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642 views145 pagesThe Art of Drawing Fantasy Characters Discover Step-By-step Techniques For Drawing Aliens, Vampires, Adventure Heroes, And... (Jacob Glaser) (Z-Library)
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0% found this document useful (0 votes)
642 views145 pagesThe Art of Drawing Fantasy Characters Discover Step-By-step Techniques For Drawing Aliens, Vampires, Adventure Heroes, And... (Jacob Glaser) (Z-Library)
Great book to learn how to draw
Uploaded by
Paul WeaversCopyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF or read online on Scribd
/ 145
Boece
ir Te Cold
a ro ,
oa ; W 7 a ge
a re ea WE DR Cy
A step techniques
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ISN E-(ae) omelet g re a The Art of Drawing
Fantasy Characters © 2010, 2011 Walter Foster Publishing, Inc. Artwork on cover, back
cover, and pages 1-144 © 2010 Jacob Glaser. Artwork on page 8
(shapes and forms) © 2007, 2010 Christopher Speakman. All rights,
reserved, Walter Poster is regi
ered trademark,
Digital edition: 978-1-61059-821-7
Softcover edition: 978-1-60058-166-3,
This book has been produced to aid the aspiring artist. Repro-
duction of the work for study or finished artis permissible. Any
art produced or photomechanically reproduced from this publica:
tion for commercial purposes is forbidden without written consent
from the publisher, Walter Foster Publishing, Inc The Art of Drawing
Fantasy Characters Contents
Gernine SraateD. Mummy 70
Tools & Materials © Evil Scientist, n
The Elements of Drawing 8 Werewolf %6
Basic Pencil Techniques 9 Grim Reaper 78
Creating Textures 10 Succubus 80
Perspective Basics 11 Hell Hound 2
Boogeyman 86
Science Fiction
Man-Eating Plant 88
Alien 4
Banshee 2
Ray Gun 1s
Cb 4
Brain in Jar 20
Masked Maniac 98
Android 2
Alien Lord 26 ADVENTURE CHARACTERS.
Space Hero 28 Young Hero 102
Alien Beast 32 Evil Sorcerer os
Cyborg 34 Gnome Dragon Slayer 108
Space Pope 36 Druid m2
Starfighter Pilot 40 Swordsman 4
Robot Attack Pod 2 Drow us
Alien Heroine 44 Barbarian Wartior 120
Alien Tracker 48 Jester 12
Space Sword Mystic 50 Blacksmith 126
Sidekick 54 Maiden 18
Archer 12
Horror CHaRacteRs. 56
King of the Dwarves 4
Frankenstein's Monster ss
Black Knight 136
Vampire 62
Undead Warrior 38
Zombie ot
Avenging Angel 140
Witch 66 Getting Started
In this book, I'l showcase my process of drawing characters and props from three speculative
fictional traditions: science fiction, horror, and fantasy or adventure. Each genre has its own
unique conventions and characters that populate movies, television shows, videogames, and
literature. I have chosen various archetypes and icons from each genre and developed them to
illuminate at least one way of approaching character illustration.
I prefer to do most of the basic work in the concept sketch or thumbnail stage, but for
the purposes of this book, 1 work at full size so you can see the complete process. The best way
to increase your ability to make convincing drawings is to continually study the world around
you, especially human anatomy. I have also found great value in studying the processes of other
artists, and I hope that seeing mine will be helpful to you. Tools & Materials
One of the best things about drawing is that you
can draw anywhere, anytime with just a piece of
Paper, an eraser, and a pencil. As your skills increase,
you'll mostly likely want to expand your drawing
tools, but it’s best for beginners to just start with the
basics. When you do start to purchase more supplies,
remember that you get what you pay for, so purchase
the best you can afford at the time and upgrade
whenever possible. Although anything that will
make a mark can be used for some type of drawing,
you'll want to make certain your magnificent efforts,
will last and not fade over time. Also remember that
everyone has his or her own preferences, and that
experimentation is key. Here are some basic materials
that will get you off to a good start.
Sketch Pads Coneremty bund
tang pads came nawite
varity of sie, eres
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hen rain eutoarsYoucan
te larg steak nthe tio
salon wth yu for eoding gic
Inpessons whe you tae sao
tomedion grain paper eure (led
the oot an el hie
Drawing Papers for fised
worksofatusngsiage shes |
faving papers best. They
tre vale nage of
(ate aa at pressed, medium
‘ln (ol presse, ard ough
tovery rough The ld pesee
ot oaly snot, so makes 2
fed utace for avait of
Charcoal Papers choses!
paper and ables are aso aa
le ina varity fers
Sar ofthe sae fists ae
‘ite pronounced, and you can
Inyour ravings These papers
also come na vary of 06,
Inet our eavings.
So:
‘Work Station You do need a studio to daw bus agno Wea ost up a work ea
vith oo ting nd eno rom foryouto waka lay ut outa When raving
‘righ you can ase asf wit lb and al white uneasy
have bath warm lon and coal ue) igh You also ree a confoable chai ada
table preferably near window for rtralh, You may aa want to pchace a daving
nad hat ane ase to cern ets nd ales a shown above
[Artst’s Erasers pitt erasers sense
/ ‘mer ih can be ormed int sal
/ wedges and posto renove marisa
‘ryt aeas. ale use aad lati
‘um eases god odin ato
erasing 35 hey crumble casi ad are
‘Art gum esto damage the one’s suce,
Sharpeners You'alvays watt keep
tet Sharpene can be used ba many
tists prefer touse a eauarhané ela
‘arpener, whieh fords more convo vee
sharpen our peeling aut nite of
yang against rough drawing paper
ora sncpaper bck
Ligh Table it des .oy
inte and ease ou, tom
le lap or bites
hve ny stud. They ae ery
ell for tracing owing onto
lean sheets of pape anor
composing mot fom usb
tins, Feros ne tt
. recommend sig age
/ ow nly tape yur sete to
the window th the clan sheet
ontop oft anata ava.
though and reas cave Pencus
Drawing pencils are classified by the hardness of the lead
(actually graphite), which is indicated by a leer. The soft leads
(abeled “B” for “‘black”) make dense, black marks, and the hard
leads (labeled “H" for “hard” produce very fin, light gray lines.
‘An HB is somewhere between the two, making it very versatile.
‘A number accompanies the letter to indicate how hard or soft
it isthe higher the number, the harder or softer the pencil
(For example, a 4B is softer than a 2B.) In this book, I switch
between a 2H and a 2B pencil, but every artist as his or her own,
preferences, Any of the leads can be sharpened to the point you
want (as shown at right), achieving a different effect. The result
will aso depend on the texture of your paper. Practice shaping,
different points and ereating different effects with each pencil by
varying the pressure you put on the pene
ut Device When chosing ape input deve, base your decision on eves of
‘estan persona confor. use a mdium-sied Wacom! tablet ané wouldnt
‘want anhing large tough row several atte who use the rialest nage ab
lets rable 3 coe of personals and comfort,
Dicrrat PAINTING
You'll notice that I don't provide step-by-step instructions for
the colored finals in this book; instead, I comment on my color
choices. | chose not to include exact instructions because all
software programs are different and all artists will use them
differently, so it won't help to explain my process with my
program, But to me, talking about color choice is always helpful
There are many complicated brushes, textures, and gadgets to
experiment with, but I find that the most useful brush is a basic
shape, lke a circle or ellipse, that has the ability to
ly control
opacity, size, and the brush edge (the “hardness” and “softness!
of the stroke), The fundamentals of painting with physical media
stich as watercolor and acrylic also apply to digital painting—
especially in regard to eolor theory (see “Color Basies” at
right)—so learning them will help you become a stronger digital
artist as wel
6,
sharypoiot
i,
ound pont
AnH with sharp point producs cp nes and fess
{20d contol Wiha ound pol youcan make lhl
‘heres and shade al ea
ee
ae
=
lee
‘at stettng pots eat shacing are ans, but the
harp sled edge canbe used to mak the ine to.
PAINTING SoFTWARE AND PEN INPUT Devices
Many projects in this book include a painted final, which
create using painting software. Several products exist o simulate
the experience of painting for digital ants; cant imagine a
‘more forgiving environment in which to learn and experiment
with color, valu, line, and composition, Youll need access to a
computer with a monitor that ean display good level of values and
colors, as well as painting software and a pen input device. There
are many options for painting software, including Corel Painter®
and Adobe Photoshop®. Both ae great programs backed by teams
that continue to improve tei stability, creative options, and ease
of use. While painting with a mouse is possible and the results can
be impressive, you won' get the most out of your painting software
without a pen input device, which allows you to use an electronic
pen as you would a pencil or brush
Cotor Basics
Color theory isan extremely broad topie, so Tl ust touch on the
absolute basics. The primary colors are red, yellow, and blue; all
‘other colors ate derived from these, A combination of primary
colors results ina secondary color, such as purple, green, ot
‘orange; and a combination of a primary and a secondary color
results in a tertiary color (like red-orange or yellow-green). Pairing
complements such as red and green results in a striking contrast,
that can add excitement to a painting, However, when mixed,
‘complementary colors “gray” each other, resulting in a neutral
color such as gray or brown. Colors ae also considered either cool
‘or warm, which helps express mood. Warm colors—reds, oranges,
and
lows —are associated with passion, energy, and anger,
whereas cool colors—blues, greens, and purples—evoke a sense of
peacefulness and melancholy. The Elements of Drawing
Drawing consists of three elements: line, shape, and form. The Shape of an object can be described with simple
one-dimensional line, The three-dimensional version of the shape is known as the object's “form.” In pencil
drawing, variations in value (the relative lightness or darkness of black or a color) describe form, giving an
object the illusion of depth. In pencil drawing, values range from black (the darkest value) through different
shades of gray to white (the lightest value). To make a two-dimensional object appear three-dimensional, you
‘must pay attention to the values of the highlights and shadows. When shading a subject, you must always
consider the light source, as this is what determines where your highlights and shadows will be.
‘Movin FROM SHAPE To Form
The First step when creating an object isto establish a line
drawing to delineate the flat area that the object takes up. This is
nown as the *shape” of the object. The four basic shapes—the
rectangle, circle, triangle, and square—can appear to be three
dimensional by adding a few carefully placed lines that suggest
additional planes. By adding ellipses to the rectangle, circle, and
triangle, you've given the shapes dimension and have begun to
produce a form within space. Now the shapes ate a cylinder,
sphere, and cone, Add a second square above and to the side of
the frst square, connect them with parallel lines, and you have
cube.
Aectagte cle
Tangle Suave
Appin VALUE To CREATE FORM
A shape can be further defined by showing how light hits the
‘object to create highlights and shadows, Flest note from which
direction the source of light is coming, (In these examples, the
light source is beaming from the upper right.) Then adal the
shadows accordingly, as shown in the examples below. The core
shadow is the darkest area on the object and is opposite the light
source. The cast shadow is what is thrown onto a nearby surface
by the object. The highligh is the lightest area on the object,
where the reflection of light is strongest, Reflected light, often
overlooked by beginners, is surrounding light that is reflected
into the shadowed area of an object.
oe fee
= a,
os
=
—
os oi
=
Rom a en)
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Basic Pencil Techniques
techniques, you can produce a world of different stroke shapes, lengths, widths, and weights. If you vary the
way you hold the pencil, the mark the pencil makes changes. It's just as important to notice your pencil point.
The shape of the tip is every bit as essential as the type of lead in the pencil. Experiment with different hand
positions and techniques to see what your pencil can do!
GRIPPING THE PENCIL
Many artists use two main hand positions for drawing. The writing position is good for very detailed work that requires fine hand
control. The underhand position allows for a freer stroke with more arm movement—ihe motion is almost like painting. (See the
captions below for more information on using both hand positions.)
the Wilting Position This anita postion roves themostconvol. Th acc- Using the Underhand Position Pickup the pv ith your hard ort hokingthe
tate pei ines that ea re prec forrenaering ne details rd aecets When your pene betasen he thm an ines ner th remaining Fras on et alone he
nisin this potion, pace alan see of paper unde yourhanto prevent smudsng, pen Yu can ete Baul shingle ram his poston.
PRACTICING Basic TECHNIQUES
By studying the basic pencil techniques below, you can learn to render everything from the rough, wrinkled skin of a monster to the
solt, smooth hair of a tower-bound maiden. Whatever techniques you use, though, remember to shade evenly. Shading in a mechanical
side-to-side direction, with each stroke ending below the last, can create unwanted bands of tone throughout the shaded area, Instead,
try shading evenly in a back-and-forth motion over the same area, varying the spot where the pencil point changes direction.
‘hs base meted of stoding ils ing osshatehing For darker shang. lace ayers of ua crest grate values (hom darko i,
asetesof pre stokes The cserthe ‘lll ontop of on nee avanig angles, Ags, apply heny presse wth these of your pncl aul
"toes the dre the fone wl, ‘mate dave values by placing the stokes close togehet._Ughening the pressure as you se.
wey
‘Shading Darkly 8y spying hese esa tothe pr
cl youcan crested, near seas of shad ‘ide ofthe pelt apol smal ureven stokes. ety the nes witha bending tol arissue.
‘Shading with Texture foramottes tenure, usethe Blending To smoot out the vartions beeen ses,
a Creating Textures
Textures are not eitities that exist on their own; they are attached to a form and are subject to the same basic
rules as all other forms. A texture should be rendered by the way it is affected by the light source and should
be used to build the form on which it lies. Texture shouldn't be confused with pattern, which is the tone or
coloration of the material. Blindly filling an area with texture will not improve a drawing, but using the texture
to build a shadow area will give the larger shape its proper weight and form in space. You should think of
texture asa series of forms (or lack thereof) on a surface. Here are some examples to help you.
Cloth hetexute of dh wil ependon hethicness Long Male Longhair the dah nasadiecion anda Seales Draw sa series of eoching Stacked plates,
and stifess ofthe mate Thinner mater wilh flow Retest. Rspatens depend the wiht ofthe sales il become moe compressa a they follow farms
tro rite that bunch nd conform shapes more tui nd tess pols Lonbuethers into saler "tat erede fom Be pictur plane, sar ec
Perel Aswinies move sound form naavay fom orms—simply teat eahorm ait one sibomm Matis lque to ante amor nd cma
thepicre plan, hey compress ndbecomemore dense porte er frm. Remember tht ec form il be
(shih s an expe offrestotening sepa) ected bythe same la ight sure
Wood isetough ano snd down, wood made ‘Metal Polished metals moved sista an fects
‘pel siting tines Thoe sah and detonate pit ond he picureplan and can be dtrted nage of whatever i around Mtl can range
pattem at you need oer and then eloutih your ndsed a ots Moving ot andi shaded areas, om sll shown here tole sharp and
Canines. the mars become loge and more dense noche Th stapes reflected willbe abt wth hard
‘tor, andthe teed ht lb very ih
Feathers and Leaves As wih stor ha, sifethers Curly Male With cya ts imgortantoolow the Rape The seis of ide cords at makeup ope re
orteaes felon ad abit hic The ams clsestothe pte oth, car shadow, and feted ight ee ate pate tat compresses as itwaps ound a sue
viewerareconpresel and thosefatheranay fom the page). Urlyand wid pattems wl neas thelres- and moves aay om the picture ane
viewer nae Son dreaded or trae it =
Perspective Basics “eee
Another important aspect in creating convincing drawings is the understanding of the basic principles of
perspective, or the visual cues that help create the illusion of depth and distance in a drawing. Perspective can be
broken down into two major types: linear and atmospheric. In linear perspective, objects appear smaller in scale as
they recede from the picture plane. In atmospheric perspective, objects that are farther away have fewer details and
appear bluer and cooler in color, whereas objects closer to the viewer are more detailed and warmer in color. With
linear perspective, it’s important to remember that the horizon line (an imaginary horizontal line where receding
lines meet) can be the actual horizon or a line that falls at eye level. When working on any drawing, having an
idea of the eye level of the viewer is important so you can apply perspective to the forms. When drawing figures,
ellipses are especially useful in establishing and enforcing the direction and topography of forms.
ForesHoRTENINe
[As with linear perspective, parts ofthe body that are closest to the viewer seem larger than those farthest away. To represent this in
your drawings, you must use foreshortening, which pertains only to objects that are not parallel to the picture plane. Because of your
‘viewing angle, you must shorten the lines on the sides ofthe nearest object to show that it recedes in the distance. For example: IF you
look at someone holding his arm straight down against the side of his body, the arm is vertical (and parallel to the picture plane), so it
appears to be in proportion with the rest of the body. But if he raises his arm and points it directly at you, the arm is now angled (and
‘no longer parallel to the picture plane) and appears disproportionate. (The hand looks bigger and the arm looks shorter.) Translate
this shift in size relationship to your drawing, and you'll convey an accurate sense of foreshortening,
Drawing Elipses Ja lipseis mere cle tht as ben foeshotend asics above. 'simporat rasta able crect dam an als, sits ne of he most
basicshapes std in ering Try caning eis of pes, as shown here. tart by ring perfect square ten bse! wth arial ean a verti in, Extend the oro
lines ated bythe op and btm fhe quae aso end the center hotline to he ight. rata series fears tha edie nwt alan he rable GoBack
tothe square ae raw aca om oi pain one of the quarters, 5 shown hee Repeat his same cre in he enanng quater um the pape as you draw iit hel), an You
wahave ete prt! le ihn the ghar. Repea ths poersin each fhe narowngetanges produce ang of lips. Use this eatire whenever yu ave icy
OY UT 1 0
tips describing sutace of cylinder in perspective
ipses describing simpli surace of anatomy.
Foreshortening As dscusse above, hen alinbor__Elipses in Perspective The gues basal age nar. When the orion ne sat was ight, lise
ter exert ke 2 fing) moves that th cer ais__reune the rs that are para ote ground appears stag Ines. lipses above slime appear 35 we ae
becomes perpen pre plan, he forms hat__ ooking up at hen, and lipses Below the ine appear as fe ae ooking own on the The sar the views 0 the
rate the object apeart over andinrease sie, objet the more dramas ele becomes This alate avn ad ih ofthe oi of ew (abled POY.
‘eating hath aeaeshrened. Understanding be These theelipses move toward the cere, the marethey ope up. Aa the close the vewesto the obj the
basi foms andthe etipsesthat describe the surface wil more dramatic the eet.
ely ou understand and rw foreshore forms Science er ae
This subject is a cultural icon; the challenge is
to portray it in a way that isn't boring or cliché,
Alien abductions have heen actively chronicled
since the 1960s, but accounts of interactions
between humans and aliens go as far back as the
19th century. Some people believe we are part
of a massive science project being conducted
by these little gray men. The classic gray alien
is often described with striking similarities by
abductees and witnesses from all over the world.
Whether this is due to mass hallucination or
people conforming to popular images, the gray
alien makes a great antagonist to any space hero.
>
cept Sketches These small eaingshlp me warm ypand hep me
from ling into visual ccs, Tey alo allow me experinent wth he haa
ter atte, costume, and rps Ty ting he heads ocr, suse, of
tvonbeas na strs~the rel ankane your al caning
HO
Ly P
| i \
A 7
hie
‘Step One when saa rain, tnd my 2H panel abot 2.5" aay or he
Apt eep man fom sting to deat and ung dat es too icy. Fo the eet,
"sur wth ew quick es tetas he gneralshpe and este lhe fu Then
refine he shapes ang ceeries othe asc formas lace 2 hota ine 25
lesimporanttosrow where the viewer's ye vl plae hs ize tine low on he
© page tomate the dma rater more inpoing Net I ra sme lies roan
te row ine, wai shales and nes To exaggerate the pase make the Abe's eh
© "Shoulder ait ver han ft Nea adhe ingesand tea gn, beng suet
© ton thoug” Shapes ensue that they make ese.
‘Step Two how start detainee aie’ spaces Rave strong igs fom my
Concept seehes incarnate the, bata case mosh jis aw shapes and make
sure hao the form ofthe es bodys stage milexperinentingto See
what ite, ‘Step Theee Than’ arge heads
‘Amn eno is eon,
‘ding dts a ling ut the form
create ae, sy ees, developing
‘the ocular otis cry a0
‘experiment with sme costae deta,
ramen 25 wat him have some
‘ote image's just anded athe
‘dae of frstin a ih populated
aes so hy sei
Some as, ae ie and large oa
torepesn the start f a hing sauces
The top athe sump el he orion
Tasso you arse ashy oven oa,
Shape athe op plane I make sto
‘ra the bara tht rap sro te
‘nical shape ofthe tum,
Four Now swtcht028
etna peel tart ing shod
Ine ch easing costacton esa
1. decide use he a From he ay
Eun and arbiet moon he wo
Sure fa th acing or
Ihe spaceship make sare toleave eas
‘ofc near te edges sme forms to
Sues eects, which il help
‘etme ors shad ae ve 3 alr
fetta shapes Lalo cat ihe eos
by iting oat graphite wth 2 kneaded cing my Hes wh he 28 and Ray guns are descendents of today’s firearms, The
shape of the gun itself and the way it is used by
a character can be very telling about his or her
personality and the world he or she inhabits. Take
a look at photos of real guns; you'll note that they
all have some general characteristics in common,
especially when it comes to the handle and trigger.
seo del with usin the desig stage tom
sonata a sy
"Sore a oak to cartoonish and ack an intnitigel at 609
ovine, 0 probably ster nay fom ht
"Step Tw {rene the outine ad pick out mor forms
tedahenrmeromanconearorse
‘Step One vn 2H pen ey
fama pido belp med the coect
perspec you nay want to awa wid
nde a hota lace thei or
{he davingt check he pespect),
Fer ered parposs tenes ae
‘ark ant more eat ethan
they ower ay teh tbe
eel shape ofthe gun espn in
humane hd
slows wil ad
a
Step Three |dahen my peviuslnes and use the at
‘ge of my pec oh caw stapes ane det that
Tn ok coot hs point mexpeimenting a
‘in ere afew pars that doe and ee bling
Shapes thatel gt cota to reeencethe pias!
ra but eep evening ose When sts, ean
Ute ges nd tres ith ard paste nee
‘Step Four Now that! know what want teal lok
atu the tena sta darkening Ines and deve
oping the specie strc agp tering he i 2
tomake ue the pespecve of ce acute Brain in a Jar
A brain in a jar is a standard evil/mad scientist prop.
For some reason, brains stuck in jars eventually turn,
evil (more so if it’s a Brain from Outer Space). But if
you're a brain in a jar, do you really have anything
better to do than to think evil thoughts? A brain
that is detached from a body yet still able to think
and perhaps (with mechanical or minion aid) act
‘upon those thoughts is a danger to all.
Concept Sketches hiss ct sujet soit neds to be dese up wt some
technology. e sure to reference photos or dlasrans of bas so hate shape and
texte wil be ecoenabe
‘Step One vith a 2H enlist the pose. dom the haz ine a aise
‘nthe tp of bat of hear the aos sech he greta shape ofthe brains
{hej Heat tighten up the mao stucre ofthe jt, coud wal ur oh, it
il fou tat pas ofthe an are sticking eu ota the top an oto of het
orn ups thik’ beter the shape now. Then 126d tube coningout of
thetop ofthe ror te techno leer
Step Three tonne ang dts, ost paying attention othe fol he ain
Eventfitleks te chaos, thee’ hn ot Forte ran look convincing.’ impor
‘arto gti general ea of how tel wrk aio ad deta tthe nan rm
nd ls textes ot othe dag There tals ogo be eer flee ight
Soutes, so eave alt af wht pce Net seth 328 oa the nes, stating
fromthe ete an waking my way
‘Step Two Now use the sie of my panto sketch some shapes an eure ou whats
is oie okie, deel te ban ther, making st oak ike 3 ai
‘Step Four \gobackto the i perl to aa few shadows nthe metal and tent
the 28 to dren te ran. outine everthing an and sta thinking abot where place
sheds ‘Step Six Stn of with
seen low and oose be
Sra salman a my bale clor
‘hela sem below
‘The folds
that make up
the brain's
surface are
actualy a sign
of advanced
intelligence. As
brain grows,
its surface
folds into ise,
‘creating a wri
led pattern,
This expands,
the numberof
neurons inthe
brain without
splting the
head open. ire
The term “android” is broadly used to mean an artificial
human created using silicon-based materials or bio
engineering. In fiction, an android often serves as a foil
for the humanity of the other characters, explaining the
human failings or emotions in the plot. The “human”
look varies quite a bit among androids, but even the most
robotic-looking ones are at least about the size of a human
and have two legs, two arms, and a head.
Conc shtee cry te cio do hin ya ib
toasaune that pope wisi be natal hoe cactus Ldecide og ith le
skating even diner waves.
‘Step One igh seen ne pase wth
34 perc, staring wth he ie faction
Bim for skating pase eve though ne
esting ose ais ot
‘Step Two | sia developing the asc forms ofa
‘woman snes aro wie ema. move the
fra andlegs sound a itt see fea fied eter
‘he smoke and ame alana sech the od ay
‘Step Thee |e he am and eg postions so futher
ry ies ana easing very tle hs poi ‘Step Four ike he sic bud stage
Costume which atti ae cons of
‘sian pron and aha 0368
eis suchas henge jos
st that isis robot dace
‘Stop Six comin ang es, spe
lato the hands When tm sti,
‘ten to 28 perl ng darken my
nes. yo kepa fem hand tha
edges ae sap and ook machine
‘Step Five ow really et note spe
‘ie detache face, har, at
nek shoes, ad bot hinges,
face deat that ar dearthe
butte fron and emiiacent he
non ody ao die hat wart
mae the union prety mach part fhe
‘Next add ore ine forthe smoke al ‘Step Seven As contine cing
‘efi! nes ad ming the ance
ok es nd es ran Lad can-
wast and define edges a forms. aso
esate dak areas and skaons,
hole at of white pce since
the androids ea and be ang
alotfrefectons wie clothe
al ring
‘Step Eight | comineading
eas nd shrpenngedaes
:
sets ue mente al-
ing process. No space odyssey is complete without some tyrannical alien
lord to antagonize the hero. Just like political leaders here on
earth, alien despots probably surround themselves with signs
of royalty. Scepters, crowns, and official-looking robes help
separate the alien leaders from the rest of the crowd, but an
air of importance also helps.
opt Sketches loko puresof ders past ard presen to getides decide against
prchingthe charac on tone bit several fhe tera 0 rt ncrporte
Step One | use 22H pena ty
‘eth the pose This eader ees t0
Show shenth ond sly 0st.
‘ath ery pig pose. nt the
Fgweto ead asa leader of mene,
rater lens
‘Step Two Since mostt ne ue wil
omned bythe cot, star shteinathe
robe aio ad ane eof sm fr aoe
iow mae the igre mare psig ow
Star deting the ae deeoping the rs
fon rd making loka thus te eer
aes backgroud ements that make
sensefoan alien ig
‘Step Three continue deeoping the fre
ad eastume, ang a scepter and ali
the esta hands ard some more dtd back
‘pound ements. as tart developing
tones ofthe obes nd prop Space
Hero
The word “hero” comes from the Greek word for demi god (heros, or half god). The term has come to apply
to any character that commits to an action or thought that is beyond the average mortal, generally when facing,
obstacles that are supernatural or extraordinary. A space hero should depict these traits, sport some neat space
gear to fit the role, and, of course, be in outer space. The space gear is broadly interpreted: from the classic
bubble-headed space suit and cigar-shaped rocket to Arthur Dent's towel in The Hitchhiker’s Guide to the Galaxy
‘Step One | iit gesture te
ing eset of tee, hs
tr and sane nsape
Step Two Continsngte develop
theta ith he 21 tart noting
ajo aati pans ane ara
aj of ying here, how
ter to see the bay makes
Sense in pace bore tar adn
Step Thee | don ite the postion ofthe
Ide and lace the gu tele.
Comings deep eas ore cost,
te ore rata pits, an inet
dlssies el rast ity theo
buck Rodgers come stip, Next ty
seth afew bacgoud lent ‘Step Four tate sm tint deel the
lace ard get etre of wh ths person
Ie Tale fil sre deta onthe costume and
ate some fhe shadow pans. Once have
the basi shopes ofthe costume, tart cating
Athi AS ron make sural he os
wap around the igr
‘Step Five continue wingthe at as
roe pressure an al nes wh eer
Stokes reach ate dns and welt hat
"he. es ut the forms by aden shadows
‘Step Six | mov rund the Re, ing
tenia shadow 25 oan ying watt
lose th energy ofthe pose. anger ras
of shadow, dr press to har because
suggest reflected ight and wink deta, ‘Step Seven How gin wih my laste
trast cea up edges ad at aes.
Fis ck shapes wher ean anda ext
tenure bare api
ng the as ar oleae nyse one a
play ith onus.
RR wee 2
Alien Beast
Ride it, eat it, fight it: The alien beast can add a lot to an
environment or to a character to help define his or her lifestyle or
personality. Think of the TonTon in The Empire Strikes Back or
the Tribbles from Star Trek. In this case, I am going for the kind
of beast that one might encounter lurking about rather than a
beast that is fought in the arena or ridden like a horse.
Concept Sketches Creature chaaces
arsed fur—and sce prety zh
nth oe, ty abroad ange bey
‘Shapes appendage configtatons. The
omni but ero
‘Step One | ighy sketch the general pose fhe best
ert geting at daa he space nthe page tat the
create wil everualy inka, wo as wher body
‘nd inde are nation a oe another
‘Step Two Stl ovine my es very et Imorkouthe
lrg foms ofthe ibs unk ata aio se sone
‘thought oeatures ke the ching tongue and lang
is ack and hed
‘Step Four stl using th 2H pen, sech he muscles
‘nd bones hat think ae ging to show tough he kn
{tnd fr ao ad ref poet edges fom.
Step Thre | futher efine the ege shapes, ating
jr anatomical points and adding ea for testes.
tendo spend it mor tme onthe end ap face hey
‘Step Fve ow star aig inl ines
by using more pressure, eepigin ming
‘he forme ties |. dei
tap nomal sol change thermo cating
‘anc stapes. Then begin ang
to hetace by saan lng creases ‘Step Seven vow'hatthaweayood
fecngtornowthisbeatsboudoos! [2
pressor toa inthe ls LY
‘Step Six | the he Wythe fia fr rooting so
{ight arythem ough the res fhe cesar
Seren he fos inthe head by easing out soe of
{he shadow had bultup around heey and adn moe
speci det tothe rial socket.
‘Step Eght ste ne
oth apd gobck tough he
Grain toda venute ard
‘shadows, ad erase as much
arleantocesn upedaes and
farts Half man, half machine: Cyborgs often serve to bring up the
question of what physically makes us human. How much flesh can
we replace with mechanical parts and still call the result human?
Many times, cyborgs are depicted as physically superhuman but
psychologically conflicted
Concept Sketeh
tated out wth ot ofthe genera bu hero poss and then sunbed onthe es
coin oir, ess omson eyo Bethe const etwen pret metal prs thes ech
arttednisianyobee.
Step One Voce set
the fue in a sets poe nd
the are sting on,
hm geting thea that e's
an break rom somewhere
Iiseybereti pas re an
enone
Step Three vow rely stat
geting it the eas: gly
esrb the hal, costume rus
les, ané mechanical prs while
ant to convey. The Shadows at
gaily balg up, so ease
‘outsome se shapesifareas et
tooclatre
‘Step Two I fesh othe ze
forms mating rei chest nd
Show that's out shape also
he fis foward foot an ub
Sed rene The sat
ying nso ets at
Piet wont er, dete
rot ve hima hue beard to
Conta ith the ret so make
thetap thie bot ack
ng utes the aie eto
cover ih ha ‘Step Four How star placing yal ines, Usng the 2,
"hal up the ines by using ore presse, Being carfl
oto brea the sac of he paper. star with he eae
Sines me the mos about how the est othe gre t
‘ng pan ou Net decd to aida few cars ate
{ostow that's sthani cut.
J) St Fie noe connie
tem dg staton a
Ve tee ar mating see
Ri? taper an sto
a ina stokes
Sortie a ny
‘Step Six eeop the eal pas, ad
Shad shadows to ge the appearance of 2
Shiny sre ely hd abou the kee that
leenstanaré the vewer and mate sr the shad
step it advance ova
‘Step Seven | nish al thetines an in
Shao: The elise nthe shoulder gearwas
‘bitffsolan bakin andi fal L268 3
bareh fy at pay up the bry spt
etal pats Ac anal touch get piled
guid om he cast the yore eet Space Pope
The Space Pope is the head of a galaxy-
spanning religion that evolved out
of the many Earth and interstellar
religions. The holder of this office has
vast amounts of influence with political
leaders and may even have his own army
or planet over which he rules. Powerful
religious leaders make for good fiction
since they straddle the edge between the
very corrupt world of polities and the Concept Sketches | want» poet the ea of amu head of ch
ee
purity of salvation. Chose pote al ect
&
be
yah
ki
‘
‘Step One |use a 2H pert seth he pose andthe gneralshape ofthe cose
‘aly wanted the Space Pope to be siting ara cre platform, Bt hint
Step Tr | cortuet sete the fur, ghing more thoushto the anstony. The folded
legrand rasa han recy tan 9 loka some reference mateo at ater
36 Step Three Before moving ony clean
pth draning with kneaded err The
loin he pose, aig ote inet so ct he
Specs ofthe bes in the ace andthe est of
the anatomy concent onthe et hands,
and ead sce they willbe exposed
Step Four Most whats Wiles the costume, so once
rsa with he poset rou how want he
costo hang of the body and what cts wart
Ince ecde to ei a he ido le slo 0 get
ote spe with that ar ining the hors ri
fer placement Asa surface deals tthe costume make
sure they wraparound he fms acaratey.
‘Step Five | wrk on sing the crete
ovig mate vgrate aa ow hey more i
2 they als be at workingon the
‘rae deta he mie ade
Tent tha an echt eng,
asiftwere sculpted rom meta ”
= He
Ever since the gt of the Flying Ace during World
War 1, people have been fascinated with these flying
warriors. When extending this idea to future battles in
space, we get the Starfighter Pilot. This character needs
the ability to think quickly, to be tough in the face of
extreme G-forces, and to have a bit of an addiction to
adrenaline.
‘Step Two vow us the basi cnr,
‘lp ae cube shapes forte forms.
{heb andthe ge costeneelerer
ey peta the tte wan co
‘ey. and ake surethey re wring here
Before ge a0 oral.
Concept Skotehes stat out str
ings ut rents oe feral with»
Fenn, 5 deie ogo wth het ant
toctete a characte ho mentally ough
anda i aes.
Set) eee
‘Step One | wse2 2 pc hy
‘sath the pse using my concept sketch
{383 i, hehe way the bods
‘faction shows the is pustigfratd
andthe shoulders anne ck
‘Step Three Sta waking hy, de
‘andead, stating wth age shapes and
ering out teams ard es Next
Taku facil apresson ht tik
Step Four ster fien the coe ale
rents, add dette andthe movement of
the conume. Sic the fies weg
te ein the feat form ure
reat. suggest get dea of metal nd
tires antes thot taco the si and
‘Step Five ow us the Ha pono
‘tr ayigin the rales, bins
‘ath the ea. meaty cancentiste
‘sng fos an ein planes a
fg at his oii ace shadows in
laterstes Alt ofthe forme ate eta
ingot need "eam trust fem ‘Step Six Switching tan H8 ps
‘ontne placing outnes nd plan
terton bt ao wap aon the fom of
theby.
Stop Eight | ye 2 oo neta poet
tocaptre the ok ofa metal tiarian
‘ete more deh ad suggest rfcted
le rom the enone Robot Attack Pod
Small, agile, heavily armed, and expendable robotic sentries
with full artificial intelligence are inevitable for future war
and guard duty. As for design, functionality is key. The
robot must be able to detect an enemy, so it needs some
obvious detection devises like cameras and ocular-looking
gear. It also must have some way of dispatching combatants
and protecting itself, so it needs lots of armor and weapons.
Finally, it needs to look intimidating, The best deterrent is
to scare off the opposition before firing the first shot.
Concept Sketches The rbot an ke jst abou any shape, tat his stage he shape
ismosty ated bythe ated ofc, aling.cantng or stherng al
eval depenaingon he trai AS" have partic eain mi enose he
‘eth the best which sth scorpion. Ihas th acvantage of aed loking say.
‘Step One setering omy concept tte, use
1 ¥ pel ot gestre the shape and pos
ton fhe man boy andes.
‘Step Two Isat saw te perspec of oe
the ener that the "ody
‘hough the fos tobe sweat te st
‘ures ate sound ad ayn ote forms based
nth i of sac” )
‘Step Three I decite a gretne
fob fae (mae af machines, o
» ourse) an begin9 develop the
‘weapons another tals this
Stage stil expesinenting an
voting ery gt _— Alien Heroine
This is the female counterpart to the space
hero. Generally it is preferred for a main
character to be more humanoid and less
monstrous, as he or she is supposed to be
" 4»
some minor indication of alien origin like € / A
empathetic to audiences. What is called
for is an attractive-looking human with
odd ridges on the face or green skin.
‘Step One erage the concept sketch and ace with
thet of atgtbox. 25th the proportions and pose
‘fy eal sketen and dot wot ein aan.
Tai the ck arm needs coment lays sketch
being ied and oling eater gun,
Concept Sketches | ely want get some action nhs
ose anwar toaothecemure pup lok pek the
roe anae because ike he treed poston,
‘Step Two tm ong fors mor oxteme shot aw
ane and ight ropa ned ade more spe
Between he et realy tess the acon in the pose
Jao place basic anata forms and sketch he hal
‘Step Three tow the suc going be formstng so
tat ait more eet tthe forms working anthem
ook nthe fac expresin. Iwano get beter eo
the character befoe ave ito the cost ge, ‘Step Four Ar shetehing te ae
Star developing the alr fos of te
Coste, tartin with he 0 ith
the costars sine oom
Statik abut and enoce the
forms undereath he cating.
‘Step Five | work ny ny do he body ad then go
backthsoug, Meni plane edges and eforing
Srcures nl fel hehe a good “eto bull on es In the mythology of road/space trips, the truck stop is seen as the equivalent of the watering hole in the
Serengeti. All sorts of characters converge to refuel their ships and bodies. If you are on the run, you have to
be careful because this little slice of civilization puts you back on the grid. Truckers are great sources of conflict
and story movement. They travel extensively so they can bring information or have connections to just about
anything in the universe. Beyond that, they make for great background characters to help develop the universe
characters exist within,
Concept Sketches Iwan pose that nites it of unvaried bdo: tnidting verging on amorous
‘Step One | use 2H pend site the gue with pulled up chest. is enormous beer
(crater eguaert they ave nhs lane bly hts against ray nhs pose.
Step Two |cefne som ofthe mortem, ng nds an aes for ism
busin ams an esa arg ea shane athe tas, as plc he a at,
«yes an nose. | some ofthe costume, malls the thn waps rend the
aj fom! use the cerertine 2 guide to ay in the edge whee is umpsut comes
topethrin the mile of is torso, but eit sae esol fo show the movement of
1S arnt
Step Thre fal dtis, make st they it onthe mj forms ad do a contact
the perspeciveo Stucr. stat wth the so and move cto he ms ad en he etch and doses ike batons and
‘Stomach oelgten the elec. Space Sword Mystic
In science fiction, secret societies or cults that draw on ancient
traditions like the Bushido Code or Animist beliefs are common.
‘Members of these groups usually perform supernatural feats,
gain secret knowledge, or are just generally awesome with a
sword. This are more possibilities in the realm of Sci-Fantasy
since it is not strictly a science-based extrapolation but rather
a fantasy story set in the future (and often in space). Calling
‘upon some mystical device allows the character to credibly have
superpowers. In this drawing, the character needs to exhibit
some extreme supernatural power, an air of mystery, and some
technology to indicate a futuristic setting
> concept sketches, Swords refun cmpestony siete ae he ret big pointing dev
«that move the eye round am ra othe ea thing the wor in some acne, downward
facing poe. Ahead poe some st nme by eect makings fc.
7 One Ise 22H tlh
sete a pose based the concept
‘hatch Te obes re amar fc:
tors eat them asthe rea
part the odin hs sketch. The
forms arenot rac and many ofthe
ino somthing st develop he
‘Step Two Host ofthe boy i
eed bul up the underog
forms. spend mae tie othe
‘astare ard hori is oe the
oxy. though To asp ysl ik
Ing bout the boy, placa stong
‘etn daw the chest nda
rele ineating the abcaren
anaes ee
neuen ‘Step Three cies
seep the fos he costume
nd anata ht shonin, |
eb aoond an exp
he costume, uch the eaters,
atthe rie shoulder
‘Step Five ot sue about
some ofthe areas but realy he
{hevest, 50 whl wa fornia
Ugh tte eas ere
tothe al nes. el my way
‘heard pater, ays ising
othe forms they ate wapeeg
‘Step Four feet ore conden
ost the ostine so nake some
fodexpressan onthe se pst
the fae ant deine he shape
ofthe ead 25 il die he
ss Step Seven whic ito sort oat hehard tse 228 to work alte
Sesh ge. soe fe ca ser
te
eign co ere cone apt ach nthe adel ead
Soule) and gafate the nes 5 hey move ito shacow.
‘Step Six el tht the swore ot gat env
forthe coracer, serait ané vse an H8 pect
toby rw new oe compete with pe ard
Maes Siting othe eet shadow pans 26
the eutstelced seve and comin developing ines
an shagowson the fue deie te hand onthe
"iahis not ute ats ease for nom.
Step Eight sitlusingthe 2,1
Ain the outines nd bull wp
‘evn shadows. Then create
tne cast shadow onthe ground
te gie me nthe cooing tage
{and show the decton of he
mainte sore ee ir
Every hero needs a sidekick,
especially in space where you
can travel for years without
encountering civilization. The
sidekick serves as a sounding
board to reveal the inner workings
of the hero’s brain. I like drawing
sidekicks because they can be just
about anything, from a small robot
dog to a huge reptilian humanoid.
Since there is little chance we are
going to need to be interested in the
sidekick’s love life, you can make
the sidekick as ugly as you want.
‘Step One tere an tace the concept shteh am
yi AR
Concept Sketches the shapes fortis character ate
Us, bat think want 9 do something the the Har
Monster om Boge Bunny bit mae thse.
Step Thee thave good dest where Lam going wth
‘hischaracter, sump it io the fac exression
and aed ew more cone dete
Step Two ih 224 penclwarstte the ough fms
into ata shapes, nating ame ofthe anatomy and
Coste The elipes fh bandera the pe
‘Step Four Isic ew more ets withthe 2 a then
‘tha the HB arth fa ines, ting yay ough
the tue ad around he fms ©
Horror Frankenstein 5 Monster
Written at the beginning of the Industrial Revolution—when
science seemed to hold the keys to man's progress—Mary
Shelley's story of Dr. Frankenstein's attempt to defy the laws
of nature spawned the allegorical tale of science run amuck.
Frankenstein’s monster is unable to find his place in the world
other than as a horrible, monstrous mistake. Giving a creature
the mind of a child but the body of a huge, powerfully built
‘man made for unfortunate mistakes.
Concept Staten
one earing to walk rst unary.
lok fora pot tht shows the ching unsteady walk ome
Step One | decide ona pose
remit of ay lari 0
wa ela good const and
lesecontindthan he andor
serene tif walk Bas
eps With 2H pen
gy race the pose using ae
bo focisingon apie pose
ith hand eta ead placer.
Step Two sit woringlchty
ut up the basi fms and
sure place 2 hieon ie ow
inthe ames war he
log the bet eat alow
poi of ew Pd
‘Stop Three ow gt more specie wth the anatomy
and faci features aly to figure out ago pose
ol mismated pas, ty tobe abi ol wh proportions
{nd symtoms ae ovetapoing
land crete ard edges to dene fo, ection and
Son eoges.
‘Step Four | es back in the fae trying gt the pe
Sona aa ul grinace aos, a5 well es 2a, 6
fal sh ay taro gesture inthe osm, thing
‘ofthe fara the grape acho hey wp arn
sted suit la Bois—mayoe ait more mace
‘Step Five | devslop ore deta ofthe surface anatomy
and lating want he cting oreo wen
anéie-down, 0 init oles aye ee.
him in capt 2 along the forms fhe shoes and
304 some stricto bl te dea ofeay bts. ao
Sarton some fh shadow pater inte eps ‘Step Six Wow hat havea
Strang iéeaof where want to
Lesion al es,
Stoing mh te ae Lam
‘most outing, cancentating
on tn edges rd forms nd
‘acing shadow wre they
‘Step Seven tak ny way
‘ough eto, outing
and then uling shod The
Sits ose tng, bat make
power ehest undereath. AL
‘hewalt dso the form
imo a pater ilies and
‘compression lA
toa dat tenes
ofncon a stiches forte
‘ferent shat hve ben
ce 2
‘Step Eight Fist erase a
rh of he construction ies
31a. Then, afer outine
ithe fos, go bck through
show frm arses on br,
develop te hed ait more
‘oui up its bk and make
nore square aa deepen
the shade round the ees
togheamoresunten oka
iets
Step Wine ent to
Ina many ere yes
‘of shinpatehed together and
to ee the clos saturated
adr ence ak aos
te avid sing oo mh
‘ee, whieh seemsto be he
andarcolr fr Frankthese
aps ad atipesto the ht
tages stronger inaction
tached tapped ina
Brae’ bod @
‘Vampires are the risen dead who have been cursed by the bite of another vampire (or other means) and can only
derive sustenance from the blood of the living. Modern Western folklore holds that most vampires are charming
and elegant with an air of decrepit age and ancient evil. At their best, vampires are able to attract and repulse
victims at the same time. Depictions of vampires greatly vary in popular culture, and the bloodsucking undead
are used as analogies for all sorts of human behavior. As story elements, they possess a seemingly endless well of
melodrama built into the conflict between their once human existence and their true vampire nature,
‘Step One shy htc te pose with 24 pec ta
ing th he eterno ine of cto) aa ates
tine teas, es, adams. ining ora ene
le of poporon a poston ofthe igre. Fm ot
wore abot being ton eat because i os ely
IRove evening aroun 361 develo the caer
Step Four stitusing a 2, comin developing he cs
‘ure aa ere. wat fil capture the foal expres:
‘on anders fre sta pan ia nes ath
large the vers prominent andthe fingers sharp. Then
beh aden etal tothe cost, pants nd shoes,
‘Step Two thang the ante ofthe and and start
ering mao aes ofthe gre, nding the coat
‘rath character to havea sinsusbedy ith ins of
{ge and atopy, s |eazaerate ts and bone stu
{ste especialy he and, ot, an esata he
Step Five How sch oa 28to sta darkening nes
and ating shadows, easing constuction Ines 350,
Taso a caning Ines thats mation, Then
ands fhe bow tthe neh
Step Three Vanprs are epic inal ids foe
tunes and cing: peer tos rom the Eowadan/
\etrian ra, 5 develop a cost ith some deta re
risen of armor. want th thing have tod of
‘Step St | dn ete checker pate soe movedit
ta kneaded ener. contin wring up shadows ond
fing ark ates oe cashing, lenge was or
ilies also 36d ayes edges othe coat show ae. ad ance, complet with
tone hap nT inh,
that vampires
cannot cross
‘running water
J &
Originally, the myth of the zombie
was derived from tales of Voodoo
worshipers who believed that
powerful magic could reanimate
the dead and transform them
into servants of the sorcerer.
These days, “zombie” can refer to
any corpse brought back to life
through many means, the most
popular being by viral infection,
which appeals to our highly
skeptical modern minds. Zombies
are in essence broken humans:
rotting human bodies lacking the
‘mental capacity beyond that of
a feral animal, consuming with
no thought to consequence or
morality, moving en mass like
cattle from one feeding ground to
the next
4
ZL)
‘Step Thee stl singh 2H pen work mare se
‘ictal arty 0 eae an undead nao hea
certetin down the oso and note which forms ae ov
Tapping other frst efor the drcton of he shapes.
‘Concept sketches | wart pas thats broken and
want get the energy afte pose now so that wl ay
‘hroweh a work the deta
‘Step Two Isa by ay placing the lock nae
er frms ying to gets pod sou forthe pose,
andy at a posin forthe ea.
‘Step Four Iwo up moro
els andl gesture inte pas tik
ing ofthe suet andthe se pitt
thehips, es, utc, an this, 25 well
asthe rape along the lower gs and fos yp ‘Step Seven | oldtfon he hands and more bck
up the body oa surace texture an stadows. so
‘4a chacherea patent the she and rk
‘Step Eight sof teams, ands, and et wah the 28 a then go bck in
tw abd eta texture and date the dep shadows of te hal aa back shale.
ao g back thresh the whol ue develop ay ent eres ease
‘ostctan ines, and daa op ee
Step Five 1s god toute fe, suite
ta and statenthe final ies. nce ayn
theface nek, and hag back the Hand
‘raw the sti st ad el alo sat atin
start wing thea ines in cea areas
afore ve locke te aes. nav good
eas warto get the infor lose hen
‘ony ths however. wen feat he oral
Shute es Ben eed Lye al bes
tap ety can ead to a lot of wasted work and
‘reward eaves.
Step Six 1heepworing wih the 28,
Imving down into the torso ares
"nkingrmost of es an form ese,
also crete deep shodons where sppopt
de, Pmaways inking about the frm
Den place ns and etre Witches have a better reputation these days than they did
in Cotton Mather’s time, but the idea of supernatural power
used for evil by a loveless old crone still has the power
to instil fear. Twisted by the evil forces to which they
have aligned themselves, witches use their powers to stay
beautiful or just go with it and look the part of a scary old
hag, In the past, a fear of old women with an affinity for
herbal medicine transformed into a hysteria that left us with
a ghastly mythology of witches eating babies, souring milk,
turning people into animals, and consorting with devils.
‘Step Two Now star pling mor speci oms spending bit more tine
nthe fee to et ane ow it i afc he hoy pon. When plang
the forms, sua anatomy sss mpatar tan boy proportions ad the
econ fatto.
y
f
‘Concept Sketches {outa ew he cannon pointy
tan room wth eins at decd to go» iret
Step One Hone ofthe cont sees se ely
“ith 3H pence he rma bn thrown
eck an abu bodys inat alo hat.
restr in it of costume aed the ne a we
Step Thre | on ke the way
\ tocnanguate the thst ofthe rhe
2m, eove potions wth
readed rarer Than pice ew
thane hes cing on
workout ome surface deta ond
ef drawing fl of
ot file corre yt
fostume but ithelpsme ucesand
the form eter and get int the
haracerabmoe ‘Step Four How start deting the face
2d. te base, hich want ob ber
enter of foci and ah sore he
theforms the body and ty tence
the pose and farm fac shape wh he
‘loth at cavers
‘Step Fv ti wating hy ese he sac tx
ture especialy en her foe an at ot fw ens
‘nthe costume anda ae bracelet and pay of
lod coming tom er et hand
‘Step Six |e oor tiring it and sone ofthe deta
penal rework he ace and some ofthe rand move tthe aed arm,
“henge sat an lose withthe 2 get he Row oe Z
and etal that wat , #
& Preservation, either by natural conditions or by
human intervention, leaves behind eerie, fresh-
looking dead people that are thousands of years,
old, Mummies, although real and on display in
‘many museums, have given rise to a familiar
curse: the mummy who is seeking revenge on
those who despoiled its tomb. Mummies exist.
in many cultures and areas in the world; they
are not exclusive to Egypt. Tam partial to the
mummified remains of the Bog People left from
ritual killings of the Celts, but Ill see what
speaks to me as I build the character.
Concept Sketches ir tin tay wuts eh
Ing cestures the zones and munaies and speeds them vp,
rakingtem spear ft personally chat up 0
Tay wing ane per 9 ice dow, eet my.
‘Step One nel patton fy
Concept sane 0 enagekandace
Rona Bl board wth a 3H perl. The
2a om he ewe than the pls. The
asi foms heel be he hla tc
ture which wl show thouah prominent
Ita ning th mje forms, ming ste
they ate mae etal tan they staly
are atti stage becuse Fm tying
Favre ot wats othe muse the
the form
Step Two tow atte the seta
sucuredown, go though dtr
ing tire densa fms Te aes
Shao ow te ete su lan )
tlh ete Bs)
ads as wel aking se they ok sf
they apn frst
70
Step Thee sill sins 2H 1046
inching eth, pes and
tongue. | ess ides othe
ny materal making sre hey wrap
Is tommythal ad lant
maybe so ge in costed
mets that anon speci but appear ‘Step Four | have ln
ues in place, snow
Scho 28 and tart
place Ge, being
‘nthe fc. fam caret
‘0 outine the bandages
anthem re portions
beneath Genel shadows
vloccuron the sadn
planes and aso where the
(euch as onthe bg of
‘heros pace shadows
vere can a 38078
{ater aye edges the
ndages ana costume ss
they ecu o me
‘Step Six | wrk bck no te abc
andes its felon inte Bak
Tecnu te fs othe pei,
Step Five tcontnue
tome down the
aay withthe 38,
tring sare fhe
‘Step Seven Switching
between 38 a9 3,1
‘hough he gue te bas
upmere shadows and ad
texte. ta scrolingto he
itches tomate hen
oe convining ao bul
peas shadows Gch as
‘onthe ch and ude the
ne The ers rast
‘make ther gter an thi
ute bandages whee the
Ughng strong ogee
forme more dimension. Evil Scientist.
Dr. Jekyll, Dr. Frankenstein, Dr. Moreau:
Where would we be without our mad
scientists? Mix a man (or woman) with
a vision and a slight God complex, add
a lack of foresight into the potentially
horrific consequences, or a tragic
science lab accident, and you get horror
gold. In an age when witchcraft seems
less credulous, these are the new
purveyors of the bizarre and terrible
curses on humanity: Science gone
awry. The challenge here is to show
both madness and discovery.
So:
ax
‘Concept Sketches pan a covet ma
nese ntelook ofthe character, bu 2 for de
over and scene, Iwan pote tht apres
Step One Hone othe thumbs
ahendwthone ofthe poss, seco
itn 3H pen Hare aac
‘Step Two ight ion
theta fame, tngte set
ania ofthe placement of
toshow deco and olin,
Falsoblock some othe com
a
ste
al pth cotig and deta of
theface and ar Most ofthe fi:
‘xpetient th he a ond some
‘ea on te cost. ‘Step Four Now pu» mare
pressure nthe at pene ago 8
Step dare, ard out edges,
‘iin more etal and ad tex
tore Nate how he sts points
the coat rath solders
{re akso tes ps atthe wast
here th cot stoned cass
Aheips. Nes iy seth
seme spent te back of
eben.
point am mest conemed
wth ees ad forms
Step Five rm eeing
Ines and startin onthe
Fries, esinring h
‘dean gaunt, ste
suc of eal
Prominent Nest |ade
‘Shadows sng th beaker
the ighsource The am
onthe ight sta og sot
frost and reat
Fier, mating the roar
fens oe comin. ” ‘Step Wine te pale sbasalychaneve andy
woe ike thes loko he cate inthe 6
The lycanthrope, or werewolf, is a human with the ability (under
his control or not) to turn into a wolf-like killing machine,
complete with sharp claws and teeth, superior hearing and smell,
and a lack of remorse about killing humans. The full moon is often
associated with this change and is featured in many werewolf
stories, but it is not a part of all werewolf mythologies. The
challenge in this project is to do more than just draw a man with a
wolf head; we must portray the feral nature of a beast like this.
Concept Sketches | an he Sie ob ensasdin 3 ic, pingtsn~a etl ng Thi poses
eceptely casual yet heatering
Step One teiage ard
trace the thud at
Ue best, ting te move
‘cation te ip tothe
‘Shoals, te placement of
‘helm, andthe dt
‘onefthe wept th the
ae pstione so that te
ads clang huh the
head nda thereon
andepresion
E
4
\ ‘Step Taree staring withthe
aco step drs withthe }
2h. ging out te persona:
vote beat ae bean
body ge abit dete nee,
plang the ors ofthe ribcage
/ nd sre orcs. The nds
‘ey themovenent ahi ay.
the the lower and, But am sti
thinking tout teased one
‘Step Two oc on
{he sede deta, og
rd beginto daw ome ofthe
Surface snatony Tis char
tern be covered inf, at
roto mat eh une
"ying naomy soi fore
Str aig pate
I gotackina thee,
itare wl by
‘ening te muzzle and aécng
‘oe detas alo gt more specie
ofthe longer a2 soe ty
Ings of dertusto communicate
‘movement, an reposson he
es at atacing now, but could
stany moment. Phas he's ay ‘Step Five No start mating yal es
‘ith he 28, being wth he face aback
‘nd shar ee rete to
cette fom, nd make many sharp
‘Stapesinahe ra mic he laws ad
teeth hp downto the ee on he ght
‘Step Six want the Fue 9 be it
From above 90 nave th the
resol he bay with sin i
cenate he ower estes
sce; making his reams 2
tenet Bethe presen ath
tannienalfousin a seni
stone the contasto the
owing hau an the har muscle
forms, 501 continue the ea an
teytomskeineesing sbapesin
Step Sevens ishtherest,
‘oft igure and then go back
toate fos tat ec,
‘wand some ground etre, *
Death, or rather the personification of death, takes on
‘many guises in world mythology, but for this project,
I want to focus on the traditional Western version.
The skeleton who wears a black robe and carries a
scythe comes to us from a 15th-century European
interpretation of the four horsemen of the Apocalypse
(Pestilence, War, and Famine are the others). In
a mostly agrarian society, the scythe symbolized
the end of the life cycle and came to represent a
deadly weapon with which to collect souls. The
black cloak, while mysterious and foreboding, most
likely mimicked of the mythological Greek character
Charon, who takes souls across the river Styx. I want
to create a character that is frightening but also has
aspects of ethereal beauty.
Step One |use 22H pena
‘wg serch te haere,
Fasting ose, Te movement
ofthe spine, plement of te
ofthe saucers tote pels
tre alinthese fen ines, at
epitonse oan ais a+
‘atheros and then go
tomore specie placement of
limb and costume lent
‘Wis characte tesa an
Shaped tube of siting ab
"20 thik tat forma
Step Three ow! diee my
tattered cloak ad ad forms
thaw beta labore
ings it cher ing ge
eet raw they shal tame
thet
So:
‘Concept Sketches 1m [coking for apsethatis hunched,
loonie and mysterious ry several sama mor ative an
‘Step Two now us abit mre
pressureon th perl andy oat
“ame deta. et th raped
ity so1 makes oinate
lrg shapes ard changes
acon, it arom ae
stvainn in any Death pore
teference mate an rhe
Step Four Now bint
Ing nial es wth the 28,
Take natin te
read asaal foes nanan
Stal The ce ooks i
ta bee typ it ith he
hhc he sha
‘nd eending th cooked
ae, Witte ah ade
dd get more sped wth
the hands atonal eta ‘Step Five |g trough tear wth he 28, tng
‘ute forms nding ges. an the dang to
Intage black haps, inthe Shao ith sd
Inertia oriweh alt offs, ea det
theater ges and a shacows here ean. 56
thet aevelp te wings, sing a reference 3
‘de. There ae hee evel of wing eso as
and eater shape, oy to indate those et
‘Step Six comin ounng forth th 28, nd ad
eed cuts of sce tat sraund the ge, The
‘th athe a and thes layin shadows nd
Lunt fom alse adé mor shadows othe cow make
the sal vance foward dor shade he ke crs
‘Step Seven 1334 frat tex:
{utes tothe sat othe she
and deta th wigs. Ld ot
fiery par ofthe wings ith Succubi are demons that take the form of women to seduce their
prey and then feed off their life energy, which results in weakness,
permanent injury, rapid aging, and even death of the victim, The
resulting emission of energy is then used by the male counterpart
to seduce and impregnate a human woman, I want to create a
demonic character that is both seductive and repulsive, a figure that
expresses a sinister playfulness.
‘Step One tense the thumbnail the best nace
Itoto Bl pape using 2H want he poset be
‘appealing and wleabe AS daw, Ima sue that
She does’ lok si she toppie over by making her
‘Step Four Snceth anatomy inet be mostly
‘pone, teeta tee tat he tas a rs
HK
ip
YY
J \
Concept Sketches thee se many pvp poss tha can wos hee,
bart want ply comeiterodl ter thn overly ea
‘Step Two Isa tolihy lac the basi shapes oe
es, bores, and spheres) show How te age shapes of
‘the bay stn space. caw he ceterine cut Sean
‘etn eto ofthe tas opis nf the
‘Step Three ow mak my nes ake and ote
the aj anata pits, 5 well as deta te
‘natonythat are fected by the body posto. ibe gh
Ingherthe eps faces, | ue arference to atthe
‘Step Five | continue ang surface deta af at
tert anther to he cle hooves and hos ike 3
‘urand ake the homs mae elegant.
‘Step Six Now we 328 pena dlp the ace and
ad, change the fai expression ait sinc | et
Content enough ith A dr, ers ot shadow Step ight it using
‘he 38 ih he ot
Snes ng show
‘houth te caning
ang entrar etines
‘Step Seven Asi move
dom the boy, dev
optheedgesf shapes
{nd tentres, Ae fos
teede, eames thet
nln want Si
thefzare to have mare y
“eat cols the
ecagoundto be mae ,
stated and oman 4 d
These fierce, undead protectors of hidden relics,
treasure, and often their undead masters are
ever-watchful sentinels, Usually the daytime
protectors of vampires, these demon dogs appear
to the casual observer to be nothing more than.
very large and bestial canines, However, when
provoked, they may reveal a more demonic
appearance and call on hell fire while discharging
their duties. Supernaturally fast, strong, and
aware, these demonic companions are no living
man’s best friend.
Concept Sketches inst sex it more caning forme heats | dat dn thm as ona ote sj alas ue meen mates but tend
toapend mre ine cng a pire of anal togt he tes end estes in my ead before starting Ue concept ches Iwan comey he agers
ner fis opin apse thats more exten than you average mut
Step One igh stceh ne pose wth 22 pena
ating ith the ne of action and few eso dene
the stout fete es, and ames. an or
ean a not worted abot ig too eat case
Inst hly move everthing around 3 | eel
the dawn
oop ee j
talento pets Gc, YAY
Fatt it : N
Seer
&
So: CG e
! Re) ( Sto Feb oi
MED C Sco
EN ‘Step Seven | atthe de it byte fames to okra, 0 use Res redone. us cole tones onthe lt side ofthe do's body o contrast the ie saturated re colors
ete sai stp othe anes 0 eve inthe ines nc ard ee As soon : lights go out, a pile of laundry and
toys transforms into a looming specter: Boogeymen
are polymorphic spirits that change shape to suit
your worst fears, In this project, the Boogeyman will
look like a misshapen mass with all sorts of different
patchwork clothing, made up of whatever can be
scavenged from a messy room.
‘Step One Te bisisapeis ikea at el tied ora withthe head and shoulders
Sting out ofthe top. 1use a2 pec oh setch the basic shapes and inate
teats ang wings as wel sic the faue sms rar, rm drawing nasty costume
‘and hater ter appendages decide oad dra tect aimee he ec
"ons ofthe bay nd he, al place large ste ere he too would be
g se
5)
‘Step Thee | fete hed and he hands, and neater forthe che, scat and
insect gs. mst rang very tt prevent verworngthe paper. make sue
the cling wraps aroun th bel shops, withthe topo he mp andthe baton oare
and poses, but am thinking about a uiting mas of aor ad ct,
‘Step Two |sarpacing Some det nd ying out and postions and ace see,
ding bas Shapes to neat wha might wan Ishetch ies oat theater
{lth and a6 some shape the wings. wart combine 3 tan nse and apie
‘iad bu Fm opento happy scien.
‘Step Four Now tat pting fet fortis monster, eed the wing efor some
Spies ad pact insect les with apr ick the Bopseyman ers seta
than he gs would indicate ad oreo ater than ayer evel the sat
Struc fhe face and rate deep jes and ate cats a details tothe jc,
Iain ook dtessed hen ad cued serve and Buby pockets ante he the
ink an le oot ‘Step Five Now sete 28 develop the face and alow the characte 0 an
‘sen the characterization othe est he igure Spy stapesin the oir an Mare out
{eetntp ge the grea thenteing ok, adthe piace andmismetedeesin
‘ate that is arc aces menace. layers clothing ogee dea of mounds af arc undermeth he xt These are
chy tatereé shapes that ete ice paters and reinfrethe bel shape
‘Step Seven sil singe 28, 128d more spt, shaons, nd
textes tothe ain fom, a get mae specie wih he apr ral
Tathauete someof he spits tun the fra seth at
‘shadow on he roto acetate the ie
‘Step Eight Usingthe sie ofthe 28 crating a shagows allover he ira
Beneath ach ayer of cath ts separating ther and eet alony bo
‘he the ol ofthe peal bua cher shapes and ote speieshasaws.|
Ce ee ON®S
