• Author / Uploaded
• Ronald Meza Puentes

• Categories
• Adobe Photoshop
• Manga
• Escritura
• Diseño de comunicacion
• Medios de arte

Citation preview

CONTENTS INTROOUCTION

MANGA GALLERY

6

8

MANGA FOR BEGINNERS

26

CHARACTER CREATION

60

MANGA S TYLE

92

FANTASY AND SCI-FI

138

COMIC PANELS

188

INTRODUCTION ango is undoubtedly one of the most popular and mimicked art forms of modern times. It's success lies in its accessible style, which seems to galvanize artists around the world to pick up a pencil and starl drawing shapes from simple line drawin9s through to fully- Hedged images. There ore, however, many debates surrounding mango. Some argue that true manga can only be created by Japonese artists in Japon. Others perhaps ill at ease with its popularity - beli»le the artwork as being li9ht on substance. Here, in this book, we proudly celebrate the enduring international appeal of manga and the way in which it encourages new generations of artists to put pen to paper and begin creating their own art. Whether you're just starting out in mang a or need to brush up on your skills, we've brought together some of the world's best commercial mango artists and illustrators to share their secrets and show you how to design characters, point in a variety of styles and create both stunning illustrations and comic book poges. To kick things off we'll show you a handpicked gallery 01 mouth-watering manga art. Here you'll find out more about our delectable cover star Pepper, created by Stanley Lau. What started out as an exercise in character design for him soon became a global phenomenon. Find out more about Stanley on poge 19. In our beginner's chapter we'll get you heading on the right poth to creating faces and reveal expert advice on starting out in mango creation. If you're looking to discover your own style, from poge 92 onwards you'll be inspired by the unique ways you can draw manga. Or, if you're a fan of sequential art, you won't want to miss Jamie McKelvie's masterdass on how to design the perfect comic poge in on poge 198. Throughout this book you'll find advice, help and insight from professional artists. If you enjoy this edition, you can also try out the others books available in this series, Fantasy Workshop and Fantasy Creatures. Happy painting!

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cft;rire HUWieff, E.titTJr, ( i1'V'r.3 i,Y1-tF X rrvyr;r.z./;� Introduction

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IITIIT 1&1 How do I achieve that Japanese, woodblock print inspired look in my artw

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' I w n . ,w" cerloin elements thot make them very distinct. Besides the obvious unique drawing style, the ukiyo-e print possesses very fine line work, beautiful texture and an application of Rot, washed-out pigment. It's these things I'll pay special ottenlioo to. When I creote the line art for the characters, I always keep cleanliness and finesse in mind. I'm always poying $peCicl attention to keep the lines fine and Rowing, while at the some time making sure to ovoid any random sketchiness, which would ultimately detract from the desired look and feel of the illustration. Upon scanning the completed drawing into Photoshop, I proceed 10 cleon up the linework, and then colourise it, using Hue/Saturation. Next, I move on to texture and colour. For texture WOf"k, I tend to do two things, the �rsl being the use of custom patterns, !oUCh as those found in the background and on the characters. I u�ually create these Japanese-inspired pattern� by either using Photoshap or Illustrator, depending on the complexity of the pattern. The second way to generate texture is through the mixing and overlaying of voriou� photographic imagery. For example, I may mix up 0 photo of wolercoiour paper, a cracked, coocrete �urfoce, ink splashes and some plaster to create a somewhat vintage paper feel. Finally, I'll apply a palette of colours in pastel tonolitie�. I find that these u�uolly work best when trying to mimic a bit of that ukiyo-e look. To.o: I oppIy IEu