CWKMS0001 - Master Studies - Vagabond by Takehiko Inoue

• Master: Takehiko Inoue(井上雄彦)
• Reference: Vagabond, Vizbig Edition, Volume 1
• Character: Oko(お甲)
• Focus: Hatching and Inking, line weight, value, and form

I've been delving into Takehiko Inoue's hatching and inking style, trying to grasp how he uses lines to create depth and form.

Honestly, if I had the choice, I wouldn't be doing this manually. Not a chance. It's fun and immersive, sure, but it's also a physical ordeal. Why would anyone do this by hand when digital tools are available? I don't get it. We should ban it, seriously 🤣

When it comes to hatching and inking, I used the lasso tool wherever I could. I worked with tons of layers to move hatching or inking parts around. Without layers, you risk inconsistent hatching lines and inking. I'm not sure if I can manage without layers. Who am I kidding? I definitely won't be doing it without layers.

Inking hair? Wow, it's a painfully meticulous task.

All kidding aside, I have immense respect for manga artists who do this by hand. But for your own sake, dear artists, please consider going digital.

I strongly recommend the master studies idea suggested by Stan at Proko.com. You won't learn much just by looking at the master's works. Try copying them. You'll learn a lot by imagining how and why they did what they did. And if possible, be creative and find your own way to become more efficient.

I was clueless about how to ink that hair, for example. I haven't seen Takehiko Inoue's inking process, so I just copied it from Vagabond using the lasso tool, filling it with black or white, and sculpting it with the eraser or a fine brush. That did the trick for me. It probably wasn't how he did it, but it worked for me. That's the whole point of this exercise: interpret it your way and make it your own.

The scene is from the first volume of the Vizbig Edition of Vagabond. I have all 12 volumes, so there's plenty to study from.

Tools Used

Wacom Cintiq Pro 27", Photoshop

Notes

Master studies as suggested and inspired by Stan Prokopenko's Basic Drawing Course: Proko Drawing Basics

The purpose of these master studies is to understand the techniques and styles of the masters, not to replicate them exactly. The goal is to learn from the masters and apply that knowledge to my own work. I specifically focus on something in every session, taking a particular aspect of the master's work to study and understand. The scene I draw may be a part of a larger piece, but I focus on the specific aspect I want to learn from.

My drawing does not reflect the quality of the master's work in any way. It's a learning process, and the result is not the goal. The goal is to understand and learn from the master's techniques.

For copyright reasons, I don't share the original reference images. I encourage you to get the original works and support the artists.

CWKMS0002 - Master Studies - Berserk by Kentaro Miura

• Master: Kentaro Miura(三浦建太郎)
• Reference: Berserk, Volume 14
• Character: Casca(キャスカ
• Focus: Hatching and Inking, line weight, value, and form, eyes and expression

It's a scene from the last unfinished volume of Berserk by Kentaro Miura.

I'm getting old. I cried like a baby while hatching Casca's face and inking her hair. I had to stop so many times. I couldn't bear it sometimes. Her expression and eyes, so innocent, oh my god.

I'm not sure if it was the ordeal of hatching and inking or Guts' and her unfinished love story that got me. The story now will never be told as Kentaro Miura intended, anyway.

It's an arduous task even in digital. I can't imagine doing this by hand. The most excruciating part was inking her hair. If it wasn't Casca, I would have stopped. But it was Casca. I had to finish it.

She's forever Casca. She deserves every bit of respect and love. Every darn stroke and line.

I didn't attempt to replicate Kentaro Miura's style exactly. I just wanted to feel and understand it. Again, we should ban manual inking and hatching. Seriously. We don't have to lose masters like Kentaro Miura to this kind of labor again. 😢

I know it's just me, but I'm damn proud of myself having come this far.

CWKMS0003 - Master Studies - RockHe Kim (김락희)

• Master: RockHe Kim (김락희)
• Reference: YouTube Member Exclusive Illustration - https://www.youtube.com/channel/UCjnc0AA4TKE1NiR6oPVGYnw/community?lb=UgkxVLsY6o4sKQOVjBowHNvQ44v4eS96rraQ
• Character: Makima from Chainsaw Man
• Focus: Hatching and Inking, Line Weight, Perspective, and Figure Construction

• Note that RockHe Kim drew this character as part of his demonstration. Makima from Chainsaw Man is not his original creation. I took the liberty of drawing only his Makima interpretation for this study.

When it comes to figure drawing and line art, RockHe Kim is one of the best artists to learn from. The details and quality he aims for in his illustrations are top-notch, sometimes even seemingly humanly impossible to follow. Zoom in on his line art, and you'll see what I mean. Not a single line is out of place. Every line has a purpose and a direction. Every line is a part of the whole, and the whole is a masterpiece.

I'm a member of his YouTube channel and have access to all his resources for learning, and I own two Coloso courses on figure drawing and perspective. He runs this YouTube channel and demonstrates his process in real-time, which is a great way to learn from a master artist. But don't expect him to entertain you in other ways. He seldom speaks without specific purposes like giving feedback or explaining something. Note that he only speaks Korean, but his art speaks volumes. You can learn a lot from his art alone.

He has published two books, one on figure drawing based on anatomy and another on line art. However, the latter won't teach you how to draw line art like him. Rather, it's another version of an anatomy-based figure drawing book focusing on line art.

If you can finish those books, drawing every example in there with similar quality to his, you'd be considered an illustrator to be reckoned with, at least in the realm of figure drawing and line art.

He also astonishes viewers with his extensive knowledge and experience in color theory and composition. But he's more prolific in greyscale figure drawing and line art. He worked for Marvel in his early career and has a lot of experience in the industry. He's a master artist in every sense of the word.

When it comes to anatomically correct figure drawing, he comes on top to the point you should consider him OCD about it. I mean it. I'm OCD in my own right, but he's on another level when it comes to drawing. Don't just blindly follow his work if you're not ready to put in the effort. You'll be frustrated and disappointed.

We shouldn't be comparing masters, but in terms of figure drawing, I'd recommend either Michael Hampton or RockHe Kim. Both are great in their own right. But if you're looking for more detailed and meticulous figure drawing, RockHe Kim is the way to go. However, in terms of accessibility and adaptability to your own style, Michael Hampton might be the better choice. Anatomical approaches from these masters are not so different, but the level of detail and precision is.

Me? I'd go with both. I'm learning from both.

You shouldn't be picky about masters. Learn from as many as you can. You'll be better off that way.

I only drew the main character from his work. It's only a part of a larger amazing artwork. You should see the whole thing to understand the context and the quality of his work. I took the liberty of focusing on the hatching and inking, line weight, perspective, and figure construction of Makima alone.

Damn, he drew this on paper with pen and ink.

CWKMS0004 - Master Studies - One-Punch Man by Yusuke Murata

• Master: Yusuke Murata(村田雄介)
• Reference: One-Punch Man Volume 1
• Character: Mosquito Girl(モスキート娘)
• Focus: Hatching and Inking, Line Weight, Perspective, and Figure Construction

She's one of the first boss monsters Saitama faces in the series. I chose her because she's a good example of Yusuke Murata's hatching and inking style. (Yeah, who am I kidding, right? She looks gorgeous.)

Well, hatching and inking are still taking a toll on my entire body, especially my shoulders.

But, happily, I'm starting to get the hang of it. Getting more efficient bit by bit too. Since I'm working digitally, I will be able to improve a lot faster and more efficiently.

For example, I didn't use screen tones and those action lines readily available in Clip Studio.

If they were available in Photoshop, I would have used them.

The final result is by no means complete or perfect. Master studies are all about learning in a smart way, not about replicating the master's work exactly.

CWKMS0005 - Master Studies - Chainsaw Man by Tatsuki Fujimoto

• Master: Tatsuki Fujimoto(藤本 タツキ)
• Reference: Chainsaw Man Volume 1
• Character: Makima and Denji
• Focus: Hatching and Inking, Line Weight, Perspective, and Figure Construction

If you're not familiar with Chainsaw Man, don't misinterpret the scene as anywhere near romantic. It's a trap for Denji, the main character, set by Makima, the Control Devil Hunter. She's a manipulative character, and Denji is naive and innocent. He instantly falls for her trap, and the story unfolds from there. Who wouldn't? She's gorgeous as hell.

Some masters I study apparently employ apprentices. Some scenes are too sloppy and hasty to be considered the work of the master. I understand most follow this tradition of working with apprentices, but to varying degrees.

I try to pick only those scenes that must have been done by the master or someone with equal caliber.

We shouldn't naively consume anyone's work if it's not correct and might present risks of reinforcing incorrect habits.

Honestly, Chainsaw Man doesn't have many impressive scenes per volume, but the narrative and characters are amazingly good.

CWKMS0006 - Master Studies - The Romance of the Three Kingdoms (삼국지) by Ko Woo-young(고우영)

• Master: Ko Woo-young(고우영)
• Reference: The Romance of the Three Kingdoms (삼국지) Volume 2
• Characters: Liu Bei (유비), Guan Yu (관우), Zhang Fei (장비), Dong Zhuo (동탁), Lü Bu (여포), Cao Cao (조조), Diao Chan (초선)
• Focus: Stylized Character Designs

You wouldn't believe how meticulous Ko Woo-young is in his character designs and expressing their characteristics unless you tried drawing exactly like him. His stylized characters look so simple to draw, but they're not. Every line and stroke must be shaped and directed in certain ways to achieve the desired effect. I only got the hang of it after hours of trying, but I'm really glad that I did get some of it right.

I used only a single brush not suitable for this type of drawing. You need a more natural brush to achieve the desired effect. The late Ko Woo-young used a real brush or pen to draw his characters. Most lines and strokes are just one master stroke. Without mastering his style and techniques, you can't draw his characters exactly like him.

He was also unique in interpreting these well-known characters. Look at Liu Bei, for example. Unlike most interpretations, he looks more like a weak, naive, good-natured but indecisive leader. In fact, Ko thought really highly of Cao Cao in terms of leadership, political acumen, and character. He even published a book on Cao Cao alone. You won't be able to find it easily though. I read it decades ago before he passed away.

Ah... Diao Chan. She's so beautiful and tragic. Ko Woo-young's interpretation of her is also unique. She's not the usual seductress. She's more like a tragic heroine who loved her master more than anything else. She did it all for that master, who also throws himself into the abyss for her after her tragic death. What a scene that was... I cried my eyes out when I first read the story about her. I was 13 at the time.

Memories of those days... Who would have thought I'd be drawing these characters decades later? I'm so grateful for the opportunity to learn from the late Ko Woo-young. I hope I did justice to his characters.

CWKMS0007 - Master Studies - Your Lie in April by Naoshi Arakawa

• Master: Naoshi Arakawa(新川 直司)
• Reference: Your Lie in April Volume 1
• Character: Kaori Miyazono (宮園かをり)
• Focus: Hatching and Inking, Line Weight, Perspective, and Figure Construction

The anime version of this gem used to be on Netflix. I watched it a few years ago and was deeply moved by the story and the characters. It's full of clichés and predictable plot twists, but it's so well executed that you can't help but fall in love with all the characters. And that girl you fantasize about in your wildest dreams? She's Kaori Miyazono. See her to believe it.

But, what a sad story it is.

I'm glad I could draw her.

CWKMS0008 - Master Studies - The Terrifying Foreign Legion(공포의 외인구단) by Lee Hyun-Se(이현세)

• Master: Lee Hyun-Se(이현세)
• Reference: The Terrifying Foreign Legion(공포의 외인구단) Last Volume
• Character: Umji and Kkachi (엄치와 까치)
• Focus: Hatching and Inking, Line Weight(especially line quality)

I've been crying for almost four decades because of this couple. Seriously. Every time I see them, I still cry. Who wouldn't? If you can read this series without shedding a bucket of tears, you're not human; you're a cold-blooded monster.

And WTF... this was the toughest drawing so far. It wasn't that challenging, but the tears kept blurring my vision and making me emotionally shaky. I had to make numerous trips to the bathroom to wash my face and calm down. You might not believe it unless you've experienced the whole series and been influenced by it for four decades. Words cannot describe the emotional rollercoaster you go through with this manhwa.

Amusingly, when it was made into a TV drama, decades after a failed attempt at a movie adaptation, new generations scoffed at the narrative. Some even called Umji the "bitch of the century" for what she did to Kkachi. Yeah, generation gaps. But the adaptation itself, with wrong casting and poor direction, didn't help either.

You don't understand the depth of the story and the characters through the adaptation. You need to read the manhwa. It's a masterpiece. I haven't seen anything near this level of strong narrative and character development in any other manhwa or manga. It's in a league of its own. Clichés and predictable plot twists? Yes, but it's so well executed that you can't help but fall in love with and root for all the characters. Even that bastard Ma Dong-tak.

The name "Umji" (Thumb in Korean) is that of Lee's daughter, a common practice among manhwa artists who often name characters after their children. "Kkachi" (Magpie in Korean) is a bird symbolizing good luck and happiness in Korean culture. However, in this context, it refers to the character's hairstyle, 까치 머리 (Kkachi's hairstyle is a spiky mohawk style, resembling the feathers of a magpie). Kkachi is his nickname, and his real name is 혜성 (Hye-seong).

까치: "난 네가 기뻐하는 일이라면 뭐든지 할 수 있어. 난 네가 좋아하는 일이라면 뭐든지 할 수 있어."

엄지: 혜성아, 넌 내가 원하는 일이라면 뭐든 한다고 그랬지. 꼭 한번만 져주길 바래...

Kkahi: "I can do anything to make you happy. I can do anything you want."

Umji: Hye-seong, you said you'd do anything I want. I really wish you'd lose just this once...

Oh...f...*...c....k

CWKMS0009 - Master Studies - Slam Dunk by Takehiko Inoue

• Master: Takehiko Inoue(井上雄彦)
• Reference: Slam Dunk, Volume 1
• Character: Hanamichi Sakuragi (桜木花道, 강백호), Haruko Akagi(赤木晴子, 채소연)
• Focus: Hatching and Inking, line weight, value, form, and perspective

No, it's not one of those cool scenes where the hero nails the dunk. It's his first attempt at the skill to impress the girl. You can guess what happens next 🤣

Not sure why, but I haven't seen the full series of Slam Dunk yet. I watched the first couple of episodes on Netflix. They were insanely fun but felt a bit too old to watch. Maybe I can finish the manga series this time while doing my master's studies.

I'm still confused by all these characters because their names have been changed to Korean in the Korean version. Yeah, the two countries still have a tense history to this day. In Korea, we used to ban Japanese cultural products, including manga and anime. Remnants of those days still linger in the Korean version of manga and anime.

We still tend to change everything Japanese into Korean, even pronouns.

I chose the wrong aspect ratio, my default 4K resolution, for this study. I should have gone for a bit taller one. Because I eyeballed everything, the whole drawing looks compressed, and Hanamichi looks squished. That's another lesson learned: choose your aspect ratio wisely.

Note that some scenes in Slam Dunk look very rushed. I'm not sure if Inoue did them himself or if he had an apprentice do them. Even in this scene, not much attention was given to Haruko. She looks like an anime character drawn by a kid, really. All the master's attention was on Hanamichi's energetic action and the impressive perspective in the court.

Drawing all the background elements was too tedious and time-consuming, so I skipped some.

Tools Used

Wacom Cintiq Pro 27", Photoshop

Takeaways

• Even a single mismatch in perspective lines can ruin the whole illusion.
• The net also takes shadows and light. Just make the lines a little bit thicker and darker to show the shadow.
• Those little shapes on Hanamichi's pants follow the imagined action gesture line.
• When chunky blacks and whites or midtones get mixed up, try going for one color and sculpt it with the other, such as black hair with white highlights or black pants with midtone highlights.
• Economic use of lines cannot be overemphasized! Don't use or leave unnecessary lines for the sake of filling empty spaces!
• Every curve has its own slope and direction. For instance, the lower left leg end of Hanamichi's pants should be convex towards the foot, not concave. These subtle incorrect details, if not caught, make the drawing look unexplainably off.

CWKMS0010 - Master Studies - 20th Century Boys by Naoki Urasawa

• Master: Naoki Urasawa(浦沢直樹)
• Reference: 20th Century Boys, Volume 1 Cover
• Character: Kenji Endo(遠藤賢司)
• Focus: Hatching, line weight, value and form, light cell shading

It's my first time reading Naoki Urasawa's work. First of all, I love his art style.

The narrative is intriguing, and the characters are well-developed. I particularly like coming-of-age stories with twists, like Stand by Me, Stranger Things, and It. 20th Century Boys has a similar vibe, and I'm excited to read more. I've just finished the first volume, and I'm already hooked. I wanted to draw many scenes from the first volume, but the cover drew me in the most.

I know it's all a mess coloring-wise. My brush choice was all wrong. I should have gone for a more pastel-textured brush. And in the realm of coloring, I suck. Big time. Can't eyeball the hues and values. I need to practice more on that.

Tools Used

Wacom Cintiq Pro 27", Photoshop

Takeaways

• Choose brushes wisely. The wrong brush can ruin the whole piece. Try identifying the texture of the original work and choose a brush that matches it.
• Coloring is hard. It's not just about picking the right hue. It's about picking the right value and saturation as well. Practice more on that.
• If done right, cell shading alone can give a piece a lot of depth and volume. It's a powerful tool to have in your arsenal.

CWKMS0011 - Master Studies - Death Note by Takeshi Obata

• Master: Takeshi Obata(小畑健)
• Reference: Death Note, Volume 1, Page 3
• Character: Light Yagami(夜神月) and Ryuuk(リューク)
• Focus: Composition, Line Weight, Hatching, Inking, Values, and Form

I've watched the anime and movie adaptations a while ago, so I'm familiar with the story, but I've never read the manga.

I picked this chapter cover image because the composition looked amazing. While eyeballing proportions, I realized the whole composition forms a profile head. The way the characters are placed, along with the shadows and the light source, all contribute to the skull shape. It's a brilliant composition.

So, I placed every element as if I were drawing the side view of a human head. Just wow.

Okay, I skipped hatching and inking here and there because I was too lazy to do them all.

Tools Used

Wacom Cintiq Pro 27", Photoshop

Takeaways

• Take a moment to analyze the composition of the scene. You might find something interesting.
• Hatch following the form of the object and action of the scene, light source, and gesture.

CWKMS0012 - Master Studies - Blade of the Immortal by Hiroaki Samura

• Master: Hiroaki Samura(沙村広明)
• Reference: Blade of the Immortal(無限の住人), Volume 1
• Character: Makie Otono-Tachibana(乙橘槇絵)
• Focus: Composition, Line Weight, Hatching, Values, and Form

The master's style is unique in that the lines are very rough and sketchy, yet they convey a strong sense of realism and depth. The story might not be novel, but the art is certainly something to learn from. He especially excels in overhead views of action scenes. Some are so detailed and well-composed that they'd take too long to study in one session.

This scene towards the end of the first volume particularly caught my eye due to the elegance of Makie's move and the composition of the scene.

Mostly hatching, with no inking applied.

Tools Used

Wacom Cintiq Pro 27", Photoshop

Takeaways

• Squint your eyes to see the overall composition: basic shapes will become more apparent. Capture these first, then refine them.
• Effective hatching can add depth, form, and a stylish appearance to your drawing.
• Shadows highlight light. Ensure every object has a shadow, even if it's subtle.

CWKMS0013 - Master Studies - Kimetsu no Yaiba by Koyoharu Gotouge

• Master: Koyoharu Gotouge(吾峠呼世晴)
• Reference: Kimetsu no Yaiba(鬼滅の刃), Volume 1
• Character: Tanjiro Kamado(竈門炭治郎) and Nezuko Kamado(竈門禰豆子)
• Focus: Composition, Inking, Values, and Form

Anime first, then manga. That's how I usually consume Japanese media. I watched the anime adaptation of Kimetsu no Yaiba and instantly fell in love with those two adorable siblings. I even bought their figures.

Now I'm drawing them. What a journey!

Tools Used

Wacom Cintiq Pro 27", Photoshop

Takeaways

• Every slope and angle of the shapes matter. Your eyes can mistakenly perceive the shapes as simple or completely wrong if you don't get them right. Pick a reference shape and compare others to it. Incorrect slopes and angles usually mean a wrong perspective and will break the illusion of depth.
• For instance, in this particular scene, the eye level is at the center, with Tanjiro below it and Nezuko above it. The camera doesn't move, but Nezuko should be drawn at a high angle while Tanjiro at a low angle.

CWKMS0014 - Master Studies - Neon Genesis Evangelion by Yoshiyuki Sadamoto

• Master: Yoshiyuki Sadamoto(貞本義行)
• Reference: Neon Genesis Evangelion(新世紀エヴァンゲリオン), Volume 1
• Character: Rei Ayanami(綾波レイ)
• Focus: Composition, Hatching, Cell Shading,

Ah... Neon Genesis Evangelion... No words would be necessary.

I'm just glad I am drawing the characters from this series. This time I drew Rei Ayanami.

It's my first time enjoying the manga series. I've only watched the anime and the four recent remake movies.

The art style is pretty decent and has a lot to take away from.

Tools Used

Wacom Cintiq Pro 27", Photoshop

Takeaways

• Composition is key.
• Shapes, shapes, shapes!
• Slopes, slopes, slopes!
• Angles, angles, angles!
• Simple coloring and shading can go a long way.

CWKMS0015 - Master Studies - Kakegurui by Toru Naomura

• Master: Toru Naomura(尚村透)
• Reference: Kakegurui(賭ケグルイ) , Volume 1
• Character: Yumeko Jabami(蛇喰夢子)
• Focus: Composition, Hatching, Inking, Cell Shading

Again, I encountered the anime first, then the live-action, and finally the manga. I'm not a fan of the live-action, but both the anime and manga are great. What I love about this series, to be honest, is not the story but the character designs and the art style.

Thankfully, the overall quality of the illustration remains consistently good. Some scenes are just awe-inspiring, especially in terms of perspective and composition. If you want to practice drawing female figures, this series is a great reference. Look no further.

The lines are precise and clean. The hatching and inking are top-notch. The cell shading leaves little to be desired. The composition is flawless. The overall quality is just amazing.

The story? It's a manga about crazy gambler high school students. Only in Japan. What do you expect? 😂

Tools Used

Wacom Cintiq Pro 27", Photoshop

Takeaways

• Don't attempt to draw everything. Some details can be carved out, especially the hair.
• Maintain the overall flow of the character right from the start.

CWKMS0016 - Master Studies - Dawn of Charon(카론의 새벽) by Lee Hyun-se(이현세)

• Master: Lee Hyun-se (이현세)
• Reference: Dawn of Charon (카론의 새벽), Volume 1
• Charactes: Brothers Hye-seong and Young-ung (오혜성과 오영웅 형제)
• Focus: Composition, Hatching, Inking, Line Weight

Dawn of Charon was adapted into the 1995 movie 'Terrorist', starring Choi Min-soo. In the film, the brothers' names were changed to Soo-hyun (younger Hye-seong) and Sa-hyun (elder Young-ung). While the movie was decent, I would highly recommend the manhwa if you had to choose between the two.

The art style is quintessential Lee Hyun-se, showcasing some of his finest early work, especially in the use of those powerful, masculine lines. I attempted to replicate his brush strokes by meticulously carving each stroke with the lasso tool.

Master Lee’s character Hye-seong is often nicknamed "Kkachi" (Magpie) across his works, a nod to his signature spiky mohawk hairstyle, reminiscent of a magpie’s feathers. During my initial master study of 'The Terrifying Foreign Legion (공포의 외인구만)', I experimented with a unique brush for the hair. However, this time around, I found that carving each lock with the lasso tool was more efficient, faster, and ultimately more satisfying.

Had I attempted these lines and strokes using traditional pen and paper, the result would likely have been quite chaotic.

Tools Used

Wacom Cintiq Pro 27", Photoshop

Takeaways

• When eyeballing the composition, begin by identifying and sketching the larger, basic shapes before refining the smaller details within those shapes.
• The lasso tool can be a powerful ally in replicating brush strokes; use it creatively to enhance your work.
• After filling in the shadowy regions with black, carve out highlights using the eraser to achieve a more natural and dynamic look.

CWKMS0017 - Master Studies - Your Lie in April by Naoshi Arakawa

• Master: Naoshi Arakawa(新川 直司)
• Reference: Your Lie in April Volume 1
• Characters: Kousei Arima (有馬公生), Kaori Miyazono (宮園かをり), Tsubaki Sawabe(澤部椿), Ryota Watari(渡亮太)
• Focus: Multiple Characters

Drawing the bicycles turned out to be more of a hassle than a challenge. I realize some of the copied-and-pasted wheels look a bit off, but I had to call them done to save time and effort. It's all part of the learning process, and I'm glad I managed to draw all the characters.

At first, it seemed daunting, but the "just-do-it" and "can-do" attitudes helped me push through and complete the drawing. I'm really glad I did it.

Tools Used

Wacom Cintiq Pro 27", Photoshop

Takeaways

• No matter how complex the composition may seem, you can tackle any scene by breaking it down into smaller, manageable parts.
• Start with rough sketches of characters and objects to get a feel for the scene before diving into the details. Approach drawing each character and object as if you're sculpting them.
• Overlapping parts can be tricky and may require multiple corrections. Don’t hesitate to erase and redraw until it looks right.
• Layers are your allies. Use them to separate characters and objects, which makes it easier to work on each element individually. Merge them as you go, while leaving as many backups as possible. However, too many layers can slow down the drawing process, so combine them as needed.

CWKMS0018 - Master Studies - Cowboy Bebop

• Master: Tohishiro Kawamoto (川元利浩)
• Reference: Cowboy Bebop Illustrations _{The Wind} (カウボーイビバップ イラストレーションズ _{The Wind})
• Characters: Spike Spiegel, Faye Valentine
• Focus: Composition, Inking

Tools Used

Wacom Cintiq Pro 27", Photoshop

Takeaways

• If something in your drawing looks off, trust your instincts—it likely is off. Take the time to identify and correct any inaccuracies before moving forward.

• To gain a fresh perspective, flip the canvas. This will allow you to view your drawing from a different angle, making it easier to spot mistakes and imbalances that you might not have noticed otherwise.

CWKMS0019 - Master Studies - Kakegurui by Toru Naomura

• Master: Toru Naomura(尚村透)
• Reference: Kakegurui(賭ケグルイ) , Volume 1
• Character: Yumeko Jabami(蛇喰夢子)
• Focus: Composition, Hatching, Inking, Cell Shading

I've explored many manhwa and manga artists, and I must say that from a practice standpoint, Toru Naomura stands out as one of the best to emulate. His delicate and precise lines, masterful use of hatching and inking, and the overall composition of his scenes are truly impressive. Most importantly, he maintains this high quality throughout the entire series.

Unfortunately, not many artists manage to keep the same level of consistency in their illustrations across a series. For those practicing, some manga artists are better suited than others, especially when it comes to maintaining quality. Toru Naomura is definitely one of those artists.

Tools Used

Wacom Cintiq Pro 27", Photoshop

Takeaways

• You can create even lines by first drawing them as shapes. Focus on the shapes, then refine them.
• It's easier to carve out details than to draw meticulous shapes from scratch, like Jabami's hair.
• Always use physical rulers. Period.

CWKMS0020 - Master Studies - Gokurakugai by Yuto Sano

• Master: Yuto Sano(佐乃夕斗)
• Reference: Gokurakugai(極楽街), Volume 1
• Character: Tao Saotome (タオ・サオトメ)
• Focus: Composition, Hatching, Inking, Cell Shading, Hair

Gokurakugai, a recent manga series by Yuto Sano, has quickly captured my attention with its impressive art style, prompting me to include it in my Master Studies library despite its early stages.

The artwork, particularly the hair rendering, stands out as exceptionally well-executed. Hair is notoriously challenging to draw convincingly, making Sano's skill in this area all the more noteworthy.

While the storyline shares some thematic elements with Chainsaw Man, Gokurakugai establishes its own distinct narrative. The scene where Alma, the male protagonist, unveils a concealed weapon from his chest, strikes a balance between familiarity and innovation. Similarly, the character Tao, while evoking certain reminiscences of Makima, maintains her own unique identity and role within the story. These elements contribute to Gokurakugai's ability to offer a fresh take on familiar tropes, creating an engaging and original reading experience.

Interestingly, Gokurakugai's art quality surpasses that of Chainsaw Man, especially when considering the latter's gradual decline in visual consistency over time.

I remain optimistic that Gokurakugai will uphold its impressive artistic standards throughout its publication. The foundation often rests on the creator's unwavering commitment to quality, irrespective of the manga's popularity. Artists like Takehiko Inoue and Kentaro Miura exemplify the ability to maintain exceptional quality over time. Their dedication to their craft reflects an OCD-like meticulousness that drives them to ensure their work does not diminish in quality.

Tools Used

Wacom Cintiq Pro 27", Photoshop

Takeaways

• Render hair strands as solid shapes initially, then enhance them with light and shadow to highlight the darker areas.
• Create additional depth and volume in certain hair strands by distinguishing them from the main cluster.

CWKMS0021 - Master Studies - Gokurakugai by Yuto Sano

• Master: Yuto Sano(佐乃夕斗)
• Reference: Gokurakugai(極楽街), Volume 1
• Character: Tao Saotome (タオ・サオトメ)
• Focus: Composition, Hatching, Inking, Cell Shading, Hair

In terms of character design, Tao stands out as one of the most memorable in recent manga. While she embodies elements of the "tough girl" archetype, her design transcends these familiar tropes, creating a uniquely compelling character. Sano's artistry shines in how he balances Tao's intimidating presence with an undeniable allure. Even when she poses a threat, readers find themselves captivated by her complex blend of beauty, charm, and danger. This nuanced portrayal elevates Tao beyond a simple archetype, making her a standout character in the series.

I especially enjoy drawing her hair. It's a great example of how to render stylish hair.

Tools Used

Wacom Cintiq Pro 27", Photoshop

Takeaways

• Layers can be convenient, but they're not always necessary. In fact, they can sometimes become cumbersome and act as a crutch. When possible, try merging layers into a single canvas. This approach can provide greater freedom and flexibility in your work.
• Immerse yourself in the character's perspective within the composition. This technique can significantly enhance your understanding of both the overall composition and the character's expressions. It allows for a more intuitive grasp of the scene's dynamics and emotional content.

CWKMS0022 - Master Studies - After God by Sumi Eno

• Master: Sumi Eno(江野朱美)
• Reference: After God(アフターゴッド), Volume 1
• Character: Kamikura Waka and Uzuki Yon
• Focus: Composition, Hatching, Inking, Cell Shading, Hair

This is yet another recent addition to my Master Studies library. The artworks are truly remarkable, but I find that I neither can afford to nor need to replicate every detail. Instead, I concentrate on capturing the essence of the artwork.

I chose not to include the numerous divine elements that this manga is renowned for, for instance.

Tools Used

Wacom Cintiq Pro 27", Photoshop

Takeaways

• Each hair strand can be meticulously sculpted to enhance realism.
• Proportions become increasingly important when multiple characters are present in a single panel.

CWKMS0023 - Master Studies - Tokyo Ghoul by Sui Ishida

• Master: Sui Ishida(石田スイ)
• Reference: Tokyo Ghoul(東京喰種):re Illustrations
• Character: Hinami
• Focus: Composition, Hatching, Inking, Cell Shading, Hair

Tokyo Ghouls has also recently been added to my Master Studies library collection.

While the original reference illustration is vibrant with color, I opted to work in grayscale to concentrate more effectively on fundamental drawing principles and techniques.

Tools Used

Wacom Cintiq Pro 27", Photoshop

Takeaways

• The art of drawing hair revolves around thoughtful design and structure.

CWKMS0024 - Master Studies - Dan Da Dan by Yukinobu Tatsu

• Master: Yukinobu Tatsu(龍幸伸)
• Reference: Dan Da Dan Volume 1
• Character: Momo Ayase(綾瀬桃)
• Focus: Composition, Hatching, Inking, Cell Shading, Hair

Another recent addition to my Master Studies library collection.

Warning: this manga is very raunchy from the get-go, yet ridiculously hilarious and charming. You have to read it to believe it. Just a never-ending WTF moment after another.

The artwork is not particularly my style, but characters' expressions and dynamic action scenes are top notch.

Especially the same character drawn in different styles offers much to learn from in terms of artistic versatility. This particular scene of Ayase is a prime example of such stylistic variation. The artist's ability to depict the same character in a distinctly different manner while maintaining her core essence is a valuable skill to study and emulate.

So, get this - Ayase meets her soulmate in the most bonkers way possible. I'm talking way out there, folks. The artist's wild imagination cooks up this scene that's so off-the-wall, you gotta see it to believe it. It's like he threw the romance rulebook out the window and decided to finger-paint with crazy. But here's the kicker - it somehow works! It's this perfect mix of totally nuts and surprisingly sweet that'll stick in your brain long after you've put the manga down. Talk about shaking up the love story game!

You know the classic setup: boy meets girl, or girl meets boy. But in Dan Da Dan, this timeless trope gets a wildly unconventional twist. The characters come together in the most unexpected, outlandish circumstances that defy traditional romantic narratives. Yet, despite the absurdity of their meeting, there's an undeniable charm to their interactions. The way they navigate their budding relationship amidst the manga's bizarre supernatural elements creates a uniquely endearing dynamic. It's this perfect blend of the outrageous and the sweet that makes their connection so captivating and memorable.

Perhaps it's a sign of my advancing years, but I find myself utterly charmed by the youthful innocence and endearing qualities of these characters. Their interactions, despite the manga's outlandish premise, evoke a sense of nostalgia and warmth that resonates deeply with me.

I tried to capture the essence of the character focusing on hair and facial expressions. While I didn't include the manga tones for shading, I paid close attention to the composition and the way the artist conveyed emotion through facial expressions and body language.

Tools Used

Wacom Cintiq Pro 27", Photoshop

Takeaways

• Hair, hair, hair.
• Circles become ellipses when viewed at angles. Identify the minor and major axes. Incorrect axis placement results in distorted, wonky shapes.

CWKMS0025 - Master Studies - Gokurakugai by Yuto Sano

• Master: Yuto Sano(佐乃夕斗)
• Reference: Gokurakugai(極楽街), Volume 1
• Character: Dara Kurogane(鐵ダ羅)
• Focus: Composition, Hatching, Inking, Cell Shading, Hair

Dara Kurogane represents another outstanding character design in Gokurakugai.

Tools Used

Wacom Cintiq Pro 27", Photoshop

Takeaways

• Hair can be conceptualized as a collection of flowing ribbons, each with its own direction and volume.
• Black defines form by creating outlines and shadows, while white defines volume by highlighting and creating depth.
• The interplay between black and white elements is crucial in creating a balanced and visually appealing composition.

CWKMS0026 - Master Studies - Gokurakugai by Yuto Sano

• Master: Yuto Sano(佐乃夕斗)
• Reference: Gokurakugai(極楽街), Volume 2
• Character: Nei Takarai(寶井寧)
• Focus: Composition, Hatching, Inking, Cell Shading, Hair

Nei Takarai makes her debut in Volume 2 of Gokurakugai, adding to the manga's impressive roster of characters. Yuto Sano's exceptional talent for character design shines throughout the series, with each new introduction bringing a fresh and captivating visual element to the story.

I find immense joy and inspiration in drawing these meticulously crafted characters, each presenting unique challenges and opportunities to hone my skills.

Tools Used

Wacom Cintiq Pro 27", Photoshop

Takeaways

• No matter where you start, proportions should match every landmark you identify. This consistency in proportions is crucial for maintaining the overall accuracy and harmony of the drawing.

CWKMS0027 - Master Studies - Ponkotsu Ponko by Keita Yatera

• Master: Keita Yatera(矢寺圭太)
• Reference: Ponkotsu Ponko(ぽんこつポン子), Volume 1
• Character: Ponko(ポン子)
• Focus: Composition, Hatching, Inking, Cell Shading, Hair

Ponko, the protagonist of "Ponkotsu Ponko," is an irresistibly charming and endearing character. Her adorable design and captivating personality immediately drew me in, compelling me to capture her essence through my drawing.

The manga revolves around Ponko, a maid robot programmed with the singular purpose of serving her elderly master. As the story unfolds, it explores the nuances of their relationship and the unexpected situations that arise. Ponko's mysterious nature as an android, coupled with her earnest desire to serve, creates a character that readers can't help but be intrigued by and root for.

What sets this manga apart is its perfect blend of humor and heart. While the art style may be reminiscent of typical anime, there's something uniquely soothing about drawing Ponko. Her infectious smile and expressive features not only challenge an artist's skills but also evoke a sense of warmth and joy. The process of recreating Ponko's character becomes a delightful experience that transcends mere practice, offering a moment of pure artistic pleasure.

Unfortunately, you can't get hold of this manga in full anywhere but Japan, so I had to buy the whole physical copies (10 volumes) on Japanese Amazon. The Korean publisher dropped the series after five volumes and even some of them are out of print.

This trend saddens me deeply. It seems that in recent years, there's been a shift towards darker, more apocalyptic themes in manga. While these narratives certainly have their place and can be compelling, I can't help but feel that we're losing something valuable in the process. Heartwarming, lighthearted stories like "Ponkotsu Ponko" offer a much-needed respite from the often overwhelming negativity of the real world. They remind us of the simple joys in life and the power of kindness and perseverance.

The prospect of having an android as helpful and adorable as Ponko in our lifetime is no longer a distant sci-fi dream. With rapid advancements in robotics and artificial intelligence, we're inching closer to a reality where companionable androids could become a part of our daily lives. While we may not achieve Ponko's level of sophistication immediately, the foundations for such technology are being laid today, making the concept more tangible than ever before.

Tools Used

Wacom Cintiq Pro 27", Photoshop

Takeaways

• When drawing cute characters, emphasize large, circular shapes for features and overall silhouette.
• Double lines are a powerful technique in manga art. They add depth, dimension, and emphasis to characters and objects. Practice incorporating double lines in your drawings to enhance visual impact and create a more dynamic style.

CWKMS0028 - Master Studies - The Guy She Was Interested In Wasn't A Guy At All by Sumiko Arai

• Master: Sumiko Arai(新井すみこ))
• Reference: The Guy She Was Interested In Wasn't A Guy At All(気になってる人が男じゃなかった), Volume 1
• Character: Aya Osawa(大沢あや)
• Focus: Composition, Hatching, Inking, Cell Shading, Hair

"The Guy She Was Interested In Wasn't A Guy At All" presents a charming twist on the classic high school romance comedy. The storyline revolves around Aya Osawa, who mistakenly falls for her masked classmate working at a CD shop, believing her to be a cool guy. The twist? Both characters are actually girls.

Sumiko Arai's art style is captivating. It's characterized by its accessibility, making it ideal for aspiring artists to study, replicate, and adapt to their own work. The character designs are notably expressive and adorable, featuring a plethora of dynamic poses rendered in intriguing perspectives.

It's unfortunate that this series isn't available in Korea. I had to import physical copies from Japanese Amazon, highlighting the challenges of accessing niche manga titles internationally.

Tools Used

Wacom Cintiq Pro 27", Photoshop

Takeaways

• Hair Technique: Begin by sketching the overall shape of the hair as a solid mass. Then, strategically add a minimal number of strands to create the illusion of detailed hair. This approach ensures a more natural and cohesive look.

• Facial Expression Exploration: Practice creating diverse facial expressions by subtly adjusting the position, size, and angles of facial features. Experiment with exaggeration to convey stronger emotions or character traits. Pay attention to how small changes can significantly alter the mood and personality of the character.

• Use double lines whenever possible.

• Don't add any unnecessary details for the sake of details.

CWKMS0029 - Master Studies - The Guy She Was Interested In Wasn't A Guy At All by Sumiko Arai

• Master: Sumiko Arai(新井すみこ))
• Reference: The Guy She Was Interested In Wasn't A Guy At All(気になってる人が男じゃなかった), Volume 1
• Character: Mitsuki Koga(古賀美月)
• Focus: Composition, Hatching, Inking, Cell Shading, Hair

Mitsuki Koga, initially mistaken for a cool guy working at a CD shop by Aya, is actually her masked classmate. This misunderstanding forms the central premise of the story, as Aya's romantic interest is unexpectedly revealed to be another girl.

You know what's funny? Mitsuki doesn't really look like a boy at all. These days, fashion's all over the place - guys with long hair, girls in suits, you name it. It's kinda cool, actually. Just look at those visual kei bands in Japan - those dudes rock some seriously girly looks sometimes! So it's no wonder Aya got mixed up. With everyone dressing however they want, it's pretty easy to mistake Mitsuki for a guy, even though she's totally a girl. It's like fashion's playing a prank on everyone!

Anyway, in terms of character design, both Aya and Mitsuki are quintessentially charming and adorable in their own unique ways. Sumiko Arai has crafted them with distinct personalities that shine through their appearances. Drawing them was not only a fun experience but also an insightful study in how subtle design choices can convey character traits effectively.

Tools Used

Wacom Cintiq Pro 27", Photoshop

Takeaways

• Use double lines whenever possible to add depth and dimension to the artwork.
• Hair can be effectively rendered using only black and white tones, creating a striking contrast and defining the shape.
• Pay close attention to line weight variations, as they significantly impact the overall visual impact and can convey depth, emphasis, and character.
• Experiment with minimal details to achieve a clean, impactful style characteristic of manga art.

CWKMS0030 - Master Studies - Chained Soldier by Yohei Takemura

• Master: Yohei Takemura(竹村洋平)
• Reference: Chained Solder(魔都精兵のスレイブ), Volume 1
• Character: Kyouka Uzen(羽前 京香)
• Focus: Composition, Hatching, Inking, Cell Shading, Hair, Perspective

The artwork is fantastic and provides great resources for learning, especially in terms of figure drawing.

Apart from that, the primary purpose of this manga series revolves around how the protagonist is rewarded after doing something good for the master. The way he is rewarded is described by the author as "fan service," and it certainly delivers. I picked up the first volume, mesmerized by the artwork, and the first fan service scene hit me unexpectedly. It continues to over-deliver in terms of fan service.

However, I wouldn't recommend this manga to anyone who is not interested in this type of fan service, as it can become repetitive over time.

Again, as a resource for figure drawing, the manga series is truly exceptional. Other than that, expectations should be managed, unless this is the type of content you enjoy.

Did I mention Kyouka is just one hottie from the manga? Yes, the series is full of them.

I've heard that the first four or five volumes were censored in Korea. I dislike censorship in any form, so I chose to import the volumes from Japan. I drew this piece from ebook edition of the first volume while waiting for the physical copies to arrive.

Tools Used

Wacom Cintiq Pro 27", Photoshop

Takeaways

• Embrace intuitive perspective; avoid overreliance on perspective grids.
• Use double lines strategically to enhance depth and dimension.
• Optimize layer management, keeping light and shadow layers separate.

CWKMS0031 - Master Studies - Frieren: Beyond Journey's End by Tsukasa Abe

• Master: Tsukasa Abe (アベツカサ)
• Reference: Frieren: Beyond Journey's End(葬送のフリーレン) Volume 1
• Character: Frieren(フリーレン)
• Focus: Composition, Hatching, Inking, Cell Shading, Hair, Perspective

The moment you lay your eyes on her, you can't help but pick up the pen and draw her. That's exactly what I did.

She might look like a charming little girl, but she's older than any human. She's an elf wizard who's lived for who knows how long.

The artwork is awesome, the storytelling is intriguing and often unexpectedly hilarious. For me, the artwork is the most important part since I'm collecting these resources to improve my drawing skills.

Tools Used

Wacom Cintiq Pro 27", Photoshop

Takeaways

• Squint your eyes when you're not sure about anything in the whole composition. Reducing the size of the image also helps.

CWKMS0032 - Master Studies - Dragon Ball by Akira Toriyama

• Master: Akira Toriyama (鳥山明)
• Reference: Dragon Ball (ドラゴンボール) Remastered Edition Volume 1
• Character: Goku(ゴクー) and Bulma(ブルマ)
• Focus: Composition, Hatching, Inking, Cell Shading, Perspective, Screen Tone

Drawing Akira Toriyama's scenes reveals his meticulous attention to line quality and perspective. As a master mangaka, he utilizes every line with precision, regardless of its apparent significance.

Replicating this scene highlighted Toriyama's exceptional skill. Each line is deliberately crafted with specific weight, angle, and purpose. Faithful reproduction requires a deep understanding of the master's intentions.

While I intentionally used screen tones for effect, the original reference employed light shading. This scene, originally the third episode's cover art, was later fully colored for the 9th volume of the remastered edition.

The manga's hilarity alone makes it an essential read.

Tools Used

Wacom Cintiq Pro 27", Photoshop

Takeaways

• In Photoshop, create screen tones by converting a grayscale image to bitmap with a screen tone filter. Apply to a new layer with a layer mask. Fill the mask with black, then paint white to reveal the tone selectively. Duplicate layers for depth.

• Clip Studio Paint offers easier screen tone application, but I'm currently focusing on Photoshop techniques.

CWKMS0033 - Master Studies - Marc Brunet's Illustration of Momo Ayase(綾瀬桃) from Dan Da Dan

• Master: Mark Brunet
• Reference: Marc Brunet's Illustration of Momo Ayase(綾瀬桃) from Dan Da Dan
• Character: Momo Ayase(綾瀬桃)
• Focus: Composition, Volumetric Sketching, Line Art, Perspective (Foreshortening), Shading and Rendering

Marc Brunet's YouTube Channel:
https://www.youtube.com/@YTartschool

This particular tutorial:
https://www.youtube.com/watch?v=7QIsOoAU0YQ

👉 I intentionally stopped at the grayscale shading stage per the purpose of the master studies session. For the full process of the tutorial, please refer to Marc's video.

I've been following Marc Brunet's YouTube channel for years, learning invaluable lessons from his tutorials. His channel is a must-watch for anyone looking to enhance their drawing skills. A few years ago, I invested in his Art School pack, and although I haven't completed all the courses, the ones I've taken have been immensely beneficial.

As a regular viewer, I can attest that while Brunet makes the process look effortless, it's far from simple. His mastery is evident in the smart, refined techniques he shares.

I'm particularly drawn to Brunet's distinctive art style. His rendition of Momo from Dan Da Dan in this tutorial showcases his ability to infuse borrowed characters with his signature flair. His work is consistently meticulous and stylish, embodying the qualities artists aspire to achieve.

For this study, I focused primarily on character sketching in extreme perspective, rather than following Marc's tutorial in its entirety. While I'm familiar with Marc Brunet's workflow, I chose to concentrate on the initial stages of the process, finding particular enjoyment and value in the sketching phase. I've summarized the complete process in the Takeaways section for future reference, but for now, I've opted to postpone applying color to the shading. This approach allows me to hone my foundational skills in perspective and form before moving on to more advanced rendering techniques.

Incidentally, the next section of Brent Eviston's 'The Art & Science of Figure Drawing' course is all about volumetric sketching and rendering. The timing is perfect for building upon the skills practiced in this study.

'The Art & Science of Figure Drawing' Course by Brent Eviston on Proko.com:
Proko.com: https://www.proko.com/course/the-art-and-science-of-figure-drawing

Tools Used

Wacom Cintiq Pro 27", Clip Studio Paint

Takeaways

1. Rough Sketch

• Utilize basic shapes for foreshortened limbs

2. Line Art (Inking)

• Emphasize line weight and quality

3. Shading and Rendering

• Select flat colors for base shading
• Determine midtone, shadow, and highlight colors
• Implement clipping masks over flat color layers
• Color-code clipping layers (basic, shadow, highlight, midtone)
• Position line art layer (green-coded) at the top
• Render in order: shadows, midtones, highlights
• Use hard brush (100% opacity) for shadow cell-shading
• Apply soft round brushes for midtone blending
• Use hard brushes for highlights
• Create separate layer for makeup with soft round brushes
• Color line art post-transparency lock, using darker shadow variants