Among the cartoonists such as Kishimoto, Oda, Togashi, Inoue, and Akira Toriyama, who has the strongest drawing skills?

This topic can easily lead to controversy, but it is certainly worth discussing.

Painting skill/painting skill is a very vague concept. It can refer to both painting skills and painting expressiveness, and can even generally summarize the painter's ability.

However, different cartoonists have different styles, so it is impossible to measure the level of cartoons simply by drawing skills.

We might as well discuss painting skills from different angles.

1. Painting skills

2. Storyboarding

3. Fluency

4. Screen expression

5. Plot

6. Character creation

Let me talk about the conclusion first. In terms of storyboarding, Inoue is the best; in terms of expressiveness, Lao Ze is the best; in terms of fluency, Fei Akira Toriyama is none other than Akira Toriyama.

Before discussing painting skills, let’s take a look at a few sets of pictures.

Tanaka Masashi "Little Dinosaur Agon"

Miura Kentaro "Branded Warrior"

Ogure Uito "Abyss Fusion"

Mori Kaoru

_Hara Ichi to "Diablo"

The level of delicacy of these characters can be said to be at its peak. They can be called picture rubbing machines. Even the wrinkles and scales can be painted clearly. Chu, Ming Ming Bai, and his painting style tend to be realistic, which is breathtaking.

In addition, there is Hojo Tsukasa's depiction of women. The line processing is extremely good and can be called a masterpiece.

We can say that the above cartoonists have superb drawing skills.

The several well-known cartoonists mentioned in the question can only be said to be of average level in terms of their drawing skills.

But in other aspects it can be said to be a master level.

For example, Inoue’s storyboarding ability.

In the representative battle of the Mountain King in "Slam Dunk", Inoue's storyboarding ability is fully demonstrated here. In just a few scenes, the tension and fierceness of the peak battle are fully demonstrated.

The processing of lines and shadows makes the picture more fluid, creating a [static] visual residue.

Vagabond, another classic work by Takehiko Inoue, has excellent background and composition.

There are often various blank spaces and large shadows. The advantage of this painting method is to increase the tension of the picture and highlight the expression of the characters.

The processing of shadows has the effect of splashing ink and blooming in Chinese landscape paintings, with a strong freehand style.

Since we are talking about storyboards, we have to mention Teacher ONE. Teacher ONE’s painting skills are very average. The original painting looks like this.

But the handling of storyboards is textbook-level. Yusuke Murata focuses on painting skills, while Mr. ONE is good at storyboards and plots.

The combination of the two is like this

There is also this

The painting that overflows the screen is simply addictive.

In terms of storyboarding, Mr. ONE is considered a master in the Japanese comics industry, and Inoue is not too inferior to Mr. ONE.

Let’s talk about Oda. In fact, Oda’s painting skills and picture expression are very average, and his handling of composition is very messy. When reading the "One Piece" comics, he often cannot distinguish the scenes, which is the result of poor cohesion. It’s just tiring to read.

But Oda’s strength lies in the processing of the amount of information in the picture, such as the very detailed description of the background buildings and scenery. This is a quality that other cartoonists, such as the old thief Togashi Yoshihiro, do not possess.

Furthermore, Oda is very good at drawing team battles and large scenes, such as a battle on top, with so many groups. It is very difficult to process the scene, but Oda can express the momentum of the scene to the maximum extent.

Opposite Oda is Kishimoto. Kishimoto is best at drawing duels. Every time there is a big conflict or major event, Kishimoto usually isolates the battlefield and draws it separately, such as when Nagato attacked Konoha. Another example is the Fourth Ninja War. Kishimoto focused on depicting the duel between the top combat forces, and rarely transferred all ninjas and groups to one screen, because Kishimoto could not handle big scenes and team battles.

Kishimoto’s strength lies in the appearance of the characters. Compared with other migrant manga, the characters in Naruto are the most “beautiful” because Kishimoto attaches great importance to the appearance of the characters.

In terms of drawing skills, Kishimoto is the most mediocre of the cartoonists mentioned in the title, not outstanding in all aspects.

I don’t need to say much about the smoothness of Psy’s comics.

Every frame of the Dragon Ball comics is very neat, the characters’ positions and angles are very reasonable, and the fighting is relatively smooth.

Finally, let’s talk about Lao Zei. Lao Cai is the most special one among these cartoonists, because he always doesn’t follow the routine and is famous in the industry for drawing drafts and writing articles. Everyone is discussing his painting skills. At that time, old thieves were generally not associated with painting skills.

However, in fact, Lao Zei’s comprehensive drawing skills are the strongest in the hot-blooded comics industry. Why do you say this?

Because the old thief's comics are drawn according to his own will, he can focus on the expressiveness of the pictures. And although his early work "Yu Yu Hakusho" tended to be routine in the later period, The plot is still very complete, and the characters are also very full.

The impact of the picture is reflected in [Focus].

For example, when painting President Nitro, the picture moves from far to near, and then suddenly pulls in to the President’s expression.

Another example is the leader

Yusuke

And the old thief often leaves no blank space. The background alone can give people a feeling of loss. For example, in the finale of Youbai, there is no lively scene of a happy ending, and there is no foreshadowing of joys and sorrows.

All that is left is a group photo and a house.

To sum up, silence is better than sound at this time.

This is the psychological impact of the picture. It doesn’t need to be sensational at all, it can make you suddenly think back.

What is picture expressiveness? Shown below is the impact of different painting techniques on the expressiveness of the picture.

This is a relatively realistic cow with a strong three-dimensional effect.

Remove the shadow part that reflects the three-dimensionality, and the picture becomes like this.

After reducing the proportions of the five major harmonious shadows.

Then simplify the three-dimensional lines and change the proportions of the three major surfaces

Remove most of the black space.

Then line up the specific parts of the body.

Only the most important lines are retained in the end

From the initial very realistic cow to the final line cow, it becomes more and more flat, but each picture gives people a different look and feel. They are different, just like some people like realism, some like freehandism, and still others like abstraction. Different depiction techniques reflect different expressiveness of the picture. This information is ultimately fed back to our brains, forming our understanding of various types of paintings. Judgment and aesthetics of images.

Of course, the old thief’s soul drawing method still needs to be complained about.

This has nothing to do with the expressiveness of the picture, it’s just laziness!

At the end, here are two drawings of different cartoonists, which can be used as a reference.