More How to Draw Manga Vol. 3 - Enhancing a Character's Sense of Presence

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Vol.l : Compiling Characters

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1 Drawing the Face Chapter 2 How to Draw Bodies Chapter 3 Drawing Characters lsBN4-7661 -1 473-6

Vol.2: Compiling Techniques Chapter'1 Background Management Basics Chapter 2 Tone Techniques Chapter 3 Expressing Light and Shadows lsBN4-7 661 -1 47 4-4

Vol.3: Compiling Application and Practice Chapter 1 How to Draw lnteriors and Exteriors Chapter 2 How to Draw Machines Chapter 3 How to Create a Short Story MANGA lsBN4-7661-1475-2

Vol.4: Dressing Your Characters in Casual Wear 1 Underwear and T-shirts Chapter 2 Sweatshirts and Skirts Chapter 3 Jackets and Jeans tsBN4-7 661 -1477 -9

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Vol.5: Developing Shoujo Manga Techniques Chapter I How to Draw Characters Chapter 2 How to Draw Backgrounds Chapter 3 How to Create Stories Chapter 4 How to Create Manga Manuscripts 1SBN4-7 661 -1 47 6-A

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TODRAS/

Vo!.3 Enhancing a Charaeter's Sense of Presence

MoRE HoW T0 DRAW MANGA Vol. 3: Enhancing a Character's Sense of Presence by Hikaru Hayashi, Rio Yagizawa/ Go 0ffice Copyright @ 2003 Hikaru Hayashi, Rio Yagizawa/ Go 0ffice 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

Assistant: Support: CoverArtwork: Production

Takumi Takahashi, Kozue 0nishi, Haruki Takahashi

Production

Julie Asakura

English Main Title Logo

Design:

Kazuaki Morita Hideyuki Amemura

Text: Article Conhibutor :

Yoshihiro Yonezawa

Reference

Go 0fiice

Composition and

Photography:

English Edition

Layout

Hikaru Hayashi, Rio Yagizawa (Go Office)

Shinichi lshioka

English Translation Management: Llngua fr6nca, lnc. ([email protected])

Planning

Editor:

Foreign Language Edition Project

Motofumi Nakanishi (Graphic-sha Publishing C0., Ltd.)

Coordinator: Kumiko Sakamoto (Graphic-sha Publishing

Co., Ltd.)

All rights reserved. No paft 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 - wlthout 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)3-3292-0410 E-mail: [email protected] URL: http://wwwjptco.co.jp/

First

priniing:

tsBN 4-7661-1484-1

Printed and bound in China

August 2004

Vol. 3

Enhancing a character's sense of presence

\\ [\

(v

Table of Contents Chapter 1 The lmportance of Tone Work Tones Attached to Characters Serve 2 Purposes: Shading and C010r.........8 7 Panelization Styles Used to Enhance the Character's Sense of Presence ...........1 0

Composition Samples Using the 7 Panelization Sty|es..............................12

3PanelizationStylesSuitedtowardShading.... The Fundamentals of Light and

Shadow

.,...,..............13 ...........14

3 Types of Shadows Connected to Light Standard, Bright, and Soft Light.....16

Process The ABC's of Tone The Shading

Attaching Tone:Tools and the

.........,.,.........18 .......20

Process......

.........22 ......................28

Sample Uses of Gradation T0ne.....,.,...

Ghapter 2 Character Shading and Tone The ABC's of Facial

Shadows

............

Shadows under the Chin ........... 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

40 Rendering the Hair.......

41

Profile .........

Moderate Low

Angle

...........Y

Common Body Shadows ............. Principles in Figure Shading.......

Shad0ws............. .........54 Male Characters............. ............54 Female Characters... ...................58 Shadows at the Feet .............,........62

Tricks to Drawing Body

Creating a Composition without Using Tone: Sample Compositions in

Pen

.........64

Ghapter 3 Movement with a Sense of The Key Points to Portraying Natural Movement Shoulder Basics Juncture of the Shoulders and Neck (Shoulder The Bust Shot Drawing Process

The Side Centerline Gives the Torso

72

The Clavicle ls Another Vital Point to Giving ttreft-rsb

Sample

..,...76

Clavicles

.......................78

Showing a Figure Extending and Contracting Allows i

The Waist and Back.....

Bending Over and Hunkering Down Arcing the Back/Leaning

Back

Leaning to the Side: Fashion Model

Twisting and

Turning

..........

..................,,92 ................100

Poses

...................106 ...........108

Adding the Finishing Touches to

a Hot "Backward Glance" Pose with

Torsion

................,.....112

Ghapter 4 More Manga The Fundamentals of Manga Portrayal: Making the Composition Obvious at a Glance

Elements..... Telling a Story Visually

...............

4 Basic

Panel Design (Ihe ABC's of Page Giving the Panel Design

Composition)

Variation

....1 16

....,............116 ..............1 17 ..................1 18

.................,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

I

Obiectives of this Book

mil tKt l) ll

This volume reveale all of Nhe key techniqueo.

v

The lmportance of Tone Work

[:i:.i.:.:.:.:

::::::l.::i'

I..,.""

:

::.:

Shading is a technique used to evoke a sense of 3-dimensionality when added to the face or figure. lt is primarily used in key panels or

shots.

--a\

(

I

G* Wi:iiiiin

Close-up Close-ups are used to give impact to a character's facial

,/ #51, 61, 7'1, etc. are the toness commonly used for shadows on the face and figure.

,,,',,:,,,,,:,:':.,,:,,.,:':.,,:r,,,:':-.:,:r,:rr::,,

: ||, --j: : -'i:|:,

|:,,,||,||,,:.,,|:||:,,

Color

Colors are portrayed by contrasting values

of black, white, and grey, distinguishing lighter values from darker ones.

r_I

b= l'--o\

o II il

Fll

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. iflflflflilt1,"

"ilirumr

:tEi,,

.sed for Both Shading and Color

o The same tone is attached in layers

to portray shadow. o This technique, which creates a

look common to anime, works well with close-ups and with lustration -style artwork. i I

7 Panelization Styles Used to Enhance the Gharacter's Sense of Presence 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 paneliza styles you will finally achieve success in enhancing your characters' senses of presence.

@

rult Figure: Large (Fig. height approx. 22 cm

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 about 3 cm (1 1/8") in height.

Here we see a cut using faces' sizes used with O @. Bust shots like these are often used with

conversation scenes. The faces appear at various sizes, according to the facial expression or dimensions of the face within the panel.

Full Figure:Medium (Fig. height approx. '14 cm or 5 1/2")

This height is used for showing the characteris full figure. This height is still considered on the large size for dramatic portrayal. The facial

Long Shot: Large (Fig. height approx. 7

cn or 23/4")

shadows are optional.

Long Shot

The figure below shows

Mid-length

a character of the same height

seatedi

(Fig. height

approx. 4 cm

or 1 1/2")

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.)

i--

t+-

h l

,{ lllllltrruum

iiltrlm

$fmrlr:

il

_rm

t[mmltuu]tr

r-s;

*#

fie large full figure lt is the most frequenily

of

e.-.

{rttmltt llrfim

r

rir 'lmlutllr

f;r nce is optional.

llilr

lm

lttlltili,lr*

3 character used in manga. Use Shadows on ailfective.

;r'

*[,i,J \;..;lti./

,i

\I

fh i, \ ffiJ \i t'\\ @

\

{

wlio-sizeo Close-up \

Use tone for uniforms and other areas where the color is

the 7 Panelization

predetermined. As shadows are added when the face or figure size is large, the tone gives tonal balance, drawing out the character.

1:t::

l:titiil

O 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

figgre.

$ Fanelization

toward Shading

Adding shadows to the face and figure

are more effective when used with the

FullFigure (Large) Try to keep

tone use on the face simple (i.e. do not use much).

rilltrlM :re

ilfimffilillurllut mr iiritiltru

ruumfl

m rt-,oductory scenes for

flmrr,illu[ms as -rlst llrililrl(1ir :me i,rfilmurilrlflilnq

m

,lrll]|lufl

'rfrlillillfiinllllll

used

:nm-mitions, well as major scenes. to overuse tone by

:h

every single character, could have the counter messy, busy composition.

fi:rrB

!r

i

Glose-up (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. tlti l.1r': \: l !:it.:l :{.1:.r.

f::::::::::::

\::i:::;:r

The Fundamentals of Light and Shadow Since volume is portrayed using light and shadow, use shadow to create a sense of 3-dimensionality.

Average Light

Normal indoor

lighting, sunlight, etc.

Light Source

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, elc., in manga only the position of the light source need be decided (e.9. whether to Here, the rays of light following parallel

lines are referred to as "directional light."

place it to the character's upper left or righl side, etc.). Clothing: 10% tone Shadows: 20% tone

14

::

The spotlight is the most well known 'light ray." ln contrast to the Sun, which is a directional light source, the spoflight is

pecial Lighting Etfects

also referred to as a point light source.

Spotlight

,:illilrilifl

;r":

:r,"

1:

ri

light off a spotlight tends to -*:-s; use solid black ink instead of : n.-,. ": :':cuce a dramatic effect.

r

:.-

Double spotlight

Combined Here we see light coming from 2 sources (combined lighting)

Lighting

-in

this case from a streetlight and from a gate light. While in reality, most lighting is combined, in mangaconuention leans toward point sources or spotlights. Combined lighting is used when seeking an out-of-the-ordinary mode of portrayal 0r effect.

14

3 Types of Shadows Connected to Light:

Standard, Bright, and Soft Light

Shape with Standard Lighting

Without Shadow

Typically rendered in grey

\@ \.-

While this style appears clean, it makes for an overly

simplistic image up close.

Bright Lighting Use black or a dark gradation tone.

This is extremely common shading and works w. for outdoors and indoors alike.

\/

t I

Shadows rendering in

hatching and crosshatching

Shadows rendered in black

16

Soft Lighting Use tone with fine dots or a light value (shade).

rc@ Use #71, fine-dot tone.

Tone unetched: The small area occupied by the shadow suggests "soft lighting."

illtMfrrung

'1,-r'

:

Solid Blacks to Boost the Sense of Presence

:(-Se 0l pfesenOe.

Layering tone to produce dark shadows instead of using solid blacks creates a look common to anime. This style works well with illustration-style artwork.

The Shading Process Penned

Direction

drawing

ol lisht

The plotted shadows will simply serve as guidelines

for where to attach tone, so avoid filling them in.

@

@

Determine the light source.

enttheshadows. Use a non-photo blue or yellow

pencil to jot down the shadows.

a

Spotting Blacks Fill in any solid blacks

before

attaching tone. Standard practice dictates adding blacks under the

jaw line and underarm.

: ! ! a

a a a a a a O

w"' ,:' j

a a o a a a a a a a a a a a a

a a a a a o a a a o a

1

8

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 instead, provided that the lead color is light blue or yellow.

Shading

,rir,,rummmre

iilrfiM rilll]iilfffir3

and Tone

I

mtillilllIr: ullillt I

{

litl **l:rr,lst

fliLlll]rlllllill]]'

I

-,a:'ia

lt

:llrirnlfl:- igin t' illliiill(fi: il! itifl] I l ll|illlj:r i-Jtead iilltiltiili: -.; ::te.

x

I

l

r'

"

'1

1l

ri

--

PnqtI

i

:i

Take care when

hatching that the strokes do not end up in different directions.

Hatching and Tone

19

The ABG's of Tone Composition created using solely 10% (saturation) tone

Figure created using tone of

uniform saturation but with varying dot sizes

Nos.11to91 The most

common form tone, pictured here, is known

"dot tone."

61

--

The 1 refers to

t

,o% saturation.

The ten's place refers to the dots' I..-.-.-'-'-.-'-.-.-.-.-'-l

0l '11

l-'-.-.-'-._.-.-.-......1

t....-.-.......-..'.'...1 r_.-.-.-.-.

-.-...-.-.-l 21

F..-.-.-...-..........1 31

While each of 41

these tones a different feel,

5t

61 li:

::':':': : : :':': ' ' : : : : ::::

"saturation. "

:::ill 71

1.1: ,, :.

.:

r'1: r':l

rr:----ii-::t:=

we can see from their numbers they are in fact the same

81

larger the figure the ten's place,

the smaller the dot size, and

tfu

numbers like

60.

70, and over haw.,

very tiny dots.

" l: " :: Cfeated . "::1090% r -- :0ne

This figure was created using tones solely of the 50s range. (i,e. all of the dots are the same size.)

54 52 54 53 ill

55 50

llHr

Tones between 50 and 55

Tones with the same number in the ten's place have the same dot size. The difference lies in the density

(saturation level).

[-------l sr lt

L tl

I

(10%)

tmai t................ ._. I J! t-....-............l I. -. - -..-,.,. ._._I t. .... -. -........t. . . . t

[:'t,:,:,:,:.,,t,t,,,,,tit,:.t,t,t.,t,t,,]

tZOoZA

[::iiiii:iii:il:i:iii:iiii::ii:!iilil]

(30%)

.

.

.

.

.

.,.,.,.,. .

.

t

fl:8"*II*:;rIEll s+ t:t:::::::::::::::::::::::

:::r:r:::rl!::::l

li:iiiiii::::ii::iiiiii::i!:ii!il

(40%)

[::I:::I::::i:::::i:::::i::::::::::::::l l::i:!:i:::::!:j:i:::::i:!:i::::::::::::::::l

[ijii:lir:!:i:ilr:i]li:il_:i:i:i::i:1

/qn0,{^\

ffit-^

w"o

WWffi$O%I

W

50s series tone

Ea..tY.r,tr.rH N

:th

Itttt{df,itttti

[tf,ttttttttfl Et[H{t{I[!*]

ffi,, 30s series tone

r - i:r ln these 2 pages are lC Screen. Slight differences do appear from brand to brand I :i : : r the spacing between dots, even-When the tone numbers are identical.

r' :

21

AttaChing TOng -Tools and the processE

Getting Started

@efore Attaching Tone)

Attaching Dot Tone to a T-Shirt (lC-51 Used)

Non-stick paper

Matching up the Tone Size

Adhesive

O

Lay the tone with the backing attached over the panel.

@ Trim the tone to the desired size (cut it slightly

New tone has a paper backing.

on the large-side).

.-\\

\

\21 \

When attaching tone to the whole panel, some artists will slide the panel

22

v\,r.

@^b

between the tone and its backing.

The tone may be trimmed

Caution: the adhesive back of the tone

wilh the backing still

does pick up specks easily.

attached.

Points Goncerning Tone

'

,huut

llilnm,.qffi#r

llhn

1 i[]

:rr: :r top of the panel and press i}?r Jc

Alignment lighfly. Do not press down too hard on portions you plan on removing.

entire target area.

i:i:i::l

-E:t

o_a_a_ol o-O-

L

It is important Except for when a -at-l that you align the pafticular effect is

tone

squarely

against the

or

panel

drawing.

desired, tone is rarely attached at a skewed angle.

ET

i,'ri,3 X',. tone is supposed to cover the T-shirt, trim it :':end slightly over the target area in all directions. :i: :iot use the panel as your guide to trimming.

Press down on

Another good idea is to

areas to be permanently

check the alignment with a straightedge before pressing

attached.

down on the tone.

Common Pitfalls

I

;q,h?ys remember that the target area is the area to

urr,:h the tone will be attached.)

The tone fails to cover the

entire target area. Take careful note of edges and c0rners.

t*:#;H"thetone

A Word on Soiled Tone

V Paper backing j?j

---_--.-.t

The adhesive backing easily attracts particles, and once the particles

flur

attach, they will not come off,

iflmlllrnfl

ilii

-:l

never remove the paper -: -T"ll the entire tone when iliilri r luiiiiitil r'' "-,- :rne to a small target area. "''ll :Ljl-P-:S ve baCk eaSily attraCtS dUSt lrii

i'

,

r:1r

" r1,r:ES. WhiCh COUId ruin almost

: -

1U..,

Always leave on the paper backing.

ry;

Particles attached

to soiled tone will show up during the printing process, The particles are

still evident even after greatly reducing the

image.

29

fl

Trimming the Tone The knife is held similarly mr pencil, but more erectly.

Replace the blades as they become dull.

Craft knives

Not god

Blades with 600

.r

ill

,,1

I.

!.

,.

,:al

,ar,'::,,.,,,:

450 angle

angles do cut better, but they are sharp, so be careful when

:L:::'::l. using them. 600 angle

Hold the knife as upright as possible.

Rotate

the drawing,

cutting along the penned lines.

Take extra care with

corners and areas where the knife direction changes, as they are often not fully cut.

Contour line (main line)

Tone

Knife path

Try to trace the contour lines

with the knife.

24

msmrmurng

m,

the Tone

d--

r*d

a

#F

&u.-

,lirffi,tiril lflr'mr-

-

Lift up the edge.

:a ::-3. lift up an edge

using

nlrllll liillfa

ilffiiilrliifi]llflll

-f

:..S: be USgd.

,::: * :i :-:'31tS the ,iB!'ilirlril!

-"-T

lil

',a:. cf the tone

a::,

:itiiiirtrltltrlt:

::,tChing

i :-':iects

'''-- il l -;l lrce

you have

'firirlll ir.-;-,s:!med to this

'

,r1.:t

' .

:-

,,,ill become

:*:,::',e in handling l:

Remove the excess tone while holding down the target areas.

the back

r-:

r'-,/ .-ra\ \

',6 t' r'r-l . -

I

I

\.i . ;l

--'.

&-

\

r trj\ 'l

q

tl

/)\il ),, "

'-\

kffis'," q.\ 1., q--

l'

\\\.-.-

\

Removing the tone can be lots of fun if it has been cut properly.

lf you accidentally cut all the way through the drawing, reattach it by affixing cellophane

-: rts

:

-

are peeled up easily. However, they are often not so take extra care with corners or points where the knife changed when peeling off the tone.

tape to the back.

25

E Rubbing the Tone

Tone Burnisher

Correct way to hold the The burnisher

burnisher (Front)

ensures that the

tone securely affixes to the drawing. Press the tone down on the drawing and rub with the burnisher to ensure it will not detach.

Lay the tone's paper backing or a sheet of photocopy paper

'

over the tone and rub. There are rare occasions when rubbing directly the tone's surface that the tone rips or

\ .-)

becomes damaged, so

press down hard.

1. Rub the center region.

I

recommend using a buffer paper to those who tend to Hold the burnisher at a low unsh to the paper.

;iih.ir;prrt

2. Rub the edges of the tone and areas with major contour lines.

, t

I

The stylus is used to press down securely

tiny trimmed areas, corners, etc.

The stylus is used ri

when adding the final touches, such as going

f"r:rii1: ce of the stylus allows

lir;

,

t,tdrr firmly; howevel you -g the original drawing,

over one extra time

,-:= r:

,ir",-

.-

areas that detach

a buffer sheet.

easily. The stylus is held almost the same as a pencil,

f,i rl \

Hold the stylus at an angle close to the paper.

Here, the stylus is held too

veftically,

Points requiring repeat rubbing.

Knowledge in Removing Tone and Handling After Removal

i5,uns;ttr,E

2. After removal

3. Removing residual glue

/-\

After the tone is removed, some glue will

,- -,.

n, -':

, -','

tone that has been really securely

neatthe tone lightlywith a

remain. This tends to collect dust and grime if

left as is, plus it could become inadvertently stuck to drawings or other paper laid on top.

Use a clean regular or kneaded eraser to rub the residual glue

off the drawing. Keep a kneaded eraser on hand specifically to use for any finishing touches needed by your tone work.

Gradation tone generally comes in 2 types: dark gradation, whicr gradates from black to white, and light gradation, which gradaEi

le Uses of Gradation Tone

from grey to white. There is a diversity of gradation lones on tlu market, coming in varying widths, etc.

Gradation Tones

WI |

-t

-H re;

I

-r. 2-level

;

tu

(vertical) 3-

gradation

gri

BBffi rcretffi BGIffi 2-level (horizontal) 3-

gradation

gri

Light gradation

Dark gradation

Just what does that "1" mean at the end of the tone number?

The "1" is an abbreviation for "line," an: it refers to the number of lines (rows) o' dots. This acts as a guideline when layering tones.

.l ,,

= 2.54

cm

Patterns, including a moir6 effect, may appear

t-...-,-..'-.-,-.-.-...-.-.J t.'.'.'.'.'. . .'.'.'. , , J

l!:.:.1:.!:.:.r:.:.:.:.r.:.r:.1:{ [ t.:.tt:.tt: :: :i t:.ttt ! .I l\

[::::::::::::::::::::::::::l{[:,;,:,:,:,;,;,:,:,:,:,:,:,:,:,:,:,:,:,1

l:.:.:.:.:.:.:.:.:.:.:.:.:.1 [::;.:::.:::::;:::.::::l

42.5L cm

" = 2.54 'I sq. in. contains 1

t....-,.......,.,.......,.,J t....-........,.,.....'..,J

42.5

601 1 sq. in. contains 60 lines in all directions.

whn

tones are overlapped.

t.t:.;.:.i:.::.i:.:.ii::.::il [::.:]:::.:jj.i:jj.::.:r:l

|) -7

Although these are both 10% saturation, when 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

il 42.5L(10o/o)

+

+

0verlapping tones with differing numbers of dot lines at various angles affects the appearance of the pattern formed.

A pattern can be created by layerin; tones with the san{

number of dot linei at an angle.

28

These patterns, including the moir6 effect, may be used as print patterns

*

Character Shading and Tone Portraval

The ABG's of Facial Shadows

The neck is a cylinder, causing the shadow underneath the chin to have a curved contour.

Straight on Light Source

/-\.qa ,/T\ l/ I\l

\-'

I I U

ffir @N \

\ ,// - \ I II nose and the chin when \ \ {l// alightsourceshines \7.f]\ \\ Shadows form under the L,

I

from

1,,.0,,,.n lLishtsource

straishtahead.

Shadows also form

ll

(/rj# )\

underneath the lower

lip and the bangs.

3 main types of shadows form underneath the chin. Use all of them at your discretion.

Front Left Light Source

mr

'rllllfiI

lXitrrtr

,llllxillllllrir.itr

[r

:'he

eye as

:ositioning

llfrfililtrii llfiiil,l]ii:sis

Upper Left Light Source

A shadow echoing the jaw line forms under the chin.

31

Dark and Light Shadows: Bright and Soft Light A shadow's darkness depends on the intensity of the ligfi

Bright Light

source. Differences in the value used for a shadow vane: according to the brightness of the lighting. Dark shadow Black shadow

/-), <}I/ l=/\ ==rf-l-l'/

Lit surface

Sofi Light

A

I

Lioht shadow

v I l+46)

l:L.Greyshadow

\--l

The shadow's edge may be bluned.

When the image is small. use a black shadow for underneath the chin, regardless of the light's brightness.

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.

Shadow created with dark gradation tone

/-

['1 V \

,,t,

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.

l

Shadows created l using penned lines I lieu of tone appear

{

frequently in realisili

32

manga.

I

,rlillllfl'

d{slulll]

[

rlillil

r\. \ \\.

\..!s-\ \\-

\=< lh.- _

Here, I attached dot tone over diagonal ;.i lriui I

tl -:

-

.: :

-:

rs effective

for

hatching.

r:-ie 0f Skin. I created a sense of 3-dimensionality in the lips

by attaching and etching standard dot tone.

Backlighting is when the light source is located in back ol the subject. Shadow is added to the front of the subject,s face, generating a dramaflc mood.

Filling in the figure with solid black creates a black silhouette. The key point here is that the eyes were left white.

For this figure, tone was attached t0 the entire face but the eyes, left white. This ireatment could be used to suggest flames burning behind the figure or other situations with low 33

lighttng.

When to Keep the Face

-Free

Shadows do not work well on faces when the imag: tiny. Use tone on clothing, hair, shoes, and other mamnr colored areas. I limited the figures on this page to that look better without shadows on their faces.

Standard Long Shot This figure is approx. 3 E

or 1 1/8" to 1 1/2" tall. A size, the facial features barely discernible, and is viftually just an outline

Bust Shot

Long Shot Large

The head (including hair) measures at

Here, the figure is approx. 6 to 7 cm or 2 318" lo 2 314" tall. For this size, I opted to render her "red" bangs using solid black in lieu of tone.

approx.3 cm. (1 1/8"). Shadows may be added to the body.

Full Figure: Medium (Fig. height approx. 10 to 12 cm or 3 7/8" to 4 5/8")

These are

Add shadows to

While

the skift, etc.

hair volume them appear extremely d in size, the features are :

sized head

same stze.

34

Figure 83% of original print sizr

in Suggesting Color through Tone: 4mmnng According to Value Contrast

lirrMruurmliffies

I Tone Values and Corresponding Colors

Flesh tone shadows: 1 0%

Red&blue:30t050%

@

Deep colors; Black (Solid) (Deep red or blue) Pale colors: 10 to 20% (Pink or light

Here we see the cover

blue) \.-,

illustration rendered in black and white (grey

ireen,

scale). Colored images

are rendered using light and dark values when printed in black and white.

I

ZO'2.

(Use solid black for dark green)

Ljott! 01e9n, Yellow: 5

to

1

079

{)

l0o/o

*rr*ing Hair colors

Jet black

Red (30%)

Red

(20%)

o & o o o o Red hair using

diagonal hatching

Different Colors Suggesting Using the Same Tone Value

A flush to the

cheeks

Suntan

Grey values are contrasted with black and shaded areas,

-a

lark brown

creating the illusion of a color palette. (Ihe same 10% tone was used for both figs,)

.G:

@@@ Blue

Red

,

Violet

35

Gommon Facial Shadows Let's look at the following 5 light positions: Front, right, side, low, and

r'',,4fs r: :

'

::__

tA

.:'.: lb)i, 1

, Fl i.ilil:i rii::irii

ffi

rj -,

1

,qv+,.ii

37

A broad range of facial shadows are created by modifying the angle o{ 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.

k

Here, no light is shown touch the face, and the tone was ci; so as to leave the eye white.

A solid black shadow may be

38

used for the shadow underneatt the chin in lieu of tone.

.ffililil lllllll,

m.

Nere we see use of shadows formed from a backlight. Be conscious that the figure is backlit and use broken external contour lines to create the illusion of glowing light.

The mood of the image changes depending on the tone value and

pattern used. Solid black may be used instead of tone.

ffi,,i',,,

Below is an image created using j-gpe facial shadows as a point of depafiure. I omitted the cheek shadow and added shadows underneath the nose and to the

I #'

lips.

g These are essentially g-type

shadows, Depending on how prominent the facial {eatures, shadows may be added underneath the brows and eye sockets.

39

4 View

Ref. Fig. e (Shown lacing Shadows form in basically the

same manner, whether the figure faces right or left.

-

ffiniimg

the Hair

Tone used for shadows (in areas opposite the light source)

41

d-type shadows also work well in close-ups. Shadows may be added to the eyes.

Here we see an image

using b-type shadows. Use shadows with sharp angles

with long faces. Gently curving shadows work well

with more typical faces as seen below.

42

ffiu -ffi

\rtrt \

e-types have the fewest shadows, with shading solely located at the hair, the nose, and the chin. This works well with clean, cheeful compositions.

This combination of e and d shadows can be used to accentuate a particular mood.

Fonruard facing figure using f-type shadows

Profile

,4

r/^

ffip

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.

Low Angle

rfi ,qi,il ':

l.

;.,

{u

@ ::

, -l

a-i \J?

i

rfi

fi

W

li'

rh

$'

H

.* 'rr t

m-,n+ ,rdi[,

tru,

I

tllttrilfilllt,

rii\\\\\lft,, v

c

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

Moderate High Angle

ffimUons to Pamts

{|.-l!od.erate

,,,m

k

Y

,,,/

//

ril

,il11

: ilitilt ! : ,,,rich fall across the forehead ilr I ,, :-:,:ijve in CIOSe-UpS. ti

W

tli$l}..*d$

Shadows are added to the body primarily to the figure a sense of volume or to accentuah forms. Consequently, poses and compositions that draw attention to the figure's contours or musculature tend to be favored.

\

l/ t-/

Adding to the girths of

*, t

the arms and thighs generate a weightier

D

feel.

The key to exquisite,

lithe muscles is to draw the arms and legs on the lean side and maintain balance.

\,I Yi

ffi

il

,l

ill

Action scenes, which primarily comprise martial arts scenes, tend to draw attention to male characters' muscles. Have a look at pro-wrestlers and body builders for reference. To draw handsome, lean

muscles, look to the bodies of dancers.

51

Gradation tone is

often used for black or red. Since there is no set rule regarding the direction the tone should be attached (e.9. black to white or vice versa), use your own

I

.\

#\

discretion.

Note: Traditional bunnies

have cotton tails.

@@ffiffi

When applying shadows to male

characters or figures with different builds, the concept remains the same; although, the shapes of the shadows may change.

Drawing diagonal hatching in the direction of the light source clearly establishes the direction of light and serves as a guide when

attaching tone,

-rere should usually be

:

lM

single light source.

Eood

irllllli

i iilllllii ru]5

l,,trau rllll i-F'

ril'r

] :i;ading the face and body with .ladows indicating different light :i:!rces results in an unacceptably

:,rkward composition.

);: Here, I drew the body's shadows to match those on the original face.

Here, I drew the lacial shadows to match those on the original bodV.

53

Tricks to Drawing Body Shadows Male Characters

Even masters at sketching find it difficult to identify with absolute certainty how shadov,': form depending on the lighting. Figure with upper

left light source

(

/vl

Good

I

Draw the neck, arms, and legs as cylinders.

Not good

./\ A light source from

Use a block for the torso. The key to having shadows form

n n Jot down the body's parts as blocks when laying out shadows.

Common Shading

the body's surfaces is to establish the position of the light source. Playing around with the light source will cause them to become unmistakably odd-looking, such as when drawing an indoor scene where the position of a light is predetermined or when the in relation io the sun is clearly established. ln these cases, shadows must be clearly drawn according to positional relationships. However, you may establish a special light source when drawing shadows specifically to "make the character look good" for the sake of character portrayal.

-.44 r-L.,

the upper right makes it difficult to give this figure 3-dimensionality.

/ I

,}iS;i

.(\.#

Figures with average shading

Patterns

Shadows instead of lines were used to delineate

the stomach muscles. Figure with an abundance of shadow (e.9. Sun to figure's

Figure wlth minimal shading lit

back)

source at upper left front)

from the upper left (Light

Figure with an abundance Moderately abundan of shadow (e.9. Sun shadows figure's back; light source at upper left back)

to

r,r.rrrillrrflil

ililnunilfTE

SIdleS

Standard shadow volume

Shadows rendered in hatching

--: o\ ,\

" -\

Shadows form on clothed figures

would on a nude.

,\@ Standard shadow volume

Shadows rendered in hatching

Shading the Back

M

tr Add shading

to the small of the back.

To accentuate the

back, add a shadow to the

small of the back. Overhead light source

Upper right light so-r-r

Upper left light source

56

lrmrllflllllrilullri:

m

jte

Back of a Jacket

Special etfect:

Strong lighting from front of figure

,

lr

llLl

i jtufl llnlU'

Upper right light source

Special effect:

Lower back light source

=

t(*

) --

:;rtr

lXli'

>\ -,/

-;

r,rlr-ar: ight source

This lighting is suited to dramatic scenes such as scifi related or on the roof of a building.

\

V I'eL,1,0wS

0n

t-*:osterior

Close-ups of a male character's derriere are not common, and shadows are not

typically added,

The female figure is composed of curves, causing the edges of shadows to curve as weit

Female Gharacters Figure Study

Upper left light

source

Upper right light source

Upper left light

source

Upper right light sourc,.

Study how shadows {orm on spherical objects when adding them to the chest and backside. The most common styles are crescent-shaped shadows and bottom shadows.

2 Common Shadow Types Used to Accentuate the Chest and Posterior

Upper light source at oblique angle

j

0verhead light source

+

/\ () \_-/ Crescent-shaped

58

Bottom Shadov,

,;

muent Shadows

z--.,

Y

Hatched shadows

Shadows in tone

Bottom Shadows

Hatched shadows

Shadows in tone

59

Side Shadows

Front light sources are suited to emphasizing the chest.

Combined Lightin; Front Light Source

key shadow.

Back Lrght Source

This light source is great

for drawing attention to the backside, Combined lighting from both the front ar:

back is used to accentuate the feminine charms of a female character.

ifilili]tirir(

:lrffioows

Use these shadows to accentuate a posterior clad in tight jeans.

Guideline for positioning shadows on the backside.

Shadows form underneath the areas that project outward the most.

61

Shadows at the Feet These shadows are primarily added

Shadows at the Feet (Puddle Shadows)

to shots of characters ranging from medium full figure to long shots.

Use gradation tone. Feel free to rLr the edge of the "shadow."

Long Shadows This is effective for poftraying scenes with a setting sun.

When drawing a long shadow, jot down parallel

1\

Although the character's skirt is

guidelines for the

rippled, the shadow at her feet

shoulders, elbows, waist,

remains simple.

Not good

lntersecting Shadows Here we have light shining

from multiple directions.

Leg shadow

Silhouette Shadows Created by Backlighting Solid black in lieu of tone makes for a more dramatic portrayal.

Shadoivs at the feet are normally omitted from manga artwork. However, they are included in long shots or when seeking to create a striking effect,

drxiiullrrst

Fuddle Shadows

#M Tone

Use an elliptical form for shadows at the feet. Be sure to draw as well portions that

will not be visible in the final composition,

lliffiril

go0d

Crosshatched

'

u rraoow is too

lrurir

rE

lurL,r+

'e*er ripples.

should

ttumfitlr.:-lr3ns

Gradation tone

iri ilr'il,:w-style executions to portray the luster of a floor.

Diagonal hatching

lrurs:ral EffeCtS ,rlrr-l :ceed lines are used

to portray shadows

Use a straightedge to draw fine,

horizontal lines.

63

Creating a Composition without Using Tone: Sample Gompositions in Pen

Tone used to portray colors an:

shading by contrasting dark an: light shades originate from dia;. hatching created using pen.

Facial shadows

Tapered lines drawn using

Hatching portraying the color

a sfaightedge

and texture of hair or boots

Crosshatching is often used to portray the texture of clothing or blackness. Here it is used for clothing.

This hatching used under:r chin and on the floor crea:e, a gradation etfect.

Movement with a Sense of Presence

The Key Points to Pofrraying Natural

Movement Lie in the Shoulders Normally, when a figure is portrayed standing straigt-a line connecting the right and left shoulders (shoulce"

oulder Basics

line) is horizontal.

Not

Good

A natural bust shot

good

Not good

:

Here, the shoulders are not properly

Here, the neck broadens

aligned, and the base of the neck (marking the top of the shoulder

base, and the right shou,:+ missing.

Iine) is also tilted.

C

^L

The shoulder line is a line drawn from the to: of each shoulder, connecting the two.

Line connecting

the right and left sides of the base of the

Horizontal shoulder line

\

i\ Scapula line The scapula is a key element for giving the body volume.

Here we see guide lraming for a bust shot A bust refers to a portrafrom chest up; however in Japanese manga,a bust shot usually means a portrait that stafts somewhere above the chest. The shoulders

should be visible.

'itt'r'

tLrilllllllniltillll,rtifl

Je arms up and down

causes

'rir tfirnuder line and the chest line to shift. The shoulder line and

chest line should be parallel. Shoulder line

While the shoulders may be skewed in this manner, the chest line should be similarly angled.

Raising one arm causes the breast on that side to rise as well.

Here, the angle of the chest

line is natural for when an arm is raised, but the shoulder line is not.

Bad example: Here, the two shoulders

are

even.

Raising an arm causes the base of the neck's position and the shoulder line to shift. Raising the right arm causes the right shoulder to rise. The shoulder of the lowered arm is likewise low.

\.-

ncture ol the

Draw the enh=

and Neck

base of the ne:r even portions :rilt

Neck and shoulder juncture

This figure was drawn

'

at a moderately high angle. From a 3/4 view, lhe

\- - will not be visr,r in the final

comlgsition. Ar -10 keep the lin:

appear askew. Shoulder

line

connecting fie juncture point

-'

parallel to the shoulder line.

Chest line

------\r \/

Base chest I "r

Here we see a leaning pose. The

Raising an arm causes the chest

shoulder and chest lines are parallel.

on that side to also rise,

Raising both arms causes the figure to return to its original

eliminating the angled feel.

angled pose.

Successful Drawing Tips Provided that you keep

the shoulder line and chest line parallel, you should be able to draw any bust shot.

Use this line to confirm that the neck and shoulder junctures are

angled parallel to the

other lines.

'-**

68

Mlstakes

,ltlmrrlffemmq

Bring the neck contour in from the ea( closer to

theface. ----+ il0rudflilNfl

llluffili ro,,ir

Move this contour so that

illllllfll'lffi

tliltltt!;

s[(

l|il]ffiflxT

The left shoulder and chest seem to be turned to the right.

!

tfllriifltiliur.

it is underneath the chin.

@

Draw the shoulder line

Conecting the neck

. ihe neck is too thick . The ilght shoulder is ambiguous . The torso seems to part in profile and part in 3/4 view.

rili|r]gf.l

:e

torso is

r I "r r€w, the mnmu|:err ShoUld mr I

;ar:nlly

ltsi|:rE

Torso in profile

Torso in 3/4 view, facing to the right

The shoulder is in clear view when the torso faces the right.

/,*-

Final Drawing

FinalDrawing

69

Bust Shot Drawing Process

oy,::.

Detailed Example of Using Knowledge of the Body Structure to Draw

s

Figure in a standard pose

{1\ ft%J*: t

Neck bones

6xis)

\'/ \/

shoulder

-\,*l-

is straight

/.:\

Draw the face

/ /ra't

(Crossed lines indicate

\ry

faces). The arcs of

these lines are critical.

-,\

rrH\

the direction the head

ldentify how the clavicle flows in: the shoulder and how they con:;e:

Raising the left

Sketch in the shoulder line and a layout of the torso.

arm causes the shoulder line to

tilt.

/'-\ ra,

I

Adjustment of the shoulder line

/

Sketch in the underarm (where the arm connects to the torso) and determine the arm's girth.

Since the breas

UfaW Itle Draw the

*

\

chest and thet

underarm, the

arms.

underarm alsc marks the top the breast

The top of the breast begins

.

underarm's origin.

i
i I

--!

The chest line

contours and position the underarms.

:r

with the same contour as the

0nce you have sketched in the left underarm, connect the two with a line (the underarm line) parallel to the shoulder line.

Gonnect the neck to the shoulders using smooth

begins at the same point as

-rI

falls midway between the underarm line and the base chest line.

@

Cl.un up the torso's contours using the chest as a guideline.

Sketch in the face's layout

Adjust the shapes of the lower areas the chest, the shoulders, and the

,:

breasts. Clean up the back's contours Use layout guidelines to arrive at a lin.

drawing of the torso.

.,| *ft ni{m

'''

tfl0l

Top of

flnttm@i&

fie

Bust line

il,

lllltl]llr

u.,,r

JuuS-.

lrE

ltlutttmlfi*litn'tli

Sketch the face, filling in the facial features and hair. Add clothing adhering to the torso's contour lines.

.-\

chest

f,-/./'^ -/' |

l, ({

r

To accentuate the chest, ler leave the trtop of lf the rn, but shift ift the) breast I st's chest at the same position, peak upward.

Voluptuous build

@

ffi1,,,,n

Finished with Tone

The Side Genterline Gives the Torso Uolume 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 fron:

and the back. This seam is called the "Side centerline."

/

I

Draw the arm's

thickness at about the same as the width of the areas of the side not visible.

)',

(+ The torso's silhouette changes fro:the front to :rail

wiwis Border dividing those areas visible

from those not visible from the front

The side centerline appears as "seam" in the majori\i of

Loose

views. The

s,:iri

centerline

is'r

visible.

fit

The side

centerline and areas visible from the front joint join at the leg.

72

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.

iiirutttnm

fuld

lrfil|lil rffiiflke

Contrast with an average

rxm .l:l'T

build figure

ffi,ry,w*&&

Border dividing those areas visible from

those not visible from the front

Draw the torso of a slim build on the narrow side while retaining distinct, separate curves for the

chest and rear.

u{niaJ,e

,

'li

rq*

Characters

,tsible front

The thickness and appearance of the body should be handled similarly to that of a female character.

6 Lines Vital to Successful Drawing

-\ I \ Application L/ --v Practical

@

Shoulder seam

Shoulder line Front closure of a sa,:r' ill

Shoulder seam Waist (line)

@lS06llli,er6al

The centerline serves as a guide

for drawing the button front

=---

closure.

Side centerline of the skirt

\ \

\, =\

\"I

i

\\ \

Side centerline

The side centerline serves as guide to facilitate

i-shirt without side centerline

a

Including the side centerline gives the torso clearer definition.

74

Note: Some T-shirts lack the side seams from the underarm down.

attaching tone.

The side centerline along with the

torso's thickness gives the torso clear definition.

,$itirB,€6ni6itiii6

iEim.M:tsliiia

Loose{itting clothing

Tailored{it clothing

r,,l

When seeking to add simple

shadows using tone, sketch in a side centerline to use as a guide.

The Clavicle Is Another Uital Point to Giuing the Torso Uolume The clavicle is key to constructing

the upper front of the torso.

,$ ; *1, \i

A\

i)t/

4, t{

L-1 t\

\

\

\1

\\ The clavicle forms an S-curve

when seen from overhead.

and Movement

the Clavicles

Raising both arms ifitllmmimms

ihat Make the

iilillm{ffiss

Stand Out

From a normal stance, the clavicles do not really change in appearance even when an arm is raised.

Jutting the neck out and down

wz

The more the neck is rotated to the side from the front, the more the clavicles and the neck muscles (tendons) protrude.

Clavicles often become

prominent accompanying neck movement, or when both shoulders are rotated fonruard or when the

shoulders are tensed.

77

Sample

The clavicles are prominent on thin builds and relatively hidden

G

on fleshy figures.

Female Characters Clavicles

rendered in detail

/-

-\

1--

Because the clavicles allow you to portray the maleness, femininity, or adultness in a character, they are often included when the aftist intends to draw out these traits.

lncorrect Clavicles

The levels and positions of the two

do not correspond.

Leave out the clavicle

when drawing children (this will make them more "childlike").

\ Here, the length and position do not match

78

llllt|lll|]111u

ll'E,nacters

L-

,itiiiil tI"JLL.:rr: I

\

)a

(l The developed muscles prevent shadows from

\

/-,

)

forming underneath the clavicle.

\----/'J IIlrrnguishing Male and h**rare Characters

Draw the clavicles so that the reader can distinguish the character's gender at a single glance, even when wearing a T-shir1 and only a portion of the

figure is visible.

\

Showiltg a Figure Extending and Contracti Allours for Dynamic Expression:

Il.[ff jltHi::l:

Our hands, legs, and torso extend and contract. Being aware of how far a limh bends fonruard or back will allow you b draw your characters' movements convincingly.

This distance is equal to or

greater than the head's length.

,\,2,

{

The torso stretched

Ref. Fig.: Spine

Ref. Fig. Knee

The Principles behind

Bgt fi,fu

Hard bones are connected to each other by soft cartilage. Cartilage has elasticity that can be likere: to rubber.

Sketching and Contracting Caused by Bending The figures height

The arms also

stretch.

expands by the length

Stretching the body to the extent possible lengthens

of the feet when

even further the torso and

standing on toe tips.

upper body and the arms.

i

,,,ffi**. Stretching and contracting both occur during the act of "bending."

\

Stretching occurs at the shoulder (joint).

'lrlrlllililllLLrrt

l- othing ;11

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.

7\ \

--Z

:

r. - Fitted Clothing

s ANH With both arms

With the arms

raised

extended to the max

The length of the torso

\

exposed is the The shoulders

and arms pull at the shirt, causing it to rise.

same as that it extends.

z 81

Bendinq the Neck

Stretching and contracting of the neck is a frequently used, key motion.

Common Stretching and Contracting of the Neck

Normal pose

Stretching and Contracting to the Side

({

&

(

ts

Head held relatively uprigtr with shoulders raised

Looking down/Looking at one's feet

At this angle, the

neck is obscurec

This is a combination of leaning fonrvard and looking down. The back is rounded, and the neck underneath the chin is extended.

82

Here, the character is

looking down with her chin tucked under. This pose is almost identical to the above "looking down" pose.

ilfitffiflmilltq

flhe Head up

Bad example.

),e..)'

The head should

The neck should

be tilted more.

be longer.

\

Changing the direction of the face creates a "glancing back" pose.

./\ \ The trick is to give the neck a dramatic angle.

*ffiuml'rg

Forward with the Body

Not good

The neck-to-shoulder

contour is too short.

The contour from the neck to the shoulder is critical.

Scenes in manga of a character toting a heavy load require that you take extra care with drawing the arms in an extended position.

The Arms Carrying a Load of

NormalWeight

Utfa

Lifting a Moderately

Lifting an

Heavy Load

Heavy Load The shoulderu drop even furfimr

The body hunches fonruard.

Draw the amu While the arms' length do

just a tad

not change dramatically,

(about 5% E

giving the muscles a moderate bulge shows that the arms are being

100/o)

longe

stretched.

The legs are

.

----__/

.a

Another nice touch would/ be to show the feet sinking into the ground.

----'>

Not good

Drawing the back

and neck straight suggests either that the load canied is light or

Emphasizing the clavicles suggests

Contrast of

straining.

arr

that the character

lengths: Draw the forearm aru

is strong.

wrist narrower

il(

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.

v)

84

\

Etrbow and

Wrist Since the wrist is capable of bending toward the front as well as the back, wrinkles form around all sides.

\'v-

;b \i

\

---\

A wrinkle

Here, the wrist is bent unaffectedly,

illustrating the wrist's natural movements.

-rt@ The wrist

<-->

These poses are suited for atfected, contrived gestures.

rdrshng on the Elbows

The elbows and wrists become key elements

when the hand is brought to the face.

85

Hands and Fingers

The stretching and contracting of the hands and fingers is tied the opening and gripping of the hand.

5 Poses Where the Hands Play a Key Role

Speaking (with the hand held to the face)

Hand unconsciously draped over knee

?

t-a

\p

86

irr

,iiiitilril

l,:ln.h in Drawing the Hands and Fingers:

iilllillfliltffrlr'-,;

-

;

Th

icknesses and Lengths

Artists tend to concern themselves with the shape of 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.

r'rfl' :,:':ucing iLmltu'--

iiiii il

r

l *3te

-:!

a rough drawing, sketch the positions, shapes, and sizes of the

should establish the image in general

r"- j

F , ('1't 3r)

Simple Rendition Here we see a clean line drawing.

:: - -,lers are i

-,r

,"

:

rn thicknesses ..\are :i nalls

-.-=-t

Realistic Rendition

sizes.

Showing the muscles around the fingers and

Here are 9 common pitfall points.

bones in the hand (drawing the tendons protruding) gives the hand a realistic flavor.

87

The Hand Held Unaffectedly Use these gestures when drawing a figure held naturally

or when standing normally.

The hands add to expression of the character's emotional state. lt is important to distinguish gestures. To portray a normal or casual atmosp:er show the hands in a relaxed state. To portray tension, show the hands

Standing Normally

clenched in fists. Take care when drawing the hands, as both natural an: contrived or awkward compositions show up clearly to the viewer.

Not good

This strongly clenched fist suggests that the character is either about to engage in battle or is feeling oddly tense.

This is a better facial expression for suggesting readiness to fight or determination. Character in relaxed state

Lightly Clenched Fist

Not good

Here, not only is the hand in a fist, but the

wrist is bent back. This generates an even more awkward image. Hands drawn like this should only be used in special circumstances or with an odd, eccentric character. lt could also be used in combat scenes.

Use this face to show that a character is alefied to something or feeling tense.

Character in normal state

fr

+

Awkward

Natural

of the intent or feeling of tension in the owner. The

The hand held lightly

Here, the hand is held

clenched when the

open in a normal state.

character feels slightly

The hand is unconsciously

unconscious

tense or when deep in

relaxed. The fingers are

clenching of the hand acts as evidence that the character is

thought. The character is unconsciously tensing her hand. However, since the hand is not balled into tight fist, the thumb

bent into gentle curves.

tense.

-re $e hands to show a character's :-,:tonal state when glancing back

E

is slack.

Differences in the impression the character projects or her personality vary with how the hands are drawn, even in the same "glancing back" pose.

The lightly gripped fist is

works well when portraying the moment a character glances back and is slightly surprised or experiences a little jolt. This is the hand most suited to looking back unaffectedly.

The open hand suggests

that a limply held hand. This hand is suited to suggesting

disappointment.

The clenched fist works

well when showing the character in mid-sprint or to suggest a determined state ('You

can't make me!" etc.)

Extension and contraction of the legs are primarily allocated to kick scenes. The prevailing trend is to

The Legs

There is no way the kick can be delivered from this distance.

indicate that the leg is extended using special effects lines or other means to blur the foot.

ffi When showing a foot that has delivered a kick pulling back,

Yet, somehow

it is. Here, the tip of the foot is

not drawn, but rendered in diagonal hatching (suggesting a bluned foot too fast to be

captured in a photo). Leaning back of the kick's recipient indicates where the kick was delivered-in this case, on the forehead.

add diagonal lines to the knee to portray movement. This effectively creates the impression of a kick delivered from the knee.

Use broken contour lines, adding diagonal lines. This will create

Trajectory of Tip of the foot

a senSe of speed.

the left arm

a standard technique for

Using diagonal lines to render the entire foot. This creates a "shadow, " suggesting extreme

suggesting speed.

blurring.

Concentrating diagonal lines around the tip of the foot is

90

This page shows key points in the bending (extending and contracting) of the ankle and tip of the foot. There is not a wide range for portraying the toes themselves bending and stretching.

The Feet

The big toe bends more than the others.

\ xtaas)

I

)

I

_/

I

F---

Here we see the extent to which

the tip of the foot rises with the heel used as a pivot.

;ffir

iflE portrayed bending primarily

I' uaBng scenes.

Painting the toenails

i-

-

r-

t,i

rrawing the feet in shoes, the feet

:,e drawn the same size as when

:"i:'irt

or made bigger all around.

The bending fonivard and back of the toes are key elements of

this p0se.

h::: fflat the foot ::{:S on a different

The toes are

:-:.:e when clad in

actually crammed tightly together in the shoe.

"

--

heels.

\\

u

\_fl

91

The Waist and Back

Bending over causes skin folds to form in the abdomerr

Bending 0ver and Hunkering Down Common Poses with the Back Rounded

Wrinkles and skin folds appear 0n

the sides that contract.

Pay careful

attention to "stretching" at the hips.

The back of

the neck also stretches.

Putting on or removing socks and shoes

the Pav careful attention to how

then fie back is rounded, tle $oulders roll lorward

back' shoulders rotate fonruard and

/ r\

lt\

Li

)D\,

)x /M

The back becomes rounded when

the shoulders are rotate

Drawing the shoulders back causes the chest to thrust outward and the back to arc rearuvard.

r\l I \-+

fonruard.

Leaning fonruard

ln a normal stance, the shoulders are fairly much centered.

The muscles along The small of the

back stretches.

the spine follow a natural curve.

Deep Bow

Skin lolds appear in the abdomen.

Here, furrows deePer

than in a regular bow form, as if the uPPer body were swallowing the bellY.

Bow in Greeting

While hardlY anY folds are visible from the front, failing to draw them will prevent the figure from appearing to be bowing' Drawing the head inward causes the back to round' The waist is stretched to its limits, and the furrows in the bellY are at their deepest.

ln disappointed and tired backs' the shoulders are rotated forward' and the back is rounded' Exaggerate the look of the sloPing shoulders when drawing'

93

When sitting in a relaxed position, the back forms a

gentle arc.

The same holds true for

sitting in a chair.

The key to drawing a seated pose is to plan out

the knees'positions.

<_______>

i <:__________>

When dressed, creases at the abdomen vary

according to the clothing worn.

Suit skirt and jacket

T-shirt and jeans

94

,iiillfMnnl

qeEularly, But Slightly Hunched Forward

ln both the back study diagram and the high, oblique angled study 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

A key point here is the fold that forms in the abdomen.

rllr'rrri-

'Lrched fon/lrard, the upper

riii: ?r"5

"r--

approximately the same

'.-;-ner seated on the floor or A key point when drawing

the figure facing the picture plane is to draw the centerline of the hips facing forward.

Study Diagram

for Practical Application

Seated on a Stool

-

::

all 3, the contour from the shoulder to

back is the same. flhe only difference . Jre thickness of the clothing or towel.)

Sitting While Hugging a Knee

Establish shapes of

fie fie

waist and abdomen, ever though the anrs and leg will obscure them ir the final drawing.

ldentifying the body's entire structure will help you balance the legs.

Line drawing

Study Diagram

Study Diagram

\ This skin fold in the back is a key point.

\

Failing to include a skin fold in the back will make the character appear contrived, causing her to lose her sense of presbnce.

: ,:stures for Sitting

on the Floor with the Knees Bent

The 2 postures overlapped

The key points in

distinguishing sitting up straight and hunching over lie in the shoulder line and waist.

Differences in the back contours

\ With characters of identical height, the 2 postures result in a half-head difference in height.

,tlll 1

-

97

Key Points in Distinguishing the 2 Postures The shoulders are rolled

Hunched 0ver

forward, and the knees are casually grasped.

The shoulders are held the same as when standing.

Straight Back

The curve at the waist is clearly evident.

This disguises the tapering of the waist. Pulling the shoulders back brings the hands behind the figure.

ln this pose, the curve at the waist is emphasized ever further.

When the back is

straight, torso pretty much remains the same height whether sitting or standing.

The waist (line) is

clearly visible.

Straightening the

back causes the rear to roll slightly

fonmrd.

Balling up to the extent that the chin rests on the knees molds the back into a semicircle.

Curled up

Hunched

over

Back straight

normally

Variations on Sitting on the Floor

with the Knees Bent

99

Arcing the BacULeaning Back

The upper back contour is usually convex.

:-r

Bending back to

this extent causes the upper back contour to take on a concave curve.

character is shot or hit in the back with an object, etc.

Not good The upper back contour retains virtually the same convex curve.

The waisVlower

back region constitutes a key point in this pose.

\\ \\

The snugly fitting jean-clad rear may be drawn just a hair smaller than on the figure nude.

100

fft 'V

Te

$tandard Convex Curve ofthe Upper Back The upper back rarely

curves inward.

(, i

\] I

Special Cases for Drawing the Upper Back with a Convex Curve When drawing the composition from a high When drawing the

angle, and the chest is

composition from a low angle and the shoulders are rotated back

thrust out and the back arced

101

Uses ofArcing the Back 1: Cheering

lncorrect These samples lack movement.

Showing the wrist arcing back evokes the feel of the arms unconsciously raised, creating the impression of jumping for joy.

(-_

Keep the wrist straight when suggesting that the character is consciously celebrating.

l,02l

This stiff cheering pose leaves little impact on the reader.

Practical Application Samples Tilting the head down turns this into a "yawning" or

<

fie character mes her arms -]ow

rdicates subtleties n her personality :n feeling of joy.

(J 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.

Uses ofArcing the Back 2: Escaping (Unwanted Grasps, etc.) When the muscles are flexed, the body moves in a burst from a shrunken state to an expanded state.

/-\N k-i| )./

L:J :

rT

Shrunken state

Expanded state

\\A ..\ v

,l/ /-.,,

Shrunken state

Direction of the

upper body

Expanded state

Direction of

the lower body

A character

Elements of twisting are being mixed in with the arcing the back action.

and shaking off her assailant's grasp

\-l

I' Spreading the legs far apart

would make the character seem like a martial arts expert, so position them on the close side.

104

-:s.es of Arcing the Back 3: i;"n nin g/Escaping: Running Away Scenes

,1'2 (\* ',

Showing the back arced is also effective in scenes where a character has been locked up and is begging to be released.

When the wrist is grabbed, etc., the

back will arc when kying to escape that grasp.

105

Leaning to the Side: Fashion Model Poses

These S-curve poses are afiected 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 to give that scene impact.

The waist is

stretched on one side.

The upper part

This is typically

of the torso

an exercise pose, and just

stretches.

a means of moving the body. However,

it has wide applications in key compositions.

\

+

Skin folds

Chibi character in pose

Contrast of S-Curve Poses

Leaning Forward

Here the

Leaning to the Side

character, seen

from a moderately low angle, leans to one side.

Here, the character,

seen from a

moderately high angle, leans forward.

Common pose: Figure arcing the back while leaning fonruard

While these two S-curve poses are similar, they differ in that one leans foruvard, while the other, to the

side.

Figure arcing back toward one side

iiurding S-Curve

:"'r\

1\i\\

--\

19

r\\ \\

n

\

-

\\\\ \l

Poses

@

0 .-\ zz-'/

act of walking' this the waist during the common While torsion does appear in principally in of u ch-aracter running and torsion becomes important

i"tlntt

Iwisting and Turning

The fundamental asPect of showing twisting or turning are changes in the directions of the uPPer bodY and lower body.

Glancing

back

Establishing a stance

M an g *StYle StYl ization : Figure with OnlY the Chest Turning

rs

(

7\ Perfect

Fioure in pr"ofile (Normal

view)

lf 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 manga, enhances the character's sense of presence once she is dressed in clothing.

Figure with the chest turned

krrast

of Figures in S-Curve Poses and with Torsion

Figure leaning

to the left with lower body

This work6 well with static poses.

Giving the figure torsion is etfective when showing a character breaking into a run.

The upper body

and lower body face difterent directions.

109

Twisting and Turning Are Key Factors in Combat Scenes: Torsion Symbolizes Combat

Study figure illustrating the conventional "twist."

The centerline from the upper body to lower body is straight. Her backside seems to be jutting out, causing the figure to loose force.

Good example

Here, the upper body and

lower body face different directions, forming the centerlines into an Scurve.

110

l,e.

This figure has no torsion and is

::ria1

standing bolt upright. Nou the character appears unaccustomed to fighting.

;r 3 simple back view, a bit :r E-slofl evokes the look of a expert.

Changing the direction of the head on twisting/turning poses allows the creation of limitless new variations.

Add fine, diagonal lines, symbolic of movement to enhance a dynamic composition's impact.

'.W v

Without the diagonal hatching, even though the figure has been given

torsion, it still lacks force.

Here, the hand's

contours are rendered in diagonal hatching.

Alternative Styles

111

Adding the Finishing Touches t0 a Hot "Backward Glance" Pose with Torsion (Ihe Steps in Attaching Tone)

C

a-a( I\?(1

\-

Ir\N\

D\\ Study Figure

ru

Line drawing

Attach 2 sheets of layered tone to the blouse. Use tone with

identical line numbers to avoid a moir6 effect.

Attach a light gradation tone to the shoulders, shorts, gloves, and boots. Mixing gradation tone with regular dot tone could result in a moir6 effect even if both tones have the same line number. Verify beforehand that you are using 2 compatible tones.

-r inish,

rub with an eraser those areas ,,,xere you wish to show highlights.

Ref. Fig.: Same image without shading. Shading is optional in small panels and compositions.

This figure was created digitally. The creation process and points oJ caution are the same as when attaching regular tone.

Both the figure delivering and receiving the slap have more impact with torsion at the waist.

Here,ltakearunning figure and shift the right hand to the front.

The result is a Here, both figures are drawn standing

figure putting her waist into

bolt upright and lack torsion at the waist.

delivering a punch. Here, the figure delivering the slap retains the

same stance, but the figure receiving the slap is twisting at the waist.

114

More Manga

The Fundamentals of Manga Po rt

raya I : Uf,f[,fl,'lf ,t3llpositi on ln manga, the reader figures out the story by seeing how the pictures flow. That is what

4 Basic Elements

characterizes the medium. Any dialogue or narrative text is supplementary t0 add to the reader's understanding. We say that in manga, pictures tell the story, and the significance of heightening the characters' sense 0f presence lies in that statement. But, let's first start

with telling a story (communicating) through pictures.

What do they look like? What are their personalities? What will they say?

When (Time)

Where (Location)

Actions These are the 4 points that need to be clarified in order to convey the situation to the reader and have him or her understand.

116

Something done for someone's behalf

hxlg fi SmnT blflralfy n11nmrnr IIli:1-,:

-I

fte

key rs to decide your theme-i.e. what to

)inql

communicate-and what must be drawn-i.e. ivhat rnformation to draw.

:"a-:

Mangacan be anything: even your thoughts or daily activities.

What panels will you select for your theme,

"waiting in a caf6"? o A character waiting

.

The characters meeting

r

A character waiting, and then the

characters meeting will need to decide beforehand what types 0f panels you will draw. This is what it means to "decide a theme." You

Bad example.:

.

The setting does not necessarily look like

a caf6.

.

We have no idea what kind of person the

.

We are not sure what she is doing.

character is. Good example.:

lndicators that the location is a caf6: a receipt, a menu, a window, etc. "Waiting" indicators: a paftially 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. 117

Panel Design (The ABC's of Page Composition)

Panel design begins with deciding what needs to be drawn. Clear panel design will lead to poftraying characters with presence.

Main Storv Points

Theme: Gaf6

Rendezvous

il

Analysis

The 4 Elements

The

The protagonist

Character: character desion

Durino the evenino

When: oortraval of evenino

Underlying Theme: "He's here!"

Adist's Conceotion

ln a caf6

Where: oortraval of cafe

Has a rendezvous

Action: meeting, talking, etc.

"Waiting" as the Main Theme: Once these 4

#ffi \_sl,

elements have been clarified, determine specifically the main point you wish to

protagonist

make. For what purpose are

you drawing a rendezvous in a caf6? What do you hope to

communicate using this theme? You need to establish the underlying theme. 0ftentimes, if you fail to clarify this point,

Evening

you may find yourself unable to compose your theme, even if

1,,r4

accidenl.

you try.

"Waiting," "worrying, " and other acts relating J

to "meeting": the

-(lr-

el,( \...g

ways of executing the simplistic theme, "rendezvous at a caf6" are limitless.

Caf6

@% Meeting

The protagonist's reaction reveals her personality through "action." These 4 panels

form an "incident" that illustrates the protagonist's personality.

118

Thankheavene, ?

Here the third panel, where we see the protagonist's imagination let fly, is recomposed so that the visuals dominate. Now, the panel has more of a manga flavor, and we can tell at a glance what is taking place. However, the original panel coveys more strongly

the protagonist's state of "anxiety."

Waiting on a Friend: Character lntroduction Scene

Well, I've

nolhinA to do. \,4iqhr, ae well bues

lhe

table myaelf.

blah

3o,I lold hlm, buL he lhe 5td(ta". L- b +o-e q-er didtr underata. a. eo Ard, cafie ta and, aEKea I \aA to t ake ' r an my way Lo me il 1l'new a auahi bar,

qood

Blah

you know whaL? lle wao )ike lhia ?rince who came l:o Ja?an

lherc'

incoqrito trom hi6 Olah

cauntry)

abh

aerioue?l

Then you can

finioh off yaur dream by trakinq me

Lo LhaL

6ubhi bar.

w

%

1ut

I

wanted

to finieh the dream,

so I tell baak Lo eleep.

eo, Lhen

1

wake u? ana

realizei

it

wae all a dream and t had, over6le?L.

#,,,;,,10;.

Here, the relationship between the two becomes clear immediately (explained by the 11

scene).

I

GMng the Panel Design Variation

This refers to modifyins the

Readjustment of "He's here!"

3frfff ;;',fiJlIlJf;"un''' Readjustment of "Waiting on a Friend',: Character lntroduction Scene

--T-:a---7---.v-z-l

*-4&

I

' ----rff:M/V -ffi=ffi5fi -:--]Hk''l

.............=_-rhF-.l;h *l

Tardon,

Since the idea that the

mademoiaelle,

friend finally arrived is fie main point, her

Whereis zeea

appearance panel is

vouo

aushi bar, a'il

plairl

made the largest.

,6)1 v\r,

Ihenyou can finioh oft your dream by taking rne

la that

aushi bar,

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

120

the protagonist's worrywart wanderings was drawn rather large, the first example works better within the flow.

P_

Thankheaveno, p you're

alivel :

,ftriril

Jtsqr

n=qrrtening the

mtmfirlMi Ssse of hesence

Gry-r-.-

Y

fhen aqain, he'e

a

Good Example

,------q

i';::)::';*, _\r-d ) ('-\r'; , nap?ened.

--7

Here, the panel

design has been given

variation by making the largest the panel

introducing the boyfriend, who is the focus of

the scene. Here, each panel is viewed as equally important, and, therefore, all are drawn the

fhank heavens,

you're alivel

same size.

For this, I took the original 4-panel scene and

redesigned the panels, making his appearance the key panel. Varying large and small panels turns thls 4-panel scene into a full-fledged 1 -page episode.

The same theme can appear greafly different (i.e. give the reader an entirely different impression)

simply by modifying the panet design. With ail panels the same size, the reader is unclear oJ the scene's gist. You, the artist, must determine what point you want to make, what you want to tell to the reader, and what it is you need to communicate. Failing to do s0 could easily result in a monotonous panel design.

Your main point rests in the key panel. Draw your key panels the largest.

121

,r ^ _- _

Figures and UafS:

How to Draw Comfortably Scenes of Figures Gettin! in and out of Cars

Mangaconuenlion dictates using sound effects of car doors opening and closing to portray getting in and out of a car.

The door handle

should be situated about the same level as the hand when hanging.

I

tI

,rhr,

t+1 Here we see the door closed.

Here we see the door open

A figure assumes this fonivard leaning pose when opening the

and the figure in a fashion model pose. Even with the

door (getting in the car) and

door open, the fonruard leaning pose would look

when closing the door (getting 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.

With the same composition, the

ditferent sound effects indicate whether the door is being opened ("click") or closed ("slaml").

122

muilMillMm

lk

q

m

flltnltilr

rilrtlrtttilri,

a

Sample Scenes: Getting in and out 0f a Car

t-r* :pr ar6 dose-up of the front windshield explain the scene.

II

-u &"r1

Normally, artists are limited to the page space 0r number of panels they can use to poftray

characters getting into a car. Here we have samples illustrating that minimal aftwork, 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.

Scene poftrayed using a front view of a car and partial door shots

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

)r

:

rew of the car is used, and any shot of opening ril. :E!'r' tas been omitted. Still, we understand that the

1wE

:i{xE

:|Tffia:En lave gotten into the car.

-8"?

ie

altered the scene so that she was the one boarding. Turning the vehicle into a foreign car (i.e. switching the steering wheel to the left side) would suggest that the male character is the one boarding. Alternatively, it could be that she was driving the car but turned the wheel over t0 him.

iar is stopped, and

:r*c -,ders get out. Showing tr$ :er l,:o1'open in the second i.ti'tr

rfl-e s i iine with common tl?;:r:: n portraying scenes mrr-'; i and out of a car.

of

...S

:':*ersing the images in the last r,!,: 3anels cOuld be used to that the character emerged "-';s.est *:r a rear passenger seat or that

:e

driver had emerged and is still.

=nding

Portrayal using the rear view and partial views of a car

Special Effects That Enhance a Character's Sense of Presence Attaching a Simple Tone as a Character Backdrop Good Example

The manner in which tone is attached as a character backdrop allows you to suggest movement by using a bit of ingenuity, thereby enhancing his or her sense of presence.

Here, the composition is open

in back of the character. This creates a sinister mood, as if something might creep up from behind.

Keep the composition open in the direction the character faces.

Front view tone effect

Even if the character's body is facing one direction, keep the composition open in the direction the head faces.

Alternative Styles

Donut clip

Donut clip

+ accent

&mr

I

'u a

ffitr,mn'aoter

-fffle Creativity When Attaching Tone

( Here, the tone is cut

closely along the

contour lines, in line

Here, the tone is cut just a tad over the contour lines.

with standard practice.

Detailed effect Shadow falling across the iris

€h-y.;

:ren though the tone has been cut along

:E :,:ricur

lines, it still evokes a distinctive

as uil.

SF

suggesting brown or blue

--

Emotional Portrayal and Tone Effects: Create a Mood Using Backdrops of CutoutTone

Vivaciousness/mirth

Tension/nervousness

More Tones: Composition Using Popular Tones 0ther than Standard Dot and Gradation Tone comes in a mynad of patterns, the most

common of which outside of dot and gradation may be roughly grouped into

tfr

following 6 categories.

When using random dot or patterned tone, keep a

slight gap between contour lines and the tone. ln particular, when using motif tone for cloth patterns, having the pattern continue without interruption at, say where a dip in a ripple. etc. should occur, results in a visually awkward image. You can easily show dips in a ripple or crease by etching the tone along the crease line.

ICW

,/^-til

'-* .o " '1'o

-.i.!l

*, nit ;l

t-:*#,s Qrc:' ^y

nn',

Random dot

Random dot gradation

126

DigitalTone

lu:um's Frofile -lr*a,:.., Hayashi

;,ft" 1:r n Tokyo. ,ri$i i*aluted with a degree

in the Social Sciences and Humanities from Tokyo Metropolitan University. {$nr a major in Philosophy.

;N[": ;*:elted a hortative award and honorable mention for his work on Shueisha lnc.'s Buslness Jumpand served as isss:ant to Hajime Furukawa.

:ilEll

lU

iln!:&ed 0n shueisha's shukan Young Jump while apprenticing under Noriyoshi lnoue.

r.c,shed his debut work based 0n a true story, "/fi Kongu Monogatari' ["The Story ofAja Kong"] in Beafs

,1{s; =:r-niedthemangadesignandproductionstudio,Gooffice.Producedillustrationsfortheworks

Ctub.

Butsuzoni ai

ni ikolon

i-E ilpreciation of Buddhist sculpturel by Hiromichi Fukushima (published by Tokyo Bijutsu lnc.) .--'il$d

rr:,ored How to Draw Manga: Female Characters, How to Draw Manga: Male Characters, How to Draw Manga: Couples,

r,c

:tow to Draw Manga: lllustrating Batiles.

]l${r* rr-:rcred How to Draw Manga: Bishoujo around the World, How to Draw Manga: Bishoujo/Pretty Girls, How to Draw l{a'$a: )ccult and Horror, and How to Draw Manga: Mue about Pretty Glas ; promoted, produced, and wrote lhe manga r:!cr r0r Koki lshii's Kokuhatsu manga riken refto (b00k on the wasteful spending of Japanese politicians), published by Jr

[r[

f:rlli

1

Ns:s:r Co.. Ltd.; and produced the corporate identity mascot characterforTaiyo Group driving school. !u:,ved How to Draw Manga: Animals; produced and initiated the release o'f Bishoujo Fighting, a dojinshi (tanzine or :i-a 3ress comlc) for pro wrestling fans under the name of Meto (a fanzine specializing in woman's wresfling and cat ''riy: ?ldeos, published biannually when matches occur; fifth issue on sale as of 2002).

l":a-Jtored How to Draw Manga: Marlial Arts and Combat Spotts, How to Draw Manga: Giant Robots, and How to Draw hta'pa : Co stu m e En cycl o p e d i a, Eve ry d ay Fashi o n.

lll,iflflI ,,;amored

More How to Draw MangaVol. 1 and How t0 Draw Manga: Costume Encyclopedia, tntimate Apparet, :r-f,, shed by Graphic-sha. Mr. Hayashi continues the planning and production of original Go Office fanzines.

:ur rEgizawa lfiilL

f;il;3ta'i'ras

born in Tokyo on January 8. She is a Capricorn with an A blood type. She first started doodling in pencil in

rur:mr a;;'r:ol and made her first attempt at drawing mangain pen during the fifth grade. ln junior high, she began to produce .ilzulrilrsn

t,;E rflafileworks with friends from

upper grades and in her class.

il' ' $tl- s-l: debuted as an illustrator with Minori Shobo's monthly publication, Gekkan iirflrtrffir 3:r {liulirr

1tJT. She acted as an illustrator, an parody) and manga artist, an anime writer, etc., contributing illustrations to Minori Shobo's Aniparo Comics, rg' s My Ani m e, Tokuma Shoten's An i mage, elc.

-aton

}*[r s]

ilr ' IiM $-r. teblrted as a full{ledged nangaafiisl in Kobunsha's Comic Val. Since then, she has contributed series and single )rullnlrrEnrr r,trks to Kobusha's Pretty, as well as cover and page illustrations for paperback editions targeted toward young 'mmn :r.r'stled by Seishinsha, Kadokawa Shoten, Shogakkan, and other publishers. She has authored 9 manga volumes and luumi:ae: --re fian 25 paperback books.

n ' I${ s-e negan to participate on the production side with Graphic-sha and Go office, starting with H\w to Draw Mangq; .I;urimr*

rrd

sontinues such efforts today.

&u Office Profile Ilu

lffic;

illlu]5il:iinrll

founded in May '1997 and has been specialzing in the production of tutorial resources using manga and i,,.trich include publications on How to Draw Mangaseries.

*r,as

s

CI

9

.

Graphic:sha Publiihitig

RUGTIO}I ....MA]{GA MASTERS! DRAW MANGA

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Vol.7: Amazing Effects Crapter ' The Basics in Composition Chapter 2 The Basics in Character Portrayal Chapter 3 The Basics in Voice Portrayal Chapter 4The Basics in Panel Design Chapter 5 The Basics of Manga Portrayal rsBN4-7661 -1 480-9

Vol.8: Super Basics Chapter Chapter Chapter Chapter Chapter Chapter

1 Materials and Simple Means

of Usage

2 Creating Manga 3 Drawing People and Animals

J:3J i='

4 Manga Techniques 5 Depicting Greenery and 3-Dimensional Objects 6 Creating Well-composed Manga 1 -1 481 -7

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lsBN4-766

6"

More Howto Draw Manga Vol. 1 : The Basics of Character Drawing Chapter 1 Drawing in Pencil Chapter 2 Drawing Faces Chapter 3 Drawing the Figure Chapter 4 Manga Miscellaneous lsBN4-7661 -1 482-5

More How to Draw Manga Vol. 2: Penning Characters Chapter 1 Pen Fundamentals Chapter 2 Making Characters Distinctive Chapter 3 Facial Expressions Chapter 4 Manga Miscellaneous tsBN4-7661 -1 483-3

More How to Draw Manga Vol.3: Enhancing a Character's Sense of Presence Chapter 1 The lmportance of Tone Work Chapter 2 Character Shading and Tone Portrayal Chapter 3 Movement with a Sense of Presence Chapter 4 More Manga lsBN4-7661

-1

484-1

More How to Draw Manga Vol.4: Mastering Bishoujo Characters Chapter 1 Twelve CharacterTypes Chapter 2 Making the Figure Move lsBN4-7661

-1

485-X

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