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CHRISTDPHER HHRT

WATSeN -GUPTILL PUBLICAT leNS /

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This book is dedicated to anyone who has ever read a comic and thought, " Man, I'd like to draw lik e that"-because that's wh ere it alf begins .

Special t hanks t o Bobbie Chase. at Ma rvel Com ics. and Renee Geer lings. at Top Cow , f or the int erv iews and use of the accompanying artw ork . Thanks also to Harr iet Pierce for helping th is book be what it was meant to be.

CEBHTRIBUTIHG ARTISTS Grant M iehm. Defee Au cion, Tom Grindberg, Andy Kuhn, Dre w Johnson, Rich Faber. Gray M orro w, Chri stopher Hart

The names and likenesses of all Marvel-owned character s referred t o herein are trademarks of Marvel Characters, Inc.

Sketches featur ing Marvel characters are copyright 0 2000 Marve l Characters, Inc.• and are used w it h permission.

Senio r Editor: Candace Raney

Designer: Bob rune. Gra ph iti Design, I Product ion M anag er: Ellen Greene Copyright C 2000 Christopher Hart First published in 2000 in New York by Watsona division of BPI Comm unic ations, Inc. 1515 Bro adwa y, New Yo rk, NY 10036

The Libr ary o f Cong re s s Cata logi ng-in·Pu b licat io n Data

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Hart , Christophe r. How to d raw g rea t-looking comic bo ok women 1Christopher Hart. p . cm. Includes bibliographica l refer ences and i nde ~ . 15BN 0-8230·2394·X 1. Cartooning-Technique. 2. Women-tch in the bridge o f the O.l E'

and nostrils, fill in the eye s and

yeb ro ws, and complete t he hairline.

Now, attack the details-but

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li gh t touch. Squaf€' ou t the j aw li ne sli gh tly, and soften the cheekbones.

Start wit h two overla pping egg shapes.

As with the fro nt view; draw a horizontal and a vertical guideline, dividin g the head in half in both direc tions.

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If you think you've hit a snag, check the position o f the eye. That's where most peop le run into problems. The eye should fall at the point wh ere the bridge of the nose meets the forehead.

Sketch in details li ke the hair an d an earring.

Place th e eye on the horizon tal guideline and the ear on the vertical one. Don't d raw a hard an gl e w here the forehead meets the bridge o f th e nose; however. do dra w a hard an gle wh ere the bottom o f the nose meets the p lane o f the face.

DynHmlC HEHD HnGLES You've got to be able to dr aw yo ur

cha racte rs from di fferent angles.

beca use t hey're not always goi ng t o t hrow a pun ch or f ly off a bu il di ng in a per fect f ro ntal or prof ile shot; t hei r

heads a re go ing to t ilt and t urn away f rom t he reader. So, w hen drawing t he head f rom d ifferen t angles. work w ith

the basic ova l hea d sha pe, bu t focus on the p lanes of t he face , which are the sma ll flat area s. Fo r exampl e, t he chin is one plane.

The cheekbo ne is anot her. The pocket under t he eyebrow is yet another.

Each plane fall s at a d ifferent angle

from t he others . Planes reflect t he bo ne str ucture

underneath t he face. You need to indi cate t h em to keep t he face look-

ing solid in t hese mo re chal lenging a ng les so t hat t he head doesn 't t urn into one big g lob.

3/4. VIEW Rear left .

LOST In HER EYES In comic books. th e eyes of a d rop-

SAD

dead gorgeo us woma n are deadlier than any wea pon. A sidelong gla nce f ro m a dangerous blo nd e can mean bet rayal. A fli rtatious g lint from a smoldering bru nette can make even

The eyes look down, sho w ing only th e upper eyelids. The lashes are CIt their longest here, swe eping down and away to ward the ears.

the toug hest gu y go weak . However, you've got to be able t o dra w t he shape of the eye befo re you can inf use it wit h emotion . So, her e a re th e basics. The lashes shou ld always be bigger on t he top eye lid,

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smaller on t he bottom. and should

len gthen as they t rave l away from the nose to wa rd t he ea r. A sh ine on t he pu pil is like a shine on a ne w car- it just looks go od , so include it as often as possible. It 's not just t he shape of t he eye s t hat defines th e expressions. but t he direction, as wel l. Sometimes the eyes look stra ight at yo u, someti mes t hey look off t o one side. The eyelids, including t he often-overlooked SCHEmiNG lower lids, are also used in creat ing Do not, rep eat, do not expre ssions. Deta ils such as the wrin kles nea r t he bridge of the nose, turn your back o n this t he sha pe of t he eyebrows, and t he wom an. The heavy up per eyelids hit right at the wrinkles a bove t he eyebrows all top s o f the pu pils. No te add int en sity. that on e eyebro w li fts

fiE R Y My fa vorite, the fi ery expression has the lower eyelids pu shing up on th e eyes, wh ile th e eyebrows p ush down on th em.

higher than the other.

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\ .~ fLIRTATI6lUS She peCl ks side wCl)'S thro ugh heavy lashes. eyebrows up.

SURPRISED The eyeli ds are way up o ff the irises here, revealing lots o f the wh i tes o f the eyes. The eyebrows ri se to their highest po int. Go heavy on the top and bo ttom lashes.

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sligh tl y here, and the eyes, wide op en, dClrf to one side,

THOSE LIPS! Full, sensuous, pouty lips-without 'em, you 're just wasting everybody's time. The lower lip is usuall y fuller than the upper one, and the upper lip often dips slightly in the middle. lOWER LIP IS FUU(R THAN THE UPPER LIP

pmUTY The upper lip disappears un der the pushed-out lower lip .

AN G RY The upper lip rises for a pe rfect snMI .

...

......

~ ~

SEXY Lilceshe's almost blowing

you a kiss.

I

AmUSED Use a smile that shows only the uppe r tef!th.

\\ ANXIGlUS Biring the lower lip is a common comic book way to depict feminine fear.

/ ffARSGlmf Delineate the tef!th o nly a t the edges, no t in be twe en; drawing the outline of each too th looles scraggly and draws attention away from the Ii s.

Hey; if you've go t to haW' someone suck yo ur blood, why not her? The re are worse ways to go . Baring the teeth is an an ima listic way of showing bad in ten ti ons.

THE FEmininE nOSE: THE PRRT THRT RLlURYS GIVES YOU TROUBLE How man y t imes have you dra w n a pretty wo man's face. only t o add the nose and ruin th e w ho le t hing ? This part of th e fe ma le f ace has

been known to dr ive lesser artists comple tely insa ne. Don 't end up as just anothe r st at ist ic. The secret lies in dra wing less, not more. Keep t he nose subtl e and light, wit h as little deta il as possible. Any attempt to etch in t he nose wit h a he avy ha nd wi lt surely backfire. For an att ractive look. keep t he nose slightly upturned .

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""-THE SEPTUM ISSOMETIMES SHOWN WITH A SLIGH T INDENTATION.

'he nose is not to tally mobile; it is capable

limited movements, ch , h ig h powered beam, this g al r an t erc e dn yone 10 d o he r b idd ing



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eARTH With

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t r in wh ich the mdin chcJ ril eter m ust fly from ant' locil t ,on to dnother, However. the heroint' srJII flies out to the ri g h t o f t ht' test pdnt' l on th t' fir st p dgt', It'dding rl!'ilders to tht' top o f the nex t pdge.

STHGlnG THE BIG FIGHT SCEnE As wit h any secti on of a comic book , th ere are vari ous w ays t o st ag e a fi ght sc en e. In combat scenes, you d on't in dicat e as much scenery, because you w ant the read er's ey e t o fly o ver the fastpaced scene . Th is is un like th e d etailed approa ch used to illust rat e the pr evious scen e (o pposite). in which w e w anted readers to slow do w n an d take in the locat ion s and conversat ions. For th e f igh t scene here, the basic story eleme nt s go as follows : first, th e heroine is atta cked by the vil lain; then, she po w ers u p and slams him across the w arehouse; when she checks to see if he's unconscious , he lifts the crate o verhead to smash her; an d fin ally, she send s a powe r bu rst acro ss the floor and t ak es h im out . V £ R.S I $ H

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V E R. S I $ H 2 Til,S vt'n,on USPS nlOlf' . d v,m cpd p.npJ d,.s' g n . (N olf' You should keep yo u r th u mb nd l l j

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only t here f o r t w o days answering phones, But I had so much fu n t hat I end ed up say ing I w anted to go back there and work aga in . Mea nwhi le, I calle d an o ld frien d o f m ine w ho wa s int o co m ic boo ks and said, "Hey, by the way, I worked at t h is p lace calle d Top Cow Pro duc t ions, " A nd th er e w as sile nce on t he other end of t he pho ne, an d he said , " M arc Silvestri?" Tot all y awes truck , I ha d no id ea who [M arc Silve str i] w as. I'd o n ly re ad co m ic books throu gh either exboyf riends or my brother. It was rea lly a boy t h ing . Bu t I ended up gett ing int o Sandm an, Batman, Dar k Kn ig h t. d iff erent Ba tm an tit les, M y b rothe r li ked Iron M an and Spider-Man. I re mem ber my fr iend fr om hi gh scho ol was rea ll y in t o X-Men. A nd t hat's, of cou rse, how he knew M arc Silvest r i, because Marc d rew W o lve r ine . So, he exp laine d t o me t hat I wa s work ing w ith th is, sort of, god . I called back t he t em p agen cy. I sai d I'd l ike to wo rk t here aga in . I end ed u p gett ing a two -wee k o pening and got to know everyb o dy. It was so m uch f un .

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They en de d u p call ing m e and asking me back elSthe preside nt 's assista nt f o r a couple of w eeks. Then he had to go to el co nv enti o n, so I asked, " Does anybody el se here n eed help?" Because I co u ld n 't afford mi ssing a cou ple day s of a paycheck . They sai d Ed it or ial needed he lp . I w o rk ed for them fo r two day s, and t bat w as how I go t in . CH: In t h is com peti tive cli mat e, popu lated by g iants l ike Ma rvel and DC Com ics, h ow is Top Cow able to co mp et e so w ell? RG : Marc (Silv est ri) an d Todd M cfa rl ane and Rob Liefeld -c-th ose g uys who were g iants at Mclr vel an d DC when t hey made the ir own co m pan ies-not o nly mo ved on from M ar vel and DC, but they moved on from [m akin g] t hat [t yp ical kin d) of [co m ic] book . The mar ket has chan g ed. rnst eec of a-veera id s t o t a. vear -c lds readin q t he book s, now you'vP got anywh ere fr o m 12· to 50-yeel r-ol ds [readinq t he m]. CH: what have bp en your most po p ular fema le cha ract e rs. an d what do yo u t h ink makes them so p op u lar ? RG: Def in it ely witchbt ade . A lt ho ugh [pencile r) M ichael Turner has move d on from t he book, W itch b lclde put us ove r t he top. In t h is book, you g et a w om an wh o's a profl"ssiona l, a co p . No t o nly is she a co p, but sh e's also ext remely pret t y. But, sh l"'s not st upi d -pretty, she's not a sid ekic k to some g uy. I think reaoets latched on to her because of h er w hole vu lnera bil ity. She w as mult if aceted An d on t o p o f that. she w as intelligent an d st ron g A nd she w as on he r own . Batt ling aqainst Ian Nott ing h am . Batt ling and w in n ing aga inst t hese m elle ch aract ers, thes e ext reme ly str ong m ale charact ers. A lo t of women read W itchb ldde . [The char acter I is pe rf ect . large bre aste d, smell h ip ped, very thin, tall, lon g hair . Yet, fema le readers still ge t int o her because the y don 't lo ok at her and t h ink , "Oh, she's just got big breasts. ~ It goes be yond that. It 's her perso na lity, her strength, her intell igence. Deep insid e, all of us, all w omen, wa nt to be bea utif ul. It's easy to hate beautifu l w omen . Ho wever, this woma n yo u can 't hate, because she's no t aware of her beauty nece'l-Sarily. Yeah, she w ears short skirts, but she also w ears torn jeans an d she's a co p. She hangs w ith the g uys. Most o f her

f r iends are male. And she's cl little euenat ec from mo st o f t he f em ale s in the boo k. CH: For peo ple wh o ere thi nk in g, " Ho w can I get my first jo b?" do you, as an ed itor, and do in de pen dent pu bli shing houses, such as Top Cow, keep an eve out f or new, self -pu bl ished co mics that might hold pro mise? RG : We 're alw ays looking for new t alent. The in d ependent co mic book s are so diff icult because there are so many, and it's so hard to keep up , especially as an editor, w hen YOU'(t" not just f ocusin g on fin ding new talent but you 'v e also got to get fi ve books out t his w eek. So, it's har d as the submissions ar e st ackm q up . Wf.> go t hr o ugh t hese subm issio ns, an d we d o loo k at the m. It 's hard t o f ind exactly wh at w e neec because. usually, w e're loo king for vornethin q w p neec now, At ti mes, w e fin d som ebo dy and Scly, " There's a lot of t el lent here . We can't necessarily USl" hi m now, b ut we can bring him in ." But that's har der to do ; th at's t aking a rea! chance . CH: So, if art ists get reje ct io n letters f rom you Sclying that you can't use their w o rk rig ht now but that yo u li ked it , t he y shoul dn 't just walk awa y, t hey shoul d keep in t ouch . RG: Definit ely. In fa ct, that's one of t he most im portant things I tell peo ple . Keep trying, and try el gel in . I m elY look at your submi ssion o ne week, and say I can't use t his r ig ht now. It also dep end s o n t he fra me of mind, where w e ar e. W hat are we lo oki ng for rig ht now'> But, t w o weeks lat er w e've g ot a wh ole different f rame of mi nd o n w hat w e' re look ing fo r. And perha ps t his person has now im proved sli g htly: t hey' ve studi ed anat omy, studied storytellin g, th ey' ve w or ked on it. So the next t im e, w e may pu ll o ut {their work] an d say, "rbis is what we're looking for no w ." But w e are alw ays, always look ing . CH: W hat are some o f the mistake s yo u w oul d advise aspiring co mic boo k art ist s t o avo id making when try ing to land their first job? What su bmis~ io ns look amate urish t o you and what qets your seri ous attent io n ? RG : One o f the fi rst thing s w e lo ok at is: A re they d rel w ing bo d ies [t hat are ] anat o mically co rrect'> Are the th ighs th ree times longer th an the calves?

And sometimes, t hat's a stylistic cho ice, anu t hat can work But , if it loo ks lik e they're just d oing this because they do n't know. , , . It's helrd, because ar t is so subje ct ive . CH: Not just t he art. but what about their overa ll packelgf.> and how they sub m it it? RG : We ~ely, t hree paqes of sequ ential art. Pin-u ps are f ine t o sen d in, but we can't rea lly t ell how som eon e is at te lli ng el st ory fr om th at . Do yo u always te ll a st ory from t tie sam e an gl e ? Do yo u show the same shot in ever y scene ? How do you lely t he pane ls out ? Is it int eresti ng? Does it catch the eye'> Does it Ieac the eye th rou gh the story? I ~ it dynamic? Is it creatin g a mood? A lso, it's amazin q how many peo ple d raw rea lly buff bo d ies and really po o rl y d raw n f aces, Faces are so im port an t . We get cl lot of g uys who are good at d rawin q square f aces, but when it comes to female f aces, [sq uare taces! are just not p ret ty . And el isa backq rou nds-c-t hat's usual ly one of t he im portant th in gs we look at . because w hen w e p un someone in as a new elrtist, we're no t going to t hrow them on a book. We d o n't k now h ow t hey work and what other t h ings t he y can do. So, we usually use them to help on backgrounds for other ert tsts. CH: Almost like an apprenticeship. RG : Exact ly. The more detailed th e background s, th e more time it loo ks lik e t hey' ve sc ent o n it, the mor e it wil l catch ou r eye, A nd a lot of peo p le for get about the backg ro unds, They do n 't do backg ro u nd s. They'll d o a lot of fiq u res, o r t hey'll do b ig fi g ht scenes. b ut we' re no t g o ing t o pu ll someo ne in t o do d fi ght scene im med iate ly We're go ing to pu ll them in t o do a ba ckg ro u nd , so that helps us a lot. CH: Do co mic book artists usuenv w o rk t hrough aqe nts or t hrough wor d of mouth ? RG: It de pends. We ' ve gotten a few more eettsts that w o rk through aqe nts . Sometimes it he lp s. Somet imes it's really irri t at in g I end up helving to ta lk to the artist myself, and when t here's an aqent, it just means that inst ead of mel k ing one p ho ne call, I have to m ake two. An d there's the wh ole rumor

game of, I said t his to t h e agent an d the agent said someth ing sl ight ly different to the art ist and t he artist come s b ack t o me and I have to correct it. It get s a l itt le d ifficult . But on the other hand , it's also n ice to know t hat not on ly am I on t he ir case about their dea d lines , b ut so is t he ir agent . And it he lps for boo k keepi n g, and the agent takes care of things like vouchering for them. It can he lp . It can kee p things a little mo re organ ized . CH: If you were in h ig h school or coll ege righ t now an d were seriously consider ing gett ing int o com ic boo k art as a profes sion, wha t would be yo ur next move) RG: We get letters f rom really youn g ki ds, 11 a nd 14, w ritin g, "I re ally wa nt t o be a comic b oo k artist. " That 's pe rfect, bec ause we usuall y pu ll peop le in at a really young age . The thing is, if you' re 25 years o ld an d can't see things co rrectly, you can still teach yourself, t h roug h a lo t o f ha rd work, to be ab le to see somet h ing an d to recreate it . But usually it 's t here when you're younger. Tha t's the sort of talent t hat people tend to have. I'm not saying that you can't trai n yo urse lf to do that . It's j ust a lot harder the old er you get. It's harder and ha rde r to t rai n yourself t o do that. It takes a l ittle more time.

W e get a lot of yo ung ki ds saying we w ant to be comic book artists and I j ust tell them to keep draw ing. Subm it, submit, submit. Send you r stuff. Sendin g you r stuff through the ma il is the hardest way t o get in, because I'm not lookin g at you f ace to face , I'm most likely going to send you a f o r m letter because I have 80 submissions to go through, and I do n' t have t ime to sit dow n and w rite a critiq ue of every single o ne. Whe reas, if they br ing [t heir And a draw ings] to a convention . lot of it is kn ow ing som ebo dy. Say you have a friend who know s somebody at Top Cow and t hey can bring you in, peo ple wi ll t ake a look at it and te ll you wh at they think . You just really need t o be a go-g etter. And yo u reall y need t o go t o a conve nt ion and pu l l somebo dy aside and say, "What do I need to do ?" CH: Are there any part icu lar art sc hools that im press you ? RG: The name of the school do esn't im press me at all. In fact, most of the peo ple we hire in, we hire stra ight ou t of high school. Or straight o ut of college. (t doesn' t matter w here yo u went to school. What matters is w hat you did with it. What you can do You could be 17 years o ld an d in h igh school, and if you're drawing m ind -

blow ing things, I'm going to do my best to get you in here . CH: If I were to talk to you five years f ro m now, where would you env ision Top Cow t o be as fa r as story li n es and female characters are concerned? RG: Righ t now, for exam ple, Spirit of the Tao has a very young cha racter. She was an eng ineering student and found out all of t hese th ings about herse lf . And her best is friend Lance, so it's a qirl.quy, yin -yang th ing All the characters are very we ll written. Yo u can't side w ith any of them-th ere's no clear- cut good and bad . She's not the " evil " charact er; she's not the " g oo d li tt le gir l" character. [Characters ] are tendi ng t o g o t hat way in com ic books, inst ead of being so stereotyped . She's a no rmal hum an being Fathom, anothe r bo o k that is huge ri ght now, is simil ar. She was just this no rma l young woman who f inds out she has t hese am azing powers, and she's st ill not sur e where they're go ing I th ink the key to th is type of storytell ing is that everybody feels that there's something ahead f o r the m. Everybo dy fee ls that somewhere inside t h ere's somethi ng reall y specia l. And these char acters f ind that t h ing ou t. Th e reader goes, " Yeah, I could have that. I just do n' t know about it yet. "

INDEX abdominal mu scles, 29

action pose . Stoe pose agents, 141, 143

explosion spe cial effects, 94 expressions. facial. 14- 15 eyes. 14

al iens, 88-89

amused expression, 15 androids, 87 angles, 12-13, 34-35 angry expression, 15 animat ion jobs. 127 an xious expression. 15 armor,77 at omic infern o, 94

atomic punch. SO backg rounds. 141

back muscles, 29 bea m blasting powers, 53 body

angl es. 34-35

curves. 26-27, 33 idealized,20 muscles, 28-32 planes of, 36-37 point of balance. 38 proportions, 18-19

sections of, 22-23 silhouettes, 42-43 skeleto n, 21 see afso head ; pose ( a lvei, 31 cars, 62-63 Chase , Bobbie, 7. 132-37

cnese seqoence.uta-tz com put er colorist. 134 costumes accessories, 65 and characterization. &4

fearsome express ion. 15 fiery expressi on. 14 figh ting pose, S4-57 staging, 113 wa rrior costumes, 20, 58, 77 f1ameth rowing po wers. 53 flirtatious expression, 14 flying pose, 46-47 focus, 110 fo rced pers pective, 7, 44-47 ga ng member, 70-7 1 Geerli ngs, Re nee, 7, 138-43 gloves, 24 godde ss, 75 hairstyles, 17 ha nds, 24-25 head angles, 12- 13 feat ures , 14-16 front, 10 ha irstyles, 17 side, 11 he ight, 18-19 horiz on line. 108 hypnotic powers. 51 information sou rces, 129 inkers, 127, 134 jo b search, 127. 133-3 4, 14 1, 143

android, 87 Egypt ian queen, 76 functional. 134

kick, 54 knee strike, 57

gang member, 70-7 1

layeri ng, 109 layo uts, 104-1 9 leg muscles, 31 light ning specia l eff ect s, 98-99 lips, 15

gloves. 24 go ddess, 7S ide as for, 124

ninj a. 90

vanishing lines/ poi nt. 106-11 pilot. fighter, 82 planes body, 36-37 face, 12 portfolio, 125, 133-134 IX"" ba sic masses, 23 dynam ic vs. static, 39 fight ing , S4-57 flying , 46-47 muscles in. 32 1co-pe-cent co mmit me nt in. 40-41 ra dioactive. 9 1 super power, 48-53 pouty expression, 15 pre his10r ic wo man , 74 princess, plan eta ry, 78 profile, 1" 12 proportion s, 18- 19 pu blishe rs, 128 pun ches, 40-41 , SO, 55. 57 quadriceps , 31 rad ioa ct ivity, 91 rain specia l effects, 96-97 refere nce files. 123 reflective costumes, 36-37 rocket pa cks, 61 sad expression. 14 scheming expression, 14 scuba girl. 79 sea creature, 80-81 sexy characte rs, 134-35 sexy expression, 15 shape-shifting power. SO silhouettes, 42-43 ske leton, 21 smoke, 95 sorcer ess, 69 spa ce/plan et ary cha racters, 78, 83-86 spiked body,S 1 sports ca rs, 62-63 storyline, 112-1 7 super powers, 48-53 surprised exp ression . 14

pr ime val, 74 ref lect ive, 36-37 sorceress, 69 spa ce/p lanetary cha racters, 78, 83-86 underwa te r charact e rs, 79-8 1 un iforms , 82 yalley g irl. 68 vampire, 72-73 warriors, 20, 58, 77 wea po ns, 59-61 cover des ign, 118-19

mai ling artwo rk, 126 ma nnequi n, artist's, 22, 23 martial arts, 56-57. 90 Marvel characters, 132- 37 mental powers, 52 mer chandising jobs. 127 mood, 14-1 5. 43 moon special effects, 100-101 mouth. 15 muscles. 28-32

de lto id muscles, 28, 29, 30 diagonal lines. 106 drawing, 122-23, 133

na ils, 25 ninja assassin. 90 nose, 16

valley g irl. 68 va mpire, 72-73 van ishing lines/point. 106-11

Ea rth summoning po wers , 52 editor s, co ntacting, 126, 133 Egypt ian q ueen, 76 eq uilibrium, perfect, 38

pencilers, 133-34 perspective fo rced , 7. 44-47 two -po int , 111

wa rrio r cha ract e rs. 20, 58, 77, 133 water spec ial effects, 102-3 weapons, 59-61 worried expression , 14

taxes, 126 teeth . 15 314 view, 12. 13 thumbna il sketc hes, 112-13 Top Cow Prod uct ions, 138-43 tra pe zius mu scles. 29 underwater characters, 79, 80-81

$19 .95 USA

rom classic superhero ines t o t oday ' 5 modern w om en and everyt hi ng in bet w een, f emale

characte rs provide a st rong a nd cons iste nt presence in comic books and are an integral part of many story lines. This lat est offering from we ll-known author Christopher Hart is t rul y t he ultimate book on how to draw sexy heroines, beautiful bad gals, powerful technobabes. appealing aliens, and much more. Filled w ith art from top contemporary comic book artists, int erviews with current comic book editors (including one at Marvel Comics).

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and featuring instructions on anatomy, action poses, costumes, cha racter types, perspective, storytelling. comic book layout, and cover design. How to Draw Great-Looking Comic Book Women is an invaluable resource and the only book you need on this popular topic.

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144 pages . 8 1/2 x 11 · (21.5 x 28 em). 310 illustrati ons, 200 in full colo r. Index.

Christopher Hart is th e best-selling author of watson -Guptill's most popular h ow-to-draw books. cover ing everyt hing f ro m cartooning t o animation to com ic books . His book s have been translated into ten languages. and he is a gu est w riter f or Cartoonist Profiles. a trade magazine. He attended the Disney animation pr ogram at The Californ ia Institute of the A rts and earn ed a B.A. f rom New York University's fil m school. A f ormer staff member of the worl d-fa mous Blondie comic stri p. Hart has bee n a reg ular cont ri butor t o Mad Magazin e and has written comed ies f or many t op film and 1V st udios, includi ng MGM, Paramou nt, Fox. NBC. and Showtime . He lives in Connecticut with his wi fe and two daughters.

Cover desig n by Bob Fillie. Graphit; Design. Inc.

Front cove r art by Grant Miehm W ATSON -GUPTlLL PUBLICATION S

151 5 Broadway New York,. NY 10036

Manufactured in the United States of America