We've learned about love weights but now we want to understand how we can use this knowledge in a manga
and anime style to create an authentic clean finished drawing and to help us with this.
We have an adventurous manga character here in front of us and the first thing that we wanted to take
note of when we're talking about clean lines and our general line waiting of these stellar characters
is that the lines are typically very very thin.
You can see across this image they really never get too thick except first selected areas where there
are line waits when we're speaking about adding a lot of weight.
We really teams to do it in a very subtle way.
Generally speaking you'll have some line weights around the hair area to typically with a head overlapping
the neck and any other areas that really need some key differentiation so that there isn't confusion
amongst the lines about what is in front and what is behind.
So you'll see a few areas here where half of the lands on his coat of his shirt overlapping his pants
as well as the edge of his jacket his cuff here overlapping the bag strap and the jacket as well.
And the most common location really is the hair as well as the head overlapping.
Keep in mind you want to have restraint with Lon waiting in a general sense when we're talking about
Mangga cells.
It's very typical for the line waiting to not really be exaggerated or too sick.
Some styles of course do have very thick glands featuring And of course that's up to you.
But in a general sense the train is to have very thin lines.
And also when you do we're quite thin me it's easier to draw some lines slowly even if they are a little
jagged and they'll still look cool from the normal viewing distance just to look very smooth and very
professional and see when I zoom in here and see that not all the lines necessarily perfect but in reality
nobody is going to be looking very hard and that close at that particular image.
Right from the normal viewing distance which is the 100 percent size of a hair everything looks pretty
clean.
Now something called a hook shading is used quite liberally.
In fact it's used even more than I've used it in this particular piece.
And what is hook shading you may as Hook shooting is a technique where we emphasize the underlying line
almost hinting at a top of shedder that is occurring from the overlapping.
And so what you can see here in the neck area is we have the neck lines here that are being overlapped
by the head.
However at the top of the line we have a triangular top of shape that fades into the thickness of the
line.
Once again another hook shadow here in a sense they're a type of occlusion shedder of course that is
related to lighting and are different encourage you to research it.
But in effect there are a type of occlusion shedder they hint that a small shadow was being crossed
over that area and making it darker.
When you start looking for Hook shading you start seeing it everywhere where many many manga styles
use a lot of hooks shading.
It's a very effective way to differentiate between objects and also help show what is in front and what
is behind like normal line waiting.
So try and use hooks shading when you're testing your own versions of these styles and really consider
it a very useful technique.
You can see how actuating is being used in multiple locations throughout this piece
thicker outlines are sometimes used to really emphasize the outer contours of the shapes.
And in that instance often thinner than Lanza used for in the details typically you don't want to outline
your entire work with a thick outline that's not necessarily against any particular rule.
It's just that it does tend to make the entire piece seem somewhat like a sticker.
Finally a technique called Lines softening is often used to soften very sharp and hard edged lines.
And this is done over the entire piece to create a very smooth look to the work.
And we be taking a look at land softening in the next lesson.
In summary we want to make note of the following.
First off that we want to use phone lines in fact very thin lines if possible as thin as you need to
go before the line can't be seen.
So just draw the lines as thoroughly as possible and allow yourself the freedom to thicken them up as
needed with your line waiting.
The second thing is that when you are doing line waiting it's very subtle line waiting is typically
only done on areas that absolutely needed to help differentiate where the something is in front or behind
if it is otherwise clear then there's no need to add the laneway they thirdly we use a hook shading
quite a lot when we're doing Mango's sult work in a general sense.
That's not a hard and fast rule but a lot of manga styles really use hooks shading
and last but not least we want to avoid thick outer lines because this can make work look very flat
and take away a lot of the three dimensionality that we're going for.
These are the core things we want to remember about how we approach line waiting when we're dealing
with manga and anime self-worth.
I'll see you in the next lesson to learn about lines softening.