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Executive Editor Candace Raney

Senio r Development Editor: Alisa Pala7.7.0


Desogncr: Bob Fillie, Graphiti Design. Inc.
Production DircLtor Alyn Evans CQHTRIB\JTJH<. t!RTI~TS:
Cover design by Kapo Ng@'AMen Project Akemi Kobayashi
Front cover an by Anzu
Back cover art by RP.gma
Kazuhiro Soeta
Anzu
firSt published m 2007 by Vanessa Duran
Watson-Cuptil l Publir.atwns, Cristina Francisco
an impnnt of the Crown Publishing Group, Stephen Segovia
a division of Random House, Jnc~ .. Ne'" York
W\V"'tv.crownp\lblishing.com Regina
www .wat.songuptil l com

Copyright o 2007 Star F~re LLC

Library of Congress Cataloging-in-Publication Dam


Hart. Christopher.
Ma nga mania occ:ult and horror; how to draw
th e elegant and seductive characters ofthe dark I
Christopher Han.
p. em.
i ncludes index.
ISBNI 3 978.082.10-14224 (pbk.)
ISBN-10: 0-8230-1 422-J (pbk.)
I Comic books. strips, etc.-Japan-Ththnlque 2. Cartoonlng-Thchnique.
3. Occulth.m in an. 4 . Horror in art. I. Title
NC1764.5 J3H36935 2007
741.5'3164-dc22
2007020131

All r~ghts reserved

'JYpesct in Veljovic, Thlon. Grande Guignol, Dead Man's Folly. Arnold


Boccklin, Dave Gibbons, Divmc Righi

Primed in China

2 3 4 56 7 8 9 I 15 14 1312 II 10 09 08
"'~l'fTIO~ 6 Demon Girl 83
Throt Card Reader 84
The Experiment 86
Dragon Lady: Drawing a Possessed Character 88
~ Genre Comparison 9
~len vs. Occult Men 10
11
Victorian Inspirations 91
1taditional Men's Garmenrs and Accessories 92
Traditional Women's Garments and Accessories 94
Occult Gothic Costume 96
Layering 98
The Long Train zoo
Using Embellishment 101
Popular Occult Costume Styles 102
Combining Horror with Fantasy 104
Weapons JOB
~~ampire 41
,f rhe Vampires 42
::JC Vampire 44
.~r Vampire 46 From Woman to Cat Creature Ill
:.re Youth 48 From Vampire to Bat 112
-::-~le Vampire so From Human to Winged Wolf 114
:J2i; and a Prayer 52 From Man to Winged Panther:
One Wing Style Is Not Enough 54 The Coil-and-Spring Technique U6
~-e Poses for Women with Wings ss From Woman to Unicorn Panther:
-=- as Expressive Thols 57 The "Good" Transformation 118
--s of Vampires 58 From Man to Dragon: The Visual Metaphor 120
en-Style Vampire and From Woman to Dragon:
3east Trainer 64 Transformation by Magic 122
..,. 1'2.&
67 Establishing Mood with Shadows 125
....:.:: : Assassin 68 Using Shadows: You Don't Need a Reason 127
~-A nimal Hybrid 7rJ Shadows on the Ground 128
- Car Girl 72 Special Effects Shading 129
Mirrors and Reflections 130
maror Samurai 76 Dreams and Nightmares 132
Symbols of the Occult 1.14
Eerie Backgrounds 136
- ss 81 Sequence 138
- :ed Beast: Wolf-Demon 82 The Colors of Manga Occult and Horror

I~IJ X t44
futru~u~tluu

I \""ERY MANGA FAN IS characters, who hover between two


:: xcult and horror graphic worlds-one of light and one of
8ne visit to the Graphic Novels darkness.
~= the bookstore will bring you The cast of characters, the costumes,
-T"erse of elegan t occult and the supernatural powers, and the
s:ories packed with amazin g haunting environments are unique
_ :Iom the b est illustrators to this genre. All of these el ements
-.as co offer. conspire to makes this on e of the most
~...cuh-an d-horror style of compelling, complex, and alJuring
_s unlike any other. In American styles in alJ ofmanga-an d one of
_ :he horror genre features ugly my personal favorites.
~alsive characters, but the manga This book strives to show you,
- 1S a highly attractive style, in-depth and step-by-step, how to draw
"'.iJ never looked so good. In the faces of all of the popular occult
occult and horror ar e often and h orror character types, as well as
ed into one form in which the their detailed expressions. Lest you
u..a.racters, such as glam orous think vampires are all th ere i.s to this
- ... d. iemale vampires, are cast in genre, included are tarot card readers,
~e srory as h orror characters, dragon worshippers, wizards, dark
,:..;;; ~easts and demons. It's a darkly angels, demon children, and the other
_ ~,-orld, a breathless rolle r- mysterious denizens of the night.
r:de. Beyond faces, you'll learn about
.i..-50 in a category e ntirely its bodles and action poses. Then there
~-=istically speaking, the look is are the details: vampire wings of all
;..:- different from anything else. varieties and sizes, vampire-to-bat
ponions of th e characters are tran sformation s, h uman-to-beast
~e models, yet at the same time, transformations, the secrets of costume
..::-_res exude a powerful presence. design, how to use light and shadow to
s are somewhat androgynous, create intense m oments, and h ow to
.:n a mbiguity th at is also use th e colors of evil. This is the
sei in the very nature of the cutting edge ofmanga.

7
~ workl of omllt ancl
horror I~ fll~ with ~trikin~ly
~ool ~hara~tm. ~ clan~oo~ ~tw ......
ancl ~clt.Ktlve quality of t~
~nre make~ It a ~li~htly more
mature ~tyle. It I~ t~ ultimate
~ombu~tlble ~omblnMion of evil
ancl roman~e. T~ ma~netk
~hamter~ require ~AI
r>roporlion~
ancl ~AI
flourl~~ to brl~ oot
t~rr Wkkeclnffi, ~ t~ art
t~hnlque~ l~luclecl ~re are
~lAIIy cle~l~necl to mate
t~~ allurln~ ~reature~
of t~ clarkne~~.
G~nfral Genr~ romparisou
h'l one thln.g ro dt:scnbc:
the ddlcrenc.e. between occult honor
01nd the other genres of mango~ lr:':l another w aaually t.tc. them
(.ompJrod side by side, For thr GOnparisons nn the next fe""
p:tacs. the occ~lt~a.ndhorror 5lyle is juxtaposed with the $hOl\JC'
(pl'OilOuna!d show~joe) style, &lnc.c ~houio (farttou$ for it8 young
c.hAI'ii(.!NS w-ith big eyc::s) is the mOtSt popul<~r manga sc.yle in thf
\\'c,t 1\S you cal\ see, there re sil;nlllcam st~listk dltfere.ncu
~buuju M~u u~. Urrult M~o
Can )'OU """" tht-
po~er ot the CK4 uh
cba.raaer i6$ h~.& pw:I'Ctn.g
eye look rtllht t~rou&h
w your wu1" Tht t~ptc:.tl
man;a (l r: . ~>htni)C))
m.n- boy relly-
would be- no Jn.Jh.h tur
thf': occult ~Y. who

~
..,,""''O ~
Just oou' phylul nd
mrnt.;l1 power (J\g,iln,
for che purpoM" of
n-.<~
co.npatson, t'm uslng
$houjo mongo , w 1 nay
rtttr to chr. shoujo style
as typical~ rnt'lngJ ) ~ ~ Lit/
1.\~fl"'r:tl,N.!n:
""""'"'
~
r..
""'
l.fLDO'

"V' ~
ttmlrn ~oo m
~
"""
_,
'\...7 ~
.._. .__....
n ~ 'TW"YT UJI',.'11"11)(r-"l
'UII\'!'li!IU
~huuju Wum~o u~. u~~ult Wum~o
Sll2\IJ2 Q((\lll As "'th the men. man" sm.tU
.&djU$1ments in the features
of 1h~ occult character's lace
add lJP ro a huge ddlerenc~
ln final drawing. In -.ddtlion
to heT slightly more de.,tou.!
Jook, full athletic shoulders
create a .sr.xy and strong

--
nw.w o'CTNP appco~~rttnce. (Dangerous
Q (I.O)t fC n1ale.s should look stronge1
thdn more lnn.ocent
character'$.) Noticr. too. that

~
female occult r,.ostumes
u~uallylook heavy. Thah
~ because lhey make use ot
Knthk details. tn~l\lding ties,
r
.... knOt."- butwns and so on.
Oh. and get a look .n tfut
tanoo on her shoulder.

l QCC.UlT IRI~ llaRttnts

~
........

n tT
- _A _ __ _
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'l"tta ..,...,.~,

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. . . . . . . . tnJir.sMQt.-.,IOjftll'

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.....
llt.er o1iUmaboc
Wby rho - m ahot.IJ>d ...~
n.e-....,.,~,.
'llnlc """"of w. wraau. ....,
lwl .U..pk had """ ( "llkll.
... lll<lrwne l!nplla jrlar "'-a
!he ho,.J<I alone), Th .,..J om
~hot tf'\'t~lt.t b1t blthe nt:t.t
ilnd ,h,ulJrn ntl thl&au('!:
------
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...........CJI/tlllaJtiAl,.., ....

,.._II( ........____
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1h,. IJt ult ~.nrc hcf.IU"'r tht"
myM~rtou- lllllOd uf 1ht
rh.~t11llrr,: l.tlnttKMird huo
th(l) l'C~IUIIIf\ lhC" lOili( net k, .1nd
th wLdt' houhht'!ll l<rtncwlng
ll1,.., r lrnwnLA dt~er-at tw hnm
tht- tntlll:t \.1, thl kh)(.f t){ lwc
t>..C..blb.hn tho M\ lnnd KJconMtl'
b1 the dl.lrlflt't

't\t"''l t!.trt wtth rrult' ch.arar..cn


Ill lho .:..sJc fnm& lew
trt1hW!ycompl<rti1C lbr ru
~a.traun&J wu tht: IIQt -=-
Piers. 1\'h.tr~. . h""""""..C
Th.u rhe pt.llUt rt o, ~r.wm.: .a
''"af., c h,.r.Ktl!f In J \'4fl t~ ot
i,lft!,;lt~~~o th.u prosulo:..a o~muntlt.he
tlsurt: Ry dnhlK .,.,, ve~u K~tu the
11h1l11~ tu do th, thin I( whh \viHth
mJtt\' Jnhu" ~UI\'4' tliHkult\
nJojklng VOUI r.h.tr,u H'l Jook the
iillnC" 1wmall dlrrcllol~ Thl.s- rs
e.wnd.dl I~ hnnr..t , h.tvrrn '\'tiU
~nuumf" dln"""!lltJ drt11'-'
t.h~or1Mte-r ~ un ,n a"lie-hr

--......
---
cormplc,l" ,..,tac-b<ca....,
)'OU ,.,... UDUblc drl!wirli I NM,...,_.a~~..

dllT= rei<- Unwms


1mm
I U - - b dor WIJ' 10 buol ......,.Ia ......
lluou;h 1M "ldln; p tJt.
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.... JO . . . . . . . .
~"""inlll,..,..,lh

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~Ut.to...... &kildu.,_li'IW.,.
dla'.an:r ..........pcnfll ~"'llllld.-

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IL~P" ~.-...~
m
...,.,..,.,Do...,,...."""wllt
'"" ... ~"Y~ ...,~ .. ~~

ljlnt: 3hctchmg
""""' lfGMI>' o1 t;Nt. 'ic.fre pu11W19 dooffl
""'"'"""""-"""'-"""
~vwobo.,.,.;.,g...,ot.._
IINf .,.~ lntN pn'J()HS. ~.
dt't IJ'WII '*""' '*'
l'tt1rd Ctt t'CU' ,_,a
ModotiO". fry not ll:l P!Cike_..,ffo!Ot't,
~~-~.
1o0M per<~ 6tJ'CkH are me oest. As in
~Nio.t;.-~:>_.;.,g~~

""""""'~r~..,-
'fOVT~"~youWOtTYtoo
_ , ....., "ge<t;,g ~ "'M" This ;.,, "'"
,......._.,.,..,ry,.QOIrighl. n ~s
tN rwrt ....,.,.. .,ou ~nt ond,..
w1101 _ , . , c..(t do thai a.,.,...,..
fqU1Uif'l9 fN W"OPhi1f fO PIOI'd ttlo1
1'10fi'WI9 t:pooioneout: co., ~
,,..,,....hood.
The gau. of ol txo.-.uliful .
seductress should be unafnud,
I ost unnenlng. f'll\ lfyou
~:ld l0$C your will if you
looked wo lonv lmo thooe
eyes. lt's a be.Jutr ynu un t
aruSt-a A\'aCf' heaury-
~use lt rna.!lok' a tudt:ous
,iolenee and hungtr. ~d lost
a mal could so eas Y .
j~~:way, st.arln,tt Into her fa(;e.

...,._..,."'
~-aQt ...

)rgflliiJotq-
lUif~JtJ~(l
l'ffllltbrr~
NlM/frlnJ
J""'S#JI,..,liPDI
~,._._,a

- .. t-~
... "'"'"'-"'"

..,.,...,---
n..-.w........ -..
..................
Anuthrr rea.s.nn n's important to show ti ~u ggesuon o! the body in the rumarom1ds is tJun1c
give" a glimp~c or the pusture, 1~hich Support~ tbe r.:ltiA) exptc.ssion. In Amcric.An COm I~. bad
gu~> gener.alh Mve uaven (JO!turcs: the) re evil. so they',... cowards o:n hean t\oc so in tht-
m.an~ta occuJc-andhotrOr ge.-ntt 11\e.se ch..tracte~ may be mtM\'ettcd. troubled ~ut&. but tbe)r'rt
heroct. in a $lf3 t\R~ da1k way. They just happen to be cun;ed. n1ey stUI h3ve n chnrismati~
sclftl'i...iUrdUCf' 1hat thl! audlenu ilihnirc. c;o, the) ho!d th~1r head l11dl cbe.st out. with a
conhdtnt look an thcirc\e and .an eyebrow that croshesdo"'n m dcte:rmmc:d JnanncJ

,....,...........-...
....'oha ih~ "f'<'''t' .,..,... brJt'

c'-art:u ltf"'t~.Jwrc(
lii!tll ~~~front Q( 11U' -6t<lt'Mdt.
t~
....~~I
bwtortouitt.ltt~rbdti...t
....... <1 ... ""'-
.,. .. ~ ...T!'Itu~
tiJ 111.4/j,;tU. t1lll/ ,,!~ ~ totriM
llltJ,ciaad:lw'.hmJ,~
..._,.,..,.. O.tliraw
p.tMim.t-
(JJ fitcf.l""~. th13
m'~-
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m.tl:diii.~Hcl . . .
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RtfiIC IIN:fat.ia}~o'4'trUnlf,
I
tMrtntlttprofllr.,t.-.thtx;klatWNa.Wt- hn,r:mllldatw.s
.o~~tr...,.,."t.t""'~,.,.Wu!IA.ehao.t

llott1hpi/wc M;'ltfaM"M'J""Ik'IIO rlt!..tu~.,~I'P~.,I'Ofi..nf.JknldC


......... ~.,..wdot.Wfpc li'Mr ._,.._,_,.~llwtdtcdtw!i

,_....bfnd-GWIJcptW/WW frrtit~"lhf,..,o1~t
l.ilu\ '"' Rut ]u:>t lor Your Grandmoth..:r
Herr ~ a rult' "V'J vOn put "" vovr reper1o-N> T l">f" ~"~Qh~r I~C'
g1~ 11-a f1"'0f""(' C'" I fkto choroctc,. \'- "'~e" g :;N("~ r(',; ..... :;~bo~('
t~ cto:;.~ ll"'c-" de"'oll' a c~Jro.:ler w1th Sl.,t511!'r ..,ll'l'llt.;m"
TheN' or1 f \ .. ('j)ln.m.. ~uch us mog+...ol g1rb (W~:J 'gt, 'or
good .:;\1'1 <.J ff'""' \>Ct f, 'o~fum"~ 8\J b'l and l(.)rgc, o'lhcn
~,., rc..uh ttl~ ,;.hot,lder your cl'lora.:ter '"' bod 'o lt'lf> boru


You probably sec charJcters ponraycd Jbi'~Cfthfl~ JtlliMt!IJf'hi:JI4
J)t)51;d.:porda1m th41guukr.tle"
lo the 31.. vlt\~ more ofte11 thai\ 1n nnv
tlfo~~.;onrnr "'~~'' of rh,. f1ffllm~
u ther angll". W'hy is tlk!t? Because 1r'5 urwld.et'JII'll~~ 'flttl,.of
the w.a} thin" havr to be 11\ink abvut fhctJca:iiLM ..... I"'f~
iL For thar.~t.,C"n LO bt" in a fron' '"lr" ~ltwam.-..~
they tu"'f' ra b.: f..c1ng t::lQt.tl\ torward Jll-< *40 ildatl&e"IO._,,_
If the (au move" to the left or to tt'W cJiq s11 ,...,. tlw .,.c.aiJtt>
right, even slh:htly, it bcconv~ i.l Jr.f t7v,...yw1Jfbrrfltn'-'"'"'
view. (fchilfi'c.terS al'e in pmnlt' a nd
,n~ tttcrl1ue '"'* rAil Ju, -. d:..
to J~~""r~r'lll~ (M..I: '~' ""'V) l'Ju:
tht face lllOVf"t' toward the n~O'der, artfP Q( 1Jt.t. liPJio"' l11' I ( &!AI')ltfl
e\'en ,.h~1nly, It beoomes a J -1 view &ryrht'OCJttnitr~btorrillt.IJblfm
The~Jort' unlc~s ftOtu and ~Kit \'IC\s
one ex.Kt clvy tnsuntl)! becomt" J
views. And 1 o4 "ie"'s don't ha\'f" u>
\ ltl'lOUI'
thc3 4l'IQI ,J.,,.,.~I ..,a.taOC:
.,.u.,"'*"~..,lallsl4
ow""""'..,.,""""'
be perfed then: .ue m;;my anaJr,. tlt.lt
full i11 rhr 3 rdmJe. That's why yu\1
see 3/4 "'e'"'lt
all the time.

,..,..
"'"'"'"
"''''-

/11lllellolt~n l'fnl rnt.Surt 1hdlu AIIJIOI frfill4tftc/f'A.>nlf'C';41'.:,!


s.k (l(lhr l~fiii~J'CIJ9t!.pl't"1~ dt.odv.\ r11nu 11NIJ rlteJt11.1.'1.~
kol'luk11t.(lh.ll r"'"rlpia Dfpe:rsrtl~ t'&f'J,I WrtJrt '" l~\1. 6.'1r.:lt'
.. h d llldfl!. Jhltll~ ,,,.,.. ,'ft"n'M ,_

""-~-""""
___ .,.,...._..,
llu>J . ., _.....
......,......_....
_,.,~ll.'rl.l,.
/

---- Atr
Al:~!~t thr temptation bl add h;,tu-
and mhcr stun tOO soon frn~b
the b.uic m.nsuucoon first tu.st
iU Y\JU M:e it hert lD the ti""
COIHUUCOOJ\ step Trus; me.

""'"""-"""' \vU'IJ be .1nL1n:d hOt\' much


e~r-nd more effoc-rtve-it &S
t.o ItO IJ\ order. And your drawlltJo:.
wtlllook a lm bcu~r fur 1t

71K J/tf t.'fQU ~ liJf tludf,. /\Jilt:tl~dlfllUI'f;I/W/1\:1.1~


oftt!li bGc~4nd l1h ""~ ,,, 1htt J~Ht!co- qc; aowl frt

...,..,_""'
~l!J~d'.i

............. __-__........__
IJiht-.m-ollii"Nt~",.....,

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p:M'p(..~m..:-o."ld.aniiD~
r<daate "-'the ,.,., ....a~
---~...,.
w --OJ!V!UifDn'ttl{.,...,..
.
....Wit:frtntrt'Y'\IKirtfu''r'-~'
..1'rd.,..,a.a.-J.,..~"iit't"ll"f
Clt~Jithll11tc-...rte'l1t
IN:~ b mdlr..'tr4 1lc1r hv lhc
fTtttiJur~tllmr,tl*'ligltltr ...Qffi!0.-1}
lifMI+ (.If! lOp 0/ t.\to herd mid (;Ill'-'
IIPIJV JJOn$uftilt /flMI (IJit bloi!M
1m' a.J~l'1.ie) 1711~ 11~/J rQUI (1. v


htl1tfmmtl!t:J.l(llfillw:nc
''uu un ~.Jm 10 dfiJw fhtt lw"ac .shape uf We e'e c 'ld of cv.rulc c.h.ana-ien. &.st )'OU'n~ no.. te.J\ in.;
In illl\ anUIMrudiut'l buut.. HOWe\'C.r U\OlU ooc .J t;hrulln boo*. withou:t rhe tn.sidft St-oop
~un,R to help \'UU Whf'n you wam ro d.r.Jn man)t.ll vc. an "'lth the ~hape.. TWo won:fs noc.
Otc I') r...a hrr<> arc dlltrr('nt ev~n trom 'l''Pit.:al ~II "'"'" rl!lh occull-m.l eyes ore lliK r.11J
miln'!'a bt t-H-'-~ th, e\es or occ:.ult cha:racrers .Jre like ao m~nv ocJu:t popub.r sc:yles of mtar'P
r~tnplrlr1l unllke ch~ nm-of-thc-m!U manga eye~ r-yu ln..'lt~ th,.vre 51ee._, narrow_ and ver)
)'t'll Jet un n10)t J>liJ.l.nrx. fOOI\r r.haractl!f1i. And huri.zontJI - .tlmt)St lmondshaped. Ktep th
1h1n theft; Drt' dlfrtrcnt ~tylcs of t}'~'S ror difl~n-nt torf:mOIC in mind It'& your stanin~ l"'lirtt!

T' '1" I'

~ ~
I
~-
n ""
~~
..,t
""
~"
~
~ ~
YJf!Di ~
:l'""ttfli'"
,....it/''n-'1 tn' 1 "'t{F "'1lN 11M

-- ~~~ --
~.t" nf!X.t 1hing lo nonce is that the arb I an or~t.:nal () ma~c.arn Upper .and )o\\f'l
rt'.d. lt'"s not J )()lid bl,lck dot witb c.oupJc eyet.Ah,.~ .ilrt' both cutl~ul.urd-most hecJ.vtJ\
um:~ in u lt".s a.ueaked the same ""av a n:~l .u tht outer td~e.s. In l.hJ) &t:"nre \he (M.er
" Thisgive5lttan c-ncha.ming. me.sMcrV:1n$: cvcJA,.,ca .:are alm.o5t.J.S l'lle4w as the uppr:r-C>f\1(
The streak pattem in the iri~ should fi.rwUy. thr eyebt"0\4-'1 should h.l\"e. a hLgh
hee1 ou\ trom the pupil at the center. .t1ch but an de sharply clnwn .J they rran:.l
1ov,ngon, prodigiou,_ eyelashes are es!.rntl.d- wwa1d the bridge of tbe nose. nus impart~
thcy've g<n tO br~ c11';1Vtn 4.$ 1f the chamc:.ter has a t.ourh t~f w,c.kedness

:#fi7 ~ ._,.,,..,...,.,. .,ff.'..A Ill


~ !"''CC''w" .... l('l.tfl:lt
~ 0 ~ .... ..,

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Ordioary Hair v~. Vramatir Hair
Onr o( tht- 1hut,p dut makes
oc:cu1t c.Juro~<.:tcr5 ocx:ult
ch..~tfD b th.at they h.tve
my"teriout fortc:4 workin8; on
them 1~1 ordonary people do not
SCf' or e.xpenence. "'hat are chese
forces? GhOfdy onseen beongs
trom the Bficrlllc. spirits, demon
JJO&'Ielioions, ~nd Othf:r weird
Sllifl A r.urwin rippling but the
window i~ tloiK.'d A s~nc:t:. when
('.Jndlr Is suddenly blown out.
These things OCA.;ur in the realm
ot the supernatural. A stra11ge
and unholy wind is on~ of the
more common Signs of the
prev-nu of the iupematuraJ.
\dcimg long, drJmat.c han that
bJo,\ 1 curious1v m the breeze.
e\tn kJ I here is no breeze-a.nd
e~>en "'hen the ch.ataet~r lS
oll<loora-add> 10 the> feeling cmot
we an'" the pruence of .1 belng
~by the cLuk forces of
n.l,UTr. Thkt wI(XIk at these
twO eomp;msons

fhrnl JlQ #lf'tlll'2ltl (/~ !hi


ht'Rlitt'111rlon.,Jhltt1JI
IJA" d lllltd lll'olllt .,.,.,,,J\ htlt
,ttfiii"W'"'-~'PI'tfl;tll

~"'*"''""'

.,.., . . . . . . ,_, 11.0.."""1 .. w dtll(


...., ................... ~.v..
twet"'M:fl. lwt.:onrrau. ~ '
-,..n..o(<h</Dl"""t<..,-.!
trna~ (If 1'- QIP'"I~ 10 rht Mt.~er
I"J"t'fddtlOPI.a~yll4~r
.rfrnvrr"' malty -t ofrntf7?1R ~tonr,s
tW hnt~ ""'"4lllOC IMI'illt(l; mm Wlf/1
I'Jt~lt oc,1Jf dta.mc:trn. thtt andn:~'!flW 1$
t'l't'l mo~ ~~)(~mu.d tlle ltt rhs dmh.,
'~ Ti'u lwds 10 o mort {m~w;:~d fo.,l
''"''dl mml&Q ~~~ar..d(LS
lrtrqrlljd MJPt ofarrvnc k~t."5

L l1mr N funJO'(lnou,,.'( e.fQ"1'V


'11.-JomfN , ) ,..,....h ,,...,

--
~

hr 411 if Itt 1rfiUJ-,,..,,., ~~PrJ tpi"'C


tllldtt.-..,.Offu1tlt# .....u&od
~ 1St1Utlw.tilaur.rMI.knlp,
"-ikt ....,._.. a,..nd. I'WI Mt-W
......_
... -
.......
... -,., ..,p.
I hf!te .tre rnany types oJ cl\.a:r.K:.ters in the oocuit .Jnd hQt'I'Or etnre. o~nd
nut .\It ot thtn) .are. evil. For exc.mple. there are rhe vampun hunren
w~ job 11 lien lill v.lmplrcs and other beings ot d.uk-m-~ nw-n rtk~rt:
.ue the tnncx.ent vkunts.. the "'Ornen wbo are ~oced b} rhe c:le~oJnt
nd chan,m..u~ f"VII O.nt~$. "'rht) are also pan of rht\ f.L.tn..IUn( l;,r:nre.
and .111 ot thC"m ~Y't' \heir own cla.ssic: e.xprtS..S:Lons A~ a m.1nga ~fti.M
drlltWtn~ m U\1~ populoar Jlyle. you'U want to make use g t thf".IC Ogufl".) 0 ny
lhon your wat of ch.aractf.tr, 3nd your s rory, doe!tn't rt"m.ufl onrnoce.

, ........VJIJ fi/ ........ Milllk.


'fl'rbi...,..,
"""'"'"'ji;Jno #tl.tl'"'itt'"'"'fl'
tJI.M ft,. clmtrm -...~
l"AAfyum~atf ~WPIJI:"'' ,,J
~ m~t ~""' f'f.' ht.l~lt IW"If'tJIIII/
fortilf!ltl Dvrtt1 n...,d"" IOJJLIII
hAIIf QfiJ Ul"fllf 1M IJ'11Nr.1
;unp~re fighters are usually young because we equare
outh wuh the qualilies of tnnocence and eamesrness,
hich vampire fighrers have in spades. So, they a~e one of
:t few character types 111 rhrs genre 10 have a shoujo look

VAMrJR(' rHil.fT('R
ro~r'"("I\JT

n:;?\~T ~V~Tr~Y
~ ruruou~

This sort ofbwnpy hair treatmem, in which you group the harr
together and don't show individual strands, is an mterestmg look.
But it's used infrequemly to add visual interest
Tltr !Oiif ~T~m
lOOI(T I~ T'iOU(illT
Olt.t.,
,...,....,
,.,......,IK-""'
.,._....,,.tf.
h.n~ . . , ....

_.,,
........ .. ...... n..su:

Str4' thiS. (hlim.:tl'r r<Jt.f CVI'(IItlst ~pe- ltt~ pt"WJI aM .t~.t:r IJIIM"'F' li{I"<T
looktw l't: ,,(, oJ(mtdt"' Pih i(.-tth 11t.'tl'.! .,, rhc.m, o:plf)J.Siy ,~ '""(Till

frw/vlltju,t ,.,~,u.; rh.uWbdOriJfllllth1$.5!Q'liRndgo1~


Tr

tf ..,rn nr Tur
~~lqANrr "rT~IA
F~llttt ..,..,...,.ndiSN~Iu

__
-~SI(IIfliCP tofbtJ~M-hcP
~fhtf'CIPM-IIIIIfhp~-~~
ts.;MIIh'-d ...t (GytWffhri\k~ ,.n,...
_,..,.,., ......
a-.fPIIIliJ~----'"...-,.
,..,Wi;....,.~llurt,.,lu:.clatrf

nr.. CWN aut be n hmt M a r!J'.mn Ncnc tile"


t'-
6t'u1Pf.111tiAI f'4'rt mad IJ4r"1'41ii. bMdy eyes
'I'Jl!II)(IIWd~IJtrmdhmr.-~,Jtdion~D(a

"' 1(1 I .J mnu"' IIJ'I ftW1 u~u f ..oatr 11ltnt your swu


A~buw uf Haod~
r
I
H4ndS h.l\'t" c~I'Ktcr, Ju.st Jike faces. t.:~u..J.Uy. It"$ subdt thm~e
the occult~nd-boiTOr v~-in "'hich a Cull moon can mane< 1><.1utiful
wom.;an tmo .w reraJ be.l.s:. Here. h.mds can fUm intO c.la"--. ur c~n 1:aocwcs
rt~ .. manlturuu worst nightmare. U:t'$look at iom~ cla~K ) P"6
'ot St1 ;n

ltwPe tile tt. ""' rtw 1)1.,._111~ ,.,"''


Nid .-;m.. at./ A lm.-.l 10 ltUli(..:Jit fii"
n.,.4-'iotrubr-,.,ao,.f'Jpltllht
(IJII:I!'r'IJ" ~~~~~~ rlmt~ Cf4 fW 1t
ol'l!flt;'ll'iJt""'{j'""'IA'*"''fl'lliJI

Thr-'f:urrin ma"'""'~~uhat.Mr
Pf'ltn~cmd{i,1ns)~ondorl'tll'JI'''u'l!'
tl]n ilet" I!Ud$ Dlt' "'']WWflt ~til.t 1/IQf" .,.
('\ fJP'rlrtOtolkXd Ct"O'lXS Oil d~ huold;/4 utul
J}(!JI?U Ba~ r.m 111e te'l'ttnrew rht
AJ;i.,,.,l""l"'"n"""lfCI''flfT1'mrlthr.


ll'f'Uifli.J!\114f11ofthc')tlfll.fl~t rJunttc.ttt"a '"J"t'""WMlltJO)- -11!1'"'"'-:nlt
fl/ Prulc.is (m momrty ,Jttmzum
'v"'JI
,.,,.,.,.. .... ~ .............
....... ,....._ ... """'.,...
lhrl~-.x*'i~Jb9...

---
~-. '".11:" .

\.,19J_pt'f-( Yluufd 'un<c '-'11 ftJI\IC'I"-


~cdbyulfll-dt/tn(A'fhfl!rll,~~o 'r'w
Wft lll.M _.~ Ott ~11a fl( pttlfl'lt~.lml "'"''""
1n rh.e boGNDfd1r' hmuf it'\df '" lj,jlJifllm


~M fhfJI!'n.mlM 111t0011.,:1 curl.tt,a"d~
fb~ Budg
fhc hod, un JMl t'.h.aiJenging wdraw, but it 'l.ln.ini pomt )"OU ean .adjuSt the fOrm to Cl'l".t~t'
unr II' .actu.Uy ~ clur and sunple .Siruc.tur-t ar all ~n:~ ''' d1flcnmt char.taen.
ioa lound.luon f"'i"tall tho:>e boo!<> thotttll vou
ro wn. nu' w~th a.ketchy O\'als for the rib c.a~
o1nd h1~ '"1l.."lts th.1t all.tlout ~Y"ay? Wh..Jt TU r.t~ -~- - ' rr
pros n:Jlly dr.. w the body from that mn:lng With men, the lOt$0 ~structured lik.r thi.s; ~idf"
point 'l'oiotH th.n 1knuw of That method may top, ttJrrowtr wou5t. ~rrower hips. You can. bur
m.1kr life t'.L!y for the .Juthor, btu it doe:r;n't help donc hJ"c to. di\tde the tOrSO mto three Sf'nions
vou" lot, doc~ it? hute.I.Cl, take a look at thr. rlb c~ge. mtdseeakm, and hips; or you can divlde
ttu'" temp1onl' for draw-ing the rnanga body here thr tooo neatly into only noo p;:uu: upptt t.ontu
Simple:, str~ughtforw,ud. and effective. F'rum this ond lowt'r tOt'SO,

Key liTuk Hudy Th,., bu'll but not w ~p ...


~ CIH:Jr,::u.:tcrl~tlc:; Wde, squared nff ... txu.Adl'!r-.
~ A t.y-sa that Wde,t> toMJrd ,.,I! !ol'o<Jidt"rs
~
,.
-- Lcng, slender leqs

On lc:n\llf' ch.t~ra.. W rorso requte:s a


ckhned m'd~o~tuon, bc:'wu~ of the: hou~l.t.sl:.
~hJpe and 1t.. oonuruned liM' thLS ,,ide wp
sm..11l mHi5t'CC1on, w1dto hips. Nmf' in 'be
drawin~ ho\l thC'se three sectioni of the upper
body wt:dl:~ U))jf'lhtr. a51l01pping U1t0 p)ate


"itlrOl"'4ATI!IlAl (j(JY 9"1(' llflll
11v-re are ' "w
key drtouls m no~ abouc
~ thi~ appur lD the !ide ,;e" The ned
nlt5 slr&hd) forward if i1 dido t, the wnu
would Jrem tOO ~utt Also. on the back ofdte
body th duthes h.>ng sloghtly "'Y from
the undcrlrtng fonn. ror cumple. the back
or the j.1fkl" ito ofT the pants (not rt:,dn.g on
thrm), pu~hcd outward bJ the buuocks..

Ur;'l('fll!JOfl 'l t
Alln m~ PffviOm example. here too the: flt>nt
of tht CorM l5 dr.awn on a convex CUT\'1fl'i: line. In
.o~Jduaon nore the hourtlass curve ot lhe ba'""k


In the J 4 VJCW, the in~.ud bet\d of tl'w!
thou you &ee in the suJc vw:w c~t the sm.lll
of tile t..ck) as till ''L<ible 'The noruralle~
pt')-'lll.onw~ 1n a J 4 pose. is ro have Or'lt: l~
)Of:krd $U41ght dt the kncl" ~nd 'he ochl"r
one rclaAcd and bent a little at the knee.

t
ln.1r.ad ul ~1mpl) turn\~~ st<tnd.in~ pose: so
th,u u .Jppc"_..;ars m .. :1 4 ,,ew: .::rea~ pla) fut
co
atmudt to along Wlth lhe 3 4 po~. AJ.so,
nott Lht" b.il.lnc.;e: fhe bem ann .-r.d bent
1c1J '"' on oppo~u(" Md~ of t.he body


CIOOd pose:. clfe fWI r~,o~ I rn n(t( helltt1iJN .t1'l': d11wn ~1th" ioe'ncc! nt ,~ry incl )-r.tmin~

;1 \fw!1U4r.ll\n fiUl"t.. F.tr he U hflm me to .tnd ann~~ nfs.idllt;">-alJ conspanntt hl crr.atc a


a,u\<.lrtr~timott:, 01 untlt.ropprl!c:l.ue~ the skill compelhn,if., haontin~ und biuen;we1~t ntood 'Th
required to dra'f .a dcccnl po~WJ Uut the po.M' must t-eSIIIt b .m atmosphrtc of mystory lhJtsurmunds
"-uu 1he ch.arattn And char.u:v:I'J belong w &pc~U1G tht: pla.\f'n.ln this. n~ut;.Cd gttu~
~~~~ '!Whic..h o~U b.a\-e cen;rin dt.,tJnttivre pDiUUct... l.et'll contpan- ~n\IP onJiMI)' pc~ Wtth thO>t-
A sh(luJO or m"rc t."\!Le (}'l:"f. of c;ha.rarter M tfP''.;a1 uf melodr<Jm.Juc occu.IL41\'Ir ctwracters o1
t'!rmn1 .V, perky ~tUI'e Not !tO the troHbltd wu;Uul dssc;oHt \...,tut mlke~ thrm oc:k-nd b~" you. wn
tnmolltti; occult ilgure. Milngn M;tlou c.hif.r.l Ito:~ oan tUrn ,In urdlmu y tH>Ml into o "upcrmoody "'"
IX'~ tnump'h.tntly, but occult .tr'ld lnm'tr e.hllfilCtt'tl. th;n ll\llls the tc:adel' an o.nd doesn't let go

r'l !\! ~~f'IV


1f'>lllif)' htr ....... , ......, ...-wt
flilt' ........... ,.,.<'J..,.. . .
flllllfllfJ'Ililbt!ll'ltiiC.Il,.,
..,..., l '"" .., . . . ...,."")am
"''/'"'"''""'' ;1ranJ dolt'"
itllllrl,l 'tabO/ W"""~'~'I/
'N1t.ti'MliWI'Im

ll ~r

11,. ,._ ~ n.Dirwd

"*"""'"""'"'-
..... ,,.,Jow;e~~.~""'"'" Jli.m
ttlptuorJCinlfllftrAIIrllll"

.,..,.._..,_..,,btP
j.j..!lJJ 11tt.uell'tfh...:..ld-t'"'""

..........,,.......,...... """'
~...........,..,"",..
t~I(J llll1'.J m ...-,~~ "" ~
/lllilrii'I.MI,f"tttllltl.:lf1UfiIU
nf"llli.l'llo(li'J_,\I.,J Ill
4r'~1wplat:rllilfly"''V
cfi~Ellh!~ '


(1 /hliC ,U.dU'UlL~Iu: p!'\'llr- but lhr JN.NI.U
.lh.~ uo ""'"' u(rmlCT ~t AO r~trlltCifl
,..~.,"~111l'I1),HJi'D7111lJ('(Ifl}finm4......
fo&N tt1f-'l!ltl~ 1Ul'JQ'".t b1 ad.rfi111.m, fu1
fii i iiJI-lfJOII~tfl!ft'Di.I.M.fHM.b'II"'W.Jtlr
J10tlrll:t..-lrJ!tltl#Gducl:.A~-njb,.t<tPf
""'fit fhtl"t''dtOiolet'V.Qe.nl'..:ai...,
..... ._.,..,,dgn..-Mc'*-tlf
,.,....,,A..,,'-'t...,P
........._.... ,..,ts ... ..,.....

~io6111~"f"WU~
.,.,....,.,..,.~,,

~,J ~h drhw.lc rmn,,., g'IJ ..


,.'lcall'tlioiNIW."'f'd"I'0/1111'~
1ft \ltt~utde,-, O'- ~wrfl' bl111 '"'"
UH.op/AI U11h the bi-.J1t JJI'Jtl$, 1/t.t

__
It! o(!Ot1 1'1 rhc t~.W <furuf,.,,_.., mr;l
JfJrt lcpt.l\lf"'llol tn flllt<h"DfiDP\ tht"
IJ'l\1! ha:v"IC\ ~""" Jioe bolifa,

............ _,......,.,.
_. ..................
,.... 4"1 lt'll'flk'\4'ans:rmul

......... ... .... . . .


~_.-
The head rs pretty perpendicular i:_
and even though she's reclmmg, tilL
body falls along sta1d nght angles
sri!fstra1ght lmes. The hair is tamt
and the skirr, whrle short, rs plam

By conrrast, Ihis reclmmg pose rapturous II


mak-es rhe character look- like sire's pussessed
- and per/zaps she zs Her eyes are closed Is
a spuit speakmg to 11et> Having tire legs up
oTeates a more provocative pose that havmg
the legs down. The small of the back arches
up in an allunng curve, and the foot rs
an:hetl, roo Tile ruffles around rhe edges
of the garment are chart:tensllc of
seducllue clturacr~:ro,
and the sepe1111ne
stralllls of ha1r are
keJJ to rltis dark genre.
-----
hert; v:. emil, the figure ts posmoned m a flat
lu: ' g!e- tumed too far forward for tins to
aml a nuanced pose. Though rtantral.stic,
'lit, leg posrrion rs awkward, and the
ppy, typical teen clothing does not
:.~te the dark mui mystenous look
.:a!ed for the occttlt and horror genre.

.ase has a feelmg ofall the character's


allmg' or bemg pulled to the ground
'1 below h<m us he kneels humbly,
z on powers that lie beyond Tire
gle ts effecnlll! for con""ymg subtle
IS The downward glance might
:lull he is hatmted by his past, and
r!y adds mood Workmg Wtlh this,
< rite "rots fold rn cuitls ro thts
""Ted momcm. JIS for wardrobe,
..iing a figure in a dark cape - - -
irate sign of the dark arts. Here,
'/1't spreads our, dommaring the space
-J lum As an added touch, there's a
.U:Ill! short cape w11h smclnng detm1s
~:t symbols and warnings.
Ur~ao Uampir~
Psycho, street trash, sociopath, troubled youth. or you might just end up getting bitten.
Yeah, he's all of that. Then there's one more Give this type of character an outsider's
diagnosis that doesn't appear in the Diagnostic and look: an earring, a gold chain, an opened shirt-
Sratistical Manual of Medical Disorders: Nosferatu. anyth ing that would make it impossible fo r him
Sometimes, vampires double as outcasts, rebels, to get a corporate job-but nothi ng so in-your-face
and punks. They live a lonely life, on the fringes that it would tum him into an ugly, repulsive
of society. They're bands of misfits, cursed by character (such as spikes in his chest or a large
:heir insatiable hunger. Don't push them too far, facial tattoo, for example).

'Tb crtatt tht bird's-eye


angle, keep m mind
these key pomts: Have
the head overlap the
body (don't leave space
between the chm and
tht far shoulder) Show
the area from the
collarbone to the back
of the neck Have the
near arm overlap <he
rib cage. And fi>tally,
posuwn the feet at
differem levels, with
the farther one
app&rnng htgher up
than the near one.
The vampire queen is surrounded by her lavish and
generous wi ngs as if embraced by a luxurious cape. She
must be enthrallingly beautiful and iiTesistibly seductive.
Vampire women can be angry, aloof, cute, or cunn ing,
If you feel comfortable
but they are always attractive-and often downright
dorng so, you can stmplt{J~
gorgeous. Be fore you begin working on the ornate the form by draWing
hairstyle and batlike wings, first draw an attractive
human female figure in the pose you want. Then turn
her into a vampire. Don't start her off as a vampire or
you'll lose the importance of the figure drawing.
the upper body as rwo
sections: rorso and htps
But fyou have trouble
unrh rhat, chen go back
to rhe orig~nal method
j
covered 111 the first cl!apt
I'Oifff) Of WING) TURNIII\IAIW dwdrng the body mto
three secno11s: chest,
midser:tion. and hps.

The high boots, like high gloues, are a good chmce


for evtl characcers Pro!IQCQtrve clothing IS often
wom by 1xuJ g~rl types. She does t/Jis to raNle
the men she~ nymg ro seduce, roger them off thetr
game Slte71 use every trick she has ro steal a soul
J\ man must be very careful around her type
Rernembe; she has surutved hundreds of years
through her wiles and amnmg. Although her
face seems mnocent, her heart rs as cold as ice
'ijint: fang:)
Use fangs judiciously. Oon't
overuse them. If they appear on
the character all the time, the
character will look unattractive.
Keep in mind that vampires want
people to forget that they're
after blood so that their
potential victims will let down
their guard. Lose the fangs for
the most part, only bringing
them out at just the right
moment; that way, they retain
the element of surprise.
Rumaoti~ Uampir~
Pretty, not too gothic, and teenaged,
the romantic vampire is like the girl
next door. She's sweet, a little bit shy,
and nice to talk to - and if given the
right opportunity, she will kill you.
Okay, so there are a few differences.
The clue that's she's not actually the
girl next door is her hair: Anyone
who can trip over her own hairdo
is of the dark realm .
Glamuur Uampir~
The legend of the dashing vampire owes
its roots to the story of Count Dracula. The
noble count was born of aristocracy in a
castle in Eastern Europe in the mountains
of"Iransylvania. He was charming, elite,
debonair, moneyed, and had a wicked
secret: He was one of the living dead.
Fast-forward to today: Some stories keep
the aristocratic dress and the castle setting
from and center. Some choose to leave
them aside. But even the ones that toss
t11 em in favor of modernity often keep an
archetypa l remnant: the aristocratic cape
and ascot and oversized shirt cuffs. The
glamour vampire retains some of the
dress fro m a time long ago, when uamptre
meant nobility, a nd the word castle meant
dungeon for those who tempted fate.

46
Iiint: Vintage
A vest is a goad choice ~
because iYs o vintage look. ~
l ikewise, the high collar makes
this character somewhat
anachronistic. It makes you
wonder, Just who is this guy?
If his dress style is 150 years
old, just how old is he? And
how does he stay so young
looking? There's only one way,
folks. He needs a constant
renewal of vitality to replenish
his youth. And by now you ~
must be able to guess ~
how he gets it ... and it
,d2
ain't with vitamins.

47
Uampir~ Vuutb
Hey, we all gotta start somewhere.
Why wait until you're out of high
school to study the ways of
darkness? Some manga girls
get an early jump on it. They're
vampirettes. At this stage, vampire
tweens are quite similar to manga
magical girls-it'S JUSt that they're
in the occult genre, while the others
are in the fantasy genre. They both
like candy bars, boys, and music.
When they get older, they'll realize
just how stupid teenage boys are.
That goes for the human girls, too.

~8
The young vampire's coscwne can
be spooky and black, bur ir doesn't
have co be Howeve>; rlere needs co
be some kmd ofmmplre monf, and
here, che pee bar does the rnck. 71ns
poor l1ttle uampne bar rsn t hatong
as much fun as liS ouner
ChiblS are extremely cu te and round
little characters, and no one is terribly
frighte ned by them. Sometimes, chibis
are featured as vampires in humorous
occult-and-horror stories. Often, these
stories feature an all-chibi cast.

(so
'ijint:
C!hibi face:)
A wink of the eye is a winning
look for cute chibi characters,
and don' t be stingy on the
eyelashes. Chibis have large
eyes and huge heads relative to
their body si:~:e. They also have
tiny mouths ... unless they have
a sudden meltdown-then, they
can have huge mouths and
extreme expressions! And,
chibis usually have
no noses at all.

(s1
RWiog aod a Prag~r
Believe me, you'll need to pray if
you see these characters coming
at you. The wings of occult-and-
horror characters never look
static. They are expressive
appendages. They can fold up,
envelop a character, or spread
out to span an entire page.
Wings come in many varieties.
The most popular is the skin/
skeleton type based loosely on
bat wings but bon-owing, to some
degree, from prehistoric birds like
the pterodactyl, which was a
flying predator. Some wings have
a claw accent, like a "thumb," at
one joint, while others have
layered feathers. This style is
used more on "dark angel"
ch aracter types than on vampires.
Wings also provide added
degrees of grace, power, a nd
stature to an occult figure. They
increase the overall height of the
character and serve to create a
much longer shadow, which can
be cast upon those standing
nearby with intimidating results.
Unlike with other parts of the
body, for which you begin by
A powerful way to introduu a dark, winged
drawing the overall outline, with
amagonist ts with the wings completely closed
wings you should always start around the figure. Then, panel-by-panel (in a comic
with the simplified skeleton. That's book fonnat), allow them tO unfurl slowly, revealing
because the skeleton is often a the l11deousness mside This adds mystery and
visible pan of the wing. Th e suspense. It also bathes tl1e character m shadow.
angles will be lost if you get too

FQl~t~ ~
vague in the wing anatomy here.
Don't get too cartoony. The good
news is that once you understand
the basic anatomy of the wing-
and it's not that difficult-it will
aU fall into place.
LAn~ F\:AT!reR~
t10~1ZOI1TAUY ACRO
WIR~\1111\i~AN

~ T -,
This I.S a ~man but extremely imponant hint that will add a
professiOnal wuch to all ofyour winged characters: 7l<m the
rips of the wmgs inwanl. This is a cool accent that impans
a sly, cunning look. But it doa even mon: thm1 tlwt. It
sttdtknly transfom!S the wmgs from purely decorative or
unhtarian deu<ces mto acnve appendages that "lOve m
respo,.se to a character's emonons and attiwdes And
that's the key ro a great, wickedly alluring cllaractcr

:"'.! posuion of the wings md1cates in whtch direcnon


fa ntasy figure is flying. In addition, when you
u off the 'brg stretch' in the bat-style wmgs,
':mg is more rmpressive A set of these huge, bony
"appers spreadmg our Wide m each drecnon is sure to
ke euen the bravest soul swallow hard. Take a look:
Wb~o Ou~ Wing ~tglf I~ Nut fouugb
These are examples of some of the many wing varieties you can
come up with. Wings are like individuals: Each pair is different.
You should approach them with the same creativity you bring
to any other part of your character's design.
Sometimes, the wings will mirror the character's type. Sometimes,
they'll go "against type; meaning that they'll be drawn in a sryle
that seems to be the opposite of the character's style. These
a re often the most mteresting wings. Imagine a shoujo-style
character with gothic wings. It's certainly not run-of-the-mill.
Here's the little secret that the manga pros don't Without engaging, seductive poses, even pretty
am you to know: One of the main reasons wings women will become boring after a few panels .
...re added to female occult characters is because On the following pages are examples of poses
:_'ley add sex appeal. Think about it: How often with flair-poses that communicate with the
_ you really see these intoxicatingly beautiful reader, creating almost an intimate moment.
-unpires actually fly? How about never? So, what You 'll see what I mean.
-e the wings for? To create a wicked ambiance?
eah. 1b carve out the occult identity? Sure. 1b
- .ake the characters breathtaking to behold? Ding!
i\ow, as a comic book artist, l want you to tattoo
...:JS on your brain: Pretty drawings are not enough.

r
tt,
.1),

ovrp-Tl~f
~T-tOU rr
Cit AN\~
Jiint:
Lying Down
Every t ime a character lies on her
tummy and uses her arms to prop
herself up, her shoulders rise up
above her collarbone. Not only is
it anatomically correct, but it' s also
~ on attractive look for a A
~ female character. U
~ =::::?;
The wings can be almost as
W1111i CO~~) HtllllKt expressive as the figure itself. Th e
A COI'\FORTING DlANKfl
A1W )fAY} ALOFT subtle positioning of the wings can
underscore the attitude of the pose.
Even in poses in which the character
is doing nothing overtly seductive,
the wings make the figu re e motive.

t
Huutfr~ uf Uampir~s
Almost as popular as the Lords of Evil,
and sometimes even outshining them,
are the true-blue, intrepid souls who risk
everything to save us all from the rule
of darkness. I'm speaking, of course,
of the characters who hu nt vampires,
werewolves, demons, and other nefarious
beasts and creatures. These fighters vary in
age from young-teen (shoujo) to older-teen
(bishoujo/ female and bishounen/ male)
characters. It's an accepted convention
in ma nga that shoujo- a nd bishoujo-style
hunter characters can coexist with the
gracefully drawn vampire types in the
occult-and-horror genre.

JI
The most popular vampire fighter of them
all is the shoujo boy warrior. His body is
young, not angular with hard muscles.
His head is on the large side-a sign of
youth. The torso is not yet long and
lean; that occurs with maturation.
He wears lots of stuff,' since he's
fighting a demon that wants to kill him!
Yet, you want him to look dynamic, even
with all those forearm, elbow, shoulder,
knee, and shin guards. If he becomes too
bulky, he'll look like a little porker, and
you don't want that. So, use the outline
of his body as the outline ofthe clothing.
Occasionally, folds and loose material
pop up. But if you want to make the
character look sleek- even with a lot of
gear on-generally, skintight clothing
is the way to go.

~- -
%~-;- Jmpact 1ines
~ In the third step, energy and
fJ/ impact lines are added. This is
11 not a substitute for dynamic
posing, but let me tell you, it really
helps to fire up a scene! Toke a
look at the different types of lines.
And note that the ponytail also
serves to create a line of action
os it whips around to convey
extreme movement.

t
l}int:
fiction Po:)~:)
If this character actually froze
in this pose, he would fall on
his face, because he's leaning
forward. But that's what you
want in an action pose.
Remember: Get your
characters to leon into their
actions. Perfectly balanced
poses ore too static
for action scenes.
Uf 1 p IJ r,r--
Whereas occult figures strike a slinky pose, the is a classic look for a n experienced gunfighter. If
good-fighter type of character assumes a much you've drawn this character well, she will hold up
more straightforward, heroic stance. The feet are and command the reader's attention when you p~
spread apart and symmetrically positioned, which her into a full-page scene. Even though she's still
translates into an inner strength and stability. young, her determination and fighting spirit will
Elbows in with guns poi nted at opposite directions fill the reader with confiden ce.

Lm P0)1TI()I1eDAfART
I'IIOVIIII: HADILITY

t
--e how the figure in the
-=;"''Und frames the fighter:
':! ~ponent' s shoulder guard
-,;: ne head wind around to
- = U that encircles the girl,
~""9 the eye to the middle of
- =-::;ge, right where we want
=roming is an effective
!:Dmpositional tool.
' l
...........
You won't find any flowe rs or scrunchies
in her ha1r. She's an older teen out to
avenge the human race-and she packs
a mean side kick! It takes a lot of power
to fight beasts of darkness. So, she leaps
with a flying side kick, instead of
executing the klck from a standing
position. 1b make her appear more
mature, de-emphasize the overall size
of her head, giving it more realistic
proportions than the previous sh oujo
characters. Also, elongate her torso,
giving her a sleeker midsection.

l}int:
~ ffvoid ~tillness
~ When drawing teens in action, be
sure to avoid stiff poses. One
good way is to make sure you
arch the back. A character can't
look stiff if the back is arched.
Ws such o simple trick, but ifs
~ very effective. (Don't share this ~
~ secret with your friends. Hold ~
out as long as you can.
Make them beg!) }_,
One of the most skilled characters in this genre is
the trainer of beasts. He can stare down a demon
and make it do his bidding. Few know his secrets.
With the bishounen-style hunter, we move up in
age. This is a more elegantly attired male character.
He's tall, lean, and lanky. Note the difference
between his getup and the outfits of the shoujo-style Eyeglasses are a popular. coo
characters we've just seen. The more aristocratic look on Japanese comic boo;
characters, wherws on
and eighteenth century the clothing, the more
American characters they're
clothes the character should wear. This holds true considered nerdy unless
for both male and female characters. ln the days they're sunglasses.
of yore, people wore not only different styles
of clothes, but lots more ofit.
'Bumpy' hair IS an
authentic manga sryle
that few American
arnsts try to emulate
Give ira shot!

/
ar, cool
' book
I
ltey're
;s

l}int: flcating
Can you tell which leg the
weight is on here? No? Good!
Because that's how you know he' s
floating. The weight of the body
isn't being propped up by either leg.
Both knees ore relaxed and bent.
Even characters who don' t fly
can be drawn to look like they' re
floating. It's a dramatic device that
emphasizes a pose or a moment ~
in time, like the introduction of ~
a character who arrives
to save the day.
Any haunted child with big eyes makes a touch of the macabre. Sometimes, it's dark
for a very spooky character. Making circles under the eyes. Other times. it's a
someone who seems so innocent look so disquietingly gray tOne to the skin. What
creepy gives the audience the chills. Dress makes this girl so alarming is her stuffed
her up in something old-fashioned, with toy rabbit-complete with hangman's noose
curls, lace, and lots of floun ces. Then, add wrapped around its neck. Her comfort" toy.
When you have an infestation
of monsters, he's you r man. His
motto is "Why screw around
with knives and stakes when
you can blow a watermelon-
size hole through a zombie's
head?" And some of his guns
pack time-delayed explosives
u1stead ofbullets. They lodge
into the skull- tick, tick, tick l}inl': Posture
and then KA-BOOM!! Splat-ali The more expert the
over the lawn. It's not pretty, gunfighter, the more relaxed
bu t it gets Lhejob done. Call the character' s pose when
him if you need him. He's in firing off a weapon. This guy
the yellow pages. Of course, here is so good he actually
keep in mind that while he leans back when squeezing the
might sound like a good guy- trigger. Look at that arched
and maybe was once - he has back and his free arm. All his
grown to enjoy killing so much muscles ore loose. He must
that he has become as warped hove a heck of a lot of
notches on his
and violent as those he hunts.
scoreboard.
Another popular motif throughout the horror
genre-and one that dates back to the 1800s-is
the idea that men of science who experimented
with combining the human and animal kingdoms
were playing God - and would suffer fo r their
arrogance. This experimentation was crossing
the line into the very nature of good and evil.
l n these stories about splitting the h uman soul
into good and evil, evil flourished. It released
something uncontrollable. Th is theme evolved
to where we are in narratives today: The act of
"splitting" has someti mes been abandoned as
a story device, but the hybrid human-animal
form re mains. And it's evil .
Although you see it done sometimes, it's best
not to mix animal types-for the sake of clarity.
It's best to choose one animal type and combine
it with a human. A bird of prey, a lizard, or a
predator of any sort is a good choice.
u~~uft ~at G1rl
Cat girls are already a little
weird, although they remain
very popular characte rs.
And though they originally
Nore the chrbr-style
belonged to the shoujo style
proporrrons, wrth an
of m anga, it doesn't take much t:.Ytra-large, round head
to turn them into full-fledged and a pente body
occult figures. A few occult
symbols and a cloak and hood
are all that are needed. Being
of the animal kingdom, this
creature would be found deep
in some enchanted forest,
p erh aps serving as a guide to
help los t sou ls find their way
out. And, by successfully doing
so, she migh t break the spell
that has kept h er in bondage
and thereby resum e her natural,
beautiful human form.

Note the shadow caused


by the hood It adds
to the moody look.
Iiint:
The lmportzmce
of accessories
Matching gloves and boots
put this character squarely
in the occult genre. Were
she to have bare paws and
feet, with claws showing, she
would look more like an
"anthro" (on animal
character with a human
personality).
There's always one suck-up in a group, and
this guy's it. W11en he finds out that someone
in his gang is a vampire, he quickly reasons
that he might end up as a blue plate special.
So, he immediately kisses up to the vampire,
turning into his personal butler in order to
get the monster to spare his hide. What an
unctuous peTSonality. 'Ib reflect this, his
posture and pose must be craven. Heck, he's
already on his knees! His chest should be
cmved inward and his limbs spindly. Not
exactly a beaming example of manhood. He
looks up from under his eyelashes, sort of
sideways, at his master-hoping, with a half-
smile, for mercy and favor. He may even get
some-for the moment. But just when he
feels safe and secure, he'll be struck down.
There's no loyalty when you sign an oath
with the devil.

t
l}int:
Eyeglasses ~
1 know I soid previously that ~
in mongo eyeglasses are
considered a cool accessory,
but they can still be used as
they traditionally are in
American comics: to make a
character look physically
weak, especially when
placed tow on the nose.
xtfrmiuatur ~amurai
Samurai are generally thought of as noble:
the Eastern version of the Knights of the
Round Table. However, some samurai
did fight on their own, and these rogue
samurai were called ronin. They were not
nice guys-not nice at all. They didn't
help old ladies cross the street. And when
they sliced off people's heads, they didn't
warn them first. Guess which type we're
going to draw today? That's right, the bad
kind. The kind who kills and likes it.

This samura1 is stllrdily bwlt, not lean and


long like other more elegant, sophisticated
occult characters. He's shorrer and fairly
low tO I he ground in order to retain superb
balance when execuimg spinning and
rwrsn11g mollt!$. Notice that the construction
of thrs figure rs sl1ghtly stockier tha11 the
ocher male figures we've been working With

- -- - -
.. - - -
-, ~ n NI ' ,.. ~ Y
Note thar hands and fingers are Somellmes, you can go all-our silly, just for
umtecessary on extra-rowtd characters laughs. even in a spooky genre.
We humans have puppies
for companionship. Guys
and gals from the Dark World
have little, squeezable, freaky
companions. Yes, they're
a bit...weird looking. But
you didn't expect a dragon-
woman to ca rry a Chihuahua
in her purse, did you?
These puffy little critters
aren 't so evil, really. And
they're easy to draw. They
add humorous relief to an
otherwise melodramatic
genre. They can fl y, float,
and spring into and out
of this dimension in a
heartbeat.
Th1s little companion is drawn m a style
more m keepmg w1th that of her occult
owners-and less as a comedic sidekiCk
Into every good story comes a stranger. Who is he? genre, which makes his appearance all the more
What does he want? How much does he know? Is he notable. Into the darkness comes this stylishly
good or bad? Is he working fo r the underworld or for dressed man. As with everything else about him
himself? We are left to guess, but one thing's fo r sure: and his restrained personality, he is concealed by
His entrance upsets the equation. His purpose is to his clothes. He is a tall, quiet type but not easily
throw the story into high gear, to add the element of intimidated. He will stare down danger without
surprise. He's the random card, the joker. Now the taking a step back. Take a swing at him and you'll
deck is shuffied. Let the game begin. be looking up at him from the ground with a
This guy is dressed a Iittle out of sync with the bloody lip before you know what hit you.
re I personally find wizard characters very
alluring and mysterious. You can't tell
jun whether they're going to cast a good
!id by spell on you or curse you with some
y tenible affliction-perhaps even change
you into an animaL The hooded robe
is a classic costume for a sorcerer or
sorceress. The veiled look underscores
the enigmatic aura of the character.
The long staff is also a classic. Stay
away from wands, w hich are for fairy
godmothers. The slit in the long dress
shows us that we're in th e occult genre,
where dark and myste1ious characters
are still attractively drawn.

s)
Here's a lictl&-known face
One of the more interesting abot.~t wolves that can help
characters in manga is the you draw chem so char they
demon beast. Once a human but look different chan dogs.
now under the spell of a wicked Wolves have longer legs than
magician, this person-turned- dogs. This gives them char
beast roams the land, forever gangly, creepy look that
!L'Orks so weU in the horror
doomed to inhabit the world genre. Note chat the long,
in animal form. His terrible rhm rml1s a fantasy add<Mn
condition makes him angry, t!Or seen on true wolves
furious, vicious. He has lost
everything: his true love, his
fam ily, h is humanity. But every
so often , a flicker of light enters
his dark heart when he sees &1rs placed a little mom
.,.-:..'(!rd on che head than
someone in trouble, and he
r.onr.al gwe him an alert
comes to the rescue. tooi.:. L ong, sha1p claws on
You might ask yourself, Tfhe's .;:. pa:cs a re, as with any
such an interesting character, : ;c.:c.S mutation, a good way
why don't we see more of him? c:J-_ .,ce d1e creature The
This is something 1 learned as a ~~::::.: ;s co move the

screenwriter in Hollywood, and =-'1.7 a!.my from its true


;- c>:d :mo the fantasy
it applies to all good storytelling, ru::m ~; ;i1e occult.
including both manga and
American-style comics: When
.-, .:.ol:-rr :s 11ot utiliranan
you have something special c:..; .;;c;m:s ro have a symbolic
that's very effective, resist the ~-rr "J:~: ;ewe! in the
impulse to use it all the time. ~ - he fo rehead
1b illustrate: Do you
rememb er the classic Christmas
movie It's a Wonderful Life
starring Jimmy Stewart? What
character springs to m ind first?
For me- and for most people, T
suspect-it's Clarence the angel.
But Clarence only appears at the
tail end of the rather long film.
Yet he was so memorable, we
tend to think that the film was
all about his relationship with
George, Jimmy Stewart's
character. It wasn't. However,
if the screenwriter had written - ~ :ype of character
Clarence into the picture in the ar. -ren choose to
::.nicare wrth
ftrst act and called the movie
'L person through
Here's Clarence!, I can guarantee - -:-aug1Hs-no one
you we would not be watch ing m hear hrm
rer uns of the film every
Ch ristmas Eve on television
some fi fty years later.
3he looks like any other woman, except that she's and sweet, the reader will have ambivalent feelings
;rom the Land of Darkness. It's important to keep about her and will stay engaged in the story.
;:ne following in mind: It works better to make a Sti ll , there are those pesky little reminders of
=on girl pretty and sweet looking, rather than who she really is, such as the devil ears and the
-!l~Y and repulsive. If she's ugly and repulsive, the taiL You won't find items like these on the girl-
~der can simply dismiss her. But if she's attractive next-door character.

TORXl LU/15 FORIJA1\ll;


rT lli1T HIIAJQHT IF Al1l 5Tlff

Add some rudimeruary


Always dre<w both legs completely fearwu , for placemeru
when they're crossed m order to plii')JOSts. Then, smooth our

get tM correct posrtioning- the owline of the body, and


otherwt.Se, you're asktng for liglltly erase some of rhe
trvuble Here's why The dress as guidelmes. But you don't
already covermg some of the legs. have to elmnnate a11 of
One ofthe legs crosses over the them Remember, ot's a
other, obscuring parts of both legs sketch. It's supposed to
from uiew. But by drawing both swy " bit messy.
complete legs, you'fl haue no
doubt where everything goes.

Attractive occult costumes


fbr wome11 boast four basic
characterisncs: They're
modestly skimpy bw not
mappropriately so, frilly
arul/ or lacy, evil (with occult
symbohJ, jewelry, and so
on), and naughry.

8~
Tarut ~ard R~ad~r
Your future is revealed in the cards.
She deals th em, one by one. A card is
turned over. It reveals prosperity and
health. The next card, wisdom and
love. Your card is next. What shall it
be? Life or death? Your world is in her
hands. Dare you ask? Dare you look?
This character is more than a mere
fortune-teller. She's a seer. A "looker
into the fu ture. Her dress, her
companions, her surroundings, and
even the props around her should
all shroud her in mystery and magic.
Her key is a very special deck of cards
that only she can read. Were you to
take the deck fro m her hands and
look at it, all you would see would
be blank cards, for your eyes are not
ready to grasp a11 that your future
holds. It would be too much for you.

ijint:
~pooky Prop:i
&Wardrobe
Be creative with the things
furnishing both the scene and the
character. They should all odd
atmosphere: a raven, a standing
candelabra, a crystal boll, a block
cot, a drapery-covered chair;
scarves, toyers, bracelets,
sandals, and curly flowing
hair. It's a classic gypsy
look: wild, attractive,
bohemian, uncanny. ~
as)
Creating evil in a tank is no 'lb show thar she's m water,
haw the hair float toward the
small feat. It rakes a huge
surface. Be sure ro draw it in a
amount of liquid, a group of wavy manner. Note rhat rhe
scientists, and many tubes figure m the tank IS postnoned
and monitors. This is a hrgher wuhin the pu;tune than
popular conceit in manga, the setennsrs. ThiS sets her
as well as in American apan, making her drffenent-
an owcasr among the group
comics and horror movies.
Here, the female creature,
in a state of suspe nded
animation, floats in a tank
while the scientists take
copious notes, regula ting
her life-support systems.

Bunch her up, as rf she were


going to do a cannonball mto
a swrmming pool The chin !$
tucked down to rhe knus

Jl_
./

An oval-slu:rped or round tank doesn'r


look reinforced or scientific. lr looks like
an aquarium The octagonal shape is
more antiseptic and allows you to
draw uertrcal metal rl!lnforcements \
wrth nvets Drawlotsoftubesgoing \ - - , -\
from the subject of the experiment to
the momtors outsrde of the tank

86
'
She gets her powers and commands from the dragon. Once, she was a princess. about to
marry on the far side of a golden lake when she was captu red in the talons or the flying beast
and brought to its cave. Now, under the dragon's spell, she steals away each night and returns
to her castle to retrieve precious gems that make the dragon's powers grow stronger still.

\
};1/)
Forpo=setl The power of the Use vumal cues to tell Ott uder Espectally on the occult style,
characters, draw .<tiff amulet causa 1t to about the charcu:ter (fhl'i l'i how gray and black can bt! as
posrure, srratght up float above her hands. an amsr ce11s a srory.) Here, as rhts etrecmoe as color, because ofthe
and down, w11h the character bt!comes less pnncesslike rone of rhe subject marrer. Still,
chm lu:ld up Ttlr the and more dragonltke, draw her color os dazzling, which l'i
gl't:lll
head bctck shghtly, and to look more l1ke a dragon, w che t!'lty all covers of manga graphtc
show the hands on a reader can see what's happemng to novels are 111 color. (See poges
serv1le position. as if her. Since dragons have wongs, gwe J.II-1-13 for more on rhe colors
holdmg a 1ray The her wmgs. Destgn armor elements of manga occult artd loorror)
eye.s are open and rl!at echo the scales of the dragon's
looktng forward-btu skin Pw Jwms, like dragon looms,
are unfocused 011 her shoulder guards This
develops a consostent theme.

(aa
Of all the ?tYie~ of (Omi(~, mAn<JA ()((Uit-
and-horror ha~ the mo~t intere~tin<J
pi(torial evol~tion, .whi(R be<Jin~ in late-
- nineteenth-(entury London. Famou~
a;
~torie~ (~U(h flr. Jtky/1 d~ /1r.ti .
~de) A!ld hi~tori(al ~rial killer~ ~
( ~u(h a~ Ja(k the Kipper) were all
remembered with-a ~(Andalou~ twi~t of
<JIAmour, whether de~rved or unde~rved,
and--they influensed (reative mind~.
- A~ the ari~tou-a~ da~ble4 with the for(e~
of eVfl, the Pandora'~ box opened. There wa~ an
undeniable romanti( quality to ari~totrati(ally
attired, wi(ked \:hara(ter~, and thl <Jenre took
hold. It'~ not ~ hard to tra(e the-linea<Je of
t (d~~ume de~i<Jn AM ~ how theie ori<Jin~

mo~phed into today'~ O((Uit-


and-horror ~tyle. AloJ: i~ ~till with
u~ tOday. An<l evil of fa~hlon.
It j~t ~t~ a ~ a look.
Ui~turian lnspiraUuns
Ah, the Victorian Age. Fair
laclies and dashing young
men . No one wore jogging
pants and Nikes. You wore so
many layers that a servant
had to dress you. Showing a
bit of the neckline was about
as daring as a girl could get.
The men were buttoned
from top to b ottom- even
some of the shoes had
buttons on them !
As you look at the examples in this chapter, note that it's often the more traditional
details and flourishes that give the outfits their style. Men's costumes often make use of
top hats, capes, canes, high collars, wide lapels, folded handkerchiefs, and a single rose.
Below are a few of the more popular garment details and accessories for men's outfits.

ThiS IS the pre-preppy upturned cnllar

Sl1ow the seams for


added faShion.

li\N ~TYl f
t'V('

The shin collar folds


over the top ofthe
bow ne, formmg
small man~les
Traditiuuaf Wum~u's &arm~u
Corsets, overworked
hairstyles, layer upon layer
of clorhing, powder-perfect
makeup ... and you
thought your sister took a
long time to get ready for a
date! Like the men's outfits,
women's fashions b enefit
greatly from attention to
traditional details: flounces
galore, drapery-like folds in
garments, laces up the back
to tighten the waist, long
trains, ornamental dangling
earrings, long n ecklaces,
and bracelets. Here are
a few more.
,.mn r,
l-{All~f>l{'("\

rurrnl
c;trf'Jr
ttJIT~

rxTBA ttJT'>(' rurr


{l)lT"l BUITt\'\
u~~uft &utb1~ ru~tum~
Dark, aristocratic characters from the Victorian mysterious, for example, our new vampire
Age evolved directly into the popular gothic is more introverted, trying to tamp down a
characters that make up a large segment oftoday's cauldron of turbulent emotions. He is a
sophisticated, urbane occult-and-horror manga. troubled, violent person-a powder keg,
These characters maintain the elegance, poise, and boiling quietly just below the surface.
style of their mysterious forebea rs, but they are
decidedly modern. Their clothes are still ornate,
with traditional touches, but are also macabre. The
characters are brooding, and lean, which adds up The long jacket borrows from the trench coat
to a more dangerous look. Instead of simply being look of modern noir, nihilistic characters.

Note the design


work on the
Jacket lapels
andlmmg

&oon

t/
In addition to the gow11, there's usually
a fur, a scarf, or a wrap of some kind.
Thday's aristocratic fema le horror character
sometimes carries a fan (a typical Japanese
accessory) in one hand. Note the shoulder-
length gloves (typical of occult characters)
and the head decorations, either flowers,
jeweled pins, or braided headbands.

fj,W\tlfT
lj TIGI1T AT
WAIH Nl~.
A/11~)

l}int:
1ow-eut Gown~
...,hen drawing a gown, try to
""emember that it will be tight
::->d cling to a few sections of
...,.e body, but that the rest will
hong loose. That' s how
gowns are designed.
=::;;>:;
lagrriog
One of the prominent features of gothic-style
costumes is the layering. Here, we see a jacket
under a jacket. It's a coo11ook that lends itself
to interesting design possibilities-in this case,
that square cutout sh ape just above the waist.

The long tails of the flying


creatures help convey the
feeling ofmorion and elongace
the /me of tire direcnon m
which rhe creatures are moumg

The wide trench coat IS a


great look Keep it tight
around the waist so that
Z! can billow at the
ankles, creating a nice
contrast in shape.

t
The jacket has epaulets. Details like this are a popular manga
occult look. The long rows of buttons (as well as the stitching
on the hem of the inner layer) are purely decorative elements,
used in the same way you might use stripes on a shirt. The
buttons have nothing to do wllh closing the jacket
fb~ luug fraiu
A dress with a train-the part of the dress that
drags behind the figure-results in a severely
formal look. It's great for characters living
in castles or attending balls.

JUSI one smooth curve all the


way around It has folds and
ripples m ic lilre any fabric.

t
Usiog mbellisbmeot
Using a combination of embellishments
helps you create a fuller character that has
more visual interest. For example, look at the
clothing details on this semi-gothic man: Nehru
collar, epaulets, braided cord, layered jackets,
decorative stitching, elaborate cuffs, and split
and embroidered pant cuffs. Regardless of
genre, use this as a guide for thinking about
costume design and attention to detail.
Popular u~~ult ~u~tum~ ~t~l~s
Some occult styles are purely one genre.
Others ble nd manga genres to offer a
fresh take on established themes, and
the costumes reflect this. Genres, such
as horror or shoujo or chibi, used to be
firmly ftxed in place. But artists found
these bounda ries too constrictive and
arbitrary, so they started breaking them.
And readers responded. As a result,
there's more freedom now than ever.
In you r own art, try b ri nging a new
angle to a genre. Readers are open to it.
They're always eager to see the next
new thing. Are your ideas too far out?
Maybe. Or maybe your ideas are just
wh at everyone's been waiting for.
Again, regardless of which genre or
combination of genres you explore,
the costume reflects it and helps
convey it to the reader. Thke a look.
M(1)1C"W\
A('TTO~
AnVrNTtJ~~

1JI("1'0RTt\N
it r
~umbiuiug Hurrur witb Pautasg
The most common genre to be
combined with manga occult and
horror is fantasy, especially with
characters that hunt and fight the
beasts of the underworld. The
horror genre makes use of many
mythological animals, demons,
beasts, and animal-human hybrids,
and somebody's got to hunt them
down if the humans are to have any
chance of survival. These hunters
are borrowed from the fantasy
genre, and their costumes are
given a medieval twist.

Elves are, by definition, from the


fantasy world. Their elfin ears are
clear fantasy elements. The cape is
seen in both the fantasy and occult
genres. The medieval costume and
boots straddle the fence between
occult and fantasy. Remember, not fRQHT IJicW \ 1

too long before the 1700s and 1800s


in Europe was the medieval period.
Tn the late medieval period, armor
and jousting became used more for
pageantry than for actual combat,
as the days of knights were coming
to a close. The costumes, however,
continued to influence style.
In manga, this medieval style
branched off in two directions:
occult and fantasy. That is how
they are intertwined and have
remained closely related.
Like most elves, this character
appears young for his years. Small
in stature but eager and spry, the
elfin "boy appears to be about 12
to 14 years old, when, in fact, he's
north of about 140. Sounds great,
but elfin kids don't leave home
until they're 60.
)
llint: Laces
Laces and cross-stitching are oft-repeated motifs in fantasy
costumes for men as well as women. These small touches add a
fantasy flair to the wardrobe. Above, the cross-stitching appears on
~ the front of the boots; it looks particularly good in combination _JJ
~ with the decorative designs on the forearm guards. Ch
~ ~
,... 11 , . ,.. .... - .. - .

The difference between th(' (.Jncasy '"tlrrior \'O)nou~ materials are used for the f.tntasy warrior
and the vompire tS that the trtame of the fu.ntJ.sy omflt: meta], leather, cloth and. sometimes, aruma I
fi&hter will be thicker and m1>1e rugged. He'-s: J ~kil1.3. Btn remember, thls ~...h~r.lt:ter has entered the
myMeriou51eading-man typn. When he commiu OCA. ult world and the (.}(':c;uh geme. There fMC, he
f( b.lttle he Is an explosne. vidous ftghter who muM be colored usJn' oceult6tyle colors, not
Jittvt~ no quarter. And th.ats what also makes tn<My colors, whiCh ~ bn&hl His world is dark
h1m excning Belund h,. pl.odd. lmost ..,.l[u) and murky-a be.Uish pJ.u where evil otten wmt.
tkrne.omor hu the ~not J. w.ur,or. (~~ (Qgt5 141 - 1-43 fur rnon" on uccult color.)

~ICll LlltW


f.ac.c u whtn you find a blood-sucluna Vilnlptre
01 1 tlclh-c!41ting beast. you're not g0u'a IU be
.Jbtr- to talk it hno gwmg itself up. Mayb,.
you c...,n convince your' morn of anything
but not these guys. In maoga ou::uh.
you ne.cd to hrlt1g sottlc.thing a little
more convincing than a good
ougumr"'
exc~llf'nt
8elow. you'IJ find <cOme
opuons.. Oh, and one
mor. thin&: Don't fall for the
I
j
'I hold b.id duldhood' !me.
\i.t)be the vamptre gn find
good thorapiSI in hcU.
Civc htm the :.uke.

ri\NTA'\Y (J)II.Illl'Oill;~ Dlll\!iON


o-..................... ~--"""~
IOIIV ...f.ll ~lac~7'h.l:a:ISNXIII~,
m 1du~Jt #1~ fOOd P"C"'" hlla tile~ to wu '"'
pnnu.-)111'(11 $0#1ttlntC$,~JU.Stpt531mn()/f
Orw cJ thfiA~t~ of 01:ait and
horror thAt'~~ un~ttlincrand
clowrrt9ht ~.vy-1~ that ytXI don't
1 know whom to tru~t. Thf Pfl"~
you:re tAikin<J to--whfthfr Irs 'JOlX
/ b6 friend, true love, rr mentor-<ould
l>f An illu~lon hl<lln<J A hldfou~ qeAture
thAt (~ out wMn thf moon Is
full to kill And kill A<JAin.
Prom Womao tu ~at rr~atur~
Whatever the \dnlng
thar:'lcrer and end ~~ult,
tl1e morphin,g of manga
octult rharaccers rould mkt
place m the blink of n eye;
lrt cnt' panel th~ charactet
ti' r.ould be normal.1nd in tbc
Ut'...l(t a demon. lhn chat
would be shon.clMn~fng the
nudience. Hctt''i the thi"g
t want 10 ~t oleN'S: At.. a.
rn.10g.-ltlftls.\ you &m.nl
your .audje11GC to tw:
uncomfort<~blr. Tlunk
11hnut h. Woulcl you
design a tuunu:dbow,e
ndc 50 hat no one gOt
8Co1Ted? WI~\ .Ould be
t,h~ poi.nt h1 chM? So, ta1v
your rime; ~m;tr.h 1he
Uitn:.form.atlon acro:;s
several ~<Is Slot.. u
~"'- t..et, re.11ly see it-.
Wt. want the audience to
~Y to themM:lves, My god!
11 dun really the ch.antctt'T
tha< llike-thrrible
u~..arurc:?" Than a. _croocf
re.1aion The one we want
Auimals. ~uch as cat5,
clon't have to 00 drawn
rec1lt.....tnw11y werr not
l.llktn~ Ybby a hne
You can m.d:t": up your
own They can .!Mn off
CUI~ and cuddly Ctr viciou ~
like bolx:atl<. 'I'he wilder
and more dai'\SCTOUS d-.c,
~tt- the more etlcetive
they are tor lemaI~
tran~form~tlons. Jhts u
been usc occ:uh h.lflgirl
rh.lrjC(cr typt~ are drh~n
b) wild actim.al \ft'!!otin~~
The good1!'rl tYP" .ue
morfl1 and C':a\tllirr:d


Prum Uampir~ tu Bat
Some tra~formation dtt prom peed by ;m cvem,
such as" full moon Of hers are the result of thto T "
whim of the ereatutt:. iL~~e l f, ll.S i5 tJ1e c.'lse witll chc The Baron is r.twnn1ns., &rarious~ and handsom
vt'lmp1re. who turns mto a bat In order to fly away Unfortunately for thr W()llltm \VliO fan rot hls
t-h<~ rm~. he is also .1 potsonollS lxtt whost" bite
Jfter gorging on humAn blood Some characters
wdl tum fnto cte;Jturu 1n ordt:.t tO ktll. causes his victim to J.pJral into the bonomleu
blaeknus oftbt' unde.lld teta: see him s hr
re&ll) is.. unvam"r"ied. an hl4 true form

,..,.,.,_.............
ell tfw. W11!P -.;,'i 'rim~ TJw '"'
l(h'HCII!Ju1Dn'fflrWAr~~"',.. ..:
t~lbflf'litfuto{mf1, 'lbfJI(l'!IIH'Id
._ld '"r.tw...rd.17tet'6111plmf.4
:~~owed 4t th{$ """wni
..,,.,_,.,.....,!
"'lCP9 mncd r" -Y
.,..,~.,._.lilt

~ttw: t-2f

tn rlw Jr:IAI {omf. rly.( n:mll'*"' h11r tit fi!J f~ IN iilay atvl mr~ l 'l'bl
di(JJIIA h6 U'MI'~ W'll' 4 ~"tbcll Q( thlf ~UJUII J.l.mnah&n 10 jj,~&eh ht t.

tti/1/#N '~"J fi'Onol ""'ur:l'l )..- r..nt ""'"" JWPI\ f!l(l',qlt fJ,mu.tJ! ~~~"
t/IIMU rlwi'J&Ic
wP"9"'1C. .......,. ~111'-"'if'J""'
1....,.td rhttca "
~loti"''P'""~"' li!IJIUI:f tft ~~o,,IM
hcl '""'"'"r$Nllo.-.
\ht fooh OII'U/Ihirod,
J.:pn!f ltf-f'/J'rii!IUII'&
.,W~'IIJ"~ ltJ an P
ihl$.111r}Jt1tl11lrlf'"-'1
tt<JJ4ttdiO(I''OiiJ
m,;ivomll c.oJJ At'
J'tlliffl

111 rile .Nn<d sm.y dlar~ dtt uvtP


f(IU~"' ~~ bi'Nmm u-here ~~~~ tp!lt'.a
Q,., Th" I& 41'1 (lfr.ttn"C" tedr111qwc IIWt


''or.tarl WI~Q t)Km:.goi"-cft.IOk
from Humao to Wiog~~ Wolf
nus h.tumed \oung ponce "'ill uansrnocnfY

~ ..
a.;,.-.... ~ fit
Jw~ . . . . . .
~ 4Jp!lar- ad
._...
~~JIIIIIOI~

:;;f
dw

rru111,. t "' r .,., .. ,.,..U!I041*""'~'.c.t


gtrf 11r1A rt!tU rt&irm InfO fhtrtkl"fW'I
1-1! T~MOPI'IJ l Jr.JItJI' rtJ tmtGn: IJittfJ/ Mtl {ncrtdtv
Cat girls are a populor
manga c:haracter type.
They're friendly ch.:tracters.
So, ...., ploy a crick on reader$
tO rtel them in and thtn
urprisc them: We wn lhc
mmsformation by turning the
occult woman into a cute em
girl. Then we lower the boom.
VOW! She transforms funher
Into a hideous CI'UIUre. a ~I
a.hotker-she's not the cude we
thought .shew~ at all' In the
(~nd. she assumes hr:r true
Identity for a11 to ~ec : a
vicious, winged, wolf-beast.


Prum Mao tu Wiog~~ raotb~r:
TbP ruil-ao~-~priog r~rboiqup
Another CC'IOI way or ,~.tn~ <J
transform.mnn LS to bc&Jn by h.ling lhe
c.hatatlt-r bun~h up a.s the change startS
Then, onc.c thr chJrd(.\er transforms. ht-
suddcnl)' P<"P' Opt"n. prt-seming hlmscJf
iind hi~ .:.tanUng new Jook to the dudience.
Prom Womau tu Uuiroru Pautbvr:
Tb~ "Good" Trau~furmatiou
At tiOml" point m ~very good .stat)'.
the- .1uthor or ard'-I.S m.akes use ot
ttl.- clcmtnt CJUed the JWLSt We'n:
f;amUla.r wl1h the w..y I:.On\'tntkm.:~l
scory l inr:s uu. IJ ~t' reJd t1 bnti.l~r
swry, tYt'O U It'.$ illu~tl'dtcd with
wcll..flntwn 'hnrur.tcr!!l ond inu:re;;tin.g
se ni ng.~, tht: experience 1s likely
tu h,tvf' (hr. reurlcw umlenvhchncd.
1b make your rlUJfttt t~l'$ tuentot:libltl,
you "SOillt!thntS nrccJ to add nn
unr.>..l)f'Ctet.lfwl.lfC tn make the.m
leb prt<Urt.;Jble <ilJld to m.ak,. them
sr<~nd ~'lt lo thr I'Cder'a mind

0"' l I rt.e ~rm hmu ;;'"'


r....nrt,~tw-Mlft~o~" ~~:~hi",!! l'rl'let.
,..,,v~ ...u J'(IIIillU"~

~~.....,_DIM11No
-Ita~..,

-----:""' ~-_...__- -
\DU .... , . ., .....

!::,c;;;;~';;::t ~ How do YtJU do rh;u? 6y malung


"I'Ji'f'Jr..ttvthf"tl~
~~"'-fmlwi'W!K~ """' tharn ugtifr, ttrosser, mo~c vltJieotJ
ttz..,.,,., ..H,J~-po..r, MolJ be. but hant till> I been aonc
-~"p-=~ before:' And ~~rn that a hit obvl()lU
Periup$ )UU Qn be mon: clever rn
go1ng abouc it Maybe youL.Jn o~dd a
c.har.atter Wl11J's a bit ll'ffc.rtlll fro1n
wlt41t you'd f'tt:pt~ 1-not!Ut'l more
ot lhesamr
ror- example, th"b girl ''om or..utr
ch.lr<h.;.ter but .Jhe'~ not 1'\'ll .\rtd the
JX~nther IntO whicl1 ~he UIU1Kforms-
alchuugh ormlnly powtr!ul and
intsmrdauns;-c:.an be on tbe side or
Sf!OO.. (t ha5 a unlr.om-M)'lt. horn on
h.$ torthe.ad, which wo generally
a!lsoctatc h'llh ros.Juve trails Us
J)O'IUt'e js dct\anl. not ViCIOUS 'J1\e
n-.adt:r- w.u t."X~tlng a tran~ionnanon
mlO d viciOu~. evl) ~XC&Jh chanaae-r
nm hme sh~~ ts. transf.ormlng Into a
CI"C..lUire th.n'S at ill on the "itlt~ of
;one! IAklfll ... na agaln>t Ll"' d.lrl<-.
R>r<u in htr own ,...,..td Sudden!~
youve got rhc ltlt'1tulgs o .1n
lntare!4-Ung litO! y. Mt.l tluat's g:ood
~Ofl'tcllino nut use liiUcll lwnoclasd
rhamtle" sp.tron;:ly b<l~a<:)OO
don't """'"'to tlfldo the S:!O!n.ft: ItSelf
r'III!IHtrnfti<UttoUlll'k"
II'Ufe#ll;~,...,,,,4l.l.-wtuf
~....,vw+'-'lt"w
ill.h Ill , . . . (rvn4A """"'

)
Prum Man tu Oragun: Tb~ Uisual M~tapbur
Anisu often plAnt devJces tO lip off the .tudtence Anolhcr cool ,asual meupbor would be
about wt.ats comtng. It's not ao much to tecJ.Se the 10 inv<"nt 1 wom.tn who lums into a snake.
l'C.Ider. m.tkul$ this a pd.rlor pme. as it is to put \\'hen &he a in hurmn (onn. .she ~-ears a
w audirnr-" In lhr nab mood 1b do 1his. anis1s lo~ d~ tNt ,.,,nels
around people in a
use visual met.JphoD or symbols. for example. serpenunr way ~ she seduu.s them.
what doc.J dragon h.ave to do with this dark
fellow;> Well, ,,k \'c>ursclf. Wba1's lhe mOO<
prom1nent teclturC d.SSOCiated with dragons?
fmbrcathlng And here i.s a man holding a
candrlahra teeming with flan~es. Sec the
connection? h rtll C()llle,:S logether once he
transfOrm~ wo begin to think of his candelabra
as pan of tho clrJgon motiftJwt remains when
he's In humnn fClrm. lie likes to be around fire.

12~
from Womau to Oragou:
irao~furmatiou bg Magir
Stnnge. rrug\Gal forces aomeumes provoke
tran$fOrmauon.s: .1 bue on the neck. a pc>rion
from a chalice, or the swr.et pollen &om
an =uc black rose They can be slipped
unknowingly w thr. vic..tlm so that the victim's
~ul is t:~kcn from her before her \'Cry eyes-a
mos1 frightening cvcmt- as she watches her O\~n
unholy mutmlon from good to evil. Converse!J,.
the transmfgmdon or the soul can be volitional,
perhaps even part of o rhual between lovers
destined to rule togt~ther in darkness f'ore\ler.

- s,.,....,...,
g, U..J~Uft~"'utla.lcm lhc:n-.u,.l'mD'tl
'"'~o(tlv....,
_,,..,.,..,_._ .. ~we
.-.n ....a.Mr in llfwclm:kt"'P-r. ~~
if-...-ladf..... _ _
'*'D . . . . .vt. . ...-.d:~~
Adtc:uJ
m~ftm,..tfrom
111}\ttqdark-.110
tforltJ.,form

.,........,.w.,
_
DmwdK$Jnr!U

~k.tdl:the

.., ...........
~"J'f''eatthcDOp

- ..... &odtl

12~
t~ta~lishiog Muud witb ~hadow~
i(>flf~(

I
.., 1r yuurc IC)In.g co drd\V" chitTI'C\crs wh()
tlwell m lM Jand vi darknc~~.s, vouw got
tJJ .add, wen durttk-.~1 SbadO'o\J .trt> sln~te
becauS(" they CA~n t:enly ""-rap thcmse!Vt'J<~
around 11 th~1rac.cer, almost as If they ant
aemient being.~ themt~ches 1 'ht:y can
.ssumt tht- shape <~I .1.n object: or COl5t cl\.11
!hapr. onw anochr surface. Shado"--s can
stretr.h or dis.1pptar oompletrly. The).. arc
rnysunous. bjdjnR the things \\~ t-ear from
ptairl )l~t llley alfo t.n:ate a t('n.M:, th1rk
1uroosrhtrt. wh1(.h heigbum~ the
so~p<msr of ;my An1nr..
h's sou ofcounw1lnmiuv<\ bu. todmw
shadow~. \OU h.t\f tO think about wheac
rou "'"'"'.ro pbu Uw-li,gi'll. Shadows .an
what result when ll~ht hit:i .m ~rea. If
there's no Light, there's rto $h\ldow So,
3t.an 10 chink o( tilt.dlfealon ulthe lf,ghc
h.ltring '.'OOr char.acter or yvur S(;Clle. 11w'
light rna~ f'ume tmm one din-tllon or
angle. two clirccllons, otnd sontet1 n 1~~ cvc.n
chree dttethons. Buc. 1t'S ooc e\'t"rywhefl'
all Ehe tune-not t\tn on hot su.m111er
day out5lde Ltght o~lwo~.ys comc.-~t~ ttom a
ll"ll
direc:tton. Acld, \Yherc h doe,-.n't h\l [s
whert" tJH ~hadows .. l>pcilr.
YOU'\'f' $:Qll0 Stan thlnk.int t&bout it U1
th\S logJ(.;)l way~ If )UO dont-tt yuu slud.f'l
.ue.l..'i r.1ndumfy, bnsed simply on whJt
looks good to you-y0la11 ~nd up wldl
shadowt lo places where Uglu htb and
hg.tu. m pJ.ac:n whnt~ sb.ldow~ slwold
be, .md the \mage \\'11l c:nd up ~.-hecker
boarde-d with po<.kcts ofll~ht :md shadow
h toob bt-:ttcr when \t loolu rl~tht llereJ
ho~ it hould wuric

ljint tiencrzdtze

rw, "t tr;uTt,t!/"lr\IT


IV"'nMIIr
'"'1 " u ,,
tndlllll.r H'Verhead hghttng '-'the mosc umunon type.-. h '~on
the hatr; shCMlldt~. .rnns hips, and sideJ of the clot.hf":s-hut
not on t~'erythutg What it doc.&n't fall on reflia.ins In !Shadow

125
''CIIT'~Ii mo"'
ftMn,
Wfll~f I\IC MOr
When )'0<1 light a clwaccer f'tvm below yoo
,.,/Jd'U ~- Jt.,..tt
Ctt. dcldedlydJJtereru mood lrspool<y, .. ,.....til,.
no7 This Is one of the tim that liaJ>r dlr..cf.QIIIOQfllfWI
M.tun;;e doco~m't have to represent anythlns
occurring hltf,.,ality. Jn other words, you
don'l hove co show the character' swndJng
over ri flrt:plliCC or mal:c sure thal 4nothrr
ch4rter Is. holding a tamp below him m
JU.Sdfy 1hc low-hght effect. We li~ht him
from btlow for purely ernorion.tl rrd&Ona-
bec.'lu.se. tt ht:tghtens the drama

111\nll II~UT
I 11 1
"'
When you light a character fr01n
behind, o '"" ofligln (edge light} 111
on the omltne of the figure. It's a very
cool look. The eomrast of having .J
lou1t', dark r.gure outHnt:d ln bn,ght
li3ht nrak<' rhe charaeter both
m)St(OOU .1nd lmpoS);ible to ig110re

9'
Wll~t

- v
.):1 T"\cndcring ~ho:~duw:;
/) f t-v>re ure many ...,J-,S to rt-n.<k>r

1
~

~
<o'x><!OW<oo
~";)V
,., ::r.:lpr..;:
U~ ... "or feelS oe-; 0 0
~-". .:~"~ c 11'1C 'T\On.ga ,-c... ~e
r_:;-..~15 5 S"a~d b'f' lt".t'
-,rt .;.l ,., . ,., ':i,.,..ple Cro<O~-~"dc~ "'9 .:>'
't-..1. ._...,.., S.on-~ :)~,~~ l.~ p-:;;.o<.;. C''
Wld bLx'kness done -A.,_~"~? P't"~ e>r
1"1Ur1<.!~.. Arss .:J, ots::> use grov
rl".<l~r.;. tor sh."ld"'~g. r've r,.~n 5-omt'
u'~r: a corl"'b'n.:;,ion of b-\;JCk r'"llol for
'~c oul!<n~:> of the charuder-::; and c1
.,,,.uoll'l, LiJn5 !>'tH"~I pencrl !tnP for lhf'
o;hod+~I!J \Don't pressc too "ord ,J,.,
I~ pe-nco! ,f J'CV use,.,,., ..,~lhod ,

r,e,.,. .Jr"l" ~SJ CO'f\pv!('r


pr>..>qr<J""!> D\oUO\Qble 1~-::f ~l.;.,w ~'.:kJ 'J
,...:,,,... .-..;our ~ Y'\(1 ... ,... ::J'"' I~
moo. I b..:J<.<.; ~~tyl~.t; f-y ~"'-:K: '""'?

----- - . - -- - ~----
U~io~ ~baduw~: Vull Duu't N~~d aR~a~uo
llrh~lh !he <h <dow hould loll in a
l'*IC41 wily, ynu dmn .tlways nc:,d a
rcaMin totltnrodudng them m!O .. scemr
It'~ ll!..utnn tmou~.th t}ua( sh3dOWI enhant:c
mood chcy tnJk" che <.1\ir~t~,. bo!d. t],,.
momr:nt cmph.1w And. chey 1I'WJ ~
anollwt tltlng. Tlwv make oht ligure
appe.n thrtt-<hmcn"'nat 1n11tflold ofbtins
len tm(Ky-and noo-....oh only black line>
on tvhue po~per 1lle ch..tT:lCicrs. tf'"nd w
cake c.m a f~hn.( ot mundneQ. wlu.htv
\\eight o*nd emot1una~ depch.
IICJ1,o,twC1 1 lht'l"t'
:art- some track.olls. au.J
you have ltl ~At:~ lht pros. anJ tnns.
lllcl< nd white can be omrk, lnoeuse, nd
Jl""nwHhJI, Solnt! f'1HHliC\C1"8. $tCI\f~$1 and
~.Wen emire ~raphlt nuvcls arn bt:l u:r
SU1lt'd to thr.. cxplulve h~ntrase Si)'le
ot bl..,."'- o1nd whltr.-w1th no sh..do\"5 or
gt"d~-Cven thc:n, you t311 v&e pools (')f
black "' yuur hod<M&. thoroby "PPI)'lng
what you've learned 1\t:re su CJcpcrimo..:nl.
And 1Uow the sub)et:c matter tO dr t~lt
yoor rholu nf\J.SIIIggroysnr hla"-k.~
rur ih:J<k>"~
~ba~uw~ uu tb~ &ruuu~
Sh..dow> th.11 ..u on the ground
under db.trac~rs llx chr f~ues in
place~ due thr) dorn appe.1r to
be tlo.mng'"" tht rot~e Ground
showtows 3110 how the t~udirnce
whrre chr: hcmwn In .ackhtfon
they .u~ o~nothrr tool in che
WUtfl!tJI,.,. Wool k.u. I
amst':, a~n.11. for t..:Uinplc. .t #I PlAol llol P CPo..fu, " fiW h ~.
Jaurd Ah.ad()\\ondcn~e0res the. ~ fQ"J; If fbt tf,Ptl WWU tl'tn
VIOlence of Pn ll{.tiun pose. A Q,_nAI..,f1r- lrronnrpll *""
small shadow mlds .1 poe1i~ AlfhrdatlmC"'fl,,f11/JJ/I.-J lilt
fec:lhlg 10 'l lnnelv moment '''N<Iilfl' nt~.W 1rov ..,.~ON ~"n

f(trlrn, et$11U'JJtt~,ltw:,
m.U,rfutlt . .nti~ i1n- .,.;ttfd
'ilfl",,-nf$)"/lfllflJtntH1fl"nlflf
Shading wn .1lso be used to h"IShtcn
the luak of 5pe4;iaal effeccs. m;l1dnt the
momem mort brilJWnL Bu remembe1
to n~ke tm. special effca bu~~ ot
light re.JU) 'u.nd out-the rrst of
the c.h.unucr must be m :.h,tdow

AfttJ:~r.ultJ/n!I.Jiuwr;SI(J/1
filtif,lj'WIIIfttllliiiJM<ht,-.tt
cidk,ol'llr!IIIIOIUtlrfo.Liw
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Mirrur~ aod Refle~tiuo~
\1fnun) and reflecunn~ hnld a strartge faM.-11\.lW'IIl 1111rTnr. Js it real or tur.t .J n:He<:boni' Can we fltt."l>
The)' Me a r.ommon ~ol~<oual heme m m1Ulga through tO somr- othN p11UJ! '1\'hCrt' ~\t will ronw
01 t..uh svrics .about I>OSst:..s.lon and otl1et SfMMikv f.1u to fuoo witb a dupllt:.11t' of QUfSCiv('.Si' .SO
$tUJl There's somnthtnR tott>irtl and haumin.w how du you niCA"trpomte mirrors and reUer-oon5?
,,hum the world that Uc5 em the othc.r .stde o( the 'I'Jke a louk.


Dr~am~ au~ Nigbtmar~~
Thu world uf occult .11HI horror Is''" cxcidng and rn occult ond horru11 rcxulat scene~ $:Otnc tl mt'~
Glht:lnalinggenrc: heuuse nothmg is quite wbtu tul n into t1rea1n sequenCf.. or even olghtmarcs.
lt :-.erms. Beasts are mrn Womtn are vampires These" arc ''el)' ooo1, vl~unllv entenaining
ChJIUrcn are pos:se&ied. You,e got to s.-ay on flalu:l~ that are likt" entering 3 h.aontedhoase
vour tucs It keeps the rudt'r on rd&e. and thai's amustment park ride l'or cumpJe. maybe }'OU
fl gn".ill plM.e r.o be-out of tht" c.omton zone iind "'"'the dun~Cttr tod11t0vcr that the eril n~
aJued to the nat panel th~ "'"~'<' w.n~oc.e. lbe h.u pl.lud her in noghnn.ln: from wluch sh<'
next Ufu,craoon. c..m't ~ake up. That~ a v~u.dly din)ang eflect

rl!lL~'~ ~
nrnP('!I"'M
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Url\lrr

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t.)~(fn~pi'!GHt
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ruldjord~ f{tt;U
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mtda~1i'1f)
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A"'' IT~'"''"' Jt1t.
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fOrpl'ss.h..,t. . N'

fs
~~mbuf~ uf tbe u~~ult
Symbols of the occult arc a very imponam have to use- aU of them simult.lneously. You
p11rr of this g<:nre. They dtooratc aod embellish can use._, combination of onlv a fe'" It aJI
scenes and images and ~ven the clothes. ()(:cult depc~nds on the tyJ)l~ of charaCter you're trying
symbols even imhnidate norH)(:Cult cha1'ac:rers. ro create and how much he or she is trying
A Jist of .symbols appears below, but you don't to blend ln as an ordinary hum:tn.
~~ri~ Barkgrouuds
I ~ant th\S book 10 ~w "ith
~ ou u> ukr you trom 1he
"-"""' ol draWl"' faces and
bochr~ to des1gning your 0\'1"'11
ch.lr.~n~rs ro. uhunately,
plat.intt (hariGiers in full
'l(':tn~s tha1 )'Ou compo:!ie if
you w.mtln tolkc. it that iar.
So to th.lt rnd. here :ue l;Ome
suggustlons of locations for
octult-.:'lntlhorror $tone:; I hat
rr:nu1~H ~xu cme)y popular
with t'f!.-dN!!. trom the U.S.A.
w Jdpdn and everywhere
fn betwtf!n, The~ l~uon~
.trc dc~lsnr.d more to 1nsplre
you than to aJve you a ngid
tempi uc to roro . Thest are
stmply frw sood choices
rn ke4"P '" mmd \\'hen you
w._nt to~~ the mood for
yuurkcnes.

.~lnr.l.'-'t-41""'-'''IMJ'Aijltf
C~Cipc It I Jl tf II IM.v) Ol-.-"'"':''"
u't!Gik A '-m..ll M~o.tt. 1~... t.ltfl "dr.
Mll~r..,.m'frt~tl 1Vf11,.ll tho!
Wt. 1'1tcf\ r>w"'"'n ro "', m' AM
~~~rl~tl,tll!t((l/IJ.nf(l1tlt'rV IY'l'
t.lmt Tft,. rnrmy htt~o~ th, Ll:y
r1f1hrlmtd Jt,,JJf!IUtlmll

r <;T r v 1 r o;
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HMlhrtfrm~tttm!lt.-tJI:.Clh&m~

lf/t(orhtr! cr01 tlnr ,,.IPI'11i"


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\t.'dlhifll.r ~dbr~to~'" 014t tM W"J't'' r:V..

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~~how, tJx.auly """!\
ht. 00 rc' IICIW dot:~ hr c-haran ch.- CJt~Cnrl:d bra h .. ntult be" luw:l O\lt. crr1uing 1
.md nw-.rnrrvJ": ht br ..tUIINI vtcum~. and dtdh"t"r ~tturucta\ '-'~"11f" thtu nvwt"~ hkc rkw l.wvrk. Jl\~
tJ~ On;tl Bt\c 01 OAI~flf"~ Ynu earn rommumout' lnll~ IOj,t p...,;.a~ v. )lJ t.dc you lhroud\ 'f'1VotA1
lhtos infnrm"'llntl h1 ""'" rc;hkr ,(" u\.1 dilll:"t pu1 tht- sr-rw p.antl b\ p.anr.l brc:.1lt1F\Idnwn t~ p,KJ11lt
At:.-nr:' 1.n c.bt' l'flptet Murytrlhfll "kquente All of .nul plo\ dU\'<.Ittmcm for )'UU

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1111e '-'d. q~ uno 1111 n.- tllflll ,,.,.,.,l!Jit_fl me thc.ll'- ht'' ~ ~1 ~ll"'tC J,t'" '"'' ~
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Tb~ rulur~ uf lUlao~a o~~ult an~ ~u
The occuh..JrtdhortOr genre is more cNn a sq:lc or 01 {oR
mood. You cannot usc: the ~me palette dw: you h'Ow!d
happy houJ0-$1yle m.1np. It would completely ..OOta~
work you put in .11 che dliiWtn.A board Llark and ~tr~
adjcaives that should mfonn your world of color choices
that dark and mystmoos oare intcrc~ting and compelling co;or.
Just because they're no1 bright dotsn't mean they're not "Sen:-::
the eye. Ju.~l keep these four imporwnt points in mind
Don't go so dark that tl1e lineA ond eharactets are hard t1
Every dark image needs bri~ht .:t"-'as in it or h \\'ill appeou
Even a darker image should UM. a wide range of colors.
The wa.n skin oolor in tht occulc vcrson ~ho"""S us Lhat she's
a <:realtlfe of darltnes.' '!'he sky belund her ~ndicates that
h"s night. Time to wake up1 The <hoi.IJO colol'$ .are too warm
and soft. This vampore looks much 100 ht.lhhy. Loo4likc
sbe ""-orks out ~~ ch~ gym t"'t"' d3v .md dnnks a glass of
milk "ith UGh meaJ AJso. 1 can't tdl whac t1me it is from
looking out ,..., archway behond ho~ and th;n's a problem.
but irs solved ln che \"ers,ton wuh occuh colors

.. '
Yes. the fantasy colo!'$ 11re too bright; however. wllh his
cape and sword. he'1 a1rnoM ttr.addhng the fence between
fanta$y and oc::cuh ..,h~oth are aomrume:s blended So.
this is pushing the en,"elopc a b11, but not by that much.
In the occult '-e1"5iOn. darknt~ re1p """1th a wann.
golden-reddish hue. C.n'l I'JIUC" wuh that. l'eclthe he<~<?
Bring up the red (a popular occult color), add a good
amount of green (a popular f;ant.t&:)' color), and you've go1 a
ple;:ising mixture or two genres '" the fant.uy/occuh combo .


Jod~H
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