Drawing Cutting Edge Anatomy: The Ultimate Reference Guide for Comic Book Artists

Thanksto:

AlisaPalazzo,BobFerro,CandaceRaney,

EllenGreene,andBobFillie.

CONTRIBUTINGARTISTS:

RonAdrian:3.14,3.17,7.4–7.10,7.14,7.15,7.30–7.33,8.2,8.3

DarrylBanks:0.1,3.1–3.5,3.21,3.22,4.1,4.2,4.11,5.1–5.4,5.6–5.11,5.18–6.15,7.1–7.3,

7.20–7.21

WillConrad:1.11–1.11,2.14,2.24,3.48,4.6,4.12–4.25,5.5,5.12,5.14,8.1,8.4–8.9

KeroneGrant:1.3–1.7,1.9,1.13–1.29,2.25–2.40

ChristopherHart:7.13,9.1–9.13

AdrianoMelo:3.24–3.29,4.3,4.7,4.26–4.37

PopMhan:0.2,1.1,1.2,1.8,2.1–2.11,2.18,2.19

NicolaScott:3.31–3.42,6.17–6.24,7.11,7.17,7.22,7.29

Covercolor:MADADesign,Inc.

Coverart:DarrylBanks

Interiorcolor:Brimstone

SeniorEditor:CandaceRaney

ProjectEditor:AlisaPalazzo

Designer:BobFillie,GraphitiDesign,Inc.

ProductionManager:EllenGreene

Publishedin2004

byWatsonGuptillPublications,anImprintoftheCrownPublishingGroup,adivisionofRandom

House,Inc,NewYork

www.crownpublishing.com

www.watsonguptill.com

LibraryofCongressCataloging-in-PublicationData

Hart,Christopher.

Drawingcuttingedgeanatomy:theultimatereferenceguideforcomicbookartists/

ChristopherHart.

Includesindex.

ISBN0-8230-2398-2(pbk.)

1.Humanbeings—Caricaturesandcartoons.2.Figuredrawing—Technique3.Cartooning—

Technique.4.Cartooning—Vocationalguidance.I.Title.

NC1764.8.H84H372004

741.5—dc22

2004012864

Allrightsreserved.

eBookISBN:978-0-77043486-1

TradePaperbackISBN:978-0-8230-2398-1

CONTENTS

TitlePage

Copyright

INTRODUCTION

THEFOUNDATIONTHESKELETON

THEMUSCLES

THEMUSCLESINPROFILE

SIMPLIFYINGTHEBODY(WHENROUGHINGOUTAPOSE)

AGECHART

HEIGHTCHART

BODYSHAPES:MEN…ANDWOMEN

BODYLANGUAGE

MUSCULARDETAILSTHEPRIMARYMUSCLESINACTION

EXTREMEBULK

EXTREMEVEINS

DRAWINGVEINSTHATPOP

PRIMELOCATIONSFORSUPERVASCULARITY

SURFACEMAPPING

THEEFFECTSOFLIGHTONTHEBODY

THEHEADANDNECKTHESKULL

THEMUSCLESOFTHEFACE

DRAWINGTHEEYES

MALEEYESVS.FEMALEEYES

THETYPICALMALEHEAD

THETYPICALFEMALEHEAD

DROP-DEADGORGEOUSHEADTILTS

DRAWINGTHEEARS

THEMAINNECKMUSCLE

THEMAINNECKMUSCLEINMOTION

THEHEAD,NECK,ANDSHOULDERAREA

THECHESTANDABSTHERIBCAGE

BASICCHESTSTRUCTURE

THEMALETORSO

WASHBOARDABS

THEMUSCLESONTOPOFMUSCLES

ARMSDOWN

ARMSUP

THEMALETORSOINMOTION

THEFEMALETORSO

OPPOSINGFORCES

THEFEMALETORSOINMOTION

THEBACKANDSHOULDERSUPPERBACK,RELAXED(ARMSDOWN)

UPPERBACK,FLEXED(ARMSUP)

LOWERBACK

SURFACERENDERING

CONTRACTINGTHEBACKMUSCLES

COOLCOMICBOOKPOSESFORTHEBACK

THEMAJORMUSCLEGROUPSOFTHESHOULDER

THESHOULDERSINMOTION

COOLCOMICBOOKPOSEFORTHESHOULDERS

THEARMSANDHANDSARMBONES

GENERALMUSCLEINFO

THEMUSCLESBETWEENTHEBICEPSANDTRICEPS

THETRICEPSINACTION

THEFOREARM

PUNCHING:THEFOREARMTWISTINACTION

COOLCOMICBOOKPOSESFORTHEARMS

THEHANDS

DRAWINGEXPRESSIVEHANDS

VARIOUSHANDPOSES

THEPELVIS,LEGS,ANDFEETTHEPELVIS

THELEGBONES:ANOVERVIEW

LEGBASICS

SIDEVIEW

THELEGMUSCLESINBULK

THEFEMALELEG

SIDEVIEWOFTHEFEMALELEG

THETROUBLESPOT:THEKNEE

BACKVIEW

CALFMUSCLES

FEMALECALFMUSCLES

DRAWINGFEET

THEBONESOFTHEFOOT

SHOESANDBOOTS

THECOMPLETELEG

THECOMPLETEFEMALELEG

ELEMENTSTOPRACTICEHOWTOBEGIN

RENDERINGTHEMUSCLES

WOMENANDTHESARTORIUS

LATSANDAGOODBACKVIEW

RIBCAGEPOSES

KEEPINGITSIMPLE

THEBIZSTARTINGOUT:THEASHCANANDOTHERSTRATEGIES

SWITCHINGSIDES

THEINTERVIEWSMIKEMARTS,MARVELCOMICS

CHRISWARNER,DARKHORSECOMICS

SCOTTALLIE,DARKHORSECOMICS

AbouttheAuthor

INTRODUCTION

Thetrendincomicstodayistowardmoreextremefigureswhosemusclesarebiggerandmoredefinedthanever.Whilethiscreatespowerful,excitingcomicbookcharacters,itcanpresentaproblemfortheartist,whoneedstobecomemorefamiliarwithstylized,cutting-edgeanatomy.

Ifthere’sonethingaboveeverythingelsethatcomicbookartistsmustknow,it’showtodrawthehumanfigure.Therefore,manycomicbookartistsstockuponanatomybooksbutareoftendisappointedwiththeirpurchases.Why?Becauseanatomybookstypicallyillustratethemusclegroupsonmannequinlikefigures,standingatattention;themomentyoudrawafigureinanactionpose,thepositionsofthemuscleschange—andtheexampleintheanatomybookisofnousetoyou.

Youneedabookthatgivesdetailedexamplesofanatomyasitappearsinallthetypicalcomicbookposesyoumightdraw.And,youneedenoughexamplessothatyou’llstartrecognizingthecorrectplacementofthemusclegroups.That’sthepointatwhichunderstandingtakestheplaceofmemorization.

Inaddition,mostanatomybooksshowthemusclesonfiguresonwhichtheskinhasbeenremoved.That’sgreatifallyouwanttodoisdrawcadavers.Butintherealworld—andthecomicbookworld—peoplewalkaroundwiththeirskinon.Andtheskinandfatlayershavetheeffectofmaskingthedeeperandless-definedmuscles.Whyshouldyouhavetoguesswhichmusclesshowthroughtothesurface?Thisbooklaysitoutforyouinblackandwhitesothatyoucancomparethemuscleswithouttheskintothemuscleswiththeskin(referredtoassurfaceanatomy).You’llevenlearnhowtodrawthemusclesastheyappearthroughclothesandcostumes.

Thisbookishighlyreadable—maybethefirsthighlyreadableanatomybook.MostonlyusetheLatinnamesofthemuscles,makingthingshardtorememberandevenhardertounderstand.Inthisbook,

you’llnotonlygettheLatinnamesofthemusclegroups,butalsotheregular,everydaytermsforthem,aswell.Forexample,ifamuscleislabeledscapula,I’llalsotellyouthatthisistheshoulderblade.

You’llalsolearnhowtodrawavarietyofbodytypesandhowtoadjustthepostureasthebodyages.Andsothatyou’llhaveplentyofexamplesonwhichtopractice,thisbookhasmanystep-by-stepillustrationsoforiginal,excitingcomicbookcharactersthatincorporatethemusclesandanatomyyou’llbelearning.

Thebookcloseswithtwoinvaluablesections:Thefirstdescribesthestepstotaketogetpublishedincomicssothatyoudon’thavetoinventthepathtosuccess—it’sallexplainedtoyou,indetail;you’lllearnexactlyhowtocapitalizeoneachsuccessinordertoreachthetopstratainthebusiness.Thesecondfeaturesthreeamazinginterviewswitheditorsfromtwogiantsofthecomicsindustry:MarvelComicsandDarkHorseComics.You’llgetinsiderviewpointsonhowthecomicbookbusinessworks,howtoapproacheditors,andwhatthemostimportantqualitiesareinacomicbookartist.

THEFOUNDATION

Theskeletonisthefoundationofthebody.Observingitwillshowyouwhythebody’scontoursarewheretheyare.Tobesure,notallartistssketchouttheskeletonbeforeroughingoutapose(although

somedo).Butallaccomplishedillustratorshaveenoughbasicknowledgeoftheskeletontohaveanintuitivesenseofthebody’sframework.Takealookattheunderlyingstructureofthebody,andjustkeepthisstuffinthebackofyourmindasyouprogresstowardmasteringanatomy.

THESKELETON

WhenyoutakealookatMr.andMs.Boneshere,dothefollowing:Noticehowtheribcageactuallywidenstowardthebottombeforetaperingbackinalittle.Observehowmuchspacethereisbetweenthelowestribandthepelvis.Notehowthickthejointsareattheelbowsandknees.Allgoodthingstobeawareof.

Themaleskeletonisslightlylargerthanthefemaleskeleton,withthickerbones.Themaindifferenceisinthepelvis(hips).Men’shipsaretallerfromtoptobottom,butnarrowerfromsidetosidethanwomen’ships.Women’shipsarewidestwherethefemur(thighbone)meetsthepelvis.That’swhereabigball-and-socketjoint(theoutermostpointofwhichisthegreattrochanter)islocated.Okay,sotheboneshavecomplicatednames.Relax.Thisisn’tbiologyclass.Youdon’thavetomemorizeathing.Noone’sgoingtoquizyou.Whatyouwanttonoticeistheangleofthebonesandtheirbasicshapes:Noticehowthecollarbonedipsatthecenterwhereitmeetsthesternum(breastbone).Notehowthefemur(thighbone)anglesinwardasitapproachesthekneeareabutthetibia(shinbone)travelsstraightdown.Alsonotehowlargetheshinboneisatthebottom.That’swhatgivestheankleitsmass.

THEMUSCLES

Youcan’tfightbadguysunlessyouhavebigbicepsandafewotheroversizedmusclegroups.Again,there’snoneedtomemorizethese.Justfamiliarizeyourself.Eachgroupofmusclesinterlaceswiththenextgroup,andsoon.I’llgothrougheachindividualmusclegroupstepbystepinaclear,easy-to-followmethodsothatyou’llgetit.“Goslow”isthekeytoourapproach.

Andnoteanewpointtorememberhere.Thesecrettodrawingstrongcharactersisthreefold:make’emwideontop,narrowatthewaist,andbiginthelegs.Lookto“bunch”theshorter,morecompactmusclesoftheuppertorso(theabs,pecs,anddelts).Looktocreatestriations(longlinesofdefinition)onthelonger,thinnermusclesofthelegs(thethighandcalfmuscles).

BACKThe“lats”(youbodybuildersknowthatlatsstandsforlatissimusdorsi)dominatetheback.Theshoulderstopthelatsoffwithevenmorewidth.The“traps”(morebodybuildinglingoforthetrapezius)givestheneckahunchedlook,whichisexcellentforhighlightingbrutestrength.Thegastrocnemius(calf)isthebicepsofthelowerlegandbulgesaccordingly.Theexternalobliques(whatyourgirlfriendderisivelycallsyourlovehandles)areactuallymusclesthatyouwouldseeifyoueverlostthoselasttenpounds.

FRONTWomenhaveahigherpercentageofbodyfatthanmen(justdon’ttellthemthat).Oncomicbookfigures,youindicatethisbodyfatbycreatingfullercurveswithouthighdefinition.That’snottosaythatthecomicbookwomanissoft,buthermusclesarelongandlean—anddon’t“bunch”likethemusclesonacomicbookman.Youdon’twantherlookinglikeafemaleprofessionalbodybuilder.Thinkmoreintermsofherbeingatonedathletewithlooksthatcouldkill.

BACKWhencomparingfemaleanatomytomaleanatomy,thefirstthingyou’llnoticeisthatherlatsdon’tgiveherthatwide-backlook.Also,hertrapsaren’tanaccentuatedmusclegroupbecausesheneedsalong,supplenecktoretainherfemininity.Neverdrawherexternalobliquesasseparatemuscles,astheyappearonaman;there’sno“bumpout”oftheobliques.And,shehaswidehipsandfull,muscularthighs.Also,square—notdrooping—shouldersareafemininelook.

THEMUSCLESINPROFILE

Musclesthatlookedslenderfromthefront,suchasthevastusexternus(outerthighmuscle),areoftenrevealedtoactuallybequitemassivewhenviewedfromtheside.Theexternalobliquesareprominentatthisangle.Andtheentiredeltoid(shoulder)musclegroup—whichisreallycomprisedofthreeheads(front,middle,andback)—isoverpoweringonthemalefigureinthisview.Note,too,howthecollarbonejutsoutslightlyatthebottomoftheneckonboththemaleandfemalefigure.

SIMPLIFYINGTHEBODY(WHENROUGHINGOUTAPOSE)

Whenroughingoutaninitialpose,there’snoneedtofocusongettingthemusclegroupsjustright.Atthisstage,you’reonlylookingforagoodpose.Whyworktogetalltheindividualmusclesrightwhenyoumightnotevenlikethepositionofthecharacter?It’swisertodrawtwoorthreesimplifiedposes,choosetheoneyoulikebest,andthenrefineitbeforesculptingthemuscles.Simplifiedfiguresaremadeupofonlythemajorbodyparts,hingedtogetherbyball-and-socketjoints.

Note:Whenprofessionalartistsusesimplifiedfigures,theydon’tgenerallydrawascleanlyastheexamplesonthesetwopages.Theirlinesaresketchierandlooser,whichcomeswithyearsofexperience.Someartistswillusealotofdetailinsketchingoutaparticularareaofthebody,asithelpsthemtovisualizetheposebetter.Otherswillsimplifyitfurther,forexample,drawingtheribcageasanoval.Othersusestickfigurelinestoindicatethearmsandlegs.Everyonehashisorherownmethod.Theonlyrequirementisthatthesimplifiedsketchconveysthefeelingofthepose.

AGECHART

Agecreatesseveralnoticeablechangesinthebody,includinginheightandposture.Inadulthood,thebodydoesn’tjustgrowtaller,itfillsout.Theframegetlargeranddenser.Thecheststicksout,andthecurveofthelowerbackbecomesaccentuated.Thepostureofmiddleagedpeopleandseniorcitizens,however,isthereverseofallthis:thechestcurvesinandthelowerbackswaysoutward.Thestomachmuscleslosetheirtone,resultinginapaunch,evenifthecharacterisnotfat.Gravityalsoaffectsthebody.Asweage,partsstarttosag.That’swhenlotsofpeoplepurchaseantigravitydevices,alsoknownasfacelifts.

HEIGHTCHART

Differenttypesofcomicbookcharactersaredepictedatdifferentheights.You’vegottomatchthecharactertypewiththecorrectheight.You’renotgoingtoseeafive-foot-tallheroincomics.Notgonnahappen.

Overtheyears,somestereotypes(basedonheight)havefallenintoplace.It’sinthepublicconsciousness.Therefore,itbecomesanunwrittenlaw.Sohereitis,inwriting:AnAverageGuyincomicbooksis7headlengthstall.(Theaveragereal-lifepersonisabout6½to7headstall,buteverythingisexaggeratedincomics.)TheHero(theleading-mantypeoracostumedhero)istaller,at8heads.Remember:thetalleracharacteris,thebiggerthebodywillbebycomparison.Abigger-lookingbodytranslatesintomorepower.So,thenextfigureistheAntihero(agoodguy,butjustbarely),andhecomesinatanimpressive10headstall.Followinghimisaverypopularcharactertype,theBrute,atacool12headstall.ThentheGiant,atawhopping15headstall.Theselasttwoarenottobemessedaroundwith.They’realwaysinabadmood.

Femalecharactersstartat6½to7headstall.Theycanbeexaggeratedtoupto12headstall,butthisisnottoaddasenseofrawpowersomuchastopromoteasenseoflong-leggedsexappeal,grace,andacommandingpresence.

BODYSHAPES:MEN…

Inadditiontoageandheight,bodytypealsocreatesanddefinesspecificcharacters.Whiletherearesomenormal-lookingfiguresincutting-edgecomics,notethattheHero,theBrute,andtheVillainarealljustthatmuchmorepumpedup.That’swhatmakesthemcuttingedge.

REGULARJOEHe’snotanactionhero,justyourtypicalguy.He’sthetypewhotransformsintoanactionhero

orplaystheconfidant.Nogreatmusclesordefinition.Slightlytallerthanaverage.

FATGUYHeavypeopleareoftenstereotypedasjolly;butincomics,theycanplaythevillain,aswell.

BRUTEHehasathick,massivebodywithapelikeposture.Hisarmsaremuchlongerthantheyshould

be,andhislegsareshorter.Hisheadshouldlookpastedontohisbody.Andleaveoutthe

neck;thisgiveshimahunchedposture,whichisgoodforbrutishcharacters.

EVILGENIUSHe’sskinny,butwithsmall,definedmuscles.Thisgiveshimacraftylook.Hispostureisusually

poor,withasunkenchest—asuresignofcomicbookvillainy.Onskinnycharacterslikethis,

theribsstickout,butnotthemusclesoftheribs.

HEROThisisaV-shapedbody,proudandshowy.Allthemusclespop.

VILLAINSlightlymorepowerfullybuiltthanthehero(makingfordramaticfightscenes),thevillainis,

however,notquiteasgraceful.He’sgotathicker,lessathleticbuild.

…ANDWOMEN

Withmalecomicscharacters,youcanmoldtheirbodiesintomanydifferentshapes,producingawiderangeofcoolcharacters.It’snotsoeasywithwomen.Womenincomicsare,byandlarge,attractive—eventhevillains.Especiallythevillains!TheVoluptuousVixenandtheVillainessaremuchmoreattractiveincutting-edgecomics.So,youhavelesslatitudeinalteringthebody.Youcan’tdrawbrutishwomenoryou’lllosetheattractiveness.Therefore,thechangesrelylessonbodytypesandmoreonpose,costume,andattitude.

FIGHTERShehasasturdystance,musculararms,andlargeshoulders—andissomewhatdefinedoverall.

VOLUPTUOUSVIXENShepossessesalargechest,slenderwaist,andwidehips.Hershouldersaresofterthanthe

Fighterandherarmsarethinner.

GIRLNEXTDOORThere’snothingoutofproportiononherbody—noexaggeratedareasthatmakeabold

statement.

VILLAINESSShestandswithanattitudeofdefianceanddisdain.She’ssharpnotsoft,wearingalotofblack

andaseverecostume.

ATHLETESheoftenhasthesuperpowerofspeed.She’ssmallbutstrong,withlean,definedmuscles.

THEINNOCENTSmallerthantherest.Diminutive(withacutehaircut),thin,andnotovertlysexy.She’saneat

andproperdresser.

BODYLANGUAGE

Thewholepointofcomicsistovisuallyexpressemotions.Ifyou’reonlydoingthatwiththeface,thenyou’remissingalotofopportunities.Whenyoufeelanemotionstrongly,youfeelitthroughoutyourwholebody,andyourbodyreflectsthatemotion.Incomics,thecharactersthriveonintensefeelings,whichmeansthattheiremotionsmusttranslatetothewholebody.Workthebody;makeitcommunicate.Revealtheemotionsintheposture.

MUSCULARDETAILS

Here’swheretherubbermeetstheroad:drawingthemusclesinaction.Whenacharacterrun,punches,throws,orlifts,specificmusclegroupsaretaxedfarmorethanothersand,therefore,require

moredefinition.Themusclesinusebunchupandtheveinspopandbecomemorearticulated.Thismakestheposecomealive.

THEPRIMARYMUSCLESINACTION

Whenamuscleisused,itiseitherflexedorstretched.Givethosemusclesaddeddefinitionand,sometimes,addedsize.Althoughthemusclesworkinunison,notallmusclegroupsareusedforeveryaction.Thismeansthatalthoughmanysecondarymusclesmaybeworking,we’remoreconcernedwiththeprimarymuscles—thelargestmusclesunderthemoststrain.Ineachoftheposeshere,theprimarymusclesinactionareshadedwithstripes.

RUNNINGRunningisafull-bodymovementinwhichallofthebodyismovingallofthetime;but

primarily,theflexedmusclesarethethighsandcalves.

LEAPINGPrimarymuscles/areasinuse:thighs,calves,shoulders,andlatissimusdorsi(lats).

PULLINGPrimarymuscles/areasinuse:abs,shoulders,biceps(butnotthetriceps),andfrontthighs.

PUSHINGPrimarymuscles/areasinuse:triceps(notthebiceps),lats,chest,andlegs.

LIFTINGPrimarymuscles/areasinuse:allthreeheadsofthethighmuscles,theshoulders,trapezius,

triceps,forearms,lats,andexternalobliques.

CARRYINGPrimarymuscles/areasinuse:trapezius,shoulders,arms,forearms,andchest

SUSPENDEDFROMAROPEPrimarymuscles/areasinuse:triceps,forearms,shoulders,andchest.

SCALINGAWALLPrimarymuscles/areasinuse:biceps,forearms,andchest.

FIRINGAWEAPONPrimarymuscles/areasinuse:forearm,upperarm,shoulder,andchest.

PUNCHINGPrimarymuscles/areasinuse:triceps(notbiceps)andshoulders.

KICKINGPrimarymuscles/areasinuse:innerandouterthighs.

HAULINGPrimarymuscles/areasinuse:trapezius,triceps,biceps,forearms,lowerthighs.

EXTREMEBULK

Themoremusclesyourcharacterhas,themoreimpressiveheorshewillbe.Butyoucan’tjustinflatethemusclesasiftheywereballoons.Youhavetofilloutandadjusttheframeforthegreatermass.Inadditiontogettinglarger,themusclesmustalsobecomemoredefinedandmustseparatemoreclearlyintoindividualmusclegroups.Herearethefourstagesofmuscularity.

NORMALIt’snothingimpressive,butstill,he’snotinbadshape.Allthemusclegroupsareapparentbut

aresmallandundefined.

BUILTUPHismusclesarepumped.Thechestandabshavedevelopedintopowerfulmuscles.The

trapeziusnowtakesonmorethickness.Theshouldersbroaden,andthebicepsarelarge.The

thighscurveoutwardduetothesizeofthequadriceps(thefrontthighmuscles).

INTIMIDATINGAtthisstage,allthemusclesare“bunching,”meaningthey’reinaconstantstateofflexing,

givingeachmusclegroupasculptedlook.Thisisthestandardforcutting-edgecomics.Note

thatjointslikethekneeandtheelbowneverincreaseinsize.Therefore,theyservetohighlight

thesizeofthethighandarmmusclesbywayofcontrast.

AWESOMEThisisthemostextremephaseofdevelopment,whenthecharacter’sveryframeworkasbeen

warpedbyhypermuscularity.Notehowtheheadsinksintothemassthatisthetrapezius

muscle.Theshoulderslooklikemelons,almostdetachedfromthebody’sframe.Smaller

muscles,likethoseofthecalf,suddenlyballoonuptoagiganticsize.

EXTREMEVEINS

Supervascularityisapopularlookincutting-edgecomics.Butit’salsoanaccuratelookforheavilymuscled,definedfigures.Theveinsarepushedoutwardbythemuscles,whichgivesthecharacteranextremeandpowerfullook.Thisvascularchartshowswheretheveinsandarteriesconcentratethroughoutthebody.Thisisnotaliteralrepresentationoftheactualveins;it’smeanttoreflecthowveinsaredrawnincomicbookart.

It’sonlyimportanttonotewheretheconcentrationofveinsisthegreatest:theneck,arms,outerchest,andlegs.Noticehowtheyweaveinandout,attachingtooneanother,creatingpatterns,andfeedingoffofthelargermainarteries.Also,notethatveinsarenotconfinedtoaparticularmusclegroup;theycancrossoverseveralcompletelydifferentmusclegroups.

DRAWINGVEINSTHATPOP

Don’tdraweachveinwithtwosolidlines.Instead,approachitthisway:drawonesideoftheveinwithathick,solidlineandtheothersidewithathinner,brokenline.It’smuchmoreeffectivetodrawveinswithbrokenlinesthanwithtwosolidones.

PRIMELOCATIONSFORSUPERVASCULARITY

Boththeforearmsandupperarms,aswellastheneck,arethemostpopularplacestoexaggeratevascularity.Itgivesthecharactersanedgetotheirlook.Youcangoasfarasyoulike,evenplacingpoppingveinsontheupperlegsandthechest,too.Bodybuildingmagazinesaregoodreferenceforthistypeofapproach.

Rugged,toughcharacterslookmoreextremeiftheyhavesupervascularity.Characterswithpoppingveinshave,bydefinition,extremelylittlebodyfat.Youcannothaveacharacterwithsupervascularityunlessheisextremelydefined(i.e.fatfree)tobeginwith.Supervascularityitisnotapopularlookforwomen—notevenpowerfulwomen—asit’sjustuglyonthem.

SURFACEMAPPING

Onecommonmistakethatartistsmakeisthinkingonlyintermsoftwodimensionswhenwhatthey’redrawingsupposedlyexistsinthree.Tosuccessfullydrawthecontoursofthebody,artistsmustconveyafeelingofroundnesstotheshapes.

Todothis,startbyvisualizinganetdrapedoveryourcharacterthatconformstotheshapeofeverythingittouches.Whenyoudothis,youcanseehowthecontoursofthebody—andnotjustthebody’soutlines—aremadeupofroundedshapes.Whendrawingthemuscles,keeptheideaofnettingaroundthecontoursofthemusclesinmind.

Theconceptofsurfacemappingcanalsohelpyouinplacingshadowsandhighlights.Forexample,noticeonthesefemaletorsoshowthehorizontallinesofthesurfacemapoverthebreastscurveslightlydownward.Thisisthesamedirectionthatthehighlightsfromalightsourcewouldfollow.(Seethispage.)

Makesureallthelinesthatdefinethecharactertravelthesamepathsasthenettingwould.Forexample,lookatthelegsonthefollowingpages.Notehowtheverticallinesswelloutward;they’renotruler-straight.Thisiswhatyouwanttoaimforinyourdefinitionlineswhenyouarticulatethevariousmusclegroups.Committhisconcepttomemory,andyourdrawingswillhavenewauthority.

THEEFFECTSOFLIGHTONTHEBODY

Whenyoushinealightonacharacter,shadowsresult.And,it’stheseshadowthataddthedramatoanimage,notthelightitself.Shadowsaddacoollookandasharperedge.Theyhighlightthecontoursofthebody.Andwhenyouhaveagood-lookingcharacterwithakillerbody,thatcertainlydoesn’thurt.

Thetypicalapproachistothinkofalightsourceascomingfromabove.Andthat’susuallythecase,intheformofsunlightorinterioroverheadlighting.Buttocreatemoredramaticshadows,youmustintroducemorelightsources.Inaddition,sometimesvaryingtheintensityofthelightsourcesachievesamoodyeffect.

Dothelightsourceshavetobelogical?Inotherwords,canyoudramaticallylightsomeonewho,byallaccounts,isinaroomwithonlyoneoverheadlightsource?Theansweris:yes,usually.Readersdon’tthinkaboutwherethelightcomesfromandwillacceptthelightsourceasafigurativeinterpretationoftheemotionsofasceneratherthanastheliteraleffectoflightfromabulbhittinganobject.However,ifyourcharacterisinadarkenedroom,bathedinshadowinonepanel,betterthinktwicebeforeyoubatheherinlightinthenextone.Youdon’twantittolooklikesomeoneflickedonaswitchandsuddenlyzappedherwithfloods.

ONELIGHTSOURCEOverheadlightingcreatesniceshadowsontheundersidesofshapes.It’saplainbutappealing

TWOLIGHTSOURCESThemajorlightingisstillcomingfromoverhead,butthere’salsoanice,minorlightsource

comingfromtherightthatilluminatestherightedgeofthefigure.Itshowsoffhercurveseven

more,whichisaneffectthatyoucanputtogooduseonattractivecharacters.

TWOOPPOSINGLIGHTSOURCESWithonelightsourceontheleftandasecondoneontherightdirectlyoppositethefirst,the

middleofthefigureisbathedinshadow,givingthecharacterintensity.

LIGHTINGFROMBELOWAlowlightsourcecreatesaneerie,sometimesunearthlylook.Thislightshootsupfrombelow,

leavingpatchesofshadowontheuppersurfacesofthecharacter.Youcanalmostfeelthe

heatofthelightasitboilsupfrombelow.Thisishowcharacterswouldlookstandinginfront

ofafire,andit’sthetypeoflightingtousewhenportrayingamysteriousscene.

THREELIGHTSOURCESTheeffectofthreelightsourcesisapleasingoneandisapopularchangeofpaceforcomic

bookartists.Itreallymakesacharacterstandout.Therefore,don’twasteitonunimportant

scenes.Onelightsourceisplacedtotheleftofthecharacter,onetotheright,andinorderto

preventdarkshadowsdownthemiddleofthefigure(whichwouldresultinasinisterorintense

look),athirdlightsourcehitsthefigurehead-ondownthemiddle,producingasleek,electric

glow.Thisalsogivesashinylooktocostumesandshowsoffripplingmuscles.

THEHEADANDNECK

Themostcommonchallengeforaspiringcomicbookartistsishowtochangetheangleoftheheadandstillhaveacharacterlookthesame—andberecognizableasthesamecharacterfromsceneto

scene.Youdoitbyunderstandingthestructureofthehead.Onceyouknowthis—andtheworkingsoftheneck—youcantilttheheadinanyangleandmaintainacharacter’suniquelook.Inaddition,whenyouknowwherethemusclesofthefacego,youcancarveoutmoreaccuratefacialexpressions.

THESKULL

Hereitis:theblueprint.ItallstartswiththeskullAllthecontoursofthefacearegreatlyaffectedbythecontoursoftheskull.Thelinesformedbytheprotrudingcheekbones,jaw,andchinallhavetheirfoundationsintheunderlyingskull.

THEMUSCLESOFTHEFACE

Thefacehasmanythinmusclesthatstretchandwraparoundit.It’sespeciallyimportantforcomicbookartiststotakenoteofthemusclesthatconnectthecheekbonestothemouth;thesearewhatgivecoolcomicbookcharactersasleek,drawnlook.Don’tworryaboutthemusclenameshere;justtrytofamiliarizeyourselfwiththebasicstructureandplacementofthefacialmuscles.

DRAWINGTHEEYES

Whenfocusingonthedetailsofthehumanbody,thefirstorderofbusinessisthemostimportantfeatureoftheface:theeyes.Eyescanmakeacharacterlookbeautiful,seductive,evil,insane,charismatic,ordetermined.Well-drawneyesgivecharactersthatextrasparklethatmakesthemmemorable.

Rememberthattheeyeisathree-dimensionalsphereinsidethehead.Theeyelidistuggedoverit.It’sthisstretchingoftheeyelidthatcreatesthealmond-shapedlookoftheeye.Theuppereyelidslantsdownseverelynearthetearduct.Bothupperandlowereyelidshavethickness,soeachisdrawnasadoubleline,orwithonethickblacklinetoindicatelashes.Thelashesbecomethickertowardtheouteredgeoftheeye.

Theeyebrowisdrawnonanarchthatdipsatbothends.Trypracticingtheeyesonthispage.Thevariousanglesandexpressionswillgiveyouagreaterunderstandingoftheform.

Thepupilisalwayssmallandinthecenteroftheiris.

Fromtheside,thepupillookslikeasmallsliver—almostlikeacontactlens.

Showthethicknessoftheeyelids.

Eyebrowsdipatbothends.

Notethatalineindicatingacreaseisusedtohelpdefinetheuppereyelid.

Thelowereyelidhaseitheraverylightcreaseornocreasebelowit.Apronouncedcreasehere

wouldmakeyourcharacterlooktired.

Theiris(thecoloredpartoftheeye)oftenhasmorethanoneshineinit.Don’tputashinein

themiddleofthepupil;makeitoff-centersothatitbleedsintotheiris.Youcanaddashineto

thewhiteoftheeye,too,butit’snotaseffective.

Youcanhavethepupiltouchthetopeyelidtomimictheshadowthattheeyelidcastsontothe

eye.Thiscreatesapleasinglook.

MALEEYESVS.FEMALEEYES

Themaleeyeisnarrowerandmorerectangular,whereasthefemaleeyeismoretearshaped.Drawthemaleuppereyelidwithaheavylinebutthelowereyelidwithathinone.Botheyelidsonthefemaleeyearedrawnwithheavylines.

It’ssometimesthought—erroneously—thatthickeyebrowsareonlyformen.Butfullereyebrowsaregreatfordrawingattractivewomen,too.Somefamousmodels,suchasCindyCrawfordandBrookeShields,havefullereyebrows,whichdrawattentiontotheeyesandcanunderscoreasultrylook.Pencil-thineyebrowshavelittleimpact.

FEMALELASHCONSTRUCTION

Women’seyelashesaregroupedtogetherinathickline;ifyoudraweachindividuallash,the

resultwilllookspidery.

IMPORTANTEYETIP

Whetheryou’redrawingmen’seyesorwomen’seyes,thetopeyelidshouldtouchorcoverpartoftheiris.Don’tleaveanywhitespacebetweentheuppereyelidandtheiris—unlessit’sforaspecificexpression,suchasshockorsurprise.

Theshapeoftheeyechangesastheheadmovesandtiltsindifferentdirections.Takealookattheseexamplestoseehowthemovementandpositionoftheheadaffectstheshapeoftheeyes.

THETYPICALMALEHEAD

Someanatomybooksstartwithaneggshapeforthehead.Iwanttobekind,butwhatcanIsayexcept,Idon’tsuggestit.Lookatthisguy’shead.Doesitlooklikeaneggtoyou?So,whystartwithanegg?Thejawissleekandangular,thechinsquare.

Additionally,artistsdrawhorizontalandverticallinesacrosstheheadasguidelinestohelpplacethefeaturesevenly.Youdon’twantoneeyelowerthantheother.So,it’sgoodpractice.Notethatthehorizontalguidelinescurvearoundthehead,andarenot—Irepeat,not—drawnasstraightlines.Additionallyherearequickguidestocheckyourproportions:Theoverallheadwidthisfiveeyesacross.Theeyesfallmidwaydownthehead.Thewidthofthebottomofthenoseisequaltothespacebetweenthetwoeyes.Thetopsoftheearsareevenwiththeeyebrows(butyoucan’tseetheearsinthisimage).Thebottomsoftheearsareevenwiththebottomofthenose.Thewidthofthemouthwhenit’satrestmatchestheamountofspacebetweenthepupils.

PROFILEDrawingtheeyesoutofproportionisacommonmistakethatcanimmediatelyruinagooddrawing.Inprofile,theeyeisevenwithorslightlybelowthebridgeofthenose.Manypeopleputitabovethebridgeandcan’tfigureoutwhat’swrongwiththeirdrawings.Theyadjusttheeyebrow,thenose,themouth.Theywanderthecitystreetsatnight,mumblingoutloud,pickingpencilsoutofgarbagecans.Sometimes,theanswerisassimpleasadjustingtheplacementoftheeye.

Notethethicknessoftheneckinboththeprofileand3/4views;ifthere’sonethingmostbeginnersgetwrong,it’sdrawingtoothinaneck.

3/4VIEW-FROMBELOWAh,myfavoriteangle.It’sfuntodrawbecauseyoureallyfeellikeyou’recarvingasculptureonpaper.Whyisthat?Becausethisviewisthree-dimensional.Thefrontandsideviewsarebasicallyflatposes,butherewegetarealsenseoftheroundnessofthehead.

Thebiggestpitfalltoavoidifyou’retoleadahappy,fulfilledlifeislettingthefeatureswanderallovertheface.Andit’snoteasy.Younolongerhavethesimpletaskofdrawingthefeaturesinthecenteroftheface,asyoudointhefrontview.Youdon’thavetheluxuryofplacingallofthefeaturesontheedgeoftheface,asyoudointhesideview.So,whatdoyoudo?Youdrawacenterlineverticallydownthemiddleofthefacefromtoptobottom(seeconstructiondrawing).Thisisaguidelinethatseparatestheleftsideofthefacefromtheright.Itcurveswiththeanglesoftheface,asifyouhadlaidastringoverthehead.Nowyoucangoaheadandplacethefeaturesonthecenterline,andeverythingwilllineup.

THETYPICALFEMALEHEAD

Thebasicstructureisthesameasaman’shead,butwithasofterjawlineandchin.Alltheproportionsarethesame,buttheshapesoftheindividualfeaturesvary:Theeyesarelarger.Theeyebrowsarchuphighovertheeyesanddropnearthebridgeofthenose.(Thissevereanglegivesherasexylook.)Thenoseissmaller,andthelipsarepouty.

Thesultrieryouwantyourfemalecharacter,thelowerheruppereyelidshouldfallovertheiris.Here,heruppereyelidactuallyrestsonthepupil,whichisaveryattractivelookforafemalecharacter.

PROFILEThemainthingthatgivesartiststroublewiththefemaleprofileisthemouth.Inasideviewandarelaxedpose,themouthisquiteshort,extendingonlyasfarbackasthenostrils.Thelipsarethickestatthefront,creatingaseverediagonalastheytravelback.

3/4VIEWWithamanina3/4view,there’sahardlineofthebridgeofthenosedividingthefaceinhalf.Notsowithwomen.Moreoftenthannot,you’llwanttocompletelyavoiddrawingthebridgeofhernoseasitaddsahard,masculinelook.Instead,drawonlythebottomofthenose,andletthebridgeofthenosebeimplied.(Withoutthebridgeofthenosetoguideyou,youcannowseewhythecenterlineissoimportant.)

DROP-DEADGORGEOUSHEADTILTS

Ingeneral,aslightdownwardtiltoftheheadassistsincreatingappealingposesforwomen,astheymustthenlookupfromundertheirlashes—aseductivepose.Themouthisslightlyopened(anotherseductivemannerism).Addashinetothelipsforawetlook.Sexycomicbookwomenhavepronouncedcheekbones,notnarrowfaces.Thesevereangleoftheeyebrowsgivesherahungrylook.

FANTASYPRINCESSESGoddessesandprincessesincomicsaredrawnwithplentyofornamentsandaheavilyworked

hairstyle.Again,noticehowtheslightdownwardtiltoftheheadisanattractivelookonthe

charactertotheleft.Intheimageabove,wearelookingupatthecharacter;therefore,wesee

theundersideofthenose.Thistypeofangledenotesawomaninapositionofauthorityand

power.Note:Theeyelashesontheseelegantcharacterscanextendwellbeyondtheeyes,

whichisespeciallyevidentinprofile.

INTENSEBEAUTYThemoreintensethecharacter,themorewindblownandruffledthehair.Theextramascara

treatmentaddstotheintensity.And,here’salittleknownhinttohelpyouout:thecloserthe

eyebrowsaretotheeyes,themoreintenseyourfemalecharacterwillappear.Andnotethelip

shines.Thebottomlipshinesseparatethelipintotwosections.

STYLISHHIP-HOPGALTheover-the-shoulderglanceisawinninglook.Notethatthesmileiscreatedmainlywiththe

bottomlip.Manyartiststhinkthatthetoplipmustcurveuptoformasmile.Nottrue.Infact,as

youcanseefromthispose,thetoplipactuallyturnsdownattheend.Thischaracterhasa

cutelookbecauseoffullcheeksthatareindicatedbyhersmilecrease,whichcutsofftheend

ofherlips.

SUPERVILLAINESSForamysteriouslook,cloakyourvillainessinaserpentinehairstyleorahood.Thickeyelashes

andfulllips,aswellassharpeyebrows,aremandatoryforacutting-edgelook.Andremember

this:thebaddersheis,thesexiershemustlook.

ANOTEABOUTTHEBRIDGEOFTHENOSE

Insomeangles,youmustdrawthebridgeofthefemalenose.Wereyoutoleaveitout,youwouldseetoomuchofthefareye—animpossibilityatcertainanglesinwhichthebridgeofthenoseshouldobscurepartofit.

DRAWINGTHEEARS

Everwonderwhyyoucandrawnosesandeyes,buthavetroublewithears?It’sbecauseyouneverseetheinsideofyourownearwhenyoulookinthemirror.And,youdon’tseetheinsideoftheearwhensomeoneelsefacesyou,either.Youonlyseeitwhentheyturntowalkaway,andthen,onlyfleetingly.Inotherwords,it’snotyourfault.You’renottoblame.Stopbeatingyourselfupaboutit.IthinkI’vebeenwatchingtoomuchDr.Phil.

Thelengthoftheearrunsfromtheeyebrowtothebottomofthenose.

REARANGLETheearisaffixedtotheheadwithahalf-cupshapedpieceofcartilage,whichyoucanonlysee

fromtherear.

THEMAINNECKMUSCLE

Atfirstglance,thenecklookslikeawebofsmallmusclesthatareimpossiblycomplexandbeyondthepowersofmeremortalstocomprehend.Butaswithallpartsofthebody,veryfewofthemusclesactuallyshowthroughtothesurfaceoftheskin—andwe’reonlyconcernedwiththemusclesthatdo.Theneckisnoexceptiontothis.So,whatyoureallyneedtorememberisthemostimportantmuscleoftheneck.It’scalled—areyoureadyforthis?—thesternocleidomastoideus.Saythatfivetimesfast.Itoccursonbothsidesofthebodyandattachestothepitoftheneck,wherethecollarbonesmeetinthemiddle.Whicheverwaytheheadturns,thesternocleidomastoideuswillalwaystraveltothepitoftheneck.Takealookattheexamples.

THEMAINNECKMUSCLEINMOTION

Takealookathowheadandshouldermovementaffectsthesternocleidomastoideus.Notethat,despitethepose,italwaystravelsfromthemastoidprocess(thebonejustbelow/behindtheear)tothepitoftheneck.And,itshowsequallyonmenandwomen,thoughyoushouldgiveitlessmassandlessdefinitiononawoman.

THEHEAD,NECK,ANDSHOULDERAREA

Todefinetheneckmusclesevenfurther,takealookatthesedrawings.Again,thesternocleidomastoideus—thelargestneckmuscle—runsfromthebaseoftheeartothepitoftheneck.Thenitbranchesoffasittravelstowardthecollarboneafewinchesaway.Themusclestravelingfromtheshoulderstotheneckarethetrapeziusmuscles,butthey’remorebackmusclesthanneckmusclesandarecoveredingreaterdetailonthispage.

Women’sneckmusclesaredownplayed;showingtoomanyneckmuscleswouldmakeherlookold,notstrong.Onlythetwomainneckmusclesneedtobethere—andeventhen,onlyatthepitoftheneck.If,however,youweretoturnherheadallthewaytooneside,theentireneckmusclewouldshowbecauseitwouldbestretched.Butwhenshe’satrest,leaveherlikethis.

Whenyouthinkofanatomyintermsofproportions,itcanbequitesimple.Forexample,the

headtakesupathirdofthewidthoftheshoulders.

THECHESTANDABS

Thechestandabsofcutting-edgecomicbookcharactersarelikefortresses:powerfulanddesignedtointimidate.Thesearethehyperdevelopedmusclesofthebody,andtheyformhighlydynamic

musclegroups—meaningthattheirshapeanddefinitionchangeasthebodymoves.

THERIBCAGE

Theribcageisanoval-shapedenclosurethatprotectsmanyofthebody’svitalorgans.Thestrongestribsattachtothesternum(theboneinthemiddleofthechest.Thelowerribs,whichattachtotheotherribs,areoftenreferredtoas“floatingribs.”Notehowthecollarboneattachestothesternumaswell.Thereisalsoalittle“tab”atthebottomofthesternumthat’softenvisibleinthesurfaceanatomyofmenwhohavesharplydefinedmuscles.Theofficialnameforthistabisthexiphoidprocess.Whothinksupthesenames?

BASICCHESTSTRUCTURE

Theribcagehasarounded,three-dimensionalshape.Thatmeansthatthechestmusclesmusttravelaroundtheribcage.Therefore,anyguidelinesyouusewhensketchingaregoingtobecurved.

FRONTVIEW-ARMSRAISEDRaisedarmspullthechestmuscleupwiththem.Therefore,the“lineofthechest,”whichis

actuallyunderthechest,curvesupwardtowardtheshouldersinresponsetothestress.

3/4VIEWWiththearmsdown,thelineofthechestalsocurvesdownwardandrestsontopoftherib

3/4VIEWThefrontofeachshouldermuscle(deltoid)cutsoffthelineofthechestasittravelstoward

thearmpit.

THEMALETORSO

Onmen,thechestisthepowercenterofthetorso.Awell-developedchestconveysasenseofmight.Withoutit,malecharactersarenotimpressive.(Infact,cowardlycharactersoftenhavesunkenchests.)Aproudchestneedssizeandagoodshape,butmorethanthat,thechestalsoneedstofitcorrectlyintotheadjacentmusclegroup—theshoulders.

Whileimpressivechestmusclesindicatepower—evenbruteforce—theabdominals(orabs,forthoseofyouwhowatchwaytoomanyinfomercials)conveyasenseofinnerstrength.Leanabsareasignofvirility.Bycombiningdefinedchestmuscleswithwashboardabs,youcancreateformidable,cutting-edgecomicbookcharacters.

WASHBOARDABS

Theabdominalmusclegroupismadeupoffourmuscles,sectionedintotwocolumns.Thesecolumnstravelupthefrontofthebodyinthehollowoftheribcage.Tocreatethisidealcomicbooklook,keepinmindthefollowingthreepositioningbenchmarks:(1)thelineofthecollarboneandthelineofthechestareroughlyparallel;(2)thenipplesareata45-degreediagonalfromthepitoftheneck;and(3)thebellybuttonappearsjustabovethelowestpairofabdominalmuscles.

Thecollarboneandlineofthechestareroughlyparallel.

It’sbesttoblockouttheareafortheabsasasinglemassbeforeyoudrawtheindividual

muscles.Also,thelineoftheribsshouldbedefined.Thisisthepointwheretheribstakeanew

angleandstarttocurvetowardtheback,andwheretheribmusclesbegintostandout.

Puttingalineatthispointgivesthecharacteracool,sculptedlook,asyou’llseeonthe

followingpage.

Thenipplesareata45-degreeanglefromthepitoftheneck.

Thebellybuttonappearsjustabovethelastsetofabmuscles.

THEMUSCLESONTOPOFMUSCLES

Superheroeshavemusclesontopoftheirmuscles.Themusclesaroundtheribcage(whichmakeupthelineoftheribsthatIreferredtoonthepreviouspage)areagoodexample.Theribcagemuscles(calledtheserratusanteriorbyeveryonewhospeaksconversationalLatinathome)areasmallseriesofmusclesthatappeartobeinterlacedontopoftheexternalobliques.Theyareseenonlyonveryintenselydevelopedbodybuildersandmalecomicbookcharacters.Whendrawncorrectly,thisconceptofmusclesonmusclesresultsinacutting-edgelook.

ARMSDOWN

Okay,here’sthechest,ribmuscles,abs,andneckmusclesallinthesamepicture.Notethatwhenthearmsaredown,theshouldersoverlapthechestmuscles,cuttingoffthelineofthechest.

Theshouldermusclecutsoffthechestmuscle.

ANOTEABOUTDRAWING

Whenyoustartadrawing,besketchyandlooseatfirst.Eraseasmuchasyouwant.Onceyou’reprettyconfidentitlooksgood,starttochiselthedrawingintoplacewithdarkerlines.Then,eraseyoursketchmarks,orassomeprosdo,putyouroriginalonalightboxandtraceoveronlythegoodlines.Ifyourfirstorsecondattemptsaren’ttoyourliking,crumple’emup,toss’em,andstartover.There’snoneedtostaywithonedrawingifit’snotworking.Giveyourselfthefreedomtostartfresh.It’samazinghowwecangetourselvesintoarutbecausewewanttoavoidfeelinglikewe’vefailed.Youshouldseeallthecrumpleduppagesinmywastebasketonatypicalday!Drawingconsistsoffail,fail,fail,fail,success.Sofromnowon,thinkofyourmisfiresasprogress,notfailures!

ARMSUP

Asyoucansee,thechestmuscleslosesomeoftheir“pump”anddefinitionwhenthearmsareraised(becausethemusclesarestretchedout).Inthisposition,the“pecs”(thepectorals,orchestmuscles)willappearleaner.Noticealsohow,whenthearmsareup,thelineoftheribscontinuesupward,meetingwiththelineofthechestandthenthelineoftheshoulder.Inthisway,themusclegroupsappeartoflowtogether.

THEMALETORSOINMOTION

Theribcageandchestmoveintwoways:First,theribcageitselfmoveswhenthespineflexes,twists,andbends.Second,themusclesontheribcage—mostnotablythechestmusclesandabs—move.Theyriseandfall,contractandloosen.Allofthischangestheirshape.

THEFEMALETORSO

Awoman’storsoalsohasalargeribcage—don’tshyawayfromthatfactjustbecauseacharacterisawoman.Alargeribcageisimportantincreatinganattractivecharacter,butyoushouldomittheribmuscles.Trash’em.Whenawomanlookssodefinedthatyoucanseeherribmuscles,shedoesn’tlookstrong,shelooksstarved.Thebottomoftheribcageleadstothewaist,whichisnarrow,butthehipsshouldbewide—aswideastheshoulders,orevenabitwider.Women’shipsarewidetoallowthemtogivebirth;andtheylookevenwiderbecauseofthecontrastwiththenarrowwaist.Don’tgivehersuperdefinedabs,unlessyou’repurposelytryingtogrosssomeoneout.Instead,indicateherstomachareawithlong,sleek,verticallinesintheshapeoftheentire,overaabdomen.

OPPOSINGFORCES

Theribcageandpelviscanmoveinoppositedirections,causingonesideofthebodytocontractorcrunchandtheothersidetoexpandorstretch.Posesthatinvolvetheseopposingforceshavethepotentialtobeverydynamic.Anytimeyoucangiveyourcharacterabend,twist,orstretch,doit—itaddsdramatothepose.That’snottosaythattherearen’teffectivestaticposes,suchasamanstandingstillingriefwithhisheadhanginglow.Butthere’ssomethinginherentlycompellingaboutwatchingthehumanformstriving,reaching,orstruggling,eventhoughitmaybeonlyasubtlemovement.

FRONTVIEW

Onwomen,theabdominalsareshownasageneral,overallgroup—notasdefinedindividual

sections.

3/4VIEW

THEFEMALETORSOINMOTION

Takealookattheconstructiondrawingsforeachoftheseposes.You’llseeopposingforcesatworkineveryone.Thisstretchingandcontractinghelpsconveymotion.Inaddition,posesinwhichthechestandhipsareangledawayfromeachotherresultinaseductivelook,eveniftheactualactioninthescenehasnothingtodowithsexappeal.Noticehowsexytheseimagesareduetotheposing.

THEBACKANDSHOULDERS

Nodoubt,inyourendeavorstodrawthehumanfigure,thebackhasgivenyoutrouble.Tobesure,youknowthebackhasshoulderblades.Butwhataboutmuscularcharacterswhoactuallyhave

musclesontheirshoulderblades?Youcan’tuseyourownbackforreference,becauseafterall,notmanyofushavethree-waymirrors,excepttailors.Sohere’stheinformationyouneed.

UPPERBACK,RELAXED(ARMSDOWN)

Thebackisacontradiction—ablendingofmassivemuscles,longmuscles,andsmallermuscles.Inaddition,someofthemuscleshavequirkycharacteristics.Forexample,thetrapeziusmuscleisalongonethatstartsatthebaseoftheskull,bunchesattheupperback,butthenislongandleaninthesmalloftheback.Samemuscle,butitactsalmostasthreeseparatemusclegroups.Notethattheshoulderbladespushthetrapeziusmusclesup.

Theshouldersareauniquegroupofmusclesinthattheyareequallyvisiblefromthefront,side,andbackofthebody.Theshoulderbladesarecoveredbythreemuscles(theinfraspinatus,teresminor,andteresmajor)thatcanbunchtogetherorstretch,dependingonthepositionofthearms.

UPPERBACK,FLEXED(ARMSUP)

Raisingthearmscausessignificantflexingofthetrapeziusmusclesalongtheneckandupperandmiddleback.Notethattherearenomusclescoveringthespine.Alsonotethatthemusclesoftheshoulderbladeareaformsteeperdiagonalswhenthearmsareraised.Thearealabeledboneistheridgeoftheshoulderblade.Thedeltoidsandtrapeziusmusclesattachtothesebones,sothemusclesindentatthispoint.

LOWERBACK

Thetrapeziusmuscleandthelatissimusdorsi,whichbeginattheupperback,arelongmusclesthattraveldowntothelowerback.

SURFACERENDERING

Whenyoudrawthefigure,rememberthatthere’salayeroffatandskincoveringthemuscles.Therefore,youhavetobealittlelessspecificabouteachmusclegroup—evenonwell-definedfigures—thantheanatomicaldrawingsearlierinthebook.Thisapproachrequiressomeartistry.There’sno“correct”waytorendertheback.Someartistswanttobulkupcertainmuscleswhileminimizingothers.Letyourknowledgeofanatomybeguidedbyyourcreativedecisions.Theimagehereshowsoneapproach,alternatingthinlineswithheavyones.

CONTRACTINGTHEBACKMUSCLES

Contracting,orcrunching,thebackmusclestogethermakesthembecomeincrediblydefined.Italsocreatesadeepridgealongthespine,whichisshownasaheavilyshadowedlinehere.

COOLCOMICBOOKPOSESFORTHEBACK

Takealookattheanatomicalprinciplesatworkinthesecoolcomicbookposes.Noticehowtheartiststartsbyblockinginthemajormusclemasses,thenstartstogetmorespecificanddefinetheindividualmusclegroups,andultimately,endsupwiththefinishedfigure.

Botharmsareextendedinfrontofthisfigure,pullingthelatsforwardandgivingasignificantcurvetotheback.Thisstretchingofthebackresultsinlessmusculardefinition,butsomeoftheanatomicallandmarksmuststillbevisible.

Thefemalebackistypicallylongandlean,andshouldhavelessdefinitionthanthemaleback.Theshoulderblademusclesshouldberepresentedasoneoverallshape.

THEMAJORMUSCLEGROUPSOFTHESHOULDER

We’vealreadycoveredagooddealabouttheshoulders,butweneedtogofurtherbecausethereareafewotherpointstounderstand.Theshoulderbladeisshapedlikeapiewedgecarvedbyamoron.Doesn’thelp?Well,giveitanymetaphoryoulike,butit’swideontop,pointedatthebottom,withabonyridgerunningacrossthetopthat’scalledthespineofthescapula(remember,thescapulaistheshoulderblade).Thatbonyridgeiswhatthedeltoids(theshouldermuscles)attachto.Thedeltoidshavemanymuscularstriationsbutonlythreebasicparts:anterior(front),middle,andposterior(rear).

DELTOIDMUSCLES-REARVIEWNoticehowthedeltoidseemstowraparoundthearmmuscle.Ifyoulookattheillustrations,you’llseethatthedeltoidisreallyateardropshapethatwedgesintothearm,betweenthebicepsandtriceps.

SURFACERENDERINGOFDELTOIDS—FRONTVIEWInthefrontview,theshoulderhasawell-roundedlookandshowsitselftobeasizeablemusclegroup.Eventhoughtherearethreeheadstoadeltoid,youshouldnotthinkofthemasseparatemusclegroups.Rather,usethethreeheadsasplaceswhereyoucanadddefinitionlinestotheshoulders.

Notetheacromiononthelargerimage.Thespotwheretheacromionbonemeetstheclaviclecausesthissmallbutnoticeablebumpthat’sapparentevenonmuscularfiguresandwomen.It’stheknobwherethespineofthescapulaattachestotheclavicle(collarbone).That’sright,yourshoulderbladeisattachedonlytoyourcollarbone,andnowhereelseonthebody!Amazing!

THESHOULDERSINMOTION

Herearesomedramaticposesshowingavarietyofshoulderpositions.Practice“quick-sketching”thesejusttogetthefeeloftheshouldersfromavarietyofangles.

COOLCOMICBOOKPOSEFORTHESHOULDERS

Aswiththeexamplesforthebackonthispage,startbyblockinginthegeneralmuscleareas,thendefinethemusclegroups,andendupwithafinishedimage.Note:Notallfiguresrequiredetaileddefinitionoftheshoulderarea;sometimes,arelaxedshoulderisbestdrawnwithasoft,gentlycurvingline.

THEARMSANDHANDS

Armmusclesaretheshowpieceforheroesandbrutes.Onwomen,theymustbeathletic,yetlongandattractive.Everyoneisfamiliarwiththebody’smostfamousmuscle:thebiceps.But,thereare

severalothersmaller,yetprominent,armmuscleswithoutwhichthefigurewouldlooksimplistic.Drawingallthearmmusclescorrectlycreatescomicbookcharacterswithimpressivefigures.

ARMBONES

Eventhoughthearmscanbequitemuscular,thereareseveralareasofthearmwherethebones“showthrough”tothesurface,rightbelowtheskin.So,it’sdoublyimportantthatyoufamiliarizeyourselfwiththebonesofthearmsandnotjustworryaboutthemuscleshere.

GENERALMUSCLEINFO

We’reallfamiliarwiththenamesforthemajorupperarmmuscles:thebicepsandtriceps.Butthereareotherimportantmusclesthatappearbetweenthesetwothatarealwaysvisibletosomeextentbutareoftenoverlookedbybeginningartists.Inaddition,thetricepshasthreesections(alateralhead,longhead,andmedialhead)thatbecomemoredefinedwhenthearmisstraightenedandflexed.

Andthentherearetheforearms,wherethemusclestwistaroundthearmdependingonwhichwaythepalmsface.(Seethispageformoreontheforearm.)

THEMUSCLESBETWEENTHEBICEPSANDTRICEPS

Thebrachialisisthemusclebetweenthebicepsandthetriceps.Itcanbeseenontheouterarmaswellastheinnerarm.However,ontheinnerarmthere’sanadditionalmuscle—thecoracobrachialis—whichstartsatthearmpitandtapersofftonothingasitwedgesneatlybetweenthebicepsandtriceps.Then,whenitlooksasifthecoracobrachialisisextinctandgoneforever,thebrachialisappears,alongthesamepath,totakeover.

THETRICEPSINACTION

Whenthearmisstraightened,thelateralandthelongandmedialheadsofthetricepsbecomeapparent.Theheads,combined,formanupsidedownV.(Thebrachialisisstillapparentbetweenthebicepsandtriceps.)Justbelowthetricepsistendon,notmuscle,soitneverflexesorbunches.

BICEPSVS.TRICEPS

Contrarytowhatmanypeoplebelieve,thetricepsmusclegroupisactuallylargerthanthebicepsmuscle.Iknowthat’sgonnadisappointalotofyouguyswhoarespendingyourlifedoingcurlsinthegym,buttrypumpingthetricepsifyoureallywantyourarmstohavesomemass.

THEFOREARM

Whenthepalmfacesup,themusclesoftheforearmsareprettystraightforward:Theystartclosetotheelbowandtraveltothehandsinstraightlines,becomingtendonswhentheyreachthehands.Theonlyforearmmusclethatisn’tparalleltotherestisthepronatorteres,butit’sreallynotarticulatedinthesurfaceanatomy.

THEFOREARMTWISTThissoundslikeanewdancestep,butactually,it’saveryimportantconcept—andyoucan’tdrawtheforearmwithoutit.Ifyoudon’tpayattentiontothis,yourdrawingswilllookwrong—becausetheyare!So,hereitis:Whenthepalmfacesup,theforearmmusclesbasicallyruninastraightlinefromtheelbowtothehand,asonthepreviouspage.However,whenthepalmfacesdown,orthehandisheldsideways(asifholdingahammer),thebrachioradialisandtheextensorcarpiradialislonguswraparoundtheforearm,causinganoticeableflexingThestrongerthecharacter,thebiggerthesemuscles.

Althoughthesearetwodifferentmuscles,theyareusullydrawnasonecombinedmuscle

group.

Here’sanotherlookatthewraparoundforearmmuscles.Notethatthepalmissideways,causingthetwistingaction.Thetwotwistingforearmmusclesworkintandem,soyoucanthinkofthemasonemuscle,nottwo,butseparatedbyalineofdefinition.

PUNCHING:THEFOREARMTWISTINACTION

Whenthepalmfacesdown,themusclesdotheirtightestwraparoundtheforearm.Inthispose,youcanseethatthesemusclesareactuallyquitethick,whichgivesthecharacteralookofgreatpower.

COOLCOMICBOOKPOSESFORTHEARMS

Thisposeclearlyshowsthemusclegroupsofboththeupperandlowerarms,aswellastheshoulders.Sincethehandsarenotquiteinthe“palmsup”position,there’ssometwistingoftheforearmmuscles,butit’snotextreme.

Noticehowthearmrenderingdiffersonafemalecharacter.Eventhoughthearmmuscles

havedefinition,they’renotdrawnbulkyorbunching,astheywouldbeonmalecomicbook

characters.Inaddition,thelinesdepictingmusculardefinitionaren’tcontinuous;theybreak

up.Thisgivesthemusclesmoreofanaturallook.Italsopreventsfemalecharactersfrom

appearingtoomuscular.Skinandfatbluntsomemusculardefinition,andthebrokenlinesare

awayofshowingthat.

THEHANDS

Expressivehandscanunderscoreacharacter’smood—orbetrayit.Amysterioushandgesturecanlendaspookyeffecttoascene.Nervous,twitchyhandscanrevealtheinnerthoughtsofafast-talkingconman.Morethananyotherpartofthebody,exceptperhapstheskull,thehandsrelyontheskeletonfortheirform.Takealook.

DRAWINGEXPRESSIVEHANDS

Handsexpressdramaticattitudes.So,it’snotenoughtogettheanatomyofthehandright;handsmustalsoreflectacharacter’sinnerthoughtsorintentions.Sometimes,afidgetinghandmaytellyouwhatacharacterisfeelingwhenhisfacerevealsnothing.So,whatmakeshandssodifficulttodraw?Really,it’stheplacementoftheknuckles,orjoints.Youhavetotacklethatbeforeyoudrawthefingers.

Notetheroundedtriangleatthebaseofthethumb;thisiswhatgivesthepalmitswidth.

THEKNUCKLESWhenyoulookatthebackofthehand,theknucklesformanarch,withtheknuckleofthe

middlefingeratthecrestofthearc.Thisbecomeseasiertoseeifyoudrawalinethroughthe

knuckles.Thisarchisalsovisiblewhenthehandmakesafist;thelineoftheknucklesisnever

straightacrosswhenthehandmakesafist.Eveninanexpressiveposesuchasthefist,the

knucklesstillfallalonganarch.

VARIOUSHANDPOSES

Thecoolthingaboutdrawinghandsforcomicsisallthecostumeaccessoriesandpropsthatcanaccompanythem.Forexample,costumesfrequentlyextendallthewaytothehands.Weaponsneedtobehandled.Andcomicbookwomenneedtheirjewelry.Here’sagoodassortmentofhandpositions,straightfromthewardrobedepartment.

ANOTEABOUTNONHUMANHANDS

Keepinmindthatalltheinformationabouthumanhandsalsoappliestobeast“hands”thatarebasedonbasichumananatomy(likethe“hand”previouslyshown,forexample).

THEPELVIS,LEGSANDFEET

Maleandfemalecutting-edgecomicbookcharactersalikerequirethick,well-shapedlegmuscles.Onmen,muscularlegsshowstrength.Onwomen,theyshowsexappeal.Characterswith

superdefinedlegmusclesreflecttheworkofartistswhoreallyknowtheirstuff.But,thelegshavetoattachtosomething.Andtherefore,youneedtohaveanunderstandingofthepelvis(hip)area.

THEPELVIS

Thepelvishastremendousbonedensity.Ithasto.Thethickestpartsofthespineandthethighmusclesconnecttoit.Thepelviswithstandsallthestressofthebody.Thespinewedgesfirmlyintothepelvicbone.Thepelvisflaresouttogivethehipswidth,butitalsohasdepth.Someartistsliketothinkofitasabowlthathousestheinternalorgans.

THELEGBONES:ANOVERVIEW

Thelegbonesaresturdy,whichmakessensesincethelegsareheavilymuscled.Notethelittleknobofboneattheknee;that’sthepatella,andit’syourkneecap.Asyoucansee,theentirekneejointismuchbiggerthanthekneecapitself.

Notethecurvedoutlineofthelegs.Thisisbecausethelegsareheavilymuscled,andthe

muscleshaveanaturalcurvetothem,whichshouldbeexaggeratedoncutting-edge

characters.

LEGBASICS

Someofthesemusclegroupsmaybefamiliartoyou,asyoumayhavenoticedthemindrawingsorevenonyourownlegs.Thelegmusclesontheaveragepersonareusuallymoredefinedthananyothermusclegroup.Thisisbecauseweuseourlegmuscleseverydaytocarrylotsofweight—theupperbody—whereasothermusclesoftendon’tliftanythingheavierthanabagelandcreamcheese(andthereforeremainunderdeveloped).

Theanterolateralmusclegroupintheupperlegistheonethatcontainsthequadriceps,whichisthemostcommonlyknownandeasilyrecognizablemusclegroup.Thequardricepsgrouphasfourmajormuscles:therectusfemoris(themiddlemuscle),vastuslateralis(theupperoutermuscle),vastusmedialis(thelowerinnermuscle),andvastusintermedius(theloweroutermuscle).Theanterolateralgroupalsocontainsthetensorfasciaelatae,whichyoucanthinkofasthehipmuscle.

Thesartoriusisperhapsthemostimportantlegmusclewhenitcomestocreatingthecontouroftheupperleg.Itrunsdiagonallyfromtheoutertopofthethightothelowerinnerthigharea.It’swhatgivestheinnerthighit’sshape.Youcanseeevidenceofthismuscleonmostposesasit“pulls”thecontourofthethighmusclesfromtheinnerkneeoutwardtowardthehip.Itgivesthevastusmedialisitsteardropshape.Committhisonetomemory!

Andfinally,nexttothesartoriusandintheinnerthigharethreemoremuscles:thepectineus,theadductorlongus,andeveryone’sfavorite,theadductormagnus.Youcandrawdefinitionlinesalongtheboundariesofeachmuscleifyourcharacterisextremelydefined.

SIDEVIEW

Youshouldflipbackandforthfromthispagetothepreviousone,andobservethesamemuscles,bynameornumber,fromdifferentangles.

THELEGMUSCLESINBULK

It’ssometimeseasiertograsptheconceptofthelegmusclesonabulkycharactersimplybecausethemusclesareenlarged.Sohavealook.

THEFEMALELEG

Ifyoudrawsuperdefinitioninthefemalelegyougiveuptoomuchattractivenesstomakeitworthwhile.So,concentrateinsteadondefining—butonlypartially—justafewbasiclegmuscles.Whenitcomestothemuscularoutlineofthefemaleleg,however,yougiveupnothingbyshowingtheshapeofthemuscles.Thelegsmusthavethewell-shapedoutlineofanathlete.

Asyoucontinuetolookatthemanylegposesonthesepages,youshouldbegintorecognizethemusclegroups.That’showyou’llknowthattheconceptsarestartingtosinkin.

Note:Youdon’thavetocommitthemusclesnumbered5,6,7,and8(psoasiliacus,pectineus,adductorlongus,andgracilis)tomemoryastheyaretoonarrowtobedefined,evenonanextremecharacter.

SIDEVIEWOFTHEFEMALELEG

Takealookatthemuscles.Bycomparingthemtotheirlocationsonthepreviouspages,youcanbegintopredicttheirplacement.

THETROUBLESPOT:THEKNEE

Thekneegivesalotofpeopletroublebecauseit’smisunderstood.Thekneeisreallythejoiningoftwobones:thethighbone(femur)andthelargerofthetwocalfbones(tibia).Thesebonesbulgeatthejointswheretheymeet,whichcausesthebumpsintheknee.Thisisalsowhyitappearsthatthekneehastwobulgeswhenweknowthereisonlyonekneecap.

Onmuscularmalecharacters,thecalfmusclecanbeupto2timesthewidthoftheknee.

Onfemalecharacters,thekneesareaswideasthecalf.

BACKVIEW

Youdon’tseethebacksofthelegsawholelotbecauseartistsdon’tdrawthemthatoften.Firstofall,it’shardtorecognizeacharacterfromtheback:Thefaceisn’tvisible.Thehairstylecan’tbeseenclearly.And,thestylingofthecostumeandanyinsigniashappensmoreonthefrontofthefigure.

Ofcourse,therearetimeswhenit’snecessarytoshowthebackofacharacter.And,evenfromtherear,youcanrecognizesomemusclegroupsthatarealsovisibleinthesideandfrontviewssincemanyofthelegmuscleswraparoundthelegs.

CALFMUSCLES

Thecalfmusclesoncomicbookcharactersareusuallypumped.Thebigcalfmuscleintheback(thegastrocnemius)islikethebicepsofthelowerleg—itcanballupwhenflexedandisagood“show”muscle.

FEMALECALFMUSCLES

Women’scalfmusclesoftendisplaymoredefinitionbecausehigh-heeledshoesforcethecalfintoaflexingstate.Thetibialisanteriormuscle(number3)protrudesslightlybeyondtheshinbone(butdoesn’tofferenoughpaddingifyouevergetkickedthere!).

Takealookatwhat’sgoingonwiththeleftthighhere.Theouterthighmuscle(vastuslateralis)

providesthemajorityofthemassotherleg.It’salong,roundedmuscle,anditlookssexywhen

drawnlarge.The“glutes”shouldalsohavesignificantmass.

DRAWINGFEET

Okay,here’sthedealwiththefeet:Theinnerankleboneisalwayshigherthantheouteranklebone.Theballsofthefeetarecomprisedoftwoareas:innerandouter,withtheinnerarea(theonebehindthebigtoe)beingthelargerofthetwo.Thetoesdescendinlengthfromthemiddletoedowntothepinkytoe;onsomepeople,thesecondtoeisatleastaslongasthebigtoe,andsometimeslonger.Thearchoccursontheinnersideofthefootbetweentheheelandtheballofthefoot,andit’sevenmorepronouncedwhenthefootisinhigh-heeledshoesorboots.Theheelsticksoutslightly.

THEBONESOFTHEFOOT

Insteadoffeelingthatyoumustdrawallthebonesofthefeetandtoesfaithfully,thinkofthemingeneralterms.Thinkofthetoes,forexample,asoccurringontwodifferentlevels.Asyoucanseehere,there’sanoticeabledipinheightfromonetoejoint/sectiontothenext,likedescendingstairs.

SHOESANDBOOTS

Eventhefeetcanusealittlevisittothewardrobedepartmentinordertocompleteacharacter’scostume.

Createapatternonthesolesofregularbootsandotherfootware,andonathleticshoes.

Thehighheelisfullandhasvolume.

Note:nosolesonaction-heroboots.

Thebridgeofthefootcurvestofitintohigh-heeledshoes.

Note:thicksolesonruggedboots.

CLOTHEDCHARACTERS

Theseposesshowoffthebasicshapesofthelegs,boots,andhands.Todrawthisguy’soutfit,don’ttrytodefineallthevariousmuscles,becausethepantsareobviouslymadeoutofheavymaterial.

Thehighheelselongatethewoman’slegs,givingherasleeklook.That’swhyartistsdrawsomanyoftheirfemalecharacterswearinghighheels.Whenafemalecharacterstandsinhighheels,thecalfmusclesflex.Butevenifacharacterisbarefootorinflats,thecalfwillflexwhenthetoesarepointed;thisoccursalotinairborneposes.

THECOMPLETELEG

Youdon’tneedtoshoweverysinglemuscleinafinishedpose—infact,youshouldn’t,asthiswouldmakethedrawinglookoverworked.Concentrateonthelarger,bulkiermusclesanddefinethose.Thesartoriusmuscleisanexception:longandlean,andtravelingfromtheinnerkneetotheouterhip,itgivestheinnerquadricepsitsteardropshape.Whiletherearemanylegmuscles,thefourmostimportantonesfordrawingarethevastuslateralis,rectusfemoris,vastusmedialis,andsartorius.

Giantlegsmakeforapowerful-lookingbrute.

THECOMPLETEFEMALELEG

Attractivewomendon’tneedanydefinitiontotheirlegs—oriftheydo,it’sonlyaminimalamount.But,theoutlineofthelegmustbemuscularandmustreflecttheplacementofthepelvis.Thegluteusmaximus,thigh,andcalfmusclesmustallhavesize.Notethewidthoftheskeletalpelvisontheinitialroughsketch.

Whereaswithmenit’simportanttodefinetheknee,showingwherethepatella(kneecap)meetsthetopofthetibia(shinbone),withwomenit’simportanttominimizethedefinition.Avoidabonylooktothekneearea.Addasketchlineortwo,indicatingthetibiaasittravelsfromthekneetothefoot,butcutthelineshort.Allyouwantisaslightindicationofthatbone,tohintatthecontouroftheleg.

ELEMENTSTOPRACTICE

Atthispoint,youmaynothavestudiedeverysingleimage,butthat’sokaybecausebynowyouhavenodoubtbeguntounderstandsomemusclegroupsthatusedtomystifyyou.Andthat’swonderful.This

sectioncontainsadditionalhelpfuldetailsthatwillhelpyoufinesseyourdrawings.

Keepinmindthatyoushouldtrytonotbeaslavetotheanatomyofacharacter.Youstillhavetodrawcreatively.Anatomyshouldbeatoolthathelpsyoutodrawconvincingcharacters—andthecharacters,costumes,andposesmustcomefromyourimagination,notfromananatomybook.Drawacoolposeandthencorrecttheanatomy;don’tdraweverymuscleduringyourinitialsketch.Choosingwhatandhowtodefinethemusclesisacreativechoice.It’sanartisticchoice,andit’syourchoice.

HOWTOBEGIN

Nowthatyouhavesomuchknowledgeinyourhead,youdon’tknowwheretostart!Beginbyroughing—andIdomeanroughing—outtheskeleton.Justsketch.Workontheoverallshapefirst.Theexamplehereisabrutecharacter.Givehimwideshoulders,ahugechest,aslimwaist,andtree-trunklegs.Whentheposelooksdecent,starttochiselawayatthemuscles,definingthemajormusclegroups.

RENDERINGTHEMUSCLES

First,definethemusclegroupsandtheareas—liketheribcage—throughwhichtheskeleton“shows”(orisclosetotheskinsurfaceandnotcoveredbylayersofmuscle).Thenadddensitytothemusclesbymakingsomelinesthickerandsomeareasdarker.Next,shadethemusclesfurtherbyagaindarkeningandalsolengtheningthelines.Tofinish,allowthedarkareastobleedtogethersothatthereisa50–50mixoflightanddarkareas.

Thisposehasanicedynamictoit:thebodyisturnedsothatit’sina3/4view,butthelegsare

inprofile.Thetwistofthetorsoiswhatpreventstheposefromappearingflatandlifeless—asit

mightiftheentirefigurewereinastrictprofile.

WOMENANDTHESARTORIUS

Whenathighisverythickonactivefemalecharacters,itmaybecomenecessarytoaddsomedefinitiontotheinteriorofthethighsothattheareadoesn’tlooklikeabigblob.Butsincewomendon’tlookgoodwithbig,bulky,chiseledmuscles,it’sbesttocallonalong,leanmuscleinstead:youguessedit,bringoutourfriendsartorius.

LATSANDAGOODBACKVIEW

Thehuge“lats”(latissimusdorsi)onthischaractergivehimhisimpressivestature.Inthispose,thebackcurvestowardthereaderbecausethefigureholdshisarmsinfrontofhisbody.Thiscurvingactioncauseshisshoulderbladestospreadout,givinghimevenmorewidth.Notehowfardownthebackthelatsgo.Thespineshouldbevisibleallthewaydowntheback,butisdrawnwithabrokenlinesothatitdoesn’tbecomeoveremphasizedanddetractfromthebackmuscles.

RIBCAGEPOSES

Herearetwogoodposesthatemphasizetheribcage.Thelowerposealsodemonstratestheflexibilityofthespine,bendinginaclassicS-shape.

KEEPINGITSIMPLE

Nomatterhowcomplexthemusclesmaylook,thebasicposeofeachofthesecharactersisstraightforward—ithastobe.Iftheposeitselfiscomplex,itwillbehardtoread,andaddingmusclesontopofitwouldonlymakeitmoreconfusing.Goodposesarebasicposes,asyoucanseefromtheinitialsketcheshere.

BECREATIVE!

Rememberthatyoucanadjustthesecharacterstoyourpersonaltaste.Perhapsyou’dliketoreplacethebowandarrowwithamoremodernweapon,likealaserrifle.Perhapsshecoulduseapairofmecha-stylewings.Insteadofacape,theguyonthefacingpagecouldhavethelegsandtailofalizard.Theseareonlystartingpoints;therestisuptoyou.

THEBIZ

Forartistswhowanttogetpublished,there’snothingsomysteriousashowtogetstarted.Itsometimesseemsasifyouhavetoinventtheroadmapforsuccessallbyyourself.Thankfully,that’snotthecase.There’satriedandtruecareerpath,butmanyartistswastelotsof

timebecausetheydiscoveritonlybytrialanderror.Thissectionwillsaveyoulotsofwastedtimeandfrustration.You’lllearnhowtogetpublishedandwhatyournextstepsshouldbeasyouclimbtheladderinthecomicbookbiz.

STARTINGOUT:THEASHCANANDOTHERSTRATEGIES

Howdoyougetsomeonetotakenoticeofyou,letalonehireyou?Youcouldalwaysshoweditorsyourportfolioatcomicbookconventions.That’sagreatwaytodoit.Butmoreandmore,artistsareoptingforamethodthatbringstheirpresentationtoahigherlevelinthehopesofbeingtakenmoreseriouslybyaneditor.Theydosomethingcalledanashcan,whichcanbegivenawayatconventionsormailedaspartofasubmissionpackage.Anashcanisaself-published,shortcomicbooksample.Don’tconfuseitwithaself-publishedcomicbook,distributedtocomicbookretailers.Theashcanisnottobedistributedforsale;andit’snotprintedoncomicbookstock(paper).Itmaybeeighttotwelvepages.Itcancontainportfoliopieces,butmainly,it’savehicletoshowoffanartist’sskillatdrawingsequentialart(thepanel-by-panelsceneformatofcomicbookart).Itshouldinvolvewell-drawn,originalcharacters,andanumberofsceneswithmood,energy,andaction.Itshouldshowhowyoucanhandledialoguewithinterestingshots—notjust“talkingheads.”

Theadvantageoftheashcanoverthetraditionalportfolioisthatitgivestheeditorasenseofyourabilitytodelivermaterialintheformtheywant.Italsoshowsthatyouunderstandthemediumandallitselements,suchasdialogueballoons,panels,andlayout.Ashcansarealmostalwaysdoneinblackandwhite,forexpensereasons.Andyou’llmostlikelyhavetodothepencilingaswellastheinking,lettering,andprinting.Mostpeoplegettheirashcansprintedatlocalprintshopsoncopypaper.Editorsunderstandwhatanashcanisanddon’texpectittobeprintedonauthenticcomicbookstockwithaglossycover.

APPRENTICINGAnotheroptionforgettingstartedisapprenticing.Busy,successfulartistsoftenneedhelpintheiroffices.Thiscanrangefromofficemanagingtodoingerrands,butthecontactsyoumake—andtheexperiencesyougain—areinvaluable.Plus,itgivesyoutheopportunitytoshowyourdrawingstosomeonewhocandosomethingaboutit.Ifyou’reanygood,seasonedartistswilllikelygiveyouashotdrawingforthemwhentheygettoobusy.

DOINGBACKGROUNDSYoucanstartoffdoingbackgroundsforanestablishedartist.Basically,youshouldasktodoanythingtheartistdoesn’twanttodo.Togetthiswork,submityourportfolioorashcan.Makesureyouhaveabusinesscard,orprintyourcontactinformationontheashcanorportfolio(neversendoriginalart).Youwillalsohavemoreluckstartingoutbysubmittingyourstufftothesmaller,independentpublishers.Theideaisjusttogetpublished.Anunpublishedartistisanunknownquantity.Beingpublishedinanyformgivesyoumorecredibility.

BEINGTHEFILL-INARTISTOnceyou’veestablishedarelationshipwithanartist,editor,orpublisher,youmayinquireaboutdoingfill-ins.Fill-inworkisneededwhenanartisttakesabreakfromabook.Someonehastokeeptheseriesgoing.Ifthefill-iniswellreceived,itmayturnintoaregulargig.

DRAWINGPOSTERSANDPINUPSPublicityandpromotionalmaterialsarealwaysbeingchurnedoutbypublishers.Doingthese“one-shots”isagoodwaytoestablishaworkingrelationship.

GETTINGHIREDONABOOK!You’vetakeneveryjobasanopportunitytoimproveandshowhowgoodyourstuffis.Andnowit’sbeingrecognized.Thepublisheroffersyouaregulargigonabook.Butyou’renotgoingitaloneanymore.Alotofpeopleareinvolvedwithputtingthebooktogether.It’sateam,withoutthejerseys.Andyou’llbecomeacquaintedwiththeotherteammembers’work,evenifyoudon’tspeaktoallofthemindividually.

SELLINGYOURARTIfyourworkonamonthlybookhasgottenyournameinfrontofthepublic,collectorsmaybeinterestedinbuyingyouroriginalartwork.YoucansetupaWebsite,whereyoucansellyourpublishedcomicbookartonline.Someartistsalsomakeextramoneybydoingprivatecommissionsforcollectors.EbayisapopularsiteforartistswithoutWebsitestoselltheiroriginals.

MAKINGPUBLICAPPEARANCESWhenyoustartgettingestablished,it’syourturntoappearattheconventions.Thisisimportant,asitkeepsyouinthepubliceyeinfrontofyourtargetaudience.Conventionappearancesarepublicized,whichalsoaddstoyourprestige.And,peoplewillbuyyourbookjustsotheycanhaveyousignit.Ahhh,lifeisgood.Butwait,itgetsevenbetter…

SIGNINGANEXCLUSIVEIfapublisherlikesyourworkenough,heorshemightaskyoutosignanexclusivedeal,whichprohibitsyoufromtakingworkwithanotherpublisher.Thismeansyou’reguaranteedregularwork—sometimesalotofwork,butyoucannegotiateformoredough.

BRANCHINGOUTManycomicbookartistsgointodoingstoryboardsforthemovies.Storyboardartistsareverywellcompensated,andit’sanicechangeofpace.Youcanalsodostoryboardsforcommercials.Someartistsgointovideogameortoydevelopment.It’sagoodfinancialstrategytohavemultiplesourcesofincome.Also,ifyou’vesignedanexclusiveagreementwithacomicbookpublisher,you’remorelikelytogetpermissiontodooutsideworkifitdoesn’tcompetewithyourcomicbookworkand—andthisisabigand—ifitwon’tslowyoudown.

LICENSINGTHERIGHTSYourbookmaygetattentionfromtheHollywoodcommunity.Hollywoodalwayslookstocomicbooksformorematerial,andmany,manypopularfilmswerefirstcomicbooks.Trytoholdontoasmanyrightsasyoucanwhenyousellyourideatoapublisher,otherwise,Hollywoodwilldealdirectlywithyourpublisherandcutyououtentirelyfromthebookyoucreated.Ouch!

CREATINGSOMETHINGNEWYoucancreatesomethingnewwhenyou’veestablishedyourcredibilitytothepointwhereyoucanpitchanewideaforacomicbooktoaneditororthepublisher.Iftheybuyit—success!—you’velaunchedyourownseries!

SWITCHINGSIDES

Youcanalsoflipandbecomepartofmanagement.Manysuccessfulcomicbookartistsbecomeeditorsoreditor-contributors.Youcommutetotheoffice,drinktoomuchcoffee,andtellotherartistswhattodo.Butbekind—andrememberwhereyoucamefrom.

Beinganeditorgivesyouthechancetointeractwithmanytop-notchartistsandwriters.Youoverseemanybooks.Andbesides,it’snicetohavesomeoneelsepickupthetabforyourhealthcare.

BECOMINGAPUBLISHERInthisscenario,yourbookissosuccessful—spinningoffmoviesandmerchandise—thatyouformyourowncompanyaseitheranimprintofthepublisheryou’vebeenworkingfor,oryourownindependentpublishingempire.Anumberofcomicbookartistshavedonejustthat.Sometimes,severalofthemformagroupandstarttheirowncompany,whichgetsthemimmediateattentionbecauseoftheircombinedstarpowerandprestige.

THEINTERVIEWS

Wanttoknowexactlywhatsomeofthetopcomicbookpublishersarelookingfor?Wanttoknowhowtheythinkandhowtheyviewartists?You’vecometotherightplace,andtheanswersmaysurprise

you.Theexclusiveinterviewsinthissectionareamust-readforanyonewhohasever—evenforamoment—consideredbeingapublishedcomicbookartist.

ANINTERVIEWWITHMIKEMARTSEDITORATMARVELCOMICS

Whenyouthinkaboutcomics,youcan’thelpbuthavetonsofgreatMarvelcharacterspopintoyourhead.Thefantasticcharacterdesigns,theextremeanatomy,thecoolstorylines—they’vegotitall.Marvelisuniqueinthisbusiness:it’sthegoldstandardthatremainsonthecuttingedge.Marvel’smarvelouscharactersarefavoritesineverymedium,fromcomicbookstomoviestotelevisiontovideogamestoadizzyingarrayofmerchandise.Inthissegment.MarveleditorMikeMartshasbeengraciousenoughtosharehisexperienceandinsightsintotheworldofcomics,fromarttechniquesanddrawinganatomy,tobreakingintothebusinessandindustrytrends.Iknowyou’llgetalotfromhiswealthofknowledge.

ChrisHart:What’syourbackground,andhowdidyoucometoworkasaneditoratMarvel?MikeMarts:MycareeratMarvelbeganintheearlyninetieswhileIwasstillincollege.Asajournalismmajor,IknewIwantedtoeitherwriteoreditcomics…andafteradozenorsounsuccessfulattemptsatsubmittingstoriestoMarvel,Ienrolledintheireditorialcollegeinternshipprogram.Ispenttwosemestersasaneditorialassistant,whicheventuallyledtoanassistanteditorpositionwithintheIronMan/FantasticFouroffice.IstayedatMarvelforaboutthreeyearsasanassistant,thenservedasmallstintasWizard’spromotionsdirector,

thentwoyearsasaneditorforAcclaimComics,andthenIfinallycamebackhometoMarvelasaneditorin1999.

CH:Whatdoyouenjoymostaboutbeingacomicseditor?MM:It’shardtopinpointonething…therearesomanythingsaboutbeinganeditorIenjoy:thefreelancetalentworkingonthecomics,theconstantneedtobecreative,thepressureofthedeadlineandmakingsureabookgetsouttotheprinterontime.ButIsupposeifIhadtomarkonethingasmyfavorite,I’dhavetosaythecontinualdanceoftryingtomakeaprojectinterestingandfresh.It’stojuggleallthethingsthateditorshandleinanyonegivenday,butkeepingthingsexcitingandnewforthereadersalwaysseemstobethemostimportantand,therefore,themostenjoyable.

CH:WhataresomeofyourfavoriteMarveltitlesandcharactersthatyou’veworkedon?MM:TheX-Menweremychildhoodheroes,soIhavetosaythecharactersandtitlesI’mworkingonnowaremyfavorites:NewX-Men,UncannyX-Men,Exiles.Inthepast,I’veenjoyedmytimeworkingonDeadpool,Wolverine,andWolverine:Origin.

CH:Canyouarticulatewhatthat“specialsomething”isthatmakesMarvelcharacterssoappealing?MM:ItreallygoesbacktoStanLeeandJackKirby’soverallphilosophyonMarvelheroes—thattheyshouldbe[characters]readerscouldrelateto.SureSpider-MancouldbefightingtheVultureorKravenonanygivennightoftheweek.ButPeterParkerhadtoworryaboutgettinghomeintimefordinner,too!Spideyhadgirlproblems,theX-Menwereoutcasts,Daredevilwasblind—noneofStanandJack’screationswerewithouttheirownpersonalhandicapsthatmadereadersrememberthemasmorehumanthansuperhuman.

CH:Howimportantisasolidgraspofanatomyandfiguredrawingtothecomicbookartist?MM:Extremely.Therearemanydifferentthingsthatgointothemakingofagreatcomicbookartist—storytelling,pagecomposition,perspective,andcontrasttonamejustafew.Butwithoutasolidfoundationoftheanatomyofthehumanbody,anartistwillhavealongwaytogobeforeheorshecanbeconsideredasaprofessional.

CH:Whataresomeofthecommonweaknessesyouseeinanatomyandfiguredrawingwhenlookingatportfoliosofaspiringartists?

MM:Alotofitcomesbacktojustabasicmisunderstandingofthehumanbodyandhowitactsindifferentscenariosandsituations:atrest,inmotion,throwingapunch,etc.Facesandhandsarealwaysthehardest,soItendtoseeeitherlazinessonthepartofhandsorjustextrememisinterpretationsofthehumanface.Andthat’snottosaythattheseartistsaren’ttryingtheirhardest—theyare.They’rejustextremelydifficultthingstomaster,andIhavetohandittotheguysandgirlsIworkwitheachmonthwhoalreadyhaveitmastered.

CH:Whatdoyouwanttoseeinaportfolio?MM:Morethananything,Iwanttoseeagoodbalanceofartisticelements.Don’tshowmeaportfoliofullofpinupsorsplashpages—that’sgoingtogivemenoideaofhowwellyoucansequentiallytellastory.Also,thinkaboutbeingspecificinshowingpiecesthatrelatetoyouroverallgoal.Ifyourlifelongdreamistobeapenciler,don’tshowmeyourstilllifepaintingsfromtheseventhgrade.Whileitwillshowmethatyou’rewellrounded,it’salsogoingtogivemetheimpressionthatyou’reunsureofwhatyouwanttodoandwhatyouwanttobe.Aneditor’stimeisextremelyprecious,especiallyataconvention,sobeextremelyselectiveinwhatpiecesyoushowandwhattheyare.Alwaysputyourbestpieces—oryourmorerecent—upfront.Sometimesaneditorwon’tbeimpressedwithwhatheorsheseesinthefirstfewpagesandwillwishyougoodluck,whichwillreallystinkifyousavedyourbestpiecesforlast!Trytoputyourselfinthemindoftheeditors,andfigureoutwhatthey’rethinkingorwhatthey’relookingfor.Trytomakeyourbestimpressionasquicklyasyoucan.Becordial,friendly,andmostespecially,bereceptivetocriticism.Aneditorwillneverwanttogiveworktotheguywhomuttersunderhisbreathandwalksoffinahuffbecausehewastoldhisanatomyneededwork.Mosteditorshaveearnedtheirrankandknowwhatthey’retalkingabout;they’veworkedwiththebestartistsinthebusinessandknowwhattypeofanartistwillsellabook.Taketheircriticismandtakeitwell.Andiftheydon’tgiveany—askquestions.

CH:Isitimportantthatcomicbookartistshaveformalarttraining,orcantheybeself-taught?

MM:It’snotalwaysnecessary—Ihaveseensomeoutstandingartworkcomefromguysandgirlswhohaveneverhadanyarttrainingwhatsoever—butitalwayshelps.Myadvicetoanyonestartingoutistogetsomeformofprofessionaltraining,whetherit’scollege-levelartcourses,instructionalvideos,orhow-tobookslikethisone.Getasmuchinstructionandinformationfromprofessionalsasyoupossiblycan.Lookintointernshipsatanytypeofbusinessthat’srelatedtoartwork.Thinkaboutbeinganapprenticetoalocalartist.Studythegreatpastmasters[ofartandillustration]—daVinci,Picasso,Rockwell—notjustthelatestissueofHulkorCaptainAmerica.

CH:Whataresomeofthemajortrendsinthecomicbookindustry,andwheredoyouseethingsheadinginthefuture?MM:It’sadifficultthingtotryandpredictwherepeople’stasteswillrunincomicartwork.IfIknewforsure,I’dalwayshavethebestartistsworkingontherightcomicsandeveryonewouldalwaysbehappy!Butthat’sneverquitethecase.It’stoughgaugingwherearttrendswilltaketheindustry.…Conventionsandcomicbookstoresareusuallythebestarenastofigureoutwhat’shotandwhat’snot.Sometrendsseemedtohavediedoutabitoverthepastdecade(“badgirl”artworkortheImage-era“in-your-face”typeofstylespringtomind),whileothershaveremainedconsistent,orattheveryleastsurvivedlongerthanpeopleinitiallythought.Ithinkmostpeoplehavebeensurprisedathowlongthecurrentanimated/mangatrendhasremainedstrong.Andcertain“realistic”styleslikeAlexRoss’spaintingsorNealAdams’sandBryanHitch’sworkwillprobablyalwaysremainstrong.Butintheend,Ithinkitalwayscomesdowntohowstrongthestorytellingbeneaththecurrentarttrendis.AnimationartandJapanesemangaaregroundedinstrongstorytelling,whichisprobablywhythey’vebothremainedstrong.Otherpasttrendsthathavegonethewayofthedinosaur,however,wereprobablybasedmoreondynamicsandimpactthananythingelse.

CH:Marvelhassomanysuccessfulcharactersthathavebeenturnedintomovies.Whenyoucreatenewcomicbookcharacters,howimportantisitthattheybeadaptabletofilmroles?Andwhatcreatesagoodmoviecharacter?MM:Therearealotofelementsthatgointothecreationofanewcharacter,andI’mnotsayingthatmovieandTVadaptabilityaren’tthingscreatorsthinkaboutwhendreamingupthenextSpider-Man,buttheyaren’tthefirstthings.Firstandforemost,we’lltrytocreateastrongcharacterthatpeoplecanrelateto.Willreaderslikethischaracter?Willreadersrelatetowhatthischaracterdoesinhiseverydaylife?Willreadersbesurprised—andpleased—withthedecisionsthesecharactersmakewhileunderpressure?Theseareallquestionsweaskourselvesascreatorsbeforedivingheadlongintothecharacterpool.Andifthecreationcomesoutstrongandrelatableandlikeable…well,thenotherthingslikemovieandTVadaptabilitywillalmostautomaticallyfollow.

CH:Howimportantisitforaspiringartiststogotoconventionsandnetwork,ratherthandoeverythingbymail?MM:It’snotessentialbutitisimportant.Theface-to-facemeetingwithaneditororfellowartistisworthfarmorethanthesubmissionbymail,nomatterhowgoodofanartistyouare.Admittedly,mystackofunopenedsubmissionsisusuallyprettyhigh.Andit’snotoutoflackofinterestinfindingthenextJoeMadureira;it’sjustthatwhileI’mintheoffice,myprimaryfocususuallyendsupbeingmakingsurethenextissueofUncannyX-Menlooksgood,readswell,andgetsouttotheprinterintimetogetintoyourhands.Conventions,ontheotherhand,

areawholedifferentstory.Myprimarypurposeforbeingthereistomeetandgreetandnetworkwithalltypesoftalent—newandold.I’vemadeplentyofconnectionsatconventionsovertheyearsthathaveblossomedintolongstandingprofessionalrelationships,andmorethanafewofMarvel’seliteartistsgottheirbigbreakwhileshowingtheirartworktoaneditoratoneofthebigcons.

Thatbeingsaid,ifyoufindthatasanartist,youcan’tmakethelongdrivetothenextbigshow,don’tdespair.Mailande-mail,especially,arebothgreatwaysofshowingyourartwork.Alsothinkaboutexhibitingyourartworkonyourhomepage,andsendeditorsyourlink.Thisalwaysworksgreatwithme.Mycomputerscreengetstolookatmemorethanmygirlfrienddoes,soifanaspiringartist’shomepagelinkpopsupinfrontofmyfaceonmycomputer,I’dmuchratherclickonitandfindoutwhat’sinsidethanstartopeningthatdauntingstackofsubmissions.

ANINTERVIEWWITHCHRISWARNEREDITORATDARKHORSECOMICS

DarkHorseComicshasgrownfromafledglingbusinesstooneofthetopcomicbookpublishersintheUnitedStates.Ithascontinuallypushedtheenvelopetobringtheartofcomicstoanewlevel,whichitsustainsinbreathtakingcomicbookafterbreathtakingcomicbook.Inadditiontoitsgroundbreakingoriginalcastofcharacters,DarkHorsehasanamazingstableofcomicsbasedonwildlysuccessfultelevisionandmoviecharacters.ChrisWarnerandScottAlliearebotheditorsatDarkHorseComics,andtheysharetheirexperienceswithyouhere.

ChrisHart:WhatwasyourroutetobecominganeditoratDarkHorse?ChrisWarner:ForanumberofyearsI’dknownMikeRichardson,fromwhomIusedtobuycomicsathisretailshop,andRandyStradley,withwhomI’dcollaboratedcreativelyandlivedforatimeinNewJerseywhenwefirstbrokeintocomics.WhenMikeandRandydecidedtostartcomicspublishing,IwasstilllivinginNewJerseyandworkingforMarvelasapenciler(MoonKnight,AlienLegion,DoctorStrange),andtheyaskedmetocreatetheleadfeature(BlackCross,acharacterIhadbeenkickingaroundbuthadnotyetdevelopedintofinishedstories)forDH’sfirstcomicbook,DarkHorsePresents.Aftermovingbackto

Portlandinthelateeightiesanddoingalotmorefreelancework,DarkHorseaskedmeifI’dbeinterestedindoingsomefreelanceeditorialwork,sinceIhadaprofessionalbackgroundindrawing,writing,andinkingcomicsandhadprofessionaleditorialandproductionexperience,havingworkedforanoncomicspublisherintheearlyeighties.IsplittimebetweenDarkHorsestaffandfreelanceworkforanumberofyearsandeventuallybecameafull-timestaffeditor.

CH:Atwhatagedidyoudiscovercomics,andwhendidyouactuallythinkaboutmakingacareerofit?CW:SomeofmyearliestmemoriesareofbeingreadDisneycomicsbymydad.IhadprofessionalambitionswhenIwasyoung,triedtobreakintothebusinessinmyearlytwenties,thensortoflostinterestincomicsasaprofessionuntilmylatetwenties,whenIcaughtthebugagain.

CH:WhataresomeofthecharactersandbooksyouhaveworkedonforDarkHorse,andwhatareyouworkingonnow?CW:Asanartistand/orwriter,I’veworkedonBlackCross,TheAmerican,Predator,Aliens,TheTerminator,BarbWire(whichIcreated),Comics’GreatestWorld,X,StarWars,Ghost,etc.Asaneditor,I’veworkedonatonofstuff,especiallyalotofgreatmanga,suchasGhostintheShell,Akira,andAstroBoy.Thesedays,I’mworkingonBerserk,AstroBoy,severalotherTezukaprojects,andavarietyofnoncomicsbookprojects.

CH:Thisbookfocusesonanatomyforcomicbookartists.HowmuchemphasisdoesDarkHorseplaceonanartist’sgraspofanatomy?Cananartistfakeitwithflashandstyle?CW:Knowinganatomyisimportant,butknowingfiguredrawingiscrucial.Anatomyisjustknowingwhatmusclegoeswhere,properproportion,etc.Figuredrawingisknowinghowthefigurelooksinmotion,howthemuscleslookindifferentpositions,howthebodybalances.Ifyoudon’thaveanaturalcommandoffiguredrawing,youcan’tfakeit.

CH:Whenaspiringartistsgettheirfirstrealbreakinthebusiness,whatthingswouldyousuggesttheydotocapitalizeonitandimpresstheireditors?CW:ThisisthemostaccurateaxiomIknowrelatingtofreelancing,andit’s100percenttrue.Therearethreequalitieseditorsarelookingfor,andifyouhavetwoofthem,you’llbeabletomaintainacareerincomics(orprobablyanycreativefield):bigtalent,rock-soliddependability,andgreatcharacter.Ifyouhavefabuloustalentandareagoodperson,butyou’reshakyondeadlines,aneditorwillaccommodateyouifatallpossible.Ifyou’reextremelytalentedandnevermissadeadline,butyouareacompletejerk,you’llstillgetwork.Ifyou’reanaveragetalent,butyounevermissadeadlineandaregreattoworkwith,you’llalwaysbeworking.But,youcanbethemosttalentedguyontheplanetbutifyou’reaflakeandapunk,eventuallyyou’llberunoutofthebusiness.Ifyou’readeadlinemachinebutcan’tdrawandyou’remiserabletoworkwith,you’redone.Andbeingthenicestguyintheworldwon’thelpyouifyou’reanundependablemediocrity.So,chooseanytwo:good,dependable,nice.Andifyou’reallthree,you’regoingtomakealotofpeoplehappyandalotofmoney.

CH:Supposethatsomeonehasaportfolioofdrawingsreadytogo.Howwouldyouadvisesomeonetogoabouttryingtolandthatfirstjob?CW:First,showthesamplestoworkingprofessionals,preferablyartists,toseeifyou’rereadytotakethenextstep.Ifyouhaven’thadsomeonewithknowledgegiveyouasolidindicationthatyourworkhaswhatittakes,you’reprobablywastingyourtimesendingworktopublishersorshowingyourworktoeditorsatbigshowslikeComiconInternationalorWizardWorld.Aneditorisnotthefirstpersoninthebusinessyouwanttoseeyourwork.Mosteditorsaren’tartists,andalltheycandoisgiveyouthumbs-uporthumbs-down;theydon’thavethedrawingknowledgetoreallytellyouwhatyouneedtodoinanybutthebroadeststrokes.Almostalllocalconventionsandallregionalconventionshaveguestartists.Showthemyourwork,andaskfor100percenthonestopinions.Iftheytellyouyou’reready,you’reprobablyready.Infact,ifyouareready,manyartistswillhelpyououtbyputtingyouincontactwiththeireditors.That’showIgotmyfirstbreak,infact,andhowanumberofartistgottheirbreakbyshowingmeworkatconventionswhenIwasafreelancer.

CH:IsitimportantforartiststosetuptheirownWebsiteasaformofself-promotion?CW:It’shelpfulbutnotessential.Comicsisaprettysmallbusiness,anditisn’tthathardtosendyourstufftopublishersatregularintervals.Forpencilersespecially,good-quality,full-sizecopiesin-handlookathousandtimesbetterthanscanned,reduced72dpijpegsanyday.Ifanartisthasaspirationsinillustrationoutsideofcomics,IthinkaWebsiteisanabsolutemust.Also,ifyou’redoingregularstoriesonyourown,aWebsiteisgreatbecauseitshowsyourdedicationtotheform,andpublishingontheWebisfarlessexpensivethanprintingphysicalcomics.

Ifyoudohaveasite,makesureyou’reupdatingitregularly,dailyifyoucan(a“SketchoftheDay,”forinstance).Giveeditorsareasontocomebackontheirownratherthanbrowbeatingthemwithe-mails(althoughifyou’veestablishedarapportwithcertaineditors,byallmeansdropthemane-mailwhenyou’veupdatedyoursite).Andmakedamnsureyoursiteisworkingbeforeyouputitupandstartcontactingeditors.Nothingismoreoff-puttingthanhavingsomeonesendyoualinkonlytohaveanUnderConstructionpagepopuporaninterfacewherelinksdon’tworkorwhereoverlyambitiousentry-screenFlashmoviesjustwasteaneditor’stime.Thesiteshouldlookgood,butletmegettotheartasfastasIcan.

CH:Doyoufindthatsometalented,youngartistsfallintothetrapofbeinggoodatdrawingmenorwomenbutnotboth?Whatdoyoudo,asaneditor,ifyouencountersuchaproblem?CW:Therearesomeverytalentedartistswhodowelldrawingcharactersofonegenderandnottheother.Generally,youtrytoleantoanartist’sstrengthsandnotmakeassignmentsthatrelyonastrengthaparticularartistdoesn’thave.Oneofthemajorchallengesforaneditoristofindtalentwhosestyleisvisuallyappropriateforthematerial.Thisdoesn’tmeanthataparticularbookrequiresaspecifichousestyle,butthatwhateverstyleisemployedunderscoresthemood,thethemes,theemotionalanddramaticcontentofthework.Nomatterhowtalented,noteveryartistisappropriateforeveryassignment,andthisisoneofthebiggestpitfallsofmanyeditors,thedesiretohirethesamepeople,or“name”people,regardlessof

whethertheirworkmightactuallydiminishthematerial.

ANINTERVIEWWITHSCOTTALLIEEDITORATDARKHORSECOMICS

ChrisHart:HowdidyoubecomeaneditoratDarkHorse?ScottAllie:IwaslivinginPortland,whereDarkHorseisbased,self-publishingacomicseries.ThisgotthecrewatDarkHorsetonoticeme,andIhappenedtorunoutofmoneyrightwhentheyneededanewassistant.IwasluckyenoughtoinheritHellboywhenanothereditorleft,andthissetmycareerrolling.

CH:Haveyoualwaysbeeninterestedincomics?SA:Ionlystartedreadingcomicsinjuniorhigh.Beforethat,Ihadmaybetwocomicsasakid.Idrewcomics,butIneverreadthemuntilFrankMiller’sWolverineseries.

CH:Wereyouoneofthosekidswhoalwaysdoodledanddrewonthemarginsofhisnotebookpaper?SA:Yeah.

CH:Whataresomeofthefunctionsofacomicbookeditor?

SA:Itchangesfrombooktobook,butsometimesyouhavetocomeupwiththestoryyourself,ornursethewriter’sideasalong.Sometimesyouarejusttheretomakesurethestoryworksonitsownmerits,orthatthearttellsthestorywell,thattheartistisgivingyouhis[orher]bestwork.Sometimes,you’rechasingdownpaymentsorcontractsorlostartwork.Sometimes,youhavetofirepeople,andyou’realwayslookingtohirethenewguywhoseworkblowsyouaway.

CH:Howmuchtimedoyougiveacomicbookartisttocompleteatypicalcomicbook.Andhowmanyactualpagesofartareinvolved?SA:Theaveragecomichereistwenty-twopagespluscover,butIcan’tgiveyoumuchofanaverageofhowlongittakesthemtodoit.Iguesstheaverageguythesedaysmighttakefiveweeks,whichmeansyouhavetoberesourcefultokeepamonthlybookonschedule.ButmostofwhatDarkHorsedoesisminiseries,sowecanschedulearoundanartist’sspeed,andalotofguystakesixtoeightweekstodoabook.Anewguystartingoutwillfindhimselfhardpressedtogetworkifhe’sthatslow,though.

CH:Howoftendoyouspeaktoanartistduringtheprocess?SA:Alsodepends,butonaverageI’dsayonceaweek.There’soneguyIonlytalktowhenheturnsthefinishedbookinandIsayit’sperfect.OtherpeopleItalktoeveryday.DependsontheirpersonalneedsandhowmuchIhavetostayonthemtogetthebookoutofthem.Iliketalkingtomyartists,soIlikealotofcommunication,butit’sbestwhenIdon’tfeellikeIhavetocallorthey’replayingNintendo.

CH:Dotheartistandtheinkerspeakdirectlywitheachotherabouttheprojecttheyaredoing,oronlytotheeditor?SA:Atothercompaniestheeditorsliketokeepthetalentawayfromoneanother,butwhenIhireapenciler,Igenerallyaskhimwhohewantstoinkhim;thismeanstheinkerisprobablytheguy’sfriend,andtheyprobablytalkmorethantheytalktome.Whichisgreat.

CH:Ifyou’reanaspiringartist,andyou’reatacomicbookconvention,andyou’vegotonlyoneshottomeetaneditorfromamajorcomic

bookpublisher,whatshouldyoudotoprepare?SA:Samplesthataregonnaknockmysocksoff.Sixtotengreatpagesthatreallytellthestoriesthey’retryingtotell,andshowthattheartistcandrawanything.Butifanartist’sworkisnottotallyuptoprofessionalstandards,don’tshoweditors.Showprofessionalartists,whocangivemuchbetteradviceabouthowtogetbetter.Ifanartistisnotgoodenoughtogetworkortoatleastmakeagreatimpressionwithhis[orher]work,thenshowinganeditorisawasteofeveryone’stime.

CH:Wheredoyouseecomics,ingeneral,headinginthefuture?Forexample,thereisastrongpushtowardmanga(Japanesecomics)andgraphicnovels.SA:Ithinkgraphicnovelsarethewaveofthefuture,butthefutureain’tnow.Weneedalittlemoreevolutiontogetthere.Rightnowtheydon’tworkoutfinanciallygoingstraighttoso-calledgraphicnovels—thatis,skippingthecomicbooks.Ithinkthemangacraze,whilevalid,hasgottotaperoffsoon,andhopefullythatwillmakemoreroomforAmericancomics,ratherthanpeoplejustforgettingaboutcomicsandmangaaltogether.Itwouldbehorribletohavegainedthisgroundandloseit.ButIthinkpublishersarebeingmuchmoreshrewdaboutwhattheypublish,aredoingeverythingtheycantoputoutthebestmaterialpossible.Ithinkthiswilltranslatetoamorewidelyacceptedandwidelyreadartform.Ithinkstandardswerekindoflowforawhile,butnowthereissomeamazingworkcomingout—andmuchlessmediocrework.

CH:Whataresomeoftheprojectsyou’reworkingonatDarkHorse?SA:MybigthingisDevil’sFootprints,mycreator-ownedserieswithPaulLee,BrianHorton,andDaveStewart.Itain’tpayingthebills,butitkeepsthelightsoninsidemyskull.It’spartofahorrorlineI’moverseeing,whichincludesMikeMignola’sHellboystuff,EricPowell’sTheGoon,andvariousthingswithSteveNiles,includingtheCalMcDonaldserieswithBenTemplesmith.Betweenthesebooks,andConanandBuffy,whicharemytwobiglicenses,I’vegotmyhandsfull.Butit’sallstuffIlove,soI’mhappy.

ABOUTCHRISHARTChristopherHartisanaward-winningandbest-sellingauthorwhosebookshavesetthestandardforartinstruction,bothnationallyandinternationally,withover1.5millioncopiesinprintinfifteenlanguages.Heisthego-toguyformangahow-tos,andhistitleMangaManiawasthetop-sellingartbookintheUnitedStatesformonthsafterits2001publicationandcontinuestobeoneofthecountry’sbest-sellers*.

Renownedforup-to-the-minutecontentandeasy-to-followsteps,allofHart’sbookshavebecomestaplesforanewgenerationofaspiringartistsandprofessionals,andtheyhavebeenselectedbytheAmericanLibraryAssociationforspecialnotice.Aprolificwriterandartist,Hartistheauthorofseveralart-instructionbookseriesandchildren’sbooks,andhisworkhasalsobeenfeaturedinnumerousmagazines.HelivesinConnecticutwithhiswifeandtwodaughters.

*Source:Bookscan

INDEXabdominalmuscles,4.1,4.2,4.3,4.4,4.5,4.6acromionboneage,bodychangesandAllie,Scottankleboneapprenticeship,9.1,10.1armmuscles

biceps,5.1,6.1,6.2brachialis,6.1,6.2coracobrachialisforearm,6.1,6.2triceps,5.1,6.1,6.2,6.3,6.4

armsbonesdownposition,4.1,4.2,5.1posesforraisedposition,4.1,4.2,5.1,6.1,8.1

arttrainingartworksalesashcanvs.portfolio

backfemale,1.1,5.1posesforsurfacerendering

backmuscles,1.1,1.2armsdownarmsraised,5.1,8.1contractinglowerback

backview,5.1,7.1,8.1bellybuttonbiceps,5.1,6.1,6.2body

bodyageandheightslightandshadowonshapessimplifiedfiguresskeletonveinsandarteries

bodylanguagebootsandshoesbrachialis,6.1,6.2

calfmuscles,1.1,7.1,7.2carryingmotioncharacters

bodylanguagebodyshapescreating

chestmusclesarmsdownarmsraised,4.1,4.2inmotionshouldersand

collarbone(clavicle),1.1,4.1,4.2,5.1comicbookconventions,9.1,10.1,10.2comicbookeditors,9.1,10.1,10.2coracobrachialis

DarkHorseComicsdeltoids.Seeshouldermusclesdrawing

commonweaknessesfigureinitialsketch,4.1,8.1musclessimplifiedfiguressurfacemapping

earseyes,3.1,3.2

faceeyes,3.1,3.2musclesproportions,3.1,3.2

feetfill-inworkfiringweaponmotionforearm,6.1,6.2

graphicnovels

handshaulingmotionhead

angleof,3.1,3.2earsskulltiltofSeealsoface

heights

inkers

kickingmotionknees,7.1,7.2,7.3knuckles

leapingmotionlegmuscles

backviewinbulkycharactercalf,1.1,7.1,7.2female,7.1,8.1groups

sartoriussideview,7.1,7.2

legsbonesfeetfemale,7.1,7.2,8.1giantknee,7.1,7.2,7.3

licensingrightsliftingmotionlightsources

manga(Japanesecomics)MarvelComicsMarts,Mikemuscles

abdominal,4.1,4.2,4.3,4.4,4.5,4.6inactioncontoursfacialmenmusclesonmusclesconceptneck,3.1,4.1inprofileonribcage,4.1,4.2,4.3stagesofmuscularitywomenSeealsoarmmuscles;backmuscles;chestmuscles;legmuscles;

shouldermuscles

neck,1.1,3.1,4.1nipplesnose

pelvis,4.1,7.1,7.2portfolio,9.1,10.1,10.2poses

forarmsforhandsforribcageroughingoutforshoulders

postersprofile,1.1,3.1,3.2promotionalworkpullingmotionpunchingmotion,2.1,6.1pushingmotion

ribcagearmsraisedfemale,4.1,4.2inmotion,4.1,4.2muscles,4.1,4.2,4.3pelvisandposesforsternum

runningmotion

sartoriusmuscle,7.1,8.1scalingwallmotionshadowsshoesandbootsshoulderblade,5.1,5.2shouldermuscles

armsdownarmsraisedfrontview,4.1,4.2,5.1parts,1.1,5.1posesrearview

simplifiedposesskeletonsketching,4.1,8.1

skullsmilespineofthescapulastarting-outstrategies,9.1,10.1,10.2,10.3storyboardartistssurfacemappingsuspensionfromropemotion

thigh,femalethree-quarterview,3.1,3.2,4.1toes,7.1,7.2torso

femalemale

trapeziusmuscle,3.1,5.1,5.2,5.3triceps,5.1,6.1,6.2,6.3

veinsandarteries

Warner,ChrisWebsitewomen

armsback,1.1,5.1bodyshapescalfeyesfaceheadtiltsheightshighheelslegs,7.1,8.1musclesskeletontorso

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