The first issue of this two-part series goes on sale this month. To prepare for writing this article I read through 60 books on drawing, 40 books on anatomy, and several books on cattle rustling. This last article is important because I plan on taking over Peru, and as anyone who has ever considered the matter thoroughly, airships are the only proper way to do it. Justin Gerard. Posted by Justin Gerard Tuesday, February 8th, View Profile View Posts.

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Published: Feb 6, On sale in the United Kingdom on February 8th! It will be available in North America a few weeks afterwards Here's the link for the digital version!

Here you can see what I didn't have room for in the actual issue: the step-by-step of the actual physical art. If you read above, you can see the tools I used. Let's begin! If you're lucky, you won't have to deal with an editor.

The sketch you like the least will invariably get picked, so - have fun! That's life in the Bigs, punk. I doodled several, and this was what was picked. You won't see the others here. I don't like running unused sketches, because, well, you might get to use them for something different someday. If you run them publicly, some bottom-feeder will steal your ideas. Gather reference! At this stage in my career, I love working from life as much as I can. I'm a big fan of classic American illustration, and if using reference was good enough for Norman Rockwell, J.

Leyendecker, and Dean Cornwell, it's good enough for the likes of us. While I've used Audrey Hepburn as inspiration for my Catwoman in the past, it's dangerous to rely only on the reference you can find in books or online. Your resources are limited. Find your own, if can. She shares a few facial features with my take on Catwoman, so I like to use her as a face model! While not matching the final drawing exactly, this angle was close enough! I eyeballed the mouth and eyes.

If you're inclined to ask "How do you eyeball something, Adam? Some nice body reference will help as well. Seen here providing more than just nice body reference is the wonderful Riki LeCotey she's so pretty, she's on page , twice!

I'm not running all the pics I took, because that's too much space-wasting here. I use an arm here, a leg from another, a face from somewhere else. It's all about the final art! In this shot, I like the basic pose, but ended up using arms from a different shot. This is my tight sketch, made using my reference, and a lot of pencil lead and erasers.

You'll notice I didn't show my latex reference. Well, there's a couple reasons. Too many to show. The other reason is because I find a lot of reference online.

That being said - thank you, Bianca Beauchamp, for not modeling parkas. In my sketch, I try to work out proportions, expressions, anatomy, and all the crap that you'll end up drawing and erasing 20 times. In this version, you'll see I contemplated giving Selina high-heels, even though she doesn't wear them in this current era. Once I'm happy enough , I transfer the art to a fresh, virgin piece of Strathmore Drawing paper, using a light-box.

I decide it's best to go with Selina's regular shoes, even though the high-heels provide a sexier silhouette. Continuity is best. I do the face first. Because every piece is a roll of the dice. I hate finishing a piece and realizing the face is ugly, so If it sucks, you can just transfer your sketch to a new piece of paper and start over with a minimum of lost work.

That helps with the blending. Sometimes you can get some nice effects if you allow the area to dry and then go back with the same value. Once the face is done and doesn't suck, I feel confident in attacking the rest of the piece.

The latex is fun to do because you can really sell shiny latex with a minimum of values. It's all about where you put the highlights and reflections. On this piece, I learned at this stage that the client wanted a red background, like the cover to CATWOMAN 70 [link] so I drew in the reflection of a lighter background behind Selina, all around the edges of her body.

Once finished, I beefed up the shadows and highlights. Because the contrast wasn't strong enough for me, and I didn't want to do it in Photoshop. I added India ink to the blackest blacks, and white ink to the highlights. At this stage, I go over the piece with bold ink lines, beefing up the thin XS ink lines I did earlier.

I do it this way to minimalize smudging. That's pretty much it! I then scan it into Photoshop, and It's also available as a digital download you'll have to Google it; I don't have the link handy. Image size. See More by AdamHughes.

Featured in collections. Adam Hughes by captive2d. Featured in groups See All. Comments Join the community to add your comment. Already a deviant? Log In. I love this one! The expression, body language, just everything! Good old fashion illustration. The way it should be. In the tradition of Leyendecker, Rockwell and many others.

Keep up the excellent work! You are a legend! SapanVasava Hobbyist Digital Artist. PAllora Professional Filmographer. Thank you Adam for posting this amazing breakdown on your creative process for your wonderful artwork! You forgot something though Theres Playboy for people without money for artschool.

This is awesome. Thank you!! I envie your talent, very very beautiful drawings!! I start with the focal point of the head as well, it's what you look at first and what you are drawn no pun intended to when first looking at a figure. Lalunabluena Hobbyist Traditional Artist. I love how you work on the face first when the drawing starts.

Artsend Professional General Artist. Process makes me happy X. ManSapien Hobbyist Traditional Artist. I love that you take time to share your methods with the whole world. Best advice I like from you is "Reference is an aid, not a substitute". Wow this is great thank you! NycterisA Hobbyist General Artist. The whole reason I came to your gallery was die to reading your very moving Foreword to Bancroft's "Character Mentor".

Boy am I glad I came! You are tossing out pearls of wisdom here! Marin95 Student General Artist. I want to see the process.


ImagineFX #66-67

Published: Feb 6, On sale in the United Kingdom on February 8th! It will be available in North America a few weeks afterwards Here's the link for the digital version! Here you can see what I didn't have room for in the actual issue: the step-by-step of the actual physical art. If you read above, you can see the tools I used. Let's begin!


Imagine FX 67 How To

Take out a subscription to ImagineFX and each month you'll get Unrivalled step-by-step know-how from professional artists and illustrators. Video workshops and custom brushes Unmissable insight into the art of video games, film, manga, animation, comics and so much more! The finest showcase of the best art from around the world. Interviews and features with leading artists in their field.

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