Now in this part, I would like to speak about the activity of drawing.
In itself, drawing is only a "tool". I write here "only", in fact, the activity of drawing can actually also give you many creative impulses, if you are in flow ;-). 
As I has already said in the chapter "storytelling", the plot und the story of the comic are the most important fundamentals to develop a good comic. But good drawings can be a remarkable "plus", so the activity of Drawing may be also an essential part in realizing a comicbook.

actually, there is not a "right way" to create drawings. The Art of Drawing depends on the preferences of the comicauthor. So, the comicauthor is free to choose his own style by creating Drawings.
Nevertheless, the drawings must or should have a certain "logic": The style of the drawings has to be particular to the comicauthor and his affinities. What matters is that the comicauthor is satisfied with his own style of drawing, the comicauthor should value the forms he puts on paper.

As for me, I have been able to achieve a certain "talent" by drawing since childhood. Nevertheless, in recent years, I have had to redefine my style and "professionalize" my drawings.
For many years, I get "lost" myself in the activity of drawing without making any real progress, until I regognized for me the "right way" for creating drawings.

THE "RIGHT WAY": Observation.

When I was creating my drawings, I decided to develop my own style und I had preferences for specific form of drawings. I have always had a great admiration for the drawing style of some "classics" like Lucky Luke by Morris, Tintin by Hergé, and finally the Smurfs by Peyo.
My motivation as a cartoonist and comicauthor has therefore always been to incorporate certain forms of these "classics" into my style.
As a result, in the activity of drawing, I have been strongly inspired by the hands of Lucky Luke, the eyes of Captain Haddoque, the nose of Tintin and finally by certain features and characteristics of the Smurfs.
In fact, at the beginning, I had to experiment a lot to find the style of my characters and the style of certain backgrounds. Before choosing for one style or another, I actually spent a lot of time observing the drawings of my "classics", I observed other styles from other comicauthor such as "thorgal", "Largo Winch" or "La foire aux immortels" ( Enki Bilal ) 
I remember spending hours and hours identifying and observing certain features and characteristics in the drawings of Lucky Luke or in the drawings of Tintin.
In truth, drawing is primarily a lot of observation. Contrary to popular belief, the activity of drawing  is not to spend all his time in front of the drawing board.
Drawing, and especially comic drawing, is about developing an eye and a memory for the forms of drawing and styles.
I would like to mention that 60-70% of the time that i habe spent in my activity as a comicdrawer is based on observation. Putting it on paper is actually "just" a formality, putting it on Paper can take only 20-40% of my time as comicdrawer.
Observation means primarily observing and identifying the shapes and forms of the comicfigures and the backgrounds. Through observation, i learned to develop a sense and a feeling for proportionw, perspectivew and styles. Observation can help regognizing a certain "logic" in the drawings, "a logic" in the shapes, proportions and styles.
Observing the forms and styles of the comicdrawings can help finding what i am calling the "perfect line". By constantly observing and drawing my figures, I have learned finding the "perfect line" for the proportions of the body, the hands, face....
As for me as a comicdrawer, finding the "perfect line" is a very important task, because I give a lot of value in the "quality" of my drawings. My motivation is not to draw a lot, but to achieve and realize the "optimal" drawings.
So the "right way" in the activity of comicdrawing is observation. drawing  hours and hours in front of a drawing board does not really make you progress ( to my experience). However, in the activity of drawing itself, in the "flow" of drawing, many creative impulses may arise.

I would like to mention that you should also submit your drawings to a "professional eye" from a professional comicauthor, so that you develop for yourself a critical eye for your Drawings and works. A professional comic artist will know what to improve in the drawings ( because of his experience and his "professional eye" for shapes, proportions...). A professional comic artist will have more distance to the drawings. 

The activity of drawing: Get out of the "mental" prison.

It seems logical that a comicdrawer loves the activity of drawing, but, in fact, the activity of drawing could be a "nightmare" for the comicdrawer, if the comicdrawer is identifying itself wth the process of thinking . A comicdrawer may enjoy drawing for half an hour or an hour, but, after a while, drawing may be very annoying for the comicdrawer. Worse, if the comicdrawer wants to draw for hours and hours at any cost, because he wants to achieve success, then drawing may be very exhautive, specially if the comicdrawer get lost in thoughts all the time . In fact, drawing for hours may cause a very high "mental" or psychological pain if one wants to succeed at any cost, and that, because of the "mental" imprisonment. Every time, the comicdrawer get lost in thoughts in the activity of drawing, then this "mental" imprisonment may be very painfull for the comicdrawer itself.


What I called the "mental" imprisonment, is the fact to be identified with one's thoughts while drawing; so the comicdrawer should focused on drawing. ( thinking may arise while drawing, but the process of thinking should be sometimes interrupted by focusing on drawing.)
To escape this "mental" imprisonment, the comicdrawer has to pay attention on his sheet and his drawings. 
If the drawer doesn't get lost in thoughts and if he really concentrates on his drawings, then the drawer can achieve a great passion for the activity of drawing. 

THE PERFECT LINE

In comic drawing, finding of the "perfect line" is very commom for many comicdrawers; there, the comicdrawer tries to find the most accurate shapes and proportions in his drawings.
Here i will try to describe the method of "perfect line": as a first step, in the phase of "pencil", sketches are first made on paper, with other words, the comicdrawer makes first a "plan" of his drawing, in which the "skeleton" is being built up. By making the "skeleton" of his drawing, the comicdrawer develops the forms of the drawing with the pencil, the "skeleton" of the drawing is redefined and gradually the comicdrawer can find out the optimal form of the drawing. After the "pencil" step, where the comicdrawer finds and figures out the optimal form with the pencil, then it comes the phase of "black inking" ; "black inking" is the last step in the process of perfect line, where the comicdrawer use black ink with the brush to finaly "correct" the pencil lines again. In other words, black inking with brush is the last step where the shape/line gets its final expression.
 
Drawing: the different tools

There are many different tools for drawing, I will mention here only a few tools that are most widely used. The most common tools are the pencil and the brush. there is an additional tool that was also me very useful for me ( especially very useful to "correct" shapes and forms of the drawing.) This tool is the graphic tablet; with the Photoshop software ( however, there are many other software, which are also partly better and much cheaper ). With the help of graphic tablet, the comicdrawer can draw on the screen and can "correct" in details the drawings with the zoom function. 


Summary

The activity of comicdrawing is not easy to describe, so to explain here in details on this website is almost an impossible task ; like the activity of a storytelling, drawing is a very "complex" activity that cannot be described in a few sentences. Comicdrawing is "complex", however it is very simple, if you master and apply the "right method" or the "right way". Here, on this website, I have only described the basics of the activity of comicdrawing. In this context, I will produce many videos in a Youtube channel, so i can describe in details the activity of comicdrawing.
So there are three essential points, which are essential in comicdrawing:
- Observing and developing an eye and a memory for figures, proportions, shapes, perspective, styles....and so on.
- appreciating and enjoying the activity of drawing, in which the comicdrawer pays attention on the activity of comicdrawing and is not getting lost in thoughts.
- the concept of "perfect line"

Here the activity of comicdrawing has been described very roughly, there is actually much more behind it.
So, I hope, with this first informations on this website, i can help some "artist beginners" in their way in creating their own comicdrawings.