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

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Mouth Movements: Depicting Basic Uowel Sounds TIe following are the most common shapes taken by the mouth when expressing a character's emotional state. They are essential to porlraying a character full of life. Side View i c----, t D u U Q i O Q ?\ uE
Rendering the Mouth's lnterior A.natomy of the -) Sssorted Manga-esque Expressi0ns /iren sh0wing the -outh just barely :cen, draw only the - -rline of the lips. ,\ \ \=-. =----4.' \d-^a T4 re mouth opens by the ,: r,,er jaw dropping. The -:per jaw does not move, \ ( d// d Top teeth only )9 s/\ \/ Corners of upper lip turned up i9 w\ Speed lines are frequently used when drawing a character yelling. a Here, the moufi has been rendered solely as an outline. The Upper lip Top row of teeth Upper jaw (Maxillae) Throat teeth and tongue have been omitted. Tongue Bottom row of teeth Lower lip )9 w( Bottom teeth slightly revealed Tongue only IY \ This figure shows the outline of the lips. Portions of the teeth and the mouth's interior are covered by flesh. lf the skin were removed to reveal the entire mouth, it would look something like th is. *) r1-) ,ffEtnd\ \,4tJt \H "Y \rffr Top teeth and d (-l // Y \ tongue I L/ ,\ Realistic mouth:Top ro and bottom teeth and tongue \ g Screen tone finish (Gradation tone) Screen tone finish (Dot tone) 93
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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,
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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
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 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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