Comic Art: Introduction to Penciling for Comics | Ario Anindito | Skillshare

Comic Art: Introduction to Penciling for Comics

Ario Anindito, Art director, illustrator, comic artist.

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4 Lessons (35m)
    • 1. Creating Your Three Characters

      8:51
    • 2. Translating Into Rough Panels

      7:27
    • 3. How to Finish Your Panels

      10:16
    • 4. Finishing Touches

      8:02

About This Class

Don't let your history notebook from Elementary school be the only place to find your fantastical illustrations. Sharpen your fancy pencil work in this course on drawing a one-page comic.

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A passionate comic artist myself, I've penciled comics for DC Comics, one of the biggest comic publishers in the world. In this class I'll take you through my process for penciling a one-page comic of your own. You'll learn all the skills you'd need to create your very own comic collection or level up the skills you already have. 

What You'll Learn

  • Creating Your Character.  You'll create your three trademark characters; protagonist, antagonist, and supporting. 
  • Rough Layout Panelling. You'll create a layout using different perspectives. 
  • Finishing the Panels. You'll transfer your panels from a rough layout to a refined comic page.
  • Finishing the Comic Page. Your final process entails placing emphasis on character details, sounds efects, and panels.

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What You'll Make

In this class you're going to make one penciled comic page. This is not necessarily from the beginning to the end of the story, just a slice of it. You can use any drawing style: cartoon, manga, or even your own style. The purpose of this course is to practice the essential skills that are repeated throughout the comic making process.

Transcripts

1. Creating Your Three Characters : - Hello there will come to my class. - We're going to learn how to pencil your own comic page, - you know? - And we're at face one right now, - which is creating your own character for you who has already have your own character. - You can use them on for those who haven't been. - We will try to make trying to design your own character. - Now I'm going to need three counter, - which is the main character, - the villain and the supporting character. - Um, - now we're going to create this. - There's so many variation of them on. - I'm going to cover just briefly, - you know about designing character, - because we're going to focusing on the penciling the comic page itself right now. - OK, - um, - in here we have this I wrote down in the steps that to make it easier for you to during the - main character, - you got to draw some the character that you can draw easily because you're going to draw - them a lot. - So you're going to make a new, - easy looking, - or at least easy for you to draw. - I wrote down on the stuff that you can draw by based on your friends face or maybe your own - face just to make it easy for you to draw this in this one I draw based on my face, - you know, - because apparently it's really easy to draw. - I just don't think I razz and bald, - and then it has a bit of a beard and, - you know, - you gotta be able to make them, - you know, - from all sides because he's your main character. - You need to be easily, - you know, - draw them in in every sites were not going to cover the hard one like this one. - I mean the detail and everything. - We're going to start from the easy one. - Just justice to the easy one, - because we want to do draw fast and simple. - First, - you can always draw the detailed one later. - Okay, - on this is the full body off the main character, - and this is the lane with I choose the villain to be big, - you know, - and the main Billy and the main character to be like small average because there's so many - variation of them. - But I'm going to cover this este example for the filling. - You know you can you can do it like a croaked one because the feeling usually have - unpleasant ugly face Eso crook knows and I like dark area near the eyes. - And then fang and then something like that. - It will help divine the evil ish looking that, - you know, - based on the shape Oh, - this one is start really good is not It is not a good character, - you know. - And so this one is the the re lane that I made also based on my face first, - but we're going to change that later. - And then this is the supporting character I made the regular girl with regard, - you know, - press and, - you know, - T shirt and pants and shoes like that. - This is going to be the supporting characters. - Supporting character can be the main main characters. - Best friend. - Oh, - are the main characters lover. - You know, - the the part is not going to be a lot. - It can be crucial as well. - But in this one, - we're going to learn to use her as as the supporting character. - Okay, - so now we get the whole tree, - the main character, - the lane and supporting character. - Okay, - you can use this as the drama character because they are. - They look like an average people. - They look ordinary, - but I'm going to change them into an action character. - So we're going to need a distinctive trademark. - We're going to need a special treat for them. - So they they looked like they have power or something like that. - Okay, - starting from this one, - the average one I'm going to add, - like the I V A didn't come, - cap, - they get a cap that, - you know you can. - The pilot here's only used a favorite camp camp. - You know, - something like this, - and you're going to just and then we're going to add the Sorry, - I'm going to change the mechanical pencil so it could be, - you know, - the line could be more detailed. - We'll use eyeglasses, - you know, - and then I'm going to go back to so the lines could be bold and strong. - I'm going to add the jacket, - you know, - just to add more character, - okay, - to put the jacket and then I use a lot of pouches for hiss, - tools and gear. - I'm going to make him more like a steam punkish stop. - You know, - like a tank girl. - There's a whole other than he's wearing glove and to make it more character, - you know, - Add more to the character I'm going to at lines to shirt to history. - I mean, - so he can have. - Okay? - No. - And then I go to a vote to him. - Hey, - proof. - It's special design special going to erase of it. - This one. - Then we have ourselves the main hero, - you know. - All right, - now you get the idea how to change the character or, - you know, - now the treaty character and give them special, - create more just to be, - you know, - for the character herself to stand out and be distinctive. - Look distinct. - Now I have done the same thing. - You know, - you could always have fun with your character. - And I've done the same thing to the villian and supporting character. - Uh, - you can see the result, - this one. - You know, - I made him the military tech kind of character, - which is? - He has this mechanical jaw and body armor. - I had a little touch of frowny, - evil little devil, - and then he got a biological mechanical arm as well and at bed as boots. - You know, - Onda and gear with pouches, - you know, - to to store whatever evil thing he has and for the supporting character. - I, - you know, - just add small things just to make her stands out from other character. - Like I added the star pattern on her shirt, - you know, - and bandages interface to make her look like she's a tomboy, - you know, - And overall, - she's like the same. - Nothing so special. - Maybe I designed a unique shoes, - but that's that's about it. - You know, - she he will be just a supporting character so nothing much should be at. - Yeah, - the attention should be drawn to the main character and to the lane and the supporting - characters just there to support. - Well, - I think that's about it for face one and next, - we're going to try to go to Face To, - which is translating the script pals. 2. Translating Into Rough Panels: Hello again. Welcome and face to this face. We're going to try to translate the script. £2 rough panels. I've made two scripts for the actions Young, gray and for the bombers younger. You could pick one or you couldn't do both. You can just download it on the website Skill Share website. Basically, this one is a bit of, you know, having fun. You can do it anywhere. You don't have to do it in your drawing table in your studio, you can always do it anywhere you like. Like I usually I usually bring my small sketchbook and then my pencil off course and print the scripts and maybe just bring my laptop and then do it anywhere. I like LA perhaps in your hotel unification. Or maybe or while waiting for the elevator. It also might be helpful toe watch your favorite movie and take notes off the point of view that they're doing. I'm going to try to demonstrate translating the script into the rough panels, and I'm going to choose the action script. Okay, First of all, we're going to decide how big is the size of each panel, and the biggest should be the most intense. And from the script I picked panel number free as the most intense. So I'm going to give this middle area for number three for panel number free. Okay? And this one is going to be final. Number one and number two, final number 345 and six, etcetera. So now I'm going to start by life reading the script and then deciding the size of the panels such as, you know, this is the roughly out that I'm going to use sort of family. Okay, so this is going to be the first panel. This is going to be the second this is going to be the third, the one with the most intense. It's going to be the fourth, fifth and less battle six. Okay. And then after this, we're going to try to decide what is the best point of view for each panel. All right? And then don't forget that we're going to also add the dialogue, balloon, the word balloons and the sound effects. Okay, so now we're going to talk about the point of view. No. All right. I'm going to show you a few examples. Balmy point of view. that you can use in your panel can be useful to draw outside outdoor so you can see a lot of people and you can see their gestures and their behavior and their point of view. It's quite windy. The close up few is the most used point, a few in comic because it shows the intensity of the character itself. It shows the seriousness as well as the mm character appearance really well. The over the shoulder view can also show the intensity and the variation off the point of view, which is nice. The white angle point of view can show the character with the settings he conduce the bird eye view or the frog I few to show the white angle. The very few is also the most commonly used point, a few incoming. It shows the character in the third eye. You can see the character with the people or their enemies or whatever in front of him. And the setting also, and another popular point of views, of course, the frog eye point of view. He can see the character looking at one direction or another, and it makes such a dignity and really shows the character a strong character when he's looking from for life, you a dwelling point of view. It's also an interesting variation off the point of view. And sometimes in the beginning of comic, you might want us to show the setting off where it happens, where it all happens. And you can choose the bird eye view to show the settings because it will show the entire thing from the bird eye view can see the setting, the details and the people around it. All right now for tips on drawing the gestures, there's several tips. One of them is to use an action figure. Um, just make sure you have an action bigger with a lot of points of articulation so you can post it, you know, in a different way. On the offense ages off. Using an action figure, you can choose the right point of view to help you and even a close up few. And you just look and draw, look and draw. You know, Tritch do other style and draw. Keep doing that. Just make sure you choose an action figure with a lot of points of articulations, and the other way you can always use a magazine, preferably fashion magazine, because there's a lot of gestures like this one. This is a you know, really unique gesture. You can just browse for the gestures that you want or need and draw it on in the magazine. There's also a lot of close up shots that you can use to help you drawing the panels and the point of view. That's it for the gestures. Okay, so this is what I come up with. For the rough peddling layout, you can download a few examples that have made for a rough paneling, both for the action script and the drama school. See you in the next face. 3. How to Finish Your Panels: Hello there. Welcome to face three. In this space, we're going to try to transfer the artwork from your sketchbook. The rough handling layout to the actual paper. Now, over here, I have a a variation of the actually, for this this comic paper there several version of its several kind of it this oneness usually used by the professional coming artist. But there's nothing wrong for us to use it anyway. There's this lies, guidelines to guide you, you know, not to over bleed. And there's this thing, the space for you to to right down the title and everything issues, number and all those details. But just in case this kind of paper is hard to find, you know, just in case I'm just going to use a regular A for science paper that you can always find anywhere everywhere. Okay, so now the first method off off transferring it is to draw it directly from the rough to the actual paper from the rough family. So in this first way, you you just, you know, trying to transfer it and resize the decisive after panel to the actual size. You know, try to draw this, but you already have your guidelines. So you don't have to, you know, rethink of work kind of point of view that you're going to use just con spring it. And in this way, you just draw and then you clean it up the line, you clean up the line and you proceed until you know the end result. Clean Leinart until we get to clean line. Yeah, that's how you do it, Miss First Method and this method you also after at the word balloon, you have to make a estimation on how how's how much Peyton does The word takes now, in this method, after you're done transferring all the lines from the rough sketches through the actual paper, you can start erasing the sketches, line the unimportant lines, you know, and start me and you just leave the actual lines that you're going to use for the finish finished are a Leinart on? That's it. For this method, the next method will be the tracing method. All right, Now, for the second method is the tracing method. So you're going to need a tracing table for for this one. Uh so the this is how it works. You're going to try to draw in the another paper from your rough handling layout you drop. You don't have to draw it neatly. Just just draw, you know, roughly. But in the real actual paper size, this is going to be your base for you to trace. Then let's turn off the light and turned on for tracing table. And then we can start free scenes. The actual Why not this way. I prefer to use the wooden pencil so you can see the line clearly on the advantages off. Doing phrasing is that you can start going a neat line. You don't have to draw sketches lines anymore because you can just follow the right lines. Stop growing, but still you you you might still want a used Teoh. Still want to have to? You raise your lines. It's OK. And then after that, maybe after your trace, you still need to add a few more lines. That's also fine, but the idea of tracing your work is to make it make a neat line like art. See when when you turn the lights on again, we'll see the result. You got a neat line compared to this one this is need. That's for the tracing method, just like the word balloons. We can also add the sound effect manually. There's two method digital on manual. Now I'm going to show you how to draw the sound effect manually. After you draw the whole stuff. It will be better if you can trace it so you can trace the zone effect manually like this because then you can try to put the right positioning for the layout if you trace it. So that's why I have my paper like, Not like this. But it's more like this because I put it this way for the lay up. It's kind of this kind of Ah, a difference between the initial sketch and the finished result because I think for the Amazon, in fact, it's better if I rotate this a bit and put it like this. Yeah, so this is how to put the sound effect digitally. After that, you're going to erase the lines and the letter I'll show you. You can download the final image comic page later. All right now I'm going to show you how to digitally at the word balloon and the sound effects first of all. Of course you gotta scan the you're drawing first and then I'm doing all this in foot a shop. You can always make your own balloon or maybe downloaded from the Internet. But I'm going to show you the example of with my own self made balloon, the one that I just made. You can always just drag it here and then three size the world below. This is how to add the word balloon digitally that So if you want to add it digitally, you don't have to draw the word balloon. When you're translating the rough sketch to the actual paper, you don't have to draw it if you want to add it later, digitally. And then now I'm going to show you how to add thesis on effects in a digital way. I made my own writings. This one is my own. I just write a boom Sorry. Like this boom in the new layer, something like that, that, um, that is actually, uh, the font looks like a comic farm. Try to make it not really formal. Try to make it a bit liquid, and then you just drag the layer to the throwing and Voila! Digitally add sound effect and you can place it anywhere your life. But of course not covering your drawing, you have to make a good lay out for it. Well, that's how to add the word balloon and son effectively. And for the sun effect, you can all also browse Google. The key word is comics on effect, and you you find lot off example of comical son effect with different. Ah, I use different application. I think this one is for explosion. This one's for bunch. This oneness for poison reaction on many more. You can always have fun with the sound effect. Well, that's it for the third face else you in the last face, the 4th 1 which is finalizing your comic page. See you. 4. Finishing Touches: Hello there. Welcome to face four. We've come so far that it's almost ready. It's almost finished your own comic page. This is the finishing face where basically, we're just going to clean up the Leinart and then do the rendering. You know, just pre paying all the finishing for the pages on. I'm going to do it manually and digitally for the word balloon. So all right, let's see what you manually. Basically, I'm just going to use thes my wooden pencil to just, uh, it's like thinking, basically, but with pencil, I'm just going to make the boulder line C for the panels. That's what we do, Owen finishing so that we get no look for the panel. Only I used my wooden pencil so it will make a lot of different seat this and maybe just fixing the paneling and then also Mike Boulder line for the work balloon. If you're doing it manually so that it will look clean on well, look like, uh, real comic page finished one and also giving the effects to the son effects like make it bold things like this to rest and then renderings also and make maybe make in the hair Pierre Dark. So basically, this is the rendering stage, the cleaning up stage. I'm also going to clean up a few lines that I don't that I'm not going to use all happening here in the finishing stage. If you're doing it manually than it's happening now, you're going to see that your comic is taking, uh, shape. Right now, it looks like the finished piece. With this finishing, you can download the results and the skill share upside in the class. Yeah, So that's basically what we're doing in the manual finishing. And in this finishing state, one of the options is to do the lettering manually. You can always right down yourself, you know, like lettering it manually. It happens here right now in the finishing state. You can just right like this, you know. And there is another way. It's digitally. I'm going to show you later. All right, now we are in the digital stage. We're about to get to the end of it. We're about to finish the page now. One of the event ages of the digital stage is that you can easily clean up your work like now what? I'm going to do is erasing a few things, and it might be also useful to use these two Dutch toe. Set it to mid tones, and you can clean or set it to highlight. You can seem the dirty area without training without erasing the line are like this one. It's very dirty. No, but it's OK. You can leave you not erasing all of them. Yes, think of them as part of the last part of 12 or smooth. It's one of the way to have fun and making dummy, but you can always one sound effect no vested for cleaning up the page. Next is the lettering on a vehicle. Basically, when you do, if you're doing your comic manually after you put the letter on your word balloon, your comics done, it's done. You have a finished comic page. It's ready. Congratulations. But if you're doing it digitally, then I'm going to show you how it's done. Remember, on the previous stage I shared to you how to make your own Daniela balloon word balloon digitally, and this is how it looks right? And so to add the lettering, you just go to the type tool and then you can pick whichever fund that you fit. Best for your comment. Uh, and start typing the advantages off, um, lettering digitally is that you can always move your lettering and put it right spot. Look, it's it's right now. Really? Looks like real comic, don't you think? Andi, You can always resize it. Three. All right, then, uh, this is the final step. So you have just letter to hold balloon and you have your comic ready? Congratulations, soldier. You've completed your mission. Have fun undoing your comic page and upload so we all can see how good you are. See you in the next class on skill share.