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How To Draw Manga Pdfdrive Architecture Doc 102 Phase 20023
How To Draw Manga Pdfdrive Architecture Doc 102 Phase 20023
TO DRAW
VOL. 3
~ 1l t i t JJJD ~ ~Jh
I
Go Office
Vol.1: Compiling Characters
Chapter 1 Drawing the Face
Chapter 2 How to Dra w Bodi es
Chapte r 3 Drawi ng Characters
ISBN4-766 1-1 473-6
Distributed by
JAP PUBLICATIONS TRADING CO.,LTD.
--=-- Sc:-"C.zr~no ChlycxJa-ku, Tokyo , 101 -0064 Japan
=>-rr;E ~ - - :-~; - : - : - =ax: W -3-3292-0410 E- mail: [email protected]
TO DRAW
Vol. 3
Enhancing a Character's
Sense of Presence
MORE HOW TO DRAW MANGA Vol. 3: Enhancing a Character's Sense of Presence
by Hikaru Hayashi, Rio Yagizawa/ Go Office
This book was first designed and published by Graphic-sha Publishing Co., Ltd. in Japan in 2003.
This English edition was published by Graphic-sha Publishing Co., Ltd. in Japan in 2004.
Artwork and Production: Kazuaki Morita, Yumiko Deguchi, Hiroko Shioda, Akira Gokita, Haruto,
Kozue Onishi, Ushio, Kei Asagi, Ru'u, Mayumi Tomaru, Kento Shimazaki,
Rio Yagizawa
All rights reserved . No part of this publication may be reproduced or used in any form or by any means
- graphic, electronic, or mechanical, including photocopying, recording, taping, or information storage and
retrieval systems - without written permission of the publisher and the copyright holders.
Distributor:
Japan Publications Trading Co., Ltd.
1-2-1 Sarugaku-cho, Chiyoda-ku, Tokyo, 101-0064
Telephone: +81 (0)3-3292-3751 Fax: +81 (0)3-3292-041 0
E-mail: [email protected]
URL: http://www.jptco.co.jp/
ISBN 4-7661-1484-1
Printed and bound in China
ote
HOW TO DRAW
Vol. 3
hancing a Character's Sense of Presence
Table of Contents
Chapter 1
The Importance of Tone Work
Tones Attached to Characters Serve 2 Purposes: Shading and Color ......... 8
7 Panelization Styles Used to Enhance the Character's Sense of Presence ........... 10
Composition Samples Using the 7 Panelization Styles .............................. 12
3 Panelization Styles Suited toward Shading ........................................... 13
The Fundamentals of Light and Shadow .................................................14
3 Types of Shadows Connected to Light: Standard, Bright, and Soft Light.. ... 16
The Shading Process ..............................................................................18
The ABC's of Tone ...................................................................................20
Attaching Tone: Tools and the Process .....................................................22
Sample Uses of Gradation Tone............................... .. .................... 28
Chapter 2
Character Shading and Tone nrt·~P
The ABC's of Facial Shadows ............................ .. .. ......... 30
_A,~
Shadows under the Chin ........................ . ............ 30
The Basics of Cheek Shadows .......... .. .. ........... 31
Dark and Light Shadows: Bright and .. .......... 32
When to Keep the Face Shadow-Free .............. 34
Guidelines in Suggesting Color
Planning According to Value rnn·tr!lClt .......... 35
Common Facial Shadows .............. . .. ...... 36
Front ....................................... . ...... 36
3/4 View ................................ . .. ..40
Rendering the Hair .................. . ...41
Profile .................................... . ·.... 44
Moderate Low Angle................................ .. .......... .46
Moderate High Angle................................... .. ................ .48
Common Body Shadows .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. ...................... 50
Principles in Figure Shading............................ .. ....................... 52
Tricks to Drawing Body Shadows ............................................................54
Male Characters ..................................................................................54
Female Characters ...............................................................................58
Shadows at the Feet ...............................................................................62
Creating a Composition without Using Tone:
Sample Compositions in Pen ..................................................................64
4
Chapter 3
Movement with a Sense of Presenc
The Key Points to Portraying Natural Movement Li
Chapter 4
More Manga
The Fundamentals of Manga Portrayal:
Making the Composition Obvious at a Glance ...................................... 116
4 Basic Elements ...............................................................................116
Telling a Story Visually .......................................................................117
Panel Design (The ABC's of Page Composition) ..................................... 118
Giving the Panel Design Variation ...................................................... ,; 120
Figures and Cars: How to Draw Comfortably Scenes of
Figures Getting in and out of Cars ......................................................... 122
Special Effects That Enhance a Character's Sense of Presence ............. 124
5
II Objectives of this Book
This volume
reveals all
of the key
techniques.
Chapter 1
The Importance of
Tone Work
Tones Attached to Characters
Serve 2 Purposes -Shading and Color-
Shading
Shading is a technique used to evoke a
sense of 3-dimensionality when added to
the face or figure. It is primarily used in key
panels or shots. ~
~ -
'
I
Close-up
Close-ups are
used to give
impact to a
character's
~
•
Tone Guides for Portraying Color
9
7 Panelization Styles Used to Enhance the Character's Sense of Presence
While manga artists seem to draw faces in countless
:::rstantfard Panelization Styles-
;: 4>~ different sizes, in truth they use only 7. Once you are
able to distinguish properly these 7 different panelizatior
styles you will finally achieve success in enhancing your
characters' senses of presence.
This is an impressive
shot, used when the
character is making his
or her appearance on
Here we see a cut using faces' sizes used with CD a
the scene. The head is
<2:l. Bust shots like these are often used with
"'~r:;t
--
.I<< <J about 3 em (1 1/8") in
height.
conversation scenes. The faces appear at various
sizes, according to the facial expression or
dimensions of ~he face within the panel.
Long shots of a
character are primarily
used in backgrounds
and settings in order to
establish the scene.
(i.e. they appear in
panels focusing more
on the background
than the character.)
10
The close up is used for scenes the
artist particularly needs to convey to
the reader, such when a character's
lines are of consequence or to illustrate
dramatic emotions and facial
expressions. This is the optimal size for
close-ups using tone for shading, etc. to
achitive depth.
I'm bust-
CD
Apparently, we are
both long shots.
See me in extreme
close-up?! This is
used for those
<D Full figure (large): Tone added for shadows on the face and figure and for the uniform's colors ® Full figure
(medium and larger): Tone added only for shadows on the face and for the uniform's colors ® Long shot (large): Tone
added only for the uniform's colors @ Bust shot: Tone added only for the uniform's colors ® Close-up (mid-sized):
The face is cropped, and tone is added for shadows in the face and the uniform's colors ([) Close-up: Tone added for
shadows in the face and the uniform's colors Note: Actual size of drawing approx. 1.2 times (120%) that shown in
figure.
Adding shadows to the face and figure
nelization Styles Suited toward Shading ) are more effective when used with the
following 3 panelization styles.
Full Figure
(Large)
Try to keep
tone use on
the face
simple (i.e. do
not use much) .
GIO!Se-lJD {Mid-sized)
Perfect for when a
moderately large face is
desired, this is half the size
~-of a regular close-up and
twice the size of a bust shot.
3
The Fundamentals of Light and Shadow
Since volume is portrayed using light and shadow,
(Average Light) use shadow to create a sense of 3-dimensionality.
Normal indoor
lighting, sunlight, etc.
Light Source
10% tone
·~
While film and paintings require minute
direction in terms of the light source's
position or the placement of lighting, its
intensity, number of lights/light sources,
etc., in manga only the position of the light
source need be decided (e.g. whether to
place it to the character's upper left or right
Here, the rays of light following parallel
side, etc.).
lines are referred to as "directi.onallight."
Clothing: 10% tone
Shadows: 20% tone
14
The spotlight is the most well known "light ray." In contrast to
- ocial Lighting Effects ) the Sun, which is a directional light source, the spotlight is
also referred to as a point light source.
r-~ ~ ~- ~ ~-,
Combined Here we see light coming from 2 sources (combined lighting) -in
e light off a spotlight tends to Lighting this case from a streetlight and from a gate light. While in reality,
-=-- . use solid black ink instead of most lighting is combined, in manga convention leans toward
point sources or spotlights. Combined lighting is used when
seeking an out-of-the-ordinary mode of portrayal or effect.
15
3 Types of Shadows Connected to Light:
Standard, Bright, and Soft Light
0 Without Shadow
Shape with Standard Lighting
Typically rendered in grey
Bright Lighting
Use black or a dark gradation tone. L..,__ _ _ _ ____.L.,_ _ _-"'_.~,
Shadows rendering in
hatching and crosshatching
16
Soft Lighting
Use tone with fine dots or
a light value (shade).
·~ ·
jo! ~'
Bokashi
(blurring) effect
achieved by
etching the tone
17
The Shading Process
Penned Direction Not
drawing of light good
.. · The plotted
shadows will simply
serve as guidelines
for where to attach
tone, so avoid filling
them in.
Spotting Blacks
Fill in any solid blacks before
attaching tone. Standard practice
dictates adding blacks under the
jaw line and underarm.
Lead markings of non-photo blue and yellow pencils disappear when the drawing is put into
print form or photocopied, so they are frequently used tools. A mechanical pencil may be used
18 instead, provided that the lead color is light blue or yellow.
ading
Gradation Tone
19
IThe ABC•s of Tone
• Composition created Figure created using tone of
using solely 10% uniform saturation but with
(saturation) tone varying dot sizes
21
51
61
Nos. 11 to 91
~· · · · · ·
I / ? ? ?/ I here, is known
1> < i i? II tone, pictured
"dottone."
While each of
these tones offe
a different feel,
51 we can see from
their numbers thE
~ilfm they are in fact a:
1/ 61 the same
1
>< i < 1 "saturation." Th
54
52
54
53
55
50
55
52
(20%)
53
(30%)
54
(50%)
56
(60%)
-.: on these 2 pages are IC Screen. Slight differences do appear from brand to brand
- ~ ~ in the spacing between dots, evE~!Yn the tone numbers are identical.
21
Attaching Tone -Tools and the Process-
Adhesive
back
Patterned--+-+:::::::::::::::::::::::::::::,
front
CD Lay the tone with the backing attached
over the panel. CV Trim the tone to the
desired size (cut it slightly
on the large-side).
It is important
that you align the particular effect is
tone squarely desired, tone is
against the panel rarely attached at
or drawing. a skewed angle.
Good
Particle
Hair
Dust
Craft knives
Itj
Blades with 60"
~
1
angles do cut better,
f but they are sharp,
· so be careful when
. using them .
45" angle 60" angle
Tone
Knife path
Remove the excess tone while holding down the target areas.
-
Removing the tone can be lots of fun if it
has been cut properly.
1. Rub the center region. 2. Rub the edges of the tone and areas with major contour lines.
26
The stylus is used to
press down securely
tiny trimmed areas,
corners, etc.
27
Gradation tone generally comes in 2 types: dark gradation, w ·
( Sample Uses of Gradation Tone ) gradates from black to white, and light gradation, which grada
from grey to white. There is a diversity of gradation tones on trr-
market, coming in varying widths, etc.
Gradation Tones
Just what does that 11 L11 mean at the end of the tone number? The "L" is an abbreviation for "line," ar.-
it refers to the number of lines (rows) o'
dots. This acts as a guideline when
layering tones.
Patterns, including a moire effect, may appear wh"-
1" = 2.54 em
•
tones are overlapped .
+~ ¢.
42.5L 60L
1" = 2.54 em 1 sq. in. contains 60 lines Although these are both 10% saturation, when
1 sq. in. contains 42.5 in all directions. overlapped, the different numbers of dot lines
lines in all directions.
causes a pattern to form.
Layering to Darken the Tone without Creating a Pattern
.+.¢
Overlapping tones with differing numbers A pattern can be
of dot lines at various angles affects the created by layerin;
appearance of the pattern formed. tones with the sa
number of dot lin
at an angle.
These patterns, including the moi re effect, may be used as print patterns
28
Chapter 2
Character Shading
and Tone Portrayal
The ABC's of Facial Shadows
Face
Straight on
Light Source
~ Upperleft
____;:"j Light Source
A crescent -shaped
shadow forms on
the face.
A shadow echoin .
forms under th g !he Jaw line
e ch1n.
31
(Dark and Light Shadows: Bright and Soft Light )
A shadow's darkness depends on the intensity of the li_
Bright Light source. Differences in the value used for a shadow vari
according to the brightness of the lighting.
Dark shadow
Black shadow
~
use a black shadow for
underneath the chin,
regardless of the light's
The shadow's edge brightness.
Common Modes of Rendering Shadow may be blurred.
0
Shadows
Rendered in
Black
Use black shadows with
spotlights or with bright,
midsummer sunlight.
Black shadows are used to
create a striking
impression or when
seeking a specific effect.
0
Shadows
Rendered in
Halftones
Halftone shadows are
used to give the face 3-
dimensionality and draw
focus to the character,
regardless of whether
indoors or outdoors.
Shadows created
using penned lines
lieu of tone appear
frequently in realis
32 manga.
ading Examples
35
( Common Facial Shadows
Let's look at the following 5 light-
positions: Front, right, side, low, an
( Front )
a b
36
f
37
Practical Applications to
A broad range of facial shadows
are created by modifying the
angle of the face inside the
panel or the way it is trimmed,
or by switching the shadows
from the right to the left side
of the face, etc.
Below is an image
created using j-type
facial shadows as a
point of departure. I
omitted the cheek
shadow and added
shadows underneath
the nose and to the
lips.
g
These are essentially g-type
shadows. Depending on how
prominent the facial features,
shadows may be added
underneath the brows and
eye sockets.
39
( 3/4 View)
a b
Highlights (areas
touched by light)
expanded
41
d
42
e-types have the fewest shadows, with shading
solely located at the hair, the nose, and the chin.
This works well with clean , cheerful compositions.
This combination of e and d shadows can be used to Forward facing figure using f-type shadows
accentuate a particular mood.
43
Profile )
a b
44
Expanding the negative space in the direction faced by the figure adds to the
effectiveness of e-type shadows. This technique is suited toward long panels.
45
-----
(Moderate Low Angle)
b
c d
46
The shapes of the hair
shadows are intricate.
Contrary to what you might
expect, duplicating the
exact shape of the hair in
the shadows will make the
composition unnatural.
47
48
• L•Eati··onsto Panels (Moderate High Angle)
b
49
( Common Body Shadows
Shadows are added to the body primarily to _
the figure a sense of volume or to accentua c -
forms. Consequently, poses and compositio c
that draw attention to the figure's contours '
musculature tend to be favored.
5
Adding to the girths of
the arms and thighs
generate a weightier
feel.
Shadows form
surfaces oppo '"""
the light source.
~~ ~adt; is r-< ~
black or red. Since / )
there is no set rule
regarding the
direction the tone
should be attached
(e.g. black to white
or vice versa), use
your own
discretion.
52
When applying
shadows to male
characters or figures
with different builds,
the concept remains
the same; although,
the shapes of the
~ ~ ~s1hadow may change.
Not good
(fj) ~:
A light source from
the upper right
makes it difficult
0
the body's surfaces is to establish
the position of the light source.
Playing around with the light
instead of
lines were
used to
delineate
the stomach
i -
Figure with an abundance of
.,
Figure with minimal shading lit
Figure with an abundance
of shadow (e.g. Sun to
Moderately abundam
shadows
shadow (e.g. Sun to figure's from the upper left (Light figure's back; light source
back) source at upper left front) at upper left back)
Shadows rendered in hatching
.... .
~·
Minimal shadows
standard shadow volume
55
Shading the Back
Scapula
(Shoulder
blade)
Add shading
to the small
of the back.
56
e Back of a Jacket
figure
Special effect:
Lower back light source
This lighting is
suited to dramatic
scenes such as sci-
fi related or on the
roof of a building.
Close-ups of a male
character's derriere are
not common, and
shadows are not
typically added.
57
The female figure is composed of curves,
(Female Characters ) causing the edges of shadows to curve as well.
Figure Study
Upper left light source Upper right light source Upper left light source Upper right light sourc:
0
Crescent-shaped Shadows
0
Bottom Shadov.-
58
Shadows 0 Bottom Shadows
/
59
Side Shadows
Bac
61
(___S_h_ad_o_w_s_a_tt_h_e_Fe_et___
These shadows are primarily added
Shadows at the Feet (Puddle Shadows) to shots of characters ranging from
medium full figure to long shots.
I
Use gradation tone. Feel free to -
the edge of the "shadow."
Long Shadows
This is effective for
~otgd
Intersecting Shadows
Here we have light shining
from multiple directions.
Leg shadow
Silhouette Shadows Created by Backlighting
Solid blac in lieu of tone makes for a more dramatic
I
portrayal.
ood
Crosshatched
Outline
Gradation tone
Diagonal hatching
Hair
Facial shadows
ape ed lines drawn using Hatching portraying the color Crosshatching is often used This hatching used under _
a straightedge and texture of hair or boots to portray the texture of chin and on the floor crea·-
clothing or blackness. Here a gradation effect.
it is used for clothing.
Chapter 3
Movement with a
Sense of Presence
_The Key Points to Portraying Natural
Movement Lie in the Shoulders
Normally, when a figure is portrayed standing straig _
a line connecting the right and left shoulders (shoul ~
( Shoulder Basics ) line) is horizontal.
Good Not good Not good
Right
shoulder
line
Left
shoulder.
line
Here, the shoulders are not properly Here, the neck broadens:::
aligned, and the base of the neck base, and the right sho -
(marking the top of the shoulder missing.
line) is also tilted.
- ~ - -P -
I
I
I
I
Not good
t--1\e···;
Not good
The neck on the
side of the raised
Bad example:
Here, the two shoulders
are even.
Chest line
·-
Base chest
Here we see a leaning pose. The Raising an arm causes the chest Raising both arms causes the
shoulder and chest lines are on that side to also rise, figure to return to its original
parallel. eliminating the angled feel. angled pose.
68
Bring the neck
contour in from
the ear, closer to
the face.
' Move this contour so that
it is underneath the chin.
The left shoulder and
chest seem to be
turned to the right. CD Correcting the neck Draw the shoulder line
The shoulder is in
clear view when the
torso faces the right.
~
Final Drawing
(The Bust Shot Drawing Process) Detailed Example of Using Knowledge of the Body'
- - Structure to Draw
Figure in a
standard pose
falls midway
Connect the neck .to the shoulders using smooth between the
contours and position the underarms. underarm line
and the base
chest line.
@ Clean up the torso's contours using the chest as a guideline. Sketch in the
face's layout
70
Top of the chest
8 Final
Drawing
71
The Side Centerline Gives
the Torso Volume
The side of a torso is long and narrow and is not visible from the
front or back. Yet, the side constitutes a vital point when drawing
most poses. The side also contains a "seam" connecting the fro
and the back. This seam is called the "Side centerline."
Area of body
visible from the Draw the arm's
f }
front thickness at about
the same as the
width of the areas of
I
the side not visible.
)
t
The torso's
silhouette
changes fro-
the front to
views. The
centerline is
Border dividing The side centerline appears as a visible.
those areas visible "seam" in the majority of clothing
from those not
visible from the
Loose fit
front
The side
front centerline and
areas visible from
the front joint join
at the leg.
JTorno's ttlickness
While in actuality, clothes do add a bit more girth to the torso all
around, in manga, it is perfectly acceptable to use the same
layout for the character's figure nude as for it clothed.
72
Contrast with an average
build figure
)
/
~ a Characters
Border dividing
those areas visible
from those not
visible from the
Practical
Application yA
Shoulder seam
The centerline
serves as a guide
for drawing the
button front
closure.
Side centerline of
the skirt
Side centerline
74 ate: Some T-shirts lack the side seams from the underarm down.
The side centerline along with the
torso's thickness gives the torso
clear definition.
Side centerline
Tailored-fit
clothing
Side centerline
76
J Front Raising both arms From a normal stance,
the clavicles do not really
change in appearance even
when an arm is raised.
Jutting the neck
out and down
Clavicles
rendered in
detail
Abbreviated
clavicles
78
~ ters
j
The developed
muscles prevent
shadows from
forming
underneath the
clavicle.
79
Showing aFigure Extending and Contracting
Allows for Dynamic Expression: ~n: :~dmn!is
Our hands, legs, and torso extend and
This distance is
equal to or
--1-------------------------------------------------- contract. Being aware of how far a li :::
greater than the bends forward or back will allow you
head's length. draw your characters' movements
----------------- convincingly.
The torso
stretched
Ref. Fig.: Spine Ref. Fig. Knee
80
Clothing is designed with movement (the body extending) in mind. While some
clothing is made of fabrics capable of stretching and contracting (stretch fibers),
typically, clothing is pulled with the body, altering its silhouette .
.::.- op
=- i Rtted Clothing
Q Q
The shoulders
t The lengtll ol
the torso
exposed is the
same as that it
extends.
81
(Bending the Neck) Stretching and contracting .of the neck is
- a frequently used, key mot1on.
Common Stretching and Contracting of the Neck
82
., :-~H ead up Bad example.
Not good
--
- The body is pulled
to the right by the
bag, causing the
character to want
to lean toward the
left, and the head
to tilt to the left.
\A wrinkle
forms here
85
The stretching and contracting of the hands and fingers is tied ·~
(The Hands and Fingers) the opening and gripping of the hand.
86
_ · Drawing the Hands and Fingers: Artists tend to concern themselves with the shape of
Thicknesses and Lengths the hands. Still, you should be able to produce a
satisfying hand even if you do botch up the shape
somewhat, provided that the fingers' thicknesses,
lengths, and nail shapes match.
Simple Rendition
Here we see a clean
line drawing.
(
Here are 9 common
pitfall points.
87
The hands add to expression of the character's emotional state. It is
important to distinguish gestures. To portray a normal or casual atmosp -
show the hands in a relaxed state. To portray tension, show the hands
clenched in fists. Take care when drawing the hands, as both natural ar:
contrived or awkward compositions show up clearly to the viewer.
Good
~
scenes.
', '
0~\ 0
~e(r1 .
. \'liY <1 . ~
Trajectory of
the kick
~\Contracs
more than the others.
Extends
jr I
actually crammed
tightly together in
the shoe.
91
Bending over causes skin folds to form in the abdom ~
(The Waist and Back )
Bending Over and Hunkering Down
Wrinkles and
skin folds
appear on
the sides
that contract.
Bowing
Sitting
Putting on or
removing socks
and shoes
92
e back is rounded, Pay careful attention to how the
- ulders roll forward shoulders rotate forward and back.
The back
becomes Drawing the shoulders back
rounded when causes the chest to thrust
the shoulders outward and the back to arc
rearward.
93
Sitting
Pleated skirt
When dressed, creases at the abdomen vary
and blouse
according to the clothing worn.
94
In both the back study diagram and the high, oblique angled study
ularly, But Slightly Hunched Forward diagram, the roundness of the back looks best when not
overemphasized. Use a gentle curve for the slope of the back.
Study Diagram:
Front View
Study Diagram
for Practical
Application
Line drawing
Study Diagram
Back View
The 2 postures
overlapped
Straight back
Hunched over
97
Key Points in Distinguishing the 2 Postures
The shoulders are rolled
forward, and the knees are
Hunched Over casually grasped.
Straight Back
\ 7yffipern
99
Arcing the Back/Leaning Back The upper back contour is usually convex.
Stretched
Bending back to
this extent causes
the upper back
contour to take on
a concave curve.
The upper back
contours retain
almost the same Use this pose for scenes where a
convex curve. character is shot or hit in the back
with an object, etc.
Not good
Pose with the Chest
Dramatically Thrust The upper back
Outward contour retains
virtually the same
convex curve.
\-\
100
dard Convex Curve of the Upper Back
Special Cases for Drawing the Upper Back with a Convex Curve
101
Uses of Arcing the Back 1: Cheering
Incorrect
These samples lack
movement.
Not
good
10~
character is consciously leaves little impact on the
celebrating. reader.
Practical Application Samples
Tilting the head down turns
this into a "yawning" or
"stretching" pose.
~ the character
Yawning
\
The pose and angle are the same
as in the cheering poses, but
changes have been made in the
direction of the face and the way
the arms are raised. 103
Uses of Arcing the Back 2:
Escaping (Unwanted Grasps, etc.)
When the muscles are
flexed, the body moves in Shrunken state
a burst from a shrunken
state to an expanded
state.
Expanded state
Expanded state
Elements of twisting
are being mixed in
with the arcing the
back action.
A character
105
Leaning to the Side: Fashion Model Poses These S-curve poses are affected poses the character adopts when
intentionally attempting to make herself appear attractive and are,
consequently, used for scenes when a character makes a first entrance
The waist is to give that scene impact.
stretched on
The upper part
one side.
of the torso an exercise
stretches. pose, and just
a means of
moving the
body. However,
it has wide
applications in
key compositions.
Skin folds
Here the
Leaning Forward
character, seen
from a
moderately low
angle, leans to
one side.
Common pose:
While these two S-curve poses are Figure arcing back
Figure arcing the
similar, they differ in that one leans toward one side
back while leaning
forward, while the other, to the
forward
side.
106
Twisting and Turning While torsion does appear in the waist during the common act of walking, this
torsion becomes important in scenes of a character running and principally in
combat scenes
The fundamental aspect of
showing twisting or turning
are changes in the directions
of the upper body
and lower body.
Manga-Style Stylization:
Figure with Only the Chest Turning
If there is no need to
adhere to actual
physical structure, a
character may be
drawn in profile, but
with her chest turned
slightly. This
technique, unique to
rnanga,enhancesthe
character's sense of
presence once she is
dressed in clothing.
~ _ast of Figures in S-Curve Poses and with Torsion
109
Twisting and Turning Are Key Factors in Combat Scenes: Torsion Symbolizes Combat
Good example
110
- a simple back view, a bit This figure has no torsion and is Changing the direction of
evokes the look of a standing bolt upright. Now, the the head on twisting/turning
character appears unaccustomed poses allows the creation of
to fighting. limitless new variations.
~
Without the diagonal hatching, even
though the figure has been given
~
Here, the hand's
torsion, it still lacks force.
contours are rendered
in diagonal hatching.
Alternative Styles
111
Adding the Finishing Touches to a Hot 11 Backward Glance .. Pose with Torsion
(The Steps in Attaching Tone)
Study Figure
Line drawing
Attach 2 sheets
of layered tone
to the blouse.
Use tone with
identical line
numbers to
avoid a moire
effect.
Figure minus
absolute final
touches
This figure was created digitally. The creation process and points of caution are the same as when attaching regular tone.
Here, I take a running
figure and shift the
right hand to the front.
Smack!
The result is a
figure putting her
Here, both figures are drawn standing waist into
bolt upright and lack torsion at the waist. delivering a punch.
114
Chapter4
More Manga
The Fundamentals of Manga
Portrayal·• Obv1ous
Ma~ing the composition
at a Glance
In manga, the reader figures out the story by seeing how the pictures flow. That is what
characterizes the medium. Any dialogue or narrative text is supplementary to add to the
4 Basic Elements reader's understanding. We say that in manga, pictures tell the story, and the significance
of heightening the characters' sense of presence lies in that statement. But, let's first start
with telling a story (communicating) through pictures.
r.7~-
The Future
Where (Location)
116
e ey is o decide your theme- i.e. what to
communica e- and what must be drawn- i.e.
• hat information to draw.
Indicators that the location is a cafe: a receipt, a menu, a window, etc. "Waiting" indicators: a partially read
book, half drunk water. Character indicators: a cigarette dangling from the mouth, smoke drifting from cigarette
butts in the ashtray. The indicators we see in the panel suggest an uncouth character type. 11 7
Panel Design {The ABC's of Page Composition) Panel design begins with deciding what needs to be drawn. Clear
panel design will lead to portraying characters with presence.
Theme:
Cafe
Rendezvous
¢ The 4 Elements
The protagonist
Main Story Points
The Artist's Conception
Character: character design He's late.
During the evening When: portrayal of evening
In a cafe Where: portrayal of cafe
Analysis Has a rendezvous Action: meeting, talking, etc. 0
"Waiting," "worrying,"
and other acts relating
to "meeting": the
ways of executing the
simplistic theme,
Cafe
"rendezvous at a
cafe" are limitless.
Well, I've
noth ing to
do. Might as .
well buss the
ta ble myself.
Blah Blah
Thank
heaven6,
you're alive!
For this scene, to emphasize the
character's personality, the "Thank ' '{'
heavens! " panel should be made larger,
as shown above. To introduce the "late
friend," lay out the panels as seen
below. Since the fifth panel illustrating
the protagonist's worrywart wanderings
was drawn rather large, the first example
120 works better within the flow.
q
Good Example
J
as equally important, and,
therefore, all are drawn the
same s1ze.
121
• How to Draw Comfortably
Figures and Cars: Scenes of Figures Getting
in and out of Cars
Manga convention dictates using sound effects of car doors opening and closing to portray ..
getting in and out of a car.
Here we see the door closed. Here we see the door open
A figure assumes this forward and the figure in a fashion
leaning pose when opening the model pose. Even with the
door (getting in the car) and door open, the forward
when closing the door (getting leaning pose would look
out of the car). more natural. Here we see a character getting into
a car. Without the sound effects, this
could also be interpreted as a
disembarking scene.
122
. . Normally, artists are limited to the page space
pte Scenes: Gettmg m and out of a Car or number of panels they can use to portray
close-up of the front windshield explain the scene. characters getting into a car. Here we have
samples illustrating that minimal artwork, using
few panels (1 to 2) allows you adequately to
portray "getting into or out of a car."
" provided that a shot of the front, side, or rear
of the car has been included.
The sound effect "slam" may be added to the third panel if desired.
Drawing the female character instead the male in panel 1 would have
altered the scene so that she was the one boarding. Turning the vehicle
- - .:. -:"' ,"ew of the car is used, and any shot of opening
into a foreign car (i.e. switching the steering wheel to the left side) would
-- _, as been omitted. Still, we understand that the
suggest that the male character is the one boarding. Alternatively, it
could be that she was driving the car but turned the wheel over to him.
Tension/nervousness
More Tones: Composition Using Popular Tones Other than Standard Dot and Gradation
Tone comes in a myriz:
of patterns, the most
common of which
outside of dot and
gradation may be
roughly grouped into ~
following 6 categories.
ayashi
=~ 1Tokyo.
· =: .A1 ed with a degree in the Social Sciences and Humanities from Tokyo Metropolitan University.
• a major in Philosophy.
=2:c· ed a hortative award and honorable mention for his work on Shueisha Inc.'s Business Jump and served as
:Ellt to Hajime Furukawa.
: c on Shueisha's Shukan Young Jump while apprenticing under Noriyoshi Inoue.
'=--.: ~ ed his debut work based on a true story, "Aja Kongu Monogatan" ["The Story of Aja Kong"] in Bear's Club.
=-. ..:::-:ed the manga design and production studio, Go office. Produced illustrations for the works Butsuzo ni ai ni iko [on
=-= 4 reciation of Buddhist sculpture] by Hiromichi Fukushima (published by Tokyo Bijutsu Inc.)
......... -...:: ed How to Draw Manga: Female Characters, How to Draw Manga: Male Characters, How to Draw Manga: Couples,
::. _ ..! •t to Draw Manga: Illustrating Battles.
_ ---:-''ed How to Draw Manga: Bishoujo around the World, How to Draw Manga: Bishoujo/Pretty Girls, How to Draw
-=:-;a: Occult and Horror, and How to Draw Manga: More about Pretty Glas; promoted, produced, and wrote the manga
~ - ! • r Koki Ishii's Kokuhatsu manga riken retto (book on the wasteful spending of Japanese politicians), published by
Co. , Ltd. ; and produced the corporate identity mascot character for Taiyo Group driving school.
- ~ 'ed How to Draw Manga: Animals ; produced and initiated the release of Bishoujo Fighting, a dojinshi (fanzine or
~; . ress comic) for pro wrestling fans under the name of Meta (a fanzine specializing in woman's wrestling and cat
=;-: •'deos, published_biannually when matches occur; fifth issue on sale as of 2002).
ed How to Draw Manga: Martial Arts and Combat Sports, How to Draw Manga: Giant Robots, and How to Draw
---;a· Costume Encyclopedia, Everyday Fashion.
red More How to Draw Manga Vol. 1 and How to Draw Manga: Costume Encyclopedia, Intimate Apparel,
ed by Graphic-sha. Mr. Hayashi continues the planning and production of original Go Office fanzines.
-_ - •tas born in Tokyo on January 8. She is a Capricorn with an A blood type. She first started doodling in pencil in
!:
and made her first attempt at drawing manga in pen during the fifth grade. In junior high, she began to produce
· _., anga works with friends from upper grades and in her class.
__ - - ~ :"buted as an illustrator with Minori Shabo's monthly publication, Gekkan OUT. She acted as an illustrator, an
• ~<a ·on parody) and manga artist, an anime writer, etc., contributing illustrations to Minori Shabo's Aniparo Comics,
's My Anime, Tokuma Shoten's Animage, etc.
-: :3buted as a full-fledged manga artist in Kobunsha's Comic Val. Since then, she has contributed series and single
s to -Kobusha's Pretty, as well as cover and page illustrations for paperback editions targeted toward young
ed by Seishinsha, Kadokawa Shoten, Shogakkan, and other publishers. She has authored 9 manga volumes and
than 25 paperback books.
. .: --= :egan to participate on the production side with Graphic-sha and Go Office, starting with How to Draw Manga:
:=:-: continues such efforts today. · _,""
.cs iounded in May 1997 and has been specialzing in the production of tutorial resources using manga and
•• ich include publications on How to Draw Manga series.
iljl
g
Graphic-sha Publishing Co., Ltd.
MANGA INSTRUCTION
FROM THE MlNGA MASTERS!
~®w rn rn®w u® wW&w [WffiOO@ffi
[? [2@~ ~[2ilpJ{]0@o}Dj [pQDIT)b0~}{]KJ@
•
Vol. 7: Amazing Effects
Chapter 1 The Basics in Composition
C apter 2 The Basics in Character Portrayal
Chapter 3 The Basics in Voice Portrayal
Chapter 4 The Basics in Panel Design
Chapter 5 The Basics of Manga Portrayal
ISBN4-7661 -1480-9
mwmrn
IK DISTRIBUTORS
DIIIISIDNOFD/AMOIIDCOMICDISmJBVrOtl$, 1/fC.
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ISBN4-7661-1484-1