How to Draw MANGA - Ebook miễn phí

How to Draw MANGA

by Jack Sparrow
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lmlill~illllilil~~~~~~~~ ~i~l~i1i1~ 111 , 3 0023 01548 7784 TO DRAW VOL. 3 ~ 1l1t i t JJJD ~ ~JhJ I Go Office Vol.1: Compiling Characters Chapter 1 Drawing the Face Chapter 2 How to Draw Bodies Chapter 3 Drawing Characters ISBN4-7661-1 473-6 Vol.2: Compiling Techniques Chapter 1 Background Management Basics Chapter 2 Tone Techniques Chapter3 Expressing Light and Shadows ISBN4-7661-1474-4 Vol.3: Compiling Application and Practice Chapter 1 How to Draw Interiors and Exteriors Chapter 2 How to Draw Machines Chapter 3 How to Create a Short Story MANGA ISBN4-7661 -1475-2 Vol. 4: Dressing Your Characters in Casual Wear Chapter 1 Underwear and T-shirts Chapter 2 Sweatshirts and Skirts Chapter 3 Jackets and Jeans ISBN4-7661-1477-9 Special: Colored Original Drawing {Copic Sketch Pen) Chapter 1 Copic Sketch Pen Chapter 2 Co pic Airbrushing System Chapter 3 Try Using Different Painting Materials with Markers ISBN4-7661-1479-5 Vol. S: Developing Shoujo Manga Techniques Chapter 1 How to Draw Characters Chapter 2 How to Draw Backgrounds Chapter 3 How to Create Stories Chapter 4 How to Create Manga Manuscripts ISBN4-7661-1476-0 Vol. 6: Martial Arts & Combat Sports Chapter 1 Judo Chapter 2 Karate Chapter 3 Kendo Chapter 4 Boxing Chapter 5 Street Battles ISBN4-7661-1478-7 Distributed by JAP PUBLICATIONS TRADING CO.,LTD. –=– Sc:–“C..zr~-cno. 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 Copyright © 2003 Hikaru Hayashi, Rio Yagizawa/ Go Office Copyright© 2003 Graphic-sha Publishing Co., Ltd. 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 Production Assistant: Takumi Takahashi, Kozue Onishi, Haruki Takahashi Production Support: Julie Asakura Cover Artwork: Kazuaki Morita English Main Title Logo Design: Hideyuki Amemura Composition and Text: Hikaru Hayashi, Rio Yagizawa (Go Office) Article Contributor : Yoshihiro Yonezawa Reference Photography: Go Office English Edition Layout: Shinichi lshioka English Translation Management: Lingua franca, Inc. ([email protected]) Planning Editor: Motofumi Nakanishi (Graphic-sha Publishing Co., Ltd.) Foreign Language Edition Project Coordinator: Kumiko Sakamoto (Graphic-sha Publishing Co., Ltd.) 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/ First printing: ISBN 4-7661-1484-1 Printed and bound in China August 2004 ote HOW TO DRAW Vol. 3 hancing a Character’s Sense of Presence 4 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 ……….. 1 0 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 Pnrt·~ The ABC’s of Facial Shadows ………………………. .. Shadows under the Chin …………………… . The Basics of Cheek Shadows ………. .. Dark and Light Shadows: Bright and When to Keep the Face Shadow-Free Guidelines in Suggesting Color Planning According to Value rnn·tr!lClt Common Facial Shadows ………….. . Front ………………………………… . 3/4 View ………………………….. . Rendering the Hair ……………… . Profile ……………………………… . _A,~~ .. ……… 30 ………… 30 .. ……….. 31 .. ………. 32 ………….. 34 ………. 35 .. …… 36 …… 36 .. . .40 …41 · …. 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 Chapter 3 Movement with a Sense of Presenc The Key Points to Portraying Natural Movement Li Juncture of the Shoulders and Neck (Shoulder The Bust Shot Drawing Process .. .. . .. . . .. .. .. .. .. .. …. .. .. . .. . .. ……………… 70 The Side Centerline Gives the Torso Volum ….. ~ .;-;-. . ………………… 72 The Clavicle Is Another Vital Point to Giving orso olu e ……………. .76 Depicting the Shoulders and Movement of the Clavicles ……………………….. 77 Sample Clavicles …………………………………………………………………….. 78 Showing a Figure Extending and Contracting Allows for Dynamic Expression ………………………………………………………………… 80 Bending the Neck …………………………………………………………………….. 82 The Arms ……………………………………………………………………………….. 84 The Elbow and Wrist …………………………………………………………………. 85 The Hands and Fingers ……………………………………………………………… 86 The Legs ……………………………………………………………………………….. 90 The Feet ………………………………………………………………………………… 91 The Waist and Back ………………………………………………………………….. 92 Bending Over and Hunkering Down …………………………………………. 92 Arcing the Back/Leaning Back ……………………………………………… 1 00 Leaning to the Side: Fashion Model Poses ……………………………….. 1 06 Twisting and Turning ………………………………………………………….. 1 08 Adding the Finishing Touches to a Hot “Backward Glance” Pose with Torsion ………………………………….. 112 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 #51, 61, 71 , etc. are the toness commonly used for shadows on the face and figure. Close-up Close-ups are used to give impact to a character’s Colors are portrayed by contrasting values of black, white, and grey, distinguishing lighter values from darker ones. ~ • Tone Guides for Portraying Color Darker values are often used to portray red or blue. Lighter values are commonly used to portray yellow or pink. • The same tone is attached in layers to portray shadow. • This technique, which creates a look common to anime, works well with close-ups and with illustration-style artwork. 9 7 Panelization Styles Used to Enhance the Character’s Sense of Presence :::rstantfard Panelization Styles- ;:: 44>~~ While manga artists seem to draw faces in countless 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. 10 CD Full Figure: Large (Fig. height approx. 22 em or 8 5/8″) This is an impressive shot, used when the character is making his or her appearance on the scene. The head is “”‘~r::;t::: .I<< <J about 3 em (1 1/8″) in — height. Here we see a cut using faces’ sizes used with CD a <2:l. Bust shots like these are often used with conversation scenes. The faces appear at various sizes, according to the facial expression or dimensions of ~he face within the panel. (2) Full Figure: Medium (Fig. height approx. 14 em or 5 1 /2″) .. ,,,,,,,,:,:,::;#:’:’;1 This height is used for showing the character’s full figure. This height is still considered on the large size for dramatic portrayal. The facial shadows are optional. The figure below shows a character of the same height seated~ @ Long Shot: Large (Fig. height approx. 7 em or 2 3/4″) @ Long Shot: Mid-length (Fig. height approx. 4 err or11/2″) 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.) 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. This size has a broad range of application according to how the panel is designed (e.g. to show the face, the upper body, or the full figure). Effective with tone, panelization at this size is used for character introduction scenes, key scenes, and high action scenes. For this shot, if the face were drawn in its entirety, it would take up the entire page. This size is often used to portray emotion in the ~yes and is often cropped to show only half the face. While it is not used very frequently, I highly recommend adding tone ~ ~. Composition Samples Using the 7 Panelization Styles Use tone for uniforms and other areas where the color is predetermined. As shadows are added when the face or figure size is large, the tone gives tonal balance, drawing out the character. I’m bust- 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. CD nelization Styles Suited toward Shading ) ..,_………_ ::.””” sed itions, ctory scenes for well as major scenes. o overuse tone by every single character, could have the counter ~ – ~ – assy, busy composition. 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. Adding shadows to the face and figure 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) . 3

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