Illustrator Reacts to Requested Manga Artists (Mangaka)

He obviously picked the perfect
protagonist for his art style. It’s just so… so impressive and so stressful at the
same time. Thank you to everyone who requested him because I hadn’t heard of
him before and now I’m obsessed with his artwork. After the illustrator reacts to
good and bad manga art episode, I started getting way more requests for
manga artists to cover and I’ve recently started reading more manga myself so I
figured it’s a good time to do another manga focused episode. This time I’m
specifically talking about artists that were very heavily requested and, now, I
know the last time I did a requests focused episode I went through the
artists a lot faster and people weren’t as big of a fan of that because I didn’t
get to go as far in depth with any of them. So I’m not doing that this time, I’m
taking the usual amount of time with each artist but I’m calling this a
requests episode because A: you know it’s requested artists and B: because I can’t
call this a good and bad art episode because I’m pretty much exclusively
talking about art that I found incredibly impressive. So I’m sorry to
the people who are fans of me talking about quote-unquote bad art but
admittedly this is a little bit more fun for me anyway. I really like talking
about the good stuff. And of course because this is a request episode we’ve
got to start with the two most requested artists that I’ve seen in the comment
sections. Now either of these images on their own would have impressed me so
much, but it impresses me so much more looking at both of these images and
knowing that they’re done by the same artist because they are rendered so
differently. In the black and white image the muscling is all done with very
intricate cross hatching whereas in the color image there’s almost no cross
hatching at all and the body and muscles and shading are done in a much more
painterly style. And a lot of time when artists are starting to get more into
coloring what they’ll do is they’ll do their inks as they would as always and
then do the coloring on top of that but Boichi very clearly decides ahead of
time whether the image is gonna be black and white or color and does the line
work differently depending on where he’s going with it. So if he’s gonna be doing
something like a cover that’s gonna be in color he’ll keep the line work very
simple knowing that he’s going detail it in the coloring stage. It just
shows off such an impressive artistic range. And he won’t even exclusively do
black and white art with lots of cross hatching. You can see in this set of
images there is cross hatching in here in some of the smaller details but a lot
of the shading and lighting and this, even in a black and white image, he’s
doing ink washes to do most of the shading and lighting. So this is an
artist that doesn’t just have one rendering style he actively decides
between each project how he’s going to render things. And I also just think it’s
so impressive how you can still very clearly tell it’s his style when he’s
switching up his rendering style so much. And just in general his colors are
absolutely gorgeous. Personally it’s probably my favorite colored manga art
that I’ve ever seen, it’s so beautiful! And I looked into his process for
coloring… if I show the images that he had up I might have to crop them a bit
because they’re not exactly safe for work. But he’ll start working
traditionally, do the thumbnail sketches, do the inking traditionally and do some
ink washing in different parts to add a little bit of real life texture, and then
bring it into Clip Studio to do the flatting and Photoshop to do the
rendering of the colors. That was this process in 2017. I assume it hasn’t
changed, but I guess it might have. And then also finally for him I just had to
talk about this drawing of this back because he very clearly has an
incredible understanding of anatomy and muscle and where all the different
muscles go. His style is such a great blend of realistic muscles and realistic
rendering with some really nice beautifully rendered manga style faces.
And on this back drawing I just I love the thick black outline around the
character contrasting with the the light intense cross hatching to do all of the
details of the muscle. So beautiful. Thank you to everyone who requested him
because I hadn’t heard of him before and now I’m obsessed with his artwork. so much Eiichiro Oda is art has such
incredible depth to it. He’s someone who’s very good at making stuff feel
closer, farther, in the middle distance. He has a really strong understanding of
distance and depth and space. And he really exaggerates it in a lot of his
images. I’ve also been told that his art can be a little bit divisive and I
understand that because it is very stylized. The expressions are huge the
perspective is really stretched and pushed a lot of the time. And it’s all
very purposely done in an exaggerated way but I can also see why some people
don’t love that. It’s kind of the same reason that a bunch of people can’t
really get behind one of my personal favorite artists, Humberto Ramos, because
he’s got very stylized exaggerated body proportions that can seemingly change up
a bit between panels, but I think it works so well for the kind of characters
he (Oda) wants to draw and the stories he wants to tell and he obviously picked
the perfect protagonist for his art style. Luffy having the sort of Mr.
Fantastic style stretchy powers is just so perfect for Oda’s artwork.
I particularly love this punch shot and just a bunch of Oda’s different punch
images are so impactful because of how elastic he and exaggerated his art is.
And the art of his that I’m personally most drawn to, partially because I’m a
big fan of color, are the color spreads that he does for a bunch of the covers. I
just think they’re so beautiful and you get the color helps push the depth that
much more and you can really see how he deals with a big scene. He’s also very
clearly really great at rendering out environments and buildings. Now to end I
should mention that there’s one other controversial thing about him and that’s
his advice for how to draw female characters. Which is that he’s said to
draw three circles and an X… Ya know, I wouldn’t personally advise following
that direction, but, you know, to each their own. Depends what kind of art
you’re trying to make a guess. But overall my main takeaway is that Oda is
a master of punches and depth. Also I was having a bit of a hard time trying to
what to talk about for Eiichiro Oda, until a subscriber named David helped me out.
Sent me a bunch of artwork specifically to talk about. Thanks so much David, that
was super helpful and I hope I did you proud in this episode. Now next up I can
actually reference the manga because I just read the first volume of Tokyo
Ghoul and I love the art so much Sui Ishida did such fantastic work in this.
It’s so high contrast and as I was going through it I was trying to figure it out
something that I could specifically talk about, something that really caught my
eye a panel that would work really well to cover, and finally as I was getting
near the end I found this panel right here which I both absolutely loved and was a
little bit frustrated by. The drawing part of this image is so so great at
making us move from right to left but the problem is when you switch it from
Japanese to English and the writing on it becomes BAM that you’re supposed to
read from left to right it just totally shakes up how my eye wants to go through
the image. And there’s not much way around that, I mean they could
potentially have just not put the writing in, but it is nice from kind of a
graphic design layout standpoint it’s just that the text is trying to get you
to read one way while the image is trying to make you read the other way. So
that’s, you know, a little bit frustrating but not really anyone’s fault because
there’s not much way around that when English is meant to be read from left to
right, but ignoring that part of it, the drawing itself is just so fantastic
because you can really feel the impact. And what I particularly loved about it
is the distance between the character as he’s moving through the air between the
first and second image of him there’s more space than between the second and
third. And that’s because Sui Ishida is very clearly an artist that understands
movement and the fact that the character would be moving fastest right off the
impact right when he’s hit that’s when he’s got the highest velocity and then
the more he moves the more his body’s gonna kind of slow down. If this was
being animated the character would probably be at those distances between
the different frames to help make them feel like they’re fast and a little bit
slower. And then just the way the character is spinning I think is
just so cool and really makes it feel like a stressful hit as he’s flying
through the air about to slam to the ground. Another thing that I really love
about this comic before I move on is the fact that it seems like when the
character is in danger the gutter of the comic switches to black. The gutter being
the space between the different panels. And when it’s more of a drama scene or
the characters not in trouble the gutters stay white which I think has a
really nice subtle slash I guess not so subtle way of kind of switching your
brain into ‘oh I got to be worried right now.’ It’s a really nice touch and I’m
super excited to move on to the second volume of this manga because I really
like it so far. Okay… this art… it stresses me out to look
at it. I- it’s gorgeous and phenomenal but why would you do this to yourself?!
This probably goes without saying but if your character design is incredibly
detailed your comic is going to take way longer to make because you have to draw
that same pattern and texture and detail on that character over and over and over
and over and over again. So this comic must have taken ages because there are
so many intricate textures and patterns on the clothing and carpets, environments,
characters… I don’t even know if I’d be able to read this comic because I would
just be thinking the whole time ‘oh you got to draw that again and again and
again’ and it is so incredibly impressive Mori Kaoru’s understanding of how
cloth moves and bends which you have to have if you’re gonna do something like
this, because not only do you have to do a good job showing how something that is
flat but bends is twisting around and moving falling over a character or
blowing in the wind, but you have to know how your flat pattern is bending and
moving around the object as well. It kind of makes me think about, and this is
kind of a tangent, but the 1992 Aladdin movie, where the carpet and that had a
very intricate pattern and obviously in animation it would take forever to draw
that frame by frame, so what they did instead is they 2d animated the carpet
without any texture to it and then 3d animated the texture on top of that.
Which is a clever solution but obviously Mori Kaoru’s like ‘naw I’m gonna I’m
gonna draw these textures over and over again.’ Unless I’m wrong and she does use
some kind of stock pattern but I highly doubt it they really look like she’s
drawing them over and over which is so impressive. I mean I would hate to do
that but good on you. And what’s also really nice about having patterns and
textures this in depth is it can really help you draw the readers face to the
characters faces because that’s one of the higher points of contrast. The
characters have big dark eyes and really simple plain white kind of faces. Which
is almost a little bit sad now that I think about it because you’re drawing
people’s eyes to the least detailed part of the image the part that she likely
spent the least amount of time on. Also this, the art that we’re looking at is
all from a manga called a bride story Mori Kaoru has a bunch of other
fantastic artwork, she doesn’t always do insanely in-depth textures but this is
obviously the artwork of hers that impressed me the most. She strikes me as
a bit of an art masochist but incredibly impressive nonetheless. Now if you’ve
watched illustrator react before you can probably peg a lot of the stuff that I
want to say about this first drawing so I’ll speed through them first cuz I
don’t want to repeat myself too much but I love the color contrast the yellow
really makes the main character stand out. A lot of these glass shards are very
explicitly arrows pointing us to the main character, the backgrounds got a bit
of a swirly toilet-bowl effect bringing us into the main character also.
Everything about this piece is really bringing our eye to the main focus great
job there I love it okay, I know I talk about this a lot so I’ll move on. And it
was actually kind of hard trying to figure out what to talk about for Posuka Demizu’s art because so much of the stuff that was coming to me is stuff
that I’ve talked about in depth before which is all really fantastic the way he
guides your eye through the image and different pieces the way he does
coloring but once I’d looked at a bunch more the two things that really stood
out to me, one of them was still a coloring thing, is the fact that he’s
really good at working with both desaturated color palettes and bright,
vibrant, poppy color palettes. If we switch away from this cover and look at
this drawing of this Spinosaurus and the girl I don’t know what the context
is for this one I’m sorry. This is a much more reserved to saturated color scheme
and it works just as well as the bright, vibrant, poppy stuff. The head of the
dinosaur is really standing out because it’s more detailed and textured against
the sky that’s a little bit more lighter washed out. I want to talk about how the
dinosaurs body is guiding us through the image, but I won’t. I mean I did, but I
won’t. And there’s just a very clear difference between the coloring style in
this and the covers for The Promised Neverland where the yellows really pop,
the blues are very saturated and bright. And then there are some examples where
he shows that he can do sort of a kind of middle-ground where like if you look
at this image here; there’s some very bright vibrant blues but it’s also a
pretty reserved color palette. I just think it’s so cool seeing how well he
can utilize different color schemes. And the other thing that I found really
interesting about Posuka’s art is the sort of scratchy feel to a lot of the
line work. There’s no really straigh,t direct lines and a lot of artists early
on will struggle with trying to draw really straight lines for their finished
artwork. A lot of people’s rough work early on can look a lot better than
their finished stuff because the searching lines add a sort of texture to
the character whereas in the finishing stage you might be taking a bunch of
rough lines and trying to figure out how to do one line for that area and then
when you get rid of the rough so it looks very under detailed in comparison.
But I think this style is a really good one to show people that to make good art
you don’t have to do really straight lines in your finished artwork. In fact, I
had a teacher when I was in school for animation when I specifically asked them
‘how can I get better at drawing straight lines?’ And his answer was ‘don’t worry
about it. it’s not as important as you think.’ These
pieces still look really nice and finished even though most of the line
work is… I don’t want to say sloppy because that makes it sound like an
insult but hopefully you get what I mean from saying that. And also I think the
sort of splotchy watercolory colouring to this really help sell the style Kohei Horikoshi, I personally consider to
have the perfect art style that’s a blend of manga and cartoon. It’s got such
good broad appeal while still being pretty stylized
and you can still quickly peg that it’s his work. Admittedly, I’m much more
familiar with the anime than the manga. I’m a huge fan of the anime, but I’ve
also been really impressed as I’ve been looking through the art in the manga. But
the thing that stands out the most to me personally is how he designed the faces
and specifically the eyes for each character. Because, a lot of artists,
depending on their style, will draw the same kind of eyes for different
characters so that there’s consistency. But with a style that’s a bit more
cartoony you can push that a lot more. And the upside of that is you can really
get a character’s personality across through your eyes. As humans we’re pretty
much programmed to always look for an expression and specifically look at
people’s eyes so if you can get character traits across in the eyes
you’re golden and you’re really gonna help your audience differentiate between
your characters. For example, if you look at Midoriya or Uravity, they’ve got big
round eyes with kind of the glint in them a lot of the time to make them look
cute and friendly and just generally appealing and nice-looking, but then in
contrast you’ve got characters like Bakugo or Tokoyama who are more serious and
angry and they’ve got much more angular and aggressive looking eyes with smaller
pupils that really makes them feel a lot more serious. And then you got someone
like Froppy who’s a friendly character, but is a little bit odd and goofy, so
she’s got really big eyes but also kind of big pupils without the glints in them
to make her, you know, a little bit strange-looking. Oh
as I’m talking about eyes I’ve got something in my eye. That’s EYE-ronic. And
then someone like Tenya Ida who’s you know a nice and friendly character but
also a bit more serious he’s got eyes they’re kind of a halfway point between
someone like Deku and someone like Bakugo. And of course he’s got glasses to
make him look a little bit more studious. And this idea of designing eyes
differently is actually something that Scott McCloud talks about in Making
Comics, which, if you haven’t heard of it and you want to make comics, I highly
recommend it. And he talks about how he designed his character’s eyes for Zot!
which is another really great comic that’s inspired by manga art and Western
art kind of a cool mash of the two. He’s a genius when it comes to any kind of
comic art. I recommend checking out a whole bunch of his work
as well. But, sorry, that’s a tangent back to Co Hey
as an aside my personal favorite cover that I’ve seen from My Hero Academia is
this one here. This is another one of those covers that I’ve talked about
other covers there like this one. I think I talked about an I hate fairyland cover
that’s very similar format to this. I also found a bunch of other examples of
horikoshi just doing sketches and drawings that have been put up online.
The style between them switches up but also has you know his sort of vibe to it
and I think it’s really cool how he does different proportions and cartoony manga
sort of drawings. I really love the proportions on this character in
particular and I’m gonna try drawing something like that in the near future.
But all right everybody, that’s all for this episode of illustrator reacts! There
are a lot of other manga artists that I’d really like to talk about, but I
didn’t want to stretch any of these ones too thin wanted to make sure they all
got their time to shine. I’d actually planned on talking about
Hiromu Arakawa because I think she’s super interesting I bought this book
specifically to find something to talk about but I just couldn’t think up any
good talking points. So who knows maybe in the next one? If there’s some specific
art of hers that you think would be really good to talk about I’d love if
you sent it to me I love getting requests for people to
talk about and if you think there’s a specific image that you could link that
would be really good for a specific artist that I might not have heard of,
that would be super helpful as well put it in your comment. And thank you so much
to everyone who’s been so passionate about this series and this channel in
general I don’t know if we’re at 100k at the time this video is going out, but we’re
super-close. Doing both these kinds of videos on this channel and my videos
where I do stuff like draw spider-man villains and the Star Wars universe,
Overwatch characters and Dungeons & Dragons everything about this channel
has just been a dream to run. This is a dream job to me and it wouldn’t be
possible without all of you so thank you all so much for being here. But that’s
all for this episode. I’m Christian Pearson, this has been PopCross Studios,
home of the nerdiest our videos on YouTube. And I will see you all in the
next one! Goodbye everybody!

Dereck Turner

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