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Translator
Stephen Ip
Editors
Shawn Sanders
Kevin P. Croall
US Cover Design
Yuki Chung
Production Manager
Janice Chang
Publisher
ComicsOne Corp.
48531 Warm Springs Blvd., Suite 408
Fremont, CA 94539
www.ComicsOne.com
First Edition: March, 2004
ISBN 1-58899-394-9
Art Director
Yuki Chung
Marketing
Nicole Curry
President
Robin Kuo
How to draw Kung Fu Comics © 2004 ComicsOne Corp.
All rights reserved.
DrawKF_final.qxd 1/11/2004 2:52 PM Page 1

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Evil is best simulated by combining the fundamental expressive traits of happiness, sorrow and
anger -- Tilt the head, add a smile and frown... and you have wickedness. To create a mood like
this, we need to lower the head, make the eyes thinner, and the eyebrows lower. A sinister smile is
always good too. Go ahead! Show some teeth!
Evil is all about atmosphere, so concentrate on the shadows. Use some well placed “nets” or
crosshatching on the face. Consider far off light sources or deep background shadows.

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Confidence and determination are prominent
traits for any main character. Press the
eyebrows downward as in a frown, but do
not make the eyes thin. Keep them open
and alert. Add a couple wrinkles between the
eyebrows by drawing "L" shapes. The mouth
can be tipped slightly downward.
Looking up from a lowered face can add
some real confidence. This same expression
can be created from a profile or from a low
angle camera shot.

63
The arm has three main parts: Shoulder, upper arm and forearm.
Make sure that the shoulder muscle is connected to the collar bone,
otherwise your character may end up looking like a robot.
We have simplified the muscle in figure A, dividing it into eight main masses.
Shoulder
Upper arm
Forearm
Figure A

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Leg muscles have also been simplified in the follow-
ing figures. Bare in mind that the muscles condense
and are “packed in” when a person is kneeling down.
Don't make the foot
too flat, think of it
as a "wedge block".

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Back muscles are a bit more complex than
chest muscles. Remember that they are
also connected to the shoulder. The middle
muscles look like two large leaves (the gray
part in the figure).
When a person moves his upper
torso, the area around the spine
traces out an "S" shape. When a
person swings his arms, the back
muscles expand accordingly.

66
Character's perspective
Besides background perspective, a body
also has its own rules for perspective; differ-
ent angles can represent different distances.
Draw the three perspective lines as shown:
A: Chest
B: Spine
C: top to bottom

70
Now let's look at some active characters in perspective!

71

73
Foreshortening is the relationship between near
and far in relation to the camera. Kind of like the
leg in a kung fu kick coming out at you, looking
larger because it is drawn closer to the camera.
When done correctly, foreshortening can add
dynamics to a picture. We should always draw the
body part that's closet to the camera first.

74
Multiple actions are another lesson in
perspective, but we should study some
first before continuing. Try to think of two
or three moves that are coherent with
each other.

75
Cylinders provide a great start for drawing the body in perspective.
Remember that foreshortening dictates that the further an object is,
the shorter and smaller it will look.

Let us consider clothing, and how the
folds are drawn using stress points.
First, start with an outline. A single line can't
represent the complexity of the folds.
Use directional lines flowing out from areas of
compression where the fabric bunches.
Consider the fold in the arm sleeve. Fabric stress lines
shoot outward from the compressed area.
The"Y" shape is a very common
shape in the folds of clothing.

77
There are two principles when considering the folds in clothing: push and
pull. Let's try this, when we push the sides toward the middle, the fold will
raise. These stress points are found around joint areas.

See below for examples.
We should also study real pictures to gain a better understanding.

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