Written by the iconic Stan Lee, How to Draw Comics the Marvel Way is a must-have book for Marvel fans and anyone looking to draw their first comic strip.
Stan Lee, the Mighty Man from Marvel, and John Buscema, active and adventuresome artist behind the Silver Surfer, Conan the Barbarian, the Mighty Thor and Spider-Man, have collaborated on this comics compendium: an encyclopedia of information for creating your own superhero comic strips. Using artwork from Marvel comics as primary examples, Buscema graphically illustrates the hitherto mysterious methods of comic art. Stan Lee’s pithy prose gives able assistance and advice to the apprentice artist. Bursting with Buscema’s magnificent illustrations and Lee’s laudable word-magic, How to Draw Comics the Marvel Way belongs in the library of everyone who has ever wanted to illustrate his or her own comic strip.
Excerpt. © Reprinted by permission. All rights reserved.
AND THE TALK- OF THE TRADE!
Since very few of us draw with just our fingernails, let's start off with what you'll need. Then we're got to make sure we're all speaking the same language. This part's the easiest.
Here we go! On these two pages you'll find just about everything you'll need to get you started. One of the nice things about being a comicbook artist is the fact that your equipment is no big deal. Let's just give the various items a fast once-over...
Pencil. Some artists prefer a soft lead, some like the finer hard lead. It's up to you.
Pen. A simple drawing pen with a thin point, for inking and bordering.
Brush. Also for inking. A sable hair #3 is your best bet.
Erasers. One art gum and one smooth kneaded eraser -- which is cleaner to use.
India ink. Any good brand of black india ink is okay.
White opaquing paint. Invaluable for covering errors in inking.
A glass Jar. This holds the water for cleaning your brushes.
Pushpins. Handy for keeping your illustration paper from slipping off the drawing board.
Triangle. A must for drawing right angles and working in perspective.
T square. Invaluable for drawing borders and keeping lines parallel.
Ruler. For everyone who says "1 can't draw a straight line without a ruler." Now you've no excuse!
Illustration paper. We use 2-ply Bristol board, large enough to accommodate artwork 10" x 15".
Drawing board. This can be a drawing table or merely a flat board which you hold on your lap. Either way, you always need some such thing upon which to rest your sheet of illustration paper.
Rag. This plain ol' hunk of any kind of cloth is used to wipe your pen points, brushes, and whatever. The sloppier you are, the more you'll need it.
Ink compass. Well, how else are you gonna draw circles? While you're at it, you might as well get a pencil compass, too-even though Johnny forgot to draw one for you.
Of course, there are some things we omitted, like a chair to sit on and a light so that you can see what you're doing in case you work in the dark. Also, it's a good idea to have a room to work in-otherwise your pages can get all messy in the rain. But we figured you'd know all this.
And now, onward!
Just to make sure we all use the same language and there's no misunderstanding when we refer to things, let's review the various names for many of the elements that make up a typical comicbook page.
A. The first page of a story, with a large introductory illustration, is called the splash page.
B: Letters drawn in outline, with space for color to be added, are called open letters.
C: Copy which relates to a title is called a blurb.
D: The name of the story is, of course, the title.
E: An outline around lettering done in this jagged shape is called a splash balloon.
F: A single illustration on a page is called a panel.
G: The space between panels is called the gutter.
H: You won't be surprised to know that this "ZAT" is a sound effect.
I: Copy which represents what a character is thinking is a thought balloon.
J: The little connecting circles on thought balloons are called bubbles. (We'd feel silly calling them "squares"!)
K: The regular speech indicators are called dialogue balloons.
L: The connecting "arrows" on dialogue balloons, showing who is speaking, are called pointers.
M: The words in balloons which are lettered heavier than the other words are referred to as bold words, or bold lettering.
N: This is my favorite part-where the names are. We call it the credits, just like in the movies.
O: All this little technical stuff, showing who publishes the mag and when and where, usually found on the bottom of the first page, is the indicia (pronounced in-deeé -shah).
P: Copy in which someone is talking to the reader, but which is not within dialogue balloons, is called a caption.
Chances are we left out a few other things, but this is all we can think of right now. However, not to worry; we'll fill you in on anything else that comes up as we keep zooming along.
Movin' right along, we now introduce you to one of Marvel's many widely heralded close-ups, so called because the "camera" (meaning the reader's eye) has moved in about as close as possible.
This type of panel, in which the reader's view of the scene is from farther away, enabling him to see the figures from head to toe, is called a medium shot.
And here we have a long shot. In fact, since it shows such an extreme wide-angle scene, you might even call it a panoramic long shot without anyone getting angry at you.
When you're up above the scene, looking down at it, as in this panel, what else could you possibly call it but a bird's-eye view?
On the other hand, when you're below the scene of action, as in this panel, where your eye, level is somewhere near Spidey's heel, we're inclined to refer to it as a worm's-eye view.
A drawing in which the details are obscured by solid black (or any other single tone or color) is called a silhouette. And now that we agree upon the language, let's get back to drawing the pictures...
Copyright © 1978 by Stan Lee and John Buscema
Great Tips for drawing Marvel style! but take your kids age into consideration
I originally bought this as a Christmas present for my son on November 14, 2016, I thought it would be a great present for him, he was 9 then, enjoyed drawing and was a big fan of Marvel, but turns out he wasn't ready for drawing comics just yet, he read some parts of it, but wasn't that interested in it, so this book was just sitting on a shelf for the next couple of years. Then suddenly last year, my kid picked it up again and started reading it, and was really into it, he showed me all the concepts and ways for drawing the human body, and how the artists exaggerate the characters poses to denote movement or action. I'm glad he really liked it, but it took a while.So if you are thinking of giving this as a present for a kid, take his age and interests into consideration, my kid was 11 when he really enjoyed this book.
Invaluable for any artist or filmmaker. No, really.
I've owned and lost, destroyed, lent and given away many copies of this book over the years. It's probably the best resource out there for an aspiring comic-book artist. Or animator. Or filmmaker. Or illustrator. Repeat ad nauseam.Sure, you could read a book by its cover as merely a hero-book resource and keep walking but you'd be doing yourself a disservice.True, in HTDCTMW Stan and John's focus was on creating hero books. But they accidentally also created a veritably indispensable resource for animation, storyboarding, filmmaking and more.It teaches shot selection (close up, worms-eye-view, long shot), perspective, figure drawing, character dynamics, shot composition, and more.One of my favorite sections features a side-by-side comparison of a few 6-panel 'comic pages', but they could easily be film/animation storyboards. It compares a drab, 'nothing wrong with it' versions of the pages with slightly tweaked versions. By subtly altering 'camera position', composition and character dynamics a much stronger, far more interesting tone is achieved - even without the use of dialogue or sound.I can't think of a better way to teach how these factors can greatly enhance a comic, film or animated project.Have I mentioned I'm a professor of animation? Well I am. This book from 1984 does it better than anything else I've seen since.If you just want to draw comics, it is second-to-none. If you want to be a filmmaker, artist or animator, it's also hard to beat.It's not going to turn you into Jim Lee overnight. But it gives you the tools you need to get started. It's up to you to practice but I think you'll find, as I do, that I keep returning to it.A must for your artist/animator/filmmaker toolbox.
A relic from my youth now given to my daughter. Great book!
I had this book many many years ago. My daughter has been drawing for sometime now and wanted to get into comic style but I could not find the book!I figured it was so long ago it is probably out of print but it is still here! She was so happy.Came in great condition. I like this one better than the newer edition marvel drawing book since it’s gets more into the examples and techniques used rather than a lot of history and side knowledge. If you want more of a history then that it a good book but this one is more dedicated to the art style.
Definitely a great way to start to learn how to draw comics
Definitely a great way to start to learn how to draw comics.This was after reading the book. Before I could not even draw a stick.
Great book for the little artist in your family.
This was a big hit with my 9 year old niece that loves to draw. I thought it might be a little advanced for her but she had no problem picking it up and drawing along with the book.
Comics - 9 year old son.
I'm giving this 5 stars but I do want to say that you need a lot of tools to use this! I know that you could technically just use a pencil, but it recommends that you buy many tools to start out.It is very professional for a starter book. My son has a harder time with it and he loves comics and drawing, but he is 9 so he needs help getting started. We have not yet bought the recommended utensils for this, but we will soon enough.The steps they use in the book to draw are nicely laid out and I think this is a great book for anyone that wants to start learning to draw comics or someone that has already started! Thanks :)
I used to own this book as a teenager. I bought it for my son't birthday and he loves it as much as I did. Simply a classic.
A classic that can't be beat.
This book should be on every creative person's bookshelf. A amazingly competitive crash course in drawing that can be used to just get the basics to make it easy to get ideas down on paper or further to create the next great comic book. I have to buying new copies because I keep giving them away to friends.
Poor quality printing
Honestly a little disappointed with this one, the content is very good for someone who’s intimidated by paneling and storyboarding. The anatomy and perspective lessons are also a really nice touch and a good starting point when studying comic drawing.The pages however are so thin it’s like newsprint quality. Also some of the pencil illustrations are poorly scanned and edited for printing. Iv been a comic colorist for a few years now and have come to expect a certain standard with pencils and scans, unfortunately some of these sketches in scan quality do not come up to par. Otherwise it’s a nice resource and starting study guide.
Gran libro en un formato regular.
Un texto clásico para entender el lenguaje narrativo del cómic. Aunque las lecciones en el libro pueden resultar un poco básicas al compararla con otros libros más completos es una buena guía introductoria y no deja de contener perlas de sabiduría muy importantes e interesantes para cualquiera interesado en crear sus propios cómics.El formato de libro es en pasta rústica, la cubierta es de un cartón algo delgado así que es propensa a doblarse inclusive por efectos de la humedad en el ambiente. El papel en el interior no me deja ninguna opinión en particular. Aunque el formato no es el mejor no afecta en mi apreciación del libro ya que el precio me pareció más que adecuado para un producto de está calidad.
Must read for begginer and experienced comic artist
Very well done how to draw book. Highly praised by comic artists.Stan Lee's explanations and John Buscema's art are simple, to the point and very accessible. My kids and myself are very happy with the book! I hope it will help them with their art and passion.
Book is amazingly great. Shipping not that good.
Book is really great, I mean really great. It is very helpful for anyone who wants it and wants to learn something (sorry everything) about making comics and understanding themThe print quality is really nice and the illustrations seem like are drawn by me on the paper itself. But the reason I gave it 3 stars was because the book is jolly expensive and the cover was folded and the book torn from one side, also the number of pages mentioned here are 192 but in the book there are only 160 (But i really was expecting 138 only lmao). The shipping wasn't the best but the book itself is great enough to cover it.
Muy buen contenido para dibujantes de cómics
Este libro enseña cómo lograr el estilo Marvel, aborda temas como proporción de figura humana, perspectiva, composición de viñetas entre otros, con muchos ejemplos, muy recomendable para quién va empezando a aprender a realizar cómics. Aunque si eres alguien con conocimientos en el tema, puede resultar muy básico y algo antigüo, aún así puedes aprender un par de cosas nuevas de mucho valor.