推荐回答（1个）
其实还是多画多推敲了
举一个最常见的例子
很多漫画开篇画面是惨不忍睹的
画到3 4卷的时候就开始有点看头了
到10卷的时候就自成风格了
比较明显的象
藤岛康介的《我的女神》
秋原一至的《暗黑破坏神》
富氏的《幽游白书》（老漫画真是让人怀念啊）
看看大幕维人《火魅子传》《A+》时期和现在的《天上天下》《飞轮少年》
国内的可以看看张晓雨和姚非拉《梦里人》前后（他是一种“大”意义上的准）
多画 然后推敲 再画 再推敲
井上在画《篮球飞人》（叫这个老译名亲切）
前几卷的时候
画的匠气重的难受 他当时写实派画法功底已经算是不错的了
但是他发现画真正打篮球动作的时候还是很“假”
当时他很负责的找来NBA的录象
截图 仿画 甚至做成幻灯投射到画纸上拓下动作
一直到打翔阳的比赛还经常用这种办法
到出线对战陵南你仔细看画面已经可以自己画的很生动了
到打山王
那时才真正放开了画 挥洒的线条太漂亮了 分格流畅和节奏简直是范本啊 那时的动作真是有神采啊 不是拓出来的笨拙了
到零秒出手 信手涂涂动作都准确到位
更大的突破在浪客行
细心的人会发现在画武藏与小次郎成名前的故事时完全用了两种不同的画风
画武藏时线条走细 漂亮的手网 冈吉家四人在桥上围堵武藏一端 各人脸上阴影的处理 精致的就和长期素描一样
转到小次郎 一下子大拙若巧狂放不羁 真是符合人物性格的画风啊
动作刻画更是无可挑剔的
如果说《篮》他还能模仿和参照
到《零》不过是对篮球动作“熟手耳”
那么到《浪》就是他对动作和透视把握能里的最好体现了
初中最开始画漫画的时候也完全抓瞎 头长 额头高 也没有结构 脚站不稳 到高中时少女漫画级别的姿势结构终于可以象样了 那时偷偷画的废稿放满了整整一个抽屉 高中改考北影 10分种一张的速写每天从19点画到凌晨3点 坚持了2个月 落起来有一本半字典高
没考上后来才知道我都算画的少的了
漫画去对着时装杂志和电影杂志练 前者学衣服比例 后者学构图光影
临遍3本应该就有小成
有空去 涂鸦王国 火神网 幻想论坛 这三个地方看 聚集着网上的高手
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