How to draw manga - Enhancing a characters

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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.... .,...,..............13 The Fundamentals of Light and Shadow ...........14 3 Types of Shadows Connected to Light Standard, Bright, and Soft Light.....16 The Shading Process .........,.,.........18 The ABC's of Tone .......20 Attaching Tone:Tools and the Process...... .........22 Sample Uses of Gradation T0ne.....,.,... ......................28 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 When to Keep the Face Shadow-Free ..............34 Guidelines in Suggesting Color Planning According to Value 32 Rendering the Hair....... Profile ......... Moderate Low Angle ...........Y 40 41 Common Body Shadows ............. Principles in Figure Shading....... Tricks to Drawing Body Shad0ws............. .........54 Male Characters............. ............54 Female Characters... ...................58 Shadows at the Feet .............,........62 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 ..,...76 Sample Clavicles .......................78 Showing a Figure Extending and Contracting Allows i The Waist and Back..... Bending Over and Hunkering Down .......... ..................,,92 Arcing the Back/Leaning Back ................100 Leaning to the Side: Fashion Model Poses ...................106 Twisting and Turning ...........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 ............... ....1 16 4 Basic Elements..... ....,............116 Telling a Story Visually ..............1 17 Panel Design (Ihe ABC's of Page Composition) ..................1 18 Giving the Panel Design Variation .................,120 Figures and Cars: How to Draw Comfortably Scenes of Figures Getting in and out of Cars........... ........122 Special Effects That Enhance a Character's Sense of Presence .............124
Page 1 and 2: L-+-+:1. RrOBg fimuml$uffliluiluu[i
Page 3 and 4: ffiTODRAS/ Vo!.3 Enhancing a Charae
Page 5: Vol. 3 Enhancing a character's sens
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 and 24: " l: " :: Cfeated . "::1090% r -- :
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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