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Step by Step

MANGA

The ears start at the same height as the ends of the eyebrows. You can determine the width of the neck by setting it at half the distance between the chin and the edge of each cheek.

with Inga Semisow painted on Hahnemühle “Manga Layout & Illustration Paper” 80 gsm Step 1 For the shape of a face, it is best to use an oval with a slight point for the chin. The face is then divided with a horizontal line a bit over halfway up. This represents the eye line. Then divide the face in half again, this time with a vertical line.

Step 2 Now draw in the eyes, nose, and mouth. It is important to note at this stage that the eyes do not touch the edges of the face, but rather lie in the middle of the two halves of the face. The nose is drawn in at the height of the cheeks, with the mouth slightly below it. Then you can draw in the eyebrows above the eyes.

Step 3 To determine the height of the forehead, take the eye as your measure. The forehead is about one and one-half times the size of the eye. Draw in a small dot to help show the forehead and hairline. Somewhat below the hairline, draw in the fringe with strands that come to points at the tips, ­continuing a bit past the edges of the face. The remaining hair is drawn in above the oval guideline, where it can frame the face at a bit of distance.

Step 4 Before you start ­painting the ­character, it is best to trace the image onto the layout paper using a multi or fine liner. The only lines to trace are those you need for the character, leaving the guidelines out. At the end of this step, you have a nearly complete picture in front of you, and you can now begin to paint it.

Step 5 Working from light to dark, gradually fill in the spaces. You can always use a colour to go back over the same spot to darken it. This is how shading is created. The white areas in the hair are areas that have simply been left without paint, giving the hair a more attractive shine.


Inga Semisow recommends: Hahnemühle Manga ­Layout & ­Illustration Paper 80 gsm is a lightweight white paper with a smooth, treated ­surface. Even without a light box, it is very ­suitable for tracing. Colours do not run or bleed onto the back of the page or the next page of the pad even when paint is applied thickly. Manga Layout & Illustration Paper is ­available as a 40-sheet pad in A4 and A3 formats.

Inga Semisow, Manga Illustrator Has been illustrating ­manga actively for 14 years. Has ­worked as a freelance graphic designer and illustrator since 2003. Works in acrylic, graphic ­design, illustrations, and drawing.

Hahnemühle Manga Illustration Paper 120 gsm is bright white and firmer in character. Its surface is also wonderfully smooth. Colours do not soak in right away, but instead remain on the surface, allowing for bright images with razor-sharp contours. Manga Illustration Paper is available as loose sheets in packs of 30 sheets, also in A4 and A3 formats. “Anyone who, like me, likes to play with colours, needs a paper that brings out the brilliance of the colours. I love working with gradients and blending. The more fluid the blending, the more beautiful the desired effect that is achieved. These two new papers from Hahnemühle are everything I am looking for.”

Inga Semisow

info@s-grafik.net www.s-grafik.net

www.hahnemuehle.com

10 603 754 Rev.00

• Holds workshops • Author of two manga drawing books

Step by Step

MANGA


Step by Step MANGA