The Tools

And The Talk — Of The Trade!

Since very few of us draw with just our fingernails, let's start off with what you'll need. Then we've got to make sure we're all speaking the same language. This part's the easiest.

Here we go!..

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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Pencil. Some artists prefer a soft lead, some like the finer hard lead. It's up to you.
Pen. A simple drawing pen with a thin point, for inking and bordering.
Brush. Also for inking. A sable hair #3 is your best bet.

Erasers. One art gum and one smooth kneaded eraser — which is cleaner to use.

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India ink. Any good brand of black india ink is okay.
White opaquing paint. Invaluable for covering errors in inking.

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A glass jar. This holds the water for cleaning your brushes.

Pushpins. Handy for keeping your illustration paper from slipping off the drawing board.

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Triangle. A must for drawing right angles and working in perspective.

Тsquare. Invaluable for drawing borders and keeping lines parallel.
Ruler. For everyone who says "I can't draw a straight line without a ruler." Now you've no excuse!

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Illustration paper. We use 2-ply Bristol board, large enough to accommodate artwork 10" x 15".
Drawing board. This can be a drawing table or merely a flat board which you hold on your lap. Either way, you always need some such thing upon which to rest your sheet of illustration paper.

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Rag. This plain оl' hunk of any kind of cloth is used to wipe your pen points, brushes, and whatever. The sloppier you are, the more you'll need it.

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Ink compass. Well, how else are you gonna draw circles? While you're at it, you might as well get a pencil compass, too — even though Johnny forgot to draw one for you.

Of course, there are some things we omitted, like a chair to sit on and a light so that you can see what you're doing in case you work in the dark. Also, it's a good idea to have a room to work in-otherwise your pages can get all messy in the rain. But we figured you'd know all this.

And now, onward!

Movin' right along, we now introduce you to one of Marvel's many widely heralded close-ups, so called because the "camera" (meaning the reader's eye) has moved in about as close as possible.

This type of panel, in which the reader's view of the scene is from farther away, enabling him to see the figures from head to toe, is called a medium shot.

And here we have a long shot. In fact, since it shows such an extreme wide-angle scene, you might even call it a panoramic long shot without anyone getting angry at you.

When you're up above the scene, looking down at it, as in this panel, what else could you possibly call it but a bird's-eye view?

On the other hand, when you're below the scene of action, as in this panel, where your eye-level is somewhere near Spidey's heel, we're inclined to refer to it as a worm's-eye view.

A drawing in which the details are obscured by solid black (or any other single tone or color) is called a silhouette. And now that we agree upon the language, let's get back to drawing the pictures...