DIGITAL MANGA Techniques

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Digital Manga Techniques CREATE SUPERB-QUALITY f\llANGA ARTWORK ON YOUR COMPUTER

HAYDEN SCOTT-BARON

A QUARTO BOOK

C.opynght tJ 2005 Quarto Publishing pic

Puhli~hPc1 hy New Flurlington Books 6 Blundell Slreel London N7 9BH

All ri~hts reservec1 No pilrt of this book may be rcrmdured in any torm. by photostat. microfilm. xeroqraphy. or any otl1er means. or incorporated into any Information retrieval system, electronic or mech,mic.-11, Without the wntten permission of the copyright ow ner.

ISI:lN: 978- 1-84566- 173- 1

Concervf'(J, c1e~rgned ilnd produced by Ouilrto Publfshrng pic The Old Brewery 6 Blundell Street London N7 9BH

OU/\I~: UMI

r'roJetl edrtur Liz Pasfield ArT cc1iror Annrt Knight 1\s~ islctrll drl direttur Penny Cobb Copy edrtor Chris Middleton f)c~igncr Karin Sk:tnberg lllu~tr"ilor~ Hayden Scott-Baron, Selrna Dean, Emmr~ Vl~c~li. Laur;~ Wrtnon lrtdexer Pdmela Ellis

1\rt cJrrettor Moira Clinch P11hli~l 11'1' PAul Carslake

ManutJctured by Provision Pte Ltd, Singapore I 'llnle(l IJy Star Standard Pte Ltd, Singapore

?8 7 6~4]

Contents Introduction 6

CHAPTER ONE

Analysis of style 8

CHAPTER TWO

Character creation 22

CHAPTER THREE

Digital foundations 44

CHAPTER FOUR

Digital techniques: line art 54

CHAPTER FIVE

Digital techniques: colouring, screentone, and effects 64

CHAPTER SIX

Creating pages 1 oo Resources 124

Index and credits 126

"t' Line art styles Uelicate and mtnimal 1 J ~c· of line· <trl 1 rrpltHt '\ , 1 r l kll/11

ell ill CJidU'. kt'C:'!Jilllj

rile focus ~olcly on the rh.lr.lCtC'r~ lru:'m;elve;_

Introduction ea.

Manga in its present form has existed for over fifty years. ~ but the origins of Japanese sequential art date back to Ukiyo-E

a11 from the nineteenth centuty. Hokusai, a famous Ukiyo-E

artist, is generally credited with coining the term manga

meaning literally "irresponsible pictures". The development and

social acceptance of mass-produced artwork and sequential

.vt in the early twentieth century. combined with influences

from Europmn and American strip-panel comics. evolved into

wlktl is now commonly known as manga.

Manga has grown and developed as an art form

considerably over half a century in Japan. and has also enjoyed popularity in the West

tor almost llalf of tllis time. Tile acceptance of the manga style and its iconic imagery

into a modern subculture as well as mainstream entertainment has emphasized its

place on tile world stage. New generations have grown up with manga

il5 c:1 m<'Jjor artistic influence. through cartoons, video games and the

popularity of printed manga. There:S little wonder. then. that so many

Western artists are creating great work with the manga aesthetic!

TilE DIGITAL WORLD

The advent of the digital age has made a huge difference to the world

of manga. The lntemet allows attists to share their finished creations

with a huge audience instantaneously, and to

receive feedback and advice from others.

Ar rile silme time. the Internet lets artists

like you see plenty of artwork and get

exposecl to a wealth of different manga

styles - any or all of w llich can be incorporated

into your own style if you see fit.

Alongside the widespread popularity of the Internet, home

~--computers have become much more powerful. Previously

specialist tools such as flatbed scanners and graphics tablets

have become both commonplace and very afFordable. By

getting familiar with the software and techniques available

to them. everyone now has the opportunity to produce

professional-quality artwork.

A LEARNING EXPERIENCE

This book will break down some of the difFerent styles

and genres of manga, explaining the subtleties of

the styles. so that you can work towards finding

a look and a theme that suits your tastes. By

understanding the focus of the art style and

• Colourful cbaracters 5c-:cigirl characters

_ ::r...pular in manga iE~capturea

:sor~ ~innocence

~ fOUthful ~-S!asm.

INTRODUCTI O N 7

the distinctive visual techniques. you can begin to develop your artwork in a

way that suits you - and with confidence!

Whether you w ish to work on single illustrations or go a step further and

create your own manga-style comics, this book wi ll guide you through the

process. Methods of character design and applied example~ <> L will help you to see the possibilities of the medium. rtnd

~ . ~ the sections on story will help you give your characters a

believable life all of their own.

Everything from advice on creating

a world for your characters to

choosing how to dress them

wi ll help you develop your own

cool and stylish manga characters.

A LIFE OF MANGA 0

Producing manga over the years has

afforded me no end of happiness. with

each picture representing a minor personal

victory. The endless range of styles and subject

matter has enabled me to skip between mature and

realistic drama to cute and happy illustrations easily and

0 comfortably, instilling me w ith a certainty that I can apply

my skills to whatever suits me at the time. The experience

of seeing a project through from the early pencil strokes

of a character design to the completed story in print is

incredibly satisfying. Theresa lot of hard work

involved - but its that hard work that lets you

know that what you've produced is the very best

you can manage. I look forward to developing

my skills further and to working on more comic

projects over the coming years .

... Costume influences In manga. costumes are often elaborate or outlandish. with a mixture of street styles and military and n·aditional influences.

-~ / /

The word manga literally :translates as . ;>· . · /" "conlics ': but has come tQ refer to a specific .=:. /

. . . ·"'·: .· ~ lyle ofiliq$.t"D8tior.~ . Ther~-~~t~ 0lS1nY ... ~gmmo _ .. :- ·. · .. elements .:~f rllanga imager~<tM~f~e -~c;t .. ::< ./.:· .. · ·: ic1cntify ~r{cL\(~~-J.i1 our work/ · .::.7

_ .. ·_;· .·: ·.•. • ~~<- = ·

. .. ~ :

flJ What is manga? 1 o . .. .... ~:>.:::_. : ; . : ;. ·.i > ·. ~ Shoujo.· 1 ~ ::. : ·. · . :.

~- sho~;~,; ;:~ :.;:; i r·o .•·• ·:

. .

~ -'F~'"M:lasy and science fi·~.~ion 1 ~· ... <.-'<·~. :;~ _-· _

~· A~~,P-:;~j ':\;,; :•::. ;/ {.: • •;'uO;" I: ~ Come.dy 20 : :·_<. ·.'· · .. .-.·_;· .: . ·:·

·.· ..

. .... . .. ~ ~ ·:.:~· . .-· ~ ·:

•' ..

~ 10 t~ ANALYSIS Or STYLE

at is manga? Although to non-expert Western eyes the term manga might conjur·e up a single graphic style, it simply refers to Japanese comic art and to the comics themselve~. However, despite there being many differPnt visual styles in Japanese comics, U1ere (:lre some underlying elements that represent J shared aesthetic, giving the medium a distinct visual edge.

)tylization is probably Lhe mosl significant recurring element ot manga artwork. The d ldrdcters are realized w ith stylish yet clean and con.si\ltJnl visuetls that concentrate on the c.haracters· charm and expressiveness.

Minimalism is another readily idenlific:~ble

rht~r;'lctcristic of almost all forms of

rlldrl£Ji 1. One ot the most irnport;mt a~rert~ of the ~Lyle, e~peur~lly

w hen working on story-bd~ed

1111 rmations. is reitll7lng thnt ynu dun'L ll.ive to cJrc:~w every detail -you cdn ;Khieve il (jre<Jter effect through the power of

sugye~Liur 1. A ~irnple exilmf11E' would be to look at the noses of manga characters: you'll notice thc:~t some artists,

when <irilwing at certain angles, don'L drdw the nose at all. The JC'ddi..'J i~n'l c.unfu~ed by this, and the image remains

clc:dn. ele~Jdr 1l drJd rrun1mal. Analysrng many of the common

d ements uf rrkJngd w rll help you

"flfXCciatc the nuances of lhe art torm, and ilpply rhrm ro your

See also Planning your pages, pages I 02- 1 03

VISUAL GRAMMAR

Colourful characte rs Vibrant colours and the frog-themed

clothing reflect this characters cheerful nature.

Manga artists often use varieties of visual

shorthand to tell readers what they need to

know about a characters emotions without

the need for exposition, explanatory dialogue

and lots of extraneous panels. Using such

graphic devices lets the artist retain the all-

important simplicity of expression that is a

hallmark of manga style. These techniques

are also useful as comedic devices w hen

using hyperstylization {see Comedy,

pages 20- 21).

SAMPLE COMIC BOOK PAGE

t . This panel is small. w ith dynamic cropping. It gives the impression of viewing the scene from a distance before leading into a much closer view.

3 . Using a distant ·camera". its possible to show all the characters in the scene at once. Irrelevant derails such as facial features are removed from this image as a means of focusing the readers attention on body language.

s. The hand is show n .vith sparkles of screentone effects [see oage 94). implying an emotional response to

whatever is said.

~ Beads of sweat

Oo

~ Bubbles

Embarrassment. above head nerves, drscomfort Drunk

~ '00 f Q ~

Sparkles Pounding vein Extreme happrness in Angry

romancrc Situations

6 . Using d simple trick. the ch.:~r.:~cter 11.:1~ moved 111~

hand to open the cupboard. The position of the previous panel inoic.:~tes th.:~t the 11.:~nd is altdCI1et1 to this person. but it nuidly leads into a different action.

~ ~ ~ Mushroom cloud Vertical lines Bubble from nose

Sigh of relief Sllocked Sleeping

~

~ Scribble cloud Chick on head Spiral/helix

Very <m gry Innocence Dizzy

WHAT IS MANGA? 11

2. HyperstyllZation i ~ u~ctl t 11~1 e to clemonW~ite me ~mqer in the t;:Ke ot the boy .Jt the bJck ot the scene. U~JIH.J c,uccnlor l<' c· llc·c I\ (sec puqcs I 06 I 07). I tw c llnl <"~< 11"1 111 lronl i\ dramJtiC.:llly lit. Tl1e pdr 11.::1 cunlir lUI.:::, ull t1 11.::

Jkl(_Jt" 10 lt1C~ ri<Ji ll·h,·Jrul r.irlf', oivlno lr .1 m1 1rh gn?.:Jtcr fOCliS ti1Jil liSllJI

cli1U 111iplyu 1q ll h.J tliJL'I l:~

( 'Vl'l l I IICJlC' II llrlC/C'

beyond the P.rlge uf till: !Jd<.JC.

4 . The ch:.1r•Krer is prt '\('11/( 'I I rl(JrlH 1\l rl

~unrlt: wi1Jit · brxkground with no suggestion of bnckqround derail. This allows the re.Jdcr to tows on the charJcter. while also ~tJggt's ting lhill tht' o ther d k11 ..-iller ~ .:11 e tocusing their Jttcntion o r 1 the lll<lkllll'J too

Ghost leaving nose Omd

~ Hearts ~omilnrC',

Hair bristling in love

Annoyancl:!. irritation

+b 12 f~ AN ALYSIS OF STYLE

•

UJO Unlike the comics industry in most Western countries today, Japan otters a broad and rich variety of comics designed srP.ci0cdlly For a female audience, and has done so Lhrougllout tile r1isLory of manga.

S!?OLljO is t11e Jrtp.-mese word for "girl", so shoujo manga

refer~ to the comics produced in Japan specifically for g irl\ . A\ a demographic tenn, shoujo i~n't strictly a genre. but by exremion it does refer to the styles ot artwur k userJ to ilJlpcal to female readers. Almost exclusivPiy lhese comics are written and c1r;,w n by femc:tle~ c:tnc.J offer i1 visual style serving stones tlrat Focus un the emotions of lllf' r h<irdctcrs.

Witlr its emphrt\i~ on relationships and emoliuml struggle. the style lends itself to

rorrrc:tnce storylrnes. but also to a huge numiJer or ~tories deillinq witlr more

m mplex and mdture plots. As i1

result, ~t 1oujo miln~a embraces cvcrytlring from chilcJhQOd dreams and

flutty ilnimals to violer 1l. ~word-wielding.

apocalyptic dJdllld, but e.lch srory is captured with the :>c~ r r re deydnce, d~lirilcy and rapturous charm ~ynonyrnous wrth ~houjo mangd.

Shoujo characteristics I hrrr r~rc many Llldt c:tcteristrc elements of slloujo dt twork. nri1r,lctcr s Lencl to Lle drilwn w ith tall and slender rllysique~. WhiCh brrng ro mind European rastliun illu.mminn rllltl We~tern lde~~ls . Mule cllnrr~ctcrs ar e often clrdwn With sofT ilfl(1 rlrgant fedlures. creating a slightly ilndrngynou~ yet ~Lnk1ng look.

Line .:m rer'1(1~ rn h(~ mure delicate than other mangn ~rylr-". will1 ttun 11nes and long, flowing strokes.

f)('fllil~ rlSide. VI~Lidl abstrcJCtion i~ JlOSSibly the most

rc-mllrkablc trdil of ~hOUJO iJrtwork. where it is cornrnon ror ;trtim to represent the emot1on. beauty r1nd significc:tnce of iJ scene with almost dreamlike VISUal tlourislles. Flowers. sparkles, feathers and wisps are superimposed .:~round the image, and tire eyP~ or characters shine so brightly that tl1ey can be seen through the hair draped over them.

~ee alSO Costume design, pages 40-41 )

Shoujo details Hair is captured with delicate curls and perfect grooming. and the clothing has an attention to detail and a fashion consciousness that is unsurpassed.

Representation of children In comics For young girls. children are represented with large eyes and a delicate manner. with sparkles and flowers signifying happiness and beauty.

Shoujo: classic and modern The style of line art and illustration has developed and matured throughout the history of shoujo comics. w ith modern titles toning down many oF the most notable traits. Eyes are less sparkly, yet often drawn even larger to ::ompensate. Faces are more defined and less "flat" chan in older .?rtwork. but still ·emain minimal and elegant.

O..sslc shoujo

SHOUJO 13

SHOUJO ICONOGRAPHY

Abstract images are used heavily in shoujo-style artwork as a means of

communicating emotions beyond what is literally presented. They can also

help represent how a character is in terpreted by other characters.

t

Flowers Flowers are a classic metaphor for beauty. romance and the blossoming of hope and potential. The use of flowers around characters ernph..t\1/f:'S their charm and splendour. and often the way other characters interpret tllem.

0

sp ... rklt!s of light LJ4I1l ~IJdl klu1y trll<l

rPtiPrting rhroLrghout J

Kt:llt: (jiVl'\ ill(' 1(1 l•l~j(' •Ill

Pxrr.-r rlrmPminn nf bcJuty .:md rollh.lt l llll~lll . ir I ~IIUUIO, 1111\ 1\ CJM'Il

grParer emorlonJI lmpJct cl11U UC!Jlll I.Jy ur ,rwiiUJ ~r.'lrkiP~ or st.:lrs In the C.lltlltllLCI~· l<ll(j!' I'Yl'\

to represent hope. I r-rpp1111 '\\ or IC111(JIIl(J

o C9 o"' 0

0

e---,v.:::-~A~.,._-C_h_t!r_ry_b-lo-s-so_m_s __

'>f11111!J r htmy blossoms. ou /) 0 kllCIWil .-!\ 1.-lkt 11.-1 Ill (_/ Jtrptlll, \Yillllulitt '

sprinqlimc rum,ult t', whereJs the fillling of blossoms R'pr r-~t ·r1h lin· ('110 of 10111rlllll', Of

t Vl.!ll Ut'dtll

FC'mhcor~ rrliltr ro West~r n imdy~~ of dJJyel~ i'lnd i'lngC'I Wing~. whirh in shoujo till~~ onen rrrrcscnt pure and Idyllic rlcoq;rnce. With a suggestion ot mortality. Ch..lldCII:'I\ \llrlCllJrldC'cJ tly feathers arc often serious, rnel,mctroly or unf,mly mrsunderstood.

f.~ 14 "9° t\N ALYSIS OF SIYLE f Q

unen The llrsL rnanga stories wer·e targeted at boys. So wllat are tile key elements of artwork designed to appeal to a young rrlc:ile Cll!Uierlce, 2llld rlOW do you produce it yourself?

Shounen is th~ Japanese word for "boy", and the term s11ounen manga refers w comics produced specifically for

young mc1les. Most of th~ first manga was w ritten for boys. dn(i it wasn't until several years later tllat the medium developed to appeal to a wider audience.

Mucl1 like st1oujo, sllounen isn't strictly a genre. The term reter.~ ro rile demogr.1phic. but it also describes tt1e styles of artwork used for these titles.

The central role Central characters in st1ounen h1.1nga are almost .1lways male - female protagonists are granted masculine roles and u5tJ.illy wield qum i'lncJ kung fu skills. and wear tight outfits. t11crc v1·c usually two types of male characters : tl1ose who Jrc painfully average. and tl1ose w t1o l1ave great skills. AlthotJqh r11c <;killed characters l1ave obvious heroic roles, its L11e un.'>killed ch;1r<Kters thi1t tend to offer the more intNc·<;tinq storylines. A relatively ordinary male chordcter w ill be nung ir 1lu .::1 wur /c.J where t1e i~ irnrnediatefy gr<:mted !.U I Tieltllll~ dt:~lfi.ible d beautifUl girl, rl gi<lnt robot tO pifOt or some torrn ot .lma7ino fiJtent power: Such tf1emes are common and effective forms of storytelling.

Action in shounen 1\ m .. ~jor aspect or shounen i:lrtwork is action nnd physici'lf movement. t:ven stones without dynnmic physicrll cvenrs

/ u t • "prL''L'r lll'cl w1lt 1 c.Jr drTkltll c.urnpusitlons and a moving "rnml'rrl" . Ch;wilctcr~ face connicl. be it physical or social. nn<i rill' c:cnrmf tnn ;<; nf ~houncn manga is the desire to iKcompfish ,, goilf or overcome ll m~or obstAcle. A1t ists also

u~e "~peed Jines" t.lmiiinr trom acrion comirs. even when a ct1amcrer IS Shocked or ~t1ourino, m represent an intense illl(J sudden emotion.

.;:ee also Action, pages 1 8- 19 )

Themes Shounen has a generally grlllier luok - espeoally in ma~wllne and aggressive storylines Involving combat. mil1tary themes or mar 11al arts.

Idealization In llkii!Yd. wum<-:11 c1re often presented in a typically ide<~ lized

m.'mner. With H11n waists and large chests.

Lineweight Shouncn c1rtwork rends ro h<lve rnuth t1envier ul klng lt1an lhe <.:quJval<.:nt comrcs f01 Qll l ~ .

Man of action Generally male characters are drawn wrth realtsnc proportiOns. although their faces retain many of rhe d1slincuve features of mangil

Shounen: classic and modern Shounen artwork has become more cleanly drawn over the years, with more angular features and larger eyes than were common in earlier examples of the form. In classic shouncn artwork. however. more hatching (shading buill up by layers of lines) Clnd additional lines were used to define folds, 'lluscles and facial features. Older comics also featured ""'lale characters with large eyebrows and small eyes -c reference ro Japanese Kabuki theatre.

SHOUNENICONOGRAPHY

Mobile fortress Giant robots are a popular recurring theme 1n shounen manga, ortcn representing grcilt power granted to .:1 young male character.

"'he iconography and effects used in shounen manga are far less abstract than those 1n

shoujo artwork. They are mostly associated with realistic or outrageous express1ons of

pov.~er. such as fire, lightning or physical energy. Speed lines are also used to great effect

accentuating this power and adding dynamism to the overall imag e.

Explosions ~1os1ons are a simple form of tgery, yet also a hugely

ecuve visual statement of .:.er and movement. By us1ng

. e. small particles and p1eces clebns. you can g1ve an

s1on real energy.

Ughtning Ughtning and other sparks of energy can be literal or used purely for emouondl impact. as a v1sual metaphor for a characters rage or as an express1on of shock. for example.

Speed lines Spec>d 11ncs ilrc used extensively in shouncn mangil to show speed bur also to express dynam1sm. even 1n scenes where emotions dre the focu~. rc"'ther lh<ln physic .. !l <lCtion

SHOUNEN IS

Hands on fire This is an extension of lighu1iny 1magery and other represenrattons of ene1gy 1eleo:1se. Showinq fire ,uounrl .1 c.h.tr<tcter. or i1rounrl h1~ limbs . demonstrates where h1s power and strength lie.

+a I 6 t~ ANALYSIS or S I YLE

Fantasy and fictio • sc1ence

r anta~y and science fiction are just as popular in Iapan as they are in tile West, yet familiar themes c.m: fillerecl through the manga aeslhetic to create artwork that is fresh and distinctive.

M.1nga stones are full of fantastic images, portraying events that are unlike ~nylhing we see in everyday life. Any story that doesn't take pldr l" c1thcr on contemporary Eartt1 or at a predetermined point of l1i~1ory IS <1 fantasy world. From Tolkienesque stones of dragons and elw~ ro ruturistic space rJdventures. fant.:~sy worlds can breathe li fe .mcJ wonder intu d ~tory. f!dding - sometimes literally-flllmhcr uimemton.

Cha1 dLLers Ciln be hroughl from another world. but the world tllcy cor nl" from will define their person - and this needs to be

expressed in your r~rtwork. With consideration. it is pm~ii.Jie to de~ign worlds that can be the basis for dr .:tmatic or epic storylines, or seNe as lavish backdrops

to more rnode~t tales.

Look to the future Bold wlours ;md futur i~LK materials ddine the look of th1s space ranger.

The interesting stranger A mntE>mporary cllardcter travels through a portal and cntl~ up in a new world. ThiS < oulrl be through time trdVel. or something more elabor<~te. AltE>rnatively. a cl1aracter rrorn il fantasy world comes 1nto the real world and l>efnends or interacts w1th the other characters. In both of these instances. till' characters dress and t1ppearance should reflect the world he or she comes from Th1s is i!lso a good example of n catalyst character (seC' Catalyst chdracters. pages 34-35).

Elven beauty Traditional clothes and delicate features complete the look of this elven archer.

Killing monsters Monsters m1ght take the form of evil tyrants or g1gantic sea creatures. for example If an entrty IS a large enough threat. gathenng the strength of one or more characters to overcome 1t can make for a compelling and thnlhng storyline. Th1s type of story applies equally well to different worlds and to different penods 1n ume.

See also Creating· a setting, pag es 42-43

FAN TAS Y AND SCIENCE FICT ION 17

Traditional fantasy - ghly decorative :::esigns based on classic =-·opean styles.

OUests pursuit of someth1ng mystical. or a

Magical worlds Your clli'ifilctel s Cdn ex1st in worlds of magic and mystery.

Fantasy: classic and modern Many of manga~ classic fantasy and sci fi designs were heavily innuenced by Europmn. British ilnci American fantilsy anwo1 k. films dnd TV ~hows. These images stuck closely to the barbarians. w izards and elf designs popular in tl1e West. Modern 1magery. however. often looks to f1nd irs own inspiration and crosses modern styles and fasl1ions with cii ffcrrnl styles of clotlling From 11istory ancl diFferent cultural dress. This applies equally to both futuristic and ancient characters.

Modern styles Contemporary fash1on and design IS mixed with classic looks.

ney ro k1ll a monster. can be a great way \ake characters through strange worlds

6ld amaz1ng locanons. Quests have been ··al to legends for centuries. and they

themselves particularly well to fantasy soence fict1on stones. because new

·onments are equally fascinating to the terers and to the reader

DRAWING UPON REALITY

There IS much 1n the real world that already

borders on f<m tastic. so its often worth

exploring the wonders o f our w orld betore

seeking 1mp1r<tt1on from elsewhere.

Mdny .. classrc hrstoric.JI roles w ere dirlillt-'t/

by therr envrronment .:md the society rl l ltlt-'

trme. l~oles such .Js pir.Jtes and cowhny~ Wt-'l t:'

s1mply 'j obs .. that reflected the needs of tile

society r l l l hP t1me I or example. pirates w ere

a comc(juPnr e of t11e mcreased trade in gold

and luxury goods ovPr\Prt\ Role~ ~uc~1 ~is

these can be reworked into difft•rt-'nl

envrronments w ith interesting result~ . Cowlmys

an(1 p1rates have otten been used in il sp,1r r·

fhght scenario.

You may even choose to focus solely on 1 ht ·

visu<tl s1de of th1ngs. and borrow styles and

dcsigm from cld~~lldl costumes to crearc your

ow n unrque look. Try crossrng over tr<ldirionill

styles and desrgns to ~re<Jte something

Interesting. or mixing ci<Jss ic<lllook~ w it II

modern and stylish designs. You could cntl t Jfl

w rth something re<JIIy cool and dislinclivP.

Stories can .Jiso be set in the pt'riocJ in

w h ich you t.1ke iH1 interest. ilnd cr~r 1 IJe erlher

historically c:KlUidle or Simply bUilt upon

folklore This can g1ve you a nch and

interesting environment to work w1th ils w ell

as an established soc.ial structure, g1vmg you a perfect start1ng po1nt for a fantastic sel

o f characters.

Historic influences A lUte mang;1 rPndirion of illl ,~iqh1cc1 Jtl l­cenrury K..'lhukr ilrror frnm tilL' EdLJ j.)t'IIUcJ of Jap;mcse history.

+b 18 t~ AN A l YSIS O F STYLE

•

I On AltliOtJgli comics ~re a slalic medium. it is possible Lo express great speed. swiftness and power lhrou~JI· l cJyn.:mlic poses and attistic tl·icks.

Action stories are predominantly the mainstay of shouncn m;.tnga. but most comics have dramatic

moments or emotional confrontations. The appropriate usc of action scenes can drive a story forward and 11f'ighten tension and drama. setting a hero apart from nrher char.Jcters as he or she overcomes an adversary, or is defeated only lo rise again.

Reach for the sky Jumping can be mildc morr t lyndrruL w1Lt1 lilt' h eavy lJSC of rrr~rrcrivc• ilrld lJold lOrrlfJO~ItiOn .

COMMON SCENES FOR ACTION

Jumping

Jumping is a truly dynamic

uctivity to illustrate, and offers

great opportuntties for

stunning artwork in stories

about martial arts. and also in

sports manga. Jumping to

make that vital basketball shot

or a slow -motion dive to catch

a match-w inning ball

represent t1efini tive

make-or-break situations for

your characters. Jumping is a

fantastic metaphor for

personal risk taking - putting

everything on the line in the

hope of reward.

Car chases

The use of vehicles in a chase

is always dramatic. It increases

the potential for injury or even

death. making the action

much more exciting,

dangerous and destructive

Ito both body and machine). Cclr chases are also thrilling

because they are something

not commonly seen in

everyday life.

Flowing fabrics and long hair help to accentuate movement in action scenes.

Destruction A breaking object, even an innocuous pair of glasses. can be presented as a dramatic event.

Falling and dropping

Dropping an important or rare

item might be a significant

event in your story, so it makes

sense to emphasize the drama

with dynamic action in your

illustration. Equally, if a person

falls from a fatal height the

intensity is extreme, so be sure

to accentuate the drama and

speed of the moment.

~ee also Special effecu, pages 94- 99 )

The position of a w eapon can communicate the direction of action in

Running

In action manga, running is

usually the result of urgency.

A character is driven by a

pressing desire to achieve

something, facing the fear of

tripping, and the threat of

failure. A chase scene should

convey similar emotions,

rncluding the fear of

being caught.

Combat

A dynamic resting pose. re<Jdy to srrike. Clothes are motionless. and just l1<1ng from the shape of the bony

A confrontation between two

or more people, perhaps

assisted by weapons or

machinery, is intensely

dramatic, and o ften the

defining act of a story. Neither

character wishes to lose, but

both risk doing so if they make

the wrong move. A closely

contested battle is the most

exciting, and each motion

should be exaggerated or

savoured in your work.

ADDING ACTION TO A SCENE

Sometimes it is necessary to make an event more dramatic.

Through use of speed lines, composition and focal objects,

it is possible to add tension and motion to a scene.

1.

5.

J • I he ch<lmacr is walking c1tlWn llrl:' ~trl:'el. t.:trryJnq some tood. This lmugc h,,, nt >

suqqcstion of till run

2 . I llt' c llrll..tt lc•r rl-'rnf'mht>rs that he m~:ch lu CJI'I tuHnt• quickly. SO i1C iS SlltJWII I t1 I It' running. Speed lines .::tre rnlroch u 1-'rllo rPpresent the .Jir IJI()VII ICJ Cjl liC Kl)l. ..tllrf ~111<!11

ilt'..tcl\ Cll \WI:'c!t dll:' tOffilnq lrwn Ill\ l>row

3 . I\ r 111 ~" " tlld~rr KJ tt1e char<.~cter. This much grcwC'r 11111 'rll. 1\ 111.-t(ll:' I:'VI:'Il 1!1011:'

rmposlng by i'ln i'lnmtion­gr.Jbbrng compmirion showrnq both characters movrng ;mo rhr relative dislctrllt~ l!t!lWt!l:'ll lt11•m. ~f'l('('O llnr~ hrrvc bct:n dtklt!tl to lriylrliylll lilt! .:~reo:~~ of fow~ drld remron

4. In llu~ !Jdlll:'l, .tnorhc•r thrcnr hus been introduced in thr torm ot a tank. The ilrtwork has been rotated sliglllty lo incrl"<l\!' I~K· tcnsron ilnd cmphasrzc the horizon line. It al~o dllow\ I hi-' two foc.JI p,ms of the rmagc to be drawn larger.

5. However; don't go ltXJ fdr with your .tr!fonr It rs very easy to make action sc~n~' look riclic ulou\ .• tncl rn d01ng so you can sport the tension <tncJ bt' lt"rt wrtll ~ornethrng that feels out ot place.

20 ~ANALYSIS or STYLE

Comedy However dramatic the action or emotional the scene might be in a manga story. humour has been a key ingredient LhroughotJt tile llistory of Lhe form.

The very earliest manga titles had a strong comedy focus. and manga has evolved to nllow for ever more outrageous wc~ys to present humour. One of the ways to do this is throug11 exaggerating the style and understanding mangas visual gri'lmmar. Because manga is such i'l visual medium. it is possible ro illustrate ft.1nny situations r~nd characters witl1out relying on d ialogue.

Wacky girl A cri1zy r1nc1 fc utny 911 I. He ·c IJC:"ntly. ~t1apeless

figure is more c.:m:oon 111.-tr 1 rt";~hsnc (or lde;:~lizcd) 1r r !pie\ \ion, ;~ncl her posture rulll c·x1uewon suggest .J IJUufy uullook on lite. By c il'rllln!J rh.-1r<tcters that don't '~·ern to care ;:~bout looking (JOod. but who do cAre .:!bOUt being lilt '111\l'IVCS

.1nc1 hr~viny fun. you can presenr i1 livrly Cli1d enjoynblr story

\..See also What is manga7 pages 1 0-11 )

---------

Funny salaryman A middle-aged businessman (known as a ·salaryman" in Japan). His dull appearance and stubby physique make h im excellent comedy material. To put th is character in any situation other than an office would guarantee hilarious consequences.

COMEDY 2 1

USING HYPERSTYLIZATION FOR COMEDIC EFFECT Manga is a very malleable art form. Manipulating the

presentation of a character or object at key moments can

change our perception dramatically. For example. there are

some instances when you might wish to highlight the comedic

behaviour of characters in a scene. By exaggerating their form,

shape. colour or style. you can introduce humour into the

scene fluently - and entirely visually.

This process is known as hyperstylization. and is a form of

visual interpretation, a subjective viewpoint. rather than a

fundamental alteration of any characters design. Such

exaggerated images help express characters· behaviour. as well

as adding a comic flourish to your artwork.

Wobbling limbs Another technique 1s to give characters· arms and legs an almost jelly like quality. This Is often used to create the Impression of a character dancing or moving in a stupid manner - usually With a blank and blissful expression - suggesting the character is obliVIOUS to what others think of h1m or her.

Using different combinations of mangas visudl grammar

(see page 11 ), it is possible to detail an emotional state in an

amusing and entertaining wily.

Zombie gaze This exaggerated gaze emphasilt:S tl1e ch&acters emotional state. Showing the mouth extending beyond the bottom or the face gives the impression or the mouth being open mucl1 w ider than it ought to be. This is the mr~ngrt equivalent of the technique used in Amer~tan cartoons where someone·s Jaw stretches downwards to an impossible extent. In the case of mangd. the v1sua1 portrayal is far less literal and pl<tys on the twcr dimensional nature of the artwork.

Simple body Reducing the shape of the limbs to a simple point makes the character look simple and cute. while also ridiculous. This is a variation of the ·wobbling limbs· technique. In this 1nstance. the character is happy. and is runn1ng around gleefully.

Happy floating cheeks U~ing d ~1m1 1ar techni<"!UC' m the mouth dropping urr Ute f<tct>. thrs ch;rmctcr has clteek!. cJ1 odWn so that they ;rppcar to 11over dWd'f f1 urn tltf' skrn iln cxaqqcration. or hyperstyh7atron. rne1rcat1ng a moment or extreme happiness.

CHAPTER TWO

Character creation The key to making stories come alive is the

creation of real personalities rather than mere

two-dimensional drawings. Here are some

examples of classic manga archetypes.

~ Male lead 24

~ Female lead 26

~ Teenage boys 28

~ Teenage girls 30

~ The villains 32

~ Catalyst characters 34

~ Children 36

~ Supporting cast 38

~ Costume design 40

~ Creating a setting 42

24 ® CHARACT L I~ CR EATIO N

e lead EXAMPLE CHARACTER TYPES AND TRAITS

If CONTEMPORARY MALE: MY\TCRIOUS/SLY/t'C lWFRFUL

f1'- SCI-FI MALE: SmiUlJV\ It II 110US

If FANTASY MALE: I ILI~OIC

ThcsP c11aracter types represent the fully matured male (75- 30 years old) . His personality is developed and his skills and dbilitif's are estdblished. Physicc:tlly he will be at his strongest and be familiar with his own strengths. but also witll hi~ wcaknf'<;<;es.

Tile benefi ts of such a character to a manga story lie in his wnfidcnce and self-c.twareness. With such a c11aracrer th!:-'le is generally none of the doubt and paranoia of youth. !Jut still enough vigour and strengtll to r~llow him an

cxciling ~lory/inc.

ll"lis givt-'\ you absolute freecJom witll regr~rd to the roles 1 h.tl Gill be rtppliecJ to htm - tram simpering. romantic poet tu riCJ(jrcssrvc space w,trrior!

AVOIDING ONE­

DIMENSIONAL

CHARACTERS

Elaborate demit or d

d1st1naive design on cloth1ng can help to make a charilcter sr r~nrl out

The rlnwns1de to suc11 il characrcr is th<~ t '' •s all roo c.,~y to lall rnro rhc trup of

Ultly ..tllnwing rhc charc~Lier a

"'"~le goal 111 rl1c story ;~nd

wry linle substunce. Ttte key

CONTEMPORARY MALE

t n ~ successful t~uull male

rolf' is ro rcmcmbe• ltlnt,

rJt>~rire his conlidl:tiLt: ;.mel

~lrcngth~. he is a cl1<1rt1Cler willt ,. fli'l~t. ;:~nd ri1is give~

you ll:c.JI ~copP for ch.:tr.:tclcr

hulldinq. Hl:, unl1ke

reen.:~gcd or ct111cJ male

ch.:~r.:~ctcrs. l trJs "' hrstory rl1.:1t

will ll <IVI"' ~tlaped his outlook and bc hilVio ur. What is ir rhm dnves 111m' What does he

hope to i1CI1ieve7

GENRE: LUNII MrORARY

CHARACTER TRAITS: MYSTERIOUSANLJ ~IY

DESIGN FEATURES: U lNTfMPORARY HAIRSrYU.. FTHI\1( URI<.;,IN~. I ONG \0-\T SUG<.;,L~f~ t'JR OF 1\~ERY

POSTURE: Ufi\IGHT. LUNI II JfNT

ADDITIONAL: l1 1r \HARAQER'~ LXI'Ri ~'\ION SUGGE~ TS /\~I /.11 I l\1v1'ir NATURE. ANLJ I'[ Rill\/"\ A nARK SIDE.

i\11/\L[ LCAD 25

Meral plating on the head and wires entering the neck remind us of the characters android nature.

SCI-FI MALE

FANTASY MALE

GENRE: f'ANlA)Y

CHARACTER TRAITS: BRAVE. HONEST AND TRUE

DESIGN FEATURES: DETAILED ARMOUR DESIGN; RECURRING POM-POM FEATURE: ORIENTAL-STYLE TUNIC

POSTURE: DETFRMINED. R&'DY FOR 1\G ION

ADDITIONAL: F1\ RRINGS r\ND Ht\J~TYLE SUGGEST A REBELLIOUS STREAK

DESIGN FEATURES: INI'UI U\!JLL~. ACU:)'>

POSTURE: 1_1/'I~I(.Ji II. UNlw\I UI-1/\LLY f(l(jll)

ADDITIONAl: THE COSTUME DESIGN PFRHI\r<; SUGGESTS A POSITION OF '.FRV/Tt II !I

Pror~ comrlemenr cll<.~r <.~Ll<.:r d<.:srgn.

ltu.: rq.x:tirion of rhl' rp,1 r.~~~PI n11

ht"1ll1 Wt',ljlllll'>

f.ILIIII lit<.: LUI lUI Ill: dt:l i(jll roqcrhcr ~~~ .~ whnll'

26 ~ CHARACT ER CREATI O N

ale lead EXAMPLE CHARACTER TYPES AND TRAITS

4f. CONTEMPORARY FEMALE: M\'STl:I<IUl JV( ( lf\J/ II Jl NI/POWERFUL

4f. SCI-FI FEMALE: SERIOUS/$TU[J/UU~

-*" FANTASY FEMALE: I /[ROIC/11\/TELUGEf\11

Fcmlllc:s in m.-uliJ.-1 Lyp1cally present a wr<.ler range of emotions L11an Lheir

mcrl~ Lounler p<:1rts. and inrroduce more· romplex molivdtions. This is

IJecause their roles ilf'l'' nflcn

grnt 1mi< ·d r nure in emotional depth

ltldrl in the Si111f1IC' TC'~Oiulion uf

pruiJierm. However: rl1is ciln pul Llle

fcm,dc · ir 1 c~ pu)rtron where a lesser

Vdrlety ot roles i~ ilVrlilr1hJv lu l1er.

Whereas Ill i ll! . (_ J ldl r/( I PI\ are

lypic~illy depicted by Llwir \IJr'nCJI Il or :,kill, ·11 ·rn..-11<·' JTJ..-IrJ~.F~ charJcters tend to

llt-> detined by tlieir bCdUiy rll!d

femininity. d:> well rl\ llwir maternal

Ill\ Ill 11 I ' Despite this. they art: on< ·n

qrcllitccl rclr~l iwly "111.-i\CUiine" roles.

such CiS sui<.Jrcr::. 0 1 lrCJrllf'r\ This r llriXII r 11/P\ It It' potentiJI tO creiJtC

t.::~scinJtinq. complt:X Cllrll rll I I 'I\

w i.H )\( • IM"'\ .-1re daily conflicts between

tl'il''il fr 'I I IIIli! W ( jU<ilitieS and the desire ro ncilicv1 · 111 r1 r 11<"111:'-cJorninated society. Tl;cr<' rrn · rll\1) 1 )lenly ot possibilities In r wrlll' ~Lorylines set in temJie domin<IIC'd '\nrwlie~. or in worlds wlierC' wo1TH .,,, dfl<.l rnen:S

t.Jmilic1f' rolr-~ rill' ll'W f <>ed or mixed up.

CONTEMPORARY FEMALE

GENRE: CONTfiVIrORi\RY

CHARACTER TRAITS: 1-r\:,HION CON<;CIOUS; Al/1<1\( I lVI t\NI) CONFIDENT

DESIGN FEATURES: ~hv!rl F. ClASSIC OUTFIT. <)/~II f\11/ \1 I lAIR ORI\!Aiv!EI\IT:

IIMITFrl ACCESSORIES

POSTURE: OVFR I Hi: :,HUULL)l:l~ POS[; (.01\JriDCNT. 1\1\11") PFRHAP" FUI~IAIIOUS

ADDITIONAL: ~U.'vll: I Hlf\IG If\! TillS CH,\1«\CITR'S rOSC 1\ND '\Mil F '\IJ(j()l:S I:, I Hl:I~E IS MCJRr TO HFR I HAl\/ Mi:l: I ~ TH[ [Y[

MORE THAN JUST EYE CANDY Although it might seem generally

accepted that a male manga

character can rely on strength,

heroism or a quirky nature to

engage the reader. and the female

simply needs to be beautiful. this

should not be the driving force of

your characters. Even a voluptuous

form will seem much more

attractive wt1en the smile seems genuine and there is a real person

behind it - however much

attention you pay to accessories.

A glass of w ine gives the characrer a !OUCh Of

crass and sophistication.

~I

GENRE: SCIENCe F-ICfJON

CHARACTER TRAITS: SFRIOLJ<; i\ND STUDIOUS

DESIGN FEATURES: f'IJ\STIC i\N\TERV\t.e:.; ROl KH rl'\l~: RIBBED iv'ATERIALALLOWS EASE OF MOVEMEI\JT

POSTURE: ARfvlS CLOSE TO BODY ANLl LE:llS BENT INWARDS

ADDITIONAL: TIICRf: I<; 1\ <;TRON\ , rJ rtvlrNT Of' INNOCENCE TO HER FFATURES, YET HER ATIIRE IS

RUIIJ FOR COMAAT

II special rocker pack with booster jel5 allows rhe crnr;~crer to fly. Note the consistent design and sl)'le or the clothes and accessorie~.

FANTASY FEMALE

GENRE: FANTASY

CHARACTER TRAITS: RELIGIOUS. INTEWGENT

DESIGN FEATURES: SHINTOESOUF STAFF;

CEREtv:OI'JV\L ROBES. :Vli\I{J(INu ON I !IlL

POSTURE: PEt\CHULIV'JLJ SOLEMN. YET CONFIDENT

ADDITIONAL: THE CHARACTER WEARS A NON-cOMI?AT

OUTFIT YET GIVES THE IMPRESSION OF WIELDING G~EAT

POWER. WE THEREFORE PIJ\CE HER IN THE POSITION

OF PRIESTESS, HEALER OR CLERIC

FEMAU: LFAD 27

Il K: ; tull i; ;Jrn).Jic.: I.Jur tlas an lnrrirmc rJc~I(Jn

<it tile.: WJ.! . lrnplyinq ;rn c.:n<.:r(.Jy dl(rrrncl.

28 ~ CHARACT E R C REATI O N

nage boys EXAMPLE CHARACTER TYPES AND TRAITS

4f CONTEMPORARY TEENAGER: AN!.Jf~Y TEEN

If' SCI-FI TEENAGER: I 11\J'I'Y I lt:/\0

~ FANTASY TEENAGER lvii\1 URII\IG TEEN

Teenagers ( 14-1 A ye&s old) are among the rnmt popular protagonists

1n mnnqa. Actiny d) d "hlimk canvas".

a teenc~yer 1s ilt i1 PC?int w l1ere his

L>o<.Jy mi1y 1v1ve developed physici111y.

hur l1is mind IJ.:t) not yet ft 111y

malUJed. Teenil~JC'rS arc rnore

.\USCC'ptihlc to innuence~ <md c>morions

- and c11e in ;1 position to

, wt 1 1pnn those feelings Without an

llrlul['~ I t'SfJOrl.)lblfiti<:~.

M.:~le teemg0 rll<lractcrs fc~ce the trictb .:tr Kl tnbuliltions of mctnt Juod, but

wil11uut tt1e mmurity. stren~llh or .:tiJillty ot their nldC'r counter p&ts. They

m;,y di)U IJe portrJyccl ll~ decrlinq With

the b<:ginninu~ uf sexu.:tl desire. Oftrn

illc 1 e~ull IS trustriltion. r·xp1 c~~1ng 1tse/t 1n a brontiina ar 1tf tormented nJrurr .

Huwever. thiS age grntJp a lso

represcnrs r11r p()inl '" hie at whicl1 lntdliu< ·nee .:~nd power i.~ first llllc~inecl .

&ld With it the' ht"'ginl 1inqs ot maturity

tlll<i I'C'\J lllll~IIJ IIily.

ANTI-HERO

CONTEMPORARY

TEENAGER

GENRE: CONTEMPOR/\I,'Y

CHARACTER TRAITS: FRUSTRI\Tm. ANGRY

DESIGN FEATURES: STRFFIWI\ 1 /WI )S SENSE. i'vlU)I( I 'lt\YI f.!; I INGCRLESS GLOVES

POSTURE: STRONG Yl I I )IITNr.IVE; CONFIDEI\11 YET 1', II ~ I I~U) !INC,

ADDITIONAl: HE ?PPI:AI<'> (()I 0-1\!ATURED 8UI IJI:I(I I/~ ') \ONlnt\TS HIS IN)I:LUI~I IIL'> WIT! I 1\J\IGFR

An .:mti-hcro con tritdtcts almost all of the notions of a classic

hero, nnd yet presents il bclievr~IJ ie and interesting protagonist

tor a story. Tccnilgc males are the most common form of anti­

ht'IO, as they hilvc not yet shown the bravery or strength of

tlte claSSIC. heroic male. As a result. anti-heroes are often

chr~rdcters w ho <Jre ready to attain those qualities by any

means possible, or they are characters that are out of place in

the world bur crave the chance to demonstrate their latent

qualities. Whiny. selfish or awkward teens can attain growth

and self-discovery in your stories. as well as spark entertaining

reactions from other characters.

Even non-focal areas such as shoes should be considered and designed carerully.

FANTASY TEENAGER ·

GENRE: FANTAW

CHARACTER TRAITS: WORRIFD /\NJ) ANXIOUS

DESIGN FEATURES: VISIBLE STITCHINC) ON t I C)! I lff\IC '· WEAPON. CLOAK CIRClET ON FOREHEAD

POSTURE: ON EDGE AND READY FOI< /\liiON

ADDITIONAL: THE CHARACli:I('S HMJU ON II II I 1111 01 HIS BL/\D!: SUGGESTS MISII~LJST 1\1\Jf} CON\T/\NT VIGil

Unusual rlnthP.' anri arrf'~snnes that do nor relatf' tn contemporary fashion help tn highlight an imerestinq i'lnri original character.

SCI-FI TEENAGER

GENRE: ~C I[N(T IYTION

CHARACTER TRAITS: "1-V\PI>v HL~O ..

DESIGN FEATURES: MllffARYSTYLE UNif-ORM. REPETITION OF CIRCLE MOTIF, HEADGf.AR

POSTURE: CHH·RFUL AND CONHDF.NT. ENfRGI:liC

ADDmONAL: UNTHREATENING AND FRIE'NDLY

TEENAGE BOYS 29

Discreet ;md ~uhll<'

details such as this pml<'llM.: CIICI<'i help to show 111,-u (/I(' <llrlld( rc·r r\

J.l t t:I.J<lll:C) lor IJrrii iC'.

30 ~ CHARACTER CR EAT ION

nage EXAMPLE CHARACTER TYPES AND TRAITS

* CONTEMPORARY TEENAGER: CONFirJFNT

fie SCI-FI TEENAGER: r>rlviil/{l

If<: FANTASY TEENAGER: I ILI<UIC

k wiltl rn;!IP'i. the female teenager r 14- 18 ye.:u ~ ulu) is .1 populilr rho1rc tnr manga protagonist and

for rndny of the same reasons. What sets fL'mdle dldrdcters

ir 1 Ll1i~ d~e ~roup opilrt is

11uw they dP.ill with rhc

ch.lngc"i iln<i <hlillcnqcs with w hirl"l lift" prcscnb

them. With f!"mlllcs there i~ no app.1rcnr pl1ysirlll srrcnsJlh tu

~<..live problems; in.m~i'l<i they come Lo

ler r n~ wrtt1 tt1e1r emotions, scxuill

cirsirrs lind preference~. k d result,

the tcmi1IC' tr'c•n,l<Jf'r c ; 1n u fler 1 dppe<:tr

fdr ITH)re rno:~ture and settled thJn

t 1er male COLtnte rpJrt. There is i'llso

scope for t11r fr.m,llc rqtJivr~lenl or the ;mri-hero - IIH >tJUt 1 JlUl one 11 1n1c·d 1n .,my rnale-fike inner turmoil,

l..lLit ~~ chamm:r whmc super iur ~r c:t~p

of controlling c' moliom ~el~ t1er i:lpdrt.

girls "CONTRADICTORY" FEMALE ROLES

It is interesting to consider the use of female

characters in what some might regard as

standard male manga roles. Often we see a

fema le protagonist thrust into the posit ion of

hero, or leader. Ultimately with the female

hero, however. the final sentiment is often

one of "friendship can conquer all"

and a reliance on other

characters as backup. In cases

where the female truly does

triumph as a solo heroine. she is

often a character w ith a strongly

male orientation.

A designer bag renects the characters tastes and aspirations.

CONTEMPORARY TEENAGER

CHARACTER TRAITS: CONFIDENT

DESIGN FEATURES: FASHIONABLE CLOTHING. MUITIPLf:: ACCESSORIES. INCLUDING PHONE. JEWEllERY. KEYS

POSTURE: DISMISSIVE 1-iA.ND GESTURE: STRONG AND ARROGA.NT STANCE

ADDITIONAL: EVERYTHING ABOUT THIS CHAR--\GER SAY'S SHC IS CONFIDENT AND IN CONTROL -

Futuristic accessories create ;~ more believable character.

SCI-FI TEENAGER

GENRE: SCICNC[ FIGION

CHARACTER TRAITS: SHY. THOUGI Ill UL

DESIGN FEATURES: PLASTIC MATfRll\1 \ HULKY. I U I UI~I~TIC

ACCESSORIES; COMMUNICAI ION Df VllL: ( jli\SSES

POSTURE: lJI:MlJI~I . NON-NiGRfSSIVE

TCCNAGE G IRLS 31

..-,,.,~ ADDITIONAL: THE U~L 01 I II I~ I V\1'-JJ") TO COVER PART OF HEf~

FAlL )UGGI '> p; 1\ I ACK OF PHYSICAL LONFIDLI\ICL

Comidering t11e securrng of we,1pom to Lilt: body is dnnnponam detail and help~ to crP<~te a more re.Jiisl ic ch<lractcl.

FANTASY TEENAGER

GENRE: 11\NTASY

CHARACTER TRAITS: HEROIC. INI~I l~r>

DESIGN FEATURES: ( lVI IN/I I)

ARM GUARDS /\1\JD flC X) I\ EXAGGERATFD Ht\JI(\fYII

POSTURE: DCTmMJNLU t\NlJ PRrJi'\RED: )01 II) ) lANCE

ADDITIONAL: SIMPLE. UNCOviPUC/\TW CLOTHING OVERSHI\DOV/ED BY WARRIOR El[MENTS SUGGESTS A TOMBOY ASP[Cf 10 HfR CHARACTER

32 ~CHARACTER CREATION

villains EXAMPLE CHARACTER TYPES

.. HISTORICAL VILLAIN: ;\RRnt-v\1\fT CiFhJTI Flvlt\1\J

~CONTEMPORARY VIllAIN: < ()f\JI JUU,f l Vt\fvll '

.. SCI-FI VILLAIN: rOWIRII II t' il\i'f( i I r;\n rR

• FANTASY Vlll,AIN: l l<llil\1 W/1.1<1<101<

Fv,~ry prmllgoni~r nC'cds lln anri1gonist.

Wirhour mntlicr, ,, story cannot truly

progress. All rhc pressure is on the bad

guys or manga to act as the element of

ch;IOs the problem that must be

.resolvecJ. As i l result, the bad guy is

essentri.il to the development or the hero.

/\ny dkrr dller c.dn become an dntaqonisl.

i1 rhn~llr or r111 oppming force given r11c correct

circunlSlcHlCe dllCI molivdtion - even without dny

ot tl1e estJblished visual archetypes. One of the

only rcq1 Ji,irC'~, f)C'rhllps, i .~ rhc conviction thCit

lt1ey dre .:tlwdy~ ri~Jtl t!

A successful bad guy Wl1iit miikcs un antugonist truly successful as a rhr~rr~r l ('r i~ ~omC' f'lrmf'nr of rP.<llism r1nd

( ll 'l lll l rr'r ( L'llr lill ld~C\ il llldY be sufficient

lu uecile d IJdU ~uy wt1me rnotrvalion rs to

rule lt1e wurlu. bull.:tr rnure c1ppealing is

rHl ~lrli.·I0Clr11\l writ! rl 1-rl,-rl 11-rw, or one

Will! rl \ I I II y rllld rl \( '( 'lllill~ly Vrl lid

rcJson for his or llcr actions. Empatlly

is the key. By creJtinq an antaqonist wt1me urrvl:'\ .~1n cJ <-rrnbiliom can be

undcrs1on1j cllld even empathized

witll. tile rewder is put into wn

uncomtortable position. In this

Wrly, li lt: l:VII cit: I m:nl ur lilt: '\lory

becomes far more threateninq. Aft:er all.

wrtt1out d ~lrun~ drltdyoru~l, tt1e hero has

nott11n~ me.:~nrnylul to overcome anc1

becomes me<Jningless.

SCI-FI VILLAIN

GENRE: SCIENCE FIG ION

DESIGN FEATURES: LONG J/\CKFT. WI liT~ GLOVES. HEAD&\ND. RED EYES. lARGE AND POWERFUL BOOTS

POSTURE: POWERFUL AND FEARLESS

ADDITIONAL: THE GLOVES AND POSTURE OF TH[ CHt\RAGER IMPLY A

ROLE OF POWER AND AUTHORITY. THE GlARING EXPRESSION

AND HAND GESTURE SUGGEST FEARLESSNESS

Dramatic use of wind to lift I he jacl<et is useful to accentuate the pos11ion of the feet. Usil)g a light source from beneath also helps lO establish atmospl1ere.

FANTASY VILLAIN

GENRE: FANTASY

DESIGN FEATURES: PRIMITIVE STAFF, CLOVEN-HOOF-EFFEG BOOTS; GRASS :JECORATIONS. POINTED Et'RS. SKULL MOTif-; DEMON-WING HEADGEAR

POSTURE: INVITING /IN ARGUMENT. i~\10 SURE OF WINNING IT

ADDITIONAL: THIS CHARAGER APPI:/IRS TRIML WITH VOODOO ELEMENTS HrR CUTENESS CONTRASTS WITH HER 0.\RK ROLE

CONTEMPORARY VILLAIN

GENRE: CONTH..U>oJV\RY

Th•s single demons wing implies some sort of injury and raises the qucsuon of what might h,:we 11c~ppcncd previously.

DESIGN FEATURES: VAMPISH OUIHL SUCK HAIRSTYLE. GOI HIC r1 rMENT

POSTURE: CONFIDI NT N\lil COOL

ADDITIONAL: THIS CHARAGER'S DARK ATIIRE REFLECTS HER DARK NATURE SHE ArrEARS TO BE READY FOR PHYSICAL CONFRONTATION

THE VII I /\INS 33

DESIGN FEATURES: A tlri'JTI FIIAAN WITH LACE SU:J:V!:~- WALKIN< I

( N\11 I J\ril MfRrl Y FOR EFFECT. CRAVAT. l.)lf\',~1.:,

POSTURE: ARROGANT tW[) CONCFfTFf)_ TAll tWU lONHlJf-Nf

ADDITIONAL: THE CALM Yl: I UJNHDLNT POSE PAINTS HIM AS /\ METHODI0\L 1\NO ~\IWIPULATIVE ANTAGONIST. RATHER THI\N A PHYSICAL FOE

34 ~ CHARACTER CREATION

a lyst characters EXAMPLE CATALYST SITUATIONS OR CHARACTERS

~ GIRL MEETS BOY: AN AIII{A( I lVI: cJIRL EI\ICOURAC::jE$ A GEEKY <3UY

If EVIL NEMESIS: rvri\JT\ Al~l - CAtJ\1 I ) I!Y I I II\ I VII I 'I INJN

It THE FAIRY MESSENGER: HFLPS THF PROTAGONIST TO ~rr rii)T I Hl::ll< U~UAL ts!::HAVIUUI<

One uf tt1e Simplest ways to initiate your ~turyline 1~ I.Jy the u~e of a catalyst ltl&i:l<.ter. lntroclu<.1ng this charetcter into your pruld'-JUI 1i~ l~ world w ill kir k~tllrt n rilnin of events,

creilring il new scenario out of Wtllltl yULI (.drl ~pill drl ex<.iting plot.

Til<' cmilly~t cllilrr!Cter is one who spurs

tr1e story tu IJeqn1 IJy 1ntruc.JuLing c1 ktnc.Jurn clement tllilt tile protagonist must deal w ith. Ueperlc.J ir l~ ur1 U1e furrn the catalyst takes, this

c11.1mctcr mily LJiso create a climate of

Llfl<.er tdlnty. furLII KJ ott 1er <.tl&d<.ters to rl i~mvcr rllclmclvc.~ .1r tile same time as U 1e rec1c.Jer di~Luver ~ them. This is a far

better way ot exploring your characters 1 llilll g iving your re<~ders a long-winded 1 ·xplrlr lrll it lf 1 of II H'ir lli~lnrir·~.

I Jr 1tloul 111 ·Illy, Ill<· mml noliltllc ciltnlysts tiikc

It II' fnrr 11 of II w rll llrl!JI If li\1 r~rrhelyfll"- ilfl f'flCfllY wllo\t · \ol< · pur pmc i ~ to set obstacles for tile plol ri!JOni\1. Hnwc'Vf•r; I hi~ is not by Any mer~ns Ill(' only form " Cr'l li ilyst can take.

II i~ fr1irly mmmon for n milnga story to revolve

<1round an ordinJry chJructec whose life and physlc.:~l .:~ppearance are plain and unremilrkable. Typically, tl1ese characters

mighr encounter "" outlandisll, sexy or OtllrriU<"Otl~ rh;lrr"tr l<"r wlrn offers tl1em r1

Ulr1mornt1~ lirr<.lylc> lhnl lrilmform~ their

mundane hie. It is not always necessary to create a

character; however. Sometimes the catalyst may take the form of an event - such as the

protagon1st:S be1ng granted g reat power in the form of magic abilities.

Geek meets girl Here we see a popular catalyst situation. A young man with a quiet. possibly geeky nature finds his fife turned upside down by the arrival of an anractive female character who, for some reason. feels inclined to stay w ith him.

The evil nemesis This catalyst takes the form of a mean character w ho feels the need to make life harder for the protagonist. She or he creates a situation that the protagonist needs to overcome.

CATALYST CHARACTERS 35

The inspirational messenger A tiny Fairy has befriended <1 boy wirh n vif'W to helping him <:tch1eve and fulfil his dreams nnd ambitions. Ch,lrilrtcrs sul/1 ..-~~ these help to push rind dnve lilt' prolc~goni~t tJeyonrl hi~ or her t J~tJill hehaviour and sc1vc us ltlc embodiment of th1s mcssa(.jc.

36 ~ CHARACTER CR EAT ION

dren Note the way in w l1ich the fi re in this characters hand illuminates the wl1ole of the illustration.

EXAMPLE CHARACTER TYPES AND TRAITS

~ ACTION BOY: HAPPY AND CHEERFUL

~ GENI<I SCHOOLGIRL: < t\1-:1 I 1{1 I Af'l l) II( .IIVL

~ TRADITIONAL CHINESE BOY: MATURE Al'ir> SFRIOUS

-liC MAGICAL GIRL: Ml~lHII::VOU:,

M; tngrt rhildwn usuAlly personify innocence .:mel an undistorted outlook Qn lire. In your story. their open­

minded attitLide coLIId make a good contrast w itll tile burdens of your fldult charflctcrs. A playful child rh;trrxlcr milkcs il wonderful nddition

In mru1y lypcs nf story. either in a ~urporling role or indeed, nS

the st ill~

One of the most significant things ;-1! mut ctlild crl.:-tr2lcl ers is thdt ttley

'>t:lrJunr l1crve con cerns about love or reiJtlonships. Any focus they do have nn wt;.Jt iomrlip\ w t/1 U\Uiilly r..entre on

their friends. or lif the characters are in i l .suppnrl ing role) on 11ow they wl;.rlr to ;.r pnrent nr

older sibling.

TRADITIONAL

CHINESE BOY

GENRE: FAf,JT/\'\Y

DESIGN FEATURES: ( OMRif\J/\TION OF ORIFI\ITAf 1\1'-JD Mlf'lf'll F F/\~TFRf\1 TR/\DIT/Of\!1\1 DRF'\'; ~l IGGF'\T<; FN~T/\W '\mll\l(i; FIIIMF rATTFRN Rm ras Wl(il(l\l. r o w eRs: NOTE Tl I[ LONG r li\IT Or 111\/R

POSTURE: ~ IGHriNG POSE, RFAFJY TO ATT/\(K WIT/ I FIRF

ADDITIONAL: I HI:: lHAI<I\C II::~ <:FFM\ VFRY '\FRIO! I\ '\l JGGF'\T/1\J(j I I[ IS MI\TUR[ !3CYOI,ID HIS YCI\RS

MAGICAL GIRL

GENRE: 1-U I UI~I:, IIC :,(.1-FI

DESIGN FEATURES: 8UTTFRFLY MOTIF; FUTURISTIC CIRCLE DESIGNS; GIRLY RIBBONS IN ~AIR

POSTURE: SPRITE. FAIRY OR BALLET Di\NCER POSE

ADDITIONAL: THE OUTFIT liND WAND ARE ALL COORDINATED. SUGGESTII'!G THE OUTFIT IS A COSTUME OR UNIFORM

GENKI SCHOOLGIRL » _G_E_N_RE_:_C_O_N_TE_M_P_O_~ __ Y____________________ ~ DESIGN FEATURES: SCHOOL UNIFORM IICADBA.ND; -..,:::::.... TENNIS SHOES; CARRYING A BOX OF SCHOOLWORK --------------------------------------~ POSTURE: IN A HURRY. BUT STOPPING TO SMIL[ AND WAVE

ADDITIONAL: ALTHOUGH CLUMSY AND NOI STUDIOUS SHE IS. NEVERTHELESS HAPPY AND CAREFREI:

'

ACTION BOY

GENRE: CONTFMPORARY

DESIGN FEATURES: SPORTY LOOKING. STREElWISE CLOTHING: LAYERED SV.IE/\TSHIRT UNDfR HOODED TOP. SI\DGE ON HAT

POSTURE: BOUNCY AND ACTIVE. READY FOR FUN AND t\aiON

ADDITIONAL: THIS CJ-!AAAaER IS HAPPY AND CHEERFUL. WITH HIS CUTE 11/V\SCOT SIDEKICK THERE'S NOTHING HE CANT FACE

•

•

I he m.J~lUll~ elf 1 If uporl<.lfll .rltl'~~ury fur cJ child character.

SUPPORTING

MASCOTS

If a story focuses on child

characters. it is not uncommon for

characters to have pets or talking

creatures. (see pages 38-39). This

helps to present the child as being

responsible. and it also allows the

character to have something to

"parent", or guard.

CHILDREN 37

H "' vtllor 11niform Is a common form of drcS\ lor J.:tp.:tnL ... A'

•llrw lyh f). Derail~ )ull 1 d~ rhcse help rhe ~!'ttlnQ of 11 1rory

38 ~ CHARACTER C I~ EAT ION

porting cast EXAMPLE CHARACTER TYPES

• PIBO [1'0 1101)

.. PINI<AA (rt\IRY)

.. TIGGY j(i\T)

*- KURIMI !l'vlCINKEY) ----~-------------

.. ZENNI j\( ll 111-?1·~1 I)

~ MINUU ii:!UI\11\!Y)

ll~ run lo ue.:~le non-t1uman

\l"lcll"clCrt:r~ to clct in <.1 supporting role

lo lhe proldCJOnr~l or d~ Lomir rPiicf. ;md tllcsc ch.Jracrers Jre often very popular:

Cl!rifriCICT'i SUCil il' tilCSC' FJISO FlCt <.15 <.1 velliCie

tor Other aK~rocters to cornrnunildle llleir

emotions .Jnd opinions - tor example. by pouring out their hmrrs to them -

,wnic1ing tl"lc necessity for tllougllt bubbles.

nr nvr·rrc lir1ncr: upon subtle visuCJis.

Supporting animals CJiso lluve tile ability to

rci.lct to the lead cllCJrCJcters· emotions and

perhups reflect the readers Feelings. so the

reJder feels he or she is watching the action

atongs1c1e the m;:Jgic~ l pet. Anirn~l<; .1lso r~cl i-1\

I HUll'< liVt ' VUrllillr'lfl\ arvrng It-It' clld(rlCICr cl form

()r ri<lililinrliil sl rr ngtll or power.

GENRE: CONTEMPORI\I(Y

DESIGN FEATURES: STYLIZED AND UNUSUAL-LOOKING lv101\JKCY; SARCASTIC EXPRESSION; SIMPLE

CIRCLE·MSED lv\ARKII\JGS ON BODY

POSTURE: WALKS ON TWO LEGS. WITH LEGS SPREAD WIDE

ADDITIONAL: THE MONKEY'S FUNNY EXPI<ESSION MIIKES H!M

FUN TO SEE AND A GOOD ALTERNATIVE TO TH~ USUAL.

Lr'\RGE-EYED lvlASCOTS

PINKAA

GENRE: MA.(jiCAI

DESIGN FEATURES: '\TARLIKF AND SIMPLY SHAPFD

POSTURE: HAPPY AND AGILE. WII H l:Xf'f-IL~~IVI: LIMBS

ADDITIONAL: THE CHAAAGER IS fRIENDLY AND CHEERFUL. WITH A

CHILDLIKE ~A.PPINESS

MINUJI

GENRE: CONTEMPORARY

DESIGN FEATURES: FAT AND ivlfiLL[/\BLE W[/\RS AN EARRING

POSTURE: USUALLY A SOFT AND LOVING POSE BUT CAN EASILY POUNCE IF ANGRY

ADDITIONAl: BY TALKING TO THIS SILENT BUNNY THE CI-1ARI\CTER IS ABLE TO THINK MORC CLEARLY ABOUT HER EMOTIONS

SUPPORTINC CA~T 39

GENRE: CONTFMPORARY

DESIGN FEATURES: DISTINCTIVr lAill lY \I I\' II 'L~ AND I II JITY n lEST GIVE THIS CAl/\ LUI ( ll ( 111\1./A(Trf:'

POSTURE: WALK\ f\11 AllY t\f'.J[) \ARFFULLY

ADDITIONAL: Tl II'; (t\T I IN\ A 1-HFFI:Y ~;\1-'I<~~~IUN. ANLl CUUW MI~UUlllvr AI\IY ~rCCIN[)

PJBO

GENRE: FUIUfiL fiOilOT

DESIGN FEATURES: I~CPr.TifiON OF DISTINCTIVE DfSIGN ASPCCTS ON U!:LLY AND FOREHFN). WlTI I [Y[S FOLLOWING THE SA.'v1E STYLE. JOINTS AND tDGES SHOW PLASTIC BODY CONSTRUCTION

POSTURE: SIMPLE. \.VITH AN EXPRESSIONLESS FACI:

ADDITIONAL: TillS ROBOT IS BUILT FOR A PURPOSE. BUT CAN BECOME A GOOD FRIEND 1\S vVELL

ZENNI

DESIGN FEATURES: rl I IfFY Fl 1~:

ANI) AI irr'-JIIKr ANTr NNAF

POSTURE: BOSSY ANLl lviUOI.l't: 08\IIOUSL'r' UK!:~ I 0 Nt\( I

ADDITIONAL: n rr,rrrr f'lFII ·J(i A NAr~. I HI~ C,Oi.IIRREL SEEMS WI~~ IINU II I< Jl J< ,I I II III

40 ~CHARACTER CREAT ION

tume design C:()\llJrriC c./c-,i~1rl j<., d rrlc.Jjur pcJ rl or ch<Jrc:JCler crecJlion . It cnnlnluniCJtes ,J gre,Jt cjeal ,Jbout a characters personality. rlnc.i ,]ISO U-Je Lime ancJ lhe culture in Wllicll they live.

When <jc·signing futuri~ric or fr~ntr~sy cllr~rr~ctcrs. try to experiment rlS much c1s possible with costume designs. Take

rlS mr1ny influcnct:s rlS you Crln from different sources; avoid

seeking inspirrltion solely from mrlngrl r1nd r1nimc. lnstcrld,

rcsCrJrch the frJshions of different cultures and centuries.

even wl1en desiqninq the inhabitants of imagined.

futuristic worlds.

Uesrqnrnq costumes that are reminiscent of clothing from

' I H.'LIIH t~r ~r\ in trurr~t-rrr tri\lury Ldn tell your re21ders a great

CJl:rll rihOtJI lilt' kind o r rul tm• \OCicly your Slory is Selin: in

future worlds. a medievJI costLJme might suggest a society llrr~l 1\ \ Jill prrrr !II IV<· 111 r r r~rrry wrry\, wtwrt-'r!\ milit&y-style

HINTS AND TIPS FOR COSTUME DESIGN

OLD-WORLD FANTASY

.- \lorl;e~ wot rlci hP ~ewn togetlier more cruddy. with visible sritchinq and ~II fi/JIL' LUII~ll LIL[IUII.

.- Comlc1er f~brics suci; ~s si lk, leatlier .rncl S<lck clolh.

~ Urfferc>nl colours dncl mdlcn<:~ls

represenr rhe rl:'ls~ of the rh"'r"'C'tf'r. 1\ nuul~.:n~<rrr would w~.:ar regal colours suct1 .Js red or pur pic, dnd 1 11~ Liollling WOIJid h('IVf' finp det('lilili'] .

FUTURISTIC SCIENCE FICTION

~ Pl.'l~tlr-h:'l~f'd f,.,.hrir~ and moulded pl.:mlr~ might he pre.~f'nt in rlotht>~ .

Soft m.1renats <111 . .' IL'SJ

"·ncrlrve !hcH1

t kt<tl rndler ktl~.

Shiny plastics reflect tiqhr.

dress might suggest a totalitarian state. Also look at modern

product design: the cuNes of a sports car; a gadget or a

new computer might be the inspiration for part of a

spacesuit, for example.

Its important to think about the detail of the costumes as

well as the overall look. For instance. consider the

technology available to the world in which your characters

live. Simple inventions. such as zips. velcro or elastic might

not be available in an ancient world of swords and sorcery.

On the other hand. laces and buttons might not be

necessary in a futuristic realm. as they may have developed better technologies of their own.

GENERAL

Straight lines look nat.

44' Strings and tassels swing in the wind, and help convey motion during action.

44' Long. flowing hair and cloaks have a similar effect.

~ Stripes and geometrical patterns help define volume.

lft. When designing children:S costumes, consider drawing baggy and ill-fitting clothes. as young children are stili growing.

-II' Coordinate your design elements, especially in fantasy and science-fiction manga. as this reinforces the impression of a fully realized society.

Stripes on the characters hat and sleeves help to define the volume. as well as coordinating the costume wrth a consistent style.

COLOUR SCHEMES

lf Coordinate the colours on your

character with his or her

costume. Defining the colours

on certain sections of the

costume also helps define their

volume. This applies just as much

to black-and-white illustration as

it does to full-colour.

HAIR AND SKIN TONE

4f If you're going to have characters

that appear often in the same comic

or series. it is important that you

make them as different as possible at

a glance. Making sure they have easily

identifiable hair colours. facial features

and even skin tones allows the reader

to recognize the character instantly.

even if not fully visible in a frame.

BELTS AND BUCKLES

4f Belts and buckles serve a practical

dimensional person

rather than a flat.

2-D image.

ZIPS AND LACES

4f Zips can introduce detail to even the

simplest garment designs.

A simpler colour ~theme is much more <~ttr<~ctrve

Remember to vary the skin tone of dillerent Lll.rrc~ttcr>.

Experiment! Usrng a zip as an earring create~ d tool. streerwrse style.

COSTUivlC DE SIGN 41

DEFINING CHARACTER DIFFERENCES

Certain elements can be used to distinguish characters from

each other. The shape of a characters fctci.:tl outline. eye. nose

and mouth can be very different. Hair is also commonly used to distinguish characters.

The following are examples of 11ow shupc can ddtnc a character:

St<Jnd<:~rd m.rlc lt1in -not porntt>t1 h11l nnl square jawed either.

More realistically ~h.tpt:tl cyl'~ dcpitt gentleness. wl1rrl1 r.-•n be easier for the l l'ddCI tu IL'idtl' tO.

ACCESSORIZE!

)

~-_/ \

; L<Jrger chee~ and Jlrllllll't l I IIIII tdl l

mean a younqeor pl<~yfuf th,u ,r~ LCI.

UlrCJI". t"lllrf;t> "'Y"'~ ~llow innocence. t 11111/\ll y Ill

somerrmt'~

imclligcncc.

I \ \

\_( .I

Jn ll"'l"ilr- t lr.tr.ttlt•r • • .t

~trl•ng thin lim:

""I"'"''""'"""' of character.

1.--- . ' -· .,~ -

N.IIIIIW ' 'Y' "· lll 'lll'lolll.v

refien .~ ~t'r"'"" nr cviltll,u,rw.:r.

Accessories can be used to grec1t effect when bullrllnc:J up .'!

character. However. as wlrh everything. misuse c.:tn be

detrimental to your design.

It is important to bear certain elements In mind when

accessorizing characters;

4f The characters themselves; their pcrsonuhly, JOb, hi tbrkrl c1nd social grouping. For example, warriors almost certainly sport

items that strengthen or protect their bodies. such as forms of

armour. A specific society rnrghl c:Jern<tncJ ~pt>cifir acTf'~~nrie~

4f The environment: how cold is the settrng? Your Ltt<~rr~cler~

may require gloves or scarves. Cert.:tin .:ttmosphcric con<.Jrtrorr:.

would call for specific accessories or equipment.

4f Aesthetic: accessories are a building block of a char.:tcter. The

a characters appearance as much

as the clothes they arc wearing.

Bows. ribbons, piercings,

jewellery, belts, chains and

other accessories can be

used to adorn a character -as long as they are

appropriate.

4f Don't overdo itl Too

many accessories can

detract from the strength and

coherence of your design.

Simplicity and practicality are the key. Also, be sure that the

accessories you choose match

the style.

42 ~ CHARACT ER CREATION

ating a setting Tt 1c scttinQ of yot 1r rnanga story is imporlanl. Tt 1c • ' miverse or microcosm you create c.licJ.:llr.s lhC' <;tylc of tllP rllar·acters and ttle rnoocJ of tllC' <;tOIY. If you plan it out properly tllC'n nn wn1·1d 1s too lanlaslic Lo be C:::tpturecj COl IViiiCill~ly.

C"Rr /\Tif\JC, A FANTASY WOI~LU 1\ ldnt;.1sy world is often dictCJted by tile rcrilnologies

JVJiiLiblc ro it. Ev<"lythino frnm commurliCc:tllons to

.1rrhi1r-r1111t' w111 fkfine l11e lrl'ldSJined culture and the

plly;i( rll {'()VII UllrTlenL Uoes the culture have time travel.

'if'!rll t ·;I up\ ; I< ·.-1m power; electricity or even proper roads?

If It I{ 'II' rill. pt ·opiP with magical powers in your story. you

hiNt' lu t t Hl\lclt ·r wtwtller tt1ese would be applied to

pr<wlit r~l ptHfH>\t'\ lou. r1ncl what impact this might have on Other p.Jrts nf .mcidy. If r1 lui uf reople have a special skill. it

will Jffect cvc1yonc. Its illl r~l'>uul th1nk1ng through the

implic.:ttions of your idccl.

Geography and atmosphere Wl1r11 \Oil nl 1>nwonrnenr do the char.::tcrers live in? Is it a

plc<Js.Jnt vis1;1 uf fil'f(h r~rtd I re'~'. or r1 series ot closed cities

wirh mJrJudinq <Jnim<Jls in the waslclanc.h ouls1de? What is

II u · w<~,-tttwr l1kel An especi.::tlly wet environment would

r1ffcrl rlv~rr~t l el :>' LJdirWIOur and temperament. as would a

hot ,:md urid locCJtion. Comi<Jc1 ex11eme \ltur.~tions too. like

Incredible city A ruturislic envwonmcnl With geometrical designs and bright colours. There arc many robots based on h;mds.

Use of magic Magical powers to summon the wind are used practically. to help move the boat across the water.

heavy pollution or toxic gas in the environment. forcing

people to settle in communes or use breathing apparatus to survive.

Political and economic situations

Is the society a democracy, or a dictatorship? Are its rulers

proud and noble. or evil and greedy? Consider the ways in w hich different types of people live their lives. and what

their society is like. It isn't necessary to define every minor

detail, but it helps to get a genera/ idea of the forces that

govern your characters' lives - and whether they accept

them. or rise up heroically against their oppressors.

Different races and creatures

The coexistence of and relations between people or

creatures is often one of great intrigue and complexity. In your manga it could be the source of a characters

alienation or others· rejection of him or her through fear or

misunderstanding. Alternatively. it could be a force for

unity as races work together to make the most of their

skills. Think also about how different races would affect the

technology, the economic situation or the environment.

Details such as these will help make the fantasy world seem real.

Consider gods and deities

The effects of a major overruling power could make a

significant difference in the way people live their lives, and

the w orld they live in. A world prone to floods would have

houses designed in such a way that they could cope with

this. If there is a need to worship or appease a god through

prayer or sacrifice, this will also affect the world and

its occupants.

OTHER PHYSICAL

MARKINGS

Tattoos. birthmarks. freckles

and other distinguishing

marks can help identify a

character. In certain

situations they may also

reflect the society a character

is placed in. For example. in

Dragon Heir. the citizens are

branded at an early age

with a "Spirit Sign", a mark

that dictates their role

in life.

CREATING 1\ SETTING 43

INTRODUCING THE

ENVIRONMENT

Introduce each interesting part of

your scenery to the reader slowly.

Focus their attention on the obJects

so they can learn or pay attention,

re.::11izing the significance of objects.

Mixing things up

Even the scenery of (jlltly rillclrt',III\IIC

environment~

You can make your fantasy world more inreresring by

introducing cerldin ledlnulo~Jte~. wt11Je remoVIrKJ ultler.!..

For example, consider a wor/ci that ha~ ncwr held ;my fm~i/

fuels (such as coal) but has hei:lvy 1ndustna/1zat1on tt1rough

wind power. water or solar energy. This wur It/ wuukl I ktve

fascinating cities. w ith huge structure<> dc<>igncYI In m; tkr·

the most of the energy. Also consider the way thilt maoic

could be used as Jn alternative to electricity or steJm

power; as magic could be harnessed to produce light

or heat.

Spirit signs Children demonstrate their special abilities. represented by the symbols on their foreheads.

. 0 . .

·0·

-e--

to\

~

Healer spirit One w 110 he.Jis lite ktllc.J

Warrior spirit nn .. whn 11f'ff'l1<1~

ttl<' lnrid

Worker spirit OrwwtHlWCHI:\ the l<1nd

Noble spirit Onf' whn rul('\ che land

Mage {magic) spirit One w ith power ro split the land

CHAPTER THREE

Dig ita I fou ndatiens U~1r 1~ a computer to produce artwork can

IJe fairly daunting al first. However, by

lccH ning sonle silllple techniques and

unc:lPrstanding which software to use, you'll

CJUickly make the most oF working digitally.

Q Peripherals 46

Q All about software 48

Q Photoshop basics 50

Q Photoshop layers 52

Q Resolution 53

ITAL FOUNDATIONS

1pherals H::Jvinu 1~1<' rorrc'r l looL<., lo r lhc-':JOb always makes a big

diff('rcncc in 1 r1c cmJ resulls, ?mcJ the same goes for creating

cliS:JiLal artwork. lllel·e a1·e expensive, professional-quality tools

dVdikliJie, IJul dl:,o plenLy of options for the smaller budget.

LCD OrTIC/\L MOUSE Ynu wnn't get VCI)I fur using c:t grc:tphics program without a rnntJ'\r·. 11~ highly rcrommcnded that you use J modern I FD (lighl-cmitting diode! mouse rather than a traditional b;!ll-nwrhrlnism model. Optical mice offer greater accuracy, \JJH a >I ht..,. mnl inn find f!rcn't prone to jamming.

---1---- An tlfliiC~I 11lti\J~f' I~ 1dent1f1ed by

ILJ\TOCD SC/\1\J I\JCR

the U:D bulb on its under ~itle, in pl.",.. nl ft·l,..ll alililnn.~l b.1ll.

A\( rlflrll'f 1\ IJ\!Jrllly ltll' rJJUllrll rlfli.\1 \ firs! purchase. ScJnncrs .:~re photocopier-like devices that interpret flat rtrlwnrk rtrlC IIJHil il ir rln c.ompul.er-rerrc.JctlJie rJdlcr. Tllese cJ,-Jys mosL n.:1tbcd scunncrs urc inexpensive. or bundled free with J new PC. and all are extremely useful for this type of work. lwr 1 r-1 l >ri\Jl model ts usunlly sufricient For scanning

in line rlrt for colouring in a software package. Pay attention

to the opticJI resolution when buying a scanner: Tl1is will be around 600 dpi

or I 7.00 dpi. Anything higl1er Lhdn 2000 is usudlly a fake resolution

created by scaling the image.

PR/1\JTER Printers might seem something of a luxury for the digital artist. as often our work doesn't get printed at all and is

only published on the Internet. However; its often good to print your w ork - especially if it is intended for use in print -so that you can check the colours and quality.

There are several different types of printers. but two types are most common:

Laser Printer Laser printers are excellent for text documents and printed black and white comics. The quality of the lines is vel)l sharp. and work prints quickly. However; ink toners (refills) are expensive. and the

printers themselves can require costly

maintenance. There are colour laser printers available. but these too

are vel)l expensive.

Inkjet An inkjet printer produces colour work cheaply, and quality can be high w ith specialist photo-paper. However; black lines aren't as crisp as those produced by laser printers. and the ink isn't waterproof. making it liable to

smudging.

PER IPH ERA lS 47

GRAPHICS TABLET .. •··•••·•••·••• •••····· ·······••• •••••· ·····• ···•·• .

Most artists regard the graphics tablet as the essential peripheral for digital work. A graphics tablet is essentially a sheet of plastic that represents the shape of the monitor. Using a special pen. you "draw" on the surface. but rather than dispense ink the tip applies variable pressure. which the computer interprets and turns into an on-screen drawing. Using the pen you can use line and colour just as subtly as you would with a real pen and paper Graphics tablets allow much greater and more natural control of the tools in all major graphics packages.

TIP Graphics Tablet Using a graphics tablet can be tough ro begin

with. but don·r be discouraged . It's a good ide.1 to

scan in existing line cut ~r\1 ;met t:)et used to

COlOUring it USing Lilt' In I llf't~ rPn, ratl"ler til.:Jil

trying ro ctr<'lw something frcclrdl 1<1 I.Jclw<-' ~.Wrtino

the hang of lilt: m;w ~ystcrn. This will hi"IJ"l yn11

develop your mnrrol ~kill ~

Once you get used to the tablet. you will soon be able to sketch. ink and colour your artwork entirely on the computer - without using paper at all!

~ : '• ' • ••••••••••• • •• • • •••••• • ••• • ••• • • •••• v•• ••• • • • •••'

Graphics Tablet Sizes The size of the graphics tablet you choose can make a big difference to your overall experience of working digitally. and how comfortably you can work. Consider the size of your desk area. or whether you need to transport the tablet between different computers. If you're working with a very large monitor then a small tablet may be too inaccurate to be used easily.

The cost is almost twice as much for each increase in area size. so the larger tablets can be rather expensive. Its worth considering the tablet as a long-term investment though. A good-quality tablet w ill last for more than five years and still work perfectly. Some ranges also offer replacement pens and nibs.

There are also 30 em x 46 em ( 12 in. x l8 in.) size tablets available. but because of their size these are generally considered too large for comfortable illustration work.

Large 23 em x 30 em (9 in. x t2 in.J Lctrger tablets are popular choin·~ w ith manga <.~r tists I.J<:causc tt1cy allow fine mntrol as w ell as general bro<:1d strokes. llowever. the l<irge footprint of th~:s<:

devices (often as large as 35.5 em x 46 em 114 in. x lAin.) can make th<:m impracticrtl for sm<'lll workspact:s.

Small t 0 em x t 3 em (4 in. x 5 in.J The smallest size graphics tablctts Vt'IY

popular and cost-effective and is ideal as a first tablet. Even 1f you would like to use a larger tablet li'ltcr. tl i~ wor1t1 investing in a small one fir~l to get r1 leel for how a tablet is usecJ.

Medium t 5 em x 20 em (6 in. x 8 in.J Tl1is size qiVL'~ d tjfl:rll lrrtcJc•-oll hf'IWf'Pn ~i7e, price and desk space. allow1ntj quocJ p!'ll .-11 c 111 ncy lor t1 tt1hlet that can also be easily tucked into r1 llriU. 01 IIIOVI 'I I 0111 Ill the way. However. some utllsb clo ~1111 ltr 1cJ ltll\ ~i7f:' roo restrictive for daily use.

48 g D GITAL FOUNDATIONS C1

about software rllOiO<;IlOf) j<; illP lllO<;i popular graphics

.\OfiWdfC for l.t lC rrk.ljur ily ur l.d::.ks, bul Lt-lef·e

arc lots of clleaper alternatives, and also more specialized tools fo1· rnanga

c,rNrRAI <!RAP/ 1/C<:; PACKACiFS

Photoshop (Mac and PCJ 1 't H.>Lo>l HJP i> ~Jer >etc~lly tesJc~r'cJeu d> u·1e lJe>L drL-generalion and image editing package. It offers a wide range of tools for nriginrlling digirn/ i'lrtwnrk, plus sophisticated output cunlrols r•t1ulosllop is U1e soflwctre most commonly used lor proressional print work. but it also offers tools For creJtinq images for use on the Internet. It comes bundled with a dedicJted packaqe, lmageReady. for this purpose.

Althouqh Photoshop c.:.m seem overwhelming as a result of til e IJrge number of tools and options, its easy to come to qrips with the p.:ms of the softvvare that you'll use most

Pros: Offers the widest range of tools and complete control over output resolution; is w idely used and tdeally suited to supplying digital work for print. Cons: Expensive. limited effective ndturdl media style funct1on<11ity.

Photoshop Elements (Mac and PCJ The "cut down" version of Photoshop, minus some of the more advanced features. Elements contains all the basics and is an excellent choice for getting started with digital artwork.

Paintshop Pro (PC Only) Paintshop Pro is a popular budget alternative to Photoshop. Offering many of the same basic features. as well as some of the more advanced, its a good alternative for those who want to save

money. It doesn't provide as much control over print-oriented work, but its still great for Internet work. If you want to get started with digital artwork, its a great choice.

Pros: A good introduction to Photoshop, its interface and features. Cons: Doesn't offer as many features as other budget software programs.

Pros: Inexpensive; offers most of the tools from Phoroshop. Cons: Lacks DPI (dots per inch. see page 53) and CMYK (cyan, magenta. yellow and key plate - or black) controls, which are important for print work. Runs slowly with multilayered and high­resolution images.

-~ •. ~ .

' , ..

DIGITAL PAINTING

Open Canvas (PC Only) Open Canvas is the cheapest of the software listed here. and probably has

the least options available. However. it offers a number of unique features. such as brush styles that smudge the paint allowing you to emulate certain

types of natural media.

COMIC-MAKING SOFTWARE

Comicworks (PC Only) Comicworks is a specialist software package from Japan. designed solely

for the production of Japanese comic books. It allows you to place predefined screentone patterns onto the page and produce incredibly smooth line art. You can easily export your artwork and load it into other

software. such as Photoshop. if you wish to add colour. Comicworks is an ideal choice for anyone who is dedicated to producing comics.

Pros: Fantastrc for producing prinr-rei'ldy line arr; makes applying digital screentone ei'lsy. and prints at high quality. Cons: Umited to black and white artwork jno colour or grey); interface can be difficult to usc.

Pros: The he~t line (Jtt.-=llity <tnd colour !.>lending; slmulare~ mmm'll medici cxtrt:rnely well. Cons: Lacks h.'lsic im;,ge adjusrmenr fei'ln tre~; no option to disable c:rntr-dlici~ing on lines. lmetges can'r be ea~ily mctnipuldted tor pr rnl prcpctr ctlion.

ALL ABOUT SOFTWARF 49

Pros: Fxn•lh>nt l.11 ~~ ~I r li...'UI

ucdtC\ fnnr:-~~rlr

line~ .1nd l <Jh.1~11 ~ ­

Cons: I .11 k •, h •c~LUII.'~.

l>ru~ll cnmrol~ ."'rr" f11 ff1n Ill, ll l l<.'l kH.I.' I~

<IWkWcll d ell time~ .

Painter (Mac and PCJ Painter is cJ iliql1ly spcuc~l rll'd

pucka~t.:. cJt:)l(jlll'cl 1 o <;imlll:~re

n..-tlt rr...tl mt->r!ia such as oil puint

and wutcrcolour. P...tinter otters a huge selection of

brushes rlrld llrl\ {'X( 1-'llf-'lll I lr ushsrroke control. Despite its lllrrrry wt>ru l('rllll

features. however, P.1in1r-r ''" ko, '' ·vt ·r.-tl simple imaqe editing fr1cilitics ilnr I

forces lines to be ilnti-;dirt'it ·r I (" '< • page 62), milking mrUl!..Jrl-\lylr~

screentonc diffiwll 1 n ... rpply

50 g DIGITAL FOUNDATIONS C'1

toshop basics

Its oriqlll<; wr.rr. ;1s .::1n image-editing suite, but Photoshop 11.1s t"">PrnnlP tllC' most common graphics and painting fl.1rk;=Hlf', ,1nc:t tllP. standard for both home users and Industry professionals alike. Mosl Pholushop basics are dppliccJL>If:' lu ulllf:'r paint snttwarP, <iO what you learn here Will tJc useful clscw~1ere .

Kl Y 1-1-/\ll JI\I·S OF F'IIOTOSI-IOP

Tool bar Dlr.nl:wr. rhl' r11rrl'nrly ~1'/l'nNI (.<.li<AII ,11 ld tl IL' lli li L'I L'IIt tuul~

:-1v.~11.~hll' for ciri'lwlnCJ. ()i'linrin(j <IIIU <.:dill/ 1!:) ll1c.: 1111<.1!:)<.:.

... ""

.~1. ~'. . i :),

(J

Tool Options Bar Shows all the ava1/able OiJtion~ fut your sclccrcd roo/, ?tllowing you to chilnge the WilY the too/ behaves.

Swatches Palette Lets you pick from a palette of different co/ours as well as add co/ours of your own.

Brushes Palette Allow~ you to choose from different types of brushes <tnd struke styles.

Layer Palette Allows control of the different parts of your illustration by separating it into editable layers. (See page 52 for more information.)

USING THE TOOLBAR

Selection Tools A selection is a part of the image that you wish to modify. either by drawing onto it or by using your selection to define an area you wish to cut and paste, edit or apply effects to. Selections are easy to use. and make work on your image much easier.

Lasso Tools These tools allow you to select areas of the image while allowing greater freedom in defining the shape of your selection. Use the Polygonal Lasso to define a precise area by joining points. and the Magnetic Lasso to pick up the shape of the image as you move the tool over it. The Iauer is of limited use in painting and illustration. but very effective in editing photographs.

Marquee Tools The Ellipt<cal and Rectangular Marquee tools are used to select areas of an image defined by the shape of the tool.

Magic Wand The Magic Wand selects an area of the image based on the shapes and lines of the existing image. It selects an area in the same way that the Paint Bucket fi lls an image.

Cropping and Slicing Tools These allow you to cut an image. either to remove elements of it or to apply in formation to the slices .

Crop Tool Used to trim the image down to a smaller size. removing unwanted parts. Marking a rectangular selection and choosing Image > Crop from the menu will achieve the same result.

Slice Tool For use specifically in Web site design work to separate an image into d ifferent rectangular areas. to which can be added hyper/inks.

Paint Tools Tools that use natural media and real-world painting tools as their starting point. adding numerous editable possibilities and digital­specific effects.

Paintbrush The Paintbrush tool acts much like a conventional paintbrush or marker pen. It allows you to apply opaque or translucent colour and lines to the page. as you would w ith paint or ink. Choosing a brush size will define the size and shape of your brush. changing the thickness and style of the lines you draw. Round brushes are most common. and will draw an ordinary line at regular thickness. Squarer and more angular brushes vary the line width when you draw in different directions. and irregular -natural media" brushes will produce a gritty. textured stroke.

- --- - The number beneath • each brush indicates its " !'.-~~~~~~~---d~i=a~m~e~te~r~i~n~p~ix~e~ls~------ -

Round Brushes, Square Brushes and Natural Media Brushes

The "hardness· of the edge of the brush will define the cnspness of the colour. and how much the colour fades out towards the edge of the stroke. The solid black shapes indicate hard brushes. whereas the fuzzy-looking circles represent soft edges and diffused effects.

Hard and Soft Brushes Airbrush Mode

Opacity

When in Airbrus11 mode. holding down the mouse button (or your graphics tablet pen nib) in the same place will apply colour over itself. thrckening its application. Airbrush mode can make rt tricky to distribute colour uniformly. A soft-edged brush can often achieve the same results.

This affects the translucency of your applied colour. with I 00% being completely solid colour. and 0% being completely invisible. Layering semiopaque colour will thicken its effect.

Pencil Mode This applres colour with a sharp. pixellated edge (rather than a soft, translucent one). w rth no anti-aliasing (see page 62). Although this might look abrasive on-­screen. it is the best way to ensure a perfectly crisp edge to your lines areas. Generally, Pencil mode is best when working at very high resolutions, if you rntend to print or reduce the image later on. Working in this mode also makes it easy to select colours sampled from artWork accurately.

Healing Brush, Clone Stamp Tool and History Brush These are custom versions of the Paintbrush For speciillist uses. and are rnostly useful w hen editing photogrilphs.

PHOTOS HOP RASICS 51

Tolerance, Anti-Alias and All Layers

II T-..-: J2ci""" r Ant~.~~ .... 17 ean._,_ r All t...)wa

Anti-Alias

lOIL'I d r1Ce= I 0 tolerance I 00

Tolerance This chan ges how ~im ilar rh e colour has to be for rl lu lJt: considered lhc sc1me colour by a selecti(ln mnl A 0 vJILJc

m ean s it has to be the cxdll ~dmc RGO colou r. where.'! ~ /'i'i means rhar any coloLJr will be consrdt:rt:<.J l i lt: ~dme. even

black and whire. Low v.1iues from I 0 to 50 arc u~u<~lly effectrvc cnou~/1.

ChPrkino rhP Anrl .:~ liJs bo!\

Will .1IIOW YOI/1' r -Jint (01

\eiPrrinn) m hlt>F>.-1 nvr:r· lil <.:

ccJqe o f rhP .'lrTWnrk it1

~Urrtt: rll <:rl~. Thi~ r.1n r.,II~P

pr u iJI<.:rr 1~ w ilt 1 lft:dn linP .1rt if Tnler dilL<.: ~~ ~r.:l luu

hi(Jh, ~n ht> "' rrP tn 70r)ll l 111 cJt ltl c hl'ck yn1 1r wnrl.:

all layers orr .~II l~yo>r< ( lN

~ Eraser Deletes areas of the imaqe <-~rmrc1 r n'] rn tl1c thickness and edge of rhe bru<h <ile you ~dec! - effectively like the raimbrush 111 revcr~c . II you u~c this on the base layer tusually l.1bdletJ "Bc~ckground") it will use your secon<.l<~ry wlour.

~ Paint Bucket This will paint the currenrty <f'lfftt>c1 rnlnur onro the im<-~ge, working rll a srmri<Jr manner to t11e M<~yrL WdncJ.

~ Smudge, Blur and Sharpen The Smudge tool wrll move wlours <~ruuncJ

[QJ rn the dorectron ol the brush movemenr. which is useful for blenc11ng roloo rr< Oil hair. or for creatrng subtle foiLls Ill l<~br il.

lliJ The Blur tool milkes rhe im<-~ge softer. whereas Sharpcn lllcikcs it crisper by increasing the contrast of tile sun ountJrng pixels. The Unshe~rp Mas~ fi lter is a more sophistiGltl'd version.

~ Dodge. Burn and Sponge Dodge ilnd Burn <-~re named Jfter old style

[S] darkroom pllolOgr<~J.>hY techniques. ;~nd

are used For ;~utom<ltic lightening and darkenrng of colour~- respectively. The

~ Spongf' c1Psarurates colours. m.Jking them less vrbrant. 1\tthough they provicle quick results, it is generally iJ goot.lrdcd to u~e the Paintbrush for il qrec~tc:r clt:yrce ol control over tone and colour

~ Vector Path Tools Advanced tools for cre<lung curved shapes

[I] and selecrions rhat can be scaled up to any size without pixellating. These tools can be difficult to use. but create very smooth. curved areas. They are especially useful For highlights.

All Layers Thl~ ;>,ffPrf~ wl11?lilcr lilt:

selt>Cfi(ln/flll i~ h.,~E'.-1 nn

lllC cll lWOik in rhP PXI~rlneJ

l<rycr ur rly. Ul w l iclt lcr 11

sl1oLJ ic1 comrllc r .rll l <~ycr ~

nf rhP ;m work

ITJ Text Tool lJ~I' thil tO pl,ll'l" l t-'XI I II I lilt' 1-'<IIJI.'. Url ~. on thl' p.>,()l' tn r,..,,, ,.. , , rr ·xi 11111 • • .or rd hold down thl" mn11'.f" hr Jll nn . 11 11 I rio "U ro create a mulrllint' rl'xt ht1x w1111 wr<~pping rexr.

[gJ Shape Tool U~l' for c1r.~w•n•J rurh» •. rr •r 1,11 ryiL-:. ,u rLI nrhf'f' <rmph• <11.11 rr "• )u•nc j.rr:uf.lle J.!ll.'k:r to use .r M.u4uce wrrrlJrrrccJ with rhe rill ronl lU dllricvc 1hc \i'lml' rl'~lllr

~ Notes Tool u~c tu Wllll.' llicJcJcn lnon-prlnrln()) r.-xr <•nn01ariom .>.hn11r rhr> im.1rJo>

[ZJ Eyedropper Thr> Fyl'droppcr s,1nlJJb Luluur lrurn tire urklC/t' i-lnd i111tnm:o~rlr.1 11y chJngc5 U1c LUIIl.'lll LOIOUI IO 1/H' nf>\,VI_y l ,>,mp1Pc1 sclcctron. ll u~ lullllllllll•lll l>c ,-~rhit>vPc1 hy holdin\,1 down U 11.:1\11 key wlwn rn Paintbfllsh moue.

1 ~1, 1 Hand Tool ~l1ould ymrr lm.>.fJI' hP 1.1r(Jr"r rh.1n the present wrnLlow, ll u~ wrll ~uull ltrt: im,rqc dJuuncJ. Yn11 r;~n arhiPVI' rhi~ .1r .111 lrrnt:s l;y holdrng dOWI I lill.' ~J.!<.lLl.' lldl.

~ Zoom Tool 1\tltlW\ yot r ro mnm In <-~nc1 out of rile image. m<lking it I.Jrqcr or smaller onscreen. You l•lll -rl\lr '"' ' tllf • Llrl + H and c.trl + /+) keys to do rhis.

Photoshop Elements M ost o f rh e techniques ap p lied in th e tutorials on p ages 66- 99 can also be

carried o ur in Pho tosh op Elem ents.

!TAL FOUNDAT IONS

toshop layers Lighten

Mtwll of rile: freedom of working in Photosr10p comes from tile Laye1·s function. Tllis allows you to work without cldrTk.!CJir 1 ~1 oU ll'f ~C:H l~ or lhe cJrawing.

This example shows the effect of various layer

Screen

Overlay

L;wers c~1n t;e rn<:mipLIIi:itecl <:1nd altered easily. so your character can be made to wear a blue jacket instead of a

reel jrlrkcr, for cxilmplc; or you can sec what the image woulci look like wirh il different type of lighting. Layers are I he kry In wnrking cffcclivc/y wirh digira/ manga.

I t1e IJe;L wo::ty to cle~cribe l.dyers is lo compare the

tuncrion ro sheers ot glass or cleiJr plastic, like the overlays lllo::tl c~nirrktlor; c~nc.l grc~phic designers usecl to use before rhe dJys of digitJI. When you draw and paint on a rhnlmhnp 1,1yr·r. il> ronlenls nre Pntirely inrlependent of ott·1er !.dyers. 2tllhough lhe 1mage will appear to be a

Wl~Jie 1tem.

[,rdJI,ry<.:r llllllollll'o

ll'(l.~r.~tt'

parrs of lh~· imugc.

Flattening Layers l.uyLu LIIL' ullly ~dVL'U IJy Pllulu:.I JujJ 111 LL'Ildltl filL' furmats. so w11en wu1 kni~J w1llr llu.: l.uyL'J s furKLJOIJ you should always save in your scrftw.:~r·e p.:~ck.:rge·~ dcfJull formJt - PSD in the case of Photoshop. If y•) U Fl.:tttcn U1c im.:~gc (Luycr > Flatten Image). t11e fi le size of your lm:1QP will hE' muc11 sm.111er, because Photos110p creates a single mmrmlrP l:~yer of :~II of rhe elements_ This means that you lose the :'lhlllry rn Prllr rhP im:'loe l;:trer nn You should always ny ro keep an mlolml copy of your image with L3yers intact.

BENEFITS OF LAYERS

~ Easier to add colour to lines by drawing on the layer

underneath, without worrying about the details. * Layers can be moved around. allowing you to after the compositior1 of tl1e image freely.

;.:. Parts of each layer can be deleted freely without altering

other layers - making it easy to create clean, professional­

quality artwork that will look great in print or on the Web.

styles when pink Soft Light is overlaid on a -blue layer.

] Hard Light

MASKING LAYERS

A simple way to think of a mask is as a permanent

selection. outside of which - or w ithin which (depending

on how you set it up) - the image is unaffected by any

tool you use, or modification you make. L3yer masks add a

lot of flexibility to the way you can work w ith Layers in

Photoshop, by defining how much of each layer should

be visible.

•

HOW TO MASK A LAYER

Using masks Masks help control the

placement of colour and inks.

1 . Choose the layer. and select the area you want to

be visible.

2. Click the "Mask L3yer" button at the bottom of the Layer stack.

3. The layer w ill now be masked out and should

be highlighted.

4. You can edit the layer mask with black and white

brushes to alter the masked area.

5. Click back on to the main colour part of the layer to

paint here as normal.

6. Right-clicking on the layer will give you the choice to

disable, enable or discard the mask.

I

I

J I

I

Resolution Understanding the resolution of images is crucial when workin<J digitally, and can help improve the quality or your work. Whether images are intended for distribution on the Web or in print, its important to consider resolution in advar1ce.

All digital images, be they on-screen or printed on paper, are made from dots. The more dots they have, the finer the image is. Producing images at a high resolution means more pixels (short for "picture elements", the dots used to form the image on-screen). High resolutions give you greater creative flexibility in how the final im<:tge can be used. as we w ill see.

Working at a high resolution puts a much greater strt:Jin on your computer. When you save files they take up more disk space, ancJ your computer will require more memory to handle the work and a faster processor to manipulate it. The larger the image, the more data the computer has to deal with. and if there isn't enough memory available to store all that data comfortably. the computer w ill soon slow down or indeed be unable to load the file. Recent computers are much more capable of handling large, uncompressed graphics. but you should still invest in a decent-sized hard drive and more RAM if you intend to work on large images.

PROS AND CONS OF HIGH

RESOLUTION IMAGES

Pros:

Minimum resolution Low dpi images look poor when printed. 300 dpi IS lilt: minimum resolution you

Resolution 2!:i dpi

~t'~nlul 10 11 /) tlpi

~L~olutJon I SO dpi

4fc Image can be used for print at

high quality.

4fc Ability to add fine detail to small

areas of the image.

should work at. l~c~olutJull 600 <.IJJi

4f: Minor errors become less noticeable.

4f: Working at a high resolution gives

you the freedom to display the

image at any size you wish.

Cons:

4fc Can lead to large file sizes on disk.

4f: Requires a more powerful computer to manipulate.

See also Scanning, pages 56- 57 ~ /

GREYSCALE FOUR COLOUR

Pnmers simulate colours and grey tones by us1ng patterns of dots. Greyscale images are produced using only blacl< ink. whereas four colours (cyan. magenta. yellow and black. otherwise known as CMYK) are used to produce colour-printed images.

I~ !::~ OLUTION 53

DPI

DPI stands for "dots per inch". and

refers to the number of dots ust.:d to

make up an 1m<rge. A high-DPI

im.:tge will contain more dots (<'~nrl

finer det<~il therefore) than .rn imdqt.:

w1ll1 low Ul'l. 1'1'1 stnnd~ for "ri><PI~ per inch", which is PSSP11ti;-•lly tilL·

same thing fer lm:l!)f>s on-scr(.!(.!ll.

but mmr pPCf1IP rPfer to d1~1 t.r1

cclour lm.~gPs i11 terms of

their DPI.

lm.:~gP~ on "' romruter screen require a lower DPI counl lo ilPPl.:dT

srnoot11 lh<:rn lllldtjl.:~ 1Jrrnted on paper; p.:~rti;:~lly hPr::~mP of the way

a screen is illuminated. An 1m.rqt.:

prinlt.:c.J un IJdper will need ;:~r IP.~sr

300 dpl to .:tppeilr high qucJhly,

wherens image~ on-screen can be .:ts

low as 7 2 dp1 c1nd sllll seem sh<'~rJ1 .

This means that an irncJgc 900 pixels

w1de would be 12.5 Inches wide

on-screen, bul would only be J inches wide when printec.J .rt :.lUO

dpi, or l _r; inches ,Jr 600 dpi.

DeSIJile this, mmr .'lrtwork Intended

ror displc~y on cornruter is produced

cit C1 very higt1 resolution and rhen

1,1ter compressed. This Is because

working i'lt "' high resolution to

beg1n w1th ~flows you ro zoom into

lht.: irn.:tge I'O nrld ~m.'lll derails. and

dlso g1ves you the treedom to use

your 1mngl:' tor either print or the

Internet. When creating an

illustration. work prrmarrly with the

image displayed in a "zoomed out"

view, displaying the image at SO% or 25% of the actual size.

CHAPTER FOUR

Creatinq lligh-quality line art is one of the most important

c.;IC'pr.; 1o pro(JucineJ CJ ny irnage. Sharp, clean lines will make

colouring easier and will significantly improve the presentation

ol your pr in Led manga.

8 Scanning 56

8 Trad itional inking 58

8 Digital inking 60

8 Digita l line art 62

-

56 e DIG ITAL TECHNI Q UES: LINE ART

Usinq J fiJtbeci scanner allows you to take an image frorn p,3pe1· ,3n(j transfe1· it to computer. Such devices ;:m-:-. illf'XfJe'll<;iVP c11ld <;imple tO USe, and enable you tO

cr 1t 1c.1r Ill' yuur illu~u c.~Lior IS wiLtl digilal lecrHliques.

\CANNINCi OPTIONS

Colour TIJi'> uplior 1 '>ldll '> the image using full colour. Useful for

s<<Hining mlourcd irntlges, it is seldom necessary for ~c~mn1nq line ~1r l. It rmy IJe userul if you have coloured pt ·neil lines on your page as well as ink.

Greyscale Use rhe greyscJfe oprion ro sGm the image in shades of grey, mnking up 256 tones altogether. You'll probably use lhi.c, mnst nflt' n when SCilJllling .sketches and tine art.

Blacl( and white ("line art" mode) Usinq this option converts your imogc into pure black and Wll ire (rwo colours) . This .Jchieves decem resulrs. but you can proiJaiJiy control the quality better by using Photoshop to CClrlVC 'rl UU Y\Crl lc• work lrll n tllriCk .-JmJ WhiiC.

Colour scan Greyscale

Mark out the area or rhe imi'lqe you inrend rn ~r;~n wirh rhe l~egton Select

Culour ~c.:tm dtt' ~low &1<.1 Ll ~t' more rnernory {1~1- I t1ey shoutcJ only lle used for

Greyscale 1s good for scanning pencil work or for qu1ck results from ink.

colour images.

Adjust settings on your scanner before you choose ··scan·.

' . ..... ~ ..... -~· ·-· ...... ·· ····--· .. -··· ... -...•

Black and white Black and white mode is perfect for scanning ink drawings.

~cSOLUTION - ne most common resolution at which to scan images is 300 dpi but you can choose 600 dpi for work you intend :o print or images you wish to enlarge. Very few affordable scanners can scan at much higher than 600 dpi or 1200 dpi, and attempting to scan at higher resolutions than these will do little other than freeze your machine and fi ll up your hard drive.

Scanning in pencil work and sketches Pencil work can be a great starting point for a digital image. You can clean up your pencil work by increasing the contrast of the scan. Often the quality w ill be high enough w be used online without further modification. but generally the line quality of pencil w ork won't be high enough for print. except in rare instances. You can also use the Sharpen tool or Unsharp Mask filter in Photoshop to make your lines appear crisper.

Scanning in line art Most digital artists still produce their line art on paper and then scan in the image for colouring and manipulation on computer. This tends to be the best compromise between line quality. time spent and overall image composition. You can choose whether to scan your lines in as greyscale or black and w hite. both of w hich offer their own advantages (see previous page). Setting your lines to grey can retain subtle detailing in the strokes. and is sometimes better if your line work is especially fine. However. converting your lines to black and w hite (whether through the scanner or in Photoshop) w ill give you crisper lines that have a sharper edge w hen printed. These wi ll be easier to colour cleanly in Photoshop.

TIP: Splicing Images If you have an image that is too large for the scanner. you

can usually scan in several parts and then splice the image

together in Photoshop. Be sure to keep the edges of the

paper straight when doing this, and leave an area of overlap

present on both scanned images. Create a large document.

then copy and paste the two images onto the page. You

can reduce the seam between the two halves by using a

soft eraser {or mask) on the edge of the image on the

higher level.

SCANN IN G 57

TIPS for Scanning Remember you can scan straight from t1ny gmrl1ir~

software by choosing the se<mner from Acquire or lmpot l

in the File menu .

4ft Make sure I here 1s no dLI~t or eraser tlecks on either your

paper or your scanner bed before scunninq.

4ft If you·re having trouble scanning sometilinq flut. t1y

picK ing books on lop of lh!:' ~r<'!nnpr firl m r ress It dow n .

*If tllere is cJrtwork visibk: riUI II lilt: Ull lt:r ~ide ol illlrl prtpc··r !"show rhrough"), you r;m rPr1ttr P rhi~ by pl.xing bi.:Jck.

card over the buck of tile p.:rpcr.

Pencil work and sketches

,..J I ·. \ '

:: ; I.

Coloured lines can be removed digit.ally .:lftt'l" Kunn1ng.

Adjusting contrast can result 1n a good scan. even from penc11 work.

. .

IIVLIYI I )ltc.:ld ~~~ ..II~' I IIVIt' \.hlli~Uil

tu )~un ~lcunly l.>ut uti: J.X:rfcu for diqlr.ll lnkinq

58 -8 DI G ITA L TECHNIQUE S: LINE AR T

Trad itiona I inking lnkin9 is .::1n important skill for any manga artist. For tllose wllo cJn't Jfford tile expensive equipment for digital inking, ur wt ru prdcr d murc tacl.ilc c:Jrc~wing experience, traditional ir lkirl(.j fTlC[~ lOCJ.S orrcr cl cheap alternative.

Thl~n~ i~ rliWrly~ rl ri~k of lllrlkin<J r1 mistake and ruining your

.:~ r twur k w l len rr 1krnq wrth re(,ll pens. so working on paper requires more prJcrice Jnd discipline thi:tn digital inking. Onn~ ynt r ilrr· rnnficknr rontrnllin<J your pens. trnditional 111krr '!.J orr,~" you rnure cuntrur. IJecctu~e yuu cctn ::.ee the wt1ule d~~1winq at once. rather than having to zoom in ro a smJII section Js you do on computer. Even small things like th\~ \~rl'.\~ nf rnt,lting thr• prl<Jf' rl'\ you work mr~kc it Cflsicr to

Cl\'rlll' \l\'riCJy !ill\'\. Tr ridil iollrll i ll~., I() ril\\1 uivt·') you more lUillrul uver line

lhir.knc~;s Vil(irJiinn. Rcrrl IJCil lint:$ rlll' rlffcr ll'ri lJy bolh

premrre ,:md speed unlike rile pen of J graphics tablet.

wtll( t1 ·~ only sensitive ro pressure. < lv1 ·1 llw r wxl 1 < u rple ol p.:tges. we'll look 21t lhe three

most commonly used Lou!~ for inking. c~nd 111c pros ;md

cons ot eJch.

nRl J ~)l IrS AND I~Rl JSI I PFNS lnklnq with .:1 brush is <JctuJIIy more commonly seen 111 We~tern comics. but there are some illustrators 111 1.·/flrlll wtlll rnk 1t11<; woy. Brushes g ive the

r 1111:-.1 t1 <JI Crl l dt 'til of Ill II' Vrlllrll/011, lJUI reqLr ire skill .:md cJreful control. Bear in rrr11 1rl ltJ.-11 rl\ rlrllic ult to dr21w tine !lvlrlll', wr ll l ,, 111 11\t l, \Cl yn11~ rnkt~rJ

pictures mJy hJvc to be lcJrgcr tflcJn you·re used ro.

Brushes <md brush pens can create some' inrC'rc~rin<J line'~ dcrcnciin<J on rhc \ f)('('( J rll wlli< II you cJr dW Slow. Ulref ul strokes

produce cleJn lines, whererls quick, loose

~tr uke~ ledve Ll1e texture ut the bnstle. These sott.

TIPS Inking 4fC Use different-sized pens according to the amount of detail

you're drawing. Fine derails like facial features should be

drawn w ith finer pens than the rest of your character. * If you make a mistake while inking. don't w orry. Simply

while out the area with correction fiuid or white ink. and

draw over it when its dry. * To make your inked pictures easier to scan. try drawing w ith non-photo pencils (whose lines are nor picked up by

a scanner) and inking over them. Or scan in your pencil

sketch and tint it blue in your image-editing program

(Photoshop. if you're using it). then print it out and use

that to ink from.

* If the ink you use is particularly sticky, try dabbing it with a

puny rubber to remove the excess after its dried.

textured Jines are great for drawing hair or anything with a

feathered texture or edge. In terms of convenience. a brush pen is better

than a brush. and is less messy. Brush pens often take ink cartridges. so you don't have to worry about the brush drying or

being ruined by sticky ink. Pens with a bristle tip give the sharpest lines and have

the greatest flexibility. Fibre-tipped brush pens are more suited to colouring rather than inking.

as their tips are less fine and tend to blunt

TRAD ITI ONA L INK ING 59

FINELINERS Fineliners are great for creating nat, consistent lines. There is no line width variation with pressure (in fact, don't prP.ss too hard - you could break the tip!) . and little variation with the speed at which you draw. Tt1e comi~terH..y uf IiTle i~ u~efLII il

r------ you're creating a eel-style coloured in1nge (r,('c· pflgc~

TIP Varying Line Width To vary line width with a fineliner, you

need a different technique than the

method you use with nibs and brushes. Because of the lack of flexibility in the tip.

the only way to vary the lines is by

drawing over them a few times.

Drawing qui·ckly. in a way similar to

how you would build up lines on a

pencil sketch. creates a more natural-looking image.

NIBS Nibs are the traditional inking choice of manga artists. Nibs come in a range of different shapes and sizes, each with a different purpose. Wide, pointed nibs are good for drawing most

things, with a smaller. firmer-pointed nib used for details and finer lines. Square­tipped nibs intended for calligraphy are rarely used.

You can easily create interesting­looking lines with nib pens with just a little

practice. However. nibs can be messy and are liable to cause inkblots on your artwork. Ink also takes a while to dry. so you have to make sure you don't smudge your work as you draw. Nibs need to be thoroughly cleaned and, although they are inexpensive. they do need to be replaced frequently.

70-73). but it~ not the IJe~t lype ol pen lor rmnq~1 -unless you usc several tllicknc:ssc:s of p('nr, nnrl layer your line~ to u edte vctnctUon .:~ r 10 deptr1.

Fineliners come 1n two types: che~1per. disposJble pens with plastic t ips, and expensive mct.l l rippc:d

models. Metal-tipped pens arc rcfi /l,lblc w ith n Vcl rit ·1y uf different inks. but l"llr:y rr·qt Jir(' c rl rrftJI /l lrlilll< 'llr/1 Ill' r/1 i( I

cleaning (sometimes w ith expensive kits) . Tilr. 'il iffnC'i\ or the tips makes them difficult tO USC, clS tllC ink only now~ properly when the pen is held at .:1 90 deqrce anq/c from

the page. Plastic-tipped tineliners cope better with more comforl·r1lliC' r~rlal<'\ . ltl<'H' r ll <' lol \ ol clili<'H 'fli

brands available, eac/1 w itll different ink qunlitics r~ntJ tip strengths.

PENS TO AVOID

Biro

Biros crecJle cJ mil line ~ l rn l lclr to penol~.

This makes them acceptable for the

occasional sketch, but a finished piece

w ill look scrurry cornp.1rcd to one 1nkecJ

w itll <1 pen intended for drawing.

Gel pens

These are similar to biros. but stickicc

The ball in tile tip is et~s ily clogged by ink, leading to broken lines. ·1 his sticky

ink also rncJkes the lines 1l produn:~

smudgy and slow tu d1 y. Pencils

Skipping the inking sldgc dlld ~lcllminy

your pencil sketch Jnstei'lcl rr11gllt seem

like a time-saving tip. but re~JIIy it takes

JUSt as long to cle<m pencil lines as 1t

does to ink a picture. Pencil has more

texture than ink, but lacks crispness.

Use pencils if you want that effect. but

don't think of them as a replacement

for inkiog.

60 e DI GITAL TECHNIQUES: LINE ART

ital inking Tr1anks to qrapllics tablets becoming less expensive and more widely r~vc~ildlJic. iL i~ now practical to produce line drawings entirely on a comptllCI. I )r clwir 19 clis.JiLally gives you a lot more freedom tllan traditional ir 1king clocs. bt tt you will need a lot of pr-actice with your graphics tablet Lu become: as r;roflrient as you migllt be with a traditional pencil or pen.

1~0 IATING TilE PAGE The t rur ndr r wr i~L c.dn unfy turn through so many/"---:=

deqrees. so wtlen trufcJrng 21 pen it feels more,j curr rf UlldiJie dlld rrdlur dl Lu c.lraw certain lll"lQIC'~ rlnd strokes o f lines lhan others. espcci.1lly ilr 1.1rg<--r ~i7C'~ . Fm Px;rmplc,

rl r~ ed~Y lu cJr dW ~1 small circle rnmfnrtrrhly. <rs illl the muvemenl i~ 111 yuur tr21nc.l 21ncl trnqers. However. when drclwinq u circle lurgcr rh;m ;r couple of inct;cs in dlilmcrcr; you will fincl thcll the prlrl uf the c.irc.le closest to

AwiY hn•\IV ... C•lwi•Wtll.,,

lmoll" Sltn

C• n¥ihst.ol• ... f11t1tl Aap.fld Uahn

I , .. ,,

lnm

lm.:~go:· qu.:lhly I) retained wllen you usc RotJte CJnvJS to rotulc your omage.

Scr ,'l l~o Traditio nal inking. pages 58-59

you will be the least comtortable to draw.

A graphics t ... rt>lcl (or mouse) is operated in ~lignment with

your screen. and you w111 be sitting rrt n d<~~k wilh the

graphics tAblet in

front of you, so you'll find there

are physical

limitations to what you can comfortably achieve. There are ways to reduce the problem. however.

In Photoshop (and most other packages), you can rotate the image by 90 degrees by using the Rotate

) Canvas option from the Image menu. This can be a

little slow. but it keeps your image intact so that you can rotate it back to the correct position w ithout any

loss of image quality. However: do not use the "Arbitrary" rotate option, as this will permanently

damage your lines and lower the quality when you rotate them back into position.

Specialist packages such as Painter and Comicworks are designed more with the concept of drawing straight ro the computer in mind. so they give you the option of rotating your canvas freely while you draw, making it much easier to work on.

FLIPPING THE PAGE You can often spot flaws and errors in your artwork when

you mirror it. so w hen drawing digitally it is worth using the "Flip Canvas Horizontal" function occasionally to see if you can spot any problems with the image. Fix them, and tt1cn flip the image back.

~ ~ /

"' Check the "Smooth Unes" _ , box to enable

A line smoothing. _,._ EJ-- li I I

a- li o- li . • • o-- li o-- li • u It o-- li . o- li • • u o-- li o- li • • • El-o-- li " " " ¥ -- ...

DIGITAL SKETCHING Computers offer a lot of flexibility w ith regards to how you can draw. and its this flexibility that makes them fun to sketch with.

Experiment! Want to try a different pose? Wondering what your character would look like carrying an item. or wearing a different outfi t? Duplicate your sketch layer and hide the original. then you can draw on the new layer as much as you wish. trying out as many new ideas as you can think of.

DIGITAL INKING

Creating the outline Always w ork on a new layer when producing your ink outline. ideally fading your sketch to 30-50% opacity on the layer beneath. Work over the lines of your charaa er with the Brush or Pencil tool. Sometimes it helps to turn off the sketch layer briefly to see more accurately how your lines are looking.

ROTATI!. SCALI! AND MOVE

While you're still sketching. you can take advantage of the Image Transform tool 1n Photoshop.

Rotating an arm, scaling a head or moving a waist might be all you need to get your image

looking perfect.

DIGITAL INKING 6 1

·'

Building up your sketch Try ~kP.tr.l11 119 Vl.'l y I UI..I~I.:Iy Ut I

n nt-w J;wl'r 1 •nrll yn11 gt>t ,., 1ouyh v<.:r ~ion of rhe 1m.:.()~ nr r mc yot.• Wdl tl. Nuw. ~cl tl 1i~ lnyer ro a low O('l:'lriry ( ~tl'HJ ur h:~~~. c.IIIU l..r <.:cJt<.: d

new J.:.yt-r Dr:'lw yn1 1r 1111.1!.)1.''

w1ttl mor~.: <.l<.:flrution till~ rlmP. u~Jno yn11r nthrr '"Yt.'' c.1~ c.1 yu1<.1<.:. By rq.x:atinq rhl~ ('lrc')("t"~~ yn1 I (,111 ~lnwly llt.•~l I

out t1t1 imclqc.

Sharpening your lines lJ~InrJ thP Fr.w~r.

~h.vpen the edges of blunt lines into t11c pou 1l yuu <Jc~uc .

Drawing d~tails on separate layers for use in colouring later Its w orth drawing folds or clothing details at this stage on a new layer. They can be used as guidelines later when it comes to colouring.

62 e DI GI TAL TECHNIQUES: LINE ART

it a I I i n e a rt Preparing line art for further digital production work is an important step in eve1y piece of artwork, and with understanding can make your work easier to produce and can give you more options in developing your images.

WHA"I IS ANTI-ALIASING-I Everything un d computer screen is macle of square pixels, so in order to represent diagonal lines and curves the screen has to arrange tiny squares in

di<:1gon<:1l or curved patterns. With close inspection. it becomes obvious that the irnagc is pixellatecl - curves in particular can look jagged on screen.

Anti aliasing is a method that blurs the colours around the pixels in your lines to more nccuratcly fnkc the clppearance of a curve or diagonal. This is very ellect1ve on a computer screen and will vastly improve the overall appearance of your im<:1gc. However; it is less desirable in print. The printer will t1y to make a f)i"rtlcrn to represent t·he greys, with the overall effect that the line looks far Jess ~moolh lllrrn !he "aliiiscd" version.

Al~o. when u~ing 111c Mngic Wnnd nnd Paint Bucket tools. the computer has to begin making assumptions about correct selections C'lnd fills when it comes to working with anti-<:l liased images. This can lead to a loss of quality on the image.

f3A)1C LINt: ART P I~EPARATION: GREYSCALE LINE ART l J\1no d "Mr Jltlf)ly" layer is the simplest way of setting up your line art in graphics

softworc. This projects tt1e black lines of tt1e artwork over the image. and any grey p~~rts of the image make the underlying colours darker. This method is quick lu ~d tip, rrmJ U.'>dul for rnm l types of irn~1ges . Its also great for pencil line art. or

i:lnythinq with distinct and crisp edges to the line work.

1. Background colour Open your line arr file in Pl1ulu~l10p. This Cdn be e1L11er 11nes you have pmduced digit-'llly or an ima~JP you h-'lve sc;mned Specify your b;:rckground rotor 1r -'lS the rolour you wish ro have as a backdrop

usut~lty this will be white at thrs slilg~.: .

2. Select the entire image using Ctrt + A cut the lm-'lge with Ctrl + X; rhen press Cl1 I + V to paste the image into a new layer. Change the layer style to Multiply. This will make all white areas or the image tri1nsparcnt. and all black parts of the image opaque.

Fill tool without anti-alias

Fill tool with anti-alias

3. Ready to start colouring If you create another layer. located beneath the line art layer. you should be able to draw and colour without obscuring the line art at all. You're now ready to start colouring.

ADVAN CED LINE ART PREPARATION: BLACK AND W HITE LINE ART In many instances of producing digital line art. you w ill want your work to be as clean and "digital" as possible. This essentially requires converting the line art to black and white, and removing all w hite from the layer: Although this w ill make the edge of the line art appear 'j agged" and aliased up close, it will produce the crispest line results, especially in print.

~ .. &:~...:~ ____ _

"--

iliil I OK

~ I cance~ +10 G!Q( 0Pre-;tow

.)

4. Removing the white Select the Magic Wand tool, making sure "Anti-alias· and "Contiguous· are both unchecked. Select the w hite area of the page. and hit the delete key to delete the w hite area.

( ee also Scanning, pa ges 56-57

[~; ..... ;:l, *.. tt."Y. '- ..1. £ . 35. o.o. ~ ..... it . T.

DIGITAL LINf: ART 63

1 • Of)f'n yni 1r llnf' .'lrt fiiP .1 ~ r1orm.11, .-wrt1 .:oorn in to tt1e line\ ~howlng rhf' lm:'IIJI' .'lr 1 uu·~ iJIXr..:i ~w.:.

2 . Select t11c ~nl11~ 11 "'"''='~ u~iii\:J llll + A wl rhf' irn.1QP witl1 Ctrl .. X, ti1L'n 11il l lll ·t V lo f).::t~rf' rhP lm.::tQP inrn a nPW L1yPr 3. U~P rhf' nrlqhrnes~ ann \onrr.1~ tnnl Tc"l

u<.11u~t tt 1e line drt w be wrnpiPTf'ly hlark ~uiSl: U1e lullli u~l lo 100, tlricJ lt lt'rl rtcJju\c U1c l:l11y l 1l11L'~~ UJ il il U it: ltu e~llui<.I produ«'\ the dCSII"CU upjJ~ur <IfiLl:. U il:l~.J II~ cll l<.l unchccktng llle 1-'i L'VILW I.Jux will <illuw you to Sl:l: I lOW ~IIJ IIIrll lllC' l llrttk l'lr1cl Wtliff' linP~

look lo 1t1e ori9innl CJre~rnlP linP~

5. Your line url will now < Orl\1\l ol p11w black lines. and will· bC Cd~iCi Ill W<Jik wirh. with QfE'<lter ncxibilily foi pill !( and coloured lines.

T~l.::Jnk.s ro digital colouring, it is now easy to create professional-looking

work. WiU 1 an undcrsLanding of the different methods you can choose the

per leU ~Lyle= !"or your manga pages.

~ Colouring basics 66

~ eel-style colouring 70

~ Ai rbrush-style shading 74

~ Simulated natu ~al media 78

~ Lineless artwork 82

~ Digital screentones 88

9 Special effects 94

/

('

-d/j

66 ~ D \3ITAL TECHN IQUES: COLOURING. SCREE NTO N E AND EFFECTS

uring basics Nn rn.=1tter what kind of image you're making. you've

gnl In "'.;Jrl sorncwt-lcrc. A lol or illustrations begin with tJ-,e scJme bcJsic steps. Here are a few general tips that apply

Lo n JOSL Lechniques.

BASE COLOURING TECHNIQUE FOR GREYSCALE OUTLINES

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1. Set up line art layer Rl\-ji Jh.hLk l11c ldycr wnldinin4 yuur inkc<.l rool"tlll'l" ;u1d ~I?IC'Ct Duphc.:otc Wycr NJmc tillS new layer "outline·. :mrl ~PT lr rn Mllltll"liY 11~1ng rhe drop down menu at the top o f the I ;.tyt'r rx~lt'ITP

2. Create a background layer MJke J

IILW I<IYCI <IIIU

fill ir with any w lour (light or lliiJif'diOill'S cll t!

best). The purpme of J11is is to m<~ke it easier to sce any g.lps 1n your bnse colours later on.

3. Create base colour layer Make another new layer for your base colours. Select an area you want to colour with the Magic Wand.

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COLOURING BASICS 67

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l:>csele<:t Ctri+O ~'~'"'"'-:t -r a+.:trl•r' tnvC'rse SNft+(:trl+l 4 . Notice how the selection doesn't go

right to the edge of the lines? To get around this. go to the menu ilnd choose Select > Modify > Expand. and cxJVtncJ your ~election by 1-3 pixels.

Color R""9"· ··

f•ather... Al+Ctri>O

5 . Block in colours Use the Fill tool to colour rhe area. 1r you turn "Contiguous" off. you can fi ll the w hole selection at once.

6 . If there are still some areas lert outside the selectton. use the Polygon Lasso tool to select them manually. Its mostly small corners and sharp po1nts that get left behind. so pc1y spectal attention to those areas.

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7. Where theres a Jot of tight detail on the image, like tile sleeve on this picture. its quicker to use the Polygon Lasso tool to draw the selection mnnt;nlly r~s you rlKl 1n the prev1ous step. Instead of paimrr~kingly using the Magic Wilnd ro select Cr1Ci1

bit individually.

8 . Now that you've got the foundations down. you can colour the image in any style you want. 0 . _J f:J. 3.1 ii

D IGITA L TEC H NIQUES : COLO U RI NG. SCREEN TONE AND EFFECTS

BASE COLOURING FOR BLACK AND WHITE OUTLINES

4. Block in colours Usc the Fill tool. with Anti-aliasing off. ro start filling in the colours.

5 . If there <~re <~ny small areas left behind WithOUt colour. you can simply touch them up w ith the Brush tool. Just usc a very small brush and be careful.

1. Create layer for line art Start by right-clicking the layer containing your inked picture and select Duplicate Layer. Name this new layer ·outline·.

3. Create background layer Make a new layer and fill ir with any colour. Duplicate the outline layer and name it "base colour·. then move it below the outline layer.

6. Now that you've got the foundations down. you can colour the image in any style you w ant.

2 . Remove white areas Use the Magic Wand tool. with both Anti­aliasing and Contiguous turned off. to select all the white on that layer. Hit Ctrl + X or choose Edit > Cut to remove all the w hite. Lock this layer.

FIXING GAPS WHILE COLOURING

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If your image outline has a lot of gaps in it. you can patch them with the following simple method. On your base colour layer. use the Brush to draw a line between the sides of the offending gap in the colour you'll be blocking in. Then you can select the area with the Magic Wand (ser to "All l<~yers"). or usc the Fill tool to colour rhe area.

COLOURING JARGON

The colouring tutorials over the following pages will be

easier to follow if you have an understanding of basic

colour terms.

Hue The technical term for colours.

Shade Hues mixed with black, or other dark colours.

Saturation The intensity of a colour. A saturated hue has

very pure. strong colour. whereas a

desaturated hue is muted and dull.

Contrast The difference in hue or shade between

two colours.

COLOURIN G BASICS 69

COLOUR 'I'HIIOIIY'

~ compuller- millions tl calaurs fl 6.7 mfllonl Iran wNch to Rllllre • seledlori. so where do )QI staR? Cclour theory can help you understand &he way CXllours me Ul&d In a composldon ...:I can help you mate u•fanned Chola!s abour your own COiaul'ing. Colour theory dOIII nat jusr apply Q) art - Irk all around )IOU. lbur anvtnmment IS lfl'eded by light elemellll tl talcur theory~ pn!S!I'If ~.

SUVng cob.n ldlraCt .-~~tor .. m La lhls to Cft!8llt dt!pdt In your picture. Objem In the ft:ngRiund shaukl bet more 5illunlllld 1t11n obJKIIIn n bacfcgralnd This wll make the-­focus on yow d'llrilclln. ..a ~ • realislk-- of pew~.

Achlelllng befarw wl1'h cxdour Is lmparrar. tao. "you want tg La WilY bright aDn )IOU hiM: to know Whlth cdaLn to use ID ~them. A very bright or saturalleCI colour on 11:. awn ;n a t*tUn: 11 jlrrtng, bUt appears raJmer When used wlrh mau:hlng .... puling .. ..... whale tatnposlllan.

Calallr ........ ... lJghUng ...... carour RlcRnn moar peopleNIIIIa.lt ctMAgll ........ cobndlhldcMS..aNgl __ _

also .. calaull ahheWIICie ... Nodclehow..,... aan:l,au lse dlft'eelt CGiaUr • mlcldly1hln fr II • dU!f(l If JDUI' llluslratian has .., strorllt CGiaunld llgt81Q. ~shoUld calour ... bldcglaund ftrst ...-ld UR that • II blsls far ,a.l' c:IW8CIM" cdaurs. If ,au colcu' lhe charaallr first. you mlgnt nat be able tiO miiiCh lhe Jfgtllfng tllhe chalac:ter wllh thellghllng ollhl erwlrorirnenC sunaundfng lt. leavtng JOU Wllh e11t1er 11 df9*\ted Image or a piCa.n w11t1 a dlfl'eelt mood ftan the one you ser out to achieve. ~ blllck shadi'lg should be

avakled. Blade drains IIWilJ colour 6tm " pldUre. maiCing It teem cold and unr'IIIIUrlll. Dart~ ...... purples ant gacx1 Clo'lblrllD use rar lhldlng. bUt II10IIIy ... ChiD ...... on tt1e llgtldng In )OUr c:a~r,alllan.

~ 70 ~ DtGITAL TEC H N IQUES: COLOUR ING, SCREENTONE AND EFFECTS

style colouring C c'/-')iy le culuur inq refers to the animation

eels usP.c.J in J c:1~ >.- lr 1c~e .::mime. and to the

led 1r 1ique of shading a chal-acler using a lirnited lllJnlher of tones.

lrdmpdrent sheets ot ilrrrmC' <trC' pilinted w itl'"l bold block

wluur ~. u~1n~1 only a tew shrtdes to represent shCJdows lllld hiqhliqllU..

TilL' tedmique or ueat1ng toml definition through the 1 r~r nf <;h,'"Jdows ddte) IJdLk tu lt1e I 'i60s, With even black iJnd WllitC' nninv1tiom 1 r'i ing the method. IJul it i) found ir 1 \orne edrly colour pieces wo. From tl1c 1970s onw Jrds, tile v,l<;t m<ljnrily of J<1pc1ne~e c~nimd liun used rhi~ ryp1 · of ~~krtlrrl~J orr drHrnated characters. and the ~lyle l.Jec.:ame commonpiJcc w irh nnimC'.

In comrasr, mmt C'clrly WC'stcrn r~nin1rrtiun u~ecJ no liqllting or shr~dnw\ 1111 II w li krr dller) at all. In the 1990s,

some We\ I 1 ·r n pr lldl 11 I rllrt\ c~cloptecl the technique with s,lri:. fy ing r t'\t rll\, 111 rl rr rrrr 1y nun-l u American animation,

includin<J I,UIJI"'\ trlll ' frlrn prncluctrom, dues w ithout sll JCfnws on IlK· r hrllrtl 11 '1\ 1 umpletely l hrs rs part of the

rcJson w hy u~ing 1 1 ·I ' 'Y'I · I lrt) become so intrinsically <JSSOcirltCCf w il h I ht. r lr rill II. \lylt'

Irs vC'ry <;imr lc Ill t •n rul.-~te ltre eel-painted visual style rl1rnrrtJh 1/11 · 1 J\1 · 1 rf , oftw.:He .:rnd digital techniques. You can cllnngc rolnur'l rrnd 1 onlrnlthe overall look of your image CJSily by ndju<;t iniJ II r1 • lrlyt ·r \ c1r rd you can alter your SI1Jdlnq .Jt w ill unt il you're 1 ompletely sali~lied with the results. Using your knowlr ·rJ~1 · or I c~yer ~ dnd Photoshop tools. tile following ~ ~ ~ 'P" >Ill HJirl .-tlluw you to easily achieve Lln rlUtl"lcntir rr'i--;tylr· look rn your c.Jr.:rw rnqs.

CREATING A CEL-STYLE IMAGE

1 . Blocking out colours Start by filling in your base colours using one of the methods detailed on pages 66-69.

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• 2. Create layers Select an area to shade with the Magic Wand. Make a new layer underneath the outline for the shading.

•

3. Block out shade and refine Loosely shade the area with the Brush tool. and then use the Eraser to smooth the lines and sharpen the points. Some parts may need more than one step of shading to give them extra depth or definition. but be sparing with your shading; adding too much will make the image look less like an authentic animation eel.

CEL -STYL[ COLOURING 71

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DIGITAL TECHNIQUES : COLOURING. SCREENTON E AND EFF ECTS

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Less Is More I urullrt!.J yClur p...rll"'llt' m.;~y seem like a crazy thing to

SUqqcst. considering lllc pule11llr!l of di!.JIIrtl rlrlwork.

• •

I lowever; eel-style pictures benefit from minimul shading.

l t rv \I lrldiii!.J 111 c C'l c olcH mng is dependent on how

reflective t ile object you're colouring is. Tile 'illinier il is. lhe

mort' \h.;tdows and highlights you apply. This means it:S lJt'\1 In lM' II'\\ ,,.k1rl1ng on .;~re.;~s that are more matt. like

r loii-1111\J ,.,, tel \kill, dnc.J rnore on areas that are shiny. such

JS hair c1nd jcwciiC'r y. U\illSJ fc wer 1.-ryer \ of shadrng will also

mJkc the imc1gc rl!"ilnC'r.

MATERIAL TYPES IN CEL SHADING

Sltin Skin tones 0 usually use three basic

steps o f colour.

w ith a fourth

additional colour sometimes

used for white highlights.

Hair Hair in 0 anime is often

incredibly shiny.

with at least four

shades o f colour.

including bold

white highlights.

Cloth Soft cloth

absorbs light.

5 . Highlights Make a new layer above the shading layer for the highlights. Colour the highlights in a similar manner to the shading -sparingly - and with consideration of how muct1 light reflects off the character.

6 . Your image is complete. Here you can see a breakdown of the various layers.

and can be

accurately

portrayed with just

two tones of colour.

Plastic Plastic is

similar to metal.

but tends not

to reflect. It will

use three or four

shades of colour.

.. ··....... . . . . . . . . .. .. . . . . . . TIP Quick Colour Change

···•··············•······•••·••·•••••·••·· .. . . . If you want to adjust any of the colours you've used. you can do so simply by

selecting the area you want to change and going to Image > Adjustments > Hue/Saturation on the menu. or hitting Ctrl + U. Use the Hue slider to change the

colour. Saturation will either fade or intensify your colours. and Lightness will fade

colours out to black or white.

The saturation slider increases the amount of colour intensily. or reduces it

• to greyscale.

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Edtt I Master

Hue:

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Saturation:

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oj Load ...

Save ...

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Increasing tile lightness will mix white w ith the chosen colour Reducing it w ill mix black.

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The Hue slider shifts rhe color rr spectrum .Jnd dUJU>b <ill colours cqu<~lly.

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Rubber Rubber is harder than

cloth, but not

as hard as

plastic. Use two

or three shades.

Metal Different types of metal use

different numbers of tones. but often

metal is presented as shiny, with four

colours being used. Sometimes the

metal reflects objects around it. so it will

pick up colours from neighbouring objects

or the environment.

. .

CEL-STYLE COLOURING 73

............ -............. .. . . . . . . . . ... . . · TIP Alternative

Coloured Version The alternative colouring is achieved

using the exact same techniques

described on these p<:t~Jes. H1e m<:~in difference is that the artist opted for

a single lrryt·r for <III ItH· \tt&llrtSJ - c1

/)right rJiue colour was painted over

the whole imaqe on .:1 layer set to

Multiply. This technique gives the

character consistent and dr.:tmatic

lighting. bur it can cause the coloLrrs

lo look wrt\hec J nul il you U\e 21n

inapprupricilc ~~ tddc. Be \IJIC lo

experiment witll different sh.:rdcs

and colours to gain the best resLIIts .

~ 74 ~ DI'GITAL TE CHN IQUES: CO LOU RIN G. SCREENTONE AND EFF ECT S

rush-style shading Many ar ll.)l.) U.)e brush tools in Photos hop to soften the appearance of their arlwork, and to accentuate the volume of tlleir characters. DigiLal airbrushes and other soft-edged brushes inlroduce subtle blending of shacJuw.) on the figure, e1nd can help to c.listinguish between dirrerenl Lypes of material and surface.

CI~EATING AIRBRUSH-STYLE SHADING ON AN IMACil-

ChOO)C" kugl', ~oft-edqed brush.

1 . Block out base colours Block our your fine arc as normal, with solid shades of colour. as shown on pages 66- 69. Use the Selection tool to select arr of the nesh­coloured areas. and then create a new layer. You can create a mask based upon your selection. or just keep your selection and use that as a guide.

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2. Soft ··cer· style Choose a complemenrary colour tone and use a large. soft-edged brush. Mark out the lighting much as you would with eel colours. with your brush set to I 00% opacity.

6. Create a new layer and use any obvious colour -here we've used green - as a guideline ro draw folds of cloth ing onto the image. Bearing 1n mmd where the fabric will pinch and gather. draw lines emanating from the point of tension.

AIRBRUSH-STYLE SJ JADING 75

3 . Erase highlight areas Ch;mQP thP rr;~~er rool ro use a simil.:lr l.:1rgc soft brush. and work w 1U1 I.JuU 1 U 1c Brus11 .:llld EluSl:l lu tll:lllll: lilt' \ l lnpt• or U1c ull:d.

4 . Brush control Ch.:lnging U1c b1 u~l •

size willllclp you cullllul Ll ll: ~~n.:d<J of colour t~ntJ l11c l!clldll<'~' ol lhP ffiQP u~e JhP 1 nnrl J kPy~ m sr.lle rhe brush up and down A smJII brush will huvl: u !larder cdqc lhun" lrHtjl' IJIU\11.

5. Define subtle shading ll~t· ,, clnrkt•r \kill tone 10 CJdtJ rurllll'f defnlll!Ofl cHid ~ll.:ldOW benemh the neck. beneath the lips ilnd under the nmr·. Tht' shading of rhc skin .1rr,1s is nnw cor llfJit'lt'. ctntl we ldn rnove on to shLJde the re.sr of til<' im,1Qt'

DIGITAL TECHNIQUES : COLOURING. SCREENTON E AND EFFECTS

7 . For the rest of the clothes. use a srnglc layer to define Sh..iding. Cre<ltf' ;1 new layer set to "Multrply" at I 00% opacity. At thrs pornt. we have chosen a cream ~hrtc1C'. which will IJe diJiJiietl tu the rmi.lgc <IS the ~tld~linq tone.

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9. TIP: CirPy stripes have been added ro rile giri:S top Jt this point to 11clp ddnc vulu11rt:. Rt:rncrni.Jer lhdt the curvAture of Sl lliJl'\, line~ t-tnc1rnrrerm helps to stop im-'IQP~ from looking flat and lifeless.

B. Precision smudging Using smaller brushes will create sharper creases. whereas larger brushes will create bunched folds. Bearing in mind the shape of the character. you can define volume with these folds.

I 0. We've used the Smudge tool to create the impression of fabric folds. Smudging the shadow outwards along the guidelines. and then smudging the shadow inwards. creates the desired effect.

I I . Fine detail <.reate a new layer (set to "Normal") for the make-up and facial det:arls. Add pink lipstick and cycshddow. and lighter tones to ~how the light shining off the lips. Add similar details to the fingernarls and belly button.

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ALTERNATIVE COLOURING

Here the same process is used to achieve

a radically different result, transforming

the girl from a contemporary girl­

next-door to a futuristic space star.

Skin: Strong blue shadow, and softer application of Airbrush. Using brushes with low opacity on the Airbrush serting, you can slowly work over the image increasing shade gradually.

Design: A few changes ro the design and colour pattern of the clothes can make a big difference in the perception of the character.

Backlighting: A white light is used from behind the image. surrounding the shapes in a striking white glow. Tracing the outline of the shape, and consrdenng where the backlight would be blocked. adds a dramatic look to the image and helps define volume.

12. Smudging highlights We've created the hair with the Smudge tool in a manner srmilar to the folds of the fabric. To do this, place layers of colour down to define shade. and then smudge to follow 1 he shape of the head. When you're happy with one layer of depth. introduce lighter shades .:md rt'pt>al the process over again ro build up layers j ust like those of real 11.:rir.

Unu~ualcyc

cnlo11r anr1 white lipsuck q1vc the g1rl a scr fi look and complement thewhireof her out11L and blue lrghlrng.

Hair: The exact same hair as before. but wilh a few alterations to the Hue. Saturation and Contr.Jst tools.

AI RB RUSH -ST YLE SHADING 77

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13. Coloured lines Here wc'vt.: fulr~llt.:U tilC llllilqC by LUIUUIIII(.j lill: Ill It'\ II I rl

\lrllrldr rnnnnt'r 1.0 1 hi-lt rlP~rrlhPrl In Simulated Narur.:Ji Medl.:r (sec p.:~qcs 78-81 ). SCIC:tllll(.j lllC lllrllk Ill It'\ rrruJ colouring rhem on a new layer. The rmaqc rs now tUIIIJ.Jk:lc.

~ 78 ~DIG ITAL TECHNIQUES: COLOURING. SCREENTONE AND EFFECTS

ulated natural media CorrlpuLcr-gcnerc:JLecl (CG) illustration is known for IJcing prrsl inc and flawless, but as computers have l)ec orm·' more powerful and versatile, software pdc k~-t~JeS ~lave been created to make illustrations look rr1orf' r1wnan, and a little less than perfect. Natural media simulaLors such as Painter add that litiiP bit of "lranc..i-made" texture.

O IL r/\/NT STYLL Oil painls smear Logether; giving Lonal dfei.1S definilion yet ~oftly blcndinq at the cc.igcs.

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1 . Blo~k out ~olours Lay down some base colours usln~ one uf the methods described on pages 66-69.

2. Set up shading lay e rs Create a new layer For your shading. This illustration only uses one for all the shaded areas. However. you can use as few or as many as you feel comfortable w ith. Theres a second layer for the palette to help us keep a record of the colours w e've used. This is essential in natural-media-styled work. because the original shades are blended together so much they may become hard to pick out w ith the Eyedropper.

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4 . Soften colours The colour is b lended out to the base colour tone using increasingly lighter shades.

• •

SIMULATED NAI U RA L M CDI /\ 79

3. Starting to shade Select .:m L!rca und 5tdl t sllcidlll() w11t1 It II' d..-trkest shade. Here w e've used Lin ulmost transp.:wcnt ll'Xh Jrl ·d t'" " ' ' Between I U% and 25% opacity Is recommended. depcndinu nn 11ow d<1r k your colours are. Notice how w e're working texture intu It ll' im<~ge? Short. quick brushstrokes are used to build up colntJr \ lnwly

5. Build up highlights Add your highlights in the Sctme way. Just blend the colour. getting lighter and lrghtcr. But be careful w hen adding highlights: if an image has an excessive number of highlights compared to the amount of light in the picture. it can look less natural.

DIGITAL TECHN IQUES: COLOURING, SCREENTONE AND EFFECTS

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6. Colour tr1e rest ot the 1mage 1n 1 hr· ~,lmP fll;Jnnr-r.

WATERCOLOUR STYLE

This imag e w as actually created in

Painter rather tl1an Photoshop, but

the results are achievable in both

packages. The most obvious

difference in this picture is in the

delice1cy of the palette. Real

w atercolours are a very transparent

med1um. so this is reflected in the

lightness of the CG. The shading is

blended from the midtone to off-white

shades, or white - a huge contrast to

the bold, strong hues of oil paints.

Another difference is the complete lack

of black. In a watercolour-style picture itS

better to colour in off-black shades, such

as dark greys, purples. blues and

browns. This helps to keep the image

looking soft and light.

Fil~

• • - • t -~-

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•

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Some layers have been locked to avoid accidently editing them.

Shadows and highlights are built up on a separate layer.

U Mler Diamet«

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( U.... Sample Size

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Grainy brush shapes help to capture the feel of genuine brushstrokes.

Multiplied washes

59

Just like adding pale washes of colour over a painting, you can add pale washes over your image in CG. This is great for tinting areas. Rather than constantly having to blend colours together. you can j ust make a new layer and paint straight over them. Setting the layer to Multiply and colouring with light shades will preseNe the texture and depth of the shade you've already coloured. The shiny. pink blush on this image was created in this way.

v

..,. ACRYLIC STYLE Colouring an image to look like acrylic paint is a mid-point between oil painting and eel-style artwork. Real acrylic paints have the same strong pigments as oils but don't blend, which you can reflect in your colouring. The edges of the colours are much softer than eel-style images. showing the texture of the brush.

T PAINTER ADVANTAGES For creating natural-media-style images, a dedicated natural media simulator like Painter is the easiest way to produce good results. Not only is the brush control more flexible, allowing you to blend and push around colour in a realistic way, but the sheer number of simulated media means its more akin to having a whole studio full of supplies in your computer. Anything can be reproduced on your computer reasonably faithfully, from traditional materials like oils and watercolour. to less orthodox brushes like the Japanese sumi-e brushes and wax crayons.

Much of the fun from Painter comes from using materials that could never be used together in the same picture. Oil brushes can be used to add a bit of colour to rough sumi-e brush outlines. yet you could never practically mix these techniques on a real canvas. You can paint with the same techniques as a real oil painting (loosely building up colour and tightening the details of the picture as you go), or you can use Layers to keep your painted areas safe from each other.

A feeling of layered paint is created by the different tones and hues rn the shaded areas.

Soft but nchly coloured brushslfokes build up to make a Slfrlong rmage.

SIMULATED NATURA L MEDIA 8 1

</i 82 ~ D viTAL TECHNIQUES : COLOURING. SCREENTONE AND EFFECTS

less artwork Images without lines fall into lwo categories: flat eel style, and a more natural "realism style" . Cel style is simple to arhieve, and creates an effective look for your images. Natural styles are trickier to pull off, but offer greater versatili ty in mood.

As lineless colouring relies on defining the shape of an object through colour and shade, its viral to make good colour choices to begin with. Make sure your colours have enough contrast in both hue and shade to keep them clear; muddy. indistinct colouring can confuse a picture. making it difficult for people to understand what you have drawn.

LINELFSS < I I STYLI: The lilck of a black line give::. Lhis style a distinct and bold r1ppmmn1C'. Volume is defined entirely through colour and shade.

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I . Block out base colours Fill 1n your base colours u~1ng one of the method~ detailed on pngcs 66-69. You need to stilrt with pure black and white outlines to be able to colour them easily later. Make sure you turn Anti-aliasing off on both the Fill tool and the Magic Wand.

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2. Create a layer for shade Make a new layer between your base colour and outline layers. Lock those two layers for now. to prevent you from accidentally colouring over something important. Select an area you want to colour with the Magic Wand. If the "Contiguous· box is unchecked. you can selea all of one particular colour with a single click.

4. Block out shadows Colour the rest of the shadows. Make sure w here areas of the same colour overlap !the legs on this picture. for example) that theres enough shading to make each part distinct from the others. Complex parts of the picture. like the hair. may need more than one step of shad1ng.

3 . Mark out highlights Use the Paintbrush tool to loosely <tpply your shading. then use U1c Eraser to neaten the edges. smoothing U1c cuNes and sharpening the points.

LINELESS ARTWORK 83

• •

5. Add extra highlights Make u rww layer above lilt' \ I klc.l1ng layer. U\e lhrs to add hrghlights to the 1maqe using the same technique'\ ,1\

you tr\c·O lu dtlc.l ~t1adows. In this picture. lligl lli~J il t~

<~re used sparingly 1o keep tt1e nni:tge ilS CICilr il~ f'lOSSible.

6. Select black outlines Using the Magic Wand. making sure ·contiguous· 1s unchecked. select your entrre black outline.

~

~ . ./. £ . Jf. 0.~ . .J . .... ~ . T. ~.u.

!jl, -"· <'~ .;,.

7 . Colour in the lines Mctke a new layer above your outline layer to rcYolour rhr line~ . (Working on a new layer will preserve your origrnal lines. just in case anything hLJppens and you need to select tllem i19i1in.) When colowing I he lines. remember that lrnes on top get prrunty - where two colours overlap, the area thLJt is on top should be usccl ro ~nur(C' rhr colours for U1e lines. For example: hair overlaps the kKe. so tt1e lrnes between them should be hair·coloured.

(t:f.' dl~u Ccl-stylc rmagcs. pages JQ-73

..... TIP Removing Specks of Outline Bl.:~ck specks appear when the

outline is <tnlhllirl\ccJ. You lan leU if

yoJH c urt11ne r ~ alia sed by zooming

into the lm.:1ge. If the line is very

. ·· . .

hlrtc k ,uiCJ JliXt'lirllt•cl, 11 IS allased; If It's

~alter and fades tram black to grey.

its .Jntl·aliilsed. This soflnc_\~ rn<~kt-'s 11·

rrrow rJIIfiC:I rll to select the whole

outline at once. so you mily be left

wilh ,1 frrnoe of grey.

On the base colour layer. select il

w luiH w1lh the Mag1c Wand. and

eXfklllc'J thr ~rice~ ion by I or 2

pixels, choosing Select > Modify > Expand from the menu. Oui(kly

mlnur the offending area with a

large brush. If the specks are on the

outside or the line, select the area

outside of the character. expand it

by I to 3 pixels and then cut

the selection.

)

UNELESS COLOURING WITHOUT UGHTING Uneless Images without lighting similar to this one are very popular In Japanese design. The bold shapes make for a striking Image, but work best on simple compositions. or illustrations that have a very limited palette.

8. The image is complete. (For more on eel-style images. see pages 70-73.)

LINELE SS ARTWORK 85

LINELESS REALISM STYLE Soft brushstrokes and blended colours echo natural media yet retain stylish contrast and definition .

.. _

1 . Block out colours Start with pure blnrk and w hite outlines in the same way as the eel-styled lineless image. and by filling in yow base colours using one or the methods on pages 70-73.

2 . Create shading layer Lockrng your outline and base colour layers. make a new layer for the shading.

•

Loak:O d +M

,, ,1-

'jj I

. . ... I

I

3. Sample colours Tt1is rmagc has a lcryl:!r called "palette·. This is a layer thar only conldrns sm.111 samples or colour. Because or tht:! softness of this method of colouring. it:S advisable to h.we r1

sample somewhere of the colours you're usrng. so you can easily grab them with the Eyedropper tool. Now select an area you want to colour.

DIGITAL TECHNIQUES: COLOURING. SCREENTONE AND EFFECTS

4. Rough out dark areas Using a brusl1 with 1cx1urc (~ct to bcrw<'m I 0% and 25')6 opacity). start colouring the \llrrdifiU wil ll \I lOr 1. quirk stmkcs of the llrll\11 II\ t'rf\H'\1 10 \lrlf l drrrk r~nd blend oulllre loluur to lire nnrJ-~hrltJL'. ~o milkC \llf l' I o 111 · I.JOicJ -rnd lrlY clown more w lour lllrrn you think you'll need.

~- •.. \ . T. 0. CJ. 1:} _ _,_

{') ~

-5. Soften tones Start to blend it out with lighter shades.

6. Add a few hrghlrghts. Be careful nor ro make the imGJge look too shiny. You can add these on a separate layer if you wish. but in this rmagc we've used one layer for dll of the shading.

8. Coloured outlines Make a new layer for your coloured lines. Use the Magic Wand to select ail the black on your outline layer.

7 . Colour the rest of the image.

f ie Edt lm<oge Loy..- Select Fl or View Wv1dow ~

/ • Bru:l" ~ • Modt' tbmol v Opodly , ~ • _ , ~· ~

.:.. -.. It . T. ~ . D.

~. J'. ;·~ ~

9. Try to match the colour of the lines to the colour of the picture as much as possible. In this case. the same textured brush as earlier is being used. but set to 50% opacity to make it more solid. Holding the Alt key to switch quickly between the Eyedropper and Brush tools makes it easier to pick up and adjust the colour as frequently as you need.

t!H l

L.ock.OJ' +IIII Fll:" 100'11. •

• .:.>' ••• 1 -~ -t

• ~ . "'*" 1111

A breakdown of the layers and a reference of the brush sizes used .

o~ _ ......... ,e;;-J '

~~ :J .JJ

• ~-~- I r-=-1

• ~-~ I. - _ ... ••

• D ~l ' 24

v 7

( l'l

• ~ G)

. ~

" ~

• .. • so -

See also Simulated n atural media. page s 78-81

10. The image is complete.

LINELE SS ARTWO RK 87

TIP Coloured Lines If you like I he subtlety ot an image withmrt line~. lJLit don't

wam to be- ~o ddr inq .:ts to remove them complet~ly. you can

try colouring the 11nes to matcf1 your picture rm tead. rhc­

lines on thrs image are slightly darker than the colourc-cl drect.

so it keeps the detarl of the original inking. whrle not

overwhelming the c..olour wrth bluck !inC's.

~ 88 ~DIG I TAL TECHN IQUES: COLOUR ING. SCREENTONE AND EF FECTS

1ta I screentones Japanese manga is rarely printed in colour. but us~s something called "screentone" to introduce s~lades of grey as well as patterns cncJ r~xrure to its pages.

Screentones traditionally were transparent sheets of adt1esive plastic with patterns of black dots printed onto tile surface. Illustrators used to use these to create the st1.:~ding in newspaper cartoons. and in original manga .1rtwork. I hese dotted sheets. when cut t·o shape and laid over llnP work. crcmcd the appearance or "grey" shades.

and also r~produced ei'ISIIY on conventional printing and wpy1ng mt1rhines

Tl1e usc or dul pdllerns ~uch as this Cldds <1 lot to the rcclliauilily ur .:~ wm~c. giving you much greater control over lll~ uv~r..-~11 style. A~ rt rc~ulr. using scrcenlone has become ~ynonymous wirh m<1nga itself. and using it in your work Will go ~omC' wily to crealinq dn dUltlentiC style.

The' usC' of scrccntonc r~ldl~~ !>llongly to the sense of ~ibstrJcnon otrcn present in Jiipc:mese drlwork. What you're p1 e)enllm.J c.loesn't have to be entirely realistic; it just has Lo look "righr". 'lbtJ can !>iynifiLdnlly enhance the drama. ht~muur 01 .:tl llon ot a scene by using pllrterns and st1ades etteaivcly.

Tl1,1nk~ tn ~orlwrtw )LJdl as Photoshop and Comicworks,

il i~ pt '""'IJ/e to emulate old style scrccntones nccurately on rl I lliiiJJUler laretul and restriCtive USC will help you Cdplure rtx· t'))ence ot the technique, while retaining 111e

' ur tven1ence and flexibility of working di[Jito:~lly

LPI LP/ stunds fur "line~ per tnch", ;;~nd is a term used a/most

exrllJ~ivP/y for screentone in tllis con text. It refers to how

cllunky or t.k:lculed the pattern is - a tow LPI pattern will have

very thick lines. w hcrcus il l11gt1 LPI pattern will have thin and dt:lnriPn lines.

MOIB MoW (or ·screen dash.) refers to the

visual effect caused when two fine patterns are overlaid but misaligned. It Is similar to the shimmering effect that net curtains create when they overlap. To prevent this undesirable artefact from occurring. you should avoid rotating and resJztng screentone after applying lt. ~ also worth nodng that sa&etltolle with a high LPf wiD be mont likely to suffer from rnoln! because It Is more likely to mlsalign wilh the arrangement of pixels on a digital image.

HALFTON ES Halftones are the most common type of tone used in manga. These are simple arrangements of dots designed to portray solid shades of grey when used in print. Please note: large dot

tones can represent a lack of focus. by using it over a large area.

1 . MiJrk out the areas you wish to be greyscale in sunple shades of grey. CllOOSC "Halftone Screen: whicll wrll open the dtalog box with opttons.

2. Pllotoshop works best at LP/ size of 25. 50 and 100. 3. Oe sure to keep line nrt on a separate layer from the grayscale layer.

..... ..... . . . . . . . . . . . . . . . ••••• . . . . . . . . . . ••••• . . . . . . . . . . . . . . . • •••• . . . . . . . . . . • • • • • ..... • • • • • . . . . . • • • • • ..... • • • • • . . . . . ... .. . . . . .

Using large halftone dots can indicate a lack of focus. useful for highfighung characters in the background or middle ground.

NOISE OR SAND TONE Noise tones are useful for introducing texture. as well as seNing a dramatic purpose.

I . Create a new layer. and till out an area of the image you wish to be noise with a 50% grey shade. This effect can also be applied to a gradient. 2 . From the Filter menu. choose "Pixel/ate.· then "Pointi//ize". 3. Set the size of the filter. The larger the number. the coarser the noise tone w ill be. A value between 5 and I 0 should be fine for most purposes. On a high-DPI image you will need a coarser tone to achieve the same effect than on a /ower-DP/ image. 4 . Adjust Brightness and Contrast in the image so that Contrast is I 00%. and Brightness is as high as you wish. This w ill also change the overall tone of the image.

.·· ..... TIP Making Coarse Tone

GRADIENT TONE Gradients can add depth and

definition to manga images. as well as helping to define shiny materials.

I . Selecting black and white as your foreground and background colours. create a gradient using the griidienr tone. 2 . Convert to Halftone or Noise using the same procedure as before 3 . Wil en using noise gradients. consrder layering the tone and rnovrng ,rround to achieve greater dcfinrtion.

···········•·•····· .. Often using d igital screentoncs can create a pattern tllat is

too fine. making it Jess than ideal for print and giving you

texrureless results.

. . .

1 . Go to: Filter > Blur > Gaussian Blur. The higher the value

chosen for Blur. the coarser the image will be. A value of I .0

and 2.0 should be okay.

2. Convert the image to Halftone. using the Mode option in

the Image menu. Choose an LPI of 50.

3 . The gradient w ill now be much coarser. and have a more

distinctive texture when prrnted.

•····•••·•••··•·····•········•··· •.......... . .

O f G I TAL SCRE F N TON ES 89

GEO METRICAL TO NE Simple vertical lines serve mnny purposes in draw ing manga.

Follow u K: ~drnt' nmrP!1u re for rc:.:I.JUI<.II ll..rlrtom: c~r twork. bur choose "LrrrLo;" ur "Cil l'C k\ • tor rhe pattern.

TONI FEATHERING Using <1 lr~yf'r scl lo "Dissolve", the­

greys of the imngc w ill be rnterprNf'c1 as nne pattern~ of dol ::.. Tt11S can be achieved to "tenrhf'r" the t:c.I<:Je ot screentone, as rhough a .stH:el ot ~creentone had been rubbecJ ;Jwt~y

You can use d l<1rge. white 1\irbru~t 1

for a sofr edge. or a small, hcird brush

moved in patterns to create an interesting transition.

.. -~ ~.ill:. e••••••• l':i l' . 1'\.. • • .. · ·· r ,_. • • • •••~• •·e

• ' • ; .1 ~ ~ ~ • • • • a e U • ~ , # ~ ~ ~ f• ~ • • • • • ~ • ~ , .. · , '" .. . ... 0 .. .. : . ~· • . . ... \" ~II' ·· ····~ · ; .... ·. -:.·. ~ s~ • ••• tt tl ·• t~ •

• • f .\ ,.., _, ,.. 0 • • • • • • .. " ' ; ~ - , ~ ~ ~ • • • • • • ~ y • 4

- , · ' w .o ew eeeeea ,.,. ~lll

•• :: J ~ ~ o n • • e • a ~ ·• ~ ~ . ~ ; ~ ~ ~ • • • • • • • 0 ~ • ~

; . l b \PO -.:t• •••••• 4" " "" · ~. v : .r-•• •••••• "" ... •· • · · · !' 'O Vt- tt & •eeeaaae ... t . . ~ ~ ~ ~ . . . . . . . . . ~ ~ . ~

~ ~ . . ~ . ~ . . . . . . ~ ~ . : I ~· ~ ~ ~ ~ • e • • • • e 0 ~ • a ~ I ~ ·'•'J:•tt Ott llt aeeeeaa ., .,. ( . . ·' ~· .. S! •• •••••••• , . ... • ( •

• ~ : ~ • • ~ • • • • • • • a • c ... ~ . ~ . ~ h A ~ e e e e a a e e a ~ ~ ~ p 1 .. :.~~.._fl ':.iea e••••••• .. - · ..

· . . · ~ ~ a n ~ • • • • • • • • • • ~ ' • ~ - I :' ::; '1 .a D • • • • • • • • • • • ,. -: I , -

: , ~ ~ ~ M ~ • # a e e e e e a e • y e •• . * ~ ~ ~ o e c • • • • • • • • ~ ~ • ·. . , ~ ~ ~ ~ ........... ~ . ~ ~ ~ ~ ' ~ ~ ~ • c • • • • • • • • • ~ • w

• : ~ ~ # ~ ~ • • • • • • • • • • • ~ • : ~. ~ ~ 7 ~ ~ • • • • • • • • • • • • ~ •

. , ' ; -=· ;. ,. 3 • •••••••••••. ~-·

.. ·· ~ ~ r ~ ~ 4 a • s • • • • • • • • ~ ~ ~ ~ * ~ , ~ ~ • • • • • • • • • • • •

. •• · • ~ 0 c ~ ~ • ~ ••••••••••• . . , .. ~ ~ ~- n ~ ~ ~ • • • • • • • • • • •

. . .. ~ ~ .. r ~ ~ ~ ~ • • • • • • • • • • .• : . , ~ ~ h - ' - » ••••••••••

~ ·. ~ ~ ~ ~ ~ ~ ~ . . . . . . . . . . . ~ ~ ~ ~ ~ ~ ~ ~ ~ . . . . . . . . . .

· ·· · ; < ~ } ~ ~ u ~ • • a • • • • • • • • .· · . \J' ,•'J,.-.,.:."- '1!" ~ · ········· ... ··· .·. ··:-~ ~ !)(. · ·········· . ~· . ~ ~ ~ ~ ~ , ~ . . . . . . . . . . . . ~ ~ ~ ~- ~ t , ~ ~ • • • • • • • • •

· .... . .. ·-=- .·. ' · ..;. 1-- • .,. •••••••••

.· .. ' . : · ... · ..... .. · .. ~--. -'· .. ~, ~ .. · ... ·-·.·.·.·-·-·-·-·

DIG ITAL TEC H NIQ U ES : COLOUR ING. SCREENTON E AND EFF ECTS

Backgrounds can be simply and effectively represented by layers of screentone.

USING YOUR

OWN PATTERNS

fhere are books available

containing copyright-free tone

patterns. which you can scan into

yoLir computer and use freely in

your manga work. You can also still

buy sheets of original adhesive

screentone and scan them for your

own rer\Ondl use.

Al-'1-'1 YINC.J )U~t:t:N I ON[

-.. T. ~. o. lJ. )', ·~11 Q.

~~ --~·. --.;.-. . ·\ ·. -....... ~:. · ..

SPECIAUST SCREENTONING SOFTWARE Comlcworlu

Comicworks is produced by Deleter. a company whose business revolves entirely around supplying traditional printed screentones to the Japanese comic industry. As a result, Comicworks is designed from the ground up for the production of

manga, and has great screentone facilities. More than I 40 different tones and patterns come provided with the software.

stored In the software at high clarity and I 200 dpi, 600 dpi and 300 dpl sizes. meaning they are always perfect for print work. If you're keen on the process of

applying scrcentone '" manga, then Comicworks will be ideal.

.·•·····••·•··•···••····•••••••····•·• . . TIP Keeping Grey Layers Hidden Be sure to keep your original grey layers intact (set as "Hidden") even

after you have made a halftone

equivalent. This allows you to come

back to the image at a later stage

and alter the toning or reapply the

screentone w ith a different LPI.

This can be useful if you have to

print the image at a different size, or

decide to change the image after

doing test pnnts.

1. Set up a line art layer Start with a new Photoshop document. and set up your line art on the topmost layer. as you would with a coloured piece. It is especially helpful to lock thiS layer. as you can ruin your page by applying screentonc to the line art layer.

. .

3 . Right·click on the layer. and choose 'Duplicate". Select "New" from the Destination dropdown list to create a new document.

5. Choose your halftone pattern Choose "Halftone Screen". which w ill open the dialog box with options. In this case the artist has chosen 50 LPI. with round pattern and 45' angle.

DIGITAL SCREENTONFS 9 1

2 . Block out basic shading Create a new layer. set to "Multiply". Choose a grey brush and begin to milrk our I he ,ueas of the page you want to shade. pitying r~llenuon to the light source. In this case. the artist has also m,u keO \Ome objects with a darker tone.

Adjuslments "' G III)'SCUIC ~

--- Ouolonc ...

0uplicii1C ... lnclcxcdColor

Apply Image ... RCBColor

Calculations ..• CMYKColor

Lab Colo< Image Size ..

Multichannel Canvas Size ...

Pixel As9ed ~tio >1 8 Bits/Channel

ROU!e Canvas 1!1 Bits/Chamol

Crvp co· ~~ To~.: ...

Trwn ...

Reveal All AnignProllle ...

Convert to Proflle ... Tr~p .

4. Convert grey to black and white From ll1~: llll•lt.Jl: menu. c11uu~~.:

Moc..J~: . .. u IU llll:ll

Bitm.:lp. If yuur imug~: rm't t.JILY~Lrlll' ulr l'dtJy. you wrll ll<'<'rl 10 c-onvl'rr rn grf'}"Cillf" In rhP Mode menu bdor~: dOIIIt.j lin~.

~. T. ~ . 0 . [j_ J'.

It . T. ~ . o. i~J • .J'. ;:' 0..

~ ~!a 1- 0 0

~1_¥f

DIGITAL TECHNIQUES : COLOURING. SCREENTONE AN D EFFECTS

7. Darker tones Here tile cJrli~l l lcJ~ rntrocluc eel ~ d.'lrker shade on a wprH r11! • lr1y!-'r .-1nd rcpc·rllt•d ll1e procedure. CrHe ~~ ldken to use the SilmC number of LPI when ovcrlilying tone to ilVOid moire problems.

£ . B.~ .

6. Paste into position Select the whole image by hitting Ctrl + A. Paste it into your previous image and change the layer style to "Multiply". Hide your previous greyscale layer.

.., Opat;ty. -~ •

r-•:~ • •

.'). ... • ...,....,::.........t.......,_,_:...L-_;

It. T. ~. o. 5]. J'.

~-?<~~::<;,~

8. Introducing fabric textures In order to apply texture to the image. the artist has hidden all tone layers and marked out the carpeted area of the image with a grey brush.

~ - T. ~- 0 . ~- J'. ·'1? Q..

kJ i(QJ~

I~EID

~-'t

~

.? . ./. £ . :Jf. a.~. ,.> . ... ~- T. ~ . 0.

~- .J'. ":'7 ~

1 0. Hide unwanted layers Finally. hide all grey layers and reveal the screentone layers. Your image is now fin ished.

•

•

•

D IG ITA l SCRC ENTO NE S 93

9. Using premade patterns LOrld a prevlc11 J~ly ~.'IVPI1

screentone pattern. unc.J pu~lc LI H5 Jnto the imilC:JP ;:~~ ·" new layer. Select the grey cJJcc.J l l lc.JJkctl out r~nci h ic1P the l;:~yer. Use the selection to rncJ~k ll It: K l l:t:IILUnt: layer. or inverr the sE'IE'ction and delete ll11..' excess screenrone.

..

~

94 ~ 0 GITAL TECHNIQUES: COLOURING. SCREENTONE AND EFFECTS

cia I effects One of tile characteristic aspects of manga is its use of abstract patterns in the background or scenes to help capture the emotion or action of tile current event. Tllis tecllnique /las been developed over many decades and ic; now closely identified with the style.

Using Phoroshop. you can emulate many of these types of effecb very simply on your home computer. Just a few steps can produce professional effects that would loqk ar home in a professionally printed Japanese manga.

PAITERN FOUNDATIONS

1 . CreJte J new. I.:Jrqc greysG11e im.Jqe .• :md r~1nm,.. I JI:~rk ·"ncl white rl\ IIH ' IOH 'UIOIJIII/ rlrll/

bJckqround co luw~.

2. lmrn rh,.. r ilrl:'r menu. cl1oosc "Clouds· from If!(' l~l'IIC k r \Ill lllll't 111

3. Altem.:~tively. ct1oosc "Urlll:rl:r ru.: Uuuth" from rhf:' Rf'nrler submenu. Jr1l1 lllL'rl ll:pl:cJllllrs. If you r<•pr•rtf<"d. npply rhi~ fllrPr (u~e Crrl r F m .:1

Sf10f'lCul). lfl L' J.hllll.:l I I

wrll I H'l nnw rnnrf' Prr.'lrir .1nd fiery. whlcl1 will inlrOLIUCl: II lUll: VcJIIl:U rlrl(/ rnlt-'rt'~l inCJ re~utr~.

4. Now you'r~.: rt ~<~<Jy 111 apply filters .:md produce rll Iron line~ You mrty Wl\11 I II 'VIVt' llrr~

"Cirnrrh" urrrtgf' In <lrsk ifytnr frnrlll lt' frllers rllt' \lllW

IMPACT ZOOM Lines of irregular width but w ith rhe same emanating poinr accenruare acrion and impact.

1 . Starting with the Cloud filter apply the Pinch filter from the Distort submenu. with a setting of I 00%.

2 . Repeat this filter ten times. You may wish to use more or fewer times depending upon the results you wish to achieve.

SF}I:CIA L EFIICTS 95

3. Us1ng rhe Brightness drl<.l

Contrast tool. rdl5e the Conrrmr ro ft11l. and Brigt1tness to w t1ateve1 level you nr~irc.

4. Convert the final image to halftone using the Bitmap option.

DIGITAL TECHNIQUES : CO LOU RIN G . SC RE ENTON E AN D EFF ECTS

IMPACT SWIRL Lines spinning around a

centrepoint suggest an arc

of movement.

. : -~ 1 ,.+ ~: -·, 14 ,,

"· ./. r!3. 5!. &.~. !P . ... lit . T. ~- o. (jl . ..f. ::7 ~

Q]

1 . Startrng with the Cloud filter. apply the GilussiCJn Blur filter (set to <~round 35 in this ld~e) . You cdn choose not to blur the clouds. bur the results you will get will be coarser. This look may be desirable. however.

IMPACT ZOOM AND SWIRL Ry rwi~ring rllr imr(lct lines. rile effect

suqqests somethinq uncontrollable.

1. Lit:dlt: lilt:

IIIIIJd<..l LUUI/1 dft:Ll. C/1<11/llj Up Willi d

Licrr~c bldck llllJ.>IU~IU/1 11/klljt:.

,..,.~ . ._ _ _ .

3 . Use parts of the resulting image to accentuate aaion events.

8 tOO% 8

Cancel

0 Preview

2 . Apply the Tw irl fi lter from the Distort submenu. with only a small value 160" should be fine).

SHOUJO SPARKLES

2 . Choose the Twirl filter from the Distort submenu.

3 . Choose 6oo· For the angle. You can raise and lower this to vary the results.

4. JnrrPi'l~f' ThP brighrnes~ and contrast.

5 . Curwcrl tile frn<ll imi'lgf' ro hi=llfrone if intended for use in print.

Characters' emotions are represented by mysterious sparkles of light.

l . Create a new layer. set to "Multiply".

2 . Fill in some opaque circles. ovals or hexagons in white.

3 . Right-click on the layer. and choose "Layer styles· .

4 . Disable "Stroke". and check the box next to "Outer Glow:

5. Set Colour to black. Opacity to 30% and Style to "Dissolve." .. ·~;_J;;:.~--~~~~!1~~~·······~~~ . !:/ r_ --::::t a- CA::J -----------------<~.:~ ;::=.,.,.... .......... ~.. :1- ~ ~ 6. Change the distance ~"'\ o-- -=~ ~ ~ under the dots spread out ~~t"'n<··- .,-·~ 0• o•IIIL:;~:::E l!i,.....,. from the circle. ··,:.•:;,•·' g:,:.._ ·- • .

7. Create a new layer with the same layer style {copy and paste the layer style by right­clicking on the layer). Altematively. right-click on the layer and select "Duplicate Layer".

Q C:..... T-::: ._:~_v

o-

a c•o....i' Q Gt.-.cO.W}If

o~---~

o-.

....

,..,., I S1 'o

II

SPECIAl FFFE CTS 97

'.; .. ·i;_:.;/~· .. ,· ~~·::: ;~· ; ...

...

8 . Add smaller shapes overlapp111g the ong1nal shapes.

, ...,..... ,..._ . - -·, 0

-;,;:;;;-;- \MW ~~...,.

~oo r.:J J ·r •

CJ ...

9 . Flatten the image (see page 52), apply Gaussian Blur and convert to halftone. This will make the tone coarser. as described in Digital Screentones (see page 89).

DIG ITAL TECHN IQUES : COLOURING , SCREENTONE AND EFFECTS

GRITTY ANGST Personal torment can be conveyed by

the use of gritty. dark patterns.

r • ' IC

1 . r rl";.~te a solid 50% grey d i L:tl .

2 . r rom the Filter menu, choose "Pixcllatc. • ctncJ then "Mezzotint".

FMO 110 1\lA L WI~IJ) I rails ot dust and energy h <"'lf"l to

cxaggcr,ltc r1 ~C'me of melrmcholra.

I . Wrll 1 d rcqulrtr w lulc: 11/ldqt:.

l l\..'ulC: d I ILW lc.Jyer ~t.:l lo ·u,~~ulve·.

2. l J ~lng ·"' medium sized b lack Alrhn r~h wlrh Flow set to I 0%, create ctJrvt>c1 mokes across the page. Vnryfng rht> 11ressure with the graphics lrJIJicl will help ro creare v<~ried width .

. ·-· ·;·, s••': •'':v.\t\·,,·.;;,.J::,·. ' •' ,' ·-·" " 0

. .J ~ ~ ("' · ~ . ......... ~ J,

.:: ~.!~~~··"' ~~'""'· .,, ,...

...... , .. ,~ . · ' ...... ·

3. Choose the Long Strokes filter to create the desired effect.

3 . Repeat the effect over the page many times, and then Flatten the image .

SENTIMENTAL PAITERN Heavenly sparkles of white help to portray hopeful or whimsical feelings.

1 . Create a solid 7 5% grey image. making sure it is 300 or 600 dpi.

2. Convert the image to Bitmap, and choose the Halftone option.

3. Choose "20 LPI". and the "Cross" pattern option. This will create a mesh effect.

MAKING YOUR OWN PATTERNS Although most screentones in manga

use simple patterns. shapes and lines to

express the tone or atmosphere of the

image. there are also a lot of other

available styles created from patterns of

small images. These are great if you're

trying to express a funny emotion

or scene.

You can easily make a pattern by

drawing something and defining it as a

Pattern in Photoshop. Select the area

you wish to define as a pattern. and

then choose "Define Pattern" from the

Edit menu. You can then fill areas with

this pattern by choosing "Pattern" from

the Fill tool options.

There are even some typefaces

available on the Internet that feature images instead of standard letterforms.

These are sometimes known as

"Dingbats". These can be used as a

basis for patterns, by selecting a few

images and arranging them

appropriately. As always, the secret is to

experiment and have fun!

t:L ... ~. ' .,... "-'') £. :11. o.~. ~ .... ~. T . .), Q,

ij,-J'. <>:'> ~

~ =----' ~~a

6. Add a few smaller white dots. and Flatten the image layers. Your tone is now ready.

SPECIA L EFFE CTS 99

Noonal

Noonal

Darken Muttij:iy Color Bum Uneer Burn

lighten Screen

Color DodSle Line.rDo~

Overill)' Soft Ugh! Vivid Light Unear t.Jght Pin Ugtrt Hard Mix Hard Light

4. Create a new layer. set to ttle "Dissolve" layer style.

S . U\rrly rl lnryt•, wlllll' Airbrush. mark an are.:~ diagonally down the centre of ltlf' rrllff9f'

CHAPTER SIX

Creating pages A compleled manga can be hard work, but with a little

planning you can avoid problems and ensure that your

finished piece looks as good in print as you always

dreamt it would.

tit Planning your pages 102

e Inking pages 104

4lt Using effects 106

4lt Adding tone and colour 108

ft Adding speech and sounds 11 o

ft Concept to completion 112

ft Web comics 114

ft Printing and publ ishing 118

•

• • • • • • • • • • • • • • • • • • • • • .~ • • ... .

, , , .-" , , • , .-

# -# • , .--.. , 4 -., -

• • • • • ""' ... . . ~ ~

~·

-,., •

.. ..

~ •• .I ••.

~· . •• J. - ..

ATING PAGES

• n 1 ng your pages Once you've come up with your character concepts, the real work begins. Here are some top tips and techniques for making the most of your inspiration.

PLANNING YOUR MANGA You've conceived your characters and tl"ley've taken on lives of their own - at least in your imagination. So how do you get them from the world inside your head into the real world for other people to appreciate? Draw a manga, of course! However: all manga have to start somewhere, whether they're ten-page vignettes, or one-thousand-page epics. Planning is key. and scripts and thumbnails are two techniques whereby you can begin to design how your pa9es will look.

WHAT /\RE THUMBNAILS? Tllumbnails are small, rough sketches that artists use to plan the layouts and/or story of tllcir comics. Wlletl1er you're an artist working with a writer or working .11onP, thumbnflils arc an ideal way of making sense of the script and organizing yow ideas before you commit yourself to the full-size pencilled pages of the mmic it~f'lt .

. •• ·•··•·• ·• •· · ·• •·•·•····· ··•······ ·. . . . . • Reading direction •

lllP pr1UI-'\ o l lrlfl.-tfll-'\1-' Jlllrli Pd

I Oil Ill \ r ill' lt'r!d Ill lilt' opposite

IIIII 'I I lOll lo Wt'\lt'lll I OrlHC \ rf~ i'lre

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ldl wlrcn wnltcn in columns, it rllm

nrl:tlm 111<11 1!1\ more

r, ll r llhrll lo r Jrrprllll'\('

lt'rllkl\ Ill lt'riCI

P-'~ .. Je~ lrom n9t1t lo

lett Western manga

artiSts. however. tend to

produce t11cir work

reading trom left to right.

as Western readers are

fam11rar With this tormat. All

flu~ 1Jcl9t'~ cUHJ t'Xdrnples in thiS

book are from Western artists

working rrom ·left to right.

.··· ····· ·· ·•····· ·••···••••·•·•·•···•• .· . : TIPS for Better :

Thumbnails ·

If you are going for large thumbnails,

make them roughly the size that the

printed comic will be. A good size is

148 mm x 210 mm (5.83 in. x

8.27 in.) since these dimensions are

similar to those of a graphic novel or

a self-published comic. This way you

won't be tempted to overfill the

panels w ith too many details.

Know what the last page w ill be. If

you have a precise ending in mind, it

makes getting there a lot easier.

Finish all the thumbnails before you

start drawing the pages. You might

find you need to change your layouts

once you've started work on the real

thing. Make sure you've finalized

everything before the next step.

. •······ · ········· ·· ···· ····•··

Small thumbnails Small thumbnails are only about 5 em x 7.5 em (2 in. x 3 in.) in size. Because they are so tiny. you can fit the proposed layouts for several pages onto a single sheet of A4. But their size means you will have no space for speech bubbles or dialogue. so this method is only recommended if you are working from a written script.

DRAWING THUMBNAILS So you're all ready to draw your layouts, but w here do you start? Even with a clear image of the story in your head. you need to Jearn a few basic rules about panels before you can piece everything together:

Pacing On a basic level, the size of your panels affects the pace of your comic. Large, wide panels slow the story down by lingering on details in the background, or by drawing attention to an intense, dramatic moment in the story.

These types of panels are also best for setting the scene of your comic, as they have the most space for creating or introducing environments. Conversely, smaller panels speed

up the pace. With little detail or room for dialogue, they are quick to read and can create a more urgent pace. Small panels are particularly useful for drawing action and battle sequences. where you can use a lot of small details to illustrate a much bigger event. Details like these help keep the action exciting, and more important, make the comic more coherent for the reader:

Flow When drawing a comic. you must make sure your panels read in the correct order. This might sound obvious. but even some experienced artists make mistakes in their

panel flow. If you find yourself putting arrows on the pages to direct your readers, your panels are in the wrong order!

What to draw (or what not to draw!) Although thumbnails are very important in planning your comic, that doesn't mean each one has to be a masterpiece. Putting in too much detail at this stage will only exhaust your enthusiasm for drawing the final pages. The most important things to focus on when drawing thumbnails are expressions, gestures and perspectives.

Advantages of adding dialogue Adding dialogue to thumbnails is by no means essential; however, it is an easy way to shorten the planning process.

Rather than basing your thumbnails on a written script you can instead start drawing from your imagination, adding dialogue as you go. Doing it all at once gives you more freedom to adjust the pacing to suit the dialogue. Its also

easier to picture your characters moving and interacting with their surroundings as they talk. Adding dialogue to thumbnails gives you an estimate of the size of the speech bubbles on the finished page too. so you can avoid cluttering tiny panels with too much text, or leaving yourself too small a bubble for key sections of dialogue.

PLANN IN G YOUR PAGES 103

1

3

Flow of panels Can you sec how awkward the first

1

example looks 2 compared with the second? In L11c first example. the flow moves bi'lck on itself, creating a confusing and disjointed read.

Incorrect

3

But wt1y does the ~econ<l exnmple look mmf:' ni'lrLJri'll rhi'ln the first? Your eye always looks for the longest panel gutter. and divides the page cJccordingly. Tl1en eacll SL'C.l1un IS lt:cJ<l in order before going to the next. In this case, rhere Is a long gutter running down the centre of the p.:~ge. grouping panels I and 2 together, wh1lc <1ho ~cpctrctllng them lrom panel 3. All comic pages section off and group together panels like this.

First example

I I I II I

0 I

The gutter

I II Another important thing to consider

(Orrl'rTI

I

I when planning your

DO pages is the placement of the gutter. Look at the first example above and see if you see something wrong. Confused? Even though the panels are not necessarily in the wrong order. it~ impossible to know wt1ich way to read them. This is because the gutter meets like a crossroad 1n the middle of four of the panels. But if you take the vertical gutter and break it up like the second example. the page suddenly becomes readable. Now its obvious which order the panels are in. Just keep these examples in mind, and you should have no problems ensuring your panels flow in the right diredion.

104 ATING PAGES

ng pages Inking your pages will be the most important step in making your artwork look sl ick and pmfessional. Even fiawed artwork will appear much stronger if you take care and pay attention w~ 1en ink1ng the lines. Here are some of tile techniques to master~

line width for depth ComrclC'r thC' rhrrknC'~~ of lines when producing your line dll. rdy dttenuon to the loc.1non ot rhc rh.1r,xrers. ;md ro the foc.:1l point uf the ~<.elle. u~rr ry tt llrtrtel

line; '" t11e bdckground w 11l 11elp tu empha~1ze per ~pt'Uive .1110 tile rC'I,ltivC' rli~l,ulf!' nf ObJeCts to toreground I hrlldl 11'1\

HOW TO CREATE COMIC PANELS &ASILY AND FLEXIBLY

This technique w ill allow you to adjust and alter the shape

of your ~c1m:l~ qu1t kly, c1s w ell c1~ ndJust the thrckness of

1111.' pr~rtt'l\ ..tl ..t lr~ter ~ti-lge

After rre;uing Fl nPW lflyer in Photoshop (set ro Mrrlrinly). liSP rhe rPct:'lngular selection tool ro c!Pfine rhP Olltlinf' of ymrr f)<lnel Fill this wirh fl hrighr colour. such as red (you can liSP :'l mPdium grey if your file is greyscale).

Repeat this to define all your comic panels.

Blocking in blacks Using solid black for certain parts of clothing or costumes can be especially good for creating definition and contrast within the page. Take this into consideration when designing your characters.

~ee also Using effects, pages 1 06-1 0 7./

Cr._ L ... , .t f.'.u-.

:..:ryt..::, -:: .. ,1, I : l ' "l.•) • 11 t

C . :a· L .. ,.J ~t, <t

-_,__ t.-­r-­c--c--, .... _«-.... c-

-.. --- . -,. ,. c.. .. --

Rrght-cltck on the layer and choose Blending Options.

-.. . •

Now activate the Stroke option. Choose "Inside" tor the Position option and raise tl1e thickness to a value of I 0 to 16 pixels for a 600 dp1 page (halve this for 300 dpi). Change the stroke colour to black. and you now have your panel outlines.

THAT SHE DIDNT NEED ANYONE ELSE

Defining your character with a thicker outline This is a stylized and abstract technique that won't suit every style, or indeed every panel, but sometimes it can help greatly when distinguishing one specific character from others. It is especially useful in crowd scenes. where you may need to focus greater attention on your protagonist. or on a significant character in the scene.

Drawing panels lr is ofren better to draw your panel outlines straight onto the computer than to draw them directly on the page. It ensures the lines are perfectly straight and properly aligned.

Quick line strokes These lines are drawn straight to the page, so they w ill be more permanent.

INKING PAGES 105

.······················································· ····. : \

TIP: Shift Key :

. . .

Holding down r11e Shift key will help g rmtly w hen drtlw ing

straight lines, such as panel outlines, onto the p<:tge, <:t~ It

ensures that your cursor only moves 11orizonrully 0r verric,JIIY,

depending on the direction of the stroke.

~-------.... __ _ ---Wili'IOUt l111.: Sl11ft key

held down

W1ti1 tile S/1111 key ilcld down

If yn11 hir ~hifr hf'fnrl' 1r.~rrin11 .~ nt::.ow I HlP, 11 w1 11 Jilin .1 1111l-'

IJdWL:l'llllll'l:lld •.•I ti lL: jJi l'VIllll~

Iiiii.: dlld t/ 11.: I.J~:yiJ II IIIIY ul t/11.: new one .

············································-·······~·-·····

C.l<'rlll' r l \l'l t:t l ilJJ I.

Right-click on rhe f1·1!JI" t ll iU L l lt)U)l: $trukt:.

Chomf" lm 1cl!" lor yoiH LuLciliull upt1w 1, dlld 1 <11~c

til e thickness to u Vufue of

. . . .

I 0 to I 6 pixels for a 600 dpi p.::tge (halve this tor 300 dpl). Chanqe the colour to blvck. Click "OK".

You can change and edit your panels as much as you like at this stage. The outline w ill adjust itself to the new panel sizes or changes.

If you WISh to make thiS !dyer permanent. you must merge 1t with a blank layer. Choo~e "Layer > Merge Down" rrorn the menu. or press Ctrl + E.

Once you are done. fi ll in your panels with w hite. or use the Colour Overlay style. You will also want to trim the excess lines from your fine-art layer. or block them out on a new layer w ith white.

Alternatively. you can draw the borders instead of the panels themselves (as shown in green in the diagram). Be sure to change the stroke outline position to "Outside".

106 0 CR EATI NG PAGES

ng effects Adding special effects with screentone or colour w ill make your comic appear more dynamic and visually appealing - as well as help communicate your story and the chal·acters' emotions better to the reader. Just like in a film. special effects grab our attention and entertain us - as long as the story is slrong tool

)PI::l/1\L INKING EFFECTS I lere are some simple inking techniques to

rc<JIIy get your artwork noriced.

• Broken lines Somet1mes it is effective to leave gJps in your line art. w hen it IS obviou~ t1ow the shape is defined This gives the impression of ~unllght ShJn1ng and obscuring the outline ot the character. but can be used 111 other instances too. The tec11n1que ~~ most commonly used in stlOUJO comiCS (see Shoujo. pc1gt:~ I .7-1 11.

..,. Multiple outlines Extra outlines qive the image an extreme or startled look, helping to exaggerate comical expressions or moments of fear. The effect is like a scnbble. but controlled so that it looks consistent and follows the shape of the original image.

Sec also Special effects. pages 94--99

.. .. --- -· - ~--~ ._ d

l J

- .;:::. "'i ,

..,. Blurring motion lines To represent movement within your image. break up the lines and make them less distinct.

as though the object is moving too quickly to

be seen clearly - like a stylized form of motion blur in

a photograph.

T Simple motion lines A less extreme form of speed line. draw ing short lines parallel to existing lines helps to imply small amounts of motion . This can

also help to define turning or even shaking motions .

SCREENTONE EFFECTS

.,.. Associating emotions with screentone If you consistently use a particular screentone when a specific emotion or conflict is occurring. the presence of the screentone itself can begin to represent the emotion. Although this is a subtle effect. and shouldn't be relied upon to gain the readers understanding. it can be an effective representation if used well.

T Using appropriate screentone Make sure you use the appropriate screentone for the situation. Applying the wrong screentone will change the mood of the panel. and communicate the wrong idea to the reader. Remember: in manga. everything on the page is significant - it's a graphical language - so use screentone to complement the action represented by the image. rather than conflict with it.

J;. Inverting tone and line art With computer toning. you can swap the black and white elements of any screentone to create an eye-catching effect. You can use the technique for dramatic purposes. or just to effect a change in mood. Sometimes inverting the whole panel. including the line art. can be especially impressive. Uke most dramatic techniques. use it only in moderation.

--0 Using parts of tone Pattern tones. which have white areas between design elements. are often more effective if the whole tone isn't used. Just grabbing one or two bubbles or deleting some of the flowers can help complement the artwork in the panel much better.

Using small areas of this tone w ill enhance the artwork more subtly.

I

14~·'tlr"~ .

~ -­C:- IoW-I'Mt~HJw •

'

USlNG CF F ECTS 107

Nr..,C;b ,~,_.

c~ cc.1•M eot:.r-DU:u CM•Il

lot.a.C­

Ib:YGICNI. ...,.1-r~Jn ....,..._ ....... _ --­..............

-

Ctl{\OWlU ltlf'

lnvprr h mninn will swap the llidt k drlt) WI lilt:

1n your nrtwork

~ Use your imagination! By using small sections of very large tones. you can change their appearance to make the patterns seem interesting and original In · certi1in instances. For this grri:S bikini top, For example. a pattern was needed to irnply a design on the garment. Using a sheet of large "vortex" design tone. and inverting tile colours. some very small areas of it could be used. and the effect was very different From the original tone (so the reader did not sc.>e 1t as screentone). The final result was this stylisl1 bikini design.

This large print looks different when small parts are used.

1 08 C {:AT I N G P A G E S

i ng tone and colour Tone and colour are as vital to tile success of your artwork as being a master of line and form. So what are the essential c on.:,icJerations for adding these elements to your manga?

When adding colour or tone to a page. you need to com1der both the impact of the whole page and its composition. Your colour usage on each panel affects tt1e overall c~ppeCircmce of fJoth the page and the comic as a whc >iP . • 1nrJ you Gin control balance and emotion w itll your usc ot black and wllite and different tones.

Worl<lng with contrast

Not every panel needs heavy shading The use of detailed shading in a panel or short sequence of panels is as much of a storytelling device as your line art or dialogue - it is one of the best ways of drawing attention

to some aspect of a characters personality. or a pivotal

Wl1en pmdurinq rnrtnCjd il is helpful to make creative use of

rrucJ Lones 111 the torm of scrccntone. However, it is also 1mrort;,nr to maintain a f1igl1 level of contrast between your .\elec 11om to ilCTC'ntumc composition. and the flow of the paqe. Tlli.) w ill ..1l.)u emure Lh.::tt the essential details and

evenr in the story. However, it is a bad idea to pay every character the same amount of attention: allow your reader to focus on particular characters and events. Too much detail

means that no

character gets the

fUldl po1nts ot your i1rtwork ;,rC" vivid. and leave the reader 1n no <1o11hr ;,s ro w hat is happening on the page.

Dramatic lighting LlqtlllrKJ w1Lt11n the p;:mels need not be entirely renlisric in C'Vl''ry ~n'n;,rin. /\h \ lr r~c'L. cxp1e~~ive or ernot1ve use of light L~m help communic.:lte the mood <1nd iltmmphcrc of each \et~ne VC'IY c -ffc ·ri ivt'ly

T Shading out the eyes llu~ r~ r1 IJolcJ ~lrllc·mc• rlf .

unplyuHJ ,,,cJrW\\ or

'' ·c II J\lon in rhl' rh:'lr:'lrrer. or 1 wrht~()~ .::tn PV.::t~ivP

rl.-111 Jrl' I I~P rhPW' rechnlques no mnrP rh:'ln nnrP nr twice In your comic to mi:linti:llll lilCII iJUll:IIC. y.

focus he or she needs. as well as making the panels

themselves more difficult to follow.

~ Expressive lighting Tone and colour can be used in 'In expressive way ro convey the atmosphere of a scene.

..,. Bright eyes One useful arL1stic device is showing a characters eyes lit when the rest of tl1e panel is unlit or dark. Although this is obviously nor naturalistic. it can be highly expressive and help readers identify with a particular moment in the story.

·•···•·•·········•··················•••····•···•·•······• .. ·· ·· .. ' TIP: Blaclcing '

. .

Out

Black out a

character that is

standing against a

tone background.

This creates a

striking presence

w ithout focusing

on details .

•••............•••..••....................................•• ·

WORKING WITH COLOUR Producing comics in colour is in many ways much more difficult than producing them in black and white. especially when working with the many abstract methods that are typical of manga style. Most artists don't use colour at all. but many of the same principles of black and white manga can be applied to colour works.

~Maintaining a palette Try to keep your tonal ranges and colour choices consistent throughout the scene. giving the reader a strong sensation of Familiarity of the location. A limited palette will make the comic much easier to read and help express the mood of your story.

ADDING TONE AND COLO UR l09

A Abstraction If you treat your colours like a spccii'll effect. you filn actlieve ~orne 1rnpre~sJve results With block tones. Using these to represent ernotion.:~l presence or abstract moods can help to underline tt1e ltlemes of your story.

Colour considerations Bear in mind that working in colour will rnr1ke it difficult for you to print your comic cheaply. i'lncJ the cost per com1c w ill often be too high to sell. However, colour comics work great on the Internet, and there are no production cost differences between them and greyscale comics. If you keep your original artwork layerecl (in Photoshop), it will allow you to adjust your toning at a later stage. should you wish to produce a black-and-white version for pnnt. or; conversely, to remove the screentone and redo the pages in colour. You can also colour your screentone layer - with the Colourize option from Photoshop:S Hue/Saturation toolset, for example.

See also Printing and publishing, pages 11 8-123

110 CR-EATIN G PAGES

ing speech and sounds Speech bubbles and graphical representations of sounds are vital elements to get right. They add to the visual appeal of your work, and aid its comprehension.

I HINGS TO AVOID Because introducing dialogue and sound effects into your comic is an important part of designing each page. it is worth giving them plenty of time and attention. They have a huge effect on how the reader will enjoy your work. and every speech bubble is as much a focal point as your painstakingly drawn .=trtwork. Here are some important things to look out for.

II>- Crossed bubbles Avoid uu~~rng ov~r th~ IJUIJIJI~S. d5 the flow Will b~ Urlfld[LII dl dnd diffiCUlt tO rnlluw ldedlly. the pdn~l should be designed wirl1 rile f lclrtL'I flow {tnllucJtnq th~ di"logue flow) in mind before qotnq alle<Jd and drawing the bubbles.

T II>- Interjections Avoid interjections w it111n t1 ~olllcuy prtrll'l. II ~houlcJrl't IJe ~~~·c c•\vtry tor"' ch:'lr<'lcter to speak twice within the same p.:mel. otl1er ti1.:Jn durinq cJ nuturdl btedk w ttlun t11e ut<.JIU<.JUl:. pL:tltc~p~. l o ll,IW i-1 r hi-lri-lrter speak. anorher r h:'lr ;~rrPr re~pond. and then the first cll.:Jr.:Jcter reply .:Jq.Jin ncq.:Jtes mucll or tile cmottondl tmpd<J ot lhe c onvc•C\,IIIC)n. c-rt-'iitin0 ;mmher panel ro contain me re.:Jction works mucll mote dfccttvcly.

I'M PURSUING MY DREAM OF BEING

A MANGA ARTIST!

...... IIMICS

Outllna for bubblel The OUIIJne far lhe bubblll sl'loUidrlt CMII'pOWII' the ~but1111181yhllp

mall IIIII I the dallr¥ and loaiiiOndlaCI.

I J./ATE YOU SO MUCJ.I!

Font issues Because of the informal nature of text placement within comics. most writers prefer to capitalize their text. This helps the individual letters fit the shape of a speech bubble w ithout looking weak.

However. some artists do prefer not to capitalize their text. Experiment and decide which is the most appropriate approach for your title.

Try to stick to a regular font size for

your comics main text. This makes it easier to read. and goes some way towards making your work look more professional. It also allows you to create more impact w hen you do

decide to use large or small text.

ADD IN G SPEEC H AND SO UN DS 111

Background text Using small text in the background of a panel is a common device in manga. Almost always used for comedy. 1t suggests the idea of a character muttering something under his or her breath. or someone saying sornelhing in the background. The comic will read fine without it. but these extra elements provide a light-hearted edge. or help to express t11e behaviour of characters in the background.

BLOCKING OUT BUBBLES

You can block out speech bubbles 1n Pholoshop w 1ttl the

same technique you use for panels. but us1ng the I:JhpiiC "'' selection Instead. (See Inking Pages. page I 04 .) HowPVer.

these can look too synthetic and clash w 1th your nrtw nrk

Experiment and see which tcchmque ~wts your style HOW TO PLACE TEXT IN PHOTOSHOP

Choose the Text tool from the Photoshop toolbar.

SEE YOU IOMORROVV!I

Method 1: basic text Click on the image where you want to place the text. If you want to start a new line of text. hit the Enter key.

OTHER FORMS OF TEXT IN BUBBLES Symbols or punctuation marks can be used in speech bubbles. as a simple and effective way to communicate what is happening to the characters.

The skull and crossbones implies that the character has been poisoned.

'l(E);L:lY OUGHT TO EAO HOM E

NOW! *

SEE YOU : TOMORROW!!

Method 2: text area CliLk on tr1e spot wt1e1e you we:tnt the text box to IJeq111 i'lnd hold c-lown t11e mou~C' burton ro drag our <1 box. Thi~ IS <1 tC'xt r~reil. which will ddine tt1e dtea within which the text w ill fdll.

,; .......... .. .., ......... - #-------- -~~~~~----~----------~

One common techn1que 1n manga is 10 use three dots co represent a ch<lracter~

silence. This can be useful to demonstrate when a ch<lracter is expected to talk. but says nothing at all.

'(ee also Special effects. pages 94- 99 ./

AI lN G PAGES

cept to completion Here are all the main stages in taking the world of tile artist~ imaginc1lion to the realm of the printed pc-~~P. or Wet) page. Enjoy tile journey!

.A. Step one When you've cor1C.c1vcd yo1 11 \ I ory: skerch our cllJrJcter dcsiqns (rrl lOVPJ \0 thiit thf'rP i~ a feel for wh.:~r they w ill luuk llkl:. Wrll1 ~I >orl \ lorr<'\ 111' If" ~~ imrnrr:'lnr m r1PvPinr rhese dcsiqns . .:1s llll: <..11,11 c.JLll:l ~ Will only n>r>ke rl IJrrt•l rtppPiiriinr P, t11Jr wirh l.~roPr ~rmles more deto:~iled designs Jrc nccL'Ss<~r y.

.A. Ste p two Sketch out the pages as "thumbnails" w ith very rough artwork. These can be changed and adjusted easily until the story flows nicely. before you produce

( 0; final ink versions.

i:Q ,c,;;._}

~Step three After drawing out neat line art in pencils, apply your inks. In this example, the speech bubbles are going to be added by computer. so the artist has left them off the o riginal lines.

_,

I

.,. Step four A combination of flat. grey tones and pattern tones have been used here to add shade and definition to the artwork. Speech bubbles have also been added to the image. paying attention to the original sketches for their placement in relation to the artwork. The page is now finished. and ready to go ro print. Try this approach and see if it works for you.

.6. Step five The final prinled vers1on. primed in Sweatdrop Stud1os' anthology Love. Sweat & Tears You can see it here with another page from the comic. working as part of the whole.

········•··················· •·•· ············•·· ·•··········••·•·•·•······ .. TIPS for Completing Comics Completing your comic can be very

difficult. as it is easy to feel that more

could be done to improve the overall

piece. The step between almost finishing

a comic and actually finishing it can be

gigantic. and it helps to have the

motivation to wrap up the project.

Deadlines are actually a good thing.

It is much easier to prepare a comic for a

particular date, whether it's for an event

like a convention, or merely a self­

imposed deadline. Set a completion date

and try your hardest to get it done in

timel In professional manga illustration.

artists always work to strict deadlines - it's

part of the job!

Be realistic about what you can

achieve. and you're more likely to be able

to complete it. Working on short. single­

issue comics before trying to tackle an

epic will give you a solid foundation in

writing comics. which you can apply to

more ambitious projects in due course.

Avoid overworking your comic. There's

only so much you can do to each page.

so once it is complete. just move

on to the next one. Keeping note

of how many pages are complete

is a helpful incentive towards

finishing each one.

Don't worry about

striving for perfection

on every single panel.

Comics work as a

whole. not as a sum of

parts. and often a page

will look great even if

there are small errors in

the artwork.

Finally, sacrifice! Be

prepared to give up

enough time to work on

your comic, which can eat

up a Jot of hours. You may

have to pass up on some lVI

Comics take time. and while they are

great fun. they are also hard work.

Try your best, work hard and create

great mangal

. •············•········•···········•···••·····•··•·••·····•···••··••·••·········••

CONCEPT TO COMP LETION 113

..

.6. Seeing your w ork In print Reaching the stage of having a finished and printed comic isn't easy. but finishing the comic g1vcs you a huge sense or satisfaaion and .:~chievement.

114 CREATING PAG ES

b comtcs •

These days, comics are no longer limited to paper and print: your imaginary creations can thrive in the virtual world of the Internet. Tile Internet has become a wonderful means of exposure for comic <:1rtisLs, both amateur and professional. The international popularity of rnanga-style comics, combined with the convenience of reading comics online, has allowed even beginners to have a global audience for their artwork and stories.

SAVING FOR THE WEB Before saving your artwork for the Internet, be sure to flatten your image in Photoshop or Ptlotoshop Elements

(coltapse tt1e separate layers into a single layer). and then resi7e the imnge to the desired resolution. Always save a backup of your original layered and high-resolution digital

Save For Web Using the Save For Web leature alfords you a III!.Jii dc·urt ·c· nl c nnlrnl w lwn ~r1vrng images ror usc online.

2-up This allows you to view LJUlllltrt: urryrndl image and the lower quality Wt:b vt:r~ion. wlliCh is usefUl for direct compcJrison.

Exported file information Thi~ st rows you how large (in terms of file size) the imiJgc will be when saved to disk. as well as an estimate of the download time.

files. as once an image has been flattened. you can't go back and edit the separate components. as they are now alt on the same layer.

WEBCOM ICS 115

EJic g_ct.t '!low !!<> ~rb !oclo !:!dP

~ (hiOttp:/t,.,...,...,.rabid..nonkeY'.Conl/l'ldex.J*lP?IR-oo4a v 3 0 Go

~~~~~~~~----~~

File sizes When saving images to be viewed on the Internet, the size of the file is very important. This is measured in kb. short for kilobytes. The larger the size, the longer the image w ill take to download - especially over slow dial­up connections. With the Internet always design for the slowest system; don't assume your reader has the fastest computer and a broadband connection.

File options These controls allow you to choose the file format. as well as which compression options you w ish to employ to make the file size as small as possible for swift download. As always with the Internet. there is a trade-off between image quality and file size.

lmageReady You can make a number of further. more sophisticated adjustments to images intended for the Internet in Photoshops companion application, lmageReady (which comes with Photoshop).

Lxcuee ~

•••t tlpdah• l I

FILE FORMATS

JPEG

" Funnies Short-strip "g,,g" cnmi< ' - <" funnll"~ - \IIJHI,u In It lOSe In Ill w~p...tpt"i '· work Pt:l f<..:t lly on ltw Internet. In fuct. Uld!UljU<..:-llrl\( '( J tlurnour ;:mrl ~Jmrlt> pane/ IJyOLits WOI k bCllCI Ull ~Li l:l:ll

It lrlll Ill Jllllll

JPEG compression is a "lossy" compression method,

meaning that the image will lose some of the image

quality every t1me the file is saved. This file rormat is great

for photographs or fulkolour comiCs, as it can keep the

file sizes low. However, It suffers from "JPEG artefacts". a

form of Image corrosion often evident around line art <md

flat areas of colour.

PNG PNG is the most recent of the popular Internet file for!Tktts,

and offers a good compromise between compression r~nd

file size. PNG images do not suffer from artefacting like

JPEGs do, so the que~lity of the 1mage IS much higher; but

the file size will be larger as a result. Unfortunately. some old Web browsers don't support PNGs, so using thi~ format

may cause inconvenience to a small percentage of readers_

GIF

GIFs have been mostly superseded by PNGs 1n terms of

how useful they are. However. they offer some options for

simple animation. as well as transparency. They are also

supported by more (older) browsers than PNGs are. so

despite the extra file size, they are sometimes worth

considering for line art and graphics (they are far from

ideal for photographs).

CRE ATING PAGES

Cutting costs Web comics .:~re .:1

qrc.:Jt w.:Jy to prmJ1 J\f' rolo1 1r comics. without UlC drdwbilCk:. or printing com.

Resolution When saving a file intended for display on the Internet. it is important to pay attention to the size of the image. Different people use different sizes and resolutions of screen. so ensure that most will be able to read varying sizes of comic page comfortably. People usually save their image relative to the width of the page. so sizes such as 600 to 750 pixels wide are popular: Be sure to look at other Web comics and decide what pixel width you like best.

Simple colouring Working in colour is just as easy as greyscale when it comes to Web comics. Experimenting with ways of colouring your comics can give your pages more life -and a distinctive look.

Costs Web comics cost almost nothing to post online. Free Web hosting for Web comics is available, and even paying for your own hosting is very inexpensive. Web comics are a low-cost risk compared to printing, and diminish all those worries about not making back the printing costs!

Feedback One of the advantages of Web comics is that you can get immediate feedback from fans of your comic. However; if people dislike your comic for any reason you also have to

WEBCOMICS 11 7

be prepared for negative criticism. Focus on the comic irself more than the feedback, and persevere w ith the production of the story you intend to write.

Professionalism It is very easy to put pages of mangr1 on the Internet. but this has encouraged some artists to be sloppier with lh~ work they do for online comics. Not inking the lin~5 or using bad, handwritten text m.1kes their pages an t'yesor~.

Try your best to make each paqe as good as it c,ln be.

v Co Ul1s »

A wider audience Some artists choose to put their printed comics on the Internet Some people enjoy the comic on the Web so much that they will buy the printed edition to keep.

sweat<lropWebcomics: Fantastic Cat :.~ •I••"

j FantasficCat vj - --------------------------

fontaslic Cal

1 I Page 004 vI

Buy this corrlc!

- tasueot - Issue 02 - Issue 03 - Issue 0' - tnueOS

fantastic Cat

Flyitg csls ond pe¢~~le who rol rrom the sky!- Oskar loses his memcry, b<rt gains some mends. l"s • shome IMy're just a Iitie stra.nge ..

Issue 04 :: Page 004 !Fil;.q I I.VTJ l h.FV] :: JI.t:;..i]

Issue 04 :: Page 004 I FRST I:: ( LAST I [ P!;EV I :: [ llEXT I

118 CREAT ING PAGES

ting and publishing Now comes lhe time for you to bring your work to the public - ils time to print and, w ith luck, publish, adding your rnanga to the brilliant comics you admire in the sllops and online.

PRCPARING YOUR WOI~K If you'rt> going for tri'lditional paper-based publishing. when

your pages are complete and you have finished lettering you arc ready to prepare your pages for print.

~ CMYK in Photoshop Photoshop w ill display an alert if a chosen on-screen colour won't print accurately in CMYK inks. Press the T symbol to adjust the chosen colour.

Self-pul>li)hiny i~ ctn excellent means for independent ;:md Jmatcur Jrtists alike to procJuce their own comics. It gives you total creative freedom over what you produce -

per h11p:-. yredl.er freedom Lhan even professional artists enjoy! lnL1cpcndcnt artists can produce every part of their

f1tJ~>II ri'ltion nol JU.~lltle comic itself, but also the cover arx1 layouts. and any additionCJI design work w ithin the

w miL. If yuLI pay lo have copies made at a local print shop, ur even JU~l u~e d wnvenliondl colour or black-and-white pt lULULupier. yuu Ldrl produce a printed comic with solid prod union villi H"'~ .

think "CMYK!") Converting the document

from RGB. used by computer monitors. to CMYK will often change the appearance of

However, w11cr11cr you Jre publishing your work without Jny outs1de help or getting 1t prinled prufe)siondlly. il is

II I l jJUI ldrll lu pcly cl llCnliOn tO printing SpCCifiC<'ltiOnS.

FIC'Itten your C'lrtwork RC"fnn"' ~ t Jhmirring your ilrtWork for print, fiJtten the layers. I t 1 i~ w1/l retlule lt 1e )ILe or lhe file. ancl make il less likely

thJt there will be any errors in the print process . But before you <'Jo tllis, remember to copy the original. unflattened file first, ,"H1t1 only fli'lttcn the copy. Retain the original layered filr· m you rrlll go bc1Ck nnd edit the separate components l;rltY if yotJ nt"'Ct1 to. With lnyered artWork, you 11ave the

frt n Jom 1 n r·,l~ily rccnlour: ,1dd screentone or alter the text r lllrl dirriO!Jtlr'- yotJ (rln't dO this on the flattened Version Wlltloul gu1ng to ~~ grecrl c.Jecil of lroullle!

Colour printing and CMYK colours Colour pages are pnnted using the CMYK process (short for cyan. magenta. yellow and black) inks. These four inks combine on p<1per to simulr~te the spectrum but struggle to represent some tones accurately.

Photoshop allow s you to specify whether to make your

document in CMYK or RGB (red, green. blue) modes. but you should always convert to CMYK for print. (For "comic"

results will be.

Colours such as purple w ill sometimes print

slightly differently than you expect. Use the CYMK picker tool to help

accurately choose print colours in Photoshop.

PR I NTING AND PUBLISHI N G 119

PRINTING FROM HOME

It is possible to print your own comics at

home with a laser printer. The inks used in laser printers are similar to those used in a photocopier - high quality and

waterproof - but can struggle with large areas of black. Although significantly cheaper to buy, Inkjet

printers are not suitable for creating sellable comics, as the inks will smudge when the pages are handled. Check

Peripherals on pages 46-4 7 for more information.

PRINTING WITH PHOTOCOPIERS With self-publishing. it is important to be able to print small runs of comics, as it is likely they will only sell slowly - quantities ot 50 or 1 00 are common, with extra copies printed only if

the first batch sells out. The most popular choice for self­printing is to use a conventional photocopying service. Photocopies work well for comics. as the ink is waterproof and doesn't smudge. Check with your print s11op to see if there is a discount for a certain number of copies (for example. for more than 1 00 copied pages), as this can affect how many you choose to print, and also the overall pricing.

Be very specific when you approac11 a printing firm. Tell them exactly w hat you want. including sizes. which pages will be colour (for example, "only the outside cover"), and whether you need "bleed" (see page 123).

Taking charge Self-publishing allows you total freedom about what size of comic you w ish to produce.

.6. Experimentation I J~ina r he:-tp Sl'rvirl'r. such Js pl1otocopyinq diiOW~ rll lr:.L\ lo lcil'r l\<'

strange and t:X~t:f lllll:llltll WUI b . ThP<.P rwn rnmir<. :'lrP

coik:cl rom ur ~ ~~ tylt ~ paqe comic strips. artWork. ancl previews of upr nrTHrt!J cor rue.~

CREATI NG PAG ES

PRICING Consider the price of your comic in relation to other comics that rtrc rtvr~ i lrtble. The lower you price

the comrc, the more copies you w ill ~ell . However: il is important to cover yot Jr cml \, rl~ wt-'11 r:ts 10 mr:tke some extra profit - even if it is just enougtr to cover some of your other expenses. If your

comic is to be distribu ted or sold by another flt-'1\0fl or wmpdny, lyJ.JiG1IIy they will take 20 to 'JCJ p<'r cc>nt of the cover pncc. so ttlke this into c orl\idt-'rdlror1, too. I h.:1t s<·ud, avoid overpricing your wmiL. dldryiny Loo rnucll for il will seriously reduce ~i1 1 ('~ . ~o lc~s pcorlc will ~cr ro ct~oy your hard work.

Free copies

ANALU GUI:: Ml\~ 11::1<~

Some ilrtisrs even choose ro give their photocopied comics away for rree, but only print a limited numher. Tl1is c;,n be greilt publicity and help sell other titles by the S<lm e llrliSI.

1\ c c u niL r ~ u~Lkrlly r nctc.Je w ilh ~ever dl pieLe~ of pet per li1it1 rog('tll('r, 'ri1pl('c1 i1nc1 folc1('c1, rrcr~ting rt set of

Lor ~~ewlive pdqe~ . W~1en photocopyrng a comrc you will nr'C'ci In rrc·rll (' t1 mnstcr copy with lhe prtgcs in the r rq~1l pu!.rlron, bearrng rn mrnd which pages will be fll'inl r•d nn llll' '\rlllll' piC'Cl' of paper.

12 9

cat

........................ ·· . . . A simple dummy copy is made quickly ro help lay out the master spreads.

Dummy copy One of the easiest ways to see w hat

needs to be on each spread of a

comic is to make a dummy copy. By

making a small book from folded

paper. and then numbering and

marking the pages, you can easily

see which pages should be printed

on rhe same piece of paper.

. .· •··•••••••··•··•·········•····••····

.

.

DIGITAL PRINTING SERVICES Many printing companies now allow for digital printing. This means that they will take computer files and print pages directly from the data. rather than replicating artwork from a piece of paper: This offers much greater flexibility and control over the production process.

FILE FORMATS

TIFF files TIFFs (Tagged Image File Format) are one of the most popular file formats for transferring pages and artwork. They have the advantage of strong image compression without lowering image quality. Always choose "lZW' compression when saving with TIFF; this will ensure that the file is small on disk but readable on different types

of machine.

PDF files PDF (Portable Document Format) is a format that has made it much easier to produce comics with digital printers. There

are no discrepancies when it comes to reading PDF files, and printers often find them easier to deal with. Always use ZIP compression with PDF files, as JPEG compression damages your images and lowers output quality. If your software gives you the option. always choose the earliest version of PDF compatibility. This causes less problems when processing. Photoshop saves files like this as default.

FILE FORMATS TO AVOID

BMP files BMP artwork is uncompressed and slow to process, with file

sizes becoming huge on disk.

JPEG files The artwork is compressed. and tiny inaccuracies will appear in the tones. Although these may not be immediately visible on screen, a printer can recognize these subtle flaws and draw extra grain around your lines depending upon its calibration.

GIF files This file format has no information about DPI stored in the file, so the printer may not know how large it should be.

File sizes with GIF are no smaller than TIFF.

PR INTI N G AND PU BLI SHING 121

Creating books Professionally primed books can be put together from collections ot stories or collections of comic issues.

CHECKUST TO ....... IIIIFORII SAVING FILES FOR suaMISIICJNs

jft RateriH your .. IVty text that is stiR "'ive" and edifable wiH cause problems dUring prinllng, with comprK:abOnl In CllnWIS or roms and smau Changes or size You shaUICJ ~ your text to pixels before saving 1he me. lhls ...... any problems.

..

jft Flatten ,..... layers Multiple layers Increase the fife • as weiM ,..., more difficult ror the prinller te work_,. _. * COftv4U't to , • .,.... Converting to~ ................. .,..., smaller than If you rea. fl' • M Gllll:u:

jft CheCk,_... BPI ...a,.. illllt You can adjuSt DPIIillllhOCIIt.....,":J:: setting alf other valUeS · ·--~ -

CREATING PAGES

GENERAL PRINT FIRM A DVICE An unfortunate fact when dealing with printing is that you can't always predict the results. The artwork may appear slightly lighter or darker than you intended. Getting a proof is important so tl1at tl1e printer knows in advance if you are happy with the quality of the printing. and any errors can be spotted bt'forc.• it is too late.

Cooper.:~te witl1 tl1e printing company as much ds possiiJie. If you make your print job e<Jsier to deal with, staff at the print firm will be more likely to help you if problems occur. If you make It difficult or get angry with them, it w ill be harder to get the results you want.

........ IWOd:. i:iW $ ..... ,.... f'IIIM. ptlane ~

_,......., 4llddl.s 01\••• 1M CD IIIC •VIMIIuWI'IIIIMtf ... priJII;J:Ib. this .......... __ ..,...110 ecwaa.,.,.r .. • a,......., ancf.,..thiiCD Qlldngft&

.. ,pcillllt- induellf.a .............. the CD ...... 1hls lhllt.tifniltulte c:onllllcC dllllllls ............. tJI What sonhCO.

fit NtMiyG,W .. dllnly~ them~

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Comic series When creating a series of comics. it is important to unifY the front cover designs. Try using the same layout but with different characters on each issue: or use similar design work. but different colours.

Check for "additional costs" Check to see whether the printer charges a fee for converting the files into a particular format. Savings can be made if you check to see which file formats and format types are most convenient for the printer. saving you unnecessary expense.

Check prices of quantities If you ask for quotes for different quantities, sometimes it will turn out that ordering more units of the book will cost less. For example, printing more than 1 000 "page copies" might save you money. If a comic has 1 4 sides, printing 7 2 copies would amount to 1 008 sides, and w ould qualify for a discount. You should also always ask for round numbers when asking for quantities. Ask for quantities of 50, 1 00, 1 50, 200, 300, or similar; otherwise it becomes awkward for the printer to summarize the costs involved.

FULL-BLEED PAGES When using a professional printer. the comic is often printed larger than the intended final size and then trimmed down. As a result. this allows the inks on the paper to go up to the very edge of the page - something you can incorporate into your design.

Full bleed This allows panels ro drift off the edges of the page, suggesting a larger event beyond the scope of the image.

Bleed area This area will be trimmed off by the printer. and should be expected ro be missing in the final print.

Trim area This margin area should only contain simple artwork, as this will be drifting off the edge of the paper.

Safety area It is recommended that text should not be placed in the safety area. in case of any radical printing shifts, and also to avoid text being trapped in the centrefold of the book.

PR IN TING AND PUBLISHING 123

<) ~ <>

124 ~

Resources MANGA CREATOR SITES Hayden Scott-Baron: www.deadpanda.com Sweatdrop Studios: www.sweatdrop.com Selina Dean: www.noddingcat.net Emma Vieceli: emma.sweatdrop.com Laura Watton: www.laurawatton.co.uk

Viz: www.viz.com Tokyopop: www.tokyopop.com

Dark Horse: www.darkhorse.com Iron Cat: www.ironcat.com CM.X: www.dccomics.com/cmx/

ADV Manga: www.advfilms.com/ manga.asp CPM Manga: www.cpmmanga.com

Broccoli Books: www.broccolibooks.com Seven Seas Entertainment: www.gomanga.com

GoiComi: www.gocomi.com

+Q ART PRODUCT MANUFACTURERS f~ Letraset: www.letraset.com

Deleter: www.deleter.com Copic: www.copicmarl<e r.com

COMIC FONTS Blambot: www.blambot.com Comic Book Fonts: www.comicbookfonts.com Ban ComicSans: www.bancomicsans.com/fonts.html

.f) /\RT SUPPLIES ONLINE SHOPS c::J Akadot: www.akadotreta il.com Dinkybox: www.dinkybox.com Blue Line Pro: www.blue linepro.com Anime Garners: www.animegamersusa.com

<I~ <> ~ SOFTWARE ~ Adobe Photoshop: www.adobe.com

Corel Painter: www.corel.com Paint Shop Pro: www.jasc.com Deleter Comicworks: www.comic-worl<s.com OpenCanvas: www.portalgraphics.net GIMP: www.gimp.org Deleter CG lllust: www.cgillust.com Corel Photopaint: www.corel.com Macromedia xRes2: www.macromedia.com

IMAGE HOSTING GALLERIES Art Club: www.sheezyart.com Dev Art: www.deviantart.com Elfwood Fantasy Art: http://elfwood.lysator.liu.se Manga Workshop: mangaworl<shop.net Digital Art and Design: http://digitalart.org/ Artist and Image Database: www.artwanted.com Online Art Gallery: http://www.side7 .com/ Forum for Artists: http://www.shadowness.com/ Virtual Gallery: http://www.vladartgallery.com/

WEB COMIC HOSTING Keenspace: www.keenspace.com DrunkDuck: www.drunkduck.com

ART COMMUNITIES Dream-grafix: www.dream-grafix. be Sweatdrop Forum: www.sweatdrop.com/forum Artist Cafe: forums. firefly.nu Pendako: pendako.syste.ms/bbs Gaia Online: www.gaiaonline.com Cgtalk: www.cgtalk.com

RESOURCES 125

126

Index A absrr dCLiurr I 09

acccssoncs 4 I

.1rrylic •,rylt-' R I

dltiUfl: !>CCflCS 18- 1 c; rn shouncn I 4

;JirLlrU~tl (1191tal 14- 77

o111i11 1.1Jo.. \trpJlOI Lifl~ 3 7.

38-39

amagonrsr 32- 33, 34

~1111i .1li.1•,ir1q '19. r; I. (J2

.-lf'lli-llt-'rtJ ?fl

B tl;JCklrqhllng I I

black.: solitj I 04

in w..:rlcrwluur ~Lyle flO

hl,yt nnt1 wliirc ima~1c. to

wluur 6!3- (J9

ro ~r.1n '>f, hl.lck rl/"111 whirt' invtY<;inn

101

l>l,lckrng our I 0~

L>r u!.t 1/l>rt JSt1 Jif'n rn~:rng '1H

c ( .1), .1nwnrk nn I 77

u~hlyle rrrr...1qe 10 1.:3

lint"IC·'i'i 8/

tl l..tr,itlt·r. lclr.IC'III It' 1(>. 41

dl...~r dcler !>: G.i[Jiys[ .:3"1 J)

U1rld J6 J /

comic 10 )I

temJie in mole role .'~0

one-<:1imcmioml 7'1

prmngnni-;1, ferT1rrh · ?r1-/l

Ill I II&JUIIr;[. II Idle L4-L~

!>upporung 31. :Hi 39

Leer ktSjt: L;oy JH J'-1

rccnaqc girl 30- 31

vrllarn 32- 33

children: < lltili.l< ler!> 36-3 I

rcprr~Pntatron of I 3

CMYK colours 48. I 18

resolution 53

coar<><" ron<" 89

colour: to add I 09

backqrotHld 62

to chdnge 73. 77

CMYK 118

011 lnte1net I 16

and lightinq 69

Ji.::tleue I 09

theory 69

rol~ri'HlCF 51

rones 72. 7.1

colour prinring I I 8

colour scl1emes 41

colourinq: black and whirc

ourlrnes 68-6')

eel-style 70-73

grf'y'>rJIP or Jrline'> 66-A l

comedy 20-21

comic ~erre) I 22

Corn reworks 1 '7

to roldte rmvge rn 60 ~ueenlune) 81::1. '70

lUI llfJietiurt I I 2-1 I 3

cor rtputel ; . per ipt ter .::ll~

16-'17

~oltware 6. 18-'1'7

rnnlrasl I 08

w~LS I I I . ILO. 112

rno;rumr: cnnrrrnpnr<11y 74,

D

?r1. ?n. JO. 32. 31

cle~t<..Jf1 40- 4 I

lanto:~~y 16. I 7. 2S. 2 I. 29.

J I. J2. 36. 40

t 11~turrcal JJ

science ticrion 25. 27. 29.

~1. 17.40

deadlrncs I I 3

drgrwl parming packages 49

digital pr inl ing services

171-123

dingbats 99

DPJ (dors per incll) 53

to adjust I 21

dummy copy I 20

F fantasy I 6- 1 7

female character 27. 31

male character 25. 27

villain 32

world. to create 42-43

file forrni:ilS I I 5. I 21

fi le ~ iLe I I 5

nneliner inking 59

fnnl ~iLe I I I

tunnies I I 5

G geometric tones 89

gods/ deities 4 3

grndi~nr tones 89

g1·apllics packages 48

gr<tphics tabler 6. 4 7. 60

grey layers. to keep 90

greyscale image: to colour

66- 67 line art 62

rc~oh nion 53

to scan ~6

gutter 103

H hair colour 4 I . 72

hJifrone 88

historical sources I 7

Hokusai 6

hypc?rqylizalion I 0. I I . 21

iconography: shoujo I 3

shounen 15

idealization 14

inking: digital 60-61

pages I 04-1 05

special effects I 06

traditional 58-59

Jnrernet: colour on I I 6

feedback on I I 7

manga on 6. I I 4-1 I 5

resolution I I 6

to save work for 114-115

L layers 51. 52

to nanen 52. 114. 118

to mask 52

LED optical mouse 46

lighting 69. I 08

line art: black and white 63

digiral 62-63

greyscale 62

to scan 56. 57

line width 59. I 04

lines. coloured 8 7 lineweight I 4

LPJ (Jines per inch) 88

M magical powers 42. 43

manga: for boys (shounen)

14-15

developmenr of 6

for girls (shoujo) I 2- 1 3.

97, 106

on Internet 6. I I 4-1 I 7

themes I 6- 1 7

master copy 1 20

minimalism I 0

moire 88

motion blur I 06

N natural media. to simulate

78-81

nib inking 59

noise rones 89

INDFX 127

0 R speed lines II/, I 5, I 06 oil paint style 78- 80 races and creatures 4 3 spirit signs 4 3 Open Canvas 49 realism style, lineless 85-8 7 splic1ng 1mages 57

resolution 53. 57 styles: acrylic 81 p on internet I I 6 airbrush 74-77 pacing I 03 robots 15 <~nimation 70 pages: full-bleed 123 rotating the image 60 eel 70-73

to ink I 04-105 fantn~y I 7 to plan I 02-1 03 5 illleless 82-87

Painter 49 scanner. flatbed 6. 46 011 pa1nr 78-80 natural media styles in 80. scanning 56-57 shOLljO 1 3

81 science fiction I 6 shouncn IS

to rotate image in 60 male character 25. 29 watcrcolour 80 Paintshop Pro 48 female character 27. 31 stylization I 0 panels: to adjust I 04-1 05 villain 32

to group I 03 screentones I I. 49. 88-89 T outlines I OS to apply 90-9 3 teenager· fcmnlc 30- 3 I size I 03 to colour I 09 male 28-29

pencil work 59 software 90 text: background I I I

to scan 57 special effects I 07 to rr1~rerizc I 21 photocopying I I 9 self-publishing I 18-1 23 thumbnails 1 07-1 03 Photoshop 48 setting. to create 42-4 3 clia/ogue in I 03

airbrush 74 shading I 08 tone. ro add I 08 basics 50-51 airbrush-style 7 4- 77 Lone fedlt 1ering 89 Elements 48 eel-style 70

Layers 52 shadows 70 u print colours I /8 shift key 1 05 Ukiyo-E <'lrt 6

Lo rotate image in 60 shoujo manga 12- 13. 97.

screentones 88 106 v special effects 94 shounen manga I 4-1 5 visual absLracnon I 7. tools 50-51 show through. to avoid 57 visual grarmnc~r I 0- 1 I . 70

pixels 53. 62 sketching. digital 6/

pricing 120. 122 skin tones 4 1. 72 w printers 46. I I 9 special effects: emotional watcrcolot u \lyle 80 printing I I 8-1 I 9 wisps 98

professional I 2 1- 1 23 foundations 94

protagonist: female 26-27 gritty angst 98

male 14. 24-25 impact swirl 96

in shounen I 4 impact zoom 95. 96

teenage boy 28-29 inking I 06

teenage girl 30-3 1 screentone I 07

sentimental pattern 99

shoujo sparkles 13. ?7

speech bubbles I I 0

128

Credits AUTHOR ACKN OWLEDGEMENTS I'd like to th.o~nk Sclinc1. Ernma and Laur·a for their wonderful

il/usrr·iltiom and support throughout th is project; lhe editors

c1t Ot r,lrlo ror their 1J2llience and encour.o~gement; and

P.veryonc al Swmlclrop Studios for producing amazing

mlnga and proving that anytlling can be achieved

with teamwork.

PICl UR[ CREDITS: Ou.:Jrto would like to tll.o~nk and acknowledge the

followinq artrsts ror- supplying images reproduced in

this book:

(Kc 'Y: I i<'rl. r rigr1t. c centre. t lop. b bottom)

S.-rrn Rrown I I 9br; Selina De<~n I ~1"1. I 3bl. I 3bc. I Stc. I Str,

I/, 10, L I, 771. 2'71. 31 r: 331. 35b, 361, 38L 39tl. 40br: 42t.

SR. 5'7. 66tr, 0 It. 81 br: 82r: 84b. 87br: SSbr, I 09b, I I 7.

I I ':Jbl, 120L 120tll; Sonia I eong 122t; Fahed Said and Shari

He·<, I 15t. I 16b; SweCJtdr·op SrucJios I 13b; Emma Vieceli 61,

IL, UJ, /'il. /7r. /'7r. 33r: 34, 36r, -'i OL 41 br, 4/b. 4 3b. 69br:

'75b. 99br, I 06ll, I ORr. I 09tl. I 0'7tr: I I Obi, I I Obr, I I m;;

l rltrr,orW,:rtton I . 6t. 1'1, 2~r, 30. ~i7t. 38b. 3'7tr. 41t. 7Sr.

I O'lll, I 061r. I I Oll

1\/1 ort1er illu\ lr c~lior rs and photographs are the copyright of

Quarto 1-'t rl>li<ihir ~~ iJIC While every effort has been made to

c fC'dit contributors, we rlfJOIOQiLe Should there /lave been

any omrssrom or- error~ .

781845 661731