Ltd. - Manga Historical Characters (2013) PDF

Manga Historical Characters Chapter 01 Genghis Khan
Chapter 01 Genghis Khan

Software Used: Photoshop
Introduction
My name is Patipat Asavasena and Im a
freelance artist living in Bangkok, Thailand. Im
really influenced by Japanese manga. You can
visit my website www.asuka111.net to see
my work in full. In this tutorial Ill show you the
process I used to create my image of Genghis
Khan in a manga style.
I believe manga is a brilliant way to draw
characters in a simple format, with more of a
cartoon-like quality to them. Most of the manga
art books out there have already explained the
best technique for drawing a really good manga
figure. However I still recommend that you
learn the fundamental skills such as anatomy,
realistic drawing and tonal value. If you dont
have a solid foundation to your image it cannot
be improved. Theres no shortcut, so keep
practicing and be patient!
Designing the Character

To do a manga illustration you should do some
research before you start. Its really easy to find
some good resources on the internet. I love to
look at reference books about the subject too.
After Id done this I was able to create a digital
scrapbook from resources and information I
found, and I used it as a reference sheet for my
design (Fig.01 02).
Now and again I love to work on impulse. I like
to use my own inspiration, or you could call
it an improvisational method. Unfortunately I
cannot do this when Im working with a client
as it may not meet their personal expectations.
This is why I need to come up with a rough idea
beforehand that the client is happy with. Only
then can I move on to the next stage.
also have to think about design fundamentals,
To design the composition for this image I used
Planning the Composition
such as the value contrast and focal point. I try
a small thumbnail sketch to visualize my idea.
Then I have to think about the composition
to come up with a simple design, because it
I imagined the overall canvas and then quickly
of all the different elements in the image. For
gives a clear idea and readability of the image to
sketched it out on paper. I took me roughly five
example, characters, backgrounds and props. I
the audience.
minutes to create each sketch. I was able to
www.3dtotal.com
page 5
Chapter 01
Manga Historical Characters
take a break and come back to develop some of

my favorite sketches further until I came up with
a great idea (Fig.03).
Refine the Thumbnail

You can see that I chose the thumbnail sketch
I liked the best. I turned it into a digital format
using Photoshop. I enlarged the thumbnail
to fit it to my canvas size (A4, 300dpi). Still
keeping it as a rough sketch, I started to refine
it. The digital medium is great for editing! I tried
experimenting a lot. I like tweaking color, scaling
and transforming layers and color overlaying. If I
save multiple versions then the client has lots of
options to choose from (Fig.04).
Rough Sketch
I then decreased the thumbnail layers opacity
and created a new layer on top. I developed
the image into a more defined rough sketch for
inking by drawing on the top layer. Its a bit like
tracing on a light table (Fig.05).
Inking
I would highly recommend using a pressure
sensitive brush. I used a default Hard Round
brush (10 15 pixels in size) to do the inking.
You may have noticed that I used various line
www.3dtotal.com
page 6
Chapter 01
Manga Historical Characters Chapter 01 Genghis Khan
weights to give depth to the image. I also did

some hatching to create the tonal shading effect
and texture (Fig.06 07).
Canvas Preparation
Next I created the layers for a character in the
foreground, a flag in the middle ground and the
mountain and sky in the background. I used the
Lasso tool and Fill command to fill the area of
each layer with a color. I tried to make sure that
each layer had different tonal values to give the
image a sense of depth. I arranged the lower
value (the darker area) in the foreground and
higher value (lighter area) in the background.
This developed a backlighting effect and brought
a more dramatic mood to the image. Then I
used a soft brush to overlay the simple color on
each layer to match the thumbnail (Fig.08 09).
Tip: Turn on Preserve Layer Transparency
to make sure that you can only paint on the
opaque area of that layer.
Painting the Background

Now I could start to work on the background
layer. I found some good reference images from
my own personal photos, but I didnt just copy
and paste them into my canvas. With reference
photos I find it helps to put them on a secondary
monitor or a notice board so I can keep referring
to them as I paint.
www.3dtotal.com
page 7
Chapter 01
I didnt worry about the flag and mountain layer

as much because they only had a small area
in the canvas. I tried to maintain a good tonal
value throughout and kept slightly less contrast
between these layers. Both had a higher
contrast than the character in the foreground to
make sure they looked separate and to show
depth. When Im painting a new image like this
I zoom out to see the whole thing and compare
it to the thumbnail. This allows me to make sure
I havent developed the image in a different
direction to how I had previously planned.
Painting the Character

Again I tried to match the overall image to the
thumbnail as I painted, but also had some
flexibility to change or add some extra details.
For example, I changed some parts of the
characters costume color to a slightly bluer hue.
I also added some minor detail to the armor so it
looked slightly damaged (Fig.10 14).
Touch-up
At this point I created some adjustment layers
so I could do some fine-tuning (e.g., curves,
brightness and contrast, color balance etc.).
This is a non-destructive method of editing an
Summary
provided you with some inspirational ideas or
image and allows you to come back to it later
Finally, my version of the great Genghis Khan in
helpful information. I encourage you to create
and change or remove some of the adjustments.
a manga style was finished! This took me about
your own masterpiece. Thank you very much
You can see this in Fig.15.
10 to 13 hours (Fig.16). I hope this tutorial has
and I hope to see you again in the next tutorial.
www.3dtotal.com
page 8
Chapter 01
Patipat Asavasena
For more information please visit:
http://asuka111.net/
Or contact them at:
digiemo@gmail.com
Manga Historical Characters Chapter 02 Joan of Arc

Chapter 02 Joan of Arc
Introduction
In the previous article I told you about the
overall workflow that I use to create an image
and I also demonstrated a little bit of character
design. This time I will look more specifically at
the techniques used by character artists and
how to draw something in a manga style. The
character that I will be looking at in this tutorial is
Joan of Arc.
Before starting the actual image, I will introduce
you to the technique I use to draw a character in
a manga style.
Anatomy of a Human Skull

Anatomy is very important of course, so I begin
by drawing an accurate human skull (Fig.01). It
is really helpful if you can find a real skull or one
that you can use as a reference when drawing.
If you cant get one, you can always search for
multiple references on the internet.
By studying the skull you will realize that it can
be broken into two larger parts: the skull and the
jaw bone. You can see in Fig.02 03 how these
larger shapes can be adjusted and simplified to
create a mange-style head shape.
This whole process can be simplified further
systematic. You can see how you can create the
When you are drawing you should always think
still to make our process more practical and
shape of a head using simple shapes in Fig.04.
about volume unless the character is going to
www.3dtotal.com
page 11
Chapter 02
be colored or painted in a flat way. Check your

character sketch to see if the forms look good by
flipping the image horizontally. You may find that
there is quite a big difference when you do this
to the image and that you spot quite a few little
errors. If you draw on paper you can flip your
drawing by turning your paper over and holding
it up against a window so you can see your line
work through the paper. To flip the image in
Photoshop use Image > Image Rotation > Flip
Canvas Horizontal (Fig.05).
Vary the Character

You can created multiple styles of faces using
this technique by adjusting the shape of the
jaw bone and other features, as you can see
Thats all the advice I can give you for drawing
and study the human figure as it will really help
in Fig.06. You can find inspiration to help you
a face in a manga style. It sounds simple,
you create a good character. Once you have a
do this by observing real people around you,
but it takes a lot of time to become efficient
good understanding of how to draw anatomy
or by drawing people in life drawing classes or
at using this particular process. I recommend
you can apply it to a lot of different styles and
anywhere else you can practice.
that you draw from life as often as you can
techniques.
www.3dtotal.com
page 12
Chapter 02
Manga Historical Characters Chapter 02 Joan of Arc
Start with a Concept

I always start every concept by gathering
references and other information. When I
have got an idea of what I would like to do I
start designing the character by creating a set
of thumbnail designs. It is useful to get extra
information about your subject matter as it will
help add story to your image. I found out that
Joan of Arc was a French heroine who claimed
that she was receiving direction from God in
her role as a French military commander as she
battled against the English. This made me think
of keywords like a religious messenger or a holy
knight (Fig.07 08).
Composition design
I chose a symmetrical composition to express
the religious theme as this is common in that
kind of art. To continue the religious theme I
used common religious colors like red, gold and
white. You often see these colors in the images
that hang in churches and cathedrals. In the
background I intended to show part of a glowing
Coloring Technique
will expand outside the edge of my sketch, but
character, which was supposed to symbolize
I chose a different coloring technique to last
this doesnt have to be a bad thing. Little things
God leading the way (Fig.09).
time. This technique is similar to a watercolor
like this will make an image look less digital and
technique. By adding layers of paint in Multiply
more like a traditional painting (Fig.10).
In the case of this character I also got inspiration
mode I simply increased the tonal value of the
from Milla Jovovich who played Joan of Arc in
desired areas. When I use this technique I dont
By swapping between a paintbrush and the
the movie The Messenger.
create a layer mask, which means some color
Eraser tool you can achieve soft blending quite
www.3dtotal.com
page 13
Chapter 02
quickly. This can be done using three simple

steps (Fig.11 12):
Create a new layer to paint on
Apply the shade and color with a hard round
brush
Change to a soft eraser and delete the
sharp edges as required.
Armor and Metallic Items

To create the armor, I used a technique where
I use the Lasso tool and gradient fills to quickly
create shading with soft blends on hard, mainly
flat surfaces. This technique will leave you with
a very clean-looking metal effect that will need
to be painted over with a textured brush to
make it look more believable. I also change the
color hue form time to time when doing this as it
provides some natural variation (Fig.13).
This technique can be explained in four simple
steps:
Lasso selects the desired area.
Use the Gradient tool to fill the area using a
mid-range opacity.
Continue to the next area; you dont need
to deselect
Paint over the areas that should still be
selected to add some texture.
God Light
The God-like character was in the background
and I didnt want him to compete with the main
character too much. I kept the overall tonal
white. By using this method my painting stayed
value gray, but also put some white area around
rich looking and also felt naturally illuminated.
the hands so it contrasts with Joans face
Minor Detail
(Fig.14).
After I had finished building up the shade
www.3dtotal.com
There are some details and a little bit of hue
with a Multiply layer, I flattened all the layers
variation even in the white light. If I had painted
and painted on a new layer on the top using
it a pure white color then the picture would look
a normal round brush and some textured
very dull, so I used a complimentary color (light
brushes. I then continued to add minor details
blue) combined with the light yellow and pure
and clean up messy areas until I was satisfied
page 14
Chapter 02
with the overall image. I also did some minor

adjustments using Curves and Color Balance.
Final Thoughts
Thats it for Joan of Arc. It was fun to use so
many techniques on one image, and I hope they
prove to be helpful to you too (Fig.15).
Patipat Asavasena
Web: http://asuka111.net/
Email: digiemo@gmail.com
Manga Historical Characters Chapter 03 Cleopatra

Chapter 03 Cleopatra
Introduction
For this tutorial I was presented with the task
of painting the charming and beautiful queen of
Egypt, Cleopatra, in a manga style. As you will
see, I took a painterly approach to this painting,
whilst trying to achieve the look of oil paints.
This challenge created some unexpected results
and also took much more time than usual.
Idea and Concept

Although I didnt spend time working on
sketches or thinking about the composition, like
I did in my other tutorials, I did have to think
about the direction I wanted to take the image
in before I got started. If I hadnt set myself a
specific goal, I might just have continued to paint
without really getting anywhere. So to start with I
had a good think about the concept.
I wanted to illustrate Cleopatra and capture
how attractive she was in a portrait painting.
I thought hard about her posture, silhouette
and the lighting scheme. I spent quite a lot of
time thinking before I started doing anything in
Photoshop.
Preparing the Canvas

To begin with I started to randomly paint onto an
A4 size canvas at 300dpi with some brushes.
This process helps me to warm up and it also
makes me think about interesting textures.
When I was happy to get started I used a
large round brush to sketch the character and
color scheme (Fig.01 02). I also used some
photo references to help inspire her costume.
Finally I used a small round brush to refine the
detail, add the eyes and paint in some rim light
(Fig.03).
Adding Color and Light

I added a saturated orange color for the light
in the background and a saturated dark red on
the character to create a subsurface scattering
effect (Fig.04). If you hold your hand up to the
www.3dtotal.com
page 17
Chapter 03
light you will see a good example of this effect,

and without it skin doesnt look believable.
I added a HSV adjustment layer with zero
saturation on the top layer. This enabled me to
quickly check the tonal value of the image. I was
able to quickly hide or unhide the layer to swap
between color and grayscale without having to
convert the entire canvas to grayscale mode
(Fig.05).
Refining
The next step was to paint over Cleopatras
headdress and arm to refine the detail and
volume. I also added a complimentary color
(grayish blue) to the reflection of the headdress
(Fig.06). I wanted to make her clothing seethrough at first, but I changed my mind at this
point and decided to do something a little more
conservative.
Changing the Pose

After adding a rough background I just realized
that the composition had too much empty
www.3dtotal.com
page 18
Chapter 03
Manga Historical Characters Chapter 03 Cleopatra
space, so I decided to change the characters
brushes to achieve the same effect in older
pose to support it (Fig.07). To do this I created a
versions (Fig.08).
new layer, and sketched a left arm and painted

it. After doing this I flipped the canvas a few
Enlarging the Canvas
times and noticed some errors in anatomy. To
When the overall image became clear I
fix these I used the Lasso and Free Transform
enlarged the canvas to 11 x 15 inches size.
tools to select, copy, resize and move them into
The result of this was that the image looked
the correct place. This method only works when
blurry, so I continued to refine the detail even
you are correcting minor errors. If you come
more, especially at the focal points like the face
across a major error you will need to repaint the
and hands. This method helped to create more
incorrect part.
contrast between the blurry area and the focal

area (Fig.09).
Blending with the Mixing Brush

The next step was to use the Mixing Brush tool
Details
with the Flat Bristle brush to quickly blend the
I find it quite a lot of fun to work on the detail.
skin and cloth. I didnt want the brush to feel too
I keep panning around the image and spotting
smudgy so I set the wetness to around 30-50%.
details and refining them. The face is the most
This feature is only available in Photoshop
time-consuming area for obvious reasons. I
CS5 or higher, but you can combine various
added a red/orange gradient to a Multiply layer
www.3dtotal.com
page 19
Chapter 03
over her face to mimic the look of make-up.

Once I had done that I used a fine brush to
paint further detail such as eyelashes, eyelids
and highlights into a Normal layer. At this point I
was happy with the character and could turn my
focus to the background (Fig.10).
The Background
I used Oil Pastels and a soft airbrush to paint
randomly into the background until I created
an interesting texture (Fig.11). I then added
some cracks, edges and glyphs to make it look
like there was an Egyptian stone wall in the
background. As for the foliage I used a Mixing
brush with a small real bristle to quickly paint
them. I also added the butterfly to the image
background. When I had done this the image
anything goes wrong you can always roll back
to add a mystical feeling (Fig.12). At this point
finally felt done (Fig.13)!
to a previous version so you dont need to start

from a blank canvas again.
it felt like the image was done, so I left it for a

while, and planned to look at it again later with
Final Thought
fresh eyes. When I did look at it again I was
Using an improvised approach is about settling
Personally I like to clearly plan everything before
dissatisfied.
on a direction and going with it. The good thing
I actually get started because I dont like facing
about this is that you work instinctively, which
frustrating problems that waste my time later in
Revision
sometimes causes unexpected results. The
the process.
I think the thing that bothered me was that the
downside is that you have to deal with the
image lacked a sense of depth. I felt that the
unexpected problems too. I used to have to
Patipat Asavasena
fuzzy, unrefined background that I had in an
scrap a lot of my work because of this.
earlier stage looked better. Because of this I

had to repaint the wall area again with a soft-
If you do employ this technique make sure
edged brush, and add a few lighter tones in the
you occasionally save your work, because if
www.3dtotal.com
page 20
Chapter 03
Manga Historical Characters Chapter 04 Helen Of Troy

Chapter 04 Helen Of Troy
Introduction
This time I would like to guide you through
the creation process of my manga version
of Helen of Troy. This tutorial will show the
common approach I take when it comes to
manga painting, which I think has efficiency and
offers flexibility for editing. I hope you will find
something useful in this tutorial lets begin!
Concept and Theme

The story of Helen of Troy is about love and
conflict. She is the reason for the Trojan War,
between the Greeks and Trojans. According
to the story, Helen was the most beautiful
woman in the world. She married Menelaus,
who became the king of Sparta, but Paris, a
handsome young prince from Troy, grabbed her
and fled Sparta while Menelaus was not there.
This was the event that triggered the war.
With regards to the theme, I wanted to portray
the charm of Helen and the conflict between the
men in her life in this illustration.
Composition and Design

I sketched some composition design thumbnails.
These drawings were just for exploring my
ideas, so they didnt need to be detailed. Then, I
chose one design that I liked for the next step. I
also nailed down the design of Helens character
and her costume before I moved on (Fig.01).
Character Pose
I feel more comfortable working on paper than
in the digital medium; I tend to work faster that
way. So, I stuck with the pencil and paper first
and imported the sketch to the computer for
editing later.
I drew some more small thumbnails while I
tried to come up with a graceful pose for Helen.
Rough sketch
them. After everything was done as planned, I
When Im trying to work out a pose, I often try
I created an 8 x 12 inches canvas at 200dpi and
printed it out on A4 paper (Fig.03).
the pose myself in front of a mirror. Its a very
imported the sketch. Then, I transformed the
useful practice if you want to understand poses
sketch to match the thumbnail in the previous
Clean Up
clearly because its easy to overlook some minor
step. After that, I created a new layer and
I taped a blank piece of paper to the print-out I
details (Fig.02), such as how the arms twist or
roughly drew additional details. Finally, I flipped
made in the previous step, and then used a 2B
the tension in the muscles.
the image to check it for any errors and fixed
pencil, sharpener and draft table to clean up the
www.3dtotal.com
page 23
Chapter 04
rough sketch. Its quite an old school method,

isnt it? This step took me about 2 hours and 30
minutes. Finally, I scanned in the cleaned-up
drawing and imported it back into Photoshop
again. When you do this, remember to make
sure you increase the resolution to 300-350dpi
for a high quality file (Fig.04 06).
Digital Clean Up
I created an 8 x 12 inches canvas at 300dpi and
imported the drawing from the previous step into
a new layer. Then, I selected the Curves tool
from Image > Adjustments > Curves to increase
the contrast of the line art, and used the Eraser
tool to remove odd black dots that were caused
by my scanner (Fig.07 08).
Changing the Line Art Color

I changed the color of the line art, for a softer
until the line art was dark red. I also made sure
Then, I roughly put some colors down, playing
the Colorize checkbox was checked (Fig.09).
with the layer blending mode and insanely

tweaking the color with the Adjustment tool, then
look, by choosing Image > Adjustments > Hue/
Color Scripts
Saturation, then increasing the Lightness value
I duplicated the current canvas to a lower
two or three color scheme variations, then I pick
to 8-10 approximately, and scrolling the Hue
resolution file by choosing Image > Duplicate.
one and use it as a reference (Fig.10).
www.3dtotal.com
before saving it as a new copy. Usually, I create
page 24
Chapter 04
Manga Historical Characters Chapter 04 Helen Of Troy
Setting Up the Layers

Back to the original canvas, I created a layer
for each element in the image: skin, hair, cloth,
throne and background. Then, I used the Lasso
and Fill tools to fill each layer with a solid color
according to the color script Id established
earlier (Fig.11 12).
Tips: If you use a Wacom Intuos4 tablet,
you can perform Lasso/Gradient switching
quickly by using the customized radial menu.
This technique can boost your working speed
effectively. I like to put my common shortcuts in
the radial menu (Fig.13).
Rough Shadow Details

I used a large Flat Bristle brush to roughly paint
the shadow. I didnt use the small-sized brush
because I wanted to make sure I didnt focus
on the details first. I continuously reduced the
brush size as I progressed to further steps.
When youre painting, its important not to forget
to check the Preserved Transparency checkbox
for each layer before applying the paint. This
means that you cant apply the paint on the
transparency area, so the effect is the same as
layer masking (Fig.14 15).
Skin Painting Technique

I created a new layer on top of the skin layer
and create a clipping mask by pressing Option +
Cmd + G (Ctrl + Alt + G in Windows.) Then, I set
the layer blending mode to Multiply and started
to apply a light orange color with the Normal
Round brush. Finally I merged it with the skin
layer (Fig.16 17).
www.3dtotal.com
page 25
Chapter 04
Finally, I used the Gradient tool with a Soft
destructive editing of the image. This is quite
Round brush to blend the shadows (Fig.18).
useful because you can come back to revise the
Over-painting
When I was satisfied with the overall look, I
flattened all the layers and then over-painted the
image later. But, if you use the tools in Image >

Adjustments, you cant go back to the original
file anymore (Fig.23).
entire image (Fig.19). This is a time-consuming
Final Thought
step, but it increases the quality of work
And the image was done! I hope you enjoyed
significantly. I often begin with the facial area
this tutorial as much as I did. I spent about
because its the main point of interest. Spending
twelve hours on this art work, and Im quite
a good amount of time on the face is worth it.
satisfied with the final result.
Fig.20 22 show the way the image changed

during the over-painting process.
Adding the Final Touches
Keep up the good work and Ill see you next

time.
After I added a lot of minor detail, I created
Patipat Asavasena
some adjustment layers, like Color Balance,
Curves and Brightness/Contrast etc., for non-
www.3dtotal.com
page 26
Chapter 04
Manga Historical Characters Chapter 05 Geronimo

Chapter 05 Geronimo
Introduction
Welcome to the last chapter of this manga
painting tutorial series. This time Im going to
be demonstrating the workflow and techniques
I use to create a manga version of the famous
Geronimo. I hope you will get some valuable
ideas from my approach and that you can apply
them to your own process.
Before we start I would like to tell you about
Geronimos background. Geronimo was a Native
American warrior and leader of the Apache tribe.
Actually, Geronimo was a name that was given
to him during a battle with Mexican soldiers. His
real name was Goyathlay. He fought against
Mexico and the United States for several years
which shows his experiences. His costume
draw two or three additional viewpoints of the
to protect his homeland from the expansion
is inspired by the Civil War period and his
same pose and then select the one with most
of those two countries. He died in 1909 from
weapons are a rifle and a knife (Fig.01).
impact for the next step (Fig.02).
pneumonia. Now, lets begin the tutorial.
Draw Thumbnails
Create a Rough Sketch
Design Concept
I draw many small thumbnail sketches in order
Usually, I like to work with pencil and paper
I begin with sketching Geronimos character in
to explore various composition options. I initially
then scan the rough sketch into digital format
my sketchbook. Geronimo was a skillful warrior,
come up with some dynamic poses for the
later, but this time I will use the iPad to develop
so I decide to choose a muscular figure for him.
character, because I want to portray the sense
the rough sketch. First I use the iPad to take a
Also, his body has scars from many battles,
of a battle scene. After the pose is chosen, I
photo of the thumbnail sketch and import it into
www.3dtotal.com
page 29
Chapter 05
Chapter 05 Geronimo
the Procreate app (or you could use another

drawing app, like SketchBook Pro, Brushes,
etc.) This app is capable of working in layers
same as Photoshop. Next I create a new layer
and clean up the thumbnail. I export it via iTunes
or email when it is done (Fig.03 06).
Clean up the Sketch

I create a 300dpi A4 size canvas in Photoshop
and import the rough sketch from the previous
step. Then I transform it to fit the canvas with
the Free Transform tool (Cmd + T or Ctrl + T).
I use a 4px Normal Round brush to refine the
details of the character in the new layer. Finally,
I remove the old, rough sketch layer when I
finish the clean-up sketch (Fig.07 08).
www.3dtotal.com
page 30
Chapter 05
Manga Historical Characters Chapter 05 Geronimo
Plan the Tonal Value
Overlay the Color
I duplicate the current canvas a couple of times
Back to the original canvas, I create Multiply
for tonal value design and color script. I roughly
layers on the top, and then use a large Bristle
paint the image in grayscale, so I can decide
brush to overlay the color according to the color
where I should put the dark and light tones to
script in the previous step. Actually, I like to open
allow for the best readability, and where the
the color script file side by side, and directly
focal point of the image should be. Then, I save
sample the color from it with the Color Sampler
the final design as a reference for later steps
tool (Opt + left-click or Alt + left-click)(Fig.12).
(Fig.09 10).
Rough Painting
Create a Color Script
I flatten all the layers and select the Flat Curve
On another duplicated canvas, I roughly paint
Thin Stiff Bristles brush from the Brush Presets
with a large brush and try various color palettes
windows. Then, I roughly paint over the entire
to see which one is the most interesting. By
image. I use a brush size between 10 and 45px
doing some planning first, it helps you to
for painting the small details. I will use an even
dramatically decrease the time for trial-and-
smaller brush for super-fine details later, but
error. Dont forget to save the final color script
Im only focusing on the overall image for now
for later reference (Fig.11).
(Fig.13).
www.3dtotal.com
page 31
Chapter 05
Chapter 05 Geronimo
Brush Stroke Technique
Refine Small Details
This time, I want to create the impression of
Next, I select the Normal Round brush to refine
brush strokes, so I decide not to overuse the
the tiny details, especially in the focal area,
soft blending like in my previous tutorial. I
which, in this case, is the characters face. I use
carefully align my brush strokes to the surface
a 2 to 5px brush size and enable the Opacity
line, as if Im sculpting the character. The
Pressure Sensitivity option (Fig.18).
character will look more realistic this way.

Furthermore, it will also have a richness of
Add Flowing Particles
texture from the brush strokes (Fig.14 15).
I create a new layer and randomly paint solid

blobs of color. Then, I select Filter > Blur >
Clean up the Background
Motion Blur and adjust the Distance value to
I fix the composition a little bit by expanding
250. I repeat this step three times with different
overuse this setting as you can blow out the
the canvas with the Crop tool, and then the
sized color blobs and Distance values. These
details in highlighted or shadowed area. Thats
character fits well in the frame. After that, I
will create the illusion of depth (Fig.19).
it; its finally done (Fig.20)!
reflection, etc.,) and keep refining those
Final Touch
Final Thought
elements until Im satisfied. I use the same
I keep painting here and there until I feel like its
I hope you enjoyed the tutorial and found it
brush from the previous step to handle this task
done. Then I flatten all the layers together and
useful. I tried to explain my process as best as
(Fig.16 17).
do a little bit of Brightness/Contrast adjustment
I can, although it might not be perfect. If there
with an adjustment layer. Be careful not to
are any mistakes, I deeply apologize to you. I
add the background elements (trees, water
www.3dtotal.com
page 32
Chapter 05
hope you get a spark of inspiration, creativity

and insight from reading it, as well as my past
tutorials.
Keep up the good work!
Patipat Asavasena
Learn to Draw, Color and Design Characters

Beginners Guide to Creating Manga Art explores the topic of manga art, starting from basic character
design and progressing to full color images. Industry greats including Steven Cummings and Gonzalo
Ordoez open a window into their world and present tutorials covering everything from drawing features,
anatomy and expressions to designing clothing, perfecting poses and coloring characters with a variety
of traditional and digital artistic tools. Bursting with knowledge and brilliant artwork, Beginners Guide to
Creating Manga Art is an unmissable title for anyone wanting to learn how to capture that classic
manga style.
Publisher - 3DTotal Publishing | Softback/Slipcase - 297x210mm | Pages - 208 | 15.99 - (Approx $24.99)
Visit 3dtotal.com/shop to see our full range of training products |
In this eBook series our artists will be teaching us how to use information about tribes from the past and present
to design characters. The artists will gather references about their chosen tribal warrior and then translate this
information into a dynamic character illustration. Character design is huge in both the game and movie industries
and this eBook is a great guide as to how to design a character from a brief.
Original Author: 3DTotal.com Ltd | Platform: Photoshop | Format: DOWNLOAD ONLY PDF | Pages: 35
Pin-up art has been ever-present in digital art forums for years. We are used to seeing it in many different styles
and covering many different genres. With this new eBook, 3DTotal can proudly announce their definitive guide to
pin-up art. Pin-up legend Serge Birault will guide us through the different styles and influences in pin-up art, as
well as giving an insight into the fantastic painting techniques he uses to create his outstanding images. If you
like pin-up art this is the eBook for you!
Matte painting is becoming more and more important in the CG industry. The backdrops of some of the most
epic scenes in films have been created by matte painters who have used the techniques described in this eBook.
These detailed tutorials will talk you through an entire matte painting process, from creating a concept for your
scene to the integration of photo elements and textures. This eBook will not only demonstrate the process for
creating an image, but will also provide you with a catalogue of tips and techniques such as how to change the
time of day in your scene. This is a must for any novice or experienced matte painter.

Ltd. - Manga Historical Characters (2013) PDF

Încărcat de

Informații document

Descriere originală:

Titlu original

Drepturi de autor

Formate disponibile

Partajați acest document

Partajați sau inserați document

Opțiuni de partajare

Vi se pare util acest document?

Este necorespunzător acest conținut?

Drepturi de autor:

Formate disponibile

Ltd. - Manga Historical Characters (2013) PDF

Încărcat de

Drepturi de autor:

Formate disponibile

Manga Historical Characters Chapter 01 Genghis Khan

Chapter 01 Genghis Khan

Designing the Character

To design the composition for this image I used

Planning the Composition

such as the value contrast and focal point. I try

a small thumbnail sketch to visualize my idea.

Then I have to think about the composition

to come up with a simple design, because it

I imagined the overall canvas and then quickly

of all the different elements in the image. For

gives a clear idea and readability of the image to

sketched it out on paper. I took me roughly five

example, characters, backgrounds and props. I

minutes to create each sketch. I was able to

Chapter 01 Genghis Khan

Manga Historical Characters

take a break and come back to develop some of

Refine the Thumbnail

Manga Historical Characters Chapter 01 Genghis Khan

weights to give depth to the image. I also did

Painting the Background

Chapter 01 Genghis Khan

Manga Historical Characters

I didnt worry about the flag and mountain layer

Painting the Character

provided you with some inspirational ideas or

image and allows you to come back to it later

Finally, my version of the great Genghis Khan in

helpful information. I encourage you to create

and change or remove some of the adjustments.

a manga style was finished! This took me about

your own masterpiece. Thank you very much

You can see this in Fig.15.

10 to 13 hours (Fig.16). I hope this tutorial has

and I hope to see you again in the next tutorial.

Manga Historical Characters Chapter 02 Joan of Arc

Anatomy of a Human Skull

systematic. You can see how you can create the

When you are drawing you should always think

still to make our process more practical and

shape of a head using simple shapes in Fig.04.

about volume unless the character is going to

Chapter 02 Joan of Arc

Manga Historical Characters

be colored or painted in a flat way. Check your

Vary the Character

Thats all the advice I can give you for drawing

and study the human figure as it will really help

in Fig.06. You can find inspiration to help you

a face in a manga style. It sounds simple,

you create a good character. Once you have a

do this by observing real people around you,

but it takes a lot of time to become efficient

good understanding of how to draw anatomy

or by drawing people in life drawing classes or

at using this particular process. I recommend

you can apply it to a lot of different styles and

anywhere else you can practice.

that you draw from life as often as you can

Manga Historical Characters Chapter 02 Joan of Arc

Start with a Concept