Drawing Action Scenes and Characters: The Ultimate Bible for Beginning Artists

180 Pages·2020·23.405 MB·English

by  Shikata Shiyomi [シカタシヨミ]

MANGA
HOW TO CREATE
DRAWIN G
A CTIO N S Ce n es
Chara cters
and
TTHHEE UULLTTIIMMAATTEE BBIIBBLLEE FFOORR BBEEGGIINNNNIINNGG AARRTTIISSTTSS
Shikata Shiyomi
TUTTLE Publishing
Tokyo Rutland, Vermont Singapore
Contents
Why I Wrote This Book 5
How to Use This Book 6
Building Action Scenes
PART 1
Low-Angle Aerial or Main Characters Main Objects Composing from
Views Bird’s-Eye Views 16 18 Eye Level
8 12 20
Diagonal Triangle Inverted Triangle Hinomaru Circle
Compositions Compositions Compositions Compositions Compositions
22 26 30 34 38
Diagonal Line Two-Part or Split Three-Part Margin Frame
Compositions Compositions Compositions Compositions Compositions
42 46 50 54 58
Panel Alphabet Z Compositions The Overlapping
Compositions Compositions 70 Golden Ratio Compositions
62 66 74 78
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Cut-Up Close-Ups Medium Close-Ups Medium Shots Medium Long
Compositions 86 90 94 Shots
82 98
Full-Body Two Shots Three Shots Group Shots
Shots 106 110 114
102
Drawing Action Characters
PART 2
Contrapposto S Poses Overperspective Silhouettes Balance and Center
120 124 130 134 of Gravity
138
Hair and Clothes Emotions Facial Action and Special Moves
142 146 Expressions Motion 158
150 154
Appendices
How to Draw Muscles 166
How to Create Data 171
Fantasy Poses Index 175
162
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Why I Wrote This Book
Learning how to create amazing and compelling action scenes and standalone illustrations for
manga and anime is one of the greatest challenges and rewards of being an artist. The forty
tips I provide in this book are mini-lessons in the compositional models, poses and general de-
sign and illustration choices that can make your characters stand out!
For some artists, illustrators and animators, it’s all about composition—the placement and
arrangement of the visual elements, the organizing and layout of the “ingredients” that make
up your work, according to the principles and theories of art.
For others, the character is paramount, since it’s the characters’ bodies, faces, postures,
positions and expressions that draw viewers in, ratcheting up the intensity and driving your
story along.
Characters convey action: joy, fear and desire. They also each have also signature moves,
such as conjuring otherworldly forces or casting a spell. So what do you do if you’re trying to
capture a mixture of emotions—anger tinged with desire, hopefulness blended with worry?
How should the character be framed, in close-up, in medium shot or long shot, from a low an-
gle or an aerial/bird’s-eye view?
There’s no lack of options, and you’re in the director’s chair, setting up the camera, compos-
ing the frame, making adjustments like a cinematographer, set designer and costume designer.
The screen is blank and it’s up to you to acquire the tools you need to fill it, bring it to life and
leave a lasting mark with your originality and vision.
—Shikata Shiyomi
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How to Use This Book
A Two-Part Approach
This book explains the mind-blowing effects you can achieve when using different composition and
posing methods. We’ll cover the basic skills you’ll need to develop the style that suits you best, as well
as practical ways of using dramatic poses and eye-catching and multilayered compositions to fill the
frame and make your story as dynamic and compelling as possible.
“Part 1: Building the Action” explains triangle composition, circle composition, diagonal composition
and other approaches that put you in the director’s chair for your digital manga creations. You’ll also
learn how to combine your skills for one-shot, two-shot and group-shot scenes or for capturing that
one powerful pose or key moment your story hinges on.
“Part 2: Action Poses” introduces notions of contraposing and S posing, the range of practical tech-
niques and approaches that infuse your digital illustrations with movement, motion and action.
Page Set-up
Illustrations using the
Icon composition technique
ETwos Sthoatsblishing Relationships The Basics Part 1
Yf berolei euftownI norde tfwsrteeo?non der y uknfoicsenu emtdr hm imayeotosa urf?ieern acs ttceohuhlmafra newrr saati dwtmcheto uest wrlc?ts hior pcao lchremaha ccaanhtnrgeaatiricrncsatg ecpa rdtnaseedr rotp sntne,he snetruhds wce?inh osg rca lordsen moe tfnah y,ne oigt uc’saro . tmihlleup soetssriastietoinoncn. esT howifsi ls li tseo xrapynta einnllddin,i stghp. eeA nrreesl aatbhtileoeyn mshoidp- TTlNemtiotirhoa.a ve Inesktefau i sirymtnrnhswoai ipngutploollgy’ ,y r sTl ea tethshw nhsldoeadesrotip r ar aiei twscSdn’’ss ooidah nanu w oguh fpwen nat msst piiotvds wohe iaeoyraro teonsrz a uaacIsctnl h rh atdgsaoan cer wrdeae aos acnceftytat ane.ae rberTpirsolsmhpi .s s etliIhihiet cdt ’asswaae nnttw oiob oda h yhn t ac thasswhtev.i daboieYrerro asaib unihc an rgotnet estatellr ae cvi-zs-ae. n Building Action Scenes
Tips & Pointers TatthwCone Oode t xMcswphtMooraer rEsysahN scbo TttetheS tirewss r eceeehflfnaoet sctiohetinnevs .ehlyip, ahcEWocaqhcuvueeorsna mae ld im pttroylaoa w cdnahai nniatnegdn , m g adCe iolnsaond ran'g tla toeirnn nand gtsu h emttehx eboece twhur etaoeryf .ifctig,h wuarrheaislce tv ebaregsiu,n weglh yo.a pJtu etsont boef Aidstitmnhitoe r Petaineth gcnayce.helog Toaa mtohhirprfapee ,t aci ontor htseehneeidlutrsanis m ott i ihtnanoahrcr nneoierss ue ar phuaganiissnhcpdeegt oiudsaesvr. fegteoohdurfre l a caftnlrohpo dmepai aitpninnog gs. iI-f Establishing Relationships
aware of is whether they’re portrayed as equals or rivals.
They’re treated as equals when you’re capturing the
relationship between friends and lovers. On the other
hcaann dh, asvcee na esst rhoinngg iinmgp oanc tc. oTnhfeli ccth, acrognetdra csot nafnlidc tr ibveatlwrye en Ipna aridsdoniti, ogne ntod esirz ceo cmopma-ri-
tbhaela pnrcoeta agnodn irsetl aatniodn asnhtipag tohnatis wt aillr ere baodr nth, rao puogwhoeur ti mth-e sohonenree,- smIh’meod ta iculsomom tlproyanirngisg ao ntnods ,
screen. These two will never be treated as equals. coof mthpe abraec tkhger ocoumndp cohsiatrio-n
acter with a frame com-
position.
Because there are many
elements, the composi-
tion needs to be carefully Expressing Hostility
planned and laid out.
Both figures and present oppo-
nents about to square off. Figure
is drawn using a strict sense of sym-
metry, but the hostility doesn’t read.
Figure brings the two combatants
into close proximity. We’re now cer-
tain they’re trying to kill each other.
Symmetry is very effective with a
two shot, but overall it’s a composi-
tion model that needs to be adapted
according to the situation.
There’s no suggestion of animosity here Although this one exhibits the same
other than the piercing eyes. It’s stable symmetry, it makes it easier to see the
due to the symmetry and the elements expressions of hatred they have for each
NNOOTTEE By having their poses of M composition, but stability doesn’t other. Dividing the screen using diagonal
Iicostlt’ oshs sehfeiron -wieus p niaf a ioonnnn dmee tefshidgheiuo urtme. mctthwaiener r erofeunrlr ateththaieoec nrhc ssh ohtartirhepane cbrgt,e teyh-roesun. suit hostile or volatile scenarios. lttdihhniveeei s csciwooomnomsrppd blo eaesxst iw rtaieoenlnae Xt n(i op Ctnahosgemhe cip p4ho 2aas)rni atadicon trndei g rscsiurd.og sgseinstgs
106 107
Expert tips, pointers Explanation of the illus- Good Not a good
and helpful hints tration’s composition example example
An example that could
EEXXPPEERRTT TTIIPPSS
be done better
Here we’ll take a more detailed, closer
look at key ideas and topics.
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PART 1
Building Action Scenes
Low-Angle Views Panel Compositions
Aerial or Bird’s-Eye Views Alphabet Compositions
Main Characters Z Compositions
Main Objects The Golden Ratio
Composing from Eye Level Overlapping Compositions
Diagonal Compositions Cropping and Trimming
Triangle Compositions Close-Ups
Inverted Triangle Compositions Medium Close-Ups
Hinomaru Compositions Medium Shots
Circle Compositions Medium Long Shots
Diagonal Line Compositions Full-Body Shots
Two-Part or Split Compositions Two Shots
Three-Part Compositions Three Shots
Margin Compositions Group Shots
Frame Compositions
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Composition That Highlights Intensity
Low-Angle Views
Tilting is the composition method where your characters are being seen or viewed from a low angle. It
adds height and dimension as well as allowing for more compressed intensity. Even used selectively
within illustrations, it allows you to create more compact action.
Tilting is not usually used for images showing only one character, such as the sketches and treat-
ments created during the character-design phase. This method is also ideal for comparing characters;
thus it can be used in conjunction with the two-shot method (page 106).
Tips & Pointers
COMMENTS
Tilting is used not only to
Be aware of the empty or
create intensity but to add
“negative space” too!
and highlight perspective.
Whether zooming in or
pulling out, keep in mind
of which angle to sketch.
Facial size is espe-
cially important. Be
aware to draw the
faces slightly smaller
than their actual size.
NNOOTTEE
This technique is great for A composition that
two-figure illustrations. shows the contrast
But nobody said they between figures of
both had to be human! different sizes.
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