"Reading's through believers." "I'm Stan Lee." "Coauthor of How to draw comics the MARVEL way." "And creator of Spider-Man, The Incredible Hulk and how caboodle" "Of the comicbooks characters, that..." "My legendary modesty prevent me for mentioning." "Now I'll be your hosting guy as we journeyed together." "Along the rambunctious rolled to a comic book industry." "Which is to say?" "It looks like we're stuck with each other for the next little while." "Now than, let's start with the basics." "And what can be more basic than having an artist, teachers how the drawing." "Certainty better than a planner." "And other artist can be betters suited to this titanic desk." "Than my coauthor and good body." "Then other than John Buscema." " Hy Stan!" " I'd like draw a comics!" "THE MARVEL WAY!" "First thing your even is a drawings there." "This can be a table like this one!" "Our even at flat board." "Any your place inside on your lap." "So..." "Next you lead" "Some drawing paper." "Marvel a lot of use 2-ply Bristol board." "Large enough to accommodate artwork 10 by 15 inches." "You also need pushpins to keep your paper of sloping off the board." "From takes were follow things." "Of course you need a pencil!" "The you didn't think it would be so complicated, did you?" "Now, someone is prefer a soft lead pencil." "Like to one John is using!" "Others of the more delicate append." "Select a finer hard led." "Like this one here!" "There are many different pencil greats of available which one it use up it you, of course." "Most professionals use eraser like this." "Its cold and kneaded eraser!" "But, since Marvel lides hardly ever make mistakes!" "Let's move on!" "You need a simple drawing pen." "With the a thin point, for inking and bordering." "A brush is the must." "Your best bet is a sable hair #3." "You also need a brand of black Indian ink of course any good brand will do." "Do you've brush is a very expensive, then if don't know have clear on you can role on." "Then, what you do a swirl around the water?" "Robe up gess to glass the your... and jeff the long side the rag here." "You come to avoid point." "And let's not forget the supply of white opaquing paint." "To covering those where mistakes we made from time the time." "That's better!" "Your T square is invaluable to for drawing borders and for keeping lines parallel." "A triangle too is a decessony for drawing rigth angles." "And working in perspective." "And don't forget an ink compass, for drawing perfect circles!" "Ploce you might as well get a pencil compass, too." "Any or all of these too a trader our available like your favorite art supplies story." "Now, just to make sure we all use the same linguage when we refer the things." "Let's review the various names for mane of the elements" "That make up a typical comicbook page." "The first page of a story, with a large introductory illustration, is called:" "The Splash Page." "Letters draw in outline, with space for color to be added, are called:" "Oppen Letters." "Copy which relates to a title is called a Blurb." "The name of the story is, of course, the Title." "An outline around lettering done in this jagged shape" "Is called a Aplash Balloon." "A single illustration on a page is called a Panel." "The space between panels is called the Gutter." "And I'm sure you won't be surprised to know that this "ZAT"" "is called a Sound Effect." "Copy which represents what a character is thinking is a Thought Ballon." "The little connecting circles on thought balloons are called Bubbles." "I mean we'd feel silly calling them "squares"." "The regular speech indicators are all important Dialogue Balloons." "The connecting "arrows"on dialogue balloons, showing who is speaking, are called pointers." "The words in balloons which are lettered heavier than the other words are referred to as Bold Words, or Bold Lettering." "And this is my favorite part - where the names are," "We call it the Credits, just like in the movies." "All this technical stuff, which nobody ever reads, showing who publishes the mag and when and where usually found on the botton of the first page, is the Indicia." "That I don't blame me I'd make up that word." "Copy in which someone is talking to the reader, but which is not within dialogue balloons is called the Caption." "Don't worry if you're not remembering everything this time." "One of the marvelous things about videocassettes" "Is that you can go back later watching the again!" "Put it on the whole way to make all the notes to one to." "Oh!" "And by the way." "Don't get impatient, will get to the drawing in part, when you least expect." "Move right along now!" "We introduce you to one excellent example." "Of one of Marvel's many widely heralded Close-Ups!" "So called because the reader's eye," "Has moved than about as close as possible." "Now this type of panel," "In which the reader's view of the scene is from farther away, enabeling 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 show such an extreme wide-angle scene," "You migth even call it a panoramic long shot!" "Without 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?" "Now on the other hand, when you're below the scene of the action we are eye-level is somewhere near Spidey's heel, as this panel, 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 toos and the language." "Let's get on to that have stuff!" "Let's start drawing!" "There alwys the important thing is making a drawing look Three-Dimension!" "Making at look solid, another words, like a is occupant space." "We'll work, on form using, this three simple basic shapes." "The cube, the sphere and this element." "As we move along you'll see, that every drawing." "is base one what a more of these three shapes." "Here we see a simple handgun." "Without which there could hardie be any comicbooks, TV action shows, or movies." "And, if you ever want to draw a Western strip." "You'd better take particular note of the fact that the barrel is really a cylinder." "The bullet chamber is a cylinder encased into the cube." "And the butt it self is based upon the basic shape of cube." "Obviously, the details of the shape a modified the suit, desire desired and the drawing's purpose." "But the thing to remember is the actual sphere, cubes, cylinder construction beneath the drawing." "In fact every object come broken down as one or more these three shapes." "Take the automobile!" "Notice how there's cube representing the shape of the body." "With a smaller cube denoting the window and roof area." "And airplane is equally easy." "For me anyway, I don't have the drawing it!" "The purpose of this, is the train you to "think through"the objects you see." "See them as made up of any combination of our three basic shapes." "The sphere, cube, and this element." "The very important concept." "Just about as important as Make Mine Marvel, of course!" "Well, now we come to what I'm show you're recklessly you way in for" "How everything learned relate to the human figure." "Notice, better this drawing you use cube from the rib cage and hip area." "While will cylinders form the basic construction of his arms and legs." "Even the little band around his thigh follows the form of a cylinder." "If you more lines and even got." "Daredevil!" "One of Marvel's most popular Super Heroes." "Here are some more sphere cylinder and cube examples." "Did you know this how those shading drawing's look solid." "Now, even spheres, cubes, and cylinders can use some embellishment." "This is cold shading, gives an objects the sense of solidity." "Proper shading, reinforces the feeling of the imagine." "Proper shading, reinforces the feeling of the imagine." "We can post heroe if you wish." "And you can practice what you've lerned so far." "Or o potential producer of phantasmagoric picture panels!" "You can grab your ruler, your T square, and your triangle." "Because on next topics... perspective." "Perspective is vitally necessary in making a scene look accurate." "In another words, in making things appear to be correctly placed." "In the foreground, background, and between." "It's not an easy subject." "But you've got to master it in order to draw a comics." "Will make it as simple as clear is possible." "Befor we can even begin to understand perspective." "We most first lerned the basic concept of the HORIZON LINE." "Simply put." "The horizon line represents the viewr's eye level." "That is, the spot in the picture where your own eyes would be if you were there observing the scene." "Now this cube, provides a simple example." "Notice that the two side lines on top seem to be coming together." "The way train tracks appear to come together as they recede farther into the distance." "Okay then, let's continue drawing those lines until they meet." "The point at which they meet is the natural horizon line." "That's are own eye level." "And since the line converge generally one single point." "It's called naturally enough ONE-POINT-PERSPECTIVE." "That's seems pure simple even I understand." "Now let's watch John turned the cube, like this." "If we follow new converging lines to their ultimate meeting place." "We get a TWO-POINT PERSPECTIVE." "With the horizon lines slightly above the seem." "This is what are two point perspective cube would look like." "With the horizon line exactly eye level." "And here's how would appears would horizon line." "Below then cube." "Of course you seldom you lose one simple cube your perspective." "So let's see have these principles apply to the kind of scene you might be drawing." "In this drawing..." "Despite the size of the scene and the number of buildings." "You can see, how everything converges." "To at one point." "Therefore it's a ONE- POINT PERSPECTIVE." "You can probable guess we're about to tell you." "The perspective lines are converging to two different points." "But alonge the same horizon line." "Those a TWO-POINT PERSPECTIVE." "Well, it had to happen." "An example of THREE-POINT PERSPECTIVE." "The point which converging lines come together." "And finally meet is called the VANISHING POINT." "But here comes the trick in part." "Look, way up above the building." "There's a vanishing point two." "But, it's merely an arbitrary point." "Here's an example, of a three point perspective." "With the third vanishing point well below the horizon line." "Three point perspective drawings are really very common." "So practice them until a look right you." "And remember, even when the third vanishing point is an arbitrary spot." "All of the perspective lines which do not follow the horizon line." "Most fall at the same of arbitrary point." "Or else the perspective will be all wrong." "For example." "Let's say you want to draw the inside of a room." "Sounds simple huh?" "But what about the furniture?" "It is got look natural like it belongs." "Not like it just floating." "That's what perspective is all about." "Notice that the vanishing point, or at eye level." "In order to have correct perspective." "The matter where the view this eye level may be everything falls into place." "You might one on put the tape on pose." "And see if you can copy this next example." "Notice the way the chair is angle differently." "And other the piece of furniture in the room." "Gives also a third." "A fourth vanishing point on a same horizon line." "Now trying not to get impatient." "I know what seem is complicated." "But it all make sense we go one." "We hope!" "Learning perspective." "Also means no we had a tilt or turn objects without making them look distorted." "And here's I would's them." "We all know that a perfect circle" "Will fit perfectly within a perfect square." "Ah!" "But, if we change the position of the square." "The circle most also change." "It becomes an oval." "However!" "Because it's in perspective it still looks natural." "If we draw a cube which is nothing more into squares and perspective." "Side-by-side then draw two ovals within the squares, and connect the ovals." "We end up with a wheel drawn in perfect perspective." "We thought you'd enjoy these particular shots because they show in typical Marvel scenes." "How we put the figures themselves into the proper perspective" "Now notice where this eye level is in each panel." "As the well as the location of the various vanishing points." "Now there might be something more important than figure drawing in comicbook artwork." "But we sure don't know what it is!" "You can't have superhero comicbooks without superheros." "And you can't have superheros add less you draw there a figures." "But there's more the way than just drawing figures." "If you kind be able the draw than the Marvel way and that means." "As dramatically and heroically as possible." "So here's where all starts to payoff." "The average guy is about six-and-half heads tall." "But look at this sketch of Reed Richards." "Notice that he's eight-and- three-quarters heads tall." "This extra height is one the secret they gives more they superheros." "Proportions which the world has come to expect." "He show is of a goodwill has hips so a real heroe." "And as he'll see at alone your male is draw much more angular than the female." "And another thing to remember, the elbows fall just below the waist." "This is true of men and women." "And, speaking of the women." "Where would Reed Richards be without his stunning Sue?" "Notice that she too is eight-and -three-quarters heads tall." "With her hips much wider in relation to her shoulders than they would be on a male." "Obviusly, we do not emphasize muscles on a women." "Now, discovery the difference" "Between on normally proportion male." "And that heroically proportion Marvel superhero." "Note that the superhero is larger." "With broader shoulders, more muscular arms and legs." "A heavier chest, and even a more imposing stance." "There's nothing weak looking about the fella extending next the Captain America." "But a superhero simply has to look more impressive." "More dramatic than an average guy." "Than one point to remember is to always lightly exaggerate the heroic trace." "Ignore only about any negative undramatic qualities." "Would a believe that virtually the same rules apply to the villains as to the heroes." "Take off the close look of this next two a drawings of the dramatic demonical Dr. Doom." "The illustration on top is rather ordinary." "It lacks those special qualities which distinguish of Marvel pen however." "The second illustration." "Is drawn in the dynamic Marvel style." "Let see what the difference are?" "Basically there's nothing wrong with the top figure." "But you can see that the one below is more exaggerated." "Doc's arms and legs are heavier, more imposing." "His feet are planted farther apart." "Giving more majesty weight stance." "His tunic is flaring" "Denoting action even though standing still." "His chest is larger and hands are bigger and more powerfull." "The differences are subtle." "But is the way Marvel would do it." "Train your eye to catch these elusive but essential variations." "Still, there are exceptions to every rule." "I'm sure you recognize The lovable Thing!" "But did you know he's only six heads high?" "And here's The Kingpin!" "Barely five heads high." "You see the thick is to make looks squat." "Without making him look like a pantywaist." "Incidentally the smaller the head in proportion to the body." "The heavier and more bulky the body will seem." "And, now that we've studied the figure." "Here's what do whit all did you waiting for!" "Most any would can draw a stick figure." "They're simple, they're fun, and most important." "They're the easiest way for you to get the action and the position you want for your character." "Now go ahead and practice." "Await!" "Seriously put the tape on pose." "And praticed this all you need to." "Until you can create virtually any pose they you can think of." "Them once you've best this stick figure and almost to the rib to the hips cage." "The ovals in the leg the build by any cylinders." "The continue refining the drawing." "Remember to always draw through the figure." "By that I mean even if some portion of the body will be hit by an arm or leg" "Draw at any way." "Like Iron Man here about to spring at some malicious miscreant." "You can eliminate it." "What you've drawn later." "When you add the limb which'll conceal it." "But you'll be certain that every part of the anatomy." "Isn't just" "The right position." "When you finish the filling in the details" "And erase the construction lines." "Which have been draw through." "And a result it's look something this final figure of old Shell-head." "Yeah!" "I should!" "If your John Buscema." "But don't worry, you'll get it with enough practice." "Remember to with easy every would be doing it." "Now, here's another example." "This time we've started with a stick figure in a typical of Spider Man pose." "Notice the way his left knee is bending towards you." "That's called "foreshortening"." "And it's done a lot in comicbook artwork although will get more about that later." "As you can see." "its done mostly would basic cylinder shapes." "Add those lose little lines." "Until the figure start to take shape." "Then as you continue" "You will emphasize the important lines and you eventually lose the others." "As John say's, it's like being the sculpture, and your" "Your building this figure would clay." "This drawing process is an easy." "But the more you pratice it easier it will become." "Train your eye until the lines almost begin to fall in your imagination before you put them on paper." "Always, building drawing, starting with a loose sketch." "It's the best way!" "Its the professional way!" "It's the Marvel way!" "Action!" "It's a Marvel specialty!" "A Marvel Trademark!" "Now sharpen your pencil, pilgrim" "Because the here's where we separete the men from the boys!" "Here's a series of poses the depicting several different stages of the action of throwing the punch." "I've until get know there's how the firts drawing and the last seem the have the most impact." "The is of the shot so Marvel artist would use." "Try draw in the series of this stick figures is performing some action." "Like running or throwing the ball." "The picture as many different stages of that action as possible." "Familiarize yourself with moving the body." "Uses many lives as you need." "Don't try to do a finished drawing." "Just loosen up, try feel the action." "Well, don't just set there through believers" "Go ahead will wait for you!" "Hey!" "I didn't say what we way all a they!" "All right!" "Compare your practice figures would this." "Now, note how the action has been collected and a few simple lines." "That's what you want to learn to do." "Exaggerate your action!" "Keeping your figure loose, subtle, always in motion." "The center line drawn through the figure from top to bottom." "Is always drawn first." "It give you the curve, or the swing, that you want your figure to have." "Always remember, every pose had a certain "rhythm" to it." "With this one simple center line you can determine that rhythm." "And them start building your entire figure around it." "Done let's study some figure in motion and see which we like." "And which we don't." "And why." "Both that this figures are rough sketches of somebody running." "But notice how much more dramatically this figures is moving." "Why?" "Because his center line has more swing." "Impelling him forward with force and urgency." "Now this same is through here." "Both figures the picture or reacting to a punch in the jaw." "This figure is perfectly clear." "But, it simply isn't done in the the Marvel style." "It lacks the movement and sharply curved center line of the other line." "Notice this how, this figure is looser." "The legs are bent and thrusting backwards as the arms jut forward." "Notice how the head follows the center line." "Completing a graceful, fluid curve." "Now that's the Marvel way!" "Have the same rules apply your figures which just extend." "In these examples, the smaller figures are okay." "But just okay!" "There not particularly dramatic, there not overly heroic." "And... most importantly." "There not very interesting." "But your larger figures." "Showing the same poses." "Are much more dramatic and heroic." "Consequently there more intersting!" "Here's this more examples." "The variations may not seem to be major in yet." "As simple at device as trusting the head for the forward." "Or... spreading the legs for the apart." "Can make all the difference." "They're simple, loose, free and easy, and" "Although each was done with just a few sketchy lines." "They're all Marvel style drawings" "Well,..." "I know you're anixous to start drawing a complete figure now." "So let's get to it." "John has reduced the process to five steps." "He's began step one with the Basic Center Line." "To determine your pose and action curve." "Moving to this quickly those the step 2." "He's Constructing the Sketch." "Using the spheres, cubes and cylinders we studied early a." "This is basic but it's very essential." "Its how the Marvel artist do it." "Step three is to Draw Through the figure." "Do early and adding the basic details you're need." "Keep your pencil strokes loose, light, and graceful." "If a line isn't right, don't worry." "Just go over it lightly, until it begins to assume the proper form." "Until be afraid to have more lines the new want to the finish project to this point." "Remember we're still building." "Okay, once you've got the doodling lines in for all the basic details" "Studying all the little scketch lines." "And now select the ones do you like the most." "Go over those lines again very done harder on the pencil." "Take your eraser and clean up the one want the lines." "And this point, your drawing should be beginning to take shape." "Remember how we added black tones shading do or cubes, spheres and cylinders early or one?" "Notice how John gives the figure form and substance!" "By the use of that same shading technique." "And, don't worring if your first figure those in come out looking quite this publish." "If your not satisfied go back and start over, be patient." "Why it might take is longest his two or three days before your's good be John." "You really see a Marvel figure." "That dosen't have" "Some portion of its body foreshortening." "There's usually some part of the body that's tilted towards you" "Or bent back away from you." "Or angled in some of the manner." "As this picture illustrated with shapes of tilted away they to become sure" "Here's a little demonstration you can try for your self" "I'd like it take drinking glass and hold in front of you eyes" "Them tilted glass away for you just saw" "I want it you know this, the body of the glass seem to shorten as you tilted" "Now that's foreshortening!" "Notice this cube and cylinders always shorten as they go away from you." "Think of each figure as a bunch of connected." ""Building blocks"." "It oddest job is to a range on top of position" "Making sure they a correctly foreshorten." "As they tilt away from the views eye." "It is examples the line drawings or view the building blocks of each panel." "Attention to the prospective line." "Would illustrate precisely have a problem for shortening of the saw." "I'd like it look the thighs on our black-garbed bad guy." "Now obviously in real life they be the same size." "But here his right thigh seems become considerably shorter than his left." "This is because it's tilted it's such a severe angle." "And pointed almost directky at us." "As revealed clearly in the block building sketch." "Now the same goes of the shot of THE THING." "Because they draw an extreme angles." "See how much shoerter his left leg and right arm seem to be." "It's this skillful use foreshortening." "That make your figure really come to life." "And now would time the draw the humam head." "Or even the any inhuman head." "Most everyone can draw faces and heads of some sort." "But now we're gonna find out how to do the right!" "The Marvel way!" "Profile first." "Inching generally fit into which square with just nose and part of the chin protruding." "The eyes usually come midway in the skull." "Between the top of the dome and the bottom of the chin." "Now divide the skull into four even quarters, from top to bottom" "The nose will usually be in the second quarter up from the chin." "With the ears falling in about the same level." "Now the front view, notice the head is in a perfect over." "Because the drew has a slope." "Which makes the bottom of the skull considerably narrower than the top." "Look at these head from different angles." "Once you're familliar with the construction" "You'll be able drew the head in any imaginable position." "Let's begin with some basic tips." "Heads your generally five eyes wide." "With one eye's distance between the two eyes." "To determine the width of the mouth." "Draw lines from the bridge of the nose." "Touching the outsides of the nostrils." "And where they cross the mouth line." "That is the width of the mouth." "Then draw to more lines starting underneath the nose." "They should run through the lower lip." "Right where it starts to turn up and, where those lines touches the bottom of the head." "Eureka!" "That's the width of the chin!" "At this stage, keep your head simple." "No extra lines in the forehead." "Or around the nose and chin." "Keep the nose small and chin strong and firm." "Don't let a head just lie there." "Give body, thickness." "Keep the mouth simple." "Notice the curve of the upper lip." "And just a small simle line for the lower lip." "As you can see!" "There are many different types of good-looking males." "Be they human, amphibian or whatever." "Practice the basic rules." "There are of course, lot of variations." "But, if you stick to the principles" "You'll be able to make any character heroic-looking." "No matter what his origin or his facial expression." "Drawing the good guy is somewhat formularized." "But the bad guys - hey, that's are different story!" "He is you can let your imagination run riot." "As you know," "Your average vile and vicious villain." "Comes in all sizes and categories." "So, when creating the head" "You can use any shape that grabs you - square, round, wide, whatever." "But, just make sure that his look complement his personality." "And speaking of personalities" "Let's turn our attention to the beautful but difficult to draw." "Marvel women." "Fortunately, John is almost without peer." "When it comes to put trading sensuous venturing towels." "And here's prove." "Remember the five basic steps beginning with the profile." "First the head draw within the imaginary square." "Then locate the eyes have wait down the face, like this." "Then you have a benchmark for the eye and nose." "Notice how the nose tilts out and up from the skull." "And is rather short." "Using a soft curved line, place the cheek from the ear to the front of the skull." "Halfway between bottom of nose and bottom of chin." "Notice the also how John place the mouth well forward from the skull." "Notice too that the lower lip is fuller than the upper lip." "While the upper lip juts out farther forward." "Also, see the angle line showing the relationship between the lips, the nose and the chin." "Now draw the lady's eyebrow." "But not too low - and employ a graceful curve, like this." "Bring chin forward and find proper positioning of the nostril." "By drawing the straight line from mouth to eye line." "I told you drawing the Marvel Women is more difficult than drawing the male heroes" "But stick waivers because it does get easier." "Keep the forehead rounded never flat." "Make the eyelashes a solid mass." "Don't try and draw each little lash." "And keep the lady's hair full and fluffy." "I mean after rule this is a Marvel Women your drawing pale." "Now will show how draw a front view." "Like thsi!" "First start well proportioned egg shape." "Don't worry if it takes a few tries to get the shape right." "Draw the usual eye line, midway on the skull." "Placing the eyes on the line is a breeze, when you remember?" "The scale five eyes wide and one eye width between." "Now draw the lines from the outside of the eyes to the center lines the head." "Here's where you make cheek lines." "And indicate the area for the mouth." "This is the home stretch books!" "About one-third of the way up from the top of the lip to the eye line indicate the nose." "Place graceful eyebrows well above the eyes, and sketch in the ears." "Preferably one at each side on the head." "Shopping you pencils!" "Because here's where the real drawing begins!" "There's no shortcuts for this." "You've got to really draw the gal's nose." "Following Johnny is we's any example." "Always make sure that the nose is a little narrower." "Than the width of one eye, and make sure that it tilts upward." "Once the nose's than" "You find the width of the mouth by drawing lines" "From the top of the nose past the nostrils." "The upper and lower lip are positioned by continuing the cheek line through the mouth area." "And all that remains is to add a corners head of hair and erase your guidelines." "Notice again that the eyelashes are a solid mass" "And eyes are slightly higher at the outside the inside corners." "And there she is!" "That so all how if you remember that one little word: "PRACTICE"." "Naturally, being able to draw a head is only part of it." "The big thing is to animated." "To put interesting expressions on the face." "This female head were all constructed exactly like the one you've just them" "But, notice the how I can change the expression simply by slight making alterations in the mouth, the eyes and the eyebrows." "You can mastered too if you follow this simple tips." "Keep the female face simple." "Use no extra expression lines on the forehead, or around the mouth or nose." "Study your own face in the mirror." "Oh!" "Hy, there." "Well, practice making different expressions." "And see what happens to your face when you do." "Study those expressions." "You know - most artist are their own best models." "The nice think about it the only equipament you need is a mirror." "And, of course, your face!" "As far's expressions go, virtually the same apply both male and female head." "So watch this segment repeatedly" "And apply the same principles to the various male characters you may wish to draw." "It's fun to change the rules and be creative but you have to master to than rules first." "Let's say a story calls for a sophisticated villainess." "Well, make jawline a bit more angular." "And give the eyebrows then more sinister arch." "Also, raise the outside corners of the eyes and straighten the nose just a bit." "See the differnce?" "She still a great-looking" "But by very in the rule just slightly." "We've made her different all together." "And look those swingy earrings for sophistication" "Jewelry, clothes, hairdos, and another accessories." "Help create the proper mood." "If you want a major a bit simply round that the jawline." "Add a slight double-chin, and with just one curved line under each eye you can give the feeling of puffiness." "Notice too that the earrings are smaller." "Also suggesting maturity." "Let's review with couple of things, to make sure you've got it down right." "This is what the correct Marvel eye should look like." "Note the graceful curve of the eyebrow." "And eyelashes as we mentioned are single soft mass." "The eye itself tilt upward just slightly." "However drew this eye was certainly not a graduate of the Marvel School." "Individual eyelashes!" "And eyes too long and narrow then definite know those." "And if you let your eyes droop." "And draw eyebrows as a single curve." "Well how!" "You know Marvel artist." "A proper Marvel Nose tilted upward would and small nostrils." "In contrast this nose is tilt up too much and nostrills is too big." "This one has bumps, a Marvel nose is always one smooth line." "And the tip should not dip." "There's one weren't for how mouth should look." "Pleasing!" "Bow lips around season." "And every season in Marvel." "And don't draw angular lips there's no grace or soft there's to them." "This is a Marvel mouth chin." "See how upper lip is place to farther forward would them the lower would it's form." "Don't put the upper lip too far forward, or make too thin." "And don't draw a weak chin." "This chin arrives ten minutes ahead of the rest head." "And the lips are too thick let lower lip jut too far forward." "Everything your picture must work in how need the produce how." "Otherwise, think such eyes, noses chins and lips will draw attention to themselves at the expense of the rest of the drawing." "Grow will together and more angular had is in" "And nose always tilt up just slightly." "The eyebrow has a flood curve and lips of youthful and soft" "I know would takes work but look the results." "Learning practice master the rules and who know's." "Maybe someday I'll be doing the video with you." "And John will be out there thinking notes, could happen!" "A work of art be an Rembrandt or Buscema" "Most have that magical ingredient of correct composition." "Call it litlle layout, call it design." "It all adds up to one vitally point:" "You've got to put picture together so would both" "Pleasing to the eye and it gets its message across clearly and interestingly." "The simply, the better that's the first rule of Marvel Composition." "Make you desings exciting and powerful." "But keep them easier you understand." "Also notice having important elements of this panel fall within the shaded area." "Important elements are grouped together rather than scattered." "The shaded area or prime shapes are sensed by the artist as he draws." "Never draw the shape first." "Never squeezed element inside of it falls within a pleasant, unified mass." "The picture sketch out with the shaded area taking form in the artist's mind." "Sometimes, after a picture is drawn." "Too many important elements fall outside the basic shaded area." "Now in such instances" "The artist just changes his drawing until everything falls within a pleasant, unified mass." "You own train your eye to find a patterns." "Any you soon see" "That the most complicated picture." "Will lend itself to similar analysis as soon as you look at it." "The "camera angle" is another vitally important element of design." "Like a movie director you be oddest must give the views eye the best possible shot." "Here we see Dr. Strange entering in room." "It's a flat unexciting camera angle nothing dramatic or unusual about it." "But, by changing the camera angle" "See how the scene has a sense of urgency, of impending drama." "That is good old J. Jonah Jameson yelling at Peter Parker on the phone." "It's okay, but in a word blah." "Now, look at the intensity of this angle." "Poor Peter is really getting it now!" "And here's Dr. Doom." "Being his usual rotten self." "It tells the story but, nothing any more" "New camera angle, new Dr. Doom." "You see it's more menacing, it's more compelling, in a word, we now have a better layout." "Let see camera angles the way any ordinary comicbook company might do it" "Compare with Marvel style." "Will use an adventure story as an example." "Here's how would look in an AVERAGE comicbook." "Here, a monster is breaking into Avengers headquarters." "Next, a reaction shot of a three heroes." "And here we see Cap, Iron Man, and The Vision rushing to do battle." "Now that's ol' Shell-head swinging at the big bad behemoth." "And here we see the monster about to do why hero irreparable bodily harm." "Now, Cap and The Vision of pondering their next move." "They's panel the draw, okay!" "They tells the story, the characters recognizable." "But they're lacking in raw drama, in sheer excitement." "That because most the layout are too vertical, too straght-up-and-down and heroes are too stiff." "They like the power the Marvel comic that." "You know, we could go on forever." "But it's easier just compare and see how it's done the Marvel way!" "For example:" "Look this close-up of the monster breaking in." "He looks like a monster." "He's dangerous, menacing, super-strong and deadly." "And the three heroes are standing around like three simpletons." "With Iron Man in front, there's a feeling of movement here." "Due the placement of the figures" "There's more action than the simple looking straight on panel" "See the action, the drama, the feeling of power generated by our heroes!" "There's no comparison to the other examples uninspired Spider shot." "Iron Man slugging the monster the way a superhero should like it menacing." "Here he doesn't look like a ballet dancer." "Like the other version." "I'll starting to get the picture." "Look here you can almost feel the power as Iron Man struggle to break free." "Finally the two Avengers look much more graceful." "And the tilt of their bodies gives the feeling." "Of far more urgency and excitement." "Now, without any comments from us." "See if you can tell why the second version" "Of the next examples are infinitely better than the first." "Watch for interesting perspective shots." "And variety in the size of the figures." "And less emphasis on putting everything in the center of the panels." "And if you still can tell the difference" "Between the fair layout of the good ones keep study in" "I mean, we all want you do wind up working from the competition." "Now here's we you can follow step by step." "Exactly how a page is penciled for a Marvel comicbook." "Just a little video magic to give you an idea of what we're going to wind up it." "Now, this is the Captain Britain story." "For a line of comicbook we distribution in England." "Let's follow the story is John lay's without." "This first panel show's Captain America follow by Captain Britain." "Racing down a corridor on a rescue mission." "And this second panel." "The villain is Red Skull." "Is aiming a gun at his enemy." "Nick Fury, who hovers above." "Nick's 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." "Now this panel is a shot of the Skull." "Firing he's gone ponit- blank at poor ol' it." "In panel 4, Nick drop to the floor as Cap rushes in the help him." "Panel 5 is the very dramatic angle of the Skull" "Citing down the barrel of the gun." "Here's we where wrap it up." "Captain Britain, holding his unique armored staff, charges to the rescue." "Here's another look at how a building panel." "Always think of what to doing as a process." "You are literally building pictures." "You start with the basics and then adding to until it you've got it." "Known we own expected work this fast." "Even marvelous Johnny doesn't were, this fast." "But to save a little time would showing you the basics of our would's done and speed of action." "What you do want would the do however." "Is practice everything in this tape." "Until it all become second nature to you." "Remember you can play this cassette over and over" "And if it where's out the can by another one we want might the bit." "The cover is probable the single most important page of any comicbook." "Without which cannot tell of book by." "It's cut catches the eye at is got would train the potential reader." "After all if the reader doesn't pick it up, it means one lost sale." "And Marvel doesn't like lost sales." "Consequently, more thought and work go in the cover than any other page." "Usually the editor comes up with the basic idea and talks over with the artist" "If there's time the oddest will do a number of layouts until one finally version is great a upon." "Now, for some typical come in some critical decisions that you might expecting here." "From typical Marvel Editors." "Not we mean do apply there's anything typical about any expect Marvel Comics." "Here's example layout from the cover of magazine called Nova." "That didn't quite make it." "If you listen carefully you can hear the editors typical gentle kindly observations." "What's this average?" "The figure of Nova and Spider-Man are too small." "They have got enough punch." "Get back to the drawing board." "Not bad, but Nova is the star of the magazine." "Why it might seeing is back" "Where is the drama in that?" "Wrong!" "There's too much wasted space on right side of cover." "Hey, even though Spider is just a guest star in this issue." "We got a see more of... of course it isn't always that negative." "Once in the awhile you get something good, like..." "That's it!" "we get a good view of both starts, and they're larger than in layout #1." "Hey!" "This is good perspective!" "Look the reader's eye level is up high with the two heroes." "That's the one great job!" "There are few tricks to layout you get a cover." "That you need to know." "And here's some of than..." "You've got a leave on note home the logo that's the magazines title." "And don't draw anything important here on the extreme right side of the page or on the bottom." "That's where it's trimmed off at the printers it's sort of the know man's land." "Try the leave "dead area" on the cover those or areas there still exciting that the reader." "But there unimportant the enough to be covered over by dialogue balloons or captions if the editors so disires." "Always leave the drawing open for color." "Is the expression that we use the Marvel Bullpen." "Don't distract form the covers glorious youths." "With to many black areas." "Make the cover provocative enough." "So the reader wants to buy the magazine." "But, try enough to give the ending away, or tip the reader off to any surprises." "And now we're ready to put the final touch on a brilliant work." "Where we're ready to learn the art of inking." "You illustration maby works of art." "But I can't be reproduced by the printer." "Unless black India Ink is apply to the original pencil drawing." "That means that someone has do ink over the initial pencel the artwork." "With either drawing pen or a paintbrush." "Transforming each illustration into a carefully "inked" final product." "However, and inker... is not just a preson traces a penciled drawing." "The inker must to be an artist himself - or herself." "A gifted inker can make mediocre penciling look great." "But a mediocre inker, can also make great pencil look dull!" "Inking requires concentration there for." "You should make sure your pusture is correct." "Don't slouching over your drawing board, sit up straight." "Rulling lines with the a brushes far more difficulte then using on pen." "But results that usually worth then." "Just hold ruler and about 45-degree angle." "And run your brush along like this." "By very the pressure of your brush you can make lines of any thickness." "Lines ruled of the brush and that stiff of those made with the pen." "Actually they tend to have more character." "Become equally adept in both pen and brush." "The brush require more time the master but if you a pen exclusively." "Your finished drawing is may seem stiffened lifeless." "Now, this examples, of brush work, I called "feathering"." "Notice how some strokes go from thin to thick." "There all done with the same brush." "Merely by varying the pressure you use." "In case you're wondering." "John is using Windsor Newton #3 sable hair brush." "Same brush, different effect." "John is now using the side of the brush rather of the tip." "This is the a very helpfull technique" "For inking hair on a character's head on examples." "Experiment with your tools." "Search for different effects use anything imaginable to get the affected to need." "Opening your mind that's what is all about." "Here's a well-inked panel." "See how the lines vary in thickness." "They're heavier of the bodies - away from the light." "Now this giving solidity to the figures." "And look how clear the picture is!" "Even though there are number figures and a wealth of littles diteils." "You see of good insures that drawing will be undestandable to matter how complicated it may be." "One way to achieve this is to use heavy blacks." "To make the figures stand out from the background." "And here's the same panel but it's overworked." "It's too dark and too many lines." "When reduced to comicbook panel size." "It's gonna be talk to understand." "Too much texture has destroyed the basic building of the drawing any almost impossible of read." "On the other hand here's an example of the other extreme." "The inker here didn't use enough variety in his lines." "The blackened areas are too skimpy and spotty." "And they've know pattern." "His lines are almost all the same wait." "We've know feeling of thick or thin." "The characters has you can see just seem to blend in with the background" "It's boring blah." "Now it's just is bad to keep a panel too light." "As it is to overwork it." "The secret is to know when and where to place your strong black areas." "Too little or too much will rule your drawing." "The black areas here are concentrated on just one side of the figure." "This technique accomplish two things." "First, it gives of feeling of dimension." "Second, it directs the readers's attention to the character's to the face by framing it with massive black areas." "The figure is here I draw realistically." "See how boldy and simply the heavy black shadows are again." "Is one bright light source illuminating one side of the body." "And casting the other side in deep shadow." "Keep your inking simple." "With just one definite light source in each panel." "Now here, the main purpose is to create the mood feel the menace." "Look at bolt panels." "I concentrate on the simplify panel." "The black areas are simple vertical or horizontal forms." "Thereby creating a calm, motionless scene." "The dramatic exception is the large, slaning black masses on the winged gargoyle." "Which add a sudden feeling of shock, of impending danger." "Also, look the large vertical black designs within the fence bars." "They unify the picture." "Now without them, the whole design would seem to fall apart." "Here, the black design seem to be jumping all over the place." "They creating the feeling of chaos and action." "But the pattern - though seemingly jumpy." "Is really quite consistent." "It rivet its your eye on the action." "On the black areas are arranged here to create a pleasing, circular movement." "This two slashes across to bottom add action in human." "His a final example." "The light coming from the left." "Is casting everything on the right in deep shadow." "They heavy black shadow area." "Emphasizes the feeling of the horror story." "Now just by looking at design of the panel." "You know..." "It's no a humor or romance strip." "Notice the way the black areas background to the feeling of realism a detail." "Without detracting from the two important figures." "This panel is heavy!" "It's melodramatic!" "And yet it's clear." "In a word it's Marvel!" "In summation, the penciler draws his panel in - what else - pencil!" "Then they must be finished by the inker." "Now is up to the inker to decide where, and how bodly, to apply his black ink." "The inker figures prominently in determining the mood, the design" "And the clarity of each panel." "Thus, when you seriously study comicbook's artwork." "Be conscious of two complemently of elements." "The basic penciled drawing, and the inked version." "See any you thought us gonna be complicated." "That about wraps it's up now." "Obviously know one tape can substitute for entire art for us." "But we hope we have at least presenting you will board overview." "Illustrating the most important elements of style, drama, and design." "That going to the making of Marvel comicbook." "Now, one last word before we turn you loose." "To unleash your talent upon a breathlessly waiting world." "To be a great artist." "And Marvel interesting in any other kind." "You've got do three things." "Draw!" "Draw!" "And then draw some were." "Know would can make you I great comicbook artist." "You had to do why the own" "You have to one, it enough to be one to work adding night and then." "And isn't ease but if you get stuff you all let anything stopped you." "And if one day you find yourself drawing for Marvel then we'll look." "But even if we've simply help iluminated art form that we all enjoy." "If we still were while." "So hand and there heroe and take there yourself." "Remember the best lives just your head."