Of course, the previous drawing couldn’t continue its way into the oblivion of being forgotten by the artist on purpose, without at least one retry, so I could perhaps learn something from it. I penciled this one completely from memory, with the exception of the weapon. I peeked a little bit at the original reference photo, although not too closely.
I first roughly sketched her pose with a true-line, a line true the core of her body (or where her body is supposed to be. That didn’t work out completely, but it helped me to get there 80 percent. That last 20 percent was just hard work by drawing, redrawing and re-evaluating the overall pose.
If you look closely, you can see I used a body length of five heads, giving her a more teenage appearance. I tried to accentuate that by placing the eyes a little bit higher in the head than you would when drawing an adult. On the other hand, I took great care to make her legs longer than half the her body length, which is more like the proportions in an adult woman. I think this combination works great in comics.
In hindsight, I could have given her a somewhat broader hips, not much, just a tad. Drawing is often about those seemingly frivolous details, not because of a nerdy deposition of the draftsperson (although it helps), but because such details are unconsciously noticed by others. It says something non-verbally about your character.
I guess if you design a character you have to weigh all these factors, visualize it, and then draw like crazy to get the right feel in your motor neuron memory (aka muscle memory).
In short, it is a lot of work, and you really have to like doing it, if you want to keep doing it. Drawing comics art is not for the lazy among us. But if you’re eager to work hard, long hours, and curious about the world, other artists and learning new things, you have what it takes to draw comics.
That is all.