~~

ONCE I'M HAPPY WITH

THE BASIC LINEWOQ((, I
CAN STAQT TO fiLL IN
THE SHAOEO AQEAS.

I TENO TO USE TWO

BQUSHES: ONE TO GET
INTO THE TIGHT AQEAS I
ANO AN OLOEQ BQUSH
THAT I USE fOQ fiLLING
THE LAQGE, OPEN AQEAS.
A PEQMANENT MAQ((EQ
WOQ((S AS WELL.

'\

WITH THe MAJOQ

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

HeQe I JUST WeNT IN ANO

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

"\

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
WIDTHS I AND DON'T
BE AfQAID TO THQOW
DOWN SOME SPATTEQ
HEQE AND THEQE.

'\

BEfOQE GETTING INTO A

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

HEQE, I'VE SKETCHED

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

"\

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

NOW I GO AHEAO ANO

SKETCH IN THE EffECTS
SO I HAVE A QOUGH IOEA
Of WHEQE THEY'LL BE IN
THE fiNAL OQAWING.

I'M ALSO GOING TO

TAKE SOME TIME ANO
QUICKLY QOUGH IN
SOME INOICATIONS Of
SHAOING ON THE fiGUQE.

'\
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 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''

"\
\

AT THIS POINT, I WANT TO

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

WHEN THINKING Of
THE ELECTQICITY IN
PAQTICULAQ, I WANTED
TO SEE SOMETHING A
LITTLE DlffEQENT.
SO I GIVE THE BOLTS
A VEQY SHAQP AND
AGGQESSIVE LOOK
THAT YOU DON'T
NOQMALLY SEE.

'\

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

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

"\

I LEAVE THE HANO

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

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.

'\

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

WITH effeCTS LIKe

THIS, TAKe CAQe TO
DQAW THe WHOLe
fiGUQe, eVeN If IT
PASSeS BeHIND THe
BeAM. DON'T TQY TO
GUeSS, OQ YOU'LL eND
UP WITH BODY PAQTS
WHeQe THeY WOULDN'T
ACTUALLY Be.

"\

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.

YOU MIGHT ALSO WANT TO

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

HEQE AQE THE

INITIAL INKS.

IN THE AQEAS WHEQE

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

NOW fOQ A
LITTLE MOQE
EMBELLISHMENT.
IN THIS CASE I I
CHOSE CEQT AIN
PAQTS Of THE
COSTUME THAT I
COULD DAQk:EN IN
OQDEQ TO GIVE
SOME DIMENSION
TO THE fiGUQE.

I GAVE THE OUTLINE Of

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

..

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

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.

"\

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

NOW LET'S TAKE A

LOOK AT MAKING
fiQEBALLS.

SKETCH OUT A
fiGUQE IN A
PQOPEQ THQOWING
POSE AND DQAW
SOME CIQCLES TO
INDICATE THE
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
CHAQ ACTEQ IN THE
MINO Of THE
VIEWEQ WILL HELP.

"\

ON TO THE INKING.
WHEN DQAWING
fiQE, TQY TO KEEP
THE LINE ALIVE
AND MOVING.
TQY TO GIVE IT
A fLOW, AND
DON'T LET IT
GET BOQING.

fOQ THE fiQEBALLS I

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

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

'\

HE:QE: AQE: THE:

fiNAL INk:S I WITH
SOME: OlffE:QE:NT
TQE:AT ME:NTS fOQ
THE: fiQE: EffECT
ON THE: BALLS.
WHA TE:VE:Q EffECT
YOU OE:CIOE: WOQk:S
fOQ YOU, MAk:E: SUQE:
THAT IT MATCHE:S
WELL WITH YOUQ
CHAQACTE:Q OE:SIGN.

"\

ONe-POINT PeQSPeCTIVe
IS THe MOST BASIC ANO
eASY-TO- UNOeQSTANO
Of THe PeQSPeCTIVe
QULeS. SIMPLY PUT, ALL
LINeS QeCeOING fQOM
THe VleWeQ MeeT AT ONe
POINT ON THe HOQIZON.

WHeN CQeATING A OQAWING

USING ONe VANISHING POINT, TQY
TO KeeP THe COMPOSITION Of
THe fQAMe IN MINO. I TeNO TO
KeeP THe VANISHING POINT Off
CeNTeQ, AS THAT CAN GIVe THe
OQAWING A SYMMeTQICAL feeL.

/
/

'\

ONe-POINT

ONe Of THe PQOBLeMS WITH

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

THe eYe TeNOS TO Be fOQCeO TOWAQO THAT SPOT OUe

TO THe MAIN PeQSPeCTIVe LINeS ACTING IN A SIMILAQ
WAY TO THe fOCUS LINeS We See IN MANGA, OQAWING
YOUQ ATTeNTION TO A SPeCifiC AQeA Of THe PAGe.

"\

THeQe AQe WAYS TO OeAL

WITH THIS WHICH I 'LL SHOW
IN A LA TeQ eXAMPLe!

ONE-POINT

TO OQAW THIS CITYSCAPE,!

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

ONCE THAT WAS OONE, !

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

'\

ONE-POINT

AT THIS POINT,! CAN 8eGIN

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

"\

eVeN THOUGH IT IS STILL

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

ONE-POINT

WHILe THIS IS PQIMARILY A ONePOINT PeRSPeCTIVe SHOT, You WILL

NOTICe THAT THeRe ARe MULTIPLe
VANISHING POINTS ON THe HORIZON.

.- --. I

'\
THIS IS SIMPLY TO AOO A
LITTLe MORe VISUAL INTeReST
TO THe SHOT ANO TO HeLP
GeT THe eYe MOVING AROUNO
THe PICTURe A BIT MORe.

ONE-POINT
NOW THAT MY L.A YOUT IS
PQE:TTY MUCH fiNAL.IZE:O I I
CAN Tl2ANSfE:l2 IT ONTO
AN IL.L.USTQATION SOAQO
USING A L.IGHT T ASL.E:.

"\

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

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

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.

'\

THe HOQIZON LINe IS

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

HeAO ON

HOk'IZON

LOOKING OOWN

"\

If YOU AQe PLANNING

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

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

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

'\
GIVe IT A TQY
YOUQSet..f !

II

AT flt:?ST GLANCe, THIS

MIGHT SeeM TO Se A ONePOINT~ Pet:?SPeCTIVe SHOT.
ACTUALLY; ,THIS SHOT HAS
TWO VANISHING POINTS.

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.
/

~
/

_..,/'

'

"\

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

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

THe INKING STAGe IS A

GQeAT TIMe TO AOO LITTLe
OeT AILS ANO MAKe THe
PLACe LOOK l..IVeO-IN.

IT'S ALSO THe TIMe TO

STAQT AOOING IN THe
HeAVY BLACK Al2eAS
TO HeLP AOO OePTH
ANO MAKe PAQTS Of
THE PICTUQE P 0 7

"\

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

THIS AOOS ANOTHeQ

INTeQeSTING VISUAL
ASPeCT THAT HeLPS
KeeP THe eYe ACTIVe
ANO MOVING
AQOUNO THe PAGe.

'\
CQeATING A GQANO SeNSe Of
scALe CAN Be 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.OINGSTYLe SLOCKS USING THe
MULTIPLe VANISHING POINT
IOeA. AS ! WAS LOOKING
AT IT, I ReALIZeo THAT IT
OOeSN'T CONVeY THe IOeA
VeRY WeLL. THe VANISHING
POINTS ARe TOO CLOSe
TOGeTHeR, ANO THe
SLOCKS OON'T LOOK
AS If THeY'Re ReCeOING
TO OlffeReNT POINTS
ON THe HORIZON.

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

"\

~:OJ?'

ic:I:l

'

EXPEQIMENT ANO GEE

WHAT WORKS fOR YOU.

oCD OJ
[] 0
II
II

MULTI-POINT Pef2SPeCTIVe IS useD

fOf2 DePICTING osveCTS f2eSTING
AT Dlffef2eNT ANGLeS ON A PLANe.
fOQ INSTANCe, SUILDINGS IN A CITY
DO NOT ALWAYS SHAQe THe SAMe
VANISHING POINTS. ADDITIONALLY, Ill
NOT ALL SUILDINGS HAVe SQUAQe
OQ f2eCT ANGULAQ fOOTPQINTS.

KeePING THIS IN MIND,

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

GOOD LUCK KeePING

TQ ACK Of THeM ALU

'\

CD

WITH THQee-POINT PeQSPeCTIVel

1
YOU 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.

"\

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 MIGHT
Be ASKING IS,''WHAT'S WITH
ALL Of THeSe BOXeS?''

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.
PQIMITIVe SHAPeS LIKe THeSe AQe
SIMPLY STePPING STONeS TO MOQe
COMPLeX CQeATIONS LIKe BUILOINGS,
CAQS, PLANes, OQ eveN PeoPLe.

TO fiNISH OUT THIS eXAMPLe,

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

'\

PEOPLE

WHeN PLACING PeOPLe

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

ASSUMING THe CHAQACTeQS AQe

ON Leva GQOUNO, YOU BeGIN BY
PLACING A MAIN CHAQ ACTeQ ANO
ALLOWING THe HOQIZON TO CQOSS
THQOUGH AT A GIVeN POINT--IN
THIS INSTANCe, THe HeAO. If YOUQ
GQASP Of PQOPOQTION IS GOOO,
YOU WILL Be ABLe TO SCALe THe
OTHeQ CHAQ ACTeQS IN 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.

"\

! 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 ...

AS LONG AS THe HOQIZON

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

NOW THAT We HAVe A

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

'\

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.

"\

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

PEOPLE

AS LONG AS YOU KeeP THeSe

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

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

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 QA THeQ THAN A
WOQLO CONQUet:?et:?!

'\

PEOPLE

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

CHAQACTE:QS Of OlffE:f21NG SIZeS
ON A QE:GUL..AQ 8ASIS, SOME: 8E:ING
UNNATUQAU...Y L..AQGE: OQ SMAU...,
YOU CAN ASSIGN AN AQE:A THE:
HOQIZON Cf20SSE:S fOQ E:ACH
CHAQACTE:Q 800Y TYPE:.

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

If YOU CHANGE: CAME:QA ANGLE: OQ
YOUQ CHAQ ACTE:f2S AQE: ON UNE:VE:N
GQOUNO. IN THOSE: CASeS, YOU WIU...
NE:E:O TO HAVE: THE: SIZE: QE:L..ATIONS Of
YOUQ CHAQACTE:QS WOQKE:O OUT ANO
HAVE: A HE:AL..THY OOSE: Of PE:QSPE:CTIVE:.

"\

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 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!

"\

'~

IN ACTION

LeT'S PUT SOMe Of THeSe

PQINCIPLeS INTO PQACTICe!

I'
J

.r

'\
-------

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

(I

JUST MAKe SUQe THAT YOUQ

CHAQ ACTeQS AQe fOLLOWING
THe SAMe PeQSPeCTIVe
QULeS YOU SeT OOWN fOQ
THe f2eST Of YOUQ PICTUQe.

"\

YOU MAY NeeO TO SeT OOWN

A PeQSPeCTIVe GQIO TO MAKe
SUQe eVeQYTHING AGQeeS.

NOW! WANT TO TUQN

MY ATTeNTION TO
THe BACKGQOUND.

,. ~ -'

'

'
,. <

,. -

l {t

'
"

r'

,-/

\
-

"'

'

-,..

\..

),

..

,.

"'I

';:-~

<'

\..

--
--~

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

'\

IN ACTION

LeT'S STAQT LAYING IN THe

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

ONCe ! HAVe THe BASIC

STQUCTUQe Of THe
BUILOINGS OOWN, PLACING
THe SeCONOAQY
eLeMeNTS--WINoows,
ooo12s, SIGN AGe ANO BITS
Of OeB!21S--COMeS NeXT.

1
l
I

;.

"\

..

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

"\

STAQTING A
NEW PIECE.

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.

THE SECONO PICTUQE

HEQE IS TIGHTEQ WITH
POSSIBLE COSTUME
IOEAS INCLUOEO.

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.

STAQTING A
NEW PIECE.

I QEMOVEO THE
COSTUME ANO
CONTINUEO TO
PENCIL A MOQE
COMPLETE
fiGUQE.

NOW IT'S TIGHT

ENOUGH fOQ ME TO
STAQT INKING so I 'LL
MOVE TO THAT STAGE.
I

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.

STAQTING A
NEW PIECE.

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.

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.

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

NOTE THAT I ALSO AOOEO A

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

STAQTING A
NEW PIECE.

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.