Do you have to look at the model with the hood up? The best way to draw a race car is to look at the car and just focus on the car’s appearance. You can’t get to any other way, because you haven’t seen it in person. So why wouldn’t you do it? You’ve got enough experience to draw those things.”
In his early days in comics, Moore said that he would use the same technique to draw cars in other media besides comics. After he became a writer and artist, he said that he continued to draw in comic books, but it was always in response to other people’s designs. If someone designed Superman without his cape on and told Superman he looked like Captain America, Moore said he’d try that in a story. When his comics got into film, he started experimenting with the style of the characters, but it didn’t seem to work well with the style of film. He said that it was only recently, while studying for his PhD in media and technology at the School of Media and Technology of the University of Liverpool, that he began trying to use the same technique to draw other media. In “The League of Extraordinary Gentlemen” #12’s story, the villainess, Miss Havisham, is being threatened with being blown up by an atomic bomb in Japan. For most of the story, Moore used a very simple, very old-time-style style, but then, for the bomb explosion itself, he drew a very modern, “hyperreal” style using a stylized, exaggerated nose of a woman. Moore said he was using “a lot of modern techniques, the same ones that I’m trying to teach myself to draw with.”
The new technique he’s trying to apply is to see through the eyes of the characters, whether that be human, monster or even animal. The story that came about when he made this discovery is the last page of Alan Moore’s “Doom Patrol” #8, “The Black Knight”:
“That’s the face of the monster,” Moore said. “And in the middle, I’m going to draw where the monster just stands with its feet on the ground. In his right hand, he’s holding what is known as Dungaree, which is something you see all the time in horror films. At the beginning, he’s holding a bunch of weapons, some more pointed to the right, others more pointed to the left, which indicate the nature of our struggle. He’s holding weapons
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