How to draw manga - Enhancing a characters

More documents

Recommendations

Info

AttaChing TOng -Tools and the process- E Getting Started @efore Attaching Tone) Attaching Dot Tone to a T-Shirt (lC-51 Used) Non-stick paper Matching up the Tone Size Adhesive New tone has a paper backing. O Lay the tone with the backing attached over the panel. @ Trim the tone to the desired size (cut it slightly on the large-side). 22 When attaching tone to the whole panel, some artists will slide the panel between the tone and its backing. Caution: the adhesive back of the tone does pick up specks easily. .-\\ \ \21 \ v\,r. @^b The tone may be trimmed wilh the backing still attached.
' ,huut llhn :rr: :r top of the panel and press lighfly. llilnm,.qffi#r 1 i[] i}?r Jc entire target area. ET L Do not press down too hard on portions you plan on removing. Points Goncerning Tone Alignment i:i:i::l -E:t o_a_a_ol o-O- It -at-l is important Except for when a that you align the pafticular effect is tone squarely desired, tone is against the panel rarely attached at or drawing. a skewed angle. Press down on areas to be permanently attached. Another good idea is to check the alignment with a straightedge before pressing down on the tone. i,'ri,3 X',. tone is supposed to cover the T-shirt, trim it I :':end slightly over the target area in all directions. :i: :iot use the panel as your guide to trimming. ;q,h?ys remember that the target area is the area to urr,:h the tone will be attached.) Common Pitfalls t*:#;H"thetone j?j ---_--.-.t Paper backing A Word on Soiled Tone V The tone fails to cover the entire target area. Take careful note of edges and c0rners. flur iflmlllrnfl lrii ilii -:l never remove the paper iliilri r -: -T"ll the entire tone when luiiiiitil r'' "-,- :rne to a small target area. "''ll :Ljl-P-:S ve baCk eaSily attraCtS dUSt i' r:1r " r1,r:ES. WhiCh COUId ruin almost , : - 1U.., Always leave on the paper backing. The adhesive backing easily attracts particles, and once the particles attach, they will not come off, 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
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 and 22: ,rir,,rummmre Shading iilrfiM rilll
Page 23: " l: " :: Cfeated . "::1090% r -- :
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
show all

How to draw manga - Enhancing a characters

Create successful ePaper yourself

Delete template?

Save as template?