comicartist'sphotoreference

WomenandGirls

BuddyScalera

CINCINNATI,OHIO

www.impact-books.com

ComicArtist’sPhotoReference:WomenandGirls.Copyright© 2008 byBuddy Scalera.Manufactured inChina.All rights reserved.By permission of theauthorandpublisher,thephotographsinthisbookmaybephotocopiedorscannedforreferencepurposes,butundernocircumstancesmaytheyberesoldorrepublished.Nootherpartofthetextmaybereproducedinanyformorbyanyelectronicormechanicalmeansincludinginformationstorageandretrievalsystemswithoutpermissioninwritingfromthepublisher,exceptbyareviewerwhomayquotebriefpassagesinareview.Publishedby IMPACTBooks, an imprint ofF+WPublications, Inc., 4700EastGalbraithRoad,Cincinnati,Ohio,45236.(800)289-0963.FirstEdition.

Other fine IMPACTBooks are available from your local bookstore, art supply store or direct from thepublisheratwww.fwpublications.com.

121110090854321

DistributedinCanadabyFraserDirect100ArmstrongAvenueGeorgetown,ON,CanadaL7G5S4Tel:(905)877-4411

DistributedintheU.K.andEuropebyDavid&CharlesBrunelHouse,NewtonAbbot,Devon,TQ124PU,EnglandTel:(+44)1626323200,Fax:(+44)1626323319Email:postmaster@davidandcharles.co.uk

DistributedinAustraliabyCapricornLinkP.O.Box704,S.WindsorNSW,2756AustraliaTel:(02)4577-3555

LibraryofCongressCataloging-in-PublicationData

Scalera,BuddyComicartist’sphotoreference:womenandgirls/byBuddyScalera.--1sted.p.cm.

ISBN-13:978-1-60061003-5(pbk.:alk.paper)ISBN-13:978-1-60061-363-0(EPUB)1.Women--Caricaturesandcartoons.2.Comicbooks,strips,etc.-

Technique.3.Drawingfromphotographs--Technique.I.Title.NC1764.8.W65S322008741.5’1--dc22

2007048253

2007048253EditedbyAmyJeynesProductioneditedbyMaryBurzlaffCoverandinteriordesignbyTerriWoesnerPagelayoutbyKellyPillerProductioncoordinatedbyMattWagner

MetricConversionChartToconvert to multiplybyInches Centimeters 2.54Centimeters Inches 0.4Feet Centimeters 30.5Centimeters Feet 0.03Yards Meters 0.9Meters Yards 1.1

abouttheauthor

Buddy Scalera is a writer, editor and photographer. He is the author of thebestsellingComicArtist’sPhotoReference:PeopleandPoses(IMPACTBooks,2006). Scalera is also known for his bestselling photographyCD-ROMseries,VisualReferenceforComicArtists,andforhiswritingworkonMarvelComics’Deadpool, Agent X and X-Men Unlimited.He has written and self-publishedseveral comic books, includingNecrotic:DeadFlesh on aLivingBody and7Days to Fame. Buddy was the creator and editor of Wizard Entertainment’sWizardWorld.comandWizard-School.comwebsites.Hecontinuestoworkasaninteractivemultimediadeveloperintheentertainmentindustry.Visithiswebsite,www.buddyscalera.com.

acknowledgmentsSpecialthankstoDadforlettingmeconvertyourgarageintoastudio.Ioweyoudinner.

thankyouto.... . . Chanel, Sarah, Pamela,Vanessa, Loukas andVeronica,who spent hoursunderhotlightstomakesurewegottheshots.

. . . JG Jones, Jamal Igle, Josh Howard and Terry Moore for doing theseoutstandingdemos.Iappreciateyourtime,effortandprofessionalism.Thankyou.

...GuyKellyandTerriWoesnerfortheinspireddesigns.

...PamWissmanforgivingmeachancetoworkwithIMPACT.Youmadeallofthispossible,andIthankyou.

. . .Amy“TheProfessor” Jeynes for findingways tomakeeverythingbetter.Wemakeagoodteam.

dedicationToJanet.Youaremybestfriend,andIamluckytohaveyou.

ToDanielleandNicole.Laugh, sing, dance and dream.Daddy andMommy love you nomatterwhat.Unconditionallyandforever.

ToDadandMom.Thankyouforalifetimeofinspiration,guidanceandsupport.

tableofcontents

1ChanelAge16

FlyingJumpingWoundedPunchingBlastsStandingGunsSwordsScaredExpressionsWalkingRunningSittingLiftingMakeupHairClothesCapeGlovesDrinkingPhone

ArtDemo:TEENACTIONHERO

byJoshHoward2Sarah

Age22

FlyingJumpingBattleBlastsGunsPunchingKickingSticksWoundedScaredLiftingStandingSitting&KneelingMakeupGlovesSmokingExpressionsHairCapeRomanceDressingRunningSwingingClimbing&Jumping

ArtDemo:THINK3-D

byTerryMoore

3PamelaAge26

FlyingJumpingWoundedBlastsGunsSwordsNunchucksBowExpressionsRunningLiftingSittingScaredStandingMakeupPhoneHairBootsDressingClothesCapeLyingDownPunching

ArtDemo:EVOLUTIONOFACOVER

byJGJones4VanessaAge34

FlyingJumpingWounded

BlastsStandingGunsSwordsRunningCapeDressingClothesExpressionsLiftingHairSittingScaredSpecialLighting

ArtDemo:TEAMOFHEROES,COLLAGE-STYLEbyJamalIgleABOUTTHEARTISTS

THEBOOKTEAM

Chanel

Age:16Height:5'3"(1.6m)Weight:103lbs.(47kg)

artdemoBYJOSHHOWARD

chapterone

Flying

Jumping

Wounded

Punching

Punching

Blasts

Standing

Guns

Swords

ArtDemo

TeenActionHero

BYJOSHHOWARD

Ichose thispictureofChanel formydemobecauseI liked the tiltof theheadandthepositionof the legs. I remainedfairlyfaithful to theposebutwentmyowndirectionwiththeaesthetics.That’swhatit’sallabout—usingthephotoasinspirationwithoutbeingaslavetoit.

1ThumbnailSketchFirst,Isketchtheposewitharegularmechanicalpenciltocapturetheshapes,anglesandgeneralfeel.

Iliketodoseveralsketchesbeforedecidingwhichonetorunwith.Ialwayshavethreeorfoursketchbooksgoing.

BecauseIinkmyownwork,Icankeepmypencilsloose,knowingI’lltightenthedrawingduringinking.ThisisonewayI’velearnedtostreamlinemy

process.

2PencilsIredrawmybestsketchontoartboard,thenroughinthedetailsoftheclothing.Thisiswheremyillustrationbeginstodeviatefromthephoto.I’menvisioningateenherodressedinasortofhybridpunk/militaristicstyle.

3InksIinkthedrawingwithfine-pointpensandbrushpens,thenerasethepencillines.As you just saw,my pencils are loose, so as I ink, I have to “find” the finalillustration in my mess of lines. It’s not really as chaotic as it sounds, but Ialmostalwaysmakeafewcorrections.

4ColorsIscanmyinks,thenaddcoloronthecomputer.ThefinalproductisapieceI’dgladlyaddtomyportfolio.

AfterIscanmyinks,IcanmanipulatethescanbeforeIcolor.IfIdecidethattheheadisatthewrongangleorahandistoolarge,Icanfixit.

Scared

Expressions

Walking

Running

Sitting

Lifting

Makeup

Hair

Clothes

Cape

Gloves

Drinking

Phone

Sarah

Age:22Height:5'9"(1.8m)

Weight:125lbs.(57kg)

chaptertwo

artdemoBYTERRYMOOREPAGE

Flying

Jumping

Battle

FormorephotosofSarah’sopponent,Veronica,seeherchapterinComicArtist’sPhotoReference:PeopleandPoses.

Blasts

Blasts

Guns

MoreGuns

Punching

Punching

Kicking

Sticks

Wounded

Scared

Lifting

Standing

Sitting&Kneeling

Makeup

Gloves

Smoking

Expressions

Hair

dressing

Cape

Romance

FormorephotosofLou,seehischapterinComicArtist’sPhotoReference:PeopleandPoses.

MoreRomance

Dressing

MoreDressing

ArtDemo

Think3-D

BYTERRYMOORE

I liketheflowing,uninterruptedbodylinesinthisphotoofSarah(below).ButwhenIdraw,Iliketoremindmyselfthatthebodyisn’tjustacollectionoflines:it’s three-dimensional; it’s dynamic. If youdrawonlywhat the eye sees, yourpictureswillalwayslookmechanical.For example, always remember that when you’re drawing a person, you’re

basically drawingmuscles and boneswith skin stretched over them. Skin andmusclesbendandflex;theyrespondtogravitydifferentlyinpeopleofdifferentages,weightsandsizes.ThesearethethingsI’mthinkingaboutwhenIstudythebody.Another suggestion: Imagine (and sketch)what the subjectwould look like

frommanydifferentangles,notjusttheangleshowninthephoto.It’simportanttorememberthatthemusclesandbonesyoucanseeareconnectedtoonesyoucan’tsee.

1CaptureBodyMechanicsandProportions

Lightly sketch the pose with a few crude lines. Early in the process, mark acenterline and use it to keep the body’s weight balanced. For example, sinceSarah’sshouldersgoleftofcenter,youknowthatsomethingelsehastogoright(inthiscase,thehips);otherwiseshe’dfallover.Tohelpyourselfjudgethebody’sproportions,makeroughlyhorizontalmarks

attheheels,knees,wristsandshoulders.

2FindtheContoursStartdarkeningthemajorlinestocapturethelargeshapesofthetorsoandlimbswithmoreprecision.Keeppayingattentiontobalance,asyoudidinstep1,butaddgravityandmass toyourconsiderations.Wherecanyousee theeffectsofgravity?Youcantellherrightlegisbearingmoreweightthantheleftbecauseit’sstraightandthetendonsabovethekneejointarevisible.Goaheadandcreatethosetendonswithtwolines.You can do this step fairly quickly. Even though you’re working from the

model,whatyou’vedrawnisalmostgeneric:Thiscouldbealmostanywomanofsimilarheightandsize.

3GetSpecificNow, check your drawing against the photo on a more detailed level. Study

everyviewable inchof themodel.Does shehave long, slender fingers, or aretheyshortandstubby?Sturdyankles,orskinnyones?Finishherhandsandfeet.Seehowtheoutsideanklebonesare lower than the insideones?AndhowtheAchilles tendongoesall thewaydowntotheheel?Adddetail to thehair(andmakeitlonger,ifyouwantto).Nowyou’retakingthedrawingbeyondagenericrepresentationandmakingitaboutthisspecificwoman.Thereissomuchinformationaboutthiswomaninthephoto,Icouldwritean

entirechapteronherbodytype,ageandlifestyle.Weknowthatsheisnotlarge-breasted,becauseherbrastrapsareskinnyandtheskinonherbackandaroundthebandofherbraistautandunstressed.Hersoftlycontouredwaisttellsusthatshe doesn’t have pronounced “six-pack” abs, but the indentations at thewaistbandofherspandexshortsareshallow,soherstomachmustbeprettyflat.Theprominentveinsoverthemusclesofherlowerarmsindicatethatsheworksout.Herroundedcalves,though,aretheresultofgenetics;nicecalfmusclesaresomethingyouhavetobebornwith.If this is all beginning to sound very personal, it is. To draw the model

correctly,youhavetoknowwhatyou’relookingat,whatitlookslike,andhowitgotthatway—evenifit’shidden.

4SketchaFewMoreAngles,ThenAddClothingandAnatomicalDetail

Takeamomenttoscribbletheposefromacoupleofotherangles,imaginingwhatyou’dseeonothersides.LikeIsaidatthebeginning,beingabletopicturewhat’s going on around the bends is crucial, because everything you see isconnectedtothepartsyoucan’tsee.Remove the generic lines with a kneaded eraser, and draw in more of the

details thatarespecific to thismodel. I thinkabout the transitionpointsof themusclesonhershoulders,armsandlegs.MypencilrunsoverherbackandtriesafewlinestoseeifIwanttogotherewiththeart.Probablynot.Whatarethedenimshortsgettinghunguponthere—what’skeepingthemupontheleft?Askyourselfquestions like these; theyremindyouthat theseformsareround, theyjut out, they bump into things and push and squeeze and deform and bounceback.OK, in thenext stepyou’ll start inking.Whateveryouhaven’tyetpenciled,

suchasthedetailsoftheshortsandhair,youwilldrawasyouink.

5InkLikeaPencillerthemainlinesUsingabrushorpen,inkthemainlinesofthebody,leavingthedetailsforyoursecondpass.Startinkingatthehead,thenworkyourwaydown:leftarm,rightarm, torso, legs, feet. As your brushmoves around the body, think about themuscles and bones, making bumps and mounds for muscles stretched andcontracted.Youneedboth the skill of an inker and themindof a penciller tomakethelinessmoothwithvaryingweightsthatimplymassandlight.

6AddFinalDetailsInkthedetailsontheelbows,hands,back,kneesandclothing.Fill inthesolidblackarea.Ifthedrawingisgoingtobecomputer-colored,sayforacomicbook,theselineswillbeenoughforthecoloristtoplayoffof.Thecoloristcancreatenice,subtletoningthatharshinkingcannotachieve.Erasetheremainingpencillineswiththekneadederaser,andyourartisready

to scan. The few stray ink lines (like around the shorts) can be touched updigitallyafterscanning.Onthesmaller,sketchedfigures,Itriedtoillustratethebodylanguagewitha

fewbrushstrokes.Ithinkthisposewouldbeinterestingfromanyangle.

Running

Running

MoreRunning

Swinging

Climbing&Jumping

Pamela

Age:26Height:5'10"(1.8m)

Weight:145lbs.(66kg)

chapterthree

artdemoBYJGJONES

Flying

Jumping

Wounded

LyingDown

Blasts

Guns

Swords

Sword

ArtDemo

EvolutionofaCoverBYJGJONESWITHCOVERDESIGNERTERRIWOESNER

Weallknowwe’renot supposed to judgeabookby itscover,but that’swhatpeople do when they browse bookstore shelves. For this project, IMPACTBooks needed cover art with attention-grabbing action, color and energy.WeknewsuperstarcoverartistJGJoneshadtheartisticstoppingpowertohelpthisbookleapofftheshelves.In this lesson, JG Jones gives you a behind-the-scenes look at his sketches,

studies and notes,whileBuddy Scalera and IMPACT designer TerriWoesnersharetheirrecollectionsandobservationsaboutthecoverdevelopmentprocess.

1TERRIIaskedJGtochoosetwoofBuddy’sphotostouseasthebasisforapieceof

dynamiccoverartthatwouldengagethereaderatfirstglance.JGpickedthesephotosofPamela.Intheswordphoto,shereallygrabstheviewerwithherdirectgaze and aggressive pose. JG thought the cape from the other photo could beincorporatedtocreatecontrastandvisualinterestinthebackground.Iagreedthattheconceptwascover-worthy.IaskedJGforartwithascience-

fiction/fantasytheme.

3BUDDYJG flops the imagebackand forthusinghiscomputer. In thisearly sketch,heusesbothphotosbackwards, testingwhether the image“reads”morenaturallythatway.

2BUDDYIfyouwantthesubjectofaphototolookstronganddominant,youshootfromalowangle.That’swhatIwasdoinghere.

4TERRIThis rough thumbnail sketch letme see how JGwas planning to pull the twophotostogether,sothatIcouldgivehimmyinputbeforehestartedtoinvestalotoftimeincreatingfinalart.

5TERRIJGsaidthisconceptwasinspiredbythewarriorwomenonvariouscoversfromthescience-fictionclassicJohnCarter,WarlordofMars.Here,youcanseehimstartingtoaddcostumeelementsthatareinthatspirit.Forthissketch,JGfloppedthephotosbacktotheiroriginalorientations.Ina

minute,you’llseewhy.

6BUDDYAsJGtakesPamela’scoreposeandstartstoaddpropsandcostume,hedoesn’tjustpastethemonlikepaper-dollclothes;hewrapsthemaroundthefigure.Thescabbard of the sword hangs behind the leg; the bracelets curve around thewrists; the straps and chains drape around the hips; the loincloth partlydisappears behind the leading leg. All of these details contribute depth andrealism,enhancingoursenseofthischaracterasa3-Dwoman.

7BUDDYPamelawasinmotionwhenbothof thereferencephotoswereshot.JGdoesagreat job of adding visual cues that capture this sense ofmotion: the flowingcape,theflyinghair.

8BUDDYAfigure inmotion is inherentlyoffbalance.Ifyoudrawthe linesofPamela’sframe on the photo, you get subtle clues as to how she was moving when I

snappedthepicture.Inthispose,Pamelawaspretendingtoduelwithanunseenopponent.Eventhoughherbodyandshouldersaretilted,shekeepshereyelevelalmost perfectly horizontal, which is typical of people with good physicalcontrol.

9BUDDYWhenIphotographedPamela,Iwasusingmorethanonelight.Themostintenselight was coming from her left. Additional studio lightsmade it easier to seedetailsthatwouldotherwisehavebeenlostintheshadows.Thesketchaboveclearlyshowsthedirectionofthelightsource,eventhough

JGhadnospecificknowledgeofhowIhadsetupthephotostudio.

10TERRIJGscannedthecoverofthefirstbookinBuddy’sseries,PeopleandPoses,anduseditasatemplateforamock-up.Ididn’taskhimtodothis;hejustdidit,and

I was thrilled because it made it much easier for everyone at IMPACT tovisualize the final product. Also at this stage, JG started painting withwatercolorstoshowmethecolornoteshehadinmind.Thefirstcoverintheseriesfeaturedreferencephotosinthelowerleftcorner.

Forconsistency, Iwanted tokeep thephotosat the lower left for thiscoveraswell. So JG flopped the pose again, back to the original orientation, tomakeroomforthephotos.

11TERRIYoucanseeJG’shandwrittennotesinthemarginshere.Thecreaturesandotherbackground toucheswere all his idea. Iwas excited to see JG’svision for theentirepiecestartingtomaterialize.

12TERRIIreallylikedtheredtonesJGusedfortheloincloth,andIaskedhimtorepeatthosecolorsinthebackgroundoftheimage.

TERRI13

Thered-orangepaletteworkedwellwithPamela’swarmskintones.Thehintofpurpleamidtheorangeintheloinclothwasanexcitingcontrast.

14BUDDYAs JG roughs in the background creatures and other elements, the cover isgaining depth and context. With just a few carefully chosen details, he iscreatingacompleteandbelievableenvironmentforthecharacter.

15TERRIBuddy’sstudiofloorwasofcourseflat,yetjustbycurvingthoselongshadowsintheforeground,JGwasabletomakethecharacterlookasifsheisstandingonunevengroundorevensteppingoversomething!

16TERRIThecolorsinthestudieswereprettymuted,soIaskedJGifhecouldbrightenthemupalittleforthefinal.Iwasimpressedbyhowmuchpunchhewasabletoaddwithwatercolors.Tomake thecharacterworkwith thered-and-orange theme,JGchanged the

colorofthecharacter’shairfrombrunettetoblondesothatitwouldn’tgetlostinthebackground.

17TERRIBooksinaseriesneedtohaveaunifieddesign,yettheyalsoneedtobeeasilydistinguished from one ups another. The green title treatment in JG’s mock-secondcamefromthefirstbookintheseries.Forthebook(thisone),IknewIwould be changing the color behind the title. I allowed JG’s artwork to guidechoice. The purple that started out as just a hintmy of feminine color in theloinclothbecameapowerfulyetcolorforthetitletreatment.

Nunchucks

Bow

Expressions

Running

Lifting

Sitting

Scared

Standing

Makeup

Phone

Hair

Boots

Dressing

Clothes

Clothes

MoreDressing

Cape

LyingDown

Punching

Vanessa

Age:34Height:5'10"(1.8m)

Weight:146lbs.(66kg)

artdemoBYJAMALIGLE

chapterfour

Flying

Flying

Jumping

Wounded

Blasts

Blasts

Standing

Guns

Guns

Swords

Running

Cape

Dressing

Clothes

Expressions

Lifting

Hair

Sitting

ArtDemo

TeamofHeroes,Collage-Style

BYJAMALIGLEI’m a big fan of collage-style art that features a team of characters—such asDrewStruzan’smovieposters for IndianaJones,StarWars,HarryPotterandmanyothers.I’mgoingtoshowyouhowtodesignacollage-styleteamportraitthatcouldbeusedforafirst-issuecover.

1ChooseaVarietyofPhotos

Pick at least half a dozen poses to draw from.Themembers of a comic-bookteam need to be memorable and distinct from each other, so each photo youchooseshouldshowdifferentbody languageandadifferentmood.Try to findphotoswithsimilarlightingaswell,tohelpunifytheimagesinthecollage.Asyou make your selections, think about what heroic type or personality eachphotosuggeststoyou.

2SketchYourConceptCreateCreatearoughsketchof theoverall idea.Thepurposeof thissketchis toplanthe placement of all the elements of the collage. At the same time, you arebeginning todesignyourcharacters’costumesandpowers.The idea is toskirtfamiliar archetypes without using existing characters. The team I’m creatinghere,“Strike-forceSappho,”includesastar-spangledwarriorprincess,asamuraidroid, a fiery hothead, a high-flying character, a techno-girl, and also a scalycreaturewhoseroleismysterious(isshefriendorfoe?).

Asarule,don’ttracereferencephotos.Drawfromthephotos,nottothem,sothatyournaturalstyleflowsthrough.

Ibelieveinsymmetryinart.Ashumanbeingswearedrawntosymmetry;itshouldbeapriorityforanyartist.

3DoaMoreDetailedSketch

Sketch again on ordinary copier paper. Continue referring to the photos, buttweaktheposesabit;youdon’twanttocopythemexactly.Yourgoalshouldbeto capture the lighting and the attitude of the pose. Rough in the details thatindividualizeeachcharacter.Createsymmetryandbalance.Asyouplace the lights anddarks,playwith thenegative spacesaround the

characters.Thecharacters in themiddlegroundand foregroundhavevery fewshadowsinthem.I’veputthedark,hoodedfigureinthebackgroundsothatitsdark tones can peek through the spaces between the other characters. Thiscontrasthelpstheothercharacterspopoutoftheimage.Whenyoufeelthissketchisdone,putdownyourpencilandjustlookthings

over.Isthelightingthewayyouwantit?Isthereanythingaboutthedesignthatneeds tweaking tomake itmorebalancedormoreexciting?Makeanyneededchanges.

4RoughInWithNonphotoBlue

Enlargethesketchfromstep3onaphotocopierfrom8½"×11"(22cm×28cm)to 11"×17" (28cm×43cm), a 140percent enlargement.Tape the photocopyfacedownonthebackofasheetof11"×17"(28cm×43cm)bluelineboardorany two-ply bristol board. Turn the board face up, lay it on a light table, andtransfer the sketch onto the board with a nonphoto blue pencil. This kind ofpencilwon’treproducewhenscannedorphotocopied,soit isanidealbaseforyourfinaldrawing.Youcanmakeminortweakstothedrawingasyougo.Whenyou’re done transferring your sketch, use a gumeraser to remove all

nonessentiallines.Nonphotobluepencils,beingwax-based,don’ttakegraphitepencilverywell,soyouwantthefinishedbluelinedrawingtobeverylightandunobtrusive.

5DothePencilsDrawon topof thebluelinedrawingwithanHBpencil.Asyou’repencilling,youmayfindyourselfredrawingabit.Thisstagecanbealongprocessbecauseasyou’repenciling,you’resometimesredrawing,makingthefinaldeterminationabouthowtheartwilllook.Tighten thepencildrawinguntil it containsall the informationyou’llneed forinking.

6InkInkthedrawing.Forbrushinking,Ilikeano.3ScharffkolinskyredsablebrushwithJapanesesumiink(whichIfindtobethebestinkforamatteblackfinish).For corrections, I use Faber-Castell PITT pens and Daler-Rowney ProWhiteink.

Scared

SpecialLighting

abouttheartistsArtistphotossuppliedbytheartists.

JG Jones is one of themost exciting and influential cover artistsworking incomics today. His art has appeared on countless covers, including DC’s 52,Wonder Woman and Y: the Last Man; Marvel’s Marvel Boy; and Wizardmagazine.Thedepth,textureandenergythathebringstohisartworkaresimplystunning.His useof color bringspower and impact to every image. I’vebeenfortunate enough to know JGmany years, so I’ve seen hiswork develop andmature.HeisatruegentlemanandoneofthenicestpeopleI’veevermetinthisbusiness.I’mincrediblyproudthatJG’sartworkisfeaturedonthecoverofthisproject.Checkouttheprogressionofhiscovertoseehowheworkshismagic.

TerryMoore is an accomplished and revered comicwriter-artist. His award-winningseriesStrangersinParadisestandsasoneofthefineststoriesevertobepublished in the discovered medium. I’d first Terry’s work when SiP wasbubblingupasanundergroundsensation.Even then,hisartandwritingcouldsteal your breath away. As you read his lesson on Think 3-D, you willunderstandwhyTerryisamodernmasteroftheartform.Herevealshowhenotonly draws the model but actually thinks about her as a person. I’ve knownTerryformanyyears,andI’mthrilledandhonoredtohavehimbepartofthisproject.

WhenIfirstdiscoveredhiswork,JamalIglewasayoungkidbreakinginonarespectedindiecomiccalledBlackjack.Eventhen,hehadanincrediblesenseofenergyandmotion.JamalisknownforhisinfluentialartNightwingandhisonGreenLantern,NewWarriors,Firestorm,ownco-createdbook,Venture.He’sdrawnhundredsofpagesforMarvel,DCandImage,yetheremainsaccessibletohis fans. indiecomicEarly inhiscareer, I tried tosnagJamal forasmall, IFortunately wanted to publish, but our schedules didn’t cooperate. we got toworktogetheronthelessononTeamofHeroes,Collage-Style,whereyou’llseeJamal go above and beyond the call of duty. I asked for a drawing of onewoman,andJamalgavemeanentiresuperteam.

JoshHowardstormedtheindiecomicscenewithhiscreator-ownedDead@17,inwhichheskillfullyblendedmodernhorror,actionandgorgeouswomenallinone fun story. Everything Josh draws is so fluid and natural—cartoony, yetrooted in realism. It’s amazing what he accomplishes with a few well-placedlines.Heseamlesslymeshesseveralart styles toproducea look that isuniqueandexciting.I’dnevermetJoshpriortothisproject,butIjumpedatthechanceto see howhewould interpretmyphotographs.Checkout his lesson onTeenActionHerotoseehowhecombinesfunanddangerinonesubtleillustration.

thebookteam

BobStuntDouble

PamWissmanAcquisitionsEditor

AmyJeynesEditor

TerriWoesnerCoverDesigner

KellyPillerDesignIntern

NancyHarwardCopyeditor

MattWagnerProductionCoordinator

AricLui(left)CustomerServiceAssistantLeoWong(right)CustomerServiceOfficerRegentPublishingServices,Ltd.,HongKong

TheWomenofIMPACT