How to draw manga - Enhancing a characters

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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 li: ::':':': : : :':': ' ' : : : : :::: :::ill 1.1: ,, :. .: r'1: r':l rr:----ii-::t:= tfu 41 5t 61 71 81 While each of these tones a different feel, we can see from their numbers they are in fact the same "saturation. " larger the figure the ten's place, the smaller the dot size, and 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 ill llHr 54 53 55 50 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 I (10%) tl tmai t................ ._. I J! t-....-............l I. -. - -..-,.,. ._._I t. .... - -........t t . . . . . . . . . , . , . , . , . . . . . t [:'t,:,:,:,:.,,t,t,,,,,tit,:.t,t,t.,t,t,,] tZOoZA [::iiiii:iii:il:i:iii:iiii::ii:!iilil] (30%) fl:8"*II*:;rIEll s+ t:t::::::::::::::::::::::: :::r:r:::rl!::::l (40%) li:iiiiii::::ii::iiiiii::i!:ii!il [::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 ffit-^ w"o /qn0,{^\ WWffi$O%I W 50s series tone Ea..tY.r,tr.rH N Itttt{df,itttti [tf,ttttttttfl Et[H{t{I[!*] :th ffi,, 30s series tone r' r - i:r ln these 2 pages are lC Screen. Slight differences do appear from brand to brand : I :i : : r the spacing between dots, even-When the tone numbers are identical. 21
Page 1 and 2: L-+-+:1. RrOBg fimuml$uffliluiluu[i
Page 3 and 4: ffiTODRAS/ Vo!.3 Enhancing a Charae
Page 5 and 6: Vol. 3 Enhancing a character's sens
Page 7 and 8: Ghapter 3 Movement with a Sense of
Page 9 and 10: The lmportance of Tone Work [:i:.i.
Page 11 and 12: Color Colors are portrayed by contr
Page 13 and 14: i-- t+h l ,{ lllllltrruum $fmrlr: i
Page 15 and 16: $ Fanelization toward Shading Addin
Page 17 and 18: :: pecial Lighting Etfects The spot
Page 19 and 20: Soft Lighting Use tone with fine do
Page 21: ,rir,,rummmre Shading iilrfiM rilll
Page 25 and 26: ' ,huut llhn :rr: :r top of the pan
Page 27 and 28: m, msmrmurng the Tone d-- r- a #F *
Page 29 and 30: The stylus is used to press down se
Page 31 and 32: Character Shading and Tone Portrava
Page 33 and 34: Front Left Light Source mr 'rllllfi
Page 35 and 36: ,rlillllfl' d{slulll] [ rlillil r\.
Page 37 and 38: lirrMruurmliffies in Suggesting Col
Page 39 and 40: 37 ffi , Fl i.ilil:i rii::irii rj -
Page 41 and 42: .ffililil lllllll, m. ffi,,i',,, I
Page 43 and 44: - ffiniimg the Hair Tone used for s
Page 45 and 46: ffiu -ffi \rt rt \ e-types have the
Page 47 and 48: ffip Expanding the negative space i
Page 49 and 50: 47 .* ,rdi[, 'rr t tru, I m-,n+ tll
Page 51 and 52: ,il11 ffimUons to Pamts {|.-l!od.er
Page 53 and 54: *, t D Adding to the girths of the
Page 55 and 56: When applying shadows to male chara
Page 57 and 58: ,r.rrrillrrflil ililnunilfTE SIdleS
Page 59 and 60: lrmrllflllllrilullri: m jte Back of
Page 61 and 62: ,; muent Shadows z--., Bottom Shado
Page 63 and 64: ifilili]tirir( :lrffioows Use these
Page 65 and 66: drxiiullrrst Fuddle Shadows #MTone
Page 67 and 68: Movement with a Sense of Presence
Page 69 and 70: tLrilllllllniltillll,rtifl Je arms
Page 71 and 72: ,ltlmrrlffemmq Mlstakes tliltltt!;
Page 73 and 74:
*ft ni{m tfl0l ''' flnttm@i& Top of
Page 75 and 76:
iiirutttnm fuld lrfil|lil rffiiflke
Page 77 and 78:
The side centerline along with the
Page 79 and 80:
and Movement the Clavicles ifitllmm
Page 81 and 82:
llllt|lll|]111u ll'E,nacters The de
Page 83 and 84:
'lrlrlllililllLLrrt l- ;11 othing c
Page 85 and 86:
ilfitffiflmilltq flhe Head up Bad e
Page 87 and 88:
Etrbow and Wrist Since the wrist is
Page 89 and 90:
,iiiitilril l,:ln.h in Drawing the
Page 91 and 92:
fr Awkward + Natural of the intent
Page 93 and 94:
The Feet _/ F--- \ I xtaas) ) This
Page 95 and 96:
then fie back is rounded, tle $ould
Page 97 and 98:
,iiillfMnnl qeEularly, But Slightly
Page 99 and 100:
: ,:stures for Sitting on the Floor
Page 101 and 102:
Balling up to the extent that the c
Page 103 and 104:
Te $tandard Convex Curve ofthe Uppe
Page 105 and 106:
Practical Application Samples Tilti
Page 107 and 108:
105 -:s.es of Arcing the Back 3: i;
Page 109 and 110:
iiurding S-Curve Poses :"- 'r\ 1\ i
Page 111 and 112:
krrast of Figures in S-Curve Poses
Page 113 and 114:
l,e. ;r 3 simple back view, a bit :
Page 115 and 116:
-r inish, rub with an eraser those
Page 117 and 118:
More Manga
Page 119 and 120:
hxlg fi SmnT blflralfy n11nmrnr IIl
Page 121 and 122:
Waiting on a Friend: Character lntr
Page 123 and 124:
,ftriril Jtsqr n=qrrtening the mtmf
Page 125 and 126:
muilMillMm lk a Sample Scenes: Gett
Page 127 and 128:
&mr I -fffle Creativity When Attach
Page 129 and 130:
lu:um's Frofile -lr*a,:.., Hayashi
Page 131 and 132:
--< )-:Y9 }IAIB Vol.7: Amazing Effe
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How to draw manga - Enhancing a characters

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