When I give workshops I often encounter student drawings that open up learning opportunities beyond merely addressing fundamental drawing techniques. For example, correctly drawing every joint in a character’s hand is sometimes not as important as where their hand is positioned in the drawing, and whether that hand is open or closed.
The initial sketch (shown below left), was drawn well by a talented student storyteller and is already pretty effective in conveying to the viewer the gist of the action. However, with a bit of work (see below right) I can show the student a few staging tricks so the image has more drama in it.
In this workshop I’ll be looking at how characters are arranged in the frame to enhance the drama of the scene. I’ll begin by highlighting the original’s shortcomings in terms of creating depth and clarity, before examining how I apply techniques in the revised sketch to take the initial narrative to a higher level.
Of course, coming up with an original story and putting down a visual for it is the hardest part of this process, and critiquing it is much easier as an outsider. I’m thankful that I can learn new things by analysing student pieces. Okay, let’s dive right in!
1 Place side by side for easy comparison
The best way to compare a sketch to its revision is without adding rendering or bringing new, different elements. Fleshing out details, lighting and textures would obscure the lessons that this side-by-side comparison can provide. Both are rough sketches and tell a clear and simple story, but one clearly has more dramatic impact. Let’s look at some basic principles of why that is.
2 Keeping the core elements centred
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Denne historien er fra December 2020-utgaven av ImagineFX.
Start din 7-dagers gratis prøveperiode på Magzter GOLD for å få tilgang til tusenvis av utvalgte premiumhistorier og 9000+ magasiner og aviser.
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Jan Wessbecher
Dominic Carter talks to the visual artist about creating his own comic and why sketchbooks are great for creative experiments
Kyounghwan Kim
The Korean character concept artist speaks to Dominic Carter about staying open to ideas and the value of drawing regularly
Slawek Fedorczuk
Dominic Carter talks to the concept artist about what keeps him motivated and the advantages of using physical sketchbooks.
Raquel M. Varela
Raquel is inspired by magic, fantasy and fairy tales. She loves designing female characters from distant worlds. \"My greatest reference is Loish's art, thanks to her I learned to draw the movement and fluidity I like to convey.\"
Estrela Lourenço
Estrela is a children's book author and illustrator. Her work is influenced by her background in character animation and storyboards for clients such as Cartoon Network, and she channels comic strips like Calvin and Hobbes.
Daria Widermanska
Daria, also known as Anako, has been drawing for as long as she can remember. Inspired by Disney and classic anime, she loves creating new characters and often finds that a single sketch can spark a unique story.
Allen Douglas
Allen has been painting professionally since 1994 for the publishing and gaming industries. Inspired by folklore, he distorts the size, relationships and environments of animals, and calls his paintings 'unusual wildlife'.
Thaddeus Robeck
Thaddeus has been drawing from the moment he could hold a pencil, but it was the 2020 lockdowns that gave him the time to focus on honing his skills.
DRAW FASCINATING SYMBOLIC ARTWORK
Learn how JULIÁN DE LA MOTA creates a composition from his imagination with a focus on crafting figures, volumetric modelling, and light and shadow
First Impressions
The artist talks about his journey into the mythological world