Let's Draw the Figure!

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.

Don't try to do a complete drawing all at once. Spend all the time you can doodling with stick figures. Stay with them for hours, days, weeks if you feel like it, until they become second nature to you—until you can create virtually any pose you can think of.

Then, as you get more and more facile with your stick figures, you can start "fleshing them out," as we show you on the next page...

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Notice how you can add ovals for the rib cage and the hips. Then, for the arms and legs, you can start building the figure by adding cylinders.

For example, say you want to draw Iron Man in a crouch, about to spring at some malicious miscreant. First you get the proper position for him by means of a simple stick figure.

Then you build his body (flesh it out) by adding cylinders. Note: Always "draw through" the figure. That is, even if some portion of the body will be hidden by an arm or a leg, draw it through anyway. You can eliminate it later when you add the limb which'll conceal it, but by drawing through, you make certain you've got every part of the anatomy positioned in the right place.

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Finally, having finished fleshing out the figure, you erase the construction lines which have been drawn through and get a result somewhat like this final figure of ol' Shell-head. (That is, you'll get it if you practice as long as Johnny did!);

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Here, on this page, the same thing holds true for Spidey. We decide the pose we'd like to draw and start stick-figuring it. Notice the way his left knee is bending towards you? That's called "foreshortening." It's done a lot in comicbook artwork.

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And here's where we start fleshing him out again. Just add those clever little cylinders as you go. See why we stressed them earlier on?

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We don't want to pretend that the fleshing-out process is as easy as we've made it look here. It isn't. But the more you work at this, the easier it'll become. The important thing is to train your eye until the lines almost begin to take shape in your imagination before you start putting them down on the paper.

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Now then, for those of you who've mastered the cubes and its cousins, and for those who really understand the construc­tion of the human figure, there's another approach to forming the body. It's as basic and obvious as the simple process of— scribbling! So, if you're a more advanced student, you may get a kick out of this...

Never underestimate the im­portance of scribbling. After you've started with your stick figure, build it up by scribbling —as in the drawings on this page. As John explains it, it's like being a sculptor and building a figure with clay. You just keep adding these loose little lines until the figure starts taking shape.

Another important thing about scribbling is that it helps you to loosen up and get a feeling of movement and action. Do your scribbling lightly, and try to train your eye to spot the lines that are correct and to reject the ones that aren't. Then, as you continue to mold the figure with your pencil, you emphasize the important lines and eventually lose the others.

As you can see, the same technique applies for any pose, any mood, and any person, male or female, young or old. Can you now easily recognize the progress of the sketches? Can you see how we start with a primitive stick figure and continue to scribble over it, thinking in terms of imaginary cylinders, until we end up with the pose we want?

Never never let yourself forget—you always build your drawing, starting with a loose sketch and fleshing it out. It's the professional way, the best way—the Marvel way!