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How To Draw Comics The Marvel Way (Englisch) Taschenbuch – 14. September 1984


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How To Draw Comics The Marvel Way + Comics und Graphic Novels zeichnen: Das ultimative Grundlagenwerk: Wie man Charaktere kreiert, zeichnet und zum Leben erweckt + Der ultimative Zeichenkurs: So zeichnet man Comics: Bd. 1: Grundlagen und Anatomie
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Produktinformation

  • Taschenbuch: 192 Seiten
  • Verlag: Touchstone; Auflage: Reprint (14. September 1984)
  • Sprache: Englisch
  • ISBN-10: 0671530771
  • ISBN-13: 978-0671530778
  • Vom Hersteller empfohlenes Alter: 10 - 13 Jahre
  • Größe und/oder Gewicht: 21,6 x 1 x 27,9 cm
  • Durchschnittliche Kundenbewertung: 4.1 von 5 Sternen  Alle Rezensionen anzeigen (23 Kundenrezensionen)
  • Amazon Bestseller-Rang: Nr. 10.876 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
  • Komplettes Inhaltsverzeichnis ansehen

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Produktbeschreibungen

Synopsis

Illustrates hitherto mysterious methods of comic art using as examples such Mighty Marvel heroes as Thor, The Silver Surfer, Spider-Man, and The Hulk.

Leseprobe. Abdruck erfolgt mit freundlicher Genehmigung der Rechteinhaber. Alle Rechte vorbehalten.

Chapter 1

THE TOOLS-

AND THE TALK- OF THE TRADE!


Since very few of us draw with just our fingernails, let's start off with what you'll need. Then we're got to make sure we're all speaking the same language. This part's the easiest.

Here we go! On these two pages you'll find just about everything you'll need to get you started. One of the nice things about being a comicbook artist is the fact that your equipment is no big deal. Let's just give the various items a fast once-over...

Pencil. Some artists prefer a soft lead, some like the finer hard lead. It's up to you.

Pen. A simple drawing pen with a thin point, for inking and bordering.

Brush. Also for inking. A sable hair #3 is your best bet.

Erasers. One art gum and one smooth kneaded eraser -- which is cleaner to use.

India ink. Any good brand of black india ink is okay.

White opaquing paint. Invaluable for covering errors in inking.

A glass Jar. This holds the water for cleaning your brushes.

Pushpins. Handy for keeping your illustration paper from slipping off the drawing board.

Triangle. A must for drawing right angles and working in perspective.

T square. Invaluable for drawing borders and keeping lines parallel.

Ruler. For everyone who says "1 can't draw a straight line without a ruler." Now you've no excuse!

Illustration paper. We use 2-ply Bristol board, large enough to accommodate artwork 10" x 15".

Drawing board. This can be a drawing table or merely a flat board which you hold on your lap. Either way, you always need some such thing upon which to rest your sheet of illustration paper.

Rag. This plain ol' hunk of any kind of cloth is used to wipe your pen points, brushes, and whatever. The sloppier you are, the more you'll need it.

Ink compass. Well, how else are you gonna draw circles? While you're at it, you might as well get a pencil compass, too-even though Johnny forgot to draw one for you.

Of course, there are some things we omitted, like a chair to sit on and a light so that you can see what you're doing in case you work in the dark. Also, it's a good idea to have a room to work in-otherwise your pages can get all messy in the rain. But we figured you'd know all this.

And now, onward!

Just to make sure we all use the same language and there's no misunderstanding when we refer to things, let's review the various names for many of the elements that make up a typical comicbook page.

A. The first page of a story, with a large introductory illustration, is called the splash page.

B: Letters drawn in outline, with space for color to be added, are called open letters.

C: Copy which relates to a title is called a blurb.

D: The name of the story is, of course, the title.

E: An outline around lettering done in this jagged shape is called a splash balloon.

F: A single illustration on a page is called a panel.

G: The space between panels is called the gutter.

H: You won't be surprised to know that this "ZAT" is a sound effect.

I: Copy which represents what a character is thinking is a thought balloon.

J: The little connecting circles on thought balloons are called bubbles. (We'd feel silly calling them "squares"!)

K: The regular speech indicators are called dialogue balloons.

L: The connecting "arrows" on dialogue balloons, showing who is speaking, are called pointers.

M: The words in balloons which are lettered heavier than the other words are referred to as bold words, or bold lettering.

N: This is my favorite part-where the names are. We call it the credits, just like in the movies.

O: All this little technical stuff, showing who publishes the mag and when and where, usually found on the bottom of the first page, is the indicia (pronounced in-deeé -shah).

P: Copy in which someone is talking to the reader, but which is not within dialogue balloons, is called a caption.

Chances are we left out a few other things, but this is all we can think of right now. However, not to worry; we'll fill you in on anything else that comes up as we keep zooming along.

Movin' right along, we now introduce you to one of Marvel's many widely heralded close-ups, so called because the "camera" (meaning the reader's eye) has moved in about as close as possible.

This type of panel, in which the reader's view of the scene is from farther away, enabling him to see the figures from head to toe, is called a medium shot.

And here we have a long shot. In fact, since it shows such an extreme wide-angle scene, you might even call it a panoramic long shot without anyone getting angry at you.

When you're up above the scene, looking down at it, as in this panel, what else could you possibly call it but a bird's-eye view?

On the other hand, when you're below the scene of action, as in this panel, where your eye, level is somewhere near Spidey's heel, we're inclined to refer to it as a worm's-eye view.

A drawing in which the details are obscured by solid black (or any other single tone or color) is called a silhouette. And now that we agree upon the language, let's get back to drawing the pictures...

Copyright © 1978 by Stan Lee and John Buscema

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Einleitungssatz
Since very few of us draw with just our fingernails, let's start off with what you'll need. Lesen Sie die erste Seite
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Kundenrezensionen

4.1 von 5 Sternen

Die hilfreichsten Kundenrezensionen

3 von 3 Kunden fanden die folgende Rezension hilfreich Von Friedrich Wessel am 21. November 2007
Format: Taschenbuch
Vornweg muss man eins Sagen: Das Buch heist "how to draw Comics THE MARVEL WAY" und der Name ist Programm. Es geht vorrangig darum Comics im Stile der Mavel Comics zu Zeichnen. Sprich idealisierte Superhelden, in konstruierten Settings mit dem schwerpunkt auf Action. Daneben werden fundierte Zeichengrundkenntnisse von Perspektive über Körperbau/Proportionen und vorallem Posen gelehrt.
Wer lernen will realistisch Menschen zu zeichnen ist mit diesem Buch nur mäßig gut Beraten. Die Anatomiegrundlagen sind viel zu spärlich, die Proportionen zu einseitig und die Bewegungen überzogen.
Für Zeichen Anfänger, und Fortgeschrittene die Actionlastig zeichnen lernen wollen und kein Problem mit idealen Körpermaßen und Superhelden haben ein absolutes muss.
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1 von 1 Kunden fanden die folgende Rezension hilfreich Von Ein Kunde am 30. Juli 2000
Format: Taschenbuch
The character styles in this book are dated (men look like slightly bigger women). You will not learn how to draw huge men or extreemly shapely women with this book. It just skims the surface of most issues.
Still it is a good introduction to drawing. It teaches all the basic rules. I have had my copy for years and I still like reviewing it every once in a while.
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Von Ein Kunde am 8. Februar 1999
Format: Taschenbuch
Upon opening the book, you are immediately hit by how dated it looks. The art is from the days of Kirby (and Buscema), and reflects a time when color seperation was one color per block. Once over your possible reaction against (or in favour of) the arts age, you start to realise just how good a book it is. The book starts you of gently, and gives you a good learning curve, adding new techniques chapter by chapter, encouraging you to experiment with new ways of doing the same thing. There is a definate emphasis on Marvel Superheroes, but seing as may will not be recogniseable (often due to depiction rather than modern day obscurity) to all but the most knowledgeable comic buff, that really shouldn't bother anyone. The format takes a simple step by step approach, with an entertaining commentry from Stan Lee. In many ways, it is Stan's writing that make this book work. The book could so easily have been an incomprehensible, boring textbook, instead of an enjoyable, easy read. If it's fun, you learn better, and in this respect, the book is absolutely perfect. Since I've been so gushing about the book, why haven't I given it 5 crowns you may be wondering? Well, the answer is simple, It deserves 5 crowns for the starter, but if you have already advanced sufficiently (and that amount is not particularly "loads") it rapidly becomes useles, due to the fact that it doesn't go into great depths about technique. It quickly outlives it's usefulnes. Mind you, for that price, Idon't think you'd be lamenting it all that much.
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Von Ein Kunde am 14. Juni 1999
Format: Taschenbuch
To me it seemed that the intention of the book was not to teach anyone how to draw, despite the complaints of most readers, but simply how to draw comics with the overral structure of Marvel comics. The chapter about the angles of the scenes and how they position the characters shows how people at Marvel would do it and how other people would and at that intent the book is absolutely perfect. It is actually, in my humble opinion, more useful as reference to experienced artists than to people who don't know how to draw. If we have a look at most comic books we find on a newstand we will have in our hands works of very experienced artists yet with not nearly as much "intensity" as Marvel's.
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Von Ein Kunde am 12. Mai 1997
Format: Taschenbuch
I have yet to see one book succinctly and intelligently teach someone how to draw well. This book is no exception. While Stan Lee and John Buscema do an excellent job of explaing the basics behind comic book art, there will never be a good substitute for years and years of practice.
The book does have it's good points: why some things work better than others, details on different approaches to drawing, etc. Layout and composition are also handled fairly well, as well as some of the commercial reasons behind why a comic sometimes appears the way it does. As far as drawing books go, this was done very well. However, simply reading it will not help your talent withouta vast amount of practice.
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Von Ein Kunde am 20. September 1999
Format: Taschenbuch
I first came across this book several years ago, but at first wasn't interested (I'm not much of a Marvel fan...though Spidey is always cool). But upon inspection, it's easy to see that this book is far more usual than for just sketching spandex-clad super guys (and gals).
From the basics to a more mature level, HTDCTMW is a friendly, easy to reference, awesome volume on perspective and application.
Drawing comics, like any other art form, is a gift and there's nothing that can 'teach' you that. Maybe a more 'acclaimed' book can teach you to copy, but it can't teach you to draw. This one comes pretty darn close.
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Von Ein Kunde am 19. Februar 2000
Format: Taschenbuch
If you're a kid who is really serouse about comic art...this book's for you. If you're a kid who is tired of stick men and wants some instruction...this book's for you. If you have ever marveled at comic pros like Jim Lee, Andy& Adam Kurburt and countless others...this books for you. If ya wanna know how to construct a hero or villin...this books for you. But if you are majoring in art at highschool...this book IS NOT for you! This book is best described as a transition betwean the kiddi stuff and learning the real hard core stuff behind comic art.
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