Hey there, fellow comic creators and enthusiasts! Today we’re going to talk about drawing. Because without that, comics would be… well… books. I’m going to try and tackle questions like: Can you learn to draw, or is it a gift? What does someone need to know in order to draw comics? What does someone need to do to get better at drawing? And a lot more. But first, before we get started, I have a confession to make – I don’t think I’m the best person in the world for artistic advice. Why? Well, because I never had a formal education in art. Art has been in my veins for all of my life, but without the training, I don’t think I’m qualified to be a teacher. BUT, I can MAYBE provide a starting place for those curious about what it takes.
The skills I’m sharing today are like the trusty compasses in my artistic toolbox, guiding me through the comic-making jungle.
Learn to Draw?
And why’s that? It’s because I am NOT what I consider an ‘artist.’ Someone like DaVinchi or Moebius, or any of the million great artists that are living (or have lived) on this planet. I consider myself a ‘craftsman.’ I have always had artistic talent and skills, yes, but over the past decade I’ve learn lots of techniques and tools to ‘get good’ at doing what I want to do – make illustrations for stories and clients. I’ve developed my craft. Like a swordsmith or architect or any other kind of craft. I heavily rely on tools and references to make my pictures, and truth be told, I can’t just conjure up a masterpiece from thin air like some master artists can. But what all this means is that if I can ‘get good’ at drawing, so can you. Because I believe drawing is a skill that you can learn.
Each artist (or craftsman) needs a particular set of skills depending on what kind of art they want to make. Some focus on painting, some figure drawing, some rendering landscapes – the list is endless. Now for a comic artist, you need to focus on quite a few skills that will come up when making a comic. And while I have no idea what the big league artists and publishers would tell you are the most important, here are the 4 things that I studied when trying to ‘get good:’ Perspective, Anatomy, Movement, Expressions
Perspective: The Artistic GPS
I started drawing at a tender age, and looking back, it was probably my parents’ genius move to keep me occupied and, let’s face it, out of trouble. Growing up without siblings, drawing became my trusty companion, my go-to entertainment when there was no one else around to play with (although I did have some awesome friends). And one of the things I learned early on while drawing is: perspective is important.
Perspective is the secret ingredient that can turn a flat drawing into a dynamic, eye-catching masterpiece. As a young artist, I quickly learned that if I wanted my drawings to look like they were happening in real life, perspective was the key.
You’ve probably heard about one point, two point, and three point perspective. Well those are it (and click on those links for better demonstrations than I can do). No worries if you haven’t – just know, it’s like choosing an artistic GPS for the journey through your illustration. One point gives you depth, two points add a bit of drama, and three points? Well, that’s where things get really exciting, as it warps and distorts the world in a mind-bending way.
As I grew older and my artistic tastes evolved, I found myself drawn (pun intended?) to artists who used perspective not just as a tool but as a creative force. Some Japanese and French comic artists distort their characters during action sequences to the point that it looks like a fish-eye lens was used. But the distortion of the body adds so much to the motion and action of the image that it’s pretty mind blowing. It’s not a new technique (you can see a similar technique with the body of Jesus in Madonna della Pietà) but it’s something I thought really could be awesome in comics.
Now, let me confess – I’m not the kind of artist who can whip up mind-blowing perspectives purely from imagination. Nope, that’s not my superpower. Instead, I’ve embraced the wonders of photography (24mm and fish-eye lens) and 3D software. It’s like having a virtual set where I can experiment with dramatic angles, play with perspectives, and use it as a reference to get things just right.
But here’s the thing – whether you’re a seasoned artist or just starting, perspective is your trusty sidekick. Unless, of course, your style is deliberately flat – which, let me tell you, is also super cool. But generally speaking, perspective is what turns your drawings into cohesive compositions, avoiding that cut-and-paste feeling where elements seem randomly slapped together.
Anatomy: The Comic Artist’s Foundation
When I was a kid, I drew lots of figures. Like all kids. Batman, superman, all that. And I was pretty good at the drawing superhero thing. For a kid. And as a young teen I had a phase of trying to draw like famous comic artists (particularly Jim Lee) and wanted to be a comic artist for a few weeks. But as I got older, I thought that I didn’t have what it took to become a comic artist. So I never pursued it. And that was because I didn’t understand anatomy.
Flash forward to the present, and let me share a little secret with you – anatomy is the superhero cape every comic artist needs. It’s the unsung hero behind every character, every panel, and every page. Sure, everyone has their unique style, and not every muscle detail needs to be etched into your characters. But let me tell you, making those characters look right, making them believable and dynamic, is all about understanding anatomy.
Take a stroll through the comic universe – from the clean, sparse lines of Herge’s Tintin to the intricate details of Brian Bolland’s masterpieces and every other art style in between. The reason they all work? Every inch of the body, every proportion, is spot on. There are countless tricks to help out. Things like aligning earlobes with noses, and bigger concepts, like ensuring the body is roughly 8 head-lengths tall and many more. These and practice are the secrets to making your characters look right.
Now, if you’re eyeing the big leagues, Marvel and DC, you might want to dust off those muscle diagrams and start memorizing names. I may have forgotten all the muscle names, but trust me, it’s a golden ticket for superhero anatomy. I also suggest learning the ropes from classic art books, like Andrew Loomis‘ “Figure Drawing for All It’s Worth” and others. They were a guiding light for me. These books, with their timeless wisdom, became my mentors in the art of bringing characters to life on the page.
Movement: Dynamics Make it Pop
I decided to give drawing a “serious try” when I was 27. Yeah, I know, too late to ever become a famous artist or anything like that. But (hopefully) not too late to become a craftsman (something a Comic Artist is). Because, let me clarify – I didn’t just wake up at 27 and decide to pick up a pencil. Like I said earlier, I had some artistic roots. I also took art classes in elementary and high school, and even dabbled in Life Drawing and Graphic Design in college. But let’s be honest, those were just casual, for-fun endeavors. However, one of those classes dropped a gem in my artistic treasure chest – the importance of capturing movement.
Comics, my friends, are like movie clips frozen in time. Each panel is a snapshot of action, a moment frozen on the page. And here’s a little secret – stiff and unnatural poses are a comic artist’s kryptonite. Nobody wants to stare at a page where the characters look like cardboard cutouts. To convey the dynamism of action, you need to master the art of movement.
I had my aha moment in a Life Drawing class during university. We had to capture the essence of movement in a still model. How is that possible?! Well, through technique of line, and the way the pose is conveyed. And the teacher taught us this by throwing techniques at us like confetti at a parade – not lifting the pencil, continuous lines, not looking at the paper, quick 1-minute sketches – you name it, we tried it. It was like art boot camp, and I loved every minute of it.
But what truly opened my eyes to the importance of movement was manga. Manga artists, those sorcerers of ink and paper, can make a still image burst with energy and life. Take Battle Angel Alita, for instance (I know it’s old. But so am I) – the action sequences are mind-blowing. The poses are so overextended, the perspectives distorted, the lines dynamic – it’s like watching a ballet of ink on the page.
Expression: The Silent Dialogue
The last skill I think a comic artist needs is something I learned AFTER I started to draw comics. It is one of the unsung heroes to comics – expressions. Because imagine many comics without them: lots of blank-faced talking heads. Sounds a bit dull, right? Well, expressions swoop in like caped crusaders, transforming those panels from mundane to magnificent. They aren’t just a part of the comic; they are the storytellers, weaving emotions and narratives in every furrowed brow and cheeky grin.
Now, there’s a bit of an artful shorthand when it comes to expressions in comics, cartoons, and manga. Bulging veins for anger, big pouts for sadness – it’s a visual language we all secretly speak. But here’s a little nugget of wisdom I’ve picked up along the way – mimic reality, but don’t be afraid to crank up the volume. Using a mirror or glancing at reference pictures can be your trusty sidekicks, ensuring your characters wear emotions like a badge of honor. However, a dash of exaggeration can breathe life into your panels. Trust me, accurate expressions can sometimes look a tad stiff. Whether you’re diving into the whimsical world of cartoons or embracing a more realistic style, a touch of exaggeration goes a long way.
Sure, there are a gazillion other things a comic artist needs to master – backgrounds, materials, lighting, the list goes on. But their importance often depends on the artistic path you choose. The skills I’m sharing today are like the trusty compasses in my artistic toolbox, guiding me through the comic-making jungle.
If you’re just embarking on your artistic voyage, my advice is simple – have a blast! Make mistakes like they’re confetti at a celebration. Don’t pile on the pressure. Find your groove, your unique brushstroke in the vast canvas of art. And seasoned pros, if you’re reading this, drop a nugget of wisdom in the comments. Because, let’s face it, I’m no art sage. I’m just a scribbler jotting down a few lessons from my journey. So, fellow artists and craftsman, onward and upward, and may your expressions be as vivid as the tales you weave on the canvas of comics!
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*I don’t use AI for my artwork. All artwork on this page I drew and colored myself. No AI was used.
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