Complete Manual of Manga Techniques: Drawing, Inking, Fillings, Comics 9798570812062

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Introduction

Tons of young people love Manga, and it also counts on many fans since the ‘70s, when the first Japanese cartoons, now called Anime, landed in Italy. Back then, the Manga was still a bit rough and hard to define; nonetheless, it created imprinting of typical shapes and drawings within the hearts of those who were children at the time. Manga style has become increasingly popular. Fifteen years ago, it was known only by niches. However, in recent years it has become well-known thanks to particular fashions. Today everyone knows more or less what it is. Manga is a world apart, to all intents and purposes; it is real, and it has well-defined characteristics. These features permit it to claim its own identity, which is not devoid of value, technique, and art. Some school textbooks talk about the spreading of Manga as a new, recognized art form. Manga drawing could be made correctly or not, and it depends on the study that was done in the first place, as it occurs in many other art forms. Drawing in this style does not disregard the essential notions of drawing, perspective, and volumes. Otherwise, these aspects that give three-dimensionality and professionalism to a drawing would not be able to emerge. Copying and drawing Manga without studying it can be an initial phase to approach this world and to get familiar with it. However, to move to a real and robust approach, it is appropriate to learn the techniques underlying this style. This manual will provide a step-by-step explanation of a variety of usable exercises at all levels and will lead to harmonious and well-done drawings.

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INDEX Introduction...............................................................................................1 Index...................................................................................................................2

FIRST SECTION, LEARN TO DRAW............................................................4 First section materials...........................................................................................5 1. Introduction to drawing..................................................................................7 1.1 Drawing..................................................................................................7 1.2 Differences between Realistic, American, Comics and Manga..................9 1.3 Introduction to Manga drawing..................................................................11 2. Drawing fundamentals.................................................................................13 2.1 Volumes’ three-dimensionality...................................................................13 2.2 The perspective........................................................................................15 2.3 Manga proportions....................................................................................19 2.4 Eyes......................................................................................................21 2.5 Face elements..........................................................................................24 2.6 The face....................................................................................................27 2.7 Drawing different ages.............................................................................30 2.8 Face Perspective......................................................................................33 2.9 Hairstyles..........................................................................................36 2.10 Expressions............................................................................................38 3. The Body........................................................................................................41 3.1 Body volumes and manga proportions.....................................................41 3.2 The male body..........................................................................................44 3.3 The female body.......................................................................................47 3.4 Body volumes in perspective....................................................................50 4. Hands and feet..............................................................................................56 4.1 The hand...................................................................................................56 4.2 The foot.....................................................................................................59 5. The deformed style.......................................................................................63 6. The harmony of movement...........................................................................66 7. Drapery: drawing clothes.............................................................................69

SECOND SECTION, INKING AND COLORING...........................................75 Second section materials.....................................................................................76

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1. Inking the drawing.........................................................................................78 1.1 Inking................................................................................................78 1.2 Shadow’s study.........................................................................................84 2. Fillings............................................................................................................89 2.1 Chiaroscuro...........................................................................................89 2.2 Hatching................................................................................................90 2.3 Halftoning............................................................................................94 2.4 Filling effects............................................................................................100 2.5 Coloring: the pantone..............................................................................102

THIRD SECTION, COMICS...........................................................................110 Third section materials.......................................................................................111 1. Manga, the Japanese comics......................................................................112 1.1 Introduction to comics..............................................................................112 2. Formats........................................................................................................115 2.1 Strips......................................................................................................115 2.2 Panel pages............................................................................................115 3. Panel pages elements................................................................................116 3.1 Panels and scenes..................................................................................116 3.2 Speech balloons and lettering.................................................................119 4. Screenplay and narration............................................................................122 4.1 Creating a subject...................................................................................122 4.2 Screenplay: choice of scenes.................................................................123 4.3 Narrative techniques...............................................................................125 5. Panel page construction............................................................................127 6. Cover’s study...............................................................................................129 6.1 The cover................................................................................................129 6.2 Marketing mentions.................................................................................130 7. Terminology...............................................................................................132 7.1 Technical Glossary..................................................................................132 7.2 Abbreviations of screenplay’s shots.......................................................135 Informations and contacts.................................................................................137

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First section Learn to draw

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First section materials Choosing the right pencil is a fundamental step. Various kinds of leads (graphite), plus rulers and set squares, are necessary to draw. Keep in mind that applying heavy pressure with the pencil will ruin the paper’s fibers. There are different hardness leads to avoid this mistake, obtaining a dark line with light pressure. The choice between a classic pencil and a mechanical pencil is personal.

H pencils have hard lead, and they draw light construction lines.

Medium hardness leads define HB pencils, and they can retrace the drawing.

Soft leads, starting from B pencils, are the best for drawing the dark parts of a picture, such as shadows, hatchings, or fillings.

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A cartoonist can choose from rough or smooth paper depending on the stylistic preference. A soft pencil’s lead quickly wears out on rough paper and highlights its texture; also, the line will be raw and ample. On smooth surfaces, instead, consider using harder leads with thinner lines.

A major tip is to choose copy paper only for drafts. Then, redraw it in “fair copy” on another kind of sheet. A sheet with a weight higher than 80 gr. is more resistant to erasures. Its quality preserves the drawing over time. The eraser could be of natural rubber or synthetic, and there are soft and hard ones. The choice depends very much on the technique used. For example, a kneaded eraser would be a good match for a charcoal pencil. Otherwise, an excellent soft eraser that does not leave any dirt should be enough for pencil drawing. Consider avoiding too rough products that could damage the sheet. There are also compounds designed to erase graphite without fading the blackness of India ink. Finally, let us introduce the practical aspect: pencil-shaped erasers and other similar products are precision products. They are often used to make light effects on blacks, and they are an excellent tool associated with an ordinary eraser. Use these tools, initially, to learn the techniques and correct mistakes. However, at a certain point, the eraser will be used only to create effects on the drawing and to cleaning up lines.

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1. Introduction to drawing 1.1 Drawing Drawing’s foundation lies in identifying  contours  (or  profiles) and the representation of forms through them. It is a form of art distinct from painting. Observing what surrounds us, it is possible to notice the contours of objects. However, profiles can seem confusing when we talk about faces, bodies, and animals. An artist can reproduce what does not have a clear outline because he/she could see objects in a three-dimensional way, in their wholeness, including hidden parts. Why is necessary to be able to draw what is hard to see or what is covered? The answer is that to depict complex shapes (composed of several simple volumes) is indispensable to recognize volumes. Once drawn, the volumes will represent the construction lines. Only afterward, it is possible to add details to the drawing. Then retrace the useful lines, i.e., those that determine the shape. Using volumes and construction lines is always a good exercise and a correction method when the work is unbalanced.

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1.2 Differences between Realistic, American, Comics and Manga

Proportions and style: To better understand the importance of proportions, it is proper to mention the various styles and realize how differents ratio’s combinations of shapes create entirely different effects.

Realistic (on the left): The realistic style has proportions that reproduce real ones (as its name suggests). Retracing a picture, for instance, will lead to a sketch for a realistic drawing. This style is typical of Italian comics. It is not only the proportions but also the inking and filling techniques that determine a style.

American (on the right): The American style keeps some realistic features, but it privileges the exaltation of certain parts of the body that transmit a sense of power, strength, and safety. The head is small compared to the chest, but there is an emphasis on the jaw and the neck. The “good” character usually tend to possess the qualities of strength and honesty; the neck and chest indicate power, the muscles are very marked. It is well known that the protagonists of the American drawing are mainly the superheroes.

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Comics: Comics is a style that has spread everywhere. From America to France, Italy, even merging within Japanese drawing to create the  deformed style, a Manga’s alteration. Comics have proportions that can be close to children’s ones. Walt Disney’s drawings, such as Donald Duck, Mickey Mouse, represent the foundation of this style. In this case, we talk about the synthesis of shapes. This style is simple, inspired by round shapes, clean and unrealistic, but more suitable for children’s stories. The term Comics is often used to represent the American genre, merging superheroes, and the USA’s productions altogether.

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1.3 Introduction to Manga drawing The manga drawing was born in Japan, hence the word MANGA itself, which means comic strip, then became the name of a genre. Over the years, many mangas morphed into cartoons, television series, Anime. The term Anime stands for animation in manga style; we can split this category into other forms, called by acronyms (OAV). These forms differ one from another by duration and themes.

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Many of them are suitable for an adult audience (horror, science fiction, thriller). The best-known genres are the shōjo (for young girls), the shōnen (for young boys), and the mecha (robot). The drawing style has evolved over the years from imprecise and for children, to extremely simplified (to favor animation techniques); hence the mistake of considering Manga an immature genre and associating it with children’s content. During the last few years, Manga evolved, and it acquired a more mature look. However, Manga presents different and altered proportions compared to the realistic drawing. This does not mean it is unnecessary to know the basics of illustration, the three-dimensionality of volumes in space, the perspective, and filling techniques to create professional work. Drawing  manga  does not mean drawing teenagers, magnified eyes, and random proportions. It is the result of a work executed according to rules and particular proportions of the genre. A good mangaka manages to extract a drawing from the main lines, which makes the picture simple but not trivial. In other words, a mangaka can make a synthesis of forms that has a whole study behind it. Japan’s tradition demands using a paintbrush or a nib, very ancient tools, for the Manga’s inking. In that country, so advanced in technology and other fields, it is part of the culture to keep traditions alive. The line of the paintbrush allows us to alternate harmoniously different thicknesses. So does the nib, but in a less marked way and with thinner lines. Both these tools use India ink, which highlights drawings in a particular way thanks to its deep and brilliant black, very different from other more opaque inks. On the market there are fude-pen with a brush tip, to emulate the stroke of the brush both in the inking and in the coloring; as well as for the nib, the most practical G-pen is on the market. It is also true that inking can be performed with markers, multiliner or adopt digital techniques.

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2. Drawing fundamentals 2.1 Volumes’ three-dimensionality As already mentioned, to understand the method of drawing people and objects, it is essential to see them in a three-dimensional way. To better understand the concept, we can start from a cube, which has a simple volume. It undergoes a visual deformation in space, due to the perspective. Its projections on the sheet will be modified and, thanks to that, it will look real.

Applying this logic to less simple objects than a cube, the matter is more complicated. Let us take a bottle as an example. To draw it at an angle from above, follow the steps as shown in the picture below. 1) Divide the object into its 3 volumes. 2) Apply perspective to draw the volumes. That gives the impression of observing the bottle from above (4). 3) Erase the construction lines and hidden parts, then reinforce the effective elements to finish the drawing (5).

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A bottle is simpler to draw than human anatomy (we will explain it in the chapters below). The ability to simplify shapes in volumes is crucial to make professional drawings; once acquired, you should refresh it very often.

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2.2 The perspective Every three-dimensional object is subject to perspective’s deformation. The line that moves away from the point of view always suffers a foreshortening effect. The foreshortening is the optical effect whereby the projection of a dimension on the sheet is smaller than the object’s actual size. The example below explains the concept.

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It is possible to calculate the deformation of an object by reproducing a simple scheme that consists of the horizon, the vanishing points, and the necessary construction lines.

This scheme helps to correctly draw backgrounds and landscapes and insert buildings, people, and objects onto them. It is possible to draw characters with different perspectives applying the scheme to the body’s volumes.

The vanishing points can vary from 1 to 3, which are the number of dimensions.

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After a lot of practice, an artist can gradually decrease the construction lines, thanks to the visual memory. It is a form of memory, a visual one indeed, of the rules to which a drawing must submit. Over time, the brain would see the construction lines without actually drawing them. Also, the brain processes events so it can solve new situations correctly.

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Mentions about backgrounds The background is an element often underestimated by those who begin to draw, but it gives professionalism to work. Backgrounds not only define a setting but also contribute actively to the atmosphere and scenes’ understandings if they are detailed and studied. The readers will have a sensation of wholeness that involves them inside the drawing. In addition to a correct perspective, which affects the backgrounds in a particular way, it is necessary to pay attention to the depth and details, to the light and effects, to produce a specific suggestion.

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2.3 Manga proportions It is relevant to remember that the proportions of a manga drawing are not in line with reality, but it is also true that they have their own rules. There is a tendency to enlarge some body parts to highlight its beauty and shrink other elements; for exemple, from the oriental point of view, small hands and feet are more “pleasant.” Of course, it is always possible to change the alterations at will. Generally, the head is larger than the real proportions, and so are the eyes. The mouth and the nose are preferably small. These features make the characters more like teenagers rather than adults. In the following paragraphs, we will deal with topics related to gender and age differences. We will show the required elements for the characterization of a child

or an older person, and which features distinguish a man from a woman.

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2.4 Eyes It is clear to everyone that the eyes characterize the manga genre. The large eyes, compared to realistic style, “embellish” the face. They will have many details, even, in some cases, decorative elements. There are many eyes’ shapes, and they have the most critical role within the face: they are beautiful, large, brilliant, and expressive. To understand how to draw an eye and give it the correct shape, one should observe it in a three-dimensional way by examining its volumes. What gives the shape to the eye is the place where it is located, i.e. the ocular orbit and other facial features: high or low cheekbones, eyelids, etc. The eyelids can cover a large part of the eye, if it is to appear half-closed, or they will disappear if the eyes are wide open; the cheekbone can take place up or down. The eyes’ shape is partially affected by the eyebrow’s arch, which could be more protruding or less. So the eye’s extremity could be brought up or down by the eyebrow’s arch.

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Imagine the eye as a sphere inserted into an irregular surface (the face).

The part of the sphere that remains exposed will be the eye’s shape, whose contour is also determined by the surface’s structure.

Based on this information, it is possible to correctly construct the drawing and then adapt the Manga’s graphic alterations to it.

The space between the eyes is equal to the width of the eyes itself. However, it is possible to modify the distance a little bit if the drawing acquires harmony and balance. After drawing the right shape, you can embellish the eyes with all the desired details. Features can vary depending on the style. You can create a personal style while drawing the eye. Here is an example of construction.

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2.5 Face elements Nose: The nose is an element that we can draw in many different ways. It is possible to draw it with a light line or completely. Remember that the more marked it is, the more it gives a caricatured appearance to the face. The shapes could vary from the simple shadow of the nostrils (1, 4) to the entire construction of the nose (2, 8). The shadow will be under the nose or moved to one side (3, 6). Keep in mind that to draw a face from above, below, profile or 3/4 (2, 8), you should be able to draw noses from various perspectives, not only frontally. An elongated, straight, and marked nose is a manly characteristic; a delicate, small, thin, or barely hinted nose gives instead more femininity.

Mouth: As for the mouth, some shapes make it more feminine or more masculine. A woman’s mouth is preferably small, and the lips are large. Woman’s lips stand out, unlike man’s ones. Men, however, have a relatively larger mouth. There are also stylistic variants: quickly draw a mouth with synthetic details, or choose to refine it using the typical Manga’s simple and clean lines.

Summarizing the differences between man and woman, we can say that man have linear features, slightly squasher or smaller eyes. They also have thicker eyebrows, a pronounced nose, and a larger mouth.

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2.6 The face To draw a face correctly in manga style, choose from two simple techniques. With them, it is possible to respect the right proportions and to obtain a smooth result. The major thing is to be very precise in construction. Create a personal style by changing the dimensions of the face elements, which must be harmonious and located in the right positions. Oval technique: Create an oval and divide it both vertically and horizontally in half. Then place the eyes in the middle of the two horizontal segments (A and B).

Draw a line that divides the bottom in half. Then, locate the nose just above the line (C).

Draw the chin (E) and mouth (D), which is halfway between the nose and chin, closer to the nose. The ears start from the eyes’ line.

Outline the face first, so that will be more references for eyes, nose, and mouth. The first technique grants a face with the proportions like the image on the side.  Obviously the face will be elongated or rounder in relation to the oval (more elongated or more flattened). Draw the hair considering a thickness outside the construction oval.

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Circle technique: Draw a circle and two lines that will divide it into 4 equal parts. Place the eyes in the middle of the two horizontal segments (1 and 2). The ears start from the eyes’ line.

Draw the mouth on the point where the vertical line and the circumference cross at the bottom (4). The nose (3) is about halfway between the center and the mouth, closer to it.

Draw the chin (5) beyond the circumference. If it is closer or further away, it can become a characterizing element of the face. The hair (0) also has a thickness beyond the circle.

The most challenging thing will be to maintain symmetry (e.g., the same dimensions for both eyes).

Choose a favorite technique, and repeat it every time because, even if the exercise is mechanical, it will develop the visual memory. It will allow, over time, to draw without the construction. The hand memorizes the right positions, and it will be free to express itself. Moreover, if the drawing needs a review, use this technique because it is an excellent correction tool. The image obtained (above) shows a female face. To draw a man’s face, accentuate the jawbone, which will appear less round. Rounder faces mean young characters.

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Face construction with oval technique:

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2.7 Drawing different ages The technique to draw a child is the oval one seen previously. The initial oval should be as

rounded as possible. Once found the midlines (which divide the circle in half in both height and width) arrange the eyes, nose, and mouth symmetrically in the lower half, leaving the forehead and hair in the upper half. The nose will be halfway between horizontal midline and chin. The mouth will be halfway between the nose and chin. It is important to draw huge eyes to give consistency to the child’s character.

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To draw a boy/girl’s face, shrink the eyes a little bit. The nose gets longer, and the mouth will be wider if it is a boy. Instead, a girl will have delicate features.

Reduce further the adult’s eyes: woman will maintain a round eyes’ shape and bigger eyes; man will have tapered eyes. The distance between eyes, nose, and mouth is not very different from the boy’s one. The character will acquire a more mature overall effect.

To draw an  older adult (both male and female), start from an adult. Older people usually have more prominent noses and ears, but the mouth and the eyes will be less evident. Finally, add wrinkles to the sides of the mouth and eyes to age the face. Keeping in mind the basic rules for drawing correctly, have fun characterizing a drawing and creating your personal style thanks to Manga’s versatile features. Use a particular shape of the eyes, pupils, eyelashes or noses, different mouths, angular or rounder faces’ profiles, hairstyles, (and other techniques that we will see later). Then combine these elements to create something personal.

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2.8 Face Perspective Face’s elements are correlated one with another; in other words: - at the height of the mouth must correspond to the mandibular bone; - at the height of the eyes must correspond the ears; - draw the ears starting from the line of the eyes and ending at the height of the nose. Drawing the jaw higher than the height of the mouth means applying a perspective effect from above (see image below).

Conversely, drawing the jaw lower than the mouth produces perspective from below. The same thing happens to the ears compared to the eyes’ line.

These elements cannot have different views on the same face. Depending on the angle, all the ratios of the drawing will undergo the same deformation. Keep these rules in mind when drawing a face facing up, down, 3/4, or profile. Also, remind the ones about volumes and their arrangement in space, and the foreshortening effect (distance between elements decreases).

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It is handy to transform the face’s oval into a 3D volume (e.g., an upside-down egg) to make the concept clear. By turning it, the straight lines will become arcs due to the roundness of the volume. This step will help to understand where and how to draw the elements inside.

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Face construction in 3/4:

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2.9 Hairstyles When we draw hairstyles, we let reality inspire us. It is essential to understand how to express hair’s effect on the sheet to draw correct hairstyles. It would be impossible to draw hair one by one, so we have to rely on volumes once again. To achieve an accurate rendering, think about strands of hair as very thick strips. Some strands of hair will have more volume, and others will have less volume: do not draw them all similar and give them the same hair’s movement.

For wavy hair (from wavy to curly), the strands of hair must have more volume and a soft and fluid movement. Accentuating the curvature gives a more curly effect. The ends will be curved, too. For straight hair, imagine the strands of hair coming down quite linearly. Each strand of hair falls or rests on the shoulders, but to add some details and a three-dimensional effect, you must separate some strands of hair from the rest. This rule applies to both long and short hair. A male short cut, whether wavy or straight, ends over the ears. Draw updo hair keeping in mind that you should increase the number of draw lines, at the point where it tightens up (or updo): strands of hair overlap, cross each other, and create shading. It is important to remember to draw a few strands of hair to avoid giving the impression of a solid block. The hair must follow fluid and soft lines of movement.

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When the hair is an updo, the hairline on the forehead is not always effortless to draw. Your lines should be irregular and form a roughly defined outline to avoid a “plastic helmet” effect. Create lines that follow the movement of the hair to increase the three-dimensional effect to finish the hairstyle.

The fringe can be straight, wavy, or rest on one side. You should carefully study the hairline and where it ends.

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2.10 Expressions Expressions are easy to understand if you think of them as combinations between the face’s elements: eyes, nose, mouth, the eyebrows which can take different positions, and some graphic “helps” typical of the manga style. Eyebrows and mouth play a crucial role. If you want to suggest sadness, try to pull down the lateral part of the eyebrows and to pull up the inner end; add a mouth facing down to this expression, and you will transmit real suffering. You can make an angry look drawing two eyebrows with the opposite tilt. Combining them with a particular position of the mouth, you will create complex expressions. To recreate happiness, try to slightly pull the eyebrows up and then match them with big eyes and a smiling mouth.

The mouth can have infinite shapes, and probably it is the most known element in its variations. The eyes can be wide open, half-closed, squashed, and even if they do not change the primary expression, they help to add details about the mood.

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Eyebrows and mouth determine primary intention. The eyes give emotional nuances to the expression.

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If you want to accentuate the suggestive effect, especially in comic situations, you can study endless combinations. It is possible to add unrealistic details but very incisive, allowed in the manga style, such as pointed teeth, a “drop” of cold sweat, etc .

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3. The body 3.1 Body volumes and manga proportions Picture a body in its three-dimensionality and think about it as a series of volumes to deeply understand the human anatomy complexity, how a body can move, and how we could reproduce its movements onto the sheet. This step, however, is not enough, because the body can assume countless positions. Moreover, to draw a body, it is fundamental to know the proportions of the anatomy: a series of ratios between dimensions and distances that can be very different for sex and age. It is required to break the body into volumes to move it into space.

How to divide the body into volumes: - balls can replace the joints. - cylinders, or whatever shapes you like the most, could replace the limbs. - the head has the form of an upside-down egg. - the chest has a particular volume: it is broader and deeper at the top and thinner at the waist-high. - At the waist-high, you can draw a large sphere (starting from the sternum and ending at the beginning of the hips) on which the chest and pelvis rotate. - the pelvis has a volume similar to the chest’s one but upside down and shorter.

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By joining the spheres with lines, you can follow a path to decide the movements’ dynamic. Draw the volumes and then the outline. Remember that arms and legs do not have a symmetrical shape: the inner and the outer parts are different.

The human body respects, in addition to the basic rules, other rules dictated by two determining elements: sex and age.

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A child’s (under 5 years old) head is larger than the body, and more or less represents about 1/4 of it. Define a starting point, identifying the waist at mid-height. Remember that you cannot determine it for other ages. The limbs will be chubbier. The hands will reach the hips. If you are going to draw an older child, you will make a less chubby body, and the legs will stretch (the waist will no longer be halfway down).

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3.2 The male body A boy has completely different proportions. In Manga, the head is larger than a realistic style’s head, in which it corresponds to 1/8 of the height. In addition to this difference, you can notice a shorter torso and longer legs (in other words, the waist is higher). By dividing the entire height into 6 sections, you can find reference points to build a body that respects the proportions typical of the manga genre:

- the first section includes the head and neck/beginning of the shoulders. - the second section includes the shoulders up to the ribs (the entire chest). - the third section includes the navel (waist), which is above the middle. Below the middle, there is the pubis. - the fifth section begins with the knees, and it goes under the calf that finishes up into the middle of the sixth and last section. From here on in, we will find ankles and feet. - the length of the arm corresponds to the second and third space, halfway the elbow.

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The proportion between height and width is significant. To have a reference, we consider a chest as wide as the height of a section. First of all, we find the reference points in the 6 sections. After that, it is practical to draw the volumes and obtain lines to make up the first draft and evaluate the whole picture. Give proportions to the image, then draw the contours more precisely.

Da “Between“, Novella

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At this point, it is appropriate to diversify the man from the woman through their distinctive forms. Finally, all that is left is to go over the useful lines and delete, where necessary, the construction ones.

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3.3 The female body The body’s construction will be the same for man and woman, thanks to the 6 sections’ reference points. However, you should take into account significant differences while outlining the forms. In woman’s physique, the shoulders are not very broad as they are in man’s physique. The joints are thin, the waist is accentuated, and the hips are round and broader than the waist. Usually, the female body is made up of softer lines, rather than the rigid lines of male’s bodies.

Manga experienced a series of evolutions over the past years; it tried to be as realistic as possible while maintaining its features. We will highlight an acquired genre of character during this evolution: the adult, recently developed content for a mature audience.

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In the adult, the structure is more developed than the boy’s thinner body structure. The shoulders widen in both woman and man. The man’s silhouette highlights the broad chest and pectorals. The female physique slightly strengthens, but the slimmer legs give it slenderness. Lightly reducing the size of the head gives a mature look to the character. The elderly have reduced musculature and height. Their torso curves, wrinkles increase, and the body tend to be thin. Woman has large waist and joints, and the breasts tend to be lower. In man, reduce the chest and match it with the size of the waist and hips. To sum up, the differences between men and women are: Woman

Man

- Bigger eyes and round face. - Thin joints. - Small hands and feet. - Narrow shoulders and very tight waist. - Wide hips and breasts. - More roundness of the female form.

- Little eyes, tighter and long face. - Robust bone-structure and muscles. - Big hands. - Wide chest with a narrow waist and hips. - Body shapes are angular (although this last feature may depend on the style).

 the age differences are: Young

Old

- Big eyes. - Big, round head. - Small nose. - Small ears. - Defined forms. - Tonicity.

- Small eyes. - Small head. - Big nose. - Big ears. - There is no waistline. - Wrinkles.

The body in space: to complete the body’s topic, there is an essential thing to know: we will not draw characters exclusively keeping in mind a central perspective; on the contrary, this should happen rarely. Many scenes owe their beauty to particular movements and perspectives’ choices. The perspectives and the different positions of a character require a lot of work. The axes’ movements are determined up to the angles (from above, below, 3/4 or others). They will also determine the lines’ inclinations on which body parts lie and the foreshortening effect. The body in perspective is a very complex subject. We will tackle it by dividing the whole body’s anatomy into volumes, as seen before. After that, you could arrange them to assume the correct way to interact with one another. Identifying the right useful lines will be the crucial step to tracing those details that make the desired perspective effect.

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3.4 Body volumes in perspective The perspective between simple volumes: Before proceeding with the perspective applied to the anatomy, it is useful to make a more straightforward example of overlapping solids observed from different angles. In this way, you will effortlessly understand these rules. Later, we will use the same standards for the body. The volumes have 3 dimensions: height, width, and depth. A volume is also a solid that has a dimension and an arrangement in space. That means that we can draw new solids beside, above, behind, in front of the others; we must respect this arrangement from whatever angle we observe the solid.

Some objects in space seen from a side view (1), the same 3/4 objects seen from the front (2) and, always keeping the position between the objects unchanged, a view from above (3).

Finally, consider the foreshortening effect. It is fundamental to remember it, to give the perspective’s effect. All the elements arranged along the dimension that undergoes the foreshortening will experience the same result; the volumes will crush, in other words, they will be shorter. But the other measures will remain unchanged. That means that the proportion of the volumes will change because the drawing is a projection of reality. If you want to accentuate the effect of perspective, then draw the farthest volume slightly smaller than the rest, varying only in this case, its width.

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Perspective applied to body volumes: It is convenient to re-examine the  volumes  to draw the body seen from below or from above; you should not only identify them, but the most challenging thing is to position them in space, in relation to one another and in the right position. Let us take the perspective of an angle from above (picture beside) as an example: the head is closer to the viewer (upper level); it is in front of the shoulders and covers a part of them. This does not happen with a frontal view.

Taking as an example the same image (above), we have to apply the foreshortening effect that, in this case, acts on the height. Foreshortening will squash parts of the body and reduce the distances between the eyes, nose, and mouth. All measurements, except for width and depth, will be shorter. The head is in the foreground, in front of all the other volumes, closer to the observer. The feet are on the lowest (farthest) level. To accentuate perspective, you will draw a bigger object if it is near and a small object if it farther, also varying its width and depth.

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The general perspective in this image is the top view (the vanishing point is at the bottom), but it has a distortion in 2 dimensions. In fact, there are 2 other vanishing points, less evident. The body parts have different rotations, therefore different foreshortening effects.

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From “Il mare di Seira“, Novella

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In the picture above, we have a figure seen with a general perspective from the bottom. Instead, in the image on the side, we have a view from above. Although it is possible to see the accentuation of the lateral inclinations: it seems to look at the girl from 3/4, both horizontally and vertically.

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4. Hands and feet 4.1 The hand Drawing hands and feet correctly is a sign of precise and professional work that makes all the difference. The tendency to underestimate these parts of the body depends on the fact that Manga-style synthesizes the drawing by reducing its details . However, the hands (as the feet) are not simply to draw.

Drawing hands is not easy. Sometimes one end up losing patience, settling for a result that is not entirely valid. In other cases, people prefer to hide hands and feet behind the body or something else, avoiding, with every trick, to draw them! It is worth to practice, instead, maybe copying figures from a magazine, a photo or drawing your hands. It is also appropriate to evaluate the hand in a three-dimensional way, thinking of it as different volumes. The finger positions follow a rule: they move simultaneously and are evenly spaced (thumb excluded). To draw the hand, start from 3 simple curved lines,

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spaced out according to precise ratios, and with different inclinations (see figure) on which you will build the fingers’ movements. - The first line indicates where the palm ends and the fingers begin, and where they bend. - The second line passes where the second phalanx begins. - The last line passes at the height of the last ligaments of the fingers, namely the final part (3rd phalanx).

The middle finger is the longest. Indeed, as shown in the figure above, it is possible to see the curved lines’ extremities. The size of the hand can vary from 1/3 to 1/4 of the arm. The thumb has movements not connected to the other fingers because it is opposable. It starts from the wrist, and it finishes, more or less, to the middle of the palm. The palm is composed of two muscles: the muscle of the thumb and the one under the little finger. Those muscles are perpendicular to each other. The palm is as long as the index finger is. Use the basis of the previous scheme: it will be sufficient to consider the phalanges as cylinders and the joints as spheres to give three-dimensionality to the hand. Remember that the thumb is made up of only 2 phalanges and that its movements are different and disconnected from those of the other 4 fingers. After an accurate study, it will be possible to draw the hand in manga style.

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The lines should be simplified as much as possible, and among the details, you should choose the needed ones. Only then, a seemingly simple draw will be the result of good work. In its simplicity, there will be no lack of details, three-dimensionality, and movement. Hand’s construction:

Draw the first lines of construction: the main muscles of the hand as volumes perpendicular to each other. Then the 3 arches on which the fingers bend and the four equidistant lines to draw the fingers proportioned to each other. For better orientation, compare the palm to a square. Then add the wrist and thumb’s volumes.

Following the construction lines, draw the fingers and connect the index finger to the thumb. It is important to remember that the fingers’ junction is not “V” shaped, but it has a space between one finger and the other one. The middle finger is the longest. Eventually you can clean up the drawing.

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4.2 The foot Like the hand, the foot is an element little considered but which can make a difference. As it is not very easy to draw, using the technique of volumes would make it easier to understand how it moves and how to represent it. An always-valid exercise is to copy the subject from reality.

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To draw the foot, use a starting scheme similar to the hand’s one (about the fingers and them volumes). The volume of the foot looks like a wedge. The thickest part is under the ankle.

Consider that the toe support parallels to the heel, in almost all positions, to give movement to the foot. (figure B).

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The sole has an inner concave area. Figure C shows the articulation of the foot’s parts. While, from figure E, it is easy to understand its shape by looking at the sections.

Figure D shows the sole and the footprint’s shape with its hollowed inner section and its outer linear section.

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Foot’s construction:

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5. The deformed style The  deformed  (or chibi) is, as you can understand from its name, a deformation of the traditional manga drawing. It is a sort of caricature: if Manga is already a style partly deformed to exalt certain parts of the body, deformed is the union of Japanese drawing and comics. This union further amplifies its “disproportion.” As described in the related paragraph, Comics is an American style that has spread everywhere, in which the characters are very deformed compared to reality. The figure is similar to a child. However, the proportions are different because it is a caricature of an adult. The head is huge, the shoulders and torso are close together so that the waist move upwards; however, this last rule is not too rigid.

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Many variations in which there is more or less alteration of proportions define the deformed style, so keep in mind the margins of customization.

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6. The harmony of movement It is advantageous to follow a guideline that reproduces the body’s movement, to make it harmonious in a specific position. In this way, it is easier to make the drawing so that it is not disharmonious compared to the original motion. The whole body must follow a fluid direction. Otherwise, arms and legs may seem disconnected and in unnatural positions.

The movement will be dynamic thanks to the position of the body parts. To avoid mistakes and to understand which directions give dynamism, we can help ourselves drawing lines of movement (the red ones in the drawing).

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Following them, we can represent an image in the correct position. Because the lines are uninterrupted, they connect each part of the drawing, giving it the right fluidity.

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It is essential that the dynamic is continuous along with the limbs, the torso, and the head so that the drawing “seems to move”.

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7. Drapery: drawing clothes To understand how fabrics rest on the body, fall and lie down, generating shapes and shadows, we will use drapery. For example, a tent attached at the top falls freely so that the folds are vertical. If the tent touches the floor, the vertical folds will begin to change and become horizontal, as gravity will affect them, and they will overlap on the floor. When a fold changes direction, it generally produces a more or less roundish curve. To evaluate the type of shape, one must consider the strength of the fabric, i.e., its thickness, heaviness, etc.

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The forces that create the shapes assumed by the tissues are the traction point, gravity, consistency, and of course, the shape on which they rest.

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Once you understand these notions, you will be able to study clothes that follow complex movements. It will be possible to identify where the body keeps the dress stretched and where it goes down according to the specific characteristics of the fabric. Particularly important for draperies are the shadows. In Manga, it is necessary to synthesize them in the best way possible.

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Second section Inking and coloring

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Second section Materials Inking tools and fillers. Before starting to ink, you need multiliners, markers, India ink, paintbrushes, and nibs to try the various tools and to choose the most suitable for your hand and style. The nib tips are interchangeable, of different shapes, and hardness. The paintbrushes are much softer, and they should not be too large because their stroke is already variable. In any case, you can decide the final sizes after trying and choosing your preferred style. India ink is excellent ink with a deep black color.

Fude-Pen Other tools to choose from are nibs with refillable cartridges and the fude-pen. This rechargeable pen offers similar performance to the paintbrush but is much more practical. It comes in different sizes.

Multiliners They are ink pens with a synthetic tip, often used for technical drawing.

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Cutter It is used to cut and work the halftone screens. The blades are interchangeable, and they came in various shapes, each one is suitable for different processing. For precision works, there are cutters with a ceramic tip.

Halftone Screens

There are many types of halftone screens, but we will talk about the adhesive ones. Even the proposed plots are endless. With the arrival of digital tools, the models have increased exponentially.

The Pantone It is a felt-tip pen with an ink capable of spreading out to create uniform colors and shades. There are many types of pantone: you can use those with a super-brush tip like a paintbrush.

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1. Inking the drawing 1.1 Inking When we talk about inking, we refer to a technique with which we strengthen the outline of the picture and give thickness to the shadows with hatchings or full blacks. For inking, you can use multiliners, markers, nibs, and paintbrushes.

Each of the tools used produces a different stroke, which, together with the artist’s hand, characterizes the inking style.

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Initially, the tools par excellence were the paintbrush and the nib, which were very ancient and typical of Japanese and Chinese cultures. Over time, many variations developed with the introduction of other inking tools. There are two macro-categories for inking, and they can coexist in the same drawing: synthetic (multiliners and markers), with India ink (paintbrushes and nibs). The difference lies down in two aspects: rendering of the stroke and practicality. With multiliners and markers, you have an unmodulated stroke, i.e., it does not change according to pressure. You have to go over it again to thicken the line. The blacks unlikely will be full and brilliant as those of the India ink. However, these tools are efficient because they do not have to be dipped in ink every time.

Paintbrushes and nibs allow creating strokes that change thickness without interruption, giving harmony and softness to the drawing, with a simple change of pressure. The paintbrush is much more sensitive than the nib, and it also offers chiaroscuro effects. The India ink has intense and brilliant blacks, and the only flaw is that both tools need to be dipped into the ink very often. A halfway tool between the two categories is the fude-pen, a marker pen with a bristle tip. It deserves to be put on the list as it combines the practicality of an ink tank with the characteristic of the soft, modulated stroke of the paintbrush. In Manga, it is used both for inking and for filling backgrounds.

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The technique: As we said, inking involves the contours but also the shadow part. To fill wide  backgrounds with black, use a wide tip (paintbrush or marker). For buildings and geometrical objects, multilines are more practical even if there are less efficient paintbrush/nib ruler techniques.

To ink the subjects, choose your favorite tool. - The paintbrush is undoubtedly the softest and most adjustable (picture above). - The nib offers a smaller but still valuable and pleasant dynamic stroke. The stroke is a bit stiff, but the nibs can make extremely thin lines. - Markers are suitable for backgrounds. Multiliners have a nib’s similar style, but you cannot modulate the stroke with pressure.

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The inking style is very personal. However, some rules can make it perfect if correctly practiced.

Within the drawing, there are various levels: the closest to the observer and the farthest one. The  distant  backgrounds will be inked with a  thin stroke, while the figures on the  nearest level inked with broader strokes. To avoid confusion, draw the details with thin lines.  Another technique is to thicken the stroke to “detach” the levels.  To give depth to the drawing, consider detaching a figure on a nearby level from another on the plane behind. This technique is present in characters with a thicker outline, so they emerge from the background. But is also applies to an extreme close up of a hand that has to be detached from the arm behind.

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How to ink with paintbrush and nib: Prepare the India ink, some water, and a sheet. Dilute the India ink with water to reach the desired ink’s fluidity suitable for the strokes and, in some cases, could help to create shades of grey. Do not mix water inside the India ink’s container, but separately. After dipping the nib or the paintbrush, drain it from ink’s surplus. On a test sheet, check the stroke to see if the ink’s dilution and its amount on the tip are optimal for your hand and stroke.

Nib

The stroke should be homogeneous without smears, shaking, interruptions, and visible fading of the India ink. The hand must be firm, and it’s advantageous to consider the amount of ink available. Once the drawing’s stroke is defined, the work of inking is only halfway through, because it also consists of another phase relating to shadows, chiaroscuro, and filling in the “black” areas. You can ink shadows using hatching, halftoning, sponging, or other techniques, including full black filling.

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Paintbrush

It will take some practice to learn how to balance the hand, the amount of ink, and the dilution. Here are some examples of the most common stroke’s mistakes and their causes. Nib

Paintbrush

This is an example of a shaky stroke, a symptom of an insecure hand.

In this case, the ink is excessively diluted; even if the stroke is fluid, the India ink is grey and not covering.

If using the nib you end up with something like that, these could be the causes: - a little amount of ink on the nib. - the ink must be diluted. - you are applying too much pressure on the sheet.

If the stroke resembles the one in the image with the paintbrush, it means that an India ink’s dilution is needed. It’s necessary to stop inking before the India ink ends to avoid strips.

Placing the nib on the sheet of paper may cause stains that could ruin the drawing if you do not drain the India ink’s excess from the tip.

The ink will be poured over the sheet if you place the paintbrush just dipped in India ink without discharging the excess. With the paintbrush, this effect is much more frequent than with the nib.

Some very practical exercises to learn how to get a good stroke, consist of repeating equidistant horizontal and vertical lines, and precisely closed circles of various sizes. These exercises allow developing manual skills and controlling the stroke in all its characteristics, including pressure and density.

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1.2 Shadow’s study The drawing does not consist only of contours but of shadow zones and light points. Therefore, it is indispensable to make a study on the subject because without it is difficult to apply any form of filling. Shadows are generated according to the light’s source, the object’s material, and the shape of the object itself.

This concept explains that drawing a shadow in the wrong way also changes the shape of the subject. Core shadows (the object’s shadows) are areas of the object where there is no light. Cast shadows (e.g., on the ground or a wall) are shadows cast by the object on surfaces.

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There are 3 elements that give shape and intensity to the shadows: 1) The light source  determines the position and depth of the shadows. If the light cannot reach a place, there is shadow. Therefore, the shadow is located on the opposite side of light’s source or in hidden areas. The shadow is dark  with the  sharp  outline if what creates the shadow is near; it is  fair and shaded if what creates the shadow is far. 2) The surface of the object receiving the light can be  shiny, opaque, and irregular with texture (a sweater, a tree). If the surface is shiny, the shadows and the light points are sharp and marked (white light, dark shadow). If the surface is opaque, the shadow is homogeneous and shaded. In the case of texture, the shadow will be irregular with light and shadow matching the ripples. 3) The shape of the object has the most significant impact on the generation of shadows (and lights). Let us take a face as an example: a shadow starting from the contour of the face and finishing under the cheekbones, creates the effect of a thin, hollowed-out look.If we draw the shadow only around the face, instead, with soft lines, it will look round. Likewise, if you draw a large shadow under the nose or sideways, the nose will look larger or longer because the shadow determines the shape.

We have to make things right if we want shadows and lights to respect the shapes we have decided to draw.

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The hair reflects the light and creates sharp areas of light and shadow. To give the effect of black or brown hair, we will use several dark tones, and we will accentuate the shadow with black. For fair hair, we will use grey. On clothes, light and shadow are less sharp and alternate with gradual shades.

The point of light is the object’s area directly hit by the light’s source, and you should apply the shadow’s rules to it because also the light determines the shape. The light’s intensity and shade depend on: the type of surface, the proximity, or distance between the light’s source and the object. Place the light sources wherever you want inside the drawing. Sometimes a particular light gives particular suggestions. The light can come from a candle, a lamp, a window, or if you have set the drawing outside, the light will be more diffuse and natural, and the source will be the sun.

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We will simplify the study of shadows by dividing the image into 3 zones, as in the example: the shadows, point lights, and the middle tone, which is in the middle. Define the areas and decide how to fill them and how to shade shadows and point lights. The image below has a predominantly frontal diffuse light.

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2. Fillings 2.1 Chiaroscuro Fillings are the various ways to create the light-shadow effect and give three-dimensionality to a drawing. Such as the chiaroscuro (1), the stippling (2) and solarisation (3). In the chiaroscuro, the artist fills the shadowy areas with black. You can obtain greys and shades with hatchings or other effects. The chiaroscuro is an essential technique. Combined with others, such as halftoning, gives effective results.

Use the stippling for suggestive, particular situations that give a specific impression.  Stippling consists of a series of points with different densities depending on shadow or light make it up.

Solarisation is a kind of light-dark filling without middle tones and contours. The effect is that of an overexposed photograph but combined with techniques such as halftoning, it acquires greater usefulness.

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2.2 Hatching Hatching is a technique used to create nuances between shadows and light points, with pencil or ink (pencil, nib, paintbrush, multiliner, pen). It consists of making parallel lines, generally inclined and crossed. Hatching consists of lines that have only one direction or be much more complicated with sections that have many directions and, therefore, create many intersections. The lines that make up the shade follow two coexisting logics: - The lines can start wide and then get thinner. - There are crosses of lines in the dark part and fewer lines in the light part.

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If desired, the hatching lines can curve following the surface on which they lie. This style will give more three-dimensionality to the drawing. The best way to learn how to use hatching is to do a shadow study and practice, copying real figures if you need help.

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Hatching with ink

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From “Il Mare di Seira”, drawing by Novella, inking and filling by Annarita Rimini.

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2.3 Halftoning This technique, typical of Manga, allows replacing the hatching with blurred chiaroscuro, consisting of dots, lines, or textures. The halftone screen is an adhesive sheet on which various motifs printed (it comes in tons of different types). How to apply the halftone screen: Apply different kinds of halftone screens onto the relative areas of the drawing. They reproduce shades of grey, from the lightest to the darkest tone. Choose halftone screens according to shaded areas and aiming to differentiate materials.

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After cutting out a sufficient portion, place the adhesive sheet on the drawing.

With the cutter, trim off the excess part, following the outline (white line), and remove it, taking care not to spoil the inking. Then press the halftone screen on the sheet to secure it.

Proceed in the same way with the other halftone screens. Then arrange them to add light and shadow effects. The cutter’s ceramic tip is handy to create light points using it as a pen.

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Processing halftone screens: Once applied the halftone screens, they can be further processed using mixed techniques to make light and shadow effects. Before applying effects, make sure that the halftone screen is firmly attached: press on the sheet with an appropriate tool. Pay particular attention to the corners. Techniques to obtain light points are: scratching the halftone screen with the cutter and create nuances, erasing some areas, or covering them with white paints (correction fluid, tempera, pens, and markers). To create light on a dress (made of non-glossy material), fade the halftone screens by scratching them off in a delicate and precise way, as you would do drawing hatching. To create this effect, use a standard cutter, a halftone screen’s eraser, or a specific cutter with a thin ceramic tip. Hairs are shiny surfaces, so to give light to them, we will use an intensely white, and we will not necessarily shade it. In this case, it will be possible to use tools for scratching the halftone screen, correction fluids, or white tempera to make an intense light. Before using the halftone screens, fill the shady areas with black or hatching. However, this is not the only way to show shadows.

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Keep in mind that shadows and lights depend on the scene’s lighting, but they are also needed to detach the drawing levels. In case one chooses to create the shading using the overlapping of the halftone screens, it is important to be careful. When overlapping them, try not to make a moiré pattern (it is a crisscross dots’ plot). We recommend using the same halftone screen already laid down to create the shadows. For particular textures, fill the shadows with black or hatching. Use halftone screen erasers to create nuances on larger portions of the halftone screens, as happens in backgrounds.

With the help of correction fluid, pens, markers, and everything that allows writing with white on a halftone screen, you can make various effects. One of the simplest examples is to create small white dots around or onto the character to increase the richness of the drawing. With white, it is also possible to draw illuminated hair against a halftone screened background and add details. If a portion of the halftone screen has been cut or ruined, you can clean the area and, repositioning the pattern in the same direction, add the missing part (or the ripped part). If a shade is not perfectly realized, is possible to shift it, cleaning the wrong part with white.

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A great skill is to transform an error, perhaps irreversible, into an element of the drawing; this not only crucial for halftoning but for every production. It is also possible to insert shadows after putting the screens because the India ink and other inks can write on them. Knowing how to correct mistakes is necessary. Even the best mangaka’s hand can slip and cut out a needed part of the halftone screen. A mangaka could scratch it off too vigorously and tear it, or maybe to add unfilled shaded areas. The adhesive screen application is a long and meticulous procedure, and experience is required to achieve good effects. However, Manga continues to offer halftone screened panel pages, the halftone screens, indeed, can also be digital and this method has supplanted manual processing, which covers about 10% of production. As for many techniques, it is practical to start from the non-digital procedure and practice until you master it. Only then, it is possible to switch to digital, taking advantage of all the tools available that risk to be misused without a previous analog experience.

Digital halftoning on the side

There are many varieties of textures: ready-made backgrounds, trees, landscapes, or abstract decorations and shapes. The speed of digital is much faster than handmade, but this one still makes works more valuable.

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Manual halftoning

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2.4 Filling effects It is possible to use effects produced by tools such as sponges, brushes, and masks to enrich a drawing. Dip the sponges into the India ink, loading the right amount of ink and use them by dabbing the ink. Of course, the sponge texture can change and be wide or dense, depending on the type of decoration you decide to use. You could use the brush by swiping a finger to splash the color on the paper. Try this tech-

nique several times to understand how to achieve the desired effect: the closer you are, the bigger the dots will be and vice versa. It is a very coarse airbrush effect.

Sponge and brush can be associated with masks. Masks allow working by isolating unfilled parts of the drawing. The masks have holes of various shapes, and it is also possible to make them yourself.  You can choose from adhesive sheets to cut or liquid masks to distribute by the paintbrush and easily remove these tools with an eraser.

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Sponges

Masks and Stencils

We talk about this technique because, in Manga, it is often used for backgrounds or as decoration, especially in shōjo. Start by overlapping the mask on the drawing, and then dab the sponge into India ink or color. Gradually dabbing the sponge makes it possible to create shades both inside the mask and outside the shape (see images below).

Halftoning and sponging effects

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2.5 Coloring: the Pantone To deal with the coloring topic, it is necessary to mention the techniques used in the Manga. The coloring of Japanese drawings is generally light, delicate, and prefers pencils, watercolors, and non-covering techniques often mixed.

Talking about coloring, in general, is not very explicative, so we chose one of the best-known techniques to explain the subject in depth. The  Pantone  is a marker pen capable of distributing color evenly. You can make backgrounds without stains and apply uniform shades thanks to the solution contained in the Pantone. It is an ink that spreads and mixes very easily without leaving streaks and marks.

The Pantone has various tips: super-brush offers complex effects, almost simulating watercolor effects. A colored area will darken if we apply the same color over it several times. It is also possible to create nuances, shades, or a shadow zone.

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You could achieve nuances made of 1, 2, or 3 colors (having a primary color in common).

homogeneous coloring

shading in 1 tone

shading in 2 tones

shading in 3 tones

How to make nuances: It is necessary to know about the use of brush tip (super-brush) and about the fact that ink spreads, to understand the techniques that express the full potential of Pantone. Use Pantone as a paintbrush, thanks to its tip. The tip creates a wide or small stroke, depending on the pressure applied by the hand. The first step is to learn how to create lines that start wide and then become narrow. The second concept, related to ink, is that by making a line quickly, it will be possible to notice a reduction in color in the final part (it will fade). The combined effect of pressure and speed will generate the “brushstrokes” of gradient color. The color’s tendency to conform will complete the effect.

Another technique to create a nuance between two colors is to let different Pantones’ tips to touch each other. The light one will absorb the darker color. At this point, coloring a small area, the released color will naturally fade from the darker to the lighter one. When the “brushstroke” technique (pressure/speed) will be acquired, it will produce a very impressive coloring. It is a functional technique for hair (see image) and for areas that need to appear shiny. In this case, it is sufficient to leave the illuminated area blank.

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The technique is the same for shading colors, but one color should shade towards the other. Otherwise, it will create unerasable steaks. It is crucial, before coloring a drawing, to study the shadows. Then will be easy to know where the light points and the shadows are. The colors must be at least 3 for each section of the drawing: a base, a medium tone, and a shading color. Apart from gleaming surfaces, all other spaces need a warm or cold base for the light points.

The base is an extremely light, almost invisible, color. It creates a warm effect on yellow tones and a cold effect on the blue tone. Choose the base according to the color of the medium tone or according to the global light’s effect. The medium tone is the color of the objects; to give depth to the subject, add shadows with a darker color. The contrast between the three sections can be sharp or blurred to give more depth to a drawing.

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Achieve a professional result using this technique correctly.

Always keep in mind that the ink spreads out, depending on the kind of paper, to prevent the color from passing over the edge of the drawing when coloring close to a margin.

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The last step is the choice of colors. Do the coloring matching upstream. The correct method is to create a palette and modify it until the chosen colors create a nice overall effect.

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Third section Comics

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Third section Materials Comic’s tools Notebook, pen, and pencil Before building panel pages and drawing the story, it is important to write down the storyline and clarify some points in the story to decide which are the decisive parts and study a good incipit and a possibly unexpected end.

Realizing the panel pages Once the ideas are clarified, maybe creating a storyboard or a script, you need the tools to get to work: pencils, erasers, rulers, multiliners, nibs and paintbrushes, halftone screens, cutters, tempera and everything you need for the various filling effects.

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1. Manga, the Japanese comics 1.1 Introduction to comics Choosing a sequence of scenes describing different moments is the way to tell a story through a drawing. The sequence of scenes will give rhythm to the story through the framing, as it happens in movies. To be a mangaka, it is not only essential to make good drawings. It is also crucial to have notions to know how to build a story, real or invented, in a captivating way. Engaging storytelling will encourage the readers to continue reading because it is intriguing and creates expectations without being boring with a monotonous rhythm.   This wealth of knowledge should form a mangaka’s set of skills, at least partially. So, the mangaka could express its imagination at best and give a specific mood and feelings to the story. Alternatively, to make a personal comic strip story, it is doable to delegate the script to a screenwriter. Another characteristic required is the ability to write the dialogues. The starting point is the main idea of the story, from which the actual narrative and context will usually develop. First of all, make clear what the dynamics of the story are going to be, then write a  subject  (the story’s core) or, at least, describe the essential portions of the storyline. From “Rollersky“, Novella

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As in all stories, the beginning and the end are two important moments. To get off to a good start, study the beginning carefully; moreover, a good start stimulates the readers to go on, such as the cartoonist itself. Inside a story, there are infinite details that must make sense and coexist. Even if this seems obvious, the truth is that getting it all together without mistakes is a little bit complex. That is why it is fundamental an accurate planning of the story and its main elements, in the first place.   It is possible to improvise on a generic trace if you realize your comic. If you are drawing following the script of someone else, you should know how to do it. In Japan, the speed and coordination of a work team are fundamental. Indeed, for the most important publications, the various roles composing a Manga’s realization are assigned to different professionals. However, a mangaka should be able to create an entire manga alone because the path that leads to becoming a comic book creator does not disregard personal skills.

Before becoming a well-known author, who has a team at disposal, one should produce a lot of material alone.

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In the Manga, there are various kinds of stories: for boys, for girls, for adults, and so on. For instance, shōjo (for girls) has a very soft style enriched by light halftoning and fluid strokes, and the rhythm, in some sections, is slow. Strong strokes characterize shōnen (for boys), and the scenes are very lively and dynamic, with a fast rhythm. The stories can be very short, starting and ending in a self-contained comic book, or they can be part of a series, a collection of episodes. It is possible to add endless comic books to a series, thanks to its structure, and then decide its length.

The most popular formats in comics are the panel pages and the strips. These are scenes arranged horizontally to tell an event that begins and ends in a particular moment.

From “SeeCret“, Novella

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2. Formats 2.1 Strips The strips are composed of a sequence of few scenes generally concerning a quick event. The event begins and ends within the same strip; this can be periodical that is, serialized. Strips are the mostly used format on the web and in humoristic genre, in which is possible to include well-known cartoon panels (composed of a single scene).

2.2 Panel pages In general, the panel pages indicate graphic works of various kinds; in comics, they represent the place where the story develops. They can contain a variable number of scenes, from a single image up to a maximum of 6 or 8 frames, so that the page is not too heavy, except for the self-contained ones. Consider a comic strip’s panel pages as a single drawing that needs a balance between black/ white and halftoned’s parts. The panel pages should give an idea of the scenes’ flowing.  Periodical publications of a single panel page or strip in magazines or on the web are  self-contained  (the event starts and ends even if it is possible to leave an opening for the next publication as a serialization). From “Bianca“, Novella

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3. Panel pages elements 3.1 Panels and scenes The scenes are the boxes that make up the page. Each box has a black border, except for open boxes or particular effects. The screenplay terminology refers to scenes, that develop into panels, which can be brief and follow one another swiftly. Scenes could also be wide and static, or very broad to capture a meaningful image or highlight details. The examples are endless, but it is fundamental to understand how the combination and characteristics of the scenes are the basis of the type of narrative. The function of the scenes is decisive: an artist decides the screenplay, the narrative, the rhythm and atomospheres though them.

It is possible to draw the same story in completely different ways and create various suggestions and meanings, depending on the choice of scenes to represent.

To realize a scene, it is decisive to choose a shot according to which elements a cartoonist wish to highlight or aimed to create suggestions and atmosphere.

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It is very important to highlight the central element of the scene at first glance. To this end, it is possible thinkable to overturn some too rigid rules, which think of the frames of the panels as uncrossable spaces. One feature of Manga comics is not to think of boxes as scenes or drawings’ cages; indeed a mangaka often doesn’t use boxes to give freedom and fluidity to the drawings. To emphasize some moments of the story or to highlight an element inside the page, drawings can be placed outside, or they can overlap the shots without any cage. This gives a sense of wholeness and much more graphic freedom that enhances the drawing aesthetically.

From “Il Mare di Seira”, drawing by Novella, ink and filling by Annarita Rimini.

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To the aim of proper story’s reading and understanding, both the strip and the panel pages are subject to rules. As we said, the strip is composed of a few scenes, one next to the other, so there are no problems understanding the reading sequence. However, it is not so evident while reading the panel page, especially if one changes the rules that define the boxes and adopt a freer graphic.

The reading direction goes from top-left to bottom-right. In Japan, it is usual to print comic books backward, so they have a reverse reading sequence, i.e., from right to left and up to down.

Even if there seem to be no possibly mistakes, it may be challenging to understand which part should be read first, due to a complex distribution of spaces. The rule in Western reading is always to read first what is on the left. The mangaka must observe this rule.

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3.2 Speech balloons and lettering The same rules regarding the direction of reading also apply to the speech balloons, whose arrangement in the scene must be respected, from top left to bottom right, and vice versa, if you want to adopt the Japanese style of reading. Other rules that make the reading simpler are those relating to the edges of the speech bal-

loons and the font’s size and the line spacing. Calculate from 4 to 5 mm of space above and below to the side to stay far away from the edge. This space may increase if the text is short, and we do not recommend to decrease it. The text should have a legible font. If using handwriting, it is reasonable to make some experience with lettering. In contrast, if using digital lettering, it is all easier, but be careful to choose a readable and clear font. Try to vary the font size and use bold if you want to emphasize a word. Drawing letters on a text is called lettering. Handwriting

Digital

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There are also text outside of the speech balloons. They are mostly comments, further descriptions, and tips to better understand the scene.

Finally, we find the onomatopoeic words, which reproduce sounds of animals and objects, such as the slamming of a door (SLAM, THUMP, etc.) or shortness of breath (PANT PANT).

These words enrich the panels of meaning. What into a movie is added by sound, in Manga is added by onomatopoeic words, which assist the visual effect with sound’s information.

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Besides decorations, backgrounds, and effects, kinetic lines play an important role. These are lines reproduce the trail left by an object in motion. They are adequate to give dynamism to the scenes and to help the readers to understand events.

To emphasize the scene’s dynamics, distribute them over the background, as in the figure beside.

From “Rollersky” and “Bianca”, Novella

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4. Screenplay and narration 4.1 Creating a subject Unless you follow an already written screenplay, you should write the story’s subject before starting to draw. If you do not like to write, we still recommend drafting a series of the plot’s key events. Then think if there are contradictory facts and details that are hard to understand or unnecessary to develop the story. Also, pay attention to the  timeline and make sure that references to events or elements of the story follow a correct time sequence. Focus on characterization  and give your characters different personalities. Put a lot of care and work to write the  beginning  (or incipit), as well as the end, deserves special attention. The beginning is not only the part through which the readers decide to continue or not. It also lies down the foundation from which the events will develop, creates a first impression of the world in which the characters will live, and the story will take place. The end, instead, is the last impression left to the readers. Indeed, the audience remembers many works thanks to remarkable solutions or unexpected endings. However, it is appropriate to give an extra kick to this part, whether it is a real closure or an open ending.

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It is important to do a general study before drawing. Knowing how the story ends, even if not in detail, helps to be more consistent within the story and give it homogeneity. If you have a story written in detail (subject), then you have to make an  adaptation, i.e., adapt the subject to a script.

4.2 Screenplay: choice of scenes

Key scenes: You will have various possibilities while making a screenplay, so it is essential to choose what scenes will follow the narrative’s rhythm, i.e., the key scenes. In addition to technical attention to the drawing, it is workable to identify the important moments that determine the various dynamics to do good storytelling.

From “SeeCret” and “Bianca“, Novella

These choices may arise spontaneously during the drawing’s process. However, it is mandatory to review the work, assess whether the chosen scenes create the right narrative rhythm, and possibly make the required corrections. Indeed, it may happen that readers do not grasp the connection between two scenes or do not understand something because a vital detail is missing; the omission of essential elements may be a common mistake of those who already know the entire story.

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From “Bianca“, Novella

To avoid narrative errors, it is always appropriate to evaluate the work for those who do not know the story. Communication is the basis of an artist’s goal. Ensuring that those who benefit from the various artistic forms grasp their meaning, in the desired manner and timing, is a complex task that decrees the success of a work. This task is achievable keeping the narrative and graphic representation clear and consistent. Drawings must be clear and recognizable, not a tangle of lines; the strip and panel page must have an overall balance of chiaroscuro (or color). The basic elements of the scenes must be immediately identifiable, without confusion.

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4.3 Narrative techniques The narrative techniques are endless. To get an idea of what a narrative technique is, and to be able to develop a personal one, it is convenient to make some examples. There are various ways to introduce a situation, such as shot a character with nothing to do with the event itself. We could follow its movements until it brings us close to the event of interest. Then, the subject will change and become inherent to the story (as in the page below).

From “Bianca“, Novella

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Another technique is to start the story in Medias Res, that is, in the middle of a relevant event such as ongoing gunfire. Another example would be to draw disconnected situations and then put the pieces together later. There is not just one way to present the facts, and the important thing is to do it in an exciting way to encourage readers to continue. A fundamental element that modulates the dynamics of the narrative is the rhythm. The previous examples, about the character that introduces the readers to the story, and the one about the gunfire, have a very different rhythm. In the first case, the rhythm is slow; in the second case, the rhythm is extremely fast because it is in the middle of an action. The narration is composed of a mix of scenes, shots, dialogues and rhythm (slow, fast, alternating) chosen by the artist.

Of course, a slow narrative or a fast one would be boring or make the readers anxious. In any case, it would be flat. Usually, slow moments are the most descriptive and reflective, while speed is a characteristic of action-filled moments. All these are ingredients that well mixed together help to make a rich and complete work.

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5. Panel page construction Switch to pencil drawing if you have a general script or trace. At this stage, the panel page is a draft, and if something does not make come up as wished, it is still possible to make variations. Once decided the shots, check if the sequence of scenes is correct. In the draft phase, it is necessary to draw the speech balloons, positioning them so that the sense of reading follows the right rules. Consider the study of dialogue in advance; otherwise, it will be impossible to insert dialogue into a finished page or, maybe, there will not be enough space to write all the text inside the speech balloons. An artist does not write the text directly on the page, but it handy to have it in a draft to calculate the space of the speech balloons. After that, the dialogues will be added digitally or on an acetate. Once defined the draft, is the time to ink. Use the desired technique to ink, modulating the stroke to “detach” the characters from the backgrounds or insert details. At this stage, ink the kinetic lines, fill in some black parts (image above), and the backgrounds if present.

From “Rollersky“, Novella

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To complete the panel page, use filling techniques such as manual or digital halftoning. The important thing is to respect the shading to give depth to the drawings and balancing light and dark tones (manual 2). The panel page has a delicate and essential halftoning in  shōjo  and a bit stronger one in the shōnen (but there are exceptions). The result should be simple and not chaotic, although it depends in part on personal style. In Manga style, black is little used in comparison to the Italian genre, however inserting shading parts in black, without exaggeration, is a common technique. Concerning halftoning, choose quite homogeneous textures and different tones to detach the backgrounds from the characters. The halftone screens should fit together exactly as colors in a palette do. Halftoning could be very simple if one makes a detailed inking with stroke variations, black backgrounds, and hatchings. It is preferable not to weigh down a detailed drawing with heavy halftoning. If, on the other hand, inking is simple, it is possible to give more importance to halftoning techniques.

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6. Cover’s study 6.1 The cover The cover will be the “business card” of the product (the comics) and generally consists of an illustration and the title: together, they stimulate the readers’ first impression. “Reading” images is faster, while words require a new mental process, resulting in less direct evocation of concepts. It is also true that the attention falls on the title or the image according to the product; in Manga, the first element evaluated is the image. The cover presenting the work is undoubtedly fundamental because the attention will fall on what stands out and strikes, meeting the observer’s taste. Once the story is appreciated, the cover will lose its primary role. Bearing in mind that the first judgment is prompted by the illustration and by what the title evokes, it is worth devoting time to making a good cover when presenting a unknown author’s creation. Usually, it is not hard for an artist to find an idea of what he wants to represent, but be careful not to choose too fast. Illustration, if desired, can create an expectation, or convey the general sense of the story; however, there is no precise rule. The title is no less important than the cover as the written communication is complementary to the image. It is the first read thing if we have captured the attention. Or, otherwise, will be the last. So spending time looking for the right title is a commitment that will certainly pay off.

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6.2 Marketing mentions When you have to create an attractive image to an audience, it is inevitably to falls into the concept of “selling” and then in marketing.  Marketing is the totality of those strategies that allow a product to reach the readers (target), meet them taste, stimulate, and interest them enough to push them buying a product. This process synthesized in this way is, in reality, something very complicated that requires several professional figures and a very high economic commitment to achieve results. However, for those who do not know the basic notions directed to satisfy a target, we propose here some strategies and tricks that will undoubtedly be useful and will bring the work concerning the cover to a more professional level from a business perspective. The elements that the artist thinks make the story particular, unique, different from others, are worth representing in a cover. One aspect to exploit could be an anticipation that creates interest or a mysterious detail that stimulates curiosity. It is not necessary to understand the plot from the initial illustration: what should emerge is the nature and atmosphere of the story (shapes, perspectives, colors, backgrounds...). Another important thing to keep in mind is the reader model category, i.e., the most suitable reader for your kind of story (age group, male, female, or both, fan of a specific genre or not). Then ask yourself simple questions by putting yourself into readers’ shoes:  - what would a reader expect to find on the cover to get the correct impression of the product? - what does that reader like to read? (consider to mention it on the cover). - what is the element that would stimulate the purchase in a potential buyer? This last question is perhaps the most important. You will get an idea about the cover’s creation and, along with it, you will implement elements obtained from the target audience.

Before making the cover, consider these elements, choose them, and mix them to get a well-structured starting idea.

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The study concerning the title, as for the images, will focus on your creation’s particular, unique elements, style, nature, and atmosphere. Above all, examine why a reader should buy your comic book. The reason why a reader should buy your comic book: During the reading, drawings usually shift in the background, even if many people choose a comic strip for them. However, not all those who buy a comic book choose it according to the drawing’s style. The reason you buy it is not about the comic strips’ basic characteristics (be beautiful, interesting, well-drawn, and so forth) but in those characteristics that make it unique. For example, a story presented in an innovative way, characters never seen before, etc... Of course, you cannot be sure that what you think is “new” does not already exist, and it is not even easy to find the element that makes your comic different from the others. Even if the task seems hard, just trying to resolve it brings results. Indeed, the study helps to find the perfect mix of isolated keywords and image idea that only you can offer. So, if readers wish to know more, intrigued by this mix, they can find only in your work the answer to their interest, and they will buy your comic book.

The last significant element is the personal art of creating a drawing, which is certainly not lacking in a mangaka. After thinking about it and getting the information you need (keywords for the title, idea of the elements that will build up the image), you can start working and realize a fundamental part of your piece, your story’s “business card”.

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7. Terminology 7.1 Technical Glossary Adaptation: the process that creates the screenplay from a subject, a novel, etc. Angle: way to observe a scene with a particular point of view. Anime: word belonging to the manga world concerning animation. Backlight: subject represented with light behind it. It highlights the figure. Caption: description generally placed next to the scene, strip, or panel page. Cartoon: made up of scenes, pictures. Generally, it describes a comic moment in a single box and no other scenes will follow it. Cartoonist: who only draws on other people’s scripts. Close up: shot up to chest height. Comic book creator: is an artist capable of representing the story by taking care of all the phases of the realization, including scripts. Comic book: single booklet generally belonging to a series and made up of a self-contained story or an episode of a series. Comics: term related to the American comic genre. Composite Shot: co-presence in a scene of different framing. Cowboy Shot: framing the character up to his knees. Daily strip: strips generally published in magazines or newspapers, self-contained, or serialized. Depth of field: in the comic, depth of the scene. Detail: framing that highlights a feature, such as a part of the face, the characteristic of an object, etc. Editing: a sequence of scenes from a panel page or the panel pages themselves. It concerns the development and the plot’s dynamics. It represents the way the story should be written, according to the timeline. It may happen to modify the sequence after the first phase of drawing with cut and paste. Effect light: light coming from behind and highlighting the contour of the figure by detaching it from the background; much more accentuated effect than backlighting.

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Episode: beginning and conclusion of an event told regardless of the number of panel pages needed. Extreme Close-up: shot of the face. Extreme Long Shot: the shot of an environment where the characters leave the protagonist’s role to the background. Flash-back: narrative technique through which you represent a past sequence, not a contemporary one (a memory). Flash-forward: a narrative technique representing a future sequence, not a contemporary one (a desire, an imagined scene). Foreshortening: visual effect, determined by the perspective, in which the distant part appears shorter. Format: the size of the narration’s page. Front light: light coming from the front. Full Shot: when the character is fully shot. Genre: term indicating various categories of comics classified according to their contents. Inking: outlining a pencil drawing with India ink (paintbrush, nib, specific tools), with ink (pen stroke, markers), and fill in the black areas and hatchings. Insert: shot that highlights a detail, such as a part of the face, the characteristic of an object, etc. Layout: layout of scenes, strips, or panel pages according to a graphic order within the format. Letterer: who makes the lettering. Lettering: the way to write graphic parts of the text. Light from below: light coming from below. Long Shot: a shot including a space that fades away in depth. Manga: Japanese comics. Mangaka: manga artist. Medium Shot: it is a shot that emphasizes the character without extracting him/her from the background. Narrative: is the way to tell a story, the sequence of graphic choices according to a temporal

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trend that may not be linear. Natural Light or sunlight: natural light from an outdoor environment. Onomatopoeia: the word that reproduces a sound, necessary in comic books. Overview: the shot of a room with a 360° rotating movement, represented by a succession of scenes in a comic strip. Panel page: page in which the scenes are respecting a sequential and reading order. The panel page can be self-contained or represent facts that do not necessarily coincide with its graphic borders, as it happens in the strip. Plan: a term used to indicate the shot, which is more or less close to an element. Reverse shot: scene represented with an opposite view to the previous one. Scene: in the comic strip is equivalent to the unit, i.e., the number of boxes composing strips or panel pages. Screenplay: a textual description of what is to be drawn and written divided into scenes whose setting, shot, angle, dialogues and details are useful for graphic representation are specified. Self-contained: a story that begins and ends within the limits of a narrative format. Sequence: narrative core composed of several scenes linked by a logical and temporal line. Serial: the opposite of the concept of self-contained. Series: serial comic books. Setting: the real or abstract environment behind the characters. Setting: where the story takes place, and it appears in a sequence of scenes. Shot: visual space captured in the frame. Sidelight: light coming from one side. Special effects: it is a cinematic term, but in comics, it indicates those effects useful to the story, representing it with more atmosphere. Speech Balloon: blank space reserved for texts. Storyline: in comics, it is the development of the actions in chronological succession. Strip: a sequence of scenes arranged horizontally without any continuation at the bottom. It contains an event, generally comic, within the beginning and end of the format.

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Subject: the textual version of the story. It describes the plot, the characterization, places, and essential facts that justify the development. The screenplay develops from the subject through the adaptation process. Text: letters on the speech balloons. Text helps the plot reveal itself, along with the drawings. Unreal light: light that draws shadows and strange shapes, giving the environment an artificial characteristic. Very Long Shot: wide shot of the space in which the characters move. Writer: who creates the subject.

7.2 Abbreviations of screenplay’s shots Ang. 3/4: type of angle in which one half of the figure undergoes foreshortening. CC: Composite Field. CS: Cowboy Shot. CU: Close Up. DD: Detail whose contours may be out of the box to such an extent that its identification is ambiguous. ECU: Extreme Close Up. ELS: Extreme Long Shot. FS: Full Shot. High Angle or Low Angle: Angle’s view from below or above, or combined with 3/4. IS: Insert Shot, with highlighted details. LS: Long Shot. MS: Medium Shot. VLS: Very Long Shot.

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This manual contains books of Manga’s series “Techniques Manual with Novella Manga Artist’s style”. Complete artistic path for designer and cartoonist.

FIRST SECTION, LEARN TO DRAW First section materials 1. Introduction to drawing Drawing Differences between Realistic, American, Comics and Manga Introduction to Manga drawing 2. Drawing fundamentals Volumes’ three-dimensionality The perspective Manga proportions Eyes Face elements The face Drawing different ages Face Perspective Hairstyles Expressions 3. The Body Body volumes and manga proportions The male body The female body Body volumes in perspective 4. Hands and feet The hand The foot 5. The deformed style 6. The harmony of movement 7. Drapery: drawing clothes

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SECOND SECTION, INKING AND COLORING

THIRD SECTION, COMICS

Second section materials

Third section materials

1. Inking the drawing Inking Shadow’s study

1. Manga, the Japanese comics Introduction to comics

2. Fillings Chiaroscuro Hatching Halftoning Filling effects Coloring: the pantone

2. Formats Strips Panel pages 3. Panel pages elements Panels and scenes Speech balloons and lettering 4. Screenplay and narration Creating a subject Screenplay: choice of scenes Narrative techniques 5. Panel page construction 6. Cover’s study The cover Marketing mentions 7. Terminology Technical Glossary Abbreviations of screenplay’s shots

GEM Design GRAPHIC & MANGA ACADEMY The manual was created by collecting the techniques proposed in the school’s courses. After years of teaching and experience in transferring notions, we elaborated and simplified the methods for learning manga drawing according to the artist’s style.

Follow NOVELLA MANGA ARTIST

For informations and contacts: www.facebook.com/novellamanga

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Text: G&M Design, copywriting

Translation: Silvia Coppola, translator

Technique: Novella Bardelli, artist and teacher

Text’s editing: Silvia Coppola, editing

Drawings: Novella Bardelli, artist and teacher Layout: G&M Design, graphics Marketing: Alex Gambini, social media marketing All graphic productions and texts (with the exception of the third section materials’ photos, Glossary and Terminology which present contents copyright-free) in the manual are original and owned by G&M Design. Their distribution, reproduction, use for unauthorized commercial products, application of unauthorized logos and other non-legal uses are forbidden.

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