How To Draw Comics for Beginners

The Ultimate Comic Drawing Guide for Kids and Adults to Craft Amazing Comic Characters

Corry Carrera

Walter Vazquez

How to Draw Comics for Beginners

Copyright © 2023 Corry Carrera

All Rights Reserved

Thank you for choosing our book!

If you find this guidebook fun and useful, we

would be very grateful if you would post a short review on

Amazon! Your support does make a difference, and we

read every review personally.

If you would like to leave a review, head on

over to this book’s Amazon page and click

“Write a customer review.”

Thank you for your support!

Table of Contents

How To Draw Comics

Introduction

Before You Start

Basic Shapes And Volume

Giving Volume

Parts Of the Human Head

Improving The Eye

Eyebrows

Eyelashes

Eye Expressions

The Eye Of Profile

Eyes In 3/4 Profile

Nose

Profile Nose And 3/4

The mouth

The Mouth In Profile

Ears

Construction of the ear

The Male Head

The Female Head

The Profile Head

Three-Quarter Profile Head

Hair

The Human Figure:

Female proportions

Torso And Pelvis

Female Torso And Pelvis

Torso And Pelvis Movements

Arms

Legs

The Figure In Motion

Muscles

Back Muscles

Arm Muscles

Hip Muscles

Gluteus

Upper Leg Muscles

Lower Leg Muscles

The Feet

The Hands

Superhero Characters

The Ecological Man

Doctor Charles Pacheco

The Ecological Girl

The Villains

The Dark Brute

Dr. Hacker

Clothes and wrinkles

Mrs. Hacker

More Clothes and wrinkles

Composition

Comic Book Cover

Drawing Monsters

Drawing Animals

Conclusion

Introduction

I entered the fascinating world of comics as a child watching black-and-white cartoons on television. And how exciting it was to discover cartoons and comics in magazines at the newsstand! No longer were the characters moving on the television screen, but they lived inside little squares. I could jump inside those pages and live the stories.

I’ve never forgotten this, and I’ve never stopped reading comics and trying to draw them. But reading cartoons and drawing them are two very different things.

If you want to draw cartoons well, you should start by closely examining some. Try to distinguish the styles of various artists. These artists are also called cartoonists, and undoubtedly, you will like the style of some better than others.

Anyone can be a comic book artist. It is not a divine gift or something that magically emerges from your fingertips. It is a skill acquired through practice. You must learn to draw in the same way you would learn to ride a bicycle. You must practice, and then, before you realize it, you’ll be drawing cartoons! And if a drawing “doesn’t work”? Well, it’s like falling off a bike. You must simply try again.

Once you learn to draw, the skill will stay with you for the rest of your life, and it can bring you a great deal of satisfaction. You can always find new things to draw and learn new ways of doing it.

This guide will give you the practical and basic tips you need to start drawing, and it will accompany you along your learning journey. Use these tips to find your best working methods and, eventually, to accomplish your goals! Who knows, perhaps someday you might even turn your hobby into a profession!

Before You Start

In this chapter, we’ll define some basic concepts and techniques. These are fairly simple, but it’s still a good idea to review them before picking up a pencil. 

A vertical line is a standing, straight line.

A horizontal line is a line that follows the horizon. It appears to be lying down.

A diagonal line is a line that looks as if it is falling to one side. It can run through a horizontal or vertical line.

​VERTICAL​​DIAGONAL​HORIZONTAL

Auxiliary lines are used for what many of us know as sketches. They form the structure, or skeleton, of our drawing and support our final, thicker, and definitive lines. Auxiliary lines are drawn without applying pressure to the pencil so that they can be easily erased when we make the final drawing on top of them.

​AUXILIARY LINES​​FINAL LINES

Approximate Measure Method: We will use this term periodically to describe the size of a shape, but it isn’t an exact measurement. Even so, it will help you draw accurately. When we use the words “half” or “double” to describe a shape, we are using the approximate measure method. Half refers to the divide in the center as pictured below.

We will also use arrows in this guide to indicate in which direction you should move your pencil.

Basic Shapes and Volume

Although studying shapes and volume can be tedious, it is essential to the drawing process. You will have to master these basic concepts one way or another, so it is best to do it at the beginning of your journey.

When we draw, we need to create images that will be perceived as 3D (three dimensions) and not 2D (two dimensions).

2D drawings are formed only by the height and width of the figure.

3D drawings are formed by the height, width, and depth of the figure.

A figure with three dimensions has volume.

If we add 3D features to basic shapes, we can transform a circle into a sphere, a square into a cube, and a rectangle into a cylinder.

But how can we do that in drawing?

Giving Volume

As artists, we usually work on paper or screen. These are two-dimensional forms. We want our drawings to appear as three-dimensional forms, however. How do we do this? Let’s take a look at the process.

Accompanying the shapes refers to drawing lines (shading) that follow the direction of an object and wrap around it. This creates the illusion of depth and makes the objects in your drawings appear three-dimensional.

The arrows indicate the direction in which you should move your pencil.

You can mark auxiliary lines that divide an object vertically or horizontally. These axes will allow you to divide a shape into four parts that are as equal as possible. Try to draw these elements WITHOUT RULERS.

We can also use light and shadow to accompany our forms. We need a light source that impacts our objects to create volume. If we have the light on one side, there should be a shadow on the other. The shadow will define the depth (we will return to this topic later).

Perspective is fundamental to a good drawing, and we’ll discuss it more later. For now, we can summarize the concept by saying that it is the point of view of the person drawing or the angle from which an object is being viewed.

If we have two objects of equal size in our drawing and we want them to appear to be at different distances from us, we can do that by manipulating their sizes. For instance, if we make one of the objects larger, it will appear closer to us than the other object. If we make it smaller, it will appear further away from us.

We can also use foreshortening to give depth to our drawings. This technique is used to draw objects, human figures, buildings, and still life in proper perspective. We generate an ILLUSION when we draw an element that is moving away or approaching. By only modifying its length, it seems shorter.

Look at these examples, and compare measure 1 with measure 2. The second element is shorter, but that doesn't mean it looks smaller just by moving it away.

The fist in the image below is not really bigger than the head. It only appears to be because we have used the foreshortening technique. We'll return to this concept when we look at perspective in more detail.

Practice drawing basic figures. This will help you understand future exercises and improve your skills.

Parts Of the Human Head

The head is comprised of eyes, nose, mouth, ears, and hair. Understanding these elements is crucial to creating cartoon characters that are attractive to readers.

EYES

The human eye is a sphere. Because it is partially covered by our eyelid, we can only ever see a part of it. It is composed of a pupil, the dark central circle. The pupil is surrounded by the iris, which controls the entry of light. The white of the eye is called the sclera. There is also a small appendix called a caruncle in the lower inner corner of the eye.

We usually only see the portion of the eye between the eyelids, so in short, when drawing eyes, we are actually drawing the edges of the eyelids.

Now let’s draw an eye.

First, we’ll draw a rectangle with auxiliary lines (remember that they are soft lines, so you shouldn’t put too much pressure on the pencil), and then we’ll divide it vertically into three equal parts. Next, we’ll draw another auxiliary line horizontally across the middle. We’ll move up with the first curve, going out slightly to create an outside corner.

As we move down, we’ll draw a slight curve that angles inward.

It’s now time to draw the bottom of the eye. Make sure to always follow the direction of the arrows.

Next, let’s add a fundamental, yet often forgotten, element to our drawing -  the caruncle.

We have completed the outline and the eyelids. It is time to draw the pupil in the horizontal line that divides the rectangle in half.

Finally, we’ll erase the auxiliary lines and highlight them.

Improving The Eye

Adding a few important details can help your cartoon character appear more realistic.

For instance, the space between one eye and the other should be approximately the size of one eye. Your character’s face, therefore, should be able to contain the width of three eyes.

Never forget that the upper eyelid can generate a small shadow. It is up to the artist to use it or not.

The caruncle should always go in the direction of the other eye.

A realistic eye drawing depends on how well the iris and pupil are constructed and how effectively size, shadow, and especially, brightness are revealed.

Brightness is achieved by drawing a simple white circle in the pupil. You can see several variations in the following examples. You can work with one of these as you learn to develop a style that you like.

Eyebrows

Eyebrows are formed by hairs located above the eyes. Many people don’t know this, but their function is to prevent unwanted liquids (such as rain, water, or sweat) from falling into our eyes.

The direction of our eyebrow hairs forces liquids to fall down the side of our face. They grow from the bottom upwards, ending at a point near the outer edge of our eye.

Let’s draw some eyebrows. We know they are above the eyes, so we will return to our "auxiliary lines" to build them.

We will draw a rectangle over the construction that we have used for the eye. This time it will be half the height, and we will add a third more at the end so that it will extend past the length of the eye.

Inside the rectangle, we will draw a diagonal line that begins near the inner corner of the eye and extends past the outer corner. The eyebrow will be thicker at the beginning and thinner at the end. When we have reached the top, we will move back down to the end of the rectangle, forming a sort of point. It’s important to note that in a female character, eyebrows are thinner and rounder compared to a male.

Fill in the construction by drawing hairs, always respecting their proper direction. The eyebrows end on the opposite side of the caruncle.

Remember, all these constructions may seem very mechanical, but it is crucial to practice them many times. Eventually, you will get the measurements automatically or, as they say, at a glance.

Eyelashes

Eyelashes also protect our eyes from foreign bodies. They grow out of the eyelids and are highly sensitive. Touching them causes the eye to close immediately.

To draw eyelashes, we must consider that they are divided into two groups, those on the upper eyelid and those on the lower eyelid. The difference is in the direction that the hairs grow.

We will draw the eyelashes on the upper eyelid facing upwards, and we will draw the ones on the lower eyelid facing downwards.

When drawing comics, it is unnecessary to draw eyelashes on male characters. However, eyelashes play a significant part in developing a female character and can help create a distinction between male and female figures. The feminine eyelashes mark that dark spot at the end of the eye.

One way to draw eyelashes is by dividing the eyelash areas into two blocks, as shown in the drawing. They almost look as if they are forming a fish’s fin.

Then we’ll make this area black. This should be a rule of thumb, even when the drawing is in color.

We will draw the eyelashes from these two black blocks, always focusing on their direction.

Now that we have a general idea about drawing eyes, eyebrows, and eyelashes, it is time to combine these elements., The eyebrows of female characters are generally thinner and rounder than those of male characters.

Eye Expressions

Now let’s use what we have learned about the eyes, eyebrows, and eyelashes. Remember to make your drawings with auxiliary lines and to erase them when you have finished.

Copy the examples on these two pages. Note the differences between male and female eyes. Feel free to try drawing additional eye variations. Look for ideas in pictures, comics, and magazines. You can even do this in front of a mirror! Mastering eye expressions will be handy when you create characters in the future.

The Eye in Profile

Let’s try drawing the eye as seen from the side, also known as in profile. We must rewind to where we started learning to draw the eye from the front. As mentioned, because of the eyelids, we can only see a part of the eye. But it is still there, an entire sphere behind the lid. When observed in profile, we will always see the side of the eye opposite the caruncle.

Draw a square and mark a central horizontal auxiliary line dividing it in two. You should practice drawing a lot of squares. This will make your artwork better.

Starting from center, we’ll draw two diagonal auxiliary lines, forming a kind of triangle with the two corners. Next, we’ll join the two corners with a curved line.

Next, let’s highlight the eyes and add the iris and pupil. Remember everything we learned about the eye from the front drawing. The upper eyelid slightly covers the pupil.

Special emphasis should be given to the drawing of a female eye in profile. Highlight the eyelashes and draw them in the direction we see here, with the top ones arching upwards and the bottom ones arching downwards.

Here are some examples:

Eyes in the 3/4 Profile

This time we’re going to draw eyes in a 3/4 profile. Let’s consider a few things first.

Before creating drawings, always decide from what point of view they will be seen. Look at the following examples of heads. There is a front view, a profile, and also a 3/4 profile. The 3/4 profile is a mixture of the front view and the complete profile.

Earlier, we constructed eyes using rectangular bases. We’ll do that again now, but we’ll modify the process a little.

Start by considering the eye closest to us (perspective principle: an element that is close to us is drawn larger than an identical element placed further away). We should draw the rectangle for eye 2 smaller than the others.

Place the eyes just as we did when we were building them previously, but adjust the second eye to its smaller shape. Remember the direction of its lines and also the placement of the caruncle.

Now we need to define some essential points, like the eyebrows. We can see that with eye #1, the eyebrow goes up and then down. With eye #2, however, we can only see the part of the eyebrow that goes up, because the other part appears to go around the side of the face.

Follow the direction of the arrows. Notice that the beginning of the eyebrow is joined with the beginning of the nose. Also, look at the part of the face that slopes inward where the eye is.

Finally, we’ll erase the auxiliary lines and add details to the pupils and irises.

Here are some examples of eyes drawn in the 3/4 profile. In this guide, we have frequently discussed how to draw eyes. Now you just need to practice.

Nose

The nose is located in the middle of the face, protrudes from the space between the eyes, and extends downwards. The area between the eyebrows, where the nose begins, is called the glabella. From there, it continues into the bridge, where the nasal bones and soft cartilage are located, and the central ball. Under the ball is the septum that separates the nostrils. At its sides are the wings that form the nostrils.

Let's start with the construction.

1. We’ll first mark a horizontal auxiliary line and add a circle on it. Underneath the horizontal line, we’ll place a triangle with its tip cut off.

2. Next, we’ll draw the nostrils on both sides of the triangle without a tip as indicated. This will later be turned into the septum.

3. Following the example, we draw wings on the sides of the nostrils.

Finally, we erase the auxiliary lines, accompany the shape of the ball with lines, and make the nose rounder.

The eyes should be used as a reference to locate the nose on the face or the head.

We’ll place the nose between the eyes. We must remember that the widest part of the nose, extending from one wing to the other, is the same size as an eye.

Therefore, the nose should be located in the space between the eyes and divided into three parts, the lowest being the ball.

Copy these different noses for practice. If you are constructing a female character’s nose, use as few lines as possible. This is always important in comics.

.

Profile Nose And 3/4

Let’s discuss the construction of the nose in profile.

1. Using auxiliary lines, we’ll begin building the nose in the same manner we use when drawing the nose from the front. First, we’ll draw a horizontal line. Below the line, we’ll add an inverted triangle with its tip cut off. And above the line, we’ll draw a circle accompanied by another smaller one.

2. Now we’ll mark the lines by applying more pressure to the pencil while moving in the directions the arrows tell us.

3. Next, we’ll draw the nostril between the circles resting on the horizontal line.

4. Finally, we’ll erase the auxiliary lines and reinforce the construction.

The Nose in the 3/4 Profile

1.Repeat the basic drawing from the previous exercise. Use auxiliary lines.

2.Mark two directions of lines instead of three as in the profile nose, and add the nostril between the two circles.

3. Now let’s add the nostril on the other side, which will be half the size of the one we have already drawn. It is the same concept that we used when drawing an eye in the 3/4 profile. Remember that if we want one nostril to appear further away from us than the other, we must draw it smaller.

4. Delete the auxiliary lines and reinforce the construction.

As always, practice a lot until you are satisfied with the results.

Here are different examples of noses. Practice them all and then start creating your own.

The Mouth

Our mouths allow us to communicate, eat, and drink. Externally, it is comprised of an upper and lower lip that meet on each side at a spot known as a commissure.  A small groove, the philtrum, lies between the nose and mouth.

Construction of the Lips

 Let’s begin by drawing an auxiliary horizontal line and making a small division in the middle. Then we’ll draw two rectangles tilted downwards, following, as always, the directions of the arrows.

From the ends of the horizontal line, we’ll move up with two lines on either side of the division as shown in the drawing.

 Next, we’ll draw the lower lip, which is more rounded at the corners and rises slightly in the middle.

 Finally, we’ll erase the auxiliary lines and give them the finishing touches.

The Mouth in Profile

Let’s proceed to draw the mouth in the profile.

1. Start drawing with auxiliary lines. First, draw a horizontal and a vertical line. Note the divisions we make and how the lines are placed.

2. In the first division of the vertical auxiliary line, mark a curved line following the direction of the arrow, then move down and add a slanting, or  oblique line. Connect its end, with a circular one opposite the first space. Follow the directions of the arrows for the constructions!

3. Go back to the curved line you drew in the first division. Mark a short curved line outward. From there, draw an oblique line downwards toward the horizontal base line. Follow the directions of the arrows, and you will have your upper lip. Below the horizontal line, draw the lower lip with rounded ends.

Notice that the upper lip is further forward than the lower lip.

4. Erase the auxiliary lines and detail the drawing.

To draw the lips, we must also draw the upper groove, or philtrum, which is very important when defining the mouth in profile.

The 3/4 profile mouth

Here the construction is the same as when we drew the mouth from the front. The only difference is that everything is reduced by half in the middle.

Follow the directions of the arrows.

Here are examples of different types of mouths that might be used in comics. You can copy them and draw many more. The more you practice, the better results you will get.

Ears

Ears carry sounds into the auditory canal. That is why it is shaped like a funnel. Ears also protect the canal.

The upper exterior rim of the ear is called the helix, while the protruding parallel part is called the antihelix. The concha, which is located in the center of the ear, lies at the edge of the external auditory canal. The tragus  protects the ear canal, and the lobule, or ear lobe, is located underneath. The ear lobe, which is made of dense tissue, is often pierced to hold earrings.

Construction of the ear

Although it may seem challenging to draw ears, the steps are very simple.

1.We will construct an ear by building on a rectangle drawn with auxiliary lines. We will divide it horizontally into three equal parts and add a vertical line in the middle. Follow the directions of the arrows and pay close attention to the parts where and how the lines bend. We begin at the lobe, which is circular in shape, and end at the tragus which is also circular.

2.In this step, let’s add two curved lines facing inwards. These will  form the helix and the tragus.

3 – Next, we’ll draw the antihelix, which has a Y shape.

4. Finally, we’ll erase the auxiliary lines and shade around the antihelix and the auditory canal below the tragus.

Now that we have studied the construction of an ear in profile, it’s time to construct the ear from the front.

1.To draw the ear from the front, we need to build a rectangle that measures half the width of an ear in the profile view. We’ll divide the triangles into three equal squares using auxiliary line, drawing in the direction of the arrows.

2.Next, we’ll draw the top edge of the helix, and add a single line that we’ll build into the antihelix.

3 – We complete the antihelix, following the directions of the arrows.

4 – The final step is to erase the auxiliary lines and complete the drawing with shadows. Those parts that we see in black have depth because the light doesn’t reach them.

So, how do you draw an ear as seen from the back? As always, we start our construction with auxiliary lines to support our drawing. We’ll create three equal squares just like we did when we were drawing the ear from the front view, and we follow the directions of the arrows to make the drawings. From the back, we can only see the helix’s edge and the back of the earlobe. We erase the auxiliary lines and complete the drawing.

In the drawing below, you can see the location of the ear on the head when viewed from the front. The distance between the ear and the eye is the same size of an eye. The width of the ear will be the size of half an eye.

Typically, the top edge of the ear is located at the same height as the nose and eyes.

Here are different types of ears for you to practice drawing. Did you know that there are as many different forms of ears as there are fingerprints? Each person’s ear is unique!

The Male Head

It’s time to start drawing the human head. As we progress, we will apply everything we have learned so far about the construction of the eyes, eyebrows, nose, mouth,  and ears.

1.For the construction of the male head, we will start with a rectangle made from auxiliary lines. We’ll divide this rectangle into three equal parts. We’ll then add an additional section at the top that is equal to half the size of one of the rectangles. We’ll next divide the rectangle in half with what we will call THE MAIN AXIS. This axis will mark the position of the head and tell us that each side should be equal to the other.

2.The top of the head, which is the smallest part, must be circular. Now let’s move down with a vertical line from both sides to the height of the eyebrows. The eyebrows are located where the second space of the rectangular division begins. Place the eyes under the eyebrows. This space should be divided into five sections, each the size of an eye. Half of the two sections on the edges will protrude. This is where the ears will be drawn. The central part that has been numbered “3” will extend downwards.

3 – We’ll add the mouth to the lowest part of the square and divide it in half. This line will be used to support the lips. From the height of the eyebrows, we move down on both sides with a line that reaches the height of the eyes, and following the direction of the arrows, finish the outline of the head.

4 – Let’s use everything we’ve learned previously to draw the eyes, ears, and mouth. We’ll set the ears at the same height as the eyes and nose. We’ll also draw the mouth, placing the bottom lip at the horizontal line that divides the lowest part of the square. Lastly, we’ll take care that the corners of the mouth are aligned with the middle of each eye. This ensures that the features are in the proper place and look proportional to each other.

5. Now mark the lines that move downwards and are shaded. These lines represent the visible parts of the side of the head.

In the final drawing, we add the hair.

The Female Head

To draw a female head, we will use the same steps we used to construct the male head, but we’ll use softer lines from step 3 onward. These lines should be less angular or more rounded. It is also best to use fewer lines on the face of a female character, especially when drawing the nose.

The Profile Head

The profile view is one of the least used drawings in comics. Although it seems difficult to draw, it is actually not that complicated.

1.We will use the same base that we used for the head construction, but we’ll add a space of a little more than a half a square on the right side. When we have this, we will draw a new division to the half and add a circle in the upper part.

2.Following the direction of the arrows, let’s next outline the circle from the top of the head to the height of the eyes, where it protrudes slightly at the place where the nose begins. We’ll place the ear on a diagonal.

3 – Next, we’ll draw the nose and the line of the nape of the neck.

4. Following the directions of the arrows, we’ll draw the lips, the chin, and the jaw while moving upward.

5 – We’ll finish the drawing by adding the details.

6. The female profile view is the same; we only have to make more rounded lines, emphasize the eyes with eyelashes, and draw full lips.

Three-Quarter Profile Head

This is one of the most common head positions in comics, so you will definitely want to practice drawing it.

1.For the construction, we’ll use the same base that we used for the profile drawing. However, this time we will place the main axis at the center line of the left squares. This will guide us in drawing the nose and help us accurately place the eyes and mouth. In a three-quarter profile, the nose will be a reference point for the other facial features, making it easier to align them properly.

2. Considering the central axis, we will place the eyes. Remember the construction of the three-quarter eye? The closest eye should appear larger than the other. Then we’ll follow the directions of the arrows to draw the head and the ear.

3. Next, we’ll draw the nose resting on the central axis and follow the arrow for the side of the face.

4. In this step, we’ll draw the mouth in a three-quarter profile and go up with the jaw, following the arrows to the ear.

We’ll complete the drawing and erase the auxiliary lines.

Remember that the treatment of the feminine figure requires soft lines and roundness to achieve a smooth appearance.

Hair

Creating hair is a significant part of designing our characters. Hair grows from the top of the head and falls in various ways. It looks better in our drawings if we group hair in locks and highlight light and shadows through the contrast of black and white.

We should also be mindful of the hair’s direction and make sure that the end of the hair is drawn to a point.

There are many different types of hair. Straight hair is very linear. Wavy hair, which is most often used in cartoons, can be drawn in the form of the letter S. Curly hair is best supported by a cylinder-shaped construction. Combining different types of hair is also a common practice.

So let’s practice drawing hair. Often there is a part that divides the hair into two sides. We will start from there. Keep in mind the directions and divide the hair into locks. Look at the drawing on the right. The numbering of the locks that we have done will help you develop your drawing.

We will work on each section of hair individually, drawing a black shadow that separates it from white space. In the small parts, we can see the details.

1.The part that divides one side of the hair from the other is the darkest because the roots are visible.

2.It is essential to separate each lock. If we have a shadow, we will attach a white line to the line that ends the lock.

3. If several adjacent locks are highlighted, the light must occupy the same area on each of the locks.

Let’s draw a straight hairstyle that falls freely. First, we will divide the tufts. As you can see in the small drawing, we have divided the hair into eleven sections. Now we’ll draw the shadows. Be mindful of the detail as we separate the tufts with white lines and shadows. We want them to be uniform.

Here are several head drawings that include everything we have learned so far. As for the hair, we need to think about its direction, which can be modified either by a comb or the wind.

The Human Figure

Male Proportions

In this exercise, we will build the male human figure using the head as a measurement reference. To draw our figure from the front, we will mark the central axis and divide it into eight equal sections that total the length of eight heads.

You must ensure that a part of the figure corresponds to each section. We will explain this in more detail in the annotations next to the figure. You will also learn where the circles correspond to the joints.

The figure in profile will be marked around the central axis. Although the part of the body below the knees is actually behind the axis, our figure will not fall. The feet are there to lend balance.

Our profile should emphasize the curve of the spine, the tail, and the calf. These areas should be aligned, and they should project the same distance. This will give balance to our drawing.

Female Proportions

If we want to draw a female figure, we can also use the measurement of  eight heads. The most significant difference between a man’s figure and a woman’s is the size of the shoulders. For a female figure, the shoulder line is smaller than or equal to the line of the hips. A female figure will also have breasts.

Torso And Pelvis

Although each part of a figure’s construction is equally important, the torso and pelvis are what we would call the main trunk. From this main trunk, the arms and legs extend like branches.

1.The torso from the front: We must consider the reference measurements taken from the head. We mark the central axis that divides the figure into two equal parts. In the second head area, we place the line of the shoulders. Near the middle of the third head area, the figure gets narrower and the pectorals appear. Finally, in the fourth head area, the torso enlarges slightly before it ends where the legs begin. We must always remember to follow the arrows when drawing.

2.The torso in profile: First we mark the central axis, which will help us determine where the arm will be attached. The back and the tail must align, and we must follow the arrows when drawing them.

3. The torso from the back: There is no difference between this and the drawing from the front. Mark the spine in the central axis.

The 3/4 profile view of the torso and pelvis does not vary from the others we have drawn. The elements, such as eyes, ears and mouth, are constructed in the same way. The important thing is that we mark the central axis and start the drawing from there. As before, we will see a side closest to us and one that appears farther away.

Look at the third drawing to see how we can simplify the construction into three basic shapes: circle, square, and triangle.

Female Torso and Pelvis

To draw the female trunk, we will use the same divisions that we made in the previous drawing. We’ll respect the proportions by using the measure of one head to contain each element, and we’ll follow the arrows to make the drawing. The female trunk is different from the male trunk in two significant ways.

1.The pelvis is wider than the line of the shoulders.

2.The breasts are two circles that protrude from the figure.

Below are also the 3/4 profile drawings. You can reduce the construction into circles, squares, and triangles.

Torso And Pelvis Movements

As seen in the sketches below, the torso and pelvis can move in many different ways - from top to bottom or from side to side. The side of the figure is represented in gray. Keep in mind the proportions we have studied so far.

Practice as many movements as possible, as the torso and the pelvis are the basis of the human figure in action. Now all that remains is for us to add the arms, legs, and head.

Arms

The arms are the upper extremities that hang at both sides of the torso, starting at the shoulders and ending at the hand.

For their construction, we will use two cylinders and a sphere. Here we see the rotation that allows us to see both sides of the hand.

The elbow, where the arm flexes, is where the two cylinders come together. Practice drawing the volume of the cylinder and its different angles.

In the first drawing, we see the torso from the front. We can see the different movements of the arm, both inward and outward. We can also see the front view of the cylinder.

In the second drawing, we can see the arm and its movements from the side. The black line in the back indicates the maximum limit of arm movement.

Legs

The legs start at the hip and are important for walking, running, jumping, dancing, and maintaining balance so that the body does not fall.

For their construction, we will take the reference measurement of the human head and start drawing cylindrical shapes. As with the arms, we will use two cylinders divided by another cylinder that represents the knee. The top of each cylinder will be wider than the bottom.

1.When building the lower part of the leg, we must remember that the cylinder goes outwards and then comes back in. A straight line goes down the inner side, where we add a semicircular detail.

2.In the back of the legs, the gluteus is lower than the crotch in the front.

3. In the profile view, we can see that the knee is behind the central axis. In order not to fall, the figure is balancing on its foot.

Remember that the gluteus is also aligned with the calf.

Here we see the legs in three-quarter profile. When drawing this position, we must not forget to bring the knees backward and align them with the shoulder closest to us.

The Figure in Motion

It is time to put together everything we have studied so far and give movement to our figures. Here are some examples. Draw these and also practice with your own ideas. We want our comic characters to come alive!

Here are some other examples of figures in action for you to practice drawing. Try to do as many drawings as possible in preparation for our next lesson in which we will learn how to add muscle mass to our characters.

.

Muscles

Our muscles are connected to our bones by tissues called tendons. When they contract, they pull our bones. This is what allows us to move our bodies.

In this exercise, we will add muscles to our figures. Because there are so many types of muscles, we’re going to separate them and study them in small groups. This will make it easier for us to learn the correct positions of each muscle. You don't need to remember their names by heart, but you must know their locations.

Muscles of the Torso

1. The sternocleidomastoid is a group of muscles originating from the ears and extending to the clavicle.

2. The trapezius muscle spans the back of the neck and shoulders, aiding in the movement of the head and shoulder blades.

3. The deltoid muscles connect the shoulders to the arms.

4. The pectoralis muscles are the largest in the torso region.

5. The rectus abdominis is divided into eight sections, six located above the navel.

6. The external oblique muscles are on both sides of the rectus abdominis.

7. The serratus muscles are on our sides, protecting our ribs.

There are a few other things that we need to keep in mind when constructing a human torso. First, our bones are noticeable in two areas of the torso - the clavicle at the shoulder line and the ribs. Also, the proportions for the torso are based on the head measurement.

In the picture below, note that the gray area we see belongs to the back muscles.

Back Muscles

Now let’s learn about the back muscles.

1. The trapezius muscle extends to the front of the body.

2-4. The infraspinatus, teres minor, and teres major are three muscles

that function similarly, activating when the arms are raised.

5. The dorsal muscle covers the lower back.

6. The external oblique muscle can also be observed in the front.

7. The trapezius muscle also contributes to the front of the body.

In the image on the right, we have an overhead view demonstrating how the trapezius muscle functions and attaches to the clavicle bones. Below, we can see other arm movements facilitated by the trapezius muscle.

Arm Muscles

The arms are one of the most mobile parts of the human body. While they may seem complex, we can understand them better if we examine the bone structure.

1. To accurately draw an arm, we start with a structure of geometric figures, maintaining proper proportions based on the human head measurement.

2. The upper part of the arm is composed of the humerus bone, while the lower part consists of the radius bone. The radius is smallest where it joins the humerus and largest near the wrist. The ulna bone connects behind the humerus to form the elbow and gradually tapers towards the end.

3. When drawing the front view of the arm, it is important to know the location of each muscle. Depending on the arm’s position, some muscles may wrap around it.

4. The side view of the arm shows the placement of bones.

5. Figure 6 details the elbow’s relationship with the arm bone.

6-7. By adding the muscles, we can observe how the triceps functions in the back and how the supinator works when the arm is rotated.

1-2. In this view from behind, we can see that the radius ends at the hand on the side where the thumb is located. Alternately, the ulna ends at the hand on the side of the little finger. The elbow protrudes between the muscles, and above, we see the triceps surrounding the upper arm.

3.4. Pronation and supination are two important movements that can be better understood by looking at the bones. Pronation refers to the rotation of the wrist so the palm faces downwards. Supination refers to the rotation of the wrist so the palm faces upwards. These movements are made possible by the crossing of the radius and ulna.

5. The supinator muscle is more visible when the wrist is pronated.

6-7. When drawing a flexed arm from the side, we start with basic shapes. As the lower arm is raised, the tricep muscle contracts and becomes more voluminous. The elbow protrudes when the ulna is flexed.

Let’s return to our basic structure and then start drawing the arm muscles on top of it. We will continue to name and memorize the location and function of each muscle as we work.

Hip Muscles

The hip joint is where the upper part of the leg, the femur, connects with the pelvic bone.

1. In this image, we can see the construction of the human figure and the skeleton that supports it. As previously done, we will divide the structure into eight head heights.

2. Here we show the area we will be working on and the structure of the pelvis, which is like a container that houses our organs. We will highlight its upper edge, the iliac crest, and the greater trochanter of the femur.

3. This image shows the hip joint in profile, with the iliac crest and greater trochanter emphasized. We also see the profile of the lower back where the gluteus muscles are located.

To begin drawing a human figure, we first need to create the structure, measuring about four heads in height to maintain proper proportions.

1. When drawing the figure from the front, it's important to mark the central axis and continue from the navel. Review the muscle references in the diagrams below so that you can identify them correctly. Note that some muscles are present in both the front and back. Also, pay close attention to the asis protrusion.

2. The hip profile shows the asis, but the greater trochanter bone stands out more. The gluteus muscles originate here and extend downwards into the fourth head section.

Gluteus

Now let's draw the area behind the pelvis where the gluteus muscles are located. The gluteus muscles play a crucial role in providing mobility to the pelvis.

As you can see, the gluteus maximus muscle protrudes beyond its section into the space the fourth head would occupy.

Next, please replicate the pelvis examples provided below.

Upper Leg Muscles

As we learn to draw the upper leg muscles, we’ll once again refer to the body’s bone structure. I mentioned earlier the importance of learning the bones and muscles of the body, and I want to stress that again now.

Our legs consist of the femur, tibia, fibula, and patella, also known as the kneecap. The patella is a prominent bone that protects the knee joint. The knee joint, formed by the femur and tibia, is the main joint in the leg.

Now we will draw the muscles onto our figure. If you notice, we always group them in small numbers. This makes the process less complicated.

Lower Leg Muscles

When drawing the lower part of the leg, we need to carefully consider the tibia and fibula. These bones end together at the ankle joint. The ankle connects the leg to the foot.

At the back of the ankle is an important feature called the Achilles tendon. It connects the calf muscles to the heel bone.

The Feet

The feet are essential for the support and movement of the human body. Although drawing them from different angles may seem complex, practice makes perfect.

As always, let's proceed with constructing the foot using auxiliary lines.

Begin with a view of the bottom of the foot. Our structure will consist of five equal parts forming a rectangle. Use the directional arrows to give shape to the five sections of the rectangle.

The toes should be drawn in a fan shape, and we should take into consideration the space beside the middle toe. The foot curves and narrows towards the heel.

Let’s add some details to our drawing. The gray areas that you see represent the parts of the foot that touch the ground. The area next to the big toe, marked with an x, is an arch that does not touch the ground.

Now let’s draw the top view of the foot. The construction is the same as before, but the nails are visible.

And finally, we will construct the toes.

A. It is helpful to understand the anatomy of a toe before we start.

B. For the construction, we’ll use two rectangles superimposed.

C. Next, we’ll finish by highlighting the connection of the bones.

D. Consider the front view of the toe, taking into account its proper height.

We can look at the foot from a number of perspectives.

Internal view: We will repeat the five-part structure. From this perspective, the big toe will be visible but blocking the others. Additionally, the arch of the foot is very visible.

External view: From this perspective, we see the fanned-out toes behind the big toe. We cannot see the arch of the foot; it appears to be flat on the floor.

Front view: Follow the directions of the arrows for this construction. Include the small area of the foot that is visible next to the big toe. Respect the diagonal of the ankles.

Back view: As we have seen, the foot narrows at the heel. Be sure to mark the Achilles tendon.

Look at the examples we have prepared for you and notice that the first drawing shows the foot in a flexed position.

Keep in mind that when drawing a character, the foot will usually be enclosed in a shoe.

The Hands

Students often avoid the study of drawing hands, but it's crucial for portraying character personality and action scenes.

To begin the study, we will show the bones of the hand, which are divided into three groups:

Phalanges: These are the bones that form the fingers.

B. Metacarpals: These small bones form part of the hand. The knuckles are located where the metacarpals join with the phalanges.

C. Carpals: These connect the arm bones to the metacarpals and form the of the wrist.

Now let's start drawing!

First, we’ll create a rectangular structure and divide it in half horizontally and vertically. This creates four equal parts. We’ll represent the knuckles as small circles and place them in a fan shape.

Now we’ll draw the shape of the hand without the fingers.

The next step is to add the fingers. We’ll  take into account that the middle finger, which is the longest, will measure half the length of the hand. Mark the middle of each finger where it folds.

At this point, you can complete the drawing of the hand.

The view of the back of the hand shows all five fingers: thumb, index, middle finger, ring finger, and little finger.

The palm view shows the muscles that come out of the thumb and border the smaller fingers. The fingers also appear longer because the knuckles are separated from the fingers.

Now we will draw the thumb, using the same type of structure as before and always marking the knuckle. We draw fingers much as we draw toes. Examine the end of the finger from both sides of the hand.

To measure the length of a finger, we start from the knuckle and locate the main joint at the center. By adjusting the position of the knuckles, we can depict different movements of the finger.

A. To construct the fingers, we will mark circles for the knuckles. From there, we will draw vertical lines through the middle of them. Note that we can replace these lines with rectangles on each flexible finger part. Then we detail and follow the directions of the arrows.

1. The finger in profile. From this view, the finger appears to start at the knuckle. Remember to include the knuckle when drawing a finger that is flexing downwards.

2. When we flex the finger in the middle, the fingertip is automatically flexed as well. We should draw it as it appears in real life.

3. As we continue bending the finger, it reaches the height of the knuckle.

4-6. From the palm side, we see the pads of the finger and how it can finger flex in various positions.

1-3. We will now draw the hand in profile, starting with the main shape and adding knuckles and lines for the base of the fingers.

Here are several examples of hand constructions. Always begin by drawing the main shape of the palm and adding knuckles for the base of the fingers. Also, when drawing the fingers together, be mindful of their arched fan shape.

Superhero Characters

It’s time to pull together everything we have learned about designing characters and creating our own superhero!

The Ecological Man

This superhero will have the typical elements of the genre: a costume with a mask, cape, boots, and gloves.

Make his costume simple, with just a few elements, because you will have to draw it many times. But it also needs to be recognizable at a glance and from a distance. In short, it should be both simple and attractive.

We will draw the character with its details from the front, creating what is usually referred to as a character sheet. We’ll attempt to add as many movements and gestures as possible.

We also need to name our character. Let's use our imagination and create a superhero that champions environmental causes. Given the importance of environmental issues in today's world, we can name him THE ECOLOGICAL MAN.

Step by step

1. We’ll begin by drawing a smooth line. We’ll refine and modify it later. Let’s add the head and use its measure to mark the figure’s height. It will be eight heads tall. We’ll then mark the central axis that divides the figure vertically and the horizontal shoulder and hip lines. For a male figure, the hip line should be narrower than the shoulder line.

2. Let’s sketch the torso, starting from the shoulders and tapering down to the waist. We’ll also draw lines for the arms and legs and mark the joints, hands, and feet.

3. Before we finish creating our character, let’s erase and adjust the torso and hips to make this articulated doll more consistent.

4. It’s time to add volume, so let’s replace all the previous sketches with geometric shapes.

5. We’ll erase the soft pencil lines and use bolder marks to add muscles, hair, and facial details.

6. This drawing of our superhero will be finished once we add the clothes that we’ve chosen for him. Wow!

We must add several poses to our character template because we will use them in our comic whenever the story requires it. We will draw the character from the front, profile, and three-quarter profile, always using our articulated doll as a base.

THE ECOLOGICAL MAN

POWERS: FLIGHT AND SUPER STRENGTH

WITH HIS FISTS, HE CAN GENERATE NATURAL ELEMENTS, SUCH AS WATER, FIRE, EARTH, AND WOOD.

We need to depict our hero in action, showcasing his powers. First, we’ll create a list of the powers he will possess. One of his powers could be the ability to fly.

We will continue drawing the Ecological Man in different poses. These images can be used to promote the series through social media or even on the cover of your comic.

Furthermore, we can depict him using his powers in heroic ways like helping to extinguish a forest fire.

Step by step

1.  We’ll start by drawing a smooth line, making changes and modifications as needed. Next, we’ll draw the head and use it to mark the figure's height as eight heads. We will also mark the central axis that divides the figure vertically and add the horizontal lines that mark the shoulders and hips. The hip line should be beneath the shoulder line.

In this particular position, the shoulder line is at ear height, but it will move up whenever the figure is tilted. Also, the distances between the head measurements will be shorter. Please pay attention to the chest, as it is closer to us in this position.

2. We’ll add a sketch of the torso, starting from the shoulders and tapering down to the waist. We’ll also draw lines for the arms and legs and mark the joints, hands, and feet.

3. Next, we’ll erase and adjust the torso and hips to create a more consistent articulated doll. This structure will serve as the base for our character.

It’s time to add volume by replacing all the previous sketches with geometric shapes.

5. We’ll remove the soft pencil and use firmer strokes to add muscles, hair, and facial details.

Let’s further develop the context and characters surrounding our main character. Like all superheroes, our hero will have a secret identity. We’ll name him Axel Kirby. He is a student who works at the World Ecological Institute, a scientific organization created to help our planet tackle its ecological problems. It is funded through donations from millionaires all over the world.

Doctor Charles Pacheco

Now we will draw the secondary character, Doctor Charles Pacheco. He is the president and director of the W.E.I. and Kirby's boss. Through studies and investigations, Dr. Pacheco gave Kirby the powers that turned him into the ECOLOGICAL MAN, our superhero whose base is in the W.E.I.

Step by step

1- To draw Pacheco, we begin with a smooth line, making modifications as needed. We’ll draw the head and use its measurement to mark the height of the figure at eight heads. Next, we’ll draw the central axis that divides the figure vertically, and we’ll mark the horizontal lines for the shoulders and hips.

2. Now we’ll sketch the torso, starting from the shoulders and tapering down to the waist. We’ll also draw lines for the arms and legs and mark their joints, hands, and feet.

3. We’ll erase and replace the torso, hips, and shoulder joints to make our articulated figure appear more consistent.

4. It's time to add volume to the structure. We’ll replace all the previous lines with geometric figures. We won't detail the hands since we know they will be inside the suit’s pockets.

5. We’ll erase the soft pencil strokes and use firmer ones to add and define the outline, hair, and facial details.

6. In our final drawing, Dr. Pacheco is dressed, and we have given him a beard and other facial details. His legs are in a walking position.

The Ecological Girl

In this exercise, we will create a female character who can accompany the Ecological Man - or have her own adventures.

Putting into practice what we have learned previously, we will build an articulated doll, add muscles, and design her superhero costume.

We’ll also draw a variety of facial expressions to build a character template. We will name her The Ecological Girl.

As in the previous exercises, we will draw front, profile, and three-quarter profile views using our articulated doll as a base.

Let’s also make a list of the Ecological Girl’s superpowers. We’ll give her the same powers as the Ecological Man, but we will add an invisible force field to protect her from attackers.

THE ECOLOGICAL GIRL

POWERS: FLIGHT, SUPER STRENGTH

WITH HER FISTS, SHE CAN GENERATE ELEMENTS OF NATURE, SUCH AS WATER, FIRE, EARTH, AND WOOD.

SHE HAS AN INVISIBLE FORCE FIELD.

If you are paying careful attention, you will notice that as we create our characters, we also build their story and connect them with other characters.

It’s time to give the Ecological Girl a secret identity. Her name is Nancy Stevens, and like Axel Kirby, she also works for Professor Pacheco, who gave her superpowers.

Remember to use our three-dimensional doll as a base when creating the drawing.

Besides being the Ecological Man's adventure companion, maybe Nancy can become Axel Kirby’s love interest.

Step by step

1.We’ll start with a smooth line, then erase and modify our drawing as needed. We draw the head and use that measurement to mark the figure at eight heads tall. We also mark the central axis that vertically divides the figure and the horizontal lines that mark the shoulders and the hips. For our female figure, the hip line should be equal to or greater than the shoulder line.

2. Next, we’ll sketch the torso, starting from the shoulders and gradually narrowing toward the waist. We’ll also draw the lines for the arms and legs and mark the joints, hands, and feet.

3. We’ll erase and replace the torso and hips to make our articulated doll look more consistent.

4. It’s time to add volume by replacing all the previous sketches with geometric figures.

5. We’ll replace the soft pencil lines with firmer ones and add details, such as muscles, hair, and facial features.

6. Here is the final version of the Ecology Girl in her superhero suit.

In this next exercise, we’ll draw the Ecological Girl from a different angle.

Step by step

1. We’ll start with a smooth line, then erase and modify our drawing as needed. We draw the head and use that measurement to mark the figure at eight heads tall. We also mark the central axis that vertically divides the figure and the horizontal lines that mark the shoulders and the hips. For our female figure, the hip line should be equal to or greater than the shoulder line.

2. We’ll sketch the torso, starting from the shoulders and tapering down to the waist. We also add lines for the arms and legs and mark their joints, as well as their hands and feet. It’s important to remember that in a ¾ profile view, the part of the body opposite the central axis will appear smaller.

3. We’ll now erase and replace the torso and hips to make the articulated doll look more consistent.

4. It’s time to add volume by replacing all the previous sketches with geometric figures.

5. We’ll replace the soft pencil lines with firmer ones and add details, such as muscles, hair, and facial features.

6. Here is the final version of the Ecological Girl standing in 3/4 profile in her superhero suit.

Here we see the Ecological Girl in action, using her shield to repel fire.

If you want to practice this version of our superhero, start by building the character’s base with the articulated doll. Remember to study the muscles in the body so that you can create a realistic figure.

The Villains

Next, we will design a powerful antagonist for our superhero duo. We'll start by building a base for this character with our articulated doll, but we’ll use some different proportions. Specifically, we'll reduce the size of its head and increase the size of its arms and legs.

We'll also draw a side view of this character. Given its appearance, we might call it the Dark Brute, and its power might be related to sight.

The Dark Brute

POWERS: EXTREME STRENGTH. HIS FISTS ARE VERY POWERFUL!

Step by step

1. We’ll begin by drawing a smooth line and then modifying it as needed. We’ll draw the head and use it to measure the figure's height, which should be eight heads tall. Next, we’ll mark the central axis that divides the figure vertically and the shoulder and hip lines.

To create a large-bodied figure, we’ll use a small head. The hip line is pushed back in this pose, with the torso in a 3/4 profile and the leg visible from the side.

2. Next, we’ll sketch the torso starting at the shoulders and tapering down to the waist. We’ll also draw lines for the arms and legs and mark their joints, hands, and feet.

3. Before going any further, we’ll erase and adjust the torso and hips to make the articulated doll more consistent.

4. Let’s add volume to our character by replacing our lines with geometric shapes.

5. We’ll remove the soft pencil lines and use firmer ones to add muscles, hair, and details to his face.

6. We finalize our drawing by adding the clothes that we’ve chosen for our character. We must emphasize this character’s muscles and heaviness in order to convey the idea that he is a “brute”.

Dr. Hacker

Next, we’ll create the primary antagonist, a businessman-scientist who works for corporations that promote environmental pollution. His name is Dr. Hacker. Starting with our articulated doll as a foundation, we’ll build our character and give him some unique features.

Clothes and wrinkles

Characters’ clothing significantly affects their overall appearance and personality. Therefore, let's focus on creating outfits that enhance their persona.

1. Clothes are made of fabrics held together at specific points called tension points. In addition to these tension points, we’ll need to consider the fall of the clothes, which will be indicated by directional arrows.

2. We will be working with clothes on tubes, which could represent arms or legs. We'll draw some examples showing fabric being pulled from one tension point and from two tension points.

3. In the first example below, the fabric is tight on the tube. We will draw  wrinkles in a curled form on the second tube. Please follow these steps.

4. For this exercise, we will be drawing wrinkles in a zig-zag shape. Please follow the steps provided to complete the task.

5. When an arm or leg is flexed, our character’s clothing will be stretched or pulled toward a point of tension. We will need to draw that tension point accordingly.

You can see how these examples have been applied to the character we have drawn. Look for the tension points, such as the coat button and the wrinkles on the arms, and notice the way the trouser fabric falls.

Step by step

1. We’ll begin by working with a smooth line, which we’ll modify and erase as needed. We’ll draw the head and use its measurement to mark eight heads in height. Next, we’ll add the central axis that vertically divides the figure and the lines for the shoulders and hips. The hip line should be narrower than the shoulder line for male figures. In this position, we’ll tilt the hip slightly, showing the body being supported more on one leg than the other.

2. We’ll sketch the torso, beginning at the shoulders and narrowing towards the waist. We’ll also add lines for the arms and legs and mark the joints, hands, and feet.

3. Before moving to the next stage, we’ll erase and adjust the torso and hips to make the articulated doll more consistent.

4. We’ll replace our previous sketches with geometric shapes now. This will add volume to our character.

5. We’ll follow our previous procedures and remove the soft pencil lines. We’ll use firmer strokes to add muscles, hair, and details to his face.

6. Let’s finalize our drawing by dressing our character and adding some unique personal details.

Mrs. Hacker

We will now create a female character named Mrs. Hacker, who could be Dr. Hacker's wife. We’ll begin by constructing a female figure, paying particular attention to the position of the hip.

More Clothes and Wrinkles

As we mentioned earlier, we must consider the tension points and the fall of the fabric when we draw clothing.

1. Here, we have examples of construction with a single point of tension.

2. In these examples, there are two tension points. If you look closely, you will notice that the closer two tension points are to one another, the more wrinkles there will be.

3. These drawings showcase multiple tension points in the same position, resulting in a similar drape of the fabric. What happens if we add another horizontal tension point?

On Mrs. Hacker's outfit, we see two points of tension on the top of the dress where the fabric falls. We also see several other tension points at the waist where the bottom of the dress drapes.

Step by step

1. To begin, we’ll sketch a smooth line and make necessary erasures and modifications before drawing the head. Using the head as a reference point, we’ll mark the figure's height as eight heads. We’ll draw a vertical central axis and horizontal lines for the shoulders and hips. A female figure’s hip line should equal or exceed her shoulder line. We’ll tilt the hip slightly to convey that the body's weight is resting more on one leg than the other.

2. We will sketch the torso, starting from the shoulders and tapering toward the waist. We will also draw lines for the arms and legs and mark their joints, hands, and feet.

3. Before creating our character, we’ll erase and adjust the torso and hips to make the articulated doll more consistent.

4. It’s time to add volume by replacing all the previous sketches with geometric shapes.

5. We’ll discard the soft pencil marks and use firmer strokes to add and define our character's outline, hair, and facial features.

6. Our final drawing shows a stylishly dressed Mrs. Hacker. Pay attention to the fall of the fabric and the wrinkles. Give your best effort to the finishing touches, knowing that the reader or observer will appreciate your hard work.

Composition

Composition is the art of organizing elements. In comics, these elements work within the frame to prevent confusion for the reader and to guide their eye to what is most important. Let’s review some essential rules on layout.

1. The rule of thirds dictates that the space should be divided into nine panels, with the intersection of these points generating points of interest in the image's visual composition.

2. We’ll arrange the elements accordingly. Many compositions are formed using letter shapes, such as the L-shape.

3. The circular form is commonly used, with the subject in the center and other elements arranged around it.

4. Diagonal compositions are often used to convey dynamism and movement.

5. Kinetic lines can create a sense of explosion or energy in the picture.

6 and 7. The weight of figures in a painting is crucial, as it indicates which element is the strongest.

There are many other forms of composition, such as the letters Y, C, H, S, U, V, and the triangle.

As I always say, if you want to develop good drawing skills, you must practice, practice, practice. Study examples of various compositions in comics, movies, and advertisements.

Comic Book Cover

In this exercise, we will draw a composition for a comic cover. First, we will construct our characters by drawing the base with an articulated doll. We will draw each character separately before joining them together.

Now we will assemble the composition with the drawn elements. We will opt for a triangular composition, considering the large size of the Dark Brute.

Here is the cover of the comic. We have added the title of the magazine and the publisher's name, as well as the name of the writer and the artist, the number of this series, and the price of the comic. We can also include other drawings to highlight the main characters.

Drawing Monsters

In addition to drawing people, we can draw monsters, which involves the deformation of the proportions of the human figure.

Let’s have some fun drawing a zombie. Since it is a deformed character, we must build our doll by elongating its limbs and reducing normal human musculature to a very bony structure. This makes its clothes appear baggy. Now let’s follow the steps for creating the zombie's head.

Step by step

1. We’ll begin by working with a smooth line and then modify our drawing by erasing and redrawing as needed. We’ll draw the head and use that as a reference to mark the figure's height, which should be eight heads in total. We’ll then draw the central axis that divides the figure vertically. We’ll add the line of the shoulders at the height of the ears. This will create the impression of raised shoulders. Finally, we’ll draw the line of the hips.

2. Now we’ll sketch the torso, starting at the shoulders and gradually getting narrower towards the waist. We’ll also draw lines for the arms and legs and mark their joints, hands, and feet. The zombie's hands hang heavily, and his feet show he does not walk naturally.

3. Before building our character any further, we’ll erase and adjust the torso and hips to make the articulated doll more consistent.

4. We’re going to replace all previous sketches with geometric figures to give our character some volume. This doll is a thin one!

5. We will now erase the soft pencil lines, and using firmer strokes, define the outlines and add details to his face. As for his clothes, they should be loose-fitting.

6. The final drawing depicts a zombie whose clothing has probably seen better days. The hands of the zombie resemble the branches of a tree with very little visible skin.

This time we are going to draw the famous Frankenstein monster. According to copyright laws, once an author has been deceased for more than 70 years, anyone can use, modify, adapt, or reproduce their work without authorization. The original creator, however, should be cited, and in this case, that is the writer, Mary Shelley.

We will draw an exaggerated doll base standing firmly on his feet and giving the impression of a hefty character. Practice this type of construction.

Step by step

1. We’ll start with smooth lines and then erase and modify our drawing. We’ll draw the head and use that measure to mark the height of the figure as eight heads. We’ll draw the central axis that divides the figure vertically, and we’ll make the line of the shoulders very broad in order to show the exaggeration of the body. We’ll also mark the line of the hip much narrower.

2. We’ll now sketch the torso, starting from the broad shoulders and tapering down towards the waist. We’ll also sketch the arms and legs, marking their joints and the hands and feet.

3. Before completing our character, we’ll erase and adjust the torso and hips to make the articulated doll more consistent.

4. It’s time to add volume to this monster by replacing all our previous sketches with geometric shapes. This doll has a relatively small head.

5. We’ll use firmer strokes to define the contours and add details to his face. His clothes are quite tight.

6. The final drawing shows the clothes defined and tight. We’ll also add a small jacket.

Drawing Animals

Now we are going to try drawing animals. We’ll use a rectangle as the base, and we’ll modify the elements as necessary. Pay attention when drawing this dog, as many similar animals have four legs. The difference between the front and back legs is important. In order to draw them correctly, we must make sure to follow the direction of the arrows.

When drawing a dog, we must pay special attention to its legs. The front legs typically have five toes, four of which touch the ground, while the fifth toe points upwards toward the body. Follow the steps in this guide to draw the legs accurately. To give the impression of three-dimensionality, we recommend constructing the body of dogs and other four-legged animals using geometric shapes such as rectangles or ovals.

Conclusion

If you have arrived at this page, you have gone through all the basic information needed to become a comic artist. From this point on, everything depends on you, just like it did when you drew your first line.

Drawing calls for continuous learning, and it can be a fulfilling lifelong occupation. There will always be a line you have yet to draw.

In addition to the exercises in this guide, you should practice perspective, pattern drawing, color, camera angles, black-and-white contrast, and other techniques to enhance your comic artist skills further.

Read comics, study the works of industry masters, have fun, and always remember the magic word - practice. Good luck!