★☆★☆★☆　　 Basic lines of hair　　★☆★☆★☆　 Generally, the hair of animated characters will be very complicated. However, if you break them down into their basic elements to paint, it will simplify the process. Like real-life hair, manga hair is made up of many strands. However, rather than drawing each strand of hair individually, it is often better to draw them into clumps of different sizes and shapes. As shown here, here are some of the simplest forms of each hair style. Note that in most cases, the lines at the bottom of the hair clump are more curved - especially the upper left example in the example. The lower lines are more curved than the upper lines, giving the hair more depth and caricature. Animate some. Sometimes the hair is exaggerated, sometimes it's just visible, but in most manga hairstyles, each strand of hair will have this basic shape. Once you know how to draw each strand of hair, you can start putting them together to create a manga-style hairstyle. Look at each example in this picture (the author himself has no idea why the group of hair in the lower left corner is discounted) and notice how the basic hair lines are used starting from the first step. Those similar shapes are often found throughout many different hairstyles. Draw an outward curve on each strand of hair as a hairline, which will make the hair look more vivid. Another thing worth noting is that you can paint the hair as detailed as you like, just increase the number of strands. Now we start practicing some slightly more complex shapes. Notice how the size and shape of each strand of hair changes to give it different characteristics. Each strand of hair can be thin and straight, or thick and curly. Note that you can make your hair very detailed or very simple, all depending on how many strands you draw. Here are some examples of basic hairstyles. Notice how the hair overlaps and nests inside as it bends and rotates. In short, you can draw a very interesting hairstyle with these two points: 1. The hair is curly; 2. Read this tutorial carefully. ★☆★☆★☆ 　　 Drawing of clothing patterns 　　★☆★☆★☆　 　　 The wrinkles on clothes are ever-changing, but there are still rules to follow. As long as you can master the rules, you can draw clothing patterns as you like. Clothes pattern plays a very important role in the expressiveness of the picture and is one of the main aspects of the author's painting style. How to draw good clothing lines? Yixin believes that it should have the following points: 1. Authenticity. The so-called realism does not mean that the painting is completely based on the wrinkles in reality, but that it conforms to the formation rules of clothing lines. The picture is real and credible, can reflect the texture and thickness of the clothes, and reflect the shape and dynamics of the human body. The clothing patterns of Taiwanese cartoonist Lin Zhengde feel very real. 2. Concise. Real clothing patterns will have many lines that affect the visual effect. At this time, only by selecting them, eliminating redundant lines, and expressing the clothing patterns with concise and beautiful lines can the beauty of comics be reflected. The clothes drawn by Rumiko Takahashi have very few wrinkles and look fresh and lively. 3. Rich in change. The paintings of CLAMP, Nobuteru Yuki and Kosuke Fujishima fully demonstrate the charm of lines, using complex lines to make the pictures full of special dynamics and rhythm. In reality, there is no wind all the time, but in their paintings, their clothes can always catch the wind and their long hair can fly. Clothes have the most lines where they are squeezed, and the lines are approximately parallel, as shown in Figure [A]. On the contrary, where the stretch is close to the limb, the lines are generally radial and extend to the parallel strips of the clothing lines, as shown in Figure [B]. When drawing clothing lines, you should also pay attention to the line changes caused by the twisting of the limbs. At this time, clothing lines are a very important dynamic factor. In addition, clothes that are loose and soft in texture have more wrinkles, while clothes that are harder and narrower have fewer wrinkles; thinner fabrics have finer wrinkles than thicker materials. As shown on the left. You can usually practice by referring to your classmates' clothing patterns, observe the relationship between the folds and the covered objects, see more, draw more, compare more, see which drawing method is better, write it down, and summarize the commonly used clothing patterns into symbols. Add a few strokes or subtract a few strokes when you use it, and it will become a new clothing pattern! When drawing a skirt, you must first determine the texture and thickness of the skirt. If it is a softer material such as silk, the lines should be softer and more numerous; for a denim skirt, you can reduce the lines and have strong lines; for an ordinary skirt, the lines can be Hard or soft.

Then, just like other clothing pattern drawing methods, the lines are drawn radially from the tight areas, and the lines are parallel at the folded areas. In fact, the drawing methods of skirts and curtains are similar, but they are formed into a tube shape. You can steal some lines from the curtains and use them on the skirts. Some skirts have a lot of folds at the waist, and some skirts are designed to be close-fitting. When standing naturally, it is almost There are no lines, so it is very easy to draw, but you should also pay attention to the fact that the effect of gravity will make the skirt gather slightly and cause bends and undulations. You should pay attention to observing girls at ordinary times. They themselves are a good collection of information. Girls' clothing styles are much richer than boys'. If you can pay attention to collecting them, you don't have to think hard when drawing. ★☆★☆★☆　　　　　　　　　　　　　★☆★☆★☆　　　 Drawing comics is just like practicing martial arts, it requires individual attention. I think the most important thing in drawing comics is imagination, as long as you can imagine it, you can draw it. As for the pen skills, it is enough to hold the pen without shaking. Nowadays, everyone advocates painting in their own style, and everyone wants this. But some painting friends still paint the same way after a year or even several years. The characters in the works of other painters are indistinguishable from each other in appearance. Each character is similar and can only be distinguished by their hairstyle and clothing. The angle is single, and the difference between men and women is not obvious. This all belongs to the same problem - not incorporating your own imagination and lack of observation. Every beginner has to go through the stage of imitation, and in this stage he can gain understanding, and his own painting style will gradually form in the future. The problem mentioned above comes from imitation without adding my own understanding. It just turns the imitation into an impression and saves it. No matter how good the painting is, it can only be said to be similar to someone. (The most taboo word for comics people) Imitation is the foundation of foundations, and you cannot rely entirely on it. It is a way for you to get in touch with comics and understand comics. At this time, you need to "sum up" the imitations and add a little bit of your own opinions every time you draw. Over time, you will gradually form your own style. Some painting friends said that it is still not easy to understand in this way. Let me teach you a method: when imitating other people's works, turn what they drew in one direction. If a person's face faces to the left, draw him to the right, and draw the aspect from the front. If you really can’t draw anything, you can observe it in life and remember it. Notice! This is just to train your imagination and analysis skills, not a painting method. Once you have mastered the skill, when you draw, vivid pictures will naturally appear in your mind, and your hands will not be able to keep up with your thoughts, so you don’t have to search your guts anymore! In addition, when drawing comics, you must also pay attention to breath regulation, which is the so-called breathing method. This is an experience I have summarized myself. Be gentle when inhaling and exhaling. Inhale for three seconds and exhale for four seconds. Although there is no miraculous effect, at least the hand will not shake when tracing lines, and the thin lines will be smooth. Furthermore, confidence is very important when drawing comics. If you don’t draw well, you must have very few thoughts of tearing it up and redrawing it. If you tear it up and redraw it, your confidence will not be as good as the first time, and the effect will be reduced. (Psychology!) It’s better to get it right the first time. Let me talk about a few more taboos on drawing comics that I have summarized. Although they have little to do with mental methods, they are still quite useful. First, avoid playing the TV while painting. Playing music is fine. Just don’t have any distractions in front of you. The human brain is divided into two halves, and only one half does the main work. The other half is not useless. It can help you listen to music, assist that half of your brain, relax your senses, and make it less likely to fatigue. The brain can be divided into half to listen to music for you. There won't be another pair of eyes to watch TV for you. Second, avoid referring to comic books when encountering technical problems and appreciate their contents. Because your thoughts are more concentrated at this time, it is easy to get into the plot, which makes you forget that there is a more important thing in hand - your painting is not finished yet. (miserable) Third, avoid eating while painting. Don't put water next to it. Firstly, it will distract you. Secondly, it will easily stain the drawing. Fourth, avoid painting without washing your hands. Wash your hands before eating and before drawing cartoons. Don’t make the drawings dirty, messy and poor and then regret it later. Fifth, avoid touching your face with your hands when painting. The oil secreted on the face will be brought to the painting easily, and the first impression of a clean painting is that of comfort. Let me tell you, the editor will give priority to such manuscripts. (I’m not sure, but clean paintings must have an advantage) Sixth, avoid driving while fatigued (burning the midnight oil). All states will be greatly reduced, this is by no means alarmist! Seventh,..., not so much! Painting friends are all worried about encountering the above situations. Don’t worry. Everyone makes mistakes sometimes. It was only after I made all the above mistakes that I realized this. When I can realize it, it is the time to succeed. Okay, I won’t say much more, it’s a bit like Buddhism.

As the saying goes, sincerity leads to gold and stone. I wish you all success in your painting career! ★☆★☆★☆　 A simple study of light and shadow in comics ★☆★☆★☆ The comics we are talking about now usually refer to black and white comics. The basic principles of this type of comics are through lines, blackening and dots. To express the outline and light and shadow performance of objects in real life. Therefore, people who make black and white comics must carefully study the various properties of light and the various manifestations of shadows. First, we should understand what light is. From a physical point of view, light is a "strange" substance. It not only has general properties such as diffraction, reflection, and interference of electromagnetic waves, but also has characteristics that can only be displayed by some particles. In physics, it is called "wave-particle duality". In the field of production, what are the properties of light that should be understood? Personally, I think that from the perspective of application in comic production, light should have the following basic quantitative attributes: 1. Light source position: the direction and distance of the light source relative to the object. 2. Softness: The softness of light hitting an object is determined by factors such as the degree of diffuse reflection of light, the area of ??the light source, and the intensity of the light. 3. Brightness: the brightness of light. 4. Color: the color attribute of the light source. 5. Attenuation: The phenomenon in which the intensity of light per unit area gradually weakens due to the radioactive movement of light waves. 6. Occlusion: During the propagation of light, shadow areas are produced due to obstruction by objects. 7. Color temperature: In the 19th century, British physicist Willian Kelvin discovered a phenomenon in which the light emitted by carbon produces different colors with different temperatures. A relatively low color temperature will cause the exposure to appear reddish light, and a relatively high color temperature will affect the exposure to appear bluish light. (Refer to the relevant knowledge of photography for specific content) Correctly understanding the above properties of light will not directly improve your painting skills, but through the correct grasp and application of these properties, you can gradually improve the characters and various objects in your paintings. It has a sense of realism and can make your paintings have amazing light and shadow contrast effects that ordinary people cannot express. We often see the use of various lights and shadows in Japanese comics. For example, there are unusual types of shadows on the side of the nose, shadows that appear on the face of male characters in close-ups, etc. However, due to the unique style of Japanese comics, many characters and scenes in Japanese comics seem a bit lacking in three-dimensionality, and many are even deliberately made to be 'flat' (because this can facilitate the development of related products) . However, in almost all scenes that require light and shadow effects, Japanese comic producers will meticulously perfect every shadow detail. It can be seen that the study of light and shadow is a 'required course' that everyone who is determined to make comics cannot relax. . There are only two ways to accurately grasp the shadow effect: 1. Use mathematical and physical methods to rigorously calculate the position, direction, brightness, reflection, color temperature and other values ??of each light, and calculate the shadow formed by each light around the object; 2. Through careful observation of life and learning the knowledge of light and shadow in art, express the shadow effects around objects based on experience. Generally only people who develop computer graphics software and physicists are proficient in the first method, and they will summarize various equations for calculating shadows and surface brightness to calculate the shadow effect. However, these people (software programmers, optical physics researchers) often have insufficient art skills and cannot produce any outstanding works of art. ("Rendering" in 3D software is the most important application form of this method) Since ordinary artists and art workers do not have time to learn a lot of mathematical knowledge, they usually use the second method. However, the specific methods and details should be discovered by each producer himself, and you can even research a comprehensive method that combines the above two methods. But remember, all methods of expressing light and shadow should be learned from life, and observe more of the various shadows around you: shadows of skin, shadows of clothes, indoor shadows, outdoor shadows, etc. Carefully observing everything is the best way for an artist to Good teacher. The following is an attempt to summarize some application methods and theories of the second method. Next, we will discuss the role of light and shadow in comics by analyzing some specific application methods of light properties. (1) Softness The softness and brightness of light are the two main factors that determine the type of shadow it forms. In daily life, soft light is the most common. Fluorescent lamps, light projected into the house from the window, various reflections, etc. are all soft lights. The soft properties of light are widely used in various graphic productions.

Soft light is usually used when showing close-ups of women or children, because the shadows presented by soft light have the most layers and relatively small contrast; hard light (not soft) can often be seen when showing some horror atmospheres or close-ups of men. Light), hard light will make the surface of characters (objects) look angular and powerful. However, the above are all experiences summed up from work in the field of photography and 3D production. In comics, we do not necessarily have to understand the placement of various lights and how to adjust the lights. As long as we correctly grasp the shapes formed by various lights The shadow and diffusion effects are enough. Generally, the softer the light is when it shines on an object, the blurry the edges of the shadow will be, and the shadow will gradually fade from black to gray. Soft light is very suitable for expressing objects and characters with rich layers and textures. On the contrary, the less soft the light (concentrated light, strong light, or light from a light source very close to the object), the clearer the shadow edges formed after hitting the object, and the shadow will hardly become lighter (very thick). black), so this type of light is often used to express scenes that require strong contrast. (2) Occlusion Occlusion can be said to be the most common light and shadow phenomenon. The shadow of people, the shadow of objects, solar eclipses, etc. are all its manifestations. A classic example of occlusion used in various movies and comics is the vampire shadow. Vampires (or scary people or monsters) almost always have a close-up of their gloomy shadow as a prelude before appearing on the stage, and in order to show some scenes that require avoidance (gore) or a scary atmosphere, shadows on the wall are usually used. The primary example of occlusion is, of course, shadow. In life, we see many kinds of shadows every day, so everyone can be regarded as an expert in observing shadows. In comics and animations, if there is a problem with shadow processing, it is easy to give the impression that the picture is distorted. For example, if all shadows of a character are omitted, the character may appear to be floating in the air, because humans have formed visual habits through years of visual accumulation of realistic light and shadow. People will naturally consider the starting point of the shadow as the person's footing point, and people will also judge the height and direction of the light source based on the length and direction of the shadow. If there is no shadow, the human eye will not be able to find the reference object, and some illusions will occur. But what's interesting is that the shadow is not always and meticulously represented in the comics like it is in real life. In comics, shadows are mostly used for special purposes: to enhance atmosphere, express mood, enrich scenes, etc. The shadows stepped on by people's feet are often represented by a few simple lines. For example, when expressing sunny weather, shadow effects are often used. On sunny (very sunny) weather or weather with lightning, strong contrasting shadows (obvious outlines) are often used; on cloudy, rainy and foggy (sandstorm) weather, smaller contrasting shadows are often used. This involves the problem of light attenuation. In an environment with relatively low visibility (there are many suspended particles in the air), the attenuation speed of light will be greater than that in clear and dry weather, so the shadow parts will appear blurry accordingly. Cartoonists often lengthen or shorten shadows to reflect the position of the sun, thereby indirectly expressing time. In addition, when characters in comics wear hats (with brim), the shadow of the brim is often used to express the character's mood or block the character's gaze (sometimes to set off the character's gaze). There are so many ways to use shadows, each of which requires more observation and constant practice in your own works. Please leave some of your own application experience behind and discuss it together. Let’s talk about the technical issues that should be paid attention to when expressing the occlusion effect. First of all, it must be clear that the existing comic techniques to express shadows are relatively laborious. If the publisher has strict time requirements on you, then you should learn to choose between shadows. For example, if you want to show a character standing under a tree, the ideal occlusion effect is of course to show the shadow of each leaf on the character's face and body. However, given the current technology and time constraints, this is probably unrealistic, so the degree of detail of the shadows must be determined based on the importance of the scene in the work. You can even use almost no shadows and just show some patches of different grayscales, which can sometimes produce good results. If it is necessary to express a more delicate shadow effect, then you should pay more attention to the situation of shadows falling on objects in life. The surfaces of objects are often concave and convex, and shadows will also produce corresponding shadows when projected onto these surfaces. Curvature and changes in lightness and darkness.

I often sit under a tree and draw some outlines formed by shadows (no need to use black, which saves time) and lines representing grayscale, and observe the changes in shadows after the light moves. You can also sit next to your desk lamp and study the shadows. The important thing is to be actively observing. After actual observation, you will find that in most cases the shadows are quite different from your imagination. Pay attention to remember these differences, because this is what makes your work different from other people's works. To improve those areas that are not realistic, even if you only use a few lines to express them, you still need to observe. (3) Color temperature Color temperature is a concept rarely used in life, but it is very common in photography. First of all, it must be clear that color temperature is not a temperature concept. It can only be used to explain the reasons why the color of light changes on photosensitive objects. Any photosensitive object (film, eyes, etc.) has a color temperature value (the color temperature value of color balance) during normal exposure. When the color temperature value of the light is higher than this balance value, it will be exposed to form a bluish color; when the light is When the color temperature value is lower than this balance value, exposure will result in a reddish color. In other words, color temperature only affects the color properties of light but not its brightness. So what role does it play in black and white comics? This starts with the habit of human eyes towards the color properties of light. In art, the three colors of red, yellow, and blue are regarded as the basic colors (the three primary colors of color), while in the field of computer graphics and television display, the three colors of red, green, and blue are regarded as the standard colors (the three primary colors of light). ), but in both fields three colors are mixed in different proportions to form other colors. However, the human eye perceives the gray scale of red, green, and blue colors differently. Generally speaking, the human eye will consider green to be brighter (leaning towards white) compared to the other two colors, red will generally form an intermediate gray in the human eye, and blue will form a very dark gray. Therefore, in some black and white comic works, when red and blue are to be represented at the same time (such as the French flag), a lighter gray dot paper is generally used to represent red, and a darker gray dot paper is used to represent blue. It is because of this habit of the human eye that the color temperature of light can be transported into black and white comics. ★☆★☆★☆　 The role of sketching in comic creation! ★☆★☆★☆　 Sketching can cultivate our keen observation skills and make us good at capturing the beautiful moments in life. Sketching can cultivate our painting generalization ability and enable us to draw the characteristics of objects in a short period of time. Sketching can collect a lot of materials for creation, and a good sketch itself is a perfect work of art. Sketching can improve our memory ability of images and dictation ability. Sketching can explore and cultivate a unique painting style. As the name suggests, sketching is a quick sketching method, which means sketching. Sketch, like sketch, is not only the basis of plastic arts, but also an independent art form. Therefore, sketching plays an important role in animation creation and is a basic skill. For beginners, sketching is a method to train the comprehensive ability of modeling. It is the application and development of the overall consciousness that we advocate in sketching. The comprehensiveness of sketching is mainly limited by the short time of sketching and painting, which is also limited by the activity characteristics of the sketched objects. Because sketches use moving objects as the main description objects, the painter must express them in a simple and comprehensive way without sufficient time for analysis and thinking. Therefore, for beginners, sketching is a basic painting course for learning to use simplified forms to comprehensively express the shapes of moving objects. Sketching can best express the painter's keen observation ability and fresh feelings about the material world. The pictures are vivid and touching, which is a significant feature of sketching. Sketching is a form of painting that quickly depicts objects in a short period of time. It has two major functions: collecting painting materials and training modeling abilities. Because the painting time is short, when depicting the object, the straight line is straight. It can depict any object in the life around us at any time, and is especially good at describing moving objects and fleeting dynamics. By persisting in sketching for a long time, you can accumulate rich artistic materials for future art creation and art design. Sketching is another good training method for exercising hands-on ability. We advocate developing the good habit of sketching from the beginning of the painting learning stage. Some sketching training can be understood as a short-term form of sketching. While conducting relatively long-term sketching training, you can also sketch more and intersperse long and short-term homework. This is a good way to train the basics of painting. Therefore, sketching is another form of auxiliary practice for sketching training.

Sketching requires drawing the object to be expressed in a short period of time. Therefore, depicting images in the form of lines is the most straightforward method of sketching. In addition to the function of depicting the shape of the object, lines themselves also have the function of artistic expression. They can reflect rich connotations, such as strength, ease, dignity, elegance and other aesthetic characteristics. When the author is sketching, he will unconsciously reveal his artistic personality through the use of lines. Line modeling is the most commonly used form of expression in sketching. In addition, line-surface combination is also one of the common forms. Sometimes adding some light and dark tones at structural transitions can increase the expressiveness of sketch art and make the atmosphere of the picture more varied and rich. In addition to the above two forms, pure light and dark sketches are less common. Regular practice of sketching can enable us to quickly grasp the basic structure of the human body and skillfully draw the dynamics and expressions of characters and various animals, which will be of great help in creating composition arrangements and organizing plot content. Ten taboos in creating multiple comics include poor drawing skills. As mentioned above about the relationship between "walking" and "running", painting friends are reminded to pay more attention to basic skills practice to avoid some imbalances in proportion, people are not similar to things, or even the situation where writing is substituted for painting; 2. Avoid ten people at the same time. That is, the painting skills are good, but unfortunately he only specializes in the face of a certain character, and can only draw "one face", so the faces of the characters in the painting are very similar, and even the only difference between men and women is the length of their hair; personality. That is to say, the character traits of the protagonist and supporting characters are not obvious, outstanding, and distinct. The characters in the novel have only beautiful faces, and even the soul and character are buried. As someone said, "a flat image"; four avoidances are rough production. The artist's painting skills are very good, but he usually does not pay attention to the enrichment of the content of the painting and the practice of production, which results in unclean images, unclear light and shade, confusing grids, neglected backgrounds, and misuse of screens and papers. Five avoidances: sameness. That is to say, the painting skills and production are good, and there are no inferior phenomena mentioned above. However, the writing and thinking are confusing, and the plot is similar to many modern works. As a result, the story line is boring and monotonous, and it is imitating famous works. Because of the above phenomenon, the authors do not believe in their own talents and have no confidence in being able to create a good story independently. As a result, they have turned from "borrowing" to "plagiarizing" famous works. This is not conducive to the development of new multiple comics and will only reduce the number of readers. Our inspiration and creative enthusiasm actually increase our dependence. Qi Ji has no plot. Looking at the above two points, the fundamental reason is that many new members are not very creative. Although they have basic skills, their works are just "vases" with no plot and empty content, making the works lifeless. The eight taboo plots are monotonous. That is to say, although it has a storyline, the single plot is monotonous, there is no climax, and it lacks watchability. It is either a "warrior defeats the hegemon" or a "saint subdues the demon" type of monotonous story; Jiuji has no center. Although the work has a plot and a climax that attracts people to the holy level, it leaves people with little aftertaste after reading it and makes them confused. ? Ten taboos are off-center. It feels like something is wrong, it sucks! ! ! !

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