How to Draw Comics the Marvel Way by Stan LeeHow to Draw Comics the Marvel Way by Stan Lee

How to Draw Comics the Marvel Way

byStan Lee, John Buscema

Paperback | September 14, 1984

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One of the first and still one of the best, Stan Lee’s How to Draw Comics the Marvel Way has been the primary resource for any and all who want to master the art of illustrating comic books and graphic novels.

Stan Lee, the Mighty Man from Marvel, and John Buscema, active and adventuresome artist behind the Silver Surfer, Conan the Barbarian, the Mighty Thor and Spider-Man, have collaborated on this comics compendium: an encyclopedia of information for creating your own superhero comic strips. Using artwork from Marvel comics as primary examples, Buscema graphically illustrates the hitherto mysterious methods of comic art. Stan Lee’s pithy prose gives able assistance and advice to the apprentice artist. Bursting with Buscema’s magnificent illustrations and Lee’s laudable word-magic, How to Draw Comics the Marvel Way belongs in the library of everyone who has ever wanted to illustrate his or her own comic strip.
Stan Lee, 1925 Stan Lee was born in 1925. He joined Marvel Comics in the early 1940's and has remained there for 60 years. He is the creator of Spider-Man, the Incredible Hulk, the Fantastic Four and the X-Men, and has more than 2 billion comics books featuring these well known characters in print. While employed at Marvel Comics, Lee ...
Title:How to Draw Comics the Marvel WayFormat:PaperbackDimensions:192 pages, 11 × 8.5 × 0.4 inPublished:September 14, 1984Publisher:Touchstone

The following ISBNs are associated with this title:

ISBN - 10:0671530771

ISBN - 13:9780671530778

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Customer Reviews of How to Draw Comics the Marvel Way

Reviews

Rated 5 out of 5 by from Classic how-to book for aspiring comic book artists There are a lot of how-to books for aspiring comic book artists on the market and they vary in quality. How to Draw Comics the Marvel Way is an oldie but a goodie. It was originally published in 1978, so it's now a bit dated. There's no mention of computers and all the artwork is from the 1960s and 70s. However, writer Stan Lee and artist John Buscema did a great job of explaining the basics of drawing comics, including figure drawing, perspective, foreshortening, composition, and inking. I got a copy of the book two decades ago and found it very helpful. I still go back to it when I need a refresher on the fundamentals of comic book art.
Date published: 2017-09-05
Rated 5 out of 5 by from After 40 years, it still holds up! As a budding young, teenage, wannabe comic book illustrator and after years of lusting after it, I was able to get this gem in my grubby little hands. A great guide to not just drawing superfolks.
Date published: 2017-08-31
Rated 4 out of 5 by from I used this at one time to try & draw DC characters... Yes, I know it sounds strange- as a youngster Superman & Batman caught my attention more than Spider-man & The Hulk . I stumbled upon this book by chance in the local library & it was the best art book to try & learn from in terms of drawing 3 dimensional forms. The technique of 'drawing through an object' is one that remains true to this day. This is a MUST-HAVE book to read fro any beginning artist.
Date published: 2017-07-09
Rated 5 out of 5 by from STILL a great reference book! This book is over 30 years old now, and still holds up!
Date published: 2017-05-13
Rated 4 out of 5 by from A gorgeous reprint Pure 70s mastery of how to draw classic superheroes. Pure Marvel! Pure perfection!
Date published: 2017-01-17
Rated 5 out of 5 by from THE book for the young (or old) aspiring comic book artist! I was gifted this book almost 40 years ago, and its impact on my then burgeoning artistic passions cannot be understated. Whether you are regularly practicing putting pencil to paper, or are simply a fanboy who wants to know how the artists behind the scenes make their magic happen, the explanations and instruction contained herein offer invaluable insight to any and all who have ever wondered: "how DO they do that?"
Date published: 2016-12-02
Rated 5 out of 5 by from The Holy Book of Comic Drawing This is the book for aspiring comic artists. John Buscema was the resident art head at Marvel for years. His takes on characters are the ones that most people identify with because he was able to capture them so simply. While many new artists over render and lose sight of illustration, Buscema was capable of doing emotive, evocative work with less strokes per inch. The straight forward and easy approach of topics is covered with a wit only stan Lee could muster. Art strewn throughout is chosen properly and makes the explanations better understood. Anatomy? check. Perspective? check. How to create powerful panels? check That's comics. DC has put out more comprehensive books, but this one is very good and although seemingly dated to newer readers, still a valid starting point.
Date published: 2009-02-13
Rated 5 out of 5 by from Wonderful! This is a great book, it gives a nice overview of all the basics used in the comic industry. It has an especially unique section on how to ink comics and dynamic layout.
Date published: 2005-06-17

Read from the Book

Chapter 1THE 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

Table of Contents


CONTENTS

Preface

One The Tools -- and the Talk -- of the Trade!

Two The Secrets of -- Form! Making an Object Look Real

Three The Power of -- Perspective!

Four Let's Study -- The Figure!

Five Let's Draw the Figure!

Six The Name of the Game is -- Action!

Seven Foreshortening! The Knack of Drawing the Figure in Perspective!

Eight Drawing the Human Head!

Nine Composition!

Ten Draw Your Own Comicbook Page!

Eleven The Comicbook Cover!

Twelve The Art of Inking!

Bibliography

Acknowledgments