BEFORE WE BEGIN KONNICHIWA/ HA! BET YOU DIDN'T THINK I KNEW ANY JAPANESE, DIO YOU! ALL KIDVING AGIVE... I JON'T/ WHAT I 90 KNOW Io THAT LLOVE THE "MANGA" STYLE OF DRAWING! T GAY "MANGA" LATER CHAPTERS. WHAT I'LL COVER HERE ARE THE MANGA THAT I HAVE CHOSEN TO UGE IN MY OWN ART STYLE, 120 NOT PROFESS THLG TO BE THE ONLY WAY TO VO 17, BUT YOU WILL G22 THAT IT UGes Baie ELEMENTS THAT APPLY. WAL moe 90 LET'S NOT WASTE ANY MORE TIME! LET'S TOOLS OF THE TRADE! BEFORE ONE CAN DRAW, ONE MUST HAVE THE RIGHT TOOLS, USE WHAT IS AVAILABLE’ AVAPT WITH WHAT YOU KNOW. FOR ME, THE MOST COMMON TOOLS I DRAW WITH Age: GTAEDTLER PIGMENT LINERS (GIZES Ol, OB, OS AN? 07), A ZEBRA 0.5 MECHANICAL PENCIL, TYPE HB LEAD, PARALLEL GLIVER RULEK, LARGE RAIGEO-E7GE TRIANGLE, MARS MAGIC RUB ERASER, PEN BRLIGH, OPAQUE BLACK INDIA INK, WHITE OUT, WHITE INK, OL? TOOTH- BRUGHES, RALGED-EVGE FRENCH CLIRVE, VARIOUS CIRCLE AND OVAL ree Rate oy ce ONE FOR CLEANING WHITE INK), I5-INCH T-GQUAKE ANZ Z-PLY, SMOOTH-SLRFACE BRISTOL BOARD. GOT IT? GOO LET'S CONTINLEE ON.ere BASIC BODY: THE MANNEQUIN THE ENVIRONMENT GURZOLNDINGS ARE VERY IMPORTANT TO ME. I PREFER AN AREA RELATIVELY CLEAN, A GMOOTH DRAWING SURFACE WITH GOO LIGHT, AN? A TAPE DECK TO POUND OUT GOME TLNES DURING THOSE LATE-NIGHT DRAWING SHIFTS, THIS 14 WHAT WORKS FOR ME WHEN I AM IN GERIOUS DRAWING MOVE. YOU WILL FIND THAT THE FEWER DISTZACTIONS YOLI HAVE, THE MORE YOU CAN CONCENTRATE “aret ATTITUDES THIS 1S THE MOST IMPORTANT INGREVIENT/ IF YOU HAVE NO DESIRE TO DRAW OR IMPROVE, THEN STOP RIGHT HERE/ OTHERWISE, YOU MUST NOT GIVE UP’ PERFECTION ONLY COMES WITH ICTICE, PRACTICE, PRACTICE/ EVEN I AM LEARNING NEW TRICKS/ PRA A STILL LEA TK YOUR LEVEL OF SKILL 14 GOING TO BE, I ASSUME, STILL AT THE BEGINNER'S STAGE, THINGS LIKE PERGPECTIVE AND ANATOMY WILL COME LATER IN THIS SERIES. IF YOU KNOW SOME OF IT ALREADY, GREAT! IF NOT, 70) WE SOON EN! N'T WORRY, WILL COVER THAT JOUIGH/ere BASIC BODY: THE MANNEQUIN pire Se Per Aipeeg l ea | Ke nt I . HillTe BASIC BODY: THE MANNEQUIN Ly Baste HUMAN STRUCTLIRE AVERAGE NINJA HIGH ZenOOL CHARACTER BEGINS WITH WHAT I CALL THE "BALL AN? SOCKET NEN peg lt ag THE ‘4 JOINTS ARE GENPLICIED +5: THE POINT WHERE THEY ARE GHOWN AS BALL AN? SOCKETS, HEAD AND SHOLILDERS: THE HEAD 15 CONNECTED E NATURAL MOVEMENT OF THE HEADY AS IT RELATES TO THE NECK AND SHOLILVERS, \ere BASIC BODY: THE MANNEQUIN UPPER AN? LOWER LIMB: AS YOU CAN SEE, THE BALL AN? GOCKET JOINT BECOMES OBVIOUS HERE. WITH THIS UTLAY YOU SHOULP BE ABLE TO POSITION THE GHOLLVER, ELBOW, LOWER LIMB AND WRIST IN ANY NATURAL POSITION.Te BASIC BODY: THE MANNEQUIN CHEST AND LIPPER ABDOMEN: AN OVAL BALL Ee. NICELY BETWEEN THE UPPER RIB CAGE AND THE LOWER ABDOMEN. SLIDING IT AROUND, YOU CAN DRAW THE BODY IN NATURAL STANCES WITHOLIT IT LOOKING AWKWARD, USE THE CENTER AXIS TO SHOW THE SPINE AND THEN DRAW THE BODY AROUN? THAT SPINESere BASIC BODY: THE MANNEQUIN LOWER ABPOMEN AND LEGS: \ Tse AREA 15 MORE RESTRICTED. ALL Ate avoce. | IN TERMS OF THE B, MOVEMENTS, BLIT AS Yi PS IT FITS INTO THE HIP, KNEE AND i ANKLE AREA” wsTe BASIC BODY: THE MANNEQUIN DRAWING SECRET: DRAW AROLND IT. { BY USING THE KNOWLEDGE OF PERSPECTIVE, YOL CAN USE THE MANNEQUIN AN? PLACE YOUR CHARACTER IN MORE PRAMATIC AND EXCITING WAYS!ee BASIC BODY: THE MANNEQUINTet BASIC BODY: THE MANNEQUIN ONCE YOU'VE MASTERED THE MANNEQUIN FORM, ( _)\ \ YOU CAN DRAW J} YOUR CHARACTERS =~ + | IN ANY POSITION SU IMAGINABLE’ 7ee BASIC BODY: THE MANNEQUIN . ( ) REMEMBER THE "THREE P'G": PRACTICE! PRACTICE’ » PRACTICESTet BASIC BODY: THE MANNEQUIN ALL RIGHT THEN. NOW THAT WE'VE PRACTICED DRAWING FIGLIRES USING THE MANNEQUIN TECHNIQUE,LET U4 GET INTO WHAT IT TAKES TO DRAW A TYPICAL NINJA HIGH SCHOOL CHARACTER. FOR MA Moet CRS THE BASIC BODY STRLUICTLRE 14 THE GAME FOR OF NINJA HIGH SCHOOL CHARACTERS. THE THING THAT A beeneares TueM 16 THe WINDOW DREOLING However, LET ME REVIEW THE MALE AND FEMALE BODY STRUCTLRES OF NHS. THE AVERAGE Ni MALE Io VERY wie THIN ARMS AN? THIN bes, 3 %, Bees Sore” FEMALE 4 AND FEET TEND 10 BEA Cor Tee arccee THAN NORVAL ) IN CRDEZ TO EMPHASIZE MOVEMENT. ( aog N/ 3 |PRACTICE PAGETe DRAWING THE HEAD NOW WE Peres ae Ne, af Bore T USUALLY & )_BEFO! I 00 THE REST oe THe Boy. oF or Pearce ALITTLE WITH THE HEAD, SHALL WEZ NOE AREA, AND MOLITH AREA,ee DRAWING THE HEAD STEP TWO S| Y Aw | » ES _ 7 A NOW FILL IN THE AREAS WITH THE ESGENTIAL FACE PARTS. LIP TO HERE, MO9T NHS CHARACTERS LOOK THE SAME.Te DRAWING THE HEAD STEP THREE NOW HERE 19 WHERE WE AZZ. THED DETAILS. I'VE eel fe HAIRLINE 40 I KNOW WHERE HATR WILL FALL.ee DRAWING THE HEAD STEP FOUR THEN I INK THE APPROPRIATE LINES AND ERASE THE PENCIL LINES. NOW WE HAVE THE FINISHED PRODLICT.PRACTICE PAGEee DRAWING THE HEAD NOW LET'S TRY THE HEAD ATA SLIGHTLY DIFFERENT ANGLE. “<< START WITH A CIRCLE AND WORK IN THE BASIC FACE STRUCTURE.Te DRAWING THE HEAD STEP TWO ADD IN EYES, NOGE AND MOUTH.ee DRAWING THE HEAD STEP THREE \ ADV HAIRLINE AND BEGIN TO AVV VETAILS TO THE FACE TO MAKE IT UNIQUE.Te DRAWING THE HEAD STEP FOUR eG AGE Pe eo N? VOILA. 2 YOu! DOING GREAT /PRACTICE PAGETe DRAWING THE HEAD THE HEAD 19 PERHAPS THE MOST IMPORTANT PART OF THE BOPY IN TERM OF ARTIGTIC EXPRESSION. IT 19 THI9 PART THAT MOST PEOPLE GEE EVERYVAY AND IN MANGA THE HEAD GAYS EVERYTHING ABOUT THE CHARACTER! TRY DEGIGNING YOUR OWN CHARACTERS STARTING WITH THE HEA? AND SEE WHAT YOU COME UP WITH!ee DRAWING THE HEADTL ~) (aN oN fe 4ee LET’S DRAW A FIGURE! Step One: ping the hasic outline.Te LET'S DRAW A FIGURE! Step Two: Adding in the details.ee LET’S DRAW A FIGURE! Step Three: Inking and rendering the figure.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing 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or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.aa You have either reached a page that is unavailable for viewing or reached your viewing limit for this book.Manga/HOW TO DRAW HOW TO DRAW y USA $12.95 j nasal F MANGA My 7h. ( AN EASY-TO-USE, COMPREHENSIVE _¢ GUIDE TO MANGA TECHNIQUES PRESENTED BY SUPERSTAR MANGA ARTIST BEN DUNN (NINJA HIGH SCHOOL, MARVEL MANGAVERSE, WARRIOR NUN AREALA) ISBN-10: 0-9776424-7-X ISBN-13: 978-0-9776424-7-2 HN Plena WU eu eas cero 9 8180977642472