THE THEART ARTOF OFDRAWING DRAWING
MANGA MANGA TM
TM
AACTI CTIO O N CTIO CTI ON &&M MO O V E M E N T MOO V E MEN T M MAX MARLBOROUGH
Author: Max Marlborough has been passionate about graphic design and manga from an early age and works as a freelance author, illustrator and designer of art guides for readers of all ages. Artist: David Antram studied at Eastbourne College of Art and then worked in advertising for fifteen years before becoming a full-time artist. He has since illustrated many popular information books for children and young adults, including more than 60 titles in the bestselling You Wouldn’t Want To Be series. Additional artwork: Mark Bergin, David Stewart, Peter Kempton, Iko Sakamoto, ayelet-keshet/ Shutterstock.com, Danilo Sanino/Shutterstock. com, Orionwalker/Shutterstock.com, ledokolua/ Shutterstock.com, Dolimac/Shutterstock.com
Published in Great Britain in MMXX by Book House, an imprint of The Salariya Book Company Ltd 25 Marlborough Place, Brighton BN1 1UB www.salariya.com PB ISBN: 978-1-912904-82-2
© The Salariya Book Company Ltd MMXX All rights reserved. No part of this publication may be reproduced, stored in or introduced into a retrieval system or transmitted in any form, or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of the publisher. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages.
135798642
A CIP catalogue record for this book is available from the British Library. Printed and bound in China.
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THE ART OF DRAWING
MANGA
TM
A CTI CTIO ON &M MOO V E MEN T MAX MARLBOROUGH DAVID ANTRAM
Contents Making a start Introduction Introduction (2) Perspective Materials Styles Styles continued Inking Heads Hair Expressions Creases and folds Action poses Adding movement
6 8 1O 12 14 16 18 2O 22 24 26 28 30 32
Actions and Characters Martial arts Action kick Jumping fighter Fighting action Falling in a fight Explosive action Vampire fight Warrior Samurai Defensive girl Mecha giant robot Robot Glossary Index
34 36 38 4O 42 44 46 48 5O 52 54 56 58 6O 62
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Making a start
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Introduction
T
he key to drawing well is learning to look carefully. Study your subject until you know it really well. Keep a sketchbook with you and draw whenever you get the chance. Even doodling is good – it helps to make your drawing more confident. You’ll soon develop your own style of drawing, but this book will help you to find your way.
8
Practise drawing stick figures and construction lines for various poses.
Stick figures Drawing stick figures with construction lines will help to create character poses. The body is divided into ovals and lines. Use ovals for the head, body, hips, hands and feet. Use lines for the legs and arms, marking in joints with dots.
Study people doing different actions to see how their bodies move and how the sections connect together.
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Introduction (2) It’s important to experiment with different shapes and movements so that you gain experience.
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Stick figures Here we can see how the simple stick figures are fleshed out to create the characters’ forms.
Add features and clothes to the stick figures to build your action pose.
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Perspective
P
erspective is a way of drawing objects so that they look as though they have three dimensions. Note how the part that is closest to you looks larger, and the part furthest away from you looks smaller. That’s just how things look in real life.
The vanishing point (V.P.) is the place in a perspective drawing where parallel lines appear to meet. The position of the vanishing point depends on the viewer’s eye level.
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V.P.
Two-point perspective drawing Two-point perspective uses two vanishing points: one for lines running along the length of the subject, and one on the opposite side for lines running across the width of the subject.
Low eye level (view from below)
V.P.
V.P.
V.P
V.P
V.P
V.P
In this drawing the vanishing points are low down. This gives the impression that you are looking up at the subject – very dramatic!
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Materials Pencils
Try out different grades of pencils. Hard pencils make fine grey lines and soft pencils make softer, darker marks.
Erasers r Pape ood for paper is g
-tip Bristol ls and felt e t s a p , s n is crayo ur paper lo o c r e t a for W pens. est choice b e h t is thicker; it paints or inks. ed water-bas ent st equipm e b e h t , r Remembe ls will not ia and mater ake the best ym necessaril ly practice will. on drawing –
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are useful for cleaning up drawings and removing construction lines.
Use this sandpaper block if you want to shape your pencil to a really sharp point.
In k s
F e l t - t ip
Use coloured ink from the bott s straight le o them with wate r dilute r.
Felt-tips usua p e n s lly of mixed colo come in sets urs. The ones that make ver y th are called fine in lines liners.
Ink
Fineliners
Mixing palette Dip-in pen nibs
Brushes Correction fluid
Gouache Technical drawing pens
Pens Paints
Watercolours
Ordinary watercolours are translucent (see-through); gouache is not. Try other kinds of paints, too.
Technical drawing pens have cartridges which can be refilled or replaced. Old-fashioned dip-in pens are much cheaper and come in many different styles and sizes.
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