Is there any guide that informs me on how to give a sense of

>>2991474
smudgy speelines, soundwords that cover the whole image and many closeups so you can see what is going on in the fight

>>2991477
Real talk, I can't get the speedlines to look "right"; I can't "smudge" a character fighting for the life of me... I don't really get what I'm doing wrong, but it doesn't "feel right"

>>2991480
To be honest, there's a lot of different ways to do it. Of course it comes down to speedlines, perspective and other things, but best thing you can do is hit up action scenes from different comics/mangas and trying out what works best for you. Sorry if that sounds cheap, but that's the way I find my favorite style for stuff.
By the way, the image you posted may be from a popular manga like one, but the action aspect sucks major ass.

>>2991474
>guide
didn't you just post an image you can use as a guide?

Drawing is a craft, not academic theory crafting.

>>2991520
Come on, I get it, but a craft is learned, and someone who explains their craft to you can be often times more interesting than simple observation, also, you can avoid easy mistakes by doing so

>>2991523
Call me biased but I think the saying "an image is worth a thousand words" should be extra true for artists.

>>2991526
I don't know if you're biased or not, but I think that everyone has a different learning method, and I feel more confortable with commented stuff (obviously by someone who's good at his craft)

>>2991511

If Murata sucks ass at action scenes, who the fuck doesn't? You may not like the content of the fights themselves but the way he lays them out and renders is pretty fucking impressive.

>>2991527
Alright. My point is that I think it can often be hard to find good tutorials because many artists simply learn from observing. It wasn't to troll but instead to imply that simply copying the images you admire and learn why they work so you can apply it in other contexts might be a better long term method.

>>2991532
I'm not saying he's bad, I was talking about the image specifically. I don't see how he's standing out in comparison to other shonen artists to be honest.

>>2991535
Don't worry, I got it, I sorta agree with you, but it's for that very reason that I asked you guys for an hopinion

>>2991511
I agree with >>2991532 , Murata is a master, even if you don't like his stuff

>>2991480
How the fuck are we supposed to know what you're doing wrong, if you're not going to post your art?

>>2991540
If you can't tell how much better Murata is compared to other shounen artists, you should just stop drawing. Despite his relatively mainstream style, he's one of the most technically skilled manga artists out there.

>>2991552
I don't have anything of value at the moment, also I was more interested in something I could learn from instead of a critique, but if there is none it's allright.

>>2991556
*something to read I meant

>>2991553
I didn't mean to rustle your feathers. There's lots of artists who can draw good action, I just don't share your preference.

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>>2991474
This might be useful, OP

It's pretty old but hey, it's Adam Warren

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>>2991675

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>>2991676
You might want to look into basic animation principles like keys of a gesture, squash and stretch and so on.

Camera angle impacts the sense of power a lot as well.

framed ink, in the sharethread

Thanks guys!

>>2991679
>also anticipation. Googke that too.

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I learned it with this. (Classic)

>>2992634
This one lays down the basics bretty gud.

>>2991474
> tfw Loomis could never draw such action motion despite his ''''mastery''' of fundamentals

>>2992660
um I'm sure he "could" but that technique just didn't exist in his time.

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>>2991474
There are certain elements to a fight you should pay attention to:

- Anatomy
- Panel layout and flow
- Additional effects

I'll only cover the two latter ones.

For panel layout and flow, emphasis on how you draw the comic panels depends on the flow and framing. Fights containing close combat will exchange a myriad of angles, particular wide shots and close-up angles. Learn to adapt spread pages, bleeds and breaking of the fourth wall.
Know when and how to break down from the exchange. Continuing drawing out shit with fast phased action can dry out the experience. Remember that there's a story in there somewhere.

I recommend you read Scott McCloud's "Making Comics" and Akira Toriyama's "Hetappi Manga Kenkyūjo".

For additional effects, the most basic things to incorporate to the art are word effects and muzzleflashes (guns or punches (for manga in particular)). Speedlines in the background from a vanishing point in the horizon can help build up the initial impact, but it can be broken if the flow and framing in the composition is all wrong.

Study other comics and techniques from all around and deconstruct them.

Visit the artbook sharethreads and look around. Ask if you must.

>>2992669
I'm pretty sure it did. Do you Think loomis existed in the 1500s or something?

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>>2991675
Thanks for posting these. The principles remind my stembabby self of slope fields and field lines in electromagnetism.

>>2992720
um no, hadoukens and power battle anime didn't exist in the 40s.

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it's all about the gesture my dude

>>2992766
that's sweet

>>2992766
what are some other good resources for gesture that aren't in the sticky?

>>2992828
Gesture like many other aspects of art cannot be learned like say perspective can. most of it comes from first hand experience. So I suggest you learn the basics that make up gesture drawing and then just go and do tons of it.