I draw the seed by starting with a circle (or spherical ball, as I imagine it in my mind) and then hanging a pointed jawline off that circle a various angles. The first is the classic anime “seed” shaped head: I borrow from techniques used in animation to construct a character from more basic shapes underlying the head. In order to draw my characters’ heads from any angle, I use two basic head shapes as a starting point and then squash and stretch them into the approximate shape. This is how I designed the alien characters for the story STRANGER: Also, adding differently shaped hair or other features that can create a unique, recognizable shape can help tremendously as well. Even the shape of the head can suggest a personality-triangular, round, square. The Head & Faceįirstly, let’s look at the head and face because the are probably the most important features for identifying your character and letting him express himself. Having characters with distinct body and head shapes will help make them more recognizable in your story. The first thing anyone will see about your character is the shape his or her outline creates, not the details within. However, by borrowing the rounder head and wide-spaced eyes and combining them with features inspired by a cuttlefish, I was able to create something entirely new.Ī Quick Note on Silhouette Familiar character silhouettes: Batman | Bone | Raina from “Smile” | Totoro Again, I took some inspiration from Miyazaki by riffing off of Sen from “Spirited Away”. I knew I wanted her to look a bit like a Miyazaki character, but I played around with a couple of designs before settling on her final look:įor Candy’s counterpart, Nikka, it took a little more work before I nailed down her design. Here’s some examples of playing around with a character before starting a project. Additionally, working on understanding human anatomy and figure drawing practice can really take your character drawing to a new level. However, it’s not uncommon for a character design to evolve over time in a comic-it certainly did to the characters in Paradigm Shift-but spending the time to work out the character’s overall shape, costume and before starting is worth the effort. Seeing how you’re going to be drawing this character a lot over the course of your comic, it’s a good nail down their look so you can be consistent. Now that you know who your character is, it’s time to draw her. 06.Being the fourth installment of my How to Draw Comics series. While this silly example is just that – silly – the point is, keep things consistent or your readers may be confused. ![]() Imagine how confusing it would have been to see Superman's cape colored red in one page and green in another. In addition to proper color selection, not keeping your colours consistent can break things too. If you're inking/coloring illustrations from another artist, don't be afraid to ask questions if things aren't clear.Ĭhoosing the colours can make or break a scene. It is at this stage where you clean-up your drawings and add depth to your illustrations. ![]() Now that you have your comic drawn (penciled), it's time for inking and coloring two tasks that don't necessarily need to be done by the same person. If you're interested in learning more about Manga Studio, check out this review. Because it's specifically designed for making comics, this seems like the obvious choice. ![]() I'm a digital artist, and my application of choice (for comics) is Manga Studio Ex (opens in new tab). Focus on getting your comic drawn you can work on perfecting it later during the inking stage.Ĭhoosing the right tool (personal preference) But at this stage of the process, your work doesn't need to be perfect. Whether you're working traditionally or digitally, drawing the comic can feel like a daunting task. Note: Don't forget to leave room for the dialogue! 04. Think of them as a very (VERY!) rough draft of your drawings, and of course, your layout. Thumbnails, which are similar to storyboards, help work out any composition problems before you invest time into inking and coloring your drawings. I find the most efficient way to 'work out a layout' is by using thumbnails. Draw the reader in! Let them know something interesting is about to happen, but don't reveal what that is until they turn the page. One way to do this is to end each page (maybe not all, but some) with a cliffhanger. When working on the layout, your goal is to keep the reader interested. Once your script is complete, it's time to start drawing. Organise the layout before you start drawing the actual comic
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