CONTENTS

INTROOUCTION 6

MANGA GALLERY 8

MANGA FOR BEGINNERS 26

CHARACTER CREATION 60

MANGA S TYLE 92

FANTASY AND SCI-FI 138

COMIC PANELS 188

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

cft;rire HUWieff, E.titTJr,

( i1'V'r.3 i,Y1-tF X rrvyr;r.z./;�

Introduction �
 IITIIT 1&1

How do I achieve that

Japanese, woodblock print
inspired look in my artw

A I :���:�� �:�:��:� :�����:

' I w n .
cerloin elements thot make them very distinct. Besides the obvious
unique drawing style, the ukiyo-e print possesses very fine line work,
,w"

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

To.o: I oppIy IEu<Jurfl throughoulihe Oftwor� by using PboIoshop Ioreo, krye< opocities and krye< effect, wch as
Multiply, o-ioy and Soft light.

tonOMl TheM ore _ 01 the lex""" that l...ed in Ihe orlwofI,;. The lop right Ieldvre, oIong wilt! !he boIIom
two, con be found;., the bad.ground.