How To Draw Manga Volume 23: Illustrating Battles: v. 23

127 Pages·2000·48.988 MB·English

by  Hikaru Hayashi

.
,..
;.
. LES
,.
.
7
I
l
>
--
I
'
•
•
I
~::~~;::-:
--
I
'
TABLE OF CONTENTS
Chapter 1 - Drawing Fighting Scenes Theory . . . . . . . . . . . . . . . . . . . .5
How to Sh ow Force . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 6
1 . Mark . . . . . . . . . . . . . . . . . . . . . . . . . .6
Using a Crescendo (< )
2 . Using Close-ups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7
of
3. Conveying ·ihe Serso.ion Speed . . . . . . . . . . . : . . . . . . . . . . 8
4 . Expressing 9
Hairstyles . . . . . . . . .. . . . . . . . . . . . . . . . . . . . ..
5. Looking ai the Ooponent - Line of Sight . . . . . . . . . . . . . . . . . . . 10
Larger 1
6. Using Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . l
7. 'Attacked-charac ers• ore the Conclusive . . . . . . . . . . . . . . . . . . 1 2
Fight
Factor in Scenes Tool
Fre~for-oll
Many Sec.ions . . . . . . . . . . . . . . . . . . . . . . . . . . . .
8 . Drawing l 4
Many Sec ions 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . l 5
9. Drawing
Theory
Knock-ou t Patterns - Composition . . . . . . . . . . . . . . . . 16
I • • • • •
1. Knoc 16
Drawing the eo-ou Character's . . . . . . . . . . . . . . . . . . . .
Feet in the forearou d
v
l
2. Drawing e C aracter's . . . . . . . . . . . . . . . . . . . . 7
SO'{)
Head in he a
o~eoro
v
Expressing Swollen Faces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
es Kicks and
Chapter 2 - Drawing B o : c Slaps . . . . . . . . . . . . . l 9
1
20
Drawi ng A ttacked-C a roc e s . . . . . . . . . . . . .
0 • • • • • • • • • • • • • • • •
Attacki ng the Face a eo - per Level Attacks . . . . . . . . . . . . .2 2
1. Punc i g So s ce . . . . . . . . . . . . . . . . . . . . . . . . . 2 2
'"E ·" •
2 0 A"ioc ,· n .......... . . . . . . 0 . . . . . . . . . . . . . . 2 6
~
0
3 . .... - . - . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 8
._._,..._..._!) ·.....-~ - •
a
r Level Kicks . . . . . . . . . 3 0
•
I • • • I • • • •
-
5 .
.32
055-
o • o 0 o f o • o o I o I 0 o 0 o • • 0 o 0 • 0 0
6 .
The Kna o r . · a eali s !ic Punches . . . . . . .. 34
I • • • • • • • • • • • ••
""'
Simp Ie Ways o a . . . . . . . . . . . . . . . . . 3 5
I • I • • • • • • • • • • • • • • •
Slapping . . 36
0 • • • • • • • • • • • • • • • ••• •• • I •• I ••• •••• • • ••••• • ••
l. Bos·c a ·a ·ons . . . . . . . . . . . 36
I •••• I • I • • • • • • • • • • • • • • •
2. S Palm he 3 8
ri ing · e of Hand . . . .
I • I • • • • • • • • • • • • • • •
3. S epping ,... e Bock of the Hand . . . . . . . . . . . . . .. .. .. .. 40
~
41 41
Bock-andJor ( uliiple) Slaps . . . . . . . . . . . . . . . . . . . . . . . . .
Stri king the Mid Level Area and Chest . . . . 42
I • • I . . . . . . . . . . . . . . . .
Attacks to the Pit of the Stomach and Chest . . . . . . . . . . . . . . . . . . . .4 4
Attacking Opponents Bent
Forward 48
I • I ••• • ••••• ••••••• •••••••
Forward - Striking Downwa rd
lariat St r i ke s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
I • • • • •
Hand Chops .. . . . . . . . . . . . . . . . . . . . . . . 52
I • I • • ••• • •• • ••••• •
Elbows and Knees 54
I • • • • • • • • • • • I •••••• • • • • • • • • • • • • • • • • •••
Dodg ing and Defending . . . . . . . . . . . 56
I •• •• • I • • • • • • • • • • • ••• •
How to Draw Dodge Scenes . .. . . . . . . . 58
I • • • • • • • • • • • • I ••••••
How to Draw Cu rved Effect lines - Using a Fine-Point Pen 60
0 ••••••••
Expressi ng Weariness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 2
2
Chapter 3 - Drawing Throws, Grabs and Grappl ing . . . . . . . . . . . . . .6 3
Throwing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ·. . .6 4
l . Grabbing the Arm and Throwing . . . . . . . . . . . . . . . . . . . . . . .6 4
2. Making Throwing Scenes Simple . . . . . . . . . . . . . . . . . . . . . . .6 5
3. Aikido Throws . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 6
4. Using Falling Poses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 7
5 . 6 8
Other Throwing See nes . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Having Your Doors Blown Off, Being Hurled Against Something . . . .7 0
1. Male Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7 0
2. Female Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7 2
Grabbing . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7 4
1. Grabbing Sh'rt Collars . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7 4
2. Grabbing Faces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7 6
3. Grabbing Throats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7 7
4. Grabbing Arms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..7 8
Detaining . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
l . Escape Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8 3
2. Grabbing from Behind . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8 4
Lunging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8 6
Punching Sitting Astride .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8 8
Crouching Down, Falling to the Knees a nd Falling Over . . . . . . . . . .9 0
Getting Up and Standing Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9 2
Head-locks and Sleeper Holds . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9 4
l . Basic Head-lock Po ern.s . . . . . . . . . . . . . . . . . . . . . . . . . . . .9 4
2. Lock Var'otions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9 5
3. Strangle Holds - Sleeper o s . . . . . . . . . . . . . . . . . . . . . . . .9 6
Sailor Suit School Uniform Ba Iles . _ . . . . . . . . . . . . . . . . . . . . . . . . 98
1. 98
Punching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2. Kicking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . 102
3 . Throwing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 6
4. Pro-Wrest Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 7
1ng
5 . Gropp ing . . . . . . . . . . . . . . . .. .. .. . . . . . . . . . . . . . . . l 08
6 . Pinning Down . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110
Ripped Clothing - Being Covered All Over with Wounds . . . . . . . . . . . . . 1 12
4 -
Chapter Learn From the Masters
Mango Artist Case Study Techniques . . . . . . . . . . . . . . . . . . . . . . . . l l 3
HIIROO SANJOO (Hero Visit) by Kazuaki Morita . . . . . . . . . .. . . . . . . 1 14
by
ICHIGEKI (One Shot) M iyoko Satomi . . . . . . . . . . . . . . . . . . . . . . . . 1 16
KURU II (Come On !I) by Takashi Nakagawa . . . . . . . . . . . . . . . . . . . . . 118
by
KE·N·KA1t* (Cat Fight) Kimiko Morimoto .. . ·. . . . . . . . . . . . . . . . . . 120
Fightl by Takehiko Matsumoto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 2
by
PAIRUDORAIBAA {Pile-Driver) Kunichika Harada . . . . . . . . . . . . . . . . 124
3
-
- - ·
- -- -
-
•
HOW TO DRAW MANGA: ILLUSTRATING BATTLES
by Hikaru rlayashi Go or .ce
I
Copyright © 19 98 Hikaru Hayashi, Go Office
Copyright © 19 98 Graphic-sha Publishrng Co., Ltd.
1n
Rrst published 1998 by Graphic-sha Publishing Co.l Ltd.
This English edition was pubhsneo 1n 20CYJ by Graphic-sha Publis ing Co .• Ltd.
v
Planntng & Production: Yasuo Matsumoto, Jun Ma subara, Kenro ShimazaKJ, rai
~urakawa,
Riho Yag1zawa, Takehiko Matsumoto, Kazuaki Morita
Cover drawing· lakchiko Matsumomo
Cover CG work: Takasni Nakagawa
Cover desrg'l: Hideyuki Amemura
Eng ish edition layout: Shin1chi lshioka
l::nghs'ltranslatJon· Chrisltan Slorrns
E:ngl sh slat on managernent: Ungua franca - - Pt.Or.jp)
~ran """l<f..l··
Japanese edition editor: rVlotofumi Co.t Ltd.)
r\J~IC::;~:fl1 ,,-...~ ,~, ro~m
Foretgr la'lguage edition projeci axJra Graphic-sha Puolishing Co., Ltd.)
~..!0-~
o
All rights reserved. No part or used in any form or
~·--_,.:-;aj
by any means. grap ic. .... .,... ......... ..," ;oiocopying, record,ng or
I
am
information ra- - ·ssion of the publisher.
sto~age
DistribL1ted by buled in the U .S.A. by
·.:...r~.J-U
NIPPAN IPS CO., LTD. GJTAL MANGA DISTRIBUTION
11 -6, 3chome, lidabashi. - ,.... DivlSJon of DIGITAL MAN GAl Inc.
Ch1yoda-ku, TOKYO 1123 Dominguez St. Unit K
I 'I
102-0073 lJapa0 Carson, CA 90146, U.S.A.
Tel: +81 ·(0)3 3238-0676 Te: (3 10) 6011-9101
Fax: i81-(0)3-3238-0996 =ax: (31 0) 604 - 1 .. 34
E-mail: ips03@nippan- ps. co .jp E-mail: [email protected]
URL: htip//wv'.tvv.erllanga.com/dmd/
Firs! pnnting: August 2000
Second printirg: May 2001
ISBN: 4-7661-11117-8
Printed and bound in China by Everoest Pnnting Co., Ltd.
4
,, ....
·"'=r····. .
:--'.1 • •
'£r • '• J"•
~. ~
.,. -
.. :>.~;.- :
.
~-.=
-
•
•
..
'
~
•
•
1. Using a Crescendo(<) Mark
This plain , horizontal drawing is too explanative. Use a
crescendo mark, which is shaped like 'ku' in the Japanese
phonetic alphabet.
--------
The neck done with a crescendo mark.
---
'---
'
~
~
POOW
'
Tl1e key to battle action shots
is deformity. It is important to
make the person who gets hit
I
I
look Ii ke he has really been
hit.
The tn.Jnk of the body done
with a crescendo mark.
Close-ups
Once the characters· positions have been established, go for a
close-up to one side.
I
\ I
I
\
•
\
\
•
•
·-
I
•
-
\~
--
- -
.. ---..~
-
-
....
--
--
11,
1
I
I
7
3. Conveying the Sensation of Speed
The sensation of speed is added to the force when the fist is expressed with oblique lines.
--
-
Draw the
---- ··- ---
·- outline of the
oblique lines in
conjunction
with the
•
direction of the
speed.
-=s-
1: -.
-
. -:::, '.i
.
.-::- --~
= -
s.
- ~ -
..
- ~-• -=- - ·-
-
... .,. .
~
- =- _,...;.__
• -~
..
----=- ..:
:~-.:. __ ..
:. ~-
•• • -=.-..,..-
~
f ~~~J
c
-- - :--. ~-r
. - --
- -
.
·•·- !~
J -~
!--. --~--::.----- ----
-:--
'-...._ -·=--~-- -
- --- -
! /;-
~ ~ ....
~
~..,_
.....____·.:.. -
-
The arm itself can be used to express the speed's afterimage .
Double
•
pass hr
give it
=.
slightl~
slantec
-
--
look.
•
~
- -
---------------
--
---- -- :."~S-
--
- ~ - - -
---~-
For a sensation of speed too fast for the naked eye) emphasize the locus of the punch with \Nhite lines.
-- - By drawing
--
a
retracted
..
---- - hand, the
-
--
- tr
- - - speed of
punch that
was deliver
is emphasc·
-
-
--·-
-
-
-
-:
-
\
-
Express the character -
~--
-
that has been -
-
--
- -
hit with oblique lines
--
-
-
-
--
-
:-:£
..
-
-
8
..
g Hairstyles
Hair can yield effects to the movement and in the scene. By fluttering the hair or by
~~s: po~1er
adding gradation to the 11ead movement. a sense of speed may be expressed.
I I
I
I
I
I
I
' I
I
l
(
I
used together witll Gradation : speed lines in conjunction Fluttering hair done in normal black.
oass lines. with the direction of the effect
~---
I
.
•
'
•
I
,,
I
I
-:r--::::1aat1on: with a tone and double Fluttering w1 n ie' -:r Fluttenng hairlines
lm ~5
11nes.
-~s
Try this techn ique to increase the force even more.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - \
Force and the
1
,. p
sensation of
I
.(!
speed can be :
I
,
I
expressed
I
•
I
~ differently based :
I •
I
upon the space :
~
I
,
they are in. Hair
1
I
I that dances In the
I
I I
air and clothing
1
I
• •
that flutters, as
I
well as flying :
blood and sweat
I
...
,
.. ·. i .
~ I
;.i'
f
can become
•
f.··~ I
ll·
,,l:
It :
// . effective items for I
...
. I
expreSSIOn .
1 I
' - ------------------- - --------------------------------~
flying blood flying liquids like sweat and spil along w1th dirt
9