how-to-draw-kung-fu-comics.pdf
TRANSCRIPT
TranslatorStephen Ip
EditorsShawn SandersKevin P. Croall
US Cover DesignYuki Chung
Production ManagerJanice Chang
PublisherComicsOne Corp.
48531 Warm Springs Blvd., Suite 408 Fremont, CA 94539
www.ComicsOne.com
First Edition: March, 2004ISBN 1-58899-394-9
Art DirectorYuki Chung
MarketingNicole Curry
PresidentRobin Kuo
How to draw Kung Fu Comics © 2004 ComicsOne Corp. All rights reserved.
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Evil is best simulated by combining the fundamental expressive traits of happiness, sorrow andanger -- Tilt the head, add a smile and frown... and you have wickedness. To create a mood likethis, we need to lower the head, make the eyes thinner, and the eyebrows lower. A sinister smile isalways good too. Go ahead! Show some teeth!
Evil is all about atmosphere, so concentrate on the shadows. Use some well placed “nets” orcrosshatching on the face. Consider far off light sources or deep background shadows.
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Confidence and determination are prominenttraits for any main character. Press the eyebrows downward as in a frown, but do not make the eyes thin. Keep them open and alert. Add a couple wrinkles between the eyebrows by drawing "L" shapes. The mouthcan be tipped slightly downward.
Looking up from a lowered face can addsome real confidence. This same expressioncan be created from a profile or from a lowangle camera shot.
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The arm has three main parts: Shoulder, upper arm and forearm.
Make sure that the shoulder muscle is connected to the collar bone, otherwise your character may end up looking like a robot.
We have simplified the muscle in figure A, dividing it into eight main masses.
Shoulder
Upper arm
Forearm
Figure A
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Leg muscles have also been simplified in the follow-ing figures. Bare in mind that the muscles condenseand are “packed in” when a person is kneeling down.
Don't make the foottoo flat, think of itas a "wedge block".
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Back muscles are a bit more complex thanchest muscles. Remember that they arealso connected to the shoulder. The middlemuscles look like two large leaves (the graypart in the figure).
When a person moves his uppertorso, the area around the spinetraces out an "S" shape. When aperson swings his arms, the backmuscles expand accordingly.
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Character's perspective
Besides background perspective, a bodyalso has its own rules for perspective; differ-ent angles can represent different distances.Draw the three perspective lines as shown:
A: ChestB: SpineC: top to bottom
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Now let's look at some active characters in perspective!
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Foreshortening is the relationship between near
and far in relation to the camera. Kind of like the
leg in a kung fu kick coming out at you, looking
larger because it is drawn closer to the camera.
When done correctly, foreshortening can add
dynamics to a picture. We should always draw the
body part that's closet to the camera first.
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Multiple actions are another lesson in perspective, but we should study somefirst before continuing. Try to think of twoor three moves that are coherent witheach other.
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Cylinders provide a great start for drawing the body in perspective.Remember that foreshortening dictates that the further an object is,the shorter and smaller it will look.
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Let us consider clothing, and how thefolds are drawn using stress points.
First, start with an outline. A single line can'trepresent the complexity of the folds.
Use directional lines flowing out from areas ofcompression where the fabric bunches.
Consider the fold in the arm sleeve. Fabric stress linesshoot outward from the compressed area.
The"Y" shape is a very commonshape in the folds of clothing.
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There are two principles when considering the folds in clothing: push andpull. Let's try this, when we push the sides toward the middle, the fold willraise. These stress points are found around joint areas.
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See below for examples. We should also study real pictures to gain a better understanding.
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