DIGITAL MANGA Techniques
-... ..... ...... .. ...... ......•..••....•..•....... ................ ........... ••
'• • '• • '• • '• • '• • '• • ' •, •
• • • • • •
•' •• •• • •• •
• • • • • •
• • • • •
• • • • •
• • ••• •••••••• ••••••••• ••••••••• ••••••••••••••••••••••••••••• ••• •• ••••••••••••• •••• ••••••••••••••••••••• ••••••••••••••• •••••••••••• •••••••••••••••••• , •••••••••• ••••••••• •••••••••••••••••••••••• ••••••••••••• •••••••••••••••••••••••••• • • ••••• ••••••••• ••••••••••••••••• ••••••••••••••••••••••••••••••••••••••••••• ••••••••••••••••••••• ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• •••••••••••••••••••••••• •••••••••••••••••••• •••••••••••••••••••••• •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• ••••••••••••••••••••••••••••••••••••••••••••• •••••••••••••••••••••• ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• •••••••••• ••••••• ••••• ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• ••••••••••••••••••••••••••••••• ••••••••••••••• ••••••••••••••••••••••••••••••••••••••••• • •••••••••••••••••••••••
. . . . .. . . .
..
•• • • • •• • •• • • • • • • • ••••• • •• • •• • ••••• ••••••• • ••• •• •••• • • • • • • • • -•• .. • • • • • • • • • • ••• •• • • • • • • •• • •• • • •
. . ..........
...
Digital Manga Techniques CREATE SUPERB-QUALITY f\llANGA ARTWORK ON YOUR COMPUTER
HAYDEN SCOTT-BARON
A QUARTO BOOK C.opynght tJ 2005 Quarto Publishing pic Puhli~hPc1 hy New Flurlington Books 6 Blundell Slreel London N7 9BH
All ri~hts reservec1 No pilrt of this book may be rcrmdured in any torm. by photostat. microfilm. xeroqraphy. or any otl1er means. or incorporated into any Information retrieval system, electronic or mech,mic.-11, Without the wntten permission of the copyright ow ner.
ISI:lN: 978- 1-84566- 173- 1 Concervf'(J, c1e~rgned ilnd produced by Ouilrto Publfshrng pic The Old Brewery 6 Blundell Street London N7 9BH OU/\I~: UMI
r'roJetl edrtur Liz Pasfield ArT cc1iror Annrt Knight 1\s~ islctrll drl direttur Penny Cobb Copy edrtor Chris Middleton f)c~igncr Karin Sk:tnberg lllu~tr"ilor~ Hayden Scott-Baron, Selrna Dean, Emmr~ Vl~c~li. Laur;~ Wrtnon lrtdexer Pdmela Ellis 1\rt cJrrettor Moira Clinch P11hli~l 11'1' PAul Carslake
ManutJctured by Provision Pte Ltd, Singapore I 'llnle(l IJy Star Standard Pte Ltd, Singapore
?8 7 6~4]
Contents Introduction 6 CHAPTER ONE
Analysis of style 8 CHAPTER TWO
Character creation 22 CHAPTER THREE
Digital foundations 44 CHAPTER FOUR
Digital techniques: line art 54 CHAPTER FIVE
Digital techniques : colouring, screentone, and effects 64 CHAPTER SIX
Creating pages 1oo Resources 124 Index and credits 126
Introduction Manga in its present form has existed for over fifty years.
ea.
~
but the origins of Japanese sequential art date back to Ukiyo-E a11 from the nineteenth centuty. Hokusai, a famous Ukiyo-E
artist, is generally credited with coining the term manga meaning literally "irresponsible pictures". The development and social acceptance of mass-produced artwork and sequential
.vt in the early twentieth century. combined with influences "t' Line art styles Uelicate and mtnimal 1J ~c· of line·
ill
CJidU'. kt'C:'!Jilllj
rile focus
~olcly
the rh.lr.lCtC'r~ lru:'m;elve;_
on
from Europmn and American strip-panel comics. evolved into wlktl is now commonly known as manga. Manga has grown and developed as an art form considerably over half a century in Japan. and has also enjoyed popularity in the West tor almost llalf of tllis time. Tile acceptance of the manga style and its iconic imagery into a modern subculture as well as mainstream entertainment has emphasized its place on tile world stage. New generations have grown up with manga il5 c:1
m<'Jjor artistic influence. through cartoons, video games and the
popularity of printed manga. There:S little wonder. then. that so many Western artists are creating great work with the manga aesthetic!
TilE DIGITAL WORLD The advent of the digital age has made a huge difference to the world of manga. The lntemet allows attists to share their finished creations with a huge audience instantaneously, and to receive feedback and advice from others.
Ar rile silme time. the Internet lets artists like you see plenty of artwork and get exposecl to a wealth of different manga styles - any or all of w llich can be incorporated into your own style if you see fit. Alongside the widespread popularity of the Internet, home ~--
computers have become much more powerful. Previously specialist tools such as flatbed scanners and graphics tablets have become both commonplace and very afFordable. By getting familiar with the software and techniques available to them. everyone now has the opportunity to produce professional-quality artwork.
A LEARNING EXPERIENCE This book will break down some of the difFerent styles and genres of manga, explaining the subtleties of the styles. so that you can work towards finding a look and a theme that suits your tastes. By understanding the focus of the art style and
INTRODUCTI O N
the distinctive visual techniques. you can begin to develop your artwork in a way that suits you - and with confidence! Whether you w ish to work on single illustrations or go a step further and create your own manga-style comics, this book will guide you through the
L
process. Methods of character design and applied
exa mpl e~
<>
~
.~
will help you to see the possibilities of the medium. rtnd the sections on story will help you give your characters a believable life all of their own. Everything from advice on creating a world for your characters to choosing how to dress th em will help you develop y our own cool and stylish manga characters.
A LIFE OF MANGA 0
Producing manga over the years has afforded me no end of happiness. with each picture representing a minor personal victory. The endless range of styles and subject matter has enabled me to skip between mature and realistic drama to cute and happy illustrations easily and
0 comfortably, instilling me w ith a certainty that I can apply my skills to whatever suits me at the time. The experience of seeing a project through from the early pencil strokes of a character design to the completed story in print is • Colourful cbaracters 5c-:cigirl characters _ ::r...pular in manga iE~captu rea
:sor~ ~innocence ~
fOUthful
~ - S!asm .
incredibly satisfying. Theresa lot of hard work involved - but its that hard work that lets you know that what you've produced is the very best you can manage. I look forward to developing my skills further and to working on more comic projects over the coming years .
... Costume influences In manga. costumes are often elaborate or outlandish. with a mixture of street styles and military and n·aditional influences.
7
-~ /
;>· . ·/"
The word manga literally :translates as . "conlics ': . but tQ refer to a specific .=:. .· / . .has come ·"'·: ~ lyle ofiliq$.t"D8tior.~ . Ther~-~~t~ 0lS1nY. .~gmmo _. :- ·. · .. elements .: ~f rllanga imager~
_ ..· _;· .·:
.
..
~
flJ What is manga? 1o ~
·.•. •
:
. . . . ~:>.: :_. : ;.:;. ·.i >·. .
Shoujo.· 1~ ::. : ·. · . :.
.
~- sho~;~,; ;:~ :.;:; i r·o.•·•·: ~ -'F~'"M:lasy and science fi·~.~ion 1 ~· ...<.-'<·~. :;~ _-· _
~· A~~,P-:;~j':\;,; :•::. ;/ {.: • •;'uO;" ~
Come.dy
20 ::·_<. ·.'· ..
·.·
. .... . ..~ ~ ·:.:~· ..-· •'
~·:
..
·
.. .-.·_;· .:.·:·
I:
=
·
/
~
10 t~ ANALYSIS Or STYLE
at is manga? Although to non-expert Western eyes the term manga might conjur·e up a single graphic style, it simply refers to Japanese comic art and to the comics themselve~. However, despite there being many differPnt visual styles in Japanese comics, U1ere (:lre some underlying elements that represent J shared aesthetic, giving the medium a distinct visual edge.
)tylization is probably Lhe mosl significant recurring element ot manga artwork. The d ldrdcters are realized w ith stylish yet clean and con.si\ltJnl visuetls that concentrate on the c.haracters· charm and expressiveness. Minimalism is another readily idenlific:~ble rht~r;'lctcristic of almost all forms of rlldrl£Ji 1. One ot the most irnport;mt a~rert~ of the
Colourful
characte rs Vibrant colours and the frog-themed clothing reflect this characters cheerful nature.
~Lyle, e~peur~lly
w hen working on s tory-bd~ed
1111 rmations. is reitll7lng thnt ynu dun'L ll.ive to cJrc:~w every detail you cdn ;Khieve il (jre
VISUAL GRAMMAR Manga artists often use varieties of visual shorthand to tell readers what they need to
know about a characters emotions without the need for exposition, explanatory dialogue and lots of extraneous panels. Using such graphic devices lets the artist retain the allimportant simplicity of expression that is a hallmark of manga style. These techniques are also useful as comedic devices w hen using hyperstylization {see Comedy, pages 20- 21).
See also Planning your pages, pages
I 02- 103
WH AT IS MANGA?
11
SAMPLE COMIC BOOK PAGE
2. HyperstyllZation i ~ u~ctl t 11~1 e to c lemonW~i te me ~mqer in the t;:Ke ot the boy .Jt the bJck ot the scene. U~JIH.J c,uccnlor l<' c·llc·cI\ (sec puqcs I 06 I 07). Itw c llnl <"~< 11"1 111 lronl i\ dramJtiC.:llly lit. Tl1e pdr 11.::1 cunlir lUI.:::, ull t1 11.:: Jkl(_Jt" 10 lt1C~ ri
t . This panel is small. w ith dynamic cropping. It gives the impression of viewing the scene from a distance before leading into a much closer view.
3 . Using a distant · camera". its possible to show all the characters in the scene at once. Irrelevant derails such as facial features are removed from this image as a means of focusing the readers attention on body language.
4 . The ch:.1r•Krer is
prt '\('11/( 'I I rl(JrlH1\l
rl
wi1Jit · brxkground with no suggestion of bnckqround derail. This allows the re.Jdcr ~ u nrlt:
to tows on the charJcter. while also ~tJggt's ting
lhill tht'
o ther d k11..-iller ~ .:11 e
tocusing their Jttcntion o r 1 the lll
s. Th e hand
is show n .vith sparkles of screentone effects [see oage 94). implying an emo tional response to whatever is said.
6 . Using d simple trick. the ch.:~r.:~cter 11.:1~ moved 111~ hand to open the cupboard. The position o f the previous panel inoic.:~tes th.:~t the 11.:~nd is altdCI1et1 to this person. but it nuidly leads into a different action.
Oo
~ ~ ~ ~ ~
Beads of sweat Embarrassment. nerves, drscomfort
~
f
'00 Q
Bubbles above head Drunk
Mushroom cloud Sigh of relief
Vertical lines Sllocked
~
~
Sparkles Extreme happrness in romancrc Situations
Pounding ve in Angry
Bubble from nose Sleeping
Scribble cloud Very
Chick on head Innocence
Ghost leaving nose
Omd
~ ~
Spiral/helix Dizzy
Hair bristling Annoyancl:!. irritation
Hearts ~omilnrC',
in love
+b
12 f~ AN ALYSIS OF STYLE
•
UJO Unlike the comics industry in most Western countries today, Japan otters a broad and rich variety o f comics designed srP.ci0cdlly For a female audience, and has done so Lhrougllout tile r1isLory of manga.
S!?OLljO is t11e Jrtp.-mese word for "girl",
so shoujo manga
refer~
to the comics produced in Japan specifically for g irl\. A\ a demographic tenn, shoujo i~n't strictly a genre. but by exremion it does refer to the styles ot artwur k userJ to ilJlpcal to female readers. Almost exclusivPiy lhese comics are written and c1r;,w n by femc:tle~ c:tnc.J offer i1 visual style serving stones tlrat Focus un the emotions of lllf' r h
c~ r r re deydnce, d~lirilcy and rapturous charm ~ynonyrnous wrth ~houjo mangd.
Shoujo characteristics I hrrr r~rc many Llldt c:tcteristrc elements of slloujo dt twork. nri1r,lctcr s Lencl to Lle drilwn w ith tall and slender rllysique~. WhiCh brrng ro mind European rastliun illu.m minn rllltl We~tern lde~~ls. Mule cllnrr~ctcrs ar e often clrdwn With sofT ilfl(1 rlrgant fedlures. creating a slightly ilndrngynou~ yet ~ Ln k1 ng look. Line .:m rer'1(1~ rn h(~ mure delicate than other mangn ~rylr-". will1 ttun 11nes and long, flowing strokes. f)('fllil~ rlSide. VI~Lidl abstrcJCtion i~ JlOSSibly the most rc-mllrkablc trdil of ~hOUJO iJrtwork. where it is cornrnon ror ;trtim to represent the emot1on. beauty r1nd significc:tnce of iJ scene with almost dreamlike VISUal tlourislles. Flowers. sparkles, feathers and wisps are superimposed .:~round the image, and tire eyP~ or characters shine so brightly that tl1ey can be seen through the hair draped over them. ~ee alSO Costume design, pages 40-41
)
Shoujo details Hair is captured with delicate curls and perfect grooming. and the clothing has an attention to detail and a fashion consciousness that is unsurpassed.
SHOUJO
13
SHOUJO ICONOGRAPHY Abstract images are used heavily in shoujo-style artwork as a means of communicating em otions beyond what is literally presented. They can also help represent how a ch aracter is in terpreted by other characters.
t
sp...rklt!s of light LJ4I1l ~IJdl klu1y trll
1(1 l•l~j('
•Ill
Pxrr.-r rlrmPminn nf bcJuty .:md rollh.lt l llll~lll . ir I ~IIUUIO, 1111\ 1\ CJM'Il grParer emorlonJI lmpJct cl11U UC!Jlll I.Jy ur ,rwiiUJ ~ r.'lrkiP~ or st.:lrs In the C.lltlltllLCI~· l
Flowers
Representation of children In comics For young girls. children are represented with large eyes and a delicate manner. with sparkles and flowers signifying happiness and beauty.
Shoujo: classic and modern The style of line art and illustration has developed and matured throughout the history of shoujo comics. w ith modern titles toning down many oF the most n otable traits. Eyes are less sparkly, yet often drawn even larger to ::ompensate. Faces are more defined and less "flat" chan in older .?rtwork. but still ·emain minimal and elegant.
Flowers are a classic metaphor for beauty. romance and the blossoming of hope and potential. The use of flowers around characters ernph..t\1/f:'S their charm and splendour. and often the way other characters interpret tllem.
to represent hope. I r-rpp1111 '\\ or IC111(JIIl(J
0
0
o
C9o"'
e---,v .:::-~A~.,._-C_h_t!r_ry_b-lo-s-so_m_s_ _
ou /) 0
(_/
0
'>f11111!J r htmy blossoms. kllCIWil .-!\ 1.-lkt 11.-1 Ill Jtrptlll, \Yillllulitt '
sprinqlimc rum,ult t', whereJs the fillling of blossoms R'pr r-~t ·r1h lin· ('110 of 10111rlllll', Of t Vl.!ll Ut'dtll
rrliltr ro of dJJyel~ i'lnd i'lngC'I Wing~. whirh in shoujo till~~ onen rrrrcscnt pure and Idyllic rlcoq;rnce. With a suggestion ot mortality. Ch..lldCII:'I\ \llrlCllJrldC'cJ tly feathers arc often serious, rnel,mctroly or unf,mly mrsunderstood. FC'mhcor~
West~r n imdy~~
O..sslc shoujo
14
"9° t\N ALYSIS ff.~ Q
OF SIYLE
unen The llrsL rnanga stories wer·e targeted at boys. So wllat are tile key elements of artwork designed to appeal to a young rrlc:ile Cll!Uierlce, 2llld rlOW do you produce it yourself?
Shounen is th ~ Japanese word for "boy", and the term s11ounen manga refers w comics produced specifically for young mc1les. Most of th ~ first manga was w ritten for boys. dn(i it wasn't until several years later tllat the medium developed to appeal to a wider audience. Mucl1 like st1oujo, sllounen isn't strictly a genre. The term reter.~ ro rile demogr.1phic. but it also describes tt1e styles of artwork used for these titles.
The central role Central characters in st1ounen h1.1nga are almost .1lways male - female protagonists are granted masculine roles and u5tJ.illy wield qum i'lncJ kung fu skills. and wear tight outfits. t11crc v1·c usually two types of male characters : tl1ose who Jrc painfully average. and tl1ose w t1o l1ave great skills. AlthotJqh r11c <;killed characters l1ave obvious heroic roles, its L11e un.'>killed ch;1r
.;:ee also
Action, pages 18 - 19
)
Themes Shounen has a generally grlllier luok - espeoally in ma~wllne and aggressive storylines Involvin g combat. mil1tary themes or mar11al arts.
Idealization In llkii!Yd. wum<-:11c1re often presented in a typically ide<~ lized m.'mner. With H11n waists an d large chests.
Lineweight Sh ouncn c1rtwork rends ro h
Man of action Generally male characters are drawn wrth realtsnc proportiOns. although their faces re tain many o f rhe d1slincuve features o f mangil
SHOUNEN
IS
Mobile fortress Giant robots are a popular recurring theme 1n shounen manga, ortcn representing grcilt power granted to .:1 young male character.
Shounen: classic and modern Shounen artwork has become more cleanly drawn over the years, with more angular features and larger eyes than were common in earlier examples of the form. In classic shouncn artwork. however. more hatching (shading buill up by layers of lines) Clnd additional lines were used to define folds, 'lluscles and facial features. Older comics also featured ""'lale characters with large eyebrows and small eyes c reference ro Japanese Kabuki theatre.
SHOUNENICONOGRAPHY "'he iconography and effects u sed in shounen manga are far less abstract than those 1n shoujo artwork. They are mostly associated with realistic or outrageous express1ons of pov.~e r.
such as fire, lightning or physical energy. Speed lines are also u sed to great effect
accentuating this p ower and adding dy nam ism to the overall imag e.
Explosions ~1os1ons are a simple form of tgery, yet also a hugely ecuve visual statement of .:.er and movement. By us1ng .e. small particles and p1eces clebns. you can g1ve an s1on real energy.
Ughtning Ughtning and other sparks of energy can be literal or used purely for emouondl impact. as a v1sual metaphor for a characters rage or as an express1on of shock. for example.
Speed lines Spec>d 11ncs ilrc used extensively in shouncn mangil to show speed bur also to express dynam1sm. even 1n scenes where emotions dre the focu~. rc"'ther lh
Hands on fire This is an extension of lighu1iny 1magery and other represenrattons of ene1gy 1eleo:1se. Showinq fire ,uounrl .1 c.h.tr
I6
+a
t~ AN ALYSIS
or
S I YLE
Fantasy and sc1ence fictio •
r anta~y and science fiction are just as popular in Iapan as they are in til e Wes t, yet familiar themes c.m: fillerecl through the manga aeslhetic to create artwork that is fresh and distinctive.
M.1nga stones are full of fantastic images, portraying events that are unlike ~nylhing we see in everyday life. Any story that doesn't take pldr l" c1thcr on contemporary Eartt1 or at a predetermined point of l1i~1ory IS <1 fantasy world. From Tolkienesque stones of dragons and elw~ ro ruturistic space rJdventures. fant.:~sy worlds can breathe life .mcJ wonder intu d ~tory. f!dding - sometimes literallyflllmhcr uimemton. Cha1 dLLers Ciln be hroughl from another world. but the world tllcy cor nl" from will define their person - and this needs to be expressed in your r~rtwork. With consideration. it is pm~ii.Jie to de~ign worlds that can be the basis for dr.:tmatic or epic storylines, or seNe as lavish backdrops to more rnode~t tales.
Elven beauty Traditional clothes and delicate features complete the look of this elven archer.
Look to the future Bold wlours ;md futur i~LK materials ddine the look of th1s space ranger.
The interesting stranger A mntE>mporary cllardcter travels through a portal and cntl~ up in a new world. ThiS < oulrl be through time trdVel. or something more elabor<~te. AltE>rnatively. a cl1aracter rrorn il fantasy world comes 1nto the real world and l>efnends or interacts w1th the other characters. In both of these instances. till' characters dress and t1ppearance should reflect the world he or she comes from Th1s is i!lso a good example of n catalyst character (seC' Catalyst chdracters. pages 34-35).
Killing monsters Monsters m1ght take the form of evil tyrants or g1gantic sea creatures. for example If an entrty IS a large enough threat. gathenng the strength of one or more characters to overcome 1t can make for a compelling and thnlhng storyline. Th1s type of story applies equally well to different worlds and to different penods 1n ume.
See also Creating· a setting, pag es 42-43
FAN TAS Y AND SCIENCE F ICT ION
17
DRAWING UPON REALITY
There IS much 1n the real world that already borders on f
by therr envrronment .:md the society rl l ltlt-' trme. l~oles such .Js pir.Jtes and cowhny~ Wt-'l t:' s1mply 'j obs.. that reflected the needs of tile society r ll l hP t1me I o r example. pirates w ere a comc(juPnr e of t11e mcreased trade in gold and luxury goods ovPr\Prt\ Role~ ~uc~1 ~is these can be reworked into difft•rt-'nl
Traditional fantasy - ghly decorative :::esigns based on classic =-·opean styles.
envrronments w ith interesting result~ . Cowlmys an(1 p1rates have otten been used in il sp,1r r· fhght scenario. Fantasy: classic and modern Many of manga~ classic fantasy and sci fi designs were heavily innuenced by Europmn. British ilnci American fantilsy anwo1 k. films dnd TV ~hows . These images stuck closely to the barbarians. w izards and elf designs popular in tl1e West. Modern 1magery. however. often looks to f1nd irs own inspiration and crosses modern styles and fasl1ions with ciiffcrrnl styles of clotlling From 11istory ancl diFferent cultural dress. This applies equally to both futuristic and ancient characters.
You may even choose to focus solely on 1ht · visu
t Jfl
w rth something re
Modern styles Contemporary fash1on and design IS mixed with classic looks.
OUests
pursuit of someth1ng mystical. or a
ney ro k1ll a monster. can be a great way \ake characters through strange worlds 6ld amaz1ng locanons. Quests have been ··al to legends for centuries. and they themselves particularly well to fantasy soence fict1on stones. because new ·onments are equally fascinating to the terers and to the reader
Historic influences A lUte mang;1 rPndirion of illl ,~iqh1cc1 Jtl lcenrury K..'lhukr ilrror frnm tilL' EdLJ j.)t'IIUcJ of Jap;mcse history.
+b
18 t~ AN A l YS IS O F STYLE
•
I On
AltliOtJgli comics ~ re a slalic medium. it is possible Lo express great speed. swiftness and power lhrou ~JI· l cJyn.:mlic poses and attistic tl·icks.
Action stories are predominantly the mainstay of shouncn m;.tnga. but most comics have dramatic moments or emotional confrontations. The appropriate usc of action scenes can drive a story forward and 11f'ighten tension and drama. setting a hero apart from nrher char.Jcters as he or she overcomes an adversary, or is defeated only l o rise again.
Flowing fabrics and long hair help to accentuate movement in action scenes.
Dest ruction A breaking object, even an innocuous pair of glasses. can be presented as a dramatic event.
Reach for the sky Jumping can be mildc morr t l yndrruL w1Lt1 lilt' h eavy lJSC
of rrr~rrcrivc• ilrld
lJold
lO rrlfJO~ItiOn .
COMMON SCENES FOR ACTION
Jumping Jumping is a truly dynamic uctivity to illustrate, and offers great opportuntties for stunning artwork in stories about martial arts. and also in sports manga. Jumping to make that vital basketball shot or a slow -motion dive to catch a match-w inning ball represent t1efinitive make-or-break situations for your characters. Jumping is a
Car chases The use of vehicles in a chase is always dramatic. It increases
Falling and dropping Dropping an important or rare
the potential for injury or even d eath. making the action
event in your story, so it makes sense to emphasize the drama with dynamic action in your
much more exciting, dangerous and destructive Ito both body and machine). Cclr chases are also thrilling because they are something not commonly seen in everyday life.
item might be a significant
illustration. Equally, if a person falls from a fatal height the intensity is extreme, so be sure to accentuate the drama and speed of the moment.
fantastic metaphor for personal risk taking - putting everything on the line in the hope of reward. ~ee also Special effecu, pages 94- 99
)
ADDING ACTION TO A SCENE Sometimes it is necessary to make an event more dramatic.
The position of a w eapon can communicate the direction of action in
Through use of speed lines, composition and focal objects, it is possible to add tension and motion to a scene.
1.
J • I he ch suqqcstion of till run
h,,,
A dynamic resting pose. re
2 . I llt' cllrll..tt lc•r rl-'rnf'mht>rs that he m~:ch lu CJI'I t u Hnt• quickly. SO i1C iS SlltJWII It1 IIt' running. Speed lines .::tre rnlroch u 1-'rllo rPpresent the .Jir IJI()VII ICJ Cjl liC Kl)l. ..tllrf ~111
lrwn
Cll \WI:'c!t dl l:' tOffilnq l>row
Ill\
r 111 ~" " tlld~rr KJ tt1e char<.~cter. This much grcwC'r 11111 'rll. 1\ 111.-t(ll:' I:'VI:'Il 1!1011:'
3 . I\
rmposlng by i'ln i'lnmtiongr.Jbbrng compmirion showrnq both characters movrng ;mo rhr relative d islctrllt~ l!t!lWt!l:'ll lt11•m. ~f'l('('O llnr~ hrrvc bct:n dtklt!tl to lriylrliylll lilt! .:~reo:~~ of fow~ drld remron
Ru nning
Combat
In action manga, running is
A confrontation between two
usually the result of urgency.
or more people, perhaps
A character is driven by a
assisted by weapons or
pressing desire to achieve
machinery, is intensely
something, facing the fear of
dramatic, and o ften the
tripping, and the threat of
defining act of a story. Neither
failure. A chase scene should convey similar emotions,
character wishes to lose, but both risk doing so if they make
rncluding the fear of
the wrong move. A closely
being caught.
contested battle is the most
4. In llu~ !Jdlll:'l, .tnorhc•r thrcnr hus been introduced in thr torm ot a tank. The ilrtwork has been rotated sliglllty lo incrl"
5. 5. However; don't go ltXJ fdr with your .tr!fonr It rs very
should be exaggerated or
easy to make action sc~n~' look riclic ulou\.• tncl rn d01ng so you can sport the tension
savoured in your work.
exciting, and each motion
~ornethrng
that feels out ot place.
20
~ ANALYSIS
or
STYLE
Comedy However dramatic the action or emotional the scene might be in a manga story. humour has been a key ingredient LhroughotJt tile llistory of Lhe form.
The very earliest manga titles had a strong comedy focus. and manga has evolved to nllow for ever more outrageous wc~ys to present humour. One of the ways to do this is throug11 exaggerating the style and understanding mangas visual gri'lmmar. Because manga is such i'l visual medium. it is possible ro illustrate ft.1nny situations r~nd characters witl1out relying on d ialogue.
Funny salaryman A middle-aged businessman (known as a ·salaryman" in Japan). His dull appearance and stubby physique make h im excellent comedy material. To put th is character in any situation other than an office would guarantee hilarious consequences.
Wacky girl A cri1zy r1nc1 fc utny 911 I. He ·c IJC:"ntly. ~ t1apeless figure is more c.:m:oon 111.-tr 1 rt";~hsnc (or lde;:~lizcd) 1r r !pie\\ion, ;~ncl her posture rulll c·x1uewon suggest .J IJUufy uullook on lite. By cil'rllln!J rh.-1r
See also What \..
is manga7 pages 10-11
)
- -------
COMEDY
USING HYPERSTYLIZATION FOR COMEDIC EFFECT Manga is a very malleable art form. Manipulating the presentation of a character or object at key moments can
This process is known as hyperstylization. and is a form of visual interpretation, a subjective viewpoint. ra ther than a
change our perception dramatically. For example. there are
fundamental alteration of any characters design. Such
some instances when you might wish to highlight the comedic
exaggerated images help express characters· b ehaviour. as well
behaviour of characters in a scene. By exaggerating their form,
as adding a comic flourish to your artwork.
shape. colour or style. you can introduce humour into the scene fluently - and entirely visually.
(see page 11 ), it is possible to detail
Using different combinations of mangas visudl grammar
an emotional state in an
amusing and entertaining wily.
Zombie gaze This exaggerated gaze emphasilt:S tl1e ch&acters emotional state. Showing the mouth extending beyond the bottom or the face gives the impression or the mouth being open mucl1 w ider than it ought to be. This is the mr~ngrt equivalent of the technique used in Amer~tan cartoons where someone·s Jaw stretches downwards to an impossible extent. In the case of mangd. the v1sua1 portrayal is far less literal and pl
Wobbling limbs Another technique 1s to give characters· arms and legs an almost jelly like quality. This Is often used to create th e Impression of a character dancing or moving in a stupid manner - usually With a blank and blissful expression - suggesting the character is obliVIOUS to what others think of h1m or her.
Happy floating cheeks U~ing d ~1 m1 1ar techni<"!UC' m the m outh dropping Ute f. thrs ch;rmctcr has clteek!. cJ1 odWn so that they ;rppcar to 11over dWd'f f1 urn tltf' skrn iln cxaqqcration. or hyperstyh7atron. rne1rcat1ng a moment or extreme happin ess.
urr
Simple body Reducing the shape of the limbs to a simple point makes the character look simple and cute. while also ridiculous. This is a variation of the ·wobbling limbs· technique. In this 1nstance. the character is happy. and is runn1ng around gleefully.
21
CHAPTER TWO
Character creation The key to making stories come alive is the creation of real personalities rather than mere two-dimensional drawings. Here are some examples of classic manga archetypes.
~ Male lead
24
~ Female lead
26
~ Teenage boys 28
~ Teenage girls 30
~ The villains 32 ~
Catalyst characters 34
~ Children
36
~
Supporting cast 38
~
Costume design 40
~ Creating a setting
42
® CHARACT L I~
24
CR EATIO N
e lead EXAMPLE CHARACTER TYPES AND TRAITS If CONTEMPORARY MALE: MY\TCRIOUS/SLY/t'C lWFRFUL
f1'- SCI-FI MALE: SmiUlJV\ It II 110US
Elaborate demit or d d1st1naive design on cloth1ng can help to
If FANTASY MALE: I ILI~OIC
make a charilcter sr r~nrl
out
ThcsP c11aracter types represent the fully matured male (75- 30 years old) . His personality is developed and his skills and dbilitif's are estdblished. Physicc:tlly he will be at his strongest and be familiar with his own strengths. but also witll hi~ wcaknf'<;<;es. Tile benefi ts of such a character to a manga story lie in his wnfidcnce and self-c.twareness. With such a c11aracrer th!:-'le is generally none of the doubt and paranoia of youth. !Jut still enough vigour and strengtll to r~llow him an cxciling ~lory/inc . ll"lis givt-'\ you absolute freecJom witll regr~rd to the roles 1h.tl Gill be rtppliecJ to htm - tram simpering. romantic poet tu riCJ(jrcssrvc space w,trrior!
AVOIDING ONEDIMENSIONAL
CHARACTERS The rlnwns1de to suc11 il characrcr is th<~t '' •s all roo to lall rnro rhc trup of
c.,~y
Ultly ..tllnwing rhc charc~Lier a " '"~le
goal 111 rl1c story ;~ nd wry linle substunce. Ttte key
tn
~
successful t~uull male
rolf' is ro rcmcmbe• ltlnt, rJt>~rire
his conlidl:tiLt: ;.mel
~lrcngth~.
he is a cl1<1rt1Cler willt ,. fli'l~t. ;:~nd ri1is give~ you ll:c.JI
~copP
for ch.:tr.:tclcr
hulldinq. Hl:, unl1ke reen.:~ gcd or ct111cJ male ch.:~r.:~ctcrs. l trJs "'
hrstory rl1.:1t
~tlaped
his outlook
will ll
and bc hilVio ur. What is ir rhm dnves 111m' What does he hope to i1CI1ieve7
CONTEMPORARY MALE GENRE: LUNII MrORARY CHARACTER TRAITS: MYSTERIOUSANLJ ~IY DESIGN FEATURES: U lNTfMPORARY HAIRSrYU..
FTHI\1( URI<.;,IN~. I ONG \0-\T SUG<.;,L~f~ t'JR OF
1\~ERY
POSTURE: Ufi\IGHT. LUNI II JfNT ADDITIONAL: l1 1r \HARAQER'~ LXI'Ri ~'\ION SUGGE~ TS I l\1v1'ir NATURE. ANLJ I'[ Rill\/"\ A nARK SIDE.
/\~I /.11
i\11/\ L[ LCAD Meral plating on the head and wires entering the neck remind us of the characters android nature.
25
SCI-FI MALE
DESIGN FEATURES: INI'UI
POSTURE:
1_1/'I~I(.Ji
U\!JLL ~.
ACU:)'>
II. UNlw\I UI-1/\LLY f(l(jll)
ADDITIONAl: THE COSTUME DESIGN PFRHI\r<; SUGGESTS A POSITION OF '.FRV/Tt II !I
Pror~
comrlemenr d<.:srgn.
cll<.~r <.~Ll<.:r
ltu.: rq.x:tirion of rhl' rp,1 r.~~~PI n11 ht"1ll1 Wt',ljlllll'>
f.ILIIII lit<.: LUI lUI Ill: dt:l i(jll roqcrhcr ~~~ .~
FANTASY MALE GENRE: f'ANlA)Y CHARACTER TRAITS: BRAVE. HONEST AND TRUE DESIGN FEATURES: DETAILED ARMOUR DESIGN; RECURRING POM-POM FEATURE: ORIENTAL-STYLE TUNIC POSTURE: DETFRMINED. R&'DY FOR 1\G ION ADDITIONAL: F1\ RRINGS r\ND Ht\J~TYLE SUGGEST
A REBELLIOUS STREAK
whnll'
26
~ CHARACT ER
CRE ATI O N
ale lead
A glass of w ine gives the characrer
EXAMPLE CHARACTER TYPES AND TRAITS
a
4f.
CONTEMPORARY FEMALE: M\'STl:I
sophistication.
4f.
SCI-FI FEMALE: SERIOUS/$TU[J/UU~
!OUCh Of
crass and
-*" FANTASY FEMALE: I /[ROIC/11\/TELUGEf\11 Fcmlllc:s in m.-uliJ.-1 Lyp1cally present a wr<.ler range of emotions L11an Lheir mcr l~ Lounler p<:1rts. and inrroduce more· romplex molivdtions. This is IJecause their roles ilf'l'' nflcn grnt 1mi< ·d r nure in emotional depth ltldrl in the Si111f1IC' TC'~Oiulion uf pruiJierm. However: rl1is ciln pul Llle fcm,dc · ir 1 c~ pu)rtron where a lesser Vdrlety ot roles i~ ilVrlilr1hJv lu l1er. Whereas Illi ll! . (_ J ldl r/( IPI\ are
Al/1<1\( I lVI t\NI) CONFIDENT
lypic~illy
(.01\JriDCNT. 1\1\11") PFRHAP"
depicted by Llwir \IJr'nCJI Il or :,kill, ·11 ·rn..-11<·' JTJ..-IrJ~.F~ charJcters tend to llt-> detined by tlieir b CdUiy rll!d femininity. d:> well rl\ llwir maternal Ill\Ill 11 I ' Despite this. they art: on< ·n qrcllitccl rclr~l iwly "111.-i\CUiine" roles.
such
CONTEMPORARY FEMALE GENRE: CONTfiVIrORi\RY CHARACTER TRAITS: 1-r\:,HION CON<;CIOUS;
DESIGN FEATURES: ~hv!rl F. ClASSIC OUTFIT. <)/~II
f\11/\1 I lAIR ORI\!Aiv!EI\IT: IIMITFrl ACCESSORIES POSTURE: OVFR I Hi: :,HUULL)l:l~ POS[; FUI~IAIIOUS
~U.'vll: I Hlf\IG If\! TillS CH,\1«\CITR'S rOSC 1\ND '\Mil F '\IJ(j()l:S I:, IHl:I~E IS MCJRr TO HFR I HAl\/ Mi:l: I ~ TH[ [Y[
ADDITIONAL:
CiS sui<.Jrcr::. 0 1 lrCJrllf'r\ This
rllriXII r 11/P\ It It' potentiJI tO creiJtC t.::~sci nJtinq.
complt:X
Cllrll rll I I 'I\
w i.H )\( • IM"'\ .-1re daily conflicts between
tl'il''il fr 'I I IIIli! W ( jU
worlds wlierC' wo1TH .,,, dfl<.l rnen:S
t.Jmilic1f'
rolr-~ rill' ll'W f <>ed
or mixed up.
MORE THAN JUST EYE CANDY Although it might seem generally accepted that a male manga character can rely on strength, heroism or a q uirky nature to engage the reader. and the female simply needs to be beautiful. this should not be the driving force of your characters. Even a voluptuous form will seem much more attractive wt1en the smile seems genuine and there is a real person behind it - however much attention you pay to accessories.
~I
FEMAU: LFAD
27
GENRE: SCIENCe F-ICfJON CHARACTER TRAITS: SFRIOLJ<; i\ND STUDIOUS DESIGN FEATURES: f'IJ\STIC i\N\TERV\t.e:.; ROl KH RIBBED iv'ATERIALALLOWS EASE OF MOVEMEI\JT
rl'\l~:
POSTURE: ARfvlS CLOSE TO BODYANLl LE:llS BENT INWARDS ADDITIONAL: TIICRf: I<; 1\ <;TRON\ , rJ rtvlrNT Of' INNOCENCE TO HER FFATURES, YET HER ATIIRE IS RUIIJ FOR COMAAT
II special rocker pack with booster j el5 allows rhe crnr;~crer to fly. Note the consistent design and sl)'le or the clothes and accessorie~.
FANTASY FEMALE GENRE: FANTASY CHARACTER TRAITS: RELIGIOUS. INTEWGENT DESIGN FEATURES: SHINTOESOUF STAFF; CEREtv:OI'JV\L ROBES. :Vli\I{J(INu ON I!IlL
POSTURE: PEt\CHULIV'JLJ SOLEMN. YET CONFIDENT ADDITIONAL: THE CHARACTER WEARS A NON-cOMI?AT OUTFIT YET GIVES THE IMPRESSION OF WIELDING
G~EAT
POWER. WE THEREFORE PIJ\CE HER IN THE POSITION OF PRIESTESS, HEALER OR CLERIC
Il K: ; tull i; ;Jrn).Jic.: I.Jur tlas an lnrrirmc rJ c~I(J n
28
~ CHARACT E R
C REATI O N
nage boys EXAMPLE CHARACTER TYPES AND TRAITS
4f CONTEMPORARY TEENAGER: AN!.J f~Y TEEN
If' SCI-FI TEENAGER: ~
I 11\J'I'Y I lt:/\0
FANTASY TEENAGER lvii\1 URII\IG TEEN
Teenagers ( 14-1 A ye&s old) are among the rnmt popular protagonists 1n mnnqa. Actiny d) d "hlimk canvas". a tee nc~yer 1s ilt i1 PC?int w l1ere his L>o<.Jy mi1y 1v1ve developed physici111y.
CONTEMPORARY TEENAGER
hur l1is mind IJ.:t) not y et ft 111y
GENRE:
malUJed. Teenil~JC'rS arc rnore .\USCC'ptihlc to innuence~ morions - and c11e in ;1 position to
CONTEMPOR/\I,'Y
,wt 11pnn those feelings Without an llrlul['~ I t'SfJOrl.)lblfiti<:~. M.:~le
teemg0 rll
CHARACTER TRAITS: FRUSTRI\Tm.
ANGRY DESIGN FEATURES: STRFFIWI\ 1 /WI )S SENSE. i'vlU)I( I'lt\YI f.!; I INGCRLESS GLOVES
POSTURE: STRONG Yl I I )IITNr.IVE; CONFIDEI\11 YET 1', II ~ I I~U) !INC, ADDITIONAl: HE ?PPI:AI<'> (()I 01\!ATURED 8UI IJI:I(I I/~ ') \ONlnt\TS HIS IN)I:LUI~I IIL'> WIT! I 1\J\IGFR
tlll
ANTI-HERO An .:mti-hcro con tritdtcts almost all of the notions of a classic
hero, nnd yet presents il bcli evr~IJ ie and interesting protagonist tor a story. Tccnilgc males are the most common form of antiht'IO, as they hilvc not yet shown the bravery or strength of tlte claSSIC. heroic male. As a result. anti-heroes are often c hr~rdcters w ho
qualities. Whiny. selfish o r awkward teens can attain growth and self-discovery in your stories. as well as spark entertaining reactions from other characters.
Even non-focal areas such as shoes should be considered and designed carerully.
TEENAGE BOYS
29
Discreet ;md ~uhl l<' details such as this
FANTASY TEENAGER · GENRE: FANTAW
pml<'llM .: CIICI<'i
help to show 111,-u
CHARACTER TRAITS: WORRIFD /\NJ) ANXIOUS DESIGN FEATURES: VISIBLE STITCHINC) ON t I C)! I lff\IC '· WEAPON. CLOAK CIRClET ON FOREHEAD POSTURE: ON EDGE AND READY FOI< /\liiON ADDITIONAL: THE CHARACli:I('S HMJU ON II II I 1111 01 HIS BL/\D!: SUGGESTS MISII~LJST 1\1\Jf} CON\T/\NT VIGil
Unusual rlnthP.' anri arrf'~snnes that do nor relatf' tn contemporary fashion help tn highlight an imerestinq i'lnri original character.
SCI-FI TEENAGER GENRE:
~C
I[N(T IYTION
CHARACTER TRAITS: "1-V\PI>v
HL~O..
DESIGN FEATURES: MllffARYSTYLE UNif-ORM. REPETITION OF CIRCLE MOTIF, HEADGf.AR POSTURE: CHH·RFUL AND CONHDF.NT. ENfRGI:liC ADDmONAL: UNTHREATENING AND FRIE'NDLY
(/I('
rc·r
r\
lor IJrrii iC'.
30
~ C HARACTER
CR EAT I ON
nage girls EXAMPLE CHARACTER TYPES AND TRAITS
*
CONTEMPORARY TEENAGER: CONFirJFNT
fie
SCI-FI TEENAGER: r>rlviil/{l
If<: FANTASY TEENAGER: I ILI
k wiltl rn;!IP'i. the female teenager r 14- 18 ye.:u~ ulu) is .1 populilr rho1rc tnr manga protagonist and for rndny of the same reasons. What sets fL'mdle dldrdcters ir 1 Ll1i~ d~e ~roup opilrt is 11uw they dP.ill with rhc ch.lngc"i ilntJUt 1 JlUl one 11 1n1c·d 1n .,my rnale-fike inner turmoil, l..lLit ~~ chamm:r
whmc superiur
"CONTRADICTORY" FEMALE ROLES
It is interesting to consider the use of female characters in what some might regard as standard male manga roles. Often we see a fema le protagonist thrust into the position of hero, or leader. Ultimately with the female hero, however. the final sentiment is often one of "friendship can conquer all" and a reliance on other characters as backup. In cases where the female truly does triumph as a solo heroine. she is often a character w ith a strongly male orientation.
~r c:t~p
A designer bag renects the characters tastes and aspirations.
of contro lling c' moliom ~el~ t1er i:lpdrt.
CONTEMPORARY TEENAGER
CHARACTER TRAITS: CONFIDENT DESIGN FEATURES: FASHIONABLE CLOTHING. MUITIPLf:: ACCESSORIES. INCLUDING PHONE. JEWEllERY. KEYS
POSTURE: DISMISSIVE 1-iA.ND GESTURE: STRONG AND ARROGA.NT STANCE ADDITIONAL: EVERYTHING ABOUT THIS CHAR--\GER SAY'S SHC IS CONFIDENT AND IN CONTROL -
TCCNAGE G I RLS
SCI-FI TEENAGER GENRE: SCICNC[ FIGION
Futuristic accessories create ;~ more
CHARACTER TRAITS: SHY. THOUGI Ill UL
believable
DESIGN FEATURES: PLASTIC MATfRll\1 \ HULKY. I U I UI~I~TIC ACCESSORIES; COMMUNICAI ION Df VllL: ( jli\SSES
character.
POSTURE: lJI:MlJI~I . NON-NiGRfSSIVE ..-,,.,~
ADDITIONAL: THE U~L 01 I II I~ I V\1'-JJ") TO COVER PART OF HEf~ FAlL )UGGI '> p; 1\ IACK OF PHYSICAL LONFIDLI\ICL
Comidering t11e securrng of we,1pom to Lilt: body is dnnnponam detail and help~ to crP<~te a more re.Jiisl ic ch
FANTASY TEENAGER GENRE: 11\NTASY CHARACTER TRAITS: HEROIC. INI~I l~r>
DESIGN FEATURES: ( lVI IN/I I) ARM GUARDS /\1\JD flC X) I\ EXAGGERATFD Ht\JI(\fYII POSTURE: DCTmMJNLU t\NlJ PRrJi'\RED: )01 II) ) lANCE ADDITIONAL: SIMPLE. UNCOviPUC/\TW CLOTHING OVERSHI\DOV/ED BY WARRIOR El[MENTS SUGGESTS A TOMBOY ASP[Cf 10 HfR CHARACTER
31
32
~ CHARACTER
CREATION
villains EXAMPLE CHARACTER TYPES .. HISTORICAL VILLAIN: ;\RRnt-v\1\fT CiFhJTI Flvlt\1\J ~CONTEMPORARY VIllAIN: < ()f\JI JUU,f l Vt\fvll '
.. SCI-FI VILLAIN : rOWIRII II t' il\i'f( i I r;\n rR •
FANTASY Vlll,AIN: l l
Fv,~ry prmllgoni~r
nC'cds lln anri1gonist. Wirhour mntlicr, ,, story cannot truly progress. All rhc pressure is on the bad guys or manga to act as the element of ch;IOs the problem that must be .resolvecJ. As i l result, the bad guy is essentri.il to the development or the hero. /\n y dkrr dller c.dn become an dntaqonisl. i1 rhn~llr or r111 oppming force given r11c correct circunlSlcHlCe dllCI molivdtion - even without dny ot tl1e estJblished visual archetypes. One of the only rcq1 Ji,irC'~, f)C'rhllps, i.~ rhc conviction thCit lt1ey dre .:tlwdy~ ri~J tl t!
SCI-FI VILLAIN GENRE: SCIENCE FIG ION DESIGN FEATURES: LONG J/\CKFT. WI liT~ GLOVES. HEAD&\ND. RED EYES. lARGE AND POWERFUL BOOTS POSTURE: POWERFUL AND FEARLESS ADDITIONAL: THE GLOVES AND
POSTURE OF TH[ CHt\RAGER IMPLY A ROLE OF POWER AND AUTHORITY. THE GlARING EXPRESSION AND HAND GESTURE SUGGEST FEARLESSNESS
A successful bad guy Wl1iit miikcs un antugonist truly successful as a r hr~ rr~ r l ('r i~ ~omC' f'lrmf'nr of rP.
Dramatic use of wind to lift Ihe jacl
THE VII I /\INS
33
Th•s single demons wing implies som e sort of injury and raises the qucsuon of what might h,:we 11c~ppcncd previously.
FANTASY VILLAIN GENRE: FANTASY DESIGN FEATURES: PRIMITIVE STAFF, CLOVEN-HOOF-EFFEG BOOTS; GRASS :JECORATIONS. POINTED Et'RS. SKULL MOTif-; DEMON-WING HEADGEAR POSTURE: INVITING /IN ARGUMENT. SURE OF WINNING IT
i~\10
ADDITIONAL: THIS CHARAGER APPI:/IRS TRIML WITH VOODOO ELEMENTS HrR CUTENESS CONTRASTS WITH HER 0.\RK ROLE
CONTEMPORARY VILLAIN GENRE: CONTH..U>oJV\RY DESIGN FEATURES: VAMPISH OUIHL SUCK HAIRSTYLE. GOI HIC r1 rMENT POSTURE: CONFIDI NT N\lil COOL ADDITIONAL: THIS CHARAGER'S DARK ATIIRE REFLECTS HER DARK NATURE SHE ArrEARS TO BE READY FOR PHYSICAL CONFRONTATION
DESIGN FEATURES: A tlri'JTI FIIAAN WITH LACE SU:J:V!:~- WALKIN< I ( N\11 I J\ril MfRrl Y FOR EFFECT. CRAVAT. l.)lf\',~1.:, POSTURE: ARROGANT tW[) CONCFfTFf)_ TAll
tWU lONHlJf-Nf
ADDITIONAL: THE CALM Yl: I UJNHDLNT POSE PAINTS HIM AS /\ METHODI0\L 1\NO ~\IWIPULATIVE ANTAGONIST. RATHER THI\N A PHYSICAL FOE
34
~ C HARA CTER
CREATION
a lyst characters EXAMPLE CATALYST SITUATIONS OR CHARACTERS ~
GIRL MEETS BOY: AN AIII{A( I lVI: cJIRL EI\ICOURAC::jE$ A GEEKY <3UY
If EVIL NEMESIS: rvri\JT\ Al~l - CAtJ\1 I ) I!Y
I I II\ I VII I 'I INJN
It THE FAIRY MESSENGER: HFLPS THF PROTAGONIST TO
~rr
rii)T
I Hl::ll< U~UAL ts!::HAVIUUI<
One uf tt1e Simplest ways to initiate your ~turyline 1~ I.Jy the u ~e of a catalyst ltl &i:l<.ter. lntroclu<.1ng this charetcter into your pruld'-JUI 1i~ l ~ world w ill kir k~tllrt n rilnin of events, creilring il new scenario out of Wtllltl yULI (.drl ~p ill drl ex<.iting plot. Til<' cmilly~t cllilrr!Cter is one who spurs tr1e story tu IJeqn1 IJy 1ntruc.JuLing c1 ktnc.Jurn clement tllilt tile protagonist must deal w ith. Ueperl c.J ir l ~ ur1 U1e furrn the catalyst takes, this c11.1mctcr mily LJiso create a climate of Llfl<.er tdlnty. furLII KJ ott 1er <.tl&d<.ters to rl i~mvcr rllclmclvc.~ .1r tile same time as U 1e rec1c.Jer di~ Luver ~ them. This is a far better way ot exploring your characters 1llilll g iving your re<~ders a long-winded 1 ·xplrlr lrllit lf 1of II H'ir lli~lnrir·~. I Jr 1tloul 111 ·Illy, Ill<· mml noliltllc ciltnlysts tiikc It II' fnrr 11 of II w rll llrl!JI If li\1 r~rrhelyfll"- ilfl f'flCfllY wllo\t · \ol<· purpmc i ~ to set obstacles for tile plol ri!JOni\1. Hnwc'Vf•r; I hi~ is not by Any mer~ns Ill(' only form " Cr'lli ilyst can take. II i~ fr1irly mmmon for n milnga story to revolve <1round an ordinJry chJructec whose life and physlc.:~l .:~ppearance are plain and unremilrkable. Typically, tl1ese characters mighr encounter "" outlandisll, sexy or OtllrriU <"O tl~ rh;lrr"tr l<"r wlrn offers tl1em r1 Ulr1mornt1~ lirr<.lylc> lhnl lrilmform~ their mundane hie. It is not always necessary to create a character; however. Sometimes the catalyst may take the form of an event - such as the protagon1st:S be1ng granted g reat power in the form of magic abilities.
Geek meets girl Here we see a popular catalyst situation. A young man with a quiet. possibly geeky nature finds his fife turned upside down by the arrival of an anractive female character who, for some reason. feels inclined to stay w ith him.
CATALYST CHARACTERS
The inspirational messenger A tiny Fairy has befriended <1 boy wirh n vif'W to helping him <:tch1eve and fulfil his dreams nnd ambitions. Ch,lrilrtcrs sul/ 1 ..-~~ these help to push rind dnve lilt' prolc~goni~t tJeyonrl hi~ or her t J~tJill hehaviour and sc1vc us ltlc embodiment of th1s mcssa(.jc.
The evil nemesis This catalyst takes the form of a mean character w h o feels the need to make life harder for the protagonist. She or he creates a situation that the protagonist needs to overcome.
35
36
~ C HARACTER
CR EAT I ON Note the way in w l1ich the fire in this characters hand illuminates the wl1ole of the illustration.
dren EXAMPLE CHARACTER TYPES AND TRAITS ~
ACTION BOY: HAPPY AND CHEERFUL
~ GENI
TRADITIONAL CHINESE BOY: MATURE Al'ir> SFRIOUS
-liC MAGICAL GIRL:
Ml~lHII::VOU:,
M; tngrt rhildwn usuAlly personify innocence .:mel an undistorted outlook Qn lire. In your story. their openminded attitLide coLIId make a good contrast w itll tile burdens of your fldult charflctcrs. A playful child rh;trrxlcr milkcs il wonderful nddition In mru1y lypcs nf story. either in a ~ urporling role or indeed, nS
the s t ill~ One of the most significant things ;-1! mut
ctlild crl.:-tr2lcl ers is thdt ttley
'> t:lrJunr l1crve co n cerns about love or
reiJtlonships. Any focus they do have n n wt;.Jt iomrlip\ w t/1 U\Uiilly r..entre on their friends. or lif
TRADITIONAL CHINESE BOY GENRE: FAf,JT/\'\Y DESIGN FEATURES: ( OMRif\J/\TION OF ORIFI\ITAf 1\1'-JD Mlf'lf'll F F/\~TFRf\1 TR/\DIT/Of\!1\1 DRF'\'; ~l IGGF'\T<; FN~T/\W '\mll\l(i; FIIIMF rATTFRN Rm Wl(il(l\l. r o w eRs: NOTE Tl I[ LONG r li\IT Or 111\/R
ras
POSTURE: ~ I GHriNG POSE, RFAFJY TO ATT/\(K WIT/ I FIRF ADDITIONAL: I HI:: lHAI
the characters are in i l .suppnrl ing role) on 11ow they wl;.rlr to ;.r pnrent nr
older sibling.
MAGICAL GIRL GENRE:
1-U I UI~I:, II C
:,(.1-FI
DESIGN FEATURES: 8UTTFRFLY MOTIF; FUTURISTIC CIRCLE DESIGNS; GIRLY RIBBONS IN ~AIR POSTURE: SPRITE. FAIRY OR BALLET Di\NCER POSE ADDITIONAL: THE OUTFIT liND WAND ARE ALL COORDINATED. SUGGESTII'!G THE OUTFIT ISA COSTUME OR UNIFORM
»
GENKI SCHOOLGIRL
C HILDREN
37
_G_E_N_RE_:_C_O_N_TE_M_P_O_~__Y____________________ ~ DESIGN FEATURES: SCHOOL UNIFORM IICADBA.ND; TENNIS SHOES; CARRYING A BOX OF SCHOOLWORK
H "' vtllor 11niform
-..,:::::....
Is a common form of drcS\ lor
-------------------------------------~ POSTURE: IN A HURRY. BUT STOPPING TO SMIL[
J.:tp.:tnL...A'
•llrw lyh f). Derail~ )ull 1 d~ rhcse help rhe ~!'ttlnQ of 11 1rory
AND WAVE
ADDITIONAL: ALTHOUGH CLUMSY AND NOI STUDIOUS SHE IS. NEVERTHELESS HAPPY AND CAREFREI:
' I he m.J~lUll~ elf 1 If uporl<.lfll
.rltl'~~ury fur cJ child character.
SUPPORTING MASCOTS If a story focuses on child characters. it is not uncommon for characters to have pets or talking
ACTION BOY GENRE: CONTFMPORARY DESIGN FEATURES: SPORTY LOOKING. STREElWISE CLOTHING: LAYERED SV.IE/\TSHIRT UNDfR HOODED TOP. SI\DGE ON HAT POSTURE: BOUNCY AND ACTIVE. READY FOR FUN AND t\aiON ADDITIONAL: THIS CJ-!AAAaER IS HAPPY AND CHEERFUL. WITH HIS CUTE 11/V\SCOT SIDEKICK THERE'S NOTHING HE CANT FACE
•
•
creatures. (see pages 38-39). This helps to present th e child as being responsible. and it also allows the character to have something to "parent", or guard.
38
~ C HARACTER C I~ EAT ION
porting cast EXAMPLE •
CHARACTER TYPES
PIBO [1'0 1101)
.. PINI
*-
KURIMI !l'vlCINKEY)
----~-------------
.. ZENNI j\( ll 111-?1·~1 I) GENRE: CONTEMPORI\I(Y
~ MINUU ii:!UI\11\!Y)
ll~
run lo
ue.:~le
DESIGN FEATURES: STYLIZED AND UNUSUAL-LOOKING lv101\JKCY; SARCASTIC EXPRESSION; SIMPLE CIRCLE·MSED lv\ARKII\JGS ON BODY
non-t1uman
\l"lcll"clCrt:r~ to
clct in <.1 supporting role lo lhe proldCJOnr~l or d~ Lomir rPiicf. ;md
POSTURE: WALKS ON TWO LEGS.
WITH LEGS SPREAD WIDE ADDITIONAL: THE
tllcsc ch.Jracrers Jre often very popular: Cl!rifriCICT'i SUCil il' tilCSC' FJISO FlCt <.15 <.1 velliCie tor Other aK~rocters to cornrnunildle llleir emotions .Jnd opinions - tor example. by pouring out their hmrrs to them ,wnic1ing tl"lc necessity for tllougllt bubbles. nr nvr·rrc lir1ncr: upon subtle visuCJis. Supporting animals CJiso lluve tile ability to rci.lct to the lead cllCJrCJcters· emotions and
MONKEY'S FUNNY EXPI
perhups reflect t he readers Feelings. so the reJder feels he or she is watching the action atongs1c1e the m;:Jgi c~ l pet. Anirn~l<; .1lso r~cl i-1\
I HUll'< liVt' VUrllillr'lfl\ arvrng It-It' clld(rlCICr cl form
()r ri
PINKAA GENRE: MA.(jiCAI DESIGN FEATURES: '\TARLIKF
AND SIMPLY SHAPFD POSTURE: HAPPY AND AGILE.
WII H
l:Xf'f-IL~~IVI:
LIMBS
ADDITIONAL: THE CHAAAGER IS
fRIENDLY AND CHEERFUL. WITH A CHILDLIKE ~A.PPINESS
SUPPORTINC
CA~T
GENRE: CONTFMPORARY DESIGN FEATURES: DISTINCTIVr lAill lY \I I\'II 'L~ AND I II JITY n lEST GIVE THIS CAl/\ LUI ( ll ( 111\1./A(Trf:' POSTURE: WALK\ f\11AllY t\f'.J[) \ARFFULLY ADDITIONAL: Tl II'; (t\T I IN\ A 1-HFFI:Y ANLl CUUW MI~UUlllvr AI\IY ~rCCIN[)
~;\1-'I<~ ~~IUN.
ZENNI
DESIGN FEATURES: rl I IfFY Fl ANI) AI irr'-JIIKr ANTr NNAF
1~:
POSTURE: BOSSY ANLl lviUOI.l't:
08\IIOUSL'r'
MINUJI
UK!:~
I0 Nt\( I
ADDITIONAL: n rr,rrrr f'lFII·J(i A NAr~. IHI~ C,Oi.IIRREL SEEMS WI~ ~ IINU II I< Jl J< ,I III III
GENRE: CONTEMPORARY DESIGN FEATURES: FAT AND
ivlfiLL[/\BLE W[/\RS AN EARRING POSTURE: USUALLY A SOFT AND LOVING POSE BUT CAN EASILY POUNCE IF ANGRY ADDITIONAl: BY TALKING TO
THIS SILENT BUNNY THE CI-1ARI\CTER IS ABLE TO THINK MORC CLEARLYABOUT HER EMOTIONS
PJBO GENRE: FUIUfiL fiOilOT DESIGN FEATURES: I~CPr.T ifiO N OF DISTINCTIVE
DfSIGN ASPCCTS ON U!:LLY AND FOREHFN). WlTI I [Y[S FOLLOWING THE SA.'v1E STYLE. JOINTS AND tDGES SHOW PLASTIC BODYCONSTRUCTION POSTURE: SIMPLE. \.VITH AN EXPRESSIONLESS FACI: ADDITIONAL: TillS ROBOT IS BUILT FOR A PURPOSE. BUT CAN BECOME A GOOD FRIEND 1\S vVELL
39
40
~ CHARACTER
CREAT I ON
tume design rrlc.Jjur pcJrl or ch
When
future worlds. a medievJI costLJme might suggest a society llrr~l 1\ \ Jill prrrr !II IV<· 111 r r r~rrry wrry\, wtwrt-'r!\ milit&y-style
dress might suggest a totalitarian state. Also look at modern product design: the cuNes of a sports car; a gadget or a new computer might be the inspiration for part of a spacesuit, for example. Its important to think about the detail of the costumes as well as the overall look. For instance. consider the technology available to the world in which your characters live. Simple inventions. such as zips. velcro or elastic might not be available in an ancient world of swords and sorcery. On the o ther hand. laces and buttons might not be necessary in a futuristic realm. as they may have developed better technologies o f their own.
Strai ght lines look nat.
HINTS AND TIPS FOR COSTUME DESIGN OLD-WORLD FANTASY
GENERAL
.-
44'
wot rlci hP ~ewn togetlier more cruddy. with visible sritchinq and \lorl;e~
~II fi/JI L' LUII~ll LIL[IUII.
.- Comlc1er f~bri cs suci; ~s silk, leatlier .rncl Snl colours dncl mdlcn<:~ ls represenr rhe rl:'ls~ of the rh"'r"'C'tf'r. 1\ nuu l~.:n~
44'
FUTURISTIC SCIENCE FICTION
-II'
~ Pl.'l~tlr-h:'l~f'd f,.,.hrir~ pl.:mlr~
might he
~
lft.
and moulded in rl otht>~ .
pre.~f'nt
Strings and tassels swing in the wind, and help convey motion during action. Long. flowing hair and cloaks have a similar effect. Stripes and geometrical patterns help define volume. When designing children:S costumes, consider drawing baggy and ill-fitting clothes. as young children are stili growing. Coordinate your design elements, especially in fantasy and science-fiction manga. as this reinforces the impression of a fully realized society.
Shiny plastics reflect tiqhr.
Soft m.1renats <111..' IL'SJ
"·ncrlrve
tkt
!hcH1
rndler ktl~.
Stripes on the characters hat and sleeves help to define the volume. as well as coordinating the costume wrth a consistent style.
COSTUivlC DE SIGN
41
COLOUR SCHEMES
lf
Coordinate the colours on your character with his or her costume. Defining the colours
DEFINING CHARACTER DIFFERENCES Certain elements can be used to distinguish characters from
on certain sections of the
and mouth can be very different. Hair is also commonly used to distinguish characters .
each other. The shape of a characters fctci.:tl outline. eye. nose
costume also helps define their volume. This applies just as much
The following are examples of 11ow shupc can ddtnc a character:
to black-and-white illustration as it does to full-colour. HAIR AND SKIN TONE
4f
~-_/
If you're going to have characters
that appear often in the same comic or series. it is important that you
\
\_( .I
\
;
make them as different as possible at a glance. Making sure they have easily identifiable hair colours. facial features and even skin tones allows the reader to recognize the character instantly. even if not fully visible in a frame.
I \
)
St
m.rlc lt1in -
L
chee~
and
Jn ll"'l"ilr- t lr.tr.ttlt•r •• .t
not porntt>t1 h11l nnl
Jlrllllll't l I IIIII tdl l
~trl• ng
square jawed either.
mean a younqeor
""I"'"''""'"""' of character.
pl<~yf uf th,u ,r~ LCI.
thin lim:
. ' 1-·.- -.,~ -
A simpler colour ~theme is much more <~ttr<~ctrve
More realistically
UlrCJI". t"lllrf;t> "'Y"'~
N.IIIIIW
''Y'"· lll 'lll'lolll.v
~h.tpt:tl cyl'~
~llow
innocence.
refien .~
~t'r"'"" nr
gentleness.
dcpitt
wl1rrl1 r.-•n
be easier for the l l'ddCI
tu I L'idtl' tO.
t 11111/\ll y Ill
cviltll,u,rw.:r.
somerrmt'~
imclligcncc.
Remember to vary the skin tone of dillerent Lll.rrc~ttcr>.
ACCESSORIZE! Accessories can be used to grec1t effect when bullrllnc:J up character. However. as wlrh everything. misuse c.:tn be detrimental to your design. It is important to bear certain elements In mind when
BELTS AND BUCKLES
4f
Belts and buckles serve a practical
.'!
accessorizing characters;
4f
The characters themselves; their pcrsonuhly, JOb, hi tbrkrl c1nd social grouping. For example, warriors almost certainly sport items that strengthen or protect their bodies. such as forms of armour. A specific society rnrghl c:Jerncifir acTf'~~nrie~
dimensional person rather than a flat.
4f
2-D image.
4f
The environment: how cold is the settrng? Your Ltt <~rr~cler~ may require gloves or scarves. Cert.:tin .:ttmosphcric con<.Jrtrorr:. would call for specific accessories o r equipment. Aesthetic: accessories are a building block of a char.:tcter. The a characters appearance as much as the clothes they arc wearing.
ZIPS AND LACES 4f Zips can introduce detail to even the
Bows. ribbons, piercings, jewellery, belts, chains and other accessories can be
simplest garment designs. Experiment! Usrng a zip as an earring
used to adorn a character as long as they are
create~ d
tool. streerwrse style.
appropriate.
4f
Don't overdo itl Too many accessories can detract from the strength and coherence of your design. Simplicity and practicality are the key. Also, be sure that the accessories you choose match the style.
42
~ C HARACT ER
CREATION
ating a setting Tt 1c scttinQ of yot 1r rnanga story is imporlanl. Tt 1c • ' miverse or microcosm you create c.licJ.:llr.s lhC' <;tylc of tllP rllar·acters and ttle rnoocJ of tllC' <;tOIY. If you plan it out properly tllC'n nn wn1·1d 1s too lanlaslic Lo be C:::tpturecj COl IViiiCill~ly. C"R r /\Tif\JC, A FANTASY WOI~LU 1\ ldnt;.1sy world is often dictCJted by tile rcrilnologies
JVJiiLiblc ro it. Ev<"lythino frnm commurliCc:tllons to .1rrhi1r-r1111t' w111 fkfine l11e lrl'ldSJined culture and the plly;i( rll {'()VII UllrTlenL Uoes the culture have time travel. 'if'!rll t ·;I up\ ; I< ·.-1m power; electricity or even proper roads? If It I{ 'II' r ill. pt ·opiP with magical powers in your story. you hiNt' lu t t Hl\lclt·r wtwtller tt1ese would be applied to pr\t'\ lou. r1ncl what impact this might have on Other p.Jrts nf .m cidy. If r1 lui uf reople have a special skill. it will Jffect cvc1yonc. Its illl r~l'>uul th1nk1ng through the implic.:ttions of your idccl. Geography and atmosphere
Wl1r11 \Oil nl 1>nwonrnenr do the char.::tcrers live in? Is it a plc' LJdirWIOur and temperament. as would a hot ,:md urid locCJtion. Comi
Incredible city A ruturislic envwonmcnl With geometrical designs and bright colours. There arc many robots based on h;mds.
Use of magic Magical powers to summon the wind are used practically. to help move the boat across the water.
CREATING 1\ SETTING
heavy pollution or toxic gas in the environment. forcing people to settle in communes or use breathing apparatus to survive. Political and economic situations
Is the society a democracy, or a dictatorship? Are its rulers proud and noble. or evil and greedy? Consider the ways in w hich different types of people live their lives. and what their society is like. It isn't necessary to define every minor detail, but it helps to get a genera/ idea of the forces that govern your characters' lives - and whether they accept them. or rise up heroically against their oppressors.
43
INTRODUCING THE ENVIRONMENT
Introduce each interesting part of your scenery to the reader slowly. Focus their attention on the obJects
Even the scenery of
so they can learn or pay attention,
(jlltly rillclrt',III\IIC
environment~
re.::11izing the significa nce of objects.
Different races and creatures
The coexistence of and relations between people or creatures is often one of great intrigue and complexity. In your manga it could be the source of a characters alienation or others· rejection of him or her through fear or misunderstanding. Alternatively. it could be a force for unity as races work together to make the most of their skills. Think also about how different races would affect the technology, the economic situation or the environment. Details such as these will help make the fantasy world seem real. Mixing things up Consider gods and deities
The effects of a major overruling power could make a significant difference in the way people live their lives, and the w orld they live in. A world prone to floods would have houses designed in such a way that they could cope with this. If there is a need to worship or appease a god through prayer or sacrifice, this will also affect the world and its occupants.
You can make your fantasy world more inreresring by introducing cerldin ledlnu l o~Jte~. wt11Je remoVIrKJ ultler.!.. For example, consider a wor/ci that ha~ ncwr held ;my fm~i/ fuels (such as coal) but has hei:lvy 1ndustna/1zat1on tt1rough wind power. water or solar en ergy. This wur It/ wuukl I ktve fascinatin g cities. w ith huge structure<> dc<>igncYI In m; tkr· the most of the en ergy. Also consider the way thilt maoic could be used as Jn alternative to electricity or steJm power; as magic could be harnessed to produce light or heat.
.
OTHER PHYSICAL
0.
MARKINGS
Tattoos. birthmarks. freckles and other distinguishing
.
·0·
marks can help identify a
reflect the society a character is placed in. For example. in Dragon Heir. the citizens are
with a "Spirit Sign", a mark that dictates their role in life.
Warrior spirit
nn.. whn 11f'ff'l1<1~ ttl<' lnrid
character. In certain situations they may also
branded at an early age
Healer spirit One w 110 he.Jis lite ktllc.J
Spirit signs Children demonstrate their special abilities. represented by the symbols on their foreheads.
-e--
Worker spirit OrwwtHlWCH I:\ the l<1nd
to\
Noble spirit Onf' whn rul('\ che land
~
Mage {magic) spirit One w ith power ro split the land
CHAPTER THREE
Dig ita I fou ndatiens U~1r 1~
a computer to produce artwork can IJe fairly daunting al first. However, by lccH ning sonle silllple techniques and
unc:lPrstanding which software to use, you'll CJUickly make the most oF working digitally.
Q
Peripherals 46
Q All about software 48
Q Photoshop basics 50 Q
Photoshop layers 52
Q
Resolution 53
ITAL F OUNDATIONS
1pherals H::Jvinu 1~1<' ro rrc'r l looL<., lo r lhc-':JOb always makes a big diff('rcncc in 1r1c cmJ resulls, ?mcJ the same goes for creating cliS:JiLal artwork. lllel·e a1·e expensive, professional-quality tools dVdikliJie, IJul dl:,o plenLy of options for the smaller budget.
LCD OrTIC/\L MOUSE
PR /1\JTER
Ynu wnn't get VCI)I fur using c:t grc:tphics program without a rnnt J'\r·. 11~ highly rcrommcnded that you use J modern I FD (lighl-cmitting diode! mouse rather than a traditional b;!ll-nwrhrlnism model. Optical mice offer greater accuracy, \JJH a >I ht..,. mnl inn find f!rcn't prone to jamming.
Printers might seem something of a luxury for the digital artist. as often our work doesn't get printed at all and is only published on the Internet. However; its often good to print your w ork - especially if it is intended for use in print so that you can check the colours and quality. There are several different types of printers. but two types are most common:
---1-- - -
An tlfliiC~I 11lti\J~f' I~ 1dent1f1ed by the U:D bulb on its under ~itle, in
pl.",.. nl
ft·l,..ll alililnn.~l
b.1ll.
ILJ\TOCD SC/\1\J I\JCR rlflrll'f 1\ IJ\!Jrllly ltll' rJJUllrll rlfli.\1 \ firs! purchase. ScJnncrs .:~re photocopier-like devices that interpret flat rtrlwnrk rtrlC IIJHil il ir rln c.ompul.er-rerrc.JctlJie rJdlcr. Tllese cJ,-Jys mosL n.:1tbcd scunncrs urc inexpensive. or bundled free with J new PC. and all are extremely useful for this type of work. lwr 1 r-1 l >ri\Jl model ts usunlly sufricient For scanning in line rlrt for colouring in a software package. Pay attention to the opticJI resolution when buying a scanner: Tl1is will be around 600 dpi or I 7.00 dpi. Anything higl1er Lhdn 2000 is usudlly a fake resolution created by scaling the image.
A\(
Laser Printer Laser printers are excellent for text documents and printed black and white comics. The quality of the lines is vel)l sharp. and work prints quickly. However; ink toners (refills) are expensive. and the printers themselves can require costly maintenance. There are colour laser printers available. but these too are vel)l expensive. Inkjet An inkjet printer produces colour work cheaply, and quality can be high w ith specialist photo-paper. However; black lines aren't as crisp as those produced by laser printers. and the ink isn't waterproof. making it liable to smudging.
PER IPH ERA lS
.. •··•••·•••·••• •••····· ·······••• •••••······•···•·• .
GRAPHICS TABLET Most artists regard the graphics tablet as the essential peripheral for digital work. A graphics tablet is essentially a sheet of plastic that represents the shape of the monitor. Using a special pen. you "draw" on the surface. but rather than dispense ink the tip applies variable pressure. which the computer interprets and turns into an on-screen drawing. Using the pen you can use line and colour just as subtly as you would with a real pen and paper Graphics tablets allow much greater and more natural control of the tools in all major graphics packages. Once you get used to the tablet. you will soon be able to sketch. ink and colour your artwork entirely on the computer - without using paper at all!
Graphics Tablet Sizes The size of the graphics tablet you choose can make a big difference to your overall experience of working digitally. and how comfortably you can work. Consider the size of your desk area. or whether you need to transport the tablet between different computers. If you're working with a very large monitor then a small tablet may be too inaccurate to be used easily. The cost is almost twice as much for each increase in area size. so the larger tablets can be rather expensive. Its worth considering the tablet as a long-term investment though. A good-quality tablet w ill last for more than five years and still work perfectly. Some ranges also offer replacement pens and nibs. There are also 30 em x 46 em ( 12 in. x l8 in.) size tablets available. but because of their size these are generally considered too large for comfortable illustration work.
47
TIP Graphics Tablet Using a graphics tablet can be tough ro begin with. but don·r b e discouraged . It's a good ide.1 to scan in existing line cut ~ r\1 ;met t:)et used to COlOUring it USing Lilt' InI llf't~ rPn, ratl"ler til.:Jil trying ro ctr<'lw something frcclrdl 1<1 I.Jclw<-' the hang of lilt: m;w develop your mnrrol
~ystcrn.
~.Wrtino
Th is will hi"IJ"l yn11
~kill ~
:
~
'• ' • ••••••••••• • •• • • •••••• • ••• • ••• • • •••• v•• ••• • • • •••'
Large 23 em x 30 em (9 in. x t2 in.J Lctrger tablets are popular choin·~ w ith manga <.~r tists I.J<:causc tt1cy allow fine mntrol as w ell as general bro<:1d strokes. llowever. the l
Medium t 5 em x 20 em (6 in. x 8 in.J Tl1is size qiVL'~ d tjfl:rll lrrtcJc•-oll hf'IWf'Pn ~i7e, price and desk space. allow1ntj quocJ p!'ll .-11 c 111 ncy lor t1 tt1hlet that can also be easily tucked into r1 llriU. 01 IIIOVI 'I I 0111 Ill the way. However. some utllsb clo ~1111 ltr 1cJ ltll\ ~i7f:' roo restrictive for daily use. Small t 0 em x t 3 em (4 in. x 5 in.J The smallest size graphics tablctts Vt'IY popular and cost-effective and is ideal as a first tablet. Even 1f you would like to use a larger tablet li'ltcr. tl i~ wor1t1 investing in a small one fir~l to get r1 leel for how a tablet is usecJ.
48
g
D GITAL FOUNDATIONS
C1
about software rllOiO<;IlOf) j<; illP lllO<;i popular graphics
.\OfiWdfC for l.t lC rrk.ljur ily ur l.d::.ks, bul Lt-lef·e arc lots of clleaper alternatives, and also more specialized tools fo1· rnanga
c,rNrRAI Lo>l HJP i> ~Jer >etc~lly tesJc~r'cJeu d> u·1e lJe>L drL-generalion and image editing package. It offers a wide range of tools for nriginrlling digirn/ i'lrtwnrk, plus sophisticated output cunlrols r•t1ulosllop is U1e soflwctre most commonly used lor proressional print work. but it also offers tools For creJtinq images for use on the Internet. It comes bundled w ith a dedicJted packaqe, lmageReady. for this purpose. Althouqh Photoshop c.:.m seem overwhelming as a result of til e IJrge number of tools and options, its easy to come to qrips with the p.:ms of the softvvare that you'll use most
Photoshop Elements (Mac and PCJ The "cut down" version of Photoshop, minus some of the more advanced features. Elements contains all the basics and is an excellent choice for getting started with digital artwork.
Paintshop Pro (PC Only) Paintshop Pro is a popular budget alternative to Photoshop. Offering many of the same basic features. as well as some of the more advanced, its a good alternative for those who want to save money. It doesn't provide as much control over print-oriented work, but its still great for Internet work. If you want to get started with digital artwork, its a great choice.
Pros: A good introduction to Photoshop, its interface and features. Cons: Doesn't offer as many features as other budget software programs.
Pros: Inexpensive; offers most of the tools from Phoroshop. Cons: Lacks DPI (dots per inch. see page 53) and CMYK (cyan, magenta. yellow and key plate - or black) controls, which are important for print work. Runs slowly with multilayered and highresolution images.
-~ ' , .. •. ~ .
Pros: Offers the widest range of tools and complete control over output resolution; is w idely used and tdeally suited to supplying digital work for print. Cons: Expensive. limited effective ndturdl media style funct1on<11ity.
ALL ABOUT SOF TWARF
49
DIGITAL PAINTING Open Canvas (PC Only) Open Canvas is the cheapest of the software listed here. and probably has the least options available. However. it offers a number of unique features. such as brush styles that smudge the paint allowing you to emulate certain types of natural media.
Pros:
Fxn•lh>nt l.11 ~~ ~I r li...'UI ucdtC\ line~
fnnr:-~~rlr
.1nd l
Cons: I .11 k •, h •c~LUII.'~. l>ru~ll cnmro l ~
."'rr"
f11 ff1n Ill, ll l l<.'l kH.I.' I~
Pros: The he~t line (Jtt.-=llity lending; slmulare~ mmm'll medici cxtrt:rnely well. Cons: Lacks h.'lsic im;,ge adjusrmenr fei'ln tre~; no option to disable c:rntr-dlici~ing on lines. lmetges can'r be ea~ily mctnipuldted tor pr rnl prcpctr ctlion.
COMIC-MAKING SOFTWARE Comicworks (PC Only) Comicworks is a specialist software package from Japan. designed solely for the production of Japanese comic books. It allows you to place predefined screentone patterns onto the page and produce incredibly smooth line art. You can easily export your artwork and load it into other software. such as Photoshop. if you wish to add colour. Comicworks is an ideal choice for anyone who is dedicated to producing comics.
Pros: Fantastrc for producing prinr-rei'ldy line arr; makes applying digital screentone ei'lsy. and prints at high quality. Cons: Umited to black and white artwork jno colour or grey); interface can be difficult to u sc.
Painter (Mac and PCJ Painter is cJ iliql1ly spcuc~l r ll'd pucka~t.:. cJt:)l(jlll'cl 1o <; imlll:~re n..-tlt rr...tl mt->r!ia such as oil puint and wutcrcolour. P...tinter otters a huge selection of brushes rlrld llrl\ {'X( 1-'llf-'lll I lr ushsrroke control. Despite its lllrrrry wt>ru l('rllll features. however, P.1in1r-r ''" ko, '' ·vt ·r.-tl simple imaqe editing fr1cilitics ilnr I forces lines to be ilnti-;dirt'it ·r I (" '< • page 62), milking mrUl!..Jrl-\lylr~ screentonc diffiwll 1n ...rpply
50
g
DIGITAL FOUNDATIONS
C'1
USING THE TOOLBAR
toshop basics
Selection Tools A selection is a part of the image that you wish to modify. either by drawing onto it or by using your selection to define an area you wish to cut and paste, edit or apply effects to. Selections are easy to use. and make work on your image much easier.
Its oriqlll<; wr.rr. ;1s .::1n image-editing suite, but Photoshop 11.1s t"">PrnnlP tllC' most common graphics and painting fl.1rk;=Hlf', ,1nc:t tllP. standard for both home users and Industry professionals alike. Mosl Pholushop basics are dppliccJL>If:' lu ulllf:'r paint snttwarP,
Marquee Tools The Ellipt
Will tJc useful clscw~1ere .
Kl Y 1-1-/\ll JI\I·S OF F'IIOTOSI-IOP Brushes Palette you to choose from different types of brushes
Toolbar
Dlr.nl:wr. rhl' r11rrl'nrly (.<.li
tl IL'
All ow~
~1'/l'nNI
lli li L'I L'IIt tuul~
for ciri'lwlnCJ. ()i'linrin(j
Lasso Tools These tools allow you to select areas of the image while allowing greater freedom in defining the shape of your selection. Use the Polygonal Lasso to define a precise area by joining points. and the Magnetic Lasso to pick up the shape of the image as you move the tool over it. The Iauer is of limited use in painting and illustration. but very effective in editing photographs.
... ""
Magic Wand The Magic Wand selects an area of the image based on the shapes and lines of the existing image. It selects an area in the same way that the Paint Bucket fills an image.
Cropping and Slicing Tools These allow you to cut an image. either to remove elements of it or to apply in formation to the slices . Crop Tool Used to trim the image down to a smaller size. removing unwanted parts. Marking a rectangular selection and choosing Image > Crop from the menu will achieve the same result. Slice Tool For use specifically in Web site design work to separate an image into d ifferent rectangular areas. to which can be added hyper/inks.
.~1. ~'.
. i :),
(J
Paint Tools Tools that use natural media and real-world painting tools as their starting point. adding numerous editable possibilities and digitalspecific effects.
Tool Options Bar Shows all the ava1/able OiJtion~ fut your sclccrcd roo/, ?tllowing you to chilnge the WilY the too/ behaves.
Swatches Palette Lets you pick from a palette of different co/ours as well as add co/ours of your own.
Layer Palette Allows control of the different parts of your illustration by separating it into editable layers. (See page 52 for more information.)
Paintbrush The Paintbrush tool acts much like a conventional paintbrush or marker pen. It allows you to apply opaque or translucent colour and lines to the page. as you would w ith paint or ink. Choosing a brush size will define the size and shape of your brush. changing the thickness and style of the lines you draw. Round brushes are most common. and will draw an ordinary line at regular thickness. Squarer and more angular brushes vary the line width when you draw in different directions. and irregular -natural media" brushes will produce a gritty. textured stroke.
PHO TOS HOP RASICS
•
--- -
51
Tolerance, Anti-Alias and All Layers The number beneath each brush indicates its
IIT - . . -: J2ci""" r Ant~.~~.... 17 ean._,_ r All t...)wa
" !'.-~~~~~~~---d~i=a~m~e~te~r~i~n~p~ix ~e~ls~-----
--
Anti-Alias lOIL'I d r1 Ce= I 0
Round Brushes, Square Brushes and Natural Media Brushes The "hardness· of the edge of the brush will define the cnspness of the colour. and how much the colour fades out towards the edge of the stroke. The solid black shapes indicate hard brushes. whereas the fuzzy-looking circles represent soft edges and diffused effects.
tolerance I 00
Tolerance This chan ges how ~ im ilar rh e colour has to be for rl lu lJt: considered l hc sc1me colour by a selecti(ln mnl A 0 vJILJc m ean s it has to be the cxdll ~dmc RGO colou r. where.'! ~ /'i'i means rhar any coloLJr will be consrdt:rt:<.J li lt: ~dm e. even black and whire. Low v.1iues from I 0 to 50 arc u~u<~lly effectrvc cnou~/1.
Thl~ ;>,ffPrf~ wl11?lilcr lilt:
all layers orr
Opacity This affects the translucency of your applied colour. with I 00% being completely solid colour. and 0% being completely invisible. Layering semiopaque colour will thicken its effect. Pencil Mode This applres colour with a sharp. pixellated edge (rather than a soft, translucent one). w rth no anti-aliasing (see page 62). Although this might look abrasive on-screen. it is the best way to ensure a perfectly crisp edge to your lines areas. Generally, Pencil mode is best when working at very high resolutions, if you rntend to print or reduce the image later on. Working in this mode also makes it easy to select colours sampled from artWork accurately. Healing Brush, Clone Stamp Tool and History Brush These are custom versions of the Paintbrush For speciillist uses. and are rnostly useful w hen editing photogrilphs.
hi(Jh, ~n ht> "' rrP tn 70r)ll l 111 cJt ltl c hl'ck yn1 1r wnrl.:
All Layers
.~II l~yo>r<
selt>Cfi(ln/flll i~ h., ~E'.-1 n n lllC cll lWOik in rhP PXI~rlneJ l
( lN
Hard and Soft Brushes Airbrush Mode When in Airbrus11 mode. holding down the mouse button (or your graphics tablet pen nib) in the same place will apply colour over itself. thrckening its application. Airbrush mode can make rt tricky to distribute colour uniformly. A soft-edged brush can often achieve the same results.
Ch Prkino rhP Anrl .:~ liJs bo!\ Will .1IIOW YOI/1' r -Jint (01 \eiPrrinn) m hlt>F>.-1 nvr:r· lil <.: ccJq e o f rhP .'lrTWnrk it1 ~Urr tt: rll <:rl~. Thi ~ r.1n r., II~ P pr u iJI<.:rr 1~ w ilt 1 lft:dn linP .1rt if Tnler dilL<.: ~~ ~r.:l luu
~
Eraser Deletes areas of the imaqe <-~rmrc1 r n'] rn tl1c thickness and edge of rhe bru
~
Paint Bucket This will paint the currenrty c1 rnlnur onro the im<-~ge, working rll a srmri
~
Smudge, Blur and Sharpen The Smudge tool wrll move wlours <~ruuncJ rn the dorectron ol the brush movemenr. which is useful for blenc11ng roloo rr< Oil hair. or for creatrng subtle foiLls Ill l<~br il. The Blur tool milkes rhe im<-~ge softer. w hereas Sharpcn lllcikcs it crisper by increasing the contrast of tile sun ountJrng pixels. The Unshe~rp Mas~ filter is a more sophistiGltl'd versio n.
[QJ
lliJ ~
[S] ~ ~
[I]
Dodge. Burn and Sponge Dodge ilnd Burn <-~re named Jfter old style darkroom pllolOgr<~J.>hY techniques. ;~nd are used For ;~utom
ITJ
Text Tool lJ~I' thil tO pl,ll'l" l t-'XI I II I lilt' 1-'< IIJI.'. Url ~. on thl' p.>,()l' tn r,..,,, ,.. , , rr ·xi 11111 •• .orrd hold down thl" mn11'.f" hr Jll nn . 11 11 I rio"U ro create a mulrllint' rl'xt ht1x w1111 wr<~pping rexr.
[gJ
Shape Tool U~l' for c1r.~w•n•J rurh»•. rr •r 1,11 ryiL-:. ,u rLI nrhf'f'
~
Notes Tool u~c tu Wllll.' llicJcJcn lnon-prlnrln()) r.-xr <•nn01ariom .>.hn11r rhr> im.1rJo>
[ZJ
Eyedropper Thr> Fyl'droppcr s,1nlJJb Luluur lrurn tire urklC/t' i-lnd i1 11tnm:o~rlr.1 11y chJngc5 U1c LUIIl.'lll LOIOUI IO 1/H' nf>\,VI_y l ,>,mp1Pc1 sclcctron. ll u~ lullllllllll•lll l>c ,-~rhit>vPc1 hy holdin\,1 down U11.:1\11 key wlwn rn Paintbfllsh moue.
1 ~1, 1
Hand Tool ymrr lm.>.fJI' hP 1.1r(Jr"r rh.1n the present wrnLlow, ll u~ wrll ~uull ltrt: im,rqc dJuuncJ. Yn11 r;~n arhiPVI' rhi~ .1r .111 lrrnt:s l;y holdrng dOWI I lill.' ~J.!<.lLl.' lldl.
~
Zoom Tool 1\tltlW\ yot r ro mnm In <-~nc1 out of rile image. m
~l1ould
Photoshop Elements M o st o f rh e techniques ap p lied in th e tutorials on p ages 66- 99 can also be carried o ur in Pho tosh op Elem ents.
!TAL FOUNDAT IONS
toshop layers
Lighten
Mtwll of rile: freedom of working in Photosr10p comes from tile Laye1·s function. Tllis allows you to work without cldrTk.!CJir 1 ~1 oU ll'f ~C:H l~ or lhe cJrawing.
L;wers c~1n t;e rn<:mipLIIi:itecl <:1nd altered easily. so your character can be made to wear a blue jacket instead of a reel jrlrkcr, for cxilmplc; or you can sec what the image woulci look like wirh il different type of lighting. Layers are I he kry In wnrking cffcclivc/y wirh digira/ manga. I t1e IJe;L wo::ty to cle~cribe l.dyers is lo compare the tuncrion ro sheers ot glass or cleiJr plastic, like the overlays lllo::tl c~nir rktlor; c~nc.l grc~phi c designers usecl to use before rhe dJys of digitJI. When you draw and paint on a rhnlmhnp 1,1yr·r. il> ronlenls nre Pntirely inrlependent of ott·1er !.dyers. 2tllhough lhe 1mage will appear to be a Wl~Jie 1tem.
Screen
This example shows the effect of various layer styles when pink is overlaid on a blue layer.
Overlay
-
Soft Light
] Hard Light
MASKING LAYERS A simple way to think of a mask is as a permanent selection. outside of which - or w ithin which (depending on how you set it up) - the image is unaffected by any tool you use, or modification you make. L3yer masks add a lot of flexibility to the way you can work w ith Layers in Photoshop, by defining how much of each layer should be visible. Using masks Masks help control the placement of colour and inks.
[,rdJI,ry<.:r llllllollll'o ll'(l.~r.~tt'
parrs of lh~·
imugc.
Flattening Layers l.uyLu LIIL' ullly ~dVL'U IJy Pllulu:.I JujJ 111 LL'Ildltl filL' furmats. so w11en wu1 kni~J w1llr llu.: l.uyL'J s furK LJOIJ you should always save in your scrftw.:~r·e p.:~ck.:rge·~ dcfJull formJt - PSD in the case of Photoshop. If y•) U Fl.:tttcn U1c im.:~gc (Luycr > Flatten Image). t11e file size of your lm:1QP will hE' muc11 sm.111er, because Photos110p creates a single mmrmlrP l:~yer of :~II of rhe elements_This means that you lose the :'lhlllry rn Prllr rhP im:'loe l;:trer nn You should always ny ro keep an mlolml copy of your image with L3yers intact.
BENEFITS OF LAYERS ~ Easier to add colour to lines by drawing on the layer
*
underneath, without worrying about the details. Layers can be moved around. allowing you to after the compositior1 of tl1e image freely.
;.:. Parts of each layer can be deleted freely without altering other layers - making it easy to create clean, professionalquality artwork that will look great in print or on the Web.
•
HOW TO MASK A LAYER 1 . Choose the layer. and select the area you want to be visible. 2. Click the "Mask L3yer" button at the bottom of the Layer stack. 3. The layer w ill now be masked out and should be highlighted. 4. You can edit the layer mask with black and white brushes to alter the masked area. 5. Click back on to the main colour part of the layer to paint here as normal. 6. Right-clicking on the layer will give you the choice to disable, enable or discard the mask.
I I
J I I
I~ !::~ OLU TION
DPI
Resolution
DPI stands for "dots per inch". and refers to the number of dots ust.:d to
Understanding the resolution of images is crucial when workin
All digital images, be they on-screen or printed on paper, are made
Minimum resolution Low dpi images look poor when printed. 300 dpi IS lilt: minimum resolution you should work at.
4fc Image can be used for print at high quality.
~t'~nlul 10 11 / )
Minor errors become less noticeable. Working at a high resolution gives you the freedom to display the
~L~olutJon
I SO dpi
l~c~olutJull 600 <.IJJi
FOUR COLOUR
300 dpl to .:tppeilr high qucJhly, wherens image~ on-screen can be .:ts
on-screen, bul would only be J inches wide when printec.J .rt :.lUO dpi, or l _r; inches ,Jr 600 dpi. DeSIJile this, mmr .'lrtwork Intended ror displc~y on cornruter is produced C1 very higt1 resolution and rhen
cit
1,1ter compressed. This Is because working i'lt "' high resolution to beg1n w1th ~flows you ro zoom into lht.: irn.:tge I'O nrld ~m.'lll derails. and dlso g1ves you the treedom to use
Cons:
your 1mngl:' tor either print or the Internet. When creating an illustration. work prrmarrly with the
to manipulate. Pnmers simulate colours and grey tones by us1ng patterns of dots. Greyscale images are produced using only blacl< ink. whereas four colours (cyan. magenta. yellow and black. otherwise known as CMYK) are used to produce colour-printed images.
/
a screen is illuminated. An 1m.rqt.: prinlt.:c.J un IJdper will need ;:~r IP.~sr
low as 72 dp1 c1nd sllll seem sh<'~rJ1 . This means that an irncJgc 900 pixels w1de would be 12.5 Inches wide
4fc Can lead to large file sizes on disk. 4f: Requires a more powerful computer
See also Scanning, pages 56- 57
on-scr(.!(.!ll.
but mmr pPCf1IP rPfer to d1~1 t.r1 cclour lm.~gPs i11 terms of their DPI.
srnoot11 lh<:rn lllldtjl.:~ 1Jrrnted on paper; p.:~rti;:~lly hPr::~mP of the way
image at any size you wish.
~
same thing fer lm:l!)f>s
lm.:~gP~ on "' romruter screen require a lower DPI counl lo ilPPl.:dT
areas of the image.
4f: 4f:
w1ll1 low Ul'l. 1'1'1 stnnd~ for "ri>
tlpi
4fc Ability to add fine detail to small GREYSCALE
make up an 1m
Resolution 2!:i dpi
from dots. The more dots they have, the finer the image is. Producing images at a high resolution means more pixels (short for "picture elements", the dots used to form the image on-screen). High resolutions give you greater creative flexibility in how the final im<:tge can be used. as we w ill see. Working at a high resolution puts a much greater strt:Jin on your computer. When you save files they take up more disk space, ancJ your computer will require more memory to handle the work and a faster processor to manipulate it. The larger the image, the more data the computer has to deal with. and if there isn't enough mem ory available to store all that data comfortably. the computer w ill soon slow down or indeed be unable to load the file. Recent computers are much more capable of handling large, uncompressed graphics. but you should still invest in a decent-sized hard drive and more RAM if you intend to work on large images.
PROS AND CONS OF HIGH RESOLUTION IMAGES Pros:
53
image displayed in a "zoomed out" view, displaying the image at SO% or 25% of the actual size.
CHAPTER FOUR
Creatinq lligh-quality line art is one of the most important c.;IC'pr.; 1o pro(JucineJ CJny irnage. Sharp, clean lines will make colouring easier and will significantly improve the presentation
ol your pr in Led manga.
8 8 8 8
Scanning 56 Trad itional inking 58 Digital inking 60 Digita l line art
62
-
56
e
DIG ITAL TECHNI Q UE S: LINE ART
Usinq J fiJtbeci scanner allows you to take an image frorn p,3pe1· ,3n(j transfe1· it to computer. Such devices ;:m-:-. illf'XfJe'll<;iVP c11ld <;imple tO USe, and enable you tO cr 1t 1c.1r Ill' yuur illu~u c.~Lior IS wiLtl digilal lecrHliques.
Adjust settings on your scanner before you choose ··scan·.
\CANNINCi OPTIONS Colour TIJi'> uplior 1 '>ldll '> the image using full colour. Useful for s<
Mark out the area or rhe imi'lqe you inrend rn ~r;~n wirh rhe l~egton Select
Blacl( and white ("line art" mode) Usinq this option converts your imogc into pure black and Wll ire (rwo colours) . This .Jchieves decem resulrs. but you can proiJaiJiy control the quality better by using Photoshop to CClrlVC ' rl UU Y\Crl lc• work lrll n tllriCk .-JmJ WhiiC.
Colour scan Culour ~c.:tm dtt' ~low &1<.1 Ll ~t' more rnernory {1~1- I t1ey shoutcJ only lle used for colour images.
Greyscale Greyscale 1s good for scanning pencil work or for qu1ck results from ink.
'
..... ..... ~
- ~·
.
·-· ...... ······--· .. -··· ... - ...•
Black and white Black and white mode is perfect for scanning ink drawings.
SCANN I N G
~ cSOLUTION
- ne most common resolution at w hich to scan images is 300 dpi but you can choose 600 dpi for work you intend :o print or images you w ish to enlarge. Very few affordable scanners can scan at much higher than 600 dpi or 1200 dpi, and attempting to scan at higher resolutions than these will do little other than freeze your machine and fi ll up your hard drive.
Scanning in pencil work and sketches Pencil work can be a great starting point for a digital image. You can clean up your pencil work by increasing the contrast of the scan. Often the quality w ill be high enough w be used online without further modification. but generally the line quality of pencil w ork won't be high enough for print. except in rare instances . You can also use the Sharpen tool or Unsharp Mask filter in Photoshop to make your lines appear crisper.
57
TIPS for Scanning Remember you can scan straight from t1ny
gmrl1 ir~
software by ch oosing the se
4ft
Make sure Ihere 1s
no
dLI~t
or eraser tlecks on either your
paper or your scanner bed before scunninq.
4ft If you·re having trouble scanning sometilinq flut.
t1y
picK ing boo ks on lop of lh!:' ~r<'!n npr firl m r ress It dow n .
* If tllere is cJrtwork visibk: riUI II lilt: Ull lt:r ~ide ol illlrl prtpc··r !"show rhrough"), you r;m rPr1ttr P rh i~ by pl.xing bi.:Jck. card over the buck of tile p.:rpcr.
Pencil w ork and sketches
Scanning in line art Most digital artists still produce their line art on paper and then scan in the image for colouring and manipulation on computer. This tends to be the best compromise between line quality. time spent and overall image composition. You can choose whether to scan your lines in as greyscale or black and w hite. both of w hich offer their own advantages (see previous page). Setting your lines to grey can retain subtle detailing in the strokes. and is sometimes better if your line work is especially fine. However. converting your lines to black and w hite (whether through the scanner or in Photoshop) w ill give you crisper lines that have a sharper edge w hen printed . These wi ll be easier to colour cleanly in Photoshop.
IIVLIYI I
~~~
tu )~un ~lcunly l.>ut uti: J.X:rfcu for diqlr.ll lnkinq
,..J
:: ;
I.
Coloured lines
can be removed digit.ally .:lftt'l"
TIP: Splicing Images
)ltc.:ld
..II~' I IIVIt' \.hlli~Uil
Kunn1ng.
If you have an image that is too large for the scanner. you can usually scan in several parts and then splice the image together in Photoshop. Be sure to keep the edges of the paper straight when doing this, and leave an area of overlap presen t on both scanned images. Create a large document. then copy and paste the two images onto the page. You can reduce the seam between the two halves by using a
Adjusting
soft eraser {or mask) on the edge of the image on the
result 1n a good
higher level.
scan. even from
contrast can penc11 work.
I
..
·. \ '
58
-8
DI G ITA L TEC HNIQUE S: L INE AR T
Trad itiona I inking lnkin9 is .::1n important skill for any manga artist. For tllose wllo cJn't Jfford tile expensive equipment for digital inking, ur wt ru prdcr d murc tacl.ilc c:Jrc~wing experience, traditional ir lkirl(.j fTlC[~ lOCJ.S orrcr cl cheap alternative.
Thl~n~ i~ rliWrly~
rl ri~k of lllrlkin
nRl J ~)l IrS AND
I~ Rl
TIPS Inking 4fC Use different-sized pens according
*
*
to the amount of detail
you're drawing. Fine derails like facial features should be drawn w ith finer pens than the rest of y our character. If you make a mistake while inking. don't w orry. Simply while out the area with correction fiuid or white ink. and draw over it when its dry. To make your inked pictures easier to scan. try drawing w ith non-photo pencils (whose lines are nor picked up by a scanner) and inking over them. Or scan in your pencil sketch and tint it blue in your image-editing program (Photoshop. if you're using it). then print it out and use that to ink from.
* If the ink you use is particularly sticky, try dabbing it with a puny rubber to remove the excess after its dried.
JSI I PFNS
lnklnq with .:1 brush is
textured Jines are great for drawing hair or anything with a feathered texture or edge. In terms of convenience. a brush pen is better than a brush. and is less messy. Brush pens often take ink cartridges. so you don't have to worry about the brush drying or being ruined by sticky ink. Pens with a bristle tip give the sharpest lines and have the greatest flexibility. Fibre-tipped brush pens are more suited to colouring rather than inking. as their tips are less fine and tend to blunt
T RAD ITI ONA L I NK I NG
59
FINELINERS
TIP Varying Line
Width To vary line width with a fineliner, you need a different technique than the method you use with nibs and brushes. Because of the lack of flexibility in the tip. the only way to vary the lines is by drawing over them a few times. Drawing qui·ckly. in a way similar to
Fineliners are great for creating nat, consistent lines. There is no line width variation with pressure (in fact, don't prP.ss too hard - you could break the tip!) . and little variation with the speed at which you draw. Tt1e co m i~terH..y uf IiTle i~ u~e fLII il r------ you're creating a eel-style coloured in1nge (r,('c· pflgc~ 70-73). but it~ not the IJe~t lype ol pen lor rmnq~1 unless you usc several tllicknc:ssc:s of p('nr, nnrl layer your li n e~ to u ed te vctnctUon .:~ r 10 deptr1. Fineliners come 1n two types: che~1pe r. disposJble pens with plastic tips, and expensive mct.ll rippc:d models. Metal-tipped pens arc rcfi /l,lblc w ith n Vcl rit ·1y uf different inks. bu t l"llr:y rr·qt Jir(' crl rrftJI /l lrlilll< 'llr/1 Ill' r/1 i( I cleaning (sometimes w ith expensive kits) . Tilr. 'il iffnC'i\ or the tips makes them difficult tO USC, clS tllC ink only now~ properly when the pen is held at .:1 90 deqrce anq/c from the page. Plastic-tipped tineliners cope better with more comforl·r1lliC' r~rlal<'\ . ltl<'H' r ll <' lol \ ol clili<'H 'fli brands available, eac /1 w itll different ink qunlitics r~ntJ tip strengths.
how you would build up lines on a pencil sketch. creates a more natural-looking image.
NIBS Nibs are the traditional inking choice of manga artists. Nibs come in a range of different shapes and sizes, each with a different purpose. Wide, pointed nibs are good for drawing most things, with a smaller. firmer-pointed nib used for details and finer lines. Squaretipped nibs intended for calligraphy are rarely used. You can easily create interestinglooking lines with nib pens with just a little practice. However. nibs can be messy and are liable to cause inkblots on your artwork. Ink also takes a while to dry. so you have to make sure you don't smudge your work as you draw. Nibs need to be thoroughly cleaned and, although they are inexpensive. they do need to be replaced frequently.
PENS TO AVOID Biro
Biros crecJle cJ mil line ~ l rn l lclr to penol~. This makes them acceptable for the occasional sketch, but a finished piece w ill look scru rry corn p.1rcd to one 1nkecJ w itll <1 pen intended for drawing. Gel pens
These are similar to biros. but stickicc The ball in tile tip is et~s i ly clogged by ink, leading to broken lines. ·1his sticky ink also rncJkes the lines 1l
produn:~
smudgy and slow tu d1 y. Pencils
Skipping the inking sldgc dlld ~lcllm in y your pencil sketch Jnstei'lcl rr11gllt seem like a time-saving tip. but re~JIIy it takes JUSt as long to cle
don't think of them as a replacement for inkiog.
60
e
DI GITAL TECHNIQUES: LINE ART
ital inking Tr1anks to qrapllics tablets becoming less expensive and more widely r~vc~ildlJic. iL i~ now practical to produce line drawings entirely on a comptllCI. I )r clwir 19 clis.JiLally gives you a lot more freedom tllan traditional ir 1king clocs. bt tt you will need a lot of pr-actice with your graphics tablet Lu become: as r;roflrient as you migllt be with a traditional pencil or pen. 1~0 IATING
TilE PAGE
The t rur ndr r wr i~L c.dn unfy turn through so many/ "---:= deqrees. so wtlen trufcJrng 21 pen it feels more, j curr rfUlldiJie dlld rrdlur dl Lu c.lraw certain lll"lQIC'~ rlnd strokes o f lines lhan others. espcci.1lly ilr 1.1rg<--r ~i7C'~ . Fm Px;rmplc, rl r~ ed~Y lu cJrdW ~1 small circle rnmfnrtrrhly. lcl (or mouse) C•lwi•Wtll.,, is operated in lmoll" Sltn C• n¥ihst.ol• ... ~lignment with f11t1tl Aap.fld Uahn your screen. and I , ..,, you w111 be sitting lnm rrt n d<~~k wilh the graphics tAblet in front of you, so you'll find there are physical
limitations to what you can comfortably achieve. There are ways to reduce the problem. however. In Photoshop (and most other packages), you can rotate the image by 90 degrees by using the Rotate ) Canvas option from the Image menu. This can be a little slow. but it keeps your image intact so that you can rotate it back to the correct position w ithout any loss of image quality. However: do not use the "Arbitrary" rotate option, as this will permanently damage your lines and lower the quality when you rotate them back into position. Specialist packages such as Painter and Comicworks are designed more with the concept of drawing straight ro the computer in mind. so they give you the option of rotating your canvas freely while you draw, making it much easier to work on.
FLIPPING THE PAGE You can often spot flaws and errors in your artwork when you mirror it. so w hen drawing digitally it is worth using the "Flip Canvas Horizontal" function occasionally to see if you can spot any problems with the image. Fix them, and tt1cn flip the image back.
~
~
/ lm.:~go:·
_ ,
_,._
qu.:lhly I)
retained wllen you usc
EJ-o-
RotJte CJnvJS to rotulc your omage.
Scr ,'l l~o Traditio na l inking.
a-
pages 58-59
o-o-o-o--ooo--
li li li li
li li li
li li
El-
li
. I
• • • "
"'
A
I
• u
•
• "
• . It
u
•
...
"
¥
Check the "Smooth Unes" box to enable line smoothing.
DIGITAL INKING
61
DIGITAL SKETCHING Computers offer a lot of flexibility w ith regards to how you can draw. and its this flexibility that makes them fun to sketch with.
·' Building up your sketch
Experiment! Wan t to try a different pose? Wondering what your character would look like carrying an item. or wearing a different ou tfit? Duplicate your sketch layer and hide the original. then you can draw on the new layer as much as you wish. trying out as many new ideas as you can think of.
ROTATI!. SCALI! AND MOVE While you're still sketching. you can take advantage of the Image Transform tool 1n Photoshop. Rotating an arm, scaling a head or moving a waist might be all you need to get your image looking perfect.
Try
~kP.tr.l11 119 Vl.'l y I UI..I~I.:Iy Ut I
n nt-w J;wl'r 1•nrll yn11 gt>t ,., 1ouyh v<.:r ~ion of rhe 1m.:.() ~ nr r mc yot.• Wdl tl. Nuw. ~cl tl 1i~ lnyer ro a low O('l:'lriry ( ~tl'HJ ur h:~~~. c.IIIU l..r <.:cJt<.: d new J.:.yt-r Dr:'lw yn1 1r 1111.1!.)1.'' w1ttl mo r ~.: <.l<.:flrution till~ rlmP. u~Jno yn11r nthrr '"Yt.'' c.1~ c.1 yu1<.1<.:. By rq.x:atinq rhl ~ ('lrc')("t"~~ yn1 I (,111 ~lnwly llt.•~l I out t1t1 imclqc.
DIGITAL INKING Sharpening your lines lJ~I nrJ
thP Fr.w~r. the edges of blunt lines into t11c pou 1l yuu
Creating the outline Always w ork on a new layer when producing your ink outline. ideally fadin g your sketch to 30-50% opacity on the layer beneath. Work over the lines of your charaa er with the Brush or Pencil tool. Sometimes it helps to turn off the sketch layer briefly to see m ore accurately how your lines are looking.
Drawing d~tails on separate layers for use in colouring later Its w orth drawing folds or clothing details at this stage on a new layer. They can be used as guidelines later w hen it comes to colouring.
62
e
DI GI TAL TECHNIQUES: LINE ART
it a I Iine a rt Preparing line art for further digital production work is an important step in eve1y piece of artwork, and with understanding can make your work easier to produce and can give you more options in developing your images.
WHA"I IS ANTI-ALIASING-I Everything un d computer screen is macle of square pixels, so in order to represent diagonal lines and curves the screen has to arrange tiny squares in di<:1gon<:1l or curved patterns. With close inspection. it becomes obvious that the irnagc is pixellatecl - curves in particular can look jagged on screen. Anti aliasing is a method that blurs the colours around the pixels in your lines to more nccuratcly fnkc the clppearance of a curve or diagonal. This is very ellect1ve on a computer screen and will vastly improve the overall appearance of your im<:1gc. However; it is less desirable in print. The printer will t1y to make a f)i"rtlcrn to represent t·he greys, with the overall effect that the line looks far Jess ~moolh lllrrn !he "aliiiscd" version. Al~o. when u~ing 111c Mngic Wnnd nnd Paint Bucket tools. the computer has to begin making assumptions about correct selections C'lnd fills when it comes to working with anti-<:lliased images. This can lead to a loss of quality on the image.
f3A)1C LINt: ART
P I~EPARATION:
Fill tool without anti-alias
GREYSCALE LINE ART
l J\1no d "Mr Jltlf)ly" layer is the simplest way of setting up your line art in graphics softworc. This projects tt1e black lines of tt1e artwork over the image. and any grey p~~rts of the image make the underlying colours darker. This method is quick lu ~d tip, rrmJ U.'>dul for rnm l types of irn ~1ges . Its also great for pencil line art. or i:lnythinq with distinct and crisp edges to the line work.
1. Background colour Open your line arr file in Pl1ulu~ l 10p . This Cdn be e1L11er 11nes you h ave pmduced digit-'llly or an ima~JP you h-'lve sc;mned Specify your b;:rckground rotor 1r -'lS the rolour you wish ro have as a backdrop usut~lty this will be white
at thrs slilg~.: . 2. Select the entire image using Ctrt + A cut the lm-'lge with Ctrl + X; rhen press Cl1 I + V to paste the image into a new layer. Change the layer style to Multiply. This will make all white areas or the image tri1nsparcnt. and all black parts of the image opaque.
Fill tool with anti-alias
3. Ready to start colouring If you create another layer. located beneath the line art layer. you should be able to draw and colour without obscuring the line art at all. You're now ready to start colouring.
DIGITAL LINf: ART
63
ADVAN CED LI N E ART PREPARATION : BLACK AND W HITE LI N E ART In many instances of producing digital line art. you w ill want your work to be as clean and "digital" as possible. This essentially requires converting the line art to black and w hite, and removing all w hite from the layer: Although this w ill make the edge of the line art appear 'j agged" and aliased up close, it will produce the crispest line results, especially in print.
.....
[~;
;:l, *.. ..
tt."Y. '- ..1.
____ _
~ &:~...:~
£ . 35.
o.o.
"--
... .
~
it . T.
iliil I
~
+10 G!Q(
.)
OK
I cance~
1• O f)f'n yni 1r llnf' .'lrt fiiP .1 ~ r1orm.11, .-wrt1 .:oorn in to tt1e line\ ~howlng rhf' lm:'IIJI' .'lr 1uu·~ iJIXr..:i ~ w.:. 2 . Select t11c ~nl11 ~ 11 "'"''='~ u~iii\:J llll + A wl rhf' irn.1QP witl1 Ctrl .. X, ti1L'n 11il l lll ·t V lo f).::t~rf' rhP lm.::tQP inrn a nPW L1yPr 3. U~P rhf' n rlqhrnes~ ann \onrr.1 ~ tnnl Tc"l u<.11u~t tt 1e line drt w be wrnpiPTf'ly hlark ~uiSl: U1e lullli u~l lo 100, tlricJ ltlt'rl rtcJju\c U1c l:l11y l 1l11L'~~ UJ il il Uit: ltu e~llui<.I produ«'\ the dCSII"CU upjJ~ur
0Pre-;tow
5. Your line url will now < Orl\1\l ol p11w black lines. and will· bC Cd~iCi Ill W
4. Removing the white Select the Magic Wand tool, making sure "Anti-alias· and "Contiguous· are both unch ecked. Select the w hite area of the page. and hit the delete key to delete the w hite area.
( ee also Sca nning,
pa ges 56-57
T~l.::Jnk.s
ro digital colouring, it is now easy to create professional-looking
work. WiU 1 an undcrsLanding of the different methods you can choose the per leU
~Lyle=
!"or your manga pages.
~ Colourin g ba sics 66 ~ eel-style colouring 70
~ Ai rbrush-styl e shading 74 ~ Simulated natu ~al media 78 ~ Lineless artwork 82
~ Digital screentones 88
9
Special effects 94
/ ('
-d/j
~ D \3ITAL
66
TECHN I QUES: COLOURING. SCREE NTO N E AND EFFECTS
uring basics Nn rn.=1tter what kind of image you're making. you've gnl In "'.;Jrl sorncwt-lcrc. A lol or illustrations begin with tJ-,e scJme bcJsic steps. Here are a few general tips that apply
Lo n JOSL Lechniques.
BASE COLOURING TECHNIQUE FOR GREYSCALE OUTLINES
lJ!' .f..Jll.
....o. .>. •..
\ . T.
~.
'·
.:;!, ,, , . ) ·~
1. Set up line art layer Rl\-ji Jh.hLk l11c ldycr wnldinin4 yuur inkc<.l rool"tlll'l" ;u1d ~I?IC'Ct Duphc.:otc Wycr NJmc tillS new layer "outline·.
:mrl
~PT
I ;.tyt'r
lr rn Mllltll"liY
11~1ng
rhe drop down menu at the top o f the
rx~lt'ITP
2. Create a background layer MJke J IILW I
fill ir with any w lour (light or lliiJif'diOill'S cll t!
best). The purpme of J11is is to m<~ke it easier to sce any g.lps 1n your bnse colours later on.
3. Create base colour layer Make another new layer for your base colours. Select an area you want to colour with the Magic Wand.
u. ~ . --· T. ~ .D. Pl. ~. ~')
"\
C OLOURING BASICS
AI
4 . Notice how the selection doesn't go righ t to the edge of the lines? To get around this. go to the menu ilnd choose Select > Modify > Expand. and cxJVtncJ your ~el ection by 1-3 pixels.
67
ctri+A
l:>csele<:t
Ctri+O
~'~'"'"'-:t
-r a+.:trl•r'
tnvC'rse
SNft+(:trl+l
Color R""9"· ··
f•ather...
Al+Ctri>O
L06d~~tton... 5.-MJ~ll(w,,,
•
5 . Block in colours Use the Fill tool to colour rhe area. 1r you turn "Con tiguous" off. you can fill the w hole selection at once.
~.
lt . T. ~ . D.
~.
~·'
6 . If there are still some areas lert outside the selectton. use the Polygon Lasso tool to select them manually. Its mostly small corners and sharp po1nts that get left behind. so pc1y spectal attention to those areas.
J'. Q,
~ - T.
.) , D. ~.
J'.
~·)
Q,
QJ ~ Ot!O
0
0
T.
~ . D.
51. J'. ~~ Q,
7 . Where theres a Jot of tight detail on the image, like tile sleeve on this picture. its quicker to u se the Polygon Lasso tool to draw the selection mnnt;nlly r~s you rlKl 1n the prev1ous step. Instead of paimrr~king ly using the Magic Wiln d ro select Cr1Ci1 bit individually.
8 . Now that you've got the foundations down. you can colour the image in any style you want.
0.
_J
f:J.
3.1
ii
D IGITA L TEC H NIQUES : COLO U RI NG. SCREEN TONE AND EFFECTS
BASE COLOURING FOR BLACK AND WHITE OUTLINES 1. Create layer for line art Start by right-clicking the layer containing your inked picture and select Duplicate Layer. Name this new layer ·outline·.
2 . Remove white areas Use the Magic Wand tool. with both Antialiasing and Contiguous turned off. to select all the white on that layer. Hit Ctrl + X or choose Edit > Cut to remove all the w hite. Lock this layer.
3. Create background layer Make a new layer and fill ir with any colour. Duplicate the outline layer and name it "base colour·. then move it below the ou tline layer.
4. Block in colours Usc the Fill tool. with Anti-aliasing off. ro start filling in the colours.
5 . If there <~re <~ ny small areas left behind WithOUt colour. you can simply touch them up w ith the Brush tool. Just usc a very small brush and be careful.
6 . Now that you've got the foundations down. you can colour the image in any style you w ant.
COLOUR IN G BASICS
FIXING GAPS WHILE COLOURING
69
COLOUR 'I'HIIOIIY' ~ compuller-
millions tl calaurs fl 6.7 mfllonl Iran wNch to Rllllre • seledlori. so where do )QI staR? Cclour theory can help you understand &he way CXllours me Ul&d In a composldon ...:I can help you mate u•fanned Chola!s abour your own COiaul'ing. Colour theory dOIII natjusr apply Q) art - Irk all around )IOU. lbur anvtnmment IS lfl'eded by light elemellll tl talcur theory~ pn!S!I'If ~.
SUVng cob.n ldlraCt .-~~tor..
m
La lhls to Cft!8llt dt!pdt In your picture.
QJ
...
.-.--
I[Q]ta ljJO t;ii
I
~~.t. If your image outline has a lot of gaps in it. you can patch them with the following simple method. On your base colour layer. use the Brush to draw a line between the sides of the offending gap in the colour you'll be blocking in. Then you can select the area with the Magic Wand (ser to "All l<~yers"). or usc the Fill tool to colour rhe area.
Objem In the ft:ngRiund shaukl bet more 5illunlllld 1t11n obJKIIIn n bacfcgralnd This wll make the-focus on yow d'llrilclln. ..a ~ • realislk-- of pew~. Achlelllng befarw wl1'h cxdour Is lmparrar. tao. "you want tg La WilY bright aDn )IOU hiM: to know Whlth cdaLn to use ID ~them. A very bright or saturalleCI colour on 11:. awn ;n a t*tUn: 11 jlrrtng, bUt appears raJmer When used wlrh mau:hlng .... puling . ...... whale tatnposlllan.
Calallr ......... . .
lJghUng ...... carour RlcRnn moar
peopleNIIIIa.lt ctMAgll .... . . . .
cobndlhldcMS..aNgl_ _ _
COLOURING JARGON The colouring tutorials over the following pages will be easier to follow if you have an understanding of basic
colour terms. Hue The technical term for colours. Shade Hues mixed with black, or other dark colours . Saturation The intensity of a colour. A saturated hue has
Contrast
very pure. strong colo ur. whereas a desaturated hue is muted and dull. The difference in hue or shade between two colours.
also . . calaull ahheWIICie . . . Nodclehow..,... aan:l,au lse dlft'eelt CGiaUr • mlcldly1hln fr II • dU!f(l If JDUI' llluslratian has . . , strorllt CGiaunld llgt81Q. ~shoUld calour ... bldcglaund ftrst ...-ld UR that • II blsls far ,a.l' c:IW8CIM" cdaurs. If ,au colcu' lhe charaallr first. you mlgnt nat be able tiO miiiCh lhe Jfgtllfng tllhe chalac:ter wllh thellghllng ollhl erwlrorirnenC sunaundfng lt. leavtng JOU Wllh e11t1er 11 df9*\ted Image or a piCa.n w11t1 a dlfl'eelt mood ftan the one you ser out to achieve. ~ blllck shadi'lg should be avakled. Blade drains IIWilJ colour 6tm " pldUre. maiCing It teem cold and unr'IIIIUrlll. Dart~ . . . . . . purples ant gacx1 Clo'lblrllD use rar lhldlng. bUt II10IIIy ... ChiD ...... on tt1e llgtldng In )OUr c:a~r,alllan.
~ 70
~ DtGI TAL
TEC H N I QUES: COLOUR I NG, SCREENTONE AND EFFECTS
style colouring Cc'/-')iy le culuur in q refers to the animatio n eels usP.c.J in Jc:1~ >.- lr 1 c~e .::mime. and to the led 1r 1ique of shading a chal-acler using a lirnited
lllJnlher of tones.
lrdmpdrent sheets ot ilrrrmC' Ill HJirl .-tlluw you to easily achieve Lln rlUtl"lcntir rr'i--;tylr· look rn your c.Jr.:rw rnqs.
CEL -STYL[ COLO URING
CREATING A CEL-STYLE IMAGE 1. Blocking out colours Start by filling in your base colours using one of the methods detailed on pages 66-69.
,.~ ,
~
~. J.
£ . Yf. B.~. ~
.....
~.
T.
~.u.
51. /. ~·~
0..
~ I[Q)[J ~~ E:J 0 ~ .,
9.~.
,j, ....
lt. T .
.J. u. IJ. )', ~·,
'-\
!] •
2. Create layers Select an area to shade with the Magic Wand. Make a new layer underneath the outline for the shading.
1@ :-i:J IQ,tl 0 ~ .;
•
3. Block out shade and refine Loosely shade the area with the Brush tool. and then use the Eraser to smooth the lines and sharpen the points. Some parts may need more than one step of shading to give them extra depth or definition. but be sparing with your shading; adding too much will make the image look less like an authentic animation eel.
71
DIGITAL TECHNIQUES : COLOURING. SCREENTON E AND EFF EC TS
..; .e... ~.
T.
~.D.
~-
.1.
,.., L\,
Fol:
!II
.,......
5 . Highlights Make a new layer above the shading layer for the highlights. Colour the highlights in a similar manner to the shading sparingly - and w ith consideration of how muct1 light reflects off the character.
• • 4 . Finish LUIUUI II 14 dli
itl{'
\IJ,ulow~
•
'-----"='---- - - - -
Less Is More I urullrt!.J yClur p...rll"'llt' m.;~y seem like a crazy thing to SUqqcst. considering lllc pule11llr!l of di!.JIIrtl rlrlwork. I lowever; eel-style pictures benefit from minimul shading. l t rv \I lrldiii!.J 111 c C'l colcH mng is dependent on how reflective t ile object you 're colouring is. Tile 'illinier il is. lhe mort' \h.;tdows and highligh ts you apply. This m eans it:S lJt'\1 In lM' II'\\ ,,.k1rl1ng on .;~re.;~s that are more matt. like r loii-1111\J ,.,, tel \kill, dnc.J rnore on areas that are shiny. such
6 . Your image is complete. Here you can see a breakdown of the various layers.
JS hair c1nd jcwciiC'ry. U\illSJ fc wer 1.-ryer \ o f shadrng will also
mJkc the imc1gc rl!"ilnC'r.
0
MATERIAL TYPES IN CEL SHADING Sltin Skin tones usually use three basic
steps o f colour. w ith a fourth additional colour sometimes used for white highlights.
Hair Hair in anime is often incredibly shiny.
with at least four shades o f colour. includ ing bold white highlights.
0
Cloth Soft cloth absorbs light.
Plastic Plastic is sim ilar to metal.
and can be accurately portrayed with just
but tends not to reflect. It will
two tones of colour.
shades of colour.
use three or four
CEL-STYLE COLOURING
..··....... .. . .. ..... .. .... ..
···•··············•······•••·••·•••••·••·· ..
TIP Quick Colour Change If you want to adjust any of the colours you've used. you can do so simply by selecting the area you want to change and going to Image > Adjustments >
..
Hue/Saturation on the menu. or hitting Ctrl + U. Use the Hue slider to change the colour. Saturation will either fade or intensify your colours. and Lightness will fade colours out to black or white.
- - - - - - - - -fi) OK
_o - J
Hue:
L
--- ...J
oj
Saturation:
•
The saturation slider increases the amount of colour intensily. or reduces it to greyscale.
J
Load...
..J Lightness:
Cancel
Save...
I
lo
.,
"'
-:(
The Hue slider shifts rhe color rr spectrum .Jnd dUJU>b
0 COIOIIZe e] Preview
Increasing tile lightness will mix white w ith the chosen colour Reducing it w ill mix black.
.
-·
. . ...•......•...••.•..••••.•..•....••......................•.•...••...••.••.•..• )
Ru bber Rubber is harder than cloth, but not as hard as plastic. Use two or t hree shades.
.J
M etal Different types of metal use
different numbers of tones. but often metal is presented as shiny, with four colours being used. Sometimes the metal reflects objects around it. so it will pick up colours from neighbouring objects or the environment.
............ -............. .. ........... . . ·
TIP Alternative Coloured Version The alternative colouring is achieved using the exact same techniques
described on these
p<:t~Jes.
H1e
m<:~in
d ifference is that the artist opted for a single lrryt·r for
v
Edtt I Master
73
character consistent and dr.:tmatic lighting. bur it can cause the coloLrrs lo look wrt\hec J nul il you U\e 21n inapprupricilc ~~ tddc. Be \IJIC lo experiment witll different sh.:rdcs and colours to gain the best resLIIts .
~ 74
~ DI'GITAL TE CHN IQUE S:
CO LOU RIN G. SCREENTONE AND EFF ECT S
rush-style shading Many ar ll.)l.) U.)e brush tools in Photoshop to soften the appearance of their arlwork, and to accentuate the volume of tlleir characters. DigiLal airbrushes and other soft-edged brushes inlroduce subtle blending of shacJuw.) on the figure, e1nd can help to c.listinguish between dirrerenl Lypes of material and surface.
CI~EATI NG
AIRBRUSH-STYLE SHADING
ON AN IMACil-
ChOO)C" kugl', ~oft-edqed
brush.
1. Block out base colours Block our your fine arc as normal, with solid shades of colour. as shown on pages 66- 69. Use the Selection tool to select arr of the neshcoloured areas. and then create a new layer. You can create a mask based upon your selection. or just keep your selection and use that as a guide.
AIRBRUSH -STYLE SJ JADING
2. Soft ··cer· style Choose a complemenrary colour tone and use a large. soft-edged brush. Mark out the lighting much as you would with eel colours. with your brush set to I 00% opacity.
~.
3 . Erase highlight areas Ch;mQP thP rr;~~er rool ro use a simil.:lr l.:1rgc soft brush. and work w 1U1 I.JuU 1U1c Brus11 .:llld EluSl:l lu tll:lllll: lilt' \l lnpt• or U1c ull:d.
4 . Brush control Ch.:lnging U1c b1 u~l • size willllclp you cullllul Ll ll: ~~n.:d
T.
"·
~. a.~. _..
,
75
5. Define subtle shading ll~t· ,, clnrkt•r \kill tone 10 CJdtJ rurllll'f defnlll!Ofl cHid ~ll.:ldOW benemh the neck. beneath the lips ilnd under the nmr·. Tht' shading of rhc skin .1rr,1s is nnw cor llfJit'lt'. ctntl we ldn rnove on to sh LJde the re.sr of til<' im,1Qt'
~
6. Create a new layer and use any obvious colour here we've used green - as a guideline ro draw folds of cloth in g onto the image. Bearing 1n mmd where the fabric will pinch and gather. draw lines emanating from the point of tension.
DIGITAL TECHNIQUES : COLOURING. SCREENTON E AND EFFECTS
7 . For the rest of the clothes. use a srnglc layer to define Sh..iding. Cre
B. Precision smudging Using smaller brushes will create sharper creases. whereas larger brushes will create bunched folds. Bearing in mind the shape of the character. you can define volume with these folds.
• T.
"·
~. I!;, .-f. .. '-\.
,,
9 . TIP: CirPy stripes have been added ro rile giri:S top Jt this point to 11clp ddnc vulu11rt:. Rt:rncrni.Jer lhdt th e curvAture of Sl lliJl'\, line~ t-tnc1rnrrerm helps to stop im-'IQP~ from looking flat and lifeless.
I 0. We've used the Smudge tool to create the impression of fabric folds. Smudging the shadow outwards along the guidelin es. and then smudging th e shadow inwards. creates the desired effect.
I I . Fine detail <.reate a new layer (set to "Normal") for the make-up and facial det:arls. Add pink lipstick and cycshddow. an d lighter tones to ~ how the ligh t shining off the lips. Add similar details to th e fingernarls and belly button.
AI RB RUSH -ST YLE SHADING
.,
77
~
.•;, +
'?_, ~
,_
12. Smudging highlights We've created the hair with the Smudge tool in a manner srmilar to the folds of the fabric. To do this, place layers of colour down to define shade. and then smudge to follow 1he shape of the head. When you're happy with one layer of depth. introduce lighter shades .:md rt'pt>al the process over again ro build up layersj ust like those of real 11.:rir.
. /.
~,)_ ,_ :;_/ . ' } ~
~.
T,
"· eJ. J'. \).
-::' Q..
fJ i?,30
13. Coloured lines Here wc'vt.: fulr~llt.:U by LUIUUIIII(.j lill: Ill It'\ II I rl \lrllrldr rnnnnt'r 1.0 1hi-lt rlP~rrlhPrl In
tilC llllilqC
Simulated Narur.:Ji Medl.:r (sec p.:~qcs 78-81 ). SCIC:tllll(.j lllC lllrllk Ill It'\ rrruJ colouring rhem on a new layer. The rmaqc rs now tUIIIJ.Jk:lc.
ALTERNATIVE COLOURING
Here the same process is used to achieve a radically different result, transforming the girl from a contem porary girln ext-door to a futuristic space star.
Unu~ualcyc
cnlo11r anr1 white lipsuck q1vc the g1rl a scr fi look and complement thewhireof her out11L and blue lrghlrng.
Skin: Strong blue shadow, and softer application of Airbrush. Using brushes with low opacity on the Airbrush serting, you can slowly work over the image increasing shade gradually.
Hair: The exact same hair as before. but wilh a few alterations to the Hue. Saturation and Con tr.Jst tools.
Design: A few changes ro the design and colour pattern of the clothes can make a big difference in the perception of the character.
Backlighting: A white light is used from behind the image. surrounding the shapes in a striking white glow. Tracing the outline of the shape, and consrdenng where the backlight would be blocked. adds a dramatic look to the image and helps define volume.
~ 78
~ DIG ITAL TECHNIQUES:
COLOURING. SCREENTONE AND EFFECTS
ulated natural media CorrlpuLcr-gcnerc:JLecl (CG) illustration is known for IJcing prrsl inc and flawless, but as computers have l)ec orm·' more powerful and versatile, software pdc k~-t~JeS ~lave been created to make illustrations look rr1orf' r1wnan, and a little less than perfect. Natural media simulaLors such as Painter add that litiiP bit of "lranc.i-made" . texture.
O IL r/\/NT STYLL Oil painls smear Logether; giving Lonal ~oftly blcndinq at the cc.igcs.
dfei.1S
definilion yet
~ . u.
[J. .1. ~~ ~
Lay down some base colours one uf the methods described on pages 66-69.
1 . Blo~k out ~olours usln~
SIMULATED NAI U RA L M CDI /\
2. Set up shading lay e rs Create a new layer For your shading . This illustration only uses one for all the shaded areas. However. you can use as few or as many as you feel comfortable w ith. Theres a second lay er for the palette to help us keep a record of the colours w e've used. This is essential in natural-media-styled work. because the original shades are blended togeth er so much they may become hard to pick out w ith th e Eyedropper.
79
3. Starting to shade Select .:m L!rca und 5tdl t sllcidlll() w11t1 It II' d..-trkest shade. Here w e've used Lin ulmost transp.:wcnt ll'Xh Jrl ·d t'" " ' ' Between I U% and 25% opacity Is recommended. depcndinu nn 11ow d<1r k your colours are. Notice how w e're working texture intu It ll' i m<~ge? Sh ort. quick brush strokes are used to build up colntJr \ lnwly
QJ I!.Q!C CC!D ~ If
5. Build up highlights Add your highlights in the Sctme way. Just blend the colour. getting lighter an d lrghtcr. But be careful w hen adding highlights: if an image has an excessive number of highlights compared to the amount o f light in the picture. it can look less natural.
4 . Soften colours The colour is blended out to the base colour tone using increasingly lighter shades.
• •
DIGITAL TECHN I QUES: COLOURING, SCREENTONE AND EFFECTS
Some layers have been locked to avoid accidently editing them.
B . LJ.
0..... ~ - T.
~.
•
Fil~
•
u.
-- ..
•
l'l. ,_-,, { "} Q,.
t
'
I
-~-
-
• •
•
Shadows and highlights are built up on a separate layer.
U Mler Diamet«
Jtsp x
-.)-----
0
(
Hat dnM~ :
-
~
U.... Sample Size
c::=J
--·---- - - -- - - - - - - ·i;
~ A
14
6. Colour tr1e rest ot the 1mage 1n ~,lmP fll;Jnnr-r.
1hr·
Grainy brush shapes help to capture the feel of genuine brushstrokes. 59
WATERCOLOUR STYLE
This imag e w as actually created in
Painter rather tl1an Photoshop, but the results are achievable in both packages. The most obvious difference in this picture is in the delice1cy of the palette. Real w atercolours are a very transparent med1um. so this is reflected in the lightness of the CG. The shading is blended from the midtone to off-white shades, or white - a huge contrast to the bold, strong hues of oil paints. Another difference is the complete lack of black. In a watercolour-style picture itS better to colour in off-black shades, such as dark greys, purples. blues and browns. This helps to keep the image looking soft and light.
Multiplied washes Just like adding pale washes of colour over a painting, you can add pale washes over your image in CG. This is great for tinting areas. Rather than constantly having to blend colours together. you can j ust make a new layer and paint straight over them. Setting the layer to Multiply and colouring with light shades will preseNe the texture and depth of the shade you've already coloured. The shiny. pink blush on this image was created in this way.
v
SIMULATED NATURA L MEDIA
..,. ACRYLIC STYLE Colouring an image to look like acrylic paint is a mid-point between oil painting and eel-style artwork. Real acrylic paints have the same strong pigments as oils but don't blend, which you can reflect in your colouring. The edges of the colours are much softer than eel-style images. showing the texture of the brush. T
PAINTER ADVANTAGES
For creating natural-media-style images, a dedicated natural media simulator like Painter is the easiest way to produce good results. Not only is the brush control more flexible, allowing you to blend and push around colour in a realistic way, but the sheer number of simulated media means its more akin to having a whole studio full of supplies in your computer. Anything can be reproduced on your computer reasonably faithfully, from traditional materials like oils and watercolour. to less orthodox brushes like the Japanese sumi-e brushes and wax crayons. Much of the fun from Painter comes from using materials that could never be used together in the same picture. Oil brushes can be used to add a bit of colour to rough sumi-e brush outlines. yet you could never practically mix these techniques on a real canvas. You can paint with the same techniques as a real oil painting (loosely building up colour and tightening the details of the picture as you go), or you can use Layers to keep your painted areas safe from each other.
A feeling of layered paint is created by the different tones and hues rn the shaded areas.
Soft but nchly coloured brushslfokes build up to make a
Slfrlong rmage.
81
~ D viTAL
TECHNIQUES : COLOURING. SCREENTONE AND EFFECTS
less artwork Images without lines fall into lwo categories: flat eel style, and a more natural "realism style" . Cel style is simple to arhieve, and creates an effective look for your images. Natural styles are trickier to pull off, but offer greater versatility in mood.
As lineless colouring relies on defining the shape of an object through colour and shade, its viral to make good colour choices to begin with. Make sure your colours have enough contrast in both hue and shade to keep them clear; muddy. indistinct colouring can confuse a picture. making it difficult for people to understand what you have drawn.
LI NELFSS < I I STYLI: The lilck of a black line give::. Lhis style a distinct and bold r1ppmmn1C'. Volume is defined entirely through colour and shade.
--v. 1\, T. ~. u.
l'i". , _ .;:') ~
~ ~ ltiU!ll lt:IIOU ~_,. • (1.-\_ ...... .....,.
I . Block out base colours Fill 1n your base colours u~1ng one of the method~ detailed on pngcs 66-69. You need to stilrt with pure black and white outlines to be able to colour them easily later. Make sure you turn Anti-aliasing off on both the Fill tool and the Magic Wand.
,. .
·-
LINELESS ARTWORK
83
. ./.
£ .$.
o.e-. .J..... it. T. ~. D. ~J• ./. ~,,
~
2. Create a layer for shade Make a new layer between your base colour and outline layers. Lock those two layers for now. to prevent you from acciden tally colourin g over something important. Select an area you wan t to colour with the Magic Wand. If the "Contiguous· box is unchecked. you can selea all of one particular colour with a single click.
3 . Mark out highlights Use the Paintbrush tool to loosely
5. Add extra highlights Make u rww layer above lilt' \ I klc.l1ng layer. U\e l hrs to add hrghlights to the 1maqe using the same technique'\ ,1\ you tr\c·O lu dtlc.l ~t1adows. In this picture. lligl lli~J il t~ <~re used sparingly 1o keep tt1e nni:tge ilS CICilr il~ f'lOSSible.
6. Select black outline s Usin g the Magic Wand. making sure · contiguous· 1s unchecked. select your entrre black outline.
4. Block out shadows Colour the rest of the shadows. Make sure w here areas of the same colour overlap !the legs on this picture. for example) that theres enough shading to make each part distinct from the others. Complex parts of the picture. like the hair. may need more than one step of shad1ng.
• •
8. The image is complete. (For more on eel-style images. see pages 70-73.)
~
.
~ ./. £ . Jf. 0.~.
.J. .... ~.
T.
~.u.
!jl, -"·
<'~
.;,.
7 . Colour in the lines Mctke a new layer above your outline layer to rcYolour rhr lin e~ . (Working on a new layer will preserve your origrnal lines. just in case anything hLJppens and you need to select tllem i19i1in.) When colowing I he lines. remember that lrnes on top get prrunty - where two colours overlap, the area thLJt is on top should be usccl ro ~nur(C' rhr colours for U1e lines. For example: hair overlaps the kKe. so tt1e lrnes between them should be hair·coloured.
(t:f.'
dl~u Ccl-stylc rmagcs. pages JQ-7 3
)
.....
.··..
TIP Removing Specks of Outline Bl.:~ck specks appear when the outline is
yoJH curt11ne
r~
alia sed by zooming
into the lm.:1ge. If the line is very hlrtc k ,uiCJ JliXt'lirllt•cl, 11 IS allased; If It's ~alter
and fades tram black to grey.
its .Jntl·aliilsed. This soflnc_\~
rn<~kt-'s
11·
rrrow rJIIfiC:I rll to select the whole outline at once. so you mily be left wil h ,1 frrnoe of grey. On the base colour layer. select il w luiH w1lh the Mag1c Wand. and eXfklllc'J thr
~rice~ ion
by I or 2
pixels, choosing Select > Modify > Expand from the menu. Oui(kly mlnur the offending area with a large brush. If the specks are on the outside or the line, select the area outside of the character. expand it by I to 3 pixels and then cut the selection.
UNELESS COLOURING WITHOUT UGHTING
Uneless Images without lighting similar to this one are very popular In Japanese design. The bold shapes make for a striking Image, but work best on simple compositions. or illustrations that have a very limited palette.
LI NELE SS ARTWORK
85
LINELESS REALISM STYLE Soft brushstrokes and blended colours echo natural m edia yet retain stylish contrast and definition .
..
_
.
....
I
I
1 . Block out colours Start with pure blnrk and w hite outlin es in the same way as the eel-styled lineless image. and by filling in yow base colours using one or the methods on pages 70-73.
Loak:O d +M
, ,12 . Create shading layer Lockrng your outline and base colour layers. make a new layer for the shading.
'jj
I
3 . Sample colours Tt1is rmagc has a lcryl:!r called "palette·. This is a layer thar only conldrns sm.111 samples or colour. Because or tht:! softness of this method of colouring. it:S advisable to h.we r1 sample somewhere of the colours you're usrng. so you can easily grab them with the Eyedropper tool. Now select an area you want to colour.
•
DIGITAL TECHNIQUES: COLOURING. SCREENTONE AND EFFECTS
4 . Rough out dark areas Using a brusl1 with 1cx1urc (~ct to bcrw<'m I 0% and 25')6 opacity). start colouring the \llrrdifiU willl \IlOr 1. quirk stmkcs of the llrll\11 II\ t'rf\H'\1 10 \lrlf l drrrk r~nd blend oulllre loluur to lire nnrJ-~hrltJL'. ~o milkC \llf l' Io 111 · I.JOicJ -rnd lrlY clown more w lour lllrrn you think you'll need.
-
5. Soften tones Start to blend it out with lighter shades.
6. Add a few hrghlrghts. Be careful nor ro make the imGJge look too shiny. You can add these on a separate layer if you wish. but in this rmagc we've used one layer for dll of the shading.
7 . Colour the rest of the image.
~-
•..
\ . T. 0. CJ.
1:}_ _,_ {') ~
8. Coloured outlines Make a new layer for your coloured lines. Use the Magic Wand to select ail the black on your outline layer.
LINELE SS ARTW O RK
f ie Edt lm
•
Bru:l"
~ •
Fl or View Wv1dow
Modt' tbmol
v
~
Opodly , ~
•
_
, ~·
~
.:..-.. It . T. ~ . D.
~.
J'.
;·~ ~
9 . Try to match the colour of the lines to the colour of the picture as much as possible. In this case. the same textured brush as earlier is being used. but set to 50% opacity to make it more solid. Holding the Alt key to switch quickly between the Eyedropper and Brush tools makes it easier to pick up and adjust the colour as frequen tly as you need.
10. The image is complete.
t!H l
TIP Coloured Lines L.ock.OJ' +IIII
•
If you like Ihe subtlety ot an image withmrt line~. lJLit don't Fll:" 100'11. •
.:.>' •••
~
. "'*"
~
~
.
See also Simula te d
lines on thrs image are slightly darker than the colourc-cl drect.
-t1 1111
.........
,e;;-J
:J
I.
•• '
24
v l'l
overwhelming the c..olour wrth bluck !inC's.
' .JJ
~-~- I
G)
so it keeps the detarl of the original inking. whrle not
A breakdown of the layers and a reference of the brush sizes used .
_
o~ • ~~ • ~ -~ • D ~l •
you can
try colouring the 11nes to matcf1 your picture rm tead. rhc-~
•
wam to be- ~o ddr inq .:ts to remove them complet~ly.
_
r-=-1
-
...
7
•.."• so
n a tura l media. page s 78-8 1
( ~
-
87
~ 88
~ DIG ITAL
TECHN IQUES: COLOUR I NG. SCREENTONE AND EF FECTS
1ta I screentones Japanese manga is rarely printed in colour. but us~s something called "screentone" to introduce s~lades of grey as well as patterns cncJ r~xrure to its pages.
Screentones traditionally were transparent sheets of adt1esive plastic with patterns of black dots printed onto tile surface. Illustrators used to use these to create the st1.:~ding in newspaper cartoons. and in original manga .1rtwork. I hese dotted sheets. when cut t·o shape and laid over llnP work. crcmcd the appearance or "grey" shades. and also r~prod u ced ei'ISIIY on conventional printing and wpy1ng mt1rhines Tl1e usc or dul pdllerns ~uch as this Cldds <1 lot to the rcclliauilily u r .:~ wm~c. giving you much greater control over lll~ uv~r..-~11 style. A~ rt rc~ulr. using scrcenlone has become ~ynonymous wirh m<1nga itself. and using it in your work Will go ~omC' wily to crealinq dn dUltlentiC style. The' usC' of scrccntonc r~ldl~~ !>llongly to the sense of ~ibstrJcnon otrcn present in Jiipc:mese drlwork. What you're p1 e)enllm.J c.loesn't have to be entirely realistic; it just has Lo look "righr". 'lbtJ can !>iynifiLdnlly enhance the d rama. ht~muur 01 .:tl llon ot a scene by using pllrterns and st1ades etteaivcly. Tl1,1 nk~ tn ~orlwrtw )LJdl as Photoshop and Comicworks, il i~ pt '""'IJ/e to emulate old style scrccntones nccurately on rl I lliiiJJUler laretul and restriCtive USC will help y ou Cdplure rtx· t'))ence ot the technique, while retaining 111e ' ur tven1ence and flexibility of working di[Jito:~lly
HALFTON ES Halftones are the most common type of tone used in manga. These are simple arrangements of dots designed to portray solid shades of grey when used in print. Please note: large dot tones can represent a lack of focus. by using it over a large area.
..... ....... .••••• ................ ...••••• ............ ...•.....•••• .•..•..•..•. •..... •.•.•.•.•. •..... •••• •.•.•... ... ...•..•..
1. MiJrk out the areas you wish to be greyscale in sunple shades of grey. CllOOSC "Halftone Screen: whicll w rll open the dtalog box with opttons. 2. Pllotoshop w orks best at LP/ size of 25. 50
LPI LP/ stunds fur exrllJ ~ivP/y
MOIB MoW (or ·screen dash.) refers to the visual effect caused when two fine patterns are overlaid but misaligned. It Is similar to the shimmering effect that net curtains create when they overlap. To prevent this undesirable artefact from occurring. you should avoid rotating and resJztng screentone after applying lt. ~ also worth nodng that sa&etltolle with a high LPf wiD be mont likely to suffer from rnoln! because It Is more likely to mlsalign wilh the arrangement of pixels on a digital image.
"line~
per tnch ",
;;~ nd
is a term used a/most
for screentone in tllis con text. It refers to how
cllunky or t.k:lculed the pattern is - a tow LPI pattern w ill have very thick lines. w hcrcus il l11gt1 LPI pattern w ill have thin and dt:lnriPn lines.
and 100. 3. Oe sure to keep line nrt on a separate layer from the grayscale layer. Using large halftone dots can ind icate a lack of focu s. useful for highfighung characters in the background or middle ground.
O f G I TAL SCRE F N TON ES
89
NOISE OR SAND TO NE
GRADIENT TONE
GEO METRICAL TO NE
Noise tones are useful for introducing texture. as well as seNing a dramatic purpose.
Grad ients can add depth and definition to manga images. as w ell as helping to define shiny materials.
Simple vertical lines serve mnny purposes in draw ing manga.
I . Create a new layer. and till out an area of the image you wish to be noise with a 50% grey shade. This effect can also be applied to a gradient. 2 . From the Filter menu. choose "Pixel/ate.· then "Pointi//ize". 3. Set the size of the filter. The larger the number. the coarser the noise tone w ill be. A value between 5 and I 0 should be fine for most purposes. On a high-DPI image you will need a coarser tone to achieve the same effect than on a /ower-DP/ image. 4 . Adjust Brightness and Contrast in the image so that Contrast is I 00%. and Brightness is as high as you wish. This w ill also change the overall tone of the image.
I . Selecting black and white as your foreground and background colours. create a gradient using the griidienr tone. 2 . Convert to Halftone or Noise using the same procedure as before 3 . Wil en using noise gradients. consrder layering the tone and rnovrng ,rround to achieve greater dcfinrtion.
Follow uK: ~drnt' nmrP!1u re for rc:.:I.JUI<.II ll..rlrtom: c~r twork. bur choose " LrrrLo;" ur "Cil l'C k\ • tor rhe pattern.
.·· .....
TONI FEATHERING
···········•·•·····
..
TIP Making Coarse Tone Often using d igital screentoncs can create a pattern tllat is too fine. making it Jess than ideal for print and giving you texrureless results.
Using <1 lr~yf'r scl l o "Dissolve", theg reys of the imngc w ill be rnterprNf'c1 as nne pattern~ of dol::.. Tt11S can be achieved to "tenrhf'r" the t:c.I<:Je ot screentone, as rhough a .stH:el ot ~creento ne had been rubbecJ ;Jwt~y You can use d l<1rge. white 1\irbru~ t 1 for a sofr edge. or a small, hcird brush moved in patterns to create an interesting transition.
..
-~
1'\..
• •
•
'
•
;
~.ill:.
..· .1
··
. . .. ~
#
. .·
1 . Go to: Filter > Blur > Gaussian Blur. The higher the value chosen for Blur. the coarser the image wi ll be. A value of I .0 and 2.0 should be okay.
. . . .• ·. •
2. Convert the image to Halftone. using the Mode option in
.
~
,
.
,· ••
. · ~
'
~
..
•
~
.
• • •
•
l':i
•••~•
•
a e U •
•
•
•
...
• 0
~
•
•
. . ..
l'
.
•·e ~
~
:.
~·
w
_,
~
0
•
~ • • .o ew
•
•
•
•
•
•
• • • • ~ y • eeeeea ,.,.
~.
J
v :
.!' 'O.
;
4
~lll
. ................ .
~
~
I
~·
~
..
·'
~
~
•
.. "'
o n • • e • a ~ ·• ~ ~ ~ ~ ~ • • • • • • • 0 ~ • ~ l b \PO -.:t• • • • • • • 4" " "" ·
:: ~ ;
~
,..
,
,
\" ~ ~II' ·· ····~ ·• · t~ ; s~ • ••• tt tl ,..,
~
e•••••••
,_. •
f•
'"
.\
-
~
~
-:.· .
f
; ·
,
r
~
~
... •· • · . :
.r-•• •••••• "" Vt- tt & • e e e a a a e ... t ~
~
~
~
~
~
•
a
~
I
S! • • • • • • • • • • , .
...
•
(•
~
~
~
..
~
e
•
•
•
•
•
e
~
~
0
~
· '•'J:• tt Ott llt a e e e e a a ., . , .
the Image menu. Choose an LPI of 50. 3 . The g radient w ill now be much coarser. and have a more distinctive texture when prrnted .
•
.
·
.
~
.. -
.
·
I
:
~
:
~
,
~
•
~.
:
.~
h
~
A
•
e ~ e • e • e • a • a • e • e • a a ~ • ~ c ~ ... p
•
~
:.~~.._fl :'
·. . . ~
~·
':.iea
~
(
~
~
.. - · ..
e•••••••
1
.
a .a n D ~• • • • • • • • • ~ ~ ~ M ~ • # a e ,* ~ ~ ~ ~ ~ ~ ~o e c • • ~ ' ~ ~ ~ • c • •
•• • • •• e e e • • • • • •
• • • • • • ~ ,. ' -: • I , ~ e a e • y e •• • • • ~~~ • ~ • • • • ~ • w
:
•
•
~
...........
'1
::;
~
~
#
~
~
7
~
., ' ; -=· ;. ,.
~
~
•
• 3
•
• •
•
•
•
•
•
•
•
•
•
•
•
•
•
•
~
•
•
•
•
~
• • • • • • • • • • •.
• ~-·
a • s • • • • • • • • ~ ~ ~ ~ ~ ~ ~ . •• · • ~ 0 c ~ ~ • ~ ••••••••••• . . , .. ~ ~ ~- n ~ ~ ~ • • • • • • • • • • • . . .. ~ ~ .. r ~ ~ ~ ~ • • • • • • • • • • .. ·· ~ ~ r
~
*
.•
:
.
~
.. •····•••·•••··•·····•········•···
...
. •.......... .
·.
,
~
~
~
.· · .. ··· . .·. ·
··
·
\J'
~·
.
·. . . .
~
~
; <
.
~
h
~
~
}
~
• • • • • • • • • • • •
4
-
~
~
~
'
~
~
..................... , ..........
-
~
~
u
~
~
~
» •••••••••• ~
, •'J,.-.,.:."- '1!" ~ ~
~
.
~
~
,
~
~
..
• • a • • • • • • • • · ·········
··:-~ ~ ~ ~ ~ ~!)(. ~ · ·········· ~
·-=-
~-
~
.·. ' · ..;.
t
~
,
· ·-·.·.·.·-·-·-·-·
~ • • • • • • • • • .,. • • • • • • • • •
.
.· .. ' . : ·.. ·....... · ..~--. -'·.. ~, ~ ... 1--
•
D IG ITAL TEC H NIQ U ES : COLOUR ING. SCREENTON E AND EFF ECTS
Backgrounds can be simply and effectively represented by layers of screentone.
USING YOUR OWN PATTERNS fhere are books available containing copyright-free tone patterns. which you can scan into yoLir computer and use freely in your manga work. You can also still buy sheets of original adhesive screentone and scan them for your own rer\Ondl use.
Al-'1-'1 YINC.J
)U~ t:t:N
SPECIAUST SCREENTONING SOFTWARE Comlcworlu
Comicworks is produced by Deleter. a company whose business revolves entirely around supplying traditional printed screentones to the Japanese comic industry. As a result, Comicworks is designed from the ground up for the production of manga, and has great screentone facilities. More than I 40 different tones and patterns come provided with the software. stored In the software at high clarity and I 200 dpi, 600 dpi and 300 dpl sizes. meaning they are always perfect for print work. If you're keen on the process of applying scrcentone '" manga, then Comicworks will be ideal.
I ON[
..·•·····••·•··•···••····•••••••····•·•. TIP Keeping Grey Layers Hidden
~~ --~·. --.;.-.. - . . ....~:. ·..·\
Be sure to keep your original grey layers intact (set as "Hidden") even ·.
after you have made a halftone equivalent. This allows you to come back to the image at a later stage and alter the toning or reapply the
-.. T.
screentone w ith a different LPI. This can be useful if you have to print the image at a different size, or
lJ. )',
decide to change the image after doing test pnnts.
~. o.
·~11
Q.
1. Set up a line art lay er Start with a new Photoshop document. and set up your line art on the topmost layer. as you would with a coloured piece. It is especially helpful to lock thiS layer. as you can ruin your page by applying screentonc to the line art layer.
.
DIGITAL SC REENTONFS
91
2 . Block out basic shading Create a new layer. set to "Multiply". Choose a grey brush and begin to milrk our I he , ueas of the page you want to shade. pitying r~llenuon to the light source. In this case. the artist has also m,u keO \Ome objects with a darker tone.
Adjuslments
---
~
"' G III)'SCUIC
Ouolonc...
0uplicii1C ...
lnclcxcdColor
Apply Image...
RCBColor
Calculations..•
CMYKColor Lab Colo<
Image Size ..
Multichannel
C anvas Size ... Pixel As9ed ~tio ROU!e Canvas Crvp
>1 8 Bits/Channel 1!1 Bits/Chamol co· ~~ To~.:
...
Trwn... Reveal All
AnignProllle... Convert to Proflle...
Tr~p
3 . Right·click on the layer. and choose 'Duplicate". Select "New" from the Destination dropdown list to create a n ew document.
5. Choose your halftone pattern Choose "Halftone Screen". which w ill open the dialog box with options. In this case the artist has chosen 50 LPI. with round pattern and 45' angle.
.
4. Convert grey to black and white From ll1~: llll•lt.Jl: menu. c1 1uu~~.: Moc..J~:. ..u IU llll:ll Bitm.:lp. If yuur imug~: rm't t.JILY~Lrlll' ulr l'dtJy. you wrll ll<'<'rl 10 c-onvl'rr rn grf'}"Cillf" In rhP Mode menu bdor~: dOIIIt.j lin~.
DIGITAL TECHNIQUES : COLOURING. SCREENTONE AN D EFFECTS
~.
T.
~. 0 . [j_ J'.
6. Paste into position Select the whole image by hitting Ctrl + A. Paste it into your previous image and change the layer style to "Multiply". Hide your previous greyscale layer.
.., Opat;ty. -~ •
r-•:~• •
£.
B. ~ . .'). ... • ...,....,::.........t.......,_,_:...L-_;
It. T. ~. o. 5]. J'.
It . T. ~.
o.
i~J• .J'.
;:' 0..
~-?<~~::<;,~
~ ~ !a 1- 0 0 ~1_¥f
7. Darker tones Here tile cJrli~l l lcJ~ rntrocluc eel ~ d.'lrker shade on a wprH r11! • lr1y!-'r .-1nd rcpc·rllt•d ll1e procedure. CrHe ~~ ldken to use the
SilmC number of LPI when ovcrlilying tone to ilVOid moire problems.
8. Introducing fabric textures In order to apply texture to the image. the artist has hidden all tone layers and marked out the carpeted area of the image with a grey brush.
D I G ITA l SCRC E NTO NE S
93
~ - T.
~- 0 . ~- J'. ·'1? Q..
kJ
..
i(QJ ~ I~ EID
~ -'t
9. Using premade patterns LOrld a prevlc11 J~ly ~.'IVPI1 screenton e pattern. unc.J pu~lc LI H5 Jnto the imilC:JP ;:~~ ·" new layer. Select the grey cJJcc.J ll lc.JJkctl out r~nci h ic1P the l;:~yer. Use the selection to rncJ~ k ll It: K l l:t:IILUnt: layer. or inverr the sE'IE'ction an d d elete ll11..' excess screenrone.
~
.?. ./. £ . :Jf. a.~.
,.>. ... ~- T. ~ . 0.
~- .J'.
":'7 ~
10. Hide unwanted layers Finally. hide all grey layers and reveal the screenton e layers. Yo ur image is now fin ished.
• • •
~
94
~0
GITAL TECHNIQUES: COLOURING. SCREENTONE AND EFFEC TS
cia I effects One of tile characteristic aspects of manga is its use of abstract patterns in the background or scenes to help capture the emotion or action of tile current event. Tllis tecllnique /las been developed over many decades and ic; now closely identified with the style.
Using Phoroshop. you can emulate many of these types of effecb very simply on your home computer. Just a few steps can produce professional effects that would loqk ar home in a professionally printed Japanese manga.
PAITERN FOUNDATIONS 1. CreJte J new. I.:Jrqc greysG11e im.Jqe.•:md r ~1nm,.. I JI:~r k ·"ncl white rl\
IIH ' IOH 'UIOIJIII/ rlrll/
bJckqround
co l uw~.
2. lmrn rh,.. r ilrl:'r menu.
cl1oosc "Clouds· from If!('
l~l'IIC k
r \Ill lllll't 111
3. Altem.:~tively. ct1oosc "Urlll:rl:r ru.: Uuuth" from
rhf:' Rf'nrler submenu. Jr1l1 lllL'rl ll:pl:cJllllrs. If you r<•pr•rtf<"d. npply rhi~ fllrPr (u~e Crrl r F m .:1 Sf10f'lCul). lfl L' J.hllll.:l I I wrll I H'l nnw rnnrf' Prr.'lrir .1nd fiery. whlcl1 will inlrOLIUCl: II lUll: VcJIIl:U rlrl(/ rnlt-'rt'~l inCJ re~utr~.
4 . Now you 'r~.:
rt ~<~
111
apply filters .:md produce rll
Iron
li ne~
You mrty
Wl\11 I II 'VIVt' llrr~
"Cirnrrh" urrrtgf' In
SF}I:CIA L EFIICTS
IMPACT ZOOM Lines of irregular width but w ith rhe same emanating poinr accenruare acrion and impact.
1. Starting with the Cloud filter apply the Pinch filter from the Distort submenu. with a setting of I 00%.
2 . Repeat this filter ten times. You may wish to use more or fewer times depending upon the results you wish to achieve.
3. Us1ng rhe Brightness drl<.l Contrast tool. rdl5e the Conrrmr ro ft11l. and Brigt1tness to w t1ateve1 level you nr~irc.
4. Convert the final image to halftone using the Bitmap option.
95
DIGITAL TECHNIQUES : CO LOU RIN G . SC RE E NT ON E AN D EFF ECTS
IMPACT SWIRL Lines spinning around a centrepoint suggest an arc of movement.
. : -~ 1
,.+
~: -·, 14 ,,
"·
r!3. ./. 5!. &.~.
!P. ... lit . T. ~- o. (jl. ..f.
::7
Cancel
~
0
Q]
1 . Startrng with the Cloud filter. apply the GilussiCJn Blur filter (set to <~round 35 in this ld~e) . You cdn choose not to blur the clouds. bur the results you will get will be coarser. This look may be desirable. however.
8
tOO%
Preview
8
IMPACT ZOOM AND SWIRL Ry rwi~ring rllr imr(lct lines. rile effect suqqests somethinq uncontrollable.
,..,.~
_ _.
.._
1. Lit:dlt: lilt: IIIIIJd<..l LUUI/1
dft:Ll.
2 . Apply the Tw irl filter from the Distort submenu. with only a small value 160" should be fine).
C/1<11/llj Up Willi d Licrr~c
bldck
llllJ.>IU~IU/1 11/klljt:.
3 . Use parts of the resulting image to accentuate aaion events.
SPECIAl F FFE CTS
4.
2 . Choose the Twirl filter from the Distort submenu.
97
JnrrPi'l~f'
brighrnes~
ThP and
contrast.
6oo·
3 . Choose For the angle. You can raise and lower this to vary the results.
5 . Curw crl tile frn
SHOUJO SPARKLES Characters' emotions are represented by mysterious sparkles of light.
l . Create a n ew layer. set to "Multiply".
'.;.·i_;:.;/~·.. ,· ~~·: : ;~· ;
...
...
. - -·,
8 . Add smaller shapes overlapp111g the ong1nal shapes.
3 . Right-click on the layer. and choose "Layer styles· .
CJ . .
4 . Disable "Stroke". and check the box next to "Outer Glow:
.
·~;_J;;:.~--~ r_~~~!1~~~·······~~~ --
.::::t !:/
;::=.,.,. .
-----------------<~.:~ 6 . Change the distance under the dots spread out from the circle.
,..._
~oo r.:J J ·r •
2 . Fill in some opaque circles. ovals or h exagons in white.
5 . Set Colour to black. Opacity to 30% and Style to "Dissolve."
, ...,.....
~"'\
~~t"'n<··-.,-·~ ··,:.•:;,•·'
o--
g:,:.._ Q C:.....
o7. Create a new layer with the same layer style {copy and paste the layer style by rightclicking on the layer). Altematively. right-click on the layer and select "Duplicate Layer".
a-
.......... ~..
:1- ~
-=~ ~ 0 • o •IIIL:;~:::E ·-
....
a c•o....i' Q Gt.-.cO.W}If
o~---~
o-.
,..,.,
I S1
II
CA::J ~
~ l!i,.....,.
• .
T-::: ._:~_ v
'o
0
- ; , ; : ; ; ; - ; - \MW ~~...,.
9 . Flatten the image (see page 52), apply Gaussian Blur and convert to halftone. This will make the tone coarser. as described in Digital Screentones (see page 89).
DIG ITAL TECHN IQUES : COLOURING , SCREENTONE AND EFFECTS
3. Choose the Long Strokes filter to create the desired effect.
G RITTY A NGST Personal torment can be conveyed by the use of gritty. dark patterns.
r
• ' IC
1.
r rl";.~te a
50% g rey
FM O 110 1\lA L
solid
d i L:tl.
2 . r ro m the Filter menu, cho ose "Pixcllatc. • ctncJ then "M ezzotint".
. .J ~
WI~IJ)
("'
·~
~
. .........
~
J,
I rails ot dust and energy h <"'lf"l to r1 ~C'me of melrmch olra.
cxaggcr,ltc
.,, .::,... ~.!~~~··"' ~~'""'· 2. l J ~lng ·"' medium sized b lack Alrhn r~h wlrh Flow set to I 0%, create ctJrvt>c1 mokes across the pag e. Vnryfng rht> 11ressure with the g raphics lrJIJicl will h elp ro creare v<~ried wid th .
I . Wrll 1 d rcqulrtr w lulc: 11/ldqt:. l l\..'ulC: d I ILW ~t.:l
lo
lc.Jyer
· u,~ ~ulve·.
.·-· ·;·, s••': •'':v.\t\·,,·.;;,.J::,·. ' •' ,' ·-·" "
0
......,. ,~ .
·'
......· 3 . Repeat the effect over the page many times, and then Flatten the image .
SPECIA L EFFE CTS
Noonal
SENTIMENTAL PAITERN
Noonal
Heavenly sparkles of white help to portray hopeful or whimsical feelings.
Darken
4. Create a new layer. set to ttle "Dissolve" layer style.
Muttij:iy
Color Bum
1. Create a solid 75% grey image. making sure it is 300 or 600 dpi.
Uneer Burn lighten Screen
Color DodSle Line.rDo~
2. Convert the image to Bitmap, and choose the Halftone option.
Overill)' Soft Ugh! Vivid Light Unear t.Jght Pin Ugtrt Hard Mix Hard Light
3. Choose "20 LPI". and the "Cross" pattern option. This will create a mesh effect.
t:L... MAKING YOUR OWN PATTERNS Although most screentones in manga use simple patterns. shapes and lines to express the tone or atmosphere of the image. there are also a lot of other available styles created from patterns of small images. These are great if you're trying to express a funny emotion or scene. You can easily make a pattern by drawing something and defining it as a Pattern in Photoshop. Select the area you wish to define as a pattern. and then choose "Define Pattern" from the Edit menu. You can then fill areas with this pattern by choosing "Pattern" from the Fill tool options. There are even some typefaces available on the Internet that feature images instead of standard letterforms. These are sometimes known as "Dingbats". These can be used as a basis for patterns, by selecting a few images and arranging them appropriately. As always, the secret is to experiment and have fun!
99
.,... ~. '
"-'') £. :11.
....
o.~.
~
~.
T.
.), Q,
ij,-J'. <>:'> ~
~
=----'
~~a
6. Add a few smaller white dots. and Flatten the image layers. Your tone is now ready.
S . U\rrly rl lnryt•, wlllll' Airbrush. mark an are.:~ diagonally down the centre of ltlf' rrllff9f'
CHAPTER SIX
Creating pages A compleled manga can be hard work, but with a little planning you can avoid problems and ensure that your finished piece looks as good in print as you always dreamt it would.
tit Planning your pages 102
e Inking pages
104
4lt Using effects 106 4lt Adding tone and colour 108 ft Adding speech and sounds 11 o ft Concept to completion 112
ft Web comics
114
ft Printing and publ ishing
118
•
,
, , , .",, , .- • #
#
--.. --.-
•
, ., 4
,., •
....
... ..
•""'• •• •
~
~
•• • •• •• •• •• • •• •
•
~·
.
.~
•... •
•• ~· J. ••
. .. .I
-
~
••.
ATING PAGES
•
n1ng your pages Once you've come up with your character concepts, the real work begins. Here are some top tips and techniques for making the most of your inspiration.
·•····· ·••···••••·•·•·•···•• .·.·········· .: TIPS for Better
:
Thumbnails
·
If you are going for large thumbnails, make them roughly the size that the printed comic will be. A good size is
PLANNING YOUR MANGA You've conceived your characters and tl"ley've taken on lives of their own - at least in your imagination. So how do you get them from the world inside your head into the real world for other people to appreciate? Draw a manga, of course! However: all manga have to start somewhere, whether they're ten-page vignettes, or one-thousand-page epics. Planning is key. and scripts and thumbnails are two techniques whereby you can begin to design how your pa9es will look.
WHAT /\RE THUMBNAILS? Tllumbnails are small, rough sketches that artists use to plan the layouts and/or story of tllcir comics. Wlletl1er you're an artist working with a writer or working .11onP, thumbnflils arc an ideal way of making sense of the script and organizing yow ideas before you commit yourself to the full-size pencilled pages of the
mmic
similar to those of a graphic novel or a self-published comic. This way you won't be tempted to overfill the panels w ith too many details. Know what the last page w ill be. If you have a precise ending in mind, it makes getting there a lot easier. Finish all the thumbnails before you start drawing the pages. You might find you need to change your layouts once you've started work on the real thing. Make sure you've finalized everything before the next step.
it~ f'lt.
...•• ·•··•·• ·• •···• •·•·•·······•·······...• • Reading direction lllP
148 mm x 210 mm (5.83 in. x 8.27 in.) since these dimensions are
pr1UI-'\
ol
lrlfl.-tfll-'\1-' Jlllrli Pd
I Oil Ill \ r ill' lt'r!d Ill
IIIII 'I I lOll
lo Wt'\lt'lll
llll' flrllH'I\
.hlptirlt!~t!
lilt' opposite I OrlHC \
rf~
i'lre
orr l'rltl l pe1ye. A'::>
lt:XI 1\ ll.'riCl (rum rrgl1l lo
ldl wlrcn wnltcn in columns, it rllm nrl:tlm 111<11 1!1\ more r, ll r llhrll lo r Jrrprllll'\(' lt'rllkl\
Ill
lt'riCI
P-'~..Je~
lrom n9t1t lo lett Western manga
artiSts. however. tend to produce t11cir work reading trom left to right. as Western readers are fam11rar With this tormat. All flu~ 1Jcl9t'~ cUHJ
t'Xdrnples in thiS
book are from Western artists working rrom ·left to right.
•··························•··
.
Small thumbnails Small thumbnails are only about 5 em x 7.5 em (2 in. x 3 in.) in size. Because they are so tiny. you can fit the proposed layouts for several pages onto a single sheet of A4. But their size means you will have no space for speech bubbles or dialogue. so this method is only recommended if you are working from a written script.
PLANN IN G YOUR PAGES
103
Incorrect
DRAWING THUMBNAILS So you're all ready to draw your layouts, but w here do you start? Even with a clear image of the story in your head. you need to Jearn a few basic rules about panels before you can piece everything together:
1
3 (Orrl'rTI
Pacing On a basic level, the size of your panels affects the pace of your comic. Large, wide panels slow the story down by lingering on details in the background, or by drawing attention to an intense, dramatic moment in the story. These types of panels are also best for setting the scene of your comic, as they have the most space for creating or introducing environments. Conversely, smaller panels speed up the pace. With little detail or room for dialogue, they are quick to read and can create a more urgent pace. Small panels are particularly useful for drawing action and battle sequences. where you can use a lot of small details to illustrate a much bigger event. Details like these help keep the action exciting, and more important, make the comic more coherent for the reader:
Flow When drawing a comic. you must make sure your panels read in the correct order. This might sound obvious. but even some experienced artists make mistakes in their panel flow. If you find yourself putting arrows on the pages to direct your readers, your panels are in the wrong order!
What to draw (or what not to draw!) Although thumbnails are very important in planning your comic, that doesn't mean each one has to be a masterpiece. Putting in too much detail at this stage will only exhaust your enthusiasm for d rawing the final pages. The most important things to focus on when drawing thumbnails are expressions, gestures and perspectives.
Advantages of adding dialogue Adding dialogue to thumbnails is by no means essential; however, it is an easy way to shorten the planning process. Rather than basing your thumbnails on a written script you can instead start drawing from your imagination, adding dialogue as you go. Doing it all at once gives you more freedom to adjust the pacing to suit the dialogue. Its also easier to picture your characters moving and interacting with their surroundings as they talk. Adding dialogue to thumbnails gives you an estimate of the size of the speech bubbles on the finished page too. so you can avoid cluttering tiny panels with too much text, or leaving yourself too small a bubble for key sections of dialogue.
1
3
Flow of panels Can you sec how awkward the first example looks 2 compared with th e second? In L11c first example. the flow moves bi'lck on itself, creating a confusing and disjointed read. But wt1y does the ~econ
First example
I I
0
I I
II I I
I
The gutter Another important thing to consider when planning your pages is the placement of the gutter. Look at the first example above and see if you see something wrong. Confused? Even though the panels are not necessarily in the wrong order. it~ impossible to know wt1ich way to read them. This is because the gutter meets like a crossroad 1n the middle of four of the panels. But if you take the vertical gutter and break it up like the second example. the page suddenly becomes readable. Now its obvious which order the panels are in. Just keep these examples in mind, and you should have no problems ensuring your panels flow in the right diredion.
II
I
DO
104
ATING PAGES
ng pages Inking your pages will be the most important step in making your artwork look slick and pmfessional. Even fiawed artwork will appear much stronger if you take care and pay attention w~ 1en ink1ng the lines. Here are some of tile techniques to master~
Blocking in blacks Using solid black for certain parts of clothing or costumes can be especially good for creating definition and contrast within the page. Take this into consideration when designing your characters.
line width for depth ComrclC'r thC' rhrrknC'~~ of lines when producing your line dll. rdy dttenuon to the loc.1non ot rhc rh.1r,xrers. ;md ro the foc.:1l point uf the ~<.elle. u~rr ry tt llrtrtel line; '" t11e bdckground w 11l 11elp tu empha~1ze per ~pt'Uive .1110 tile rC'I,ltivC' rli~l,ulf!' nf ObJeCts to toreground
~ee also Using effects, pages 1 06-1 0 7./
I hrlldl 11'1\
HOW TO CREATE COMIC PANELS &ASILY AND FLEXIBLY This technique w ill allow you to adjust and alter the shape of your ~c1m:l~ qu1t kly, c1s w ell c1~ ndJu st the thrckness of 1111.' pr~rtt'l\ ..tl ..t lr~ter ~ti-l ge
Rrght-cltck on the layer and choose Blending Options.
Cr._ L... , .t f.'.u -.
:..:ryt..::, -::..,1, I : l ' "l.•) • 11 t
After rre;uing Fl nPW lflyer in Photoshop (set ro Mrrlrinly). liSP rhe rPct:'lngular selection tool ro c!Pfine rhP Olltlinf' of ymrr f)
C . :a· L..,. J ~t,
_,__ -r-t.-c--
c--
, .... _«-....
c-
Repeat this to define all your comic panels.
--.. - .
-
-,. ,. c..
..
-. .
•
Now activate the Stroke option. Choose "Inside" tor the Position option and raise tl1e thickness to a value of I 0 to 16 pixels for a 600 dp1 page (halve this for 300 dpi). Change the stroke colour to black. and you now have your panel outlines.
INKING PAGES
THAT SHE DIDNT NEED ANYONE ELSE
:
105
.···························································.
\
TIP: Shift Key
:
Holding down r11e Shift key will help g rmtly w hen drtlw ing straight lines, such as panel outlines, onto the p<:tge, ensures that your cursor only moves 11orizonrully
0r
<:t~
It
verric,JIIY,
depending on the direction of the stroke.
___---
....
~-------
Defining your character with a thicker outline This is a stylized and abstract technique that won't suit every style, or indeed every panel, but sometimes it can help greatly when distinguishing one specific character from others. It is especially useful in crowd scenes. where you may need to focus greater attention on your protagonist. or on a significant character in the scene.
Wili'IOUt l111.: Sl11ft key
held d own
W1ti1 tile S/1111 key ilcld down
If yn11 hir ~hifr hf'fnrl' 1r.~rrin11 nt::.ow IHlP, 11 w1 11 Jilin .1 1111l-'
.~
. ... ... ············································-·······~·-·····
Drawing panels lr is ofren better to draw your panel outlines straight onto the computer than to draw them directly on the page. It ensures the lines are perfectly straigh t and properly aligned.
IJdWL:l'llllll'l:lld
Iiiii.: dlld t/ 11.: new one.
•.•I
ti lL: jJi l'VIllll~
I.J~:yiJ II IIIIY
ul t/11.:
C.l<'rlll' r l \l'l t:t l ilJJ I.
Right-click on rhe f1·1!JI" t ll iU L l lt)U)l: $trukt:.
Chomf" lm 1cl!" lor yoiH LuLciliull upt1w 1, dlld 1<11 ~c
Quick line strokes These lines are drawn straight to the page, so they w ill be more permanent.
You can change and edit your panels as much as you like at this stage. The ou tline w ill adjust itself to the new panel sizes or changes.
Once you are done. fill in your panels with w hite. or use the Colour Overlay style. You will also want to trim the excess lines from your fine-art layer. or block them out on a new layer w ith white.
til e thickness to u Vufue of I 0 to I 6 pixels for a 600 dpi p.::tge (halve this tor 300 dpl). Chanqe the colour to blvck. Click "OK".
If you WISh to make thiS !dyer permanent. you must merge 1t with a blank layer. Choo~e "Layer > Merge Down" rrorn the menu. or press Ctrl + E.
Alternatively. you can draw the borders instead of the panels themselves (as shown in green in the diagram). Be sure to change the stroke outline position to "Outside".
106
0
CR EATI NG PAGES
ng effects Adding special effects with screentone or colour w ill make your comic appear more dynamic and visually appealing - as well as help communicate your story and the chal·acters' emotions better to the reader. Just like in a film. special effects grab our attention and entertain us - as long as the story is slrong tool
I lere are some sim ple inking techniques to rc
• Broken lines Somet1mes it is effective to leave gJps in your line art. w h en it IS obviou~ t1ow the shape is defined This gives the impression of ~u nllght ShJn1ng and obscuring the outline ot the character. but can be used 111 other instances too. Th e tec11n1que ~~ most commonly used in stlOUJO comiCS (see Shoujo.
11.
..,. Multiple outlines Extra outlines qive the image an extrem e or startled look, helping to exaggerate comical expressions or moments of fear. The effect is like a scnbble. but controlled so that it looks consistent and follows the shape of the original image.
Sec also Special
---
._-·
~--
~
-"'i
, .;:::.
d
l
J
..,. Blurring motion lines To represent movement within your image. break up the lines and make them less distinct. as though the object is moving too quickly to be seen clearly - like a stylized form of motion blur in a photograph.
)PI::l/1\L INKING EFFECTS
pc1gt:~ I .7-1
..
..
e ffects. p ages 94--99
T Simple motion lines A less extreme form of speed line. draw ing short lines parallel to existing lines h elps to imply small amounts o f motion . This can also help to define turning or even shaking motions.
USlNG CF F ECTS
107
SCREENTONE EFFECTS .,.. Associating emotions with screentone If you consistently use a particular screentone when a
specific emotion or conflict is occurring. the presence of the screentone itself can begin to represent the emotion. Although this is a subtle effect. and shouldn't be relied upon to gain the readers understanding. it can be an effective representation if used well.
T Using appropriate screentone Make sure you use the appropriate screentone for the situation. Applying the wrong screentone will change the mood of the panel. and communicate the wrong idea to the reader. Remember: in manga. everything on the page is significant - it's a graphical language - so use screentone to complement the action represented by the image. rather than conflict with it.
--
14~·'tlr"~ .
J;. Inverting tone and line art
W ith computer toning. you can swap the black and white elements of any screentone to create an eye-catching effect. You can use the technique for dramatic purposes. or just to effect a change in mood. Sometimes inverting the whole panel. including the line art. can be especially impressive. Uke most dramatic techniques. use it only in moderation.
Nr..,C;b
,~,_.
c~
cc.1•M CM•Il
eot:.r-DU:u
C : - IoWI'Mt~HJw
•
' lot.a.C-
Ctl{\OWlU ltlf'
Ib:YGICNI.
lnvprr h mninn
....,..._ .......
will swap the
..............
1n your nrtwork
_
...,. 1-r~Jn
---
llidt k drlt) WI lilt:
~ Use your imagination! By using small sections of very large tones. you can change their appearance to make the patterns seem interesting and original In · certi1in instances. For this grri:S bikini top, For example. a pattern was needed to irnply a design on the garment. Using a sheet of large "vortex" design tone. and inverting tile colours. some very small areas of it could be used. and the effect was very different From the original tone (so the reader did not sc.>e 1t as screentone). The final result was this stylisl1 bikini design.
- -0 Using parts of tone Pattern tones. which have white areas between design elements. are often more effective if the whole tone isn't used. Just grabbing one or two bubbles or deleting some of the flowers can help complement the artwork in the panel much better.
Using small areas of this tone w ill enhance the artwork more subtly.
~
This large print looks different when small parts are used.
I
108
C {:AT I N G PA G E S
ing tone and colour Tone and colour are as vital to tile success of your artwork as being a master of line and form . So what are the essential con.:,icJerations for adding these elements to your manga?
When adding colour or tone to a page. you need to com1der both the impact of the whole page and its composition. Your colour usage on each panel affects tt1e overall c~ppeCircmce of fJoth the page and the comic as a whc>iP. •1nrJ you Gin control balance and emotion w itll your usc ot black and wllite and different tones.
Worl
T Shading out the eyes llu~ r~ r1
IJolcJ ~lrl lc·mc• rlf . unplyuHJ ,,,cJrW\\ or
'' ·cII J\lon in rhl' rh:'lr:'lrrer. or 1wrht~()~ .::tn PV.::t~ivP rl.-111 Jrl' I I~P rhPW' rechnlques no mnrP rh:'ln nnrP nr twice In your comic to mi:linti:llll
Not every panel needs heavy shading The use of detailed shading in a panel or short sequence of panels is as much of a storytelling device as your line art or dialogue - it is one of the best ways of drawing attention to some aspect of a characters personality. or a pivotal evenr in the story. However, it is a bad idea to pay every character the same amount of attention : allow your reader to focus on particular characters and events. Too much detail means that no character gets the focus he or she needs. as well as making the panels themselves more difficult to follow.
~ Expressive lighting Tone and colour can be used in 'In expressive way ro convey the atmosphere of a scene.
lilCII iJUll:IIC. y.
..,. Bright eyes One useful arL1stic device is showing a characters eyes lit when the rest of tl1e panel is unlit or dark. Although this is obviously nor naturalistic. it can be highly expressive and help readers identify with a particular moment in the story.
ADDING TONE AND COLO UR
l09
..···•···•·•·········•··················•••····•···•·•······• ··.. TIP: Blaclcing '
'
Out Black out a character that is standing against a tone background. This creates a striking presence w ithout focusing on details .
.. •••............•••..••....................................••· WORKING WITH COLOUR Producing comics in colour is in many ways much more difficult than producing them in black and white. especially when working with the many abstract methods that are typical of manga style. Most artists don't use colour at all. but many of the same principles of black and white manga can be applied to colour works.
~Maintaining a palette Try to keep your tonal ranges and colour choices consistent throughout the scene. giving the reader a strong sensation of Familiarity of the location. A limited palette will make the comic much easier to read and help express the mood of your story.
A Abstraction If you treat your colours like a spccii'll effect. you filn actlieve ~orne 1rnpre~sJve results With block tones. Using these to represent ernotion.:~l presence or abstract moods can help to underline tt1e ltlemes of your story.
Colour considerations Bear in mind that working in colour will rnr1ke it difficult for you to print your comic cheaply. i'lncJ the cost per com1c w ill often be too high to sell. However, colour comics work great on the Internet, and there are no production cost differences between them and greyscale comics. If you keep your original artwork layerecl (in Photoshop), it will allow you to adjust your toning at a later stage. should you wish to produce a black-and-white version for pnnt. or; conversely, to remove the screentone and redo the pages in colour. You can also colour your screentone layer - with the Colourize option from Photoshop:S Hue/Saturation toolset, for example.
See also Printing and publishing,
pages 11 8-123
110
C R-EATIN G PAGES
ing speech and sounds Speech bubbles and graphical representations of sounds are vital elements to get right. They add to the visual appeal of your work, and aid its comprehension.
. . . . . . IIMICS Outllna for bubblel The OUIIJne far lhe bubblll sl'loUidrlt CMII'pOWII' the ~but1111181yhllp
I HINGS TO AVOID Because introducing dialogue and sound effects into your comic is an important part of designing each page. it is worth giving them plenty of time and attention. They have a huge effect on how the reader will enjoy your work. and every speech bubble is as much a focal point as your painstakingly drawn .=trtwork. Here are some important things to look out for.
II>- Crossed bubbles Avoid
uu~~rng ov~r th~
IJUIJIJI~S.
d5 the flow Will b~ Urlfld[LII dl dnd diffiCUlt tO rnlluw ldedlly. the pdn~l should be designed wirl1 rile f lclrtL'I flow {tnllucJtnq th~ di"logue flow) in mind before qotnq alle
T II>- Interjections Avoid interjections w it111n t1 ~olllcuy prtrll'l. II ~houlcJrl't IJe ~~~·c c•\vtry tor"' ch:'lr<'lcter to speak twice within the same p.:mel. otl1er ti1.:Jn durinq cJ nuturdl btedk w ttl un t11e ut<.JIU<.JUl:. pL:tltc~p~. l o ll,IW i-1 r hi-lri-lrter speak. anorher r h:'lr;~rrPr re~pond. and then the first cll.:Jr.:Jcter reply .:Jq.Jin ncq.:Jtes mu cll or tile cmottondl tmpd
mall IIIII I the dallr¥ and loaiiiOndlaCI.
I'M PURSUING MY DREAM OF BEING A MANGA ARTIST!
I J./ATE YOU SO MUCJ.I!
ADD IN G SPEEC H AND SO UN DS
111
Font issues Because of the informal nature of text placement within comics. most writers prefer to capitalize their text. This helps the individual letters fit the shape of a speech bubble w ithout looking weak. However. some artists do prefer not to capitalize their text. Experiment and decide which is the most appropriate approach for your title. Try to stick to a regular font size for your comics main text. This makes it easier to read. and goes some way towards making your work look more professional. It also allows you to create more impact w hen you do decide to use large or small text.
Background t ext Using small text in the background of a panel is a common device in manga. Almost always used for comedy. 1t suggests the idea of a character muttering something under his or her breath. or someone saying sornelhing in the background. The comic will read fine without it. but these extra elements provide a light-hearted edge. or help to express t11e behaviour of characters in the background.
BLOCKING OUT BUBBLES You can block o ut speech bubbles 1n Pho l oshop w 1ttl the sam e technique y ou use for panels. but us1ng the I:JhpiiC "'' selection Instead. (See Inking Pages. page I 04 .) HowPVer. these can look too synthetic and clash w 1th your nrtw nrk Experiment and see which tcchmque ~wt s y our style
HOW TO PLACE TEXT IN PHOTOSHOP Choose the Text tool from the Photoshop toolbar.
Method 2:
text area
SEE YOU IOMORROVV!I
M ethod 1: basic text Click on the image where you want to place the text. If you want to start a new line of text. hit the Enter key.
'l(E);L:lY
OUGHT TO EAO HOM E NOW!
*
SE E YOU
: TOMOR ROW!!
CliLk on tr1e spot wt1e1e you we:tnt the text box to IJeq111 i'lnd hold c-low n t11e mou~C' burton ro drag our <1 box. Thi~ IS <1 tC'xt r~reil. which will ddine tt1e dtea within which the text w ill fdll.
,; .............., ......... - #-- - -- - -- -
~~~~~----~----------~
OTHER FORMS OF TEXT IN BUBBLES Symbols or punctuation marks can be used in speech bubbles. as a simple and effective way to communicate what is happening to the characters.
The skull and crossbones implies that the character has been poisoned.
One common techn1que 1n manga is 10 use three dots co represent a ch
silence. This can be useful to demonstrate when a ch
'(ee also Special effects.
p ages 94- 9 9 ./
AI lN G PAGES
cept to completion Here are all the main stages in taking the world of
tile
artist~
pc-~~P.
imaginc1lion to the realm of the printed or Wet) page. Enjoy tile journey!
_,
I
.A. Ste p two .A. Step one When you've cor1C.c1vcd yo111 \ Iory: skerch our cllJrJcter dcsiqns (rrl lOVPJ \0 thiit thf'rP i~ a feel for wh.:~r they w ill luuk llkl:. Wrll1 ~I >orl \ lorr<'\ 11 1' If" ~~ imrnrr:'lnr m r1PvPinr rhese
( 0;
Sketch out the pages as "thumbnails" w ith very rough artwork. These can be ch anged and adjusted easily until the story flows nicely. before you produce final ink versions.
i:Q ,c,;;._}
dcsiqns. .:1s llll: <..11,11 c.JLll:l ~ Will only n>r>ke IJrrt•l rtppPiiriinr P, t11Jr wirh l.~ roPr ~rmles more deto:~iled design s Jrc nccL'Ss<~r y.
rl
~Step three
After drawing out neat line art in pencils, apply your in ks. In this example, the speech bubbles are going to be added by computer. so the artist has left them off the o riginal lines.
CONCEP T TO COMP LET I ON .,. Step four A combination of flat. grey tones and pattern tones have been used here to add shade and definition to the artwork. Speech bubbles have also been added to the image. paying attention to the original sketches for their placement in relation to the artwork. The page is now finished. and ready to go ro print. Try this approach and see if it works for you.
.6. St ep five The final prinled vers1on. primed in Sweatdrop Stud1os' anthology Love. Sweat & Tears You can see it here with another page from the comic. working as part of the whole.
.. ········•··················· •·•· ············•···•··········••·•·•·•······ TIPS for Completing Comics Completing your comic can be very difficult. as it is easy to feel that more could be done to improve the overall piece. The step between almost finishing a comic and actually finishing it can be gigantic. and it helps to have the motivation to wrap up the project. Deadlines are actually a good thing. It is much easier to prepare a comic for a particular date, whether it's for an event like a convention, or merely a selfimposed deadline. Set a completion date and try your hardest to get it done in timel In professional manga illustration. artists always work to strict deadlines - it's part of the job! Be realistic about what you can achieve. and you're more likely to be able to complete it. Working on short. singleissue comics before trying to tackle an epic will give you a solid foundation in writing comics. which you can apply to more ambitious projects in due course. Avoid overworking your comic. There's
so once it is complete. just move on to the next one. Keeping note of how many pages are complete is a helpful incentive towards finishing each one. Don't worry about striving for perfection on every single panel. Comics work as a whole. not as a sum of parts. and often a page will look great even if there are small errors in the artwork. Finally, sacrifice! Be prepared to give up enough time to work on your comic, which can eat up a Jot of hours. You may have to pass up on some lVI Comics take time. and while they are great fun. they are also hard work. Try your best, work hard and create great mangal
only so much you can do to each page.
•············•········•···········•···••·····•··•·••·····•···••··••·••·········••
...
.6. Seeing your w ork In print Reaching the stage of having a finished and printed comic isn't easy. but finishing the comic g1vcs you a huge sense or satisfaaion and .:~chievement.
1 13
114
CR EATING PA G ES
•
b comtcs These days, comics are no longer limited to paper and print: your imaginary creations can thrive in the virtual world of the Internet. Tile Internet has become a wonderful means of exposure for comic <:1rtisLs, both amateur and professional. The international popularity of rnanga-style comics, combined with the convenience of reading comics online, has allowed even beginners to have a global audience for their artwork and stories.
SAVING FOR THE WEB Before saving your artwork for the Internet, be sure to flatten your image in Photoshop or Ptlotoshop Elements (coltapse tt1e separate layers into a single layer). and then resi7e the imnge to the desired resolution. Always save a backup of your original layered and high-resolution digital
Save For Web Using the Save For Web leature alfords you a III!.Jii dc·urt ·c· nl cnnlrnl w lwn ~r1vrng images ror usc online.
2-up This allows you to view LJUlllltrt: urryrndl image and the lower quality Wt:b vt:r~ion. wlliCh is usefUl for direct compcJrison.
Exported file information Thi~ st rows you how large (in terms of file size) the imiJgc will be when saved to disk. as well as an estimate of the download time.
files. as once an image has been flattened. you can't go back and edit the separate components. as they are now alt on the same layer.
WEBCOM I CS
EJic
g_ct.t
'!low
!!<>
~rb
~
!oclo
115
!:!dP
(hiOttp:/t,.,...,...,.rabid..nonkeY'.Conl/l'ldex.J*lP?IR-oo4a
v
~~~~~~~~----~~
30
Go
"
Funnies Short-strip "g,,g" cnmi< ' - <" funn ll"~ - \IIJHI,u In It lOSe In Ill w~ p...tpt"i '·
Pt:l f<..:t lly
work
on ltw
Internet. In fuct. Uld!UljU<..:-llrl\( '( J
tlurnour ;:mrl ~Jmrlt> pane/ IJyOLits WOI k bCllCI Ull ~Li l:l:ll It lrlll Ill Jllllll
•••t tlpdah• l
I
Lxcuee ~
File sizes When saving images to be viewed on the Internet, the size of the file is very important. This is measured in kb. short for kilobytes. The larger the size, the longer the image w ill take to download - especially over slow dialup connections. With the Internet always design for the slowest system; don't assume your reader has the fastest computer and a broadband connection.
File options These controls allow you to choose the file format. as well as which compression options you w ish to employ to make the file size as small as possible for swift download. As always with the Internet. there is a trade-off between image quality and file size. lmageReady You can make a number of further. more sophisticated adjustments to images intended for the Internet in Photoshops companion application, lmageReady (which comes w ith Photoshop).
FILE FORMATS JPEG JPEG compression is a "lossy" compression method, meaning that the image will lose some of the image quality every t1me the file is saved. This file rormat is great for photographs or fulkolour comiCs, as it can keep the file sizes low. However, It suffers from "JPEG artefacts". a form of Image corrosion often evident around line art
PNG PNG is the most recent of the popular Internet file for!Tktts, and offers a good compromise between compression r~nd file size. PNG images do not suffer from artefacting like JPEGs do, so the que~lity of the 1mage IS much higher; but the file size will be larger as a result. Unfortunately. some old Web browsers don't support PNGs, so using thi~ format may cause inconvenience to a small percentage of readers_ GIF
GIFs have been mostly superseded by PNGs 1n terms of how useful they are. However. they offer some options for simple animation. as well as transparency. They are also supported by more (older) browsers than PNGs are. so despite the extra file size, they are sometimes worth considering for line art and graphics (they are far from ideal for photographs).
CRE ATING PAGES
Resolution When saving a file intended for display on the Internet. it is important to pay attention to the size of the image. Different people use different sizes and resolutions of screen. so ensure that most will be able to read varying sizes of comic page comfortably. People usually save their image relative to the width of the page. so sizes such as 600 to 750 pixels wide are popular: Be sure to look at other Web comics and decide what pixel width you like best.
Simple colouring Working in colour is just as easy as greyscale when it comes to Web comics. Experimenting with ways of colouring your comics can give your pages more life and a distinctive look.
Cutting costs Web comics .:~re .:1
qrc.:Jt w.:Jy to prmJ1 J\f' rolo1 1r
comics. without UlC drdwbilCk:. or printing com.
WEBCOMICS
Costs Web comics cost almost nothing to post online. Free Web hosting for Web comics is available, and even paying for your own hosting is very inexpensive. Web comics are a low-cost risk compared to printing, and diminish all those worries about not making back the printing costs! Feedback One of the advantages of Web comics is that you can get immediate feedback from fans of your comic. However; if people dislike your comic for any reason you also have to
be prepared for negative criticism. Focus on the comic irself more than the feedback, and persevere w ith the production of the story you intend to write. Professionalism It is very easy to put pages of mangr1 on the Internet. but this has encouraged some artists to be sloppier with lh~ work they do for online comics. Not inking the lin~5 or using bad, handwritten text m.1kes their pages an t'yesor~ . Try your best to make each paqe as good as it c,ln be.
v
A wider audience Some artists choose to put their printed comics on the Internet Some people enjoy the comic on the Web so much that they will buy the printed edition to keep.
Fantastic Cat
sweat
j FantasficCat
Co
:.~
•I••"
vj -I ssue - 04-:: - - - - - -- - - - - - - !Fil;.q - - -I I.VTJ - - ---l h.FV] :: JI.t:;..i] Page 004
fon taslic Cal
1
IPage 004 vI
Buy this corrlc!
- tasueo t - Issue 02 - Issue 03 - Issue 0'
- tnueOS fantastic Cat Flyitg csls ond pe¢~~le who rol rrom the sky!- Oskar loses his memcry, b
I ssue 04 :: Page 004
11 7
I FRST I:: ( LAST I
[ P!;EV I :: [ llEXT I
Ul1s »
118
CREAT ING PAGES
ting and publishing Now comes lhe time for you to bring your work to the public - ils time to print and, w ith luck, publish, adding your rnanga to the brilliant comics you admire in the sllops and online.
~ CMYK in Photosho p Photoshop w ill display an alert if a chosen on-screen colour won't print accurately in CMYK inks. Press the T symbol to adjust the chosen colour.
PRCPARING YOUR WOI~K If you'rt> going for tri'lditional paper-based publishing. when your pages are complete and you have finished lettering you arc ready to prepare your pages for print. Self-pul>li)hiny i~ ctn excellent means for independent ;:md Jmatcur Jrtists alike to procJuce their own comics. It gives you total creative freedom over w hat you produce per h11p:-. yredl.er freedom Lhan even professional artists enjoy! lnL1cpcndcnt artists can produce every part of their f1tJ~>IIri'ltion nol JU.~ lltle comic itself, but also the cover arx1 layouts. and any additionCJI design work w ithin the w miL. If yuLI pay lo have copies made at a local print shop, ur even JU~l u~e d wnvenliondl colour or black-and-white pt lULULupier. yuu Ldrl produce a printed comic with solid prod union villi H"'~ . However, w11cr11cr you Jre publishing your work without Jny outs1de help or getting 1t prinled prufe)siondlly. il is II I l jJUI ldrll lu pcly clllCnliOn tO printing SpCCifiC<'l tiOnS.
FIC'Itten your C'lrtwork RC"fnn"' ~ t Jhmirring your ilrtWork for print, fiJtten the layers. I t 1 i~ w1/l retlule lt 1e )ILe o r lhe file. ancl make il less likely thJt there will be any errors in the print process . But before you <'Jo tllis, remember to copy the original. unflattened file first, ,"H1t1 only fli'lttcn the copy. Retain the original layered filr· m you rrlll go bc1Ck nnd edit the separate components l;rltY if yotJ nt"'Ct1 to. With lnyered artWork, you 11ave the frt n Jom 1n r·,l~ily rccnlour: ,1dd screentone or alter the text r lllrl d irriO!Jtlr'- yotJ (rln't dO this on the flattened Version Wlltloul gu1ng to ~~ grecrl c.Jecil of lroullle! Colour printing and CMYK colours Colour pages are pnnted using the CMYK process (short for cyan. magenta. yellow and black) inks. These four inks combine on p<1per to simulr~te the spectrum but struggle to represent some tones accurately. Photoshop allow s you to specify whether to make your document in CMYK or RGB (red, green. blue) modes. but you should always convert to CMYK for print. (For "comic"
think "CMYK!") Converting the document from RGB. used by computer monitors. to CMYK will often change the appearance of
results will be. Colours such as purple w ill sometimes print slightly differently than you expect. Use the CYMK picker tool to help accurately choose print colours in Photoshop.
PR I NT ING AND PUBLISHI N G
119
PRINTING FROM HOME
It is possible to print your own comics at home with a laser printer. The inks used in laser printers are similar to those used in a photocopier - high quality and waterproof - but can struggle with large areas of black. Although significantly cheaper to buy, Inkjet printers are not suitable for creating sellable comics, as the inks will smudge when the pages are handled. Check Peripherals on pages 46-4 7 for more information.
PRI NTING WITH PHOTOCOPIERS With self-publishing. it is important to be able to print small runs of comics, as it is likely they will only sell slowly - quantities ot 50 or 100 are common, with extra copies printed only if the first batch sells out. The most popular choice for selfprinting is to use a conventional photocopying service. Photocopies work well for comics. as the ink is waterproof and doesn't smudge. Check with your print s11op to see if there is a discount for a certain number of copies (for example. for more than 100 copied pages), as this can affect how many you choose to print, and also the overall pricing. Be very specific when you approac11 a printing firm. Tell them exactly w hat you want. including sizes. which pages will be colour (for example, "only the outside cover"), and whether you need "bleed" (see page 123).
Taking charge
Self-publishing allows you total freedom about what size of comic you w ish to produce.
.6. Experimentation I J~ina r he:-tp Sl'rvirl'r.
such Js pl1otocopyinq diiOW~
rll lr:.L\ lo lcil'r l\<'
strange and t:X~t:f lllll:llltll WUI b . ThP<.P rwn rnmir<. :'lrP coik:cl rom ~ ~~ tylt ~
ur
paqe comic strips. artWork. ancl previews of upr nrTHrt!J cor rue. ~
C REATI NG PAG ES
PRI CING Consider the price of your comic in relation to other comics that rtrc rtvr~ i lrtble. The lower you price the comrc, the more copies you w ill ~ell . How ever: il is important to cover yot Jr cml \, rl~ wt-'11 r:ts 10 mr:tke some extra profit - even if it is just enougtr to cover some of your other expenses. If your comic is to be distribu ted or sold by another flt-'1\0fl or wmpdny, lyJ.JiG1IIy they will take 20 to 'JCJ p<'r cc>nt of the cover pncc. so ttlke this into corl\idt-'rdlror1, too. I h.:1t s<·ud, avoid overpricing your wmiL. dldryiny Loo rnucll for il will seriously reduce ~i1 1 ('~ . ~o lc ~s pcorlc will ~cr ro ct~ oy your hard work.
cat
Free copies Some ilrtisrs even choose ro give their photocopied comics away for rree, but only print a limited numher. Tl1is c;,n be greilt publicity and help sell other titles by the S
........................··. ANALU GUI::
A simple dummy copy is made quickly ro help lay out the master spreads.
Ml\~ 11::1<~
1\ c cu niL r ~ u~Lkrlly rnctc.Je w ilh ~ever dl pieLe~ of pet per
..
li1it1 rog('tll('r, 'ri1pl('c1 i1nc1 folc1('c1, rrcr~ting rt set of Lor ~~ewlive pdqe~ . W~1en photocopyrng a comrc you will nr'C'ci In rrc·rll (' t1 mnstcr copy with lhe prtgcs in the r rq~1l pu!.rlron, bearrng rn mrnd which pages will be fll'inl r•d nn llll' '\rlllll' piC'Cl' of paper.
Dummy copy One of the easiest ways to see w hat needs to be on each spread of a comic is to make a dummy copy. By making a small book from folded paper. and then numbering and marking the pages, you can easily see which pages should be printed on rhe same piece of paper.
12
9
.•··•••••••··•··•·········•····••····.· .
PR I NTI N G AND PU B LI SHING
121
DIGITAL PRINTING SERVICES Many printing companies now allow for digital printing. This means that they will take computer files and print pages directly from the data. rather than replicating artwork from a piece of paper: This offers much greater flexibility and control over the production process.
FILE FORMATS TIFF files TIFFs (Tagged Image File Format) are one of the most popular file formats for transferring pages and artwork. They have the advantage of strong image compression without lowering image quality. Always choose "lZW' compression when saving with TIFF; this will ensure that the file is small on disk but readable on different types of machine.
.. Creating books
PDF files PDF (Portable Document Format) is a format that has made it much easier to produce comics with digital printers. There are no discrepancies when it comes to reading PDF files, and printers often find them easier to deal with. Always use ZIP compression with PDF files, as JPEG compression damages your images and lowers output quality. If your software gives you the option. always choose the earliest version of PDF compatibility. This causes less problems when processing. Photoshop saves files like this as default.
FILE FORMATS TO AVOID BMP files BMP artwork is uncompressed and slow to process, with file sizes becoming huge on disk. JPEG files The artwork is compressed. and tiny inaccuracies will appear in the tones. Although these may not be immediately visible on screen, a printer can recognize these subtle flaws and draw extra grain around your lines depending upon its calibration. GIF files This file format has no information about DPI stored in the file, so the printer may not know how large it should be. File sizes with GIF are no smaller than TIFF.
Professionally primed books can be put together from collections ot stories or collections of comic issues.
CHECKUST TO . . . . . . . IIIIFORII SAVING FILES FOR suaMISIICJNs
jft RateriH your . . IVty text that is stiR "'ive" and edifable wiH cause problems dUring prinllng, with comprK:abOnl In CllnWIS or roms and smau Changes or size You shaUICJ ~ your text to pixels before saving 1he me. lhls . . . . . . any problems.
jft Flatten ,..... layers Multiple layers Increase the fife • more difficult ror the prinller te
*
as weiM , . . . ,
work_,. _.
COftv4U't to , •.,....
Converting to~ . . . . . . . . . . . . . . . . . .,..., smaller than If you rea. fl' • M Gllll:u: jft BPI illllt
CheCk,_...
You can adjuSt
...a,.. DPIIil l hOCIIt.....,":J::
setting alf other
valUeS · ·--~
-
CREATING PAGES
GENERAL PRINT FIRM A DVICE An unfortunate fact when dealing with printing is that you can't always predict the results. The artwork may appear slightly lighter or darker than you intended. Getting a proof is important so tl1at tl1e printer knows in advance if you are happy with the quality of the printing. and any errors can be spotted bt'forc.• it is too late. Cooper.:~te witl1 tl1e printing company as much ds possiiJie. If you make your print job e
........IWOd:. i:iW
$ ..... ,.... f'IIIM. ptlane ~
_,......., 4llddl.s
01\•••
1M CD IIIC •VIMIIuWI'IIIIMtf ... priJII;J:Ib. this . . . . . . . . . .
__ ..,...110 ecwaa.,.,.r. .
•a,.......,
ancf.,..thiiCD
Qlldngft& .. ,pcillllt- induellf.a .............. the CD ...... 1hls lhllt.tifniltulte c:onllllcC dllllllls ............. tJI
What sonhCO.
fit NtMiyG,W. . dllnly~
............. them~
NCm!: SomtlrmJ~NW ellowJau.,
,,... .....,.
~;;;;:;;=::::......
~-..ao
. . whit
:!.....,
...
NAf11£
oF CoM/(;
llfdng
JOHN DO£ ~: 555-~I"Y4-
~ottn.Hc.@ ~,I .(Ojll\
Comic series When creating a series of comics. it is important to unifY the front cover designs. Try using the same layout but with different characters on each issue: or use similar design work. but different colours.
Check for "additional costs" Check to see whether the printer charges a fee for converting the files into a particular format. Savings can be made if you check to see which file formats and format types are most convenient for the printer. saving you unnecessary expense. Check prices of quantities If you ask for quotes for different quantities, sometimes it will turn out that ordering more units of the book will cost less. For example, printing more than 1000 "page copies" might save you money. If a comic has 14 sides, printing 72 copies would amount to 1008 sides, and w ould qualify for a discount. You should also always ask for round numbers w hen asking for quantities. Ask for quantities of 50, 100, 150, 200, 300, or similar; otherwise it becomes awkward for the printer to summarize the costs involved.
PR I N TING AND PUBLISHING
FULL-BLEED PAGES When using a professional printer. the comic is often printed larger than the intended final size and then trimmed down. As a result. this allows the inks on the paper to go up to the very edge of the page - something you can incorporate into your design.
Full bleed This allows panels ro drift off the edges of the page, suggesting a larger event beyond the scope of the image.
Bleed area This area will be trimmed off by the printer. and should be expected ro be missing in the final print.
Trim are a This margin area should only contain simple artwork, as this will be drifting off the edge of the paper.
Safety area It is recommended that text should not be placed in the safety area. in case of any radical printing shifts, and also to avoid text being trapped in the centrefold of the book.
123
<)
124
~ <>
~
Resources MANGA CREATOR SITES Hayden Scott-Baron: www.deadpanda.com Sweatdrop Studios: www.sweatdrop.com Selina Dean: www.noddingcat.net Emma Vieceli: emma.sweatdrop.com Laura Watton: www.laurawatton.co.uk
Viz: www.viz.com Tokyopop: www.tokyopop.com Dark Horse: www.darkhorse.com Iron Cat: www.ironcat.com
CM.X: www.dccomics.com/cmx/ ADV Manga: www.advfilms.com/ manga.asp CPM Manga: www.cpmmanga.com Broccoli Books: www.broccolibooks.com Seven Seas Entertainment: www.gomanga.com GoiComi: www.gocomi.com
+Q ART PRODUCT MANUFACTURERS f~ Letraset: www.letraset.com Deleter: www.deleter.com Copic: www.copicmarl
COMIC FONTS Blambot: www.blambot.com Comic Book Fonts: www.comicbookfonts.com Ban ComicSans: www.bancomicsans.com/fonts.html
.f) /\RT SUPPLIES ONLINE SHOPS
c::J
Akadot: www.akadotreta il.com Dinkybox: www.dinkybox.com Blue Line Pro: www.blue linepro.com Anime Garners: www.animegamersusa.com
RESOURCES
~ SOFTWARE ~
Adobe Photoshop: www.adobe.com Corel Painter: www.corel.com Paint Shop Pro: www.jasc.com Deleter Comicworks: www.comic-worl
IMAGE HOSTING GALLERIES Art Club: www.sheezyart.com Dev Art: www.deviantart.com Elfwood Fantasy Art: http://elfwood.lysator.liu.se Manga Workshop: mangaworl
WEB COMIC HOSTING Keenspace: www.keenspace.com DrunkDuck: www.drunkduck.com
ART COMMUNITIES Dream-grafix: www.dream-grafix. be Sweatdrop Forum: www.sweatdrop.com/forum Artist Cafe: forums. firefly.nu Pendako: pendako.syste.ms/bbs Gaia Online: www.gaiaonline.com Cgtalk: www.cgtalk.com
125
126
Index A
DPJ (dors per incll) 53
resolution 53
absrr dCLiurr I 09
acccssoncs 4 I .1rrylic •,rylt-' R I rn shouncn I 4 (1191tal 14- 77
o111i11 1.1Jo.. \trpJlOI Lifl~ 3 7.
38-39 amagonrsr 32- 33, 34 ~1111i .1li.1•,ir1q
r; I.
'19.
dummy copy I 20
to chdnge 73. 77
F
resolution I I 6
fantasy I 6- 17
to save work for 114-115
011 lnte1net I 16
female character 27. 31
and lightinq 69
male character 25. 27
L
Ji.::tleue I 09
villain 32
layers 51. 52
theory 69
world. to create 42-43 file ~ iLe I I 5 nneliner inking 59
colour scl1emes 41
fnnl
tl;JCklrqhllng I I
colourinq: black and whirc
tunnies I I 5
in w..:rlcrwluur
~Lyle
flO
ima~1c.
to
wluur 6!3- (J9
digiral 62-63 greyscale 62
eel-style 70-73
G
grf'y'>rJIP or Jrline'> 66-A l
geometric tones 89
comedy 20-21
'>f,
comic
hl.lck rl/"111 whirt' invtY<;inn
L>r u!.t 1/l>rt JSt1 Jif'n rn~:rng '1H
I 22
~erre)
lines. coloured 8 7
grndi~nr
lineweight I 4
lint"IC·'i'i 8/
~ueenlune)
grey layers. to keep 90
M
greyscale image: to colour
magical powers 42. 43
81::1. '70
I I 2-1 I 3
66- 67
dl...~r dcler !>: G.i[Jiys[
~oltware
rc~oh nion
6. 18-'1'7
to scan
.:3"1 J)
?n.
cle~t<..Jf1
comic 10 )I temJie in mole role .'~0
53
J I. J2. 36. 40
H
themes I 6- 17 master copy 1 20
hJifrone 88
minimalism I 0
historical sources I 7
moire 88 motion blur I 06
t 11~turrcal JJ
Hokusai 6
science ticrion 25. 27. 29.
hypc?rqylizalion I 0. I I . 21
N
17.40
!>upporung 31. :Hi 39
natural media. to simulate
Leer ktSjt: L;oy JH J'-1
D
rccnaqc girl 30- 31
deadlrncs I I 3
vrllarn 32- 33 children:
< lltili.l<
ler!> 36-3 I
rcprr~Pntatron
of I 3
CMYK colours 48. I 18
97, 106
hair colour 4 I . 72
one-<:1imcmioml 7'1
~1.
for girls (shoujo) I 2- 13. on Internet 6. I I 4-1 I 7
prmngnni-;1, ferT1rrh · ?r1-/l Ill I II&JUIIr;[. II Idle L4-L~
developmenr of 6
~6
74,
JO. 32. 31 40- 4 I lanto:~~y 16. I 7. 2S. 2 I. 29.
?r1.
14-15
gutter 103
I I I . ILO. 112
rno;rumr: cnnrrrnpnr<11y
U1rld J6 J /
manga: for boys (shounen)
line art 62
rnnlrasl I 08 w~LS
tl l..tr,itlt·r. lclr.IC'III It' 1(>. 41
LPJ (Jines per inch) 88
gr
16-'17 rrrr...1qe 10 1.:3
tones 89
to roldte rmvge rn 60 lUI llfJietiurt
.1nwnrk nn I 77
line width 59. I 04
gods/deities 43
corrtputel ; . per ipt ter .::ll~
c
to scan 56. 57
g1·apllics packages 48
Corn reworks 1 '7
101 l>l,lckrng our I 0~
u~hlyle
lighting 69. I 08 line art: black and white 63
III
ourlrnes 68-6')
hl,yt nnt1 wliirc
( .1),
~iLe
to mask 52 LED optical mouse 46
colour prinring I I 8
black.: solitj I 04
to nanen 52. 114. 118
file forrni:ilS I I 5. I 21
51
rones 72. 7.1
B
~r.1n
feedback on I I 7 manga on 6. I I 4-1 I 5
CMYK 118
rol~ri'HlCF
(J2
.-lf'lli-llt-'rtJ ?fl
ro
traditional 58-59 Jnrernet: colour on I I 6
backqrotHld 62
dltiUfl: !>CCflCS 18- 1c;
;JirLlrU ~tl
to adjust I 21
coar<><" ron<" 89 colour: to add I 09
iconography: shoujo I 3 shounen 15
drgrwl parming packages 49
idealization 14
digital pr inl ing services
inking: digital 60-61
171-123 dingbats 99
pages I 04-1 05 special effects I 06
78-81 nib inking 59 noise rones 89
INDFX
0
R
oil paint style 78- 80
races and creatures 4 3
spirit signs 4 3
Open Canvas 49
realism style, lineless 85-8 7
splic1ng 1mages 57
resolution 53. 57
styles: acrylic 81
p
speed lines II/, I 5, I 06
on internet I I 6
airbrush 74-77
pacing I 03
robots 15
<~nimation
pages: full-bleed 123
rotating the image 60
eel 70-73
to ink I 04-105 to plan I 02-1 03 Painter 49 natural media styles in 80.
81 to rotate image in 60
fantn~y
5
illleless 82-87 011 pa1nr
scanning 56-57
shOLljO 13
science fiction I 6
panels: to adjust I 04-1 05
villain 32 screentones I I. 49. 88-89
outlines I OS
to apply 90-9 3
size I 03
to colour I 09
to scan 57
software 90 self-publishing I 18-1 23
Photoshop 48
setting. to create 42-4 3
airbrush 74
watcrcolour 80 stylization I 0
T teenager· fcmnlc 30- 3 I male 28-29
text: background I I I
special effects I 07
photocopying I I 9
shading I 08
basics 50-51
airbrush-style 74- 77
Elements 48
eel-style 70
78-80
shouncn IS
male character 25. 29 female character 27. 31
pencil work 59
I7
scanner. flatbed 6. 46
Paintshop Pro 48 to group I 03
to
rr1~rerizc
clia/ogue in I 03 tone. ro add I 08 Lone fedlt 1ering 89
shadows 70
u
print colours I /8
shift key 105
Ukiyo-E <'lrt 6
Lo rotate image in 60
shoujo manga 12- 13. 97.
106
I 21
thumbnails 107-1 03
Layers 52
screentones 88
70
v
special effects 94
shounen manga I 4-1 5
visual absLracnon I 7.
tools 50-51
show through. to avoid 57
visual grarmnc~r I 0- 1 I . 70
pixels 53. 62
sketching. digital 6/
pricing 120. 122
skin tones 4 1. 72
w
printers 46. I I 9
special effects: emotional
watcrcolot u \lyle 80
printing I I 8-1 I 9 professional I 2 1- 123 protagonist: female 26-27
wisps 98 foundations 94 gritty angst 98
male 14. 24-25
impact swirl 96
in shounen I 4
impact zoom 95. 96
teenage boy 28-29
inking I 06
teenage girl 30-3 1
screentone I 07 sentimental pattern 99 shoujo sparkles 13. ?7 speech bubbles I I 0
127
128
Credits AUTHOR ACKN OWLEDGE MENTS I'd like to th.o~nk Sclinc1. Ernma and Laur·a for their wonderful il/usrr·iltiom and support throughout this project; lhe editors
c1t Ot r,lrlo ror their 1J2llience and
encour.o~gement;
and
P.veryonc al Swmlclrop Studios for producing amazing mlnga and proving that anytlling can be achieved with teamwork.
PICl UR[ CREDITS: Ou.:Jrto would like to followinq artrsts
tll.o~nk
and acknowledge the
ror- supplying images reproduced in
this book:
(Kc 'Y: I i<'rl. r rigr1t. c centre. t lop. b bottom) S.-rrn Rrown I I 9br; Selina De<~n I ~1"1. I 3bl. I 3bc. I Stc. I Str, I/, 10, L I, 771. 2'71. 31 r: 331. 35b, 361, 38L 39tl. 40br: 42t.
SR.
5'7. 66tr, 0 It. 81 br: 82r: 84b. 87br: SSbr, I 09b, I I 7.
I I ':Jbl, 120L 120tll; Sonia I eong 122t; Fahed Said and Shari
He·<, I 15t. I 16b; SweCJtdr·op SrucJios I 13b; Emma Vieceli 61,
IL, UJ, /'il. /7r. /'7r. 33r: 34, 36r, -'i OL 41 br, 4/b. 4 3b. 69br: '75b. 99br, I 06ll, I ORr. I 09tl. I 0'7tr: I I Obi, I I Obr, I I m;; l rltrr,orW,:rtton I . 6t. 1'1, 2~r, 30. ~i7t. 38b. 3'7tr. 41t. 7Sr. I O'lll, I 061r. I I Oll
1\/1 ort1er illu\lr c~lior rs and photographs are the copyright of Quarto 1-'t rl>li
contributors, we rlfJOIOQiLe Should there /lave been
any omrssrom
or- error~ .
781845 661731