We’re back with another week of tutorials – this time around, we’re going to try another Marvel character. We’ve tackled Wolverine, and we’ve tried our hand at DC Comics’ Batman. This tutorial is going to show you how to draw a basic version of our favorite wall-crawler, Spiderman. Click here to continue…
And now, for your viewing pleasure… here is the second part of the tutorial on drawing action poses. If you recall, in the first part of the tutorial, we talked about starting with a gesture drawing/mannequin and developing the scene into roughed forms. Now that we have our characters blocked in, I will be focusing on drawing and inking the character details of our scene. Click here to continue…
In the previous tutorial, I showed you all how to draw Batman digitally, through rough construction lines followed by refinements in tightened pencil drawings. Now we’re going to continue on by inking our Caped Crusader and drawing in a simple background.
Here is where we left off last time. A fully drawn Batman with a thickened outline. Now, we’ll add in our inks with dark pools and shading.
Step One: Create a new layer and call it INK. This layer will be your new area for ink fills. In the event that you don’t like the ink work you’ve done, it is a lot easier to modify a separate layer, than having to go back over previously drawn artwork and correct your inking that way.
Step Two: Start with your pools and fills. Instead of spending time using a brush to fill in pockets of ink, you can quickly set up shapes for your fills by creating an outline using your Lasso tool.
Fill in all your areas with a solid black. I reduced the opacity of the pencil layer in order to see exactly where the selection lines will overlap the linework.
Continue to fill in the solid pools.
Sometimes the lasso tool will create sharp lines and jagged corners which need to be smoothed out. I’d suggest tracing over the edges of your lassoed fills with a small brush.
Now that our main figure has been inked and the form is built up some more, we can start to create a simple background. In this post, I go into detail about the importance of backgrounds and how to go about setting one up for your comics based on the situation.
In this tutorial, I’ll show you how to whip up a city background in just a few minutes.
Step One: Hide your artwork layers until you see a blank canvas. Then create a new layer at the very bottom of all the layers (just above the background layer which is locked).
Step Two: Using your lasso tool, make a shape that resembles a rectangle with a peak on top of it.
Step Three: Fill in the shape with a solid colour – I chose black for its prominence. Repeat Step two a number of times but stagger the position of the shapes. Make sure they are different widths and heights, but are connected together at some point. You should have a skyline beginning to form that looks something like this:
By using the rectangular shape with the peak, you are creating the illusion of a 3-dimensional form. It is showing the front corner of the building, and creating a makeshift perspective.
Step Four:
Step Five: Fill this shape with a solid colour (I chose a lighter grey in order to create a sense of depth. The darker buildings are more prominent and stand out more than the ones in the distance.)
Step Six: After you have created the first layer of buildings, create a new layer, and make sure it is below this first solid layer. Repeat the same steps to create the peaked rectangular shape (or boxy building shape like you see in the example) but make it much smaller. Fill this shape with a solid colour (I chose a lighter grey in order to create a sense of depth. The darker buildings are more prominent and stand out more than the ones in the distance.)
Step Seven: Add a solid colour or gradient on the base Background layer for effect. For an additional layer of moody, noir mystery, use a noise filter on the gradient or solid fill for a film grain effect.
These are the settings I used. Feel free to adjust the settings to increase/decrease the amount of grain. You’ve created a simple city skyline background. We will further develop it with details once we begin the color and finishing touches part of the tutorial.
Now that the background has been done and the inking portion of the tutorial has been completed, we will create a ‘paper doll’ or cutout from our Batman drawing.
Step One: Hide all your background layers, leaving your pencils/inks visible. Create a new layer called CUTOUT.
Step Two: On your Pencils layer, select the area around your character, ensuring that all the background spots are part of the selection (spaces under the arms, etc)
Step Three: Once the background areas have been fully chosen, we will invert our selection. In the menu, the option is: Select > Inverse
Step Four: Once the selection has been inverted, the selection should appear around the outer edges of the Batman drawing. We will now contract that selection in order to have it fit within the inked lines. Otherwise, when the background fill is applied, some of the edges may appear outside of your crisper black edges you defined earlier.
I contracted the selection by two pixels – this should be enough room to keep the CUTOUT fill hidden underneath the drawn artwork.
Step Five: Fill your cutout layer with a solid white. This layer will now help you distinguish between background and foreground elements. You can link your pencils/inks and cutout layer together, and move it as one unit, or recycle it somewhere else.
That concludes the second part of the tutorial. In the third part, we will tackle color and finishing touches to complete our Batman image. Feel free to check out this other tutorial on how to draw Wolverine while you wait for the next installment!
If you trace back the history of inking in comics, its sole purpose was to enhance the initial drawn lines by the penciller so they would reproduce properly when printed. Now, inking is an art form in itself – much more than simply tracing a penciller’s work. Inkers are required to take drawn panels and make them come to life with the use of dynamic lighting, depth with linework and shading, and add texture which may be lacking in the pencils. This important facet of comics is often overlooked and taken for granted.
The best inkers have the ability to determine how to make the important elements on the page ‘pop‘ and improve the linework. Inkers determine light sources, create convincing contrasts with shadow and light, and help separate visual planes to create a sense of depth. Without this step, comics may appear flat and lifeless – the right combination of ink can change the atmosphere of the story. Here are some examples of inked panels:
With the dark contrast areas in this Batman-Spiderman pinup, you can see the musculature and definition of both heroes, the folds and dynamic shape Batman’s cape takes on, and the rugged texture of the rooftops. The silhouettes of the city skyline also add to the dramatic nature of this panel. You wouldn’t achieve the same effect with pencils alone – therefore, inking serves as a key tool in developing scenes and defining shapes in your artwork. Even though they have been clearly laid out within the pencils, the ink gives the image a deeper, moodier appearance.
In order to be a successful inker, you must have a good working relationship with your penciller – as you are drawing overtop of their work and their vision. Make sure you’re on the same page (pardon the pun) when you’re working on a project together. There have been many documented occasions where a penciller will refuse to work with an inker over ruined work.
Secondly, make sure you know how to draw comics just as well as your penciller – if not, better. Understanding the physics and properties of light and shadow, anatomy and mastering the techniques of brush + ink, marker rendering, or pen work is abslutely vital in becoming a successful inker. You may also be called upon to fill in for a penciller who is behind on his work – where you are filling in details, adding texture and in some cases drawing complete panels from roughed in sketches. Trying to maintain a consistent style with your penciller is extremely important.
Here’s a few techniques to improve your inking when you’re learning how to draw comics:
1) Variable Line Width
This is the method of establishing form and creating some depth in your work.
Objects in the foreground should have thicker, darker outlines than ones in the distance. Your natural inclination is to look at the boldest, darkest item on the panel – so if your most important element is in the foreground, make sure it is outlined and detailed better than something behind it. A thicker line creates the perception of heavier weight and fuller form, whereas a thinner line recedes into the background.
2) Determine Light Source
Take a few seconds and create a point of reference for your light source.
It could be a simple symbol or a dot on your page (in the margin) to indicate where your light will be coming from. This will help you figure out which portions of your inked work will be cast in shadow. Remember to be consistent with your shadow placement in your panel, and from panel to panel as well.
3) Adding Washes and Hatching
A wash is a thin, diluted application of ink which creates a grey tone in the background. By building layers of wash, you can create different levels of contrasting greys, which do not detract from the solid black linework put into place.
Some artists use cross hatching as a method of creating shadows. A loose hatch appears more like a grey tone when viewed from afar, and also adds texture to your drawn elements. The downside of cross hatching is a rougher appearance – this may not be suitable for some artwork (superhero comics especially – which rely on clean, solid form). As you learn to draw comics, you’ll develop a signature style over time. Make sure your style works for your penciler.
4) Scratches, Dabs, and Erasing
To create some textural effects in your inked work, you can use an ex-acto knife or a dried out pen nib to scratch away and some of your solid pools of black to create some interesting scratchy textures, stone, masonry or woodgrains.
Using a molded putty style eraser creates soft, leathery textures by picking up dabs of ink and leaving behind some grey spatters. If you apply the eraser and different points by dabbing, you will create a blotchy, blobby texture that is an interesting effect for backgrounds or softer elements in your work. The dab technique also works with washes as well – use a brush with some watered down ink, and try blotting on the panel at different stages of wetness/dryness. You will create some cool looking patterns.
Once you’ve rendered your panels in pencil, try out some of these inking techniques (most of these can all be applied to digital work as well). Experiment and develop an inking style that suits your pencil work. Will it be slick and clean like the major houses (Marvel, DC, Image) or feature loose, scratchy effects with more grit, found in indie comics? If you’re working with a partner, make sure your styles complement one another, but don’t be afraid to offer your input – inking is not just tracing! For more tips, check out this previous post on simple digital inking techniques.
This concludes our latest installment on how to draw comics – stay tuned for more tips from idrawdigital.
So I’ve received a few requests for specific tutorials on how to draw certain ‘popular’ comic book characters. I’ll start this set of tutorials with a fan favorite – Wolverine. This tutorial requires a lot of practice and patience. Developing the skill to draw quickly and efficiently is something you will learn with time – keep trying using the techniques in this tutorial and eventually you will be able to draw Wolverine or any other character with minimal instruction.
But first – its time to put on the training wheels and helmet. Watch and learn…
Wolverine is one of Marvel Comics most popular characters, so there is a TON of images you can use as reference. I went to Google Image Search and found a few images I liked. For this example, I am going to use the ‘Hugh Jackman’ version of Wolverine for the pose, but add in some other elements to make the image original.
Here are the resource photos I’ve collected.
The image I have planned is an interpretation of the ‘Wolverine’ costume, using the ‘real-life’ likeness of Jackman as the basis for the look.
I’m currently using Photoshop for the tutorial, but you can do the same sort of thing in Sketchbook Pro or other software. After deciding on a paper size, it is time to rough out the pose. This page size is 8″ x 10″ at 300dpi.
Using the Jackman Wolverine as a guide – I place the two files side by side to try to replicate the posture/pose. You can elaborate at this point if you wish – but for the sake of this tutorial, I’ll keep it closer to the original.
Now add a layer in your Layers palette, and turn the opacity down to approximately 50%. Select a pure black as your colour, and choose a brush size of about 3-4 pixels.
Then start to sketch out the forms of the body in the pose.
Begin with the head – mapping out the size, the centre of the head (lengthwise) and where the eye level will be. The eyes are halfway down the length of the oval shape. That is where your eye level should be marked.
Net, block in your forms with basic shapes – cylinders, spheres, etc. Build your body form using these simplified shapes. We will be refining them later. Try to keep as close to the source pose as possible. You will be able to judge your proportions better that way. Remember to add a vertical line that passes through the center of the torso. This well help you in placing muscular elements (pecs, abs) in their correct positions. Plus, it will assist you on the lower part of the midsection and its placement, and the legs, etc.
Add in more details, and make refinements to your form. I’ve noticed a few mistakes already, so I can easily go back and alter them with the eraser tool or CTRL-Z / undo (Command -Z for Mac!) Keep your forms loose so you get the feel of each shape and its size.
Add more visual references like hands & fingers, the length and position of the claws, a belt to indicate the midsection, and draw rough guides for the face and hair.
When building the muscles on Wolverine or any super-hero in general, make sure you check out the physique of bodybuilders. There are a million images of ripped abs, flexed muscles, etc. These guys & girls aren’t shy about showing off what they’ve worked so hard on, so finding pics should be easy. They love to pose, so use those pics to your advantage.
I always have trouble with abs and pecs, etc. Using visual reference helps to steer me in the right direction. Don’t just wing it, thinking you have a full grasp of anatomy – especially if you’re new at this. Seasoned pros make huge mistakes and their fans let them know about it dearly – poor anatomy in super-heroes does not cut it. Just ask Rob Liefeld and his 8-pack abominations.
Now that we’ve roughed out Wolverine, we can draw in the details in the next stage. Right now, the lines are really scratchy and hatched. We’re going to clean this up and make the image sharper with some pencil-work.
We’ve blocked in our basic pose, we have some minor details as reference points – NOW we’re going to get down and dirty and make our Wolverine look more like something closer to a finished product. Let’s go!
Create a new layer and call it ‘pencils.’ Select your ‘rough‘ layer and turn the opacity down to 25%. We want to be able to see what we are drawing over. Make sure the pencil layer is above the rough layer – if it is not, simply click and drag it above the rough layer until it falls into place. Set your ‘pencils‘ layer to 50% opacity, select your black colour and we’re off…
Start by adjusting the brush dynamics in the Brushes palette – you want your brush to mimic the pressure/sensitivity based on the amount of weight you put down on your WACOM tablet. Select a comfortable brush size and make sure that the shape dynamics are activated, and the brush sample has tapered ends, like the diagram below. You can adjust the settings in the dialog box for different effects.
Add in your details like shoulder-pieces, gloves, cowl, etc. Use different line weights to achieve greater depth with the drawing. Try to resist filling in your shadows and dark areas with solids – mark your black spot fills with an X. When it comes time to ink the piece, I will show you a quick method that will save you a lot of time. For now – keep them open.
I added a ton of arm hair since Wolverine is a hairy guy (I can relate!)
And I gave him shorts. I never really understood the briefs thing for superheroes. It looks silly. Not that skin-tight spandex is any better, but why have your burly men wearing their gitch on the outside? They aren’t wrestlers…
I know it’s not true to form, but its my interpretation and variation. I’m the artist here – so when you decide to draw Wolverine on your own, you can take those artistic liberties – unless you’re actually working on the Wolverine comic, then you gotta follow the rules.
Now that we’ve finished penciling in our star, it is time to move on to inking and REALLY creating more depth and solid form.
We’ve done our rough pose, and now we’ve completed our pencil rendering. It is time to add shadow and contrast to our piece by inking. When you work digitally, it is way easier to ink your work because you can easily alter the contrast and levels to turn your pencil greys into rich blacks.
If you recall, at the beginning of Step Three we made the opacity of our pencils layer to be 50%. We are now going to duplicate that layer, hide our pencils and rough layers, and put this new pencil layer copy to 100% opacity. The linework should be jet black.
Now we are going to work with the inked piece. I asked you to make a copy layer in the event you make a mess of your ink layer and need to restart fresh.
Now that we’ve got a head start on our inking, I’m going to show you another shortcut to fill your shadow areas. Select your magic wand tool -
Set the ‘Tolerance‘ to 32, and begin to select the shapes you have marked with an X. Hold the shift key down to select multiple items. Keep selecting until you have selected all the white spaces in the spot black areas you are planning to have filled. You may not get them all – don’t worry – we will clean up what’s left after the big fill.
Now, under the Select menu, select Modify > Expand
Expand your selection by 2 pixels. What this does is forces your selection to encroach upon the black ink lines by two pixels, and eliminates the white pixels that weren’t picked up by the Magic Wand.
Your image should be covered in ant tracks from the selection. Now we will fill the selection – in the Edit menu, select Fill (keyboard shortcut = CTRL + Backspace (Cmd + Delete for Mac). Make sure that black is your color – choose from menu and hit OK.
Your selection should now be filled in. Press CTRL-D (Cmd + D) to deselect, and look at the ink pools you’ve filled.
If you zoom in closely, you’ll see areas that weren’t filled in because they weren’t part of the selection. Take a brushfill these in with solid black. You may find a few ‘crumbs‘ of white here and there. Just paint over them until you have a nice deep shadow. Also, take this opportunity to make additional details on your image in the ink phase. and
I decided to thicken the lines in places to draw emphasis to parts of the figure. I also added some more shadow to increase the form through contrast and line weight. Then I added more details like folds, hatch marks, stubble and wrinkles. Add in details at your discretion. Save your work at different stages if you plan on trying something new. Don’t overwork your drawing – know when enough is enough!
Once I’ve filled in all the details, I am ready to finalize the piece by beefing up the outlines and correcting any linework mistakes. The final drawing is now done. You can keep it as an inked piece or move on to color. Congratulations – you’ve just drawn and inked a pretty rad looking Wolverine.
Here’s the finished version:
Next time we’ll go further and color this bad boy, and add in a detailed background. See you then!
I haven’t given you a tutorial in a long time, so I felt it was high time to get on that and give you some tips from my own expertise. I draw a lot of comics, and I have a typical flat style when it comes to inking which makes it very easy to learn and adapt to your own work environment. I’m going to attempt to keep this tutorial as basic as possible for those who:
1) Have never digitally inked before
2) Don’t have the necessary software
3) Want to learn an easy workflow technique
So let’s get started.
The easiest way to get organized for inking is making sure you have your pencil roughs set up to your satisfaction. You can always go back and refine your forms while you’re inking, but its really difficult to redraw entire frames. So make sure that when you’re ready to ink, you’re happy with what you’re filling in. Generally I will start with a thumbnail sketch for my pencils, then move into a full size rough with very minimal detail. If you’re a beginner, you may want to add more details to your work to ensure consistency and have a solid guide when it comes time to inking your final work.
Here is a sample page from a webcomic I’m producing.
You’ll notice that it is VERY rough. I tend to work quickly for the sake of efficiency, so I’ll hammer out the details more at this inking stage rather than before. I may change my mind about a pose or facial angle etc (all MINOR details, remember). With enough practice, you’ll be able to do the same if you feel comfortable working like that.
In this sketch by comic illustrator Alex Ross, you can see the enormous amount of detail he has with his pencils. Generally, the pencils are then handed off to an inker who is given some instruction on fills and flourishes – you can see that Ross has filled in most of the blanks for his inker so that person can stay within the confines of what Ross has imagined the final piece will look like with the inks.
You can see there’s little room for interpretation on the inker’s part. I don’t work that way since I’m a one-man-army so I can take those liberties for now. Chances are, you’re in the same position. So here’s the next step!
Scan your linework (if you did it manually like a majority of people) and save it at a relatively high dpi setting (300-600 at full size). If you’re doing a traditional comic page which is roughly 6.75 inches wide by 10.25 long (including artwork that bleeds off the page), and you are not working at that size when you do your pencils, you will want to scan at a higher resolution to ensure your details remain nice and sharp. Scan your artwork as a greyscale photo in order to keep all the subtle tones intact – some scanners scan B+W based on bright white and dark black so your greys tend to disappear.
Personally, I do everything digitally so I will open up my program of choice for artwork (generally Photoshop or Illustrator) and set all my canvas settings ahead of time. This tutorial is based off a 6×9 format.
Now that you’ve completed the prep portion of your artwork, I recommend you set up your working file with the following layers. Photoshop, Sketchbook, Gimp, etc all have layer options. If you’re using a program that does not, I’d suggest finding one that does, as it makes the process of inking much easier.
Here’s the set up:
The first layer should be your canvas/pencil layer. Since I drew my comics digitally on the same file, I had a separate layer specifically for pencils. If you scanned your work and placed it into your new file, you can use that as your base layer. It would be a good idea to reduce the opacity of that layer so your pencil work doesn’t appear as dark (for tracing purposes.) The reason for the additional layer below is to have a solid white color below the transparent pencil layer.The top layer is your working layer – that is labelled ‘ink’ and you will be placing your solid blacks here.
There’s no right or wrong way to ink your drawn work. Some people prefer using a calligraphic brush for varied line weights (it looks like a ( / ) in your brushes palette most of the time) while others prefer a round brush with custom brush settings applied. Each program has a variety of different features that allow the pressure control/sensitivity or the brush shape you want to use for your inking. In this tutorial, we are going to use simple round default brushes because my style is relatively flat and clinical.
To begin, select a thick/large brush to create your main outline work. In the example above, you can see the outline of a character’s head with a thick round brush. I did not outline the hair – instead I chose to use the flat filled shape act as its own border since it is dense enough for the definition I want. In this example, I used a Round 7 pixel brush for the outline.
Complete the outline and make whatever necessary alterations to the pencil work as you see fit (within reason.) In this case, I didn’t like the proportions of my sketched figure so I fixed it during the ink phase (most of the time you would have done this already). Fill in your solid shadow areas with black – there’s two ways you can do this: make a selection around the area you wish to fill (using a lasso tool or a point/pen selection tool) and use your fill tool to fill the area with a solid black. Alternatively, you could use brushes and fill it in by hand. It all depends on your comfort level when it comes to efficiency. Find out what works best for you.
Next, select a smaller brush to fill in the details from your pencil work. Generally, I will use a brush that is approximately half the size of my outline brush for varied line type – here’s an example of it in action below:
Note the thinner line weight in the details. You could use a different brush for additional line weight variation WITHIN your thick outline for additional depth and contrast. But again, thats up to you and the style you want to achieve.
Continue filling in the details with the smaller brush. Feel free to use more brush styles and shapes as you like, and other ink/shading techniques like cross-hatching. This example uses fills and outlines (since the rendered product is in tones of grey.)
Eventually your page will begin to fill out with dynamic contrasts and begin to have a life of its own. Here’s a half finished product from the other day. Typically, I take a few hours to do a page since I do revisions on the fly. If you have a tighter pencil sketch, it may take less time (or more time depending on the complexity of the detail.)
A few other things to note – I rarely use my Wacom/pen tablet for inking, since my line weight is even throughout. I will use the mouse + Shift Clicking in order to get the “connected line” between the gap from the points I’ve placed on the canvas. This gives me more precise control over the direction of the line. It is definitely not very organic, and essentially eliminates the pressure options that you have with a digital pen. You may want to have that variable line width and prefer the use of the pen for control. I suggest you use whatever works best for your style. In this tutorial, the figures are flat and 2D cel like, since that is the effect I prefer for this comic.
Experiment. Find your style and learn from others. I hope this tutorial gives you some insight on how to digitally ink your pencil work and gets you on the path to creating comic books or webcomics of your own. The next tutorial focuses on coloring your comics after you’ve completed your inking.
Good luck!
