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

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hitioning the Figure with a Front View Head H.egulu Angle A frontal view of the face allows the character t0 connect strongly with the reader. lt is often used with the full figure. Low Angle lle character is looking down, :u:: fie face is seen straight on.
A+B Shoulders raised M ^\*t//^ --i: *roulders' and clavicles' con<strong>to</strong>urs $ uell as the chest's shape take on :'*:rEnt appearances in high angles :,r' uren the figure is lying on its r: -ach. Close-up of the upper body 29
Page 1 and 2: RnOBg rmlil'fluuum[nluuuluuuun + w-
Page 3 and 4: Penning Characters Vol.2
Page 5 and 6: Vot. 2 Penning Gharacters i a t ț
Page 7 and 8: Chapter 3 Drawing Any Expression lm
Page 9 and 10: Pen Fundamentals l &ffi1 ': ,' ,i t
Page 11 and 12: l : i :r:,'i this version anticipat
Page 13 and 14: Pgn NibS The 3 Most Common Nibs: Th
Page 15 and 16: -riier drawing Normally, arhsb star
Page 17 and 18: lHiltry fu h d Taoered and Even Lin
Page 19 and 20: Assorted Uses of Heavy and Fine Lin
Page 21 and 22: 2, Building up tines right from the
Page 23 and 24: Making characters Distinctive ^r /
Page 25 and 26: \__ I -\ i 1 t ; d t\ & x & I \ 3,
Page 27 and 28: itioning the Figure with a 3/4 View
Page 29: =mct Views Etfective in Manga AYa*
Page 34 and 35: Note the distance between the eye a
Page 36 and 37: 4. Moderate High Angle Regular side
Page 38 and 39: ,/ , I i I .t-*#F' I :e,:c-s arar,t
Page 40 and 41: Connecting the Neck and the Torso N
Page 42 and 43: Ghanges in Eye Shape for Each of th
Page 44 and 45: Back of the Head Depictions of char
Page 46 and 47: The Eyes are the Face's Key Feature
Page 48 and 49: 'SiEContourLines:ProcesstorRenderin
Page 50 and 51: [-arge- Round Eyes Standard eyes Do
Page 52 and 53: ItffiErencs between Adult and Child
Page 54 and 55: Male vs. Female Faces Male and fema
Page 56 and 57: Pointers in Drawing Cute Female Cha
Page 58 and 59: 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 110 and 111:
m-rccrnered cross mark iJ/ ;a7 h =-
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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