How to Draw Anime Hands Holding a Sword

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How to draw manga vol. 6

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How to draw manga vol. 6

1. 1. Hos/ruryW A&ys & sp&eys :::;:::,',:::,::::::::Q Hayashi:.,,,,4,,,4,,. : a,:,,.., t,..,.,- :.., :. :. a::, a....,.t,,,,,,,,1: :, r:a :.,,4,:: 4 a,, t aa aa I .,,,4'::,:.|.t .,:,a,:.:,.'::::' :'.:', / by Kunichika Harada
2. 2. Vol. I : Compiling Characters Chapter 1 Drawing the Face Chapter 2 How to Draw Bodies Chapter 3 Drawing Characters lsBN4-88996-042-2 Vol.2: Compiling Techniques Chapter 1 Background Management Basics Chapter 2 Tone Techniques Chapter 3 Expressing Light and Shadows I5BN4-88996-044-9 rc WD WM frrfiilw tuDtj@' dDwa elav,,tEt f,, I Cwiliry l*hni@s i Vol.3: Compiling Application and Practice Chapter 1 How to Draw lnteriors and Exteriors Chapter 2 How to Draw Machines Chapter 3 How to Create a Short Story MANGA lsBN4-88996-045-7 Vol.4: Dressing Your Characters in Casual Wear Chapter 1 Underwear andT-shirts Chapter 2 Sweatshirts and Skirts Chapter 3 Jackets and Jeans - tsBN4-88996-046-s Special: Colored Original Drawing i (Copic Sketch Pen) Chapter 1 Copic Sketch Pen Chapter 2 Copic Airbrushing System Chapter 3 Try Using Different Painting Materials with lrtrrrrt'i l5BN4-88996-047-3 Distributed by JAPAN PUBLICATIONS TRADING CO.,LTD. 1-2-1, Sarugaku-cho, Chiyoda-ku, Tokyo, 101-0064 Japan Phone: 81 -3-3292-3751 Fax: 81 -3-3292-0410 E-mail: lpt@ptco.co.jp l{Oil/IODRAW L
3. 3. l-fos/ToDRA$/ vol&ne Mafiial Arts & Combat $pofis Fight scenes are difficult, but fighting motions can be found in martial arts. This is because fighting is the stafting point of martial arts. Hitting and Kicking-Karate Punching-Boxing Grabbing, Throwing, and Choking-Judo Hitting with Weapon-Kendo This book contains the basic ideas needed to draw fights or battle scenes and the essence of how to apply them. Please note that the purpose of this book is not to acknowledge or promote violence. lt is a reference book designed for helping people draw more effective comics.
4. 4. HOW T0 DMW MANGA Volume 6: Martial Arts & Combat Sports by Hikaru Hayashi, Supervised by Kunichika Harada Copyright @ 2001 Hikaru Hayashi & Kunichika Harada Copyright O 2001 Graphic-sha Publishing Co., Ltd. First published in 2001 by Graphic-sha Publishing Co., Ltd. This English edition was published in 2002 by Graphic-sha Publishing Co., Ltd. Cover drawing: Kazuaki Morita Drawing and production: Kunichika Harada, Yukihide Kariya, Mitsuo Takada, Chou Jiku Aiari Scenario and composition: Hikaru Hayashi, Go Office Trfle page design: Eiii Co., Ltd. Photographs: Yuji Mori Data collection incorporated by: Keiji Yasui Japanese edition editor: Motofumi Nakanishi (Graphic-sha Publishing Co., Ltd.) English title logo design: Hideyuki Amemura English cover design: Shinichi lshioka English edition layout: Shinichi lshioka English translation: Lingua fr6nca, lnc. (an3y-skmt@asahi-net.or.jp) fureign language edition proiect coordinator: Kumiko Sakamoto (Graphic-sha Publishing Co., Ltd.) All rights reserved. No pari of this publication may be reproduced or used in any form or by any means - graphic, electronic, or mechanical, including photocopying, recording, taping, or information storage and retrieval systems - withoutwritten permission of the publisher. Distributor: Japan Publications Trading Co., Ltd. '1 -2-1 Sarugaku-cho, Chiyoda-ku, T0ky0, 1 01 -0064 Telephone: +81 (0)3-3292-3751 Fax: +81 (0)3-3292-0410 E-mail: jpt@iptco.co.jp URL: http://www.jptco.co.jp/ First printing: June 2002 tsBN 4-88996-082-1 Printed in China by Everbest printing Co., Ltd. 2
5. 5. lntroduction :.:: es are by nature fighting, which is mankind's most basic means of waging wadare. Fights do not .-r: at some predetermined place such as outdoors, on the street, or indoors, The well-known "street ' ;-: is not a match in which the participants put on a uniform, To put it simply, a street fight is a :-,sical altercation between participants wearing street clothes, -.:rics. animations, and other works of fiction contain many fight and combat scenes. There are many ' j-ling techniques that may be found in such works including everything from to vanquishing one's ::rcnent without combat to maftial arts. lt is difficult to draw and film fight scenes, however, because :-: rights themselves are filled with unpredictable movements, Shots that can be turned into cool : -:rres, however, can be found in systematized "martial arts." --e starting point of martial afts is by nature fighting, Martial arts are bodily techniques and knowledge :,:re of the pursuit and research of fighting/warfare techniques. There are many martial arts types and ,?'ations, butthe essence of martial arts is hitting and kicking, grabbing and throwing, and choking, ::ced to this is attacking with a weapon, ln other words, judo, karate, boxing, and kendo are refined ':"rrs 0f street fighting, Not only are these common, popular pursuits learned at school and other places :-: they also possess pictorial beauty and cool movements, As such, they serve as an extremely useful -='erence when rendering "battle" scenes, Kunichika Harada 3
6. 6. Table of Contents Impact & Power .........6 1. Light 2. Locale 3. Sound 4. Characters 5. Masks 6. Close-ups 7, Free-For-Alls Chapter 1 Judo...... ......................20 Stance........ ..............22 Grabbing & Sweeping Hip Throws ..................24 Major Outer Reaping, Circle Throw & Body Drop Throw ........................26 Shoulder Throws & 0ne-Arm Shoulder Throw ...................28 Scarf Hold, Side Four-0uafter H01d........... ,.....30 Upper Four-Quafter Hold, Side Armbar, Sliding Lapel Neck Lock & Bent Arm Lock .........,.........,,31 Judo Uniform ............... ...............32 Aikid0......... ,.............33 Chinese Kung Fu ......34 Judo Contest Area......... ..............35 Chapter 2 Karate... ...................,,.36 Upper Punch & Middle Punch ......38 Upper Kick, Middle Kick & Lower Kick............ ...................40 Roundhouse Kick & Flying Kick ......................42 Various Poses &Walking .............44 Sitting Poses & Running ..............46 Putting on Uniform & Differences Between Judo and Karate Uniforms ....................48 Common Mistakes & Remedies ......................50 Chapter 3 Kendo ......52 Stance (Upper Stance) & Facing Each 0ther (Face-0ff)... ..........,...........54 FundamentalTechniques: Strike to Glove, Thrust to Throat Guard, Strike to Face Mask & Strike to Trunk Protector ................56 Free Practice/Hitting Each Other. ................,,..57 Hitting Each Other - Pushing at Each 0thers Sword Guards .................58 Striking & Feet Movements and Skirt ..............60 Putting on Equipment & Putting on Hip Protector.... ...........62 Putting on Trunk Protector & Waiting after Putting on Equipment Putting on Face Mask & Equipment Sty1e..,....... ................64 Various Stances: Right Upper Guard Stance & Upper Guard Stance, .............. .........66 Lower Guard Stance, Side Stance & Middle Guard Stance Sitting, Readying Bamboo Sword & Putting Sword Away...,..... .,...........68 Striking the Air & Stance .............69 4
7. 7. Walking with Sword & Bowing ...........,...........70 Running & Moving with Practice Wear Practice Wear & Celemonial Skirt Sitting, Bowing & Wiping with Cloth ...................12 Armor: Face Mask, Trunk Protector, Hip Protector & Padded Gloves........ .................14 Trunk Protector & Padded Gloves and Bamboo Sword .......16 Bamboo Sword & Wooden Sword ...................78 Kendo Contest Area........... ..........19 Ghapter 4 Boxing ........................80 Stance & Facing Each Other/Beginning of Fight....... ..........82 Straight Punch/Jab.. .....................84 UppercuVBody 810w...... ...............80 Hook & Loss of Will to FighVKnockdown ......... ..................88 Shoes & Gloves ........90 Trunks & Bandages .....................92 Practice EquipmenVlraining Equipment .........94 Headgear, Mitts, Sandbag, Punching Ball, Double-Ended Punching Ball, Jump Ropes, Medicine Ball, Clappers Ringside Equipment ....................98 How to Draw Line Drawings.... .....................100 Training Equipment ...................104 Barbells, Dumbbells, Bench Press, Exercise Bike, Lat Marchine, Leg Extension Chapter 5 Street Battles ........,..108 Self-Defense ...........,.... .............1 10 Close-Quafier Fighting ..............112 Kicking and Punching & Reverse Spinning Kick............ ......................116 Uppercut & Left Punch ..............120 Low Kick.... ............122 Kicking Poses: Middle Kick/Upper Kick............ ................126 Front Kick, Flying Double Kick & Side Kick........... ...........128 Spinning Kick 1 ........ .................130 Spinning Kick 2 ......132 Spinning Kick 3 ......134 Side Kick, Kicking 0pponent Over & Downward Spinning Kick........... ...................136 Using Scene with Kick and 0pponent Succumbing.............. ...............138 Throws....... ............140 Techniques for lncreasing lmpact of Throwing Scenes ....143 Various Poses of Person Succumbing ............144 Drawing Person Succumbing with a Back Gr0und................ ..............146
8. 8. lmpact & Power 1. Light It creates shadows. It gives weight and a sense of reality to the flesh. It is light that captures that moment. [Commentary] The sense of reality of characters and the thickness and weight ol ihe flesh are created by use of light and shade. Light illuminates all objects including characters and skin. Always fiink about where the light is coming from. There are many krnds of light: sunlight, indoor lights, streeflights, and spoflights. Use the type of light source that best brings to life the situation you want to depict. 0f course, you can tailor the locale and composition of the picture to match the kind of light source you ,'uant to depict. ffechniques] Llaking shadows gray using tone is common. When you want to emphasize the flesh, add shadows to the flesh using diagonal nes. What makes light look most like light, however, is the black ueas. lt is black behind intense, pinpoint light sources like spotlights.
9. 9. lmpacl & Power 2. Locale ln the background is an empty schoolhouse. The protagonist appears with black shadows in tow. Who in the world is the girl waiting for him? [Commentary] The cloud of dust, the necktie streaming wildly, and the fluttering skirt are used to render the wind. Since wind cannot be drawn on a picture, this is how it is rendered. lt has the effect of adding movement and tension to a quiet scene. A schoolhouse or some other building alone is enough to simply indicate a "place," but the addition of wind creates time and drama, transforming an image that "simply explains the situation" into a "locale." flechniques] Using the same type of diagonal line to depict the lower body of fie protagonist and the silhouettes of the characters in the background not only prevents the space from being divided but also expresses the fact that they are all in the same cloud of dust. 0n the contrary, making the legs of the girl in the foreground white enables you to impress upon readers the fact fiat she is "someone" ,'rho differs from the :rotagonist and the srlhouetted men. -ogically speaking, fiis girl should also be a part of the cloud of tust. but it is .ecessary in comics to a ow oneself not do it. -
10. 10. //lt ,//r, lt//t ,rl, t/_ , 3
11. 11. lmpact & Power 3, Sound The roar of the train resonates. Men are in a melee. Breathing, groans, cries, and the sound of bones breaking are drowned out. ICommentary] -';like movies and animations, pictures in comics do not *rve. Thought is given to the locale and situation in order :: give pictures a sense of motion and depth. ln :a.ticular, a battle can be thought of as a "light and s:,lnd show." Various sounds foster pauses in a battle i:C a sense of tension. lt is important to keep in mind a :,,ace that evokes "light and sound" when drawing the : ace/space where a battle unfolds. [Techniques] ::r a melee scene with multiple opponents, draw an ':proaching opponent, a downed opponent, an opponent :e rg punched and kicked, and an opponent who was :c,'rned and is getting up again. These four types of :r:,conents are the minimum requirement for a melee s:.:ne. You can depict an overwhelmingly strong :r:agonist or a protagonist in a pinch by altering this -,nber. 11
12. 12. M, W
13. 13. lmpact & Power 4. Characters A mass of muscle stands towering behind him. The mouth of his expressionless face What vacant eyes staring at? [Eommentary] -'e 'enemy" should basically be large and strong. Nobody rs 3oing to take any delight in the protagonist beating a '-ble enemy. ln order for a battle scene to work, the :,:,oler and stronger the protagonist is, the more you have r :reate an enemy that the protagonist appears unable to :eat. ln that sense, a battle is first and foremost a show. : ernents that draw readers in, keep them on the edge of :err seats, and generate anticipation are first found in two :raracters having a "showdown." The locale and effects ;.round the two battling characters. [-[echniques] -oduce the enemy in par1s. Do not reveal the entire enemy to readers all at once. The reason many villains r,Bear 0n the scene in silhouette is because the "mystery" surrounding the enemy generates fear and tension. -r,s holds true for scenes other than those involving maftial afts. ln addition, try not to expose the face of the *"emy right away by having the enemy wear a helmet or mask, regardless of whether or not it has any actual ;,3nifrcance. Helmets and other similar props are good for creating effects because parl of the face will be :;-,aded. is open. are his 13
14. 14. ,.. ../."'/'- itz:rzl.,- ,lrrzi: ' ---= wr, -.-i
15. 15. lmpact I Power 5. Masks A hood shrouds the face of a man with untold strength. Pervasive fog contributes to the rnysterious atmosphere. [Eommentary] -rse of hoods and masks is one way of conveying the impression of -rstery. People are intrigued by things that are hidden. lt heightens :rrr curiosity. Consequently, hiding things is an indispensable :=":nnique. -Techniquesl r a real martial arts bout, the fighters make their entrance surrounded r1 sm0kg and with illumination in the background. This is because it -a<es them look stronger and cooler. A low camera angle looking up sr,3htly at the fighters will make their giant bodies look more imposing.
16. 16. !mpact & Power 6. Glose-ups Ditferent parts of the flesh move at different speeds the instant an opponent is felled. Though all the movement is fast, some parts move faster than others. [Gommentary] iatfle scenes can be either slow or fast paced depending :n how the moment of the motion is captured. The speed :- punches and kicks is usually rendered by shading :ms and legs with diagonal lines. This is because an :cject moving at high speed is not visible. When stopping i.d drawing one pad, on the other hand, using a close- -l will allow you to carve out an "instant." fiechniques] lnawing shadows in the foreground on the floor under the :art where the protagonist has the enemy in an arm lock, -,r on the floor below the falling body, freezes the action :r- fie instant the enemy is defeated. rrL fit 17
17. 17. :
18. 18. lmpact & Power 7. Free-For-Alls There is a flash of lightening. The fence shudders and the uproar of fie battle is drowned out by thunder. A battle is a sound and light show. [Gommentary] r nafle is an instantaneous movie. lt is a movie on one sheet of paper. lt is not an :*aggeration to say that the overall impression of a batile is determined by a single :;-1. Human beings are brought into relief by the sweat and pain of a fighting scene. *-e intense motion and breathing lying dormant within a picture are given life by -;arsh natural phenomena such as lightening and rain that evoke images of sound rd air. The hard barbed wire and chain-link fence conjure up images of physical _a n --e large outdoor space is full of many elements that bring the picture and the =-ader together such as sprays of water, various sounds, pauses, and tension. --ese elements are especially required in a street fight that suddenly breaks out ,u'tl the participants in their street clothes. The street batfle is one of the most ideal -r;:Jations for creating a cool battle scene. -llcchniquesl 1 'ash of lightening is itself a source of light that is easy to understand. lt is key to .r:ading, which is indispensable to depicting the appearance of solidity and the *-'se of presence of buildings and characters. Making the edges of the fence shine :,-ahasizes the cold peril of the metal and adds to the overall atmosphere of the rEge. 19
19. 19. Judo Make use of judo for scenes of "throwing" and "slamming to the ground." The grappling begins with trying to break the balance of the opponent. The trick is to brilliantly and efficiently dodge the oncoming opponent. Then you want to outsmaft the opponent and throw him to the ground. You can subdue the opponent with a lock if necessary. Let's learn how to draw "throws" and "locks" from judo, the king of self-defense. 20
20. 20. . N'uz ',11 i
21. 21. [Stance] Here the weight is shifted to the back. This is used when you are being careful or when you want to check out the opponent. ! Combatants sometimes strike this pose at the referee's call to commence the contest. It is done to psyche oneself up and intimidate the opponent. I:h J 7 ltt( N fi N, This is a normal stance. The hips will be lower when he is actually ready to battle. $ 22
22. 22. The top of a judo uniform is not that long, so the butt is visible when the arms are moved fonivard. ti ,*S (, Winding wrinkles form around the leg when t leaning forward. I 4) )- 1/// The folds in a judo uniform are big when the arms are raised, forming perhaps two or three, because tm€bth is thick. Draw them using bold lines. 23
23. 23. lGrabbingl Grabbing of the lapel and sleeve can also be used in street fight scenes. Wrinkles form around the places that are being grabbed. 3 - ,--/l ,4 {- I ( l,i r{ N.,* :J )rZ Women usually wear a T-shirt under their judo uniform. Men do not. The goal in judo is to break the balance of your opponent and throw him. The offensive and defensive struggle to try to break the balance of your opponent while maintaining your own can sometimes lead to rather rough pulling back and for1h. i-7 ,,, It 24
24. 24. lSweeping Hip Throwsl During a sweeping hip throw or inner thigh throw, you grab the inner lapel of the opponent with your right hand. The legs of the person being thrown are almost completely vertical. The soles of the feet face the ceiling. Pull the arm and press hips against opponent. Pick up the opponent with the leg. The right hand pulls. Put muscle into it as if slinging the opponent. I Depending on the circumstances when the throw was deployed, this leg may remain in the air after using it to pick up the opponent. The left hand pulls. Step into the opponent in a twisting motion. rl$ffing the leg along the rr*r high of the opponent ,rrir'; -aising it up will result rr i- nner thigh throw. The angle of the opponent's legs after being thrown to the ground will differ depending on the angle and velocity of the throw. S 25
25. 25. More Sit'eeping Hip Throws [Major Outer Reaping] The opponent is thrown almost straight backwards, so he tends to hit the back of his head on the ground. ln the case of female characters, it is easy to create a sense of motion by having the hair fly up. The left hand pulls and the right hand pushes. The right side of the chest is pressed tightly against the left side of tht opponent's chest. The right leg is not wrapped around the opponent. The opponent's leg is reaped with a large upward fling. Push the foot up and pull both hands fonruard. You may think of it as falling down and intentionally making it [Circle Throw] The foot is located near the opponent's lower abdomen. -11 {u]; N '/ l / /// easy for the opponent to do a fonruard roll. t)) 4 Both hands are pulling to draw the opponent nearer. 26
26. 26. [Body Drop Throw] "rrs rs just before the body drop .:.:,,"'. lmmediately after this the nrnonent is thrown off balance with m- hands. Then the right foot is :*r-.st forward. This throw basically consists of thrusting the foot fonivard immediately after throwing the opponent off balance and pushing both arms down. The right hand grabs the outer lapel and pushes. The left hand pulls. Step foruvard while at the same time pulling down on the left arm that you had been pulling up. ln comics, it is common for only the throwing scene to be used and not the mechanism. 0ne technique is to insert the illustration above to connect cut't and cut 3. t The right hand grasps the outer lapel durin66 body drop throw. lt is eventually let go. ? 4---:- Y.- h '.tr'-__/ tl s ---:. 'rA 27
27. 27. [Shoulder Throws] ln both the two- shoulder throw and the one-arm shoulder hrow, you slip under he bosom of the opponent and throw him. [0ne-Arm Shoulder Throwl The one-arm shoulder throw differs from the two- handed shoulder throw in that the arm is passed under the armpit to hold tre opponent's arm. The opponent is lifted up on the shoulder and thrown. There is a two-handed shoulder throw and a one-arm shoulder throw. the collar. The elbow is in the opponent's armpit. After the throw, you immediately pull up the opponent's arm to prevent him from hitting his head. The two-handed shoulder throw and the one-arm shoulder throw look the same when viewed from behind. Bending the legs of the person being thrown makes it look like he is resisting. The more the legs are bent, the more he will appear to struggle and look disgraceful. il r; I Ouickly step fonruard to slip under the opponent. The position of the two combatants after the throw is almost the same for both the two-handed shoulder throw and the one-arm shoulder throw. It looks like more damage has been done if the eyes are closed. // S=> ,n , N
28. 28. The arm is inserted in a comic-like, exaggerated manner. Fast rotation is not possible without the elbow tight against the side, so it would be difficult to throw an opponent this way in real life. A frame that shows the opponent will soon fly through the air is often inserted between frames 1 and2. (q I I I ,,'( Jt The opponent is completely upside down. He is about to be slammed to the ground. lf the person doing the throwing pulls the opponent's arm towards himself, it willtie into frame 3. ,rl1 A person thrown by a lift pull hip throw, sweeping hip throw, or body drop throw will end up in the same position as a person thrown by a shoulder throw. 2el I
29. 29. lScarf Holdl Hold the opponent's upper body down as if embracing him. Firmly hold the opponent's arm in the armpit. The weight should be foruvard and the legs should be open wide as if walking with a long stride. I i= .'xr lt. t ('/t i S] Hold down the opponent by leaning on him. Prevent him from moving by placing the arms over the shoulder and between the thighs. The person being held down will find it difficult to breathe. Widening this area increases the sense of stability.
30. 30. lUpper Four-Quarter Hold] ::cking up the heels up ,,'llmake it look like :':lrver is being exerted. -e is on his knees, so the :,-tt is raised. The fact that -e is being forced to the ;":und and that he is =-sisting is manifested 'fr'e. fiSliding Lapel I'leck Lockl Grab the belt. The head is usually sideways when being held down in this position. [Side Armbar] The goal is to lock the joint and hold the opponent down to prevent her from moving. The legs open naturally when a person is being choked from behind in the sitting position. / ry), [L] t, "' /r,/ N/^3 [Bent Arm Lock] (. NA) 31
31. 31. Uudo Uniforml Drawing the checkered pattern around the bottom of the top will make it look like a judo uniform. This is thick thread. lt reinforces the cloth. You can see that the sleeve and trouser bottoms are large and cylindrical when viewed from below. The uniform looks loose fitting. 32
32. 32. lAikidol : ,'rill look mobile l-d active if the :,,,. rt comes to just '-ove the ankle. Practice wear and ceremonial sklrt. Also used in kung fu. lt is similar to kendo practice wear, but only experts wear a ceremonial skirt. Judo- or karate-type practice wear is normally worn. in comics. A real aikido disciple would not strike such a pose. The ceremonial skirt is more like trousers than a skirt. The left and right legs are separated. i rt) (/r It , ,V V' ( -
33. 33. [Chinese Kung Fu] x a6 l=) 6}4 JI ,) L3. J E3 TIII :Iry$ W The wear is supple to allow the body to move freely. Kung fu wear is often loose fitting. A costume for demonstrations is soft and sometimes lustrous. (/' t; r ,) 71 /zt, q/ Type with no sleeves or collar.
34. 34. [Judo Contest Area] Q,,**,& white (ft Red U chief Referee Decision Scene ne athletes wear a ':d or white belt over :eir normal belt for dentification. The afilete wearing red is iways on the right : de as seen from the :':ief referee. The match takes place within this area. lt is approximately nine meters square (30 ft. square) or 50 tatami mats. Out of Bounds YUKO 0m ffio Bs r::3 nn 2.73 n 9.1 m (30.3 ft.) 1 ft.) 35 Scale of ContestArea o 0[ In Bounds 14.55 m (48.5 ft.) l;oreboard /> r.9 rsE D1J s ,/ IKOKA Referees wear regular suits.
35. 35. Karate Make use of karate for drawing scenes with "kicks" and "flying kicks," Punching and kicking are the mainstays of battles. Sharp destructive power is more important than sheer physical strength. The essence of 360-degree action scenes can be learned from the sense of speed of karate. JO
36. 36. u, rt /t/ L f,r,,tt, ), I ,, /, )1,'/ 37
37. 37. [Upper Punch] An upper punch is executed at chest level. Strike straight at the face or other areas from the neck and up. It will look like power is being exerted if you draw a line representing a protruding bone near the base of the fist or wrist. ln almost all cases, the arm opposite the striking arm is pulled back to the hip. This will make it look like karate. The sleeves of a karate uniform are short, so they should just cover the elbow when the arm is extended. Upper usually means from the chest or neck up. The upper punch in karate is equivalent to a punch to the face or chest in boxing. !lrt (ttr N> - : 38
38. 38. -liiliddle Punchl Strike the abdomen at the solar plexus. N Lower the hips and strike upward from below. lt is similar to the upper punch to the body in boxing, but the left hand drawn back to the hip differentiates karate from boxing. A rolled up sleeve often comes undone during a match or fight, lt is not uncommon for the left and right sleeves to be different lengths. This is a middle punch pose where the opponent is being struck in the abdomen from above, Having a clenched fist while taking a hit makes it look like the person is enduring the blow even if the facial expression is one of pain. 39
39. 39. lUpper Kick] The upper kick consists of raising the knee (thigh) and kicking. Drawing the knee high up (around chest)will give you a picture of an upper kick, A practitioner of karate can extend his leg well over his own head. A view from below looking up will further emphasize. f tt) Mil '^t)1 / '/, ry,] 4,1 AAn upper kick directly targets the opponent's throat or face. lt makes for a dynamic picture, but some say it is not a very practical technique.
40. 40. There are a number of variations. For instance, the toes can be extended, they can point upward, or the opponent can be struck with the entire sole of the foot. [Middle KiCk] ricr straight up to the sotar ptexus or abdomen, flower Kick] *-"-rnetimes the .los are lowered or -ration of the hips s .sed for kicking. r 'lwer kick can be used n a variety of places. furne people have shins t"at are as hard as steel. This is a fonruard kick executed as if stomping the opponent.A lower kick targets the groin, shins, V, / The opponent will lose his balance and fall forward when kicked in the back or side of the knee.
41. 41. [Roundhouse Kick] This kick is almighty. It can strike upper, middle, and lower level targets. Bend the leg below the knee and the instep of the foot. N Y )'N // Draw the knee of the pivoting leg supporting the person so it is bent. lt will look like the person's weight and strength are on the kicking leg. '€'-/ 7^ A large sweeping kick to the side will bend the body of the opponent like a bow at the moment of impact. 42
42. 42. lFlying Kickl -. s angle can be sed to show a guy *r'n! with the leg :eft and letting go *':r a kick at the -'-l{'nent of contact. !-:C lines only at ::-e end of the foot :r: effective. -rs ls a flying ':Lrdhouse kick m-r-.:rmed with a s:ai of the hips. Edge of Foot This is a straight flying kick. She is kicking with the edge of the foot, heel, toes, and sole. This person is flying through the air with the kicking foot extended. This pose can be used for both flight and the moment of contact with the opponent. =N ( >) --" ) fl) V q' h NA
43. 43. [Various Poses] The cloth of karate uniform trousers is thin. Draw the wrinkle lines emanating from the knees softly. Opening the legs wide in an arch-like manner and lowering the hips creates a mood unique to karate action. This character is jumping down. lt can pass as a flying kick as well. 7i ( ,l ,/ Here an upper roundhouse kick from the outside is being countered with a middle roundhouse kick from the inside. Double counter kicks look the most karate- like. They are easy to use in situations where the combatants attack each other at the same moment, as it is easier to create a powefful scene compared to a strike technique.
44. 44. [Walking] i$u /4 ='lA 4 N
45. 45. I I l i .2? t- /'/ t 7 [Sitting Poses] h ?<r ,/ ./ -( --4 i! /Ur / ,) /t r _ !,>zt $ 46
46. 46. [Running] Drawing wrinkles Many short lines will make the character Iook dirty and tired. using sharp lines results in a dashing coolness. //& (-z ftN /'7 /z You can do itl
47. 47. [PUtting On UnifOfm] rarate and judo uniforms are pretty much the same. Slide one side under the belt. lt will not come undone as easily. The bottom is usually put on first and then the top. li , vt (tltt l(') .( .M, ,r)N u - ,_---l g// t/ I ,/ t/t ,}rK N,^
48. 48. 2'D [Karate Uniform Variations] The belt is surprisingly hard and firm, so it does not flap very much. Sleeveless TypeRolled-Up Sleeve Type fDitferences Between Judo and Karate l,,hnitorms-How to Distinguish the Twol "r"m and karate uniforms are basically the :a*e Distinguish the two by the difference n tre Cottwhen drawing. Judo Karate Judo Uniform Drawing check stitching around the bottom of the top makes it look like a judo uniform.lt represents the thickness of the cloth. -.e difierence in the cloth can be *mrressed by the wrinkles and the bulging, I I The sleeves are i I Karate The sleeves are long. shorter than a three-quarter sleeve. The belt is tied a little above the The bblt is a little lower. The belt is on the long side. The trousers are on the long side. The heels may be hidden.
49. 49. [COmmOn MiStakeS & RemedieS] rnis picture of clearly drawn Japanese roof tiles or ice blocks being broken has power. A mafiial arts practitioner might find a glaring error in a picture that looks fine at a glance or is okay for a normal comic. Breaking of materrals using karate strikes is an important technique that is usually performed by a practitioner with a black belt. Let's take a look at common errors that people make when drawing this in a comic. This would be no problem for a character with insane, comic- like strength, but in real life the person would be closer to the roof tiles. ln addition, when the legs are facing in this direction, only a straight thrust punch from directly above will generate the necessary force. When the character is breaking the material with a karate chop or the forearm, the picture may be more convincing if the knees point outward and the strike is made with the entire weight of the character. The character is quite close to the roof tiles. The character is in the middle of breaking the tiles and there is one left. He will not be able to break the final tile if he does not have enough arm left. Consequently, a straight thrust punch will ft more convincing. / ?,t;. rl;l'f (ffiYfrf :;, O zvlkr 50
50. 50. The character is too far away from the ice. The twisting of the hips is backwards when the reft foot is fonivard and the right arm is used to < strike. ln real life, the right foot would be a litile farther fonrvard in order to use the entire weight of the body to break the ice, so the body will be closer to the ice. Cloth is not laid over the ice, when a martial arts practitioner breaks ice blocks. i, i :;.i)?#,._* :;1{?;:, _/ rlfl E fi=ffilt to draw this scene from above and behind iltflrm :rts character has to lean fonruard to break the rlnm -e oharacter is leaning so far fonrard that the tmmr s not visible when the scene is drawn nraitmcaliy.
51. 51. l(endo Make use of kendo for scenes of "hitting with a stick," "people sparring with sticks," and "actions with swords and daggers." Hitting someone with a club or branch. Beat, cut down, and stab. Kendo is one of the highest forms of battles involving weapons. The essence of movement with a weapon (sword) can be found here. 52
52. 52. 53
53. 53. [Stance (Upper Stance)] The trunk protector is tied so that it hangs in front of the body. lt is not stuck to the body, so it is a bit wider than the body. lf right-handed, the bamboo sWord is held with the right hand above. The left hand is placed near the bottom of the handle. /l /l
54. 54. Facing Each 0ther (Face-0tf)I They face each other at a distance about where the tips of their bamboo swords touch. / They squat with their thighs dpen. This is called Sonkyo (knee bend squat). They stand in the ready position after the knee bend squat. The match begins here. 55
55. 55. [Fundamental Techniques] Strike to GIove strike used when the opponent tries to strike. The bamboo sword may be knocked out of your hands il you are not experienced. Kote (strike to glove) is shouted in order to focus as much energy and power as possible at the time of fie strike. Thrust to Throat Guard The throat area of the opponent is poked. This technique is exfemely dangerous, so much s0 that it is often prohibited. It is sometimes executed with one hand when the opponent leaps fonltrard and sometimes the throat is targeted with an aggressive thrust. The top of fie forehead is struck from directly above. The forehead will be split open if no protective gear is worn and a wooden sword is used. lt is sometimes executed with a cut from fie upper left or right or it is unleashed when passing by he opponent. The shout used is tsuki. The last sounds of shouts are usually lengthened. - This is a strike to the chest area. lt is more like hitting than the cutting down from the side you see in a samurai sword fight. The trajectory could be a straight line or diagonal. ln comics, the trajectory itself is sometimes not drawn. z1is drawn instead. Strike to Face Mask
56. 56. free Practice/Hitting Each 0ther] Here the character on the left is attacking as his opponent comes forward. The attacking character is stepping firmly forward.ln contrast, the knee of this character is locked and his upper body is drawn somewhat straight up. lt looks like he is vulnerable and caught otf guard as he is unable to keep up with the speed of the attacker. .I i The leg being thrust forward is hidden in the skirt and not visible. This is a successful strike to the facemask. This picture captures the instant he began to strike. Having the character lean forward and thrust his leg forward make it look like he is trying to strike. - =-<3 to the glove attempted by :r :iia?ster on the left has been rr,:;e: The swords are crossed lti-lr :e tip of the sword is below -a :rlve area. Drawing the knees bent and the hips lowered shows clearly that he is psyched up and going for a strike to the glove. Here a strike to the facemask is faster than a strike to the trunk protector. The thin bamboo sword looks wider when it is moving fast. This is a way to depict speed without using speed lines. The sword that hit the facemask is still, while that targeting the trunk protector is still in motion. 57 /t ts<"f 'rl ,'/^ ::
57. 57. [Hitting Each Other - Pushing at Each Others Sword Guardsl The length of the facemask cords officially has to be 40 cm or less (they should not quite reach the waist). ln comics, they stream and look cool when drawn long. The two combatants are pushing at each other's sword guards. This is triggered by one combatant stopping an incoming strike. The chin raised to one side will make it look like power is The pushing has ended and they are hitting each other,
58. 58. :..mhing at Each Others Sword Guardsl Shortening the distance between the two will make it look more like they are pushing at each other. When drawing an overhead view, pay attention to the curve of "ring', of the sword. This cut can be used for pushing, stopping a strike, or striking at each other. Distinguish between them by using etfect lines and changing the frames before and after. '{/ sometimes push the fists in contact, The combatant on the right has overcome the other with his pushing. lmmediately after this he will attacti before his opponent can get set again.
59. 59. kingl A picture of the instant that a strike hits will be plenty effective even if some parts are trimmed. A strike to the trunk protector hits its target as the two pass each other. A hit to the right side of the trunk protector is called a migido or "right strike to the trunk protector." 60
60. 60. This is the instant the strike to the trunk protector hits its target. lf the scene were a kendo match, this would be the cut of the winning technique, but if it were a real sword (samurai drama, etc.), the sword would not stop here. lt would be harsh to show the torso being cut in two, so change the pose or angle by using a scene where the victor cuts down the opponent with the sword as is or a pose of the victor at the end of the sword stroke. This is the position of the feet when ready to fight at the beginning of a match. t Strike with Underhand Grip --e :ottom of the skirt is :":::*i,ed up. You can clearly see that the skirt is like trousers when the feet are opened wide. 61
61. 61. lPutting on Equipmentl Putting on Practice Wear and Skirt Tie the skirt belt after wrapping it around the front. Tie the belt. Put on the skir1. The belt is crossed over at the back. Tie in back before raising the skirt. Practice Wear Knot Putting on Hip Protector Put the hip protector on the top and tie the belt. Practice Wear 62 Tie below the hip protector.
62. 62. r"[]'']g on Trunk Protector The trunk protector is attached with two cords. It looks like it is hung over the neck. Tiilrltatjng after Putting 0n Equipmentl 'rurr. i;u'lir-yo (Knee Bend Squat) :rir11111X1tiii0tr 111 ]r,tru;rl !€ll-lQ rrinrr:: r -:eiy looks lllllll llr* llr]re- Yiewed The second cord simply tied. Guidelines for Drawing Bamboo Sword milr ]-E -ant. The tip should be about shoulder height. 1 The ring and the l base ot the handle J can act as a guide. The base is below the belly button. You should draw the angle and length of the sword in relation to the body. Drawing reference lines makes it easier. 63
63. 63. /;N [Putting on Face Mask] How to Wrap a Towel around Head How to Put on the The mask is tied down behind. The cord will hang down as far as the back. When drawing the face behind the mask, the eyes can be used to create an expression, Facemask o He is adjusting the mask so it fits without moving. The mask portion sticks out farther than the face.
64. 64. lfuuipment Stylel The arm of the hand holding the sword is bent a Iittle and does not hang straight down. This makes it look like he is holding onto the sword and makes him look more like a kendo practitioner. The padded gloves are worn like regular gloves.
65. 65. [Various Stances] Upper Guard Stance He is swinging down. The elbows are at eye height. Right Upper Guard Stance It is easier to swing down when the heel is raised. lt is easier to put muscle into the downward swing. When the sword is held slightly low, draw the sword a little shorter than usual for overhead views.
66. 66. :l:ri l-ard StanCe The stance itself is cool, so when drawing it people tend to make the left wrist straight as if the sword were a bat. Note that how the sword is held and the position of the wrists will give away whether the swordsman is an amateur or the real thing, ?>,=- ) Middle Guard Stance When the sword is swung down, the handle is held tight like wringing a rag. Depict it using the angle of the wrists. + The sword is held up, This view is from the front. The left foot is fonrvard, so this is called a left two-handed upper guard stance. lt will be a different stance if the right foot is fonruard (right two-handed upper guard stance). l ': s: ruch stepping fonruard as it is raising 'rrrf '*": :'fie right foot. ln this position the tinrrr trry :::,- be SWUng dOWn at any time. 67
67. 67. lSittingl [Readying Bamboo Sword] This is a view from slightly above. Pull the sword from the scabbard. Drav' the hand on the scabbard clearly. Draw the elbow so that it sticks out. This is a pose struck with a real sword. All you have to do is substitute a real sword for the bamboo sword. [Putting Sword Away] i I -' <:-/ ,/ __z -.-lV
68. 68. Sbiking the Air & Stancel ,/+- The practice wear looks like a kimono with shorter sleeves, so it can be used to draw a samurai wearing a ceremonial skifi or swordsman. This is a middle guard stance as seen from below. The curve of the base of the sword is key to rendering the angle and direction of the sword. There is a slit in the side of the skirt. The uniform below is visible. . This is a close-up of the middte guard stance. The tip of the bamboo sword is round. 69
69. 69. [Walking with Sword] The skirt covers the ankles, so often only one foot is visible when the view is from above. [Bowing] 70
70. 70. lFunning & Moving with Practice Wearl -,,a/ ,/ ,/-. / ' lr. .r'-" :: te front of the skirt is tilL tnru: :,:fi lvrinkles emanate from Irililli :t :':tch. ; r : :':rs8 lvhere the image appears to be flipped horizontally, the r-ii(r -1annot simply be invefted since the character is holding a sword. The cut at the back is shallow. 71
71. 71. [Practice Wear & Ceremonial Skirt] 72 Unlike a kimono, the feet cannot be seen even if squatting with the legs open. Unlike trousers and kimono, drawing the butt line flat will make it look more like a ceremonial skirt. You should not emphasize the roundness of the butt, // ll r,
72. 72. I5irrilmg, Bowing & Wiping with Clothl This is a deep bow from the sitting position. Drawing the back of the head small and like a half circle will make it look like the character is prostrating himself. / __/-_-_-- ( 73
73. 73. [Armor: Face Mask] The metal is hard and durable. lt would take quite a bit of force to dent it. It protects the shoulders. It is equivalent to the shoulder pads in American football. tu the throat.
74. 74. **-ill{ Protector, Hip Protector & Padded Glovesl The padded gloves are large. The wrist portion is cylindrical. The hip protectcr consists of three panels in the front with two panels behind to fill the gaps. This protects the side. lt is based on the exact same concept as arm0r. r rlil iri/' ,1, , The hip protector is wrapped around the trunk protector. The hip protector panels are designed to face forward when viewed from either side. The joint ot the inside panels bends, so they go back a little. '--i
75. 75. firunk Protector] Metal ffi [Hip Protector]
76. 76. SN ;'.,: jed Gloves and Bamboo Swordl The padded gloves are part of the protective equipment. They are designed to hold the bamboo sword and cannot be used for delicate operations. R tl I ll A The bamboo sword becomes narrower as you move towards the tip. Be careful not to draw parallel lines. 77
77. 77. [Bamboo Sword & Wooden Sword] A point 10 - 15 cm (4-6 in.) from the end is where the power is brought to bear. There is a soft leather cover on the tip of a bamboo sword. Like the tip, the handle is covered with soft leather. It helps keep the hands from slipping. The length of bamboo swords used in matches is generally 118 cm (47 .2 in.) or less. For high school students it is 1 15 cm (46 in.) or less and for junior high school students it is 1 12 cm (44.8 in.) or less. This is literally a wooden stick shaped like a Japanese sword. lt is characterized by the lack of a guard. This is a bag for bambl or wooden swords. 78 [Wooden Sword]
78. 78. l{emdo Contest Areal v<,2. .-_=-.1 - Waiting Area S _ _-/,4 Square 25 centimeters (4 in.) on a side The flags are red and white. 79
79. 79. Boting Make use of boxing for scenes with "punching" and "exchanging blows." The origin of boxing is the primitive exchange of blows. lt is alive today in the form of Westerns and street fights. Let's learn about the crunch of muscle being pounded and powerful compositions and p0ses. 80
80. 80. 81
81. 81. [stance] This pose with the gloves in front of the chest is called a fighting pose. The head is ducked and he is leaning slightly fonruard by hunching his back. The arms are tight against the sides and the gloves are in front of the chest. The boxer will look passive if the upper body is bent slightly backwards and the heels are raised. It will look like the boxer is circling the ring surveying the situation when he is stepping fonruard diagonally. A view from below is suited for depicting the tension and fightit': spirit at the beginning of a fight < 82
82. 82. Eirumg Each 0ther/Beginning of Fightl rllrif 'rn#'-Fad VieW 'iE-:ar l:iLlll'rn i@i'.r- an il lrl,*r|: ir5 slene. You can draw the face of the opponent if you capture the back of one of the boxers from behind, The normal angle is often used for explanatory scenes or as the lead-in to an upcoming powerful scene. The drawing has been trimmed. The situation or mood can be conveyed in one frame. You should draw a rough sketch of the whole body (including the parts that will be outside the frame) first. 83 / / ll i',li i /A
83. 83. [Straight Punch/Jab] {ais-'-( A jab is a short punch. Depict the glove being pulled back quickly. Straight PUnch For a straight punch, draw the arm fully extended. When drawing a straight punch, think of it as a punch that penetrates the chest or face of the opponent. A boxer steps fonruard when punching. Except for special martial arts and techniques, the foot opposite the punching hand should step fonruard. lt will look like the hips are going into the punch. I
84. 84. ilMm ir: short, repetitive punches. 1'rrllr",rr z? :ften accompanied by rilltttltLfl rlrlnrrq sou n ds. , 11;;;3rfi punch is a single, powerful lurr)lllull|1m' --€ arm is extended straight fl]ilnrrrllruryli -he opponent's lip is cut or the lttlrmi E ff-Drmed at the moment of ilri]]t]l|fltiffir* 'l,u :?i ,_iwf 'i/str l!. ,r,,P_f The character is dodging the punch by just bending backwards. The body is bent backwards to dodge a punch. This defensive technique is called swaying back. lt will look authentic if it is accompanied by a step. 85
85. 85. [UppercuUBody Blow] The punch is directed upward with the arm bent 90 degrees. A blow to the chin is an uppercut. A hit to the stomach is a body blow. It Draw the elbow in the shape of a dogleg no matter what the angle. Hitting an opponent with a bent arm and pendulum-like blow is not that familiar to people other than boxers and marlial afts practitioners. Chinese kung fu has a similar punch, but this punch is one of the easiest to use to visually create the feel of boxing. But. it is a short-range punch with a minimal windup, so visually it does not pack the punch that the actual blow does. For an uppercut, straightening the arm ucr,,iard at the moment of impact like a sralght punch will create a flashy image f at s comic-like. 86 H(ryJ,'"' hf-- flf lf,F),
86. 86. / tf )x I<) #Fb/l Z::2 ^l'y)
87. 87. lHookI While an uppercut is a punch from below, a hook is unleashed from the side in a hooking motion. lt is characterized by hitting with a slightty bent elbow. ( ,ilil tly-, 7a*/ ('w_- Here the hook is directed downward from above. This punch can give the impression of a special strength even if the person has a slight build. The key is the arm bent g0 degrees and the partial effect lines. 88 :.-- Effect lines can be either straight or curved depending on the situation.
88. 88. -ss of Will to FighUKnockdownl You can make it look like someone is losing by closing his eyes, having him look away, or having him look down. The loser is more important than the winner in knockdown scenes. Even if the person is conscious, he will drop down on all fours and support himself with his head when he cannot move anymore. He will be unable to get up. 4-J< Z *rE --:r-W, ---'i Martial arts are a i - serious matter, but they i also have the elements of a show. The role of round girls is to lighten up the mood.
89. 89. lShoesl Boxing shoes can be used (in comics) Boxing shoes are laced like boots, but note that unlike boots there are no heels and the soles are flat. Wrinkles are located around the paft that is Oent. There are always wrinkles at the ankles. These wrinkles convey the hardness and durability of the material. l);//4 Low-tops are like sneakers. They sometimes have
90. 90. flic-ues] Adding solid black areas and light lines conveys roundness and heaviness, which leads to depiction of more powerful punches. The trick is to leave a white edge. Draw wrinkles. 91
91. 91. ['runks] Long Trunks The standard length is abou: midway between the crotci and knees. Those shofter than this are "short trunks' and those longer are "long trunks." They normally do not have slits in the side. Trunks with Slits There are slits on the side. These trunks are fashionable | ,//[ ) 4::- /.,,2 /'7' 2'-- ) €-,/.r-:Z--l {s/ /zzz,7$ 92
92. 92. Iandagesl ;iilr:i:le is fabric that is rril'-[:*: around the fists tirr : l: to protect them. A bandage is about 2.5 to 9 m (8.3 to 30 ft.) long and about 4.5 to 5 cm (1.8 in. to in.) wide. Size will vary depending on whether it is an international or domestic fight or whether it is a professional or amateur bout.It:- N (_- )r Wrapping a Bandage Bandages are wrapped differently at different gyms. KI=
93. 93. [Practice EquipmenUTraining Equipment] Headgear This protects the ears and head. Full-Face Type Headgear
94. 94. rilrllli:: The trainer or sparing paftner wears these for mitt training. Mitt for Receiving Punches Glove Mltt Drum-Type Mitt 95 :o:--; 2N) N="* 1,,
95. 95. Sandbag The sandbag is curved with the place being hit at the center. This gives the impression of a quick, powedul punch. Sandbags are heavy, so they hang from thick rope to keep them from falling. ,)/z - s.-=- r ]--" t/;;
96. 96. , *:' rg Ball Double-Ended Punching l- -T r( Cup Protector " --t Ropes Medicine Ball
97. 97. [Ringside Equipment] Tape is wrapped around bottles in case they break. Bucket Boxers use this to gargle. lt can be thought of as a poftable, ringside lavatory. Funnel
98. 98. ffi (&ffi These are items that the cornerman is allowed to bring in the ring. Water is also brought along. There can be up to three cornermen. Only one may enter the ring. The boxer is disqualified if a cornerman enters the ring during a round. lce Bag @ ffiWater Bottles Il = -=rplied to the face and body. r ,,r!ii rs orohibited in the rules. lt is :iiil.ri: : :revent injury. Ulouth Piece -,2/ a-,---<; Towels U) ,l I ,z' 7dt<l---s--Y /_F Yt f.-ii NtY-Zz N./l v
99. 99. How to Draw Line Drawings Instructor: Harada "Drawing is impossible unless a rough sketch is drawn first, Rough sketches are impoftant." Rough sketches will differ depending on the person. Some pencil sketches may b= almost exactly the same as the drawing that is eventually penned in, while some may have so many lines that only the person who drew it could possibly pen it in. The term rough sketch used here refe- to "clarifying the image of the completec drawing and grasping the 'appearance/state of what you will draw, which is extremely impodant. "l wantetl to express the overall sense o: speed of a jab. I drew the person being I on the right first. I wanted to make it loo, like he was getting smacked in the face. so I made it look like he was moving. When drawing the person on the left, the goal is to make it look like he is moving even faster than the other person." 100
100. 100. & ,l' I I It I ,l l il !i/ ft - - ... --'e here. They also determine your eye line. The top "- , -:quired to depict height. '--r44 l- "f'/ "You usually start bydrawing the spot where the pefson is being hit." "The spot where the person is being hit is where the power is concentrated. lt is one of the places where the most attention is paid when drawing, and it is also the key component of the completed picture." 4n a knockdown scene, you start by drawing the person being knocked down. lt will -look like the person has been --=*completely knocked out if he loses consciousness and falls plump on the mat :ft'.r-=]*;= defenselessly. lt will create a quietly powefful scene that looks as if time is standing still. 101
101. 101. "The outcome of a battle is determined at the rough sketch stage," "A body blow hurts more than any other punch. Your side really hurts. Perhaps that is why drawing a body blow conveys overuhelming pain. " , t' rlr l -'. .-r- -.- -S.-7 f-'_:< a l ) "The key to the facial expression of the person being hit is the mouth. H: would never cry out in pain, but the fact is he would really like to groan So when drawing, you want to make ' it look like some sound is escaping from his mouth. You might call it his actual appearance 0r his actual stat: of mind." -, .,.e---:. a. _:' l.i/'/
102. 102. i. "-.-^ -. - l'-J.-.=-- -rr2z^ .-t --._ ,-- ., -, t .o,r;o { I , .1 -r'- /ri ( ) ./-t"-z -r''"The drawings on this page are of finishing blows. They are knockout scenes. The only ditference between them is where the blow is landing. I make it look like the person being hit is withering by using a sense of pressure or intimidation." 103 r( r I look at pictures of different poses for reference. I change the angle or add/take away hair. This type of scene really calls for some drawn letters. Drawn letters will greatly increase the atmosphere." l;/,':= c 'A"l J .U ',1 ;l' ri ' il 'r). 1, ., /,/,/ 't - ,/A' -xsl **-*-',:*t.
103. 103. [faining EqUipment] Scenes of people working out to get stronger are common in comics other than madial a: comics as well. Learn the basics in order t0 come up with your own original training This way of holding the barb: is called an underhand grip. Moving the barb: up and down in this position is called a barbell curl. Putting the barbell on the shoulders is called weight training. This is part of a squat for strengthening the thigh muscles. Moving up and down while standing up is called a back press. This way of holding the barbell is called an overhand grip. This is the finishing pose in a weightlift ing competition. The same pose is used when the barbell is moved up and down from neck level (front press). ---tz--a lra ,)[,
104. 104. Alternately raising and lowering the dumbbells is called dumbbell curls. lt strengthens the upper arms. r_-l ] FI ,_, rlu : , dumbbell press. The li lTl:rr is raised over the ullrrfi : A'ork the shoulder. lt is :lrrtr*,,: I :arbell press if a tir:1 ,t r! LJSed. SLiZ-. 'n':x -{ :_:r,-!-,-2, I
105. 105. Bench Press The bench press is used to train the upper body. It is called dumbbell press when dumbbells are used. The pafis other than the barbell are called a press bench. 1)El '/--. ) Bullworker
106. 106. "lt1 :re:ffications and names differ depending on Tr -E:(:r. For instance, there is an aerobics bike, rrliitLtrrL;inf, :tke, and fitness bike. The generic term ur' " F s mply exercise bike. Lat Machine Sitting and puiling down the bar is called lat machine pull downs. It strengthens the upper back. There are a number of different uses. For instance, you can stand up and push the bar down. Leg Extension This strengthens the thighs. The ( Buttedly name of the training is also the name of the machine. 'rt :e.ch is set at an inciine and thd rrrillrn l'= rnmobilized. lt appears to lrrril'': sE he abdominal muscles, but the tliutilull L,: lower back are strengthened lttlr --ere is also a sit-up bench m* ;*3 specifically for sit-ups. olb 107
107. 107. Battles Learn from the wrinkles and movement of clothing. Drawing the bad guy in a way that makes it look Iike he is really being beaten brings out the strength and coolness of the protagonist. The location of martial afts matches is fixed. The attire is pret$ much fixed as well. A real battle, however, can suddenly occur anywhere with only the barest necessities. The important pafi of fight scenes in street clothes is the wrinkles and movement of clothing. Also, empathize with the person being beaten when drawing. That will bring out the strength and coolness of the protagonist and make the action convincing. 108 Stleet 't 'fu,, ,, Do a good job on the backgrounds of street battles. The background, i.e., puddles of water and alleys, is what most distinguishes a street battle from normal martial afts. ,x(rr,{./ v
108. 108. Self-Defense Understand movement when drawing battle scenes. @ Opponrnt Grabbing Collar @ atinoino the Opponent 0pening the fingers and waving them once in front of the eyes of the opponent is a more practical way of blinding the enemy than digging in with two fingers. The area from the elbow to the hand should be drawn with diagonal lines and made blackish to generate a sense of speed. @ ctencning the Arm You can just have the protagonist grab the opponent's There are no wrinkles 0verhead View of Kneeing in No. 4 110 The knee is thrust upward when the opponent leans fonruard.
109. 109. Type A: He swings the elbow down from above with all his strength. 1 .^. 6rA. -N #,iilti:J'*'nn direction of the effect lines and the aspect of the opponent's head. -r; Erabs his arm and raises his elbow simultaneously. i Type B: He uses rotation of the hips to hit the = side of the face with an elbow Use etfect lines that make it look like the protagonist is rotating to the right. Messing up the hair of the opponent more would be effective. )l ,,i /i The heel is up because the leg is fully extended.
110. 110. Guarding -' Close-Quarter Fighting The opponent's thrust is deflected to the inside. Guard i ng"+lead lock Throw The outer arm is facing oul in a guard position. He simultaneously steps in and wraps his arm around his opponent's neck. Wrinkles form here due to the leg stepping foruvard and the arm being raised. 1. He is protecting himself by pushing up the opponent's striking arm from the inside. ln this picture the right foot comes forward when punching with the left hand. 2. This is a swinging kick to the opponent's right thigh from the outside. 3. He is protecting himself by bending his knee while at the same time blocking with the right hand. He steps fonruard with the left leg using the right leg as a pivot. He is protecting himself by hitting the wrist of the opponent with his right hand. < He simultaneously holds down the upper arm and shoulder. He cannot protect himself because his hips are not in it. His hands are just sticking out in vain. He cannot step fonrvard because his left arm is being held and his hips are retreating because he cannot protect his knee. The movement of the necktie reflects the sudden backward movement of the hips. The left leg is between the opponent's legs. He could also sweep the left leg of the opponent from the outside.
111. 111. Power is exerted in the opposite direction of the throw. He is meeting the punch with his right hand. His left hand is keeping back the opponent's shoulder. I His res is .' planted firmly on.the ground He sticks his leg to the outside (sweeps the opponent's les). lllii reEates the Ittillr :nen{'g p6I /gy t,il :i Siting his I lllr:t,ru He has him in a guillotine hotd.
112. 112. Grabbing the Collar When grabbing the collar, make it look like he is twisting up while he is pulling towards himself. O GraObing Each 0ther Wrinkles form around the @ neao Buttins attack. He just got hit with a head butt. His arm is raised from the shock. The arm will fly up in a bigger way if there is more The hand comes fonruard simultaneously in preparation for the next The person doing the kicking also leans fonivard when exefting power, so the head is Kneeing Kicking up while holding on to the back of the opponent will be more effective than regular kneeing - tle grabbed the Sponent's necktie and H-butted him. 114
113. 113. lE ii"ene was drawn using the collar grabbing and head butting on the opposite page. The third frame with a ffifr:ltlX{ij|iJ:iT is the onlv orisinal trame. n powerlut progression or pictuies *n ,irirv n" put tose*rer 6h * > # ilt'( lftN ,ffi 115
114. 114. Kicking and Punching ln this picture the persori on the left is protecting himself from a low kick with his left foot. / This uppercut makes use of twisting of the hips and extension of the arm. The position of the arm and the side of the body facing the opponent generate a fight scene that differs from boxing. The opponent could fall to the side in this same position or he could roll and end up face down.
115. 115. lf he swings his left hand without swinging from the hip, he will look girlish or amateurish. as hard as he could. -he hem of the jacket 'ies way up when the :ajectory is from the -pper right to the lower :ft, - Note the direction the arm is traveling and the direction of the legs. This indicates twisting of the hips. -,. -. swinging his arm in the opposite direction and his upper body is rr:- The necktie streams and the hem of the jacket flutter in the r'?-:on of the movement. This is after he has hit his opponent with all his might. His arm bends as if wrapping around his stomach and his upper body is leaning fonruard. He is swaying back to avoid a punch. His hand is open, so we can tell it is going to be a palm-heel punch. I He is swinging up his right knee using the power of the arm swinging down. He is hitting the lower abdomen or the bull's-eye. You can also turn over the ankle and send the opponent flying with a kick to the abdomen. 117
116. 116. He hits the face with a hook- like right punch. He is leaning fonrvard a little. Wrinkles form a little above the The left punch is a fake punch. He is striking the body using the twisting of the hips. He grabs both shoulders and kicks with a swing of the foot to the outside while ,l- - Uf- Y,Z t , tt Il/t --4- 7-) 118
117. 117. :,:',,erse Spinning Kick --: rotation of the hips is : :,,/, so the necktie does -:: stream. He ends up . :<ing with only the ,::ngth of the legs. This is a fake right spinning kick. ln this picture he is hitting his opponent in the side and back with his heel. He will be sent flying even if he protects himself with his knee if his opponent's kick makes use of rotation of the hips. He is making contact about directly below the jaw joint. Palm Heel The jacket will stream if he thrusts upward at the head of his opponent as if he were trying to rip through his jaw. 1 19
118. 118. Uppercut Depending on the scene, have the head (face) turn toward the opponent, He punches straight upward while rotating his upper body. He is poised to unleash a flying kick. The opponent falls towards the left. This tells us that ihe punch landed on the bottom right of the chin. He is about to jump. The neck stretches in the direction of the jump. When the opponent loses consciousness, the limp arm will move upwards as the body falls. When he falls to the ground, his rigl- arm is extended above his head. This is the instant he leaves the ground. The key to making this cut come alive is to draw the horizon line below him. Drawing acar,a chair, or some other object below him will make the jump look more spectacular. He is stepping fonuard. The necktie is facing the opposite direction of the kick. 120 Flying Kick
119. 119. -fr Punch --* -ght hand is in r,, -?ady position, r-":susedto :rur: him and fake : --ch. ln comics, tur-,3 d single cut r :e right fist r'-,: unleashed lrr" lris Lri:-;lmes is easier I :;:,-rprehend and '-iiri to 0ver better. Direction of Punch Direction of Head Snapping Back The direction of the punch and the direction of the head snapping back are not necessarily the same. Think about the direction and flow of the power and add effect lines when you want to convey hard-hitting power. This is after the punch has landed. He is falling. At this point the direction of the nch and the direction of the fall are often the same. Direction of Fall I, -.t4 ." here to pull him back in order to finish him off with a shot from the right hand. 121
120. 120. Low Kick He is protecting himself from his opponent's attack. Normal Low Kick / Da) -/ He is kicking the back of the knee with the top of his foot as if he were hooking him. Y The direction of the pivoting foot does not change. ln other words, he is kicking by rotating his hips. He lowers his body and spins - K, 122
121. 121. lnsrde Version of Spinning Low Kick ; rutll:rir lut there is lltltlxtrce between fim. :*o. rrru tns. he rirt,lus :he back I[rs mm:lrrent's tmlli*s as if lm:l,run,g him. The person altacking lifts his leg just a little. Lifting it about this high will look like he is simply stepping fonruard. The legs of the opponent are completely defenseless, perhaps because he is preoccupied with things going on higher up. It is a low kick with a semlcircular, sharp curve, Depict him stepping fonrard quickly. The toes point outward in preparation for spinning, but the position of his upper body is the same as before. *,*,ooO,,n The kicking foot is already perpendicular and ready to unleash the kick immediately. lltl€rely pushing the back of the knee with the hand irutruld cause the opponent to fall to his knee. Stopping the action when the kick hits the back of the knee looks like this. 123
122. 122. Hitting Opponent with Elbow The desperateness of the opponent is depicted using the angle of the head. Raising the chin or having him face the front or side will make it look like he still has some energy left. A tight fist facing inside will make it look like he is putting everything into it. He is swinging back the elbow. Reverse Version He swings down in a circular motion at a 90- degree angle to the opponent's body. He is on his knee after being drawn fonruard. lf he is on his toes, it will look like he is putting up some resistance, but the bottom of his foot is visible, emphasizing that he is beaten. tThis is just after he has been hit. His knee and hand r. touch the ground
123. 123. 1:+."ling lmage Use the part in the box. ilI inon iS to llricii;e t0 a rr;lr""-*ing knee. Wfli ,rt///// i,, ,, t/il,, 125
124. 124. Kicking Poses: Middle Kick/Upper Kick Kicks can pretty much be freely altered. Draw them according to your tastes. This is the initial motion. The foot that will be the pivoting foot comes fonalard. The outer edge of the foot is called the blade of the foot. Side Kick Middle Kick Moving from this position to No. 3 or No. 5 will result in back- to-back kicks. 0f course, he could kick up and down in succession from this position. Tuming over the upper body and having the chest face down or backwards will result in a kick with the blade of the foot. lt will hit the opponent's abdomen or solar plexus, but it can be used in a variety of situation. For instance, it could hit the head. back, or hips of a crouching opponent. 126 He can kick straighi our from this positio. or shift to the upper kick in No. L Drawir,: the falling opponeni will also give you a shot of the foot beir," pulled back after the kick. A kick can take about any form after picture No. 3 Basically, a kick progresses from No. 3 to No. 9. Ti'. combination 4-7-9 is a roundhouse kick, 5-B-9 is ." upper kick from a sidekick, and 5-6-9 is a straigh: upper kick. Draw effect lines differently depending on the type of kick. ln other words, effect lines car be used to make a kick look like a different kick. From this position, he can kick fonruard, backward, right, left, up, middle, and down. He is about to unleash a high- angle kick. A kick in the direction of A will lead to picture No. 9, while a kick in the direction of B will segue into No. 7 cr N0.8.
125. 125. This is a large roundhouse kick from the side. You should use this when you want a kick to be a heavy kick with maximum power and speed. The leg is fully extended, so he will fall down if the right leg is not used to stop the fall, This is an upper kick that is directed straight up. The sole of the shoe hits the side of the face or chin diagonally from below. The entire sole of the foot could be shown or the heel could be sticking out. With a stretch he could also wrap the top of his foot around the opponent's neck and take him down. Both arms are hanging limp, so it looks like his power is concentrated in his legs. This and the fact that the sole of the foot cannot be seen make the kick look heavier. This is after the kick. It is effective used together with the opponent sinking to the ground or flying through the air. t- ' , ..ick is more ::- : than No. 7. lt is " -=: for a slap to the 'r.: ,t,ith the foot or a ,-: just before a . ands, You could . mk at it from a -=-ant perspective i": ,se it as a right- :- =1 roundhouse . :r high-angle ,:.'r,'ard kick. His entire weight is on the front sole ol the foot. 127
126. 126. Front Kick The elbow may be tucked in depending on the school. The discrepancy is a result of differences in defensive tactics. He swings the leg up like a spring using the impetus of the knee raised to maintain his balance. ln addition to kicking up with the toes, another form of kick is to stick out the heel. He steps fonrvard with the pivoting foot. Note that he keeps his upper body motionless (in the same position) so as not to tip off his opponent. The upper body moves backward when he swings the leg up with the initial motion. This is because his weight shifts backwards in order to kick out. The faster the motion is, the farther out the jacket hem will stream, so it will be evident. 128 He raises his knee as quickly as possible. He bends his knee to maintain his balance. He quickly pulls the knee back, so when depicting what happens after the kick, add effect lines to not only the end of the foot but also to the knee area. Flying Double Kick He jumps and unleashes two consecutive kicks in the air. This is the instant he is kicking out. The more power that goes forward, the farther the jacket will flow in the opposite direction (backwards). He casually shifts the upper body in the opposite direction of the right foot that is taking off. He suddenly takes off with the left leg while at the same time righting the upper body.
127. 127. !rde Kick Variation :e-Julum, he l.-s the ..:,:,er bOdy in *r Cirection -:,:r,asite the ,:r'g the power :,*'erated from leaning ::,/i1. he bends the : =:d leg backwards. t swings up the -;rt leg, which is :e first strike. He extends the kicking leg using the power to upright the upper body as a spring. lt will generate a mighty kick from the side. He kicks the opponent's throat or face depending on the He unleashes one more kick from above right after the kick in No. 3. It will have azigzag or sigmoid trajectory. Emphasizing the tip of the foot swinging down will make a more powerful image. Connecting No. 4 and 5 results in a direct back-to-back front kick. o@ 2 Lower the horizon (floor)to make the jump higher. lt will look a lot cooler. He could land at this instant. lf that is the case, there could be a transition to a spinning kick. This is the second strike. He swings up the left foot using the impetus from the right foot being pulling in and the twisting of the hips. 129
128. 128. Spinning Kick 1 He is waiting to see what the other guy does. It is a seemingly normal confrontation. This is a run-of-the-mill slantwise stance. He senses that a kick is coming and assumes a defensive posture. When actually defending himself, he would not be able to completely defend against a strong kick without twisting his upper body more to the left. He swings his upper body to the left and unleashes his right knee. rsa The pivoting foot and the knee of the kicking leg, i.e., the fulcrums, are stable, so the area from the shin down extends lithely like a whip. The picture was trimmed to highlight the person being kicked. He could be steamrolled by the kick or unable to stop the kick. etc. You should show the upper body of the person being kicked and the area from the knee down of the attacker. The area from the hip to the knee points straight at the opponent, so a lot of power is generated using a snapping motion from the knee to the foot. The heel is pointing in the direction of the opponent. You can change the view depending on your objective even if the technique and scene are the same. large, circula spinning kic. This cut is used when you want to emphasize the intensity (heaviness and power) of the kick. A close-up of the blocking arm and the kicking leg is effective. 1 ,,-t /z-
129. 129. His opponent appears to 5e far away, but he can reach him in a single novement. -"e kicking leg slices at 'rout a 4S-degree angle : ative to the opponent. ;conentjust before the kick : is. :lock the kick if the tine rf his opponent's leg and his shoulder line are not parallel. He is looking at the enemy. His chest is facing the enemy. The end of the left pivoting foot points outward relative to the enemy, Note the direction of the kicking foot. Spinning Kick He cuts into the opponent's head or nose with the big toe side of the foot. lt packs more of a punch than meets the eye. He has been kicked before he knows what is going on, because all his attention was focused to the front or on the opponent,s right hand. The chests of both fighters face the same direction when the kick lands, It is relatively easy to dodge this kick by swaying back or doing a cartwheel if see it coming. He will suffer a concussion and fallface down to the ground if a counter kick lands. '131
130. 130. 1 , A spinning kick from a high position follows a sharp rainbow curve. The defender has to move in the direction of the arro'r in order to sustain the kich His head is facing down, s: there is a sens* of defeat in h: air. 1' I I The hem of the jacket streams to the left. This indicates that he is twisting his body strongly in the opposite direction. lnstantaneous Block The kicker does not lose his balance. He can subsequently shift to any other attack without delay. His hips are backing away, so we know he is scared and an inferior fighter. You can depict a competent fighter by having him lean slightly fonruard. His fist hits his head as he is unable to sustain the force of the kick. He was unable to block the kick. His blocking fails and he is knocked over. From a presentation standpoint this is a slow motion shot. 132
131. 131. tufu,,._, Spinning Kick from the Side -r kicks the face or the side of the head without :r,'nQ his opponent a chance to block it. The fion progresses from No. 1 to No. 2 and then ru. 3, but it could go directly from No, 1 to No. 3. The kicking leg is set down smoothly. Here is an example. lt is based on frame No. 2, but the distance between the two is shoder. The knee is bent after kicking and he does not take his eyes off his opponent. This makes it look like he is used to lighting and able to take the next action at anytime. 133 The direction of the kicking leg and that of falling opponent are exactly opposite.
132. 132. Spinning Kick 3 o The hand is in the back because he l', confidence that thl: technique will stop all frontal attacks, The upper body is curved, so it looks beautiful and cool. The momentum of him flying is reflected in the raised leg. This is how he ends up standing after the He flicks the blocking arm and sends his opponent tumbling. Having him walk away ducking his head with slightly rounded shoulders makes it look like he is feeling the emptiness and loneliness of fighting, It looks like the technique is effective because he was sent flying. Where the kick landed is secondary. After rolling once the hem of the jacket gets turned up, revealing the shirt.134 {:
133. 133. :,ack Spinning Kick . . -:':t's face or neck using r -*--Eal force. -- :- ckly pulls his ".= ionruard for -- :ansition to the - - :osition. Upward Kick Type The upper body spins to face the opponent before the hips do. @ @ He kicks upward using the force generated by swiftly bending the knee. Draw it like a spear being thrust up from below. lf the kick is effective, he lowers his leg straight down to the ground with a thump. 135 "i -gs his foot (mainly his .,.- :-',vn with plenty of 1rr-, "-, Jn the Side Of the to a normal spinning kick.
134. 134. Side Kick The kick landed below the right side of the face, so he is facing the other direction. This kick is used for a charging opponent. 0pponent 0ver What has a o to do when the opponent weap0n. He swings the leg up by swinging the upper body backwards. Kicking o A strong kick will give the opponent a concussion. His knees will buckle under him and he will The opponent will fall directly backwards when hit with a powerful kick from the front. He will rollwith inertia when the force of the kick is strong. He falls over. His back hits the floor. His legs fly up from the force of the kick. 136 He lowers the upper body when kicking. This kick can only be used when the person has the confidence and ability to kick faster than his opponent can swing the sword.
135. 135. Downward Spinning Kick --e keeps on moving along the :;iite course. His legs fly up from the force of the kick to the head and he gains momentum independently of his own will. He rolls once and stops. The turned up necktie and jacket hem tell of the force. -r s swinging his foot down : ,'rard the back of the head. 137
136. 136. Using Scene with Kick and 0pponent Succumbing 0riginal lllustration The composition was determined based on the above cut. The person succumbing was used after invefiing the image. We drew upon a spinning kick for the kicking pose.
137. 137. 139
138. 138. Throws o He insefts his arm under the opponent's armpit and him fonivard. His leg hooks the opponent's leg. This leg is not visible when he is Bulling in hard and sweeping his opponent's legs. The leg that was supporting him is knocked out from under him and he is thrown easily. ,t---'a He is hanging on with just one leg. He falls on his back. His opponent is crumpled up after being thrown hard to the ground. The head tilted to the lower left and the overlapping legs tell of the damage inflicted.
139. 139. He slips his hips under his opponent while pulling him in. He firmly grabs his opponent's upper body and inserts his leg. Draw it so that it looks like his opponent is riding on his hip. He hooks the leg while forcibly pulling him in this direction. He pulls him in by wrapping his arm under his opponent's arm and holding his body. ln a comic it is all right to have him wrap his arm around the neck. His opponent will flip over without much efforl. -". stops suddenly :rd pulls his :aponent forward -,sing inertia and :tation of the . DS. He hooks both feet. r.'2' 7 iNN 141
140. 140. He pulls his opponent in this direction. He is being thrown. This is an overhead view. The right hand grabbing the collar pushes fonivard while the left hand holding the arm pulls backwards. He swings his right hand sharply. His opponent will roll if he pushes foruvard with his left hand the instant the guy falls. t is possible to ,hrow a person ntith quite a bit of orce depending ln the timing of he strength of the 'ight hand tushing and the eft hand pulling. He could also have his opponent fall head first depending on how he pulls with the left hand. ,f--t 142
141. 141. -echniques for Increasing lmpact of Throwing Scenes ',:t Allowing Opponent to Get Set Draw the arms and legs bent in a scene of a person who has been thrown. lt depends on the characters and the parameters, but it is possible to make it look like a throw was so fast and powerful that the opponent could not even get set. Effect lines are normally drawn parallel with movement, but they do not always have to be curved lines. Bringing the arm out to the side or having the palm of the hand face down will make it look like he was able to get set. Having the palm of the hand face up or drawing the elbow under the body will bring out the intensity of the throw and make it look painful. Straight lines can be used for shots from above and when the opponent is dropped straight down. :.'uare of Direction of Effect Lines - zwing Throws Upside Down , " *e throws can be - ,:e to look like ; -:rent thrOwS by --rly turning them . :. le down. --= left illustration is the " ; nal and the right one is -rly the left one turned .:. de down. lt can be used as - I as you pay attention to the '::tion of effect lines and the :':ction clothing streams. D
142. 142. Various Poses of Person Succumbing ln battle scenes, it is important for the person succumbing to look like they are succumbing. Go overboard when drawing. Doing that will better hightight the strength of the attacker. v
143. 143. Drawing Person Succumbing with a Back Ground Street battles are meaningless without a background. Use of various backgrounds and situations can bring poses of a person succumbing to life. This is a person who has been thrown to the ground. He was sent flying with a spinning kick. It is not always necessary to add the trajectory of movement in the form of effect Iines. Depending on the frame and your intentions, effect lines may give the picture a stronger impact and make it easier to understand. Think of directions when drawing. :: ',*. ?,, ::t!. t '!' )t' ;: He is being thrown down.
144. 144. l0r/xcDRA/ Vol.6: Martial Arts & Combat Sports Chapter 1 Judo Chapter 2 Karate Chapter 3 Kendo Chapter 4 Boxing Chapter 5 Street Battles rsBN4-88996-082-1 Yol.5: Developing Shonio Hanga Techniques Chapter 1 How to Draw Characters Chapter 2 How to Draw Backgrounds Chapter 3 How to Create Stories I Chapter 4 How to Create Manga Manuscripts tsBN4-88996-081 -3 Diamond's Comic Shop Locator Service ffi.kq?t- a it 2GG-ll You can access the Comic Shop Locator Servrce by calling toll free: 1-BBB-COMIC- BCO< - -JaS-2f€-:-225, . the U.S.
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pelea

How to Draw Anime Hands Holding a Sword

Source: https://www.slideshare.net/isshinstark/how-to-draw-manga-vol-6

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