PDF Download How To Draw Comics The Marvel Way, by Stan Lee John Buscema

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How To Draw Comics The Marvel Way, by Stan Lee John Buscema

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Chapter 1THE 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're 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...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.India ink. Any good brand of black india ink is okay.White opaquing paint. Invaluable for covering errors in inking.A glass Jar. This holds the water for cleaning your brushes.Pushpins. Handy for keeping your illustration paper from slipping off the drawing board.Triangle. A must for drawing right angles and working in perspective.T square. Invaluable for drawing borders and keeping lines parallel.Ruler. For everyone who says "1 can't draw a straight line without a ruler." Now you've no excuse!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.Rag. This plain ol' 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.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!Just to make sure we all use the same language and there's no misunderstanding when we refer to things, let's review the various names for many of the elements that make up a typical comicbook page.A. The first page of a story, with a large introductory illustration, is called the splash page.B: Letters drawn in outline, with space for color to be added, are called open letters.C: Copy which relates to a title is called a blurb.D: The name of the story is, of course, the title.E: An outline around lettering done in this jagged shape is called a splash balloon.F: A single illustration on a page is called a panel.G: The space between panels is called the gutter.H: You won't be surprised to know that this "ZAT" is a sound effect.I: Copy which represents what a character is thinking is a thought balloon.J: The little connecting circles on thought balloons are called bubbles. (We'd feel silly calling them "squares"!)K: The regular speech indicators are called dialogue balloons.L: The connecting "arrows" on dialogue balloons, showing who is speaking, are called pointers.M: The words in balloons which are lettered heavier than the other words are referred to as bold words, or bold lettering.N: This is my favorite part-where the names are. We call it the credits, just like in the movies.O: All this little technical stuff, showing who publishes the mag and when and where, usually found on the bottom of the first page, is the indicia (pronounced in-deeé -shah).P: Copy in which someone is talking to the reader, but which is not within dialogue balloons, is called a caption.Chances are we left out a few other things, but this is all we can think of right now. However, not to worry; we'll fill you in on anything else that comes up as we keep zooming along.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...Copyright © 1978 by Stan Lee and John Buscema

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Product details

Paperback: 192 pages

Publisher: Atria Books; Reprint edition (September 14, 1984)

Language: English

ISBN-10: 0671530771

ISBN-13: 978-0671530778

Product Dimensions:

8.5 x 0.4 x 11 inches

Shipping Weight: 13.6 ounces (View shipping rates and policies)

Average Customer Review:

4.7 out of 5 stars

387 customer reviews

Amazon Best Sellers Rank:

#1,763 in Books (See Top 100 in Books)

This book was one of my first book about drawing and as I recall, it was about the only resource about making comics that I could get my hands on. This one is a must for comics fans.This book goes straight to the business of making comics. You get lessons on proper use of perspective and foreshortening and drawing human figure and head. You can also get a few samples about comic composition, penciling, and inking. However, all of these rely mainly on illustration rather than instructions.One thing missing from this book, color. Other than the front and back covers, this book is devoid of color pictures. Regardless, this is a good book about drawing comics albeit a bit light.

Definitely a great way to start to learn how to draw comics.This was after reading the book. Before I could not even draw a stick.

This book should be on every creative person's bookshelf. A amazingly competitive crash course in drawing that can be used to just get the basics to make it easy to get ideas down on paper or further to create the next great comic book. I have to buying new copies because I keep giving them away to friends.

I've owned and lost, destroyed, lent and given away many copies of this book over the years. It's probably the best resource out there for an aspiring comic-book artist. Or animator. Or filmmaker. Or illustrator. Repeat ad nauseam.Sure, you could read a book by its cover as merely a hero-book resource and keep walking but you'd be doing yourself a disservice.True, in HTDCTMW Stan and John's focus was on creating hero books. But they accidentally also created a veritably indispensable resource for animation, storyboarding, filmmaking and more.It teaches shot selection (close up, worms-eye-view, long shot), perspective, figure drawing, character dynamics, shot composition, and more.One of my favorite sections features a side-by-side comparison of a few 6-panel 'comic pages', but they could easily be film/animation storyboards. It compares a drab, 'nothing wrong with it' versions of the pages with slightly tweaked versions. By subtly altering 'camera position', composition and character dynamics a much stronger, far more interesting tone is achieved - even without the use of dialogue or sound.I can't think of a better way to teach how these factors can greatly enhance a comic, film or animated project.Have I mentioned I'm a professor of animation? Well I am. This book from 1984 does it better than anything else I've seen since.If you just want to draw comics, it is second-to-none. If you want to be a filmmaker, artist or animator, it's also hard to beat.It's not going to turn you into Jim Lee overnight. But it gives you the tools you need to get started. It's up to you to practice but I think you'll find, as I do, that I keep returning to it.A must for your artist/animator/filmmaker toolbox.

I'm giving this 5 stars but I do want to say that you need a lot of tools to use this! I know that you could technically just use a pencil, but it recommends that you buy many tools to start out.It is very professional for a starter book. My son has a harder time with it and he loves comics and drawing, but he is 9 so he needs help getting started. We have not yet bought the recommended utensils for this, but we will soon enough.The steps they use in the book to draw are nicely laid out and I think this is a great book for anyone that wants to start learning to draw comics or someone that has already started! Thanks :)

I used to own this book as a teenager. I bought it for my son't birthday and he loves it as much as I did. Simply a classic.

This was a big hit with my 9 year old niece that loves to draw. I thought it might be a little advanced for her but she had no problem picking it up and drawing along with the book.

I got this for my 9-year old because of his interest in drawing comics. This is definitely advanced for him, but it was meant to inspire and is definitely one to have in his collection. Eventually this book will have valuable info to help him, wether it's now or 10 years from now!

Help me learn how the figure can be drawn... It's improving my skills... Great for any age that wants to learn to draw...

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How To Draw Comics The Marvel Way, by Stan Lee John Buscema PDF

How To Draw Comics The Marvel Way, by Stan Lee John Buscema PDF