Tao of Guerra

What’s the difference between coloring and painting? Most books that focus on comics stick to comic book coloring, which is mostly flats with some shadows and highlights. My rule of thumb is that if you see a black outline (or even a different colored outline) it’s coloring. If you no longer see the line because you've painted over your sketch, then it’s a painting. Here’s what I mean…


Captain Marvel is basically flats with a strong ink line.

For Wolverine I added more shading, shadows and highlights, but there’s still a strong ink line that defines the illustration.


My version of Lorna by Alfonso Azpiri is a watercolor painting, but I kept my sketch lines prominent. Even though I used colors to give shape and volume to the illustration, the objects are still defined by a black outline. The initial drawing is not changed during the coloring process.


In contrast to these three is my take on the Joker. I've painted over my initial sketch so there's no outline surrounding anything. The edges are created as you paint.


Painting is intimidating, especially when you’re used to comic style coloring, at least it was for me. You don’t realize how much of a crutch that outline is until you get rid of it. Suddenly, you’re not coloring between the lines. There is no line! You have to use shades and tones and palettes to compensate. Whether you use traditional or digital painting, it’s a real eye opener to see your drawing for what is it, without a nice ink job to pop it all out. You have to paint right over your pencils (whether you do it on paper, or scan in your pencils) and often times you’ll not only have to worry about the painting, but correcting the sketch. There’s no point in doing a perfect sketch since you’re going to paint over it anyway. Like all things, as you practice, things start to work themselves out. It’s always interesting to flip between the initial sketch and the finished painting. It’s a big accomplishment to see how far you took your art.

Post by Miguel & Suzy

For years I’ve been trying to add fluidity and expression to my figures so they wouldn’t be so stiff. Soon after I published my first graphic novel, Samurai Elf: Set Apart (vol. 1) with Suzy Dias (shout out), I wanted to do some research on improving the movement in my figures. It’s like they always say, keep up the life drawing.

But, do you ever notice that no matter how much life drawing you do, you hit a wall? I do life drawing whenever I can, but sometimes it takes a little more than just sheer practice to improve your work. You can observe and think and analyze everything you’re doing, but after a certain point, it only reinforces what you already know. You never hit that breakthrough you need to get out of a rut and start learning something new; that euphoric, light bulb moment when galaxies collide in your brain and you feel like you just split the atom. Ok, it ain’t rocket science, but every small step forward makes you that much better at your art.

One of the first books I came across that really delved into movement is Force by Mike Mattesi. It’s an excellent book on how loosen up your figurative work and add fluidity. I wholeheartedly recommend this book for intermediate and advanced artists. It's strange how one small thing (in my case, this book) can become a watershed moment. The proof in my pudding (so to speak) is Samurai Elf: Bull’s Eye (vol. 2). If you compare volumes 1 and 2, my figures were much looser and I was more confident with my linework.

There was still a little worm gnawing at me about my figures. Unfortunately, it was while I was in the middle of volume 2. I had to ignore the relentlessly annoying voice in the back of my head and continue to get the book done and send it off to the printer. Once it was published, and after a couple of drinks and some relaxation, I picked up Will Eisner's Expressive Anatomy for Comics and Narrative.

Sadly, it was Eisner's last book before he passed away, and it was barely completed. Many of the drawings had to be inked by another artist in order to complete the book for print. Damn those printing schedules! But, being a fan of Eisner and admiring the breadth and depth of his understanding of the graphic medium, I thought I should pick it up for my library. I soon learned that Eisner’s motivation for writing Expressive Anatomy for Comics and Narrative was because he felt that there were too many artists today doing great work, but lacking an understanding of emotive anatomy.

Now don’t go trashing your George Bridgman books. This not the run-of-the-mill anatomy book, i.e., the knee bone connected to the thigh bone, and the thigh bone connected to the hip bone,… There are plenty of books for that. It's more of an exploration on how we communicate through body language, hence expressive anatomy - ahhhhh. Unfortunately, learning new things often makes you realize that you’re even more inadequate than you thought. In this case, Mr. Eisner showed me that I was still lacking expression in my body language. You know you’re good when you can kick someone in the nads, post mortem.

On the positive side, I learned quickly and the results were almost immediately evident on my pages. I thought I’d take what I learned out for a spin with a short story called, A Lonely Cry in Space. I noticed that I communicated more emotions through body expression. My characters barely spoke, but you can follow the story and even feel sorry for them. I was much more aware of what I was doing and I believe it made the story richer. Of course I'm nowhere near where I want to be, but practice makes perfect. Later at some point, I'll post some of the exercises that he recommended. Eisner also includes a great history of cartooning and caricature to educate his readers about expression.

To recap, I highly recommend both of these books. I always recommend Will Eisner, but I liked this in particular when it comes to comic/graphic art. Force provides useful techniques for the figurative artist. Expressive Anatomy for Comics and Narrative is great for those who are interested in learning about the different types of emotion and how to better analyze and observe human behavior.

So remember, “Life is too short to waste it in drawing blanks.” Emily Post