Welcome to this commented time lapse of the drawing of ICI CO is a gem of a school girl.
You can see me starting right out there with the proportions measuring the proportions out and getting
in the forms dynamic shapes and dynamic forms and building out the character.
Of course when you're doing manga so proportions and the stylistic elements are everything it really
is a nuanced style.
It doesn't have set rules for everything and some things bend the rules like the eyes being graphics
more like graphics and stickers then 3D forms like the münze also being more like graphics and 3D forms
but of course only in some instances where the math can sometimes be 3D extreme side views so very much
a nuanced style.
And I've done the sort of basic structural rough by this point in time and am now moving on to doing
a little bit more of a refined rough style the rough stage.
I initially drew her eyes a little bit too low down.
So the great thing with digital is having to redraw the odds or just simply move them up a few millimeters.
And if you are working on paper of course you're going to have to raise those eyes and just redraw them
a little higher.
But otherwise the fundamental theories remain the same between mediums.
I went for a very typical Japanese schoolgirl look with the college shirts the bow or the ribbon that
is sometimes on the shirts and Jersey.
And of course the skirt with cleats
and you'll see me flipping the canvas there just to get a good view of what the image looks like left
and right.
Because you are getting very used to looking at the image at one particular angle and if you're working
traditionally the way to do that is to really use a mirror and you look at a piece in a mirror and it
gives you a different perspective.
Look you can see the image in reverse and it helps you to spot some flaws that you didn't notice because
your arm is getting used to the image.
I wanted to have a fun and joyful pose a very cute pose.
So I thought well maybe she is on her way to school.
Maybe it's the start of a new term.
She's really excited to see her friends again.
So that was really the spirit of the pose and spirit of the character.
She's very spunky and upbeat and a very happy character.
And so here you see me adding a little bit of extra details a little bit of extra outfits and accessories
and things just to flesh out her look.
I initially drew the rough design of her left shoe paint but I realized that wasn't really possible
so I changed in the Rifan designed to just be normal.
I stood up and did a few poses myself and looked at how my shoe bent and I was in that pose.
So that's the beauty of having the rough stage and the refined stage that you can go in and change things
in the refined stage if you need to.
And if you feel that something in the rough stage has been messed up a little bit
but typically do try to get everything right in the rough stage it makes Rifan stage a lot faster and
a lot easier to do.
So what I'm doing now is lightening the line on sort of the rough drawing and I'm going in with a two
pixel brush.
This is an A3 size canvas and I'm going with it to pixel ink brush of Russia and the brushes are available
and cost me additional resources.
And what I'm doing is trying to be as loose as possible and effectively one stroking most of the lines
to get a very smooth quick loose and dynamic line.
And I'm not going in refining the piece.
Typically it's best to always make sure the characters head face and here are done first and done well
because it's really is the main focal point of the composition of character pieces.
And if that's done well makes the rest of the piece a lot easier to do.
And a lot easier to really make changes and fixes to the anatomy of the elements of the body if you
know that you've done your very best with a hit in the face the eyes
striving to be very very loose and the refinement of the hair long sweeping lines really using my elbow
and my arm to get those lines nice and smooth and long making sure on remembering to vary the size and
the proportions of each of the strings and
that a little bit of laneways the bottom of than going to Jolan just separated from the
and I'm going in and detering those elements all are choosing
regarding this particular style I found this particular very very appealing.
It's definitely mostly made up by myself.
I have no doubt that it exists in some mango and anime out there.
I really like how glossy that particular design is with the two highlights and a large portion of the
iris itself covered by an abstracted or some polic shadow will also take note the amount of contrast
in the eyes in this piece and in manga pieces in general where the thickest lands in the piece usually
will be in the eyes and the thick of the lines the more black there is in that area the more contrast
there is in that area between the black of the lines and the wall of the page and more contrast draws
the viewers attention to the focal points.
And in this case this is a good thing because the first one is the head
fortunately in this piece the hands weren't too much trouble like most artists struggle with hands even
though I've been drawing them for years.
There really are such complex anatomical elements that sometimes you can really get stuck on drawing
hands and arms and trying to figure out how things look in the in the SO that perspective
but it looks like I had a good win in this instance.
I was keeping the bag design fairly simple the carry bag no strap perhaps and some leather bound at
the top and let you put your books in pretty easily.
So not simple design from the Jersey
you can see how the elements really take into consideration the 3D forms how the drapes sorry the skirt
wraps around the legs how the jersey wraps around the forms of the torso.
This particular illustration I didn't really have any reference for the pose itself.
And it actually turned out pretty nicely although it's not too much of a dynamic as you could take things
a lot for that.
But I didn't want to get too complicated in this particular piece.
You can see me changing the shoes and putting on a normal kind of angle of the shoe rather than having
been left at the bottom to make sense on the foot on the ground because she's a force on two meters
that just didn't make sense on her left leg.
And then for subjects you cuteness had added in the ribbons there in a treat clothing very much like
air being very loose and being very very slow.
Now moving on to the waiting stage doing the glands when necessary filling in a few gaps where I'd missed
important Lund's
And I think I'd realized at my landing stage I'd forgotten some of the details on the jersey so I went
in and quickly drew those in
and apart from thickening up certain lines were necessary.
I then also go in and do a lot of hook as you can see I'm doing it in the here and this is really critical
in this particular stylization Finlands not really using thick line weights to delineate of but rather
using hook shadows to delineate overlaps.
And when you eventually get to a coloring stage with the style of work you'll see the Symmonds really
shine through because you don't have to deal with two thick lines and overwhelming the color of the
piece
and still adding a few line weights here and then a few hooks shadows here and there.
That really is the end of the line waiting.
And I go into the soft soft line effect
and then to end I go and do the eye shading and that is the end of it my.