The way I design a comic frame
I love working with comics. I think the best artistic partner to share this passion with is my friend Daniel. I have learned to tell stories using thrilling narratives and compositions that make my head hurt and inspire me to make sketches again and again.
There is no hidden secret to drawing good comic pages, however I would like to share with you some tips for not having boring and flat compositions - quite the contrary, creating pages that are dynamic and well thought out.
We started by creating the scene. Here some initial sketches:
One of the first things is to look at the sequence or rhythm of the illustration.
We tend to place objects in a straight line, and order them all to be aligned perfectly. Captain America and the rest were placed in such a way that the eye follows a natural sequence, it's like a game or a route that the eye takes. Thus, the less relevant in the scene is Hawkeye. Do not make a composition completely straight, is not recommended. In the latter case, it is better to tilt the line a bit (although it is straight at the end). You can see it at the right upper corner.
The eye should see a composition with a dynamic rhythm.
We use two vanishing points and the vertical lines to create an even more dynamic scene.
Each building back was to follow the slightly forced perspective we wanted to give the illustration. But perhaps the most important thing is that the characters remain at the same perspective. This is the reason why many scenes do not match, it is necessary that the characters respond to the perspective used in the background, as each tilted angle of an arm should be coincide with what other characters are doing and how they are placed.
The golden zone
Here, it is important to understand that the focal points of the eye go more easily to the golden points, this means in better words: Divide the page the way you see it in the picture, the convergence of those points are called golden POINTS.
In the image we see two golden important points: One for Iron Man and another for Hulk. For example: You can take the test to ask a friend or family member what the first thing is they see in the illustration. The golden points.
A valuable rule is not to put everything in one plane. This is to give depth to the scene. Here we see Iron Man (blue) in a first plane, Captain America (red) in the background, and arguably in a third and fourth plane everything else.
The drawing style is a more personalized, we try to keep the costumes of the characters like the ones in the new film (except for some details).
Thor without his cloak (ugly by the way), and smoke behind (we love the smoke), like the style of Eric Canete, and the sketch is finished.
We began the process of inking, you can see the detail of clothing, especially Iron Man and his armor (lights) and Thor with that detailed costume.
Before starting to ink, we should be clear where our light comes from. And if there are not a single light (as always in ambient light). Be clear on what place refraction or reflection is shown: light bounces off of armor, etc.
What is necessary is to understand: Color reacts according to its environment's color, so it's important to use a tone base. In this case we chose the gray, then, all the colors we choose, will be influenced by the gray.
For example: If the Thor's hair is yellow , it should not be a bright yellow, not too strong, but rather influenced by the gray, very opaque. Remember that we can also focus attention in a way we don't want by using color, and that's not the idea.
You can see the palette I used. Each color has its dose of gray.
We finalized the background with real buildings, in perspective and unfocused. And that's it!
In order to achieve an acceptable composition, it is necessary to take many aspects into account. But with patience and a good technique, it is possible.