Foreshortening!

The Knack of Drawing the Figure in Perspective!

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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You hardly ever look at another figure in a flat perspective. There's usually some part of the body that's tilted towards you, or bent back away from you, or angled in some manner or other.

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Every competent comicbook artist must know how to deal with this matter of "foreshortening" the body-and you're no exception. Here, once again, our practice with spheres, cubes, and cylinders will stand us in good stead. Using these geometric shapes for the body will make it easier to solve the vital problem of figure foreshortening.

As the pix on the facing page demonstrate, when these shapes are tilted away from your eye they seem to flatten out—or to become shorter. (That's where the word "foreshorten" comes from. The object seems to get shorter as it's tilted towards the "fore.")

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Here's a simple experiment you can try. Hold a drinking glass straight up in front of you. Now, tilt it slowly back. See how its body seems to shorten as you do so. That's foreshortening, right?

The same rules apply whether you're above the figure and looking down at it (A), or below it and looking up (B).

• As you analyze the figures on the facing page, notice how the cubes and cylinders always shorten as they go away from you. As a matter of fact, it might help you to think of the entire figure as a bunch of connected building blocks. The artist (you) has the task of stringing them out and arranging them in the proper position—making sure that they're correctly foreshortened as they tilt away from the viewer's eye.

• On the pages that follow, you'll see examples of various problems in perspective taken from actual drawings which have appeared in Marvel Comics. Next to each drawing, John has sketched the "building blocks" and perspective lines to illustrate how each of the problems was solved by the artist.

• By comparing the finished drawing with the corresponding building-block sketch, you should be able to see how the rules we have given you apply to almost any type of illustration.

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Note the two thighs of our black-garbed bad guy above. Obviously, in real life they'd both be the same size. Yet, in this dramatically foreshortened pose, see how his right thigh seems to have become considerably shorter than his left, because it's tilted at such a severe angle and pointed almost directly at us—as revealed very clearly in the accompanying building-block sketch.

The same goes for the shot of The Thing, on the right-hand side of the facing page. See how very much shorter his left leg seems to be— and his right arm, as well—both because of the extreme angles at which they're drawn. It's this skillful use of foreshortening that makes a figure seem to really come to life as it goes into action on the printed page.;