Part 1: Figure Drawing Basics— Action & Structure
1 Cartooning–Concepts and Methods Part 1: Figure Drawing Basics, Cartooning–Concepts Basics, ™ and © Don Simpson 2000, 2000, all rights reserved. For individual individual use only. Classroom use without express written permission is strictly strictly forbidden. Please email
[email protected] for information. Published by Fiasco Fiasco Comics Inc., PO Box Box 64, Wexford, PA 15090. www.MEGATONMAN.com
The Stick Figure In our methodical approach to building up your confidence as an artist, we're going to tackle something simple at first—our friend the stick figure. figu re. Go ahea ahead, d, dra draw w one one right right now! now! A reasonable stick figure at this point should contain contain a midline for the spine, spin e, two arms, arms, two legs, legs, and a cir circle cle for for the the head. head. Fin Fingers gers for for hands hands and lines for feet are optional, but being the conscientious craftsman that you are, are, I know you'll you'll want to include them. Now draw you Now yourr stick stick figure running, jumpin jumping, g, falling, walking, running, climbing—see climbin g—see how many many poses poses you can come come up with. The record record is 4096! Don't worry worry about niceties niceties like exact exact proportions proportions at this point. Getting yourr point across you across is everything. We'll be getting fancier fancier a little later later on.
2 Cartooning–Concepts and Methods Part 1: Figure Drawing Basics, Cartooning–Concepts Basics, ™ and © Don Simpson 2000, 2000, all rights reserved. For individual individual use only. Classroom use without express written permission is strictly strictly forbidden. Please email
[email protected] for information. Published by Fiasco Fiasco Comics Inc., PO Box Box 64, Wexford, PA 15090. www.MEGATONMAN.com
Okay, so anybody Okay, anybody can can draw a simple simple stick figure. figure. But the point point I'm trying to get across across here here is that, more importantly importa ntly,, everyo everyone ne recognizes what a stick figure represents—a person! represents—a person! Isn't that amazing? Cartoonists are able Cartoonists able to commu communicate nicate even with the the most elementary elementary of pictur pictures. es. Show your your drawings drawings to your your friends and see see if they can can tell tell what what your your stick stick figures figures are are doing. doing. If they misidenti misidentify fy some some of your drawin drawings, gs, that's okay okay.. Man Manyy poses will be open open to interpreta interpretation. tion. Just complim compliment ent them on their their keen perceptio perception n and head back to the drawing board! Conveying specific actions and even emotional states of mind with a few quick lines—and I dare say as few lines as possible—is possible—is an important important first step toward towardss drawing fully realized realized figures. figures. If you can can accomplish accomplish that with your limited stick figures, think of what you can accomplish accomplish with even more more tools at at your disposal. 3 2000, all rights reserved. For individual individual use only. Classroom use without express written permisCartooning–Concepts and Methods Part 1: Figure Drawing Basics, Cartooning–Concepts Basics, ™ and © Don Simpson 2000, sion is strictly strictly forbidden. Please email
[email protected] for information. Published by Fiasco Fiasco Comics Inc., PO Box Box 64, Wexford, PA 15090. www.MEGATONMAN.com
A More Sophisticated Stick Figure Let's use a slightly more sophisticated stick figure, one that is shaped a little more like an adult person. As before, before, don't be overly overly concerned with correct proport pro portion ionss right now now. Sta Stay y focussed on depicting actions--leap action s--leaping, ing, swinging, golfi go lfing, ng, ro rowin wing, g, sit sittin ting, g, et etc. c. We've added a line across the shoulders and a line across the hips, as well as as definite definite elbow elb ow and and knee knee joints joints.. Don Don't 't worry about making your sticks perfectly straight lines, either—in fact, slightly curvy curvy liness are line are more more huma human. n. And don't even worry about getting the curves right, either—just go with whatever feels right. Again, test your your drawings drawings out on othe others. rs. If pe peop ople le ca can n tell tell what activities your stick figuress are involved figure involved in, you' you're re doing great!
4 Cartooning–Concepts and Methods Part 1: Figure Drawing Basics, Cartooning–Concepts Basics, ™ and © Don Simpson 2000, 2000, all rights reserved. For individual individual use only. Classroom use without express written permission is strictly strictly forbidden. Please email
[email protected] for information. Published by Fiasco Fiasco Comics Inc., PO Box Box 64, Wexford, PA 15090. www.MEGATONMAN.com
Our new, new, sleeke sleekerr stick figure figure seems to lend itself itself to more graceful graceful and athletic athletic themes. But try comical comical situatio situations ns as well. You may may even use some of your 4096 4096 poses you you came up with for the shorter,, stubbi shorter stubbier er stick figure figure and see if they can be translate translated d to the more sophisticated model. Your friends may tell you they like your older, funnier work better—don't be discouraged! Keep right on drawing.
5 Cartooning–Concepts and Methods Part 1: Figure Drawing Basics, Cartooning–Concepts Basics, ™ and © Don Simpson 2000, 2000, all rights reserved. For individual individual use only. Classroom use without express written permission is strictly strictly forbidden. Please email
[email protected] for information. Published by Fiasco Fiasco Comics Inc., PO Box Box 64, Wexford, PA 15090. www.MEGATONMAN.com
The 3 Basic Solids It's time to let you in on a little litt le secret secret.. The stick stick figur figuree makes such a convincing person because it represents, in a minimalistic minimalistic way, way, what all people have got inside them—a skeleton! The spine, spin e, the arms, arms, the legs— legs—all all are represented in a simplified way in a stick figure. With the skeleton in mind, we can now add three shapes to our stick figures to make them more more real, real, one of which we alread alreadyy have: have: the skull (the (the head), head), the rib cage cage (the chest), chest), and the pelvis pelvis (hip bon bone). e). The These se are are the the three largest bony masses in the body body.. Use simple simple ovals ovals for right now.
6 Cartooning–Concepts and Methods Part 1: Figure Drawing Basics, Cartooning–Concepts Basics, ™ and © Don Simpson 2000, 2000, all rights reserved. For individual individual use only. Classroom use without express written permission is strictly strictly forbidden. Please email
[email protected] for information. Published by Fiasco Fiasco Comics Inc., PO Box Box 64, Wexford, PA 15090. www.MEGATONMAN.com
After you've drawn the spine, arms and legs to establish the action of you yourr stick figure, figure, proceed to add the chest, hips and head to begin fleshing thin things gs out. out. See how quickly things are taking shape?
Keep the focus on the action, Keep action, first and an d forem foremos ost. t. If yo your ur drawin drawings gs don't communicate the story your trying to tell, tell, all the ovals ovals in the world aren't going to help you.
Build on a solid foundation: action and emotion!
7 Cartooning–Concepts and Methods Part 1: Figure Drawing Basics, Cartooning–Concepts Basics, ™ and © Don Simpson 2000, 2000, all rights reserved. For individual individual use only. Classroom use without express written permission is strictly strictly forbidden. Please email
[email protected] for information. Published by Fiasco Fiasco Comics Inc., PO Box Box 64, Wexford, PA 15090. www.MEGATONMAN.com
The Main Line of Action The first thing you need to determine is the main line of action act ion for for your your figure figure.. Fo Forr all intents intents and purposes, purposes, that is synonymous with the spine. spin e. The firs firstt line line you you should put down on paper should be that line—it determines the entire thrust for the re rest st of of th thee figu figure re.. Lim Limbs bs and even the head branch off from that. Notice how the three basic solids—chest, solids—c hest, skull and pelvis—relate to each other differently depending upon the arc arc of the spine. spine. Continue Contin ue the sweep of your pose into the arms and legs. Keep your figures moving! It's important to never lose sight of your stick figure, figure, because it represent the skelet ske leton. on. And wher wheree bone bone goes, flesh will surely surely follow! follow!
8 Cartooning–Concepts and Methods Part 1: Figure Drawing Basics, Cartooning–Concepts Basics, ™ and © Don Simpson 2000, 2000, all rights reserved. For individual individual use only. Classroom use without express written permission is strictly strictly forbidden. Please email
[email protected] for information. Published by Fiasco Fiasco Comics Inc., PO Box Box 64, Wexford, PA 15090. www.MEGATONMAN.com
Okay, so now every pose is starting to look like dancing. Okay, Oh well. well. You get get the point. 9 Cartooning–Concepts and Methods Part 1: Figure Drawing Basics, Cartooning–Concepts Basics, ™ and © Don Simpson 2000, 2000, all rights reserved. For individual individual use only. Classroom use without express written permission is strictly strictly forbidden. Please email
[email protected] for information. Published by Fiasco Fiasco Comics Inc., PO Box Box 64, Wexford, PA 15090. www.MEGATONMAN.com
Twisting and Turning Along the Spine The spine conveys the main action of of a figure figure because because it's highly high ly flex flexibl ible. e. The bac back k bends, twists and turns turns at the waist, and the head head bobs all all around—and it's all thanks to our friend the spine. Don't draw your figures with a single solid body mass. Move the should in relation to the hips, hips, get your your figures to twist and and turn. Get your your figures to boogie! Draw several figures where the shoulders are twisting and turning in relation to the hips. hip s. Ma Make ke us usee of of the fl flex exiibility bili ty of the spine. spine.
10 Cartooning–Concepts and Methods Part 1: Figure Drawing Basics, Cartooning–Concepts Basics, ™ and © Don Simpson 2000, 2000, all rights reserved. For individual individual use only. Classroom use without express written permission is strictly strictly forbidden. Please email
[email protected] for information. Published by Fiasco Fiasco Comics Inc., PO Box Box 64, Wexford, PA 15090. www.MEGATONMAN.com
Show your drawings to your your friends. friends. See if they can't sense a new mobility in your work. “Say,, aren't these figures twisting and turning, “Say a-writhing and a-wriggl a-wriggling? ing? I think they are! I still still like like your your older older,, fun funnier nier work! work!”” Oh, wel well. l.
11 Cartooning–Concepts and Methods Part 1: Figure Drawing Basics, Cartooning–Concepts Basics, ™ and © Don Simpson 2000, 2000, all rights reserved. For individual individual use only. Classroom use without express written permission is strictly strictly forbidden. Please email
[email protected] for information. Published by Fiasco Fiasco Comics Inc., PO Box Box 64, Wexford, PA 15090. www.MEGATONMAN.com
Fleshin Fle shing g Out the the Figur Figure With Ova Ovals ls With a solid grasp With grasp of the allimportantt stick figure, importan figure, we're readyy to add the neck, read neck, shoulders, de rs, ar arms, ms, le legs, gs, ha hand ndss a feet feet to our our figure figures. s. Use simple simple ovals for now. The oval is an all-purpose organic shape which can be molded into just about any muscle or body mass. Don’t get bogged down in accurate accu rate anato anatomy my.. Just get the basic basic feel of the figure figure for now.. You now ou’ll ’ll be studying anatomy later, later, and be able to apply that knowledge to your steadily growing understanding of the human human figure! figure!
12 Cartooning–Concepts and Methods Part 1: Figure Drawing Basics, Cartooning–Concepts Basics, ™ and © Don Simpson 2000, 2000, all rights reserved. For individual individual use only. Classroom use without express written permission is strictly strictly forbidden. Please email
[email protected] for information. Published by Fiasco Fiasco Comics Inc., PO Box Box 64, Wexford, PA 15090. www.MEGATONMAN.com
Feel your way along the natural rhythm rhy thmss of the body body.. Musc uscles les aren aren’t ’t symmetrical symmetric al balloon, but curvy, curvy, tapered shapes that dovetail into one another. But perhaps we’re getting a bit ahead of our oursel selves ves.. The There re’’s another another impo imporrtant consideration I’d like to address at this point, and it’s it’s establishing establishing a solid sense sense of the third dimensi dimension on in your figures. 13 Cartooning–Concepts and Methods Part 1: Figure Drawing Basics, Cartooning–Concepts Basics, ™ and © Don Simpson 2000, 2000, all rights reserved. For individual individual use only. Classroom use without express written permission is strictly strictly forbidden. Please email
[email protected] for information. Published by Fiasco Fiasco Comics Inc., PO Box Box 64, Wexford, PA 15090. www.MEGATONMAN.com
Adding the Third Dimension
Sphere
Cube
Cylinder You can make your your figures suddenly bursts off the page and come alive alive in three dimensions very easily—no complex comp lex shading shading or heavy-handed heavy-handed lighting lighting tricks involved involved.. Jus Justt use variations of the three simple simple geometric shapes at left—sphere left—sphere,, cube and cylinder —and you’ll be amazed at how your figures fill up space! cylinder—and 14 Cartooning–Concepts and Methods Part 1: Figure Drawing Basics, Cartooning–Concepts Basics, ™ and © Don Simpson 2000, 2000, all rights reserved. For individual individual use only. Classroom use without express written permission is strictly strictly forbidden. Please email
[email protected] for information. Published by Fiasco Fiasco Comics Inc., PO Box Box 64, Wexford, PA 15090. www.MEGATONMAN.com
The Head Of our three three basic basic solids, head, hea d, che chest st and hips, hips, let let’’s start at the top. Conceiving of the head Conceiving head as an an egg is good good for starters, starters, but it will only only get get you you so far far.. A light bulb shape is a bit better bet ter,, and a wheel wheel of che cheese ese is interest interesting, ing, too too.. There are two main parts to the hea head: d: the skull and the face.. The skul face skulll is is some somewha whatt like a sphere with the sides flattened (like a wheel of cheese,, while the face cheese face is triangular.
Eye line
The wonderful thing about using simple geometric shapes is that now you can instantly see which way the head is turning, and whether it’s it’s tilting up or down. And you haven’t added all that many lines to your arsenal. It’ It’ss knowing where to put put those lines which which is key. key. We’ll be extending this principle to the entire body, body, so for now we won’t do more than suggest the position of a few of the face’ face’s features. features.
15 Cartooning–Concepts and Methods Part 1: Figure Drawing Basics, Cartooning–Concepts Basics, ™ and © Don Simpson 2000, 2000, all rights reserved. For individual individual use only. Classroom use without express written permission is strictly strictly forbidden. Please email
[email protected] for information. Published by Fiasco Fiasco Comics Inc., PO Box Box 64, Wexford, PA 15090. www.MEGATONMAN.com
I don’t have much to say on this page—kinda like these guys. 16 Cartooning–Concepts and Methods Part 1: Figure Drawing Basics, Cartooning–Concepts Basics, ™ and © Don Simpson 2000, 2000, all rights reserved. For individual individual use only. Classroom use without express written permission is strictly strictly forbidden. Please email
[email protected] for information. Published by Fiasco Fiasco Comics Inc., PO Box Box 64, Wexford, PA 15090. www.MEGATONMAN.com
The Torso in 3D It’s popular in artistic circles to think think of the chest chest and hips as two box boxes. es. It’ It’ss also equally in vogue vogue to think of is as two two cylindrical cylind rical shapes, shapes, or even 3D ova ovals. ls. Pe Perso rsonall nallyy, I’v I’vee settled on a hybrid set of shapes of my own devising— devising— a box for the the hips, hips, and a chest that is a cross between a beehive and a Chinese lampshade.. Th lampshade That at’’s the be best st I can explain it.
Whatever shapes you you decide on—and it’s it’s important because these are two of our three basic solids here—the main thing is to to keep the spine spine in mind. Not Notice ice how the the geometric shapes shapes really really make make clear the twisting, twisting, turning and bendin bendingg of the torsos torsos below below.. There There’’s really really no ambiguity ambiguity as to which way the figure figure is moving. moving. And such clarity only only adds to the impact impact of you yourr figures, their actions, actions, and the stories they’r they’ree involved involved in. 17 Cartooning–Concepts and Methods Part 1: Figure Drawing Basics, Cartooning–Concepts Basics, ™ and © Don Simpson 2000, 2000, all rights reserved. For individual individual use only. Classroom use without express written permission is strictly strictly forbidden. Please email
[email protected] for information. Published by Fiasco Fiasco Comics Inc., PO Box Box 64, Wexford, PA 15090. www.MEGATONMAN.com
Follow the same Follow same routin routinee we’ve we’ve establ established. ished. First, draw the main main line line of action action,, or the the spine, spine, to determine determine the main mai n thrust thrust of of yo your ur pose pose,, The Then n con contin tinue ue with with the limb limbss of yo your ur figur figuree as stic stick k lines. lines. Only no now w, fles flesh h out out your your three basic solids (head (head,, chest and hips) with geometric shapes to make your figures come alive in three dimensions. sion s. Work with it! 18 Cartooning–Concepts and Methods Part 1: Figure Drawing Basics, Cartooning–Concepts Basics, ™ and © Don Simpson 2000, 2000, all rights reserved. For individual individual use only. Classroom use without express written permission is strictly strictly forbidden. Please email
[email protected] for information. Published by Fiasco Fiasco Comics Inc., PO Box Box 64, Wexford, PA 15090. www.MEGATONMAN.com
Cylinders for Limbs Both cylinders and spheres are types of of 3-dime 3-dimensional nsional circle cir cles. s. By usin usingg them them on on our figu figures res’’ lim limbs, bs, they become bec ome 3-dim 3-dimensi ensiona onal. l. Lik Likee their 2-dimensional cousin, the oval, oval, they can can be endlessly tapered and distorted into all sorts of organic shapes, like those those found on the human body. Don’t be afraid to bend and curve your your cylinders, cylinders, and again, don don’t ’t be concerned concerned with anatomical accuracy at this poi point. nt. The mai main n thing thing is getting those limbs to bend and fold through 3-dimensional sion al spa space, ce, right off the page!
Use the 'stick' limb as the ce nter line, or core, core, of your cylind cylinders. ers.
Notice how the flat the stick figure above abo ve is. is. In the the fleshed fleshed out out 3D figure, there’ there’ss no question as to which parts parts of the body body are closer closer to us, and which are further away. away.
19 Cartooning–Concepts and Methods Part 1: Figure Drawing Basics, Cartooning–Concepts Basics, ™ and © Don Simpson 2000, 2000, all rights reserved. For individual individual use only. Classroom use without express written permission is strictly strictly forbidden. Please email
[email protected] for information. Published by Fiasco Fiasco Comics Inc., PO Box Box 64, Wexford, PA 15090. www.MEGATONMAN.com
Cylinders, sphere Cylinders, spheress and cubes really give these figures the feeling of of thrusting towa towards rds us (or away away from us), achieving a 3D sense simply and effectivelyy. They closel tivel closelyy resemb resemble le crude cru de wire frame framess of 3D computer programs.
This is really important—if your drawings aren’t aren’t beginning beginning to feell powerfu fee powerfull at this this point, point, no amoun amountt of ligh lighting, ting, sha shadin ding, g, or gilding the lily is going going to help. help. Get these principle principless down pat pat before going further! 20 Cartooning–Concepts and Methods Part 1: Figure Drawing Basics, Cartooning–Concepts Basics, ™ and © Don Simpson 2000, 2000, all rights reserved. For individual individual use only. Classroom use without express written permission is strictly strictly forbidden. Please email
[email protected] for information. Published by Fiasco Fiasco Comics Inc., PO Box Box 64, Wexford, PA 15090. www.MEGATONMAN.com
You’ ou’re re going further? That’ That’ss okay, okay, here’ here’ss still another another page of 3D figures. figures. I’ll just keep beating the drum for cylinders... 21 Cartooning–Concepts and Methods Part 1: Figure Drawing Basics, Cartooning–Concepts Basics, ™ and © Don Simpson 2000, 2000, all rights reserved. For individual individual use only. Classroom use without express written permission is strictly strictly forbidden. Please email
[email protected] for information. Published by Fiasco Fiasco Comics Inc., PO Box Box 64, Wexford, PA 15090. www.MEGATONMAN.com
A Select Bibliography Most of of what I know know about about drawing drawing I've learned from from books. books. Below is a list of books I reco recommend mmend for for every artist's library library,, particul particularly arly if you you're 're in it for the long long haul. These are are all books that that I have have learned from, from, and in many cases, conti continue nue to learn from. from. Study them closely closely.. Figures in Action (How to Draw and Paint Series) by Andrew Andre w Loomis, Walter Foster Foster Publications, Publications, ISBN 1560100095.
Comparative Anatomy (Human/Animal) Cyclopedia Anatomicae by György György Fehér, Fehér, Black Dog & Leventhal Leventhal Publishers, Publishers, Inc., ISBN 1884822 1884822878. 878.
The Figure in Motion by Mark Smith and Thomas Easley,, Watson-G Easley atson-Guptill uptill Publ Publication ications, s, ISBN 0823016927.
Human Anatomy/Figure Drawing Atlas of Hum Human an Anatomy Anatomy for the the Artist by Stephen Rogerss Peck, Oxfor Roger Oxford d University University Press, Press, ISBN 0195030958.
Animal Drawing/Anatomy Animal
Jack Hamm, Hamm, Perig Perigee ee Drawing the Head and Figure by Jack Press,, ISBN 0399507914 Press 0399507914..
Hamm,, Perig Perigee, ee, ISBN How to Draw Animals by Jack Hamm 0399508023.
How to Draw the the Human Figure Figure : An Anatomical Approach by Louise Louise Gordo Gordon, n, Viking Press, ISBN 0140464778.
The Art of of Anima Animall Drawing Drawing : Cons Construct truction, ion, Act Action ion Analysis, Analy sis, Caric Caricatur aturee by Ken Hultgren, Hultgren, Dov Dover er Publications, ISBN 0486274268 0486274268..
How to Draw the Human Figure (Famous Artists School : Step-By-Step Method) by by Howard Howard Munce, Henry Holt, ISBN 080501528 0805015280. 0.
Animation Cartoon Animation by Preston Blair, Blair, Walter Foster Publications, ISBN 1560100842 1560100842..
The Human Human Figure : An Anatomy Anatomy for Artists by David K. Rub Rubins, ins, Viking Press Press,, ISBN 0140 01400424 042431. 31.
Comics McCloud,, Harpe Harperr Understanding Comics by Scott McCloud perennial Library, ISBN 006097625X.
How to Draw What You See by Rudy De Reyna, Watson-Guptill Publications, ISBN 0823023753. 0823023753.
Your Career in the Comics by Lee Nordling, Nordling, Andre Andrews ws & McMeel, McMeel, ISBN 0836207483. 0836207483.
Dynamic Anatomy by Burne Hogarth, WatsonGuptill Gupti ll Publications, Publications, ISBN, 0823 08230155 015513. 13.
How to Draw Comics the Marvel Way by Stan Lee and John John Buscema, Buscema, Simon & Schuste Schuster, r, ISBN 0671530771.
Dynamic Figure Drawing by Burne Hogarth, WatsonGuptill Gupti ll Publicatio Publications, ns, ISBN: 0823 08230157 015777. 77.
22 Cartooning–Concepts and Methods Part 1: Figure Drawing Basics, Cartooning–Concepts Basics, ™ and © Don Simpson 2000, 2000, all rights reserved. For individual individual use only. Classroom use without express written permission is strictly strictly forbidden. Please email
[email protected] for information. Published by Fiasco Fiasco Comics Inc., PO Box Box 64, Wexford, PA 15090. www.MEGATONMAN.com
Cartoonist Don Simpson is the creator of Megaton of Megaton Man, Man, Border Worlds, Worlds, Bizarre Heroes and many other comic books. books. Since 1996, 1996, Don has been creating creating Megaton Megaton Man adventures adventures exclusiv exclusively ely for the Internet at www.MEGATONMAN.com.. www.MEGATONMAN.com of Cartooning–Concepts instructional book book Don Don is Figure Drawing Basics is the first chapter of Cartooning–Conce pts and Methods, Methods, an instructional creating creat ing to convey convey his approach approach to writing, drawing, storytell storytelling ing and other aspects aspects of making comic comic book art. Future Futu re chapter chapterss will delve delve into into human human anatom anatomyy, animal animals, s, perspe perspective ctive,, inking, lettering and writing, among other things. things. For more informat information ion and updat updates, es, please check with with www.MEGATONMAN.com www.MEGATONMAN.com.. This book is dedicated to my my wife, Judy Judy..
Megaton Man and Gower Goose are ™ and © Don Simpson, all rights reserved.
™ 23 Cartooning–Concepts and Methods Part 1: Figure Drawing Basics, Cartooning–Concepts Basics, ™ and © Don Simpson 2000, 2000, all rights reserved. For individual individual use only. Classroom use without express written permission is strictly strictly forbidden. Please email
[email protected] for information. Published by Fiasco Fiasco Comics Inc., PO Box Box 64, Wexford, PA 15090. www.MEGATONMAN.com