Download Erotic Comics: Volume 1: A Graphic History from Birth to the by Tim Pilcher PDF

By Tim Pilcher

Filled choked with beautiful paintings from all over the world, with attention-grabbing heritage tales in regards to the artists, editors and publishers, Erotic Comics: A photograph background examines how this a lot maligned artform constructed right into a publishing phenomenon that spans the globe. quantity 1 delves deep into comedian historical past, from the bawdy English cartoons of the seventeenth century, throughout the magazines impacted by way of the 2 international Wars, as much as modern journal titles akin to Penthouse and Hustler. The booklet bulges with sassy postcards, provocative Tijuana Bibles, salacious pin-ups, surprising '50s bondage comics, cheeky cartoons and liberated '60s underground comix. Erotic Comics: A picture heritage is ideal for enthusiasts of grownup comics, artwork heritage and erotic illustrations.

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Additional info for Erotic Comics: Volume 1: A Graphic History from Birth to the 1970s

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Here we have straight, layered, wavy and curly. TWO LINES, FOUR STYLES Here are examples of four hair styles drawn using only hair lines 1 and 2. C O M M U N I CAT I N G C O LO R I N B L AC K A N D W H I T E What hair color does each of these heads have? Your black-and-white sketches should communicate the hair color of your subject. C R E AT I N G C O LO R , L E N G T H A N D T E X T U R E Color is determined by the thickness of your stroke. Length is determined by the length of your stroke. Texture is determined by how many strokes you use.

F I N D I N G P I V O T P O I N T S M O R E E A S I LY If you struggled with finding the pivot points in the examples on page 28, try ignoring the facial features and focus on the head shapes only. C H I N VA R I A T I O N S Cleft chins and double chins are very important to the face shape. Capture them accurately. BEARDS AND OTHER FAC I A L H A I R There is not a secret formula, just a pattern to follow, when drawing facial hair. Below are a few examples of beards for this guy. S A M P L E FAC E S H A P E S G OAT E E C H O P S A N D G OAT E E FULL BEARD 29 Drawing Noses On the following pages, we will cover using anchor and pivot points for each individual facial feature, starting with noses.

First. Continue with the pattern by add- more lines you can use on a sketch. ing the ears and hair lines 1 and 2. 60 Fill in the space with the hair strokes of the beard. Organize them into sections, minding the direction of the hair growth in each. As you color, use the white of the paper when needed. If you want to create a highlight area, leave that spot without color, or add a much lighter layer of color there. Avoid using white colored pencils to try to create highlights in areas you’ve already colored; they do not cover up other colors.

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