Linework help

[Anonymous No.4537856]

How do you go from /beg/ to /mangaka/ tier linework?

[Anonymous No.4537865]

>>4537856
idk, but i would like to know if the science of linework is explained clearly somewhere

[Anonymous No.4537868]

>>4537856
Post your work and we can help focus you on the specifics. But the general answer regardless is “lots of practice.” There’s no way around that.

[Anonymous No.4537878]

>>4537865
There’s no science to it. There’s some general guidelines, but the rest of it is subjective to style. Line control is really the only absolute. How thick or thin you choose to make your lines, as well as what unique taste you want to give to them is entirely up to the artist. If you wan a good book that covers a variety of styles common in inking, check out “Pen and Ink Drawing” by Alphonso Dunn. From there it’ll just be a matter of observation and practice on your own terms.

[Anonymous No.4537882]

>>4537856
By practicing and studying the fundamentals.

[Anonymous No.4537893]

>>4537856
Slightly off-topic, but what's the consensus on drawing 'proper' line-art over a sketch vs. line-sculpting a sketch? Does one have an advantage over the other?

[Anonymous No.4537910]

>>4537893
One is clean, one is very messy. The latter also leads to drawings looking very wonky, out of proportion, etc...

[Anonymous No.4537926]

>>4537910
Ah, I see. Thanks for the explanation. I guess it comes down to how good one is at getting a sketch 'perfect' vs. just using a sketch as a guideline for the linework.

[Anonymous No.4537938]

>>4537926
Kinda, going over it a second time for clean up gives you a chance to have a second look at your work and see if you’re satisfied. Also, loosely sketching things on paper is very relaxing and stress free, so it gives you room to experiment.

I see it as two totally different steps with two different mindsets. The drawing phase is the one that gives the most freedom, but also requires the most thinking. You get sketch loosely and be creative though. The inking phase on the other hand requires no thinking at all, so you can just sit back, put some music on, and get to working. It’s therapeutic, and also where you focus more on bringing out the style of your work through linework. It’s the more time consuming and physically exhausting of the two. Wheras the first is the more mentally exhausting,

Like I said, I’m in basically two separate states of mind while working on each.

[Anonymous No.4537943]

>>4537938
Thanks for the cool insight. I'm /beg/, so I'll definitely keep this in mind when I start practicing linework for finished pieces.

[Anonymous No.4537961]

>>4537878
>check out “Pen and Ink Drawing” by Alphonso Dunn
ok thanks

[Anonymous No.4537964]

>>4537943
No problem. I wanna add that this doesn’t mean there aren’t short cuts, and that you can’t just jump into inking from a blank canvas, especially on digital. However, it’ll heavily depend on the style you want to give your work. A style in which you just jumped right into inking without any planning (that’s what the sketch phase is for) will always inevitably look more loose and sketch-like.

That said, you should learn to do things the right way before seeking out shortcuts. Especially since cutting out the sketch phase isn’t much of a time saver. I can bang out a page like pic related in about 30 mins to 1hour. Roughly 5-10 mins a panel, with the bulk of the time going more into thinking of shot composition and seeking out inspiration from film or references for the inking phase. Meanwhile, >>4537868 here we’re looking at that same time frame PER Panel. Inking is always the big time sink, not sketching. Oftentimes the pre-prep in the sketch phase is there to save you time and headaches during the inking phase.

[Anonymous No.4538163]

>>4537856
Watch murata streams on youtube and see how he does it. Most is just learning inking tools. Waldon wong and jimmy reyes have a lot of inking stuff on youtube to learn from too. Inking is all about practice. You need to fill pages on pages with pushing and pulling lines and feathering and so on. Download blue lineart and print it off and ink over it. Compare to pro work. American comic pencillers are good sources for this and compare how your lines come out in comparison. Manga is same thing as american inking. Solo Penciller/inker like ethan van sciver, etc draw similar to manga - basic lines and shapes with little detail/shading and ink over it themselves.

Only thing americans dont do is toner for final "coloring". Youll see murata leave fubuki and tatsu almost half done compared to what you expect. Thats all toner for a lot of the blacks of their costumes. Assisstant stuff.

However, same technique with crow quill or gpen or winsor newton brushes apply to both american and manga inking. Easier to find resources for learning us comic style and appy technique to your manga.

[Anonymous No.4538203]

>>4537868
That guy in the first frame reminds me heavily of Vincent Valentine. What's the page or manga gonna be about?

[Anonymous No.4538267]

>>4537868
Not the OP, but
>But the general answer regardless is “lots of practice.” There’s no way around that.
Sure, practice is necessary for any skill development, but if it's directionless it won't bear fruit. What would be material to learn from?

[Anonymous No.4538274]

>>4538267
Real life.

[Anonymous No.4538297]

>>4538267
Your favorite mangaka's artwork. That's all the material you'll ever need. Don't be lazy and start thinking by yourself.

[Anonymous No.4538298]

>>4538274

[Anonymous No.4538317]

>>4538203
That’s cause I didn’t put much thought into designing the huntsman, because it’s just a short little one shot for a Jump contest. It’s basically Vincent, Sol Badguy, and Simon Belmont slammed into one character. Best way to describe the story though is “our take on the Little Red Riding Hood fairy tale” but with some heavy Bloodborne influences.

The main character however, the little red analogue, Alice, has a much more memorable/original design.

>>4538267
The fundamentals mentioned in the sticky, with a heavier focus on perspective and composition over anatomy and obviously color theory. As well as books focused entirely on inking and inking techniques. The aforementioned Alphonso Dunn book is great, as well as Framed Ink. Likewise, you wanna make sure you go through Scott Rob’s book on perspective.

On top of that, you wanna learn panelling techniques and manga techniques, but unfortunately, there’s not much English literature on that. 10% will come from videos you’ll find on YT, and 90% from studying the work of other mangaka, primarily Akira Toriyama.

Oh, you also wanna learn cinematography and the KiShoTenKetsu narrative structure.

As an aside, I’d also suggest looking into Japanese Calligraphy, as you’re gonna need it if you want cool looking onomatopoeia like in Bleach for example. But that’s not a necessity, and learning the Japanese onomatopoeia is a but counterintuitive for what you already know certain sounds are like.

[Anonymous No.4538320]

>>4537856
i think the general rule is the mass of an object is perpendicular to it's line weight given some exception towards the contact of two or more object with similar materials. At least that's kind of my approach.

[Anonymous No.4538360]

>>4538298
Bitch you know he's right

[Anonymous No.4538369]

>>4537856
you draw for 35 years

[Anonymous No.4540470]

please bully me

[Anonymous No.4540510]

>>4538317
I'm >>4538267 and thanks for actually answering instead of resorting to just "RL lol"

[Anonymous No.4543787]

>>4538317
>you wanna learn panelling techniques and manga techniques, but unfortunately, there’s not much English literature on that. 10% will come from videos you’ll find on YT, and 90% from studying the work of other mangaka
Very interesting, thanks... do you know if there's any material in other languages tho?

[Anonymous No.4543852]

>>4537856
Don't waste your time asking NGMI on /ic/ Enter this contest and you'll get actual useful advice from professional mangaka

https://medibang.com/contest/jumptezuka100th/

[Anonymous No.4543875]

>>4537856
read guptil.
treat every day like it's inktober.
>https://boichi.com/ask-boichi-manga-2-inking/

[Anonymous No.4543923]

>>4540470
Hey, not bad, your eyes definitely need work though

[Anonymous No.4543934]

>>4537856
>mangaka
be japanese and work hard

[Anonymous No.4543971]

>>4540470
Why is the line weight so thin on the lower left part?

[Anonymous No.4543985]

>>4540470
where tf she nipples at boi?

[Anonymous No.4544216]

Of course there are a lot of techniques to inking, that are essencial to learn like dynamic line work and such...
But I think we tend to forget how having confidence and a steady hand is 90% of what you need. Long uninterrupted lines will look clean and sharp...

[Anonymous No.4544235]

I can use this thread for my question I guess:

How big a canvas do most comic/manga artists use? I started A5 but then realized that was too small for digital so I doubled it to around 3496x4961 but now I realize that it's too small too! I can't do fine lines at all. So I'm doubling it again and now have a massive canvas but I'm still wondering what the standard practice is.

[Anonymous No.4544313]

>>4544235
I dont know about mangaka's size, but normally I see american comic's use A3 for each page...

[Anonymous No.4545828]

>>4540470
Cmon man you already got it. Just add some line weight and you're good to go.

[Anonymous No.4545833]

>>4544235
>https://boichi.com/ask-boichi-manga-2-inking/
B4 for professional manga. A4 for doujin stuff.

[Anonymous No.4545837]

>>4543985
between my lips

[Anonymous No.4546357]

>>4537856
hire assistants

[Anonymous No.4546361]

>>4538317
How important is doing still lifes/drawing from life for a /beg/ like me, would you say?

[Tokio !osGldUiH6E No.4546523]

>>4537856
caped baldy on youtube
murata's stream archive

[Anonymous No.4546681]

>>4537856
Mental fortitude