Friday, August 19, 2022

How To Draw Backgrounds For Comics

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Other Uses For The Background

It is important to show where the scene is taking place, but the backgrounds are of course used for many other things too. Not least giving the comic some atmosphere!

Here we see how the enviroment is used to create the nice and cosy atmosphere. What we in Denmark call hygge! Being together with nice persons in a nice warm room and with food being prepared.

And here to create an atmosphere of sinister foreboding. What we in Denmark call – uhygge

I have for this post lend images from the following sites:

  • Past Payouts $58.36, 0.00 TRX
  • – Author $47.07, 0.00 TRX

Great post. I’ve been reading Making Comics by Scott McCloud and he is convining me of the importance of spending time on backgrounds. Although, he prefers to call them environments, encouraging a shift in thinking away from just ‘the stuff behind your character’, and towards the creation of a believable world that they inhabit. This is the world we need to be able to capture in a convincing way to draw the reader in, create mood, give necessary story information, and so on. That said, I’m like 99% of artists in that I struggle with finding the enthusiasm for environnments and I’ve found that using cool reference material, particularly well composed shots from movies and photographs, as a great way to start fleshing out the world around the characters.

Whoo, wow, that’s a lot of info!

((Thanks again for featuring me!! That’s just so awesome of you sffxhhdDFCXFfvdc I’m gonna geek out about it to my friends! XDDD

#2: If You Want To Draw A Webcomic Remember To Draw Big

Theres a lot of advice out there about how to draw a webcomic, like Wikihows somewhat surface-value instructions. But the best piece of advice about creating the comic itself is to draw big.

This goes for real and digital drawing. For digital, drawing big means having more work space. For the hand-drawers, drawing comics big means that you dont lose as much quality during scanning. Never draw a comic the same size as you want it to appear on the screen, because its resolution will be inherently fuzzy. This has only been a recent revelation for me, and you can see that in the example above. Draw big, so that you can re-size the image to get smoother lines.

Draw A Background That Unifies The Whole Artwork

It is another technique that an artist must follow if he/she is drawing backgrounds. You should draw such a background that unifies the whole image. This tip for drawing the backgrounds is typically related to the colors. It means that the colors of the background should be such that they can complement the colors of the main object.

For example, consider a drawing in which there is a bird sitting on the branch of a tree. Now the question arises here is what will be the background? Will it be a plain background or should an artist use light colors? It totally depends on the colors that are used in the bird and the branch of a tree.

If the bird has yellow and black color and the flowers on a tree branch have pink colors, then you can use yellow and pink colors in the background. But instead of making them too bright, try to make colors diffused so that the viewer can focus on the actual subject of the image and that is a bird.

What you have learned: An artist can use different colors in the background. But such colors should be used that can unify the whole piece of art.

Parallel Lines In The Background Should Not Conflict With One Another

In the left image, it shows a sofa that is next to the curtains. This creates parallel lines from the edge of the sofa and the edge of the curtain. In the right image, the parallel lines are avoided by moving the sofa in front of the curtains.

For designing the background of a drawing, another technique is about parallel lines. To make a background add a positive vibe to the subject, you can draw parallel lines in the background but they should not conflict with one another.

Lets take an example of a background of a room. In such a drawing, you need to show the interior of the room such as a sofa, flower vase, clock, wall hanging, or a table. If you group the furniture or other interior items of the room in such a way that the lines are becoming parallel, what will it show? Can we call it a good composition? Absolutely not!

The parallel lines are conflicting with one another. They should be broken by other objects. For example, if you have drawn a curtain then its parallel line should not match with that of the sofa .

What you have learned: If the background of your artwork contains many parallel lines, make sure that they are not conflicting with each other. Always try to make them with some objects!

Want To Be A Manga Artist But Cant Draw Backgrounds Website Has Environments You Can Download

    If youre a budding manga creator, odds are you spend most of your time working on your character artwork. Thats probably a wise choice, too, as most famous comic artists focus on drawing their stories leads, and hand off work on other details, such as background art, to a team of assistants.

    Of course, another reality of being a budding manga artist is that you probably dont have a publisher bankrolling your comic and paying for the abovementioned team of assistants. But thankfully theres now a way for you to pour your efforts into story and character art and still produce something that looks polished, thanks to a new Japanese website that sells ready-to-use manga backgrounds.

    Haikei Soko, or Background Factory, just began service on July 21. As the name implies, the website has a stockpile of backgrounds that you can purchase, download, and then augment with your own original characters, effects, and dialogue.

    As the vast majority of Japanese comics are published in black and white, the environments are devoid of color. Single backgrounds are priced at just 270 yen , while two-piece sets are 432 yen and three-background bundles 648 yen.

    Haikei Sokos products are grouped by location, with the largest selection of artwork being for Japanese schools.

    Where else are your characters supposed to stash their love letters or eat their bento lunches?

    Where else are your characters supposed to bump into each other or excrete bodily waste?

    Other categories include Home

    Avoid Long Straight Or Curved Lines When Drawing Backgrounds

    In the left image, notice the long lines that recede into the background. Other than looking at railroad tracks, this doesnt really occur in real life. In the right image, youll see cars, people, trash, and other things to break up the long lines. When you break up the lines, it makes it look more natural.

    The next important tip is to avoid long straight and curved lines. Now you must be thinking lines are everywhere in the drawings then how you can avoid them. Let me tell you. You can definitely use long straight and curved lines but there should be some object that breaks into them. In other words, I can say that they should be disconnected. Why? Because if there are long lines in the background, the whole artwork may become boring or inartistic.

    Consider this by taking an example of arranging a room. To set a room, you will put various pieces of furniture, wall hangings, or carpets just to fill up the blank space and long lines. The same is the case with drawing the backgrounds.

    If there is monotony in the background using long straight and curved lines, you should break it otherwise the viewer will not be attracted to the whole artwork. Therefore, to make your backgrounds interesting, you should avoid using long lines.

    What you have learned: For making the background of your paintings appealing, interesting and not disturbing to the eye, never draw long lines, either straight or curved. The lines must be broken by some objects.

    Can We Start Drawing Yet

    Yes, now that the framework is set up for your comic and you have a clear direction, its time to start actually designing characters and assets to use for your comic. When drawing panels, a lot of people try to draw their panels to scale and fit 4-6 panels on a single page. This only makes your job harder, as fine detail is harder to draw at a smaller scale. Instead, dedicate each page to either one or two panels to give yourself enough room to work. Using either a ruler or a T-square, draw out your panel. Once thats complete, its time to work on backdrops.

    Tip 2: Constructing A Grid From One Object

    As presented in the book Set The Action!, you can effectively create strong perspective grids to make a strong background design piece. But what if youre starting from the other way around? For example, say you have reference for a couple of environment but want to adapt them to the perspective of the one? Or, for that matter, what if you only have the one building and need to create a whole city in the same layout without having reference that puts them in the same layout plane?

    Lets start out with our reference:



    Here we have two different shots of city environments serving as our illustration reference. Now, say we want to use the front most building in the first image, but we want to use the buildings in the second image, even though they are facing in different directions and angles. How do we go about doing this? Well, lets block off the building from our first image on paper as our key prop :



    Next, lets draw out some lines from some of the corners of the first square, extending out into our perceived horizon :



    Using these lines as well as the center point at which the image stands, we can begin to decipher exactly where the lines from vanishing points would connect to make this image work next to other blocks in this layout :



    With this bit of information, we can now begin placing blocked out placeholders for your buildings to get a sense of how those buildings would work and stand within our newly created grid:







    Things to consider:




    Drawing A Background From A Photo

    1. Import a photo

    Ive prepared this photo of a street that I took with my smartphone camera. Ill explain more about this in section How to take photographs to use for backgrounds.

    After opening CLIP STUDIO PAINT and creating a new canvas, I go to > > and import my photo.

    Once the image has loaded onto the canvas, I check the image in the .

    Imported images load as an .

    You can use the handles at the edge of the picture to change the size or angle.

    To make the lines easier to draw, I set the photo layer as a draft and lower the opacity to 50%.

    2. Set the perspective ruler using the photo as a reference

    I will draw the lines using the perspective ruler.

    In some cases, when the buildings are angled in different directions, it is necessary to use more than one perspective ruler.

    Find a building that connects to both vanishing points

    Now Ill set the perspective ruler using this photo of a street.

    To start, I go to > and turn off to make the perspective ruler active on all layers.

    I choose a building that stands out and find two horizontal lines across the building.

    Its best to choose two lines far apart to make the ruler easier to use.

    With the tool, I draw two guide lines by dragging across the building, matching the angle of the building.

    It doesnt matter if the angle of the guide line is slightly off.

    Once the two guide lines have been made, a vanishing point is created.

    I make the vanishing point on the right side in the same way.



    Finishing details

    Setting Up Your Background

    Start by drawing a few basic shapes, squares for buildings, tall rectangles for trees, etc. Doing this will let you plan out your scene and make sure the perspective is correct before you add too much detail. From there, start adding details, remove any unnecessary pre-lines and fine-tune the drawing.

    Extra Notes About Using Multiple Perspective Rulers

    When you take a picture of an actual street, the buildings wont necessarily be at the same angle.

    You should look for buildings at the same angles and use different perspective rulers for each angle.

    In this example, we can roughly divide the buildings in the blue section and the red section, but the vanishing points are different.

    Let me explain why this is.

    I will also introduce a method of avoiding this if you find it hard to draw buildings facing different directions.

    Relationship between vanishing points and the eye level

    If we have two 3D objects facing the same direction, they will share a vanishing point.

    However, if we rotate them horizontally, the vanishing point moves to the left or right.

    In the diagram above, the red box and the blue box have different vanishing points.

    Note: The vertical vanishing point does not change.

    If the 3D objects are on the same level, the vertical vanishing point doesnt change even if the direction changes.

    In real life, roads arent completely perpendicular to the buildings, and the direction of the buildings changes with the road.

    However, because the pillars are usually completely vertical, the angle of the buildings doesnt change.


    If a building is at a slanted angle, it cannot share the vertical vanishing point. In this case, set a new vanishing point in the vertical direction.

    When drawing buildings facing different directions, you can use the same vertical vanishing point, but other vanishing points will move.

    #4: If Your Comic Style Evolves Make Sure You Can Maintain Your Posting Schedule

    My comics started out simple, like this:

    Now they look like this:

    It may not look like a lot to do, but between creating more sections that need coloring in, adding shadow, and blurring, all with a mouse, it takes a lot more time. So now Im spending more than twice as long on comics as I did when I started out.

    Since I publish twice a week I can maintain it. But I can imagine things getting out of hand. I think its important to establish a style that can evolve, but that you can at least envision how long your webcomic will take to draw no matter how much the style changes.

    Puffing Characters Into Scenes And Drawing Backgrounds

    When putting characters into scenes and drawing backgrounds, put the principle of placing the character inside a perspective into practice.

    © While looking at :ho balarce of tho he« liner, dodde 0′ the eye-fowl..

    First, give shape to the area of the space, area and the sizes of the character you want to draw.

    Next, creat the box space of your character. Draw the box in a freehand style while looking at the overall balance.

    F rst. draw a lino at iha shculd&rs and tise it as a

    © While looking at :ho balarce of tho he« liner, dodde 0′ the eye-fowl..

    © yxjur vanishing peines and put itio pcrspectve linos in nrdor.

    Stan off doir»3 it freeltand and then later _se a ruler to put tilings In order.

    Using the box,! tlie ‘eye-level’ (horizontal lines and vanishing points.

    Lines used lor thinking about the positional relationship of the television and the character.

    mk i-v.ti: u««r a’eas, shape tn try; ebjftcis.

    Use ar-y number ot perspective lines a? necessary

    When you have added too many lines or are unable to see necessary lines, tidy up by erasing unneeded lines. a pen type eraser a convenient ’01 srnaJ, debate a’eas.

    When you want to keep the necessary lines in tact and erase unneeded lines, cover the necessary lines with a nf paper and go over the area with an eraser.

    After freehanding the background, tidy up the vanishing points with a ruler and finish outlining.

    Placing a thumbtack in the vanish-rig points helps.

    good example bad example

    m>s in lfie shaaows.

    Im Talking About Drawing Your Own Legendary Superheroes Sexy Heroins Vicious Villains And The Fantastic Worlds Their Stories Take Place

    If You Have, This is The Site For You!

    Here on How to Draw Comics. Net youre going to discover the same techniques taught year in and year out to my students whove used what they’ve learned to visually tell their stories in the most compelling, dynamic and immersive ways possible. At How to Draw Comics. Net you’ll discover an extensive library of comic art tutorials that’ll teach you…

    • How to draw your own comic book characters using the must know fundamentals of figure drawing, proportions and anatomy.

    • How to give them powerful poses that leave an impact, purely from your imagination.

    • How to create stunning comic book sequences and compelling panel layouts that get readers hooked on your stories.

    • Advanced perspective and foreshortening techniques that make your comic book characters pop off of the page with depth and dimension.

    All of which have been designed to give you the freedom to create your comic book illustrations and sequential art work without being confined to observation or reference material. 

    How To Draw Backgrounds For Comics Step By Step

    When drawing your background, it is important to keep in mind what kind of perspective you want for the scene. To put it simply, think of perspective like the angle for a photograph of a movie shoot. The perspective will change based on where the camera position is. In order to draw in perspective, youll need to start with your horizon line and focal point or focal points.

    Do You Have To Draw Backgrounds On Every Panel The Short Answer Is No If You Start With A Good Establishing Shot And Learn These 5 Hacks You Can Get Away With Very Little Background Drawing

    1: Structure

    If you place your characters against a wall or another big surface , a few rightly placed lines will give the illusion that were still in the place you established in the first frame.

    2: Silhouette

    The outline of whatever is behind your characters can be quite enough and a LOT quicker to draw!

    3: Shadow

    Some shadows from a window, a tree or other objects nearby can give off the illusion of a world just outside the frame.

    4: Gradient

    A color gradient or in this case just a grayscale one can sometimes make it out for an actual background.

    5:  Riff

    A riff is a graphic shortcut. Every artist has his own. Sometimes a riff is just some shapes/lines, not a realistic rendering of anything. Make your own riff or copy from another artist whose style resembles yours.

    Again, you need some background, at least in one or two frames per page, so the readers know where the characters are. But once youve established the world around your characters, its OK to cheat a little on the rest of the page. And now you know how!

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