how to draw manga vol. 5 - developing shoujo manga techniques

8/9/2019 How to Draw Manga Vol. 5 - Developing Shoujo Manga Techniques

1/136

EASTERN

REGIO}TAL

LIBRARIES

ll

l,,l'll

.lll

lll

'

'

7'

3

0023

01402

l\.rrLrlW

Developing

$houjo

Manga

Techniques

,

,t

,:i.l;i

:,.t.1

SOCIETY

FOR

THE

STUDY

OF

SHOUJOMRNGR

TECHNIOUTS

I.'


2/136

Vol.l

: Compiling

Characters

Chapter 1

Drawing

the

Face

Chapter

2 How

to Draw Bodies

Chapter 3

Drawing

Characters

ISBN4-88996-042-2

Vol.2:

Compiling

Techniques

Chapter

1

Background

Management

Basics

Chapter

2 Tone

Techniques

Chapter

3 Expressing

Light and

Shadows

I

5BN4-88996-044-9

Vol.3: Compiling

Application

and Practice

Chapter 1

How to Draw lnteriors

and Exteriors

Chapter 2 How

to Draw Machines

Chapter

3 How

to Create a Short

Story MANGA

lsB

N4-88996-04s-7

Vol.4: Dressing

Your

Characters

in

Casual

Wear

Chapter 1 Underwear

andT-shirts

Chapter 2

Sweatshirts

and

Skirts

Chapter 3 Jackets

and

Jeans

lsBN4-88996-046-5

Special:

Colored Original

Drawing

(Copic

Sketch

Pen)

Chapter

1

Copic

Sketch

Pen

Chapter 2

Copic Airbrushing

System

Chapter 3 Try

Using Different

Painting

Materials with Markers

lsBN4-88996-047-3

Distributed

by

JAPAN PUBLICATIONS

TRADING

CO., LTD.

1

-2-1

,

Sarugaku-cho,

Chiyoda-ku,

Tokyo,

1

Ol

-0064

Japan

Phone: B1

-3-3292-37

51 Fax:

B1

-3-3292-041

A E-mail:

jpt@lptco,co.jp


3/136

r0ryaRry

volffte

Devetoping

Shouio

lllanga

Techniques


4/136

Il0lfT0

Dmffi

flfffifi

m

t IbCqfU

Shoujo MangaTechniques

by

]}r

S@@

tutu

SIS

of lilga

Ecrnierm

fuiUrt

@

fl

W

]lffiG

SEiry

b tu Stlty

of Man

ga

Techniques

@qlt

@

flgm

&il[dta

Rffiring

Co.,

Ltd.

tunlilirfr

ilrlWry

@t-$IaPublishing

Co., Ltd.

fhfiffi

Emrr

m

nfrtrstEd

in 2002

by

edE-th

qruilffiu

h.

tlr_

ISIE

ffi

tr"llh

*dmart,

tr

fie

Study

of Shoujo

Manga

Techniques:

tuutlilme,

run tu@

ffio

t(Lldo,

Ryo

Kagami

ffimrm

flIElmEIc

qf

IiLrymm

ffiffi

t(ffimrtmlm

EffirdlffffiIlr,ffit

E{ffirmmulttttlttim

Jffir'dlltitumffir

f,rymmrnryury

rdhr

[qFd

cudinator:

Kaoru

Kajiwara

Studio Pinewood

lnc.

Hideyuki

Amemura

Yasuo

lmai

Shinichi lshioka

Shinichi lshioka

Lingua

frdnca,

lnc. ([email protected])

Motofumi

Nakanishi

(Graphic-sha

Publishing

Co., Ltd.)

Kumiko

Sakamoto

(Graphic-sha

Publishing

Co., Ltd.)

fifl]riluilfimilmild'

lu

nlt

trtrE

HlIi]ation

may

be reproduced

or

used in

any

form or by any means

-

[mililm*,dMm[umm.

mrc.to*d"

ildrlding

photocopying,

recording,

taping,

or information storage

and

rffiM]lqlMrnflm

"

(hrr

riltsn

pefrnission

of

the

publisher.

ffilltdlillltilffiliumnmumturtu

ilffiinrs

in this

book were

screen tone

and

lC

tone manufactured

by Letraset.

llh|llilmmmtllllluMEffiG

rGrE

il rriuEn

on T00

manga

paper.

nffirumm

Jrhmfrm ruifrMfrrilm

IME

h* 1fi.

]ffiflrf,ri$lmwillfuipdtn

mem*u

mryo,

I

01

-0064

Iffiilflmm

qffiffimile,@S,51

Fe +81

(0)3-3292-041

0

Gffihf,ilrymmMilmlr]ill

mMilffiMffirtitf,[@lu,Igr

ffi&mffitmmr

,u[Em


5/136

Table

of

Gontents

1x:

>r.

+

Seer

irom

a Vailety

of

Angles/Balance

Between

Head

and Neck/Let's

try

giving

characters

expressions /How

to Draw

Hair

-r',

Tt

I

xF furglesl-et's

give

characters movement

:,:r:,

.::.:

of

Common Mistakes

:-=::

Lines

3

How

to Draw

Parallel Lines

and

Flashes (Converging

Lines)

..........77

Special

Effects

Used

in Girls'

Comics 1/Appeal

of Characters/Something only

possible

in a

girls'

comic

Demands

made 0n the

coy /Psychological

Characterization

Special

Effects

Used

in

Girls' Comics

2

Choose a subject

(genre) /Example

of Romance Comic/Hints for

Siories/How

to Make

the Story Development lnteresting/Element

of

Surprise

.

lAttracting

the Reader)/Growth

and Development

ofthe Heroine/Special

Effects

Used

in Girls' Comics

3

Shapter 4 How

to

Create Manga

Manuscripts.....................

..........112

Writing a PloVStoryboarding/lnner

Margin

and

Bleeding/Speech

Balloons and Letter

Size/How to

Draw

a Two-Page

Spread/Borders,

Speech

Balloons,

and Drawn

Letters/Frame

Allocation/Picture

Composition/Shift

of Scenery/Page Turningishot

Types,A/antage

Point and

Angle in

Scenes

with Characters/CutBack/How

to Attach Tracing

Paper/Title

Page/Basic Tools/Example of Pen Work

3


6/136

t-

v-

\1


7/136


8/136

Do not

think

of

the

face

as

being

flat.

Think

of

it

as

a

rounded

sphere as

you

draw.

The

eyes,

nose,

mouth,

eyebrows,

ears,

and other

parts

all have their

proper

positions,

so be careful,

[*l"arle

be

female

t -.

-

L

Front

Side

Position

of Ears

Good

Not

good

ffi-m

raw outline.

The

position

of

the

eye

is about in

the

middle.

The

lenqth

ot

lhe

face

ie

aboul lhe

same ae thaL

of the handl

When

you

acLually

draw

lhe

face,

be7in by drawinq

f,he

outlinel


9/136

:-Pay attention to

ffie

balance

between the

-

ears, nose,

and

neckl

--e

:pposrte cheekbone

s

-rrf,Cefl

bY

the

nOSe.

lsn't

the

neck

line

attached

to the

base of

the

ear?

I

Neither the'

eyelashes nor

the

nose

is

visible.

At

this angle

The

angle

of

the

nose is

the

nose

is

not visible. wrong

The

eyebrows

arenot\/

\

visible.

(

I

Iffi,il\

?

I

;i::i[l

/"1

\

The nose

is

slightly

visible.

The mouth

position.

Face in Profile

Do not make

the

nose and

chin too

pointy

The upper lip

sticks

out a little

more

than

the lower

lip.

TA

{

,

-,)

I

Line around

eyebrow

Line under

nose


10/136

Balance Between

Head

and

Neck

The

neck

doesn't

bend

his

farl

Length

of

Neck

Not

good

The neck is too thin. The

neck is too

thick.

Looking

Back

Her neck is

to the

point

of

being

scary

Looking

Up

YAAHH

The neck bone

protrudes

slightly.

i

T

-/

[fl

This is

about

the limit

(requires

bending

backwards).

Looking

Down

This

angle is impossible

to

attain

without

bending the

back.


11/136

\

t/1

The

size of

the

eyes and the

position

of

the nose are wrong

on the

face marked with X.

Not

good

The

far

eye is smaller.

Some ways

to

check

to

see

if

a

drawing

is

distofted

are

to

look

at it

in

a

mirror,

look

at it

upside down, and asking a

friend

or

other

third

pafty

to look

at

it.

qq$ffirs

,'kt"

-/

@

-

.

'.f

?(e

the

eyes

of

children

:l

.

--

rk

about

the

difference

in

:r1e structure between fat

:-l thin

people.

.

--e

amount

of

hair

:ioreases

with

age.

-

:'e

case

of elderly

"."acters,

do not

just

add

'r(les

to

a

young

face

Draw the

face

a

little

lower than

the

center

line.

Middle-aged

woman

j

the eyes and

cheeks

are

low.

There

are

more

wrinkles.

The shoulder

line

is

also

lower.

Elderly

woman

Neck

muscle

Middle-aged

man


12/136

Let's

try

giving

characters

expressions

Facial

expressions

differ depending

on

height of the

eyebrows, the

size of the

eyes, and how

the mouth is

opened.

Having

a

hand

near the face

will

make the face

more

expressive.

It's

so

funny

there

are

Smile


13/136

Adding

a

''

makes

"\

the

character

look

=-..*'

'

1/

,ngr.

----,


14/136

How

to

Draw

Hair

(Hairstyles)

Adding

a few stray hairs

will make

the hair look

natural

Looks like it was

hardened

with hair

spray.

Not

good

Straight

Hair

Draw

the hair

one

size

larger

than

the

sketch

of

the

head.

Adding volume

to the hair

will make

it look like a

wig.

This

female

pads

her

hair

in

the

middle.

iro@il

j

\

Lurse

head

rri'

',\,

',\

k;;-.,

?en

f,o

uee

ia the

Kound-pen

Act

\

-..-r^

I

/T\-

The

hair

is dry and

straight.

The inner

side

is shaded.

Use tone in this

instance.

he hair looks sp,c,:r ,

because

there are

tc':

-=-,

strands.

The lines

ar:

monotonous and har:

When

penning

in the

drawing, do not

get

hung

up

on

the

lines

of

the

rough

sketch.

Relax

and

draw

in

light,

sustained bursts

without

stopping the

pen

midway

through lines.

("re


15/136

Be

aware

of the hairline

and

whirl

of hair.

it

appears to

be

wrapping around

the

other

side.

Add

thin

lines.

Do

not

add sheen to

the

inner

side

because

it

is shaded.

Use

a

pencil

to

draw

guidelines

for

adding

sheen.

Use a

pen

or brush

to draw

lines

while

noting

the

flow of

the hair

(make

the

ends of the lines

narrow).

Paint

black

making

use

of

the

lines

drawn

in

Step 2. A

thin

brush

is best.

*

Use

a

stiff

brush where

the

ends will

not

split.

Not

good

lf

you

ignore

the

shape

of the head

when

you

add the

sheen,

the head

will look flat.

Not

good

There should not

be

a

clear

border

between

the

sheen

and the solid

block.

-*-

Add white

or

leave some

white

in the

shape of

the

sheen.

0ther Types

of Solid Hair

@@


16/136

Permed

Hair

Hold

the

pen

lightly and draw in a relaxed

and

nimble fashion

in

order to

get

the fluffy

look of a

perm.

The

hair

looks

hardened

with

hair

spray and

healry.

Adding several strands

of

thin

hair

to

the

outside will make

it

look natural.

It will

look

outdated

and

hard

if

the

lines

are uniform and the

thickness

of

the lines

is constant.

Hold

the

pen

lightly

and draw

with

a flick

the closer

you

get

to

the end of

the hair.

The lines will be

unsteady and hard

lf

you

draw

slowly.

Monotonous

lines

are

not

good.

Too

many lines

make

the hair

look outdated.

:

a',', oi the

hair

ras

reen

igni'e:

It is

also

good

to

add tone to some

parts.

Adding thin hair

on

the

outside will make it

look

fluffy.

it

\\

Hair

is

thin

at

ends.

Shaded

portion


17/136

-

Shon

Halr I

---

ln

the

case

of

sheen.

think

about

how

the

iight

hits

the

hair.

The

facial

expression

differs

depending

on

the

forelocks.

Sheen

like

an

angel's

halo.

he

key

to

shorl

hair

is

the

cut

.':ate

sheen

by

scraping

::

tone.

Pay

attention to

the

part

in

the

hair.

Pay

attention

to

the

flow

of

the

hair.

l

Hair

with

Tone

Use

tone

here

and

there

(the

hair

wilt

took

fair).

There

are

a variety

of

types

depending

on

the

type

bt

tone

and

now

tne

tone

is

scraped.

Solid

black

and

tone

Paint

the

hair

black,

add

tone

after

the

ink

has

dried

completely,

and

scrape.

Pay

attention

to

the

balance

between

the

black

and

tone.

15

{

ln

this

instance,

it

is

best

to


18/136

Other

Hairstyles

be

gure

to

keep

uV

wiLh

Ihe

lateef,

hairetyleol

Make sure

the

hair

looks braided.

n


19/136

Pay

attention

tofie

-

-a

tro*oilnrna,i

/' ,z

jA.


20/136

The

position

of the head

and heels is

determined after

deciding

the height. lf

the

character

is to

have a head-to-body

ratio

of

1:7,

then

divicte the

body into

seven

parts

based

on the

size

of

the

head.

The

hair volume

is

separate from

the head-

to-body ratio,

It is

best for females

to have

a

headto-

body

ratio

of 1:7

or

1:8

(the

character

below is 1:7).

(

Note

f,haf,f,his

rule

of

Lhumb

chanqee

if

the

head-

Lo-body ralio chanqee.

The

waist

and elbow

are

/atlhe

same

position.

The

wrists

are located

at

the crotch

line.

The

region below

the

knees

is

longer.

The

calves fall

outside the

center

line.


21/136

ltfllllilillr f|ia

[iifr]

i

q

--(:a:2,

sr Sirlders

than

flllrrrrEl{Bi[

t-l:

:',],lE-

mnes. Don,t

forget

to

iltLlllllli

-

l.rirtiE

It

is

best

for

males

to have

a headto-body

ratio

of 1:B

or

1:9. A ratio

of 1:10

is

stretching it

(the

character

below

is

'l:8).


22/136

It

can

be

difficult

to draw

shoft

people

and

children if

they have

a

headto-body

ratio

of

1:7

or

1:8.

-A

.a--.


23/136

ilE\

sta

'

:afss

a

rlct

r

rda

[l

oraw a

rough

sketch.

@

OiviOe by

the

number

ot

@

Roo

the

character.

lrlnde

(Looking

Up From Below)

heads based

on

the

center.

High

Angle

(Looking

Down From Above)

7

6

5

4

4

3

2

1

The feet

are small.

+.-

\

Center


24/136

[eft

give

characters

movement

|

(t

X

\

l?)

VLJ

tfl

H1

\1\

W

\il

N

tr

Pay attention

to

the

movement

of the chest.

The

hair

sEeams

back.

---*

r-

Leanino fonivard makes

it

look like

V

tne

chiracter

is running

fast.

Lorq

stides

make it

hol

\S:..

\-\

,-\

N-.

\

\\'r

\

l

),r\

1'

,i.

t\

Hints

/'W@ mf,

.:r

#i

Song

Titles and

Lyric

Cards

You

will find hints for

titles

hidden among

these.

The title

is

on

top

of

the character.

The

composition

is

no

good

either.

A close-up

of

the

heroine

in

the

middle

of

the

page

is mundane.

This

garden-variety

title

should

be

redone.

Uninspired

Title Page


128/136


129/136

iLrrffin

r,

l

a.l

e{ge

are

lffirEi

i:r

i,*\'''ing

lndia

*,u

-E

r:

''ayJing

5F

-q

P\

,/l

//

t\

,/4

-----v\

Edge

3:'een-Tone,

and

lC Screen

:'

iigh

quality

and

are

easy

I

r ,.lndia

lnk

Lettering

Sol

(Dries

QuicklY)

-z,r

-g

lnk

:--;-

PeF

(Both

lndia

-.

.-d

ink.)

Kaimei

lndia

lnk

ffii*,

r

-ght

Table

-,:,-,enient

for

tracing

pictures,

cutting

-:

-=

and

finding

deviations

in

I

-:

,',

fl$S.

rRulers

rCutters

lTemplates

Convenient

for

circles

and

ovals..

Curved

Rule

lTone

Scrapers

lC

tone

scrapers

are

easy

to use.

ffi

rltems

Used

for

Whitening

Correction

ink

for

comics

and

illustrations

(The

Conection

lnk

manufactured

by

Art

Color

dries

quickly,

is

water-resistant,

and

is

easy

to

Paint

over.)

Misnon

(Not

suited

to

minutiae.)

1-

Convenient

for

minutiae.

This

paft

can

be

used

for scraping

tone.

Correction Eraser

Pens

Designed

for

both

water-

based and

oil-based

Pens

127

,:clies

Provided

bY

:'.

aido

lnc.

Poster

Colors


130/136

Tvnes

of

Pen Nihs

I

Spoon-pen

This

pen

cannot

create the

dynamics

of

the

G-pen,

but it

can be used

to

draw thin lines.

Though

the

shape is

similar,

the

lustered

type

can

be

used

to draw

thick

lines.

*There

are

other types

of

pens

as

well, like

the

school-pen

(thin

lines).

At

first,

pen nibs repel oil,

so

wipe

the

tip

before

using

itl

Replace

pens

when

it

becomes

difficult to draw

with

them.

Eyes,

nose, mouth,

eyebrows,

and

hair

(Round-pen)

Plants

(Round-pen)

Wrinkles in

clothing

(Round-pen)

0uter

lines of

clothing

(G-pen)

Round-pen

Convenient

for

drawing thin

lines

such

as background Iines

and

effect

lines

(a

dedicated

pen

holder

is

required). This

can also

be used

to

draw

dynamic

lines.

G-pen

Can be used

to draw

dynamic

lines

and

thick lines

depending

on how

much

force

is

used.

l;

rstered

,\

T-, e / \

/r \

/t

I

U

Main

lines

of

character

(G-pen)

Background

lines

(Spoon-pen)

Example

of Pen

Work

128


131/136

Frocess

from

Begi*ning

tc

Campletion

of,Manuscript

;- -*_-*-^-r

:

.-r

i

-'-l-

U

,=.fl

:r:-;-

Sxetch

=

-,_-

t

--.

:J

-r

fr-\

I

=

-

r-

-g

Touches

(Completion)

ri/l][

r,

,

,:,:"

at

production

in

this

order.

I

Storyboard

Create a rough

storyboard

on

a

separate

sheet

of

paper.

:e

story

of this

comic.

Snly

leave

necessary

rough

sketch

lines

so

as

not

t0

become confused

@

Rough

Sketch

uring

pen

work.

Transfer

the

storyboard

to

drawing

paper.

There

is

no

need

to

copy the

storyboard

faithfully.

Slight

alterations

are

common

(page

changes

are not

allowed).

Note that

a

mark

will

be

left

after

erasing

if

you

draw

with too

much

force.

*You

may

draw

border

lines

and speech

bubbles

in

ink at

the

rough

sketch

stage.

fr\*t

1

&'l:

tiL

t?

?''

5

Y

?

+

/:

;4;.

*L

\-t I

i

.\

,-.cr

;'--

f,r'

'd

b

B

{-l'

to

./7

*-+-

\

A

r/r

/l

lt

0t

129


132/136

*-E

ru

r:i:rl

ilas

ora\',,n

from

a

rough

sketch after

the

character

was

penned

in.

::r

:Er=

:al are

dfficuft

to

draw

without

being corrected at

this

stage, use

:::r3::,:,.

iurd.

Farts

that will

be

solid

black are

sometimes marked

with

an

X

r 3:i as

a

flag

during the finishing

touch

stage.

Border lines have

been

penned

in,

D\v),

t*t)

*

I

q

c

lz

t"

2

Y

)

F

The

sketch

lines

have

been erased.

Tone

will

be

used

later

for

effect

lines.

(f'

-)

,

+-'

{9'l

=

rJ{

n

f+'

\-\

t--

I

=-

/---\,'

,t

-l'

/,

Supplement

rstart

by

penning

in

the characters.

Some

people

start

with the

main lines

(contour

lines)

while

some

people

begin

with

the

thin

lines

(eyes

and

hair).

lPen

work

should

be done

from

left

to right

(in

the

case

of

a

right-handed

person),

so as

not

to rub

ink

lines

that

have not

dried

yet

with

your

hand.

ruse the

different

types

of

pens

in a

suitable

manner, and

carefully draw the

accents

and

minutiae.

lDraw

the

main

pictures

more

clearly

than

backgrounds and

effect

lines.

lf the

lines

are

130

all

the

same

thickness, it

will

look

flat.

B

_-]-

\

Ad)

j-?

irq

p'E*h

t&-

i

LrK

'2?

/=

z)

?v

'lv


133/136

,,,,,l

qllmmlmrmry

iruCnes

t

C,ompletion)

lrlllilr,f

iliilLilIi

uflriiiii,

:l'- :,..

r

lI

illuii| ui l*'rll llili r

Add

page

number in

pencil

(above

cutting

plane

Iine).

tt

t

;)

4>

3

f

2

*.

t-*

'].

b?

^,

i':

'i

,,

r1

ld

aa

(

[u1]*:-

-

:lily

erasing

the

pencil

lines

that

have

been

penned

in,

pen

in

converging

lines

and other

.t.,.-

--^

q

l[

ur

-

]f

-lt

the solid

black parls.

After

they

have

dried,

use correction

fluid

on any runover,

smudges.

'

"

-

--^),^^

:t

-

:

-dl\uS,

lr*::::

,

icpl

and scrape

tone.

r";:

'

::

:ne

dialogue

where it

has

disappeared

and check

for

errors and

0missions. When

there

are

,i:n':

lir top

of tone

and

solid

black, attach tracing

paper

and write letters

on

it.

l"-::.

:i

make

sure the

pages

are

numbered

and

you

are done.

l3l


134/136

@

Aae

any

dialogue

die

aVVeared (dialoque

ie

eomef,imee

eraeed,

alonq

with

l,he

reet)?

@

flae

rough

sketchee

been

compleL.ely

eraeed?

@

lave

you

placed

tone

over any

dialogue?

E

tu iN

dirty

(runover,

eoilinq

from

hande,

tone

residue,

elc.)?

?'ave

you

for7of,ten

lo

whiLeouL

anylhin4?

E

tu Nhe

uVVer

riqhL

corner

numbered?

forgotf,en

to attach

lracinq

vaper?

lf

you

are

going

to

submit

the comic,

remember

to write

the

destination

address

and

your

name

and

address.

The

End

@

tave

you

forqolLen

lo

draw

anytrhinq

or

forgoNLen

any finiehinq


135/136


136/136

I

SBN

811h-081,-3

88

Iffiil||

i4889

t+

5

6081

)4

fiiii:it

rqri

how to draw manga vol. 5 - developing shoujo manga techniques

Documents