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Professional Manga | |
Short Table of Contents and Synopses | |
The Building Blocks of Manga | |
Line Art | |
Here are tips from the artist on how to draw lines smoothly | |
Also, heres some instruction on how to draw thicker lines in the foreground and thinner lines in the background | |
Shading & Textures: Basics This is an introduction to shading as a replacement for color | |
Most manga is black and white and uses grayscale tones and shading to give weight and balance to the elements of a page | |
Manga Studio comes with premade textures, but the best artists create their own | |
Heres how to do so and how to apply a texture to an element | |
Shading & Textures: Advanced Its important to know how to use the light source, the camera and other directing knowledge to help you shade a scene properly | |
Also, its critical to shade at a specific resolution so that details and moire patterns dont develop when the page is reduced for print | |
Also, dont overuse textures | |
Sometimes none are called for and the art needs to be left open | |
Speed Lines In a lot of manga, characters can move fast or express a lot of movement within the space of a single panel | |
Since a comic panel is a single snapshot in time, how best to express that movement? One solution that manga partakes in frequently is speed lines | |
Speed lines can be straight or circular, parallel or concentric, depending on the kind of motion that needs to be expressed in a panel | |
Speed lines are also used when a character comes to a realization or epiphany | |
Heres how to correctly apply the right speed lines to your panel | |
Manga Studio has this functionality built in, but advanced users will want to tweak the settings or even create the lines manually | |
Like the other techniques, its critical not to overuse them | |
One panel per page at most is a good guideline | |
Pick the fastest or most critical scene on the page and go for it! | |
Blurring An alternative or a companion to speed lines, blurring is another way to show motion | |
Since the advent of photoshop, blurring and other digital tricks have become more prevalent in manga | |
Heres how its done | |
Backgrounds Beginning manga artists often lack the skills to render backgrounds well | |
These artists want to skip straight to the characters and the action and skimp on buildings and other boring stuff | |
This is a pitfall | |
Backgrounds are just as important as the rest of the page, and its important to both concentrate on them and know how to render them correctly in Manga Studio | |
Technology Theres a juxtaposition between the simplicity of a manga character and the complexity of the technology that might exist in their world | |
The characters are meant to be iconic, but the technology is specific | |
This is often where most of the detail and time is spent | |
Heres how to make technology look like it is supposed to | |
Sound Effects and Lettering Special effects can often depend on the creators country of origin | |
Despite the language in which the book might be translated or presented, the sound effects stay in that original language | |
Brian Yang prefers to render sound effects in Korean | |
Korean characters look cool and different when drawn large | |
Also, manga sound effects tend to morph and change with the action, often becoming part of the scene! Here are some tricks for creating and manipulating SFX so they stand out | |
Lettering is often glossed over in much translated manga to its detriment | |
There are a few simple tips to know when lettering manga | |
Here they are, and heres how to pick a good font and letter the right way | |
Center Section: Manga Short Story The Other Side of the Tracks This is an original creation of the author, written by Steve Horton and drawn by Brian Yang | |
This manga uses all the storytelling and Manga Studio techniques used throughout this book and acts as a coda for all the lessons learned | |
A high-res version | |
Table of Contents provided by Publisher. All Rights Reserved. |
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