That's nice, but does your shoe not have an interior? :3 No laces, or Velcro, or zippers? No seams either? (except at the front, I think)
For the crosshatching, if you're interested, there's this method that allows for a uniform finish. It makes everything clear and harmonious (useful if you ever want to do an illustration with crosshatching everywhere ^^)
Are you going to try it with a character? :D I want to see what it looks like đ
No worries, ask lots of questions, I'm here to answer them :D
The drying speed depends on several things: the ink itself, some dry very quickly, others not. The paper you use (some absorb quickly, others not). And the amount of ink you have put down (a flat black usually takes much longer to dry).
To find out if your ink is dry, you have several options:
1. Look to see if it's still shiny (like with paint, actually), if it looks wet, then it's not dry at all.
2. Very carefully, you can touch the area with the tip of your fingers and see if it's dry or not :) (a method I frequently use ^^)
3. You wait, when you have inked an area and you know you will have to go over it again to continue, you can simply tell yourself that you're going to do something else for an hour :)
I did the drawing at the same time as you. I'm not sure the proportions of the character are quite right. I had to redo the hands and feet a bunch of times to get something not too messed up. Anyway, I didn't think I was capable of making a drawing like this even if I was just copying you ;-).
Oh yes, I was about to forget. I did the whole drawing in pencil and then did the inking (with India ink markers), the hatching, and at the end, I erased the pencil... mistake! Even after drying, on the flat black and the cross hatching, the paper started to tear... well I might have a too aggressive eraser or crappy paper or too heavy a pencil hand lol...
So if the paper tears, it's probably because you've been erasing aggressively or indeed the paper is too fragile. You don't rub the eraser back and forth, except on very small areas, itâs better to always make a movement in the same direction (like with hatching ^^), it prevents disasters.
I think it's pretty good. You are one of the few who made sure to close all your lines properly :D So there is still a need for practice (which is normal), but I can see that you've been careful ^^
Now, the points for improvement:
> watch out for little smudges (lines that extend a little over each other, pointy shapes that end in double lines / big blobs)
> hatching: for nice hatching, they must absolutely be regular, touching your shading area from end to end, lines of the same length with the same spacing between them. In general, consistency is key ^^ Don't hesitate to look at something like Naruto, for example, it's the most telling example that comes to mind. Observe how the shading is done, it's simple but very clean and sharp.
> learn to play with the values of the lines, to have thick lines in some places and thin in others. I think of the folds, for example, which are very very present on the skirt (I'm talking about the series of 2/3 parallel lines that you should ideally avoid doing parallel ^^)
> Shading: their placement. Iâm particularly thinking about the strand of dark hair. If it is in the shadow behind the head at the level of the ponytail, so with a shadow to the right, like the rest of her body, we should not really see it on the right side.
Otherwise, yes, there are some disproportions here and there, but your drawing works well ^^ So well done to you :D
And don't worry, feet and hands are known to be particularly complicated parts of the body to draw. I still struggle with shoes regularly ^^
> Les ombrages : leur position. Je pense en particulier Ă la mĂšche de cheveux sombres. Si elle est dans l'ombre derriĂšre la tĂȘte au niveau de la queue de cheval donc avec une ombre Ă droite, comme tu le reste de son corps, on ne devrait pas vraiment la voir sur la partie droite.
Autrement, oui tu as des disproportions par-ci par-lĂ , mais ton dessin marche bien ^^ Donc bravo Ă toi :D
I looked at the original cover to compare and it's quite cool!
Regarding the inking itself, I think you need to practice on the cross-hatching. Specifically, you've chosen several different methods to darken your character, the solid fill and the hatching.
I have no issues with the solid fills, except for those of the headdress she is wearing. Simply because you only use solid fills for the "black" color. Which is logical, but for the headdress, you used it for the shadows and it's the only place in the drawing where you did this, so it's disturbing when compared to the rest of the drawing.
On the rest of your character, you've used hatching to symbolize the shadows and that's very good ^^ It becomes a "graphic code" of your drawing and this code must be found everywhere.
Regarding the hatching, you encounter several small issues which make them quite "heavy" on your drawing and blur the readability.
2. Your hatching does not go all the way to the edges, there is emptiness so it gives an unfinished effect (again I refer you to the hatching in Naruto)
I think if you improve these two points you will gain a lot in readability ^^ Don't hesitate to make solid black and uniform fills for black areas. You can also look at the different methods to manage black clothing or hair in manga, some do uniform fills, others only do fills in the shadowed areas and on the illuminated areas either do hatching or use screens. Anyway, it's up to you to see where your preference lies :3
For the pure and hard inking part, be careful to close your lines (you can leave them open in places, but it should be a deliberate choice, not a forgetfulness as is the case at the bottom of the dress for example). It's the small details that can completely change your work and make it appear even cleaner. But anyway, well done, you chose a very complicated model and you really did well! In particular the petticoat and the headdress which I find very successful. đ
2. Tes hachures ne vont pas jusqu'aux bords, il y a du vide du coup ça donne un effet pas vraiment fini (encore une fois je te renvoie aux hachures dans Naruto)
Thank you for your remarks. I agree with them.
Regarding the hatching, I take note of the comments. I also saw other comments on other posts to improve the rendering, but I admit that I still have a bit of difficulty with hatching; it often gives me an impression of "emptiness," "unfinished," or "rushed" (I am speaking for myself when I see the result in your drawings, it's excellent).
I do note, however, the need to focus on creating harmony and giving "a code" to my drawing.
As for the inking, I confess I expected it to remain darker, but it seems I lost some of the color while erasing. I had worked with a pigma micron "brush" pen. I will need to improve the finishing next time.
Anyway, thank you for going out of your way to find the cover of this manga to help me. I could have included it, but I suppose from a copyright perspective, that would not have been ideal...
I really like this author by the way, and I find her drawings stunningly beautiful and breathtakingly detailed.
Moreover, I donât understand how this is "industrialized" because a manga is about 200 pages, and given the level of detail, I think it would take me a year to make a single volume (assuming I already have the skill to almost succeed in the drawings). How do authors do it? Are they very very skilled or do they use computers? Do they reuse sketches? I would be curious to learn more on this subject.
Yes, it sometimes happens with some pens / markers that ink comes off after erasing, don't hesitate to do your flat colors after erasing rather than before, or to go over it with a second layer after erasing :)
You can put the link to the image, you're not using it in a misleading way, so no worries on that front ^^
To answer your question about the world of manga, I will try to answer in a somewhat concise manner.
Mangakas work in studios (meaning they have assistants who help them with a variety of tasks). They have assistants for flatting, screentoning, some specialize in backgrounds, others draw secondary characters, effects / sound effects, etc. Most work traditionally (paper, pencil, ink), but some also use digital (especially useful for screentoning). Traditional is practical because it tends to be faster to work on and it's easier to pass the pages around among each other. This means that the mangaka generally does the storyboards and draws the main characters and delegates everything else to the assistants to save time. They also do the color pages / volume covers / special illustrations. When there are 4 or 5 people working on a chapter all at the same time, things obviously get done faster ^^ So, the mangaka creates the storyboard. Then he briefs his assistants on who will do what. He distributes the pages among them so that one does the backgrounds, another does the secondary characters, while he does the main characters properly. Once he's done with his characters, he retrieves pages with backgrounds, the one who did the secondary characters passes them to the one doing the backgrounds, etc. Then come the assistants for flat colors, screentoning, and FX who proceed once the general inking is finished. The mangaka checks that everything is fine and makes adjustments as needed. He can then continue writing the story of his manga if he doesn't have a scriptwriter, work on illustrations, or start on the next chapter.
In Asian countries, they tend to have very intense work schedules, sometimes too much. A mangaka is supposed to deliver a manga chapter a week (about 20/25 comic book pages). A bound volume contains between 180 and 250 pages on average, meaning a complete volume is done in about three months. It's an incredibly demanding pace, to the point that burnouts are frequent, health problems too, and many can't keep up past 40 years old. They also tend to die young because of the work pace. There are series that have been discontinued because of this, such as Berserk or D Gray Man for example.
For instance, Oda, who does One Piece, has said in interviews that he sleeps 3 hours a night to be able to finish his chapters on time. You can count the number of volumes, see how much time that totals, and know how long he's been sleeping so little.
If you're curious, there was a show that once portrayed a bit of life in a mangaka studio on DailyMotion, showing the different work methods of various artists, with their assistants, what their storyboards look like, their final pages, etc.
It's called: "Urasawa Naoki no Manben", you can find the episodes on DailyMotion ^^ I think they are subtitled in English.
Otherwise, there is the famous manga "Bakuman" by Takeshi Obata and Tsugumi Oba that shows well the behind the scenes (in a shonen manga way of course ^^) and is very interesting to see the rhythm and organization of a mangaka's work ^^
I really like your Sailor!
It reminds me of Sailor V.
Her pose is detailed and dynamic, it's really neat :)
I like the flying hair, the ribbon, and the skirt too ^^
These details bring a lot of life to your character!
What bothers me though, is that her torso isn't aligned with her lower body.
This is because her upper body is almost facing forward while her butt and legs are in a 3/4 back view.
It's like you combined two poses into one.
I challenge you to actually recreate this pose without twisting your pelvis ^^
I've included some pose examples close to what you were trying to achieve.
If you're motivated, feel free to use them to tweak your character :)
I've kept the initial positions of the torso or legs.
I totally get what you were trying to do and it's not easy so it's great that you gave it a shot!
Also, one last thing, you need to watch the horizontals on your character.
Her right knee is too low compared to her left knee.
Other than that, I have nothing else to say! Can't wait to see her in new poses! :D
Coucou ssortini !
Jâaime beaucoup ta Sailor !
Elle me fait penser Ă Sailor V
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17/04/2020
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28/04/2020
That's nice, but does your shoe not have an interior? :3 No laces, or Velcro, or zippers? No seams either? (except at the front, I think)
For the crosshatching, if you're interested, there's this method that allows for a uniform finish. It makes everything clear and harmonious (useful if you ever want to do an illustration with crosshatching everywhere ^^)
Are you going to try it with a character? :D I want to see what it looks like đ
C'est sympa mais elle n'a pas d'intérieur ta chaussure ? :3 Ni de lacets, ou de scratch, ou de zip ? Pas de couture non plus ? (à part à l'avant je crois)
Pour les hachures, si ça t'intĂ©resse, il y a cette mĂ©thode qui permet d'avoir un rendu uniforme. Ăa permet de faire quelque chose de clair et d'harmonieux (si jamais tu veux faire une illustration avec des hachures partout, c'est utile ^^)
Vas-tu tester avec un personnage ? :D Je veux voir ce que ça donne đ
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25/04/2020
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28/04/2020
Didn't you copy the provided drawing? It was designed to be printed out so you could ink directly on it :)
Here, you redrew it directly on your side, didn't you?
Your hatching is neat and clean, it wobbles a bit everywhere, you'll need to practice a bit, but it's pretty, I approve đ
Tu n'as pas recopiĂ© le dessin fourni ? Il Ă©tait conçu pour ĂȘtre imprimĂ© et que tu puisses encrer directement dessus :)
Ici, tu l'as redessiné directement de ton cÎté n'est-ce pas ?
Tes hachures sont propres et clean, ça tremblotte un peu partout, il faudra t'entrainer un peu, mais c'est joli, je valide đ
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22/01/2021
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23/01/2021
No worries, ask lots of questions, I'm here to answer them :D
The drying speed depends on several things: the ink itself, some dry very quickly, others not. The paper you use (some absorb quickly, others not). And the amount of ink you have put down (a flat black usually takes much longer to dry).
To find out if your ink is dry, you have several options:
1. Look to see if it's still shiny (like with paint, actually), if it looks wet, then it's not dry at all.
2. Very carefully, you can touch the area with the tip of your fingers and see if it's dry or not :) (a method I frequently use ^^)
3. You wait, when you have inked an area and you know you will have to go over it again to continue, you can simply tell yourself that you're going to do something else for an hour :)
Pas de soucis, pose pleins de questions, je suis là pour y répondre :D
La vitesse de sĂ©chage dĂ©pend de plusieurs choses : de l'encre en elle-mĂȘme, certaines sĂšchent trĂšs vite, d'autres non. Du papier que tu utilises (certains absorbent vite, d'autres non). Et de la quantitĂ© d'encre que tu as posĂ©e (un aplat de noir met en gĂ©nĂ©ral beaucoup plus de temps Ă sĂ©cher).
Pour savoir si ton encre est sÚche, tu as plusieurs possibilités :
1. Tu regardes si ça brille encore (comme avec de la peinture en fait), si ça a l'air humide, alors ce n'est pas sec du tout
2. TrÚs prudemment, tu peux toucher la zone du bout du doigts et voir si c'est sec ou pas loin ou pas :) (méthode que j'utilise fréquemment ^^)
3. Tu attends, quand tu as encré une zone et que tu sais que tu vas devoir repasser dessus pour continuer, tu peux simplement te dire que tu pars faire autre chose pendant une heure :)
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30/01/2021
I did the drawing at the same time as you. I'm not sure the proportions of the character are quite right. I had to redo the hands and feet a bunch of times to get something not too messed up. Anyway, I didn't think I was capable of making a drawing like this even if I was just copying you ;-).
Oh yes, I was about to forget. I did the whole drawing in pencil and then did the inking (with India ink markers), the hatching, and at the end, I erased the pencil... mistake! Even after drying, on the flat black and the cross hatching, the paper started to tear... well I might have a too aggressive eraser or crappy paper or too heavy a pencil hand lol...
Thanks for the feedback.
J'ai rĂ©alisĂ© le dessin en mĂȘme temps que toi. Je ne suis pas certain que les proportions du personnage soient bien justes. Pour les mains et les pieds j'ai recommencĂ© un paquet de fois pour avoir un truc pas trop ratĂ©. En tout cas je pensais pas ĂȘtre capable de faire un dessin pareil mĂȘme si je n'ai fait que te copier ;-).
Ha oui, j'allais oublier. J'ai fait tout le dessin au crayon puis l'encrage (avec des feutres encre de chine), les hachures et Ă la fin j'ai gommĂ© le crayon... erreur! MĂȘme aprĂšs sĂ©chage sur l'aplat de noir et les hachures croisĂ©es la feuille a commencĂ© Ă se dĂ©chirer... bon j'ai peut ĂȘtre une gomme trop agressive ou un papier pourri ou un coup de crayon crayon trop appuyĂ© lol...
VoilĂ merci du retour.
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07/02/2021
First of all, well done to you :D
So if the paper tears, it's probably because you've been erasing aggressively or indeed the paper is too fragile. You don't rub the eraser back and forth, except on very small areas, itâs better to always make a movement in the same direction (like with hatching ^^), it prevents disasters.
I think it's pretty good. You are one of the few who made sure to close all your lines properly :D So there is still a need for practice (which is normal), but I can see that you've been careful ^^
Now, the points for improvement:
> watch out for little smudges (lines that extend a little over each other, pointy shapes that end in double lines / big blobs)
> hatching: for nice hatching, they must absolutely be regular, touching your shading area from end to end, lines of the same length with the same spacing between them. In general, consistency is key ^^ Don't hesitate to look at something like Naruto, for example, it's the most telling example that comes to mind. Observe how the shading is done, it's simple but very clean and sharp.
> learn to play with the values of the lines, to have thick lines in some places and thin in others. I think of the folds, for example, which are very very present on the skirt (I'm talking about the series of 2/3 parallel lines that you should ideally avoid doing parallel ^^)
> Shading: their placement. Iâm particularly thinking about the strand of dark hair. If it is in the shadow behind the head at the level of the ponytail, so with a shadow to the right, like the rest of her body, we should not really see it on the right side.
Otherwise, yes, there are some disproportions here and there, but your drawing works well ^^ So well done to you :D
And don't worry, feet and hands are known to be particularly complicated parts of the body to draw. I still struggle with shoes regularly ^^
DĂ©jĂ bravo Ă toi :D
Alors si la feuille se dĂ©chire c'est probablement que tu as gommĂ© de maniĂšre agressive ou un papier trop fragile en effet. On ne fait pas des va-et-vient avec la gomme, sauf sur de toutes petites zones, il vait mieux faire toujours un geste dans le mĂȘme sens (comme pour les hachures ^^), ça Ă©vite les catastrophes.
Je trouve que c'est pas mal. Tu es l'une des rares à avoir fait attention à bien fermer tous tes traits :D Alors il y a encore besoin d'entrainement (c'est normal), mais je vois bien que tu t'es appliqué ^^
Alors les points d'amélioration :
> attention aux petites pétouilles (les traits qui dépassent un petit peu les uns sur les autres, les formes en pointes qui se terminent en double trait / gros pùté)
> les hachures : pour de jolies hachures, elles doivent absolument ĂȘtre rĂ©guliĂšres, bien toucher ta zone d'ombrage de bout en bout, des traits de mĂȘme longueur avec le mĂȘme espacement entre eux. En gros, la rĂ©gularitĂ©, c'est la clĂ© ^^ N'hĂ©site pas Ă regarder Naruto par exemple, c'est l'exemple le plus parlant qui me vient Ă l'esprit. Observe comme sont fait les ombrages, ils sont simples mais trĂšs propres et nets.
> apprendre à jouer avec les valeurs de traits, pour avoir des traits épais par endroits et fins à d'autres. Je pense aux plis par exemple, qui sont trÚs trÚs présents sur la jupe (je parle des séries de 2/3 traits parallÚles qu'il faut d'ailleurs éviter de faire parallÚle dans l'idéal ^^)
> Les ombrages : leur position. Je pense en particulier Ă la mĂšche de cheveux sombres. Si elle est dans l'ombre derriĂšre la tĂȘte au niveau de la queue de cheval donc avec une ombre Ă droite, comme tu le reste de son corps, on ne devrait pas vraiment la voir sur la partie droite.
Autrement, oui tu as des disproportions par-ci par-lĂ , mais ton dessin marche bien ^^ Donc bravo Ă toi :D
Et rassure-toi, les pieds et les mains sont connus pour ĂȘtre des parties du corps particuliĂšrement compliquĂ©es Ă faire. Je galĂšre encore avec les chaussures rĂ©guliĂšrement ^^
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28/03/2021
Reproduction of the cover of Bride Stories by Kaoru Mori (without tracing paper though!).
First character in pencil.
Reproduction de la couverture de Bride Stories de Kaoru Mori (sans calque quand mĂȘme!).
Premier personnage au crayon.
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28/03/2021
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06/04/2021
It's not bad at all :D
I looked at the original cover to compare and it's quite cool!
Regarding the inking itself, I think you need to practice on the cross-hatching. Specifically, you've chosen several different methods to darken your character, the solid fill and the hatching.
I have no issues with the solid fills, except for those of the headdress she is wearing. Simply because you only use solid fills for the "black" color. Which is logical, but for the headdress, you used it for the shadows and it's the only place in the drawing where you did this, so it's disturbing when compared to the rest of the drawing.
On the rest of your character, you've used hatching to symbolize the shadows and that's very good ^^ It becomes a "graphic code" of your drawing and this code must be found everywhere.
Regarding the hatching, you encounter several small issues which make them quite "heavy" on your drawing and blur the readability.
1. The choice of the type of hatching. You chose a very detailed model, with lots of little patterns everywhere. So, adding cross-hatching on top of that adds even more detail on top and it blurs everything. In your place, I would have chosen to make a single layer of hatching, oriented in one direction (like in Naruto for example: https://lh3.googleusercontent.com/proxy/HoPd7WydAl6jDxCTSKgsMywOgIXjHkwp7qzzXOhN0OIfmTKL-mo6OG3Gxqjevlc1lHqZy3xXtttlTeMwh4Bj_Drvp49JjDGfMrHZK-LKK0Y)
2. Your hatching does not go all the way to the edges, there is emptiness so it gives an unfinished effect (again I refer you to the hatching in Naruto)
I think if you improve these two points you will gain a lot in readability ^^ Don't hesitate to make solid black and uniform fills for black areas. You can also look at the different methods to manage black clothing or hair in manga, some do uniform fills, others only do fills in the shadowed areas and on the illuminated areas either do hatching or use screens. Anyway, it's up to you to see where your preference lies :3
For the pure and hard inking part, be careful to close your lines (you can leave them open in places, but it should be a deliberate choice, not a forgetfulness as is the case at the bottom of the dress for example). It's the small details that can completely change your work and make it appear even cleaner. But anyway, well done, you chose a very complicated model and you really did well! In particular the petticoat and the headdress which I find very successful. đ
C'est pas mal du tout :D
J'ai regardé la couverture originale pour comparer et c'est plutÎt chouette !
Concernant l'encrage à proprement parler, je pense qu'il va falloir t'entrainer sur les hachures. ConcrÚtement tu as choisi plusieurs méthodes différentes pour assombrir ton personnage, les aplats et les hachures.
Je n'ai pas de soucis avec les aplats, Ă l'exception de ceuc de la coiffe qu'elle porte. Pour la simple et bonne raison que tu n'utilises les aplats que pour la "couleur" noire. Ce qui est logique, mais pour la coiffe tu l'as utilisĂ©e pour les ombres et c'est le seul endroit du dessin oĂč tu as procĂ©dĂ© de la sorte, du coup c'est perturbant quand on compare au reste du dessin.
Sur le reste de ton personnage, tu as utilisé les hachures pour symboliser les ombres et c'est trÚs bien ^^ Ca devient un "code" graphique de ton dessin et ce code doit se retrouve partout.
Concernant les hachures, tu rencontres plusieurs petits soucis qui les rendent assez "lourdes" sur ton dessin et en brouillent la lecture.
1. le choix du type de hachures. Tu as choisi un modÚle trÚs détaillé, avec plein de petits motifs partout. Du coup, ajouter des hachures en croisillons par-dessus, ça ajoute encore du détail par-dessus et ça brouille tout. A ta place j'aurais choisi de faire une unique couche de hachures, orientées dans un seul sens (comme dans Naruto par exemple : https://lh3.googleusercontent.com/proxy/HoPd7WydAl6jDxCTSKgsMywOgIXjHkwp7qzzXOhN0OIfmTKL-mo6OG3Gxqjevlc1lHqZy3xXtttlTeMwh4Bj_Drvp49JjDGfMrHZK-LKK0Y)
2. Tes hachures ne vont pas jusqu'aux bords, il y a du vide du coup ça donne un effet pas vraiment fini (encore une fois je te renvoie aux hachures dans Naruto)
Je pense que si tu amĂ©liores ces deux points tu gagneras beaucoup en lisibilitĂ© ^^ N'hĂ©site pas Ă faire des aplats bien noir et uniformes pour les zones noires. Tu peux regarder lĂ aussi les diffĂ©rentes mĂ©thodes pour gĂ©rer les vĂȘtements ou cheveux noirs dans les mangas, certains font des aplats uniformes, d'autres font des aplats uniquement dans les zones Ă l'ombre et sur les zones Ă©clairĂ©es font soit des hachures, soit mettent des trames. Bref, Ă toi de voir oĂč va ta prĂ©fĂ©rence :3
Pour la partie encrage pure et dure, attention Ă bien fermer tes traits (tu peux les laisser ouverts par endroits, mais il faut que ce soit un choix volontaire, pas un oubli comme c'est le cas sur le bas de la robe par exemple). Ce sont sur les petits dĂ©tails que ton travail peut totalement changer et paraitre plus propre encore. Mais en tout cas, bravo, tu as choisi un modĂšle trĂšs compliquĂ© et tu t'en es vraiment bien sorti ! En particulier le jupon et la coiffe que je trouve trĂšs rĂ©ussis. đ
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07/04/2021
Thank you for your remarks. I agree with them.
Regarding the hatching, I take note of the comments. I also saw other comments on other posts to improve the rendering, but I admit that I still have a bit of difficulty with hatching; it often gives me an impression of "emptiness," "unfinished," or "rushed" (I am speaking for myself when I see the result in your drawings, it's excellent).
I do note, however, the need to focus on creating harmony and giving "a code" to my drawing.
As for the inking, I confess I expected it to remain darker, but it seems I lost some of the color while erasing. I had worked with a pigma micron "brush" pen. I will need to improve the finishing next time.
Anyway, thank you for going out of your way to find the cover of this manga to help me. I could have included it, but I suppose from a copyright perspective, that would not have been ideal...
I really like this author by the way, and I find her drawings stunningly beautiful and breathtakingly detailed.
Moreover, I donât understand how this is "industrialized" because a manga is about 200 pages, and given the level of detail, I think it would take me a year to make a single volume (assuming I already have the skill to almost succeed in the drawings). How do authors do it? Are they very very skilled or do they use computers? Do they reuse sketches? I would be curious to learn more on this subject.
Thanks and have a great week.
Merci pour tes remarques. Je suis d'accord avec elles.
Pour les hachures je prends note des commentaires. J'ai aussi vu les autres commentaires sur d'autres posts pour améliorer le rendu mais j'avoue que j'ai encore un peu de mal avec les hachures ça me donne souvent une impression de "vide", "d'inachevé" ou de "baclé" (je parle pour moi quand je vois le résultat sur tes dessins c'est top).
Je note cependant la nécessité de se concentrer sur une harmonie et de donner "un code" à mon dessin.
Pour ce qui est de l'encrage j'avoue que je m'attendais à ce que cela reste plus noir mais j'ai perdu une partie de la couleur en gommant il semblerait. J'avais travaillé avec un stylo "pinceau" pigma micron. Il faudra que j'améliore la finition la prochaine fois.
En tout cas je te remercie d'ĂȘtre aller chercher la couverture de ce manga pour m'aider. J'aurai pu la mettre mais je suppose que niveau copyright cela aurait Ă©tĂ© moyen...
J'aime beaucoup cette auteure en tout cas et je trouve ses dessins magnifiques et époustouflant de détails.
D'ailleurs je ne comprends pas comment on "industrialise" cela car un manga fait à peu prÚs 200 pages et vu le niveau de détail je pense qu'il me faudrait 1 an pour faire un seul tome (en admettant déjà avoir le niveau pour à peu prÚs réussir les dessins). Comment font les auteurs? Ils sont trÚs trÚs doués ou ils utilisent des ordinateurs? Il réutilisent des croquis? Je serai curieux d'en apprendre plus à ce sujet là .
Merci et bonne semaine.
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07/04/2021
Yes, it sometimes happens with some pens / markers that ink comes off after erasing, don't hesitate to do your flat colors after erasing rather than before, or to go over it with a second layer after erasing :)
You can put the link to the image, you're not using it in a misleading way, so no worries on that front ^^
To answer your question about the world of manga, I will try to answer in a somewhat concise manner.
Mangakas work in studios (meaning they have assistants who help them with a variety of tasks). They have assistants for flatting, screentoning, some specialize in backgrounds, others draw secondary characters, effects / sound effects, etc. Most work traditionally (paper, pencil, ink), but some also use digital (especially useful for screentoning). Traditional is practical because it tends to be faster to work on and it's easier to pass the pages around among each other. This means that the mangaka generally does the storyboards and draws the main characters and delegates everything else to the assistants to save time. They also do the color pages / volume covers / special illustrations. When there are 4 or 5 people working on a chapter all at the same time, things obviously get done faster ^^ So, the mangaka creates the storyboard. Then he briefs his assistants on who will do what. He distributes the pages among them so that one does the backgrounds, another does the secondary characters, while he does the main characters properly. Once he's done with his characters, he retrieves pages with backgrounds, the one who did the secondary characters passes them to the one doing the backgrounds, etc. Then come the assistants for flat colors, screentoning, and FX who proceed once the general inking is finished. The mangaka checks that everything is fine and makes adjustments as needed. He can then continue writing the story of his manga if he doesn't have a scriptwriter, work on illustrations, or start on the next chapter.
In Asian countries, they tend to have very intense work schedules, sometimes too much. A mangaka is supposed to deliver a manga chapter a week (about 20/25 comic book pages). A bound volume contains between 180 and 250 pages on average, meaning a complete volume is done in about three months. It's an incredibly demanding pace, to the point that burnouts are frequent, health problems too, and many can't keep up past 40 years old. They also tend to die young because of the work pace. There are series that have been discontinued because of this, such as Berserk or D Gray Man for example.
For instance, Oda, who does One Piece, has said in interviews that he sleeps 3 hours a night to be able to finish his chapters on time. You can count the number of volumes, see how much time that totals, and know how long he's been sleeping so little.
If you're curious, there was a show that once portrayed a bit of life in a mangaka studio on DailyMotion, showing the different work methods of various artists, with their assistants, what their storyboards look like, their final pages, etc.
It's called: "Urasawa Naoki no Manben", you can find the episodes on DailyMotion ^^ I think they are subtitled in English.
Otherwise, there is the famous manga "Bakuman" by Takeshi Obata and Tsugumi Oba that shows well the behind the scenes (in a shonen manga way of course ^^) and is very interesting to see the rhythm and organization of a mangaka's work ^^
Have a good week o/
Oui ça arrive parfois avec certains stylos / feutres que de l'encre parte aprÚs gommage, n'hésite pas à faire tes aplats aprÚs avoir gommé plutÎt qu'avant, ou bien à repasser une seconde couche aprÚs gommage :)
Tu peux mettre le lien vers l'image, tu ne l'utilises pas de maniĂšre fallacieuse, donc pas de soucis Ă ce niveau-lĂ ^^
Pour répondre à ta question concernant l'univers du manga je vais essayer de répondre de maniÚre un peu concise.
Les mangakas travaillent en studio (c'est-Ă -dire qu'ils ont des assistants qui les aident pour tout un tas de tĂąches). Ils ont des assistants pour faire les aplats, le tramage, certains spĂ©cialisĂ©s dans les dĂ©cors, dâautres qui dessinent les personnages secondaires, les effets / onomatopĂ©es, etc. La plupart bossent en traditionnel (papier, crayon, encre), mais certains utilisent aussi le digital (pour le tramage entre autre, c'est pratique). Le traditionnel est pratique car on a tendance Ă travailler plus vite dessus et c'est plus simple de se passer les planches les uns les autres. Ce qui fait que le mangaka fait en gĂ©nĂ©ral les storyboards, et dessine les persos principaux et dĂ©lĂšgue tout le reste Ă ses assistants pour gagner du temps. Il fait aussi les planches en couleur / les couvertures de tomes / les illustrations spĂ©ciales. Quand on est Ă 4 ou 5 pour bosser sur un chapitre tous en mĂȘme temps, on va forcĂ©ment plus vite ^^ Du coup, le mangaka fait le storyboard. Ensuite il briefe ses assistants sur qui va faire quoi. Il rĂ©partit les planches entre eux de maniĂšre Ă ce qu'un fasse les dĂ©cors, un autre fasse les persos secondaires, pendant que lui fait les persos principaux au propre. Une fois qu'il a fini ses persos, il rĂ©cupĂšre des planches avec du dĂ©cor, celui qui avait fait les persos secondaires transmet Ă celui des dĂ©cors, etc. Puis viennent les assistants pour les aplats, les trames et les FX qui passent une fois l'encrage gĂ©nĂ©ral terminĂ©. Le mangaka vĂ©rifie que tout va bien et fait des retouches au besoin. Il peut ensuite Ă©crire la suite du scĂ©nario de son histoire s'il n'a pas de scĂ©nariste, bosser sur des illus ou commencer Ă faire le chapitre suivant.
Dans les pays asiatiques, ils ont tendance Ă avoir des rythmes de travail assez intenses, voire trop. Un mangaka est supposĂ© rendre un chapitre de manga par semaine (soit 20/25 planches de BD environ). Un tome reliĂ© fait entre 180 et 250 pages en moyenne, ce qui fait qu'un tome complet se fait en trois mois Ă peu prĂšs. C'est un rythme extrĂȘmement soutenu, Ă tel point que les burn-out sont frĂ©quents, les problĂšmes de santĂ© aussi et que beaucoup ne peuvent plus suivre passĂ© 40 ans. Ils ont tendance Ă mourir jeunes aussi du fait du rythme de travail. Il y a des sĂ©ries en arrĂȘt Ă cause de ça par exemple (Berserk ou D Gray Man par exemple).
Par exemple, Oda, qui fait One Piece a déjà dit dans des interview qu'il dormait 3h par nuit pour pouvoir terminer ses chapitres dans les temps. Tu peux compter le nombre de tomes, voir combien de temps ça fait en tout et savoir depuis combien de temps il dort si peu.
Si ça t'intrigue, tu as une émission qui montrait un peu la vie dans un studio de mangakas à un moment sur dailymotion, on voyait les différentes méthodes de travail de différents artistes, avec leurs assistants, à quoi ressemblent leurs storyboards, leurs planches finales, etc.
Ăa s'appelle : "Urasawa Naoki no Manben", tu trouveras les Ă©pisodes sur dailymotion ^^ Il me semble que c'est sous-titrĂ© en anglais.
Sinon tu as le célÚbre manga "Bakuman" de Takeshi Obata et Tsugumi Oba qui montre bien l'envers du décor (à la façon shonen manga bien sûr ^^) et qui est trÚs intéressant pour voir le rythme et l'organisation du travail des mangakas ^^
Bonne semaine Ă toi o/
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07/04/2021
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10/06/2021
What do you think, are there many mistakes?
I know I still struggle with proportions and hatching but I will keep working on it.
Qu'en pensez vous, il y a beaucoup d'erreur ?
Je sais que j ai encore de la peine avec les proportions et les hachures mais je vais encore bien y travailler
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12/06/2021
I really like your Sailor!
It reminds me of Sailor V.
Her pose is detailed and dynamic, it's really neat :)
I like the flying hair, the ribbon, and the skirt too ^^
These details bring a lot of life to your character!
What bothers me though, is that her torso isn't aligned with her lower body.
This is because her upper body is almost facing forward while her butt and legs are in a 3/4 back view.
It's like you combined two poses into one.
I challenge you to actually recreate this pose without twisting your pelvis ^^
I've included some pose examples close to what you were trying to achieve.
If you're motivated, feel free to use them to tweak your character :)
I've kept the initial positions of the torso or legs.
I totally get what you were trying to do and it's not easy so it's great that you gave it a shot!
Also, one last thing, you need to watch the horizontals on your character.
Her right knee is too low compared to her left knee.
Other than that, I have nothing else to say! Can't wait to see her in new poses! :D
Jâaime beaucoup ta Sailor !
Elle me fait penser Ă Sailor V
Sa pose est dĂ©taillĂ©e et dynamique câest vraiment chouette :)
Jâaime bien les cheveux qui volent, le ruban ainsi que la jupe aussi ^^
Ces détails apportent beaucoup de vie à ton personnage !
Ce qui me dérange par contre, c'est le fait que son buste ne soit pas axé avec le bas de son corps.
Cela vient du fait que le haut du corps est quasiment de face alors quâĂ contrario ses fesses et ses jambes sont en Ÿ dos.
Câest comme si tu avais combinĂ© deux poses en une.
Je te mets au défis de refaire cette pose réellement sans te tordre le bassin ^^
Je tâai mis des exemples de poses se rapprochant de ce que voulais faire.
Si tu as la motivation nâhĂ©site pas Ă t'en inspirer pour modifier ton personnage :)
Jâai gardĂ© les positions initiales du buste ou des jambes.
Je comprends bien ce que tu as voulu faire et ce nâest pas si simple donc câest super que tu ait tentĂ© le coup !
Sinon, une derniĂšre chose, il faut faire attention aux horizontales de ton personnage.
Son genou droit est trop bas par rapport Ă son genou gauche.
Appart ça je nâai rien Ă dire ! HĂąte de la voir dans de nouvelles poses ! :D
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28/12/2022
Hello,
Here is my test with pen and India ink.
Good day,
Estelle
Bonjour,
Voici mon test à la plume et encre de Chine.
Bonne journée,
Estelle
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02/02/2023
Hello EstellTh! Not bad at all for a first try with a pen! Plus, you put a lot of effort into that complicated pose! Great!
Pay attention to the placement of the legs and their proportions. The hands are a bit small.
Nice job!
Hello EstellTh! Pas mal du tout pour un premier essai à la plume! En plus tu t'es donné du mal avec cette pose compliquée! Super!
Fait attention au placement des jambes et à leur proportions. Les mains sont un peu petites.
Beau boulot!
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