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    Manga in its present form has existed for over fifty years. ~ but the origins of Japanese sequential art date back to Ukiyo-E a11 from the nineteenth centuty. Hokusai, a famous Ukiyo-E artist, is generally credited with coining the term manga meaning literally "irresponsible pictures". The development and social acceptance of mass-produced artwork and sequential .vt in the early twentieth century. combined with influences from Europmn and American strip-panel comics. evolved into wlktl is now commonly known as manga.

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    Manga in its present form has existed for over fifty years. ~ but the origins of Japanese sequential art date back to Ukiyo-E a11 from the nineteenth centuty. Hokusai, a famous Ukiyo-E artist, is generally credited with coining the term manga meaning literally "irresponsible pictures". The development and social acceptance of mass-produced artwork and sequential .vt in the early twentieth century. combined with influences from Europmn and American strip-panel comics. evolved into wlktl is now commonly known as manga.

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as PDF, TXT or read online from Scribd
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    3K views130 pages

    Digital Manga Techniques

    Uploaded by

    Nghĩa Zer
    Manga in its present form has existed for over fifty years. ~ but the origins of Japanese sequential art date back to Ukiyo-E a11 from the nineteenth centuty. Hokusai, a famous Ukiyo-E artist, is generally credited with coining the term manga meaning literally "irresponsible pictures". The development and social acceptance of mass-produced artwork and sequential .vt in the early twentieth century. combined with influences from Europmn and American strip-panel comics. evolved into wlktl is now commonly known as manga.

    Copyright:

    Attribution Non-Commercial (BY-NC)
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    of 130

    DIGITAL

    MANGA
    Techniques
    - .
    . . . '

    ' ....

    ' ...... .

    ' ...... .

    ' . . . . . . . . . .

    ' . . . . . . . . . . .

    ' . . . . . . . . . . . . . . . .

    ' , .......... .














    , . . . . . . . . .







































    ..







    . . . . . - ..
    . . . . . . . .. .






    Digital
    Manga
    Techniques
    CREATE SUPERB-QUALITY
    f\llANGA ARTWORK
    ON YOUR COMPUTER
    HAYDEN SCOTT-BARON
    A QUARTO BOOK
    C.opynght tJ 2005 Quarto Publishing pic
    hy New Flurlington Books
    6 Blundell Slreel
    London N7 9BH
    All reservec1 No pilrt of this book may be
    rcrmdured in any torm. by photostat. microfilm.
    xeroqraphy. or any otl1er means. or incorporated into any
    Information retrieval system, electronic or mech,mic.-11,
    Without the wntten permission of the copyright owner.
    ISI:lN: 978- 1-84566- 173- 1
    Concervf'(J, ilnd produced by
    Ouilrto Publfshrng pic
    The Old Brewery
    6 Blundell Street
    London N7 9BH

    r'roJetl edrtur Liz Pasfield
    ArT cc1iror Annrt Knight
    drl direttur Penny Cobb
    Copy edrtor Chris Middleton
    Karin Sk:tnberg
    Hayden Scott-Baron, Selrna Dean,
    Wrtnon
    lrtdexer Pdmela Ellis
    1\rt cJrr ettor Moira Clinch
    PAul Carslake
    ManutJctured by Provision Pte Ltd, Singapore
    I 'llnle(l IJy Star Standard Pte Ltd, Singapore

    Contents
    Introduction 6
    CHAPTER ONE
    Analysis of style 8
    CHAPTER TWO
    Character creation 22
    CHAPTER THREE
    Digital foundations 44
    CHAPTER FOUR
    Digital techniques: line art 54
    CHAPTER FIVE
    Digital techniques: colouring,
    screentone, and effects 64
    CHAPTER SIX
    Creating pages 1 oo
    Resources 124
    Index and credits 126
    "t' Line art styles
    Uelicate and mtnimal
    1 of line <trl
    1 rrpltHt '\ , 1 r l kll/11
    ell ill CJidU'. kt'C:'!Jilllj
    rile focus on
    the
    lru:'m;elve;_
    Introduction
    ea.
    Manga in its present form has existed for over fifty years.
    but the origins of Japanese sequential art date back to Ukiyo-E
    a11 from the nineteenth centuty. Hokusai, a famous Ukiyo-E
    artist, is generally credited with coining the term manga
    meaning literally "irresponsible pictures". The development and
    social acceptance of mass-produced artwork and sequential
    .vt in the early twentieth century. combined with influences
    from Europmn and American strip-panel comics. evolved into
    wlktl is now commonly known as manga.
    Manga has grown and developed as an art form
    considerably over half a century in Japan. and has also enjoyed popularity in the West
    tor almost llalf of tllis time. Tile acceptance of the manga style and its iconic imagery
    into a modern subculture as well as mainstream entertai nment has emphasized its
    place on tile world stage. New generations have grown up with manga
    il5 c:1 m<'Jjor artistic influence. through cartoons, video games and the
    popularity of printed manga. There:S little wonder. then. that so many
    Western artists are creating great work with the manga aesthetic!
    TilE DIGITAL WORLD
    The advent of the digital age has made a huge difference to the world
    of manga. The lntemet allows attists to share their finished creations
    with a huge audience instantaneously, and to
    receive feedback and advice from others.
    Ar rile silme time. the Internet lets artists
    li ke you see plenty of artwork and get
    exposecl to a wealth of different manga
    styles - any or all of wllich can be incorporated
    into your own style if you see fit.
    Alongside the widespread popularity of the Internet, home

    computers have become much more powerful. Previously
    specialist tools such as flatbed scanners and graphics tablets
    have become both commonplace and very afFordable. By
    getting familiar with the software and techniques available
    to them. everyone now has the opportunity to produce
    professional-quality artwork.
    A LEARNING EXPERIENCE
    This book will break down some of the difFerent styles
    and genres of manga, explaining the subtleties of
    the styles. so that you can work towards finding
    a look and a theme that suits your tastes. By
    understanding the focus of the art style and
    Colourful
    cbaracters
    5c-:cigirl characters
    _ ::r...pular in manga


    fOUthful

    INTRODUCTI ON 7
    the distinctive visual techniques. you can begin to develop your artwork in a
    way that suits you - and with confidence!
    Whether you wish to work on single illustrations or go a step further and
    create your own manga-style comics, this book wi ll guide you through the
    process. Methods of character design and applied
    <>
    L will help you to see the possibilities of the medium. rtnd
    . the sections on story will help you give your characters a
    believable life all of their own.
    Everything from advice on creating
    a world for your characters to
    choosi ng how to dress them
    wi ll help you develop your own
    cool and stylish manga characters.
    A LIFE OF MANGA
    0
    Producing manga over the years has
    afforded me no end of happiness. with
    each picture representing a minor personal
    victory. The endless range of styles and subject
    matter has enabled me to skip between mature and
    realistic drama to cute and happy illustrations easily and
    0 comfortably, instilling me with a certainty that I can apply
    my skills to whatever suits me at the time. The experience
    of seeing a project through from the early pencil strokes
    of a character design to the completed story in print is
    incredibly satisfying. Theresa lot of hard work
    involved - but its that hard work that lets you
    know that what you've produced is the very best
    you can manage. I look forward to developing
    my skills further and to working on more comic
    projects over the coming years .
    ... Costume
    influences
    In manga. costumes
    are often elaborate
    or outlandish. with a
    mixture of street
    styles and military
    and naditional
    influences.

    /
    /
    The word manga literally :translates as . ;> . /"
    "conlics ': but has come tQ refer to a specific .=:. /
    . . . "': .
    0lS1nY ... _ .. :- . ..
    rllanga .. ::< ./.: .. :
    ic1cntify our work/ .::.
    7
    _ .. _; .: .. =
    . .. :
    flJ What is manga? 1 o
    . .. .... ; . : ;. .i > .
    Shoujo. 1 : . . :.
    i ro. :
    . .
    and science 1 ...
    :::. ;/ {.: ;'uO;" I:
    Come.dy 20 : :_<. .' .. .-._; .: . :
    . ..
    . .... . .. . .-
    ' ..

    10 ANALYSIS Or STYLE
    at is manga?
    Although to non-expert Western eyes the term
    manga might conjure up a single graphic style, it
    simply refers to Japanese comic art and to the
    comics However, despite there being
    many differPnt visual styles in Japanese comics,
    U1ere (:lre some underlying elements that represent
    J shared aesthetic, giving the medium a distinct
    visual edge.
    )tylization is probably Lhe mosl significant recurring element
    ot manga artwork. The d ldrdcters are realized with stylish
    yet clean and con.si\ltJnl visuet ls that concentrate on the
    c. haracters charm and expressiveness.
    Minimalism is another readily
    of almost all forms of
    rlldrl Ji 1. One ot the most
    irnport;mt of the

    when working on

    1111 rmati ons. is
    reitll7lng thnt ynu
    dun'L ll.ive to every detail -
    you cdn ;Khieve il (jre<Jter effect through the power of
    1. A exilmf11E' would be to look at the
    noses of manga characters: you'll notice some artists,
    when <irilwing at certain angles, don'L drdw the nose at all.
    The JC'ddi..'J by this, and the image remains
    clc:dn. 1l drJd rrun1mal.
    Analysrng many of the common
    d ements uf rrkJngd wrll help you
    "flfXCciatc the nuances of lhe art
    torm, and ilpply rhrm ro your
    See also Planning your pages, pages I 02- 1 03
    VISUAL GRAMMAR
    Colourful
    characte rs
    Vibrant colours and
    the frog-themed
    clothing reflect
    this characters
    cheerful nature.
    Manga artists often use varieties of visual
    shorthand to tell readers what they need to
    know about a characters emotions without
    the need for exposition, explanatory dialogue
    and lots of extraneous panels. Using such
    graphic devices lets the artist retain the all-
    important simplicity of expression that is a
    hallmark of manga style. These techniques
    are also useful as comedic devices when
    using hyperstylization {see Comedy,
    pages 20- 21).
    SAMPLE COMIC BOOK PAGE
    t . This panel is small.
    with dynamic cropping.
    It gives the impression of
    viewing the scene from
    a distance before leading
    into a much closer view.
    3. Using a distant
    camera". its possible to
    show all the characters
    in the scene at once.
    Irrelevant derails such as
    facial features are
    removed from this image
    as a means of focusing
    the readers attention on
    body language.
    s. The hand is shown
    .vith sparkles of
    screentone effects [see
    oage 94). implying an
    emotional response to
    whatever is said.

    Beads of sweat
    Oo

    Bubbles
    Embarrassment. above head
    nerves, drscomfort Drunk

    '00
    f Q
    Sparkles Pounding vein
    Extreme happrness in Angry
    romancrc Situations
    6 . Using d simple trick. the moved
    hand to open the cupboard. The position of the
    previous panel the is altdCI1et1 to
    this person. but it nuidly leads into a different action.

    Mushroom cloud Vertical lines Bubble from nose
    Sigh of relief Sllocked Sleeping


    Scribble cloud Chick on head Spiral/helix
    Very <mgry Innocence Dizzy
    WHAT IS MANGA? 11
    2. HyperstyllZation
    t e to
    me
    in the t;:Ke ot the boy .Jt
    the bJck ot the scene.
    c,uccnlor l<' c llcc I\
    (sec puqcs I 06 I 07).
    I tw c llnl 11"1 111 lronl i\
    dramJtiC.:llly lit. Tl1e
    pdr 11.:: 1 cunlir lUI.:::, ull t1 11.::
    Jkl(_Jt" 10 ri<Ji llh,Jrul
    r.irlf', oivlno lr .1 m1 1rh
    gn?.:Jtcr fOCli S ti1Jil liSllJI
    cli1U 111iplyu 1q ll
    ( 'Vl'l l I IICJlC' II llrlC/C'
    beyond the P.rlge
    uf till: !Jd<.JC.
    4. The ch:.1rKrer is
    prt '\('11/( 'I I rl(JrlH 1\l rl
    wi1Jit
    brxkground with no
    suggestion of
    bnckqround derail.
    This allows the re.Jdcr
    to tows on the
    charJcter. while also
    lhill tht'
    other d k11 ..-iller .:11 e
    tocusing their Jttcntion
    o r 1 the lll<lkllll'J too
    Ghost leaving
    nose
    Omd

    Hearts

    Hair bristling
    in love
    Annoyancl:!. irritation
    +b
    12 ANALYSIS OF STYLE

    UJO
    Unlike the comics industry in most Western countries today,
    Japan otters a broad and rich vari ety of comics designed
    srP.ci0cdlly For a femal e audience, and has done so
    Lhrougllout tile r1i sLory of manga.
    S!?OLljO is t11e Jrtp.-mese word for "girl", so shoujo manga
    to the comics produced in Japan specifically for
    girl\ . A\ a demographic tenn, shoujo strictly a
    genre. but by exremion it does refer to the styles
    ot artwur k userJ to ilJlpcal to female readers.
    Almost exclusivPiy lhese comics are written and
    c1r;,wn by c:tnc.J offer i1 visual style serving
    stones tlrat Focus un the emotions of
    lllf' r h<irdctcrs.
    Wi tlr its on relationships and
    emoliuml struggle. the style lends itself to
    rorrrc:tnce storylrnes. but also to a huge
    numiJer or deillinq witlr more
    m mplex and mdture plots. As i1
    result, embraces
    cvcrytlring from chilcJhQOd dreams and
    flutty ilnimals to violer 1l.
    apocalyptic dJdllld, but e.lch srory is captured with the
    r re deydnce, and rapturous charm
    wrth mangd.
    Shoujo characteristics
    I hrrr many Llldt c:tcteristrc elements of slloujo dt twork.
    nri1r,lctcr s Lencl to Lle drilwn with tall and slender
    WhiCh brrng ro mind European rastliun
    illu.mminn rllltl Mule ar e often
    clrdwn With sofT ilfl(1 rlrgant fedlures. creating a slightly
    yet look.
    Line .:m rn mure delicate than other mangn
    will1 ttun 11nes and long, flowing strokes.
    rlSide. abstrcJCtion JlOSSibly the most
    rc-mllrkablc trdil of iJrtwork. where it is
    cornrnon ror ; trtim to represent the emot1on. beauty
    r1nd significc:tnce of iJ scene with almost dreamlike
    VISUal tlourislles. Flowers. sparkles, feathers and
    wisps are superimposed the image,
    and tire or characters shine so brightly
    that tl1ey can be seen through the hair
    draped over them.
    alSO Costume design, pages 40-41 )
    Shoujo details
    Hair is captured with delicate curls and
    perfect grooming. and the clothi ng has an
    attention to detail and a fashion
    consciousness that is unsurpassed.
    Representation of children
    In comics For young girls. children are
    represented with large eyes and a delicate
    manner. with sparkles and flowers signifying
    happiness and beauty.
    Shoujo: classic and modern
    The style of line art and illustration has
    developed and matured throughout the
    history of shoujo comics. w ith modern titles
    toning down many oF the most
    notable traits. Eyes are less
    sparkly, yet often
    drawn even larger to
    ::ompensate. Faces
    are more defined
    and less "flat"
    chan in older
    .?rtwork. but still
    emain minimal
    and elegant.
    O..sslc shoujo
    SHOUJO 13
    SHOUJO ICONOGRAPHY
    Abstract images are used heavily in shoujo-style artwork as a means of
    communicating emotions beyond what is literally presented. They can also
    help represent how a character is interpreted by other characters.
    t
    Flowers
    Flowers are a classic
    metaphor for beauty.
    romance and the
    blossoming of hope
    and potential. The use
    of flowers around
    characters ernph..t\1/f:'S
    their charm and
    splendour. and often
    the way other
    characters interpret
    tllem.
    0
    sp ... rklt!s of light
    LJ4I1l klu1y trll<l
    rPtiPrting rhroLrghout J
    Kt:llt: (jiVl'\ ill(' 1(1 Ill
    Pxrr.-r rlrmPminn nf
    bcJuty .:md
    ir I 1111\ 1\ CJM'Il
    grParer emorlonJI lmpJct
    cl11U UC!Jlll I.Jy ur ,rwiiUJ
    or st.:lrs In the
    l<ll(j!' I'Yl'\
    to represent hope.
    I r-rpp1111 '\\ or IC111(JIIl(J
    o C9 o"'
    0
    0
    __
    '>f11111!J r htmy blossoms.
    ou /)
    0
    kllCIWil .-!\ 1.-lkt 11.-1 Ill
    (_/ Jtrptlll, \Yillllulitt '
    sprinqlimc rum,ult t',
    whereJs the fillling of
    blossoms R'pr r1h lin
    ('110 of 10111rlllll', Of
    t Vl.!ll Ut'dtll
    rrliltr ro
    n of
    i'lnd i'lngC'I whirh
    in shoujo onen
    rrrrcscnt pure and Idyllic
    rlcoq;rnce. With a
    suggestion ot mortality.
    Ch..lldCII:'I\ \llrlCllJrldC'cJ tly
    feathers arc often serious,
    rnel,mctroly or unf,mly
    mrsunderstood.

    14 "9 t\NALYSIS OF SIYLE
    f Q
    unen
    The ll rsL rnanga stories were targeted at boys. So wllat are
    tile key elements of artwork designed to appeal to a young
    rrlc:ile Cll!Uierlce, 2llld rlOW do you produce it yourself?
    Shounen is Japanese word for "boy", and the term
    s11ounen manga refers w comics produced specifically for
    young mc1les. Most of first manga was written for boys.
    dn(i it wasn't until several years later tllat the medium
    developed to appeal to a wider audience.
    Mucl1 like st1oujo, sllounen isn't strictly a genre. The term
    ro ril e demogr.1phic. but it also describes tt1e styles of
    artwork used for these titles.
    The central role
    Central characters in st1ounen h1.1nga are almost .1lways
    male - female protagonists are granted masculine roles and
    u5tJ.illy wield qum i'lncJ kung fu skills. and wear tight outfits.
    t11crc v1c usually two types of male characters : tl1ose who
    Jrc painfully average. and tl1ose w t1o l1ave great skills.
    AlthotJqh r11c <;ki lled characters l1ave obvious heroic roles, its
    L11e un.'>kill ed ch;1r<Kters thi1t tend to offer the more
    intNc<;tinq storylines. A relatively ordinary male chordcter
    will be nung ir 1lu .::1 wur /c.J where t1e irnrnediatefy gr<:mted
    d beautifUl girl, rl gi<lnt robot tO pifOt
    or some torrn ot .lma7ino fiJtent power: Such tf1emes are
    common and effective forms of storytelling.
    Action in shounen
    1\ m .. aspect or shounen i:lrtwork is action nnd physici'lf
    movement. t:ven stones without dynnmic physicrll cvenrs
    / u t "prL''L'r lll'cl w1lt 1 c.Jr drTkltll c.urnpusitlons and a moving
    "rnml'rrl". face connicl. be it physical or social.
    nn<i rill' c:cnrmf tnn ;<; nf manga is the desire to
    iKcompfish ,, goilf or overcome ll obstAcle. A1t ists also
    Jines" t.lmiiinr trom acrion comirs. even when a
    ct1amcrer IS Shocked or m represent an intense
    illl(J sudden emotion.
    .;:ee also Action, pages 1 8- 19
    )
    Themes
    Shounen has a generally
    grlllier luok - espeoally in
    and aggressive
    storylines Involving
    combat. mil1tary themes
    or mar 11al arts.
    Idealization
    In llkii!Yd. wum<-:11 c1re
    often presented in
    a typically
    m.'mner. With
    H11n waists and
    large chests.
    Lineweight
    Shouncn c1rtwork
    rends ro h<lve
    rnuth t1envier
    ul klng lt1an lhe
    <.:quJval<.:nt comrcs
    f01
    Man of action
    Generally male
    characters are drawn
    wrth realtsnc
    proportiOns. although
    their faces retain many
    of rhe d1slincuve
    features of mangil
    Shounen: classic and modern
    Shounen artwork has become more cleanly drawn
    over the years, with more angular features and
    larger eyes than were common in earlier examples
    of the form. In classic shouncn artwork. however.
    more hatching (shading buill up by layers of lines)
    Clnd additional lines were used to define folds,
    'lluscles and facial features. Older comics also featured
    ""'lale characters with large eyebrows and small eyes -
    c reference ro Japanese Kabuki theatre.
    SHOUNENICONOGRAPHY
    Mobile fortress
    Giant robots are a popular recurring
    theme 1n shounen manga, ortcn
    representing grcilt power granted to .:1
    young male character.
    "'he iconography and effects used in shounen manga are far less abstract than those 1n
    shoujo artwork. They are mostly associated with realistic or outrageous express1ons of
    such as fire, lightning or physical energy. Speed lines are also used to great effect
    accentuating this power and adding dynami sm to the overall image.
    Explosions
    are a simple form of
    tgery, yet also a hugely
    ecuve visual statement of
    .:.er and movement. By us1ng
    . e. small particles and p1eces
    clebns. you can g1ve an
    s1on real energy.
    Ughtning
    Ughtning and other sparks of
    energy can be literal or used
    purely for emouondl impact. as a
    v1sual metaphor for a characters
    rage or as an express1on of
    shock. for example.
    Speed lines
    Spec>d 11ncs ilrc used extensively
    in shouncn mangil to show
    speed bur also to express
    dynam1sm. even 1n scenes
    where emotions dre the
    rc"'ther lh<ln physic .. !l <lCtion
    SHOUNEN IS
    Hands on fire
    This is an extension of lighu1iny
    1magery and other
    represenrattons of ene1gy
    1eleo:1se. Showinq fire ,uounrl .1
    c.h.tr<tcter. or i1rounrl limbs .
    demonstrates where h1s power
    and strength lie.
    +a
    I 6 ANALYSIS or S I YLE
    Fantasy and
    fictio

    sc1ence
    r and science fiction are just as popular in
    Iapan as they are in til e West, yet familiar themes
    c.m: fillerecl through the manga aeslhetic to create
    artwork that is fresh and distinctive.
    M.1nga stones are full of fantastic images, portraying events that are
    unlike we see in everyday life. Any story that doesn't take
    pldr l" c1thcr on contemporary Eartt1 or at a predetermined point of
    IS <1 fantasy world. From Tolkienesque stones of dragons and
    ro ruturistic space rJdventures. worlds can breathe
    li fe .mcJ wonder intu d f!dding - sometimes literally-
    flllmhcr uimemton.
    Cha1 dLLers Ciln be hroughl from another world. but the world
    tllcy cor nl" from will define their person - and this needs to be
    expressed in your With consideration. it is
    to worlds that can be the basis for
    dr .:tmatic or epic storylines, or seNe as lavish backdrops
    to more tales.
    Look to the future
    Bold wlours ;md futur
    materials ddine the look of
    th1s space ranger.
    The interesting stranger
    A mntE>mporary cllardcter travels through a
    portal and up in a new world. ThiS
    < oulrl be through time trdVel. or something
    more AltE>rnatively. a cl1aracter
    rrorn il fantasy world comes 1nto the real
    world and l>efnends or interacts w1th the
    other characters. In both of these instances.
    till' characters dress and t1ppearance should
    reflect the world he or she comes from Th1s
    is i!lso a good example of n catalyst character
    (seC' Catalyst chdracters. pages 34-35).
    Elven beauty
    Traditional clothes
    and delicate
    features complete
    the look of this
    elven archer.
    Killing monsters
    Monsters m1ght take the form of evil
    tyrants or g1gantic sea creatures. for example
    If an entrty IS a large enough threat.
    gathenng the strength of one or more
    characters to overcome 1t can make for a
    compelling and thnlhng storyline. Th1s type of
    story applies equally well to different worlds
    and to different penods 1n ume.
    See also Creati ng a setting, pages 42-43
    FANTAS Y AND SCIENCE FICTION 17
    Traditional fantasy
    - ghly decorative
    :::esigns based on classic
    =-opean styles.
    OUests
    pursuit of someth1ng mystical. or a
    Magical worlds
    Your clli'ifilctel s Cdn
    ex1st in worlds of
    magic and mystery.
    Fantasy: classic and modern
    Many of classic fantasy and sci fi designs
    were heavily innuenced by Europmn. British ilnci
    American fantilsy anwo1 k. films dnd TV These
    images stuck closely to the barbarians. wizards and
    elf designs popular in tl1e West. Modern 1magery.
    however. often looks to f1nd irs own inspiration and
    crosses modern styles and fasl1ions with cii ffcrrnl
    styl es of clotlli ng From 11istory ancl diFferent cultural
    dress. This appli es equally to both futuristic and
    ancient characters.
    Modern styles
    Contemporary
    fash1on and
    design IS mixed
    with classic looks.
    ney ro k1ll a monster. can be a great way
    \ake characters through strange worlds
    6ld amaz1ng locanons. Quests have been
    al to legends for centuries. and they
    themselves particularly well to fantasy
    soence fict1on stones. because new
    onments are equally fascinating to the
    terers and to the reader
    DRAWING UPON REALITY
    There IS much 1n the real world that already
    borders on f<mtastic. so its often worth
    exploring the wonders of our world betore
    seeking 1mp1r<tt1on from elsewhere.
    Mdny .. classrc hrstoric.JI roles were dirlillt-'t/
    by therr envrronment .:md the society rl l ltlt-'
    trme. such .Js pir.Jtes and Wt-'l t:'
    s1mply 'j obs .. that reflected the needs of til e
    society rl l l hP t1me I or example. pirates were
    a comc(juPnr e of t11e mcreased trade in gold
    and luxury goods ovPr\Prt\
    these can be reworked into difftrt-'nl
    envrronments with interesting Cowl mys
    an(1 p1rates have otten been used in il sp,1r r
    fhght scenario.
    You may even choose to focus solely on 1 ht
    visu<t l s1de of th1ngs. and borrow styles and
    dcsigm from costumes to crearc your
    own unrque look. Try crossrng over tr<ldirionill
    styl es and desrgns to something
    Interesting. or mixing wit II
    modern and styli sh designs. You could cntl t Jfl
    w rth something re<JIIy cool and dislinclivP.
    Stories can .Jiso be set in the pt'riocJ in
    which you t.1ke iH1 interest. ilnd IJe erlher
    historically c:KlUi dle or Simply bUilt upon
    folklore This can g1ve you a nch and
    interesting environment to work w1th ils well
    as an established soc.ial structure, g1vmg you
    a perfect start1ng po1nt for a fantastic sel
    of characters.
    Hist oric influences
    A lUte mang;1 rPndirion of illl Jtl l-
    cenrury K.. 'lhukr ilrror frnm tilL' EdLJ j.)t'IIUcJ of
    Jap;mcse history.
    +b
    18 ANA l YSIS O F STYLE

    I On
    AltliOtJgli comics a slalic medium. it is possible
    Lo express great speed. swiftness and power
    cJyn.:mlic poses and attistic tli cks.
    Action stories are predominantly the mainstay of
    shouncn m;.tnga. but most comics have dramatic
    moments or emotional confrontations. The appropriate
    usc of action scenes can drive a story forward and
    11f'ighten tension and drama. setting a hero apart from
    nrher char.Jcters as he or she overcomes an adversary,
    or is defeated only l o rise again.
    Reach for the sky
    Jumping can be mildc morr
    t l yndrruL w1Lt1 lilt' heavy
    lJSC of ilrld
    lJold
    COMMON SCENES FOR ACTION
    Jumping
    Jumping is a truly dynamic
    uctivity to illustrate, and offers
    great opportuntties for
    stunning artwork in stories
    about martial arts. and also in
    sports manga. Jumping to
    make that vital basketball shot
    or a slow-motion dive to catch
    a match-winning ball
    represent t1efini tive
    make-or-break situations for
    your characters. Jumping is a
    fantasti c metaphor for
    personal risk taking - putting
    everything on the line in the
    hope of reward.
    Car chases
    The use of vehicl es in a chase
    is always dramatic. It increases
    the potential for injury or even
    death. making the action
    much more exciting,
    dangerous and destructive
    Ito both body and machine).
    Cclr chases are also thrilling
    because they are something
    not commonly seen in
    everyday life.
    Flowi ng fabrics
    and long hair help
    to accentuate
    movement in
    action scenes.
    Dest ruction
    A breaking object,
    even an innocuous
    pair of glasses. can
    be presented as a
    dramatic event.
    Falli ng and dropping
    Dropping an important or rare
    item might be a significant
    event in your story, so it makes
    sense to emphasize the drama
    with dynamic acti on in your
    illustration. Equally, if a person
    falls from a fatal height the
    intensity is extreme, so be sure
    to accentuate the drama and
    speed of the moment.
    also Special effecu, pages 94- 99 )
    The position of a weapon
    can communicate the
    direction of action in
    Running
    In action manga, running is
    usually the result of urgency.
    A character is driven by a
    pressing desire to achieve
    something, facing the fear of
    tripping, and the threat of
    failure. A chase scene should
    convey similar emotions,
    rncluding the fear of
    being caught.
    Combat
    A dynamic resting
    pose. re<Jdy to
    srrike. Clothes are
    motionless. and
    just l1<1ng from the
    shape of the bony
    A confrontation between two
    or more people, perhaps
    assisted by weapons or
    machinery, is intensely
    dramatic, and often the
    defining act of a story. Neither
    character wishes to lose, but
    both risk doing so if they make
    the wrong move. A closely
    contested battle is the most
    exciting, and each motion
    should be exaggerated or
    savoured in your work.
    ADDING ACTION TO A SCENE
    Sometimes it is necessary to make an event more dramatic.
    Through use of speed lines, composition and focal objects,
    it is possible to add tension and motion to a scene.
    1.
    5.
    J I he ch<lmacr is walking
    c1tlWn llrl:' t.:trryJnq
    some tood. This lmugc h,,, nt >
    suqqcstion of till run
    2. I llt' c llrll..tt lcr rl-'rnf'mht>rs
    that he lu CJI'I t uHnt
    quickly. SO i1C iS SlltJWII I t1 I It'
    running. Speed lines .::tre
    rnlroch u 1-'rllo rPpresent the .Jir
    IJI()VII ICJ Cjl liC Kl)l. ..tllrf
    ilt'..tcl\ Cll \WI:'c!t dl l:' tOffilnq
    lrwn Ill\ l>row
    3. I\ r 111 " KJ tt1e
    This much grcwC'r
    11111 'rll. 1\ 111.-t(ll:' I:'VI:'Il 1!1011:'
    rmposlng by i'ln i'lnmtion-
    gr.Jbbrng compmirion
    showrnq both characters
    movrng ;mo rhr relative
    l!t!lWt!l:'ll lt11m.
    hrrvc bct:n dtklt!tl
    to lriylrliylll lilt! of
    drld remron
    4. In !Jdlll:'l, .tnorhcr
    thrcnr hus been introduced in
    thr torm ot a tank. The
    ilrtwork has been rotated
    sliglllty lo incrl"<l\!' tcnsron
    ilnd cmphasrzc the horizon
    line. It dllow\ I hi-' two
    foc.JI p,ms of the rmagc to be
    drawn larger.
    5. However; don't go ltXJ fdr
    with your .tr!fonr It rs very
    easy to make action
    look riclic ulou\ . tncl rn d01ng
    so you can sport the tension
    <tncJ bt' lt"rt wrtll
    that feels out ot place.
    20 or STYLE
    Comedy
    However dramatic the action or emotional the scene might
    be in a manga story. humour has been a key ingredient
    LhroughotJt tile llistory of Lhe form.
    The very earliest manga titles had a strong comedy focus.
    and manga has evolved to nllow for ever more outrageous
    to present humour. One of the ways to do this is
    throug11 exaggerating the style and understanding mangas
    visual gri'lmmar. Because manga is such i'l visual medium. it
    is possible ro illustrate ft.1nny situations characters
    wi tl1out relying on dialogue.
    Wacky girl
    A cri1zy r1nc1 fc utny 911 I.
    He c IJC:"ntly.
    figure is more c.:m:oon
    111.-tr 1 (or
    1r r !pie\ \ion, her posture
    rulll cx1uewon suggest .J
    IJUufy uullook on lite. By
    c il'rllln!J rh.-1r<tcters that don't
    to care looking
    (JOod. but who do cAre
    .:!bOUt being lilt '111\l'IVCS
    .1nc1 fun. you can
    presenr i1 livrly Cl i1d
    enjoynblr story
    \..
    See also What is manga7 pages 1 0-11 )
    -- -------
    Funny salaryman
    A middle-aged
    businessman
    (known as a
    salaryman" in
    Japan). His dull
    appearance and
    stubby physique
    make him excellent
    comedy material.
    To put this character
    in any situation
    other than an
    office would
    guarantee hilarious
    consequences.
    COMEDY 2 1
    USING HYPERSTYLIZATION FOR COMEDIC EFFECT
    Manga is a very malleable art form. Manipulating the
    presentation of a character or object at key moments can
    change our perception dramatically. For example. there are
    some instances when you might wish t o highlight the comedic
    behaviour of characters in a scene. By exaggerating their form,
    shape. colour or style. you can introduce humour into the
    scene fluently - and entirely visually.
    This process is known as hyperstylization. and is a form of
    visual interpretation, a subjective viewpoint. rather than a
    fundamental alteration of any characters design. Such
    exaggerated images help express characters behaviour. as well
    as adding a comic flourish to your artwork.
    Wobbling limbs
    Another technique 1s to give
    characters arms and legs an
    almost jelly like quali ty. This Is
    often used to create the
    Impression of a character
    dancing or moving in a
    stupid manner - usually With
    a blank and blissful expression
    - suggesting the character is
    obliVIOUS to what others think
    of h1m or her.
    Using different combinations of mangas visudl grammar
    (see page 11 ), it is possible to detail an emotional state in an
    amusing and entertaining wily.
    Zombie gaze
    This exaggerated gaze emphasilt:S tl1e ch&acters
    emotional state. Showing the mouth extending
    beyond the bottom or the face gives the
    impression or the mouth being open mucl1 wider
    than it ought to be. This is the equivalent
    of the technique used in cartoons
    where someones Jaw stretches downwards to an
    impossible extent. In the case of mangd. the v1sua1
    portrayal is far less literal and pl<tys on the twcr
    dimensional nature of the artwork.
    Simple body
    Reducing the shape of the limbs to
    a simple point makes the character
    look simple and cute. while also
    ridiculous. This is a variation of the
    wobbling limbs technique. In this
    1nstance. the character is happy.
    and is runn1ng around gleefully.
    Happy floating cheeks
    d techni<"!UC' m
    the mouth dropping urr Ute
    f<tct>. thrs ch;rmctcr has
    clteek!. cJ1 odWn so that they
    ;rppcar to 11over dWd'f f1 urn
    tltf' skrn iln cxaqqcration.
    or hyperstyh7atron.
    rne1rcat1ng a moment or
    extreme happiness.
    CHAPTER TWO
    Character creation
    The key to making stories come alive is the
    creation of real personalities rather than mere
    two-dimensional drawings. Here are some
    examples of classic manga archetypes.
    ~ Male lead 24
    ~ Female lead 26
    ~ Teenage boys 28
    ~ Teenage girls 30
    ~ The villains 32
    ~ Catalyst characters 34
    ~ Children 36
    ~ Supporting cast 38
    ~ Costume design 40
    ~ Creating a setting 42
    24 CREATION
    e lead
    EXAMPLE CHARACTER TYPES AND TRAITS
    If CONTEMPORARY MALE: MY\TCRIOUS/SLY/t'C lWFRFUL
    f1'- SCI-FI MALE: SmiUlJV\ It II 110US
    If FANTASY MALE: I
    ThcsP c11aracter types represent the fully matured male
    (75- 30 years old) . His personality is developed and his skills
    and dbilitif's are estdblished. Physicc:tlly he will be at his
    strongest and be familiar with his own strengths. but also
    witll wcaknf'<;<;es.
    Tile benefi ts of such a character to a manga story lie in
    his wnfidcnce and self-c.twareness. With such a c11aracrer
    th!:-'le is generally none of the doubt and paranoia of youth.
    !Jut still enough vigour and strengtll to him an
    cxciling
    ll"lis givt-'\ you absolute freecJom witll to the roles
    1 h.tl Gill be rtppliecJ to htm - tram simpering. romantic poet
    tu riCJ(jrcssrvc space w,trrior!
    AVOIDING ONE-
    DIMENSIONAL
    CHARACTERS
    Elaborate demit or d
    d1st1naive design on
    cloth1ng can help to
    make a charilcter
    out
    The rlnwns1de t o suc11 il
    characrcr is '' s all roo
    to lall rnro rhc trup of
    Ultly ..tllnwing rhc a
    goal 111 rl1c story
    wry linle substunce. Ttte key
    CONTEMPORARY MALE
    t n successful male
    rolf' is ro rcmcmbe ltlnt,
    his conlidl:tiLt: ;.mel
    he is a cl1<1rt1Cler
    willt ,. ri1is
    you ll:c.JI for ch.:tr.:tclcr
    hulldinq. Hl:, unl1ke
    or ct111cJ male
    l trJs "' hrstory rl1.:1t
    will ll <IVI"' his outlook
    and bc hilVio ur. What is ir rhm
    dnves 111m' What does he
    hope to i1CI1ieve7
    GENRE: LUNII MrORARY
    CHARACTER TRAITS: MYSTERIOUSANLJ
    DESIGN FEATURES: U lNTfMPORARY HAIRSrYU..
    FTHI\1( I ONG \0-\T t'JR OF
    POSTURE: Ufi\IGHT. LUNI II JfNT
    ADDITIONAL: l1 1r LXI'Ri TS
    /.11 I l\1v1'ir NATURE. ANLJ I'[ Rill\/"\ A nARK SIDE.
    i\11/\ L[ LCAD 25
    Meral plating on
    the head and
    wires entering the
    neck remind us of
    the characters
    android nature.
    SCI-FI MALE
    FANTASY MALE
    GENRE: f'ANlA)Y
    CHARACTER TRAITS: BRAVE. HONEST AND TRUE
    DESIGN FEATURES: DETAILED ARMOUR DESIGN;
    RECURRING POM-POM FEATURE: ORIENTAL-STYLE TUNIC
    POSTURE: DETFRMINED. R&'DY FOR 1\G ION
    ADDITIONAL: F1\ RRINGS r\ND SUGGEST
    A REBELLIOUS STREAK
    DESIGN FEATURES: INI'UI ACU:)'>
    POSTURE: II. UNlw\I UI-1/\LLY f(l(jll)
    ADDITIONAl: THE COSTUME DESIGN PFRHI\r<;
    SUGGESTS A POSITION OF '. FRV/Tt II !I
    comrlemenr
    d<.:srgn.
    ltu.: rq.x:tirion of
    rhl' rp,1 n11
    ht"1ll1 Wt',ljlllll'>
    f.I LIIII lit<.: LUI lUI Ill:
    dt:l i(jll roqcrhcr
    whnll'
    26 CREATI O N
    ale lead
    EXAMPLE CHARACTER TYPES AND TRAITS
    4f. CONTEMPORARY FEMALE: M\'STl:I<IUl JV( ( lf\J/ II Jl NI/POWERFUL
    4f. SCI-FI FEMALE:
    -*" FANTASY FEMALE: I /[ROIC/11\/TELUGEf\11
    Fcmlllc:s in m.-uliJ.-1 Lyp1cally present a
    wr<.ler range of emotions L11an Lheir
    Lounler p<:1rts. and inrroduce
    more rompl ex molivdtions. This is
    IJecause their roles ilf'l'' nflcn
    grnt 1mi< d r nure in emotional depth
    ltldrl in the Si111f1IC' uf
    pruiJierm. However: rl1is ciln pul Llle
    fcm,dc ir 1 pu)rtron where a lesser
    Vdrlety ot roles ilVrlilr1hJv lu l1er.
    Whereas Ill i ll! . (_ J ldl r/( I PI\ are
    depicted by Llwir \IJr'nCJI Il or
    :,kill, 11 rn..-11<' charJcters tend to
    llt-> detined by tlieir bCdUiy rll!d
    femininity. d:> well rl\ llwir maternal
    Ill\ Ill 11 I ' Despite this. they art: on< n
    qrcllitccl "111.-i\CUiine" roles.
    such CiS sui<.Jrcr::. 01 lrCJrllf'r\ This
    r llriXII r 11/P\ It It' potentiJI tO creiJtC
    complt:X Cllrll rll I I 'I\
    w i.H )\( IM"'\ .-1re daily conflicts between
    tl'il''il fr 'I I IIIli! W ( jU<ilitieS and the desire
    ro ncilicv1 111 r1 r 11<"111:'-cJorninated
    society. Tl;cr<' rrn rll\1) 1 )lenly ot
    possibilities In r wrlll' set in
    temJie domin<IIC'd or in
    worlds wlierC' wo1TH .,,, dfl<.l rnen:S
    t.Jmilic1f' rill' ll'W f <>ed or mixed up.
    CONTEMPORARY FEMALE
    GENRE: CONTfiVIrORi\RY
    CHARACTER TRAITS: 1-r\:,HION CON<;CIOUS;
    Al/1<1\( I lVI t\NI) CONFIDENT
    DESIGN FEATURES: F. ClASSIC OUTFIT.
    f\11/\1 I lAIR ORI\!Aiv!EI\IT:
    IIMITFrl ACCESSORIES
    POSTURE: OVFR I Hi: POS[;
    (.01\JriDCNT. 1\1\11") PFRHAP"
    ADDITIONAL: I Hlf\IG If\! TillS
    CH,\1\CITR'S rOSC 1\ND '\Mil F '\IJ(j()l:S I:, I
    IS MCJRr TO HFR I HAl\/ Mi:l: TH[ [Y[
    MORE THAN JUST
    EYE CANDY
    Although it might seem generally
    accepted that a male manga
    character can rely on strength,
    heroism or a quirky nature to
    engage the reader. and the female
    simply needs to be beautiful. this
    should not be the driving force of
    your characters. Even a voluptuous
    form will seem much more
    attractive wt1en the smile seems
    genuine and there is a real person
    behind it - however much
    attention you pay to accessories.
    A glass of
    w ine gives
    the characrer
    a !OUCh Of
    crass and
    sophistication.

    GENRE: SCIENCe F- ICfJON
    CHARACTER TRAITS: SFRIOLJ<; i\ND STUDIOUS
    DESIGN FEATURES: f'IJ\STIC i\N\TERV\t.e:.; ROl KH
    RIBBED iv'ATERIALALLOWS EASE OF MOVEMEI\JT
    POSTURE: ARfvlS CLOSE TO BODY ANLl LE:llS
    BENT INWARDS
    ADDITIONAL: TIICRf: I<; 1\ <;TRON\ , rJ rtvlrNT Of'
    INNOCENCE TO HER FFATURES, YET HER ATIIRE IS
    RUIIJ FOR COMAAT
    II special rocker pack
    with booster j el5
    allows rhe
    to fly. Note the
    consistent design
    and sl)'le
    or the clothes
    and
    FANTASY FEMALE
    GENRE: FANTASY
    CHARACTER TRAITS: RELIGIOUS. INTEWGENT
    DESIGN FEATURES: SHINTOESOUF STAFF;
    CEREtv:OI'JV\L ROBES. :Vli\I{J(INu ON I !IlL
    POSTURE: PEt\CHULIV'JLJ SOLEMN. YET CONFIDENT
    ADDITIONAL: THE CHARACTER WEARS A NON-cOMI?AT
    OUTFIT YET GIVES THE IMPRESSION OF WIELDING
    POWER. WE THEREFORE PIJ\CE HER IN THE POSITION
    OF PRIESTESS, HEALER OR CLERIC
    FEMAU: LFAD 27
    Il K: ; tull i; ;Jrn).Jic.: I.Jur
    tlas an lnrrirmc
    <it tile.: WJ.! . lrnplyinq ;rn
    c.: n<.:r(.Jy dl(rrrncl.
    28 CREATI O N
    nage boys
    EXAMPLE CHARACTER TYPES AND TRAITS
    4f CONTEMPORARY TEENAGER: TEEN
    If' SCI-FI TEENAGER: I 11\J'I'Y I lt:/\0
    FANTASY TEENAGER lvii\1 URII\IG TEEN
    Teenagers ( 14-1 A ye&s old) are
    among the rnmt popular protagonists
    1n mnnqa. Actiny d) d "hlimk canvas".
    a 1s ilt i1 PC?int wl1ere his
    L>o<.Jy mi1y 1v1ve developed physici111y.
    hur l1is mind IJ.:t) not yet ft 111y
    malUJed. arc rnore
    .\USCC'ptihlc to <md c>morions
    - and c11e in ;1 position to
    , wt 1 1pnn those feelings Without an
    I
    teemg0 rll<lractcrs the
    trictb .:tr Kl tnbuliltions of mctnt Juod, but
    wil11uut tt1e mmurity. or
    .:tiJillty ot their nldC'r counter p&ts. They
    m;,y di)U IJe portrJyccl decrlinq With
    the uf sexu.:tl desire. Oftrn
    illc 1 IS trustriltion. rxp1 1tse/t
    1n a brontiina ar 1tf tormented nJrurr .
    Huwever. thiS age grntJp also
    represcnrs r11r p()inl '" hie at whicl1
    lntdliu< nee power fi rst
    &ld With it the' ht"'ginl 1inqs ot maturity
    tlll<i I'C'\J
    ANTI-HERO
    CONTEMPORARY
    TEENAGER
    GENRE:
    CONTEMPOR/\I,'Y
    CHARACTER
    TRAITS: FRUSTRI\Tm.
    ANGRY
    DESIGN FEATURES:
    STRFFIWI\ 1 /WI )S
    SENSE. i'vlU)I( I 'lt\YI f.!;
    I INGCRLESS GLOVES
    POSTURE: STRONG Yl I
    I )IITNr.IVE; CONFIDEI\11
    YET 1', !INC,
    ADDITIONAl: HE ?PPI:AI<'> (()I 0-
    1\!ATURED 8UI \ONlnt\TS HIS
    WIT! I 1\J\IGFR
    An .:mti-hcro contritdtcts almost all of the notions of a classic
    hero, nnd yet presents il and interesting protagonist
    tor a story. Tccnilgc males are the most common form of anti-
    ht'I O, as they hilvc not yet shown the bravery or strength of
    tlte claSSIC. heroic male. As a result. anti-heroes are often
    who <Jre ready to attain those qualiti es by any
    means possible, or they are characters that are out of place in
    the world bur crave the chance to demonstrate their latent
    qualities. Whiny. selfish or awkward teens can attain growth
    and self-discovery in your stories. as well as spark entertaining
    reactions from other characters.
    Even non-focal
    areas such as
    shoes should be
    considered and
    designed carerully.
    FANTASY TEENAGER
    GENRE: FANTAW
    CHARACTER TRAITS: WORRIFD /\NJ) ANXIOUS
    DESIGN FEATURES: VISIBLE STITCHINC) ON t I C)! I lff\IC '
    WEAPON. CLOAK CIRClET ON FOREHEAD
    POSTURE: ON EDGE AND READY FOI< /\liiON
    ADDITIONAL: THE CHARACli:I('S HMJU ON II II I 1111 01
    HIS BL/\D!: SUGGESTS 1\1\Jf} CON\T/\NT VIGil
    Unusual rlnthP.' anri
    that do nor relatf' tn
    contemporary fashion help tn
    highlight an imerestinq i'lnri
    original character.
    SCI-FI TEENAGER
    GENRE: I[N(T IYTION
    CHARACTER TRAITS: "1-V\PI>v ..
    DESIGN FEATURES: MllffARYSTYLE
    UNif-ORM. REPETITION OF CIRCLE
    MOTIF, HEADGf.AR
    POSTURE: CHHRFUL AND
    CONHDF.NT. ENfRGI:liC
    ADDmONAL: UNTHREATENING
    AND FRIE'NDLY
    TEENAGE BOYS 29
    Discreet ;md
    details such as this
    pml<'llM.: CIICI<'i
    help to show 111,-u
    (/I(' <llrlld( rcr r\
    J.l t t:I.J<lll:C) lor IJrrii iC'.
    30 CREATI ON
    nage
    EXAMPLE CHARACTER TYPES AND TRAITS
    * CONTEMPORARY TEENAGER: CONFirJFNT
    fie SCI-FI TEENAGER: r>rlviil/{l
    If<: FANTASY TEENAGER: I ILI<UIC
    k wiltl rn;!IP'i. the female teenager
    r 14- 18 ye.:u ulu) is .1 populilr
    rho1rc tnr manga protagonist and
    for rndny of the same reasons.
    What sets fL'mdle dldrdcters
    ir 1 opilrt is
    11uw they dP.ill with rhc
    ch.lngc"i iln<i <hlillcnqcs
    wi th whirl"l lift" prcscnb
    them. With f!"mlllcs there no
    app.1rcnr pl1ysirlll srrcnsJlh tu
    problems; they come Lo
    l er r wrtt1 tt1e1r emotions, scxuill
    cirsirrs lind k d result,
    the tcmi1IC' tr'cn,l<Jf'r c ; 1n u fler 1 dppe<:tr
    fdr ITH)re and settled thJn
    t 1er male COLtnterpJrt. There is i'llso
    scope for t11r fr.m,llc or
    the ;mri-hero - IIH >tJUt 1 JlUl one
    11 1n1cd 1n .,my rnal e-fike inner turmoil,
    l..l Lit chamm:r whmc super iur
    of controlling c' moliom t1er i:lpdrt.
    girls
    "CONTRADICTORY" FEMALE ROLES
    It is interesting to consider the use of female
    characters in what some might regard as
    standard male manga roles. Often we see a
    female protagonist thrust into the posit ion of
    hero, or leader. Ultimately wi th the female
    hero, however. the final sentiment is often
    one of "friendship can conquer all"
    and a reliance on other
    characters as backup. In cases
    where the female truly does
    triumph as a solo heroine. she is
    often a character with a strongly
    male orientation.
    A designer bag
    renects the
    characters tastes
    and aspirations.
    CONTEMPORARY TEENAGER
    CHARACTER TRAITS: CONFIDENT
    DESIGN FEATURES: FASHIONABLE CLOTHING. MUITIPLf::
    ACCESSORIES. INCLUDING PHONE. JEWEllERY. KEYS
    POSTURE: DISMISSIVE 1-iA.ND GESTURE: STRONG AND
    ARROGA.NT STANCE
    ADDITIONAL: EVERYTHING ABOUT THIS CHAR--\GER
    SAY'S SHC IS CONFIDENT AND IN CONTROL -
    Futuristic
    accessories
    create more
    believable
    character.
    SCI-FI TEENAGER
    GENRE: SCICNC[ FIGION
    CHARACTER TRAITS: SHY. THOUGI Ill UL
    DESIGN FEATURES: PLASTIC MATfRll\1 \ HULKY. I
    ACCESSORIES; COMMUNICAI ION Df VllL: ( jli\SSES
    POSTURE: . NON-NiGRfSSIVE
    TCCNAGE GI RLS 31
    ADDITIONAL: THE 01 I II I V\1'-JJ") TO COVER PART OF
    FAlL )UGGI '> p; 1\ I ACK OF PHYSICAL LONFIDLI\ICL
    Comidering t11e securrng
    of we,1pom to Lilt: body is
    dnnnponam detail and
    to a more
    re.Jiisl ic ch<lractcl.
    FANTASY TEENAGER
    GENRE: 11\NTASY
    CHARACTER TRAITS: HEROIC.

    DESIGN FEATURES: ( lVI IN/I I)
    ARM GUARDS /\1\JD flC X) I\
    EXAGGERATFD Ht\JI(\fYII
    POSTURE: DCTmMJNLU t\NlJ
    PRrJi'\RED: )01 II) ) lANCE
    ADDITIONAL: SIMPLE.
    UNCOviPUC/\TW CLOTHING
    OVERSHI\DOV/ED BY WARRIOR
    El[MENTS SUGGESTS A TOMBOY
    ASP[Cf 10 HfR CHARACTER
    32 CREATION
    villains
    EXAMPLE CHARACTER TYPES
    .. HISTORICAL VILLAIN: ;\RRnt-v\1\fT CiFhJTI Flvlt\1\J
    VIllAIN: < ()f\JI JUU,f l Vt\fvll '
    .. SCI-FI VILLAIN: rOWIRII II t' il\i'f( i I r;\n rR
    FANTASY Vlll,AIN: l l<ll il\1 W/ 1.1<1<101<
    nC'cds lln anri1gonist.
    Wirhour mntlicr, ,, story cannot truly
    progress. All rhc pressure is on the bad
    guys or manga to act as the element of
    ch;IOs the problem that must be
    .resolvecJ. As i l result, the bad guy is
    essentri.il to the development or the hero.
    /\ny dkrr dller c.dn become an dntaqonisl.
    i1 or r111 oppming force given r11c correct
    circunlSlcHlCe dllCI molivdtion - even without dny
    ot tl1e estJblished visual archetypes. One of the
    only rcq1 f)C'rhllps, rhc conviction thCit
    lt1ey dre
    A successful bad guy
    Wl1iit mii kcs un antugonist truly successful as a
    f'lrmf'nr of rP.<l lism r1nd
    ( ll 'l lll l rr' r ( L'llrlill il llldY be sufficient
    lu uecil e d IJdU wt1me rnotrvalion rs to
    rule lt1e wurlu. bull.:tr rnure c1ppealing is
    rHl writ! rl 1-rl,-rl 11-rw, or one
    Will! rl \ I I II y rllld rl \( '( Vrl lid
    rcJson for his or llcr actions. Empatlly
    is the key. By creJtinq an antaqonist
    wt1me urr vl:'\ <-rrnbiliom can be
    undcrs1on1j cllld even empathized
    witll. tile rewder is put into wn
    uncomtortable position. In this
    Wrly, li lt: l:VII cit: I m:nl ur lilt: '\lory
    becomes far more threateninq. Aft:er all.
    wrtt1out d tt1e hero has
    to overcome anc1
    becomes me<Jningless.
    SCI-FI VILLAIN
    GENRE: SCIENCE FIG ION
    DESIGN FEATURES: LONG J/\CKFT. WI
    GLOVES. HEAD&\ND. RED EYES. lARGE AND
    POWERFUL BOOTS
    POSTURE: POWERFUL AND FEARLESS
    ADDITIONAL: THE GLOVES AND
    POSTURE OF TH[ CHt\RAGER IMPLY A
    ROLE OF POWER AND AUTHORITY.
    THE GlARING EXPRESSION
    AND HAND GESTURE
    SUGGEST FEARLESSNESS
    Dramatic use of wind
    to lift I he jacl<et is
    useful to accentuate
    the pos11ion of the
    feet. Usil)g a light
    source from beneath
    also helps lO establish
    atmospl1ere.
    FANTASY VILLAIN
    GENRE: FANTASY
    DESIGN FEATURES: PRIMITIVE STAFF,
    CLOVEN-HOOF-EFFEG BOOTS; GRASS
    :JECORATIONS. POINTED Et'RS. SKULL MOTif-;
    DEMON-WING HEADGEAR
    POSTURE: INVITING /IN ARGUMENT.
    SURE OF WINNING IT
    ADDITIONAL: THIS CHARAGER APPI:/IRS
    TRIML WITH VOODOO ELEMENTS HrR
    CUTENESS CONTRASTS WITH HER 0.\RK ROLE
    CONTEMPORARY VILLAIN
    GENRE: CONTH..U>oJV\RY
    Ths single demons
    wing implies some
    sort of injury and
    raises the qucsuon of
    what might h,:we
    previously.
    DESIGN FEATURES: VAMPISH OUIHL
    SUCK HAIRSTYLE. GOI HIC r1 rMENT
    POSTURE: CONFIDI NT N\lil COOL
    ADDITIONAL: THIS CHARAGER'S DARK
    ATIIRE REFLECTS HER DARK NATURE
    SHE ArrEARS TO BE READY FOR
    PHYSICAL CONFRONTATION
    THE VII I /\INS 33
    DESIGN
    FEATURES: A
    tlri'JTI FIIAAN WITH
    LACE WALKIN< I
    ( N\11 I J\ril MfRrl Y FOR
    EFFECT. CRAVAT.
    POSTURE: ARROGANT
    tW[) CONCFfTFf)_ TAll
    tWU lONHlJf-Nf
    ADDITIONAL: THE CALM Yl: I UJNHDLNT
    POSE PAINTS HIM AS /\ METHODI0\L 1\NO
    ANTAGONIST. RATHER THI\N A
    PHYSICAL FOE
    34 CREATION
    a lyst characters
    EXAMPLE CATALYST SITUATIONS OR CHARACTERS
    GIRL MEETS BOY: AN AIII{A( I lVI: cJIRL EI\ICOURAC::jE$ A GEEKY <3UY
    If EVIL NEMESIS: rvri\JT\ CAtJ\1 I ) I!Y I I II\ I VII I 'I INJN
    It THE FAIRY MESSENGER: HFLPS THF PROTAGONIST TO rii)T
    I Hl::ll< ts!::HAVIUUI<
    One uf tt1e Simplest ways to initiate your
    I.Jy the of a catalyst
    ltl &i:l<.ter. lntroclu<.1ng this charetcter
    into your pruld'-JUI world will
    n rilnin of events,
    creilring il new scenario out of
    Wt llltl yULI (.drl drl ex<.iting plot.
    Til<' cllilrr!Cter is one who spurs
    tr1e story tu IJeqn1 IJy 1ntruc.JuLing c1 ktnc.Jurn
    clement tllilt tile protagonist must deal with.
    ur1 U1e furrn the catalyst takes, this
    c11.1mctcr mily LJiso create a climate of
    Llfl<.er tdlnty. furLII KJ ott 1er <.tl&d<.ters to
    .1r tile same time as
    U 1e rec1c.Jer them. This is a far
    better way ot exploring your characters
    1 llilll giving your a long-winded
    1 xplrlr lrll it lf 1 of II H'ir
    I Jr 1tloul 111 Illy, Ill< mml noliltllc ciltnlysts tiikc
    It II' fnrr 11 of II w rll llrl!JI If li\1 ilfl f'flCfllY
    wllo\t \ol< pur pmc to set obstacles for tile
    plol ri!JOni\1. Hnwc'Vfr; I is not by Any
    Ill(' only form " Cr'l li ilyst can take.
    II fr1irly mmmon for n milnga story to revolve
    <1round an ordinJry chJructec whose life and
    are plain and
    unremilrkable. Typically, tl1ese characters
    mighr encounter "" outlandisll, sexy or
    rh;lrr"tr l<"r wlrn offers tl1em r1
    lirr<. lylc> lhnl their
    mundane hie.
    It is not always necessary to create a
    character; however. Sometimes the catalyst may
    take the form of an event - such as the
    protagon1st:S be1ng granted great power in
    the form of magic abilities.
    Geek meets girl
    Here we see a popular catalyst
    situation. A young man with a
    quiet. possibly geeky nature
    fi nds his fife turned upside
    down by the arrival of an
    anractive female character who,
    for some reason. feels inclined
    to stay with him.
    The evil nemesis
    This catalyst takes the form of a mean
    character who feels the need to make
    life harder for the protagonist. She or he
    creates a situation that the protagonist
    needs to overcome.
    CATALYST CHARACTERS 35
    The inspirational messenger
    A tiny Fairy has befriended <1 boy
    wirh n vif'W to helping him
    <:tch1eve and fulfil his dreams nnd
    ambitions. Ch,lrilrtcrs sul/ 1
    these help to push rind dnve lilt'
    tJeyonrl or her
    hehaviour and sc1vc us ltlc
    embodiment of th1s mcssa(.jc.
    36 CREATI ON
    dren
    Note the way in
    wl1ich the fi re in
    thi s characters
    hand illuminates
    the wl1ole of
    the illustration.
    EXAMPLE CHARACTER TYPES AND TRAITS
    ACTION BOY: HAPPY AND CHEERFUL
    GENI<I SCHOOLGIRL: < t\1-:1 I 1{1 I Af'l l ) II( .IIVL
    TRADITIONAL CHINESE BOY: MATURE Al'ir> SFRIOUS
    -liC MAGICAL GIRL:
    M; tngrt rhil dwn usuAlly personify
    innocence .:mel an undistorted outlook
    Qn lire. In your story. their open-
    minded attitLide coLIId make a good
    contrast witll tile burdens of your
    fldult charflctcrs. A playful child
    rh;trrxlcr milkcs il wonderful nddition
    In mru1y lypcs nf story. either in a
    rol e or indeed, nS
    the
    One of the most significant things
    ;-1! mut ctlild crl.:-tr2l cl ers is thdt ttley
    '>t:lrJunr l1crve concerns about love or
    reiJtlonships. Any focus they do have
    nn wt;.Jt iomrlip\ w t/1 U\Uiilly r.. entre on
    their friends. or lif
    the characters are
    in i l .suppnrl ing
    role) on 11ow they
    wl;.rlr to ;.r pnrent nr
    older sibling.
    TRADITIONAL
    CHINESE BOY
    GENRE: FAf,JT/\'\Y
    DESIGN FEATURES:
    ( OMRi f\J/\TION OF ORIFI\ITAf
    1\1'-JD Mlf'lf'll F
    TR/\DIT/Of\!1\1 DRF'\'; IGGF'\T<;
    '\mll\l(i; FIIIMF rATTFRN
    Rm ras Wl(il(l\l. r o w eRs: NOTE
    Tl I[ LONG r li\IT Or 111\/R
    POSTURE: POSE,
    RFAFJY TO ATT/\(K WIT/ I FIRF
    ADDITIONAL: I HI:: lHAI<I\C
    <:FFM\ VFRY '\FRIO! I\ '\l JGGF'\T/1\J(j
    I I[ IS MI\TUR[ !3CYOI,ID HIS YCI\RS
    MAGICAL GIRL
    GENRE: :,(.1-FI
    DESIGN FEATURES: 8UTTFRFLY MOTIF; FUTURISTIC CIRCLE
    DESIGNS; GIRLY RIBBONS IN
    POSTURE: SPRITE. FAIRY OR BALLET Di\NCER POSE
    ADDITIONAL: THE OUTFIT liND WAND ARE ALL COORDINATED.
    SUGGESTII'!G THE OUTFIT IS A COSTUME OR UNIFORM
    GENKI SCHOOLGIRL
    __ Y____________________
    DESIGN FEATURES: SCHOOL UNIFORM IICADBA.ND; -..,:::::....
    TENNIS SHOES; CARRYING A BOX OF SCHOOLWORK
    --------------------------------------
    POSTURE: IN A HURRY. BUT STOPPING TO SMIL[
    AND WAVE
    ADDITIONAL: ALTHOUGH CLUMSY AND NOI STUDIOUS
    SHE IS. NEVERTHELESS HAPPY AND CAREFREI:
    '
    ACTION BOY
    GENRE: CONTFMPORARY
    DESIGN FEATURES: SPORTY
    LOOKING. STREElWISE CLOTHING:
    LAYERED SV.IE/\TSHIRT UNDfR
    HOODED TOP. SI\DGE ON HAT
    POSTURE: BOUNCY AND ACTIVE.
    READY FOR FUN AND t\aiON
    ADDITIONAL: THIS CJ-!AAAaER IS HAPPY
    AND CHEERFUL. WITH HIS CUTE 11/V\SCOT
    SIDEKICK THERE'S NOTHING HE CANT FACE


    I he
    elf 1 If uporl<.lfll
    fur cJ
    child character.
    SUPPORTING
    MASCOTS
    If a story focuses on child
    characters. it is not uncommon for
    characters to have pets or talking
    creatures. (see pages 38-39). This
    helps to present the child as being
    responsible. and it also allows the
    character to have something to
    "parent", or guard.
    CHILDREN 37
    H "' vtllor 11niform
    Is a common form
    of drcS\ lor
    J.:tp.:tnL .. . A'
    llrw lyh f).
    )ull 1 rhcse
    help rhe
    of 11 1rory
    38
    porting cast
    EXAMPLE CHARACTER TYPES
    PIBO [1'0 1101)
    .. PINI<AA (rt\IRY)
    .. TIGGY j(i\T)
    *- KURIMI !l'vlCINKEY)

    .. ZENNI j\( ll I)
    MINUU ii:!UI\11\!Y)
    run lo non-t1uman
    to clct in <.1 supporting role
    lo lhe or Lomir rPiicf. ;md
    tllcsc ch.Jracrers Jre often very popular:
    Cl!rifriCICT'i SUCil il' tilCSC' FJISO FlCt <.15 <.1 velliCie
    tor Other to cornrnunildle llleir
    emotions .Jnd opinions - tor example. by
    pouring out their hmrrs to them -
    ,wnic1ing tl"lc necessity for tllougllt bubbles.
    nr nvrrrclir1ncr: upon subtle visuCJis.
    Supporting animals CJiso lluve tile ability to
    rci.lct to the lead cllCJrCJcters emotions and
    perhups refl ect t he readers Feelings. so the
    reJder feels he or she is watching the action
    atongs1c1e the pet. .1lso i-1\
    I HUll'< liVt ' VUrllillr'lfl\ arvrng It-It' clld(rlCICr cl form
    ()r ri <lililinrliil sl rr ngtll or power.
    GENRE: CONTEMPORI\I(Y
    DESIGN FEATURES: STYLIZED
    AND UNUSUAL-LOOKING lv101\JKCY;
    SARCASTIC EXPRESSION; SIMPLE
    CIRCLEMSED lv\ARKII\JGS ON BODY
    POSTURE: WALKS ON TWO LEGS.
    WITH LEGS SPREAD WIDE
    ADDITIONAL: THE
    MONKEY'S FUNNY
    EXPI<ESSION MIIKES H!M
    FUN TO SEE AND A GOOD
    ALTERNATIVE TO USUAL.
    Lr'\RGE-EYED lvlASCOTS
    PINKAA
    GENRE: MA.(jiCAI
    DESIGN FEATURES: '\TARLIKF
    AND SIMPLY SHAPFD
    POSTURE: HAPPY AND AGILE.
    WII H LIMBS
    ADDITIONAL: THE CHAAAGER IS
    fRIENDLY AND CHEERFUL. WITH A
    CHILDLIKE
    MINUJI
    GENRE: CONTEMPORARY
    DESIGN FEATURES: FAT AND
    ivlfiLL[/\BLE W[/\RS AN EARRING
    POSTURE: USUALLY A SOFT
    AND LOVING POSE BUT CAN
    EASILY POUNCE IF ANGRY
    ADDITIONAl: BY TALKING TO
    THIS SILENT BUNNY THE
    CI-1ARI\CTER IS ABLE TO THINK
    MORC CLEARLY ABOUT
    HER EMOTIONS
    SUPPORTINC 39
    GENRE: CONTFMPORARY
    DESIGN FEATURES: DISTINCTIVr lAill lY \I I\' II AND
    I II JITY n lEST GIVE THIS CAl/\ LUI ( ll ( 111\1./A(Trf:'
    POSTURE: WALK\ f\11 AllY t\f'.J[) \ARFFULLY
    ADDITIONAL: Tl II'; (t\T I IN\ A 1-HFFI:Y
    ANLl CUUW AI\IY
    PJBO
    GENRE: FUIUfiL fiOilOT
    DESIGN FEATURES: OF DISTINCTIVE
    DfSIGN ASPCCTS ON U!:LLY AND FOREHFN). WlTI I [Y[S
    FOLLOWING THE SA.'v1E STYLE. JOINTS AND tDGES SHOW
    PLASTIC BODY CONSTRUCTION
    POSTURE: SIMPLE. \.VITH AN EXPRESSIONLESS FACI:
    ADDITIONAL: TillS ROBOT IS BUILT FOR A PURPOSE.
    BUT CAN BECOME A GOOD FRIEND 1\S vVELL
    ZENNI
    DESIGN FEATURES: rl I IfFY Fl
    ANI) AI irr'-J IIKr ANTr NNAF
    POSTURE: BOSSY ANLl lviUOI.l't:
    08\IIOUSL'r' I 0 Nt\( I
    ADDITIONAL: n rr,rrrr f'lFII J(i A I
    C,Oi.IIRREL SEEMS IINU II I< Jl J< ,I I II III
    40 CREATI ON
    tume design
    C:()\llJrriC j<., d rrlc.Jjur pcJ rl or ch<Jrc:JCl er crecJlion. It
    cnnlnluniCJtes ,J gre,Jt cjeal ,Jbout a characters personality.
    rlnc.i ,]ISO U-J e Lime ancJ lhe culture in Wllicll they live.
    When <jcsigning or try to
    experiment rlS much c1s possible with costume designs. Take
    rlS mr1ny influcnct:s rlS you Crln from different sources; avoid
    seeking inspirrltion solely from mrlngrl r1nd r1nimc. lnstcrld,
    rcsCrJrch the frJshions of different cultures and centuries.
    even wl1en desiqninq the inhabitants of imagined.
    futuristic worl ds.
    Uesrqnrnq costumes that are reminiscent of clothing from
    ' I H.'LIIH in tri\lury Ldn tell your re21ders a great
    CJl:rll ri hOtJI lilt' kind or rul tm \OCicly your Slory is Selin: in
    future worlds. a medievJI costLJme might suggest a society
    1\ \ Jill prrrr !II IV< 111 r r wrry\, wtwrt-'r!\ milit&y-style
    HINTS AND TIPS FOR COSTUME DESIGN
    OLD-WORLD FANTASY
    .- wot rlci hP togetlier more
    cruddy. wi th visible sritchinq and
    fi/JI L' LIL[IUII.
    .- Comlc1er suci; si lk, leatlier
    .rncl S<lck clolh.
    Urfferc>nl colours dncl
    represenr rhe of the rh"'r"'C'tf'r.
    1\ would regal colours
    suct1 .Js red or pur pic, dnd Liollling
    WOIJid h('IVf' finp det('lilili'] .
    FUTURISTIC SCIENCE FICTION
    and moulded
    might he in
    Soft m.1renats
    <111. .' IL'SJ
    "ncrlrve !hcH1
    t kt<tl rndler
    Shiny plastics
    reflect tiqhr.
    dress might suggest a totalitarian state. Also look at modern
    product design: the cuNes of a sports car; a gadget or a
    new computer might be the inspiration for part of a
    spacesuit, for example.
    Its important to think about the detail of the costumes as
    well as the overall look. For instance. consider the
    technology available to the world in which your characters
    live. Simple inventions. such as zips. velcro or elastic might
    not be available in an ancient world of swords and sorcery.
    On the other hand. laces and buttons might not be
    necessary in a futuristic realm. as they may have developed
    better technologies of their own.
    GENERAL
    Strai ght lines
    look nat.
    44' Strings and tassels swing in the
    wind, and help convey motion
    during action.
    44' Long. flowing hair and cloaks
    have a similar effect.
    Stripes and geometrical patterns
    help define volume.
    lft. When designing children:S
    costumes, consider drawing
    baggy and ill-fitting clothes. as
    young children are stili growing.
    -II' Coordinate your design
    elements, especially in fantasy
    and science-fiction manga. as
    this reinforces the impression of
    a fully realized society.
    Stripes on the characters hat and
    sleeves help to define the volume.
    as well as coordinating the costume
    wrth a consistent style.
    COLOUR SCHEMES
    lf Coordinate the colours on your
    character with his or her
    costume. Defining the colours
    on certain sections of the
    costume also helps define their
    volume. This applies just as much
    to black-and-white illustration as
    it does to full-colour.
    HAIR AND SKIN TONE
    4f If you're going to have characters
    that appear often in the same comic
    or series. it is important that you
    make them as different as possible at
    a glance. Making sure they have easily
    identifiable hair colours. facial features
    and even skin tones allows the reader
    to recognize the character instantly.
    even if not fully visible in a frame.
    BELTS AND BUCKLES
    4f Belts and buckles serve a practical
    dimensional person
    rather than a flat.
    2-D image.
    ZIPS AND LACES
    4f Zips can introduce detail to even the
    simplest garment designs.
    A simpler colour
    is much
    more
    Remember to vary
    the skin tone of
    dillerent
    Experiment! Usrng a
    zip as an earring
    d tool.
    streerwrse style.
    COSTUivlC DESIGN 41
    DEFINING CHARACTER DIFFERENCES
    Certain elements can be used to distinguish characters from
    each other. The shape of a characters fctci.:tl outline. eye. nose
    and mouth can be very different. Hair is also commonly used to
    distinguish characters.
    The following are examples of 11ow shupc can ddtnc
    a character:
    m.rlc lt1in -
    not porntt>t1 h11l nnl
    square jawed either.
    More realistically
    dcpitt
    gentleness. wl1rrl1 r.-n
    be easier for the
    l l'ddCI tu I L'idtl' tO.
    ACCESSORIZE!
    )

    \
    ;
    L<Jrger and
    Jlrllllll't l I IIIII tdl l
    mean a younqeor

    UlrCJI". t"lllrf;t>
    innocence.
    t 11111/\l l y Ill

    imclligcncc.
    I
    \
    \
    \_(
    .I
    Jn ll"'l"ilr- t lr.tr.ttltr .t
    thin lim:
    ""I"'"''""'"""'
    of character.
    1
    .- -- . '

    N.IIIIIW ' 'Y' " lll 'lll'lolll.v
    refien nr
    cviltll,u,rw.:r.
    Accessories can be used to grec1t effect when bullrllnc:J up .'!
    character. However. as wlrh everything. misuse c.:tn be
    detrimental to your design.
    It is important to bear certain elements In mind when
    accessorizing characters;
    4f The characters themselves; their pcrsonuhly, JOb, hi tbrkrl c1nd
    social grouping. For example, warriors almost certainly sport
    items that strengthen or protect their bodies. such as forms of
    armour. A specific society rnrghl c:Jern<tncJ
    4f The environment: how cold is the settrng? Your
    may require gloves or scarves. Cert.:tin .:ttmosphcric con<.Jrtrorr:.
    would call for specific accessories or equipment.
    4f Aestheti c: accessories are a building block of a char.:tcter. The
    a characters appearance as much
    as the clothes they arc wearing.
    Bows. ribbons, piercings,
    jewellery, belts, chains and
    other accessories can be
    used to adorn a character -
    as long as they are
    appropriate.
    4f Don't overdo itl Too
    many accessories can
    detract from the strength and
    coherence of your design.
    Simplicity and practicality are the
    key. Also, be sure that the
    accessories you choose match
    the style.
    42 CREATION
    ating a
    setting
    Tt 1c scttinQ of yot 1r rnanga story is imporlanl.
    Tt 1c ' miverse or microcosm you create
    c.licJ.:llr.s lhC' <;tylc of tllP rllaracters and ttle
    rnoocJ of tllC' <;tOIY. If you plan it out properly
    tllC'n nn wn11d 1s too lanlaslic Lo be
    C:::tpturecj COl
    C"Rr /\Tif\JC, A FANTASY
    1\ ldnt;.1sy world is often dictCJted by tile rcrilnologies
    JVJiiLiblc ro it. Ev<"lythino frnm commurliCc:tllons to
    .1rrhi1r-r1111t' w111 fkfine l11e lrl'ldSJined culture and the
    plly;i( rll {'()VII UllrTlenL Uoes the culture have time travel.
    'if'!rll t ;I up\ ; I< .-1m power; electricity or even proper roads?
    If It I{ 'II' rill. pt opiP with magical powers in your story. you
    hiNt' lu t t Hl\lcl t r wtwtller tt1ese would be applied to
    pr<wlit ptHfH>\t'\ lou. r1ncl what impact this might have on
    Other p.Jrts nf .mcidy. If r1 lui uf reople have a special skill. it
    will Jffect cvc1yonc. Its illl th1nk1ng through the
    implic.:ttions of your idccl.
    Geography and atmosphere
    Wl1r11 \Oil nl 1>nwonrnenr do the char.::tcrers live in? Is it a
    plc<Js.Jnt vis1;1 uf fil'f(h or r1 series ot closed cities
    wirh mJrJudinq <Jnim<Jls in the waslclanc.h ouls1de? What is
    II u l1kel An especi.::tlly wet environment would
    r1ffcrl LJdirWIOur and temperament. as would a
    hot ,:md urid locCJtion. Comi<Jc1 ex11 eme too. like
    Incredible city
    A ruturislic
    envwonmcnl With
    geometrical designs
    and bright colours.
    There arc many
    robots based
    on h;mds.
    Use of magic
    Magical powers to summon the wind are
    used practically. to help move the boat across
    the water.
    heavy pollution or toxic gas in the environment. forcing
    people to settle in communes or use breathing apparatus
    to survive.
    Political and economic situations
    Is the society a democracy, or a dictatorship? Are its rulers
    proud and noble. or evil and greedy? Consider the ways in
    which different types of people live their lives. and what
    their society is like. It isn't necessary to define every minor
    detail, but it helps to get a genera/ idea of the forces that
    govern your characters' lives - and whether they accept
    them. or rise up heroically against their oppressors.
    Different races and creatures
    The coexistence of and relations between people or
    creatures is often one of great intrigue and complexity. In
    your manga it could be the source of a characters
    alienation or others rejection of him or her through fear or
    misunderstanding. Alternatively. it could be a force for
    unity as races work together to make the most of their
    skills. Think also about how different races would affect the
    technology, the economic si tuation or the environment.
    Details such as these will help make the fantasy world
    seem real.
    Consider gods and deities
    The effects of a major overruling power could make a
    significant difference in the way people live their lives, and
    the w orld they live in. A world prone to floods would have
    houses designed in such a way that they could cope with
    this. If there is a need to worship or appease a god through
    prayer or sacrifice, this will also affect the world and
    its occupants.
    OTHER PHYSICAL
    MARKINGS
    Tattoos. birthmarks. freckles
    and other distinguishing
    marks can help identify a
    character. In certain
    si tuations they may also
    reflect the society a character
    is placed in. For example. in
    Dragon Heir. the citizens are
    branded at an early age
    with a "Spirit Sign", a mark
    that dictates their role
    in life.
    CREATING 1\ SETTING 43
    INTRODUCING THE
    ENVIRONMENT
    Introduce each interesting part of
    your scenery to the reader slowly.
    Focus their attention on the obJects
    so they can learn or pay attention,
    re.::11izing the significance of objects.
    Mixing things up
    Even the scenery
    of (jlltly rillclrt',III\IIC

    You can make your fantasy world more inreresring by
    introducing cerldin wt11Je remoVIrKJ ultler.!..
    For example, consider a wor/ci that ncwr held ;my
    fuels (such as coal) but has hei:lvy 1ndustna/1zat1on tt1rough
    wind power. water or solar energy. This wur It/ wuukl I ktve
    fascinating cities. with huge structure<> dc<>igncYI In m; tkr
    the most of the energy. Also consider the way thilt maoic
    could be used as Jn alternative to electricity or steJm
    power; as magic could be harnessed to produce light
    or heat.
    Spirit signs
    Children
    demonstrate their
    special abilities.
    represented by the
    symbols on
    their foreheads.
    .
    0
    .
    .
    0
    -e--
    to\

    Healer spirit
    One w110 he.Jis
    lite ktllc.J
    Warrior spi rit
    nn .. whn
    ttl<' lnrid
    Worker spirit
    OrwwtHlWCHI:\
    the l<1nd
    Noble spirit
    Onf' whn rul('\
    che land
    Mage
    {magic) spirit
    One w ith power
    ro split the land
    CHAPTER THREE
    Dig ita I
    fou ndatiens
    U ~ 1 r 1 ~ a computer to produce artwork can
    IJe fairly daunting al first. However, by
    lccH ning sonle silllple techniques and
    unc:lPrstanding which software to use, you'll
    CJUickly make the most oF working digitally.
    Q Peripherals 46
    Q All about software 48
    Q Photoshop basics 50
    Q Photoshop layers 52
    Q Resolution 53
    ITAL FOUNDATIONS
    1pherals
    H::Jvinu rorrc'r l looL<., lor lhc-':JOb always makes a big
    diff(' rcncc in 1 r1c cmJ resulls, ?mcJ the same goes for creating
    cliS:JiLal artwork. lllele a1e expensive, professional-quality tools
    dVdikliJie, IJul dl:,o plenLy of options for the smaller budget.
    LCD OrTIC/\L MOUSE
    Ynu wnn't get VCI)I fur using c:t grc:tphics program without a
    rnnt J'\r. highly rcrommcnded that you use J modern
    I FD (lighl -cmitting diode! mouse rather than a tradi tional
    b;!ll-nwrhrlnism model. Optical mice offer greater accuracy,
    \JJH a >I ht..,. mnl inn find f!rcn't prone to jamming.
    ---1----An 1dent1f1ed by
    ILJ\TOCD SC/\1\J I\JCR
    the U:D bulb on its under in
    pl.",.. nl b.1ll .
    A\( rlflrll'f 1\ IJ\!Jrllly ltll' rJJUllrll rlfli.\1\ fi rs! purchase.
    ScJnncrs photocopier-like devices that interpret flat
    rtrlwnrk rtrlCIIJHil il ir rln c.ompul.er-rerrc.JctlJie rJdlcr. Tllese
    cJ,-Jys mosL n.:1tbcd scunncrs urc inexpensive. or bundled free
    with J new PC. and all are extremely useful for this type of
    work. lwr 1 r-1 l >ri\Jl model ts usunlly sufri cient For scanning
    in line rl rt for colouring in a software package. Pay attention
    to the opticJI resolution when buying a
    scanner: Tl1is will be around 600 dpi
    or I 7.00 dpi. Anything higl1er
    Lhdn 2000 is usudlly a
    fake resolution
    created by scaling
    the image.
    PR/1\JTER
    Printers might seem something of a luxury for the digital
    artist. as often our work doesn't get printed at all and is
    only published on the Internet. However; its often good to
    print your w ork - especially if it is intended for use in print -
    so that you can check the colours and quality.
    There are several different types of printers. but two types
    are most common:
    Laser Printer
    Laser printers are excellent for text
    documents and printed black and
    white comics. The quality of the lines
    is vel)l sharp. and work prints
    quickly. However; ink
    toners (refills) are
    expensive. and the
    printers themselves can
    require costly
    maintenance. There are
    colour laser printers
    available. but these too
    are vel)l expensive.
    Inkjet
    An inkjet printer produces colour work
    cheaply, and quality can be high with
    specialist photo-paper. However; black
    lines aren't as crisp as those produced
    by laser printers. and the ink isn't
    waterproof. making it liable to
    smudging.
    PERIPHERAlS 47
    GRAPHICS TABLET
    .. .
    Most artists regard the graphics tablet as the essential
    peripheral for digital work. A graphics tablet is essentially a
    sheet of plastic that represents the shape of the monitor.
    Using a special pen. you "draw" on the surface. but rather
    than dispense ink the tip applies variable pressure. which
    the computer interprets and turns into an on-screen
    drawing. Using the pen you can use line and colour just as
    subtly as you would with a real pen and paper Graphics
    tablets allow much greater and more natural control of the
    tools in all major graphics packages.
    TIP Graphics Tablet
    Using a graphics tablet can be tough ro begin
    with. but donr be discouraged. It's a good ide.1 to
    scan in existing line cut ;met t:)et used to
    COlOUring it USing Lilt' In I rPn, ratl"ler til.:Jil
    trying ro ctr<'lw something frcclrdl 1<1 I.Jclw<-'
    the hang of lilt: m;w This will hi"IJ"l yn11
    develop your mnrrol
    Once you get used to the tablet. you will soon be able
    to sketch. ink and colour your artwork entirely on the
    computer - without using paper at all!
    :
    ' ' v '
    Graphics Tablet Sizes
    The size of the graphics tablet you
    choose can make a big difference to
    your overall experience of working
    digitally. and how comfortably you
    can work. Consider the size of your
    desk area. or whether you need to
    transport the tablet between different
    computers. If you're working with a
    very large monitor then a small tablet
    may be too inaccurate to be
    used easily.
    The cost is almost twice as much
    for each increase in area size. so the
    larger tablets can be rather expensive.
    Its worth considering the tablet as a
    long-term investment though. A
    good-quality tablet will last for more
    than five years and still work perfectly.
    Some ranges also offer replacement
    pens and nibs.
    There are also 30 em x 46 em
    ( 12 in. x l8 in.) size tablets available.
    but because of their size these are
    generally considered too large for
    comfortable illustration work.
    Large
    23 em x 30 em (9 in. x t2 in.J
    Lctrger tablets are popular
    with manga I.J<:causc tt1cy
    allow fine mntrol as well as
    general bro<:1d strokes. llowever.
    the l<irge footprint of
    devices (often as large as 35.5 em
    x 46 em 114 in. x lAin.) can
    make th<:m impracticrtl for sm<'lll
    workspact:s.
    Small
    t 0 em x t 3 em (4 in. x 5 in.J
    The smallest size graphics tablctts Vt'IY
    popular and cost-effective and is ideal as
    a first tablet. Even 1f you would like to
    use a larger tablet li'ltcr. tl wor1t1
    investing in a small one to get r1 leel
    for how a tablet is usecJ.
    Medium
    t 5 em x 20 em (6 in. x 8 in.J
    Tl1is size d tjfl:rll lrrtcJc-oll
    hf'IWf'Pn price and desk
    space. allow1ntj quocJ p!'ll .-11 c 111 ncy
    lor t1 tt1hlet that can also be easily
    tucked into r1 llriU. 01 IIIOVI 'I I 0111 Ill
    the way. However. some utllsb clo
    ltr 1cJ ltll\ roo restrictive for
    daily use.
    48 g D GITAL FOUNDATIONS
    C1
    about
    software
    rllOiO<;IlOf) j<; illP lllO<;i popular graphics
    .\OfiWdfC for l.t lC rrk.ljur ily ur l.d::.ks, bul Lt-lefe
    arc lots of clleaper alternatives, and also
    more specialized tools fo1 rnanga
    c,rNrRAI <!RAP/ 1/C<:; PACKACiFS
    Photoshop (Mac and PCJ
    1 't H.>Lo>l HJP i> d> u1e lJe>L drL-generalion
    and image editing package. It offers a wide range of tools
    for nriginrlling digirn/ i'lrtwnrk, plus sophisticated output
    cunlrols rt1ulosllop is U1e soflwctre most commonly used
    lor proressional print work. but it also offers tools For
    creJtinq images for use on the Internet. It comes bundled
    with a dedicJted packaqe, lmageReady. for this purpose.
    Althouqh Photoshop c.:.m seem overwhelming as a result
    of til e IJrge number of tools and options, its easy to come
    to qrips with the p.:ms of the softvvare that you'll use most
    Pros:
    Offers the widest range of tools and complete
    control over output resolution; is widely used and
    tdeally suited to supplying digital work for print.
    Cons:
    Expensive. limited effective ndturdl media
    style funct1on<11ity.
    Photoshop Elements
    (Mac and PCJ
    The "cut down" version of
    Photoshop, minus some of the
    more advanced features. Elements
    contains all the basics and is an
    excellent choice for getting started
    with digital artwork.
    Paintshop Pro (PC Only)
    Paintshop Pro is a popular budget
    alternative to Photoshop. Offering
    many of the same basic features.
    as well as some of the more
    advanced, its a good alternative
    for those who want to save
    money. It doesn't provide as much
    control over print-oriented work,
    but its still great for Internet work.
    If you want to get started with
    digital artwork, its a great choice.
    Pros:
    A good introduction to
    Photoshop, its interface
    and features.
    Cons:
    Doesn't offer as many
    features as other budget
    software programs.
    Pros:
    Inexpensive; offers most of
    the tools from Phoroshop.
    Cons:
    Lacks DPI (dots per inch.
    see page 53) and CMYK
    (cyan, magenta. yellow
    and key plate - or black)
    controls, which are
    important for print work.
    Runs slowly with
    multilayered and high-
    resolution images.


    '
    , ..
    DIGITAL PAINTING
    Open Canvas (PC Only)
    Open Canvas is the cheapest of the
    software listed here. and probably has
    the least options available. However. it
    offers a number of unique features.
    such as brush styles that smudge the
    paint allowing you to emulate certain
    types of natural media.
    COMIC-MAKING SOFTWARE
    Comicworks (PC Only)
    Comicworks is a specialist software
    package from Japan. designed solely
    for the production of Japanese comic
    books. It allows you to place
    predefined screentone patterns onto
    the page and produce incredibly
    smooth line art. You can easily export
    your artwork and load it into other
    software. such as Photoshop. if you
    wish to add colour. Comicworks is an
    ideal choice for anyone who is
    dedicated to producing comics.
    Pros:
    Fantastrc for producing
    prinr-rei'ldy line arr;
    makes applying digital
    screentone ei'lsy. and
    prints at high quality.
    Cons:
    Umited to black and
    white artwork jno
    colour or grey);
    interface can be
    difficult to usc.
    Pros:
    The line (Jtt.-=llity
    <tnd colour !.>lending;
    mmm'll
    medici cxtrt:rnely well.
    Cons:
    Lacks h.'lsic im;,ge
    adjusrmenr fei'ln
    no option to disable
    on lines.
    lmetges can'r be
    mctnipuldted tor
    pr rnl prcpctr ctlion.
    ALL ABOUT SOFTWARF 49
    Pros:
    Fxnlh>nt l.11 r li...'UI
    ucdtC\
    .1nd
    Cons:
    I .11 k , h
    ."' rr"
    f11 ff1n Ill, ll l l<.'l kH.I.'
    <IWkWcll d ell
    Painter (Mac and PCJ
    Painter is cJ iliql1ly
    cJt:)l(jlll'cl 1 o
    n..-tlt rr...t l mt->r!ia such as oil puint
    and wutcrcolour.
    P...tinter otters a huge selection of
    brushes rlrld llrl\ {'X( 1-'llf-'lll I lr ushsrroke
    control. Despite its lllrrrry wt>rul('rllll
    features. however, P.1in1r-r ''" ko, '' vt r.-tl
    simple imaqe editing fr1cilitics ilnr I
    forces lines to be ilnti-;dirt'it r I (" '<
    page 62), milking
    screentonc diffiwll 1 n ... rpply
    50 g DIGITAL FOUNDATIONS
    C'1
    toshop
    basics
    Its oriqlll<; wr.rr. ;1s .::1n image-editing sui te, but Photoshop
    11.1s t"">PrnnlP tllC' most common graphics and painting
    fl.1rk;=Hl f', ,1nc:t tll P. standard for both home users and
    Industry professionals alike. Mosl Pholushop basics are
    dppliccJL>If:' lu ulllf:'r paint snttwarP, <i O what you learn here
    Will tJc useful
    Kl Y 1-1-/\ll JI\I S OF F'IIOTOSI-IOP
    Tool bar
    Dlr.nl:wr. rhl' r11rrl'nrly
    (.<.li<AII ,11 ld tl IL' lli li L'I L'IIt
    for ciri'lwlnCJ. ()i'linrin(j
    <IIIU <.:dill/ 1!:) ll1c.: 1111<.1!:)<.:.
    ... ""

    . i :),
    (J
    Tool Options Bar
    Shows all the ava1/able
    fut your
    sclccrcd roo/, ?tllowing
    you to chilnge the WilY
    the too/ behaves.
    Swatches Palette
    Lets you pick from a
    palette of different
    co/ours as well as add
    co/ours of your own.
    Brushes Palette
    you to choose from
    different types of brushes
    <tnd struke styl es.
    Layer Palette
    Allows control of the
    different parts of your
    illustration by
    separating it into
    editable layers. (See
    page 52 for more
    information.)
    USING THE TOOLBAR
    Selection Tools
    A selection is a part of the image that you
    wish to modi fy. either by drawing onto it or
    by using your selection to define an area you
    wish to cut and paste, edit or apply effects
    to. Selections are easy to use. and make work
    on your image much easier.
    Lasso Tools
    These tools allow you to select areas of the
    image while allowing greater freedom in
    defining the shape of your selection. Use
    the Polygonal Lasso to define a precise
    area by joining points. and the Magnetic
    Lasso to pick up the shape of the image as
    you move the tool over it. The Iauer is of
    limited use in painting and illustration. but
    very effective in editing photographs.
    Marquee Tools
    The Ellipt<cal and Rectangular Marquee
    tools are used to select areas of an image
    defined by the shape of the tool .
    Magic Wand
    The Magic Wand selects an area of the
    image based on the shapes and lines of
    the existing image. It selects an area in
    the same way that the Paint Bucket fi lls
    an image.
    Cropping and Slicing Tools
    These allow you to cut an image. either to
    remove elements of it or to apply information
    to the slices .
    Crop Tool
    Used to trim the image down to a smaller
    size. removing unwanted parts. Marking a
    rectangular selection and choosing Image
    > Crop from the menu will achieve the
    same result.
    Slice Tool
    For use specifically in Web site design
    work to separate an image into different
    rectangular areas. to which can be
    added hyper/inks.
    Paint Tools
    Tools that use natural media and real-world
    painting tools as their starting point. adding
    numerous editable possibilities and digital-
    specific effects.
    Paintbrush
    The Paintbrush tool acts much like a
    conventional paintbrush or marker pen. It
    allows you to apply opaque or translucent
    colour and lines to the page. as you would
    with paint or ink.
    Choosing a brush size will define the size
    and shape of your brush. changing the
    thickness and style of the li nes you draw.
    Round brushes are most common. and will
    draw an ordinary line at regular thickness.
    Squarer and more angular brushes vary
    the line width when you draw in different
    directions. and irregular -natural media"
    brushes will produce a gritty.
    textured stroke.
    -
    -
    -
    - -
    The number beneath
    each brush indicates its
    "

    -
    -
    Round Brushes, Square Brushes
    and Natural Media Brushes
    The "hardness of the
    edge of the brush will
    define the cnspness of
    the colour. and how
    much the colour fades
    out towards the edge
    of the stroke. The solid
    black shapes indicate
    hard brushes. whereas
    the fuzzy-looking
    circles represent
    soft edges and
    diffused effects.
    Hard and Soft Brushes Airbrush Mode
    Opacity
    When in Airbrus11
    mode. holding down
    the mouse button (or
    your graphics tablet
    pen nib) in the same
    place will apply colour
    over itself. thrckening
    its application. Airbrush
    mode can make rt
    tricky to distribute
    colour uniformly.
    A soft-edged brush
    can often achieve the
    same results.
    This affects the translucency of your applied
    colour. with I 00% being completely solid
    colour. and 0% being completely invisible.
    Layering semiopaque colour will thicken
    its effect.
    Pencil Mode
    This applr es colour with a sharp. pixellated
    edge (rather than a soft, translucent one).
    wrth no anti-aliasing (see page 62).
    Although this might look abrasive on--
    screen. it is the best way to ensure a
    perfectly crisp edge to your lines areas.
    Generally, Pencil mode is best when
    working at very high resolutions, if you
    rntend to print or reduce the image later
    on. Working in this mode also makes it easy
    to select colours sampled from
    artWork accurately.
    Healing Brush,
    Clone Stamp Tool
    and History Brush
    These are custom versions of
    the Paintbrush For speciillist
    uses. and are rnostly useful when
    editing photogrilphs.
    PHOTOS HOP RASICS 51
    Tolerance, Anti-Alias and All Layers
    II T-..-: J2ci""" r .... 17 ean._,_ r All t...)wa
    Anti-Alias
    lOIL'I dr1Ce= I 0 tolerance I 00
    Tolerance
    This chan ges how rh e colour has t o be for rl lu lJt:
    considered l hc sc1me colour by a selecti(ln mnl A 0 vJILJc
    mean s it has to be the cxdll RGO colour. /'i'i
    means rhar any coloLJr will be consrdt:rt:<.J l i lt: even
    black and whire. Low v.1i ues from I 0 to 50 arc
    effectrvc
    ChPrkino rhP Anrl bo!\
    Will .1IIOW YOI/1' r -Jint (01
    \eiPrrinn) m hlt>F>.-1 nvr:r lil <.:
    ccJqe of rhP .'lrTWnrk it1
    r.1n
    pr u iJI<.:rr w ilt 1 lft:dn linP
    .1rt if Tnler dilL<.:
    hi(Jh, ht> "' rrP tn 70r)ll l
    111 cJt ltl c hl'ck yn1 1r wnrl.:
    all layers orr ( lN

    Eraser
    Deletes areas of the imaqe rn
    tl1c thickness and edge of rhe bru<h <ile
    you - effectively like the rai mbrush
    111 II you this on the base layer
    tusually l.1bdletJ it will use
    your wlour.

    Paint Bucket
    This will paint the currenrty <f'lfftt>c1 rnlnur
    onro the working rll a srmri<Jr
    manner to t11e WdncJ.

    Smudge, Blur and Sharpen
    The Smudge tool wrll move wlours
    [QJ
    rn the dorectron ol the brush movemenr.
    which is useful for blenc11ng roloo rr< Oil
    hair. or for creatrng subtle foiLls Ill il.
    lliJ
    The Blur tool milkes rhe softer.
    whereas Sharpcn lllcikcs it crisper by
    increasing the contrast of tile sun ountJrng
    pixels. The fi lter is a more
    sophistiGltl'd version.

    Dodge. Burn and Sponge
    Dodge ilnd Burn named Jfter old style
    [S]
    darkroom techniques.
    are used For lightening and
    darkenrng of respectively. The

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

    Vector Path Tools
    Advanced tools for cre<lung curved shapes
    [I]
    and selecrions rhat can be scaled up to any
    size without pixellating. These tools can be
    difficult to use. but create very smooth.
    curved areas. They are especially useful
    For highlights.
    All Layers
    wl11?lilcr lilt:
    selt>Cfi(ln/flll nn
    lllC cll lWOik in rhP
    l<rycr ur rly. Ul w l iclt lcr 11
    sl1oLJic1 comrllcr .rll
    nf rhP ;m work
    ITJ
    Text Tool
    thil tO pl,ll'l" l t-'XI I II I lilt' 1-'<IIJI.'.
    on thl' p.>,()l' tn r,..,,, ,.. , , rr xi 11111 .orrd
    hold down thl" mn11'.f" hr Jll nn . 11 11 I rio "U
    ro create a mulrllint' rl'xt ht1x w1111
    rexr.
    [gJ
    Shape Tool
    for rurh . rr r 1,11 ryiL-:. ,u rLI
    nrhf'f' <rmph <11.11 rr " )unc j.rr:uf.lle J.!ll.'k:r to
    use .r M.u4uce wrrrlJrrrccJ with rhe rill ronl
    lU dllricvc 1hc \i'lml'

    Notes Tool
    tu Wllll.' llicJcJcn lnon-prlnrln()) r.-xr
    <nn01ariom .>.hn11r rhr> im.1rJo>
    [ZJ
    Eyedropper
    Thr> Fyl'droppcr s,1nlJJb Luluur lrurn tire
    urklC/t' i-l nd chJngc5 U1c
    LUIIl.'lll LOIOUI IO 1/H' nf>\,VI_y l ,>,mp1Pc1
    sclcctron. lulllllllllllll l>c hy
    holdin\,1 down U 11.:1\11 key wlwn rn
    Paintbfllsh moue.


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

    Zoom Tool
    1\tltlW\ yot r ro mnm In out of rile
    image. m<lking it I.Jrqcr or smaller
    onscreen. You llll -rl\lr '"' ' tllf Llrl + H
    and c.trl + /+) keys to do rhis.
    Photoshop Elements
    Most o f rh e techniques ap plied in th e
    tutorials on pages 66- 99 can al so be
    carried o ur in Photosh op Elements.
    !TAL FOUNDATI ONS
    toshop layers
    Lighten
    Mtwll of rile: freedom of working in Photosr10p comes from
    tile Laye1s function. Tllis allows you to work without
    cldrTk.!CJir oU ll'f or lhe cJrawing.
    This example
    shows the effect
    of various layer
    Screen
    Overlay
    L;wers t;e rn<:mipLIIi:itecl <:1nd altered easily. so your
    character can be made to wear a blue jacket instead of a
    reel jrlrkcr, for cxilmplc; or you can sec what the image
    woulci look like wirh il different type of lighting. Layers are
    I he kry In wnrking cffcclivc/y wirh digira/ manga.
    I t1e IJe;L wo::ty to l.dyers is lo compare the
    tuncrion ro sheers ot glass or cleiJr plastic, like the overlays
    lllo::tl designers usecl to use before
    rhe dJys of digitJI. When you draw and paint on a
    rhnlmhnp 1,1yrr. il> ronlenls nre Pntirely inrlependent of
    ott1er !.dyers. 2tllhough lhe 1mage will appear to be a
    1tem.
    [,rdJI,ry<.:r
    llllllollll'o

    parrs of
    imugc.
    Flattening Layers
    l.uyLu LIIL' ullly IJy Pllulu:.I JujJ 111 LL'Ildltl filL' furmats. so w11en
    wu1 w1llr llu.: l.uyL'J s furKLJOIJ you should always save in your
    dcfJull formJt - PSD in the case of Photoshop.
    If y) U Fl.:tttcn U1c (Luycr > Flatten Image). t11e fi le size of your
    lm:1QP will hE' muc11 sm.111er, because Photos110p creates a single
    mmrmlrP of of rhe elements_ This means that you lose the
    :'lhlllry rn Prllr rhP im:'loe l;:trer nn You should always ny ro keep an
    mlolml copy of your image with L3yers intact.
    BENEFITS OF LAYERS
    Easi er to add colour to lines by drawing on the layer
    underneath, without worrying about the details.
    * Layers can be moved around. allowing you to after the
    compositior1 of tl1e image freely.
    ;.:. Parts of each layer can be deleted freely without altering
    other layers - making it easy to create clean, professional-
    quality artwork that will look great in print or on the Web.
    styles when pink Soft Light
    is overlaid on a
    - blue layer.
    ] Hard Light
    MASKING LAYERS
    A simple way to think of a mask is as a permanent
    selection. outside of which - or within which (depending
    on how you set it up) - the image is unaffected by any
    tool you use, or modification you make. L3yer masks add a
    lot of flexibi lity to the way you can work with Layers in
    Photoshop, by defining how much of each layer should
    be visible.

    HOW TO MASK A LAYER
    Using masks
    Masks help control the
    placement of colour and inks.
    1 . Choose the layer. and select the area you want to
    be visible.
    2. Click the "Mask L3yer" button at the bottom of the
    Layer stack.
    3. The layer w ill now be masked out and should
    be highlighted.
    4. You can edit the layer mask with black and white
    brushes to alter the masked area.
    5. Click back on to the main colour part of the layer to
    paint here as normal.
    6. Right-clicki ng on the layer will give you the choice to
    disable, enable or discard the mask.
    I
    I
    J
    I
    I
    Resolution
    Understanding the resolution of images is crucial when worki n<J
    digitally, and can help improve the quality or your work. Whether
    images are intended for distribution on the Web or in
    print, its important to consider resolution in advar1ce.
    All digital images, be they on-screen or printed on paper, are made
    from dots. The more dots they have, the finer the image is. Producing
    images at a high resolution means more pixels (short for "picture
    elements", the dots used to form the image on-screen). High
    resolutions give you greater creative flexibility in how the final im<:tge
    can be used. as we will see.
    Working at a high resolution puts a much greater strt:Jin on your
    computer. When you save files they take up more disk space, ancJ
    your computer will require more memory to handle the work and a
    faster processor to manipulate it. The larger the image, the more data
    the computer has to deal with. and if there isn't enough memory
    available to store all that data comfortably. the computer will soon
    slow down or indeed be unable to load the file. Recent computers
    are much more capable of handling large, uncompressed graphics.
    but you should still invest in a decent-sized hard drive and more RAM
    if you intend to work on large images.
    PROS AND CONS OF HIGH
    RESOLUTION IMAGES
    Pros:
    Minimum resolution
    Low dpi images look poor
    when printed. 300 dpi IS lilt:
    minimum resolution you
    Resolution 2!:i dpi
    10 11 /) tlpi
    I SO dpi
    4fc Image can be used for print at
    high quality.
    4fc Ability to add fine detail to small
    areas of the image.
    should work at. 600 <.IJJi
    4f: Minor errors become less noticeable.
    4f: Working at a high resolution gives
    you the freedom to display the
    image at any size you wish.
    Cons:
    4fc Can lead to large file sizes on disk.
    4f: Requires a more powerful computer
    to manipulate.
    See also Scanning, pages 56- 57
    /
    GREYSCALE FOUR COLOUR
    Pnmers simulate colours and grey tones by us1ng
    patterns of dots. Greyscale images are produced
    using only blacl< ink. whereas four colours (cyan.
    magenta. yellow and black. otherwise known as
    CMYK) are used to produce colour-printed images.
    53
    DPI
    DPI stands for "dots per inch". and
    refers to the number of dots ust.:d to
    make up an 1m<rge. A high-DPI
    im.:tge will contain more dots
    finer therefore) than .rn imdqt.:
    w1ll1 low Ul'l. 1'1'1 for
    per inch", which is PSSP11ti;-lly tilL
    same thing fer lm:l!)f>s on-scr(.!(.!ll.
    but mmr pPCf1IP rPfer to
    cclour i11 terms of
    their DPI.
    on "' romruter screen
    require a lower DPI counl lo ilPPl.:dT
    srnoot11 l h<:rn 1Jrrnted on
    paper; of the way
    a screen is illuminated. An 1m.rqt.:
    prinlt.:c.J un IJdper will need
    300 dpl to .:tppeilr high qucJhly,
    wherens on-screen can be .:ts
    low as 7 2 dp1 c1nd sllll seem
    This means that an irncJgc 900 pixels
    w1de would be 12.5 Inches wide
    on-screen, bul would only be J
    inches wide when printec.J .rt :.lUO
    dpi, or l _r; inches ,Jr 600 dpi.
    DeSIJile this, mmr .'lrtwork Intended
    ror on cornruter is produced
    cit C1 very higt1 resolution and rhen
    1,1ter compressed. This Is because
    working i'lt "' high resolution to
    beg1n w1th you ro zoom into
    lht.: irn.:tge I'O nrld derails. and
    dlso g1ves you the treedom to use
    your 1mngl:' tor either print or the
    Internet. When creating an
    illustration. work prrmarrly with the
    image displayed in a "zoomed out"
    view, displaying the image at SO%
    or 25% of the actual size.
    CHAPTER FOUR
    Creatinq lligh-quality line art is one of the most important
    c.;IC'pr.; 1o pro(JucineJ CJ ny irnage. Sharp, clean lines will make
    colouring easier and will si gnificantly improve the presentation
    ol your pr in Led manga.
    8 Scanning 56
    8 Traditional inking 58
    8 Digital inking 60
    8 Di gital line art 62
    -
    56 e DIG ITAL TECHNI Q UES: LINE ART
    Usinq J fiJtbeci scanner allows you to take an image
    frorn p,3pe1 ,3n(j transfe1 it to computer. Such devices
    ;:m-:-. illf'XfJe'll<;iVP c11ld <; imple tO USe, and enable you tO
    cr 1t 1c.1r Ill' yuur IS wiLtl digilal lecrHliques.
    \CANNINCi OPTIONS
    Colour
    TIJi'> uplior 1 '>ldll'> the image using full colour. Useful for
    s<<Hining mlourcd irntlges, it is seldom necessary for
    line l. It rmy IJe userul if you have coloured
    pt neil lines on your page as well as ink.
    Greyscale
    Use rhe greyscJfe oprion ro sGm the image in shades of
    grey, mnking up 256 tones altogether. You'll probably use
    lhi.c, mnst nflt' n when SCilJllling .sketches and tine art.
    Blacl( and white ("line art" mode)
    Usinq this option converts your imogc into pure black and
    Wll ire (rwo colours) . This .Jchieves decem resulrs. but you
    can proiJaiJiy control the quality better by using Photoshop
    to CClrlVC' rl UUY\Crl lc work lrll n tllriCk .-JmJ WhiiC.
    Colour scan Greyscale
    Mark out the area or
    rhe imi'lqe you inrend
    rn wirh rhe
    Select
    Culour dtt' &1<.1 more rnernory
    I t1ey shoutcJ only lle used for
    Greyscale 1s good for scanning pencil work
    or for qu1ck results from ink.
    colour images.
    Adjust settings on
    your scanner before
    you choose scan.
    ' .
    ..... ..... - ...... -- .. - ... -...
    Black and white
    Black and white mode is perfect for scanning
    ink drawings.

    - ne most common resolution at which to scan images is
    300 dpi but you can choose 600 dpi for work you intend
    :o print or images you wish to enlarge. Very few affordable
    scanners can scan at much higher than 600 dpi or 1200
    dpi, and attempting to scan at higher resolutions than
    these will do little other than freeze your machine and fi ll
    up your hard drive.
    Scanning in pencil work and sketches
    Pencil work can be a great starting point for a digital
    image. You can clean up your pencil work by increasing the
    contrast of the scan. Often the quality will be high enough
    w be used online without further modifi cation. but
    generally the line quality of pencil work won't be high
    enough for print. except in rare instances. You can also use
    the Sharpen tool or Unsharp Mask filter in Photoshop to
    make your lines appear crisper.
    Scanning in line art
    Most digital artists still produce their line art on paper and
    then scan in the image for colouring and manipulation on
    computer. This tends to be the best compromise between
    line quality. time spent and overall image composition.
    You can choose whether to scan your lines in as greyscale
    or black and white. both of which offer their own
    advantages (see previous page). Setting your lines to grey
    can retain subtle detailing in the strokes. and is sometimes
    better if your line work is especially fine. However.
    converting your lines to black and white (whether through
    the scanner or in Photoshop) will give you crisper lines that
    have a sharper edge when printed. These wi ll be easier to
    colour cleanly in Photoshop.
    TIP: Splicing Images
    If you have an image that is too large for the scanner. you
    can usually scan in several parts and then splice the image
    together in Photoshop. Be sure to keep the edges of the
    paper straight when doing this, and leave an area of overlap
    present on both scanned images. Create a large document.
    then copy and paste the two images onto the page. You
    can reduce the seam between the two halves by using a
    soft eraser {or mask) on the edge of the image on the
    higher level.
    SCANN I N G 57
    TIPS for Scanning
    Remember you can scan straight from t1ny
    software by choosing the se<mner from Acquire or lmpot l
    in the File menu.
    4ft Make sure I here 1s no or eraser tlecks on either your
    paper or your scanner bed before scunninq.
    4ft If youre having troubl e scanning sometilinq flut. t1y
    picKing books on l op of lh!:' firl m r ress It down.
    *If tllere is cJrtwork visibk: riUI II lilt: Ull lt:r ol illlrl prtpcr
    !"show rhrough"), you r;m rPr1ttr P by pl.xing bi.:Jck.
    card over the buck of tile p.:rpcr.
    Pencil work and sketches
    ,..J I . \ '
    :: ;
    I.
    Coloured lines
    can be removed
    digit.ally .:lftt'l"
    Kunn1ng.
    Adjusting
    contrast can
    result 1n a good
    scan. even from
    penc11 work.
    . .
    IIVLIYI I )ltc.:ld
    I IIVIt'
    tu
    l.>ut uti: J.X:rfcu
    for diqlr.ll lnkinq
    58 -8 DI GITAL TECHNIQUES: LINE ART
    Trad itiona I inking
    lnkin9 is .::1n important skill for any manga artist. For tllose
    wllo cJn't Jfford tile expensive equipment for digital inking,
    ur wt ru prdcr d murc tacl.ilc experi ence, traditional
    ir lki rl(.j lOCJ.S orrcr cl cheap alternative.
    rl of lllrlkin<J r1 mistake and ruining your
    k wl len rr 1krnq wrth re(,ll pens. so working on paper
    requires more prJcrice Jnd discipline thi:tn digital inking.
    ynt r ilrr rnnficknr rontrnllin<J your pens. trnditional
    111krr '!.J you rnure cuntrur. yuu cctn ::.ee the
    wt1ule at once. rather than having to zoom in ro a
    smJII section Js you do on computer. Even small things like
    nf rnt,lting thr prl<Jf' rl'\ you work it Cflsicr to
    Cl\'rlll' \l\'riCJy !ill\'\.
    Tr ridil iollrll I() ril\\1 uivt') you more lUillrul uver line
    Vil(irJiinn. Rcrrl IJCil lint:$ rlll' rlffcr ll'ri lJy bolh
    premrre ,:md speed unlike ril e pen of J graphics tablet.
    wtll( t1 only sensitive ro pressure.
    < lv1 1 llw r wxl 1 < u rple ol p.:tges. we'll look 21t lhe three
    most commonly used for inking. 111c pros ;md
    cons ot eJch.
    nRl IrS AND JSI I PFNS
    lnklnq with .:1 brush is <JctuJIIy more commonly seen
    111 comics. but there are some illustrators
    111 1./flrlll wtlll rnk 1t11<; woy. Brushes give the
    r 1111:-.1 t1 <JI Crl l dt 'til of Ill II' Vrlllrll/011, lJUI
    reqLr ire skill .:md cJreful control. Bear in
    rrr11 1rl ltJ.-11 rl\ rlrllic ult to dr21w tine
    !lvlrlll', wrll l ,, 111 11\t l, \Cl
    pictures mJy hJvc to be lcJrgcr tflcJn
    youre used ro.
    Brushes <md brush pens can create
    some' dcrcnciin<J on rhc
    \ f)('('( J rll wlli< II you cJr dW Slow. Ulref ul strokes
    produce cleJn lines, whererls quick, loose
    ledve Ll1e texture ut the bnstle. These sott.
    TIPS Inking
    4fC Use different-sized pens according to the amount of detail
    you're drawing. Fine derails like facial features should be
    drawn with finer pens than the rest of your character.
    * If you make a mistake while inking. don't worry. Simply
    while out the area with correction fiuid or white ink. and
    draw over it when its dry.
    * To make your inked pictures easier to scan. try drawing
    with non-photo pencils (whose lines are nor picked up by
    a scanner) and inking over them. Or scan in your pencil
    sketch and tint it blue in your image-editing program
    (Photoshop. if you're using it). then print it out and use
    that to ink from.
    * If the ink you use is particularly sticky, try dabbing it with a
    puny rubber to remove the excess after its dried.
    textured Jines are great for drawing hair or anything with a
    feathered texture or edge.
    In terms of convenience. a brush pen is better
    than a brush. and is less messy. Brush pens
    often take ink cartridges. so you don't
    have to worry about the brush drying or
    being ruined by sticky ink. Pens with a
    bristle tip give the sharpest lines and have
    the greatest fl exibility. Fibre-tipped brush pens
    are more suited to colouring rather than inking.
    as their tips are less fine and tend to blunt
    TRADITI ONAL I NKI NG 59
    FINELINERS
    Fineliners are great for creating nat, consistent lines. There is
    no line width variation with pressure (in fact, don't prP.ss too
    hard - you could break the tip!) . and little variation with the
    speed at which you draw. Tt1e uf IiTle il
    r------ you're creating a eel-style coloured in1nge (r,('c
    TIP Varying Line
    Width
    To vary line width with a fineliner, you
    need a different technique than the
    method you use with nibs and brushes.
    Because of the lack of flexibility in the tip.
    the only way to vary the lines is by
    drawing over them a few times.
    Drawing quickly. in a way similar to
    how you would build up lines on a
    pencil sketch. creates a more
    natural-looking image.
    NIBS
    Nibs are the traditional inking choice of manga artists.
    Nibs come in a range of different shapes and
    sizes, each with a different purpose. Wide,
    pointed nibs are good for drawing most
    things, with a smaller. firmer-pointed nib
    used for details and finer lines. Square-
    tipped nibs intended for calligraphy are
    rarely used.
    You can easily create interesting-
    looking lines with nib pens with just a little
    practice. However. nibs can be messy and are
    liable to cause inkblots on your artwork. Ink also
    takes a while to dry. so you have to make sure
    you don't smudge your work as you draw. Nibs
    need to be thoroughly cleaned and, although
    they are inexpensive. they do need to be
    replaced frequently.
    70-73). but not the ol pen lor -
    unless you usc several tllicknc:ssc:s of p('nr, nnrl
    layer your to u edte vct nctUon deptr1.
    Fineliners come 1n two types: disposJble
    pens with plastic t ips, and expensive mct.l l rippc:d
    models. Metal-tipped pens arc rcfi /l ,lblc with n Vcl rit 1y uf
    different inks. but l"llr:y rrqt Jir(' c rl rrftJI /l lrlilll< 'llr/1 Ill' r/1 i( I
    cleaning (sometimes with expensive kits) . Tilr. 'il iffnC'i \ or
    the tips makes them difficult tO USC, clS tllC ink only
    properly when the pen is held at .:1 90 deqrce anq/c from
    the page. Plastic-tipped tineliners cope better with
    more comforlr1lliC' ltl<'H' r ll <' lol \ ol clili<'H'fli
    brands available, eac/1 witll different ink qunlitics
    tip strengths.
    PENS TO AVOID
    Biro
    Biros crecJle cJ mil line to
    This makes them acceptable for the
    occasional sketch, but a finished piece
    will look scrurry cornp.1rcd to one 1nkecJ
    witll <1 pen intended for drawing.
    Gel pens
    These are similar to biros. but stickicc
    The ball in tile tip is clogged by
    ink, leading to broken lines. 1 his sticky
    ink also rncJkes the lines 1l
    smudgy and slow tu d1 y.
    Pencils
    Skipping the inking sldgc dlld
    your pencil sketch Jnstei'lcl rr11gllt seem
    like a time-saving tip. but it takes
    JUSt as long to cle<m pencil lines as 1t
    does to ink a picture. Pencil has more
    texture than ink, but lacks crispness.
    Use pencils if you want that effect. but
    don't think of them as a replacement
    for inkiog.
    60 e DI GITAL TECHNIQUES: LINE ART
    ital inking
    Tr1anks to qrapllics tablets becoming less expensive and more widely
    iL now practical to produce line drawings entirely on a
    comptllCI. I )r clwir 19 clis.JiLally gives you a lot more freedom tllan traditional
    ir 1king clocs. bt tt you will need a lot of pr-actice with your graphics tablet
    Lu become: as r;roflrient as you migllt be with a traditional pencil or pen.
    IATING TilE PAGE
    The t rur ndr r wr c.dn unfy turn through so many/"---:=
    deqrees. so wtlen trufcJrng 21 pen it feels more,j
    curr rf UlldiJie dlld rrdlur dl Lu c.lraw certain
    rlnd strokes of lines lhan others.
    espcci.1lly ilr 1.1rg<--r Fm Px;rmplc,
    rl lu cJr dW small circle
    rnmfnrtrrhly. <rs illl the muvemenl
    111 yuur tr21nc.l 21ncl trnqers. However. when
    drclwinq u circle lurgcr rh;m ;r couple of inct;cs in
    dlilmcrcr; you will fincl thcll the prlrl uf the c.irc.le closest to
    AwiY hn\IV ...
    ClwiWtll.,,
    lmoll" Sltn
    C nihst.ol ...
    f11t1tl Aap.fld Uahn
    I , .. ,,
    lnm
    qu.:lhly I)
    retained wllen you usc
    RotJte CJnvJS to rotulc
    your omage.
    Scr Traditio nal inking. pages 58-59
    you will be the
    least comtortable
    to draw.
    A graphics
    t ... rt>lcl (or mouse)
    is operated in
    with
    your screen. and
    you w111 be sitting
    rrt n wilh the
    graphics tAblet in
    front of you, so
    you'll find there
    are physical
    limitations to what you can comfortably achieve. There
    are ways to reduce the problem. however.
    In Photoshop (and most other packages), you can
    rotate the image by 90 degrees by using the Rotate
    ) Canvas option from the Image menu. This can be a
    little slow. but it keeps your image intact so that you
    can rotate it back to the correct position without any
    loss of image quality. However: do not use the
    "Arbitrary" rotate option, as this will permanently
    damage your lines and lower the quality when you
    rotate them back into position.
    Specialist packages such as Painter and Comicworks are
    designed more with the concept of drawing straight ro the
    computer in mind. so they give you the option of rotating
    your canvas freely while you draw, making it much easier
    to work on.
    FLIPPING THE PAGE
    You can often spot flaws and errors in your artwork when
    you mirror it. so when drawing digitally it is worth using
    the "Flip Canvas Horizontal" function occasionally to see if
    you can spot any problems with the image. Fix them, and
    tt1cn flip the image back.


    /
    "'
    Check the
    "Smooth Unes"
    _ ,
    box to enable
    A
    line smoothing. _,._
    EJ--
    li I I
    a- li
    o-
    li
    .


    o--
    li
    o--
    li

    u It
    o--
    li .
    o-
    li

    u
    o--
    li
    o-
    li


    El-
    o--
    li
    " " "

    --
    ...
    DI GITAL SKETCHING
    Computers offer a lot of flexibil ity with regards to how you
    can draw. and its this flexibility that makes them fun to
    sketch with.
    Experiment!
    Want to try a different pose? Wondering what
    your character would look like carrying an item.
    or wearing a different outfi t? Duplicate your
    sketch layer and hide the original. then you can
    draw on the new layer as much as you wish.
    trying out as many new ideas as you can think of.
    DIGITAL INKING
    Creating the outline
    Always work on a new
    layer when producing
    your ink outline. ideally
    fading your sketch to
    30-50% opacity on the
    layer beneath. Work over
    the lines of your
    charaa er with the Brush
    or Pencil tool. Sometimes
    it helps to turn off the
    sketch layer briefly to see
    more accurately how
    your lines are looking.
    ROTATI!. SCALI! AND MOVE
    While you're still sketching. you
    can take advantage of the Image
    Transform tool 1n Photoshop.
    Rotating an arm, scaling a head
    or moving a waist might be all
    you need to get your image
    looking perfect.
    DIGITAL INKING 6 1
    '
    Building up your sketch
    Try Vl.'l y Ut I
    n nt-w J;wl'r 1 nrll yn11 gt>t ,.,
    1ouyh of rhe
    nr r mc yot. Wdl tl. Nuw.
    lnyer ro a low O('l:'lriry
    ( ur c.IIIU l..r <.:cJt<.: d
    new J.:.yt-r Dr:'lw yn1 1r 1111.1!.)1.''
    w1ttl <.l<.:flrution
    rlmP. yn11r nthrr '"Yt.''
    c.1 yu1<.1<.:. By rq.x:atinq
    yn1 I (,111 I
    out t1t1 imclqc.
    Sharpening your
    lines
    thP
    the edges
    of blunt lines
    into t11c pou 1l
    yuu
    Drawing on
    separate layers for use in
    colouring later
    Its worth drawing folds or
    clothing details at this stage
    on a new layer. They can be
    used as guidelines later when
    it comes to colouring.
    62 e DI GI TAL TECHNIQUES: LINE ART
    it a I I i n e a rt
    Preparing line art for further digital production work is an important step in
    eve1y piece of artwork, and with understanding can make your work easier
    to produce and can give you more options in developing your images.
    WHA"I IS ANTI-ALIASING-I
    Everything un d computer screen is macle of square pixels, so in order to
    represent diagonal lines and curves the screen has to arrange tiny squares in
    di<:1gon<:1l or curved patterns. With close inspection. it becomes obvious that the
    irnagc is pixellatecl - curves in particular can look jagged on screen.
    Anti aliasing is a method that blurs the colours around the pixels in your lines
    to more nccuratcly fnkc the clppearance of a curve or diagonal. This is very
    ellect1ve on a computer screen and will vastly improve the overall appearance of
    your im<:1gc. However; it is less desirable in print. The printer will t1y to make a
    f)i"rtlcrn to represent the greys, with the overall effect that the line looks far Jess
    lllrrn !he "aliiiscd" version.
    when 111c Mngic Wnnd nnd Paint Bucket tools. the computer has
    to begin making assumptions about correct selections C'lnd fills when it comes to
    working with anti-<:l liased images. This can lead to a loss of quality on the image.
    f3A)1C LINt: ART GREYSCALE LINE ART
    l J\1no d "Mr Jltlf)ly" layer is the simplest way of setting up your line art in graphi cs
    softworc. This projects tt1e black lines of tt1e artwork over the image. and any
    grey of the image make the underlying colours darker. This method is quick
    lu tip, rrmJ U.'>dul for rnm l types of Its also great for pencil line art. or
    i:lnythinq with distinct and crisp edges to the line work.
    1. Background colour
    Open your line arr file in
    This Cdn be
    e1L11er 11nes you have
    pmduced digit-'llly or an
    you h-'lve sc;mned
    Specify your b;:rckground
    rotor 1r -'lS the rolour you
    wish ro have as a backdrop
    this will be white
    at thrs
    2. Select the entire image
    using Ctrt + A cut the
    lm-'lge with Ctrl + X; rhen
    press Cl1 I + V to paste the
    image into a new layer.
    Change the layer style to
    Multiply. This will make all
    white areas or the image
    tri1nsparcnt. and all black
    parts of the image opaque.
    Fill tool without
    anti-alias
    Fill tool with anti-alias
    3. Ready to start
    colouring If you create
    another layer. located
    beneath the line art
    layer. you should be able
    to draw and colour
    without obscuring the
    line art at all. You're now
    ready to start colouring.
    ADVANCED LI NE ART PREPARATION: BLACK AND WHITE LI NE ART
    In many instances of producing digital line art. you will want your work to be as
    clean and "digital" as possible. This essentially requires converting the line art to
    black and white, and removing all white from the layer: Although this will make
    the edge of the line art appear 'j agged" and aliased up close, it will produce the
    crispest line results, especially in print.
    .. ____ _
    "--
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    +10
    G!Q( 0Pre-;tow
    .)
    4. Removing the white Select the Magic Wand
    tool, making sure "Anti-alias and "Contiguous are
    both unchecked. Select the white area of the page.
    and hit the delete key to delete the white area.
    ( ee also Scanning, pa ges 56-57
    .....
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    . 35.
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    DIGITAL LINf: ART 63
    1 Of)f'n yni 1r llnf' .'lrt fiiP r1orm.11, .-wrt1
    .:oorn in to tt1e line\ rhf' lm:'IIJI' .'lr
    1 iJIXr..:i
    2. Select t11c 11 llll + A wl
    rhf' irn.1QP witl1 Ctrl .. X, ti1L'n 11il l lll t V l o
    rhP lm.::tQP inrn a nPW L1yPr
    3. rhf' ann tnnl Tc"l
    tt 1e line drt w be wrnpiPTf'ly hlark
    U1e 100, tlricJ lt lt'rl rtcJju\c
    U1c UJ il il U it:
    the dCSII"CU <IfiLl:. U cll l<.l
    unchccktng llle 1-'i L'VILW I.Jux will <i lluw you to
    Sl:l: I lOW lllC' l llrttk l'lr1cl Wtliff'
    look l o 1t1e ori9innl
    5. Your line url will
    now < Orl\1\l ol p11w
    black lines. and will
    bC Ill W<Jik
    wirh. with QfE'<lter
    ncxibilily foi pill !(
    and coloured lines.
    ro digital colouring, it is now easy to create professional-looking
    work. WiU 1 an undcrsLanding of the different methods you can choose the
    per leU !"or your manga pages.
    Col ouring basics 66
    eel -style colouring 70
    Ai rbrush-styl e shading 74
    Si mulated media 78
    Lineless artwork 82
    Digital screentones 88
    9 Special effects 94
    /
    ('
    -d/j
    66 D \3ITAL TECHN I QUES: COLOURING. SCREENTON E AND EFFECTS
    uring basics
    Nn rn.=1tter what kind of image you're making. you've
    gnl In "'.;Jrl sorncwt-lcrc. A lol or illustrations begin with
    tJ-,e scJme bcJsic steps. Here are a few general tips that apply
    Lo n JOSL Lechniques.
    BASE COLOURING TECHNIQUE FOR GREYSCALE OUTLINES
    lJ!'
    .f..Jll .
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    .:;!, ,, ,
    . )
    1. Set up line art layer Rl\-ji Jh.hLk l11c ldycr wnldinin4 yuur inkc<.l
    rool"tlll'l" ;u1d Duphc.:otc Wycr NJmc tillS new layer "outline.
    :mrl lr rn Mllltll"liY rhe drop down menu at the top of the
    I ;.tyt'r
    2. Create a
    background
    layer MJke J
    IILW I<IYCI <IIIU
    fill ir with any
    w lour (light or
    lliiJif'diOill'S cll t!
    best). The
    purpme of J11is
    is to it
    easier to sce
    any g.lps 1n
    your bnse
    col ours later on.
    3. Create base
    colour layer
    Make another
    new layer for
    your base
    colours. Select
    an area you
    want to colour
    with the Magic
    Wand.
    u. --
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    COLOURING BASICS 67
    AI ctri+A
    l:>csele<:t Ctri+O
    -r a+.:trlr'
    tnvC'rse SNft+(:trl+l
    4 . Notice how the selection doesn't go
    right to the edge of the lines? To get
    around this. go to the menu ilnd choose
    Select > Modify > Expand. and cxJVtncJ
    your by 1-3 pixels.
    Color R""9"
    father... Al+Ctri>O
    5 . Block in colours Use
    the Fill tool to colour rhe
    area. 1r you turn
    "Contiguous" off. you
    can fi ll the whole
    selection at once.
    6. If there are still some
    areas lert outside the
    selectton. use the
    Polygon Lasso tool to
    select them manually. Its
    mostly small corners and
    sharp po1nts that get left
    behind. so pc1y spectal
    attention to those areas.

    T.

    51. J'.
    Q,
    . . .

    7. Where theres a Jot of tight
    detail on the image, like tile
    sleeve on this picture. its
    quicker to use the Polygon
    Lasso tool to draw the
    selection mnnt;nlly you rlKl
    1n the prev1ous step. Instead
    of using the
    Magic Wilnd ro select Cr1Ci1
    bit individually.
    8 . Now that you've got the
    foundations down. you can
    colour the image in any style
    you want.
    0 . _J f:J. 3.1 ii
    D I GITA L TEC HNIQUES : COLOURI NG. SCREENTONE AND EFFECTS
    BASE COLOURING FOR BLACK AND WHITE OUTLINES
    4. Block in colours Usc the Fill tool.
    with Anti-aliasing off. ro start filling in
    the colours.
    5. If there < ~ r e < ~ n y
    small areas left
    behind WithOUt
    colour. you can
    simply touch them up
    with the Brush tool.
    Just usc a very small
    brush and be careful.
    1. Create layer for line art Start by right-clicki ng the layer
    containing your inked picture and select Duplicate Layer. Name
    this new layer outline.
    3. Create background
    layer Make a new layer
    and fill ir with any
    colour. Duplicate the
    outline layer and name it
    "base colour . then move
    it below the outline layer.
    6. Now that you've
    got the foundations
    down. you can
    colour the image in
    any style you want.
    2. Remove white
    areas Use the
    Magic Wand tool.
    with both Anti-
    aliasing and
    Contiguous turned
    off. to select all the
    whi te on that layer.
    Hit Ctrl + X or
    choose Edit > Cut
    to remove all
    the white. Lock
    this layer.
    FIXING GAPS WHILE COLOURING
    QJ
    I[Q]ta
    ljJO t;ii

    .-.--...
    I
    If your image outline has a lot of gaps in it.
    you can patch them with the following
    simple method. On your base colour layer.
    use the Brush to draw a line between the
    sides of the offending gap in the colour you'll
    be blocking in. Then you can select the area
    with the Magic Wand (ser to "All or
    usc the Fill tool to colour rhe area.
    COLOURING JARGON
    The colouring tutorials over the following pages will be
    easier to follow if you have an understanding of basic
    colour terms.
    Hue The technical term for colours.
    Shade Hues mixed with black, or other dark colours.
    Saturation The intensity of a colour. A saturated hue has
    very pure. strong colour. whereas a
    desaturated hue is muted and dull.
    Contrast The difference in hue or shade between
    two colours.
    COLOURING BASICS 69
    COLOUR 'I'HIIOIIY'
    compuller- millions tl calaurs
    fl 6.7 mfllonl Iran wNch to Rllllre
    seledlori. so where do )QI staR? Cclour
    theory can help you understand &he
    way CXllours me Ul&d In a composldon
    ...:I can help you mate ufanned
    Chola!s abour your own COiaul'ing.
    Colour theory dOIII nat jusr apply Q) art
    - Irk all around )IOU. lbur anvtnmment IS
    lfl'eded by light elemellll tl talcur
    pn!S!I'If
    SUVng cob.n ldlraCt .. m
    La lhls to Cft!8llt dt!pdt In your picture.
    Objem In the ft:ngRiund shaukl bet
    more 5illunlllld 1t11n obJKIIIn n
    bacfcgralnd This wll make the--
    focus on yow d'llrilclln. ..a
    realislk-- of
    Achlelllng befarw wl1'h cxdour Is
    lmparrar. tao. "you want tg La WilY
    bright aDn )IOU hiM: to know Whlth
    cdaLn to use ID A very
    bright or saturalleCI colour on 11:. awn ;n
    a t*tUn: 11 jlrrtng, bUt appears raJmer
    When used wlrh mau:hlng .... puling
    .. ..... whale tatnposlllan.
    Calallr ........ ...
    lJghUng ...... carour RlcRnn moar
    peopleNIIIIa.lt ctMAgll ........
    cobndlhldcMS..aNgl __ _
    also .. calaull ahheWIICie ...
    Nodclehow..,... aan:l,au lse
    dlft'eelt CGiaUr mlcldly1hln fr II
    dU!f(l If JDUI' llluslratian has .., strorllt
    CGiaunld llgt81Q. calour ...
    bldcglaund ftrst ...-ld UR that II blsls
    far ,a.l' c:IW8CIM" cdaurs. If ,au
    colcu' lhe charaallr first. you mlgnt nat
    be able tiO miiiCh lhe Jfgtllfng tllhe
    chalac:ter wllh thellghllng ollhl
    erwlrorirnenC sunaundfng lt. leavtng JOU
    Wllh e11t1er 11 df9*\ted Image or a
    piCa.n w11t1 a dlfl'eelt mood ftan the
    one you ser out to achieve.
    blllck shadi'lg should be
    avakled. Blade drains IIWilJ colour 6tm
    " pldUre. maiCing It teem cold and
    unr'IIIIUrlll. ......
    purples ant gacx1 Clo'lblrllD use rar
    lhldlng. bUt II10IIIy ... ChiD ......
    on tt1e llgtldng In )OUr

    70 DtGI TAL TECHNI QUES: COLOURI NG, SCREENTONE AND EFFECTS
    style
    colouring
    C c'/-')iyle culuur inq refers to the animation
    eels usP.c.J in >.- lr .::mime. and to the
    led 1r 1ique of shadi ng a chal-acler using a
    lirnited lllJnlher of tones.
    lrdmpdrent sheets ot ilrrrmC' <trC' pilinted witl'"l bold block
    wluur only a tew shrtdes to represent shCJdows
    lllld hiqhliqllU. .
    TilL' tedmique or ueat1ng toml definiti on through the
    1 nf <;h,'"Jdows ddte) IJdLk tu lt1e I 'i60s, With even black
    iJnd WllitC' nninv1tiom 1 r'i ing the method. IJul it i) found
    ir 1 \orne edrly colour pieces wo. From tl1c 1970s
    onw Jrds, tile v,l<;t m<ljnrily of used
    ryp1 of orr drHrnated characters. and the
    l.Jec.:ame commonpiJcc wirh nnimC' .
    In comrasr, mmt C'clrly WC'stcrn no
    liqllting or 1111 II w li krr dller) at all. In the 1990s,
    some We\ I 1 r n pr lldl 11 I rllrt\ the technique with
    s,lri:. fying r t'\t rll\, 111 rl rr rrrr 1y nun-l u American animation,
    includin<J I,UIJI "'\ trlll ' frlrn prncluctrom, dues without
    sll JCfnws on IlK r hrllrtl 11 '1\ 1 umpletely l hrs rs part of the
    rcJson w hy 1 1 I ' 'Y'I I lrt) become so intrinsically
    <JSSOcirltCCf w il h I ht. r lr rill II. \lyl t'
    Irs vC'ry <;imr lc Ill ltre eel-painted visual style
    rl1rnrrtJh 1/11 1 J\1 1 rf , oftw.:He .:rnd digital techniques. You can
    cllnngc rolnur'l rrnd 1 onlr nlthe overall look of your image
    CJSily by ndju<; t iniJ II r1 lrlyt r \ c1r rd you can alter your
    SI1Jdlnq .Jt w ill unt il you're 1 ompletely with the
    results. Using your or I dnd Photoshop
    tools. tile following 'P" >Ill HJirl .-tlluw you to easily achieve
    Lln rlUtl"lcntir rr'i--;tylr look rn your c.Jr.:rwrnqs.
    CREATING A CEL-STYLE IMAGE
    1 . Blocking out
    colours Start by
    filling in your base
    colours using one of
    the methods
    detailed on
    pages 66-69.



    . Yf.

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    T.

    51. /.
    0..

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    E:J 0


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

    3. Block out shade and refine Loosely shade
    the area wi th the Brush tool. and then use the
    Eraser to smooth the lines and sharpen the
    points. Some parts may need more than one step
    of shading to give them extra depth or definition.
    but be sparing with your shading; adding too
    much will make the image look less like an
    authentic animation eel.
    CEL -STYL[ COLOURING 71

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    DIGITAL TECHNIQUES : COLOURING. SCREENTON E AND EFF ECTS
    ..; .e...
    T.

    .1.
    ,.., L\,
    Fol:
    !II .,.. ....
    4 . Finish
    LUIUUI II 14 dli
    itl{' '-----"='--------
    Less Is More
    I urullrt!.J yClur p...rll"'llt' seem like a crazy thing to
    SUqqcst. considering lllc pul e11llr!l of di!.JIIrtl rlrlwork.


    I lowever; eel-style pictures benefit from minimul shading.
    l t rv \I lrldiii!.J 111 c C'l c olcH mng is dependent on how
    reflective t ile object you're colouring is. Tile 'illinier il is. lhe
    mort' \h.;tdows and highlights you apply. This means it:S
    lJt'\1 In lM' II'\\ ,,.k1rl1ng on that are more matt. like
    r loii-1111\J ,.,, tel \kill, dnc.J rnore on areas that are shiny. such
    JS hair c1nd jcwciiC'r y. U\illSJ fc wer 1.-ryer \ of shadrng will also
    mJkc the imc1gc rl!"ilnC'r.
    MATERIAL TYPES IN CEL SHADING
    Sltin Skin tones 0
    usually use
    three basic
    steps of colour.
    with a fourth
    additional colour sometimes
    used for white highlights.
    Hair Hair in 0
    anime is often
    incredibly shiny.
    wi th at least four
    shades of colour.
    including bold
    white highlights.
    Cloth Soft cloth
    absorbs light.
    5. Highlights Make a new layer above the
    shading layer for the highlights. Colour the
    highlights in a similar manner to the shading -
    sparingly - and with consideration of how muct1
    light reflects off the character.
    6. Your image is
    complete. Here
    you can see a
    breakdown of the
    various layers.
    and can be
    accurately
    portrayed with just
    two tones of colour.
    Plastic Plastic is
    similar to metal.
    but tends not
    to reflect. It will
    use three or four
    shades of colour.
    .. ....... . . . . . . . . .. .. . . . . . .
    TIP Quick Colour Change
    ..
    .
    .
    .
    If you want to adjust any of the colours you've used. you can do so simply by
    selecting the area you want to change and going to Image > Adjustments >
    Hue/Saturation on the menu. or hitting Ctrl + U. Use the Hue slider to change the
    colour. Saturation will either fade or intensify your colours. and Lightness will fade
    colours out to black or white.
    The saturation
    slider increases
    the amount of
    colour intensily.
    or reduces it
    to greyscale.
    .
    .
    -
    )
    - --------fi)
    Edtt I Master
    Hue:
    --- ...J
    Saturation:
    ..J
    Lightness:
    v
    OK
    _o - J
    L
    Cancel
    oj
    Load ...
    Save ...
    lo I
    .,
    "'
    0 COIOIIZe
    -:(
    e] Preview
    Increasing tile lightness will mix
    white with the chosen colour
    Reducing it w ill mix black.
    J
    The Hue slider
    shifts rhe color rr
    spectrum .Jnd
    dUJU>b <ill
    colours
    .J
    .
    .......................................................
    Rubber Rubber
    is harder than
    cloth, but not
    as hard as
    plastic. Use two
    or t hree shades.
    Metal Different types of metal use
    different numbers of tones. but often
    metal is presented as shiny, with four
    colours being used. Sometimes the
    metal refl ects objects around it. so it will
    pick up colours from neighbouring objects
    or the environment.
    .
    .
    CEL-STYLE COLOURING 73
    ............ -............. .. . . . . . . . . ... . .
    TIP Alternative
    Coloured Version
    The alternative colouring is achieved
    using the exact same techniques
    described on these H1e
    difference is that the artist opted for
    a single lrrytr for <III ItH \tt&llrtSJ - c1
    /)right rJiue colour was painted over
    the whole imaqe on .:1 layer set to
    Multiply. This technique gives the
    character consistent and dr.:tmatic
    lighting. bur it can cause the coloLrrs
    lo look wrt\hec J nul il you U\e 21n
    inapprupricilc tddc. Be \IJIC lo
    experiment witll different sh.:rdcs
    and colours to gain the best resLIIts.

    74 DI'GITAL TE CHNIQUES: COLOURING. SCREENTONE AND EFF ECTS
    rush-style
    shading
    Many ar ll.)l.) U.)e brush tools in Photos hop to soften the
    appearance of their arlwork, and to accentuate the
    volume of tlleir characters. DigiLal airbrushes and
    other soft-edged brushes inl roduce subtle blending
    of shacJuw.) on the figure, e1nd can help to
    c.listinguish between dirrerenl Lypes of material
    and surface.
    AIRBRUSH-STYLE SHADING
    ON AN IMACil-
    ChOO)C" kugl',
    brush.
    1 . Block out base colours Block
    our your fine arc as normal, with
    solid shades of colour. as shown
    on pages 66- 69. Use the Selection
    tool to select arr of the nesh-
    coloured areas. and then create a
    new layer. You can create a mask
    based upon your selecti on. or just
    keep your selection and use that
    as a guide.
    T.
    "

    _ .. ,
    2. Soft cer style Choose a
    complemenrary colour tone and use
    a large. soft-edged brush. Mark out
    the lighting much as you woul d
    with eel colours. with your brush set
    to I 00% opacity.
    6. Create a new layer and
    use any obvious colour -
    here we've used green - as a
    guideline ro draw folds of
    clothing onto the image.
    Bearing 1n mmd where the
    fabric will pinch and gather.
    draw lines emanating from
    the point of tension.
    AIRBRUSH-STYLE SJ JADING 75
    3. Erase highlight areas Ch;mQP
    thP rool ro use a simil.:lr l.:1rgc
    soft brush. and work w1U1 I.JuU 1 U 1c
    Brus11 .:llld EluSl:l lu tll:lllll: lilt' \l lnpt
    or U1c ull:d.
    4. Brush control Ch.:lnging U1c b1
    size willllclp you cullllul Ll ll: of
    colour l11c ol lhP ffiQP
    JhP 1 nnrl J m sr.lle rhe brush
    up and down A smJII brush will huvl: u
    !larder cdqc lhun" lrHtjl' IJIU\11.
    5. Define subtle shading ,, clnrktr \kill tone
    10 CJdtJ rurllll'f defnlll!Ofl cHid benemh the
    neck. beneath the lips ilnd under the nmr. Tht'
    shading of rhc skin .1rr,1s is nnw cor llfJit'lt'. ctntl
    we ldn rnove on to shLJde the re.sr of til<' im,1Qt'
    DIGITAL TECHNIQUES: COLOURING. SCREENTONE AND EFFECTS
    7. For the rest of
    the clothes. use a
    srnglc layer to
    define Sh..iding.
    Cre<ltf' ;1 new layer
    set to "Multrply" at
    I 00% opacity. At
    thrs pornt. we have
    chosen a cream
    which will
    IJe diJiJiietl tu the
    rmi.lgc <IS the
    tone.
    T.
    "
    I!;, .-f.
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    9. TIP: CirPy stripes have been added ro
    rile giri:S top Jt this point to 11clp ddnc
    vulu11rt:. Rt:rncrni.Jer lhdt the curvAture of
    Sl lliJl'\, t-tnc1rnrrerm helps to stop
    from looking flat and lifeless.
    B. Precision smudging Using
    smaller brushes will create sharper
    creases. whereas larger brushes will
    create bunched folds. Bearing in
    mind the shape of the character. you
    can define volume with these folds.
    I 0. We've used the Smudge tool to create
    the impression of fabric folds. Smudging
    the shadow outwards along the guidelines.
    and then smudging the shadow inwards.
    creates the desired effect.
    I I . Fine detail <.reate a new layer (set to
    "Normal") for the make-up and facial det:arls. Add
    pink lipstick and cycshddow. and lighter tones to
    the light shining off the lips. Add similar
    details to the fingernarls and belly button.
    .,
    . ;, +
    '?_,
    ,_
    . /.

    ,)_ ,_
    :;_ / .
    ' }
    ALTERNATIVE COLOURING
    Here the same process is used to achieve
    a radically different result, transforming
    the girl from a contemporary girl-
    next-door to a futuristic space star.
    Skin: Strong blue
    shadow, and
    softer application
    of Airbrush. Using
    brushes with low
    opacity on the
    Airbrush serting,
    you can slowly
    work over the
    image increasing
    shade gradually.
    Design: A few
    changes ro the
    design and colour
    pattern of the
    clothes can make
    a big difference
    in the perception
    of the character.
    Backlighting: A white light is used
    from behind the image. surrounding the
    shapes in a striking white glow. Tracing
    the outline of the shape, and consrdenng
    where the backlight would be blocked.
    adds a dramatic look to the image and
    helps define volume.
    12. Smudging highlights We've
    created the hair with the Smudge
    tool in a manner srmilar to the folds
    of the fabric. To do this, place layers
    of colour down to define shade.
    and then smudge to follow 1 he
    shape of the head. When you're
    happy with one layer of depth.
    introduce lighter shades .:md rt'pt>al
    the process over again ro build up
    layers j ust like those of real 11.:rir.

    cnlo11r anr1 white
    lipsuck q1vc the
    g1rl a scr fi look
    and complement
    thewhireof
    her out11L and
    blue lr ghlrng.
    Hair: The exact same
    hair as before. but
    wilh a few alterations
    to the Hue. Saturation
    and Contr.Jst tools.
    AI RB RUSH-STYLE SHADING 77
    T,
    \). "
    eJ. J'.
    -::' Q..
    fJ
    i?,30
    13. Coloured lines Here wc'vt.:
    tilC llllilqC by LUIUUIIII(.j lill: Ill It'\ II I rl
    \lrllrldr rnnnnt'r 1.0 1 hi-lt In
    Simulated Narur.:Ji Medl.:r (sec
    78-81 ). SCIC:tllll(.j lllC lllrllk Ill It'\ rrruJ
    colouring rhem on a new layer. The
    rmaqc rs now tUIIIJ.Jk:lc.

    78 TECHNIQUES: COLOURING. SCREENTONE AND EFFECTS
    ulated
    natural media
    CorrlpuLcr-gcnerc:JLecl (CG) illustration is known for
    IJcing prrsl inc and flawless, but as computers have
    l)ec orm' more powerful and versatile, software
    pdc been created to make illustrations
    look rr1orf' r1wnan, and a little less than perfect.
    Natural media simulaLors such as Painter add that
    litiiP bit of "lranc.. i-made" texture.
    OIL r/\/NT STYLL
    Oil painls smear Logether; giving Lonal dfei.1S definilion yet
    blcndinq at the cc.igcs.

    [J . .1.

    1 . out Lay down some base colours
    one uf the methods described on pages 66-69.
    2. Set up shading lay e rs Create a
    new layer For your shading. This
    illustration only uses one for all the
    shaded areas. However. you can use as
    few or as many as you feel comfortable
    with. Theres a second layer for the
    palette to help us keep a record of the
    colours we've used. This is essential in
    natural-media-styled work. because the
    original shades are blended together so
    much they may become hard to pick
    out with the Eyedropper.
    QJ
    I!.Q!C
    CC!D

    4. Soften colours The colour is blended
    out to the base colour tone using
    increasingly lighter shades.


    SIMULATED NAI URAL MCDI /\ 79
    3. Starting to shade Select .:m L!rca und 5tdl t sllcidlll() w11t1 It II'
    d..-trkest shade. Here we've used Lin ulmost transp.:wcnt ll'XhJrl d t'" " ' '
    Between I U% and 25% opacity Is recommended. depcndinu nn 11ow
    d<1r k your colours are. Notice how we're working texture intu It ll'
    Short. quick brushstrokes are used to build up colntJr \ lnwly
    5. Build up highlights Add your highlights in the Sctme
    way. Just blend the colour. getting lighter and lrghtcr. But
    be careful when adding highlights: if an image has an
    excessive number of highlights compared to the amount
    of light in the picture. it can look less natural.
    DIGITAL TECHN I QUES: COLOURING, SCREENTONE AND EFFECTS
    B . LJ.
    0 .....
    T.
    u.
    l'l. ,_-,,
    { "} Q,.
    6. Colour tr1e rest ot the 1mage 1n
    1 hr fll;Jnnr-r.
    WATERCOLOUR STYLE
    This image was actually created in
    Painter rather tl1an Photoshop, but
    the results are achievable in both
    packages. The most obvious
    difference in thi s picture is in the
    delice1cy of the palette. Real
    watercolours are a very transparent
    med1um. so this is reflected in the
    lightness of the CG. The shading is
    blended from the midtone to off-white
    shades, or white - a huge contrast to
    the bold, strong hues of oil paints.
    Another difference is the complete lack
    of black. In a watercolour-style picture itS
    better to colour in off-black shades, such
    as dark greys, purples. blues and
    browns. This helps to keep the image
    looking soft and light.



    -

    t
    ' - ..
    I -



    0
    Some layers have been
    locked to avoid accidently
    editing them.
    Shadows and
    highlights are built up
    on a separate layer.
    UMler Diamet
    -.)-----
    ( U.... Sample Size

    Jts p x

    c::=J
    - ---------- -------

    14
    Grainy brush
    shapes help to
    capture the
    feel of
    genuine
    brushstrokes.
    Multiplied washes
    59
    Just like adding pale washes of colour
    over a painting, you can add pale washes
    over your image in CG. This is great for
    ti nting areas. Rather than constantly
    having to blend colours together. you can
    j ust make a new layer and paint straight
    over them. Setting the layer to Multiply
    and colouring with light shades will
    preseNe the texture and depth of the
    shade you've already coloured. The shiny.
    pink blush on this image was created in
    this way.
    v
    ..,. ACRYLIC STYLE
    Colouring an image to look like acrylic paint is a mid-point
    between oil painting and eel-style artwork. Real acrylic
    paints have the same strong pigments as oils but don't
    blend, which you can reflect in your colouring. The edges
    of the colours are much softer than eel-style images.
    showing the texture of the brush.
    T PAINTER ADVANTAGES
    For creating natural-media-style images, a dedicated natural
    media simulator like Painter is the easiest way to produce
    good results. Not only is the brush control more flexible,
    allowing you to blend and push around colour in a realistic
    way, but the sheer number of simulated media means its
    more akin to having a whole studio full of supplies in your
    computer. Anything can be reproduced on your computer
    reasonably faithfully, from traditional materials like oils and
    watercolour. to less orthodox brushes like the Japanese
    sumi-e brushes and wax crayons.
    Much of the fun from Painter comes from using materials
    that could never be used together in the same picture. Oil
    brushes can be used to add a bit of colour to rough sumi-e
    brush outlines. yet you could never practically mix these
    techniques on a real canvas. You can paint with the same
    techniques as a real oil painting (loosely building up colour
    and tightening the details of the picture as you go), or you
    can use Layers to keep your painted areas safe from
    each other.
    A feeling of layered
    paint is created by
    the different tones
    and hues rn the
    shaded areas.
    Soft but nchly
    coloured brushslfokes
    build up to make a
    Slfrlong rmage.
    SIMULATED NATURAL MEDIA 8 1
    </i
    82 D viTAL TECHNIQUES : COLOURING. SCREENTONE AND EFFECTS
    less artwork
    Images without lines fall into lwo categories: flat eel style,
    and a more natural "realism style" . Cel style is si mple to
    arhi eve, and creates an effective look for your images.
    Natural styles are trickier to pull off, but offer greater
    versatili ty in mood.
    As lineless colouring relies on defining the shape of an object through
    colour and shade, its viral to make good colour choices to begin with. Make
    sure your colours have enough contrast in both hue and shade to keep
    them clear; muddy. indistinct colouring can confuse a picture. making it
    difficult for people to understand what you have drawn.
    LI NELFSS < I I STYLI:
    The lilck of a black line give::. Lhis style a distinct and bold
    r1ppmmn1C'. Volume is defined entirely through colour and shade.
    v.
    1\, T.

    l'i". , _
    .;:')


    ltiU!ll
    lt:IIOU

    ---
    (1.-\_ ...... .....,.
    I . Block out base colours Fill 1n your base
    colours one of the detailed on
    pngcs 66-69. You need to stilrt with pure black
    and white outlines to be able to colour them
    easily later. Make sure you turn Anti-aliasing off on
    both the Fill tool and the Magic Wand.
    -,.. .
    . ./.
    .$.
    o.e-.
    .J .....
    it. T.

    ./.

    2. Create a layer for shade Make a new
    layer between your base colour and outline
    layers. Lock those two layers for now. to
    prevent you from accidentally colouring over
    something important. Select an area you want
    to colour with the Magic Wand. If the
    "Contiguous box is unchecked. you can selea
    all of one particular colour with a single click.
    4. Block out shadows Colour the rest of
    the shadows. Make sure where areas of the
    same colour overlap !the legs on this picture.
    for example) that theres enough shading to
    make each part distinct from the others.
    Complex parts of the picture. like the hair.
    may need more than one step of shad1ng.
    3 . Mark out highlights
    Use the Paintbrush tool
    to loosely <tpply your
    shading. then use U1c
    Eraser to neaten the
    edges. smoothing U1c
    cuNes and sharpening
    the points.
    LINELESS ARTWORK 83


    5. Add extra
    highlights Make u
    rww layer above
    lilt' \ I klc.l1ng layer.
    U\e l hrs to add
    hrghlights to the
    1maqe using the
    same technique'\ ,1\
    you tr\cO lu dtlc.l
    In this
    picture.
    used sparingly
    1o keep tt1e nni:tge
    ilS CICilr f'lOSSible.
    6. Select black outlines
    Using the Magic Wand.
    making sure contiguous 1s
    unchecked. select your entrre
    black outline.

    . ./.
    . Jf.
    .
    .J . ....
    T.

    !jl, -"
    .;,.
    7. Colour in the lines Mctke a new layer above your outline layer to
    rcYolour rhr (Working on a new layer wi ll preserve your origrnal
    lines. just in case anything hLJppens and you need to select tllem
    i19i1in.) When colowing I he lines. remember that lrnes on top get
    prrunty - where two colours overlap, the area thLJt is on top should
    be usccl ro rhr colours for U1e lines. For example: hair overlaps
    the kKe. so tt1e lrnes between them should be haircoloured.
    (t:f.' Ccl-stylc rmagcs. pages JQ-73
    .....
    TIP Removing Specks
    of Outline
    specks appear when the
    outline is <tnl hllirl\ccJ. You lan leU if
    yoJH c urt11ne alia sed by zooming
    into the lm.:1ge. If the line is very
    . .
    .
    hlrtc k ,uiCJ JliXt'lirlltcl, 11 IS allased; If It's
    and fades tram black to grey.
    its .Jntlaliilsed. This 11
    rrrow rJIIfiC:I rll to select the whole
    outline at once. so you mily be left
    wil h ,1 frrnoe of grey.
    On the base colour layer. select il
    w luiH w1lh the Mag1c Wand. and
    eXfklllc'J thr ion by I or 2
    pixels, choosing Select > Modify >
    Expand from the menu. Oui(kly
    mlnur the offending area with a
    large brush. If the specks are on the
    outside or the line, select the area
    outside of the character. expand it
    by I to 3 pixels and then cut
    the selection.
    )
    UNELESS
    COLOURING
    WITHOUT UGHTING
    Uneless Images without
    lighting similar to this
    one are very popular In
    Japanese design. The
    bold shapes make for a
    striking Image, but work
    best on simple
    compositions. or
    illustrations that have a
    very limited palette.
    8. The image is
    complete. (For more on
    eel-style images. see
    pages 70-73.)
    LI NELESS ARTWORK 85
    LINELESS REALISM STYLE
    Soft brushstrokes and blended colours echo natural media yet
    retain stylish contrast and defini tion .
    .. _
    1 . Block out colours Start with pure blnrk
    and white outlines in the same way as the
    eel-styled lineless image. and by filling in yow
    base colours using one or the methods on
    pages 70-73.
    2. Create shading
    layer Lockrng your
    outline and base
    colour layers. make
    a new layer for
    the shading.

    Loak:O d +M
    ,, ,1-
    'jj
    I
    . . ...
    I
    I
    3. Sample colours Tt1is rmagc has a lcryl:!r called
    "palette. This is a layer thar only conldrns sm.111
    samples or colour. Because or tht:! softness of this
    method of colouring. it:S advisable to h.we r1
    sample somewhere of the colours you're usrng. so
    you can easily grab them with the Eyedropper
    tool. Now select an area you want to colour.
    DIGITAL TECHNIQUES: COLOURING. SCREENTONE AND EFFECTS
    4. Rough out dark areas Using a
    brusl1 with 1cx1urc to bcrw<'m I 0%
    and 25')6 opacity). start colouring the
    \llrrdifiU wil ll \I lOr 1. quirk stmkcs of the
    llrll\11 II\ t'rf\H'\1 10 \lrlf l drrrk blend
    oulllre loluur to lire milkC
    \llf l' I o 111 I.JOicJ -rnd lrlY clown more
    w lour lllrrn you think you'll need.
    ..
    \ . T.
    0. CJ.
    1:} _ _,_
    {')
    -
    5. Soften tones Start to blend
    it out with lighter shades.
    6. Add a few
    hrghlrghts. Be careful
    nor ro make the
    imGJge look too shiny.
    You can add these on
    a separate layer if you
    wish. but in this
    rmagc we've used
    one layer for dll of
    the shading.
    8. Coloured outlines Make
    a new layer for your
    coloured lines. Use the
    Magic Wand to select ail the
    black on your outline layer.
    7 . Colour
    the rest of
    the image.
    f ie Edt lm<oge Loy..- Select Fl or View Wv1dow
    / Bru:l" Modt' tbmol v Opodly, _ ,
    .:.. -..
    It . T.

    J'.

    9. Try to match the colour of the lines to the
    colour of the picture as much as possible. In
    this case. the same textured brush as earlier is
    being used. but set to 50% opacity to make it
    more solid. Holding the Alt key to switch
    quickly between the Eyedropper and Brush
    tools makes it easier to pick up and adjust the
    colour as frequently as you need.
    t!H l
    L.ock.OJ' +IIII
    Fll:" 100'11.
    .:.>'
    1
    -t


    .
    "'*"
    1111
    A breakdown of the layers
    and a reference of the brush
    sizes used .
    _ .........
    ,e;;-J
    '

    :J
    .JJ


    r-=-1


    I.
    -
    _ ...



    '
    24
    v
    7
    (
    l'l


    G)
    .

    "

    ..

    so
    -
    See also Simulated natural media. page s 78-81
    10. The image
    is complete.
    LINELESS ARTWO RK 87
    TIP Coloured Lines
    If you like I he subtlety ot an image withmrt lJLit don't
    wam to be- ddr inq .:ts to remove them you can
    try colouring the 11nes to matcf1 your picture rmtead. rhc-
    lines on thrs image are slightly darker than the colourc-cl drect.
    so it keeps the detarl of the original inking. whrle not
    overwhelming the c..olour wrth bluck !inC's.

    88 TECHNI QUES: COLOURI NG. SCREENTONE AND EF FECTS
    1ta I screentones
    Japanese manga is rarely printed in colour.
    but something called "screentone" to
    introduce of grey as well as patterns
    cncJ to its pages.
    Screentones traditionally were transparent sheets of
    adt1esive plastic with patterns of black dots printed onto
    tile surface. Illustrators used to use these to create the
    in newspaper cartoons. and in original manga
    .1rtwork. I hese dotted sheets. when cut to shape and laid
    over llnP work. crcmcd the appearance or "grey" shades.
    and also ei'ISIIY on conventional printing and
    wpy1ng mt1rhines
    Tl1e usc or dul pdllerns as this Cldds <1 lot to the
    rcclliauilily ur giving you much greater control over
    style. rt using scrcenlone has become
    wirh m<1nga itself. and using it in your work
    Will go wily to crealinq dn dUltlentiC style.
    The' usC' of scrccntonc !>llongly to the sense of
    otrcn present in Jiipc:mese drl work. What you're
    p1 e)enllm.J c.loesn't have to be entirely realistic; it just has Lo
    look "righr". 'lbtJ can !>iynifiLdnlly enhance the drama.
    01 .:tl llon ot a scene by using pllrterns and
    st1ades etteaivcly.
    tn )LJdl as Photoshop and Comicworks,
    il pt '""'IJ/e to emulate old style scrccntones nccurately on
    rl I lliiiJJUler laretul and restriCtive USC will help you Cdplure
    rtx t'))ence ot the technique, while retaining 111e
    ' ur tven1ence and flexibility of working
    LPI
    LP/ stunds fur per tnch", is a term used a/most
    for screentone in tllis context. It refers to how
    cllunky or t.k:lculed the pattern is - a tow LPI pattern will have
    very thick lines. whcrcus il l11gt1 LPI pattern will have thin and
    dt:lnriPn lines.
    MOIB
    MoW (or screen dash.) refers to the
    visual effect caused when two fine
    patterns are overlaid but misaligned. It Is
    similar to the shimmering effect that net
    curtains create when they overlap. To
    prevent this undesirable artefact from
    occurring. you should avoid rotating and
    resJztng screentone after applying lt.
    also worth nodng that sa&etltolle with
    a high LPf wiD be mont likely to suffer
    from rnoln! because It Is more likely to
    mlsalign wilh the arrangement of
    pixels on a digital image.
    HALFTONES
    Halftones are the most common type
    of tone used in manga. These are
    simple arrangements of dots designed
    to portray solid shades of grey when
    used in print. Please note: large dot
    tones can represent a lack of focus. by
    using it over a large area.
    1 . MiJrk out the areas
    you wish to be greyscale
    in sunple shades of grey.
    CllOOSC "Halftone
    Screen: whicll wrll
    open the dtalog box
    with opttons.
    2. Pllotoshop works
    best at LP/ size of 25. 50
    and 100.
    3. Oe sure to keep line
    nrt on a separate layer
    from the grayscale layer.
    .....
    .....
    . . . . .
    . . . . .
    . . . . .

    . . . . .
    . . . . .

    . . . . .
    . . . . .
    . . . . .

    . . . . .
    . . . . .

    .....
    . . . . .

    .....

    . . . . .
    ... ..
    . . . . .
    Using large halftone dots can indicate a lack
    of focus. useful for highfighung characters
    in the background or middle ground.
    NOISE OR SAND TONE
    Noise tones are useful for introducing
    texture. as well as seNing a
    dramatic purpose.
    I . Create a new layer. and till out an area of
    the image you wish to be noise with a 50%
    grey shade. This effect can also be applied to
    a gradient.
    2. From the Filter menu. choose "Pixel/ate.
    then "Pointi/ /ize".
    3. Set the size of the filter. The larger the
    number. the coarser the noise tone will be.
    A value between 5 and I 0 should be fine for
    most purposes. On a high-DPI image you wil l
    need a coarser tone to achieve the same
    effect than on a /ower-DP/ image.
    4. Adjust Brightness and Contrast in the
    image so that Contrast is I 00%. and
    Brightness is as high as you wish. This will
    also change the overall tone of the image.
    . .....
    TIP Making Coarse Tone
    GRADIENT TONE
    Gradients can add depth and
    definition to manga images. as well as
    helping to define shiny materials.
    I . Selecting black and white as your
    foreground and background colours. create
    a gradient using the griidienr tone.
    2. Convert to Halftone or Noise using the
    same procedure as before
    3. Wil en using noise gradients. consrder
    layering the tone and rnovrng ,rround to
    achieve greater dcfinrtion.
    ..
    Often using digital screentoncs can create a pattern tllat is
    too fine. making it Jess than ideal for print and giving you
    texrureless results.
    .
    .
    .
    1 . Go to: Filter > Blur > Gaussian Blur. The higher the value
    chosen for Blur. the coarser the image wi ll be. A value of I .0
    and 2.0 should be okay.
    2. Convert the image to Halftone. using the Mode option in
    the Image menu. Choose an LPI of 50.
    3. The gradient will now be much coarser. and have a more
    distinctive texture when prrnted.

    ..........
    .
    .
    Of G I TAL SCRE F N TON ES 89
    GEOMETRI CAL TONE
    Simple vertical lines serve mnny
    purposes in drawing manga.
    Follow u K: nmrP!1ure for rc:.:I.JUI<.II
    ll..rlrtom: bur choose " LrrrLo;" ur
    "Cil l'C k\ tor rhe pattern.
    TONI FEATHERING
    Using <1 scl l o "Dissolve", the-
    greys of the imngc will be rnterprNf'c1
    as nne of dol ::.. Tt11S can be
    achieved to "tenrhf'r" the t:c.I<:Je ot
    screentone, as rhough a .stH:el ot
    had been rubbecJ
    You can use d l<1rge. white 1
    for a sofr edge. or a small, hcird brush
    moved in patterns to create an
    interesting transition.
    ..
    1'\.. ..
    ' ; .1 a e U ,
    # f ,
    .. , '" .. . ... 0 .. .. : .
    . . ...
    .... .
    f .\ ,.., _, ,.. 0 .. " ' ;
    - , y 4

    :: J o n e a
    . ; 0
    ; . l b \PO -.:t 4" " ""
    ...
    !' 'O Vt- tt & eeeaaae ... t
    . . . . . . . . . . . .
    . . . . . . . . . . :
    I e e 0 a I
    ''J:tt Ott llt aeeeeaa ., .,. (
    . . ' .. S! , . ... (
    : a c ...
    . h A e e e e a a e e a p 1
    .. .. - ..
    . . a n '
    - I :' ::; '1 .a D ,. -: I , -
    : , M # a e e e e e a e y e
    . * o e c
    . . , ........... .
    ' c w
    : #
    : 7
    . , ' ; -= ;. ,. 3 .
    .. r 4 a s
    * ,
    . 0 c
    . . , .. n
    . . .. .. r
    . : . , h - ' -
    . . . . . . . . . . . .
    . . . . . . . . . .
    ; < } u a
    . .
    ... . . , . . . . . . . . . .
    . . t ,
    .... . .. -=- .. ' ..;. 1-- .,.
    . .. ' . : ... ..... .. .. -' .. .. ... -...----
    DIGITAL TECHNIQUES : COLOURING. SCREENTON E AND EFF ECTS
    Backgrounds can be simply
    and effectively represented
    by layers of screentone.
    USING YOUR
    OWN PATTERNS
    fhere are books available
    containing copyright-free tone
    patterns. which you can scan into
    yoLir computer and use freely in
    your manga work. You can also still
    buy sheets of original adhesive
    screentone and scan them for your
    own rer\Ondl use.
    Al-'1-'1 YINC.J I ON[
    -.. T.

    lJ. )',
    Q.

    --.;.-. . \ .
    -... .... ..
    SPECIAUST SCREENTONING SOFTWARE
    Comlcworlu
    Comicworks is produced by Deleter. a company whose business revolves entirely
    around supplying traditional printed screentones to the Japanese comic industry.
    As a result, Comicworks is designed from the ground up for the production of
    manga, and has great screentone facilities.
    More than I 40 different tones and patterns come provided with the software.
    stored In the software at high clarity and I 200 dpi, 600 dpi and 300 dpl sizes.
    meaning they are always perfect for print work. If you're keen on the process of
    applying scrcentone '" manga, then Comicworks will be ideal.
    .
    . .
    TIP Keeping Grey
    Layers Hidden
    Be sure to keep your original grey
    layers intact (set as "Hidden") even
    after you have made a halftone
    equivalent. This allows you to come
    back to the image at a later stage
    and alter the toning or reapply the
    screentone with a different LPI.
    This can be useful if you have to
    print the image at a different size, or
    decide to change the image after
    doing test pnnts.
    1. Set up a line art layer Start with a new Photoshop document.
    and set up your line art on the topmost layer. as you would with a
    coloured piece. It is especially helpful to lock thiS layer. as you can ruin
    your page by applying screentonc to the line art layer.
    .
    .
    3. Rightclick on the layer. and choose 'Duplicate". Select "New" from
    the Destination dropdown list to create a new document.
    5. Choose your halftone pattern
    Choose "Halftone Screen". which
    w ill open the dialog box with
    options. In this case the artist has
    chosen 50 LPI. with round pattern
    and 45' angle.
    DIGITAL SCREENTONFS 9 1
    2. Block out basic shading
    Create a new layer. set to
    "Multiply". Choose a grey brush
    and begin to milrk our I he , ueas
    of the page you want to shade.
    pitying to the light
    source. In this case. the artist has
    also m,u keO \Ome obj ects with a
    darker tone.
    Adjuslments
    "' GIII)'SCUIC

    ---
    Ouolonc ...
    0uplicii1C ... lnclcxcdColor
    Apply Image ... RCBColor
    Calculations .. CMYKColor
    Lab Colo<
    Image Size ..
    Multichannel
    Canvas Size ...
    Pixel As9ed >1 8 Bits/Channel
    ROU!e Canvas
    1!1 Bits/Chamol
    Crvp
    ...
    Trwn ...
    Reveal All AnignProllle ...
    Convert to Proflle ...
    .
    4. Convert grey to
    black and white
    From lllllt.Jl:
    menu.
    . .. u IU llll:ll
    Bitm.:lp. If yuur
    rm't
    ulr l'dtJy. you wrll
    ll<'<'rl 10 c-onvl'rr rn
    grf'}"Cillf" In rhP
    Mode menu
    dOIIIt.j
    T.
    0 .
    [j_ J'.
    It . T.
    o.
    .J'.
    ;:' 0..


    1- 0 0

    DIGITAL TECHNIQUES : COLOURING. SCREENTONE AN D EFFECTS
    7. Darker tones Here
    tile rntrocluc eel
    d.'lrker shade on a
    wprH r11! lr1y!-'r .-1nd
    rcpcrlltd ll1e procedure.
    CrHe l dken to use the
    SilmC number of LPI
    when ovcrlilying tone to
    ilVOid moire problems.
    .
    .
    6. Paste into position Select the whole image
    by hitting Ctrl + A. Paste it into your previous
    image and change the layer style to "Multiply".
    Hide your previous greyscale layer.
    .., Opat;ty.

    .'). ... ...,....,::.........t.......,_,_:...L-_;
    It. T.
    o.
    5]. J'.

    8. Introducing fabric textures In
    order to apply texture to the image.
    the artist has hidden all tone layers
    and marked out the carpeted area
    of the image with a grey brush.
    T.
    0 .
    J'.
    '1? Q..
    kJ




    .? . ./.
    . :Jf.

    ,.> . ...
    T.

    .J'.
    ":'7
    1 0. Hide unwanted layers Finally.
    hide all grey layers and reveal the
    screentone layers. Your image is
    now finished.



    D I GITA l SCRCENTONES 93
    9. Using premade patterns LOrld a prevlc11
    screentone pattern. unc.J LI H5 Jnto the imilC:JP "
    new layer. Select the grey cJJcc.J l l lc.JJkctl out hic1P
    the Use the selection to ll It: K l l:t:IILUnt:
    layer. or inverr t he sE'IE'ction and delete ll11..'
    excess screenrone.
    ..

    94 0 GITAL TECHNIQUES: COLOURING. SCREENTONE AND EFFECTS
    cia I effects
    One of tile characteristic aspects of manga is its use of abstract patterns in
    the background or scenes to help capture the emotion or action of tile
    current event. Tllis tecllnique /las been developed over many decades and
    ic; now closely identified with the style.
    Using Phoroshop. you can emulate many of these types of
    effecb very simply on your home computer. Just a few
    steps can produce professional effects that would loqk ar
    home in a professionally printed Japanese manga.
    PAITERN FOUNDATIONS
    1 . CreJte J new. I.:Jrqc
    greysG11e im.Jqe . :md
    "ncl white
    rl\ IIH' IOH'UIOIJIII/ rlrll/
    bJckqround
    2. lmrn rh,.. r ilrl:'r menu.
    cl1oosc "Clouds from
    If!(' k r \Ill lllll't 111
    3. ct1oosc
    "Urlll:rl:r ru.: Uuuth" from
    rhf:' Rf'nrler submenu.
    Jr1l1 lllL'rl ll:pl:cJllllrs. If
    you r<prrtf<"d. npply
    fllrPr Crrl r F m .:1
    Sf10f'lCul). lfl L' J.hllll.:l I I
    wrll I H'l nnw rnnrf' Prr.'lrir
    .1nd fiery. whlcl1 will
    inlrOLIUCl: II lUll: VcJIIl:U
    rlrl(/
    4. Now 111
    apply filters .:md produce
    rll Iron You mrty
    Wl\11 I II 'VIVt'
    "Cirnrrh" urrrtgf' In <lrsk
    ifytnr frnrlll lt' frllers
    rllt' \lllW
    IMPACT ZOOM
    Lines of irregular width but with rhe
    same emanating poinr accenruare
    acrion and impact.
    1 . Starting with the Cloud filter apply the
    Pinch filter from the Distort submenu. with a
    setting of I 00%.
    2. Repeat this filter ten times. You may wish
    to use more or fewer times depending upon
    the results you wish to achieve.
    SF}I:CIAL EFIICTS 95
    3. Us1ng rhe Brightness drl<.l
    Contrast tool. rdl5e the Conrrmr
    ro ft11l. and Brigt1tness to
    wt1ateve1 level you n r ~ i r c .
    4. Convert the final
    image to halftone using
    the Bitmap option.
    DIGITAL TECHNIQUES : COLOURING. SCRE ENTON E AN D EFF ECTS
    IMPACT SWIRL
    Lines spinning around a
    centrepoint suggest an arc
    of movement.
    ,.+

    14 ,,
    " ./.
    r!3. 5!.

    !P . ...
    lit . T.
    o.
    (jl . ..f.
    ::7
    Q]
    1 . Startrng with the Cloud filter. apply the
    GilussiCJn Blur filter (set to 35 in this
    You cdn choose not to blur the clouds.
    bur the results you will get will be coarser.
    This look may be desirable. however.
    IMPACT ZOOM AND SWIRL
    Ry rllr imr(lct lines. rile effect
    suqqests somethinq uncontrollable.
    1. Lit:dlt: lilt:
    IIIIIJd<..l LUUI/1 dft:Ll.
    C/1<11/llj Up Willi d
    bldck
    11/klljt:.
    . ._ _ _ .
    3 . Use parts of
    the resulting
    image to
    accentuate
    aaion events.
    8 tOO% 8
    Cancel
    0 Preview
    2 . Apply the Twirl fi lter
    from the Distort
    submenu. with only a
    small value 160" should
    be fi ne).
    SHOUJO SPARKLES
    2 . Choose the Twirl
    filter from the
    Distort submenu.
    3. Choose 6oo For
    the angle. You can
    raise and lower this
    to vary the results.
    4. ThP
    and
    contrast.
    5 . Curwcrl ti le frn<ll
    imi'lgf' ro hi=l lfrone
    if intended for use
    in print.
    Characters' emotions are represented by mysterious sparkles of light.
    l . Create a new layer.
    set to "Multiply".
    2 . Fill in some opaque circles.
    ovals or hexagons in white.
    3. Right-click on the layer. and
    choose "Layer styles .
    4. Disable "Stroke". and check
    the box next to "Outer Glow:
    5. Set Colour to black. Opacity
    to 30% and Style to "Dissolve."
    ..
    . !:/ r_ --
    ::::t a- CA::J
    ;::=.,.,.... ..........
    6. Change the distance o--
    under the dots spread out 0 l!i,.....,.
    from the ci rcle. ,:.:;,' g:,:.._ - .
    7. Create a new layer with the same layer
    style {copy and paste the layer style by right-
    clicking on the layer). Altematively. right-click
    on the layer and select "Duplicate Layer".
    QC:.....
    o-
    a co....i'
    Q Gt.-.cO.W}If

    o-.
    ....
    ,..,.,
    I S1 'o
    II
    SPECIAl FFFECTS 97
    '.; .. ..

    ...
    ...
    8 . Add small er
    shapes overlapp111g
    the ong1nal shapes.
    , ...,..... ,..._ . - -, 0
    -;,;:;;;-;- \MW

    CJ ...
    9. Flatten the image (see page
    52), apply Gaussian Blur and
    convert to halftone. This will make
    the tone coarser. as described in
    Digital Screentones (see page 89).
    DIGITAL TECHNIQUES : COLOURING, SCREENTONE AND EFFECTS
    GRITTY ANGST
    Personal torment can be conveyed by
    the use of gritty. dark patterns.
    r ' IC
    1 . r a solid
    50% grey d i L:tl .
    2 . r rom the Filter menu,
    choose "Pixcllatc. ctncJ
    then "Mezzotint".
    FMO 110 1\lAL
    I rails ot dust and energy h<"'lf"l to
    cxaggcr,ltc r1 of melrmcholra.
    I . Wrll 1 d rcqulrtr
    w lulc: 11/ldqt:.
    l l\..'ulC: d I ILW lc.Jyer
    lo
    2. l "' medium sized black
    Alrhn wlrh Flow set to I 0%, create
    ctJrvt>c1 mokes across t he page.
    Vnryfng rht> 11ressure with the graphics
    lrJIJicl will help ro creare width.
    . - ;, s': '':v.\t\,,.;;,.J::,.
    ' ' ,' -" " 0
    .
    ("' . ......... J,
    .::
    .,, ,...
    ......, .. ' ......
    3. Choose the
    Long Strokes filter
    to create the
    desired effect.
    3 . Repeat the
    effect over the
    page many
    times, and
    then Flatten
    the image .
    SENTIMENTAL PAITERN
    Heavenly sparkles of white help to portray hopeful or
    whimsical feelings.
    1 . Create a solid
    7 5% grey image.
    making sure it is
    300 or 600 dpi.
    2. Convert the
    image to Bitmap,
    and choose the
    Halftone option.
    3. Choose "20 LPI".
    and the "Cross"
    pattern option.
    This will create a
    mesh effect.
    MAKING YOUR OWN PATTERNS
    Although most screentones in manga
    use simple patterns. shapes and lines to
    express the tone or atmosphere of the
    image. there are also a lot of other
    available styles created from patterns of
    small images. These are great if you're
    trying to express a funny emotion
    or scene.
    You can easily make a pattern by
    drawing something and defining it as a
    Pattern in Photoshop. Select the area
    you wish to define as a pattern. and
    then choose "Define Pattern" from the
    Edit menu. You can then fill areas with
    this pattern by choosing "Pattern" from
    the Fill tool options.
    There are even some typefaces
    available on the Internet that feature
    images instead of standard letterforms.
    These are sometimes known as
    "Dingbats". These can be used as a
    basis for patterns, by selecting a few
    images and arranging them
    appropriately. As always, the secret is to
    experiment and have fun!
    t:L ...

    .,...
    "-'')
    . :11.

    ....
    T .
    .), Q,
    ij,-J'.


    =----'

    6. Add a few smaller white dots.
    and Flatten the image layers. Your
    tone is now ready.
    SPECI A L EFFE CTS 99
    Noonal
    Noonal
    Darken
    Muttij:iy
    Color Bum
    Uneer Burn
    lighten
    Screen
    Color DodSle

    Overill)'
    Soft Ugh!
    Vivid Light
    Unear t.Jght
    Pin Ugtrt
    Hard Mix
    Hard Light
    4. Create a new
    layer. set to ttle
    "Dissolve" layer style.
    S . U\rrly rl lnryt, wlllll'
    Airbrush. mark an
    diagonally down the
    centre of ltlf' rrllff9f'
    CHAPTER SIX
    Creating pages
    A compleled manga can be hard work, but with a little
    planning you can avoid problems and ensure that your
    finished piece looks as good in print as you always
    dreamt it would.
    tit Planning your pages 102
    e Inking pages 104
    4lt Using effects 106
    4lt Adding tone and colour 108
    ft Adding speech and sounds 11 o
    ft Concept to completion 112
    ft Web comics 114
    ft Printing and publ ishing 118










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    ""' ...
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    ATING PAGES

    n 1 ng your pages
    Once you've come up with your character concepts, the real
    work begins. Here are some top tips and techniques for
    making the most of your inspiration.
    PLANNING YOUR MANGA
    You've conceived your characters and tl"ley've taken on lives of their own - at
    least in your imagination. So how do you get them from the world inside your
    head into the real world for other people to appreciate? Draw a manga, of
    course! However: all manga have to start somewhere, whether they're ten-page
    vignettes, or one-thousand-page epics. Planning is key. and scripts and
    thumbnails are two techniques whereby you can begin to design how your
    pa9es wi ll look.
    WHAT /\RE THUMBNAILS?
    Tllumbnails are small, rough sketches that artists use to plan the layouts and/or
    story of tllcir comics. Wlletl1er you're an artist working with a writer or working
    .11onP, thumbnflils arc an ideal way of making sense of the script and organizing
    yow ideas before you commit yourself to the full-size pencilled pages of the
    mmic .
    . .
    . .
    . .
    Reading direction
    lllP pr1UI-'\ ol lrlfl.-tfll-'\1-' Jlllrli Pd
    I Oil Ill \ r ill' lt'r!d Ill lilt' opposite
    IIIII 'I I lOll lo Wt'\lt'lll I OrlHC \ i'lre
    llll' flrllH'I\ orr l'rlt l l pe1ye. A'::>
    lt:XI 1\ ll.'riCl (rum rrgl1l lo
    ldl wlrcn wnltcn in columns, it rllm
    nrl:tlm 111<11 1!1\ more
    r, ll r llhrll l or Jrrprllll'\('
    lt'rllkl\ Ill lt'riCI
    .. lrom n9t1t lo
    lett Western manga
    artiSts. however. tend to
    produce t11cir work
    reading trom left to right.
    as Western readers are
    fam11rar With this tormat. All
    cUHJ t'Xdrnples in thiS
    book are from Western artists
    working rrom left to right.
    .
    . .
    : TIPS for Better :
    Thumbnails
    If you are going for large thumbnails,
    make them roughly the size that the
    printed comic will be. A good size is
    148 mm x 210 mm (5.83 in. x
    8.27 in.) since these dimensions are
    similar to those of a graphic novel or
    a self-published comic. This way you
    won't be tempted to overfill the
    panels w ith too many details.
    Know what the last page w ill be. If
    you have a precise ending in mind, it
    makes getting there a lot easier.
    Finish all the thumbnails before you
    start drawing the pages. You might
    find you need to change your layouts
    once you've started work on the real
    thing. Make sure you've finalized
    everything before the next step.
    .

    Small thumbnails
    Small thumbnails are only about
    5 em x 7.5 em (2 in. x 3 in.) in
    size. Because they are so tiny.
    you can fit the proposed
    layouts for several pages onto a
    single sheet of A4. But their size
    means you will have no space
    for speech bubbles or dialogue.
    so this method is only
    recommended if you are
    working from a written script.
    DRAWING THUMBNAILS
    So you're all ready to draw your layouts, but w here do you
    start? Even with a clear image of the story in your head.
    you need to Jearn a few basic rules about panels before
    you can piece everything together:
    Pacing
    On a basic level, the size of your panels affects the pace of
    your comic. Large, wide panels slow the story down by
    lingering on details in the background, or by drawing
    attention to an intense, dramatic moment in the story.
    These types of panels are also best for setting the scene of
    your comic, as they have the most space for creating or
    introducing environments. Conversely, smaller panels speed
    up the pace. With little detail or room for dialogue, they are
    quick to read and can create a more urgent pace. Small
    panels are particularly useful for drawing action and battle
    sequences. where you can use a lot of small details to
    illustrate a much bigger event. Details like these help keep
    the action exciting, and more important, make the comic
    more coherent for the reader:
    Flow
    When drawing a comic. you must make sure your panels
    read in the correct order. This might sound obvious. but
    even some experienced artists make mistakes in their
    panel flow. If you find yourself putting arrows on the
    pages to direct your readers, your panels are in the
    wrong order!
    What to draw (or what not to draw!)
    Although thumbnails are very important in planning your
    comic, that doesn't mean each one has to be a
    masterpiece. Putting in too much detail at this stage will
    only exhaust your enthusiasm for drawing the final pages.
    The most important things to focus on when drawing
    thumbnails are expressions, gestures and perspectives.
    Advantages of adding dialogue
    Adding dialogue to thumbnails is by no means essential;
    however, it is an easy way to shorten the planning process.
    Rather than basing your thumbnails on a written script you
    can instead start drawing from your imagination, adding
    dialogue as you go. Doing it all at once gives you more
    freedom to adjust the pacing to suit the dialogue. Its also
    easier to picture your characters moving and interacting
    with their surroundings as they talk. Adding dialogue to
    thumbnails gives you an estimate of the size of the speech
    bubbles on the fi nished page too. so you can avoid
    cluttering tiny panels with too much text, or leaving
    yourself too small a bubble for key sections of dialogue.
    PLANNING YOUR PAGES 103
    1
    3
    Flow of panels
    Can you sec how
    awkward the first
    1
    example looks 2
    compared with the
    second? In L11c first
    example. the flow
    moves bi'lck on itself,
    creating a confusing
    and disjointed read.
    Incorrect
    3
    But wt1y does the exnmple look mmf:' ni'lrLJri'll rhi'ln
    the fi rst? Your eye always looks for the longest panel gutter.
    and divides the page cJccordingly. Tl1en eacll SL'C.l1un IS lt:cJ<l
    in order before going to the next. In this case, rhere Is a
    long gutter running down the centre of the grouping
    panels I and 2 together, wh1lc <1ho them lrom
    panel 3. All comic pages section off and group together
    panels like this.
    First example
    I I
    I
    II
    I
    0
    I
    The gutter
    I
    II
    Another important
    thing to consider
    (Orrl'rTI
    I
    I
    when planning your
    DO
    pages is the
    placement of the
    gutter. Look at the
    first example above
    and see if you see
    something wrong.
    Confused? Even though the panels are not necessarily in
    the wrong order. impossible to know wt1ich way to read
    them. This is because the gutter meets like a crossroad 1n
    the middle of four of the panels. But if you take the vertical
    gutter and break it up like the second example. the page
    suddenly becomes readable. Now its obvious which order
    the panels are in. Just keep these examples in mind, and
    you should have no problems ensuring your panels flow in
    the right diredion.
    104 ATING PAGES
    ng pages
    Inking your pages will be the most important step in making
    your artwork look sl ick and pmfessional. Even fiawed artwork
    will appear much stronger if you take care and pay attention
    1en ink1ng the lines. Here are some of tile techniques
    to
    line width for depth
    ComrclC'r thC'
    of lines when producing
    your line dll. rdy
    dttenuon to the loc.1non
    ot rhc rh.1r,xrers. ;md ro
    the foc.:1l point uf the
    ry tt llrtrtel
    line; '" t11e bdckground
    w11l 11elp tu
    per .1110 tile
    rC'I,ltivC' nf
    ObJeCts to toreground
    I hrlldl 11'1\
    HOW TO CREATE COMIC PANELS
    &ASILY AND FLEXIBLY
    This technique will allow you to adjust and alter the shape
    of your qu1t kly, c1s well ndJust the thrckness of
    1111.' ..tl ..t
    After rre;uing Fl nPW lflyer in Photoshop (set
    ro Mrrlrinly). liSP rhe rPct:'lngular selection tool
    ro c!Pfine rhP Olltlinf' of ymrr f)<lnel Fill this
    wirh fl hrighr colour. such as red (you can
    liSP :'l mPdium grey if your file is greyscale).
    Repeat this
    to define
    all your
    comic panels.
    Blocking in blacks
    Using solid black for certain parts of clothing
    or costumes can be especially good for
    creating definition and contrast within the
    page. Take this into consideration when
    designing your characters.
    also Using effects, pages 1 06-1 0 7./
    Cr._ L ..., .t f.'.u-.
    :..:ryt..::, -:: .. ,1,
    I : l ' "l.) 1
    1
    t
    C . :a L .. ,.J <t
    -
    _,__
    t.--
    r--
    c--
    c--
    , .... _-....
    c-
    -
    .. -
    -- .
    - ,. ,. c.. ..
    --
    Rrght-cltck on the
    layer and choose
    Blending Options.
    -.. .

    Now activate the Stroke option. Choose
    "Inside" tor the Position option and raise
    tl1e thickness to a value of I 0 to 16 pixels
    for a 600 dp1 page (halve this for 300
    dpi). Change the stroke colour to black.
    and you now have your panel outlines.
    THAT SHE DIDNT NEED ANYONE ELSE
    Defining your character with a thicker outline
    This is a stylized and abstract technique that won't suit every style, or
    indeed every panel, but sometimes it can help greatly when
    distinguishing one speci fic character from others. It is especially useful
    in crowd scenes. where you may need to focus greater attention on
    your protagonist. or on a significant character in the scene.
    Drawing panels
    lr is ofren better to draw your panel outlines
    straight onto the computer than to draw
    them directly on the page. It ensures the lines
    are perfectly straight and properly aligned.
    Quick line strokes
    These lines are drawn straight
    to the page, so they will be
    more permanent.
    INKING PAGES 105
    . .
    : \
    TIP: Shift Key :
    .
    .
    .
    Holding down r11e Shift key will help grmtly when drtlwing
    straight lines, such as panel outl ines, onto the p<:tge, It
    ensures that your cursor only moves 11orizonrully 0r verric,JIIY,
    depending on the direction of the stroke.
    .... __ _
    ---
    Wili'IOUt l111.: Sl11ft key
    held down
    W1ti1 tile S/1111 key
    ilcld down
    If yn11 hir hf'fnrl'
    nt::.ow I HlP, 11 w111 Ji lin .1 1111l-'
    IJdWL:l'llllll'l:lld .I ti lL:
    Iiiii.: dlld t/ 11.: ul t/11.:
    new one .

    C.l<'rlll' r l \l'l t:t l ilJJ I.
    Right-click on rhe f11!JI"
    t ll iU L l lt)U)l: $trukt:.
    Chomf" lm1cl!" lor yoiH
    LuLciliull upt1w 1, dlld 1
    til e thickness to u Vufue of
    .
    .
    .
    .
    I 0 to I 6 pixels for a 600
    dpi p.::tge (halve this tor 300
    dpl). Chanqe the colour to
    blvck. Click "OK".
    You can change and edit
    your panels as much as you
    like at this stage. The outline
    will adjust itself to the new
    panel sizes or changes.
    If you WISh to make thiS !dyer
    permanent. you must merge 1t
    with a blank layer.
    "Layer > Merge Down" rrorn
    the menu. or press Ctrl + E.
    Once you are done. fi ll in your panels with
    white. or use the Colour Overlay style. You
    will also want to tri m the excess lines from
    your fine-art layer. or block them out on a
    new layer with white.
    Alternatively. you can draw the
    borders instead of the panels
    themselves (as shown in green in
    the diagram). Be sure to change the
    stroke outline position to "Outside".
    106 0 CREATI NG PAGES
    ng effects
    Adding special effects with screentone or colour will make
    your comic appear more dynamic and visually appealing
    - as well as help communicate your story and the
    chalacters' emotions better to the reader. Just like in
    a film. special effects grab our attention and
    entertain us - as long as the story is
    slrong tool
    )PI::l/1\L INKING EFFECTS
    I lere are some simple inking techniques to
    rc<JIIy get your artwork noriced.
    Broken lines
    Somet1mes it is
    effective to leave
    gJps in your line art.
    when it IS t1ow the shape is
    defined This gives the impression of
    ShJn1ng and obscuring the
    outline ot the character. but can be
    used 111 other instances too. The
    tec11n1que commonly used
    in stlOUJO comiCS (see Shoujo.
    I .7-1 11.
    ..,. Multiple outlines
    Extra outlines qive the image an
    extreme or startled look, helping to
    exaggerate comical expressions or
    moments of fear. The effect is like a
    scnbble. but controlled so that it looks
    consistent and follows the shape of
    the original image.
    Sec also Special effects. pages 94--99
    ..
    ..
    --- - -
    ._ d
    l
    J
    - .;:::.
    "'i ,
    ..,. Blurring motion lines
    To represent movement wi thin
    your image. break up the lines
    and make them less distinct.
    as though the object is
    moving too quickly to
    be seen clearly - like
    a stylized form of
    motion blur in
    a photograph.
    T Simple motion lines
    A less extreme form of speed line. drawing
    short lines parallel to existing lines helps to
    imply small amounts of moti on. This can
    also help to define turning or even
    shaking motions .
    SCREENTONE EFFECTS
    .,.. Associating emotions with screentone
    If you consistently use a particular screentone when a
    specific emotion or conflict is occurring. the presence of
    the screentone itself can begin to represent the
    emotion. Although this is a subtle effect. and shouldn't
    be relied upon to gain the readers understanding. it
    can be an effective representation if used well.
    T Using appropriate screentone
    Make sure you use the appropriate
    screentone for the situation.
    Applying the wrong screentone will
    change the mood of the panel. and
    communicate the wrong idea to the
    reader. Remember: in manga.
    everything on the page is significant
    - it's a graphical language - so use
    screentone to complement the
    action represented by the image.
    rather than conflict with it.
    J;. Inverting tone and line art
    With computer toning. you can swap
    the black and white elements of any
    screentone to create an eye-catching
    effect. You can use the technique for
    dramatic purposes. or just to effect a
    change in mood. Sometimes inverting
    the whole panel. including the line art.
    can be especially impressive. Uke most
    dramatic techniques. use it only
    in moderation.
    --0 Using parts of tone
    Pattern tones. which have white areas
    between design elements. are often more
    effective if the whole tone isn't used. Just
    grabbing one or two bubbles or deleting
    some of the flowers can help complement
    the artwork in the panel much better.
    Using small
    areas of this
    tone will
    enhance
    the artwork
    more subtly.
    I


    --
    C:- IoW-

    '
    USlNG CF F ECTS 107
    Nr..,C;b
    cc.1M
    eot:.r-DU:u CMIl
    lot.a.C-
    Ib:YGICNI.

    ....,..._
    ....... _
    ---
    ..............
    -
    Ctl{\OWlU ltlf'
    lnvprr h mninn
    will swap the
    llidt k drlt) WI lilt:
    1n your nrtwork
    Use your imagination!
    By using small sections of very large tones.
    you can change their appearance to make
    the patterns seem interesting and original In
    certi1in instances. For this grri:S bikini top, For
    example. a pattern was needed to irnply a
    design on the garment. Using a sheet of
    large "vortex" design tone. and inverting tile
    colours. some very small areas of it could be
    used. and the effect was very different From
    the original tone (so the reader did not sc.>e 1t
    as screentone). The final result was this stylisl1
    bikini design.
    This large print looks
    different when small
    parts are used.
    1 08 C {:AT I N G P A G E S
    i ng tone and colour
    Tone and colour are as vital to tile success of your artwork as
    being a master of line and form. So what are the essential
    c on.:,icJerations for adding these elements to your manga?
    When adding colour or tone to a page. you need to
    com1der both the impact of the whole page and its
    composition. Your colour usage on each panel affects tt1e
    overall of fJoth the page and the comic as a
    whc >iP . 1nrJ you Gin control balance and emotion witll
    your usc ot black and wllite and different tones.
    Worl<lng with contrast
    Not every panel needs heavy shading
    The use of detailed shading in a panel or short sequence of
    panels is as much of a storytelling device as your line art or
    dialogue - it is one of the best ways of drawing attention
    to some aspect of a characters personality. or a pivotal
    Wl1en pmdurinq rnrtnCjd il is helpful to make creative use of
    rrucJ Lones 111 the torm of scrccntone. However, it is also
    1mrort;,nr to maintain a f1igl1 level of contrast between your
    .\elec 11om to ilCTC'ntumc composition. and the flow of the
    paqe. Tlli.) will ..1l.)u emure Lh.::t t the essential details and
    evenr in the story.
    However, it is a bad idea
    to pay every character
    the same amount of
    attention: allow your
    reader to focus on
    particular characters and
    events. Too much detail
    means that no
    character gets the
    fUldl po1nts ot your i1rtwork ;,rC" vivid. and leave the reader
    1n no <1o11hr ;,s ro what is happening on the page.
    Dramatic lighting
    LlqtlllrKJ w1Lt11n the p;:mels need not be entirely renlisric in
    C'Vl''ry /\h \ lr or ernot1ve use of light
    help communic.:l te the mood <1nd iltmmphcrc of each
    VC'IY c -ffc ri ivt'ly
    T Shading out the eyes
    r1 IJolcJ
    unplyuHJ ,,,cJrW\\ or
    '' c II J\lon in rhl' rh:'lr:'lrrer.
    or 1 .::t n
    rl.-111 Jrl' I rhPW' rechnlques
    no mnrP rh:'ln nnrP nr twice
    In your comic to mi:linti:llll
    lilCII iJUll:IIC. y.
    focus he or she
    needs. as well as
    making the panels
    themselves more
    difficult to follow.
    Expressive lighting
    Tone and colour can be
    used in 'In expressive way
    ro convey the atmosphere of
    a scene.
    ..,. Bright eyes
    One useful arL1stic device is
    showing a characters eyes lit
    when the rest of tl1e panel is
    unlit or dark. Although this is
    obviously nor naturalistic. it
    can be highly expressive and
    help readers identify with a
    particular moment in the story.

    .. ..
    ' TIP: Blaclcing '
    .
    .
    Out
    Black out a
    character that is
    standing against a
    tone background.
    This creates a
    striking presence
    wi thout focusing
    on details .
    ..................................................
    WORKING WITH COLOUR
    Producing comics in colour is in many ways much more
    difficult than producing them in black and white. especially
    when working with the many abstract methods that are
    typical of manga style. Most artists don't use colour at all.
    but many of the same principles of black and white manga
    can be applied to colour works.
    a palette
    Try to keep your tonal
    ranges and colour choices
    consistent throughout the
    scene. giving the reader a
    strong sensation of
    Familiarity of the location.
    A limited palette will make
    the comic much easier to
    read and help express the
    mood of your story.
    ADDING TONE AND COLOUR l09
    A Abstraction
    If you treat your colours like a spccii'll effect. you filn
    actlieve results With block tones. Using
    these to represent presence or abstract moods
    can help to underline tt1e ltlemes of your story.
    Colour considerations
    Bear in mind that working in colour will rnr1ke it difficult for
    you to print your comic cheaply. i'lncJ the cost per com1c
    will often be too high to sell. However, colour comics work
    great on the Internet, and there are no production cost
    differences between them and greyscale comics. If you
    keep your original artwork layerecl (in Photoshop), it will
    allow you to adjust your toning at a later stage. should you
    wish to produce a black-and-white version for pnnt. or;
    conversely, to remove the screentone and redo the pages
    in colour. You can also colour your screentone layer - with
    the Colourize option from Photoshop:S Hue/Saturation
    toolset, for example.
    See al so Printing and publishing, pages 11 8-123
    110 CR-EATING PAGES
    ing speech and sounds
    Speech bubbles and graphical representations of sounds are
    vital elements to get right. They add to the visual appeal of
    your work, and aid its comprehension.
    I HINGS TO AVOID
    Because introducing dialogue and sound effects into your comic is an important
    part of designing each page. it is worth giving them plenty of time and
    attention. They have a huge effect on how the reader will enjoy your work. and
    every speech bubble is as much a focal point as your painstakingly drawn
    .=trtwork. Here are some important things to look out for.
    II>- Crossed bubbles
    Avoid
    d5 the flow Will
    Urlfld[LII dl dnd diffiCUl t tO
    rnlluw ldedlly. the
    should be designed wirl1 rile
    f lcl rtL'I flow {tnllucJtnq
    di"logue flow) in mind before
    qotnq alle<Jd and drawing
    the bubbles.
    T II>- Interjections
    Avoid interjections wit111n t1 prtrll'l. II IJe
    c\vtry tor"' ch:'lr<'lcter to speak twice within the same
    p.:mel. otl1er ti1.:Jn durinq cJ nuturdl btedk wttl un t11e
    ut<.JIU<.JUl:. l o ll,IW i-1 r hi-lri-lrter speak. anorher
    r h:'lr and then the first cll.:Jr.:Jcter reply
    .:Jq.Jin ncq.:Jtes mucll or ti le cmottondl tmpd<J ot lhe
    c onvcC\,IIIC)n. c-rt-'iitin0 ;mmher panel ro contain me
    re.:Jction works mucll mote dfccttvcly.
    I'M PURSUING MY
    DREAM OF BEING
    A MANGA
    ARTIST!
    ...... IIMICS
    Outllna for bubblel
    The OUIIJne far lhe bubblll
    sl'loUidrlt CMII'pOWII' the

    mall IIIII I the dallr and
    loaiiiOndlaCI.
    I J./ATE
    YOU SO
    MUCJ.I!
    Font issues
    Because of the informal nature of text
    placement within comics. most writers
    prefer to capitalize their text. This helps
    the individual letters fit the shape of a
    speech bubble without looki ng weak.
    However. some artists do prefer not to
    capitalize their text. Experiment and
    decide which is the most appropriate
    approach for your title.
    Try to stick to a regular font size for
    your comics main text. This makes it
    easier to read. and goes some way
    towards making your work look more
    professional. It also allows you to
    create more impact when you do
    decide to use large or small text.
    ADDING SPEECH AND SOUNDS 111
    Background t ext
    Using small text in the background of a panel
    is a common device in manga. Almost always
    used for comedy. 1t suggests the idea of a
    character muttering something under his or
    her breath. or someone saying sornelhing in
    the background. The comic will read fine
    without it. but these extra elements provide a
    light-hearted edge. or help to express t11e
    behaviour of characters in the background.
    BLOCKING OUT BUBBLES
    You can block out speech bubbles 1n Phol oshop w1ttl the
    same technique you use for panels. but us1ng the I:JhpiiC "''
    selection Instead. (See Inking Pages. page I 04.) HowPVer.
    these can look too synthetic and clash w1th your nrtwnrk
    Experiment and see which tcchmque your style
    HOW TO PLACE TEXT IN PHOTOSHOP
    Choose the Text
    tool from the
    Photoshop toolbar.
    SEE YOU
    IOMORROVV!I
    Method 1:
    basic t ext
    Click on the image
    where you want to
    place the text. If you
    want to start a new
    line of text. hit the
    Enter key.
    OTHER FORMS OF TEXT IN BUBBLES
    Symbols or punctuation marks can be used in speech
    bubbles. as a simple and effective way to communicate
    what is happening to the characters.
    The skull and
    crossbones implies
    that the character
    has been poisoned.
    ' l(E);L:lY
    OUGHT TO
    EAO HOME
    NOW!
    *
    SEE YOU
    : TOMORROW!!
    Method 2:
    text area
    CliLk on tr1e spot
    wt1e1e you we:tnt the
    text box to IJeq111
    i'lnd hold c-lown t11e
    burton ro
    drag our <1 box.
    IS <1 tC'xt which
    will ddine tt1e dt ea
    within which the
    text will fdll.
    ,; ............ .., ......... - #-------- -

    One common
    techn1que 1n
    manga is 10 use
    three dots co
    represent a

    silence. This can
    be useful to
    demonstrate
    when a ch<lracter
    is expected to
    talk. but says
    nothing at all.
    '(ee also Special effects. pages 94- 99 ./
    AI lNG PAGES
    cept to completion
    Here are all the main stages in taking the world of
    tile imaginc1lion to the realm of the printed
    or Wet) page. Enjoy tile journey!
    .A. Step one
    When you've cor1C.c1vcd
    yo1 11 \ I ory: skerch our
    cllJrJcter dcsiqns
    (rrl lOVPJ \0 thiit thf'rP a
    feel for they w ill
    luuk llkl:. Wrll1 >orl
    \ lorr<'\ 111' imrnrr:'lnr
    m r1PvPinr rhese
    dcsiqns . .:1s llll:
    <..11,11 c.JLll:l Will only n>r>ke
    rl IJrrtl rtppPii riinr P,
    t11Jr wirh
    more designs
    Jrc y.
    .A. Ste p two
    Sketch out the pages as
    "thumbnails" w ith very rough
    artwork. These can be changed
    and adjusted easily until the story
    flows nicely. before you produce
    ( 0; final ink versions.
    i:Q
    ,c,;;. _}
    three
    After drawing out neat line art in
    pencils, apply your inks. In this
    example, the speech bubbles are
    going to be added by computer.
    so the artist has left them off the
    original lines.
    _,
    I
    .,. Step four
    A combination of flat. grey tones and pattern
    tones have been used here to add shade and
    definition to the artwork. Speech bubbles have
    also been added to the image. paying attention
    to the original sketches for their placement in
    relation to the artwork. The page is now finished.
    and ready to go ro print. Try this approach and
    see if it works for you.
    .6. St ep five
    The final prinled vers1on. primed in
    Sweatdrop Stud1os' anthology Love.
    Sweat & Tears You can see it here
    with another page from the comic.
    working as part of the whole.
    ..
    TIPS for Completing
    Comics
    Completing your comic can be very
    difficult. as it is easy to feel that more
    could be done to improve the overall
    piece. The step between almost finishing
    a comic and actually finishing it can be
    gigantic. and it helps to have the
    motivation to wrap up the project.
    Deadlines are actually a good thing.
    It is much easier to prepare a comic for a
    particular date, whether it's for an event
    like a convention, or merely a self-
    imposed deadline. Set a completion date
    and try your hardest to get it done in
    timel In professional manga illustration.
    artists always work to strict deadlines - it's
    part of the job!
    Be realistic about what you can
    achieve. and you' re more likely to be able
    to complete it. Working on short. single-
    issue comics before trying to tackle an
    epic will give you a solid foundation in
    writing comics. which you can apply to
    more ambitious projects in due course.
    Avoid overworking your comic. There's
    only so much you can do to each page.
    so once it is complete. just move
    on to the next one. Keeping note
    of how many pages are complete
    is a helpful incentive towards
    finishing each one.
    Don't worry about
    striving for perfection
    on every single panel.
    Comics work as a
    whole. not as a sum of
    parts. and often a page
    will look great even if
    there are small errors in
    the artwork.
    Finally, sacrifice! Be
    prepared to give up
    enough time to work on
    your comic, which can eat
    up a Jot of hours. You may
    have to pass up on some lVI
    Comics take time. and while they are
    great fun. they are also hard work.
    Try your best, work hard and create
    great mangal
    .

    CONCEPT TO COMPLETI ON 113
    ..
    .6. Seeing your work In print
    Reaching the stage of having a finished
    and printed comic isn't easy. but finishing
    the comic g1vcs you a huge sense or
    satisfaaion and
    114 CREATING PAG ES
    b comtcs

    These days, comics are no longer limited to paper and print: your
    imaginary creations can thrive in the virtual world of the Internet.
    Tile Internet has become a wonderful means of exposure for comic
    <:1rtisLs, both amateur and professional. The international popularity of
    rnanga-style comics, combined wi th the convenience of reading
    comics online, has allowed even beginners to have a global audience
    for their artwork and stories.
    SAVING FOR THE WEB
    Before saving your artwork for the Internet, be sure to
    flatten your image in Photoshop or Ptlotoshop Elements
    (coltapse tt1e separate layers into a single layer). and then
    resi7e the imnge to the desired resolution. Always save a
    backup of your original layered and high-resolution digital
    Save For Web
    Using the Save For Web leature alfords you a
    III!.Jii dcurt c nl c nnlrnl wl wn images
    ror usc online.
    2-up
    This allows you to view
    LJUlllltrt: urryrndl image
    and the lower quality
    Wt:b wlliCh
    is usefUl for direct
    compcJrison.
    Exported file
    information
    st rows you how
    large (in terms of file size)
    the imiJgc will be when
    saved to disk. as well as
    an estimate of the
    download time.
    files. as once an image has been flattened. you can't go
    back and edit the separate components. as they are now alt
    on the same layer.
    WEBCOMI CS 115
    EJic g_ct.t '!low !!<> !oclo !:!dP
    (hiOttp:/t,.,...,...,.rabid..nonkeY' .Conl/l'ldex.J*lP?IR-oo4a v 3 0 Go

    File sizes
    When saving images to be viewed on
    the Internet, the size of the file is very
    important. This is measured in kb.
    short for kilobytes. The larger the size,
    the longer the image will take to
    download - especially over slow dial-
    up connections. With the Internet
    always design for the slowest system;
    don't assume your reader has
    the fastest computer and a
    broadband connection.
    File options
    These controls allow you to choose the file
    format. as well as which compression options
    you wish to employ to make the file size as
    small as possible for swift download. As
    always with the Internet. there is a trade-off
    between image quality and file size.
    lmageReady
    You can make a number of further. more
    sophisticated adjustments to images intended
    for the Internet in Photoshops companion
    application, lmageReady (which comes
    with Photoshop).

    t tlpdahl I
    FILE FORMATS
    JPEG
    " Funnies
    Short-strip "g,,g"
    cnmi< ' - <"
    - \IIJHI,u In It lOSe In
    Ill ' work
    Pt:l f<..:t lly on ltw
    Internet. In fuct.
    Uld!UljU<..:-llrl\( '( J
    tlurnour ;:mrl
    pane/ IJyOLits WOI k
    bCllCI Ull
    It lrlll Ill Jllllll
    JPEG compression is a "lossy" compression method,
    meaning that the image will lose some of the image
    quality every t1me the file is saved. This file rormat is great
    for photographs or fulkolour comiCs, as it can keep the
    file sizes low. However, It suffers from "JPEG artefacts". a
    form of Image corrosion often evident around line art <md
    flat areas of colour.
    PNG
    PNG is the most recent of the popular Internet file for!Tktts,
    and offers a good compromise between compression
    file size. PNG images do not suffer from artefacting like
    JPEGs do, so the of the 1mage IS much higher; but
    the file size will be larger as a result. Unfortunately. some
    old Web browsers don't support PNGs, so using format
    may cause inconvenience to a small percentage of readers_
    GIF
    GIFs have been mostly superseded by PNGs 1n terms of
    how useful they are. However. they offer some options for
    simple animation. as well as transparency. They are also
    supported by more (older) browsers than PNGs are. so
    despite the extra file size, they are sometimes worth
    considering for line art and graphics (they are far from
    ideal for photographs).
    CREATING PAGES
    Cutting costs
    Web comics . : ~ r e .:1
    qrc.:Jt w.:Jy to
    prmJ1 J\f' rolo1 1r
    comics. without
    UlC drdwbilCk:. or
    printing com.
    Resolution
    When saving a file intended for display on the Internet. it is
    important to pay attention to the size of the image.
    Different people use different sizes and resolutions of
    screen. so ensure that most will be able to read varying
    sizes of comic page comfortably. People usually save their
    image relative to the width of the page. so sizes such as
    600 to 750 pixels wide are popular: Be sure to look at other
    Web comics and decide what pixel width you like best.
    Simple colouring
    Working in colour is
    just as easy as
    greyscale when it
    comes to Web comics.
    Experimenting with
    ways of colouring
    your comics can give
    your pages more life -
    and a distinctive look.
    Costs
    Web comics cost almost nothing to post online. Free Web
    hosting for Web comics is available, and even paying for
    your own hosting is very inexpensive. Web comics are a
    low-cost risk compared to printing, and diminish all those
    worries about not making back the printing costs!
    Feedback
    One of the advantages of Web comics is that you can get
    immediate feedback from fans of your comic. However; if
    people dislike your comic for any reason you also have to
    WEBCOMICS 11 7
    be prepared for negative criticism. Focus on the comic irself
    more than the feedback, and persevere with the production
    of the story you intend to write.
    Professionalism
    It is very easy to put pages of mangr1 on the Internet. but
    this has encouraged some artists to be sloppier with
    work they do for online comics. Not inking the or
    using bad, handwritten text m.1kes their pages an
    Try your best to make each paqe as good as it c,ln be.
    v Co Ul1s
    A wider audience
    Some artists choose
    to put their printed
    comics on the
    Internet Some
    people enjoy the
    comic on the Web
    so much that they
    will buy the printed
    edition to keep.
    sweat<lropWebcomics: Fantastic Cat I"
    j FantasficCat vj - --------------------------
    fontaslic Cal
    1
    I Page 004 vI
    Buy this corrlc!
    - tasueot
    - Issue 02
    - Issue 03
    - Issue 0'
    - tnueOS
    fantastic Cat
    Flyitg csl s ond who rol
    rrom the sky!- Oskar loses his
    memcry, b<rt gains some mends.
    l"s shome IMy're just a Iitie
    stra.nge ..
    I ssue 04 :: Page 004 !Fil;.q I I.VTJ l h.FV] :: JI.t:;..i]
    I ssue 04 :: Page 004 I FRST I:: ( LAST I [ P!;EV I :: [ llEXT I
    118 CREATING PAGES
    ting and publishing
    Now comes lhe time for you to bring your work to the
    public - ils time to print and, with luck, publish, adding
    your rnanga to the brilliant comics you admire in the
    sllops and online.
    PRCPARING YOUR
    If you'rt> going for tri'lditional paper-based publishing. when
    your pages are complete and you have finished lettering
    you arc ready to prepare your pages for print.
    CMYK in Photoshop
    Photoshop will display an
    alert i f a chosen on-screen
    colour won't print
    accurately in CMYK inks.
    Press the T symbol to
    adjust the
    chosen colour.
    Self-pul>li)hiny ctn excellent means for independent
    ;:md Jmatcur Jrti sts alike to procJuce their own comics. It
    gives you total creative freedom over what you produce -
    per h11p:-. yredl.er freedom Lhan even professional artists
    enjoy! lnL1cpcndcnt artists can produce every part of their
    nol comic itself, but also the cover
    arx1 layouts. and any additionCJI design work within the
    w miL. If yuLI pay lo have copies made at a local print shop,
    ur even d wnvenliondl colour or black-and-white
    pt lULULupier. yuu Ldrl produce a printed comic with solid
    prod union villi
    think "CMYK!") Converting the document
    from RGB. used by computer monitors. to
    CMYK will often change the appearance of
    However, w11cr11cr you Jre publishing your work without
    Jny outs1de help or getting 1t prinled prufe)siondlly. il is
    II I l jJUI ldrll lu pcly cl llCnliOn tO printing SpCCifi C<'l tiOnS.
    FIC'Itten your C'lrtwork
    RC"fnn"' Jhmirring your ilrtWork for print, fi Jtten the layers.
    I t w1/l retlule lt 1e )ILe or lhe fil e. ancl make il less likely
    thJt there will be any errors in the print process. But before
    you <'Jo tllis, remember to copy the original. unflattened file
    first, ,"H1t1 only fli'lttcn the copy. Retain the original layered
    filr m you rrlll go bc1Ck nnd edit the separate components
    l;rltY if yotJ nt"'Ct1 to. With lnyered artWork, you 11ave the
    frt n Jom 1 n rccnlour: ,1dd screentone or alter the text
    r lllrl dirriO!Jtlr'- yotJ (rln't dO this on the flattened Version
    Wlltloul gu1ng to grecrl c.Jecil of lroullle!
    Colour printing and CMYK colours
    Colour pages are pnnted using the CMYK process (short for
    cyan. magenta. yellow and black) inks. These four inks
    combine on p<1per to the spectrum but struggle to
    represent some tones accurately.
    Photoshop allows you to specify whether to make your
    document in CMYK or RGB (red, green. blue) modes. but
    you should always convert to CMYK for print. (For "comic"
    results will be.
    Colours such as purple
    will sometimes print
    slightly differently than
    you expect. Use the
    CYMK picker tool to help
    accurately choose print
    colours in Photoshop.
    PRI NTING AND PUBLISHI N G 119
    PRINTING FROM HOME
    It is possible to print your own comics at
    home with a laser printer. The inks used in
    laser printers are similar to those used in
    a photocopier - high quality and
    waterproof - but can struggle with
    large areas of black. Although
    significantly cheaper to buy, Inkjet
    printers are not suitable for creating
    sellable comics, as the inks will smudge
    when the pages are handled. Check
    Peripherals on pages 46-4 7 for more
    information.
    PRI NTING WITH PHOTOCOPIERS
    With self-publishing. it is important to be
    able to print small runs of comics, as it is
    likely they will only sell slowly - quantities ot
    50 or 1 00 are common, with extra copies printed only if
    the first batch sells out. The most popular choice for self-
    printing is to use a conventional photocopying service.
    Photocopies work well for comics. as the ink is waterproof
    and doesn't smudge. Check with your print s11op to see
    if there is a discount for a certain number of copies (for
    example. for more than 1 00 copied pages), as this can
    affect how many you choose to print, and also the
    overall pricing.
    Be very specific when you approac11
    a printing firm. Tell them exactly what
    you want. including sizes. which
    pages will be colour (for example,
    "only the outside cover"), and
    whether you need "bleed" (see
    page 123).
    Taking charge
    Self-publishing allows you total
    freedom about what size of comic
    you wish to produce.
    .6. Experimentation
    I r he:-tp Sl'rvirl'r.
    such Js pl1otocopyinq
    rll lr:.L\ lo lcil'r l\<'
    strange and
    lllll:llltll WUI b .
    ThP<.P rwn rnmir<. :'lrP
    coik:cl rom ur tylt
    paqe comic strips.
    artWork. ancl previews
    of upr nrTHrt!J cor
    CREATI NG PAG ES
    PRI CING
    Consider the price of your comic
    in relation to other comics that
    rtrc The lower you price
    the comrc, the more copies you will
    However: il is important to cover
    yot Jr cml \, wt-'11 r:t s 10 mr:tke some
    extra profit - even if it is just enougtr to
    cover some of your other expenses. If your
    comic is to be distributed or sold by another
    flt-'1\0fl or wmpdny, lyJ.JiG1IIy they will take 20 to
    'JCJ p<'r cc>nt of the cover pncc. so ttlke this into
    c orl\idt-'rdlror1, too. I h.:1t s<ud, avoid overpricing your
    wmiL. dldryiny Loo rnucll for il will seriously reduce
    pcorlc will ro your hard work.
    Free copies
    ANALUGUI::
    Some ilrtisrs even choose ro give
    their photocopied comics away for
    rree, but only print a limited
    numher. Tl1is c;,n be greilt publicity
    and help sell other titles by the
    S<l me llrliSI.
    1\ c c u niL r nctc.Je wilh dl of pet per
    li1it1 rog('tll('r, 'ri1pl('c1 i1nc1 folc1('c1, rt set of
    Lor photocopyrng a comrc you
    will nr' C'ci In rrcrll (' t1 mnstcr copy with lhe prtgcs in the
    pu!.rlron, bearrng rn mrnd which pages will be
    fll'inl rd nn llll' '\rlllll' piC'Cl' of paper.
    12 9
    cat
    ........................ .
    .
    .
    A simple dummy
    copy is made
    quickly ro help
    lay out the
    master spreads.
    Dummy copy
    One of the easiest ways to see what
    needs to be on each spread of a
    comic is to make a dummy copy. By
    making a small book from folded
    paper. and then numbering and
    marking the pages, you can easily
    see which pages should be printed
    on rhe same piece of paper.
    . .

    .
    .
    DIGITAL PRINTING SERVICES
    Many printing companies now allow for
    digital printing. This means that they will take
    computer files and print pages directly from the
    data. rather than replicating artwork from a
    piece of paper: This offers much
    greater flexibility and control over
    the production process.
    FILE FORMATS
    TIFF files
    TIFFs (Tagged Image File Format) are one of the most
    popular file formats for transferring pages and artwork.
    They have the advantage of strong image compression
    without lowering image quality. Always choose "lZW'
    compression when saving with TIFF; this will ensure that
    the file is small on disk but readable on different types
    of machine.
    PDF files
    PDF (Portable Document Format) is a format that has made
    it much easier to produce comics with digital printers. There
    are no discrepancies when it comes to reading PDF files,
    and printers often find them easier to deal with. Always use
    ZIP compression with PDF files, as JPEG compression
    damages your images and lowers output quality. If your
    software gives you the option. always choose the earliest
    version of PDF compatibility. This causes less problems
    when processing. Photoshop saves files like this as default.
    FILE FORMATS TO AVOID
    BMP files
    BMP artwork is uncompressed and slow to process, with file
    sizes becoming huge on disk.
    JPEG files
    The artwork is compressed. and tiny inaccuracies will
    appear in the tones. Although these may not be
    immediately visible on screen, a printer can recognize these
    subtle flaws and draw extra grain around your lines
    depending upon its calibration.
    GIF files
    This file format has no information about DPI stored in the
    file, so the printer may not know how large it should be.
    File sizes with GIF are no smaller than TIFF.
    PR I NTI N G AND PUBLI SHING 121
    Creating books
    Professionally primed books can be put
    together from collections ot stories or
    collections of comic issues.
    CHECKUST TO ....... IIIIFORII
    SAVING FILES FOR suaMISIICJNs
    jft RateriH your ..
    IVty text that is stiR "'ive" and edifable wiH cause
    problems dUring prinllng, with comprK:abOnl In CllnWIS
    or roms and smau Changes or size You shaUICJ
    your text to pixels before saving 1he me. lhls ......
    any problems.
    ..
    jft Flatten ,..... layers
    Multiple layers Increase the fife as weiM ,...,
    more difficult ror the prinller te work_,. _.
    * COftv4U't to , .,....
    Converting ................. .,...,
    smaller than If you rea. fl' M Gllll:u:
    jft CheCk,_... BPI ...a,.. illllt
    You can adjuSt DPIIillllhOCIIt.....,":J::
    setting alf other -
    CREATING PAGES
    GENERAL PRINT FIRM ADVICE
    An unfortunate fact when dealing with
    printing is that you can't always predict
    the results. The artwork may appear
    slightly lighter or darker than you
    intended. Getting a proof is important
    so tl1at tl1e printer knows in advance if
    you are happy with the quality of the
    printing. and any errors can be spotted
    bt'forc. it is too late.
    witl1 tl1e printing company as
    much ds possiiJie. If you make your print job
    e<Jsier to deal with, staff at the print fi rm will
    be more likely to help you if problems occur.
    If you make It difficult or get angry wi th them,
    it will be harder to get the results you want.
    ........ IWOd:. i:iW
    $ ..... ,.... f'IIIM. ptlane
    _,......., 4llddl.s 01\
    1M CD IIIC VIMIIuWI'IIIIMtf
    ... priJII;J:Ib. this ..........
    __ ..,...110 ecwaa.,.,.r ..
    a,......., ancf.,..thiiCD
    Qlldngft&
    .. ,pcillllt- induellf.a ..............
    the CD ...... 1hls lhllt.tifniltulte
    c:onllllcC dllllllls ............. tJI
    What sonhCO.
    fit NtMiyG,W ..

    NCm!: ellowJau.,
    .............
    ,,. .. .....,.

    .. whit
    :!....., NAf11 oF CoM/(;
    llfdng
    ...
    JOHN DO


    Comic series
    When creating a series of comics. it is
    important to unifY the front cover designs.
    Try using the same layout but with different
    characters on each issue: or use similar
    design work. but different colours.
    Check for "additional costs"
    Check to see whether the printer charges a fee for
    converting the files into a particular format. Savings can be
    made if you check to see which file formats and format
    types are most convenient for the printer. saving you
    unnecessary expense.
    Check prices of quantities
    If you ask for quotes for different quantities, sometimes it
    will turn out that ordering more units of the book will cost
    less. For example, printing more than 1 000 "page copies"
    might save you money. If a comic has 1 4 sides, printing 7 2
    copies would amount to 1 008 sides, and would qualify for
    a discount. You should also always ask for round numbers
    when asking for quantities. Ask for quantities of 50, 1 00,
    1 50, 200, 300, or similar; otherwise it becomes awkward
    for the printer to summarize the costs involved.
    FULL-BLEED PAGES
    When using a professional printer. the comic is often printed larger than the
    intended final size and then trimmed down. As a result. this allows the inks on
    the paper to go up to the very edge of the page - something you can
    incorporate into your design.
    Full bleed
    This allows panels ro drift
    off the edges of the
    page, suggesting a
    larger event beyond the
    scope of the image.
    Bleed area
    This area will be trimmed
    off by the printer. and
    should be expected ro
    be missing in the
    final print.
    Trim area
    This margin area should
    only contain simple
    artwork, as this will be
    drifting off the edge of
    the paper.
    Safety area
    It is recommended that
    text should not be
    placed in the safety area.
    in case of any radical
    printing shifts, and also
    to avoid text being
    trapped in the
    centrefold of the book.
    PR I NTING AND PUBLISHING 123
    <) ~ <>
    124 ~
    Resources
    MANGA CREATOR SITES
    Hayden Scott-Baron: www.deadpanda.com
    Sweatdrop Studios: www.sweatdrop.com
    Selina Dean: www.noddingcat.net
    Emma Vieceli: emma.sweatdrop.com
    Laura Watton: www.laurawatton.co.uk
    Viz: www.viz.com
    Tokyopop: www.tokyopop.com
    Dark Horse: www.darkhorse.com
    Iron Cat: www.ironcat.com
    CM.X: www.dccomics.com/cmx/
    ADV Manga: www.advfilms.com/ manga.asp
    CPM Manga: www.cpmmanga.com
    Broccoli Books: www.broccolibooks.com
    Seven Seas Entertai nment: www.gomanga.com
    GoiComi: www.gocomi.com
    +Q ART PRODUCT MANUFACTURERS
    f ~ Letraset: www.letraset.com
    Deleter: www.deleter.com
    Copic: www.copicmarl<er.com
    COMIC FONTS
    Blambot: www.blambot.com
    Comic Book Fonts: www.comicbookfonts.com
    Ban ComicSans: www.bancomicsans.com/fonts.html
    .f) /\RT SUPPLIES ONLINE SHOPS
    c::J Akadot: www.akadotreta il.com
    Dinkybox: www.dinkybox.com
    Blue Line Pro: www.bluelinepro.com
    Anime Garners: www.animegamersusa.com
    <>

    Adobe Photoshop: www.adobe.com
    Corel Painter: www.corel.com
    Paint Shop Pro: www.jasc.com
    Deleter Comicworks: www.comic-worl<s.com
    OpenCanvas: www.portalgraphics.net
    GIMP: www.gimp.org
    Deleter CG lllust: www.cgillust.com
    Corel Photopaint: www.corel.com
    Macromedia xRes2: www.macromedia.com
    IMAGE HOSTING GALLERIES
    Art Club: www.sheezyart.com
    Dev Art: www.deviantart.com
    Elfwood Fantasy Art: http://elfwood.lysator.liu.se
    Manga Workshop: mangaworl<shop.net
    Digital Art and Design: http://digitalart.org/
    Artist and Image Database: www.artwanted.com
    Online Art Gallery: http://www.side7 .com/
    Forum for Artists: http://www.shadowness.com/
    Virtual Gallery: http://www.vladartgallery.com/
    WEB COMIC HOSTING
    Keenspace: www.keenspace.com
    DrunkDuck: www.drunkduck.com
    ART COMMUNITIES
    Dream-grafix: www.dream-grafix. be
    Sweatdrop Forum:
    www.sweatdrop.com/forum
    Artist Cafe: forums. firefly.nu
    Pendako: pendako.syste.ms/bbs
    Gaia Online: www.gaiaonline.com
    Cgtalk: www.cgtalk.com
    RESOURCES 125
    126
    Index
    A
    absrr dCLiurr I 09
    acccssoncs 4 I
    .1rrylic ,rylt-' R I
    dltiUfl: !>CCflCS 18- 1 c;
    rn shouncn I 4
    (1191tal 14- 77
    o111i11 1.1Jo.. \trpJlOI 3 7.
    38-39
    amagonrsr 32- 33, 34
    .1li.1,ir1q '19. r; I. (J2
    .-lf'lli-llt-'rtJ ?fl
    B
    tl;JCklrqhllng I I
    black.: solitj I 04
    in w..:rlcrwluur flO
    hl,yt nnt1 wliirc to
    wluur 6!3- (J9
    ro '>f,
    hl.lck rl/"111 whirt' invtY<;inn
    101
    l>l,lckrng our I
    L>r u!.t 1/l>rt JSt1 Jif'n '1H
    c
    ( .1), .1nwnrk nn I 77
    rrrr...1qe 10 1.:3
    lint"IC'i'i 8/
    tl l..tr,itltr. lclr.IC' III It' 1(>. 41
    G.i[Jiys[ .:3"1 J)
    U1rld J6 J /
    comic 10 )I
    temJie in mole role
    one-<:1imcmioml 7'1
    prmngnni-;1, ferT1rrh ?r1-/l
    Ill I II&JUIIr;[. II Idle
    !>upporung 31. :Hi 39
    Leer ktSjt: L;oy JH J'-1
    rccnaqc girl 30- 31
    vrllarn 32- 33
    children: < lltili.l< ler!> 36-3 I
    of I 3
    CMYK colours 48. I 18
    resolution 53
    coar<><" ron<" 89
    colour: to add I 09
    backqrotHld 62
    to chdnge 73. 77
    CMYK 118
    011 lnte1net I 16
    and lightinq 69
    Ji.::tleue I 09
    theory 69
    51
    rones 72. 7.1
    colour prinring I I 8
    colour scl1emes 41
    colourinq: black and whirc
    ourlrnes 68-6')
    eel-style 70-73
    grf'y'>rJIP or Jrline'> 66-A l
    comedy 20-21
    comic I 22
    Corn reworks 1 '7
    to roldte rmvge rn 60
    81::1. '70
    lUI llfJietiurt I I 2-1 I 3
    cor rtputel ; . per ipt ter
    16-'17
    6. 18-'1'7
    rnnlrasl I 08
    I I I . ILO. 112
    rno;rumr: cnnrrrnpnr<11y 74,
    D
    ?r1. ?n. JO. 32. 31
    40- 4 I
    16. I 7. 2S. 2 I. 29.
    J I. J2. 36. 40
    t JJ
    science ticrion 25. 27. 29.
    17.40
    deadlrncs I I 3
    drgrwl parming packages 49
    digital pr inl ing services
    171-123
    dingbats 99
    DPJ (dors per incll) 53
    to adjust I 21
    dummy copy I 20
    F
    fantasy I 6- 1 7
    female character 27. 31
    male character 25. 27
    villain 32
    world. to create 42-43
    file forrni:ilS I I 5. I 21
    fi le I I 5
    nneliner inking 59
    fnnl I I I
    tunnies I I 5
    G
    geometric tones 89
    gods/ deities 4 3
    tones 89
    g1apllics packages 48
    gr<tphics tabler 6. 4 7. 60
    grey layers. to keep 90
    greyscale image: to colour
    66- 67
    line art 62
    nion 53
    to scan
    gutter 103
    H
    hair colour 4 I . 72
    hJifrone 88
    historical sources I 7
    Hokusai 6
    hypc?rqylizalion I 0. I I . 21
    iconography: shoujo I 3
    shounen 15
    idealization 14
    inking: digital 60-61
    pages I 04-1 05
    special effects I 06
    traditional 58-59
    Jnrernet: colour on I I 6
    feedback on I I 7
    manga on 6. I I 4-1 I 5
    resolution I I 6
    to save work for 114-115
    L
    layers 51. 52
    to nanen 52. 114. 118
    to mask 52
    LED optical mouse 46
    lighting 69. I 08
    line art: black and white 63
    digiral 62-63
    greyscale 62
    to scan 56. 57
    line width 59. I 04
    lines. coloured 8 7
    lineweight I 4
    LPJ (Jines per inch) 88
    M
    magical powers 42. 43
    manga: for boys (shounen)
    14-15
    developmenr of 6
    for girls (shoujo) I 2- 1 3.
    97, 106
    on Internet 6. I I 4-1 I 7
    themes I 6- 1 7
    master copy 1 20
    minimalism I 0
    moire 88
    motion blur I 06
    N
    natural media. to simulate
    78-81
    nib inking 59
    noise rones 89
    INDFX 127
    0 R
    speed lines II/, I 5, I 06
    oil paint style 78- 80 races and creatures 4 3
    spirit signs 4 3
    Open Canvas 49 realism style, lineless 85-8 7
    splic1ng 1mages 57
    resolution 53. 57
    styles: acrylic 81
    p
    on internet I I 6
    airbrush 74-77
    pacing I 03 robots 15
    70
    pages: full-bleed 123 rotating the image 60
    eel 70-73
    to ink I 04-105
    I 7
    to plan I 02-1 03 5
    illleless 82-87
    Painter 49 scanner. flatbed 6. 46
    011 pa1nr 78-80
    natural media styles in 80. scanning 56-57
    shOLljO 1 3
    81 science fiction I 6
    shouncn IS
    to rotate image in 60 male character 25. 29
    watcrcolour 80
    Paintshop Pro 48 female character 27. 31 stylization I 0
    panels: to adjust I 04-1 05 villain 32
    to group I 03 screentones I I. 49. 88-89
    T
    outlines I OS to apply 90-9 3
    teenager fcmnlc 30- 3 I
    size I 03 to colour I 09
    male 28-29
    pencil work 59 software 90
    text: background I I I
    to scan 57 special effects I 07
    to I 21
    photocopying I I 9 self-publishing I 18-1 23
    thumbnails 1 07-1 03
    Photoshop 48 setting. to create 42-4 3
    clia/ogue in I 03
    airbrush 74 shading I 08
    tone. ro add I 08
    basics 50-51 airbrush-style 7 4- 77
    Lone fedlt 1ering 89
    Elements 48 eel-style 70
    Layers 52 shadows 70 u
    print colours I /8 shift key 1 05
    Ukiyo-E <'lrt 6
    Lo rotate image in 60 shoujo manga 12- 13. 97.
    screentones 88 106
    v
    special effects 94 shounen manga I 4-1 5
    visual absLracnon I 7.
    tools 50-51 show through. to avoid 57
    visual I 0- 1 I . 70
    pixels 53. 62 sketching. digital 6/
    pricing 120. 122 skin tones 41. 72
    w
    printers 46. I I 9 special effects: emotional
    watcrcolot u \lyle 80
    printing I I 8-1 I 9 wisps 98
    professional I 2 1- 1 23 foundations 94
    protagonist: female 26-27 gritty angst 98
    male 14. 24-25 impact swirl 96
    in shounen I 4 impact zoom 95. 96
    teenage boy 28-29 inking I 06
    teenage girl 30-3 1 screentone I 07
    sentimental pattern 99
    shoujo sparkles 13. ?7
    speech bubbles I I 0
    128
    Credits
    AUTHOR ACKNOWLEDGEMENTS
    I'd like to Sclinc1. Ernma and Laura for their wonderful
    il/usrriltiom and support throughout this project; lhe editors
    c1t Ot r,lrlo ror their 1J2llience and and
    P.veryonc al Swmlclrop Studios for producing amazing
    mlnga and proving that anytlling can be achieved
    with teamwork.
    PICl UR[ CREDITS:
    Ou.:Jrto would like to and acknowledge the
    followinq artrsts ror- supplying images reproduced in
    this book:
    (Kc 'Y: I i<'rl. r rigr1t. c centre. t lop. b bottom)
    S.-rrn Rr own I I 9br; Selina I I 3bl. I 3bc. I Stc. I Str,
    I/, 10, L I, 771. 2'71. 31 r: 331. 35b, 361, 38L 39tl. 40br: 42t.
    SR. 5'7. 66tr, 0 It. 81 br: 82r: 84b. 87br: SSbr, I 09b, I I 7.
    I I ':Jbl, 120L 120tll; Sonia I eong 122t; Fahed Said and Shari
    He<, I 15t. I 16b; SweCJtdrop SrucJios I 13b; Emma Vieceli 61,
    IL, UJ, /'il. /7r. /'7r. 33r: 34, 36r, -'i OL 41 br, 4/b. 4 3b. 69br:
    '75b. 99br, I 06ll, I ORr. I 09tl. I 0'7tr: I I Obi, I I Obr, I I m;;
    l rltrr,orW,:rtton I . 6t. 1'1, 30. 38b. 3'7tr. 41t. 7Sr.
    I O'lll, I 061r. I I Oll
    1\/1 ort1er illu\ lr rs and photographs are the copyright of
    Quarto 1-'t rl>li<ihir iJIC While every effort has been made to
    c fC'dit contributors, we rlfJOIOQiLe Should there /lave been
    any omrssrom or-
    781845 661731

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