How to Draw Fight Scenes

How to Draw Fight Scenes

Hey guys, it’s Mike, and in this video we’re going to be drawing
a fighting scene and I’m going to show you the principles I
use when I’m composing a scene of two characters
fighting. So I started off drawing a rectangle, that’s
going to be the frame of our scene I’m going to start off with dividing the paper
into thirds, or this frame into thirds, and I’m going to draw one of our characters
on the right third the idea with this scene is going to be one character is going to be leaping at the
other, kind of, catching him off guard and it’s going
to be an up-shot so if you saw the video of drawing characters
in perspective in an up-shot, you’ll see some of the tips and techniques
that we used in that video. So I’m starting with the head, and tilting the shoulders slightly, curving
it because it’s an up-shot and here we have the general guideline for
the up-shot. Remember, it gets more narrow towards the
top. Using simple shapes, not focusing on details, this stage of the drawing is all about finding
the pose and the best way to do that is to use simple
shapes I have the head torso and hips the head is going to be much smaller than
normal and the hips are going to be much bigger than
normal below the hips I draw the legs and you can already see the angle that I’m
after he’s slightly tilted and those horizontal
lines of the shoulders and the waist are curved like sad faces because it’s an up-shot. So next I’m going to draw the shoulder that
is closest to us with a curve and normally the elbow, which
I’m going to draw with a circle, normally it’s at the bottom off the rib cage but I’m going to draw it slightly higher for
this view because of the perspective. And for the elbow I just use a circle, very
simple. And now coming out at an angle, I’m going to draw the forearm, just two lines really easy and for the hand, it’s going to be a square or a rectangle and he’s going to be holding
a sword and so I’m going to draw the hilt and the sword’s going to be angled towards
the upper left. I’m not even worried about what kind of sword
this is or what the details of it are I’m just worrying about the position and that’s all I’m focused on, is the position. to make things easy, oh, first I’m drawing in his other arm again, circle for the elbow and getting more narrow as we head towards
the wrist because this arm is going away from us. And just like in my videos on hands, I just try to find the palm shape first and I’m just placing that for the hand. For his head, I’m going to erase it and redraw it because I want to make sure that
the head is smaller than normal so we have that perspective
going for us. And I also want to point out that his left arm, the top part of the arm is shorter than the forearm on the other side, it’s the opposite the forearm is smaller, shorter length than the top part of the arm. So now for the other character, I’m going to draw him on the other third at
an angle and for this scene to have a dynamic feel, I want to create depth, so this character is going to be smaller and I drew his head and tilted his shoulders. He’s also going to be viewed in an up-shot so just like the first character, I’m going to draw in his shoulder. This time, I’m going to use a big circle for
his shouler. Zoom in a little big so you guys can see it And he’s going to be mid swing so he’s going to be coming out all epic-like,
mid swing so his arm is going to be coming across his
body using a circle for his elbow, and now his forearm and a square for his hand that is grabbing the sword. So now I’m going to place the sword, just like the other character, thinking about the angle that I want it to have. And I’m leaving room for the other fist which I’m going to place with another square right there, and for that arm you just draw
it behind the first arm, down to the elbow and coming back up towards the shoulder. so after this we’ll move on to drawing the
legs. The idea for this guy is that he’s going to
be leaping at this guy in the foreground kind of like, surprising him or something. So I’m drawing his legs behind that sword down to his knee. Since he’s leaping, his lower leg is going
to be… you’re not going to see it so it’s just his
knee and then another shape for his foot and then his other leg is going to go behind
the sword down to his knee and then, just to vary it a little bit, you’re going to see some of his lower leg, right there, and below that is his foot. This stage of the drawing is all about using these simple shapes, right? really easy geometric shapes, circles for
joints and what I like about it is it’s vary easy to erase and find new poses and you haven’t really invested a lot of time into the drawing Imagine if you spent maybe ten minutes or twenty minutes drawing an arm and it’s looking great and there’s a lot of detail in it but you continue your drawing and you realize that, hey, maybe this position
isn’t right. and you want to change it but there’s a part
of you that’s like, “Man, I spent so long on that
drawing…” and it’s almost a lose-lose situation. The pose isn’t strong, in your mind, but you
don’t want to change it. But with this method that I often do, I use
simple shapes and I haven’t invested a lot of time in it and there’s no detail so I’m not really worried
about erasing. so when I’m searching for the pose, like I’m
doing here, it’s not really heartbreaking to erase it. so here I’m trying to find the correct angle
of the sword and just to capture that feeling of– he’s
in mid motion. It’s just a square and two lines for each
forearm and I just keep erasing it, keep changing
the angle of the forearm and the sword, until I find the correct position. and the same thing goes for the legs. It’s maybe circles for the knees, you can see that I’m just trying to find the
angle and it’s really easy to redraw and so this drawing [laughs], I really had
to struggle with this sword arm for this guy, and it’s
really frustrating and a struggle some times but don’t settle
for something when you know it’s not working because you may think that adding detail will save
the drawing but the pose is really the most important thing, and so here I realize that it starts to feel
better when the arms or at least the fists are further
away from his head so it feels like he’s swinging and the feeling is what I was after. So I’m pretty happy with this position and
now I’m going to zoom out and you guys can see the shot, the scene that we have, and even
with just simple shapes and anatomy, the scene
has, in my mind, captured that feeling that I was
after of an up-shot, we have depth between the front
guy and the back guy and the guy in the back is in mid motion of his swing. So what I’m doing now is [laughs] I’m erasing everything and starting all over,
no, what I’m doing now is I’m using my kneaded
eraser and I’m just gently erasing the hard lines so that what I have left on the paper is what
I like to call “the ghost of an image” What this does now is it gives me a solid
foundation for the next stage which is going to be adding in all the detail. So now I’m going to into a timelapse and I’m
just going to be adding in armor for both of these characters and I guess what I wanted to talk about was just the concept of drawing in different stages and this is something that I learned in college that I hadn’t done prior to school and so the first stage that we did was, remember, it was just about finding the pose we don’t think about detail, we just think
about simple shapes and the position of characters Often, I like to think of it like we’re directors
for a movie and our characters are the actors and we’re
telling them “okay, maybe you stand there or when you swing,
swing like this, or maybe stand more to the right or more towards
the left or closer or farther” and we’re constantly moving the character
around until we have that framing and positions of
characters that we want. At that point, we don’t really want to be
thinking about detail because the details, they don’t… I mean
they matter but at that stage they don’t matter. What matters is finding that pose and that
camera angle that’s going to give you that feeling that
you’re after And then once you add in all the detail, it’s
like icing on the cake and you have a strong pose to back everything
up. So that’s what I’m doing in this stage…
I’m sort of… I did a video for Evan at the CartoonBlock
and in it I was sort of talking about these concepts
and I said that once you reach this stage, the second stage
where you add in all the details, it’s like you’re chilling and it’s like smooth sailing because you can
turn off that part of your brain that is worrying about
the pose and you can now focus on all the detail so when I’m going through the armor here I’m not really worried about oh, is the arm
in the correct position? and stuff like that because in the last step,
the last stage, I’ve already decided that, yeah it’s working
and I like where it is so I’m just focusing on
the armor and the detail. And this part is really a lot of fun. You can just focus on drawing texture and
detail and a lot of my inspiration for this armor was
from Miyazaki’s Nausicaa. Some of you know Miyazaki. He did Princess
Mononoke and Castle in the Sky and Spirited Away and before he became an
animation director he actually made a manga called Nausicaa and
it’s really epic It’s super epic, quite brutal too but it’s
amazing. And so I’ve been reading that recently and I’m getting a lot of my inspiration from
the armor that he drew in that series. So this guy near to us, I’m thinking more
like… He’s more barbaric. He’s got sort of a samurai
inspired armor and he’s going to be weilding a heavy sword. And I’m going to try and contrast that with
the guy who has leaped out at him and caught him off guard. This guy is going to be wrapping up pretty
soon and we’ll get drawing on the second guy. But what I like about Miyazaki’s manga is
he uses a lot of cross-hatching and a lot of texture
in his drawing that I don’t really see nowadays but when
I work on my own story and my own manga, those are the things that
I’m going to want to try and add. So now I’m working on the guy who is leaping
out at the first character and I’m thinking that
he’s going to be… I’m trying to make his armor different than
the guy in the front so he has your typical knight armor but I’m
going to give him a breast plate and on the breast plate I’m
going to give him some kind of insignia, like maybe it’s an
eagle or a dragon and then I thought, maybe I’ll give him dragonscale
armor which would be very different than the front
guy and maybe kind of cool. So I’m having fun just
drawing in all the detail and when I get to his face, I wanted to mention
that recently I had a request someone gave me, to do a character screaming
and I was going to have this guy screaming but
then I thought that giving him a mask and a hood would be more
menacing and more mysterious, not trying to be lazy
or anything but I just thought it would be more fun to
draw so screaming coming in the future. Now I’m working on that crazy… those two
fists that were grabbing that sword and I’m not
worried at all because I solved it in the last stage and now I can
just worry about the details of the sword. I actually looked up a lot of swords from
Final Fantasy just to get inspired and get some ideas for
different swords so this guy is going to have… I guess it’s
like a saber. It’s a light weapon. It’s fast. And that’s going to contrast with the guy
who is in front of us who’s going to be weilding more of your typical
Final Fantasy humungous sword, sort of looks like what chefs
use to chop vegetables. Not sure what you call that. uhhh… what
do you call that? That big rectangle knife? If you guys know, leave a comment and let
me know. So this drawing is wrapping up and hopefully
you guys can see I guess, the process I use and the way, the
techniques that I use when I’m composing a scene– It’s all about
the idea first. What you’re trying to capture, and then, use
simple shapes simple anatomy to find the pose because the
pose is really the most important thing and then once you find the pose, you gently
erase it to leave a ghost to be your foundation for
all the detail that you’re going to add and that’s going
to be the icing, what’s really going to make your drawing sing and really bring it all together. and with that, I will wrap up this video guys. So just wanted to say thanks for watching,
subscribing, and -liking- the video. It really helps me to get my videos out there
to more people so I really appreciate it and I will see you
guys next time. Take it easy!

100 thoughts on “How to Draw Fight Scenes

  1. Butcher knife( the one to cut vegetables)

  2. I like drawing sam err eye's too

  3. finally i could draw that walking dio scene

  4. "hey can you pick up some upshot from Walmart?"

  5. Your ARTIST

  6. cool

  7. He made this look really easy

  8. Hooowww???? Whyyyyyy are u so good😢

  9. Every week Youtube recommends me this video … I am already a subscriber… but I can't take it anymore.

  10. Thank u bro fro this idea because i always worried about the shape and view point

  11. This video is so satisfying and helpful 😁👌

  12. wow

  13. a kubikiri bocho 🙂

  14. When You Realize This Was Made 7 Years Ago

  15. This is fantastic , it’s wonderful to see how you design a piece 😊

  16. Butcher knife

  17. Learn 2 poses don't is learn draw

  18. you are awsome

  19. It’s called a cleaver

  20. Not gonna lie, i drew a picture of this 2 years ago and it took me about 20 minutes but i liked the way it came out.

  21. I can't draw imma stop

  22. this was actually really easy to follow and helped a lot, thanks

  23. Dope

  24. The things I draw in art class: sucks:
    The things I draw in other classes:

  25. Very nice explanations, thanks for the info

  26. Jojo reference??

  27. i almost thought this was a dai dark video

  28. My man drew Jack of blades leaping, I like this alot xD

  29. Hahaha

  30. If it’s light why use two hands

  31. Machete

  32. 14:45 It's called a cleaver.

  33. Who else got this in their recomendations??

  34. Is there a book where a new person can learn more about poses and angles?

  35. Clrver

  36. It’s Called the butcher knife


  37. I just found this

  38. I used to suck at drawing butt now i suck a bit less. '_(😅)_/'

  39. Nostalgic Video 2019 December (°∆° )

  40. Great video!

  41. Dude, how did this work for me….

  42. A machete

  43. I will find u and i will kill u cuz i strugled verry much snd u just eraste it i know i speld it wrong

  44. Yah i do

  45. This is the best and oldest drawing you ever draw

  46. It’s a buchar niph

  47. Thanks this really helped me in my fight scene it was about a young warriors dad and friends got killed by the reaper now shall he take his vengeance

  48. 2019 when i drea i this, i turned it into a dragon ball charecters with swords and axe. If one of yall did the same it looks good despite the mistake you did.

  49. Yes…

    I give up

  50. This really helped thx so much

  51. 😩

  52. OrA

  53. Is it better to start out with stick figure poses? Does it matter or is it based on preference?

  54. Butcher knife

  55. Draw a buff guy wearing golden clothes with green straps approaching guy 2

    Draw an equally buff guy (guy 2) farther away from the first buff guy and make him wear a cool hat and some jacket with a chain on the collar.


  56. if something is hard then make it easy

    start with a stickman

  57. JoJo reference👍

  58. YouTube recommendations strike me 7 years later

  59. It's a cleaver also amazing drawing thanks for the tips and tricks 👍

  60. Nice pen

  61. Cara se desenha muito bem!

  62. This man is the creator of manga

  63. 15:00
    I think it's called a butcher knife

  64. I love you

  65. holy- oh my god. i drew a fight scene almost exactly like this with my friend. same poses, same mask and hood for the jumping character.

  66. Who else got triggered when he erased everything

  67. I can draw peopo in video

  68. Thank you

  69. So u can’t draw faces I bet: first u show someone facing backwards second u put someone with a mask and a hood so like YEAH

  70. Why am i here i cant even draw normally

  71. This is better than my comic books I make

  72. Step 1. Learn how to draw a basic fucking human
    Step 2. Perfect it because I know you didn't.
    Step 3. Jump in a toaster

  73. I have channel drawing too, and i am beginner from indonesian, please support my channel 🙂

  74. its called a cleaver btw (the big knife chefs use)

  75. wtf that cam is so good

  76. Awesome, I learned the basics with this video. Thanks!

  77. I sketch out my stuff before hand on another paper

  78. Problem is, I also get connected to those simple shapes I’ve drawn 🙁

  79. Very tough tough drawing

  80. Its realystic and nice😯😃😃:-D

  81. Cleaver

  82. 3:14 that is a cut just look at the top of his left arm

  83. I learned to draw fight scenes thx bro

  84. When I did this I told myself "Nah amma go stick figures"

  85. It took 2 hour to finish
    Cool art😎✍️

  86. Its a cleaver bud, love your drawing skills though, great technique, great ideas, love it.

  87. Do not times lap the details other than that it turned out to be a great picture

  88. Im procrastinating now!

  89. Butcher's Knife

  90. For me getting this video 7 years later is going to be a big help later on the future

  91. the art is so easy i copy it 😉

  92. Where do you get te idea?
    Like how you put armor
    How many pockets do I put
    How much spikes should be there
    I am able to draw the position but not the detail
    How do I fix this?

  93. bro, you draw really good! You could make a career out of this! and the fact that it only took 16 minutes while explaining! You could make like an anime manga and it would be awesome!

  94. I did the same thing but with the other arm I put another sword

  95. Thanks the simple shape actually took me 3 weeks to do 😂

  96. YouTube Algorithm: WELL HELLO THERE!

  97. i like how they make it simple


  99. neat video, and really impressive drawing


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