How To Draw Manga Vol 3 Compiling Application And Practice

TO DRAW .

THE SOCIETY FOR THE STUDY Of MRNGR TECHNIQUES

TO DRAW

Compiling Application and Practice

Table of Contents The Aim of Volume 3 ............................................................................................ 6 For Whom Comics are Drawn................................................................................ 7

Chapter 1 - How to Draw Interiors and Exteriors .........................................25 Drawing Simple Objects .........................................................................................26 Putting C haracters into Scenes and Drawing Backgrounds ...............................28 A Word on Actual Living Spaces ........................................................................31 Drawing Buildings ..................................................................................................33 Background Checkpoints....................................................................................34 Drawing Backgrounds from Photographs ..........................................................~ Effective Management of Street Scenes.......................................................... 00.4~ Special Edition: Using Black.oo.oo ......... oo .... oo.oo······ ..·oo·oo·oo ......... oo ....... oo ................. oo42

Chapter 2 - How to Draw Machines .....

Drawing Machines ........................................ Drawing Cars ..........

43

00 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

000 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

oo ................4L

00 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 00 . . . . . . 00 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

<~>

Drawing Motorcycles ....................................................................................oo.oo.t.1 Drawing Colossal, Complex Machines ......................

00 . . . . . . . . . . . . . . . . . . . . . . . . . . . 00 . . . . . . .

oo.s·

Drawing Your Own Original Machines .................................................................oo5: More on Drawing Imaginary Machines oooooo ....... oo .... oo .. oooooooooooooooo Spattering ........

00 . . . . . . . . . . . . . . . . . . . . .

oo•·· ..

00 . . . . . . . . . .

oo ....... ooooooo. 000

0000 . . . . . . . . . . . . . . . . . . .

5

00. 00.00000 . . . . . . . . . . . . . . . . . . . . . . . . . 006

Chapter 3 - How to Draw Nature and Animals ..............................................f Expressing Natural Objects ....................... oooo• .................................. Expressing Trees and Grass ..........

00 . . . . . . . . . . . . . . 00 . . . 0 0 0 0 . 0 0 00 . . 0 0 0 0 . .

oo ..

00 . . . . . . . . . .

oooooooo.f

e

00 00 0 0 0 0 00 . . . . . . . . . . . . . . . . .

Expressing Rocks and Boulders .........................................................oo ... oo· .......: 4

Expressing Oceans .............................................................................................71 Expressing Water .........................................................·.......................................73 Expressing Clouds ..............................................................................................75 Expressing Fire and Smoke ................................................................................76 Expressing Explosions ........................................................................................78 Drawing Animals .....................................................................................................80 Expressing Animals .............................................................................................80 Drawing Imaginary Animals ...................................................................................85 Special Edttion: Using White ..................................................................................88 Arranging Natural Objects anc:l Effects ...........................................................,..... 90

Chapter 4 - How to Create a Short Story Manga ..........................................91 Creating a Short Story Mangat ...............................................................................91 limiting the Number of Characters .....................................................................94 p

Short Story Themes- Keeping it Simple ................................ ............................99 Drawing an Original Work .................................................................................100

~

Allotting Pages from the Script to the Manga .................................................. 102

14

Getting the Right Number of Pages.................................................................. 103

4

Fundamental Frame Rules ................................................................................104

8

Giving Characters Life ..........................................................................................108

1

Moving Characters on the Page .......................................................................108

4

Balancing the Composition ...............................................................................112

p8

Frame Structure in a Spreacl Layout ...............................................................114

~3

Highlight Scenes ...............................................................................................116 Getting the Story Rolling ...................................................................................117

65 66

Advice on Drawing Pages for Submission to Publishers ...................................118

66

Methods to Becoming a Man,ga Artist.. ..............................................................120

.70 5

The Aim of Volume Th Everyone knows that the best way to improve your drawing ability is to copy your favorite manga; however, without intentionally studying and understanding the ins-and-outs of manga and just frantically drawing pages on end as your method of study, you will make slow progress. This book is a technique book like no other, systematically designed to power-up your manga at an incredible speed by thoroughly introducing the secrets, winning tricks of the trade and essentials of drawing manga. Just because you have studied the fundamentals n "How to Draw MANGA: Volumes 1 and 2", it does not mean you have reached the end of the road in the 'way of manga'. This book teaches how to apply and practice these fundamentals when creating your own manga. Regardless of your sex or age, from beginners who've just said to themselves, "Maybe I should try drawing manga," to those of you who have been studying manga for a long while now but have not made much progress and pros alike, for all of you, this book comes highly recommended.

Nott: Worlcs relereoced In trill book 1\l,. blllrl rec100IOd 1o 100< llkAI lhe 011Qina1os best as POOSible; hOWIM!f. rue to 111oleck oiiiJ
6

Hole ; The MANGA from P.7 to P.23 in this book are In their original layouL Please read from right to left.

Written and Drawn by Takehiko Matsumoto All the manga characters that appear in this book are fictions. No Identification with actual persons is intended or should be inferred.

It's not too bad but ...

I expected as much to get a pretty hard-core opinion of my work but. .. Jes, what a shock! I didn't think 1 was That bad.

It's hard to my finger on

G1.1~this is

wl1ot to e•poct

All right! I' II show them next time!!

the fir<st time show your work to a publisher. I" II just have to try harder.

Bang!

No~

No!! No!!!

I can't draw!!

I wanna read a cool stOI)'.

9

About a funny gvy! You know with gags. Yeah. gags .•. that's the t/cke/1

Something

REALLY cute/1

With a storyline, ......... 1 knock your socks off/!!

Wh -who's there?

You gotta have fokesl Keep'em laughing!!

Yaknow, a hero story.

I

~

Finally listening are you?

10

THAT is t~e voice of tile READERS... they

all LOVE

reading mangal

i

l/

It's not that

Didn't I just tell you what the readers want?!?

12

Well I came all the way here so GET drawing!!

-::.-·

I've racked my brain on how to make it

But When I put it down

And

on the page,

Wo1ndered 1'----"

And you still can't draw•..

It's just...

It's hard to

put my finger on it...

Hey... can you show me your rough draft?

13

'II~ if

I think I know your problem.

The reason you can't draw Is...

In a word ...

/

Boring. You're not having fun.

14

/;

Nooo! That's not it!

are not illvir1n fun drawing, how do you you can others?

Yeah right! Okay I'm a boring guy. Of course ...

The problem

is .•.

Did you have loads of fun drawing that? Was it a good time?

Manga Is

the creator pouring his l'leart out on th& page M'ith pictums a11d a sc\Ql!lio. That's it.

about. ..

You're right. All I was thinking about was really showing the publisher and becoming a pro at all costs.

'If

Well,

But the pros face the same hardships.

that's really the hard

Or how about

something unexpected like this. lr you l~lnk like that. yOY'II have fun .

Think about things like, "'I lhe charao~ could do thist that here, ~~~ It be groat or I had a charecl like this 'N'Ot.Ct

n

it be cool."

And then take thai foefong ol

enjoymeflt and I>OUf ft on

totl>ep- as you draw.

The tension In my shouldens seems to be gone. I feel like I'll be able to enjoy myself when I draw.

Thanks little lady!

So hang tough!

So how about a little celebration as my way of saying thanks!!

I will.

I hear that!

17

Guft"..s I'll

be going.

Sometimes

You're not

you have to

gonna stay while I draw?

Whaaall I thought you guys showed up in pinch situations. You know, deadlines and slumps.

Do It for yourself!!

Oh that's a lie. Everybody wor!ls at ill It you're gonna bee pro, gel used to it.

18

1\! .}

I'll be waiting.

r') ~ Wha!

""-"'

H ...u ...h...

• • •

•

There's a

little marl< from lip sijck end some

beer inside!?

20

T'-6r$ ..~.~

~<;

Guess I'll wash my face ...

I

All right then little lady!/

First things first. I'll start having fun with it.

From that time, about a year later, he successfully joined the ranks of the pros but ...

just because he was a pro doesn't mean

he was making a living.

He had other, various difficulties. But that's another story ..•

21

How did you enjoy the show?

And I am his assistant. Suika.

Alow me to introduce myself. I'm manga artist ,

Egaki.

You've gotta be joking!!

Today's episode was a reenactment of something that happened to me ten year.; ago. What do you think? Pretty good huh?

We Interrupt this broadcast to bring you the news ...

BANG• (IJ~ ~ ~" ~i.i~~l

-~d

me. See you

at the end.

Well, looks like this could go on forever, so let's get back to the main event.

Moving right along ... "How to DrawMANGA Volume 3" is brought to you by this little lady, that old man

Sensei, do you have

any thing to add?

23

24

/

Try drawing a centerline for bisymmelrical objects. As an example, try drawing a glass.

e First. simply give it shape.

e Next, Ond and sellhe centerline.

~

~!! \'--'

·~. "t.

I

(!) -'

C)

8 It things aren't going so

• Look at the centerline and while paying attention to the

well, try drawing a box of perspective lines and retliink the wor1< from there

bisY111metrical balance, tldy up the shape.

J!

' ~

~ ,

...-: II\ -

'

'

\~;~.

-·

~-

011 you can't draw ellipses well, and if it is an ellipse viewed frof]l tl1e front, one method is to draw a cross in a trapezoid and then connect tile points forming a diamond shape and use that as a~yardsllckfor drawing tile ellipse~se this area as a

17

,1I------....:::::"'i·::.....-----" " " -\

yardstick to tidy UP the shape of the ellipse,

0 For reflections, extend the box of perspective lines and think from there. I

v

•,

l

r\ ' vX / IV t\ \, I -c 1\-..

~

I

'

- ~ >I./I ' ~

26

Note that the method of thinking changes when ~=-...::::::--..:::::..joo:::::~=--=.:...o. viewed from a diagonal angle -see dotted line.

.

'I I '~

J '

..... ./ I

I y ~

I One~ the outline is complete, do it In pen. Give shape to areas that do not need to be inked with a blue pencif and later use that as a yardstick for attaching tones.

G The key point in this drawing Is probably the tone management in the reflection. The first point of caution is to attach a dark, deep in color tone before all else.

t) Next, once a light, pale

re.

tone is added on top of the dark, deep tone, etch at a point slightly off tile border and line it up with the border of the first to11e.

Attaching a l~lll. pale lllne liefQre all else turns the area blac~ when a

da.'il, deep tone Is layered and rnakes it ~iffi~ult tQ see lltlere to use a

I

cutter.

t M and remove the e1Cile\i, l!'illlSpartmt area, Ad~ing expressions of f!ihl using while or elchihg can complete llle work.

..•··· ··················•··••·················· ··· ·····..• •• ; Fundamentally. drawn : to show the

; l:lisymmetrtcal balance. : Their use can be ; extended to cases ; using human figures : and showing the ; bis>onmetrical area of ; objects and spaces.

.. ... ..• . .................................... ................... • •

Puttin9 Characters il)tq:5cenesti ::.r:mig_ ~"3.\J~ifl.t~ft:it and Drawing Ba,f
First, give shape to tho area ol the space, area and the siles

Next, creal

"j~:;:.~~:.,-Jf- l the box

'

space of

your characlet Draw tile

~;::rJ character of the

box ina

!-

freehand

you want to draw.

'T",_-.-

style w11il~ lool
Using the bot,l ll1e 'eye-level' (horizontal fl~

and vanishing points.

28

Alter pv!tlng tho perspective lines that will mi!l<e up llle basics. draw as il you are placing obj9Cis ioiD 111e soene ualnD those lines as a yardstick whllo llllnldng about me size of Jhe charaetet.

the unseen areas too when thinking abaut the 11>1l!Himensiooal form of objecls.

wnea~O(I

tor rhlnkb1g ei)C\If '""

p0$111ona rclatiaoship al tho tolevision and

i1s- croracter.

When you have added too many llhes or are unable to see necessary lines, tidy up by erasing unneeded llnes. ', Js;rg J pen t)~

e

~s-

wnvenlenl •o1 sma J. !.leJk:::~te ateJs,

'

Wilen you want to keeplhe necessary lines ln tact

and er'8~ unneeded lines, cover the necessary lines with a piece ol paper end go aver too area wi111 aJ1

eraser.

~~~~~~~~~~~~il~~~J~~~r~~~ij;jijl bac~ground,

~ ~.set

Afle
el' lines)

log

29

Next, do ·111e inking. The basics or pen lnkfng the lfnas tll
Be careful not Ill draw 111e same kind or monotonic lines.

----

900d exampl(l

bad example

ComlJiete lhe work, adding peninklng.

lha kl!y point~ere rs b11; area~ dlawu in bllr.X.III ar.tditit~l. usc

1Jia01 lor shadows and 111B l~e. Keep It\ mlti<J that you aro
30

Dea. wrth the books al1d other fnmgs In ltle bookshelf usng a tino•pOint pen giving the oojects an actuallii<en\flll. II isli<Jod ilea to show the lich~ess ot !he lifl9s il'J 11a1KIIing lho details liiVn.

Adding tones finishes o!llha work. The key point here Is tho shadows added by the tones. Since shadows have light and dar!< colors In them, pay attention to their usage.

lllll!l!ll"T'"l As a basic rule, thlnk of perspective from the character's point ofvlew and then l.!;~.trtl consider backgrounds using the same rule tor exterior scenes.

=--·4!1

A Word on Actual Living Spaces Up tlll now we have advaoced up throli!Jh the basics of using one or two vanishing points; however, in actual living spaces tnere are numerous vanishing points and taking these from an eye-1~ve1 woul.d tat<e a long, long time. In addltioq, Ute tharaoter itself is not illways just standing still. When there is a Jot of action, you can't line up U1e background perspective with the same dll'l!ction of the

characters.

31

So what do you do? Really the only thing to say is to set things up so they don't look strange. We'll start with Lesson 1. First, in the middle of a piece of white paper, consider the space of the walls, the ground and the

noor.

For Lesson 2,

Keeo•ng those

consider various angles of the objects and character when viewed from a

images rn m1nd, fillln the w!Hte space by 1maging the space and copying the

images Into il.

television screen or the four-sided images as seen through a camera viewfinder.

At first, you mtghl not be able tc maglne objects that 'f'.> sse every day. our hang in 1here and keep orsWtng

While perspective i s an Important concept. 1t's not li~e you are drawi1g blueprints or anything so set a hlghe• value on whot lool<s goods as opposed to whet Is

32

J getting the 1~~~~~~~~~~~~~~:}~~~~~;-~Mdin~e aL ~I

...,

outlines

1

perspective from the main building.

1

I

33

Background Checkpoints Depending on ttle angle that obJects are viewed from, In some cases they can look unstable.

As a simple example, lake a look at the Illustration of ttle building on ttle right You can see that even If the perspective is correct, ttle building ends up looking flat, without any three-dimensional form. In order to bring about a sense of stability, you need to create cubic angles like in the drawings below.

An easy, effoctt,e methtld o urlng out the three-a nw 1slo!lal 1o1mand give stab Iii)' to the draw.nq I~ to a~pty a tons g1v1ng the sloe a sna•!Ow eftea

34

A set-up wi1h a feeling of stability is not only for buildings but can be applied to living spaces as well.

Optical Illusions exist in human eyesight For example, in SOOll cases, even though the perspective of the items drawn on the floor Is correct, they lool slanted. In cases like this, ttllnk of the angle and try searchingt a set-up with a feeling of stab! ttlat 'looks good to your eye'.

QJ OJ

OJ ~llhS case

[!]

Even if you make use and draw stable angles, when a full-sized building ts viewed, lhe unstable areas tend to stick out

/

11\e bounc:laly betweer'l ttte pro md the house 1oo1<s strange.

msttrubs, flnces and the lb 10 skillfully dit8t !lie

DO

~ing,

Cheating difficult ID draw or IIIISiabla areas ulso part of

'

I

JQUr technique.

Consider the thickness at objects. Mr example, the frame

rlthe windows and the

llecan be drawn mnaJiy If It is a large SJmd drawing; however, IIIII smaii drawings, II majority of people .. not be conscious of wn llsbllckness and the look R'Nt11g will look flat. If hinK Ill not too extremely lng 101 nU think of adding tabllitt Did< Ill the sides e'. llhere you want to give t !Ome thickness and M!e-dlmensionality.

::::::;;:::::::::~~;:::=~

Adding thickness with a pen relates to thinking about shadows. By

Ado thickness to bricks. block walls, tiles and the like.

applying thas, even 1n th 1n outlined drawings, a stable draw.ng can be done with the assostance of the shadow.

35

CtlrlSICWI~i~k(b~lc.tenG€1 OfWAitlli Walls are easy when depicted on buildings; however, when the

r - -- -- - -- --, If ltte .It~ new.dr.o IWlke U( too dtr\1>

this cas&~

background of a scene

take 'iJtlli by USIOJ tones' to add

in most homes and rooms ends up being just a wall, steps need to be taken to make it look dirty if the wall is old.

TM fee<~g ¢1 $llblilSI<JOCa Cl)affJE<> \\!tell

sh:-o..··ws are oM present a"!o when thc'f arc.

c::-rr;o;;-:::..,;7-- - - - - , Whe11 !ISing •lf(>(.1 "f.~~~~'?~~-----j line~ to •~e3te r~ shadrr.vs, ir lhH

rV>;;~~~••~~· \ :.~

l l!u l!gt•t ·a.frJ da1k11~m:;. ~~ rrfemr.T lr rooins t:x, Cltl!Xl! h.fr r.J u oltla ~a.

lines are too lltick, tt1eir sut.stster.cB tends to sgck OtJt. creatifl!l obtrusrro !.'IIUdGWS that end up makhg the (iraVIInQ look dir~t

While $'latltl'ils are usao tor

expressirog a feeling rA &Jbsister><:e theV ar•j not lmeniled lo be obtrusJv~. Willt thiS in mind.

dmw Sha'fl lines

Shadow Applications

In some cases, shadows aro

orodmed r.c.,

lr,"'l.fit.C~t:

li[lllltu dark

3:. !hill ns

VOSSible,

,,

'

light

..

1'!,

AtJ,timanagt::tncnt lines-In the 5hl'ldm\' aro.M lVIY.fl dmWlf!!J

aM tile Uh~ ancl gmf1ate rovmn1 the 1~m

36

Depending on the nnsparern:y and the rtlalionshfp of the IW!gle and the lig!lt, end up lool
•can

>S to show tt1e sky on glass at midday. Conversely. at night, the 'nside of the rooms can be eastly seen.

1..:so ef'ective lo show the character reflected Qt:t9S ltlO addiOQ light with Wllte.

lf

>9l1ft9lt'1IT these

I .AII;>rg 800 thG

VISible

tc.y PoJ·nt- fly 1tr~

, . iJe

~methods

Addlng a shadow ma1<es What is •nslde me glass

----~"::_~ '",. ~

~~~;;;;;;;t::r

Clas£•fY'I'9 )'OUr

not;; books Into vOlumes like

••tr. wuy to "wove ts to tty II,Utllg ~kllll\.illy

NJture settln~. bulldmgs ami

":a9Bd

Yal1(1us affects Is ;tl:;o a good toea.

e&- ~rt>unoo.

m

wt1e1 hnd ski!My manage(! backgroonds In manga n!
)IO'u draw.

T~ng action by addtng effect ~nes

for ligi]t also works.

37

Drawing Backgrounds from Photographs

An easy way to draw backgrounds from photographs is to use a light box; however, for those of you who want to really improve, we recommend nottaklng the easy way out and really improvin,g your visual power by drawing from photographs. First, g•ve some shape to the main buildings.

Draw the surrouPdings pay>ng attention to 1119 perspective lines using tt1s main buildings as a yardstick.

Ir-~:::i:c.:::::.:----:!1~~~~-[~~~~

38

Once you've finished the basic design, tidY up with pefspectlve lines and outlines wltl> a ruler.

·osh Vie work by altaohing ;ones. Try not

to t.hllll< too much abovt all the details and handle

lr\i 1"/'. f!iVIng the things JlJSI enough resemblance to make them look real enough.

finished work'

39

Effective Management of Street Scenes At first, it is important to try and copy the scene as you see It; however, when you reach a point where you can draw well enough, it is time to consider effective management methods, and draw backgrounds where they belong in the background. Even when a photograph is used for reference, there is no need to completely draw every tittle detail. Wl!at is foremost is to give the draWing the atmosphere

of a street scene. INhen characters appear enlarged in thfl fore;vound. the need to draw detailed bacKgrounds ts dmn•shed. Compositionally by adding sornstlmg lo the foreground, the dep\h of 1he drawing is brought out. Gradate tne ouilding in the bacK 10 'look like' buildings.

Drawing lette•s and !he lil\e 111 slreet St~ne.~ in complete oetails Is line but oct ne,oessary. H1ese can be nan!lmU b)> uradatinu tllem for rasel>.hlqrn;e. If d
exempt any kino factor. then drawing extremely detailed would be goOd; hrw"~"' the reality rs that. a level of quality must tt ach1evect ;n a s11ort Pfl' of t.me. So what do ~"' need In order to 6raw take vour penand draw Of course, genlng viith whrte. drawing fast iS ••~•,nr.a

40

ouildings by making use of crowo scenes. Draw several c11arae1ers well 1n the "'fl~:<Jtu,l ~161'1 ~~ hou0t te <'~d gradate the area tEihind ;hem.

.',\Jtf d
)PJI<, Withottl

~~~ I(Jo 'lltJCh ~WIIIij,l~f) I~.Jl!IESome are;os ·.ll~ be c.wered

lllll•tJJt lliSkirg

fa
I!'I"V ~Crllo'~'HlS w.~ 1t11l1e

·i
Vlhon all U1e n.umao~ in a crown scare are done as~ilnousnss nsMws effective management just by makln9 a iew tlf themlo!JII nke a l lt.e humans nt~ trcatm;;mg!Vos an tmjll'csston that you did not cut any corns~ r~P.

.- If\

a~

apply

- at. rel="nofollow">!lnl0~1

~~bsen"Cu~

" In ti"' .lt.•.dted "10~8

.....~nnu ., the ~"Ia

Wllilt snet•es r.an be hantiiP.d fJy sklllflllly U3ftt0 hlack ~r-tf SllitOucttcs. ll<e tong and shor. or vistJaldirocfion of r.ig"t scenes is ro add white tor light making Ute re_~t reoemnl~ ttiUhl

41

The black is done at 100% darkness in opposition to the numbers 61 and 62 amitoons (net tones) containing a respective darkness of 10% and 20%. By skillfully using the black, sometimes the drawing can be 'sped up' or a sense of power or weightiness can be achieved. This is a strong ally in creating manga. Sometimes try looking a1 a black-andwhite photograph coloring in the black areas or try studying how black Is used in various works. Basically, tile logic here Is to use black for strong, conlrasting shadows. Try ustng black in human

figure shaaows too. 0 Enil
the g.Jy$

Sometimes 1ry using black ror visual direction. tl E•lix/G Farua!'lt/ '1 UOKY'AAI<JJUN"

Handling lhe background with black is one metttod of direction too.

42

Chapter 2 How to Draw Machines

No matter what the model of the car, the fundamental shape can be formed from a box.

First, roughly give shape to the overall balance with a box.

Combine tt1s perspective taking into conslderaUon the unseen areas.

Once you've got a yardstick, tidy up the work giving it proper form.

Unes that arrange the position of the side view

Since the fiOnt part 1s like a human race, go for something Gt,aracteris1ic.

44

Draw the centerline. and look al lll balance on the ngh1 and telt.

Whl!ll drawing cars, the most difficult thing is probably the tires. The most common mistake Is wMn viewed diagonally !rom the 1op to the bottom dustrated on the left. The peak of the ellipse is lined up along with llie perspective.

Drawing A

When the ellipse is viewed from the front even if you changed the angle from the top to the bottom, this method worl<s fine.

lhe side •iiewed from abGvc

l:r.w·;ll'; in drawing A, &~er~pective ends up :fin~ strM9'! and ;1'93!! eo. So •Nhat do ~~· do'l Consider the llC tnat there is , lice thm rests on lhe ry.cn&and a side that t211 oo 11ewed from

U>e top of the eilip$e

<m'o'f..

the side resting on the ground

This means that the·top of the ellipse occurring at a diagonal angle is correct.

m& tl:ll or1tlc ellipso Another way of looking at this is illustrated in the drawing on the left.

vanishing point This same method for tires can be applied to all ellipses when viewing diagonally from an angle. front side

atthtl

diagonal

example: k~cherr dishes, etc.

45

.. Ink with a pen. Pay attention to applying black to the drawing.

Draw iires using a template.

Then draw the lines again.

Add tones and light to complete the work. gradatJOna lhe tllin sO;

Add109 !JSI a slight reflection makes it look real.

46

double layered sand-eye tones Gradation on the thin side is used t11roughou1.

double layered gradatJorl

' extra

· on to tho t 1\illdshleld IFCIIC()l.

Consider 1/le overall structure of the position of fundamental items like the tires, doors, etc., in addition to just the car itself.

- ~ s qule a lhl1 area.

Pay a1lention to lhe size of the car in oornparison with the person.

47

Drawing Motorcycles First, consider1he design and roughly give It shape. Then think about the rough outline of the parts and add In the areas that can act as yardstick first.

finished work

('

Cons1der roughly putting together lndopendent parts.

48

0 If the perspect1ve Is difficult to de1erm,ne, one method IS to add perspectiVe lines in the 1Jeg1nr1ing.

draw the more ,fllailed nems while at the parts as a yardstick.

0 Think of the motorcycle tires as car tires,

14bLIII~\I all 1he mechanical

'llOtorcyctes and the like cndertaking. 1-landle them black in the shadowed

gooa idea to get In the llabit t"e comparison ol to motorcycles and )1!::1!1VCies In motion.

I.I••Y.k<~a at

~~

e As for tones, the ;ires were layered wlt11 both sand-eye and gradation tones . Ove
49

Sometimes It may be diHicult to gather reference material for things you want to draw. At times Oke this, make the best of what you have making the drawing look enough like the original object. /

The wOO< Is complete when tones are

0 For example. take tnls military hellcopl The method here 1s to roughly giVe ! shape, use black for the detailed llf6fl.

nandte the shadows and skflllutty '0'1811 the drawing.

t

50

Drawing Colossal, Complex Machines

For example, take IllS aircraft carrier. As with drawing IIIOillrcycles, the method Is the same. Consider the sections as rough blocks and draw the parts that

can act as a using photographs b'reterence, you ~~~~ IIW oolice that the '' •ent parts are Jetty promiscuous IIIII areal llllertaking to draw. _,_ «fOU have to draw mlhanone lfrcratl carrier then it tlhat much harder. ....

~\

I

~~~~r k

t ------------------------1 1

---- -

/

tat.

s,

51

8 52

finished wor1<

-

•

The method here is to abbreviate the parts without destroying the overall atmosphere, or silhouette the detailed areas with black and make it look as real as possible without going overboard.

•

53

One method to improve drawing machines is to try drawing machines from your imagination. In order to draw objects from your imagination from vartous angles, you need a complete understanding of the structure of the machines. The diHerences of when you considered unseen areas and perspective lines and when you didn't the diHerences will show up In the sense of stability and overall merit ot your drawing. A1 that point, you w•ll nolice again it Is Important to put in lr•e unseen areas ,;~nd perspective lines.

In addition, if you understand the mechanisms behind your own drawings then you will be able to draw them freely. With that said, it could also be said that If you understand the mechanisms behind someone else's drawings then you can draw them freely too.

l

54

1

It is often said that drawing an Imaginary object with a sense of reality requires a great deal of design strength; however, as long as the space on the page looks like it should, all you need to

I

I

do then Is consider I

the centerllnes, perspective lines and unseen areas. In addition, if you think about the management effects, you will be able to draw all sorts of definite objects.

I

i

1

~

55

A round peo Is added here.

this is to draw the stre
Wnrle people ac-.customed to drawing rocks and boulders tend to do (he ou!line in oen. 1or 1hose of you new to this and for general prl!ctice. do the inking arter properly outlining 1n pencil.

Finally attach The etc~ing In the drawing on 111e •lgnillke the d!'llWiiiU ab!Jva vms etched in a stroking 1M1111"' vAihout qpplylng 10% am~oon (net ·tone) force ttl tile cutter.

••l'

W•th your elbow in a fixed posltl:lt, powerfully draw the center axi~

i he tones fin•sl~ng off theWO!k.

First, consider the oVP.ral rough shape. You rcn•'h"' Change tile Mgle at Will [ your head. Next, With the rough shape, if yov detailed acce~-sories ~no

view several reference photographs. you can What you want at Will.

poslllon, !IJ
More on Drawing Imaginary Ma.chines J Try drawing a more advanced machine. First, give shape to the forms deciding on your composition.

As for angles try a low angle, which makes visual direction of colossal, powerful, and domineering sensations easier. By arranging the composition a bit on the slanted side, a slightly larger drawing can be produced.

' /

By slanting the drawing,

a larger area of space can be occupiecr.

When viewing large frames up close, rt is a little difficult to tell if the design Is off or not. By looklng at the page many times from a distance. it is easier to understand the overall layout and you can check your work. Finally, turn t11e page over, hold i1 to the ligt1l and view it

58

Hmmmm.

lwe've said it once, we'Vll said it one ~rad times, when i • &ling outlines, soundly Wnk out the unseen lf!IIS. With complex objects., If there are too many lines in the OUUined drawing ma~tingl e~-erylhing black, first, Wilen you have pfa£e a piece of thin a~Wecl too ""'"" lines, go ewer lr.ICinQ paper over the· U1em with an tidying up page. Then, draw the WOfl<space. unseen areas separately on the tracing paper. Next, place the tracing paper under the page and using a light box l!i!Ce the seen areas. II you don't have a light liox, you can draw with ablue pencil.

I

•\

•

!

(

~-~/;he lt:N

trac;ng paoer over the picture and

tna unseen areas.

Then, place the tracing paper under the picture and draw only the areas that are vis;ble as seen through the light box.

59

For little items liKe tn the drawing on the righl

I ' ,,

I· ' I

e Set up the area that will act as a yardstick.

0

Next. consider the lines that will give shape to the threedlmenstonal figure.

While aligning thl rel="nofollow"> perspective, set centerflne and the unseen area. No matler how easy i1em mav seem, be and soundly think ll through. TI1e flow of

kind of drawing •.an be applied lo most materials.

8 Thor~,pen inlhe•nktng

and add black. Tile pens used hare are: a G-pen ior the machine and a round pen tor the buildings. The key point here Is the desttoyed sections or the building. In order lo draw realistic uestructlon sc~es. Ills necessary to know something about the structure of the dQstroyed objects and consider What kind of reaction will occur when a certain toroe Is applied.

60

Tidy up the shape an::l finish off with outlining.

•

e Vsing a Letraset 6 1 tone and the like, anached one page of a 10% deep tone oy thinking or each cloud as fndepandent from rt\e others. Outline them witl1 a blue pencil and etch in detail with the tlat pan

the second lone page, attach il in each ot the independent parts.

of a cutter.

0 Do a layering eflecr with the thtrd tone page. 61

Handling Transparent Areas

0

After attaching the tones, dr~w ltla ir111EJ( out11n1ng with white.

e

62

Next. attach a white tone to complete the wor1<

Spattering

t

A~« attaching the tone. put

"'" ll'>ishing touch9s on the

,"'JJk 'Wh some spattemg.

8

First. use masi<Jng tape to U11W31'lted arooc. While lhere is special papef

C
available on tne market fOf this type of wor1(. In this case the back of a tone sheet os used and spray glue os applied.

e Apply as little glue as pooolblo. If you don't, lho tone peels off and the page will get wet If you apply too

much glue. wope it off with a tissue paper.

Checkpoint This drawing uses the same gradatioo tone on a layering effect. ·

t OJ out lhe area lhat you •'3fll ro be spattered with

e Go JOf a gradation effect when spettenng the white.

,\'"'lite.

63

Expressing Small Props Tt1e rno~i difficult nart about drawing small props Is probably !he companson and contrast with hL•man figures. Apply the same design mett10ds that you have been 11sing up 11nUI now. One Lhlng to be careful of Is the size ot the props. While il does depend on the t>und of the ch<~racter. trY io draw small props a bit on the large side. You rnay notice that you hav<> drawn ihe prop on the small side making II look cheap and flimsy ruining the drawing you have wor!<ed so hard to create. This is a common mistaKe so be careful.

64

use perspective here.

Chapter 3 How to Draw Nature and Animals

65

•

Drawing nature is ex1remely difficUlt so you can't go and draw every leaf on every tree and every blade of grass. You need to consider methods to make the drawing look enougn ltKe nature.

Expresstng Trees and Gtass Since trees often appear in street scenes giving you plenty of chances to draw them, try to remember a few of these management techniques. As a basic rule, at first you need to consider the structure of trees.

Take for exarnpiA a wlth&rwlroo

66

Drawing A - lfiMes gather at 1he end of tile brE:onches.

The first simple and easy method to handle thiS is t<J use pen touches.

Drawing B

light

/

...

,---..

,

'

\

/~

<J

I

Tile thinking behind Drawing 8 is that pen touches are added to the snaded areas of the tree.

Sometimes the er.tire tree can be treated wlt11 black.

I< is also a good 1t1ea to

th1nk about the contrast of the col(lrs In the shadows.

Adding to the shadoW ateas is also a good idea.

67

Usrf1g effects like double pass horizontal lines skllltulli' used ir1 t!llckets of tr~s a'>cl grass can rncrease your variauons and render effects ti~e an oil pWnnng.

Considering the Trunk Since the trunk of a tree is cyhndl ical 1n natwre, be sure and craw It so it ooesn ·uool< flat when applying managemom lachnfques. An example is given on the right on how to manage the technique or bringing out the sense ot three·dimenslonalily in the tree

Finally. consider adding branches that looK like real tree branchoo and draw,

Wl1en applying pen techniques to lhe overall term. keep Ina gradatioll elfecr in mind.

Adding vertJcal 11r1es rs also effective.

68

Simply speakJng, oonsider gradatjon effects and how to apply thern.

W~oo ora'""'9

woods and

<milS. the easy part is ll".ll" Is up froot

and tho

:oAt pan is \1/hat is 1n #oellack. Omwiog all the 111e0 NOuld be quite an ''~eking and difficun to ~rnprel1end.

t"" f you draw EMl!ything i

f, ft\e drawtng coUICJ

JP being COfllused and lhus. it is :;m ~ nanclle back areas

J1C

.t~11&euous;

'~''11:! 00\lble pass hnes il.T'IJ6 QO!nQ for a

t.n·!Nl!aNle than actual

II
OJaWillg Leaves and Grass 2 j\1•16~ Ill ill

grass have two sides ~._,., ;ro (!Ef:lllfldiog on th& ~le. yau 111 •rJr "'~~"' to fhJw the J d.i&de. As a base rui<J. • ·ldel a'ld dtfN!Ieaves and ;s il<e the illostraboo on

1t'ti!'1 1

f"'ut {.'lome thmmn:t in:o

drsw ctrl

ll"'tAfs;~,r,-w·~g l':lttved !!n~

1I1E:1 \In~' a·~

oo

tna

I

I 1. Ars1.

w:..ng a

Y

'l. rvml)t dt'n.w ll1o oh
~'lf~ llr ~;t~,;,..

'""" flow of tlo leaf El~ It1e rltj111 3f1d left &dos ol

.1 Om\... r"~ rlgm Jlldle~ sidaS :'11,' • "9 up the ba9.!1mes.

l~l"'vi:IS arKJ. gr!iR. aro s,f""''TlStric

1 • gt~SS tS a lalge sozad

ntmw,the principles tor

1Any leaves can be applied

n

I

1 rl
ftow of

tile grass.

2. Draw the 3. Tidy up

p!iak.

IIIll sllape

As ror tne case of weeds, •hll b;)sll; school of lhink rel="nofollow">ng t3 rE!I)feSSI'1ted n DraWing A. Th!!n a I you have to dO IS jiJSI nlake ::Jg A 30ITIO'M1alll10m compleX

69

Expressing Rocks and Boulders For rocks and boulders, the environment in which they are set Is Important. For example, the flow of water In rivers and the like wears down the rocks making their surface smooth while boulders on a hillside tend to be rugged. There are various kinds of rocks and boulders, which are different, based on the environment in which they exrst. In order to

bring out the place, environment and atmosphere, it Is necessary to remember several management methods.

70

Rooks In nvEIS and oceans are worn down by the ffow of the water end the SUI face of t11em becornes sr!loottJ,

First of all, the water rises up tn the direction of the force.

The water nses ano as nreaches a peak, Ire foam nses.

As !he wave breaks, the foam quickly rises and the white water increases.

y~-=

As the wave breaks. ihe foamed up area spkts and widens to the lelt and nght.

71

A large amount of loam, wnlch emerges trom the wavas, floats on top near the shora resembling the mesh ol a fishing net

~xproSS1ng

waves also changes wiU 1

'he s~uation ,

Technique Point The character ln the CJraw'ng on the right <S tho only plaoe where pen work w.as added· the bacl\ground was handled completely li'nth tooes. To make tne draw1ng sound uslno only tones, the accent 1n the contrast needs to be firmly drawn.

72

~oo.---....1

Depending on the situation. the expression of water chai11Qes making it difficult to draw. In manga, water is eKpressed as moving at a fiKed moment in time•

. . . . ._ --- - - .....r

-

" · ""-·

!"tl<J J)a'l. lhe .,.,.,.,...,.. ol 5 la'docl cy using -.s.

.,

"'t""'

-...ra!IOn lho baf::t..grc:>.nd '""' boM ln1..,1foro 11y

, . . . , _ 10 DmiJ 00( ""'cMtra>!- ,•., ........ :nl ~ ~"'''Y

CJSt3l'lllsllltlO oer.se cl elOSl<:
W'-Er•_.,. tbals ., ~ V glfbe::e a&lSO'\ -

•q8 IJ" ...., grnn! .......... . ~ .o.e fa- 'llsn, "g"OV"o(J " wet ~ re
"' ob•
~

the nan.te ot ot -

~r.~I...­

d.Je to

lO form .n1o b;J5

I

i<-

VltlSI In 'IOU< .,..., """" dfa'w'MlQ r&• Is thal \-.h.:llevt:Y gots rained 01" •)e:S wet &; eorotul no: 10 lo a'a\Mng min

I

When l'\lln laiiS on

s.

wales, npples lorm and reflect right. In water, objects reflect

like a rmr ror.

73

On the other hand, water Is transparent and when force is applied. waves swimmingly form.

Fvndamentally, water flows from high places to low places; however, depending on the situation, consider the di!terent phenomena that occur In different snuations when expressing water.

For example, pour some water into a cup to the point that it almost overflows. The water seems to float on top of the cup and doesn't spill. The phenomenon here is known as surface tension.

1\dd a little light to the '1<81• making It three-dimensl~nl

II . I

I .,

d

I

~--

Surtace l:ension also occurs 1n water spilled on the floor.

74

I

I

\II

I

~I

:ll

c

&@iii dil'

nit! p!'\&I'!O•f!ai)OI! Ol liiJ

1cnsioo cecum nai O{\~~~~ water t.:ut al~o in othef hi

Drawing A is a well-drawn example making use of scribbles

ii;i;:::=:::.~

to express clouds.

Drawing A

Using Drawing A as a foundation, develop it making it more complex •

.......,... U!lllO a pen 10 """""' !he olfccls. m Glou tne now a ,..., d01105 "'" mai<e oore the pen tuuct-..:~ do""' ~ too ~- Also. ttw1k about lh9 OOI"1ImSI d ft"G sha
75

Expressing Fire and Smo~e Consider the phenomenon when a fire breaks out Imagine what happens to the surroundings and think about how to express this.

t1eat. light and srnoke

'n mind lhings · when you draw.

·n;e illustration on the right represent!; the baste con;positioh at a large nra. Using this

as a base, use your

~

r

favonre marmgement rnethods io express ~, ~ the fire. I /

r( ~

r'

lL, 76

Smolle can engulf Jl'd SWirl dep
Use the Illustration on the right as the basic composition

of wtlan thinking of expressing smoke.

Breaking down t1e drawing on the left into outlines. ren::lers 1he drawing above.

77

Expressing Explosions

L-.------...1

Explosions can be easily divided Into two types. They are: 1) Wind explosions from gunpowder and the like and 2) flame explosions from gases and g~solinP..

Wind explosions convey a sense at bursting open. Sines they llavo the abillly to Pl.lt out llres, ltl!l)' don't generally tend to cause fires and tend 10 deslmy the surroundings.

name explosions convey a sense of burnino as the flames muve to fhe

surroundings .f.lnd develop into larger lil~

78

Leam the tundamentals for the qual&tles ot movement and form trom tha drawings on the left Then, develop your 1deas and make YQ1X drawings mora ~:::::::, complex.

~'S v.·i:Jt;,~ ,

'"""',,.,IX' .....

~~

fro« tttJ ..-.sioe lu tna

E.>
o:..tsidll

Wl1en showing !he scale of the explosion, if yoo have something to usa as a comparison, the sile Is east to understand; however, the main point here Is not to ShQw tl"'e size t:Jut to show the complexity o( the expiOOloo.

1

l 79

'

Expressing Animals Sometimes you may have to draw animals i~ your manga. While it is fine to roughly outline them and add some deformation when drawing them, you can expand the power of your expression by researching the skelelal structure of animals.

)

centerline

~~~~/ ~\(). L -~ \

I .

·~ l · '~

When doing your des1gn. draw centerllnes for viewing the now of lt\e body and the balance of the right and left s.des.

80

"~

.-":'--1) ,.-""

•

--

Sometimes you can't see certain _pans oepending the .angle.

in

n tal

Since gathering reference material for animal skeletons is sometimes difficult, consider the manner in which the body is organized by looking carefully at it from a variety of angles.

Cats ooze pliability pushing o.Jt all over the entire drawing like some kind ol female Imagery.

\~'

~

~\

Individual characteristics exist even in animal

behavior. Observe them carefully bringing your

drawings to life.

A dog in a 'play wlll1 ma' pose. Dogs express fun ana anger witn their :

~

-~'

entine bodies. Don't forget their liveliness. 01 course, older dogs are a different story. Older dogs tend to express gentleness all ovet.

L.arge Fmimals are appealing because of their prolounoness and strength. Picture leisurely moven•ent in your m1nd.

..

82

Set a high value on quick ·oustlrng· movement for sma birds and tiny animals.

of Animals that Appear in Stories tor llnlmal oriented manga, for the most part, animals usually play characters. Try im
For partner role anlmats. Intelligent animals like dogs and birdS are often used. In some cases, they can communicate vAih humans.

Animals cast as V1ltafos' pel$ eJ<press the villain as someone who wants

to own things.

IJ•IIains usually have slender animals like IOnghalred cats, dogs like Doberman pinschers and boxers, beasts like alllgaws and Ugers In tclw. In the case of women. they somebmes have reptiles

as pets.

OQgs

Triangles are the basic shape. ....____.. throwing out • its chest "'

shaped like al'l eggplant

83

-

~~~Th~~-~--~--~~~~~

Drci~ing Imaginary

.-

Whon drawfng

Imaginary animals, if you make reference ro lllings like the skeletal structure of actual living animals, it can help your Imagination a great deal resulting in a v.etl-fonmed

111

\

tllfs drawing,

lhe head, face, U1d jaw where liken from referencing the te1111e skeleton and then deformed,

The skeleton In Drawing A is reline. The mechan1sm of the movement of the mouth In the anglo of the mouth when the mouth opens, as well as, the relationship ot the position

of the eyes and gils when the moulh is open, makes lor good reference.

85

I I

I l

\'

\

't~

• • ..

\

{I-I I I.,~

'

...

Of course you can use

rep!ilos or horoos, ste.• for rererence too. tt )list so happens that the (311imal the ar list is most ramilfar with IS ca1s. The best adv1cs Is 1o practice drawrng a variety ol animals and species.

The method applied In draw1119 the front leg was patterned aher a human

hand

JusliM<e a cat, the head or a dra_qoo can be con~ from triangles

86

rmmd pen uso

Constde< the building anrlllght and <~PPIY grc1datlon

tones

The hudding uses a 30% lone with lhe w•ndows grudated.

87

l

I

•

•

•

•

Use pen tip to draw lines with white

• '

While it is easy to think of the usage of white, black and tones, as for erasing, painting and attaching respectively, please consider their usage as drawing items instead of as independent functioning items. With this frame of mind, you can apply the use of these tools and expand your range of expression. Several methods for using white are introduced here. Here are various examples where white iS drawn to handle effects like talarni mat noonng, a building, light and marg1ns In pnnled text.

First, prepare a used pen tip (G

e At times. you may need to aojust G Dip the pen in water and whip off any 1nk previously in the pen. rhen dip lhe pen 1n the water again,

88

19 Without wiping otf the water. add while to the pen tip with a brush.

the amount of water by wiping it a bit. If there is too much water, wale• balls form and do things like drip from the pen and get under the ruler and if the 1nk is nol waterproof. It will blot the page.

ttw trnes. tf there is too lillie water. II is d'lirull 'or the wMe to flow out of the pen. In 11. car.e. add a ittle bit of water to the pen hp ild ~ ·!!d( ltle condition of the flow, Betore •\n.l on you- ongioal pages. tJy drawing on flll!l!!r peace of paper,

0

Another methOd is to use whtle ink which avotds getting water on the page. Aaaing white dtreot1y on the page is okay too and easy to do. In addrtoon. this is recorrrneoded for waterp10ofing ordinary black ink.

Depending on the situation. o touch-up pen can alSo be used. An easy methOd tor draw~ng stars ana fragments from explosions IS to white from the edge of the bottle onto the page. Be catetul ot adJUSting tne amount or water.

n,ng

Another method •s to do lhlngs like blow on the non for a spallering e«ect. As a basic rute, before adding the effect to the original page, test tho offect on another p<ece of page and then go back to the original page

I liS~ 110 used for addir.g light ai"<J !~:'• N"lllt

I

outlfning text for

to make the letters stand out.

89

'MI
For-~ .•

""" ohutvorwt"' a

O'!oc:ls ""

1'1;) .

II Ill ODI(lCts

1(,8 un·tS~.

lll!Oll,

oculdofl';,

f11•-; dO'.""jn"t.. loo~ 1\Y..,_.,

::oud "
r.o "rrtlttor hOh'

c loud.

~~·~ng" ""'

Ul:ltnl'i$, IJ·"·

oh~pt; e
water and cloud$ oe<:pile lrJ(llllng nt a prvlO$j'\IIAI.

mr.ogntzed

:nero llr& 1 m~!:i

npr.ast.dfoly t'ad Irut< tor c
"C<'.OIIl"'91y HO\~,l i•IS

<:k>O!I no\

W"8n)'OU

cant

'*•"'

dra'.Y" il

'*''.....

'"""'""~

Countermeasures

The ckav~ng llas distinctive features,

In a word, what

nut most

neeos to be done IS lo maKe people think that rt Is a cloud.

--

importantly, .t causes the matority ot people to recollect some kind of fixed toea in tt10 r

A drawing oone I.Jy a child. TMSA 1•gures are no laughing

minds.

For the most part, humans tend to see things with a preconception. ll ts

the artist's job to make use of these fixed Ideas and praconcepllons.

·111~\Ct~J o(Jc~jf2 Sveaklfl~ of

d~o;~c~lvM ... look, f1~r~ I!> the <>tyle.

•

N.o

·

~)lnd

of

m~n!Jgement

methods are ~If 1l'll!~1:!Wt'ldation Qf the

dt~g&~s a f~d Idea in theP&imposltiOn and ~ art is developed to your llls,ltl~. you should be able to make people think th11t this is a cloud.

Chapter 4 How to Create a Short Story Manga

A story is something that is composed of a character and actions that the character brings about.

ALI\rst. we'll create a short story. Reading ihe weekly

manga magazines,

you will notice that 1he

Darn. end

majority of tt1P.

oi ihe

stories are

road ...

series where

Momotaroo! Looks like

yo•f<e at a great disAO\iantag~!

a lot of

fascinating cl1aracters

appear

JWj

With

these

1am grateful

characters, tl1e story gels

to s/1 of you!

IJiggef and mQ(e ~ ''eresting but ...

'

v~ no, I'mmeltingl \1

that won't work for short

stories.

almol unresolvec

W11h sho1: ~tori"'· il you

try

to create a complex story,

EliJlSOdes muking tor a

MW fi'1ishecl. d~ICUk to

·~ stoty. So why dOes& end

UP ike lhos?

you I ona •P ncreasing T'lo numl:ltl< or

chnracters res,.lting '"·.

As a iarniliar example. let's say that you in your sal
character 'kyaral
Since you have just met you don't know much about each other.

tt'" Ff'lglish word 'd-..~:traGt€r1

-

a

nour 1 ll)~n ·ny personality or 1ndivid ua)ty.

manga terminology a person that enters tt·re story is called a chatacter. Essentially. it means the various idiosyncras1es that possess.

And in

Pop QUIZ time. What kind or guy 1s B-kun?

•,ivho u10'? I dQf'l'·

krtO'N,

Well, you could say tnat but.. ~~~~

Oh? He's a good dude. But he's got a loud vorce and his teet stink. And he loves chicks.

.. ,or

something to that effect.

94

The reason is because you have gone lhrough some fun and dilficull times together as friends over tile past year anc;l you have gotten to know and understand 8-kun.

The same goes lor

manga characters. After the reader sees a few scenes, lhey understand the character and have feelings for him.

1goos 1"ilthout say ng that P.'S9'!" wl lo t.>e e>
Bv:. silO'! story- &s :ho name suggest' I
In aoa~ioo.

"""'ber

"r- ' [

tnr'o~Jg'ool

[ _"''""~_]

ctlaracter 1

,, \

..,h

~1-.character

- -

relationships

!he story. the set1ing nas to be

explained. Ihe <;tlarocters have to be 1 lntrod"ced and The

""

Ia

storyline

S
T~r~

I ~..sn

" som01hr1g flas to go, ttt.e only U•mg :" ornll Is d1a number

· .;no PiS:I ~oo

..;all

1 h~..- ;_h.aracu:r.t~.

Ouohl My i'~.ck .. ~

Vli
In a word. a few cracll characters are desirable fO< creating a short story.

for short stories.

~1VJ, 'Y'7~

~ ~~'\

n u t.,:.U

(

95

Wl1i1e the rule

-tre less characters

lhe better

if the c;harac<ers do11' t ltave

sometl
to much.

5 f"tYI C Ot1 C

like

me1 unsurprisi~

Jsto make

peop'e think the character sa sl!glltly QUJrky

person.

It Is your job to t1ecide what ~ind o1 character to

create! Good ouL~~~s'~l~

In ordel lo create appealing characters, visual and personality points can be cons•dered.

rake a look at the folloWing example using a low crack characters like Momotaroo.

The maio

s!oryline is obout

Momotaroo staying the

ogre.

little lon~y and

ittle short on things to d~rect

The familiar dog, monkey and pheasant

characters as well as the old man and old woman characters can enter the scene

but. ..

It is best to think of 1hE rel="nofollow">.se as Pi'QPS to VISUally explain Momotaroo's world.

A nice couple founo Momot.aroo Inside s peach 'momo' in Japanese - by the (iver and ra,seo him as their own.

TI1a little SICeKICI<S -~to$

ld....J $'•! 1 ,.-~

tli~ e.f.>te•.

v,

1'\'SI~ £•

Thai are lured by du-nplings and follow him to

~, ~~

01n !.\pe.;~k t'll~ t
COl•••Jn"t

:i!ppr.tft.e~,

/

ba~ue.

MmM.

These characters then appear as part or ttle Momotaroo episode.

98

All in all, Momot
Short Story Themes Keeping it Simple The theme is 1he 'character as he ought to be' which runs through the center of the storyline.

Avotd big themes

aefee~t1ng

if posS•I:Jje wi1h

pow.,.riUI Vlllilln and the l•ke.

short stones. A I;Jig theme would be something like

a

becoming tile strongest man to the world or

1r the theme Is becomtng the strongest man in th~ wor1d then the dlaraCifll' mus1 dereat several oltler characters, whiCh doesn 'I make for a short story.

For ~. ;:u\ f'lG!llrlg 0'1e S k)\•A $0 50I'I'le()fiQ 01 d.)te.ating u11a'• tone 0110 only OM) rival ~tl bles with only a t<;w ~-.,.,.,

The topic of genres will have to be

n~.o•r,tmr of charsctors IS

abl'idged ror now•

limiteQo"""'Y hA thBmes ~r•

Uke don't blame me okay..

ra.,...,~r"' Jhcrt

s;orte..

!.<

99

Drawing an Original Work

Simply wlite

Then ... With lhe following formula In

With the previously introduced lundamental guidelines in mind, try creating your own original work. First, thil!k about the plot.

m1nd:

Past (reason) -tPresent (event)= Future (outcorne)

Al this iirne, a vague image of the m<m cMracter and theme should become evident.

down Ule scenes and episodes you wanl (an outline is also permissible}.

summarize the overall

contents into a synopsis thus creating the toundaiion of the story. Tt{!s uocument is m own as your plot oulline.

Retnember to only include charachll s ; hat

support the sioryllne.

Next consider your characters.

TI1en. interweave your cnaracters wrrh rhe scenario anct recomposE! ttle storyline.

How to Organize the Elements Organize the elements while considering the hlghtigtns of the story gnQ most shining exarnples of visual direction and foreshadowing.

For example, CINDEREUA is a

story about a girl with two Wicked stepsisters who cattse her a lot of grief and ... My

"8 wh~•?

In the. end, Cil'derella .ends up lleoQm,ng invotved wfth (foot

ietish?) J)ii1Ce.

0

•••

The past (reason) is Cinderella being abused da'i.ly t>y the stepsisters and

d•~Q to 1M b~IL Tho l'fOSOill (evonl) $ 1hO •rrlva11>$r tairy godmotner making going to a ball a reality. Tho futtlre (outcome} is he. OOcomlng involved wllh tha prtnee.

Nt~ltl !

A ct:~lhar'Sis s1_y1e lQie Is one Wh&m vagedY C<Jntlnues

wnh the ou1come conaluding into a happy end1ng. ~~s catharsis slylo story is a so-called classic containing a climactic last scene M'!Ch is seen if1 ITiany works.

Mlr11-lesson In Understanding

Visual Direction

...---, A climax is defined as the high point of the story where all the previous scenes and foreshadowing build towards and the theme the story is expressed in its most clear form, Therefore, when considering scenes, they must not be detached from the theme. Asho~ story cannot afford detours in the storyline.

Rewrite an}1nlng and everything llntil you think the story is objectively interesting at tile outline level.

Please acme home by midnight all right?

The word

'foreshadowing' was used earlier. rhis Is When something that wil occur In tl'\e latter-halt of the story ,.....,,....,.Is Inflicted upon the ct\aracter ea~ler in the SIOI)'. Foreshadowing Is used in the following way In Cinderella.

lne

tore.shadowtng crops a htet bY sa;\ns;~

ilia!

.somollhlng will

I've only got three hoursU

101

It is important to consider the type of speech suilable far each character.

Allotting pages from the Script to1he Manga

Add scene settings and dialogue to the plot outline to complete your seript

1ihink it is easier to do tl1os now than at the plot olrtllne level.

Next, allo t parts of the script to the rnanga pages.

Well.<$i11'r. th~~ 6(

bl-.'*> . .. Hoy t.r a 1.. kind

af

ctct.l on will

wonc:.

Allotting Pages Divide off the script into one-episode scenes.

Take tt1e stnry of Mornota.roo for example... An old woman While doing laundry at the riverbaJnk picks \~~~ij~ up a giant

peach, which floats by. This

1

is scene one.

Then the scenery changes. She brings the peacn hOtne and

a tittle boy appears. Up to here Is one more scene. . when she cuts t.he

peach,

102

If you use over riVe one scene as

j'lages per sce11e tor a 32-page short s1ory,

one to lour pages as a nAe oi

lor the othef scenes.

there wi• not be room

We'll make orriSSJons to the Mornotaroo sTory by removmg tile scenes where the peach JS found and cut

Getting the Right Number of Pages To get the right number of pages make abbreviations and omissions to the script when scenes are too detalled or too long Of too much has been written to explain something pedestrian.

open

yielding the following results:

SPI.OOSHII

Rnally we cvt to the hoy coming ovt.

The old woman nOTICes a lloating

peach.

'

Even W11tlovt the above lwo scenes, the storyline works and can be conveyed 10 1he readet.

Then we cu1 to the scene at the house.

103

However, If omissions .are made to lila part expressing

the1heme or Illa lllroughllnes In the script. you won 't be able to convey what you want to the reader.

You Gton't hav<~ to f>how lv ·&o rr.e.

Yeah e.o ...

Omission Is a means to get the important parts of the story on the page and by no

means inlendsd to thin out 1he smryline,

Fundamental Frame Rules

The general rule for lhe ftow of the

Based on the irameR '" script, consider Japanese the spread of the manga Is nght to left. frames using composition paper.

Aligmng the p1ctures with thls

FoliO'IV'fl9 this basic knowledge of flow, strange shaped frames can be created. The most Important thing to conslcler is Whether o< not the frames .are

104

flow makes !he frames easy to see. The flow is right to left and top to bottom.

The number of frames per page should be six or seven al most For Japanesa manga. the. ~ow is rfgN to left

Then, consider the organization of the frames using a variety of compositions.

low angle composition

eye-level composition

hrgh angle

long shot (drstant vleW)

1\S a basic rule, iull shot (entire bodY view) when using these compositions, organize the flames to convey to 111e reader in an sasy-to-understand manner the following; who,

lvhat when, where. clo~-e

up shor

close shol (bl:lst-up shdl)

105 J

1

By USing a (UII·SI1ot with the characiers, the entire situarion

ceo be understo<>d lh one viewing, Then,

, ·""' I

"'

~~~[t:JLJI!!~~f!f~~

t:

:~~~=~ compose tne frame ji so not to be ~~~~p='=:;~ monotonous using up-shots for any

El\l!l~'llcharacters,

=1!-"=tr:!,w,;.:UUI emotions. obiecls or rha dialogue is used well ana the s.toJaM~ .s VIsually dlrectod areas you want to In an understandable manner. emphasize.

As fundamental composition example, In tt1e second frame, snow the 11me and place wrth a full scene shoi. Since the S~Jdents aie carrying on In lhe l)allway, we understand that t11ey are between cla~ses.

show the place iri the first

rrarn~A

Move to an uo·shot In the third frame and inform the reader of the character you wanl to show.

not

As a word of caution, be careful not to draw all the frames from the same fixed angle as it mal~as fora monntnnn1 ,s composition,

106

In the fuurttl frame, move _.. back to a full ~ scene shot showing the overall condition

THUMMPII

Depending on the direction, the way of advancing the

First. start off with a luN scene ShOt to:

* craracters ~ the DOSIIional f'eCalionshlp o/ tne * srow character movement from place to place * sh~w when the setting has chW'lged.

frames differs. The general rules are:

Wt1en~er there is a Change in setting or sometlling has happened, the full scene shot sa composition you will surely want to use.

The scenery in

Wllh eecll scene you want to ~-
the establishing shot should have one establlsh•ng shot frarna. The scenery in asignaling efteot the establishing 3hOt saying the soene should not simply be

tlas changed.

buila•ngs. streets or

nature. Try dellis:ng vatious sel·ups 11'1019

~l<e the establishing

Shot from ltle second frame in tte p~1ous

example.

Considering the V'tSUal Direction ol

Midway rhrough tile pa9e If the prevlolJS scene ends, ineerl on establl&hing ;;hot to Q•ve continuity to the next

scene.

Establishing Shots

Close-ups are reserved for

'Qr OICSffiple, II yeo wam to draw a pl~wre showing !he ,,m•ml ol studants to Sdlool, lust ShOWing Ihe bulldJng t1:1es 11o! r.oovey 1115 Situation, Sontetlnng IS rntssmg.

things difficun to &xplarn with a small drawing. If at mosi yov

loilow these lUes to a bare ITIIJllmum. you will be able to oornpose easily understandable drawings.

107

.I

Moving Characters on the Page Movement in manga means that the characters and animals look like they are moving In a single picture. This can be fundamentally accomplished with simple management

lines,

speed lines and

a method of using of afterimages called 'obake' In Japanese.

'Cibake' is a method lor 6J
aftenmage.

108

Gl'
,,

·'•

Writteo text conveys delicate and continuous movements, psycllological descriptions

And last but 110t least. one ea11not ne§lect the written text.

and

all:: rel="nofollow">ws U1e reader to Imagine things. like the force.

In anime, there are pictures with

sel poses called 'ge11ga' In Japanese.

IOSerting

motu'tls hsfween the genga, the d~&W~ng looks 1 ~ IS mo•"no

The frames on the 11ext page use a method similar to anime to show continuous movement.

109

Just like tn antme, manga makes use of genga(ortginal draWing) by hntng up two frames. By doing 111is. 1he two rrames are connected allowing the reader to Imagine movement.

••• ••• •

'

fJtjj

~-

* •'

y '<'Y·

'( \ J -v

1

( A-, BOOOING ""-

INI-IIe get'Cfal rue :or allotttng ftames ror movement Is 10

the !tames do rtOt have lo oe the !\arne SJ:Z.e like in the ITaiJ1a€ ai»Je

line up two fra.tnes aiO\IIing the teader to •rnag>ne the movement.

For eXl!ntple.

thiS frame

s

small

and

110

avon 1f you chango the size or the composiLon of 111is 11ex1 frame ~ :;ttows continuity wrlh the previous rrame and 016 reader can understand my movement.

Three Frame continuous Movement

Making the Reader Imagine Movement with Frame Composition

For example. laKe a scene wl1ere lhe bearded man tries to ptol:ec~ !1is daughter.

Tha oe!ea or rnovernent can bo c.on>I('YE'd by moving the ·ra"''!l a11rl IJ~Ir~g wrlttun text.

In this case, SI10Wong t:te """ltirm ·~ ,,.,,, !)lrl* ·ace lets .ha vl~ttr '' nug•~ U1a lerrlbl
You can talK the tatk

There is a w.da v<:trlety 01 composition movement OVI there. Try studying your tavonte manga stories and films.

Balancing the Composition

11mmmm.

'.\lhoo .,.co fOOd f'Mq,J~. \IQI,J v,il! noto~ee lt">at eve<> lhoogt> lM iQ

While tnis can decend on the style of the

work, the real reason

Is a _gtoot Ua'tl t)l whae space· 'ychakU' in

is ltlat tha three-poirt

Jat~~ lji S6lr'1t1 WOJ'r~.~ U1a t:on'p:jijition i~ b..'l~nceo

ltrl"'"ctJlar\ partillonlng

aoo t!10

uso o1 wrote sp;u)H is tiki!la:J tar:ht1!que

Tl1ree-point partitiontng Is...

. - - - - - - - - - - - , Take a look at the follow ing dl<'lwings. The first drawing is strangely unstable.

Wl1en a picture rrame Is added to accent the

whHespace, now the drawif\!j looks stable.

Keep tl1is general rule in rnind for now. Okay?

112

Slability can be achieved by terming a triangle like in the' following drawing. rills Is three-polnt partitioning.

rvt more s11 "IJIY, 11 1s a methOd ror adding stability by accenting white areas. All yru !"laVe to do is to add ti'IIOQS like the dialogue balloon, clouds and tree branches in the lollowing drawings. This is enough to make the draw.ng look more stable. Three-point partitioning 1s at most just a basic rule. Don't worry abou1 it too mUCh and try to keep your drawings from becoming too confused.

113

Frame Structure ill a Spread Layout No matter how good the story is or beautiful the pictures are, if th'e frame allotment is not good, the work will loose its appeal.

The size at the layout of the drawings and frames in figure 1 are all the same and too monotonous. Consider using a variety of close-up and long shots, big and small frames and blocked off frames. These elements bring 1he frame allotment to life in figure 2. One basic rule is to avoid similar layouts on adjoining pages.

throat - 'nodo' In Japanese

Be sure and avoid placing blocked frames on the throat of the page. If you can't avoid it, do not include dialogue balloons and other areas you want to display on the throat. Too much text is not good. Even if exposition Is required, try to keep it to a minimum.

114

Since frame allotment IS one technique tor skillfully displaying the drawings, I'll teach you properly.

B is the correct answer.

·~·

Japanese manga magazines close on Ole leH.

Regardless. place the drawing you I
Based on your script, surely 1here are pages ihat won't work out like this,

bul lry your best to include frame a/lotmen1 that makes readers want more.

Maybe it's the to left nature of Japanese or LM way people hold manga: no one knows lrte real

n1is can affect the impact of

each page and the overall work

Wow! Tnie le cool.

Getting the Story Rolling

·First of all, the

T:he introduction is the 'hook' of your story. Try getting the story rolling with the script and visuals Oncludlng frame allotment).

lo the reader: who 1s the main character, what is the setting and

following must be conveyed

world.

As a general rule, the main

character appears in the beginning;

however, hi:; physical baing does not have to be shown. For

that is absolutely true but ..

example, characters

Mr. A.

gossiping about

th£> main character Is

If I may be allow to speall here-. .

What I really Watlt is something that

hookS the reMer from lbe start,

C0tt1f'3"Y ma11e .a editor

enough to give existence.

ldealry, It is best fo

think of this as a gratuity scene that catches the reader's eye

as she !lips

through the first four pages of the

work.

If the all on your hands ~'llcks to the page, it Will cause blots when the inking is done

Before handling the pages, be Sli'E! and wash your har\ds.

Remember to lay a piece or paper under the hand that holds the pen. Also, keeping oil off the page penciled lines from being too light ana gelling dtrty.

PfeveniS

Draw dialogue

balloons a little on the large side. Draw large Japanese characters lor wllh volume like loud !IOices and saeams.

~~

u

r)

I

0

~

I=:J

lJ _., LJ

~

~

For yOUth magazine, leave space between the ltnes for phonetic readings of Japanese characters - ·furigana· rn Japanese.

u

II

The standard size of lext rn Japanese manga dialogue balloons ts 0.5 em by 0.5 cm(O.SCm oS approx. 0.2 ln.) per letter with about seven Japanese characters per line. seven Jaoanese characters

u

n

[j

0

1._

I

• •••••••••••••••••• • •• • : fhe represenlattve •• • fonts often used in •• Japanese manga •• •• are· • An1tque ••

••

Naaru D Mtnchoo Gotljc

Use a balloon and lettetlng template (as shOwn below) ~yOU have some uneasiness about the stze of the charactef'S or the space between the ••• lines.

•••

•• •• •••••••••••••••••••

118

Use tracing paper to do these effects.

For a reverse effect. block out the t:rame n red and write 'reverseo out wt1ite' on the tracing paper.

Flrsl. lay lhe tracing paper over the page.

rova~o(J

R>l,< ~'"'Ct'

O ~Jt:

c~o

'"'2

~

vaper

~~t t-Il" ~.<19

....."\(j

ott.a~l

whit.c

It

with

t-ape.

'

For laying text over I he Iones, lay trac•ng paper over tl\e desire
I

WhP.n tne manga iS ~lllished, the pubhshel will put 1t in for you so be sure and write the title In pencil.

Rnalty, do not write the tnle 1n pen on the

cover sheet.

title 119

ru..-tual~y.

lai
WOti
tham is re<:Qri1ITlef I

ued

To l)ecomla

manoa arllst,

amering t11o new taiM" CO!llllel~lon. 6f)OI1..)'9d lly

Tako you• work d1recUy to the publisher and have an editor read your manga. Then, ask for some advioe

eadlof tro pUOIISheos oa o - .......... """" <*. r.~

Cautionary Guidelines Part 1 rhe 'VT1ber or

If the work 1.$ good enough, :he editor Will judge the work W1Cl recommand 11 ror the new talent competition. (Of courso-. this depends on your wishes).

Even ~the work doesn't gel recommended, you will lines out what aroas lo fix so rt WOI\'l be a waste of time.

poges lor the cornuerl•"'""

Nunib$1'8 !hat t•n be diVIded

erx:J <'Jeata the work"

by

8 1i~e 16, 24, 32 are lhe $tanr.!ard I lUmber of pages. The- pub!isl~s wan~ 10 ~eef1 th(:

The reason is because if t11a works am long. !\'ley 8t9 afra.d you might give up and

If JXll>-:;dbl!::, 011"

32 page work pet rnonlh ~~ a rougn

draft peroocl is gllet\ ltlen o~ WOrk fftlery two months).

120

wan1 you to do the work Ill a shon

If flatroet' 11160 ~ MO rrom>s on one 60 paye ..~ llflM'UlQ a 11100Ul cr• a 32

r.age wooks '""""" 'o< more IIIM'>"'O I me It crali41Q SIMeS

the edrtor ~· recogtize yotx COIT1ml1ment, 1reat you kindly and offer

This kid iS WIISng 10 do

the wcm-1

l

beOkllr>

support.

Always; suoor.lt yow wotl< to r1u samo pcrS(Jn, Gel tlleir busioGSS car11 at ~rst. ltaving the eaito( put yout 111m\" >
It your work tmprovas, edllor moght let you work Next time, o« rougl1 drafts or if you brfng a rough Wish, he wftl helP firid you a dr!'ltr JOb"" "" -tant to a pro manga artiSt. ol
If you gel thts tar.

>•'MI H•~ It tt·• vae ta1k!t!'! ;.~W>ut! Ym·nol,itu

the

editors adviCe will

But don't be

get stricter.

discouragadl

Tough advico is evidence the ed~or

Cautionary Guidelines AdV•ce from editors wtll w
I.Jstening only to the editor's advictl

em aso ma~e101 easy talure

Wvr ~o~er· why i1~ I·· I~" Cl-il•

This being loklng the advice as word and fixing 1110 contents or Lhc manoa as dtrecteo.

-IT¥

11

$CRIIIIllE-~

.. .. .. ... .. ... .. . . . .. . . . . ' . .. . . .. . . . . . . . . .. ...' ............... ... '' .... ' . . .. .. ..' .. .' ... .. . .. .. .. ... . ............ •

•

•

•

..

•

•

•

0

•

•

•

•

•

0

•

•

•

•

0

;

•

t

t

. . . .. . . 0

I

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•

0

t

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0 t

•

o

t

•

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o

•

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•

•

•

At times w~e till.;, cnange yo.Jr

feelings and get refreshoo. RelaX your mind a"d enjoy the sceneryI

•

o

•

•

0

•

•

I

•

41

..

•

•

•

0

•

•

•

•

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•

'

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0

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0

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And a chEr~ce 10 clo

But continv1ng to subrnn your Work without be

11 book Wi I corne.

--~ dlsnoortened in

these troubling

tln;es Will surely get you the talent prne.

I've"~" hevc ..

tftJ&rl 00

But getting your work into a book Is the easy part.

!'our ~ho,• lolefr

The hard parl ts

rigl-rt?

after you get

When tne wot1d (ll'.ade<sl says you're rot tnte~eslirlg. you w~ Juqge.d

Huh'?

to oe 'lOt popular wh1ch means you can'! get afYo/ MIN work ~j9. serial flkllt"'C<:It.

publiShod. You w....r~n'1 rt· thtt t.•Vf!l.llt.~ri·ky

But, don't work about failing once or a hundred times! The people that were able to get over the failure are the ones who ".....,,b.ecame manga pros.

And now a rew won:& lrom Egaki

Sensei ...

fl'1"/.;)1;, n~-1lE

Woll ..•hore we

I would like to say just one thing.

..................... ......... ...

are at

the end of lhe book

Thank you all for reading tl1ls oookl

I

Mw1-.~ IG..

_,1

~

0

'

•

•

..

•

•

0

•

•

•

0

•

~

•

•

0

0

Good luck! I'll be rootin9

0

•

•

Pleas.e try

0

for you!!

drawing manga ..nd a.pply all the knowledge you

teamed. You can't improve If you don't draw!

Jane! Bye-bye!!

ISBN 4 ·88996·0 45 · 7

9