Draw Your Own Comicbook Page!

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.

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Actually, the page you're about to study was originally done for a strip called CAPTAIN BRITAIN, published by Marvel Comics for distribution and sale in Great Britain. The artist was given a plot description rather than a complete script containing dialogue. Therefore, we won't concern ourselves with captions or dialogue balloons, but merely with drawing the panels according to the plot.

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Now, here's what we have to draw. In panel 1, Captain America, followed by Captain Britain, races down a corridor on a rescue mission. Panel 2 depicts the villainous Red Skull aiming a gun at his enemy, Nick Fury, who hovers above him, held aloft by twin jet-packs, which he wears on his back. Fury reacts in surprise as he hears his name called by Captain America. Panel 3 is a shot of the Skull firing point-blank at poor îi' Fury! In panel 4, Fury drops to the floor as Cap rushes to help him. Panel 5 shows the Skull about to zap the star-spangled Avenger. And we wrap it up with panel 6, in which Captain Britain, holding his unique armored staff, charges to the rescue.

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Although you've already seen the finished product on the chapter head on page 124, the important thing for you now is to see just how the whole thing was put together. But before you breathlessly turn the page, remember to always lay out the entire page before you finish any individual drawing. Also, always draw the entire figure in each panel, even if it won't all show in the final artwork.

This is the first draft, done purely for layout and action—just to position the characters. Basically, it consists of a set of stick figures, giving the artist an idea of what his page may look like and how the action will flow from panel to panel.

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This is where the artist starts building his figures, using the spheres, cubes, and cylinders we studied earlier. Notice how he will draw through a figure wherever necessary. And see how the original stick-figure line now becomes his action center line.

This is it—the "fleshing-out" process, which we discussed in Chapter Five. As you can see, from spheres, cubes, and cylinders it's not a very big step to the completed figure—at least not once you've learned how to draw the face, the body, and all the other things we've been so brilliantly explaining!

 

Okay! Since you did such a great job on that one, let's try another!

This time let's see you draw your own page—in the same stages as you've just observed—before you look at the pages that follow. Then you can compare your own handiwork with ours—and there's always the chance that yours will be better!

Here's the plot:

Spider-Man, out to get revenge against the Silver Surfer, finds him on a rooftop. The Surfer warns our friendly neighborhood web-head to stay back. In order to show Spidey that he means business, îl' SS mildly zings him with a teensy cosmic bolt. Spidey, having been knocked off his feet, decides to fight back. Spider-Man quickly zips some webbing at the Surfer, catching it around his ankles. Finally, the Surfer, wrapped in Spidey's webbing, loses his balance and topples off the rooftop.

This scenario was written so that each sentence describes a separate panel, for a total of six panels to the page.

That's it. You're on your own. Sketch out a page as best you can, following the scenario, and then compare it with our version. Remember now, do the stick figures first; then the spheres, cubes, and cylinders; and finally the fleshing out. You can compare each process with ours as you go. Enjoy!

  • How did you do? Better than you expected, eh? If so, congratulations. If not, don't worry about it. Try some more, making up the situations yourself. That's the way most of the pros in the comicbook field got their start, by creating and drawing their own stories and strips, and then using them as samples to show the editor at a comicbook publishing company.
  • But now, before we go on to the next chapter, let's just take a minute to review the "design" of the panels you've just been studying. Remember that the design is as important as the basic drawing—in fact, the design is part of the basic drawing. Note the design patterns in the panels on the facing page. Try to train yourself to spot such patterns in every panel you look at, and especially in every panel you intend to draw.
  • Okay, summary time's over. On to the next goodie we have in store for you ...