Join Ben Bishop for an in-depth discussion in this video Exploring different poses, part of Drawing Good and Evil Comic Book Characters.
- At this point, I'm really happy with how these guys are looking and honestly, they could be done or very much close to being at least designed, before we move on to our final lines. But this is usually when I start to have fun with these guys and I make sure that everything is working and all the different pieces actually make sense from various angles and different poses. So I'm going to open up a new layer, new sheet of paper, and I'm just going to do what we did before and try stuff out. See, just like, quickly, very roughly, what these guys might look like in different poses or in action.
So I've got his gun arm here, and he's holding it with his other arm and he's hunched over so you know, what does a jetpack look like when it's on his back and he's hunched over and so far, if you can envision this like I'm envisioning it, I'd say it looks pretty darn cool. Hunched over, maybe on the edge of a building, about to snipe somebody. So that's a pose. What about a jumping pose? Because he flies around a lot too. So... Again, just try this stuff out. Usually, if this were like a freelance job, if I get to this point, it's because I really like these characters.
So I'm having fun with it. But I also want to make sure that I don't hand it off as a finished piece and then end up having to do a whole book and realizing something doesn't work after we may have already drawn the covers with a certain character or something like that. Because maybe this ammo belt here, gets in the way too much or that the gun arm is a little too big or a little too small. So try out some different stuff and see what you like. We're going to do just one more quick one over here of him running, kind of at us.
Everything seems to be gelling, which is cool. I'm going to have to go back but if you're going to go back, now's a good time, like I said. He's coming at us. So we're going to do the same thing with our bad guy. You can go ahead and delete that layer. Unless you want to keep it and show it off to someone. So new layer. Turn off the good guy. Turn on the bad guy. Same idea here. It'll be a little bit different because he's a snake man. So I'm already noticing something that I want to change.
You might not be able to picture it yet but I've got him in kind of this cool, hunched down position and I pretty much think he should look like that all the time so I'm going to explore that in some of these other drawings. Like he looks really tall right here. I don't know, he just looks a little too alert. I think that he should be hunched over, like a snake would be right before they're about to strike. Switch out the staff. Make sure it looks good in both hands. I don't see why it wouldn't. What does this thing look like if he stands up on the tail.
Looks pretty cool. Maybe he's getting blasted by our hero right here. It's always good to see the villain lose, right? Oh no. That looks pretty cool. Try one more, just from the front. I'm going to go back to that whole hunched over kind of look and make sure that I like that. So we've got his hood and then, I picture the shoulders way up, like that. And I can already tell that I'm definitely going to change that. I like that much better. So again, you can get rid of your scraps.
We discovered some things. Do that, simply by using the Magic Wand, because I have the magic of Photoshop and just pulling it down. That'll involve some cleanup, obviously. But it's the same exact process I would do on paper if I was working with paper and pencil, I would just untape my paper on the lightbox and shift it down a little bit and then, clean up where I needed to. Obviously, this neck doesn't make sense in here anymore.
I say now that he's really coming together. I like that a lot better. So you can see, just with a few minutes of working on scrap paper and doing some design exploration, we made sure everything worked and that these designs were solid and we even were able to add a few things and change a few things that made the characters even better.
- Drawing gesturally
- Choosing your final lines
- Building a character profile
- Creating the face
- Fine-tuning character details
- Developing proper body proportions
- Exaggerating details to communicate personality
- Dressing the character
- Referring back to your character profile