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Aprendizaje de manga
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100% found this document useful (1 vote)
415 views117 pagesHow To Draw Manga. Vol.3. Compiling Application and Practice
Aprendizaje de manga
Uploaded by
Alexander Salazar CardenasCopyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF or read online on Scribd
/ 117
uoneayddy bunting 24S “YENI WY Awd OL ACH Fe
THE SOCIETY FOR THE STUDY OF MANGA TECHNIQUES 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 in “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 | 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.
Note: Works referenced in this book have been recreated to look like the original as best as possible; however, due to the lack of space, in some cases the
works have been greatly reduced in size, For further study of more complete details, we recommend referring to the works as published in their original
forms. . Jote : The MANGA from P:7 to P.23 in this book are in their original layout. Please read from right to left.
Nritten and Drawn by
fakehiko Matsumoto
All the manga characters
hat appear in this book
are fictions. No identification
vith actual persons is
ntended or should be
nferred. It’s not too
bad but...
Maybe it’s your
tempo...
| expected as much to get 2
a pretty hard-core opinion
of my work but...Jes,
what a shock! | didn’t
think | was that bad.
selection...
It’s hard to put
my finger on it..
Guess this is
what to expect
the first time
show your work
to a publisher.
ll just have to
try harder.
All right! I'll
show them
next time!!
a | wanna read
- a cool story. “About a funny guy!
Something You know with gags. 4
REALLY
storyline, that'll
knock your
socks offll!
You gotta
have jokes!
Keep’em
laughing!
Ya know,
a hero story.
Finally
listening are
you?
:
tov Vg
Action packed!!! 2 TU
GARBLE-GARBLE
THAT is the
voice of the
READERS...
they all LOVE
reading manga! You guys
appear
when
people are
in a bind
right?
It’s not that
easy. | can’t
just... Well | came all
Didn't | just tell the way here so
you what the . GET drawing!!
readers want?!? And you still
l’ve racked can’t draw...
my brain on
how to
make it
| interesting.
But when |
put it down
on the page,
it’s just... ;
entertains
people...
It’s hard to
put my finger
on it...
Hey...can you
show me your
rough draft? Wonder if |
she drinks fe
What's your "6"
impression? a
. SI
I think I
b know your
The reason . \ problem.
you can’t
draw is...
Boring.
You’re not
having fun. Nooo!
That’s not it!
ou are not
‘ing fun drawing,
n how do you
1k you can
ertain others?
iin
Yeah right!
Okay I'ma
boring guy.
Of course...
Did you have
loads of fun
drawing that?
Was it a good
time? You’re right. All | was thinking
about was really showing the
publisher and becoming a pro
at all costs.
that’ Think about
really things like, “W
if the charact
the hard Or how about if the characte
could do this «
something unexpected
pros face part it? lke this. If you think in Bo eet ne
the same ‘ like that, you'll had a characte
hardships. have fun. like this would
it be cool.”
And then take
that feeling of
enjoyment
and pour it on
to the page as
you draw.
Yeah, | see
your point. The tension in my
shoulders seems to
be gone. | feel like I'll
be able to enjoy
myself when | draw.
So how
about a little
celebration
as my way
of saying
thanks!!
Thanks
little lady!
17 W-W-W-asted,
Sometimes
you have to | /
| thought you
guys showed
up in pinch
situations.
You know,
Guess I'll
be going.
You're not
gonna stay
Do it for
yourself!
Oh that’s a lie.
Everybody
works at it! If
you’re gonna
be a pro, get
used to it. BOOING!
D
&
=
o
s
®
a First things
first. ll start
having fun
with it.
he was making a
living.
He had other, vario'
difficulties. But that’s
another story...
just because he was
a pro doesn’t mean
All right then
little lady!
The morning
sunlight is eye
plercing. t
Aight On
moore page.
From that time,
about a year later,
he successfully
joined the ranks of
the pros but...
us How did you
enjoy the
And | am his show?
assistant, Allow me to
Suika. introduce
myself. I’m
manga artist,
Egaki.
>
Today's episode was Bay-bes. $e
a reenactment of en
something that a
happened to me ten
years ago. What do
you think? Pretty
heartfelt Ha-ha. Serves
We interrupt this
you right...
broadcast to bring
you the news...
When dia | ever
kiss you? Hun?!
You lying
#OLGU
Moving right
along...” How to
Draw MANGA
Volume 3” is
and me. See you . brought to you
at the end. y by this little lady,
that old man
Well, looks like ‘ Sensei, do
this could go you have
: \) any thing
on forever, so J J to add?
let’s get back
to the main
event.
Can | say
something here? SS , ED
Try drawing a centerline for bisymmetrical objects.
As an example, try drawing a glass.
@ First, simply give it shape. @ Next, find and set the
centerline.
cy
of
(een
/
C e
© Look at the centerline and @ If things aren't going so
while paying attention to the well, try drawing a box of
bisymmetrical balance, tidy up perspective lines and
the shape. rethink the work from there.
Sf ‘ ‘
. ea: @ For reflections, extend the
@ If you can’t draw ellipses well, and if it is an ellipse viewed box of perspective lines
from the front, one method is to draw a cross in a trapezoid and think from there.
and then connect the points forming a diamond shape and
use that as a yardstick for drawing the ellipse.
[~T ™
Nx Tf
Use this area as a
yardstick to tidy up J
the shape of the /
ellipse.
= Note that the
bY method of thinking
Sex eh changes when
viewed from a
diagonal angle
— see dotted line. @ Once the outline is complete, do it in pen. Give shape to © @ The key point in this drawing is probably the tone
areas that do not need to be inked with a blue pencil and management in the reflection. The first point of
later use that as a yardstick for attaching tones. caution is to attach a dark, deep in color tone
before all else.
© Next, once a light, pale
‘ tone is added on top of
, the dark, deep tone, etch
Attaching a : ' 3 s ; fee bed off i
‘|| light, pale tone rder and line it up wi
before all else s the border of the first
turns the area tone.
black when a
dark, deep tone
is layered and
makes it
difficult to see
where to use a
Cutter.
Se ee ee eee es ee sens eeeeeeeeeeeseeseEeee se EE eEeeeseseee
® Cut and remove the
etched, transparent area.
Adding expressions of
light using white or
ig
etching can complete Fundamentally, drawn AY
the work. to show the SY
bisymmetrical balance. ZS Ra
NS
Their use can be
extended to cases
using human figures
and showing the
bisymmetrical area of
objects and spaces.
wT
Pree Pee errr rrrrr iret r rr rir iit irr rit riety
Oe ceeeweeneeaseseeeseasereeeeseseseeserereneeeeere®
.
POOR eee meme mee HOO RHE EES EEE ES EEE ESE EEE E SEES
27 When putting characters into scenes and drawing backgrounds, put the principle of placing the character
inside a perspective into practice.
First, give First, draw a line at the shoulders and use | Next, create
-| shape to the itas a Center for drawing the box. the box
area of the space of
_/.\| space, area your
“>! | and the sizes character.
of the Draw the
character box ina
_| you want to | freehand
_| style while
looking at
"| the overall
balance.
@ Mile looking a the @ Extend the box { Using the box, s
lines.
lines, decide on the ines
the ‘eye-ievel’
eye-level..
(horizontal lines)
and vanishing
Start off doing it
freehand, and then later
use a ruler to put
things in order.
28
vanishing points
and put the
perspective lines
in order. After putting
the perspective
| lines that wil
make up the
basics, draw
as if you
are placing
objects into
«| Draw lines in
the unseen
areas too
Se
ia
a
VW
about the
three-dimensional
form of objects.
using those
lines as a
yardstick while
thinking about Lines used
the size of the |-. for thinking
character. about the
positional
relationship
of the
television and
the character.
When you
want to
keep the
i_| necessary
() lines in tact
and erase
esq unneeded
7 lines, cover
| the necessary
lines with
a piece of
paper and
go over the
area with an
eraser.
‘| When you have
added too
many lines or
A are unable to
see necessary
lines, tidy up
by erasing
unneeded lines.
Using a pen type
eraser is
convenient for
small, delicate
areas.
Use any number of perspective lines as necessary.
iL 1 | After freehanding
MV
f ease fH i} fs Hd |,
He 1: | { yy | | ]i! |! | the background,
TE fea Sr: yg | tidy up the
: = , Saeed |] \- NUS vanishing points
with a ruler and
Ti finish outlining.
A pe | *Placing a
- S[ = eb “E={ thumbtack in
“EL. -t TRS ; e fe — the vanishing
" CEOS. Mf | is Si
! aN Xl y J /Pibielda TT) SS | se points helps.
aii Vigon Dic) EAT
a _ ‘ Sa Ye ws o AS
5 mar + SON 4, _ om Od 4
9 . Ze SE
29 Next, do the inking. The basics of pen inking the lines Be careful not to draw the same kind of
that make up the shape are to draw the outer outlines monotonic lines.
on the thick side and the inner lines on the thin side.
good example bad example
Complete the work, adding peninking.
yey eat ea
‘
=\
ES He lelele ae H
i Y) ]
a < i
BE
i
= ea| fe
=
VY UPR TT
The key point here is the areas drawn in black, In addition, use Deal with the books and other things in the bookshelf
black for shadows and the like. Keep in mind that you are using a fine-point pen giving the objects an actual likening.
actually drawing the space and not merely filling in the shadow. It is good idea to show the richness of the lines by
handling the details like in the above illustration. View a
variety of drawings and try researching on your own.
30 Add in the shadows.
Adding tones
finishes off the
work. The key
point here is the
shadows added
by the tones.
Since shadows
have light and
dark colors in
them, pay
attention to their
ford on Actual
ing Spaces
Up till now we have
advanced up through
the basics of using
one or two vanishing
points; however, in
actual living spaces
there are numerous
vanishing points and
taking these from an
eye-level would take
a long, long time.
In addition, the
character itself is not
always just standing
still. When there is a
lot of action, you
can’t line up the
background .
perspective with the
same direction of the
characters.
As a basic rule,
think of
perspective
from the
character's
point of view
and then
consider
backgrounds
using the same
rule for exterior
scenes.
31 So what do you do? Draw as if you are placing an object
Really the only on the ground in the scene.
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
floor.
For Lesson 2, Keeping those
consider various images in mind,
les of the fill in the white
ang es space by imaging |*
objects and the space and
character when copying the
viewed from a images into it.
television screen
or the four-sided
images as seen
through a camera
viewfinder.
i £ Sah le Rs é Ve
At first, you might not be able to imagine objects that you
see every day, but hang in there and keep drawing.
While perspective is an
important concept, it’s
not like you are
drawing blueprints or
anything so set a
higher value on what
looks goods as
opposed to what is
exact. eo
Add in the
outlines
getting the
perspective
from the
main
building.
Once the
outlining is
done, add
| in the pen
inking.
Then,
complete
“x? | the work by
adding
|_| tones for
|__| shadows
-| and the
like.
33 Background Checkpoints} © Setting up the ar
Depending on the angle that
objects are viewed from, in som
cases they can look unstable.
As a simple example, take a look
at the illustration of the building
on the right. You can see that even
if the perspective is correct, the
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.
=~
form and give stability to the drawing is to app!
giving the side a shadow effect.
An easy, effective method to bring out the three-dimensional
e
Yt i. tTtrpgr
ri ee a
foo
ly a tone
1 A set-up with 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 some
cases, even though the
4 perspective of the items drawn
on the floor is correct, they loo}
slanted. In cases like this, think
of the angle and try searching f
a set-up with a feeling of stabili
that ‘looks good to your eye’. Even if you make
use and draw
stable angles, when
a full-sized building
is viewed, the
unstable areas tend
to stick out.
In this case, the boundary between the
ground and the house looks strange.
Draw shrubs,
fences and the
like to skillfully
' Cheat the
_ drawing.
| Cheating difficult
. to draw or
unstable areas
is also part of
' your technique.
| [Consider the thickness
| of objects.
For example, the frame
’ of the windows and the |
like can be drawn
formally if it is a large
sized drawing; however,
with small drawings,
the majority of people
will not be conscious of
the thickness and the
drawing will look flat. If
itis not too extremely
small, think of adding
Adding thickness with a pen relates
black in the sides to thinking about shadows. By
wh . applying this, even in thin outlined
, ere you want to give . drawings, a stable drawing can be
| itsome thickness and ; / done with tne assistance of the
| three-dimensionality. Add thickness to bricks, block shadow.
walls, tiles and the like.
35 Considering the subsistence of walls,
q
old.
lines to create
shadows, if the
The light and darkness lines are too
"&— is different in rooms too, thick, their
depending on the area. | Subsistence tends
to stick out,
up making the
Sometimes etching tones or if the character is close, adding
shadows behind the character, is effective.
While shadows
are used for
expressing a
feeling of
subsistence, they
are not intended
to be obtrusive.
With this in mind,
draw sharp lines
as thin as
possible.
bad example
36
Walls are easy when
depicted on buildings;
however, when the
background of a scene
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
When using effect
creating obtrusive
shadows that end
drawing look dirty.
if the wall is
new, don’t
make it look
too dirty. In
this case,
take action
by using
tones to
\ add
shadows.
OS:
The feeling of subsistence changes when
shadows are not present and when they are.
Do the border
areas with a
gradation effect.
Since this method is a high level one involving a skilled pen, it is a little
difficult to recommend to beginners.
NSN
Shadow 1] YY
Applications |] N
In some cases, [NI
shadows are
gradated from
light to dark.
Add management lines in the shadow areas when drawing bricked hou:
and the like and gradate toward the light. Depending on the
transparency and the
relationship of the
angle and the light,
- glass can end up
looking like a mirror.
Just try to take action
to make it look like
too much about it.
Le
It is effective to show the sky reflected on glass at midday. Conversely, at
night, the inside of the rooms can be easily seen.
shadow area
It is also effective to show the character reflected | Adding a shadow makes what is inside the glass
on glass and adding light with white. visible.
There are Key Point: Try drawing
numerous methods the thickness of the glass.
for managing these
situations and the
fastest way to
improve is to try
imitating skillfully
managed
backgrounds.
eo When you find skillfully
Classifying your managed backgrounds in
note books into manga magazines and the
volumes like like, it is a good idea to
nature settings, collect them in a scrapbook
bucings ane , for your own reference when
various effects is you draw.
also a good idea.
Taking action by adding effect
lines for light also works. 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 not taking the easy way out and
really improving your visual power by drawing
from photographs.
First, give some shape to the main buildings. Draw the surroundings paying attention to the
perspective lines using the main buildings as a
yardstick.
Once you've finished
the basic design, tidy
up with perspective
lines and outlines with
a ruler. ON Ce
SEEK “A\
finished work
Finish the work by attaching tones. Try not to think too much about all the details and handle
the work giving the things just enough resemblance to make them look real enough.
Then add in pen.
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 little detail. What is foremost is
to give the drawing the atmosphere
of a street scene.
When characters appear enlarged in the foreground, the need to draw detailed backgrounds
is diminished. Compositionally by adding something to the foreground, the depth of the
drawing is brought out. Gradate the building in the back to ‘look like’ buildings.
fine-point pen
treatment
Drawing letters and the like in street scenes technique
in complete details is fine but not necessary.
These can be handled by gradating them for
resemblance.
If drawing manga was
exempt any kind of time
factor, then drawing
extremely detailed pictures
would be good; however,
the reality is that, a certain
level of quality must be
achieved in a short period
of time. So what do you
need in order to draw fast?
vane your pen and draw © course, getting used to
drawing fast is important.
40 Consider
compositions
where, without
doing too much
drawing, the
troublesome areas
can be covered
without making
the drawing look
"like you cut too
"many corners as
» shown in the
© above drawing.
|
