More how to draw manga - vol. 02 - Penning characters

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m-rccrnered cross mark iJ/ ;a7 h =-< '$D I When angered, our blood flows faster, and when truly incensed, the blood vessels at the temple become engorged and rise. The "cross mark" is a symbolic representation of this phenomenon. Felt-tip pens work well with this mark. 4-cornered cross mark
@ c' Iffi"ffi#:;il: ffi:i?ll iilx'#,ilfilx;, Mw ) ${ () Fuming L !(E U )N G, /,,.4/F 0ther Popular Symbolic Representations Horns, fangs, and lightening bolts Draw a smaller version when creating a close-up of a character rendered realistically.
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Penning Characters Vol.2
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Vot. 2 Penning Gharacters i a t ț
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Chapter 3 Drawing Any Expression lm
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Pen Fundamentals l &ffi1 ': ,' ,i t
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l : i :r:,'i this version anticipat
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Pgn NibS The 3 Most Common Nibs: Th
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-riier drawing Normally, arhsb star
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lHiltry fu h d Taoered and Even Lin
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Assorted Uses of Heavy and Fine Lin
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2, Building up tines right from the
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Making characters Distinctive ^r /
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\__ I -\ i 1 t ; d t\ & x & I \ 3,
Page 27 and 28:
itioning the Figure with a 3/4 View
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=mct Views Etfective in Manga AYa*
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A+B Shoulders raised M ^\*t//^ --i:
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Note the distance between the eye a
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4. Moderate High Angle Regular side
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,/ , I i I .t-*#F' I :e,:c-s arar,t
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Connecting the Neck and the Torso N
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Ghanges in Eye Shape for Each of th
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Back of the Head Depictions of char
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The Eyes are the Face's Key Feature
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'SiEContourLines:ProcesstorRenderin
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[-arge- Round Eyes Standard eyes Do
Page 52 and 53:
ItffiErencs between Adult and Child
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Male vs. Female Faces Male and fema
Page 56 and 57:
Pointers in Drawing Cute Female Cha
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Greating Adult Faces Yourfiful Char
Page 60 and 61: a? nJ Pay attention to tlt: size of
Page 62 and 63: The Basics of the Human Figure Maki
Page 64 and 65: Pointers in Thickening (Darkening)
Page 66 and 67: Lighrsource y#l;Hiff'il::,ffiT1ili;
Page 68 and 69: hactirxlApplication: Achieving a Se
Page 70 and 71: faffig the Back -E srslMer blade an
Page 72 and 73: nguishing Female Body Types Average
Page 74 and 75: ./ tt, p, / breast size, the \ 1 Al
Page 76 and 77: nguishing Male and Female Figures j
Page 78 and 79: ffien Drawing Different Male Adjust
Page 80 and 81: ff chitd -u:l/.r ,a \ chird \ /\ Nc
Page 82 and 83: ltand G€sfures and Poses
Page 84 and 85: Draw the foot first and then the sh
Page 86 and 87: Waking Up Showing Gharacters Moving
Page 88 and 89: hes SEq*ng You are not required to
Page 90 and 91: Sample: A Jolting Wake-up \--zz
Page 92 and 93: Drawing Any Expression I m a g i n
Page 94 and 95: Mouth Movements: Depicting Basic Uo
Page 96 and 97: Clme-ups of the Mouth There are occ
Page 98 and 99: Theatrical Eyes ng the Wide open ey
Page 100 and 101: Uses of Showing the Eyes Maintainin
Page 102 and 103: Combining Features to Express Sampl
Page 104 and 105: Ofiry:Tears +(E6 As tears are a liq
Page 106 and 107: Strrrholic Representation O @ O O o
Page 108 and 109: Dashes -1 . Used to express realiza
Page 112 and 113: Using the Mouth to Show Emotion Lon
Page 114 and 115: Aahll a) Yeeshl? 5) Smiling Faces A
Page 116 and 117: Chibi (Super-deformed) Gharacters a
Page 118 and 119: Creating Key Images and Gharacter E
Page 120 and 121: Vehicles and Figures: Driving Scene
Page 122 and 123: Suggesting Movement Using a Single
Page 124 and 125: Penning Techniques Th at G reate De
Page 126 and 127: tlater Dmpleb The key point here is
Page 128 and 129: Artist's Profile Hikaru Hayashi '19
Page 130 and 131: us $19.99 Vol.7: AMAZING EFFECTS Ch
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