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Crockman's Lair learn to draw manga (1 of 3) [3/26/02 09:42:00]

Crockman's Lair learn to draw manga

Welcome dudes !!! Its has been four years since I first publish the page and there has been an enourmous amount of support given to me for my crusade of giving away free drawing lessons .So for all those people who belived in the Lair.... Thanks dudes !!!!!. I hope that this new update will be the beginning of a new era for the Lairman and his Lair. For beginning our manga classes all we need is a couple of pencils ( HB,2B ) a bunch of bond paper (newspaper is also good and cheaper or you can use any other) , a good eraser and lot of imagination. Later we will discuss what kind of brushes, inks and other things we will need to make really neat manga drawings. For now consider this a place for sharing tips and technology about anything that has to do with drawing ,specially MANGA .

For our study we will divide our lessons in eight basic parts:

In the way we advance ,I will include things about Architecture, Animation,, Music, Movies ,Etc. All the information here is also available in Spanish so if you want to see them the just hit the link .If you want to send me drawings ,or exchange information feel free to write me to : (2 of 3) [3/26/02 09:42:00]

Crockman's Lair learn to draw manga

I would like to thank Marta for helping me with the Spanish version of the page, my X-Kanderax bro Alex for providing technology for the creation of the site , Bee Golding (is because of her that must people can find me on the web), Rob Nixon( thanks for the hardware, dude !!),and all the people out there, who has links to this page. If you have questions feel free to write me, all your qu

Last Updated 18-Sept-2001 Icq# 87048384

Copyright Š 2000 Crockman Comics. All rights reserved (3 of 3) [3/26/02 09:42:00]

Boys and girls It’s MECHA TIME !!!

If there is one thing that reminds me my childhood is when I see those old Mazinger Z ,Gundam and.Daitarn 3 shows.During those days I used to draw all those robots and spacecrafts every time I had a piece of paper and a pencil in my hands. Boys and girls It’s MECHA


Let´s start with a little bullshit of how mechas are classified. According to the great Kahuna sage KaluwakuTorpedo ,Mechas can be classified as follow:

Batloids:Those that had the form of the function that they serve for

Zooids:Those who have shapes of animals (1 of 7) [3/26/02 09:42:38]

Boys and girls It’s MECHA TIME !!!

Aneroids:Those who have human shape.

Aneroids are also divided in three groups: Areoids: Those with man shape (2 of 7) [3/26/02 09:42:38]

Boys and girls It’s MECHA TIME !!!

Ginecoid:Those with woman shape

Griphs:Those with human shape but animal parts(head,claws,tail etc.) (3 of 7) [3/26/02 09:42:38]

Boys and girls It’s MECHA TIME !!!

When I told you that understanding the geometry of the human shape will help you to draw mechas this is what I mean: (4 of 7) [3/26/02 09:42:38]

Boys and girls It’s MECHA TIME !!!

Having the geometriced shape of a human ,you can create a mecha by simply changing the proportion and volume of certain parts of the anatomy and adding things like cables,spikes,visible machinery and anything that looks mechanical or gives your mecha a MASIVE and HI-TECH look.See that a lot of the mechas you see in cartoons are a mix of armored europeans knights, samurai armored warriors and american football players.

Note also the fact that you have to add big shoulder pads to give them that a strong look and slim legs to give them agility and speed.You can also incorporate elements of design like wings,tails extra arms and guns,lasers or swords .The head of your mecha could be a normal or modificated armor mask or some sort of helmet with a small window where your pilot can operate it .Of course this is not the case if you are drawing a valkirie or a transformer type of mecha where a vehicle of some sort transforms himself into a mecha.Keep in mind that your mecha has to retain some of the elements of the vehicle where it is suppose to come from.. (5 of 7) [3/26/02 09:42:38]

Boys and girls It’s MECHA TIME !!!

Well dudes ,use all this tips to create your own mechas and practice a lot because in a future update of this tutorial I will teach you how to design your own transformer type mecha.

See you dudes !!

WARP SPEED !!! 1998 Crockman Comics. All rights reserved (6 of 7) [3/26/02 09:42:38]

What’s up dudes

Lesson #7

What’s up dudes!! Is me Crockman !!, after almost been killed by forces beyond human ken., the man is back. Back in lesson #4 I tried to explain the basic construction of the head , and in lesson #6 I tried to get a little more deeper in the subject .But I have recived a lot of mail concerning the nose so I have decided to make a lesson just about it. In illustration #1 we see the nose in front view and in illustration #2 in lateral view. In front view all we see of the nose is a vertical line between the eyes and a semi–oval next to it that indicates the shadow that the nose casts and the direction in which the light comes from.Most of the times we dont draw the shape of the nose but the shadows it cast over the face. In the case of the male nose , we can draw a small triangle over the mouth to represent the shadow it cast .



In the lateral view is where we can actually see the real form of the nose, it begins as a curve in the end of the forehead and then goes down in a straight line to the chin. In most side views of the face the mouth will appear at the side of the face ( almost beneath the eyes) and not below the nose. (1 of 3) [3/26/02 09:42:48]

What’s up dudes

This is what I call a classical manga nose, but lately they come in a variety of styles , the only thing that changes is how much the drawing is close to a more cartoon or less cartoon kind of style. For example a nose from NINJA SCROLL or CRYING FREEMAN is more close to a human nose than those of SLAYERS or GIANT ROBO. At the end you just choose what nose you like and use it. The noses of these guys down here are just a little triangle spot in below where is supposed to be the tip of the nose and some shadow at one side of the nose depending the direction of the light.

Take a close look of the girl ,this is what I call a classic among manga drawings, girl with glasses and tuff of hair over one eye.Seems to me that japanesse dudes have a natural crush with that kind of girls. (2 of 3) [3/26/02 09:42:48]

What’s up dudes

Look at the noses of these ones ,little peaks pointing at one side of the face and some lines below the eyes to simulate the curve of the nose. Well folks these is all for now ,keep those questions coming.!!! Like Arnold says… I’ll be back !!

See you dudes !!!

1999 Crockman Comics (3 of 3) [3/26/02 09:42:48]

figure study 2

Hi Dudes... !!! This is good old Crockman again. Welcome back to Figure study #2 , this lesson is the product of all the mail and the questions I have been reciving since I published the page ,so if you think that there are a couple of things you would like to see in the lessons ,feel free to make any sugestions. Since we have seen ( in a very general way ) how the human figure can be drew let's study in a more detailed way some of the elements that compose the manga figure.

Hands To draw manga hands all you have to do is use your own hands as models ,here are a couple of examples of some guides you can use. Hands require more practice than other parts of the body because , like the face, they are used to show emotions.

For certain drawings , don't waste time drawing the nails,unless you are very good at it ,or you are drawing a close up of them. Have you observed how some girls hands look better with certain nail colors than others, and some look even better without any color at all . Keep in mind all of this things when you draw ladies hands because all this things define the personality of a character.

Feets With the feet hapens the same thing that with the hands.You dont draw the nails unless you are good at it (1 of 5) [3/26/02 09:42:58]

figure study 2

or the story requires it.Feet dont require that much attention because must of the time characters are wearing some kind of shoes and stuff... ...Right Beavis !!! Lets see some examples of how to draw certain feet:

The dramatic effect of the feet happens to be in the position in which you draw them in relation with the position of the rest of the body

Eyes ...Did I just saw a smile on your face ?? Eyes are one of the trademarks of manga drawings !! Why?? Because they are big !!! Manga eyes, even that they may look like cartoon ones,had more details concerning ilumination factors. They are full of light ,specially girls ones Lets go to the geometric department. The eyes of a Manga character behave like cristal marbles so depending of in which direction you want them to look ,they will reflect the light. See there it is again... Geometry and art working together. Here is how to,step by step, draw the eyes : The eyes of a man: (2 of 5) [3/26/02 09:42:58]

figure study 2

The eyes of a girl:

The eyes of kermit the frog:

Hair Hair in Manga characters can be defined in four basic groups: The spike heads: (3 of 5) [3/26/02 09:42:58]

figure study 2

The keratin mosterized lank

The texturized extra body

and the ever popular Don King's Antigravitational. (4 of 5) [3/26/02 09:42:58]

figure study 2

If you have more questions ,ask your local hair dresser. Well ,until I get a job drawing at Disney (... or at least parking cars) This is good old Crockman saying...


RETURN (5 of 5) [3/26/02 09:42:58]

Drawing manga babes

Back in lesson #2, I tough you how to define the basic shape of a woman Now we are going to go deeper in the subject of how to draw sexy babes in manga style Now , I'm going to tell you a couple of things you need to know about women , so ..get ready!!

Womens breasts are not rubber ballons I noticed that almost everybody who draw women has that tendency, that's because not everybody has the experience of studing the figure with a live subject. 75% of the people who draw comics learned from comics.Breasts, no matter how much silicon they stuck in them, behave like living tissue. So, to understand this, all you have to do is use the power of the observation How?? The subject of our study is around everywere,the only thing you have to do is look,but be carefull don't to stare at them for to long without blinking,cause you can be noticed and get unpleasant reactions. Also don't draw them too big, that will make your character look clumsy and difficult to animate. Manga (1 of 4) [3/26/02 09:46:57]

Drawing manga babes

babes are often lean. Observation is the Key Let's think about this...What makes a woman erotic? All you have to do is observe one of those swimsuit magazines and you shall discover it. 1. Arched back 2. Opposed angles of the shoulders with the hips 3. Always standing in tiptoes,this makes the legs look longer and gracious. 4. If she is laying someplace,her toes are always pointing out. Let's see an example: (2 of 4) [3/26/02 09:46:57]

Drawing manga babes

Well enought of naked chicks lets see the next example Here we have a girl that I capture in the web, notice the arched back I was talking about. Using her as a model I will draw my own version in manga style.

First defining the posture,then shaping it and finally erasing all the extra lines. Until you can afford a model, you can use this tricks to develop your own drawings you can also purchase one of those wood figures with a lot of joints in any art store in your town. Do you have a girlfriend? Ask her if she could be your model,tell her she is going to be your muse, that you will make her immortal like the Monalisa of Manga,the Sharon Stone of Anime!!! "...Women fall in love for what they hear,men for what they see..!! " (..Oops ,Now I'm teaching you how to pick up girls.) If you dont have one ,what better excuse for getting a pretty one, like Sifu Chen always says : "..Is always amazing how one thing leads you to another.." (3 of 4) [3/26/02 09:46:57]

Drawing manga babes

And please...Don't unearth anybody !! Like my mother always says..." Dead girls stink!!" ...Sorry Vampirella In time you will notice that your drawings get astonishly real ,like Michael Angelo or Frank Frazetta !! Remember it does't matter how much bullshit I said if you don't grab a pencil and begin to draw, all is worthless. See you !!

Warp to lesson #6

RETURN (4 of 4) [3/26/02 09:46:58]

drawing the head

The only comics character that doesn't need a head is the HEADLESS HORSEMAN so unless you are planning to spend your life drawing the japanesse version of the cartoon you better check this out!! Check out the MODULOR of the head, this will give you a geometric understanding of the shape of the head

The basic manga character head is drawed within an oval like this: 1. Divide the oval in four using a one vertical (axis line)and one horizontal line.(eye level line) 2. In the extreme of the eye level line you will draw two circles which later will become the ears. 3. Draw two arcs in the inside extremes of the eye level line,those will later become the eyes. Remember to draw them from left to right . Always draw everything from left to right . Why ?? Because that's the way that you write , otherwise things won't look the sameThis is what I call The Harlock syndrome because when both eyes don't look the same you will end up covering one of them with a tuft of hair If you have problems with the eyes size you can draw a paralel line over the eye level line the same high the eyes will be, sort of auxiliary guide line. 4. The distant between the eyes is aproximately the wide of an eye or an eye an a half. Normaly the wide of a head is five eyes, but in manga sometimes it can be three because their eyes are bigger . 5. Divide the lower part of the oval in three equal parts using two horizontal lines in the upper one is where the nose will be located the other one is for the mouth. (1 of 5) [3/26/02 09:47:31]

drawing the head

The mouth is very little in women and when they are talking looks something like this:

Hey .. this could be our first step into animation.I told you ,you can learn (2 of 5) [3/26/02 09:47:31]

drawing the head

a lot if you hang around with me Looking it from the side the head can be drawn within a square or using ovals

Of course it depends of what kind of character are you drawing if he's a villian he will look like this: (3 of 5) [3/26/02 09:47:31]

drawing the head

Note that I let the eyes white so it looks like he is possessed in his own evilness Same thing with a woman,but no white eyes

A few more examples:


RETURN (4 of 5) [3/26/02 09:47:31]

lesson#2.Drawing the figure


Well Folks... this is were geometry and teriyaki collides! If you remember in lesson#1 I told you how to use the basic shapes to draw anything we wanted Now we will learn how to use this technology for drawing pretty neat manga characters. Of course you have to first had a little of practice. ...But first a little of anatomic data: As you see ,in example #1 ,this is how basically a manga character looks like, we have to draw them without their clothes so you can see all the anatomy. ...This is ART, you CREEPS!!! (1 of 5) [3/26/02 09:47:55]

lesson#2.Drawing the figure

I drew them so you can see how they look like in several positions and have a basic understanding of the anatomic features of each one. So... how we're going to draw these fellows? Well, do you remember in lesson #1 when I told you how basic shape construction will help you to draw persons? Well, this is how:

1. The arms,forearms,thigs,and legs are constructed from cilinders. 2. Shoulders are spheres 3. A box makes the chest in a man while cones are used to construct the woman's chest and hips. 4. The pelvis is made from another box. 5. The hands and feet are made from two triangles. (2 of 5) [3/26/02 09:47:55]

lesson#2.Drawing the figure

6. And finally the head is made from and oval. Not enought, well lets see a brief study of the arm and leg in several positions (3 of 5) [3/26/02 09:47:55]

lesson#2.Drawing the figure

Piece of cake, isn't it!! So the question now is.. (4 of 5) [3/26/02 09:47:55]

lesson#2.Drawing the figure

This and More Bizzarre Questions Will be Answered in Lesson #3...

MANGA ACTION Stay Tuned (5 of 5) [3/26/02 09:47:55]

Manga Action .Lesson#3

We Are Back!! So... Lets hit it!! You aren't from this planet if you don't know how to draw something like this:

Well ,this is what is going to help us draw, out of this word, manga dudes ,the only thing we have to do is draw them the way we learned in lesson #2

Now, if you want to draw a person in any position this is how to do it (1 of 4) [3/26/02 09:48:09]

Manga Action .Lesson#3

1. Define the position of the character using an axis line to coordinate the position of the character , then draw a skeleton like sketch of the position that the character is going to have 2. Add volume to the body using the basic shapes that compound it you know..cones,cubes,ovals etc. 3. Begin to add details to the figure using all the lines you need until the figure is well done. 4. And...BANZAI !!!...Meet Miss Wet Dreams 1997...Miyuki Huyuyuki!! Shooting plasma bullets to ...

Oops !! I think she run out of bullets...let's leave this scene before this gets non suitable for younger viewers !! It's not always that fast ,but it really helps a lot if you have a good domain in visualizing the center line of the subject and the proportions of the volumes in the subject. That's why you have to practice doing fast sketches of characters in different positions. Lets see a few more examples: (2 of 4) [3/26/02 09:48:09]

Manga Action .Lesson#3

Lets get a little deeper into the subject : For drawing a subject in any pose you have to first visualize it in your mind . This can sometimes be difficult , that's why the use of a model can help you a lot , you can ask somebody to pose ( a brother ,a friend...a girlfriend !!) then you can make a fast sketch of him using the tricks I just show you and later translate that sketch into a manga drawing. If you don't have a model you can draw yourself using a mirror. Another thing you can do is watch your favorite anime movie and pause (3 of 4) [3/26/02 09:48:09]

Manga Action .Lesson#3

the scenes that have characters in dramatical poses ,like fighting , running, and stuff and then make a fast sketch of it. This will also help you get familiar with the drawing style. Remember...The more you practice ,the better you will be. For a more deep study of this ,check out lesson#5

RETURN (4 of 4) [3/26/02 09:48:09]

Lesson 1,Basic Shape Construction.

Remember those days when you were in kindergarden and your teacher taugh you how to draw the basic know,the triangle,the square ,the circle...Well now it is time to teach you how to use this amazing but simple technology in order to draw pretty neat Manga stuff!! See folks..everything in the known universe can be drew using combinations of two or more basic geometric shapes(weird,isn't it?) this is call GEOMETRICE. Let's see an example: Let's say you want to draw a race car,first of all ,we define the basic shapes that compound the object so then we can draw within the boundaries of something, It's like we have block of wood and we begin to sculp the form of the car later. Let's see ilustration #1

The body of the vehicle is basically a prism or a box,the cockpit is an oval, the wheels are ellipses drawed within rectangles and the front part is like a ramp stock in front of the box.Notice that I draw always so I can see through the figure, in that way I can make sure that everything is drawed in natural proportion. In ilustration#2, I began to draw the details of the car within the basic shapes I had defined in illustration#1,later I just erase the lines that I'm not going to use and ..VOILA!! there is the car. (1 of 3) [3/26/02 09:48:22]

Lesson 1,Basic Shape Construction.

It's posible that you don't do it so fast the first time,so don't be afraid in using all the line you have to ir order to get the shape the right way.The followings are examples of how to interpret the form and then sculp the drawing within the boundaries of the shape.

So the tip to master this lesson is:Learn to see the objects that surround you as a combination of basic shapes, belive it or not this will get very useful when you attempt to draw persons. (2 of 3) [3/26/02 09:48:22]

Lesson 1,Basic Shape Construction.

Don't just stay there...Pick up a couple of pencils( 2B's or HB's),a bunch of paper and an eraser and draw everything you see . Begin with simple things that are inside your house like tables or beds, and then go out and draw cars ,trees ,buildings ,etc. Remember to use a lot of lines until the shape of the object is defined. Don't be afraid of using the eraser .The greatest fear of most artist is to put the first line on the paper.

Warp to lesson #2

RETURN (3 of 3) [3/26/02 09:48:22]


Links "Places to go , people to see..." Here I put a list of places you can go for information,most of them are not about manga ,but they still can be useful specially if you are thinking about going pro someday.If you know a place that is not listed here that can be useful for our purposes let me know and I put a link on it.

Don Simpson's College of Cartooning Knowledge Dega Studios Creating Comics Link Page The Comic Book Writer's Guide to Information on the Internet Xeric Foundation Cartoonists Fountain of Knowledge Cartoons Forum "Places to go , people to see..."

Books This are a few books I recoment for learning basic things you can later apply for drawing Manga.

Manga wokshop by Akira Toriyama First of all , I havent read the book ,Second I saw it in spanish so I dont know if that is the actual name in english of the book.,but I figured out that if this guy from Dragon ball wrote it, it can helpful .Try to contact the guys from Viz comics and see if they can help you .

How to Draw and Paint Anatomy by Walter Foster (1 of 3) [3/26/02 09:48:30]


How to Draw Heroes and Villians by Christopher Hart Illustrators Reference Manual Chartwell Books Inc ● ● ●

Nudes Hands/Faces Figure Reference Manual

Dinamic Figure Drawing by Hogarth Burne How to Draw Comics the Marvel Way by Stan Lee and John Buscema Manga Books

Music Ruronin Kenshin Music Archive of anime themes (2 of 3) [3/26/02 09:48:30]


Artist insight

MANGA TIPS FOR BEGINNERS Joanna Zhou reveals 26 gems of wisdom for creating art that’s unmistakably manga


Joanna Zhou COUNTRY: UK CLIENTS: Animexx eV, Raptor Publishing Joanna is a student at Chelsea College of Art and Design in London and works professionally as a manga artist, producing work for magazines and television. She is also a member of the wellknown UK manga group Sweatdrop Studios.

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anga is, without a doubt, one of the fastest growing art forms among young people across the globe. Most artists discover this hobby in their teens and face the challenge of self-directed learning alongside school or university. I’ve never seen manga as work, but a fun refuge from the actual stresses of daily life. I hope that other aspiring mangakas will see it in the same light because with this attitude, artistic improvement will become an enjoyable and effortless process. Don’t listen to people who say that manga is a useless hobby. Any form of visual creativity is infinitely more productive and satisfying than many other pastimes that spring to mind. Despite its stylisation, manga techniques incorporate solid proportion, perspective and colour theory which benefit a huge variety of careers or life situations. Hopefully these tips will inspire and motivate you to delve deeper into the fascinating world of Japanese comic art.

1 LEARNING FIGURATIVE PROPORTIONS In manga style, the human body is often used metaphorically to express dramatic or comedic impact. Mastering each proportion greatly enhances your flexibility as a visual storyteller. You may even end up adopting a certain body type as your signature style. Take a look at any manga comic and you’ll find a figurative fluctuation between body shapes – even of the same character.

Bright or pastel colours are well suited for chibis because they enhance the dynamism and cuteness of each character.

2 SUPER DEFORMED STYLE When drawing chibis (in manga, a chibi is basically a cute, small, child-like version of an anime or manga character), you should constantly remind yourself to keep the torso, arms and legs as short as possible (erasing any excess if necessary). Because our sense of regular anatomy is so deeply ingrained, it’s all too easy to make the limbs longer than they need to be, resulting in a child rather than a chibi!

July 2006

25/5/06 9:45:32 am

Artist insight Manga tips 3 GUIDELINES ARE VITAL Use guidelines wherever possible! They only take a second to draw and can drastically reduce the amount of unnecessary mistakes such as eyes not being level or hair not following the shape of the head. ‘Ball joint’ bodies enables you see at a glance if certain limbs are the same length. Guidelines can also be used to denote the ‘twist’ of a body posture in a dynamic scene.

A single line in the right place can project a sense of beauty and power, whereas a mass of scratchy outlines only reflect hesitance

6 DIFFERENTIATION (ISN’T JUST A HORRIBLE THING IN MATHS) A more advanced technique of varying your characters is to draw different eye shapes and facial outlines for each one. This requires some practice but if done correctly and consistently, it becomes a subtle yet very effective way of differentiating characters.

4 FROM ROUGH TO DETAIL Always work roughly to begin with and gradually build up the level of detail in your image (see the three rough sketches, left). If you start adding intricate sparkles to an eye before even completing the face, you may discover later that the whole eye is in the wrong location and needs to be erased. Never leave a mistake if you’ve already

your characters apart. Each character should have significant differences in hair, eyes, height and clothing (unless storyline dictates otherwise). Consider how colours, hairstyles and accessories can be used to appropriately represent certain personality traits. Also, adding background, props or narrative creates a stronger context for your character.


identified it, even if it entails a lot of redrawing or digital editing! Guidelines and rough sketches promote maximum efficiency and accuracy when drawing. You are also forced to think carefully about the technical composition.

5 DESIGN MEMORABLE CHARACTERS One of the most unnecessary mistakes in comic drawing is to lose your reader’s interest because they can’t tell

As you p practice, remember to draw tthe head from different en angles. Don’t fall into to a rut of always drawing the h same tilted head facing the same direction. A fullfrontal face is actually quite challenging because you have to make sure that both eyes are absolutely identical. Especially if you hope to take manga drawing further, one of the first things publishers look for is the ability to draw a face from many perspectives.

8 CREATE ORDER USING CHAOS Exciting manga hairstyles have thick and thin strands arranged in a seemingly random manner, yet still form a pleasant shape as a whole. The same principle applies towards clothing folds. Practice drawing ‘randomly’ but with enough critical judgement so it doesn’t become a mess. Hint: Curved lines look best when they’re drawn in one single sweep. Holding your breath could make your hand momentarily steadier! Try it…

July 2006 83


25/5/06 9:45:40 am

Workshops 9 BE CONFIDENT WITH MARK-MAKING 12 QUALITY OVER A good piece of advice I’ve had is to turn my scruffy pencil sketches into ‘a single beautiful line’. A single line in the right place can project a sense of beauty and power whereas a mass of scratchy outlines only reflect hesitance. With rare stylistic exceptions, good manga drawings should always contain crisp, confident contours.

CONVENIENCE Sometimes it’s tempting to sit and fidget over an image instead getting up to look for references. But at the end of the day you’ve wasted more time trying to fix it yourself and chances are it still looks worse off. It only takes a second to take a photograph of your own hand or yourself wearing a certain garment with clothing folds. You will learn much more by copying correctly, than free-styling incorrectly.

13 THROUGH THE LOOKING GLASS Holding your drawing up to a mirror is an effective way of spotting mistakes. The results are often quite sobering – what looked perfect during sketching could have hideously asymmetrical eyes and other anatomical mistakes. Keep correcting the image until you are happy with the reflection.


10 THE SECRET RET TO T ELEGANT T LINE-ART L T Always vary your ou line-width when inking g to crea create an appealing, dynamic image. Use thicker lines to emphasis contours (such as the face shape) and thinner lines to suggest distance (billowing hair strands). Having the same line-width everywhere creates a static and slightly sloppy effect. Manga art is traditionally inked using a nib pen (as seen on this image above). Fine-liners and digital inking are viable alternatives as long as you take care to alter the line-weight.

11 HOW DO I DRAW HANDS? As with the human body, you have to be thoroughly familiar with their physical structure before being able to create poses from scratch. Study and draw your own hand to understand digit length, how they bend and which fingers tend to group together in certain positions. Manga hands place emphasis on grace, so detailed nails and wrinkly knuckles are usually blended out.

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The face is where you can make or break an emotional connection with the viewer. The face is a good place to express style. Maybe you have a certain way of drawing eyes or mouths that will eventually become your trademark. Think about how the mouth, eyes, pupil size and eyebrow position express a certain emotion. If in doubt look at yourself in the mirror and notice which areas of your face move. Practice making as many expressions as you can – just make sure no one’s watching…

Experiment to challenge the stereotype of what people imagine manga should be 16 FEMALE BODIES Manga female body proportions are usually very petite, reflecting the beauty ideal of Japanese women. Defined muscles or an Amazonian build is less aesthetic and definitely less mainstream. It’s common however to add voluptuous breasts in order to differentiate women from girls.

17 BUFF BISHONEN! Male bodies fluctuate between heavy muscles to an almost androgynous beauty. Ironically, the latter is more popular with female artists. Bishonen (beautiful boy) style simplifies the male body into a slender form with graceful indications of muscle and a notable lack of nipples or body hair.

15 THE PROFILE Manga profiles are usually ‘bottom heavy’ with the nose and mouth jutting further outwards. Practice drawing an eye from the side and remember to position it in line with the ears and the ‘dip’ between nose and forehead. Males have a more pronounced and angular jaw line than females. Body proportion will also affect the profile of face, hair and eyes. Drawing the bald head first will ensure a correct placement of hair.

July 2006

25/5/06 9:45:50 am

Artist insight Manga tips 21 COMIC CONVENTIONS (NOT THE SMELLY ONES) There are many rules and icons specific to manga style when it comes to expressing certain moods or situations. For example, speed-lines can be used literally for movement or figuratively for emotional shock. Study various mangas to identify these narrative devices and try to incorporate them into your own work. Manga pages are a lot more dynamic than the ‘box’ panelling of western comics. However take care not to let a complicated layout hinder reading flow.



The fastest road to improvement is to know your own strengths and weaknesses, through critical self-analysis and constructive opinions of others. Create a clear mental plan of areas you need to tackle, as well as areas in which you do well and can develop to your advantage. Doing something simple well is more morale boosting than always aiming (and failing) at unrealistically difficult tasks. Bright bubbly colours and chibi characters can deftly hide the fact that an image (see the various postcard images above) does not require advanced knowledge of proportion or perspective.

Thumbnails provide a vital overview of your page and enable fast editing of various elements (panel shape, speech bubbles etc). Not only is this much more efficient than making large scale corrections, it also ensures that your final comic sheet is subject to far less erasing and redrawing which could affect the final image quality. Your thumbnails can be as rough or as detailed as you feel is appropriate. But they must show the panel arrangement, speech bubble location and character shots.

19 THE E JOY AND ND AGONY OF FOLDS F CLOTHING C CLO LDS Copying opy from ffashion hi magazines is a great way of training your eye to distil gr the ‘important’ folds from insignificant crumples. You’ll get an inherent understanding of how different garments drape over the body, which is a vital foundation for designing your own clothes using a variety of fabrics and cuts. When in doubt it’s better to have a few simplistic lines indicating folds rather than a jumbled mass of incorrect zig-zags.

23 NA NARRATE, AMUSE AND ENTERTAIN! Manga ang style isn’t always about creating a glossyeyed pin-up. Try using character interaction to eye create a dynamic snapshot with one or many c ‘punch-lines’. This works well with chibi style but can also be done with regular proportions for a darker narrative. Imagine yourself as a manga journalist, and not a fashion photographer. The more detail and narration, the longer someone will want to look at your image… and that can only be a good thing!

24 WORK IS PLAY The only way to improve is to practice, and you can only practice a lot if you enjoy it. Drawing is a therapeutic hobby and you should do whatever makes you feel good. If you only draw to ‘beat’ others then you’ll end up frustrated if success doesn’t come.

25 RULE BREAKING There are rules to manga, but you’re not obliged to follow them. In manga style, creativity is often forgotten in the drive to draw things realistically or learning to colour like a certain artist.

26 DO YOUR OWN THING 2 NG Experiment i t with ith media di and technique qu to challenge the stereotype of what people imagine manga should be. This image is a Photoshop collage of a soft pastel background and two manga characters. The effect is entirely unlike the slick CG effect that we usually associate with manga illustration.

20 DRAWING OLD PEOPLE The standard manga face is poorly suited to adding wrinkles. In order to create a realistic older person you have to alter the entire facial outline to correspond with the sagging and wrinkling that occurs with the ageing process. The eyes become smaller and the distance to the mouth increases.

July 2006 85


25/5/06 9:45:56 am

Hair CG Tutorial - by yokaze. Introduction Hey everyone! *waves* Well... a couple of people of so have asked me for a tutorial on how I do hair CG, so here it is all of its basic glory, and you'll all see how east it really is. Before you start though... I highly highly reccomend you familiarise yourself with paths [the 'pen' tool in Photoshop]. If you want to know a little bit about paths... you can read a breif tutorial \ introduction to them I wrote a little while ago... or ask someone a little more knowledgeable than I! ^o^ Anyways... enjoy the tutorial and I hope it gives any one of you help!

Step One Scan the picture. For this example I scanned an A4 page at 200 DPI [100 would have been fine too] with the default page settings [no brightness\contrast differences]. A lot of people have better computers than I do, however, and choose to work a lot bigger... so if you have RAM to burn you can pump that DPI without losing your system's cooperation.

Okay... Here is the scanned page [PLEEEASE don't laugh at all my weird scribblings and almost inevitabely incorrect kana and such....] But as you can see, I don't exactly start with anything fancy, the pencil lines that I have inked over I don't even bother erasing [unless you are going to resize a picture very small its not worth it!] You will probably also notice the text on the other side of the page, again no problem with our friend brightness/contrast ^_^ Just for you information.... this image is 25% real size, i.e. the true size was 4 times as big.


Step Two Crop the area of the picture with the crop tool [shortcut 'c'] Resize the image so that it is twice the size you would like it to be when you finish. [i.e. so when you are looking it at 50% it is how you would like it to when you have finished.

Step Three Now change the Brightness\Contrast of the picture. [Image > Adjust > Brightness/Contrast] The settings used to change this example were: Brightness: 45 Contrast: 20 Transparent outlines: You don't have to do this next bit if you don't want to.. however I tend to use it, I think it makes at least the hair look nicer in the end ^__^ In the layers pallette double click the bottom layer called 'background' [it should be in italics] rename it to 'Lines' or something suitable. The layer should now have an editable transparency [not italics] Goto the channels palette, select 'make selection' [the dashed circle on the bottom bar. Then clear the selection [DEL] and deselect [CTRL+d] Make a new layer [new layer button on the layers palette] and fill it with white [make white foreground colour, ALT+BACKSPACE]. Place this completely white layer below the one called 'Lines'. Reselect the 'Lines' layer and make sure 'preserve transparency' is checked. Select black as foreground colour and fill [ALT+BACKSPACE]. Go to 'Fade Fill...' [Filter > Fade Fill...] and adjust the fade so you have lines that are reasonably easy to discern [see example above].

Step Four Now you will need to do some basic CG colouring... I am sure most of you are familiar with this.. however I'll just skip breifly over how its done.. Make a new layer for every colour, for example one for skintones and one for hair... and so forth. These layers should be set to the Multiply blending mode [from the drop-down blending selection palette defaulted to 'Normal'] Fill in the colour on these layers by any means you see fit... shown left here is an example of me filling in some hair using paths, however I also use the paintbrush tool [helps to have a tabltet for it!]. ^_~ Once you have filled in the areas using a flat colour, make sure each of the colour layers have 'preserve trasnparency' enabled.

Click to proceed~~~~! >>

Hair CG Tutorial - by yokaze. Step Five

Once you have filled the layers [I just did the hair!] You should have something that looks like this [or neater, preferrably.]

This is the easy bit.. now open your ears nice 'n' wide cos the next part is the most crucial of all...

Okay, listen up cos this little 254x266 pixel block is the key. Basically, what you'll need to do, is make a little path for each hair. Yup. Each and every lil one.The way you need to

do this is by making a little path in the shape shown in the diagram. Then repeat lots of times over. Usually I like to start with a lighter colour. Its also important you make sure each one looks right before you keep it. If it looks dumb, just go back, after all, that's what history is for, ne? ^_^ Now, proceed carefully, and remember to follow the shape of the hairs. And also, Yokaze's rules of path-hair: 1. The thinner each path, the better. 2. The more paths, the better. 3. The smoother the path's curve, the better.

By the end of this path-ing with the first coloir, you should hope to get something that looks a little like this. Remember, when doing this it is very important to have the hair layer that you are colouring onto 'preserve transparency' checked. Now this may look a little complex at first, but don't worry, once you make a few paths you like, you'll get the hang of it really quickly! I'm no expert at paths myself, but I think that a little bit of practice goes a long way! ^_~

Step Six Repeat step 5! Do the same thing with two other colour, to create a variance of tone. Remember when doing this though, a couple of things. 1. We are NOT shading the hair here, just doing random strokes. Making a hair texture, if you will ^_^ 2. Don't be afraid to overlap! Why? Because in real life hair does too! ^_~ 3. Try to make the lines curvy [bad example here], as it give the hair more flow, and makes it seem more natural.

4. Be creative, if you try different curves and stuff it sometimes looks cool even if its a fluke! Heehee. ^.~

Go Forth!!!~~~~~~~~~~~>

Hair CG Tutorial - by yokaze. Step Seven If you already have no regrets about the colour how have chosen for you hair, you can proceed unaffected through this section, however, even so It may be worthwhile reading this section, to pick up one of the most useful little tools in Photoshop [IMHO!]. Select the 'Hair' layer and go to the Coloriser [Image > Adjust > Hue / Saturation]. Check the 'Colorize' check box. Move the sliders to change the colour of the hair. Hue: Colour Saturation: Colour Intensity Lightness: Brightness / Darkness I urge all of you to muck around with this tool, becuase it is really useful in so many situations, especially when you have regest about the colour of some clothing or something... it makes it extremely easy to change.

Step Eight Before you freak out... let me explain exactly what this _is_. IMPORTANT! Imagine all of the light grey airbrushes are actually white... as I needed to show their existence in this example they are coloured black. What this area basically shows is the areas where Colour Dodges have been applied to help give the hair texture. THis has a really dramatic effect so if you are going to listen to anything.. make it this... Make a new layer for the initial colour dodges.. [set the layer's blending mode to colour dodge]. Use the Airbrush [opacity = 2%] on a fairly large size [40 or so... with faded edges] with pure white as the colour. You will see the effect this has and it becomes easy to just add them where you need them. Make a second layer for some secondary colour dodges.. these are more really to represent different areas of colour in hair [no-one has completely monotonal hair, ne?] so select a light variation of the colour you chose for your hair [e.g. if you made red hair choose pink.] This layer is exactly the same as the above aside from the fact that these dodges are a different colour. The example to the right might help show you where to but

these dodges on the hair ^_~

Step Nine Okay this is where we finally add shading to the hair. CTRL+Click the 'Hair' Layer and keep the selection selected. Make a new layer. Fill the selection with White [on the new layer]. Deselect. Click Preserve Transparency on the new layer. Change the Layer's blending mode to 'Multiply'. Now get the airbrush tool [opacity = 10%] and shade the dark\light areas of the hair roughly. Note: the example shown to the left it what the layer will look like on 'Normal' mode... to allpy the shading set it to 'Multiply'.

Step Ten! [Fin!] This is the final step... make a final layer and add some more extreme colour dodges [in white] to the areas where light will catch the hair.Use Airbrish Size = 25 [faded edges], Opacity 8%. Also before you decide to finish the hair you can go back to step seven and change the colour of the 'Hair' layer. If not because you don't like the hair colour, do it for fun!

Finished CG! ^_~

Tips on Drawing Dragonball Z Style Bodies

Tips on Drawing Dragonball Z Style Bodies In this tutorial, I will attempt to go over how to draw DBZ style bodies. I don't have much experience with drawing figures, though, so just bear with me. You should be able to use a lot of the stuff here for drawing the bodies of other styles of characters, too. I didn't make up these poses, I took them directly from other DBZ pictures, so you may recognize a few of the more common ones. ^_^ If you have any questions, please email me. This page was created and is maintained by Julie Dillon. Redesigned by k-chan. All material is copyright by their respective owners. If you have any questions, comments, et cetera, please send them here. Arigatou gozaimasu! This site Š 1998, 1999 by Julie Dillon. All rights reserved. [3/7/2000 13:25:49]

Tips on Drawing Dragonball Z Style Bodies

Step 1: We shall begin with a basic, Dragonball-ish pose, and then work our way up to more complicated poses. Start off with the head, torso, and waist. The head is the same shape as in my other DBZ tutorials, just a circle with the lower half of the face added. If you like, you can draw the face first. The only reason that I didn't draw the face first here is because I didn't want to retrace the face that many times. ^_^ The torso is usually relatively large, and wider than the waist. As shown in this picture, the distance from the top of the head to the bottom of the neck is the same as the distance between the bottom of the neck and the bottom of the torso. Also, the distance from the center of the head to the edge of the head is about the same as the distance from the edge of the head to the tip of the shoulder. Hopefully that will help you get the proportions right. I usually add extremely basic muscle definition, just to get a more three-dimensional look and help with the placement of the other forms. Make sure you draw all this very lightly, because you'll be erasing it and drawing over it later.

Step 2: Next, sketch in the basic shape of the arms and legs. Don't worry about the muscles or clothes yet, we'll add those later. Right now, just use sketchy ovals, circles, and cylinders to get the proportions. Use cylinders for the arms, ovals for the legs, and circles for the shoulders, joints and hands. This method may seem awkward at first, but it is a great help in determing the proper length and size of the various parts of the body. In this picture, the arms don't go straight down. The elbows are pulled back behind him, so that his forearms are level with his waist. Thus, the arms will not be drawn as long as if they were hanging limply at his side. Foreshortening the arms isn't all that difficult, if you think of them just as cylinders. Notice here that with both arms, the top part of the arm slants inward, since it is moving away from you. The lower part slants back out, since his fists are coming towards you. These angles are further exaggerated by the little arrows on the sides of his arms. DBZ legs tend to be short and stumpy and don't really taper down as much as other characters' legs. Just be careful not to make them too short, or they will look weird. ^_^ (1 of 2) [3/7/2000 13:26:00]

Tips on Drawing Dragonball Z Style Bodies

Step 3: Once the arms and legs are in place, you can begin drawing the details over your rough sketch, such as clothing, hair, and muscles. Folds in clothing can be difficult, but just try to see which way the cloth is being pulled. For example, his pants are very loose and baggy, so it bunches up around his knees and ankles; the folds curve inward and down towards his feet. The material of his belt is stretched around his waist, so the folds are more horizontal. The way Dragonball Z muscles are drawn reminds of a normally proportioned person with flesh-colored water balloons stuck to his arms. ^_~ The muscles are always very big and round, and are shaded to look like they protrude a great deal, like balloons. This is more prominent in Super Saiyajin characters. The point of this is that it might help you to think of the muscles as individual ellipsoids when drawing them. ^_^

Step 4: Erase all the unncessary lines, leaving only the outline. Add the face and hands, as well as extra details on the muscles and clothes. Clean up your sketch as best as you can.

Step 5: You may now color or shade your picture with a meduim of your choice. Make sure to make the muscles look very round, and make the shadows on the clothes very dark and contrasting. (2 of 2) [3/7/2000 13:26:00]

Tips on Drawing Dragonball Z Style Bodies

Step 1: Now lets try a similar pose, except from a 3/4 view. I'm going to move a little faster this time. Draw the same head, torso, and waist as before, except now turn it a 3/4 angle. Use the center line that runs from the top of his head to the bottom of his waist to guide you. Notice that it should follow the contours of the forms rather than moving straight down in a straight curve. Also notice that the back is arched slightly (indicated by the red line). The same proportions as in the tutorial above should apply, but it will be harder to judge since the forms are at an angle.

Step 2: Once the main body is positioned, draw in the arms and legs. Again, in this pose the elbows have been pulled back and are foreshortened. For the right arm, the upper section slants inward since it moves away from you, and the lower section slants outward since it moves towards you. For the left arm, both sections are moving away from you, so they both slant inward (make sure the lower half is at an angle from the top half, since his arm is bent, not straight. The legs in this picture are more tapered than in the last drawing, so make them a little thinner near the bottom (but not too thin).

Step 3: Lightly draw the outlines of the clothing, hair, and any accesories (like the sword). Like other DBZ characters, his pants are very baggy and should gather around the ankles. His shirt is sort of tight and shouldn't look too baggy (in other words, don't have it hang down over the belt and bunch up too much), while his jacket is very thick (the material should look loose and bunch up around his joints).

Step 4: Erase all unncessary lines and smooth out your final outline. Draw in his hands and face. (1 of 2) [3/7/2000 13:26:10]

Tips on Drawing Dragonball Z Style Bodies

Step 5: You can now take your finished picture and color or shade it however you choose. As always, I used Adobe Photoshop, but you can use whatever you want, as long it is shaded and has some depth to it. Notice that since the pants are so dark, you can hardly see the wrinkle lines that were drawn in earlier; instead, the highlights define the shape. (2 of 2) [3/7/2000 13:26:10]

Tips on Drawing Dragonball Z Style Bodies

Step 1: Our next pose is similar to the last one, but now one of the legs is foreshortened in addition to the arms, and the upper half of the left arm isn't visible at all since its hidden behind the torso. Start again with the head, torso and waist at a 3/4 view, but now tilt the forms so that it looks like he is leaning over. When a character leans over, you'll notice that the back of the ribcage is large enough that it begins to surround the head. There is a better example of this further on, but I'll get to that in a moment. For now, just take note that the neck isn't going to be as visible when the character is leaning foward, since the head blocks the lower part of the neck, and swell of the muscles on the back hide the upper part of the neck.

Step 2: Next, draw the arms and legs. You will foreshorten the legs the exact same way as you did the arms; if the forms are moving away from you, slant them inward; if they are moving towards you, slant them outwards. Make the right leg a little short, since it is bent slightly forward towards you (look at the other pictures to see what I mean).

Step 3: Now you can start adding the details, like the hair, clothing, muscles and hands. Since his legs are bent, there are going to be lot more folds on the pants. Just remember to draw the folds in the direction that the cloth is being pulled. If you look at the left leg, you'll see that the material is stretched across his knees, so there are horizontal folds near the waist.

Step 4: Draw the face and the rest of the details, then erase all the unncessary lines and smooth over the finished outline. (1 of 2) [3/7/2000 13:26:18]

Tips on Drawing Dragonball Z Style Bodies

Step 5: You can now color or shade your picture. (2 of 2) [3/7/2000 13:26:18]

Tips on Drawing Dragonball Z Style Bodies

Step 1: This pose is similar to the others, as well, except the foreshortening and positioning are more complicated. Draw the head, torso, and waist as usual, except tilt the body more to the right. Notice how the waist is much smaller than the torso, and is located further to right; don't make it too far to the right, though, you don't want him to look too swishy. -_^

Step 2: Draw in his arms and legs next, using just ovals and cylinders. Now, you will notice that since his right leg is bent back, the lower half of the leg is not visible. All you see of the lower half is his foot. Draw the right thigh as you would for any other figure, just don't include the lower half of the leg. For the left leg, make sure it is slanted to the right rather than going straight down, so it will look like he is starting to run rather than standing on one foot (unless you want to do a pose like that). ^_^ The arms may be difficult, as well. The left arm is bent forward towards you, so the front half of the arm should cover up a great deal of the back half. Keep the arm up high and level with the center of the chest, becuase it is going to be holding a sword. The right arm is almost completely hidden behind the torso. Just make sure the hand isn't any lower than the hips.

Step 3: Now, add the hair, muscles, clothing, sword, and hands. Use a straight edge or ruler if necessary to draw the sword straight and to make sure its at the proper angle. Make the muscles on the arms very round; make the ones closer to you overlap the ones further back to make them look more three dimensional. The shoulder muscles on both sides should be rather prominent. The shirt it relatively tight and shouldn't be drawn too baggy. The pants are tight around the waist, but loose around the legs, so draw most of the folds around the knees and ankles. Make his hair look like it is flowing back somewhat, so it looks more like he is in motion.

Step 4: Erase all the lines you don't need, add the face, and smooth out your sketch. Retrace it onto a clean peice of paper if necessary. (1 of 2) [3/7/2000 13:26:29]

Tips on Drawing Dragonball Z Style Bodies

Step 5: Shade or color your picture as you see fit. Hmm, this one turned out pretty good. ^_^ (2 of 2) [3/7/2000 13:26:29]

Tips on Drawing Dragonball Z Style Bodies

Step 1: Now, we will move on to examples of more exaggerated foreshortening. In this picture, the figure is leaning forward a great deal, looking like he's going to use some chi attack or something. Remember what I was saying before about the ribcage enveloping the head when the figure is tilted forward? Well, here is a better example of that. The head completely covers up the neck, and the head is almost completely surrounded by the torso. The chest muscles are hardly visible because of the angle, and some of the waist is hidden, as well.

Step 2: Next, draw the arms and legs. Both arms stick straight out towards you, which can be a difficult angle to draw them at. Just remember to draw them shorter than normal, and to make them slant outwards. The left hand is straighter than the right, and slants outward more, because it's closer to you. The little arrows show you an exaggerated view of the movement of the arms. The legs are very far back behind the body. Thus, they will be drawn very short. They will slant inwards, since they are moving away from you. Only the top part of the left leg is visible, since the lower half is hidden. Keep the figure very compact; the arms and legs shouldn't be drawn too far out from the main body.

Step 3: Now for the fun part, adding in all the details. ^_^ Draw the hair, muscles, hands, and clothes. The hands really aren't as difficult as they may seem at first. The palms are very large and circular, and the fingers are all short and curve inwards towards the center of the palm. The muscles are, as always, very large and water-balloonish (^_~) so make sure they look round and protrude and everything.

Step 4: Erase all the extra lines and draw in the face. Smooth out your sketch, and add some extra definition to the muscles and clothing. (1 of 2) [3/7/2000 13:26:38]

Tips on Drawing Dragonball Z Style Bodies

Step 5: Color or shade your picture however you want. (2 of 2) [3/7/2000 13:26:38]

Tips on Drawing Dragonball Z Style Bodies

Step 1: Okay, this is the last pose. ^_^ The view is the most awkward, in my opinion, so I saved it for last. In this picture, the character is leaning so far forward that his torso blocks out most of the lower half of his body. The ribcage completely encircles his head now.

Step 2: Now, add the arms, and the one leg that is visible. ^_^ Just assume that the other leg is pointed straight backwards. All you see of the left leg is the edge of the knee, so don't make it too long, it is not going to be sticking out from the body that far. The left arm curves away from you, so make sure it slants inward. The hand on the right arm should be almost as big as the head, since it is much closer to you than the head.

Step 3: Add the major details, like the hair, clothes, and muscles.

Step 4: Add the face, erase the unwanted lines, smooth out your sketch, and you are almost done. ^_^ (1 of 2) [3/7/2000 13:26:47]

Tips on Drawing Dragonball Z Style Bodies

Step 5: Color or shade your picture. Try to make the light source consistent; that is, have the light come from the same side so that the highlights and shadows seem more consistent. Well, that about wraps things up. Whew... That took longer that I thought it would. ^_^;

That completes my section on Dragonball Z style bodies. I hope this was of some help to you. :) If this tutorial has helped you in any way, I'd love to see your finished work. (2 of 2) [3/7/2000 13:26:47]

Photoshop Coloring Tips

Photoshop Coloring Tips Preparting the outline Adding Color and Shading: Part 1 Adding Color and Shading: Part 2 Backgrounds, Finishing Touches, and File Formats

Here is my new and improved CG tutorial, featuring many of my updated techniques. ^_^ The older tutorial, which is really outdated, can still be accessed from here.

This page was created and is maintained by Julie Dillon. All material is copyright by their respective owners. If you have any questions, comments, et cetera, please send them here. Arigatou gozaimasu! This site Š 1998-2000 by Julie Dillon. All rights reserved. [3/7/2000 13:20:07]

Photoshop Coloring Tips

Preparing the Outline I used to CG trace my pictures, but I have found that that takes too long, and that it is easier just to use an inked sketch. ^_^ Once you have decided what picture you want to color, retrace the image onto a clean piece of paper and carefully ink it. It usually helps to use big paper and thin pens, so you can get a really crisp, thin outline. If you mess up the inking, you can clean it up with whiteout or by fixing it in Photoshop. Erase any extra pencil lines and get the inked outline as clean as possible. Scan the outline and load it into Photoshop. Make sure your outline is in RGB mode before you continue. To put your outline in RGB mode, go to the Image menu on the top bar, then Mode, and RGB Color. A lot of people like to keep the outline on the bottom of the picture, and then color on top using layers set to "Multiply". The major flaw in coloring this way is that you have no way to color the outline. Adding color to the outline can give your picture a nice touch. In order to do this, though, you have to make the outline transparent, which will allow you to color beneath it (just as if you put the outline on a sheet of transparency paper).

Before you do anything, though, adjust the brightness and contrast of your image until the white areas are pure white and the black lines are dark black, but not pixelly. If you aren't careful and adjust the contrast too much, you'll end up with a jagged outline, as in the picture to leftmost picture. You do not want an outline this jagged and ugly; you want it to be as smooth and crisp as possible, so be careful. You will also want to go over sketchy areas, such as the eye in this picture, and clean up the lines a little bit. I'm usually not patient enough to do this too often, though. ^_^ Once you shrink down the image, flaws in your outline won't be as noticeable, anyway. (1 of 4) [3/7/2000 13:20:26]

Photoshop Coloring Tips

Now, in order to make your freshly cleaned outline transparent, first select the entire canvas. Copy the entire outline, and paste it into a layer by itself as shown to the left. You will then have two copies of your outline: the background layer, and Layer 1. Delete the background layer, and create a new blank, pure white background by going to the Layers menu, then to New Background.

Next, go to the Channels menu on the floating layers window. Click the "Load Channel as Selection" button, which is the leftmost button that looks like a little dotted circle on the bottom of the menu. What this does is select all of the white areas on a picture, so you don't have to use the magic wand. Avoid using the magic wand at all costs! It can make some really sloppy selections. Anyway, after hitting the "Load Channel as Selection" button, all the white areas should be surrounded by dashed lines. (2 of 4) [3/7/2000 13:20:26]

Photoshop Coloring Tips

Make sure that Layer 1 is selected, and not the background layer, then hit delete. This will delete all white areas from the picture, leaving only the black outline. Deselect the image so that the dashed lines go away, leaving only the outline. You'll notice that the outline is a little faded, though. Don't worry, this is very easy to correct. :)

Set Layer 1 to "Preserve Transparency" by checking the box on the Layers menu, as shown at the left. This allows you to paint on top of the existing lines without coloring over them and messing them up. Its a very handy feature. :) Select a big paintbrush and paint over the entire picture with pure black. The outline should be back to its former darkened self. :) (3 of 4) [3/7/2000 13:20:26]

Photoshop Coloring Tips

There, now you have a clean, transparent outline ready to be colored underneath. :)

On to the Next Section!

This page is created and maintained by Julie Dillon. All material is copyright by their respective owners. If you have any questions, comments, et cetera, please send them here. Arigatou gozaimasu! This site Š 1998, 1999 by Julie Dillon. All rights reserved. (4 of 4) [3/7/2000 13:20:26]

Photoshop Coloring Tips

Adding Color and Shading: Part 1 Create a new layer between the Background layer and the Outline layer. This layer will be for the skin (well, you can color whatever you like first, but I usually start off with the skin or hair). :) Most people use the magic wand tool to select an area to paint, but I have found the magic wand tool to be insufficient, and not very precise. Plus, you end up having several white areas around the lines that need to be filled in. Instead, use the polygonal lasso tool to select the areas that you want to color in. It takes a little longer, but works out best in the long run. You don't have to worry about holes in the outline or those annoying white areas around the lines. What you want to do is trace along the outlines of the region you are wanting to color. This can be difficult on larger complex regions, though, since once you start the selection you can't stop until you finish it. If this becomes a problem, the pen tool will work just as well for this task. Sometimes complicated regions like detailed hair can be a pain to select, but trust me, just be patient and you will be glad you took the extra time instead of using the magic wand tool. :)

Once you have all of the skin (or whatever other part you are working on) selected, choose a color and use the paint bucket to (1 of 6) [3/7/2000 13:20:45]

Photoshop Coloring Tips

fill it in. If you have problems choosing colors, look around on the internet for pictures of characters with nice skin tones, and copy them over. If the color is too faded because you took it from a bad scan, just adjust it until it looks the way you want it. Also, before you add the color, consider what kind of lighting will be in the picture. Will it be in normal daylight, or will it be dark? What kind of mood do you want your picture to have? The colors you choose will affect the overall feel of the picture, so take this into account before you begin to add color.

Next, select the other regions of the picture and fill in the colors. Make sure to put each color on a separate layer, or at least make sure you do not have any two colors touching one another. This will make it much easier to shade later on. ^_^ Speaking of which, do not begin to shade until you have filled in the colors for all the major areas. This is done so you can (2 of 6) [3/7/2000 13:20:45]

Photoshop Coloring Tips

make sure the colors match up well. I wanted this picture to have soft light, so I chose light, slightly faded colors. Remember that your color selection can greatly affect the look and feel of your picture, so take some time when filling in all the colors. I usually spend some time adjusting and readjusting the colors of the skin, hair and clothing until I'm pleased with the combination.

Now that all the main colors are filled in, we can go back and start shading. I usually start with the skin and hair, just because I think they're more fun. :) Make sure that you check the preserve transparency box at the top of the Layers floating menu! This is very important; it allows you to paint over the area that you already painted on without going over the lines. It will make shading much easier. Select a darker version of the base color of the layer you are working with. If you have trouble selecting a nice color, then look at other pictures for reference. I almost always use another anime picture to help me with the shading, especially (3 of 6) [3/7/2000 13:20:45]

Photoshop Coloring Tips

with more complicated light patterns. I use a graphics tablet when shading, but a lot of people have to use a mouse instead. To get that smooth cel look with a mouse, you can use the freehand pen tool to define the shadows, color them freehand (which I often prefer, even though its messy and takes longer..), or use the polygonal lasso tool to select the areas you want to shade. There are a variety of ways you can go about adding the shading; what method you choose is up to you. Just remember to experiment, and to be patient, because it can take a while to get the shadows smooth and shaped the way you want them.

It's usually a good idea to add several layers of shading per base color, especially on areas like the skin and hair. In addition to adding another layer of shadows, I adjusted the colors of the skin a little to make them less dull. To do this, use the eyedropper tool to select the color you want to change, then go to Replace Color on the top Image Menu. You can then change that color to anything you like without messing up the shading you have already filled in. ^_^ (4 of 6) [3/7/2000 13:20:45]

Photoshop Coloring Tips

Once you have finished shading the face, move onto another area. I chose to do the hair next, because as I mentioned before, I like coloring hair. :) The hair was colored pretty much the same way as the face; I picked a darker shade of the base color, and filled in the shadows. Make sure that you keep a consistent light pattern. For example, if the light is coming from the left on the face, make sure it looks like its coming from the left on the rest of the picture. Pay close attention to areas where the shadows fall, and make sure to shade them accordingly. Again, it never hurts to use another picture as reference.

If you like, add a second layer of shadows to the hair to give it added depth. Feel free to add highlights, too. I didn't add them in this particular picture, because I didn't feel that his hair needed it, but if you were to add highlights, I recommend putting it on a separate layer above the hair. Making the light areas of the highlights overlap the darker shadows is a great way to make the hair (or anything) look really shiny, and its easier to make them overlap if they are on separate layers. :) (5 of 6) [3/7/2000 13:20:45]

Photoshop Coloring Tips

On to Part 3!

This page is created and maintained by Julie Dillon. All material is copyright by their respective owners. If you have any questions, comments, et cetera, please send them here. Arigatou gozaimasu! This site Š 1998, 1999 by Julie Dillon. All rights reserved. (6 of 6) [3/7/2000 13:20:45]

Photoshop Coloring Tips

Adding Color and Shading: Part 2

After shading the hair and face, I moved on to the headdress. I wanted to go over how to color orbs and give them that nice glowy appearance. ^_^ Glowing orbs can look complicated, but it is really quite simple to shade them. Start off by creating a dark area in the center of the orb. I had inked mine in when drawing, which probably wasn't the best of ideas, so I use the smudge tool to smooth it out a little before continuing. ^_^

Use a darker shade of the base color to extend the shadows in the center of the orb, as well as along the bottom rim of the orb. Use as much or as little detail as you wish. (1 of 4) [3/7/2000 13:20:58]

Photoshop Coloring Tips

Next, just add a few round highlights in the area where the light is coming from. To give the orb an added shiny-ness, I put a few more shadows around the largest highlight, and painted on top of the highlights with a very soft white airbrush. See? Its not that hard. To get the shiny effect, just add several layers of shadows and overlapping highlights. :)

Start adding shading to the other, more detailed areas of your picture, and make sure you keep the light source consistent. Remember to use several layers of highlights and shadows to make the picture look more three dimensional and rounded. I recommend using at least two or three different colors per layer. (2 of 4) [3/7/2000 13:20:58]

Photoshop Coloring Tips

Color in the rest of the details. Remember that the more layers of shading you use, the more three dimensional it will look. However, you have to make sure that you put them in the right place, or it won't make much difference how many shadows you have.

Remember at the beginning of this tutorial I said that adding color to the outline can give your picture a nice touch? Well, now you can try it out and see for yourself. :) Go back to the outline layer, make sure the preserve transparency is checked, pick a darker version of the color you are going to paint around, and color the outlines. For the hair, I used a darker blue; for the skin, I used a dark brown. What this does is make the outlines less prominent, but still give the edges the proper definition. Compare this picture with the one directly above. Do you see the difference? Its very subtle, but trust me, it can make your picture look much better, especially if you are working with thicker outlines. (3 of 4) [3/7/2000 13:20:58]

Photoshop Coloring Tips

On to Part 4!

This page is created and maintained by Julie Dillon. All material is copyright by their respective owners. If you have any questions, comments, et cetera, please send them here. Arigatou gozaimasu! This site Š 1998, 1999 by Julie Dillon. All rights reserved. (4 of 4) [3/7/2000 13:20:58]

Photoshop Coloring Tips

Backgrounds and Finishing Touches

Once you have your character all colored in, you may wish to add a background. Even a sloppy background can really bring your picture to life. ;) I sketched up a quick background, which consisted of a city and some mountains, and put the sketch in a layer beneath the main picture. I then made the sketch transparent using the same method described in part 1. However, it's probably smarter to include the background in your first sketch; I just didn't think about it until after scanning in the inked version of this picture. ^_^; Anyway, make sure the outline for the background layer is transparent. (1 of 6) [3/7/2000 13:21:10]

Photoshop Coloring Tips

Next, fill in the base colors of the background using the polygonal lasso tool. Okay, I know the background I drew isn't the most exciting in the world, but it's my first try at adding a hand drawn background, so bear with me. ^_^

Once the main colors are set down, add shading to the background so it doesn't look so flat. This part takes a little while... It is usually a big help to have some (2 of 6) [3/7/2000 13:21:10]

Photoshop Coloring Tips

reference pictures, because I don't know about you, but I personally find coloring landscapes challenging. ^_^ Of course, that's probably because I don't practice nearly enough... ^_~

Once I colored in the background, I added a few lighting effects to make it look a little nicer. I added a lens flare right above the mountains (this is one time when a lens flare would be appropriate; they are generally only seen when a light is shining directly into the camera), and added some (3 of 6) [3/7/2000 13:21:10]

Photoshop Coloring Tips

streaks of light. To get the light streaks, I created another layer between the background and the character, used the polygonal lasso tool to make large, flat triangle shapes, filled them in with pure white, blurred them out with a guassian blur, set the layer to "Soft Light" instead of normal, and adjusted the opacity of the layer to about 70%.

You're almost done now. :) If you like, create a layer on top of all the others. On this layer, you will put extra highlights and touchups. Take a light airbrush set to a low pressure (20-40%), and carefully add light to areas with highlights, such as the lighter areas of the metallic areas on the headdress in the picture to the right. This gives them an added shiny-ness. :) (4 of 6) [3/7/2000 13:21:10]

Photoshop Coloring Tips

Whew, almost done! :) Now, all you have to do is compress your file. If you have the memory to spare, you may wish to keep an uncompressed version of your picture for future use (you may want to make prints or wallpapers out of it). Still, if you plan on posting your picture on the internet, you need to compress it and save it in either JPEG or GIF format. There is nothing more annoying than having to wait half an hour waiting to receive a 2 meg file that someone sent, because he or she didn't know how to properly compress the file. To shrink the file size down, go to the Layers Menu at the top menu bar, then go to "Flatten Image". This will flatten all the layers together. You cannot save in JPEG format unless you flatten the image. At this point, you may need to adjust the size of the image, too. Try not to make the picture any more than 800 pixels in either direction; it's best to have the picture fit on one screen. Next, just go to "save as", and select JPEG format from the pull down menu. When prompted, pick a compression rate to save it as. I recommend a compression rate of either 6 or 7, because it trims the file size down nicely without sacrificing too much quality. Trust me, it's pretty hard to tell the difference between a level 10 compressed file and a level 6 compressed file. ^_^ By the way, click on the picture to the left to see the finished, full size version! :)

This page is created and maintained by Julie Dillon. (5 of 6) [3/7/2000 13:21:10]

Photoshop Coloring Tips

All material is copyright by their respective owners. If you have any questions, comments, et cetera, please send them here. Arigatou gozaimasu! This site Š 1998, 1999 by Julie Dillon. All rights reserved. (6 of 6) [3/7/2000 13:21:10] [3/7/2000 13:21:15]

Photoshop Coloring Tips

Photoshop Coloring Tips When CGing, it is very important to have a clean outline. To accomplish this, you can retrace your sketch and carefully ink it, or you can do what I did and retrace it in Photoshop using the pen and airbrush tools. Both methods have their advantages; inked sketches tend to have crisper, more expressive lines, while sketches that have been CG traced are cleaner and smoother. Both of these methods are covered in detail at I highly suggest you read through the owner's tutorials on this subject, since I'm not going to cover them here in great detail. I don't want to be redundant; I use the exact same steps that are covered in his tutorials for the first few steps, and the owner does a very good job of going over the basics.

This page was created and is maintained by Julie Dillon. Redesigned by k-chan. All material is copyright by their respective owners. If you have any questions, comments, et cetera, please send them here. Arigatou gozaimasu! This site Š 1998, 1999 by Julie Dillon. All rights reserved. [3/7/2000 13:21:42]

Heavy Metal This appears difficult at first but it's really not. Follow along closely and I'll show how easy it is to make an object appear Metalic.

Step 1: 50% Grey Whatever your object is..start with a flat fill of 50% grey

Step 2: Selection Samba 1) Using the rectangular Marquee tool Make a "banded" selection horizontally across the object. Hold down shift and creat several more marquee selections of varying size across the object. 2) "feather" the selections by 5 pixels (keyboard shortcut alt+ctrl D ..cmd+opt D for mac users) 3) Open the levels dialog box(ctrl L) and increase the black output slider to about 64. Click ok. 4) with you keyboards arrows. move the selection down about 8 taps and invert it (ctrl+i)

Step 3: Double check Your object should look something like this now. You can probably get the same effect by holding shift and airbrushing dark bands across the object. It's up to you...just make sure the object is all greyscale and banded like you see here.

Step 4: Bevel it If you have Photoshop 5 or higher. Add a bevel using layer effects. Once you have created the bevel...make a new blank layer beneath the object and merge the object layer down with the blank layer...this fuses the effect to the object so we can do step 5. If you are using eyecandy...just make a nice bevel and join us on step 5.

Step 5: Curve it Here's the magic. With your object layer selected. Open your curves dialog box (keyboard shortcut ctrl+M) and make a curve kinda like you see here. Just click on the diagonal line and drag up and down.

Step 5: Double Check 2 You should now look something like this. Neat eh? but it's still missing a little something.

Step 5: colorize it Hit Ctrl+U to bring up your hue & saturation dialog box. Click on the "Colorize" box on the lower right and slide hue to about 225 and saturation down to about 15. This will make the metal kind of blueish. You can color it however you want though. Click OK

Step 6: sharpen it I know the filter is called "Unsharp" but it does just the opposite. Run the filter with settings similar to what you see here and it will make the darker parts of the chrome "pop" out a bit and lend an air of realism to the whole effect.

Step 7: drop shadow and completion There ya go! A drop shadow...maybe a few lensflares and you have a cool chrome object and you never had to resort to a 3D application.

Rain I just posted this as a response on Megatokyo's board...figured it was valuable enough to post here as an effect tutorial.

Step 1: Have a source pic Make sure you got something to rain on...not really a step 1 but I had to start somewhere.

Step 2: Make some noise Create a new layer above the background layer and fill it with black. Run Filter>Noise>Add Noise Choose: Gaussian, Monochrome and an amount of around 65..depends on how big your pic is and how much rain you want.

Step 3: Motion Blur a motion blur filter >Filter>Blur>Motion Blur Use a setting similar to what I have here. Change the layers blending mode to "Screen" (That makes all the black transparent) Now do this:

>Image>Adjust>Levels Slide the central grey arrow to the right till the rain looks right.

Step 4: Tada Now you have rain! Easy! Add to it's realism by adding puddles and reflections on hard surfaces..make little white "v"s where the rain bounces off stuff in the foreground.

Smoke How to make a smoking Gun, Cigarette...whatever. EASY!!

Step 1: Choose your smoking object In this's a I know guns only smoke for a second after you shoot them but there are certain liberties the entertainment industry takes with spaceships making rumblesounds and firey exposions in the vacuum of space. Smoking guns just add drama to a picture.

Step 2: Airbrush On a new layer..Airbrush some grey over the origin of the smoke. Use a soft brush setting and a lower opacity.

Step 3: Spatter fun Now we need some "pepper". Change you airbrushes setting to "dissolve" and shoot some white and black particles onto the grey spot. Not too many...just enough to smear

Step 4: Smudge Grab the smudge tool (looks like a pointing finger) and smear the pixels upward in an "S" like motion. Don't worry if the effect is too severe right now...just smooth it all out.

Step 5: Finishing Effects Grab your eraser tool and set it to airbrush with a soft brush setting and trim out the unwanted smoke. Use the dodge and burn tools to add highlites and shadows to the smoke. Re-smear any pixels or effects that look "too hard" Lower the smoke layers opacity to taste.

Neon Sign Neon signs are also really easy to make in Photoshop 5. I'll show you both ways in case you have an earlier version.

Step 1: make it dark Your background should be dark and use colder nightime colors.

Step 2: Pick a round font Neon signs are basically bent tubes filled with glowing gas. There aren't any sharp corners so pick a font the has rounded edges. I usually make the font color white. The NEON colors are produced by the filters in the next few steps.

Step 3: Layer Effects If you have photoshop 5 or higher you can do it this way. Don't fret if you dont..i have alternative steps listed below. Make your settings similar to what you see here. Do this for both Inner and Outer glow. Make sure you use the same color.

Step 4: Add a drop shadow Add a drop shadow and call it good. Maybe airbrush some of the signs color onto the wall it's attached to.

Alternative step 1 Type your text. Only this time..instead of white, use the color you want the neon sign to be.

Alternative step 2 Select the text (cntrl-click the layer the text is on). Contract your selection by a few pixels. Feather the selection by a few pixels and create a new layer..fill the contracted, feathered selection with white.

Alternative step 3 Now..go back to your base neon color layer and apply a gaussian blur to it. Make about 3 copies of this blurred color layer to enhance the effect.

Alternative step 3 Now add a drop shadow and airbrush some of the neons color onto the background layer to make it believable. There's a few extra steps to this alternative method but the results are a little more realistic. Try this technique with outlined text.

Fire/Plasma Ball Fireballs are really easy but it's best if you have a WACOM tablet so you can take advantage of its pressure sensitive features.

Step 1: make a ball Make a white ball on it's own layer...easy

Step 2: Make a glow I don't use Layer effects for this. I make a copy of the ball. Select it...expand the selection by 5 pixels..feather the selection by 5 pixels and fill it with orange or a good fire color. I then merge the original white ball onto the orange glow I created...should look like this.

Step 3: Get to smudgin'! I start with a larger brush setting and softly drag from the center out. I then choose a smaller brush setting and make the little wisps you see around the edges. If this was blue it would make a nice Plasma ball. The Wacom tablet allows me to control where the wisps fade out. If you don't have a wacom tablet you may have to go back in with the eraser tool and taper off the wisps manually. If you smear the ball in one direction only you can add the illusion of motion. Give it a try!

Power Blast I get a lot of questions on how to make energy bolts like they use in Dragonball or in StarBlazer (Wave Motion Gun..YEAH). Here's a recipe for a cracklin' energy blast you can use to destroy things with.

Step 1: Choose your source The blast has to come from somewhere. I put a circle here for tutorial purposes but you just pretend it's a gun muzzle or someones hand, k?

Step 2: Make the base of the bolt Use the polygon lasso tool and click out a blast beam selection in perspective like you see here.Make sure it's on it's own layer. Fill it with a good bolt color...light blues, purples, greens and reds are good. Make sure it's a bright color high on the saturation.

Step 3: Getting in touch with your inner bolt Now...create a new blank layer above the outer bolt. ctrl+click on the outerbolt layer to make the bolt a selection. Contract this selection by a few pixels and fill this new contracted selection with white on it's own layer. You should now have something like you see here.

Step 4: Blurry Apply a gaussian blur to each layer. Play with the settings..I used a 2.5 pixel may need less or more depending on the size of your picture. This technique also makes a good light saber.

Step 5: snap, crackle, pop On another new blank layer, grab your paintbrush, set it to 1 pixel, 100% opacity, normal blendingmode and brush out some lightning forks along the beam.

Step 5: Glow If you have photoshop 5 or higher you can apply the "OuterGlow" layer effect to the lightning layer. Use the eyedropper to select the outer glow color from the beam itself. TaDa. If I was actually using this in a pic I'd probably sharpen the beginning of the beam a little and add a lensflare or muzzle flash to the origin.

Displacement Maps Displacement Maps are useful for making 2D patterns "wrap" around fold or curves on an object with a perceivable depth. I was studying Intron Depot 2 and noticed Master Shirow uses displacement maps a lot when texturing clothing or monsters. I'm no master Shirow and this art to the left was a bit rushed but hopefully it will be enough to help you unlock the secrets of this advanced photoshop technique.

First...prepare your lineart like I've shown you in past tutorials on coloring. Place the lineart on it's own layer and change it's blending mode to "Multiply". This will allow you to paint and work on layers underneath the line art without painting over or obstructing the lineart. Basically, "Multiply" makes white invisible whereas "Screen" makes Black invisible

Color in the portions that will not be affected by the displacement map. In this pic I just plan on adding patterns to the Kimono, OBI and Fan. I've already chosen my pattern and used the eyedropper to grab complimentary colors from the pattern so the Kimono's trim will look nice with it when I apply it.

Create a new layer above your color layer and below your lineart layer. Name it "Pattern" so you know what it is later. Find a pattern on the net or scan one in that you like. Fill the entire layer with this pattern.

Hide your pattern layer by clicking the EYE off. Switch to your channels pallete , Create a new channel and mask out the part of the drawing you want to apply the pattern to. (Paint the area white) If you see only black, make sure you click the "EYE" on for the RGB channel. Your new Alpha channel should then be 50% red so you can see what your painting over.

Make a copy of the channel you just masked out and begin shading it to match the light source you've established in your picture. Apply a Gaussian Blur of a few pixels when you have it shaded the way you like it. Copy this channel (select all, COPY) and paste it into it's own document. (ctrl+N , ctrl+V). Make sure the new document's mode is set to "Grayscale" Flatten the new document and save it as "displacement.psd"

Go back to your main art document and make the "Pattern" layer active by clicking on it. Go to your filters menu and choose "Distort>Displace" Choose the default setting of 10,10..repeat edge pixels. Click OK and browse to the "Displacement.PSD" document we previously saved. Click OK. Now your texture is "wrapped" around the folds and curves we shaded. If the effect is too strong..undo the filter and redo it with a lower setting like 5,5 or so. Use the mask channel we made that doesnt have shading to select the textured area. Invert the selection and trim away the excess pattern.

Now the pattern is wrapped but still requires some shading. Use the dodge tool to add highlights in the appropriate areas. Repeat this process for any other areas you want to wrap a pattern around. Go back to page 1 to see the completed version of this piece.

2 DRAWING BASICS Good drawing is the foundation of quality digital illustration. Without your drawing, you’ll have nothing to build upon. If you start with a bad drawing, no amount of digital colouring can transform it into a good drawing. Only through revision and redrawing can a bad drawing be fixed. Therefore, it’s important to do everything you can to improve your artwork before moving it into the digital realm. There are countless books on the market (some quite good, some not so good) devoted to drawing, and quite a few focused on the specific topic of drawing manga-style art. This chapter does not seek to form a substitute for those books (as a single chapter could never hope to capture all the nuances of this broad topic), but rather serve as a supplemental refresher course. With the assumption that you’re already versed in a basic understanding of drawing – as well as manga-style art – this chapter touches upon specific tips that are geared towards helping you find new ways to grow and develop as an artist, and ultimately improve your artwork.





 Quick gesture drawings of a young boy are rough and incomplete, but capture basic movement and form. These poses and postures can later be incorporated into a more complete work.

A strong foundation in drawing is important for every artist. Artists often tackle difficult problems by reducing complex objects to basic forms before selectively rebuilding them. Likewise, fundamental drawing skills give artists the ability to break down and understand a subject before moving on to stylized manga characters.

Practice You’re not going to become a great artist overnight. It’ll take time, effort, and practice. If you’re serious about improving your skill as an artist, try to spend at least an hour a day drawing. You should push yourself to produce at least one solid sketch during this period of time.

make a Sketchbook A sketchbook is a place to be experimental, develop drawing skills, sketch possible concepts and compositions for pictures, and write observations, thoughts, and ideas. You can also keep magazine clippings in it. If you put a lot of regular work into your sketchbook, it can prove to be a great resource later on. When you're in need of ideas, you’ll be able to return to your sketchbook for new inspiration. Get in the habit of carrying your sketchbook with you everywhere, so you’ll always have it to jot down ideas.

Your sketchbook will also allow you to monitor your progress as an artist. Record dates in your sketchbook as you would in a journal to keep track of how much you've improved over a period of time.

The mirror test To pinpoint problem areas, try viewing your drawing in reverse by holding it up to a mirror, or shining a light through it. This fresh look at the drawing helps previously undetected mistakes to pop out. Second look When you feel that your drawing is complete, stand back and look at it with a critical eye. Get your friends and family (preferably ones who will be truthful with you) to look it over and tell you what they think are the picture’s strengths and weaknesses. Take the time to correct any problem areas. Over time, this re-examination of your artwork will greatly improve your drawing skills. You’ll learn more from your mistakes and avoid making the same mistakes on your next picture.

Draw e very thing! Observe your surroundings. Draw from life. Visit shopping centres, parks, zoos, etc., and sketch the people, buildings, landscapes, and everything you see. Try refining the rough points in your artwork. For example, if you have difficulty with drawing hands, don’t hide them behind the character’s back! Focus on the hands; make them a part of the picture. Set aside time to practise drawing just the hands.

 A trip to a restaurant for breakfast can be an opportunity to study different objects or environments.

Art cl asses I strongly recommend taking any available art classes you can. They can teach the many important fundamentals of art, such as the visual elements (line, shape, mass, texture, light, colour, and space), and the principles of design (balance, emphasis, scale, proportion, repetition) and more. Many teachers disapprove of manga-style artwork, but don’t let that discourage you from learning other aspects of art, especially since a prerequisite to creating good manga art is a strong understanding of the fundamentals.

Likewise, if your figure-drawing skills are lacking, don’t let your character hide in loose, baggy clothing. If you struggle with drawing clothing, practise drawing all types and textures of fabrics. Study how fabrics fold and wrinkle, and how shadows fall upon their form. Observe how clothing bends and contorts around the body.

 Keep a book or file containing all your sketches and drawings in one handy place. This will provide you with an immediate reference for later, more complete work.  In manga-style artwork, line is often stressed over other artistic fundamentals. Studying people and objects through the use of contour line drawings is a useful skill.

Qualit y control

 Flipping this drawing reveals a previously undetected lopsidedness, as well as other minor problems.






Eyes The eyes are arguably the most important feature of the face. They tend to grab the attention of your viewer first, and help convey the mood and emotion of your characters.

Your character’s face is going to be a primary focal point in your manga-style artwork, so attention to proportion and detail is paramount! You will use these basic guidelines for producing manga-style faces and features again and again, so it is worth getting the fundamentals right from the beginning.

Drawing the face

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When you are drawing your mangastyle character’s face, every element – from the shape of the eyes and the size and spacing between features, to the sharpness of the chin or the height of the cheekbones – is important and must be considered with care. If anything is out of alignment or improperly spaced, the viewer may sense that something is wrong with the picture (even if they can’t tell what). In this section, we’ll be discussing general proportions that are true for both realistic and manga-style characters, as well as manga-specific pointers.

This step-by-step example only shows the head drawn from the front, but with a good understanding of the positioning between facial features, and a lot of practice, you’ll be able to draw the head from any angle. Try looking in the mirror if you’re stumped: the human face differs greatly from a manga-style face, but the basic positioning between facial features remains the same.

Keep in mind that there is a whole range of styles in manga-style art, from gritty and realistic to hyper-cute. There's no single correct way to drawing the face, eyes, hair, nose, and so on. But if you follow the basic proportions, you'll be able to make your characters more three-dimensional and believable, regardless of your style.

To draw the jaw, start from the end points of the horizontal line, and draw a line that slightly curves outwards to indicate the cheeks, and then slopes inwards to form the chin. Make sure the vertical line intersects with the centre of the chin.

To build up the face, start by sketching a circle with intersecting vertical and horizontal lines to indicate the direction the character is looking.


Size Although large, sparkling eyes are a staple feature in manga and anime, it is just as common for characters to have smaller eyes. How you choose to draw eyes depends on your stylistic preferences as well as the personality of the character.


1 2

 Playing around with the spacing of the eyes can make for an interesting-looking character, but be careful with the degree of exaggeration you take. Spacing them too far apart (top) or too close together (bottom) can make the character look a little strange. Either way, the character looks wrong.

3 4

 There are unlimited ways to depict a character’s eyes depending on what qualities you would like to emphasize.


Finally, add in the finishing touches, and clean up any construction lines.

Smaller and more angular eyes are often utilized when drawing masculine, mature, serious, or tough characters. Therefore, males are often depicted as having smaller eyes. Large and small eyes don’t always indicate gender. Gentle males may sport large eyes to emphasize their femininity. Likewise for tough female characters – smaller eyes can help give them a more masculine or mature look.

Once the contour of the face is established, sketch in each of the facial features. The eyes line up with the horizontal line, while the nose lines up with the vertical line.


Large eyes are considered more appealing and attractive than smaller eyes, which is probably why they are so prevalent in manga-style artwork. The exaggerated size of the eyes allows them to convey more emotion. They can appear open and inviting, sweet and feminine, or innocent and childlike. Given these qualities, they are often utilized when drawing women and children.

 As a rule of thumb, the space between a character’s eyes is approximately the length of one eye.

Position The eyes are positioned in the middle of the head, sometimes slightly higher or lower. They are spaced approximately an eye-length apart from each other.





Style This step-by-step diagram goes through the construction of an eye. To reiterate, this is just one method for drawing the eyes. Keep in mind these general guidelines, then look at both realistic eyes and how other artists draw mangastyle eyes, and experiment to develop your own style.

First, draw the upper and lower eyelids to form the general shape of the eye. The dotted line indicates the edge of the eyes.


Draw an oval to represent the iris. Note the dotted line, which indicates the unseen part of the iris covered by the eyelid. The iris generally touches both the top and bottom eyelids, unless the character is looking up or down or is surprised.


3  There are numerous ways of adapting a realistically depicted eye into a manga-style eye. As a basis for your manga-style eyes, I recommend working from life. Observe the key features before transforming it into a more simplified and exaggerated manga form.

Draw a line to indicate the fold of the upper eyelid.

 The lips can be interpreted in all kinds of ways – from the most minimal of simplified lines to more fully realized representations.

E yebrows Eyebrows come in a variety of shapes, sizes, and colours (thick, thin, bushy, black, coloured, tapered, etc.). Males tend to have thicker eyebrows, but don’t be afraid to mix and match. Eyebrows go a long way toward making each character you create look unique. Position The eyebrow connects with the bridge of the nose. Drawing the whole structure (even if you plan to omit the nose bridge) will help you spatially arrange the facial features.

 The horizontal guidelines indicate the relation of the ears to the character’s eyebrows and nose. The dotted line along the bottom of the face shows how the jaw connects to the base of the ears. Also note how both eyes fall within roughly the centre of their related sides of the face, even with the distortion from the three-quarter head angle.

Draw a circle to indicate the primary source of reflected light. This is typically drawn on the side of the eye closest to the light source in your picture.



E ars Position The ears generally fall between the brow line and the base of the nose. The jaw line extends from the chin to the ear.

Draw a circular black pupil in the centre.


Additional details such as dark shading along the top, additional sparkles, and eyelashes can now be added.





Position The tip of the nose is positioned halfway between the eyes and the chin. Style There are numerous ways to depict the nose. It tends to be de-emphasized in manga-style artwork, often drawn as a small triangular tip, or sometimes even omitted altogether. Depicting the bridge of the nose can make the character look older and more sophisticated. On the other hand, larger, realistic, and exaggerated noses can give the character a more unique appearance, or indicate race/ethnicity.

4  The eyebrows are one of the most characterful parts of the facial features and you can have some fun with the way you match them to your character.



 Drawing your character’s head from different angles will enable you to get a good overview of how the structure of the features will work.

 Manga-style noses have a recognizable, often ‘coquettish’ character, requiring minimal interpretation.

To give the nose form, try adding some shadows below or to one side of the nose.

Mouth The mouth is another component of the face crucial for conveying emotion. Style Mouths are highly simplified. A closed mouth can be designated by a single line, with an additional shorter line beneath it to represent the lower lip. Additional lines, shading, or colour can be used to make the lips more detailed and pronounced. These lips, reserved for female characters, work as visual shorthand that gives the character a mature and sophisticated look.

teeth Teeth tend to be either omitted, or heavily simplified. To give the character a toothy smile, teeth can be drawn as the simplified block (rather than as individual teeth).




MANGA DRAWING TIPS Cheeks Vertical dashes can be added to the character’s cheeks to suggest roundness or blushing. The more dashes, the more blushing. Blushing is also sometimes depicted as red ovals on the character’s cheeks.


 In the world of the purely linear, things like blushing cannot be expressed with colour or tone. Instead, a kind of shorthand has been developed to express these features through the use of lines. Vertical dashes on the shy girl’s cheeks make her look as though she’s blushing.

 There’s more than one way to draw hair. The first example (bottom left) shows simplified hair that depicts each portion of the hair as almost a basic outline. The second example (bottom middle) is much more involved, using contour lines to define the body of the hair, thus giving it a more detailed look. The final hairstyle (bottom right) illustrates the latitude you have when creating manga-style hair – even hair that defies gravity.

Position It helps to first sketch the outline of the character’s head. The head may end up misshapen or too small if you attempt to draw the hair first without considering the shape of the head. Also note the hairline, which starts approximately three-quarters of the way up the head. When drawing in the hair, leave some space between the outline of the head to give the hair a fuller look.

 The dotted lines indicate the hairline as well as the back of the character’s head, over which the hair can be placed.

Style There are many different techniques for rendering the hair. Some artists depict the hair as solid sections, while others prefer to indicate individual strands. Likewise, hairstyles range anywhere from commonplace to gravity defying. Whatever the style, always keep in mind that the hair grows from the head, so make sure all strands flow from that direction. Hair is another defining feature that sets your character apart from others, so be creative with your designs.

Imitation versus Imagination Once you have a good understanding of the basic proportions, you’ll want to start working towards making your drawings stand out, and a good part of that lies in developing your own unique style. One way of making your style identifiable is to find many sources of inspiration and combine them into a style that is your own. This makes manga-style artwork a tricky subject to learn. Artists can further their ability to create realistic works of art by working from real-life models, but what sources do you draw from when you're working in a style that has no real-life equivalent? A lot of novice artists start out by copying other artists’ works or stylistic nuances. This is a good way to practise and become acquainted with how manga-style artwork is structured, but remember that it is only a learning tool, not a drawing crutch. Copying leads to stagnation, since in the end you're producing a copy of a generic anime face and body in the style of a popular artist you like. Therefore, once you’re comfortable with the basics, move beyond that step by critically thinking about why the artist you are mimicking draws the way they do and why you like the style so much. Observe how they draw their characters: the size and shape of the eyes, nose, mouth, head, and so on, where the sparkles are placed in the eyes, how long the legs and arms are, the type of body, etc. Study their linework and colour palette. Then decide what exactly you like about these artists’ styles. Perhaps you like the way one artist gives his characters extremely large eyes and contrastingly small mouths. Perhaps

you like the way another artist draws his characters with long fashion model legs, but a small, bulky frame. Maybe you like how another artist draws hands and feet, and flowing strands of hair. Take these preferences and apply them to your own drawings. Don’t stop at just your favorite anime manga artists. Inspiration can come from anywhere. Studying classic painters and contemporary artists can lead to discovering new styles and techniques. Inspiration can also come from real-life objects. Look at nature, animals, manmade structures, and so on. Even fruits and vegetables can become a source of inspiration! Through much practice, revision, and modification, you will discover that your style has developed into its own unique design.

 Image from Satoshi Urushihara’s Cell Works. These characters are typical examples of his drawing style – although, here, they do appear dressed. (Urushihara is otherwise known as ‘the master of breasts’.)

 (Left) Image from Ohse Kohime Illustrations. (Image by Oshe Kohime, copyright Bijutsu Shuppan-Sha, Ltd.) Oshe Kohime has a knack for whimsical costumes. Her characters often sport full, red lips, large eyes, and large hands and feet.  (Right) Image from Intron Depot 2. (Copyright/image by Masamune Shirow.) Masamune Shirow often draws mature and sophisticated-looking characters. Some hallmarks of his heavily detailed style are the athletic and elongated figures on his characters.  Image from Final Fantasy X-2. (Image by Tetsuya Normura, copyright 2003 Square Enix Co. Ltd.) Tetsuya Nomura creates characters who tend to have more realistic figures and faces than other manga-style artists.





REFERENCE A good understanding of anatomy is the most important key to creating new and exciting poses. There are all kinds of resources that you can use as reference for poses and this section looks at some of them.

When you are ready to draw your characters, think about the kinds of poses you want to use. Try to be original and creative. Avoid static poses such as a straight-on shot of a character standing in position. Depending on the situation, basic poses may sometimes be appropriate, but don’t let this be the only type of pose you draw. Give your characters personality! Draw them from dynamic angles, or show them in action. Challenge yourself.

RESOURCES Resources that you can use for getting reference for your drawings are as follows: Model Drawing from a live model is one of the best ways to learn about the human figure. If you can’t afford the services of a professional model, ask your family or friends to pose for you.

require the use of both arms). Ask a friend to snap some photos of you in your desired pose, or vice versa. Magazines Fashion and fitness magazines are good for studying anatomy as well as clothing and hairstyle reference. They are filled with people wearing a wide variety of clothes in many different poses. However, be careful not to rely too heavily on this resource. Because the primary purpose of fashion photography is to showcase the model's clothing, poses tend to look unnatural. Remember, too, that photographs are copyrighted. If your artwork is substantially similar to the photograph, you must acquire permission from the photographer.

Mirror A mirror allows you to be your own model. Be creative and imaginative, and try a variety of poses in the mirror. When you find one that works for your picture, try drawing it.

Poses from magazines limit your creative freedom. Body language, expression, and pose are all important elements that you as the artist need control over to fully convey your message. It is better to conceptualize your own pose ideas and use one of the other resources listed instead.

Camera A digital camera comes in handy for sketching difficult poses (especially positions that are awkward to hold or

Books Pose books, available in the art section of good bookshops, feature models posed in various positions (everything

 Leave the high-end cameras to professional photographers. Any moderately good digital camera can be useful for gathering reference material.

from running and jumping, to sitting and standing), photographed from every angle, in various states of dress and undress. Software Many artists use a 3D program called Poser as a resource for figure anatomy. It’s reasonably priced and easy to learn. You can pose the figures (male, female, skeleton, wooden mannequin, and child, to name a few) in any position you desire, and even adjust the lighting.

 Books like Dynamic Anatomy, What People Wore, and even fashion magazines are all fantastic sources for reference material.

Wooden mannequins The wooden doll is a stylized and simplified version of the human figure, and can be posed in various stances. Despite being jointed, its range of motion is severely limited, so it might not be capable of performing unusual positions. Nonetheless, they're inexpensive and available at most art supply stores. Action figures and character models Available through comic book and specialist shops, as well as anime conventions, high-quality character models can be used not only for pose reference, but also as a helpful guide for anime character anatomy and facial structure. Find figures with faces and bodies that suit your existing or desired style.

Be sure to also peruse reference materials for drawing clothing, objects, hair, drapery, animals, cars, and so on. Work toward compiling a library of books: on history, architecture, interior design, fashion, furniture catalogues, clothing, and household items. Even children's books can be useful – the text may be basic, but they are often filled with large photos covering a wide variety of subjects.

 Using a 3D program such as Poser can be a useful resource for anatomy.  These sketches, done after carefully studying the distinguishing characteristics of real crustaceans found in a children's book and from photos taken at a local aquarium, led to the creation of a frightful creature featured in the graphic novel Peach Fuzz.  High-quality character models are widely available from comic book and specialist shops.


11571710-manga-drawing-a-selection-of-tips (1 of 3) [3/26/02 09:42:00] Crockman's Lair learn to draw manga

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