Dena Ia mime sMie : Le dessin de Manga : 1/ Personnages et sdnarlos Le dessln de Manga : 21 Le corps humaln Le dessln de Manga : 3/ Personnages ltminins, attitudes, expressions Le dessin de Manga : 4/ Mouvement. decor, scenario Autres titres en prtparalion 0.. II collection Atout cant : Brad I Brooks. T. Pilcher et S. Edgell : Le BA· BA de Ia 80 HOW TO DRAW MANGA : Bodies and Anatomy by The Society IOf the Study of Manoa Techniques La premiere edition de eel ouvrage a ttt cr6te et publiee par Graphlc-sha Publishing Co. . Ud au Japon en 1996. Cette edition fr~lse est publiee par le Groupe Eyrollls. Couverture : Ganma SuziAU Pllolograph1es : ‘fasuO Im al Traductioo ~se et adaptation PAO : Michele Delagneau Coordination et realisation tdltorlale pour !’edition f~ise :Belle Page, Boologne Tous drolts reservlls. Aucune partie de ce livre ne peut ~tre reprodulte sous quelque forme ou par quelque moyen tlectronlque ou mecanlque que ce soU, y compris des systemes de stockage d’lnformatlon ou de recherche documentaire, sans l’autorlsatlon ecrile de l’tdlteur. Copyrignt c 1996 The Society for the Study of Manoa Te choiques Copyright c 1996 Graphic-sha Publishing Co., Ltd Traduction ~ C 2002 Groupe Eyrolles 57-61. boulevard Sairt-Gennain – 7527 40 Paris cedex 05 www.e<itlons-eyrolles.com 1• tirage : novembre 2002 2’ tirage : mars 2003 ISBN 2·212·11131·2 Printed and bOund In China by Everbest Printing Co., Ltd.

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by Kensuke Okabayashi Manga FOR DUMmIES ‰ 01_080252 ffirs.qxp 1/2/07 9:34 PM Page i 01_080252 ffirs.qxp 1/2/07 9:34 PM Page iv by Kensuke Okabayashi Manga FOR DUMmIES ‰ 01_080252 ffirs.qxp 1/2/07 9:34 PM Page i Manga For Dummies® Published by Wiley Publishing, Inc. 111 River St. Hoboken, NJ 07030-5774 www.wiley.com Copyright © 2007 by Wiley Publishing, Inc., Indianapolis, Indiana Published simultaneously in Canada No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permit- ted under Sections 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, 978-750-8400, fax 978-646-8600. Requests to the Publisher for permission should be addressed to the Legal Department, Wiley Publishing, Inc., 10475 Crosspoint Blvd., Indianapolis, IN 46256, 317-572-3447, fax 317-572-4355, or online at http:// www.wiley.com/go/permissions. Trademarks: Wiley, the Wiley Publishing logo, For Dummies, the Dummies Man logo, A Reference for the Rest of Us!, The Dummies Way, Dummies Daily, The Fun and Easy Way, Dummies.com and related trade dress are trademarks or registered trademarks of John Wiley & Sons, Inc. and/or its affiliates in the United States and other countries, and may not be used without written permission. All other trademarks are the property of their respective owners. Wiley Publishing, Inc., is not associated with any product or vendor mentioned in this book. LIMIT OF LIABILITY/DISCLAIMER OF WARRANTY: THE PUBLISHER AND THE AUTHOR MAKE NO REP- RESENTATIONS OR WARRANTIES WITH RESPECT TO THE ACCURACY OR COMPLETENESS OF THE CONTENTS OF THIS WORK AND SPECIFICALLY DISCLAIM ALL WARRANTIES, INCLUDING WITHOUT LIMITATION WARRANTIES OF FITNESS FOR A PARTICULAR PURPOSE. NO WARRANTY MAY BE CRE- ATED OR EXTENDED BY SALES OR PROMOTIONAL MATERIALS. THE ADVICE AND STRATEGIES CON- TAINED HEREIN MAY NOT BE SUITABLE FOR EVERY SITUATION. THIS WORK IS SOLD WITH THE UNDERSTANDING THAT THE PUBLISHER IS NOT ENGAGED IN RENDERING LEGAL, ACCOUNTING, OR OTHER PROFESSIONAL SERVICES. IF PROFESSIONAL ASSISTANCE IS REQUIRED, THE SERVICES OF A COMPETENT PROFESSIONAL PERSON SHOULD BE SOUGHT. NEITHER THE PUBLISHER NOR THE AUTHOR SHALL BE LIABLE FOR DAMAGES ARISING HEREFROM. THE FACT THAT AN ORGANIZATION OR WEBSITE IS REFERRED TO IN THIS WORK AS A CITATION AND/OR A POTENTIAL SOURCE OF FUR- THER INFORMATION DOES NOT MEAN THAT THE AUTHOR OR THE PUBLISHER ENDORSES THE INFORMATION THE ORGANIZATION OR WEBSITE MAY PROVIDE OR RECOMMENDATIONS IT MAY MAKE. FURTHER, READERS SHOULD BE AWARE THAT INTERNET WEBSITES LISTED IN THIS WORK MAY HAVE CHANGED OR DISAPPEARED BETWEEN WHEN THIS WORK WAS WRITTEN AND WHEN IT IS READ. For general information on our other products and services, please contact our Customer Care Department within the U.S. at 800-762-2974, outside the U.S. at 317-572-3993, or fax 317-572-4002. For technical support, please visit www.wiley.com/techsupport. Wiley also publishes its books in a variety of electronic formats. Some content that appears in print may not be available in electronic books. Library of Congress Control Number: 2006939589 ISBN: 978-0-470-08025-2 Manufactured in the United States of America 10 9 8 7 6 5 4 3 2 1 01_080252 ffirs.qxp 1/2/07 9:34 PM Page ii About the Author Kensuke Okabayashi is a professional freelance illustrator/sequential artist. Born and raised in Princeton, New Jersey, Kensuke has been inspired by manga artists such as Fujiko Fukio, Osamu Tezuka, and Rumiko Takahashi since childhood. While shopping his manga portfolio in Japan, he visited various animation and comic book studios to hone his skills. There Kensuke met with Matsumoto Leiji and Akazuka Fujio and interned with other manga artists. After studying music and psychology at Wheaton College in Illinois, Kensuke shifted his focus from playing the piano to honing his art skills. He earned his BFA in Illustration at the School of Visual Arts in New York City after studying traditional painting and further developing his drawing skills. Upon graduat- ing, he began picking up illustration and storyboard clients. His works even- tually caught the eyes of several illustration agencies that currently represent him. His recent storyboard clients include Diesel Clothing, Diet Coke, Diet Pepsi, Dr. Pepper, Absolut Vodka, Wendy’s, Allstate, State Farm, Canon Digital, All Nippon Airways, and Camel. In addition to storyboards, Kensuke also actively illustrates for mainstream entertainment industry clients, including Wizards of the Coast, Takara Toys U.S.A., Kensington Books, Skyzone Entertainment, and Carl Fisher Music. Inspired by his past experience of working long hours at a well-known coffee shop corporation, Kensuke developed and illustrated his creator-owned comic book series titled JAVA!, which portrays the quirky futuristic society of Neo Seattle, where mankind must consume coffee in order to live. The title attracted attention and was picked up by Committed Comics and published as a miniseries. His main character, Java (a high-power caffeine girl fighting crime), received positive reviews from major comic book review sites as well as from readers and distribution. Kensuke continues to work on creator- owned projects with other established colleagues and writers in the industry. His upcoming publication projects include Image Comics, Arcana Publications, and Archaia Press. His online portfolio is posted at his studio Web site at www.piggybackstudios.com. On the side, Kensuke continues to draw from life and teaches art. He taught illustration courses at Mercer College of New Jersey for several years. He cur- rently teaches studio art classes at the Education Alliance Art School in New York City. When not drawing or painting in his studio, Kensuke still enjoys playing the piano from time to time and honing his martial arts skills regu- larly at a local Tae Kwon Do club. 01_080252 ffirs.qxp 1/2/07 9:34 PM Page iii 01_080252 ffirs.qxp 1/2/07 9:34 PM Page iv Dedication This book is dedicated to my parents, Dr. Michio and Sahoko Okabayashi, for their unconditional love and support. Author’s Acknowledgments I would like to thank my acquisitions editor, Michael Lewis, my project editor, Chrissy Guthrie, and my copy editor, Sarah Faulkner, at Wiley for all their hard work, advice, and support while I was writing this book. Big thanks to Wiley’s composition department for scanning the illustrations and laying out the book. In addition, I want to thank my colleague, Takeshi Miyazawa, for his role as technical editor. My biggest thanks goes to my family, Michio, Sahoko, Yusuke, and Saichan, who have been my greatest supporters and fans. None of this would have been remotely possible without their help. Thank you and God bless you! 01_080252 ffirs.qxp 1/2/07 9:34 PM Page v Publisher’s Acknowledgments We’re proud of this book; please send us your comments through our Dummies online registration form located at www.dummies.com/register/. Some of the people who helped bring this book to market include the following: Acquisitions, Editorial, and Media Development Senior Project Editor: Christina Guthrie Acquisitions Editor: Michael Lewis Copy Editor: Sarah Faulkner Technical Editor: Takeshi Miyazawa Editorial Manager: Christine Meloy Beck Editorial Assistants: Erin Calligan, Joe Niesen, David Lutton, Leeann Harney Cover Image: Kensuke Okabayashi Cartoons: Rich Tennant (www.the5thwave.com) Composition Services Project Coordinator: Adrienne Martinez Layout and Graphics: Carl Byers, Stephanie D. Jumper, Barbara Moore, Barry Offringa, Brent Savage Anniversary Logo Design: Richard J. Pacifico Proofreaders: John Greenough, Melanie Hoffman, Charles Spencer, Techbooks Indexer: Techbooks Publishing and Editorial for Consumer Dummies Diane Graves Steele, Vice President and Publisher, Consumer Dummies Joyce Pepple, Acquisitions Director, Consumer Dummies Kristin A. Cocks, Product Development Director, Consumer Dummies Michael Spring, Vice President and Publisher, Travel Kelly Regan, Editorial Director, Travel Publishing for Technology Dummies Andy Cummings, Vice President and Publisher, Dummies Technology/General User Composition Services Gerry Fahey, Vice President of Production Services Debbie Stailey, Director of Composition Services 01_080252 ffirs.qxp 1/2/07 9:34 PM Page vi Contents at a Glance Introduction ………………………………………………………..1 Part I: Manga 101………………………………………………..7 Chapter 1: Welcome to Manga World…………………………………………………………………….9 Chapter 2: Gearing Up and Getting Ready……………………………………………………………17 Chapter 3: Drawing: Starting with the Basics ………………………………………………………29 Part II: To the Drawing Board………………………………..47 Chapter 4: Taking It from the Top with the Head …………………………………………………49 Chapter 5: Nice Bod: Manga Body Basics ……………………………………………………………87 Chapter 6: Customize and Accessorize Your Manga Character………………………….123 Part III: Calling All Cast Members!……………………….155 Chapter 7: The Main Protagonists……………………………………………………………………..157 Chapter 8: Those Loveable Sidekicks………………………………………………………………..179 Chapter 9: The Dreaded Villains………………………………………………………………………..197 Chapter 10: Elder Figures ………………………………………………………………………………….213 Chapter 11: Damsels in Distress………………………………………………………………………..227 Chapter 12: Girl Power! Sho_jo Manga ………………………………………………………………..243 Part IV: Time to Go Hi-Tech…………………………………267 Chapter 13: Designing Mechas…………………………………………………………………………..269 Chapter 14: Gadgets and Weapons…………………………………………………………………….291 Chapter 15: Taking Off: Vehicles and Airplanes………………………………………………….305 Part V: An Advanced Case of Manga……………………..327 Chapter 16: Putting Manga into Perspective ……………………………………………………..329 Chapter 17: Using Speed Lines to Create Motion and Emotion…………………………..347 Chapter 18: Thumbnails and Scenery………………………………………………………………..359 Chapter 19: Writing a Good Story ……………………………………………………………………..379 Part VI: The Part of Tens …………………………………….389 Chapter 20: Ten (or so) Manga Artists ………………………………………………………………391 Chapter 21: (Nearly) Ten Places to Strut your Stuff……………………………………………397 Index ……………………………………………………………..403 02_080252 ftoc.qxp 1/2/07 9:34 PM Page vii 02_080252 ftoc.qxp 1/2/07 9:34 PM Page viii

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I drawing action-style Japanese • com1cs on en I drawing action-style Japanese comics An imprint of Sixth&Sprinq Books 233 Spring St. New York, NY 10013 Editorial Director Book Design ELAINE SILVERSTEIN DAVID R. WOLF Book Division Manager Contributinq Artists WENDY WILLIAMS JENNYSON ROSERO Senior Editor NAO YAZAWA MICHELLE BREDESON KRISS SISON ROBERTA PARES Copy Editor AURORA TEJADO KRISTINA SIGLER DIANA DEVORA Art Director JOSE CARLOS SILVA DIANE LAMPHRON JIM JIMENEZ Associate Art Director Color SHEENA T. PAUL ROMULO FAJARDO Vice President, Publisher Creative Director TRISHA MALCOLM JOE VIOR Production Manaqer President DAVID JOINNIDES ART JOINNIDES Copyright © 2008 by Star Fire, LLC Manqa Mania is a trademark of Christopher Hart, used with permission. 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, or information storaqe-and-retrieval systems-without written permission of the publisher. Library of Congress Control Number: 2008925015 ISBN-13: 978-1-933027-69-2 ISBN-10: l-933027-69-X Manufactured in China 1 3 5 7 910 8 6 4 2 First Edition chrishartbooks.com Introduction …………….. 8 Shonen Busies: Druwinq the Heud .. 10 Action Boy ……………….. ……………. 12 Teen Enemy ……………………………. 14 Girl With Crush ………………………… 16 Dark Beauty… . ……….. 18 Drawing Eyes for Action Characters …… 20 Young Teen Boy ………………….. 20 Young Teen Girl ………………….. 21 Bishie Boy ………………………… 22 Bishojo Girl ……………………….. 22 Male Villain ……………………….. 23 Female Villain ………………•……. 23 Craaaazy Eyes! ………………………… 24 Intense Expressions …………………… 25 Shading Faces …………………………. 26 9honen Busies: Druwinq the Bodtf………… .. . .. . 28 Brave Fighter Kid ……………………… 30 Powerful Foe ……… ………………….. 32 The Hero’s Girl …………… …………… 34 Alluring Nemesis ……………………… 36 · Younger Vs. Older Teens ………… ……. 38 The Fighting Team …………………….. 39 The Character Lineup …………………. 40 Action Tattoos …………………………. 42 .. Action! ……………………. 44 Action and Balance ……………………. 46 Do’s and Don’ts for Drawing Action …… 48 Classic Run: Side View …………….. 48 Classic Run: 3/4 View ………………. 49 Fast and Furious Run ……………… 50 The Big Windup for the Big Punch … 51 The Punch …………………………. 51 Making Contact …………………… 52 Forced Perspective …………………….. 53 Flying Kick ………………………… 53 Standing Kick …………………….. 54 Leaping Forward ………………….. 55 Extreme Fight Scenes …………………. 56 Running Start: Side View …………. 56 Running Start: 3/4 View ……………. 58 Impact Side View ………………… 60 Impact 3/4 View …………………… 62 Panel Design for Action Comics ……….. 66 Sumurui Churucters ……………. 68 Samurai Boy Turnarounds …………….. 70 Front View ………………………… 70 3/4 Front View …………………….. 72 Side View ………………………… 73 3/4 Rear View ……………………… 74 Rear View …………………………. 75 Girl Samurai ……………………………. 76 Bad Samurai! ………………………….. 78 Str.eet Warrior ……………………. 78 Evil Samurai Grandmaster ………… 79 Uncommon Weapons …………………. 80 Samurai Fantasy Fighters ………………. 81 fiqhter Girls ………… 82 Flying Ninja ……………………………. 84 Spy Girl. ……………………………….. 86 Sharpshooter. …………………………. 88 Evil Enchantress ………………………. 90 Fantasy Fighter ………………………… 92 Karate Girl …………………………….. 93 Supportinq Churucters ……………. 94 Teen Punk …………………………….. 96 Evil Kid ………………………………… 97 Yakuza …………………………………. 98 Knife Fighter ………………………….. 99 Big Buddy ……………………………. 100 The Blockhead ………………………… 101 Motorcycle Rider …………………….. 102 The Cursed Hand …………………….. 104 Sci-Fi Fighter …………………………. 105 Costume Makes the Character ……….. 106 The Dramatic Trench Coat.. ………….. 108 Monsters und Creeptf Creutures …………….. 110 Rock Monster …………………………. 112 Devil Creature ………………………… 114 Ogre …………………………………… 115 Monsters With Special Powers ……….. _ 116 Monster Fighter!. ……………………… 118 Animal-Based Spirits and Demons ……. 120 Tiger Girl ………………………… 120 Scorpion Boy …………………. _ … 120 Wolf Demon ……………………… 121 Bear Spirit ……………………….. 121 Betttle-Reetdlf Robots …………………… 122 Drawing the Robot’s Head ……………. 124 Round-Type Robot ……………………. 126 Classic Colossal Robot ………………… 128 Elegant but Deadly Robot ……………. 130 Hyper-Mechanized Robot ………….. _ .132 Robots and Their Human Pals.. ………. 134 A Boy and His Robot.. …………… 134 Female Robot ……………………. 135 All-Firepower Robot …………….. 136 Villainous Robot …………………. 137 The Mecha Team …………………. 138 Sketching a Sequential Story …………. 140 Welcome to the most excitinq, pu1se- poundinq stqte of manqa on the planet. Shonen (pronounced “shown- in”) is the action style of manga, made famous on TV and in graphic novels by such titles as Naruto, Ful/metal Alchemist and Bleach. This is the first book in the Manga Mania series that focuses solely on the action styles of Japanese comics. Within these pages are the heroic teens, amazing female fighters, bad-to- the-bone villains, samurai warriors and giant robots that have built the manga section of bookstores into such an enormous size and success. This is the style that’s got it all. Step behind the scenes and see exactly how shonen manga is created. First, tackle the basics of drawing the head and body proportions. Next, discover the •••• ol ,, . , . “‘ 4 …. … .. . ~ .. a sic shonen characters, including the good guys we like to root for and the not-so-nice characters we love to hate. We’ll also learn how to draw eyes that express the excitement and urgency of this action-packed style. om Rouqh Sketch to finished Art Throughout this book, you’ll see several different styles of artwork: rough pencils, final pencils, inks, gray tones and color art. Generally, a manga artist first blocks out a scene in pencil, then refines it to create a final pencil drawing. The inking is done by hand, right over the pencil lines. Most manga graphic novels are printed in gray tones, which can be created on a computer or shaded by hand. Ani me (animated manga) is usually in color. ~ront View f Eyes placed in middle of head Hair flows out in all directions · from origin of part Eyes are spaced one eye-length apart Huge amount of hair falls in front of face Nose and lips protrude beyond outline of _f head L Notice how the action boy’s slight build doesn’t fill out his oversized jacket. Give him downturned, determined eyebrows Profile A wide smile plus downtumed eyebrows= bad intentions

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3WKOk – NORA COMICS VOSHITOH ASARI, BORN IN HOKKAIPO, 1962. AFT6R SRAPUATIN6 FROM TAKIKAWA HISH SCHOOL, TAXATION BUR6AU OFFICE ANP TH6N B6CAM6 A MAN6A ARTIST. HIS MOST R6COSNIZ6P WORK IS “”SPAC6 FAMILY-KARL R6APIN6 “”KOROSUK6’S SCI6NC6 OU65TION BOX”” IN 6L6M6NTARy SCHOOL 4TH SRAP6 H6 THOUGHT H6 WANT6P TO TRy WRITINS A SCI6NC6 MANSA. HIS PARTICULAR PR6F6R6NC6 WAS CONT6NT ABOUT SPAC6 P6V6LOPM6NT. HIS HOBBI6S SPAN A PIV6RS6 RAN66 OF MOVI65, VIP60 SAM65, MOP6L CARS, ANP COMPUT6RS. MAN0A SCIZHCZ YOSHTTOH ASARl CONTENTS Lfcrruce in cfipsmz form?.. A MICROBE IS A SUPERMAN. SHININO KILLIFISH ANR TO LIKE.. MAKINO PRESSES FROM MILK.. which 15 a sweet watermelon?.. PAPER RIAPERS WILL SAVE TO EARTH?/. MEPKINE TO MAKE you SMARTER?/,. COLORLESS, BUT COLORFUL?/. A MIRACULOUS MERICINE WHICH PREVENTS CAVITIES?/. IN 2001 ROBOTS WILL EECOA/IE SNAKES?/. SQUIP CALCULATORS, ANR CUTLASS FISH NAIL POLISH?/.. THE THINNER, TO MORE AMAZINO/. IRON POWPER TEACHES US ABOLfT HIRPEN COPES. ATTACK OF TO COMPUTER VIRUS/.. YOUR HANRS CAN MAKE you SMARTER/?.. CIT/ RATS LOVE COMPUTERS?.. OOINO TO SPACE /MAKES YOU GO TO THE TOILET?.. 666 RAyS ON /MARS: A SPACE JOURNEY. THE T70 THOUSANP-YEAR-OLP STORY OF A SUPERNOVA.. YOUR BOPY IS AAAPE OF STARPUST/?. IS THERE A TOTH PLANET IN TO SOLAR 5YSTEM?.. WHEN IS MT. FUJI OOINO TO ERUPT?.. RETRIEVE THE AIR FROM 300 MILLION YEARS AGO!. 505 SPACESHIP EARTH/ RIP RINOSAUROIPS EXIST?.. PO ALIENS EXIST?.. THE COMICS CONTAINER IN THIS VOLUME WERE FEATURE? IN “5 YEAR SCIENCE* FROM 1987T01989. THE RESEARCH ANR FRORUCTSINTRCRUCER IN THESE COMICS IfcTS COPY VZGtTABLtS! 1 MILLION PROM 1G OP LfcTTUCZU

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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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Summary of AkameGaKiru-v03 – Manga Comic

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