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

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Drawing Any Expression I m a g i n a b I e H;xlli'I-'r',l33,i',:' to Portrav Portraying lacial expressions by manipulating solely the eyebrows: OOOO When the eyebrows are left the same, and the other facial features are manipulated: Not good @OOO 6B\ \1
i.lr: s:i,' E &,. S,itl *;i,t' ialr; lii thing the Eyebrows to Portray Emotion: Joy/Pleasure Anger, SorroMPity, Surprise "Joy, anger, pity, and pleasure" are generally regarded in Japan as the 4 basic emotions. However, there is not much difference between "joy" and "pleasure" when rendered visually. Consequenfly, I tacked on the much-used-in-manga emotion of "surprise." kJ@ *@w w *1 w *@w w *@w M6a
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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
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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
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
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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 and 30:
=mct Views Etfective in Manga AYa*
Page 31 and 32:
A+B Shoulders raised M ^\*t//^ --i:
Page 34 and 35:
Note the distance between the eye a
Page 36 and 37:
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
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 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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