- •Acknowledgments
- •Contents
- •Introduction
- •The Contributing Artists
- •Sketching Different Head Shapes
- •Facial Features
- •How to Draw Hair
- •Popular Comic Book Expressions
- •Grimaces
- •Anatomical Proportions
- •Body Basics
- •Building an Action Pose
- •The Action Figure, Step By Step
- •The Heroic Female Figure
- •Anatomy of the Hand
- •Basic Hand Poses
- •Heroic Hands
- •Female Hands
- •Turnarounds
- •Devastating Punches
- •Clean Punches
- •The Lunge Attack
- •Leaning Into the Punch or Kick
- •The Judo Shoulder Throw
- •David vs. Goliath
- •The Balance of Power
- •The Renegade Soldier
- •Sword-and-Sorcery Villains
- •Forces of Evil
- •Inventing a Villain
- •Beastly Villains
- •Hollywood Heavies
- •Dressed to Kill
- •Unearthly Creatures
- •Comic Book Beauties Then...
- •Femme Fatales Yesterday...
- •...And Today
- •Denizen of the Street
- •Beauty in All Shapes and Colors
- •Drawing from Photos
- •Good Gal Heroes
- •Strong But Sexy
- •A Hint About Skintight Costumes
- •One-Point Perspective
- •Two-Point Perspective
- •The Horizon Line and the Figure
- •Multiple Figures in Perspective
- •Hanging Figures on a Horizontal Line
- •Creating Volume with Perspective
- •Dynamic Angles
- •From Start to Finish
- •Using Pattern and Value
- •Special Effects in Space
- •Bursts
- •Putting It All Together
- •Effective Composition
- •The Establishing Shot
- •What a Comic Book Script Looks Like
- •Thumbnail Sketches
- •The Rough Layout
- •Preparing a Pencil Layout for Inking
- •The Final Inked Page
- •Inking Like a Pro
- •Stuff You Need to Know
- •Art Supplies Shopping List
- •Reflections
- •Light Source
- •Shading
- •Varying An Ink Line
- •Folds and Drapery
- •Designing Costumes
- •Rapid Fire
- •In The Crosshairs
- •Hidden Danger
- •Aggressive Assault Vehicles
- •Off-Road
- •Mean Machines
- •Sky Patrol
- •Fighter Planes
- •How Things are Supposed To Get Done
- •How to Get Your First Job
- •Interview With A Noted Comic Book Editor and Publisher
denizen of the street
Don't bring this one home to meet your mother. Trust me on
this. However, no one said you couldn't have a little fun with her on the pages of a comic book. The "tough" bad girl wears clothes that are so scanty she could cause a traffic accident in a parking lot. She is muscular, but drawn with plenty of feminine curves, lots of legs, and an attitude. She is resourceful and deceitful, and frequently has a crush on the hero, consequently leaving him with a moral dilemma: Does he stay loyal to the good girl, or give in to his darker impulses? Ah, to have such problems.
slighty shady ladies
Gray Morrow notes, “The good/bad girl,
the tramp with a 'heart of gold,' is similar, still seductive, but a bit less obvious. She undoubtedly has designs on the hero, but realizes that because she has a 'past,' she's not worthy. Therefore, she should be depicted as torn, uncertain, and moody, yet still alluring."
The classic “good girl”
According to Morrow, "The 'Good Girl' is the gal next door: fresh, open, a pal. She's definitely sexy, but less obvious, and less affected, than her 'bad girl' sisters. She's exuberant, perky, sympathetic, pensive, and unsophisticated. The examples below are, of course, all stereotypes,
presented as takeoff points or guidelines from which you can extrapolate your own."
big eyes, wide-eyed expressions, dimples, carefree or tousled hairstyles all help to define the “good girl”. also check with the women you know for make-up and fashion tips. women’s magazines can be a big help.
Beauty in all shapes and colors
Morrow observes, "For some strange reason-perhaps because it's a hard skill to master-many, if not most, cartoonists, when
drawing their version of a pretty girl, draw virtually the same girl all the time. Clothing and hair styles are changed to make one distinguishable from another, but features and figures remain the same. Since in real life there is an astonishing variety of attractive females, it seems a shame not to indicate that on paper."
all different types, all different features, all attractive. variety truly is the spice of life. note that eyebrows are not all solid black lines. liplines vary and the expressive hands add much to conveying the expressions.
“Agood-looking girl can be short or tall, slender or voluptuous, with a wide array of facial characteristics-a beauty mark, full or thin lips, a cleft chin, an aquiline
nose, high cheekbones, full lower lashes, and so on. Look around you and take note of the fact that not all 'gorgeous babes' are cookie-cutter Barbie Doll clones.”
mother nature is bountiful in her provision of model types. seek to make them convincing by giving them distinctive characteristics, gestures, expressions, attitudes. Costuming
is rarely “sensible”, but not to worry-These gals never seem to catch cold.