Defining Steps in a Personal Production PipelineMy Amphiox short comic is an exercise in art production. Up until I attempted it, I'd never really done much longform comic storytelling. Most of my practice was in one- or two-page micro-stories. I chose 48 pages as a...
‘Fieschi Psalter’, Cambrai ca. 1290-1295.
Baltimore, The Walters Art Museum, Walters Manuscript W.45, fol. 256v
Reynard? Is that you? You look a little different. A little foxier than normal. Please don’t tell me you’re the harbinger of the Revelation. What would Ysengrim think?
‘The Maastricht Hours’, Liège 14th century British Library, Stowe 17, fol. 182v
Leg warmers were a thing 650 years ago, I swear.
Luttrell Psalter, England ca. 1325-1340. British Library, Add 42130, fol. 178r
Look, sometimes an apex predator rocks the soft baby pinks and blues. There’s no reason to get mad about it. It’s almost like someone got the description of a lion spot-on right up to the shoulders and then gave up. Whatever — do you know how many people will leave the abbey to go look at a lion way down south in person? That’s right. Not many. So lions are pink and blue now, and they wear comfortable hats. Deal with it.
pontifical, Avignon ca. 1330-1340
Tours, Bibliothèque municipale, ms. Diocèse 8, fol. 59r
I have so many questions about this dragon. One of those questions is not what the hat is supposed to be. I don’t want to know anything about this dragon’s hat. Instead, I will focus on this being the world’s tiniest dragon obsessing over its hoard of a single copper penny, which telekinetically floats nearby.
Beatus of Liébana, Commentarius in Apocalypsin, Astorga 12th century
BnF, Nouvelle acquisition latine 1366, fol. 106v
What is Even Going on Here?!??
This must be the end of the world. That’s the only explanation I have. I didn’t feel like drawing the Schmooze in the corner there so this dragon gets a comfy pair of slippers.
Designing a Dragon
Say you’ve got a story that calls for a dragon. The first thing to do is figure out what function that dragon serves in the story. Is it a pet? Is it a steed? Is it a friend? Is it a foe? Is it a wild beast? Is it bigger, or smaller, than a breadbox? Can it speak or coexist peacefully with humans? Does it represent something beyond being a mythical creature, such as the greed and cruelty of mankind, or the vengeance of the natural world?
Or do you just want a dragon that looks super cool*?
*Dragon ‘coolness’ as the result of this exercise may be subjective!
Step One: Silhouettes
Regardless of how big your dragon is, the first thing you’ll want is a Shape for it to fit into. Grab a marker and scratch down some rough poses and proportions for your dragon. Don’t worry about details at this point, just get a broad picture of its shape and size. Try to think about how the dragon would move. Maybe it’s very agile, or more of a tank. Can it fly? If not wings, include a visual of how it alights in the air. If it’s a more literal animal, it will look a bit different than if it’s the figment of a child’s imagination. Same for magical beasts having more leeway for fanciness and silliness than most real-animal analogues for dragons.
In addition tvo the overall body, it pays to figure out how the dragon’s head will look. Is it capable of expressing emotions, or does it need to express emotions within the story? Are its emotions clear or are they buried under the complexities of being a different species from humans? Explore that.
If you have a head shape and a body shape that you like, explore spines, fins, fur, and hair. Maybe the dragon has many limbs, or an unusual tail.
Step Two: Try it Out
My controversial take is that it pays to see if the overall shape and size of the dragon works in terms of the comic prior to doing any detail work outside of the silhouette. Try drawing the silhouette version next to characters and in environments you have planned for your story. This is also why concept art sometimes looks different from the actual comic. I think it’s important to get a sense of how the big parts of the creature function in the story prior to working out the finer details.
Step Three: Integument Refinement
While still thinking about how your dragon works in your comic’s world, experiment with showing how it sees, smells, tastes, and touches the world. A zoo is an excellent place to scope animals and observe how they’re built and how they move through the world.
For instance, a dragon is not limited to reptilian scales. Check out some mammalian, avian, insectlike, and fish coverings, too. Maybe even plants!
Can your dragon see in the dark? Its eye shape will be different depending on how it senses the world around it. Think about its other senses. How sensitive is its skin? A large nasal cavity means it might be able to sniff prey from a long way away. If it has whiskers, maybe it loses its balance from losing those whiskers, like a cat does.
How does the dragon protect itself, and what does it eat? This will affect tooth and claw shape, and whether it can grasp things like humans can.
Is the dragon ethereal? Maybe it has primordial elements mixed in, such as fire, flowers, clouds, or stars. Each body part tells a story about the rest of the creature, but it doesn’t necessarily have to be ‘realistic’. It’s a dragon, after all. Have some fun for once in your life, gosh.
Step Four: Color!
Depending on what the rest of your comic looks like, you will need to decide whether your dragon sticks out or blends into the background. Stories involving dragons as ‘alien’ or ‘other’ may opt for brightly-colored dragons. Sneaky dragons will need camouflage. Pet dragons might be more likely to have specific color morphs, like the ones seen in snake or pigeon enthusiast communities.
Step Five: Revision
At any point in the process, a change might need to be made to the dragon’s design. Most changes simplify a design so that it’s easier to draw and color over and over again. Better to do that early before the dragon exists in dozens, if not hundreds, of panels. I personally find it more difficult to edit a design the further along it is in development. That’s why having extra versions of the design lying around are so useful. Those can offer easier solutions to big problems that come from an extreme revision to the design at the end of a project.
So there you go! There’s really no wrong way to go with a magical dragon because it doesn’t exist in the first place!
Creative commons dragon reference photos generously provided by pixabay.com.
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