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DoorQ.Com | JUNKYARD ANGELS: HOW DID WE GET HERE PART 2: Drawing Comics
 
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JUNKYARD ANGELS: HOW DID WE GET HERE PART 2: Drawing Comics

Zach here, lead artist for Junkyard Angels.  I’m not the best writer in the world and am not sure how interesting I’m going to make this sound. But PK says I have to do this so, here goes.

For illustration work, both for pin ups and comic book interior pages I use a mechanical pencil with a soft lead. Sometimes I’ll use a non-photo blue pencil to work out an image or design then go back over it with the mechanical pencil, tracing over the parts of the roughed out image I want to keep. Once that’s done I’m ready to ink. I’ll often ink over my pencil’s using various sized of Micron pens, or if my image is big enough I’ll use  a bush.

First thing is I receive a general outline of the story concept, and character break downs. Such as their look, fashion, and any key locations. I then begin to work out just what these individuals might look like, and what kind of surroundings they may inhabit.

I really must stress the importance of have a good reference folder. I have reference material, and lots of it! Thanks to the Internet I’m always “Google Image Searching” for something.  The more you draw from real life the more believable your work will feel.

Developing the characters is a lot of fun.  I try to stay up with current styles, and trends. It goes a long way in helping to flesh out how characters look and feel.  I never want him or her to feel out dated before their time. Often times I’ll base my characters off of real people I know, or celebrities. Or even a combination of different things about people’s features, or the way their hair looks can be combined into a totally new creation. This is what really guides me into understanding how my character is going to react in their environment, and to the other characters around them. In this way I’m bringing out something more about my characters mood, expressions, and reaction that isn’t necessarily written in the script but is more of a natural progression of who this character is.

 

Keeping your character looking consistent panel after panel, and at different angles is a must of course. So when I set out to design a character, I usually start with who they are according to the writer who give me a character bio. Is he or she tall, short, thick, adventurous, lonely, happy, sad. Once I figure out their body type, and have an idea of their personality, I’ll figure out a head shape. I think there are like four, maybe five general head shapes to choose from. I forget at the moment. But once I decide on a head shape I can work out the details of the characters features. And keep those features consistent through the book.

 

For instance, he or she might have a button nose, or big ears, thin or full lips, etc…Keeping these features and the basic shape of their head consistent in every angle and pose really helps the character looking like he or she did from page one all the way to the end. It can be tricky tho’. And often my characters will evolve somewhat as I’m drawing them over and over again.

 

But I always try and stick with the basic features I’ve given them in the beginning.

Once all that gets worked out and approved I move onto the finished script.

 

After reading through the script, I roughly lay out each page. I do a sketch of each panel to use as reference once I’m ready to work on the finale page. This is very important and gives me and my editor the time to make any changes and or fixes before work begins on the final draft.

I try to work out the layout, and dramatic angles beforehand during the rough draft of what will be the final look of the page.

 

Ideas come from every where. Sometimes the script just nails it for me and a panel design is a no brainer.

 

But allot of the time, I see the images in my mind kind of like I’m taking a mental picture, or I’m reminded of something I’ve seen in a film.

 

 

Once I’m finished with the final pages it’s time to ink. This helps to bring some dimension and contrast to the panels.

 

Now it’s time to   scan in the finished pages and prep them to be colored. I scan my artwork into Photoshop, and clean up any debris that may have come along in the scan.

 

 

 

 

 

Once I’m done with all that, I save the artwork to my desktop in a folder which might have a name like “Junk Yard Angels Pages”. Now I can email the page over to the colorist where he gives it a whole new dimension of awesomeness. 🙂

I hope this has been interesting and informative, and hopefully you’ve at least enjoyed the chapter 1 sketches.

Thanks for reading! Check out new chapters starting April 2nd! Or catch up with the story so far HERE!

– Zach Enea

Contact us:
junkyardangelscomic@gmail.com

facebook.com/junkyardangelscomic

http://twitter.com/Junkyardangels

Zach Enea is a professional artist based out of the Bay Area.  You can see more of his work, as well as his resume at his official site!

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