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CONTENTS
Introduction
Materials
Successful Figure Drawing
Perspective
Lighting
Colouring
Exercises
Exercise 1: Dragon‘s Lair
Exercise 2: Creature of the Night
Exercise 3: The Kraken
Exercise 4: Werewolf
Exercise 5: Rock ‘n‘ Roll Vampire
Exercise 6: Wild West Reaper
Exercise 7: Halloween
Exercise 8: Sea Creature
Sketchbook
Frankenstein’s monster, as played by Boris Karloff, in 1931
INTRODUCTION
What is it about fantasy art that so many find appealing? Is it that it covers so many different genres, from horror and science fiction to swashbuckling, swords and sorcery? Is it that it offers the opportunity to engage with extraordinary characters and creatures in extraordinary worlds? Is it because there are no barriers and that anything is possible? The answer is that it is all of these things, and every individual enjoys different aspects of the genre. In this book we will explore a small collection of some of those characters and the worlds they inhabit and in the process create some exciting fantasy art.
I have had a life-long love affair with comics, books and films dealing with themes of fantasy. As a child, I enjoyed nothing more than reading DC Comics’ Batman series drawn by Dick Sprang, the first artist to inspire me to produce a piece of fantasy art. Later, motivation was provided by Jack Kirby and Frank Frazetta’s art. In my teenage years, Frazetta’s work opened up all kinds of possibilities for fantasy drawings, based upon and inspired by my favourite tv shows and films, including Doctor The Outer Limits, The Twilight The Wolfman and Creature from the Black
I have been professionally providing illustration, concept art, storyboards and (occasionally) comic-book art for the past 20 years or so. I have had no professional tutoring: everything I have learned has been self-taught, proving that anyone, with practice, can produce fantastic and fantastical art. What I will be passing on to you within the pages of this book are some of the techniques and approaches I have developed, either by accident or by watching other artists at work, over my professional career.
I also teach a ‘how to draw fantasy art’ class and this book incorporates some of the themes and tutorials used there. It is a companion book, if you like. During the years the class has been running, I have successfully enabled a number of students to compile a portfolio of work, which they showed to talent scouts at comic conventions and eventually led to them getting commissions from Marvel Comics. What I will be showing you in the following pages are easy-to-follow steps that will guide you through the process of producing a piece of fantasy art. I have not gone into every minute detail and this is because, as I keep telling my students, I do not want to encourage you to copy my style and exactly how I draw as if it were the only way, as we all have to find our own path forward.
This book is not aimed at the professional or semi-professional artist, it is more for those (the amateur, if you like) who enjoy drawing and are fans of fantasy art and are looking for some tips and ideas that will enable them to take their drawings skills a stage further. I thought it would also be helpful to document any changes I thought of as I went along. Unlike drawings I produce for a client, which are meticulously planned and go through various stages of development, I have approached these artworks as I would any drawing I am producing just for myself – complete with mistakes, experiments and last-minute revisions. I have included these thoughts and alterations in the hope that they will encourage you constantly to seek to improve your work.
Remember, it’s vital not to worry too much about making mistakes –instead, keep the drawings you are not happy with to remind you what not to do next time.
When I was having fun drawing as a child, I mostly drew from comic books and from what I had seen on tv or at the cinema. Basically, I drew what pleased me and what I was interested in, and this is true of most fantasy artists. For instance, Frank Frazetta is a sports fan and, from what I have read, something of an athlete, and this is evident in his work. Adi Granov has a love of automobiles, aircraft and machinery and these are
strong features in his drawings. Claire Wendling clearly has a love, understanding and passion for wildlife and nature. They draw what they are passionate about and this makes them better artists, in my opinion.
Personally, I love horror and sci-fi movies and comics and 70 per cent of my daily work is related to these themes. I enjoy working with this subject matter and I hope you find drawing it as fun and exciting as I do and that it will encourage you to become a better artist.
Have fun!
Steve Beaumont
prehistoric beast in Creature from the Black 1954
MATERIALS
A good artist is able to use their experience and ability to draw something great with even the most basic of tools. However, for the less experienced artist to progress well and achieve the very best results (especially at a professional level), good-quality equipment is required. Cheap materials will often hinder not only your development but also the quality of your work.
If you ever go to a comic convention and watch artists draw, you will notice that each artist has his or her preferred brand of pen or pencil. I often try out new materials after watching another artist work with a tool that I have not used before. Often this new implement will push my drawing ability forward, but ultimately it all comes down to personal preference and budget. This section covers some of the tools I have tried and tested and used for the drawings in this book. Good-quality, affordable and readily available, they should meet most requirements, although over time you should experiment to see which ones you find work best.
PAPER
With so many different surfaces and weights of paper on the market it would be difficult to mention them all here. If I am working in pencil I use a variety of weights and surfaces of cartridge paper, depending on the desired type of pencil line I am trying to achieve. I can recommend Winsor & Newton cartridge paper. I use 180gsm for general rough sketching and 300gsm for finished artwork. I use a medium rough-surface paper for pencil work that I want to blend, as this gives excellent effects and is also good for dry brushwork when using ink. I use a smooth-surface paper for work requiring a precise, crisp line. Arches Aquarelle watercolour paper is also nice for pencil
work, especially if you are combining an ink or watercolour wash with your drawing.
When working with paint, the type of paper required varies depending on the paint used and the finish that is required. In general, I like to use Langton Prestige Hot Pressed paper 300–400gsm, Saunders Waterford Hot Pressed paper 300–400gsm and Arches Aquarelle Watercolour Paper 300gsm all surfaces. These are just my preferences, however, and you should try out others. For most brands, the following abbreviations are given: HP = Hot Pressed (smooth finish); NOT/CP = Cold Pressed (slightly textured); Rough Surface = rough.
PENCILS
I depend on a variety of pencils, but the ones I use on a daily basis are the Staedtler Mars Lumograph HB pencil or a Staedtler Noris HB pencil. The Mars Lumograph is a high-quality artist’s pencil, while the Noris is more of an office pencil. I also use Faber-Castell Pitt Graphite Pure HB and 6B and Wolff ’s Carbon pencils, which deliver rich black tones. More recently I have been using Blackwing pencils, which have a bit of a cult following and are deemed by some to be the finest pencils ever made. I have also started using Prismacolor Col-Erase pencils, which are high-quality erasable coloured pencils that glide across the surface of the paper well and leave a very clean line. I started using Prismacolor Col-Erase pencils for concept work and rough sketches as the line work is strong yet easily removed with minimum effort, meaning that I can continue revising the drawing without damaging the paper. They also come in a wide range of colours.
BLENDERS AND ERASERS
I sometimes use Derwent paper stumps for blending, but I have also used unbranded and economy blenders to good effect. I use tissue paper wrapped around my finger for some blending situations.
Derwent paper stumps
There are many different erasers on the market, but I find Winsor & Newton Kneaded Putty Rubbers and Staedtler plastic erasers to be very reasonable quality. Putty rubbers can be moulded and twisted into different shapes so that you can erase fine points and corners. The classic Staedtler plastic eraser is a good all-round tool and very reasonably priced. The Derwent battery powered eraser is useful for rubbing out small areas on artwork quickly and precisely
MARKERS
Marker brands have come and gone in my years as a professional artist. These days I almost exclusively use Copic markers because they offer a flat coverage of ink and a variety of nibs (making them highly versatile); replacement inks and nibs are available. The colour range is also impressive. Other brands, such as Prismacolor, also produce high-quality markers, so it is worth exploring and making up your own mind.
I have been using Faber-Castell Pitt artist pens for a long time now and still like working with them. I also like Copic Multiliners and the Pentel Brush Pen.
Faber-Castel Pitt artist pens are available in a variety of nib sizes, indicated by the letter or letters on the side of the pen: XS = Extra superfine, S = Superfine, F = Fine, M = Medium and B = Brush. Recently they have brought out the Big Brush pen, which has a larger brush nib for a heavier line and greater coverage. They are disposable; replacement nibs and ink cartridges are not produced.
Faber-Castell Pitt artist pens
Copic Multiliner pens are available in a number of nib thicknesses, ranging from 0.03–0.7 to brush, and are refillable and can have their nibs replaced. The Copic Multiliner is a technical pen that produces very precise line work. Both brands are excellent in terms of value for money and performance.
INK
High-quality India ink is available online and in good craft stores. I work with various brands, including Dr. Ph. Martin’s Bombay India Ink, Sennelier Black India Ink (also known as Chinese Ink), Higgins Ink and Stephens Black Drawing Ink.
GOUACHE
When I produce a painted illustration, I normally use gouache as it is a versatile medium and it dries quickly. My preference is Winsor & Newton Designers Gouache, which is very good quality.
BRUSHES
I use Winsor & Newton sable brushes for inking and painting. Sable brushes are expensive, but they last longer than mixed-fibre and nylon brushes, and they also carry more ink and produce a more controllable line. There are many different thicknesses available in flat or round shapes; if you work with paint regularly it is worth investing in a range. You can buy sets of mixedfibre brushes very cheaply, and could start with those while you work out which sizes and shapes you use most, then invest in sable versions of just a couple of your preferred brushes.
USEFUL ADDRESSES
For more information about these products and where to buy them online, try the following links: www.faber-castell.co.uk www.copicmarker.com www.winsornewton.com www.prismacolor.com
Online UK stores that I use, both of which ship worldwide:
www.cultpens.com www.artifolk.co.uk
Winsor & Newton sable brushes
SUCCESSFUL
BASIC ANATOMY
Figure drawing can be a huge stumbling block for many beginners and even for some people who have been drawing for a while. When it comes to drawing dragons or other beasts there often appears to be no problem at all, but when a well-balanced figure drawing is required, issues can arise. In the next pages I offer some of the approaches to figure drawing that have helped my students gain more confidence. This section is intended to give a basic overview of the techniques so that they can be applied assuredly to imaginative drawings.
Humans come in all shapes and sizes and with all kinds of variations that make each one unique, but for the purpose of getting started on producing a balanced and well-proportioned figure, let’s look at the basic, muscular, human form. As a rough guide, the adult human form is about seven-anda-half heads tall. However, it is common practice to exaggerate the proportions of fantasy characters, and the imagined figure is more usually eight-and-three-quarters heads tall, whether it is male or female
I, as well as my students, have found it helpful to have a rough knowledge of the skeletal structure of our bodies. I can draw a figure better if I understand how it should look and how it works, otherwise I am merely guessing and filling in the vague areas using incomplete information, which will be evident in the end result. The human skeleton comprises about 206 bones, some of which are labelled in Figure Memorizing the names for each and every bone is not essential for successful figure drawing, but it is helpful to be familiar with the names, proportions and joint structures of ones that are most important for drawing the human form.
It would take far too long to draw a complete skeleton every time you wanted to draw a figure and, moreover, it is not necessary. Instead, you can simply break down the skeleton into some basic, manageable shapes or lines and this should enable you to achieve some pleasing results.
BREAKING DOWN THE FIGURE
My students have achieved good results with three approaches to figure drawing. Some students responded well to stripping down the skeleton to
a simplified stick form as shown in Figure while others had more success using construction shapes – an assortment of ovals, cylinders and spheres – to construct a figure, as shown in Figure I personally go about figure drawing by loosely sketching the form and feeling my way around the shape as I go along, as shown in Figure and some students have also found using this approach useful. Whichever method you choose, you should be able to arrive at a completed figure, as shown in Figure
With all these methods, the main points to keep in mind are the size of the head in relation to the body Figure and the length and position of the arms and legs. The arms can be divided into two roughly equal lengths. In reality, the upper leg (thigh) is generally longer than the lower leg (shin and calf area). However, when creating fantasy art, I tend to draw them both about the same length, but with the upper leg wider and thicker-set than the lower leg. The torso can be put together using an oval (I sometimes draw a shape that resembles a rib cage, as in Figure for the rib cage and a shape resembling a pair of briefs for the pelvis.
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It is good practice to study yourself in the mirror – preferably a fulllength one – to become aware of how certain poses affect parts of the body. For example, try standing with both legs straight with your bodyweight centred over them, then transfer your bodyweight to just one leg. Notice the effect this movement has on the other leg. What has
happened to the stance? What differences do you notice? Has the shift of weight affected other parts of the body, such as the pelvis, your shoulders or the curve of your back and spine? What about the angle of your head?
Recreating what you see in the mirror in your figure drawing will make the artwork that much more convincing. (You could take a photo of your reflection in a certain stance to refer to while you are drawing.)
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Question. Here ariseth a Question, Whether those that were seduced by the false teachers, were before true believers?
Answer . They had that faith which we use to call temporary faith, but they were never soundly rooted in faith. This is proved out of the 14 verse, where all those that were seduced by these deceivers are called unstable soules. For if they had beene by sound faith grafted into Christ, then they should have been stable and corroborated in him also. And whereas they are said verse 18. to have cleaneescapedfrom thewicked, this was, 1. In respect of the profession which they had made of their true conversion. 2. In respect of the assent, which we must think that they did give inwardly also unto the word, by which they were called to this conversion. 3. In respect of the change which they had made in their outward carriage. 4. In respect of some small beginning also, whereby they tended towards holinesse it selfe.
The Doctrines arising herehence.
Doctrine 1. They that go astray themselves from the right way, andcause otherstogo astray, whatsoevertheymake shewof, theyhavenothingelseinthemselvesorintheirerroursbutvanity.
This is gathered out of verse 17. and the beginning of 18. For they are said in the text to be as it were vanity it selfe, as Solomon saith of all things that are under the Sunne, in respect of happinesse they are vanity of vanities. Now they are said to be vain, 1. Because they have only a shew of some truth or good, not the thing it selfe. 2. Because they make a shew of communicating some good unto others, but they do not performe it, nor can they. For that is properly called vaine, which is void of that thing which it should have, or which is unfit for that use and end whereunto it should serve.
Reason1. Because they have forsaken God, who is the fountaine of all true and solid good.
2. Because they are led by Sathan, who is the father of lyes and of all vanity.
Vse.This may serve to admonish us, to beware therefore of such men, that we be not in any wise deceived by them. For this were to imbrace vanity in stead of eternall happinesse.
Doctrine 2. Yet such men in their vanity are usually most puffedup.
This is gathered from verse 18. in the beginning. So 1 Corinthians 8.1.Knowledgepuffethup. Which if it be true of the knowledge of things that are true in themselves, if they be not known as they ought to be known, as it is explained, verse 2. Then much more must we think so of that knowledge which hath a shew of some singular excellency, when there is no solid good in it at all.
Reason. Because such men seeme to themselves to be wise, not only above the ordinary sort, but also above those that excell in the Church of God, yea sometimes above the Apostles themselves and Prophets, and therefore are wont to boast of some depths which they have; which the holy Ghost therefore cals the depths of Sathan, Apocalype2.24.
Vse. This may serve to informe us, alwayes to suspect those men, that are in a wonderfull manner puffed up with their own private conceits of some part of religion.
Doctrine 3. That such men do oftentimes seduce many, and have divers followers, it comes to passe chiefly thereby, that their doctrine,eitherfor thematter ofit,or themanner oftheirteaching, isveryagreeabletothecarnalllustsofmen.
This is gathered from these words: theyallure throughthelusts oftheflesh.
Reason.Because as the flesh doth easily apply it selfe at all times unto carnall doctrine, by reason of that communion that is betwixt them; so especially and most easily doth it, when the doctrine is covered with a shew of religion or truth.
Use. This may serve for admonition, that if we would be safe from infection and seducing, we should diligently labour for mortification of the flesh. For neither are they only in danger of seducing that have not yet known the truth, but they also that have in some sort clean escaped from those that live in errour, as it is in the text.
Doctrine 4. The chiefe lust of the flesh, whereby men are wonttobeseduced,istheloveofcarnallliberty.
This is gathered from the beginning of verse 19. So Psalme2.3.
Reason 1. Because the flesh alwayes seeketh its peace and quietnesse, which it cannot enjoy, but by giving it selfe over unto the lusts thereof; and hence it is that carnall men account the command of God and his Word, a yoke, ♦and strong cords, and bands, &c.
♦ “aud” replaced with “and”
2. Because in liberty there is some kinde of shew of that dignity and excellency, whereof all the sons of Adamare most desirous ever since they drank in that poyson of the Serpent, YeshallbelikeGods.
3. Because it hath a false shadow of that Christian liberty, whereunto we are called, Iohn 8.32,33,34. Hence it is, that the cursed sect of Libertines, which under a shew of liberty overthrowes all religion, findeth many well-wishers thereunto, even amongst those that are Christians in name.
Vse 1. This may serve to condemne those, that alwayes follow after liberty of what kind soever it be. For Christians are the servants
of righteousnesse, although they be free from sin, Romans6.18.
2. To admonish us, to represse and restraine in our selves this carnall desire of liberty, 1Corinthians9.27.
Doctrine 5. They that most labour for this carnall liberty, are themostwretchedservantsofsin.
This is gathered from these words; they are the servants of corruption. So Romans6.20.
Reason1. Because they are overcome and led captive by sinne.
2. Because they give up themselves wholly to obey sinne, Romans6.16.19.
3. Because they remain in this bondage, although it be the worst of all, with a kind of pleasure; so that they are the servants of sin more, then those are the servants of men, that are gally-slaves: for these mens minds alwayes wish for liberty, but the others are very well pleased in their most servile condition.
Vse 1. This may serve to informe us, how we should stand affected towards such men. For although they seem to themselves to be the only happy men almost, yet they are in truth objects most worthy of pity, and not of envie.
2. To admonish us, more and more to get out of this bondage, by yeelding our selves wholly unto God and his righteousnesse, Romans 6.18,19,22.
Doctrine 6. They that are brought into this bondage, after that they have made profession and confession of the truth, their conditionismoredeplorable,thentheconditionofothersinners.
This is gathered from, verse 20,21.
Reason 1. Because their sin is greater then other mens. For where no law is, there is no sin; where the law or the knowledge of the law is lesse, there the sin is lesse: but where the knowledge of Gods law and his will is greater, there the sin is made greater and heavier.
2. Because they do wonderfully dishonour God, while they professe themselves to have known his discipline, and to have had experience of it in some measure, and do afterwards reject it, and prefer sin before it.
3. Because the devill the Prince of sin doth more severely beset those, that he hath withdrawne unto himselfe from the flight as it were, Matthew12.45.
4. Because the anger of God is incensed against such men, Hebrews10.26,27.
5. Because there is scarce any place left for them to repent, Hebrews6.6.
Vse.This may serve to admonish all those, that know the way of God, to labour also to continue constantly in the same, in all parts of their life and conversation.
Doctrine 7. The filthinesse of sinne should make men to abhorreareturningtothebondagethereof.
Reason1. Because we are called unto purity.
2. Because we have professed an abomination of that impurity which is in sin.
3. Because it is abominable unto God, and makes men abominable in his sight.
Vse 1. This may serve to condemne those, that take delight in this filthinesse, and think they gain credit unto themselves thereby, by gracing and setting out their speech with oathes, and labour to make their conversation pleasing, by applying themselves unto the customes and vicious and filthy courses of men.
2. To admonish us, to put before our eyes this filthinesse of sin. So shall we renew our repentance, and be confirmed in the grace of perseverance.
Chapter III.
Verse 1. ThissecondEpistle(beloved)Inow writeuntoyou, inboth whichIstirupyourpuremindsbywayofremembrance:
Verse 2. Thatye may be mindfull of the words which were spoken before by theholy Prophets, and of the commandement of us theApostlesoftheLordandSaviour .
The Analysis.
HE Apostle now making haste to the end of the Epistle, 1. Repeats the scope and aime that he had in writing, in the 1 & 2 verses. 2. He doth again describe those men, of whom he writes this Epistle, that they should beware, verse 3,4. 3. He refutes their ♦blasphemies, from verse 5. to verse 11. 4. He shewes the use and fruit of his doctrine, which all the faithfull should make of it, from verse 11 to the end. In repeating the end and scope of the Epistle he sets it forth and describes it, 1. By the genus, that it is a putting in remembrance. 2. By the effect, that it stirres up. 3. By the object, that it was directed unto them, that had a pure minde. 4. By the means how to obtaine this effect, namely, those things which were spoken before by the Prophets, and commanded by the Apostles, verse 2. 5. By the manner how all these things might be made the more effectuall: to which purpose he useth a kinde of illustration, namely, that this putting in remembrance was iterated and repeated with an earnest vehemency. This second Epistle I write, and that with a fatherly kind of love, which is
intimated in the title which he gives them, when he cals them beloved. Of the putting in remembrance we spake before, chapter 1. verse 12,13. and also of stirring up: Therefore passing over them, we come to the next.
♦ “blaspemies” replaced with “blasphemies”
Doctrines arising herehence.
Doctrine 1. The minds of the faithfull should be indued with purity, andsincerity, thattheymayreceivethedivineadmonitionsas theyoughttobereceived.
This is gathered from these words: I stir up your pure minds. Now he doth not so much commend them by this his testimony, as shew them, what thing they ought chiefly to labour for, that they may receive benefit by this writing. So Iames 1.21. and this first Epistle chapter 2. verse 2.
Reason1. Because, as in all things that are of any moment, there is alwayes required some preparing of the subject, for example, as in husbandry, plowing and harrowing of the ground: so and much more also is it required that we should prepare our hearts to receive the word of God with benefit, Ieremiah4.3,4. Now there can be no fitter preparation, then by sincerity to lay aside all those things, that are contrary to the word, and hinder the efficacy thereof.
2. Because the word of God is sincere, and therefore it requires sincerity in those that receive it, 1Epistlechapter 2. verse 2.
3. Because without sincerity nothing at all is done aright. For sincerity is the common affection of obedience.
Vse1. This may serve to reprove those, that have no care at all, rightly to dispose themselves for to receive the word of God aright.
2. To exhort us, to labour chiefly for this purity of minde, and sincerity of heart.
Doctrine 2. Theythathave apure minde, dowillinglyreceive and retain those things that are proposed unto them out of the ProphetsandApostles.
This is gathered from verse 2.
Reason1. Because Christs sheepe know his voice and follow him, Iohn10.27. Now his voice sounds in the Prophets and Apostles.
2. Because in the Prophets and Apostles all things agree with sincerity, 1Peter2.2.Psalms19.8,9.
Vse. This may serve to informe us, to examine our minds according to this rule: for they that care not for the words of the Prophets and Apostles, have not purity of minde; but they that cleave fast unto them, although it be accompanied with divers infirmities, have alwayes in readinesse a sure argument of their sincerity.
Doctrine 3. Yettheverybesthaveneedtobeoftenstirredup untotheseduties.
This is gathered from these words; This second Epistle I now write.
So Philippians3.1, and this Epistle, chapter 1. verse 10,13.
Doctrine 4. SuchadmonitionsareworksofChristiancharity.
This is gathered from this title, beloved.
Reason 1. Because they tend to deliver men from the greatest evill, and to communicate unto them the greatest good.
2. Because they pertaine unto the communication which is exercised by charity.
Use 1. This may serve to reprove those that cannot endure admonitions, and take them for their enemies that use them. Galatians4.16.2Timothy4.3.
2. To exhort us, to exercise our selves unto this duty with all charity.
Verse 3. Knowing thisfirst, that there shall come in the last dayes, scoffers,walkingaftertheirownlusts,
Verse 4. Andsaying,Whereisthepromiseofhiscomming?Forsince the Fathers fellasleepe, all things continue as they were from thebeginningofthecreation.
The Analysis.
Vpon occasion of the Apostles testimony before cited, there is in these words a new description made of some wicked men of whom we must greatly beware. For in that he saith, that this is first to be knowne, what these wicked men are, of whom he doth admonish us, he doth thereby mean not only to shew that this is necessary to be known for the understanding and applying of the Apostles words with benefit, but also that this may and ought to be chiefly observed out of the Apostles words, namely, that there shall come such men in the last dayes. For so is this phrase explained, Iude, verse 18. These wicked men are described in generall, 1. By their impiety towards God, that they are scoffers. 2. By their impurity of life and deeds, that they walke after their own lusts. Then in special by their arguing, that the wicked scoffers used, to defend their impiety, and to remove the contrary doctrine from themselves, verse 4. For in those words is expressed, 1. their scoffing, which was before noted in generall, and 2. their argument is set forth, whereby