d r a w i n g t u t o r i a l s manga

8/14/2019 D R A W I N G T U T O R I A L S manga

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Fighting: A show of Force.

Punching

BAD PUNCH:It's not horrible, it just lacks a certain force. Even though the form is goodon both characters there's something that needs to be done to show thispunch packed a wallop.

GOOD PUNCH:This is MUCH better. The force of the punch is shown in the shape of an arrow. The horizontal line coming from the attacker and the lines of the targets body bending at the point of impact. Making the fist a

"blur" of lines helps give a sense of speed and power to the punch.

Kicking

BAD KICK:Same deal here. with the target being stick as a board it tells us this kick

was nothing special. the attacker appears to be merely raising her foot atthe target

GOOD KICK:Now THAT had to hurt! Again..the horizontal line of force crumples thetargets body around the point of impact. He probably won't be getting

up for a while. Also the attacker's body is much more a part of thiskick. all the balance is thrown into it giving the impression of a mighty

delivery. Adding details:

When you get to the stage of cleaning up your workand adding in details be sure and incorporate linesthat translate the action taking place. The edges of her fist and arms are quick strokes following thedirection her arm is travelling. his head is knockedback from the point of impact. His hair and spit showthe continuance of the force of the punch. I putcurved lines on his check to show an indentationwhere her fist connected.

D R A W I N G T U T O R I A L S

http://www.polykarbon.com/tutorials/index.htm



Now that we know some basic shapesand know a little more about howclothing should fit on your subject, let'swork on the actual parts of your character's wardrobe. We'll start off by

going over basic shirts. Whatever typeof shirt you draw, there are some basicplaces where folds will occur. Sleeveswill be stretched towards the shoulder.Fabric generally gathers and bunchesup around the armpits and waistline. If you are drawing a character with aheavy jacket or a loose shirt, the fabricshould be thick and baggy and full of folds and creases, while if it is a tighter fitting garment, the clothing will stick

pretty close to your subject (which iswhy it is important to be able to drawbodies; I have found that you cannotalways cover up your entire character

with really loose clothing to hide the fact that you aren't very strong in figuredrawing. ^_~)




http://www.cablenet.ne.jp/~japanime/tutorial/tutorial.html



Now that we know a few of thebasic shapes of folds in fabric, let'smove on and see how clothingshould look when it is actually being

worn by someone. At the left, wehave an example of a very loose,draping sleeve. As mentionedbefore, the main thing to consider iswhich direction the fabric will bepulled. The sleeve here is beingpulled in two main directions:downwards because its pulled bygravity, and to the left because itsattached to the main garment andis being stretched across the arm

and torso. The folds in the sleeve will follow the direction that thecloth is being pulled. Notice also how the cloth bunches up aroundthe wrist. This isn't necessary, but it does indicate the length andlooseness of the sleeve.

Here are three more sleeveexamples. These sleeves arenot as loose as the one shownabove, and all stick pretty closeto the arm. In these examples,

the cloth is stretched from thearm to the shoulder and torso,rather than being pulled downmainly by gravity. There isn'tenough material to be pulleddown too greatly. Since thefabric is pulled horizontally, thefolds should reflect this. Thebest example is the top picturehere; notice how the folds movetowards the shoulder instead of

towards the ground. The sleevein the middle picture is a littlelooser, and is pulled down bygravity more. The sleeve inbottom picture is big and loose,

but is rolled up at the elbows, and thus doesn't hang and droop asmuch as the sleeve in the previous example.




http://www.cablenet.ne.jp/~japanime/tutorial/clothing3.html


http://www.cablenet.ne.jp/~japanime/tutorial/tutorial.html



The most important thing toconsider whenever you are drawingclothing or any type of fabric is thedirection the fabric is going to be

pulled in. Folds are causedwherever the fabric is beingstretched or pulled; figure out howexactly you want the fabric to move,and the rest is pretty easy. Alwaysremember to consider the figurebeneath the clothing; the clothshould reveal the shape of thefigure beneath. I'll go into moredetail on this later.

At the left are some examples of basic types of folds. Notice the

movement of each example shown; the fabric flows downward on the top lefttwo, for they are being pulled down by gravity. This type of fold would be onsomething that hangs loosely, such as a cape or long shirt. On the lower leftand upper right examples, the fabric is not only pulled by gravity, but stretchedto the left (probably by an arm that is underneath the clothing). The foldsbecome more horizontal than vertical the further it is stretched. Also noticehow sometimes the folds are nested within one another. This will often occur at joints or areas in which loose clothing is bunched up. The lower right pictureis a slightly more complex example of a more inert piece of cloth being pulled

in a viarety of directions. Notice how the folds follow the direction that the clothis being pulled in.

Here are a few more examples of basic fold shapes. On the left, thecloth is being pulled downwards bygravity and to the right by wind or motion. One the left, the long stripof cloth is bunched up near the top.

Remember to use shading to giveyour subjects more form. Generally,you shade along a fold line, or onany places that you think a shadowwould be cast. This takes somegetting used to. It helps to look atactual folds sometimes to see

where to shade. Sometimes, I'll sketch the drapes or a towel hung over a chair just to practice and get a better feel for how clothing is shaded.



Storyboarding

Storyboarding & Layout 2004-04-01

By Kabukiyasha

Storyboarding & Layout

An Introduction to Storyboarding

The boxes in manga come from the use

of camera angle and frames ia movie. The idea is that the focus of a frame allows the reader to better appreciate manga's fluidity in expressing storyline. UnlikeWestern Comics where frames are often carefully posed pictures that could be used as a stand alone products, manga is more motiongeared and often a single frame is like one in a movie. Only specialized boxes can be used as a single pose.

If a storyboard is too messy then it makes it difficult for the reader to concentrate on the story, and if the framing is done toometiculously it can distract from the tale itself and make the manga focus on structure instead of story. Remember, the framing process

is used to enhance your story, not vice versa.

Part 1: Basic Layout Unless there is special requirement from the story a basic layout will show the background for the placement of character (setting), thisallows the reader to immediately identify with where something is happening and how it affects the character/s.




In the above example (Arklain manga pg I - 2002 January Issue), the opening sets the scene, an ordinary looking street in a place thatis obviously not our world. Lets separate the frames and take a closer look.

That's the opening frame. It shows the time and place of the event. The dress and building construction are obviously different from ourown world. And a label gives the town a name.



This is the second frame. It shows a number of people, notice that because they are not considered important characters they do not gemuch exposure and are used more as background for the three frames in front. But their words give the reader an idea of what thesituation is and how it got there.

The three frames here are the ones that show what's actually happening with the maincharacters from different angles. The hand and the face in the first obviously shows that the dark-haired one is kneeling or sitting orrelatively short compared to the hand's owner. The framing of the man in the middle suggests the hand is his, and he has a haughtierpositioning. The hilt of the katana in relation to the black hair is another hint on what's to come.

In this frame the key elements are the standing man and the kneeling one. The standing one is holding a katana and obviously beingcheered on by the crowd. The large frame of his face shows little, but the enlargement allows for a deeper understanding of the readeras to which character is more central to this manga since this is their first close up.

The last frame is given some FX and a broad simplicity showing only blood and the panicking birds. It lets the reader imagine what hashappened instead of showing them and smoothly leads to the next page where they will find out.



Oekaki

Oekaki Basics2004-09-26

By K

Oekaki Tools

The picture below only shows the Oekaki tools you will see from Shi-Chan's oekaki shi-painter. It is the version I prefer to use and

can be found at http://www.kenshin.net. It also does not show the draw area and the tools are arranged so that all of them can beseen. Usually only the toolbar and some options are visible. They are explained beneath the picture.

Group 1 Upload: Use this command to upload the picture you're working on. It is recommended to use the prtscrn button to copy your picture(screen save, the key is located above the insert key on most keyboards.) before you upload since your session might have timed outand the picture lost. Left click on the mouse to use this button.

Float: Use this key to make the entire window including workspace, your current picture and the tools open up in a separatestandalone browser. Gives you a bit more space, but some of the palette options are missing.

Redo: Use this command to redo an action you undid with the undo button.

Undo: Use this to undo an action. It allows fairly many but be aware that once you undo it won't appear in the end animation.

Fill: Fills the clicked area with a single colour, but the area must be enclosed or it will automatically fill more. This command is usefulfor big areas of colour that doesn't require finesse.

Group 2 Oekaki Painter Version: I use this version because I'm most familiar with it and the pen tool makes life easier with drawing smootherlines.

http://www.kenshin.net/





2004-2006 © Kabukiyasha.net

Storyline

Brainstorming2004-04-01

By Kabukiyasha

Brainstorming

Gathering Stories

Stories exist all around us, but it is usually not easily apparent when one sees a good story. A key skill to have is to be good stories as they come and record them. A good habit is carrying a notepad around with you.

Types of Stories

There are many paths you can take, romantic stories, horror, adventure, fantasy, mecha, war... the possibilities are endbrainstorm helps you figure out the key elements of each and what you want in your manga.

Brainstorm by Sight

Take a large piece of butcher's paper and scribble/doodle on it, drawing out shapes and images related to a central ideaNo words yet, this is just a visual exercise for your mind to get used to the motifs you might use.

Brainstorm by Mind

Stories all have a focus, try to find it in your mind and focus on it, then slowly sift through all the emotions associated wand what range of them you would like to bring out. Is it laughter? Tears? Now write out related words to the theme/s o

Brainstorm example: Love Related Words.

Anger, Fire, Rain, Heart, Chocolates, Honey, Sugar, Sweet, Bitter, Jealousy, Tragedy, Revenge, Light, Hope, Warmth, JouHands, Shops, Cafe, Cage, Wings, Clouds, Feathers, Birds, Chains

Love >> TragedyHate, Disappointment, Tears, Hair, Hands, Storms, Rain, Thunder, Darkness, Despair, Grave, Skeleton, Hope, Life, DeatReason, Logic, Insanity

Love >> WingsAngel, Seraphim, Birds, Heaven, Sky, Blue, White, Black, Devil, Magic, Feathers, Doves, Peace, Tranquillity, Death, Life,

Combining

After you have your ideas in mind, think of the feelings and thoughts alongside the pictures as you go back to them, andoesn't seem to fit together should be taken note of and set aside for later. Now go back to the notes and stories you've

created and use the appropriate imagery + emotions you've developed for this piece.

2004-2006 © Kabukiyasha.net

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