Chapters
On these two pages you'll find just about everything you'll need to get you started. One of the nice things about being a comicbook artist is the fact that your equipment is no big deal. Let's just give the various items a fast once-over...
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Anyone, even you or I, can draw some sort of circle or square. But how do we make it look like the real thing? How do we make a reader feel as if he can just reach out and touch it? How do we stop it from just lying there, flat and one-dimensional, on the page? How do we give it length (pretty easy), width (not hard), and depth (this is the tough one)? In short, how do we give it the proper form?
Now that we've bothered to ask, let's see how Big John can help us find the answers ...
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Just as FORM is all-important in making an object look real, so is PERSPECTIVE vitally necessary in making a scene look accurate—in making things appear to be correctly placed in the foreground, background, and all the places in between.
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This is it, gang! This is what you've been waiting for! The preceding sections gave the basics you need—the cereals and vegetables. But here's where you get to the main course —and the dazzling desserts!
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This part is dynamite! So let's not waste a second.
Look, the first thing a fledgling artist needs is self-confidence. And here's the way to get it!
'Most anyone can draw a stick figure. (Even Irving Forbush!) They're simple, they're fun, and most important of all, they're the easiest way for you to get the action and the position you want for your character.
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Action! A Marvel specialty! A Marvel Trademark! Sharpen your pencil, pilgrim—here's where we separate the men from the boys!
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This chapter's a short one— but it's vitally important. Take your time with it and make sure you thoroughly understand all the main points. Without a knowledge of foreshortening, all your figures could end up looking like they were drawn on pyramids by the ancient Egyptians!
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Or even the inhuman head — we're not prejudiced
Most everyone can draw faces and heads of some sort—even if the head is just a simple circle with two dots for eyes and a straight line for the mouth. (Sometimes if you omit the nose in such a sketch no one will even miss it!)
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Putting the picture together!
Call it composition, call it layout, call it design—it all adds up to one vitally important point: you've got to put your picture together so that it's pleasing to the eye and it gets its message across clearly and interestingly. The one crucial rule you should never forget is—the simpler the design, the easier it will be for the reader to understand and enjoy it. Make your designs exciting, startling, powerful—but keep them simple.
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If we can do it— so can you!
As far as we know, this is the first time this technique has ever been offered to anyone outside the halcyon halls of Marvel! On the pages that follow, we're going to show you, step by step, exactly how a page might be penciled for a comicbook.
Without which you cannot tell a book by!
As you can imagine, the cover is probably the single most important page in any comicbook. If it catches your eye and intrigues you, there's a chance you may buy the magazine. If it doesn't cause you to pick it up, it means one lost sale.
No matter how beautifully a page may be drawn in pencil, it cannot be printed in a comicbook unless black india ink is applied to the original pencil drawing. That means someone has to trace over the initial penciled artwork with either a paintbrush or drawing pen, transforming each illustration into a carefully "inked" final product.
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