MANGA: PROJECT BOOKLET
NAME:
SET:
Bishop Barrington School: Art Department
Progressing from Level 5 to Level 6 I think about the purpose of my artwork.
Level 6
I collect materials and processes to develop ideas. I can create detailed work.
Level 5
I think about the visual and tactile qualities of materials.
I know where and how to adapt and improve my work.
I choose appropriate materials to get the best result. I can manipulate different materials to express my ideas.
I can apply this knowledge to my own work. I understand techniques and the qualities of processes.
I can comment on and compare ideas, techniques and meanings.
I can analyse artists work and link it to my own.
My work expresses my ideas.
I choose suitable materials to create my ideas.
I know where and how to improve my work.
I understand techniques and the qualities of processes.
I collect images and materials to create different designs.
I understand how to use different materials.
I can compare and comment on ideas and techniques.
I can comment on artist’s work and link it to my own.
To progress from Level 5 to Level 6 pupils must: • Create detailed work. • Think about the purpose of their artwork. • Think about the visual and tactile qualities of materials. • Manipulate materials to express ideas. • Choose appropriate materials to get the right result. • Know where and how to adapt and improve their work. • Be able to comment on and compare ideas, techniques and meanings. • Be able to analyse the work of artists and link it to their own. • Apply their knowledge to their own work. Progressing From 5 to Level 6 Sheet (J. Carney 2006)
6
5
Bishop Barrington School: Art Department
Manga - Project Checklist Use this list to ensure all work is completed and evaluated for this project - your teacher will sign off each piece when it’s complete. Piece Of Work (Classwork)
Completed
Evaluated Signed
Completed
Evaluated Signed
Title Page Research Sheet Drawing Techniques Heads Eyes Features Adding Expression Building Characters Guide Sheet Action Poses Final Piece Final Evaluation Sheet Piece Of Work (Homework) Collect Examples Of Artwork Read Equipment Sheet Practise Exercises Sheet Of Heads Hair Worksheet ICT Research Project
Manga From its humble beginnings after World War II, Manga has grown to become an international phenomenon in the entertainment industry. Prestigious Japanese publishing houses release hundreds of titles translated into a multitude of foreign languages worldwide to promote the multi-billion-dollar industry. Humorous and satirical illustrations trace back to 12th century Japan. Although now understood to mean “comics originating from Japan,” Manga (pronounced MAHN-gah or MANG-ah) is literally translated as “whimsical pictorial.”
MANGA: ICT PROJECT To help you understand Manga in greater detail, and to give your work a more individual style, you need to complete this ICT Project. Choose a Manga-ka from the list and research his/her work in more depth.
The Artists • Osamu Tezuka • Fujiko Fujio • Rumiko Takahashi • Leiji Matsumoto • Takehiko Inoue • Suzue Miuchi • Katsuhiro Otomo • Yoshiyuki Okamura • Tetsuo Hara • Akira Toriyama • Riyoko Ikeda The work of these artists can be found on the internet - watch the spellings and be careful what you print out, as you know some Manga/ Anime can be dodgy!!
Success Criteria • Front cover - name, set and name of your artist. • At least two pages of written information about your artist - make sure this is in your own words, don’t just copy and paste from the internet. • Three examples of artwork by your artist - write notes about these works of art, see me for details of what to write. • An A3 drawing of a piece of work by your artist - think about materials and techniques, use the skills you learn in class. • A clear influence of your artists work in your classwork - this project should help you understand the style of art we are studying, make sure it influences your practical work. • Think about how you present your work - try to be original, link your presentation to the style of your artist.
www.google.com www.wikipedia.org www.manga.com www.manga.co.uk www.howtodrawmanga.com www.tezuka.co.jp
MANGA READ THROUGH THE INFORMATION AND SELECT PARTS THAT YOU THINK ARE IMPORTANT TO INCLUDE ON YOUR RESEARCH SHEET. From its humble beginnings after World War II, Manga has grown to become an international phenomenon in the entertainment industry. Prestigious Japanese publishing houses release hundreds of titles translated into a multitude of foreign languages worldwide to promote the multi-billion-dollar industry. Tracing the Rise of Manga’s Popularity: Humorous and satirical illustrations trace back to 12th century Japan. Although now understood to mean “comics originating from Japan,” Manga (pronounced MAHN-gah or MANGah) is literally translated as “whimsical pictorial.” Katsushika Hokusai, a wood engraver and painter who lived from 1760 to 1849, coined the phrase in Hokusai Manga, one of his many publications. Ina 15-volume series of sketches published in 1814, he covered various topics ranging from the informative to the comical aspects of the Edo period. Despite the rapid growth and prosperity displayed in today’s Manga world, in truth, Manga didn’t see significant growth until World War II. Under the influence of the great Manga artist Tezuka Osamu (1928–1989), Manga began to gain not only national but also international recognition with works such as ‘Astro Boy’, ‘Black Jack’, ‘Buddha’, and many more. In the midst of a post-war economic struggle, Tezuka’s Manga adaptation of Robert Louis Stevenson’s Treasure Island sold 400,000 copies to become the nation’s top-seller. During the 1960s, the generation that enjoyed reading Manga as children grew up and brought their Manga books and interests with them. People no longer viewed Manga as something to be enjoyed only by children — it was now acceptable for adults too. American comics at the time primarily had a huge audience of young boys idolizing superheroes whose sole mission was to defeat crime, but the Japanese community developed its own audience of both male and female groups, ranging from children to adults. From 1980 to 2000, Manga saw not only an evolvement of genre and style, but also the introduction of sophisticated techniques specifically geared toward enhancing its looks and effects. Techniques like screen tones (a series of adhesive, stylized, design patterns used to suggest colour) gave new sleek looks to the finished pages. Story lines became more complex and widespread to include more audience interests, such as science fiction (mostly for males), sports, politics, religion, sex, and romance (pulling in more female readers and artists). Thanks to professional computer graphics software, such as Adobe Photoshop and Illustrator, Manga artists (referred to as Manga-ka) throughout Japan can put in more detail and all sorts of cool effects in less time. Along with the growing market appeal, scores of new artists are coming up with original ideas of their own in hopes of making it big in Japan and worldwide. At the same time, the number of talented female artists has skyrocketed; many of these artists are housewives who saw the opportunity of launching their Manga career in drawing Manga catering to female readers. This Manga is now referred to as sh∂jo (young girl) Manga. Today, many successful artists, such as Fujiko Fujio (Doraemon), Matsumoto Leiji (Starblazers), Toriyama Akira (Dragon Ball), Rumiko Takahashi (Ranma 1⁄2), Takehiko Inoue (Slam Dunk), and Masashi Kishimoto (Naruto), have followed in the footsteps of Tezuka to contribute to the lucrative and popular entertainment industry. All Manga Is Not Created Equal: Just how diverse is the Manga world? Any major publisher has at least three types of Manga magazines catering to different groups of people. Following is a list of the recognized types of Manga being published in Japan: • Kodomo Manga: Comics for little kids • Sh∂nen Manga: Comics for teenage boys • Sh∂jo Manga: Comics for teenage girls • Seinen Manga: Comics for young adult males • Redisu Manga: Comics for young adult females • Sh∂jo-ai Manga: Romantic comics for teenage girls
MANGA • • • • • • • • • •
Sh∂jo-ai Yuri Manga: Romantic comics for lesbians Sh∂nen-ai Manga: Romantic comics for men Sh∂nen-yaoi Manga: Romantic comics for homosexual men Seijin Manga: Comics for adult males Redikomi Manga: Comics written by women for late teen to adult women, depicting more realistic, everyday accounts; literal translation: lady’s comics D∂jinshi Manga: Comics written and illustrated by amateurs (usually circulated among a close group of other Manga amateurs) Yonkoma Manga: Four-panel comics, usually published in newspapers Gekiga Manga: Comics focusing on serious topics; geared toward mature audiences Ecchi Manga: Comics focusing on heterosexual/lesbian erotic themes (softcore pornography) read by men Hentai Manga: Comics focusing on hardcore pornography
The Key Components of Manga: You find several key components in most popular Manga. For example, weekly magazines are restricted to 16 pages. These titles are designed to quickly satisfy the reader’s short attention span, because many readers are busy commuters who don’t have time to sit down for hours to read through a long book. Those magazines are eventually compiled into books that can be collected as a multivolume series. Not all magazines have those crazy weekly deadlines. Some magazines release their titles on a biweekly or monthly schedule. Most mainstream Manga features certain archetypes. For example, you’ll see the main lead character (who is often androgynous), a sidekick, a single attractive female character (who is either a lover or nurturer), and a wise old man (depending on whether the Manga is action oriented). The villains usually have the charmingly evil leader accompanied by his strong henchman.
MANGA: INSTRUMENTS & MATERIALS PAPER The basic paper we use in school is of high enough quality for cartooning on. However, as with all paper repeated pressure, from pencils and erasers, can roughen the surface and lead to blotting when using ink. You can purchase specialist cartooning paper - it has measurements ready drawn to help you create frames and partitions. PENCILS Most cartoonists use mechanical pencils. Some say they use light weight pencils when drawing small cartoons and larger gripped ones for drawings on a larger scale. Make sure you choose suitable lead hardness, by judging how hard you press down whilst drawing. Use B or 2B pencils for weak pencil pressure. ERASERS You must make sure you use a good quality eraser. Residue from erasers can spoil the effect of the drawing so be sure to keep your work surface very clean. Keep erasers clean by rubbing them onto scrap paper before use. LIGHT BOX At school we have an old OHP that doubles up as a light box. This illuminates the paper and makes it possible to ‘trace’ from images behind your piece of paper. It’s very useful. INK Most pens we use in school contain water based ink - we can use these with water and brushes to create tone. We will also use permanent, water-resistant inks for outlines and text. We will make sure we use ink with a very high strength black. PENS Drawing cartoons doesn’t require millimetre perfect precision. Most cartoonists use simple fine tipped pens as they are cheap, easy to obtain and easy to look after. BRUSHES Very slim brushes are recommended for use with ink and correction fluid. Correcting and inking can be a very precise task. Keep brushes clean and have one for ink and one for corrections. RULERS Rulers with measurements are more convenient to use. You will need three - a 15cm one for fine work, a 30cm one for framing and edging, and a 40-50cm one for perspective work. Keep your rulers clean - use scrap paper to get any pencil/ink residue off the back. CURVED/FLEXIBLE RULERS We have several curved rulers and flexible curves in school to help you draw simple curved lines - remember to look after this equipment as if it was your own. TEMPLATES Oval and circle templates are very useful to have - especially when starting to build up characters faces.
MANGA: STARTING WITH THE BASICS These exercises will help you become more familiar with basic drawing tools, discover basic drawing techniques and try out different types of lines and shading.
MAKING YOUR FIRST MOVES WITH THE PENCIL Create a series of swirls using different types of pencils. Explore the various types of line quality (thinness versus thickness) you create when you apply pressure to the strokes. Use a 3H lead to get lighter, thinner strokes and gradually switch to a softer 4B lead to achieve the darker, wider strokes that are typically created with softer leads.
Draw a small circle, and then use it as your centre core as you continue to draw slightly larger circles around it. Don’t rush through this one. Take your time, making sure that you’re making the circles as round and symmetrical as possible as you build up the series of “rings” to form a large circle.
Use your wrist as a fulcrum (the point of support) to create a series of rapid ‘zig-zag’ shading marks, increasing the pressure gradually from soft to hard. The key is to keep your wrist loose through this exercise. You should experience a “flicking of the wrist” motion as you rapidly go from left to right. As the pressure you put on the pencil gets harder, you find the shades get darker (depending on which pencil level you choose, you may get less or more depth of contrast).
EXERCISES USING YOUR RULER A ruler appears to be a simple, straight, plastic bar, but you’ll find no limit to its importance in creating cool effects. Make sure you have a transparent ruler for these exercises. Make sure the pencil point rests securely against the edge of the ruler when you’re drawing straight lines. Ink tends to seep underneath the ruler when you use it right side up. Flipping the ruler upside down solves this problem. If you’re using pen nibs or quills, make sure to wipe the ruler clean with a tissue or rag after every couple of lines you ink. With a pencil, draw a series of lines equidistant from each other while going from right to left. Draw another series of lines, slightly increasing the distance between them. Draw another set of lines, alternating between the narrower and wider gaps between the lines. Practice your inking by going over the pencil lines with a 0.5 mm marker while keeping the distance between the lines accurate. The width of your pencil lines may not perfectly match the thickness of your markers. That’s normal - the objective of inking is getting used to seeing the pencil lines as guides rather than becoming obsessed with tracing over them perfectly.
MANGA: STARTING WITH THE BASICS INKING FROM THICK TO THIN
You “feed” ink into the pen nib by dipping the tip into an ink jar. Try not to get too much ink into the pen nib; if you do, the excess spills over onto the paper. To get rid of the excess ink, simply tap the sides of the pen nib against the inside of the ink bottle opening.
Unlike a marker, the G-Pen can take some time getting used to, because its metallic tip doesn’t glide as smoothly across the paper. Some of the paper bits get wedged between the two pointed prongs. To get them out, gently press and drag the pen tip against a smooth, hard surface. Starting from the top and going down, draw a series of equidistant lines going from thin to thick to thin. Start off by applying very little pressure to the pen holder, using the weight of your index finger. These pen nibs make great, crisp lines by merely touching the surface of the paper. The key to getting solid control of the lines’ thickness or thinness is to apply gradual pressure from your index finger over the pen holder. For thicker lines, let the weight of your hand transfer to the pen holder. Don’t use your body weight or force pressure onto the pen holder - you’ll damage or shorten the life span of the pen nib.
CREATING PATTERNS Draw five small, short, parallel, equidistant lines. From each line, draw another line, creating another series of segments in an alternate direction. Repeat, changing directions again. Keep the angles rather narrow so that the overall weaving pattern curves smoothly. Draw a 3-x-3-inch Manga frame. Start from the centre and draw five to seven small, short, parallel lines. Add another set of lines, and then repeat. Keep adding more sets of lines randomly just make sure each set is physically attached to the previous set. If you want to go a shade darker than this pattern, you don’t have to start all over again. Instead, take the completed pattern and apply the futa-keta concept. For every set of parallel lines, add the same number of lines crossing over perpendicularly.
Every professional or amateur ‘manga-ka’ makes mistakes - it comes with the territory of being human. For every wrong line or ink spill, you can usually find a solution to fix it. As you get used to using your tools, you learn to minimize the careless mistakes and deal with the unavoidable accidents. Regardless of the kind of mistake, don’t fret or panic when you make it.
MANGA: HEADS This lesson we will look at drawing basic Manga style faces from different angles. These examples are for standard female faces, however, the proportions can be adjusted to fit any sort of character you wish to draw.
FRONT VIEW 1. Begin by drawing a large circle. Divide this circle horizontally into thirds, and cut it in half with a vertical line. Do not worry if your horizontal lines don’t split the face into even pieces; the proportions will be different depending on the style of face you want to draw. 2. Next, draw a little mark (a short line, not a dot) directly beneath the circle. In this picture the distance from the circle to the mark is the same as the length of the lower third portion of the circle. This mark will be the chin so make sure it’s a line rather than a dot or the chin will be too pointy. Raising or lowering the chin mark is one way to adjust the appearance of the face. Next draw two diagonal guidelines from the sides of the circle. 3. Next you want to flesh out the face so it isn’t so thin. Draw two rounded triangular shapes on each side of the face. Adjusting the thickness of the triangles and the height of the cheekbones (where the triangle bends) are ways to alter the shape and appearance of the face and draw different types of characters. 4. Now that you have the shape of the face, you will want to add simple eye, nose and mouth shapes - we will look at these in more detail in future lessons. The placement of the eyes varies slightly with each character, but they are usually located within the lower half of the circle. The nose is about halfway down the lower part of the face, and the mouth is drawn directly beneath that. 5. Next, use a pen to ink over the lines you want to keep and erase all the guidelines. You will be left with a basic Manga style face - we will look at ways to add details such as eyes, noses, mouths, hair, scars etc. next lesson.
MANGA: HEADS 3/4 VIEW 1. Begin with a large circle, just like you did with the front view. Now rotate all the guidelines up and to the left. This part of the head is a 3D sphere, so when you rotate it in any directions the guidelines should follow the curves of the sphere. Divide the face horizontally into thirds and vertically into halves. These sections will not be equal - but the shape should look like the first step of the front view if rotated back in that direction. 2. Next, extend the curved vertical guideline down the sphere, and select a point beneath the sphere to represent the chin. The distance from the circle to the chin should be a little more that the length of the lower third of the circle. Draw two diagonal lines from the edge of the circle to the chin mark. Make sure the left guideline is steeper than the right.
3. To flesh out the face a little more, draw triangles on the sides of each of the diagonal guidelines. The left side of the face should curve out where it touches the circle, and the curve of the right side should be more gentle and sloping. It may take practice to get this to look right. 4. Next plan where the nose, eyes and mouth are going to be. The eyes are located within the lower half of the circle. All of the features should be lined up along the central guideline. Do not let your features become lopsided! The nose generally starts beneath the eyes and the mouth right beneath the nose. Note how the mouth doesn’t extend to the left of the nose; at this angle most of it stays on the right side of the guideline.
5. Refine the shapes a little more and use a pen to ink over the lines you need to keep. Use an eraser to remove your guidelines. We will look at how to add extra detail in the next few lessons
MANGA: EYES This lesson we will look at drawing basic Manga style eyes. There are different guidelines for both male and female eyes, although they can be adapted to create eyes that are suitable for your character.
FEMALE EYES 1. The most common type of eye in Manga/Anime is the female eye. Start off by drawing a line that curves upwards and is a little thicker at the highest point. This eye will be on the right hand side of the face so make the left end of the curved line higher than the right. The top of this eye isn’t perfectly curved, it’s slightly angular. Some styles of eyes can be perfectly curved at the top. 2. Next you need to draw the lower part of the eye. To help you place the lower half lightly draw diagonal lines pointing down, starting at the edges of the top part of the eye. The steepness of these lines will determine how large and wide the eye will be. Using these lines as a guide, draw the lower part of the eye. It should slope to the right a little, and should be thicker at the right corner. 3. Erase the guidelines and draw a long oval within the eye. Some characters have large circles for irises, but this one has thin ovals. You can adjust the shape so it’s wider if you like. Make part of the oval obscured by the upper part of her eye. In most eyes the whole iris is rarely visible; part of it is almost always concealed by the border of the eye. 4. Next, draw the outline of the light glares. Characters' eyes should always have at least some sort of shading. Females in particular tend to have really heavy shading and lots of shiny areas. Make sure you choose a light source, and stick with it throughout your picture. For example, since the light is coming from the left in this picture, I have to make sure all the highlights on the rest of the picture come from the left, or the lighting will be inconsistent. Draw two long ovals: a large one on the left side of the iris, and a very small one on the other side of the eye. 5. Next, draw the pupil underneath the light glares. The highlights are always on top; never draw the pupil on top of the light glares. Draw the eyelashes, too; with this particular eye, the eyelashes are a series of spikes coming off the top-right part of the eye. Make the spikes follow the curve of the eye, so it looks like they are coming off the eye; don't just draw zig-zag lines sticking out of her eye. Draw the eyelid on the left part of the eye. 6. Now, shade the rest of the iris. It is very dark at the top, but is lighter near the bottom. You should still be able to tell the difference between the lighter iris and the pupil after you shade. Draw her eyebrow, as well. Like in the first step, this line should be slightly curved, and thicker near the top. The edges should be very thin. Smooth out the lines and darken them. Here is a variety of other styles of female eyes you can make using the same methods. Try to see the differences between each style, as well as the similarities. Though the shape and proportions change, the top border of the eyes is always thicker, there are always multiple layers of shading on the irises, etc. Some of these were sketched fairly quickly and are a little messy, but I hope they are still helpful.
MANGA: EYES MALE EYES 1. Most male eyes are more thin and narrow than female eyes, though there are several exceptions. This eye is narrower than other female eyes, without being so thin that it looks like it belongs to a more shady, suspicious character. Begin by drawing a thick, very slightly curved line. Its almost horizontal, but still has a slight curve to it. The edges should curve inwards a little, more so on the left. 2. Lightly draw two diagonal lines, starting from the edges of the top line, to help define the lower part of the eye. The lines are almost perpendicular to each other. Don't make them too steep or too flat, or the size of the eye will be off. Draw the lower line of the eye, using the guidelines to help you position it.
3. Erase the guidelines and draw the iris. The iris is a perfect circle, but is partially covered up by the eyelids. Do not draw the iris so small that you can see the entire thing (unless trying to convey a strong emotion like surprise or anger, which we will look at in future lessons). 4. Male characters have light glares in their eyes, too, though they often are not as large or obvious. Draw one oval light glare on the left side of the eye, and a pointed one on the right side. 5. Draw the pupil beneath the light glares and shade heavily, especially if the character has darker coloured eyes. Draw the eyelid and eyelash. Male characters tend to have darker, thicker eyebrows, so make sure they aren't too thin.
Notice that some of these male eyes could be mistaken for female eyes; the difference between the two genders isn't always that distinct, especially in young children. Most of the eyes here are narrower than the female eyes, and the tops of their eyes aren't as thick.
MANGA: FEATURES This lesson we will look at adding features to our Manga style heads. This sheet will show you how to create noses, mouths and ears - and help you finish your drawings!
NOSES & MOUTHS Manga style noses are pretty straightforward - instead of taking you through various styles step by step here’s several examples to use. This is the basic Manga style nose and mouth. It consists of three basic simple shapes: a wedge for the nose, a long, thin line for the mouth, and a shorter line to define the lower lip (this lower line is not always included, though). In frontal views like this, you can get away with using very few lines to define the nose and mouth. The size and shape of each feature varies with each character. Always make sure the features line up; to help you line them up, use your guidelines. Drawing the nose and mouth for a profile is more difficult than drawing them from the front or at a 3/4 view. The main reason for this is because you can't get away with not defining the lips as much. You have to draw them in, rather than using just simple straight lines. Despite the difficultly, if you get it right, it can look really nice. The main thing to consider is the curve of the nose, lips, and chin. The upper lip curves inward, and lower lip (which is slightly receded on the face) curves outward. It may take some practice before you get this right.
The lower half of the face consists of a series of contrasting curves. Notice that how in both pictures, the nose curves in towards the face, then curves back slightly out right above the upper lip. The upper lip curves inward, and the lower lip curves outward. The chin is not just a straight line; it is round and curves outward.
MANGA: FEATURES EARS Most Manga characters with exaggerated features have very small ears with very little detail. In fact, you never see the ears of some Manga characters! Figure-6 Ear You see the figure-6 ear mostly on young, innocent characters, often in conjunction with big eyes, smaller noses, and smaller mouths. The figure-6 is basically the ear in its most simple form. Besides the outline of the outer tube and outer ear shape, a simplified inner ear completes this type of form — all you do is draw a figure “6.” Think of the outside ear shape as a modified semicircle. Make sure that the bottom end of the semicircle extends to align slightly further than the top of the semicircle. Place the figure “6” shape so that left edge aligns with the top end of the outer ear. This shape is a simplified version of the inner ear structure. The front view of the outer shape of the ear looks identical to the side view, only it’s horizontally compressed to become vertically thinner. Draw a curve to show the front shape of the ear at an angle at the centre of the outer ear. Toward the bottom of the original curve, draw a smaller rounded curve going in the opposite direction. This shape represents the inside section of the ear and is approximately half the height of the front shape curve. Shadow Ear You see the shadow ear mostly with more realistically drawn high school characters. The inner ear is basically simplified with a shadow shape. Observe the small dip at the bottom and to the right of the ear. This gives the overall shape more detail and realism than the figure-6 ear. Toward the bottom of the curve, add a new “tab” shape. This small shape functions as a shield to cover the ear tunnel inside the inner ear from dust and debris.
Realistic Ear The realistic ear takes drawing ears to a higher level. You draw the inner ear more accurately and see a clear distinction in form that separates the inner ear from the ear tunnel. This shape is rounder than the shadow ear from the previous section. In addition, the lower end of the ear doesn’t curl up as much. The more realistic the ear becomes, the more detail you need to add. The larger shapes are broken up into smaller, more complicated pieces.
If you don’t like drawing some of these awkward shapes, stick to the simpler ear designs. However, don’t be put off trying to add realistic ears to your characters - be aware of the style of character you’re drawing and choose your ear accordingly. Drawing ears is actually fun after you get to know them!
MANGA: HAIR Even the most experienced Manga-ka can have trouble with drawing realistic looking hair. This sheet shows you some of the basic styles - experiment and create some of your own. The hairstyle you choose describes a lot about your character’s attributes and personality, as well as the nature of the Manga story. The shapes, and even colours, you choose can present your character as a rebel with a cause, a loner, an intellect, or a bully. The androgynous ‘yaoi’ culture plays a major role in the men’s Manga fashion world, especially when it comes to hair. ‘Yaoi’ hairstyles (accompanied by the huge Manga eyes) have made gender appearances indistinguishable at times. Male Hair - Yaoi Style • Locate and mark with an “X” the spot where the hair shapes will begin. The spot usually begins just past the peak of the skull. About 1⁄4 inch above the X, make the first hair shape, which resembles a checkmark. • Starting from that origin, draw in the jagged sections of the left and right sides of the hair. • Draw the jagged bangs. Male Hair - Smooth Yaoi Style • Start just to the left of the vertical center line, and draw the parted bangs first. The shape of the right side of the bangs resembles the tail of a horse. • Draw and complete both sides of the hair. Draw four to five lines stretching toward the back of the head. The back of the hair is smooth with several subtle bumps. Female Hair Basic female hair consists of two main sections: the bangs in the front of the face that hang down over the eyes, and the larger back portion of the hair that hangs down around the shoulders. This hairstyle is very basic, with big rounded bangs coming down over the front of the face, with the rest of the hair resting where the shoulders would be. Remember to take into account the size of the head underneath.
MANGA: EXPRESSIONS After you have a basic character put together, you need to look at how to bring it to life. Look at these tips to help you bring out the right emotions in your character.
Neutral Face Serious Face • Draw the eyes looking • Slightly curve the eyestraight forward. brows down to create a • Keep the eyebrows perlittle frown above the fectly arched - the same eyes. shape as the eyes. • The mouth should re• Draw an arc shape for the semble an upside down mouth -with a smaller arc version of the previous underneath. shape.
Angry Face • Straighten the eyebrows and use a sharper angle. • Add hatching above the nose to suggest a red face. • Alter the mouth, lower the top lip and raise the corners of the mouth.
Psychotic Face • Draw eyebrows even further down the face. • Arch the lower lids of the eyes. • Draw hatchmarks under both eyes. • Draw the mouth open and bare the teeth.
Sad Face • Draw big eyes and keep them big. • Draw straight eyebrows at 45°. • Add faint hatching under the eyes to show some reddening.
Sadder Face • Draw small tears forming at the corners of the eyes. • Draw slightly crooked eyebrows. • Draw even more hatch marks under the eyes.
Total Devastation • Clamp the eyes shut. • Add tears to both cheeks. • Draw the mouth wide open. • Show the upper teeth. • Make sure the lower part of the mouth is wider than the top.
Surprise or Shock • Draw the eyes wide open. • Draw the mouth wide open. • Draw the tongue large enough to take up most of the mouth.
Happy Face • Make sure eyebrows are raised high. • Look at how teeth are drawn - one group not individually. • Make the cheeks curve slightly outward.
MANGA: BODY PROPORTIONS Manga uses some strict rules when dealing with the proportions of characters. Use this sheet to remind you of body proportions.
MANGA: CREATING CHARACTERS Before starting to draw Manga-ka must decide on the individual characteristics and personality of the characters they are creating. Use this sheet to help you think about your character before drawing him/her.
Think about the genre of comic your character will appear in first : Love Comedy Romance Action Science Fiction Sports Write down the traits of the character to bring out interesting points: Age: Characteristics:
Likes:
Dislikes:
Individual Features:
Clothing:
A
B C
MANGA: DISPLAYING YOUR WORK Comic book artists have strict rules to follow when creating final artwork. They must ensure that their work meets these rules so that it is suitable for printing. Paper In general the basic paper used is the same as we use in school. You can buy pre-printed comic-book paper but it’s just as easy to draw your own frames - this also give you a better understanding of the way comic-book artists work. A - The Outer Edge (268mm x 197mm) Draw right up to this line when you want your drawing to reach the edge of the page. This line is where the paper will be trimmed down to once the artwork is finished. B - Outer Frame (257mm x 182mm) Finish drawing at this edge to leave a border on your artwork useful for creating frames within when drawing comic strips. C - Inner Frame (220mm x 150mm) A frame to help measuring and specifying proportions.
MANGA: FINAL EVALUATIONS Evaluating your work is a process that is just as important as actually creating it. Take time to look at your work from this project and answer these questions. Which part of the project did you enjoy the most?
What techniques did you use that you haven’t used before?
How did researching an artist’s work influence your own work?
How did evaluating your work as it progressed effect how you worked in class?
Do you feel comfortable offering criticism and advice to others in the class?
Remember to always give reasons for your answers and write in full sentences!
Think of a positive aspect of your work from this project, something you feel you have struggled with and how you can improve your work during the next project. Remember to back up your points with references to specific pieces of work.
+ -