.lll lll ' ' rr 7' ll3 l,,l'll 0023 01402 EASTERN REGIO}TAL LIBRARIES
l\.rrLrlW
Developing $houjo Manga Techniques
!
, ,t ,:i.l;i
:,.t.1
THE SOCIETY FOR THE STUDY OF SHOUJOMRNGR TECHNIOUTS
I.'
Vol.l : Compiling Characters Chapter 1 Drawing the
Face
Chapter 2 How to Draw Bodies Chapter 3 Drawing Characters ISBN4-88996-042-2
Vol.2: Compiling Techniques Chapter 1 Background Management Basics Chapter 2 Tone Techniques Chapter 3 Expressing Light and Shadows I 5BN4-88996-044-9
Vol.3: Compiling Application and Practice Chapter 1 How to Draw lnteriors and Exteriors Chapter 2 How to Draw Machines Chapter 3 How to Create a Short Story MANGA lsB N4-88996-04s-7
Vol.4: Dressing Your Characters in Casual Wear Chapter 1 Underwear andT-shirts Chapter 2 Sweatshirts and Skirts Chapter 3 Jackets and Jeans lsBN4-88996-046-5
Special: Colored Original Drawing (Copic Sketch Pen) Chapter 1 Copic Sketch Pen Chapter 2 Copic Airbrushing System Chapter 3 Try Using Different Painting Materials with Markers lsBN4-88996-047-3
Distributed by
JAPAN PUBLICATIONS TRADING CO., LTD. 1 -2-1 , Sarugaku-cho, Chiyoda-ku, Tokyo, 1 Ol -0064 Japan Phone: B1 -3-3292-37 51 Fax: B1 -3-3292-041 A E-mail: jpt@lptco,co.jp
.5-_
r0ryaRry volffte lllanga Techniques Shouio Devetoping
m t
Il0lfT0 Dmffi flfffifi by
]}r
tutu SIS
S@@
fuiUrt
@
fl
W
]lffiG
IbCqfU Shoujo MangaTechniques lilga Ecrnierm
of
SEiry
b tu Stlty of Man ga Techniques
@qlt @ flgm &il[dta Rffiring Co., Ltd. tunlilirfr ilrlWry @t-$IaPublishing Co., Ltd.
fhfiffi
edE-th
Emrr m nfrtrstEd in 2002 qruilffiu h. tlr_
by
ffi tr"llh *dmart, tr fie Study of Shoujo Manga Techniques: run tu@ ffio t(Lldo, Ryo Kagami ffimrm Kaoru Kajiwara flIElmEIc qf Studio Pinewood lnc. IiLrymm Hideyuki Amemura ISIE
tuutlilme,
ffiffi
Yasuo lmai
t(ffimrtmlm
Shinichi lshioka
EffirdlffffiIlr,ffit
Shinichi lshioka
E{ffirmmulttttlttim
Jffir'dlltitumffir f,rymmrnryury
rdhr [qFd
cudinator:
Lingua frdnca, lnc. (
[email protected]) Motofumi Nakanishi (Graphic-sha Publishing Co., Ltd.) Kumiko Sakamoto (Graphic-sha Publishing Co., Ltd.)
fifl]riluilfimilmild' lu [mililm*,dMm[umm. rffiM]lqlMrnflm "
nlt trtrE HlIi]ation may be reproduced or used in any form or by any means mrc.to*d" ildrlding photocopying, recording, taping, or information storage and
(hrr
riltsn
pefrnission of the publisher.
ffilltdlillltilffiliumnmumturtu ilffiinrs in this book were screen tone and llh|llilmmmtllllluMEffiG rGrE il rriuEn on T00 manga paper.
nffirumm Jrhmfrm!ruifrMfrrilm
IME h*
]ffiflrf,ri$lmwillfuipdtn
1fi. mryo,
mem*u
Iffiilflmm qffiffimile,@S,51 Fe Gffihf,ilrymmMilmlr]ill
mMilffiMffirtitf,[@lu,Igr
ffi&mffitmmr
,u[Em
I 01 -0064
+81 (0)3-3292-041 0
lC tone manufactured by Letraset.
Table of Gontents
1x: >r. +
-r', Tt I :,:r:, .::.:
:-=::
Seer irom a Vailety of Angles/Balance Between Head and Neck/Let's try giving characters expressions!/How to Draw Hair
xF furglesl-et's give characters movement!
of Common Mistakes
Lines 3 How to Draw Parallel Lines and Flashes (Converging
Lines)
..........77
Special Effects Used in Girls' Comics 1/Appeal of Characters/Something only possible in a girls' comic! Demands made 0n the
coy!/Psychological Characterization
Special Effects Used in Girls' Comics 2
Choose a subject (genre)!/Example of Romance Comic/Hints for Siories/How to Make the Story Development lnteresting/Element of Surprise .
lAttracting the Reader)/Growth and Development ofthe Heroine/Special Effects Used in Girls' Comics 3
Shapter 4 How to Create Manga
Manuscripts.....................
..........112
Writing a PloVStoryboarding/lnner Margin and Bleeding/Speech Balloons and Letter Size/How to Draw a Two-Page Spread/Borders, Speech Balloons, and Drawn Letters/Frame Allocation/Picture Composition/Shift of Scenery/Page Turningishot Types,A/antage Point and Angle in Scenes
with Characters/CutBack/How to Attach Tracing Paper/Title Page/Basic Tools/Example of
Pen Work
3
t-
v\1
Chqpfer
I
FlowbDrqw
Do not think of the face as being flat. Think of it as a rounded sphere as you draw. The eyes, nose, mouth, eyebrows, ears, and other parts all have their proper positions, so be careful,
The position of the eye is about in the middle.
Position of Ears
Good
[*l"arle
t!-.
be -
L
female Front Side
Not good
ffi-m Draw outline.
The lenqth ot lhe face ie aboul lhe same ae thaL of the handl
When you acLually
draw lhe face, be7in by drawinq f,he outlinel
:-Pay attention to ffie balance between the ears, nose, and neckl
-
--e s
:pposrte cheekbone
-rrf,Cefl bY
the
nOSe.
The
eyebrows
TA{ ,
I
-,)
arenot\/ visible. (
\ I
?I ;i::i[l /"1 \ Iffi,il\
I
Neither the' eyelashes nor
the nose is visible.
The nose is slightly visible.
lsn't the neck line attached to the base of the ear?
At this angle The angle of the nose the nose is
is
not
visible.
The mouth position.
wrong!
Face in Profile
Line around eyebrow
Do not make the nose and chin too pointy!
The upper lip sticks out a little more than the lower lip.
Line under nose
Balance Between Head and Neck Length of Neck
The neck is too
thin.
The neck is too thick.
The neck doesn't bend his farl
Looking Back
Her neck is
to the point of being scary! Not good
Looking Up
YAAHH
The neck bone protrudes slightly.
i T
-/ [fl
This is about the limit (requires bending backwards).
Looking Down
This angle is impossible to attain without bending the back.
\
t/1
The size of the eyes and the position of the nose are wrong
Not good
on the face marked with X.
qq$ffirs The far eye is smaller.
,'kt"
-/
Some ways to check to see if a drawing is distofted are to look at it in a mirror, look at it upside down, and asking a friend or other third pafty to look at it.
@ .
'.f
?(e the eyes of children
:l
<-The tails
of ------>j the eyes and
. -- rk
about the difference in :r1e structure between fat
.
cheeks are
:-l
thin people. --e amount of hair :ioreases with age.
-- :'e case of elderly
low.
Draw the face a little lower than the center
Middle-aged woman
line.
There are more
wrinkles.
"."acters, do not just add 'r(les to a young face!
The shoulder line is also lower. Neck muscle Elderly woman
Middle-aged man
Let's try giving characters expressions! Facial expressions differ depending on height of the eyebrows, the size of the eyes, and how the mouth is opened. Having a hand near the face will make the face more expressive.
Smile
It's so funny there are
<-- He appears to be bursting out laughing.
Grin
?) ,l
rnese ora/wn Standard smile
\,
letters convey an outburst of laughter.
dY v
AHH r' Teary eyes Add slanted lines and tone to the iace.
Looking down
Tears of joy \_-_,
Troubled look
10
'' makes
Adding a the character
,ngr.
\
' 1/"\ =-..*' ----,<;.look
i -\i,
i'tut/{' \
lfL,
Jl
Turn-down of
the mouth
-11 ''
aan
--2 :::h. 1\
,t\1
I
I
\ A
I
hQ..
.Hmph
Folded arms are a standard pose.
tried
drawing fangs.
His eyes are white.
EE? Vertical lines on face (turn ashen)
Cold sweat
--: cheeks are : :rtly Puffed.
Oamn il,l
-'is
hand makes it look
The eyes are dots.
:-rnking. Absentminded
Try your beef, tro ex?reee thinge
\\ou
can do irl
without relying l,oo much on drawn letbere and dialoque.
She is fighting back something. She has a pained expression.
11
How to Draw Hair (Hairstyles)
Draw the hair one size larger than the sketch of the head.
Straight Hair Adding a few stray hairs will make the hair look natural
This female pads her hair in the middle.
Adding volume to the hair will make it look like a wig.
iro@il \
Looks like it was hardened with hair spray.
Lurse head
j
rri'
',\ k;;-., ',\, ?en f,o uee
ia the Kound-pen
Act -..-r^ \
I
/T\-
The hair is dry and straight.
Not good
The hair looks sp,c,:r , because there are tc': strands. The lines ar: monotonous and har:
12
The inner side is shaded. Use tone in this instance.
-=-,
("re
When penning in the drawing, do not get hung up on the lines of the rough sketch. Relax and draw in light, sustained bursts
without stopping the pen midway through lines.
Be aware of the hairline and whirl of hair.
it appears to be wrapping around the other side.
Add thin lines.
Do not add sheen to the inner side because it is shaded. Not good Use a pencil to draw guidelines for adding sheen.
lf you ignore the shape of the head when you add the sheen, the head will look flat. Not good Use a pen or brush to draw lines while noting the flow of the hair (make the ends of the lines
There should not be a clear border
narrow).
between the sheen and the solid block.
Paint black making use of the lines
drawn in Step 2. A thin brush is best. Use a stiff
*
brush where
the ends will not split.
0ther Types of Solid Hair
@@ No
sheen
-*-
Add white or leave some white in the shape of the
sheen.
Animation style
13
Permed Hair Hold the pen lightly and draw in a relaxed and nimble fashion in order to get the fluffy look of a perm.
The hair looks hardened with hair spray and healry.
Adding several strands of thin hair to the outside will make it look natural.
it\\ Hair is thin
at ends. Hold the pen lightly and draw with a flick the closer you get to the end of the hair. The lines will be
unsteady and hard lf you draw slowly.
It will look outdated and hard if the lines are uniform and the thickness of the lines is constant.
Monotonous lines are not good.
Shaded portion
Too many lines make
the hair look outdated.
The : a',', oi the hair ras reen
igni'e:
It is also good to add tone to some parts.
Adding thin hair on the outside will make it look fluffy. Shaded
portion
- Shon Halr
I
ln the case of sheen. think about how the iight hits the hair.
---
{
The key to shorl hair is the cut!
The facial expression differs depending on the forelocks.
Sheen like an angel's halo. l
Pay attention to the
part in the hair.
Pay attention to the
flow of the hair.
Hair with Tone .':ate
::
sheen by scraping
tone.
Use tone here and there (the hair wilt took fair).
ln this instance, it is best to
There are a variety of types depending on the type bt tone
now tne tone is scraped.
and
Solid black and tone
Paint the hair black, add tone after the ink has dried completely, and
scrape. Pay attention to the balance between the black and tone.
15
Other Hairstyles
be gure to keep uV wiLh
Ihe lateef, hairetyleol Make sure the hair looks braided.
n
Pay attention
tofie - -a
tro*oilnrna,i
/'
,z jA.
The position of the head and heels is
determined after deciding the height. lf the character is to have a head-to-body ratio of 1:7, then divicte the body into seven parts based on the size of the head.
Note f,haf,f,his rule of Lhumb chanqee if the headLo-body ralio chanqee.
It is best for females to have a headtobody ratio of 1:7 or 1:8 (the character The hair volume is separate from the headto-body ratio,
below is 1:7).
The waist and elbow are same position.
/atlhe
The wrists are located at
the crotch line.
(
The region below the knees is longer.
The calves fall outside the center line.
q --(:a:2, sr Sirlders than flllrrrrEl{Bi[ t-l: :',],lE- mnes. Don,t forget to
ltfllllilillr
f|ia
iltLlllllli
-
[iifr]
i
l.rirtiE
It is best for males to have a headto-body ratio of 1:B or 1:9. A ratio of 1:10 is stretching it (the character below is 'l:8).
-A
.a--.<-
It can be difficult to draw shoft people and children if they have a headto-body ratio of 1:7 or 1:8.
5
-&"
so
-@_. a-2?-
'./+> ,r'-5
>)--;3
aa)2v.rt, V2
-
".r47
ffi :o"
z Are you
ourprioed?
The arms and legs are on the {at side.
school
Higher grades of elementary (head-to-body ratio of about 1:5.5 to
1:7)
Lower grades o{ elementary school
Comical (headto-body ratio of
(head{o-body ratio of about 1:4 or 1:5)
Toddlers should also be a ratio of 1:3.
The length 0f the arms when extended is the same as the length of the body.
Center of Gravity This shoulder is
L
raised.
It
ia
true
Weight rests on
lhat lhere
the right leg.
are ?oeaa Nhaf, are
only poeeible tn comtce,
20
i:3)
ilE\
sta '
:af€ss a rlct r rda +.-
\
[l
lrlnde
Center
oraw a rough
sketch. @
OiviOe by the number
ot @ Roo the character.
heads based on the center.
High Angle (Looking Down From Above)
(Looking Up From Below)
7
6 5
4
4 3 2 1
The feet are small.
,mn:,ffiI'w9! l- "..........
a
4..
a
.. a a. a a.
a
o. a a. a a. a t..
a...
a....
a..
a
a. a 3
21
[eft
give characters movement!
|
Pay attention to
the movement of the chest.
(t
X\
l?) VLJ
tfl H1
\1\
W \il
N tr
The hair
---* sEeams back.
r- Leanino fonivard makes it look like V tne chiracter is running fast.
Lorq stides make it hol< like
fie
is running
character
fa$.
Flying pebbles add the'atmosphere!
tn ;
wr[in-s
I
-
The knees always bend a litile while walking.
Both knees locked.
'l|li'
l)lill lllllllillli*
ri::r lilIi 'llrriililrii
lllLl
ri* :*
llllrilii!Ji:
I
Do not bend the leg joint
rrurlfT.
in the opposite direction.
One of the feet
is on the ground at all times.
When takinq a
f {'y \
You can raa
Lheee
tha|
lor
walkinq
looke
uncoordinated,
.t
streams back.
long eteV, bobh kneee are pretty much locked. Caution
\ This looks unnatural.
I
_"+-
I
--r-:-
I I
-.1
---"
t
-,
-l
t
="::iView -a
,/
a
Exaggeration makes the picture interesting.
A Variety of Actions
24
Middle finger lillllru{flflfirrrlmtturry
Imrnm -:r:nr a variety 0f angles, *nrg61 length, width, and
1lluffififltilrflqili rMtrrMT'Ii
Itlffillffif,ill
Little finger ,
l
I
-l
l-x
r
a{/ni---{.t
/\ /\
-{
Q
indicates joints.
The bone protrudes slightly.
Fingertips are round and not pointy (fingernails are
I
ryr.qntrmwff*e ]llllln]l''lilffilm
X
exception).
sised r,'ell.
Do not add too many creases.
Drawing the hands too realistically will look unnatural.
,lir*
25
When holding a can or other object, you can strike the right balance by also drawing the parts of the hand and can that are not visible.
Common Mistake Male hande have oharV
joinlo and
muscles.
The lonq,lhin
finqero ol females are beauLiful,
It is a mistake to have the base of the thumb and the base of the little
finger at the same level.
A
Try drawing feet in a variety of poses as well.
)(Shoes are one size larger than the feet.
t,1l 26
il@nmlmtmrn of
milmn
Fmm the l{eck to the Shoulders and Arms
mmrmtakes
r ./
It is unnatural for the left shoulder to be higher than the right one.
:.
-n'ilh.'ry' ,,mi*-=:, \Lz^ * j -\- if f-* *^' ,,'r.==:4 =
e line/l,\\ Correct
I
- _:
fr;_."-',', i
flffiH, mrmt^A;i'
Position of Shoulders Not good
Good
( ( [)
The thighs
\ /
hl/
/\
The shoutder is
T toohish.
Raised Arm Not good
The elbow is too high. It looks like
there is no shoulder joint.
27
differs
B6 f'lN=/ q#*J ";;\
r\"$M1" \,li.r-27
The texture of clothing depending on the type material. Actually touch clothing and look at magazines and photo
of
collections for ideas.
AN Corsage
Kimono (long-sleeved The
left o right.
Enlarged
illustration
l1-l:=:ilTl ,l I1 ' ,.'.::',l:rr.l I ll
tt tt |
r',i." ::i', -i'rr :,' I ':'r:,:,r:l
,
::, ::l Print
Fur, imitation
fur
Gingham check
Lightly sketch the lines of the body even when the character will be
wearing clothes that will hide them. The position of the feet and the balance of the characta will be off if you draw just clothes without thinking the lines of the body.
De carefull i-,.e eaei'-.c
make theee mistakea. Kememberinq iheae wili
come in handy later.
Ladies' jackets (right over left) zii Some ladies' jackets are left over right.
-/-
Sleeve
tr
-t-/ v "
I tr
:]ililt1ittt!,iltr
llllll
-rlt
-/' -.-
l!: /i:en
the
flrrr*:
Steeve
---t ^
'\
t+ t
/
rr3?[
@ An
{,Ul \€/ )-jI
r-1 Faf
Jeans rendered
Jeans done with tone,
with a pen.
Striped T-shirts
I
1'-qi
I" q,,
7'
",:
::pes
Good
are unaligned at the creases.
29
Wrinkles in
Wrinkles in trousers when the legs are crossed.
\__._
*There will be more wrinkles near bent joints.
to use too many wrinkles. lt will look overdone. Be careful not
Tight-fitting slacks will have fewer wrinkles. There will be some near the knees.
.Loose-fitting clothes made of soft materials have more wrinkles. oTight-fitting clothes made of hard materials have fewer wrinkles.
30
-,Jn
s{. dS
''rtfi::*
-.II'
I
I lXrrnllilllilll llliil
There are almost no wrinkles when standing
straight up.
Sitting on heels
Sun glasses/GIasses/Caps Do
theee
took
Draw the stems so that they lean toward
the eyes.
tame?
It will look silly if the eyebrows are above the frame of the glasses.
The dotted line indicates the head line.
The cap rests on the head and hair.
i
32
\F4
4q
33
Many of you may think that backgrounds do not have to be drawn clearly since it is a girls' comic. However, that is not true. lf you know the basics, lt will be surprisingly easy to draw any kind of background and it will be effective for the girl's comics. We hope that by all means you will give it a shot.
,
-
^^
.2)
| I
Think abouL
.aa 5'nave 1a araw a e
Whala
VeroVecNive
?erc?e:.
when drawinq
<.--.ch?
t
backgrounde.
'R.
D,l
almoophere. You can also look af,
pho\oe. Teropecbive ie lhe Nechnique ol reVreeenting the opaiial relaNion
ol
objecta ao Nhey nighl apVear to Ihe e',:
You can cre;"t a eVace by drawinq objetr
nearby biqqe" and objecto n away omalle'
W
.-$'a-UUHH
) i -i
to'can
ta
/ ,/
J4
ffiUrmrrrrffi
Spread out a box that is missing one side.
I will explain
il in a way lhat io eaoy tro undersland.
Divide each side into nine equal parts.
--lffiipum
$
+ You can see in perspective
when you put the box back together. Add in g characters, a door, a table, and a window results in the next picture.
A t all pereon ie in Lhe back.
I forgot' to tell you, but lhere are t'hree rulee of
ffi
A point (this is called the vanishing point) is drawn in the middle to make it easier
to comprehend.
oint oint perepealive, and threect|ve:
p
er ep
p
erep ealive, tw o-
e
on
e - p
?
perepealive.
-_=___
is
35
Gre-Paint Perspective This is convenient for drawing pictures that show depth. You establish one vanishing point and draw depth lines toward the vanishing point (it is called one-point perspective because the lines all converge on one point).
First, choose the vantage point of the camera. Eye level is the height of the eyes of the person viewing the picture or the height of the camera lens.
The vanishing point was placed in the center in order to make it easier to understand.
Let's try adding characters.
JO
Good example By way of experiment, draw characters in perspective with the eyes of the characters at eye level (assuming they are the same height). The position of the eyes stays the same no matter how small the character is.
Poor example lf you draw a character in perspective relative to the hallway and eye level and the character do not go together, the character will look very tall.
You need to be careful
when it comes to the size
ffit
of windows and doors. They should match the
ffi ;t iffi lliilrll"riimmr
size of characters.
]mm
rffiliillrliiiii:illlll,,
-ll-:r-
-l
\---/
(t 1t,
i-
4LTi
-: -:
\"\ \ The lines will meld
;
together as they get nearer the vanishing point.
Good Example
Ceiling Lights lillll0l
lr[
37
lncorrect example (Figure A)
Even if a picture is drawn using one-point perspective,
it will feel odd if it is taken too far.
For insNance,
takeLhetoV of lhe desk.lN will
Correct example (Figure B) It is close to how a human would see it.
look oquaehed if the depth lines are nol correcN.
B
r----
/R;x"', J-W Ps,",' "_f". ,/
l\./ )j, ,,
,,+D.
oCube Before we move on to twopoint perspective, let's fam liarize ourselves with low and high angles. i
0ne-point perspective
[_l !=J
Lowangte
High angle I
38
Above eye level is low angle (looking up from below) and
below eye level is high angle (looking down from above).
.
mry1
i1611fl, llflllt,lsrrrilflfllifq
-l-t;
,
t-qlfi -:r:
llllllltl'ttqlg11ffiilllllllllllllnp
F :':i[,, r,.
-'
:llit"rfir'
4
,l -
.111,.."-"'l:rIullll
.dL
rrilrfllt]
rrrllllii
rl
Ong@
3€O1l
;: _ ^.
:,--
:e nned haS
r -"-:-
ald62;
-t! I
rl11r llil
-.r_
:,.
" .."j.', -: ::-a
r
,1, ri
:,-
g
,lfll luutil ll]]ur:l'
,,r:11!lllllil illill,
:,1
;
_
-f
t
' I :, .,1:
-Cer, think of
;-::-ally
being
.Cylinder
- :r:':: af0und. rlLli.
Eye level
(n0flz0n)
B _u/
This may be more easily understood in the case of a comical object (simple object).
39
Two-point perspective is used the most when drawing pictures. It is used when you want to show two sides of a building, and it is often used for the exterior and interior of buildings. lt is called two-point perspective because there are two vanishing points.
Good example
Poor example ln the case of two-point perspective, there is a tendency to want to include two vanishing points in a frame, but if you do so the drawing will look very different from what the human eye would see.
Please note that this is not a mistake. This can intentionally be
used to make it look like a wide-angle lens has been used (it is normally best for the perspective to look natural).
+(-j
trffilirp trfttA
Vanishing
point
@r,m nt 6 irduding the trhut
da
ffi.
llts a coint at, e;el where
rfi
The
re
two points (vanishing points) always at eye level (eye level
b fie horizon), B
The drawing witt be distorted if eye level is tilted.
B
Drawing a Room Using One-Point and Two-Point Perspective Example of One-Point Perspective
,r"'
The height of the camera lens is eye level.
Eye level
This is the image seen by the camera.
ln the case of two-point perspective, the room is diagonal in relation to the camera.
Eye level
This is the image seen by the camera.
42
Ir",ffirr
,
rttfltilliltliltuttutlititiiirttlEl,[
I
]?r,r
a table that iS Sitting
-t
perspective. ln other *' ,rrrrrrfilllilluru,, tlltlttrh",:rl :enpective can be used for lilrilririiirflrts,,; ffiM&mullltll ;ii- I sQuare that is parallel to '$1, illllillllxllllillll,l :rur,t*:i- rt perspective is used for ,iMuriilrNil iilil Urlril[
:]rrE*:i:
,tri;iled diagOnally tO the ililmfi ]itr ,anishing points are
lillfi(tllr|::iullfi illlllliiiiiifll liiifll]]tl|ltnlfluflrititr
illl '1,::;iilllllllllllrlllllll
firi-T
tLr{
E',:
lUSt like in One-pOint
rlillll[illlillllllliiiiillTlT lllri
llllr' :rl
rr-i :*"SpeCtiVe and tWO-
:E-i['*::Ve
Seem tO be ltililii:ar[ il:,_c of drawing, but .n]ilfi
ilrLrr fllflllllllilillrrr
ifr
are both types of
I'r'i
: faWi
n
g.
43
Characters the Same Height in a Room When two characters are the same height, draw in perspective with the position of the eyes and shoulders aligned. When there is a
height difference, draw in perspective after determining the height difference.
Eye level
Not good: Character A looks smaller than character
though they are the same
height.
! , ,fr
i
i
Eye level
Good: Change the height of characterA.
Good: Change the perspective of the backgrouM.
WJ' H Fii
i:
Think about the overlap
raqq.:
lffi
Think about the depth of a
window drawn in perspective.
Leads to vanishing point.
rlilMfllllilrflffirilflMm6
llllllllfiifiIllrilllllllllffi
rflmTrulr
6 opened...
s-
Think about the thickness of the wall.
The window gradually narrows as it gets nearer the vanishing point. 0verhead
View <-----,-
lncorrect Example
|---]----l Not good
tl
\ rllrltilillil$frtilTflillllliltlllrr
$ t|lE same width even when
Good
This looks like a casement window.
milriruuf,xlllilmilii
{ttflllffimrrlntrm
ffimm equally a window and other squares in perspective.
iflm!1rililrilllllllfl
*N*K*K-il
ru[0 sffl Pl pats.
f rMmiftr,illtmm
a
!fi'rsf equal parts.
a
3 i,mtffi
rffiilrm
lmlfim m t
t
1
lvt /t\l *M*M-ru "1-7
---"'"4
truun
mp*
equal
Follow steps 1-4 above to get to this point.
EIEItr
Low Angle
*The vanishing points were
This is used when a large building is being looked up at from below 0r looked down on from above. lt is called threepoint perspective because there are three vanishing points. The picture will look unrealistic if the vanishing points,, are not far away.
placed nearby for explanation purposes. lt leaves something to be desired as a picture.
Eye level
Leads to point C.
To make drawing easier, think of buildings as boxes lined up
0n squares. All the veftical lines of the buildings converge on point C (in this case off the page).
46
il,ll'$rt*"
lli"'lfli'll1l|l
ln the caee of two-?aintr ana
'rll[{ti;.li l olllll' lfllll
i
flrllJlii
Lhr e e- ? oi nt,
e r a e ctiv e, Ih e ? ? van\eh\nq ?olnLo lA,, b, and C) never fall wilhin tha frame.You
rllll'
'
lnll
@
v
ra
v
.--x :.-.,t'',
,rl
have
ta la?e aome ?a?er to
ii
for drawtn4 lhe vaniehln7 ?ainte.
ftnee-Poi nt Perspective
:r
: - gh angle, place point
I m :e ow the picture.
Eye level
It will aloo help you learn where Lo -
.
=
-) -
- -^il
':a
a
+
n
place vaniohing
?ointo and how f,o draw in ?ere?ective.
47
Lctt Trf Heprcduci*g
F.h.sta€frphs
leproducing photographs in photo collections and magazines eractly ivill cause copyright problems, so think of photographs as a $afring point for your drawings. Photographs you have taken .,*ourself are the best.
Tones used: Letra 61
lc
.+8
473
,62,1210, and 1021
tr:,,,'n using one-point perspective.
-./-/'
.Ll"n
in the lines, fill in the solids, and make corrections with correction Then apply tone and you are finished.
'ud.
49
How to Abbreviate Classrooms Drawing all the chairs and desks in a classroom
will make the picture look cluttered and annoying" When there are n0 characters in the picture, decirie what part of the classroom you are going to emphasize. ln the case of peripheral characters, one approach is to draw them as parl of the background using thin lines.
Drawn Exactly Like Photograph
Put enough distance bemr desks for people to srt anr walk. Adding small objem such as messages on
fr
bulletin board, speaker.
um
blackboard eraser will ru look more like a classromr
Upper Left (Direction of Vanishing Point) Blurred When blurring one paft of a frame, it is common to blur a part in the distance (direction of vanishing point) or blur the foreground (in the case of background alone with no characters). When there are characters in the frame, it cannot be summed up so easily, because the effect will differ depending on the parl you want to show at any given time. :
50
ril|ffIl,fl,lrtiltrlIlt]]lltnilItiltfl',*rqre
E?ra
I
False perspective is often used for
lel Perspective)
backgrounds in girls' comics, I will explain exactly what this means.
These lines do not converge on a vanishing point. They are
parallelwith eye level.
lf you think of this section as being depicted in one-point perspective, it can be said to be the same as Figure 1.
These lines converge 0n a vanishing poini
l r '- - i.- :xtreme
Figure 3
The drawing in Figure 1 may be odd from a theoretical standpoint, but visually it is more stable than that in Figure 2. Why does the drawing in Figure I look more stable even though it goes against the theory of two-point perspective? The truth is that, to the human eye, the drawing in Figure 3 looks like that in Figure 4.
way, this is what it looks like eyes are lenses. They are
,] t't t:-.:-Se the human
r,,'.--:,e
Try lying faceup on the ground and
lens or wide-angle lens on a camera.). :'a,,ling in Figure 3 to the human eye
rrr li 1 ;: r, r ft l-r -
Point A
COrfeCtS it.
stare
Let's say you _____> vacantly at pointA on the ceiling without concentrating (or focusing) on it. The line with point B on it should look curved like in Figure 5. lf you shift your gaze and focus on point B, however, it
will look
like a completely normal straight line.
,
,ri
,:'r
riiir':.iirii
i
i
"
il
::
I
'1
.-: 6 The
Point
B
t
Figure 5
/\ / I 4et it, The \ I brain \ \ compenoatee l \on the fly. / -------L---'/
rrealitythe
r:lre
tt
looking up at
the ceiling.
looks likg theory
] l '' ,: r,r2S Ofiginally r,r . -:(e a dfawing rirj ' : -: what the eye til I -: :: there is
nr
Ir ,,
, : ,,:iry about as
' ,il
:,:
iS natufal. Figure 6
5t
There seems to be a surprisingly large number of people who cannot draw a circle in perspective. Try drawing with an understanding of the concept.
Vanishing point
Try drawing circles on a cube.
Draw an oval by
drawing a line (B) that crosses at a right angle the perspective line (A) that leads to the vanishing point.
The best way to flatten an oval in perspective is to
Make the oval symmetrical with the line (B) in the middle.
draw a square and work from there.
---^\-6---qr-Z ] --'--,--
tl) -!/-
To
+
I
+
@ \a] * ={,p {'r'
vanishing
point
\- -\
To vanishing poi
Poor Example
52
I had be:' drawin4
circles
a'
Point C
For side views, make the vertical lines completely perpendicular.
Background Technigues
I
Round Arch-Shaped Windows There appear to be many people who can draw square windows but few who can draru round ones. Do not just copy what you see. Draw with a grasp of the concept.
lncorrect Example
Many people cannot draw this curved porlion.
*'-
*n*
\l,
A flexible ruler is easy tc use once you get used tc Circles, ovals, etc.
Draw using a curved rule. Those with the confidence can draw freehand.
-1-:l irg Characters
,,
:]
' l
lr
rrrrllr
r
- , i *: -: grt of the fence and the height of , : -- = :iaracters using lines that are J. :_ ::
r ,, t- : - :- : se used for the baCkgrOund, . : : ::' :- :e in front of it.
they
: t -: :' . .:r objectsthatare inthe way, 'i" *' :' -Z,a an intriCate deSign, and ObjeCtS . .. ::: ,."'-"::-
yvhen reproduced exacfly as in
55
0peninq and Closinq of Doors
56
rmml[hkrilnFmfit ,,",1$1-,rt*
Lmrmul
mFluil0flillllm
ilmllnlllllMr
tru {hor. wall, and doorframe using
IEWdrve
MA
@
(Eye level is always
b the focal point.).
ttext, draw an oval using the widffr of tre doorframe (segment C) as the radius and fie axis of the door B (A) as the center.
ffifitm Iltumllllmffi
twtr d
a circle will retreat slighfly because of
mltlduuru ilt ril deviate from the center of a drafted
oval.)
rc -
@ ffimmfl$r fte angle that you want the door to
ilo'
Llmmn tllllillfrr
rd
mrr
draw a line (segment a)from point B to
d he
circle.
a line (segment b) perpendicutar to the ffir,* umrm from the point (point C) the
line touches
lllllllfiP
m.
trtext, extend segment a from point B to eye level. Call the point
where the line intersects wifi eye level point D. Point D is the vanishing point for the depfi of the open door.
57
a I ^e l:c,,,arC point B'from point D. Callthe point r,,,te'. 'l r:iei'sects with segment b point E.
Thickness
@Oraw
of door
It has been exaggerated to make easier to understand.
:
flfor
the thickness of the door a-i: angle of the thickness, using :,.
riir
circle drawn earlier makes th ":; easier. A close-up is shown a:,:,,r First, determine the thickness tnt door (point C ) relative to poir': Next, join point C ard point C ,, llltri straight line. This yields the ar;- -
:
the thickness.
@
fxtenO the angle of the thickness oi the door (C and C') sought earlier straight toward eye level. Call the point where the line intersects with eye level point F (this point is the vanishing point for the g0-degree depth relative to the surface of the
Once thia ie determined lhe reat io eaoy,
door).
This yields the angle of the
thickness here.
@
l/
To
point
D
Eye level
58
n
drawing will be complete on:l the doorknob has been add::
D
Tc point
Respective thickness angles sought from point F. The
D
LiillllMmmrffi l{@nil 6t $rould be r
rxtlnffi'tflililr liitllt
dr#
hdf he height of
ilrlr rase of a door that is
t
mCIh).
This is the center.
Point *{lllllllltru
G
fllliluffir d the doorknob' is
flnlllllllfllfltr,@
mtsnnine if you use
tffiflfllF
lhus
in
;Wnese
homes are between
m md 90 cm (32 in, and 36 mr-,
ride. They may be
The doorknob itself is at a slight angle.
'mrrmver in some instances. are usually 180 cm (6 t., iugh. ln countries other iwt Japan, they are about g0
Ms
Ern (36 in.)
wide and two (6.67 ft.) hiqh. Use ilnf, own house as a guide as
nrnmbrs
d!
59
Look aN
lhe
VicNure on
the
riqht,. Firel you draw a box and Lhen you
determine Nhe anqle of
You can easily draw stairs if you think of them as
one rectangular parallelepiped on top of another.
ind high-angle views ililrfll lltlrllrrxlrr" ::e same way. Draw a
riirlllxu
liit!)rulr-
Low-Angle Gross Shot
'ir x-l
other parts s0 that '*iiilI: ir''mlrll fie height of tuflilllL
it;rlliilllurililtil-1gf
-!
To vanishing
point
C
To point D To point C
ldentical sloping parallel lines converge on the same point (to point D). Point D is on the line that connects vanishing point B and vanishing point C.
To point
,lliuil
:i:]r:
ln Ine
(
To vanishing
I rr* 1 "ar in the litiiiLliil\.,:
B
point B at
eye level Vertical lines converge on vanishing point c.
61
Vertical line
High-Angle Cross Shot As in this example, you can also draw stairs by determining
the vertical and horizontal lines from inside a large box.
Boxes with the top sudace visible are stacked on each
Horizontal line
other.
Horizontal line
I
This surface gradually gets narrower and no longer visible.
Eye
-he vanishing point is placed nearby, so the -r:'spective is a bit tight, but it may make it :r'',,enient for observing changes in ^-?-^^^rt,,^
level
{
This pad is
,
visible becar ln the case of low-angle stairs, pay attention to the pafts that are not visiblel
overlapping
---'-_-.=\
il ie eaey once you learn the lheory. t\
\
\_\_,___-/
\
"1'
" :.r-: ililgh-angle views ,,'' r"" I,i S"ame Way. DfaW a li,iilr L- I :frer pafts s0 that
i
"liutitlir:,, I
Liili
"
:e
height of
lliir'"''"
Vedical Lines (Ihis drawing uses parallel perspective.)
lir1,:r":: nkaboutthe and the vertical ,-r"'-'nding the vanishing '"* -,-1 being obsessed with lri, it, ',r i""Y :'the sloping road.
ir r,
" ^'i :a1s
'r
:-
-\x\ -> /
\
tel
ln(
0ne-Point Perspective
63
i How
to Draiiu:,Natural'sbieet$l
,\inep 6;6*,ng natural objects such as trees, grass, and
You need
to
thickets, it is important to make sure that the lines do not become monotonous. Think about simplification with variety" when drawing. ComicalTree
Leaves Lacking Variety
-?
-N"ffrr
..r\\$
C*"*, 33.\Y--? .*l .)i,\!Jrs {
Not good
\Sr*t
\
\\\\\
I
Not sood
'rr\\r . --\1,t\\\\
.ll],t
The same shape is repeated. It is symmetrical.
Good
r
easier to rendi' softness.
Think of a thicket as a single mass while being
"/"-
\
When drawing : m adding rhythn .:; variation make.
Realistic Tree
" \$ '' '
I
t
aware of the leaves. Applying tone to the shaded areas will make it look three-dimensional.
The shape of the leaves is monotonous, but overall there is variation.
Comical Style
1.. j l: )..''.i,1
ilr],:j-.,i:;:-
.,,;\r
,i '
'-',,.;,;,:.
.'':.1:;', ,r':.
,
l"
It is boring when symmetrical or ti' "
ln order to bring the soft :ines done in pencil into rlay. pen drawings in
shape is repeate:
,,,,|h a relaxed and
"ahrral touch.
Realistic Style
ilr;l .i
r\ /tr Ju /,L,;,',,,
i,,;l:,t
. "'
:\ ;t_trD
fr "\\
I r?:
ri
*
ar]d leaves in the foreground were d0ne with a G-pen. The :-i done with a drafting pen (0.1). _:it'a 1211 and 61 I 676 and 668
65
When drawing natural objects such as trees, grass, and
thickets, it is important to make sure that the lines do not become monotonous. Think about "simplification with variety" when drawing.
Morning-fhe clouds were scraped using normal gradation. Letra 1 21 0, 1211, 63, 684, 704,and 761
@
lc 244 ln the morning and afternoon, it is darker indoors. Clouds reflected window panes can be drawn bV scraping.
in [g 6
ffi
Afternoon -The
clouds v,n scraped using the middle or r of the cutter blade. Letra 121 1, 61, 684, 704, ar,:
tc 244
66
Night-lone was used for the sky and dark windows, but you can also make them solid black. Letra 1 21 1, 63, 684, and 704 lC 244 and 477
m{l
:.
",.,
'.
1.
.'"
:
!bjects in the Evening-The sky is done "; :rth gradation and sand gradation. The
.';
ijark in the evening, so objects in the .ust be silhouettes. lf objects in the .'e drawn in silhouette and objects in the : rade whitish, it will have the effect of
:,-
.,"
::< designish. .
Natural 0bjects at Night-Like in the afternoon, vary the tone in order to give perspective to nearby objects using objects in the distance, Near (dark)r[ar (light)
t.'
.':d
0r Near (light)rFar (dark) Objects far away are often lightened when blurred. Letra 1210, 684,and754 lC 418 and 244
For evening skies, clouds are
by applying overlapping gradated tone.
t'
r'
,ty
,r,^') -v
;4 "f
1_i
,,,Y,
/-,
)Iy
i ti fl
i' 'i /,,i "t /. ::|
ii
.t i :._
illliiiiil.::"
-:
0bjects in the Afternoon-The
group of buildings in the distance was done by applying double tone.
";,"asplacedinanofthodoxmanner.Nearbyobjectsareclearwhileobjectsinthedistancearelightorblurred, I
:
:
:--? tone gives a
picture perspective. Objects very nearby were made light in this drawing, but it is alright to
::ll mOfe Cleafly. -' :. 1 21 1 , 1 538, 761 , and 786 "
67
Rendering Spring, Summer, Fall, and Winter
:.y'
I rr, '. ;'t:. .r.-.r.i:._: i. .
L4-
c
.fit I
,
e
., \ ,+*f'-4 )lw'
0
;tr
otl ,,,it,i d:l
.1,f gt:
(
$
Using an ofthodox background and placing branches of seasonal plants in the foreground will bring out the feel of the season. ln this case, the lines of the windows of the school were abbreviated and whitened, and the thick parts in shadows were penned in. Letra 1 21 0, 1211, 62, 104, and tB6
^_f,
LV
',_:: :'at
throughout the year the
:
:l -l -r' OharaCters and the
:
::. :':--a
are intricately connected.
Dandelions and butterJlies are typical of spring.
.
*
--
For the sun, a ruler was used and it was scraped
to look like a flash. can render the intensity of the sun's rays by using solid black for the dark shaded areas and silhouetting trees in the distance. Letra 62, 63, 5.1 , 704, and 754 You
--E sun's rays are intense in the summer, so make the shadows darkish. The sky s :so dark. Clouds are white and clear. We wanted to make the sky high and
fiaiious, so we used three-point perspective and a low-angle view.
"ra 1-
61, 62, and 63
!77 and676
69
ffiF r t-) fu I
&
a
fi
4 :,.---'
B ffi F}.
C LJr' -?
---_-_- -l
Fall
I I
f::
The sun's rays in the fall are soft and shadows are long.ln this Orawing, mesh was used forthe shaded portions of the buildings to create a soft feeling. Letra 1210 and 61 lC 418, 452, 477, and 676
'r)r
-r!€-:,: -: :erspective. The feeling of fall was created by Ja- -;:'a-:^es and dead leaves in the foreground. The }t,,rr I t' :::: : /,as made a part of the background. -ir-:'--' al -a'. and 1538 rlj
-
Double gradation was applied for the sky and clouds. Pla seasonal flower in the foreground. Letra 786 lC 418 and 477
You might want to
try using a slightly dark tone to emphasize the whiteness of the snow.
,-:w the contrast between the whiteness of the snow and ':ck surJace. Think about the sufface of the mountain when :^e shadow tones.
71
Characters and Natural Phenomena Whenever possible, it is best to depict rain, coldness, and other natural phenomena uslng pictures and not
rely on dialog.
Ripples on water surface.
:)
T I
t\
.1,\i ,-(
Jr(
.4\ i'
i .'
'u
l,i ,r( l^ \\' |
Rain on the other side of a window.
Depiction of soms' drenched by rain.
i ,.t ----.. l/ut(Ntr,r\
I
i
2 d\
Sag3"; due
:
weig-
,
wate'
7A Depiction of State of Mind Using Wind is effective if used in a comic way for :mes when things do not turn out as :xpected or when a cold draft blows through :e heart of the character.
kp
'rihis
\
A
\ry-7 at
Winter Feeling
I
Make sure it does not look unnatural.
a Have the character hunch over to depict the cold.
73
ffist Lines 1 Hotu ts Draw htles* i,*
'
:':sent several effect lines that i-: -r:.:t rlen in girls' comics. Some \"': :-1,',' ireehand and some are l'-1
,
-
r'r:harulef.
. Triple Mesh How to Draw the Double Mesh
. Single
-l
Mesh
I
Good Example
Poor
Example
I-YII
I
l'l
- .I
'-...
,l Ii''r''-r\i' ri]!. fl [;
l.l ,.-, '1.'r' ' I
l I
i
The lines should be parallel and an
When you stagger the direction of thel
equal distance apart. The thickness of the lines should also
the directions are different, but
be the same.
the lines
.
Draw the first two lines at a slight angle (so they look like diamonds)
i
I
lines, make
sure
do
not forget to make
unltorl
I I
I
]
t__ I
I
. Ouadruple
]
Mesh
Completed Mesh (Triple Mesh-r0uadruple Mesh)
Poor Example
Draw lines at a 45degree angle to the double mesh lines.
Draw lines at a 90-degree angle to :le single mesh
two lines.
when you are going to draw triple mesh.
Double Mesh
Good Example
Draw the third lines, altering the direction from those of the first
Draw so that you end up with regular squares.
It should look like grains of rice!
Draw lines at a 4S-degree angle to the triple mesh lines.
ffi W
-: S.lid Black and Blurring i : :,- -g from solid black to a fine I fl - :-: -lradually to a coarse mesh. lt is ,rr' : ::: ,,the solid black last. ,riri
,
o Blurring Using Gradation Blur by gradually going from a fine mesh to a coarse mesh.
r
Blurring Just the Edge of Mesh
Blur just the last mesh part of the
mesh being done. You can also do it by whiting out lines with correction fluid. ln this case, you should white it out as if you were drawing mesh
with correction fluid.
:;:dom
Mesh
- --'.li
-
l'rt;
-rir!-'
" " :=i blurthe mesh ,
by ly staggering each line.
,:-a
. ::i also make it irregular by -; the tone (tone is the r
-,
r this example).
Trick to Making Mesh Look Good
Bad Example ln this kind of situation, you should fill in the gaps between squares later.
"
:'e that it will end up " -3 like the shell of a turile
r,
:.l add one block of mesh to :t
l
75
This effect emphasizes anxiety. lt is drawn freehand.
Make the lines the same
___>-
:-
thickness and as parallel as possible.
t Draw by staggering lines lightly at an angle less than 45 degrees.
t o Gradation from Solid Black to Rope You are free
to choose the flow of the rope pattern.
t It will look nice if the tone matches
throughoui. Use of rope. Gradually make it lighter by widening the gap between lines.
.
lrregular Ropee
Draw irregular rope by mixing dark and light tones. Make sure that the color does not become solid black due to the gaps between lines being too fine.
76
iffect Lines 3 How to [}raw Parallel *ines and Flashes (Oonverging Lines) will "*;: ately be reflected in the lines, so :rawing lines, any hesitation
"
.
::nfidence and relax when -3 lines. The key to drawing clean i ", : to grow accustomed to using -' , ,'d to grasp the technique in your , '" ,., ay,
r
Draw using a ruler and a Round-pen!
: ! ack Flashes
: :'. lrawn in the same " .: llashes, but you : :'.,',,the iii,"
'
'..
lines in a
in the direction
:-:?r point, using as , .- outline that is '' ':: ithe lines may
itl r ,,: ,
:n
lhtl!fromthe -"e flash will be
-': :1ce you paint the ';. solid black. ,
.
Flashes (Converging Lines) Draw a dot in the place where you want lines to converge and draw lines in the direction of the dot (draw in the same manner as when drawing parallel lines),
"
Parallel Lincs
Using a ruler with an .4edge and a Roundpen, draw a line
a
from left to right .zltrigntto left for lefties) in a swift motion, tilting the pen slightly in the
moving the ruler a little bit at a time. lf you are having a hard time keeping the lines going in the direction of the dot, you should poke a tack into the dot and draw with the ruler up against the tack. Patch up the hole with conection
direction you are drawing.
fluid. Relax
at
E
and
draw lines that appear to disappear naturally at
E.
a
t When you use a drafting pen or ink pen, always turn the ruler upside down (wipe any ink off
Good
the ruler often).
Not good
77
1,,
i// lt /// ,ll
,/
' /rt-
-?7
__-:
I
-::
SotiO Black Flash
Metamorphic Dialogue Balloon Using Flash
Lightning Flash (Variation of solid black flash, First determine the positions of the flashes and then add the lightning. You can also add them with correction fluid after adding the solid black.) ln the case of tone flashes, you should turn the cutter over when shaving the tone.
Cutting
Bad Example
Tone Flash
(Scraped with Cutter)
You can use
ruler 1oo.
78
E-
z
slainless ekl
A curved rule was used for this drawing. Make sure the width of the streamlines is not too orderly. Good Example
Poor Example
Make the distance between lines uniform. lf you try too hard to align the ends of the line they will not fade cleanly. Have them fade in a natural manner.
rrru ioout where the solid black pads rr,r :e before starting and then draw lil,ru*--d in swift motions. Apply the solid { ,ast. Then look it over and add the ynn s Be mindful of the overall rolling iiirL,,
''ltl
This effect was created using finetip pens (0.8, 0.3, 0.1, and 0.05). The solid black portion was determined in advance. We drew dots starting with a thick pen and gradually changing to thinner and thinner pens. The solid black was applied last. You can add correction fluid later if you want. *See the following page.
79
SLipVlin4
Stippling is not just a matter of drawing dots. Your pictures will look nicer if you
lakeo lime. but il is fun
think about rhythm and balance.
uoea I,a it.
anca you qaf,
Things to Prepare
Round-pen-lt takes a long time, but you can draw a very detailed picture.
Drawing lnk-lt dries fast, so you have to wipe the pen tip often.
Who dio
lndia lnk-The fluid
this to
is smooth, but be careful because it dries slowly.
drawin4l
my
Drawing Pen (0.05 - 0.1 mm)You can draw
relatively round dots in a uniform manner.
Trick to Mastering f/akelhe Dots drawn with \ Aiatance between \ a Round-pen Stippling dola and lhe aize of dots aa Enlarged View I uniform aa /
t
I
Voeeiblel
/ Good Example
The dots are round.
Dots drawn
with a drawing pen
Poor Example
' /t\
Oh, my.
NexN
are
eome exarrt/ee
Gradation (Blurring) from Solid
\ ol"
Black to Stippling 1
)
SLt9altna. /
"/ \_-/
iili:',:tt will look 'better if the
:I
dots are closer
a 7he io crawlinq und,er a rock.
L
"
togetherthe closer they get to the
solid black.
)
h
iiti;
g is a special technique that is always
i:'depicting mental images in girls' lur* r::' Depending on how it is used, it is an lnt,: :'iat creates dreamy, beautiful, and
lluriiiir
ll1ll
:,:::
fnages.
An
atr
i;: l:'
il
a LI A
[
makes interesting
tr . !dialogue balloons.
Atr au i
I
A Round-pen was used. It was used as an accent in this example.
];i: ..t,,t
11'r
'
'I
was
":
mist in
" :.nple.
"ltlt :''r , ng pen Llltr
,ir .:":C,)
B1
$olid:Bfack and Whitening lndia ink and other types of ink
Whitening is used when you want
are brushed to create solid black.
to correct something or add a highlight.
Solid black (the white letters
are painted over the black with a brush)
Good Example
Watch
Poor Example
for
l;
pat:
that yoL forgot
t
complc* filled in
mlll
black.
' --t
Use correction
fluid when the Use
background and drawn
correctin-
letters overlap
fluid for
and are
ink that iar
difficult to see.
spilled c$fll
lrregular black
area.
into
ang1rli*
is no good.
Oil on you'
Apply ink
hands repel
evenly.
ink.
Precautions Regarding Tools
Paint the edges with a
thin brush.
old up
Note
Prepare separate
Add a little water
brushes for ink
ln order io extend
often and store after
and conection
the longevity of
the ink will
mixing well (mix
fluid (You may
brushes, wash them
on the
with a glass rod).
think thai you
well after use.
Do not use
lndia ink. Use it quickly,
Paint the rest
with a thick brush.
because
settle bottom. Conection fluid t
have washed the
dries easily, so
ink brush well, but
always replace the
the ink sometimes
cap after use,
mixes in with the
conection fluid if
,t,-3n painting solid black, it will
:,:r
'ii
'
:e if you paint the edges
i,'T a thin brush and then t;1,- , t- a ihick brush.
a"
you use it for whitening.).
Note
i
Much Water to Add to Correction lE(
Not good
good
\\
..6
ryt
:ompletely first. Wait
":r ::rh layer to dry :=': -: applying conection
'- :
-.
ffii
a
-:' applying correction '- : /,,ait until the ink has :-+:
\xx
r)\
Daub correction fluid on
The conection fluid
The picture underneath
a plate with a brush and
stands out because it is
stands out because the
thin with water until the part underneath is
too thick.
correction fluid is too thin.
barely visible.
secause even if the s dry, the part of the
-, /,'roro lines have been ::--:d rn will break up .": ;et mixed in if you --: :
persistently.
llnl,aterials and Tools
for Solid Black and Whitening
:i,uid Black Lettering sol (lt dries quickly.) Kaimei lndia ink (lt Choose an ink to
is a very smooth
which conection
liquid that it easy
fluid can be
to use.)
& ilffiii',lI--oE' l'""::*, -'
Brushpen
&
applied.
}n'H "/
{h:Pning Correction ink (lt is designed
ffhis is convenient for
for manga artists, so it is
Glass rod
easy to use.)
mixing conection fluid, transferring it to a plate, and kneading it.)
tr**e1{ .:,;';;{11
When you apply conection fluid to tone, the tone will repel it if it is applied as is, so rub the surface of the tone with an eraser first.
r
r\NDNI Line brush (thin)
mEr,, 83
i I will teach you You're
applyinglcul,ting
pointinq
the blade here, riqhL?
i
ltl:,:,::t:t::l:: ::l:l::t:::tll:l:1:l:!:i(
want to use dot
ts After pressing down
tone No. 51 for the
on it lightly, cut
girl's uniform,
carefully
all the tone
without
from the back paper. lt will
I
running off the pen lines.
Do not remove
wrinkle and get dirty.
Not good
i\ ,,"\
t___l lf you accidentallY
get dirt on th= back of the tone...
El
tr
First cut a piece
of tone the size of
the clothing and remove it from
the
back paPer.
E Place the tone You removed on toP of the Picture.
Rub hard
with a spatulate
\
-;-
object to finish. lf you rub lightlY
...you can
on the middle of
remove lt using
the clothing in
adhesive taPe.
step 3 it will not move.
Try using both depending on the artwork and your tastes.
.
84
This is what happens when You overlap two or more sheets of tone at the same angle.
-:l,r'ls to N0te
u"er Scnaping Dot Tone ':- :;:r- ;i! fiat the dots are arranged
:i:
/{ ll disappear if you cut
.. .r
For blurring, cut diagonally just like mesh at about an angle of 20-30 degrees. The mesh gets finer as it nears the white area,
angle of 20-30 degrees, cut in
- : Cirection while looking closely at := iots
:i
(an angle of 45 degrees will
:ne same as the above figure).
Cut crisscross at about a 30-degree angle. The key is for them all to be in a uniform direction. The crisscross gets finer as it nears the white area.
,
:.lines for applying and cutting tone should be :'" ,:r with light blue colored pencil directly on ": -lp! paper (will not be seen when printed).
l-.
blue and other colors may be visible when
o Points to Note after Tone Scraping
'::d. .
tt - nof, overuge
-
-rc.Think abouf,
The cut sufface of this part will be printed, so always
:-zcf,s LhaL "-tch
lhe elyle of
apply correction
fluid.
Be careful about pencil lines under tone. They will be seen when printed.
re:
85
Various Uses of Tone
-.', .-, * :: ,. ci tne cutter blade or the wide back of the blade was used to scrape the tone. First, the general :-a:.,',::.i'aced
:::. ,':-:
usrngwidestrokes(atthisstagethereisnoneedtowonyaboutunevenness).Then,usingthe
: ace it lvas finely scraped :-: :-a:: :l tne fluffy clOuds,
Clouds
using a kind of hitting and scratching motion. Special attention was paid to
:;r:,er :a-,1 Gauze
rr -asking film into the shape of a heart and apply. - q-:l dab the area around the heart with balled up
m;:
put on just a little lndia ink).
li: , masking film and cut out the shape of a heart. Put I ':e lndia ink on a toothbrush, spread it lightly with rr:r;-'ngel, and cover with a tissue. Use paper when you 'rE,i 1o masking film.
ffi
w
ffi
When drawing a rough sketch, use a template or a compass for the circles. Use gradation for the border between mesh and solid black (Note that greater use of solid black will result in a heavier picture.). Add correction fluid last.
lC 61 and solid black were used. Always apply the solid
black first and wait for it to dry completely before applying tone and cutting out the portion around the letters so it is white (together with the letters). :r?SBt, lnstantex Midi 34 -.rsfers to the spot of your choice when rubbed. Use it
r-::tively.
87
Effect of Light and Shade Light and shade are always together and inseparable. How effectively they are used in a girls' comic depends on the drawing style and the work.
Make the inside darker when you want to make the outside look
ln this case, light
Put tone
lor shade over the
tone of the clothing.
is
shining down from the upper left.
bright.
Light was added to the top and the Iines were not drawn clearly.
L-: i'-@---eHere the borderline was broken up
minutely. Solid black for the background makes it look brighter in comparison.
u
Scattering light tone around a character
Surrounding the contour line o{ a character with correction fluic
:"a:a:icaily
creates the sensation of light.
chan ges the atmosphere.
'
r.al-:
Roses
-€-tes
Flowers make a work more cheerful and colorful. Make them fluffy or scatter the petals, whatever matches the image of the work.
a
(p ::"
hy
:atterns (fine ones can be used for kimono and dresses)
.t;,1 -ti.r
-ii'r
-ti*
-t:n
'iyl' -tin -tii ,\x
X€ Uf ',
' !\r
i\',"
"a
':) I l'
\r-{
)
{ ,:{\-.
Peonies
Flowers with tone
:an be combined with fruits.
lc s-679
Flowers depicted in a comical way. The atmosphere of a
picture will differ greatly depending on
the direction and balance of the flowers.
@x .ru 'o\-
" ln)
'
\ti\l
\!' \rr.
,
^
)1)(--r- "^lV"\ -\ v'\-u -\.-.\' \ -)-
"k (Se,qP: @ )\t'( F \-\,": " \s--
1'-==- -
89
Chqpter
3 WilMwn-,
b*\v*w( w@5,)0'N
w\
-{
o,o
,h
/f-u)) -./\ ,i-'1 f / lFl ,----'( ,a/ --'
Begin with something you are interested in! You can stad v,'ith any of the five belor',
Dream worlds are possible in the world of girls' comics.
What kind of world exists in your mind? lf you have just one thing you want to draw, try making your dream come true on paper.
I
wanl to
This is all the
d,raw a
inspiration you
cute
need.
(cool) qirl
(orv)!
"
Preh^,
human love, campus
.,1" ",Le,
story, animal story, etc.
wom._ " would
be
Love story, overcoming
adversity in sports,
toa
Car auch a
lhinq
't
lo
be allowt
hapVen?
l, I
I
4
.:
R d
0nce you have
\
decided on the characters, think aboul parameters and
I
themes that will make the most of the personalities and
\
\
characteristics of the characters.
\
t, ',,,\,,
Yi
f:+
A single shell (prop) picked up off the beach may hold a memory.
b
f
S€t character parameters.
r;r,fl of character can be made the leading fl;a?fier. To start with, generate a character that ,i,xr, ?illy like. Draw a distinctive character that
,r,,1-r
,:t'1r
rlu
Can draw.
Example of Gir!
Name:
Miss A (Bth grade)
Personality: She is earnest and shy.
Problem:
She cannot make
regular friends because on the outside she looks
flashy and tawdry.
I've keep
Lellinqyou LhaNlhave
nalurally curly hair,
Element of Surprise The element of surprise can involve the dreams, personality, hobbies, or environment surrounding a character. Making use of one of these areas in the lf you go overboard with character parameters, the story will end up just being a narrative. Do not use any more parameters than are necessary to the story.
lNlurns out
lhal sheis bad al
story will bring out the element of surprise (Using all of them may be comical.).
oVof,o,
93
Example of Name: John Doe
a-:
Personality: He is energetic
cheerful. 0n the
Element of Surprise He is a fan of the
outside he appe:":
Takarazuka Revue.
truth he has
optimistic, but ri a
nervous disposi: : -
Problem:
His parents ma1
:r
divorcing.
Depicting Characters Think about the inner characteristics of characters and not just physical attributes.
SpecialSkills
/
He likes all sporls to the point r'// being obsessed. .--"-
of
4.-r
)
The above is just one example. The element of surprise is important for both characters and the story. Just rake sure that the personallty of a
:-a'acter does not change with every
:.::-: change, Make it clear to readers :-:: : s ihe same character.
D99999V9V99999999VVa > Special Effects Used in Girls' c c Comics 1 3 D A6A6AA6a6AAA6ooooo€
ti"'
r:
-
j
*,
-:"
These are special techniques used in girls' comics such as campus stories and love comedies. They live or die by the characters and story.
l:S ,',
-:.: the angle,
'r * : - -: rne pady is '::l l- ,- ard CannOt
The male is daring and aggressive. He is confident and does not think about the other person's feelings. Kiss of Confirmation
/-/-'\\
u)t
Clooe
^(ff)
your
eye0,
\ ,/,
',;, 1 {.'.:
..,:,
lavinq
i
is ng in any Location
-
aevera
I
:nis type, the kissers have no rs about kissing at school or = ::.er location where people can see.
//4
lmporlance is placed on the mood, so awareness of the other party is enhanced. You will win over readers even if the kissing scene goes t0 a wideangle shot after this.
=l:t
t,\
95
rJuvenile Delinquent Type There is always a reason why someone acts like a delinquent, i.e., quiet, cold, playboy type and a little melancholy. Readers will be alienated if you go overboard. Naturally such a
Appeal of Characters Once you have set simple parameters for a character, think about the appeal of the character. Appeal lies in the personality and actions of the
character will use foul language. The orlhodor type of character will also use such language
character. 1. -
His way of life and
r/ l
ideas may be
--\'
different, but...
uui,,,n
shFfltlH
/
uffi* '-mt' \
"t i.'ia" ld'trt'
f$e4Sf,=-fl I
't!/
Types of Males who are Popular
rOrthodox Type This type is good at sports, gets good grades, and is popular with the
in Girls' Comics
oirls. He understands \ I the feelings of
the
leading character. He will protect only one person.
/
fi,,
{ K/ ir( \/ after me. fruryon,
Age and the surrounding environment can be the source of a variety of episodes.
.,,be
fashionable,
and have Anyway, a boy ohould look good...
96
more humaniLy Nhan a qirl.
: :- : I I tIT999V9V09VV99V9 C !":'*e:hing only possible in a girls' ::* :l Demand made on the boy! , . --.---::laaa6a0006a0(JaJ(J(Jac r
: :
)on'l worry about. what oilhers eay,
Whal you did. wao VerfecLly
all riqhi,
The male understands her appeal (or her weaknesses). But, the heroine has
to act on her own, After all, she will not be liked if she doesn't do anything.
\ ,'ot''
'.
nett'* .... '.f;i * -
don't, remember
-,ellinq
0
ycu I don'r"
;ike you.
'o/d
!i,
n'
l:u ,,[:
ii " e/thetr:jii ,ilo
tr
ln the end, the
male falls for the heroine (or had always liked her)
?,umph
97
Psychological Characterization Psychological characterization is an indispensable part of girls' comics. Characters live and die by their subtle emotional swings. /t\
aan sLill
)
we be
I i
frtende?
)
\/\_
Ir
Examples of girls confessing their love and being turned down
i
/ ___-/
iLIi \t\\\
( *un,r *,\
jueL
\
l
\ kid,dina I rnyrry. I \ \/
She is being honest
with herself, but inside she is holding back tears.
t) @1
b.rtll
/ llnew I shouldnt \ have
She blurls ou: something sh: doesn't mear and forces a laugh.
\ \
\
This is the type of girl : that kicks herself and drives herself into a corner. She will
probably grieve for some time.
.EiE
u
confidence. She cannot believe her ears. She is in a state of denial. Tleaoe look at my eyeo There are many examples like these. and pick uV The psychological characterization an rny fee)inqe for differs depending on the personality o' you.
the character, so be sure to set clear character parameters.
.1)
It is best if you can depict the psychological state of characters using pictures and not words.
g8
cffi
rsiohotogical
Energetic and cheerful
-l r,, i.=-le, Iet's
-:''l ie WantS
'*u
lndependent and
say
earnest
tO
/
i*":;-: rgr lovg to a
rr i-:rentpeople
- :--erent ways. -l'*-: : a mental -.1" .,-,j
_
t
0 a//
-:.] -''.
-:-:
a:"aiir\ tt'ie
ne CfeateS
,,- :,::':nunity to talk
: ::
r .
-:
boy. Use of
-
, ,,a,a ai,,i e
:.
,:
):
t,ta: -n
l,
;rops will make
' l:{ Tore natUral.
ia r
Net
teeLia
har,4lnq ner riba.
"'-
* :,:r, likes another
, ' -^? heroine sees . . :,: i being friendly , ": :a other girl and - ,^a . . - --r_\uu.
,l
NU[/D
ir{ rli ,1"i,
l,i I
ni Jl,
J
,t
What, if he haLee me
rr :-aracterSthink
,Lr: ur;t:
:;
after I confees my
r facial
I will probabry reqrel my love lo him.
il
,f t aan'r, confess
love?
-:r:s cns will differ
:,:",:
I don'L
care if
he
likee someone elee
.,-^\-
rF:*-,:19 on their rur
('i/
lties.
)il-' z
\\0j'€'g
4
Maybe it'e
beLter if
we
lli
-t2eur?
juel
sLay friende,
I like hlrn
ae he
io
now,
99
El",fihooss a theme! lt is the ideas and opinions you want to convey to A theme is the objective for writing a comic.
4I \l-
readers.
-\
Urtt
\\
'
lf you
{
r-1
.* ili'ffffi'JilI,,
\
\--\
i
think ( story \
draw, a and theme will come to you
\ A
l/aybe Ehouli
t:.
il off ar; inaenit
laler, There are different types of love stories, i.e., love comedies, tales of tragic love, campus love stories.
I
Never do
thatl (Don't kid yourself.)
No matter what actions characters with different personalities and ways of thinking take, they have to adhere to the theme.
Do not take the theme too seriously. Take it lightly.
-' " -rl :TT?999V990VV99V999V9V9V Special Effects Used in Comics
2
c
Girls' :c
Surprisingly, blushing and sweating are often used together. Try coming up with effects that are only possible in girls' comics.
il
Lilll
',ll
' rN\l
'i
\T,'i/x\i
Y, r
fiq.ltlhy Troubled
--E
:-,:.
L*ti
:r€ :'0p
'
s to draw
0f
uli i--
Pressured
-
\\ Feverish Draw it so that sweat is springing forth from all over
the body.
The key is to draw the blush lines so that they stick way out from the face,
Giving Someone the Eye
,. -g it comically is interesting "'.,',,n letters are also effective.
as well.
101
:[[:l]lffi{g a storyl Even if the drawings are good, a comic is not going to be interesting if the story is not sound. lt all begins with the logical process of introduction, development, turn, and conclusion.
Choose a subject A campus story with a normal girl as the heroine is the
Genres such as science
fiction, fantasy, and history are more suitable for long
l
easiest to do, but of course you are free to choose a genre of your choice.
comics, because the explanation of the setting takes up many pages. They are difficult to pull off in a shorl comic of about 16 pages that is going to be submitted.
\t\
N,
\ \,,
\i il
\\
\\''
Even if the story itself
'..l'
''l
'
'' ,-t,;:,ii'
";
-.}i
. " . I,i li',ilj.
.
"r'r..
,..,,';
;, r i.e -_r.'. r.;-. -. , i' .. .:; l ..i
is open and shut, it will be all right if the base is solid. You will be
,
able to come up with several interesting episodes.
tl tl
102
\
H
"m
wy
lmpress upon readers the name of the heroine and her relationship with those around here. lnclude the season, hour, and place.
lnsert an episode where the heroine and boy become friendly with each other (catalyst).
is
uu,emed witr :irllsent episodes
trumrb).
t
lnsert an episode where they have a falling out.
I
The two are unhappy and hit rock bottom.
t
They are happy (a large gap is more etfective). lnsert an episode where the two make up. (Ihe heroine can have no doubts about her feelings.) There could be a change in hour or place.
'Tle s fie last
we.The
Make an impression by including a last scene that ditfers from that of others,
readers
mLud be left
m-ffi'g
(by leaving
mmefiing mrnuted).
103
d
Hints for Stories Everything about your existence can offer hints for comics. You will soon discover what you want to convey to people and what opinions you want to express.
There are fun things and painful things. Curiosity is impoftant. You may be motivated or moved by the surrounding environment. Actively look for things that are interesting.
Romance
What are eoisodes? Episodes are connected incidents or circumstances
that move a story along. The main episode of a story is always suppofted by other incidents. Episodes should be fresh. That could spark other events.
1)
I
t>
l4
_u \al^;
vou.
..'o/ Y
)
+
CL v/
Main
characLer
s:oes are connected incidents or circumstances that move a story The main episode of a story is always supported by other
, -.c
':
.?ris,
Episodes should be fresh.
\;
Oope
\,
ir
No way
e'e my
(
l7l
Circumstances
These are emotional circumstances such as family reiations, human relations, a or jealousy.
x\ \\\\\.
(
@f secrecy
L.,r had
This could be something from your past that you
no idea.
o\,'nj'
Resulting in...
[f
want to keep quiet such as an extramarital affair.
5-E-C-R-E-T
Foreshadowing
Drop advance hints without having too many coincidences or being too opportunistic.
CI \--
YI (kl J.-\\
flForeshadowing These are events
that happen without any foreshadowing (which is more effective).
/)
The heroine should not catch a cold all of a sudden. you could add a scene where she is out in the rain all night for some reason before she catches a cold. This is foreshadowing.
I,,q^rY
'i
J
ru
I ritl
rlli
105
Element of Surprise
ffiracting the Reader)
We talked earlier about the element of surprise
and characters, but the element of surprise in the story is impofiant too.
Here we have an old house that looks like it is
Here we have a nice, handsome mansion.
There are flowers everywhere and there is a oleasant aroma. but, the truth
The trees are withered and forbidding. But, the truth
is...
is... +
+
,
The house is occupied by a very mean-spirited sister...
,\
A cool guy lives in the house alone.
tl
mn
\:> 'w '?n;-
He may be a
descendant of ninja. What is the fate of the heroine who has gotten mixed up with them?
Dream Endings The readers will feel betrayed if in the end you say the whole story was a dream. lt is best if the story progresses in the present.
Significance of Episodes For
Long Comics
,E \:---------
Poor Example Make sure that the finale is not left unfinished.
Short Comics
As the main story (A) progresses, it
branches out (B). ln the end, A and B
tie into each other, hopefully making the main story clearer.
and Development of the Heroine
--: -i': -= must grow emotionally and in terms "r ';' :r. s ,through effort) between the :lo. '' -; ard the end of the story. Find many l-:L^ :: : , ents. which will be convincing to the "1ii,:a-: '-rr the heroin to become stronger.
\ \.\ ..
R
r\ \f,( ""..\
rl
-","
-
-:-: -:
..,1.-a
*: - -
-:
II CannOt
to*
:a end.
Example: A somber heroine
who is always looking down
fi' rl f't
z l'm shy in fronl of strangers
I don't know \ what I want to
\"1
and can't look people in the
I
eye.
\_-/
Parl2
A friend appears on
the scene. not be dramatic if the heroine
Episode
:,::s the situation and solves the ,: :"n all by herself.) -
';
The heroine becomes interested in pictures and makes the effort to begin drawing.
She discovers her kue dream (she wins a prize for her drawing).
:ecomes able to clearly convey
' " ::inions to others. '
Heroine after Growing and Developing
107
Here the heroine is surrounded by good-looking boys. l+
t!',e heroine does not have a
*enro a hoyfnend. or other
s"mwrhnE character that can r"'dfrte m her. adding another ffxaffircter such as a new friend wtrl grve more breadth to the story. Contlngency is important including encounters and dialogue that do not appear to be self-serving.
,Th"y
"un't
,i!f,$!j#", Add characters fiat fit in with
he
story.
Ill,,i:,!:1,a
Notes on Giving Shape to the
These are such
beautiful red roses. These
drops must be
from this morning's rain. And what a lovely aroma!
Convey the feelings of a character with a simple picture and not a lot of dialogue
(must not be explanatory). 0mit superfluous characters and events to improve the tempo of the story.
108
D9VV9VV9VV9VVVV9999VVV9999V9V99
3
Special Etfects Used in
Girls' :
aaaaaaaaaAAA6aa6ao6oo6a6ouuuuo€ _.-'v'l
,\-
r \i
\,i. - //---'ll _ \'\ ]
I \,
L
"r'lil -Y ,(lil \\\ -*'1 /r{.1[ /1t\n/ ?6 ll (r(t ( ;
ti
1
Comical
1
This is the
l(z
//
type of person who is moved to tears and
I,Iil 1l
point in every girls' comic. Whether it is a girl or a boy crying, tears have a very Strong impact.
It
\G
-i
There always seems to be someone crying at s0me
(\,
cannot be stopped by
6Y
any0ne.
l:r:::
"l',Yill beCOme
llr: -
any,
*e-T.,, if there
are
l, Zh \'i1tr
ft,,U"l
|
\r ",\r\\.,' /.\\\s
I Single Tear Builds Up Choking down tears.
,el\
t\
t-l)
Streaming Tears One tear after another spills out.
The eyes were left out on purpose to show only the tears. Tone was applied to the
entire character and the tears were made by scraping with a cutter.
There are many other situations where tears can be used for much greater effect by making an impact through the actions of characters and the plot.
Here snow and tears were
assimilated.
109
This is where the story comes to a climax. lt is where the characters' true feelings and actions are expressed. This is the high point of the comic, so use large frames and let the pictures do the talking.
Not
good This is too mundane for confession of love.
I love you,
rl {
l-)"fr,
{< -,r
'!)
-4* Example: Use Christmas to make the scene more romantic. Use the background effectively as well. Create a memorable scene!
o When you want to convey a concept,
try to show it to readers without use of lines and monologues. o The climax is the place to demonstrate your concept. This is the place to express what you want to express.
1"t0
a
t -:re
Props
A prop is any object that can be picked up like a magazine or food. Use of props can eliminate the need for excess explanations and play a large hole in advancing the story.
are some examples:
This lighter is a gift from a girlfriend.
She is fixated on the picture
m
I wonder
how Taro
io doinq
[g
Lheee
dayo?
You
[g
can
/
'\
a
depicthis "// \\tll personality in \!/ this manner.
c
,J A one-yen
/
riiu "oi, io my tucky
\
day.
@y'
\ I'e io Light-fiobed. o Props can give you ideas for a story. You want to make good use of interesting ideas in your story. . Collect information from a variety of sources to find hints for stories.
't'11
Chopter 4
Howto
Creqne
fvtqngq Mqnuscripts o6fla'ut''
. fx-.\ ,hl
:tf*
ru 112
r{
Writing a Plot A plot is an outline of a story. For instance, the heroine and another character may fall in love. After deciding on the central pafi of the story, you flesh it out with an introduction, episodes, a main scene, and an ending scene. Turn it into an enjoyable composition, paying attention to the following: . ls the setting fully explained? . Is the foreshadowing effective? . ls the climax exiting? . Is the story left unfinished?
Example
Plot Title Page Picture of the heroine arriving at school in the morning.
A boy runs up to her. He chides her on her new haircut. lf you are going to draw a 16-page comic, write a plot that will fit within the '16 pages.
They are in the same class and sit next to each other. They have fights but are good friends. When the talk turns to what type of girl the boy likes, he indicates a type that is opposite that of the heroine.
The next day, the boy runs into the hall and bumps into a girl in a neighboring class. He apologizes profusely. The heroine sees this and gets angry.
Even pages are on the right. Odd pages are on the left. Note: The pagination above is based
on the Japanese right-side binding style. ln the case of a left-side binding, the even pages should be on the Ieft and odd pages should be on the right.
114
Storyboarding :['.,'D0arding is allocating frames based on the plot, drawing rough sketches, and r,: -g dialogue in pencil 0n any old paper. : , not always easy to fit the entire plot into the predetermined number of pages. Try -a-:iving down the story to the most important episodes. Discard any unnecessary .": s!'des. Think about the composition in terms both left and right pages. --'r'r yoU compose and present a work is important.
\_s
aopa /
=
Morning, Mioe A!
3orry, , wae lokinq.
I gof, my
hair
cul
Loo short,.,
ll,'g guoer cute.
lnbelivablv
Ng U\
cut e,
4?
fr,
lhis is how
ley, you qoL your
ohe alwayo
hair cut.
v
0qA7-_
)h.no, 'trr*tn,iu1
lnbtaclswith hin
basLardl -
).t)-
C
{;r16
t'.y'tu
Left page
Right Page
'r,:te: The manga above is in their original layout. Please read from the right to the left.
115
Bleeding is when elements of a page extend off any of the sides. Bleeds are created by trimming the page after pnnting.Make sure that important drawings, dialogue, and
Magazine
tmr
drawn letters are always within the standard border line.
lnner margin )
Left page
Right Page
24-30 mm (0.96-1.2
7(
in.)
+ 1
4
180 mm (7.2 in.)
f_$ l2
+-
/Half of the face
Dialogue must not extend beyond the border line.
will not be
Standard Border Line
visible after the comic is bound.
I
BOm^
X 270^*
(7.Zin.x 10.8
in.)
Apply solid black bleeds 3 cm beyond the
standard border line.
lnner Line
24-30 mm (0.96-1.2
This will be printed as is. ln this case it has not been painted properly.
Bleeding Techniques . Use bleeds when you want to emphasize the impact. r Use bleeds to make a frame stand out from the rest.
0veruse of runover will make the comic hard to read.
116
in.)
trnnnrtr tr[nxnn trnrtrntr nntrnnn !trnnrn nnxntrn nntrtrtrn trnf,ntrn rnnntrn trtrntrntr Itrnnnn trntrtrtrn
This border is called a speech balloon.
A single letter should be 4.5 mm (0.8 in.) square and the space between lines about
2.5 mm (0.1 in.).
Leave plenty of space between the words and the border of the speech balloon.
Aon'a uee letler?' in a omall epeech
balloon and don'L pack Loo
any inLo one.
Drawn on One Sheet of Paper (83)
'ru can draw on either two sheets of 31 paper or on one sheet of 83 :aper. Two-page spreads are used for :.'e high point of the comic and for :e climax. Use this too much in short :;mics will often result in a simple .r0ry. lt is suited more towards long ::,mics.
Tleaae
don'L draw
a clooe'up of my face or any dialoque in
the
,^4"\r h '
}[ilr) O,\ IJ ? llt)
i N""'""'--l '-\"1'/'
-
V
ll
Drawn on Two Sheets of
lLDo not draw this part of the border.
117
Borders, Speech Balloons, and Drawn Letters Tools to Prepare
Rotring (Brand Name)
(0.'l - 2.0 mm) Used for drawing
Note: Lines will become lighter if an eraser is used on them Iater.
uniform lines. Pigma Graphic (Brand Name)
(0.05 - 3.0 mm) Water-based pen (water-resistant when dry).
w,,"* .il.
/4n
t ry
'Qd "oat
border of
tor the
eVeech
balloone,
The atmosphere
willdiffer depending on how drawn letters are used.
o.
c''HK'ib.r,:i}^-*
w
-
Pigma (0.5 mm)
,**,,v1il^i
Pigma (1.0 mm)
Attention Using Water-Based Pens :
118
Ven
'.
"@0 uo
\77$Eq\
Use a Round-
t
t,nrrrffiW t"u-'orr, \ertA
Draw letters so
that they match the individuality of your pictures.
Using Oil-Based Pens blur easily on paper.
*They
ue
6
*ame Allocation 1:r-e allocation is very impoftant to the '
:,nu
*:
f the story. Think about the balance of
-mes ;r: 3ages.
l,:"*t
when looking at both left and
Frame Allocation
ln the Japanese style, frames are read from top to bottom and from
The average number of frames per page is 6 to B,
right to left. The ultimate goal is to make them easy to see and read.
Too Simple
0rder of Frames lndiscernible
EE
TT TT
)iaHaving too many frames makes it
hard to read.
l':
TreeenL
the knee injury
ueinq
rot allocate frames
:esed on dialogue. :-=ent the story using :,,::ires, thinking about
:r
"rrgh point of the
:a:2. -:ge frames are
:::ctive when used for i,= climax.
KBru Swoon
+
lmprovement
Thie frame ie the hi1h poinl.
119
FrcUre Composition I
It is hard to discern where characters are and what they are doing if you always
'.t'u Ean express the emotions of chamders and add punch by rearranging tre composition of pictures.
use close-ups and bust shots.
ln this position, it is hard to tell whether it is Joe or his friend who is talking.
Poor Example
*Make
locations clear by adding a balanced amount of close-ups and wide-angle shots.
Adding a background will tell readers where the characters are.
ThaN's
The position of Joe was fixed.
lhe
laol Nhirq
I
neeA.
}H,,C\Wffi
s\
\-= --, -t"/
+,.
il
s''%
--:2
=:
Joe!!
ir, = Z
\\"l'
,/, '
' 'r
120
S s
I 'tli \ttttt'
Z
IhatPtq!
'c,
1\
wide-angle shot.
#/lri\\)
b?^ 'i !-"
th n*
-r'\'r. \d
I
The shock she feels is depicted using a low,
s; ..
I K\AW.
Hahaha
*When you want to emphasize a part of the story or make a character stand out, think about effective frame allocation and picture composition.
*A
page will be appealing when there is a frame that catches the eye of the reader when a page is turned.
i,-r-T of ScenerV I
*:
: r-' rne way to liven up story development.
There is no need to go out to do it for a change -r-;?rofr. passage of time, or a retrospective scene, for instance, then it -:':r1ant to express it in an easy-to-understand manner. Make use of " ;,:. t'3unds and props that can express seasons and time.
" ji-,-'
"
,r/ay to shift the scenery, but when you need
-
Examples of Shifts in Place and Time .'r; :ir.(ground
such as a building.
Explain using language.
Night is falling.
I
. ,;,i:r:
rx
I
-;asier to understand with words included.
:
wide-angle background.
It is now night.
-:me was placed in between to show passage
of time.
Retrospective Scene
)Kl Letr's do it Noniqht.
There is an explanation using dialogue as well.
Consecutive frames are gradually made smaller.
121
PagE
Ttming
I
here are some ways to surprise readers when they 5n a page. These can also be used to depict al'm.nges in scenery and passage of time.
I've been hidinq
oomehhirq
lron
you tor a lonq
lime,
i,'rrr,,yr,*\ S;
+
Turn the Page d
tu',,t*litr'
)rr:d
ffi
Use a large frame for the high point.
0h, my qod.You're kiddinq ne.You're bald,
Shot Types
Surprise readers, make them laugh, or touch their hearts.
Wide-Angle Shots . Used to depict places and tt*iu
FullShots
.
This is a shot of the full length of a character. Can be used to depict personality and characteristics via body motions.
Middle Shots
.
Convenient for explaining where characters are.
Close-Ups
Bust Shots . This is a shot of the upper body.
122
. Used to depict facial expressions and emotions of characters (make them attractive).
Point and
les in Scenes with Characters
l,:
not allocate frames and compose pictures in a haphazard "anner. Creative use of vantage point (position from which
i:mething is viewed) and angles will enrich the presentation. As viewed from the
EHighAngle
ffi lfl-^-
ffi
=t"",t't.-4t''
I
-he camera is fixed in a horizontal position
This is a normal angle. It has a quiet feel. This angle is used often.
This is a slightly high angle
view of a close-up.
e
A several vantage points have been used (perfect for powedul scenes, etc.).
123
hrt-Back Thls ls a method by which two or more different cuts are alternately inserted to build up tension or a sense of impending crisis.
Golf,a run.
Note: Do not use this technique excessively. lt is effective when used before the climax.
lryd
What is happening at the same time at two different places is depicted here,
How to Attach Tracing Paper When there are going to be letters on solid black, a pattern, or tone, place tracing paper over the drawing paper, write the letters, and mark the position. This includes white letters printed on solid black and tone.
It is all right to cover the entire page with tracing paper.
Here the tracing paper is placed on one portion of the page.
124
Write the letters on the tracing paper with a pencil and mark it (so
you know the position).
Firmly attach the tracing paper to the back of the drawing paper with adhesive tape.
-is s:e first page of a comic. lt is
Hints
.n6r;r1arl to compel readers to want to TK":e comic, Try to impress upon a13:f- ,,rhat you want to express most
fh::efie)
in the comic.
/'W@ r.:r mf, #i
M Movie Titles
You
Song Titles and Lyric Cards
will find hints for titles
hidden among these.
d
F>
\S:..
\-\ ,-\ N-. \\'r \
\l
),r\
1'
,i.
t\
EIUr truul
The title is on top of the character. The composition is no good either.
Uninspired Title Page Leave space for the title. Keep the
space for the title in mind when choosing the composition of the picture. Write the title in a corner of the page in pencil.
A close-up of the heroine in the middle of the page is mundane.
Avoid titles that will give away the story. Titles should also not deviate too far
from the story. When you choose a foreign-language title that is not understandable, incorporate the meaning of the title in
This garden-variety title should be redone.
the story.
125
tErasers
Basic Tools
lnk eraser (AIso used for erasing tone.)
The ease of use of pens and brushes differs depending on the person, Try different types to find
the right tools for you.
M(}NO
erasers for sketching.
lPencils (Mechanical Pencils) 0nes with soft lead are easier to use (B
IPaper We recommend manga paper
to 2B).
#
rBrushes (Line brushes are
best.)
Have separate brushes for painting
black and white.
marketed by Too.
fij
.,,,ri. '''t'r'' j:t,{
L*rr* 8Cm
/A-.-
:lr:r ir'i
' ;*i: j' .-'
*rf
d',j' + rr
*4'"
x?/0iii
<- ,/
+r.'
can
when drawing border lines yourself, you measure the size of several sheets of paper at once by making holes in the four corners with an
of each other.
lPen Nibs and Holders
eyeleteer.
tFeather Dusters Used for sweeping away
8qs,*$s 1st*
bits of eraser grit.
f
\lll? /
-ru r0ontainers for Washing Brushes Any containers will do as long as you have separate
126
ones for black and white.
Round-pen
F
Here /
,,,@"-@)verheadView of Holder
?en
iLrrffin r,
l
rRulers
a.l e{ge are
lffirEi i:r i,*\'''ing lndia *,u -E!
5F
r:
''ayJing
-q
,/l
P\
//
t\ ,/4 -----v\ Edge
lTemplates Convenient for circles and ovals..
3:'een-Tone, and lC Screen :' iigh quality and are easy
ffi Curved Rule
lTone lC
Scrapers
tone scrapers
are easy to use.
rCutters Convenient
for minutiae. This paft can be used for scraping tone.
I r ,.lndia lnk
Lettering Sol (Dries QuicklY) Used for Whitening Correction ink for comics and illustrations (The Conection lnk manufactured by Art Color dries quickly, is water-resistant, and is
rltems
-z,r -g lnk :--;- PeF (Both lndia
-. .-d ink.)
Kaimei lndia lnk
ffii*, r -ght
easy to Paint over.) Misnon (Not suited to minutiae.) 1Correction Eraser Pens Designed for both waterbased and oil-based Pens
Table
-,:,-,enient for tracing pictures, cutting -: -= and finding deviations in I
-: ,', fl$S.
Poster Colors
!,:clies
:'.
Provided bY aido lnc.
127
Tvnes of Pen Nihs
I
Spoon-pen
Round-pen
G-pen
l; rstered ,\ T-,!e / \ /r \
/t
I
U This pen cannot create the dynamics of the G-pen, but it can be used to draw thin lines. Though the shape is similar, the lustered type can be used to draw thick lines.
Convenient for drawing thin lines such as background Iines and effect lines (a dedicated pen holder is required). This
Can be used to draw dynamic
lines and thick lines depending on how much force is used.
can also be used to draw dynamic lines.
*There are other types of pens as well, like the school-pen (thin lines).
Main lines of character (G-pen)
Example of Pen Work At first, pen nibs repel oil, so wipe the tip before using itl Replace pens when it becomes difficult to draw with them. Eyes, nose, mouth, eyebrows, and hair (Round-pen)
Plants (Round-pen)
Wrinkles in clothing (Round-pen)
0uter lines of clothing (G-pen)
Background lines (Spoon-pen)
128
Frocess from Begi*ning tc Campletion of,Manuscript ;-
,=.fl
-*_-*-^-r : .-r i -'-l-
:r:-;-
= :J
I
= r,
Create a rough storyboard on a separate sheet of
- r- -g Touches (Completion)
,
Storyboard
Sxetch
-,_- t --. -r fr-\
ri/l][
I
U
paper.
,:,:" at production in this order.
:e
story of this comic.
Snly leave necessary rough sketch lines so as not t0 become confused !uring pen work.
@ Rough Sketch Transfer the storyboard to drawing paper. There is no need to copy the storyboard faithfully. Slight alterations are common (page changes are not allowed).
*-+-
A r/r
/l
0t
lt
\
Note that a mark
fr\*t 1
&'l: tiL t?
will be
left after erasing if you draw with too much force.
?''
5 Y ?
+
/:
;4;.
B {-l' to
./7
i ,-.cr ;'--
*L \-t I .\
f,r'
'd
b
*You may draw border lines and speech bubbles in ink at the rough sketch stage.
129 Ii rililr
*-E
ru r:i:rl ilas
ora\',,n from a rough sketch after the character was penned in. are dfficuft to draw without being corrected at this stage, use :::r3::,:,. iurd. Farts that will be solid black are sometimes marked with an X 3:i as a flag during the finishing touch stage.
::r
:Er=
:al
r
Border lines have been penned in,
_-]-
Ad) j-?
\
irq
D\v), t*t) * I qc
The sketch lines
have been erased.
lz t" 2 Y
)
F
Tone
will be
used later for
B
effect lines.
€
(f' \-\ -)
t-=-
,!
I
/---\,' ,t
-l' /,
+-'
{9'l
rJ{ n f+'
=
p'E*h t&i'2? LrK /=
z)
?v 'lv Supplement
rstart
by penning in the characters. Some people start with the main lines (contour lines) while some people begin with the thin lines (eyes and hair). lPen work should be done from left to right (in the case of a right-handed person), so as not to rub ink lines that have not dried yet with your hand. ruse the different types of pens in a suitable manner, and carefully draw the accents and minutiae.
lDraw the
130
main pictures more clearly than backgrounds and effect lines. lf the lines are all the same thickness, it will look flat.
,,,,,l qllmmlmrmry
lrlllilr,f lI
iliilLilIi
illuii|
ui
iruCnes t C,ompletion)
uflriiiii, :l'- :,.. r
l*'rll llili
r
Add page number in pencil (above cutting plane Iine).
tt
;) 4>
t
3
f 2 *. t-*
b?
'].
ii': 'i ^,
,,
r1
ld
(
aa
[u1]*:- - :lily erasing the pencil lines that have been penned in, pen in converging lines and other .t.,.-
--^Jq
l[ ur - ]f -lt the solid black parls. After they have dried, use correction :t' "-
lr*::::
r";:
- :--^),^^ -dl\uS,
fluid on any runover, smudges.
, icpl! and scrape tone. ' :: :ne dialogue where it has disappeared and check for errors and 0missions. When there
,i:n': lir top of tone
l"-::. :i
and solid black, attach tracing paper and write letters on it. make sure the pages are numbered and you are
done.
are
l3l
@
Aae any dialogue aVVeared (dialoque ie eomef,imee eraeed, alonq with l,he reet)? die
@ lave you placed tone over any
@ flae rough
sketchee been compleL.ely eraeed?
E
tu iN dirty (runover, eoilinq from hande, tone residue, elc.)? ?'ave you
for7of,ten
dialogue?
E
tu Nhe uVVer
riqhL corner numbered?
lf you are going to submit the comic, remember to write the destination address and your name and address.
lo
whiLeouL
anylhin4?
@ tave
you
forqolLen lo
forgotf,en
draw anytrhinq or
lracinq
forgoNLen
any finiehinq
to attach vaper?
The End
??l
Vo!.5: Developing Shoujo Manga Techniques Chapter 1 How to Draw Characters
Ito+/tomAv
Chapter 2 How to Draw Backgrounds Chapter 3 How to Create Stories Chapter 4 How to Create Manga Manuscripts rsBN4 88996-08 1 -3
Vol.6: Martial Arts & Combat Sports Chapter
1 JuCo
Chapter 2 Karate Chapter 3 Kendo Chapter 4 Boxing Chapter 5 Streei Battles rsBN4-88996-082- l
Diamond's Comic Shop Locator Service
sffi
o u
a
a
Lr
@oo
e*2"5-49
You can access the Comic Shop Locator
Service by calling toll free; 1-BBB-COMiCBOOK (1 888-266-4226 ) in the U S
{
I
SBN
t+
-88811h-081,-3
Iffiil||
i4889 96081 5
)4
fiiii:it rqri
\:
i ",,':: \r: iir,:
:
BORONTA
976240ss HEALESVTLLE ........ 5962 4423 FTG ....................... ... s2g4 I.t 40 9294 3120 KNOX.........._......... ... g8o1 1 422 MONTROSE ......... ... s728 4224
LTLYDALE
KNOX MOBtLE........ 9762 4099 ROWVTLLE .............. 9294 13OO
oRoYDON .............. 9294 s64O
MOOROOLBABK.... s726 8200
MT EVELYN ............ 9736 3851
BANGES MOBILE,. 9754 7266 BTNGWOOD .........,.. s87o 0177 VALLEY MOBILE .... g2g4 g12O BELGRAVE ............. 9754 7266 YARBAJUNCTION 5967 1588