More_How_to_Draw_Manga_Vol_1_The_Basics

Vol.l : Compiling Characters Chapter 1 Drawing the Face Chapter 2 How to Draw Bodies Chapter 3 Drawing Characters ISBN4-7661-1473-6 Vol.2: Compiling Techni,ques Chapter 1 Background Management Basics Chapter 2 Tone Techniques Chapter 3 Expressing Lig ht and Shadows ISBN4-7661-1474-4 Vol.3: Compiling Application and Practice Chapter 1 How to Draw Interiors and Exteriors CIMpter 2 How to Draw Machines Cl1<1pter 3 How to Create a Short Story MANGA ISBN4·7661 1475-2 Vol. 4: Dressing Your Characters In Casual Wear Chapter 1 Underwear and T-shirts Chapter 2 Sweatshirts and Skirts Ch~pler 3 J dckel~ and Jeans I ~BN4-766 1-1477-9 Special: Colored Original Drawing (Copic Sketch Pen) Chapter 1 Caple Sketch Pen Chapter 2 Copic 1\\irbrushing System ChaflTPr 1 Try Using Different Painting Materials w ith Markers IS~N4-766 1 - 147 9 -5 Vol. 5: Developing Shoujo Manga Techniques Chapter 1 How to Dr.:~w Ch.:~racters Chapter 2 How to Dr.:~w Backgrounds ChiiJ'lTPr 3 How to Create Stories Chanter 4 I low to Create Manga Manuscrints ISI:IN4-7661-1476-0 Vol. 6: Martial Artli &r Combat Sports C h~pler 1 Judo Chi!ptt'r 2 Karate Chapter 3 Kendo Chapter 4 Boxing Chapter 5 Street Battles ISBN-1-7661- 1478-7 ~5!nbutcd by JAPAN PUBLICATIONS TRADING CO.,LTD. · .-.· 5ar _· -:;ho. Clwyoda-ku. Tokyo. 10HX:l64 J;Jpan :o ::•·v~ ~ · - -- 1-~-L- .J : · r a. : ~ : -:: -3292 C.:! ma:i: JPt<-.Jptco.~o.jp

TO DRAW Vol. 1 The Basics of Character Drawing

MORE HOW TO DRAW MANGA Vol. 1: The Basics of Character Drawing by Go Office Copyright !C~ 2002 Go Office Copyright M 2002 Graphlc-sha Publishing Co., Ltd. This book was first designed and published by Graphlc-sha Publishing Co., Ltd. in Japan in 2002. This English edition was published by Graphlc-sha Publishing C9·· Ltd. in Japan In 2004. Artwork and Production: Ushio, Shiomi Kohhara, Yumiko Deguchl, Hazuml Amano, Bakeko, RACHEL, Akira Gokita, Rio Yagizawa Proclur:lion Assislant: Takuml Takahashi Cover Artwork: Kazuaki Morita English Main Tltle Logo Design: Hideyuki Amemura Com~usition and Text: Hlkaru Hayashi, Rio Yaglzawa (Go Office) Reference Photography: Yasuo lmai Moclels: naoko, take, and Seiko Oshikawa (Photography: Junichi lijima) English Edition Layout: Shinichi lshioka English Translation Management: Lingua fninca, Inc. ([email protected]) !'Ianning Editor: Motofuml Nakanishi (Graphlc-sha Publishing Co., Ltd.) Foreign Language Edition Project Coordinator: Kumiko Sakamoto (Graphic-sha Publishing Co., Ltd.) t.ll rights reserved. No part of this publication may be reproduced or used in any form or by any means graphic, electronic, or mechanical, including photocopying, recording, taping, or information storage and retrieval systems - without written permission of the publisher. nistrlbutor: Japan Publications Trading Co., Ltd. 1-2-1 Sarugaku-cho, Chiyoda-ku,Tokyo, 101-0064 Telephone: +61(0)3-3292-3751 Fax: +81(0)3-3292-0410 E-mail: jpt~jptco.co.jp URL: http://www.jptco.eo.jp/ Arst printing: March 2004 ISBN 4-7661-1482-5 Printed and bound in China

TO DRAW Vol. 1 The Basics of Character Drawing Be sure you / .': / .t ,: :; :'· know the

Table of Contents Chapter 1 Drawing in Pencil ............................................................................7 Sketching and Doodling Are the First Steps Toward Manga....................8 Original Manga and Illustrations for Publication Start in Pencil ...............10 The Process ..........................................................................................10 Creating Postcard-size Illustrations .......................................................12 The Under Drawing Process ..................................................................16 The Type of Pencil Depends on the Composition's Size ........................18 Pencils Used for Under Drawings ..........................................................20 Chapter 2 Drawing Faces ................................................................................21 Faces: Start with a Rough Sketch .........................................................22 The Head Is Oval ...................................................................................22 Building up the Head.............................................................................25 Making Practical Use of the Basic Layout..............................................32 Designing Faces From Profile Views .....................................................38 Four Profile Types..................................................................................40 Facial Features (Eyes, Mouth, Nose, Ears, and Eyebrows) ....................42 The Basics of the Eyes ..........................................................................42 Masculine Eyes .....................................................................................44 Feminine Eyes.......................................................................................46 Rendering the Eyes and Movement.......................................................47 Four Common Mouth Types...................................................................50 Three Common Nose Types...................................................................52 Two Common Ear Types ........................................................................55 The Eyebrows as an Extension of the Bridge of the Nose ......................58 Drawing Hair.........................................................................................60 Maintaining Awareness of the Direction of the Crown Whorl..................62 Profiles and Hair Movement ..................................................................66 4

Chapter 3 Drawing the Figure.......................................................................73 Key Points in Drawing the Figure ..........................................................74 The Basic Proportions ...........................................................................75 The Process for Drawing the figure ......................................................76 Drawing from a Frontal, Standing Position .............................................76 ·Drawing Side Views ..............................................................................79 Back View .............................................................................................81 Assorted Pose Layouts ..........................................................................83 Proportioning Characters .......................................................................84 The Body-to-Head Ratio Is the Key........................................................84 Balancing Proportions ...........................................................................86 Differences in Height vs. Differences in Body-to-Head Ratios ................87 Keeping Male and Female Characters Distinct.......................................88 Using the Body-to-Head Ratio to Draw Characters without Bounds .......91 Drawing from a Photograph ..................................................................96 Drawing Super-Deformed (Chibi) Characters .....................................102 How to Draw Super-Deformed Characters...........................................103 Adult and Kiddy Super-Deformed Characters ......................................106 Body-to-Head Ratios of Various Super-Deformed Characters ..............107 Moving the Characters Way.................................................................108 Chapter 4 Manga Miscellaneous...............................................................111 The Manga Clinic .................................................................................112 Drawing Characters with Cars .............................................................114 Common Minor Errors in Manga..........................................................116 5

Foreword Manga allows you to communicate many things. It is capable of communicating momentary feelings, like \"I'm hungry,\" as well as multifaceted issues such as \"How should we, the human race be ideally?\" Somewhere along the line, manga artists sprouted up overseas and became no longer limited to Japan. Today, manga is regarded internationally as an aspect of Japanese culture. I personally enjoy drawing manga and anime characters and have drawn many since my early manga days. I eventually became a professional artist. Since then, I have discussed manga with other friends in the field, and everyone tends to agree that learning to draw with a pen was the first biggest hurdle. Without being pen-based, manga would be a different art form. Yet, I think that if I had been required to be skilled with the pen right from the start, I would not have been able to enjoy continuing my new career. Despite this fact, I have yet to see a book on manga that says just that. Doodling, a familiar pastime we indulge in at our leisure, lies at manga's origins. Anything I cannot draw in pencil I certainly will not be able to draw in pen-at first, anyway. This fact still holds true. It is important that you feel unlimited in drawing your favorite manga and anime characters using a regular or mechanical pencil. Once you have mastered a wide range of things in pencil, then you will be able to enjoy rendering your manga In pen as well. It is based on that final sentiment that I have written this book. Rio Yagizawa Go Office

Chapter 1 Drawing in Pencil

Sketching and Doodling Are the First Steps Toward Manga. Drawing freely flowing pictures from freely flowing ideas constitutes manga's origins. All you need to start drawing are--t~ accessible pencil (or.mechanical pencil) and paper. Draw on art paper. Draw on the ground. Draw on scrap paper. Draw in your notebook. .:··.:-(' 8 ~ .. ·' . . . • ' . .\"'/ ,,..

Manga and illustrations all begin in pencil. Rough sketch Professional manga artists and illustrators also begin their work with the user- friendly regular or mechanical pencil. Final artwork Penciled drawing 9

Original Manga and Illustrations for Publication Start in Pencil (Or Mechanical Pencil}. ( The Process ) 1. Under Drawing r·-· - ---·- ! <IIIII Sketch roughly r ····-·-----·-·-·····--·-·- (<D to @) J- .....,......,.-+- !' the overall panel ., --'-I---,.7--\\.--+-- At this stage, the artist redraws the 1 plaoysoiutiot,ntihneg of any I1 ,· ( .... ) . artwork any number of times until he or Icopy (speech she feels satisfied. Produce the under balloons), as well I drawing carefully, trying to recreate as the characters J the image In your mind. and the l composition. I ~==~~~~~~~==+=\" I Use a ~1 straightedge to i Ii I !draw the panel's 1 .!•1• lines. Create the characters' under I1 1 CD :'I' drawings. i -+'-~<.:---.-\"-lJ'--fl\"-'->'c.=....~\"'->R~,- 1 ® I_ -~-L.. I'. ~-j:Jli< - - - --- I 2.1nking :-· '\"-·-·--·----····-··- -------··-···--·-·----·--·-···-! Ink the characters, ' background, and ~'ljJE71.~~ ~-i Ispecial effect lines. 1 At this time, you may pen the panel lines, but there are artists i I who do this before I producing the under I I drawing. I I l <IIIII Produce the under drawing for the I1 background panels. ® At this time, pencil i '-·- ----- I any reference lines using a straightedge. 10

3. Erasing 4. Spotting 1· You may do any erasing Blacks at the following times: rT't'l'mr-'..-------rrrr-------w;mr- ;o-<o'7l 1} After you have finished inking the Here, you fill in background; or 2} Once you have inked any area the characters, you can then erase as needed. needed with Afterwards, you India ink or complete the background's under marker. drawing and then again erase as needed. Erasing after In either case, pencil adding blacks smears more than you might think and tends tends to cause to grey the artwork overall, so you will need smudges, so to go over the entire paper with your eraser. be sure to add blacks after using the eraser. 5. White 11 Use white poster paint and a brush or correction fluid to clean up any marks between panel lines or inside of speech balloons or any over drawn lines. This is preparatory work for attaching tone. 6. Screen Tone Attach the screen tone, check for any extra eraser bits or white, or any unevenly filled blacks, and you're finished. • This is the standard process followed up to the inking. Work after that does not necessarily have to follow the order shown.

(Creating Postcard-size Illustrations) A postcard is about the same size as a single panel on an original manga copy. Consequently, practicing composition and balance for a postcard, whether vertical or horizontal, also makes for reasonable manga practice. A one-piece swimsuit is transformed into a bikini during the inking process. Once you have become accustomed to under drawings, you will be able to modify them in pen without having to fix it in . pencil first. Beginners will have to adjust the under drawing first; otherwise, a huge mistake could result. These \"watermelon stripes\" are indistinguishable to an observer at the under drawing stage. Only you, the artist, need know what is represented in the drawing at this stage. Since the under drawing establishes the layout, copy may be added at this stage. You may also go ahead and mark down where to add solid blacks and screen tone numbers. •• • Clothing and hair tend to have more lines at this stage. The 12 under drawing primarily serves the purpose of devising the final image. 10 em ...(approx. 3 7/8\") .... 15 em (approx. 5 7/8\") If you use a uniform paper size to create not only a close- up of faces, but also compositions showing full figures, etc., before you realize it, you will be able to produce any sized composition.

The postcard illustration process This process is almost identical to that for a manga original copy. ·i . - :i New- f'o.r ___~.---... .. G) Produce a rough layout sketch in pencil, plotting the composition in general terms. Artists often redo the sketch any number of times at this stage, until they arrive at their desired image. Drawing a postcard-sized frame on a slightly larger piece of paper will make this easy. @ Produce an under drawing based on the rough sketch. I ® Draw the background and spot blacks. \\ @ Ink the lines and clean it up with an eraser. Wishing you a .:>:: happy new year! </) Stay healthy! -=--·?\" ·:\":~:- @ Add white touches and attach the screen tone. Cut along the panel lines and presto! (Actual size) 13 If you are planning to mail your postcard, use permanent ink or enclose it in an envelope and send it as a greetina card.

Sample Postcards 14 All of these were originally drawn postcard-size. If you photocopy any of these at 127%, then you will see the thickness used for the original lines and the degree of screen tone detail.

Draw the rest of the body even when Artists occasionally find they have become proficient at depicting just the head. faces but are lost when it comes to bodies. If you make it a habit to draw the body along with the head, then when -The recipe to becoming a good artist you are forced to perform, you will be ready. l \\ When drawing solely the face or the upper body, artists often forget about the rest of the body. If you take care to consider how the entire body from the neck down is posltloned even when drawing just the face or upper body, your portrait drawings will become that much better. Common Pitfalls When Only What Is Visible Was Drawn At first glance, this seems like a normal illustration. 15

( The Under Drawing Process ) -) Sticks may be used for the -~ l! arms and legs. I <D Create a rough layout sketch. Here, you will JI ' I lay out the target composition In general terms. Play around with the pose or the hands' positions <:::ti' unUI you are certain you have captured the image in your mind. I Here, a head is rendered as a circle with The torso is abbreviated at this stage (see an X used to determine the direction faced. above). There are artists who, at the layout sketch stage, will either use an oval for the torso or break it down, using an inverted triangle for the chest plus a lengthwise oval for the hips.The joints ~re often rendered as circles. While a portion of the right arm is hidden behind the chest, draw the arm imagining how the hidden part appears, starting from the shoulder on downward. ~·.~\\~~- ~. ~ ~l~~;:'~_....... ,:~;sA· , / ~~J._~ ·~ . ,1' ~.• '! i \\··~. (, _ ' ' ,. . ·( ~-~ :\\ \\,O-_'~X \\/l'if~~,~\\,·· \\.\\~~.\"·': \\~ :. \\\\I'\\ r-~\\v !.f ·.. ) (:i) Once the image Is / set, adjust tho overall form based on the (\\ .. \\ layout sketch. Draw j\\~ the body in blocks: . '\\ > the head, the arms @ Draw the body's contours. and legs, and the ·. \\ Adjust the general positioning of torso. Use circles for the knees and shoulders while you the joints and curved \\i,---.- -~- - draw in order to confirm their contours suggestive -j correct placement. Sketch in any of U1e muscles' props (here, a sword). volume for the This figure shows the body laid out in silhouette lines. blocks. Once you have grown accustomed to sketching, you will be able to start from 16 this point. The key is to use curved lines for the hips and groin, the knees, shoulders, and other joints, since they are regions where body parts connect.

~ Draw the face, hair, clothes, etc. You The above shows a cleaned up may design the face and clothing as under drawing. There arc artists yoo draw, or you may use something who will render the penciled under yoo have already designed beforehand. dmwlng to virtually the same lt~vel as the Inked drawing. ith respect to the sword's central line, e~.•artists will often add props after (§) Here we see the completed under drawing. Although to the observer it king all human figures. may seem sketchy and Indistinct, this Is not a problem, provided that Can the under drawing be skipped? you, the artist, have a clear grasp of the drawing during the Inking process. Under drawing This penned drawing was produced sans under This penned drawing was based drawing. (I looked at the subject while drawing on an under drawing.The inking in pen.) Line modulation and other aspects are process went smoothly, and the unbalanced.The shapes of the cheeks and eyes final image is a clean version of are awkward. the under drawing.

The Type of Pencil Depends on the Composition•s Size. Use H8 or 8 leads for small compositions. At U1e rough sketch As the image develops, As the image develops, stage, draw lightly and thicken silhouette and thicken silhouette and avoid putting too much contour lines. contour lines.The pressure on the pencil. advantage of a mechanical For a mechanical pencil, pencil is that it draws use a 0.5 mm lead. evenly distributed, fine lines regardless of the pressure applied. In contrast, a regular pencil enables you to modulate the thickness and darkness of your strokes according to the pressure you apply.A mechanical pencil helps when drawing detailed areas or small compositions and a regular pencil helps when drawing large compositions. Match your drawing tools to your needs. Use 28 and 38 leads for large compositions. Pencil holds the advantage of allowing you to draw on a large Mechanical pencils struggle with long strokes, even with 0.5 or format comfortably. 0.7 mm points, making them unsuited to large formats. Note: An 0.3 mm mechanical pencil is suited toward detailed drawing.When sketching, 18 avoid using too light atouch or the drawing will appear limp and lifeless.

feel free to use different pencils for different parts There is a reason that so many strokes are used in the under drawing. This is because it allows you to select which strokes are the best when inking. Therefore, there Is no need tor you to use single, clean lines at the under drawing stage. Hair: 0.5 mm, 8 lead Face: 0.3 mm, Use a soft Bor 2B lead for skin 8 lead and other soft areas. Clothing creayes and details, hatching strokes, etc.: 0.5 mm, 28 lead Use a hard Hor F lead for rocks and other hard objects. Sketching: 0.5 mm, 8 or 28 lead Use extremely light strokes. (Using an HB lead with too heavy strokes can leave furrows in the paper.) Use a regular or mechanical pencil first when practicing special effects. When practicing hatching, radiating lines (burst effect), Of other such special effect often used in manga, start with a pencil rather than jumping in with a pen. Once you become proficient at drawing with a pencil, you will come to understand the tricks to drawing in pen. I A 0.5, 28 mechanical pencil was used tor all of the above special effects. 19

(Pencils Used for Under Drawings) Pencil and eraser The lead holder is Mechanical pencils a drafting tool that Drafting pencils come uses a 2 mm lead. in a variety of leads .·/ Lead holder pencil sharpener • Drafting pencils In general those who bear down on their pencils should use hard leads (HB, etc.), while those with soft touches should use softer leads (B, 2B, etc.). • Mechanical pencil leads HB 2B 4B 68 BB 2 mm lead holder lead • Differences owing to lead hardness • Erasers Pencil Mechanical pencil Rubber erasers Vinyl erasers Vinyl erasers work well on typical mechanical pencils and H8 lead pencils, while rubber erasers work well on 48, 68 and other soft, dark leads. If a vinyl eraser becomes soiled, be sure to wash and dry it properly. The eraser may be cut into smaller pieces for use with detailed areas. Avoid getting rubber erasers wet.

.~· ~. Chapter 2 Drawing Faces , .· .·-' .. \" ....._ /i \\ '. \\ ' \\'

Faces: Start with a Rough Sketch. ( The Head Is Oval ) Start with an oval and then draw an X across it. This forms the most basic layout of the human face. Since these lines are crucial and constitute guidelines for drawing the eyes and nose to ensure their positions are well balanced, use a straightedge to draw them until you become more proficient. In a frontal view, the eyes Draw an oval and then an X. This constitutes are almost at the head's the face's most basic layout. center. This line designates This line, the center line, where the eyes lie. connects the crown to the The human face is a chin in a straight line and relatively flat curved denotes in which direction surface, upon which the the head faces. eyes and nose rest. Use a downward curve when the face is looking down and an upward curve when the face is looking up. Simply drawing an X across an egg will let you know Using an egg with an X how the face appears when facing various directions. drawn across it will help you capture the sense of a specific direction being faced and a sense of volume.

lbe head remains egg-shaped, whether facing frontward or sideways. The Xshould arc in the direction the head faces. ~~~) Draw the center line to --1 connect the base of the nose with the chin. 'The nose is always just outside the vertical line. There are four ways of determining the eyes' placement using the horizontal line. Use the horizontal line to Use the horizontal line to lines through the center form the boundary of the denote the boundary of the of the vertical line. The upper eyelids and draw lower eyelids and draw the eyes are then drawn . the eyes below that line. eyes above that line. between the two. Draw the eyes centered 23 along the horizontal line.

Five Pointers in Drawing a Face 2. The Shape of the Head From the front, the eyes 80 1. The Facial Features lie apart about the distance of an eye. The facial features do not change in i The human head appears to be height whether seen from the fror.tt almost a circle whether viewed or side. I from the front or side, so use a circle for abstracted heads or for 3. The Ears The ears attach just behind sketching the basic layout. center. The mouth lies in farther than the forehead. 4. The Neck Good Not good i The neck is just behind center and angled in The neck is the side view. centered in the Not good front view. The ears lie Large (sticky-out) ears o matter U1e size, the along the side ears' base are the same or the head. length, and they attach at the same spot. 5. Back of the Head (Side VIew) Good The back of the head is larger than you might think, and artists tend to forget this when drawing profiles.Take care not to draw the head overly compressed. The neck vertebrae are not straight, Draw the back of the head about the Here, the ba~k of the head has been but attached at an angle. same width as the distance from the tip overly compressed. Despite the face of the nose to the base of the ears. having been carefully drawn, the poor·resulting balance ruins the head.

(Building up the Head) frontal View Plot the positions of the facial features and draw the face's silhouette line. At this point, all that you need to determine is the eyes' position, so just mark them down as circles. CD Draw an Xthrough an oval (or circle). Next, sketch where the eyes will lie. @ Sketch in the mouth ~!r---'11-~P---Use the hairline's ®The head's silhouette line after you have side points to becomes finalized once all of the determined where the determine the eyes' other facial features have been nose will lie. height. plotted . Sketch the hair. @ Mark down the ears and hairline. Sketch in the ears after you have determined where the eyes and mouth will lie. Sketch the facial features. Add the hair once you have determined the face's shape. Fill in the eyes, ) nose, mouth, and ·J eyebrows. / 25

Add the finishing touches-eye and ear details. Draw the hair. The pupils end up as a contrast between black and white light reflections: they should be drawn once the majority of the face has been -'~liH~.:.Y~I.;. completed. •. Start with the bangs, which · , ''-~ are close to the eyes and ~-} 7 The eyelashes are a finely eyebrows. Rnish with the (( detailed feature: draw them hair's silhouette line. ~I carefully after everything else ~ sfinished. \\.. Completed under drawing When rendering the hair in lines, When rendering the hair in solid draw the way the hair flows in detail. black, detailed lines are not necessary. Left ) l(2) Flip'~.e-;· the paper, lay another All in the iris and pupil after having matched up <D Start with half the face. sheet of paper on top, and trace. @ Match up the two sheets of paper. the two sides. 26

Completed drawing Hair in solid black Hair in screen tone Hair in a solid black/screen tone combo 27

3/4 View First, sketch the nose and half of the face (here, the left side). Next, sketch the second half balancing it with the first. I Plot the basic layout and silhouette lines recommend that those of you who are left handed start with and sketch in the bridge of the nose. the right side of the face. Eye line Nose or mouth line ..... Draw the 9eneral shape of the Decide first the proximate silhouette lines head and an Xover that. of the face and head. Sketch in the bridge of the nose, even if you do not plan to include it in the final image. Draw the right eye, the nose, and the mouth. Sketch the right eye behind the nose. Take care that the comer of the eye does not interrupt the bridge of the nose. Draw the lett eye and sketch in the hairline and the ear. Sketched in hairline Sketched in ear Take care to balance the left eye Proportio~s·sli'flG'Id be easier to As with the frontal view, start with the with the previously drawn right eye. central features, gradually moving balance if you determine the eye's outward. 28 shape before drawing the eyebrow.

Draw the ears and the hair. Add the finishing touches. Start with the bangs, Next, draw the wide side wisps, and any tresses of hair to the right. other portion actually touching the face. Since the ear affects how the hair flows, draw it relatively thoroughly before drawing the hair. Draw the lar tress ol hair, matching it with tile near side. Lastly, add fine flow lines to finish. Completed drawing Hair in solid black/screen tone combo 29

Side View ( Draw the silhouette lines. !I t Sketch the basic layout of the Here, we see the basic layout of Draw the side silhouette of the head. Note that the neck's the eye and nose. For side views, entire head, including the face. it is especially Important to angle and head's shape should establish the positions of not be different from when seen only the eye but also of the from the front. bottom of the nose (or the mouth). Sketch the eye, eyebrow, ear, and hairline. II Layout for the eye While the eyelashes of the far Use a gentle curve for the eye are in actuality virtually hairline.The hairline should Draw the hair hidden, they are included in appear naturally to run from manga tor the effect. Take care the jaw to the ear. not to make them too long. Draw the ear. Sketch the general Draw the bangs and side wisps. Draw the silhouette line and flowing layout of the hair. internal lines.

Add the fin.ishing touches. Hair in solid black I :nw hair strands from the (riJht) side. Add the iris, and the nostril. Adjust the apes of the lips, jaw, etc. Hair in screen tone 31

(Making Practical Use of the Basic Layout) Lines used in the basic layout serve as guides for positioning the eyes, nose, and mouth on an Always use curved lines for the basic layout. ovoid solid; hence, these lines should be curved. Good use of these guidelines will allow you to draw a 3-dimensional face. ;--· -··- -~·.-.. n~~ · J . !I \\ \\ff,;' I \\(·r 'J; Using flat lines results in a somehow flattish face. \\\\:~_/{ . , ---- \\1 The curved lines project a sense of 3-dimensionallty. Good Not good The basic layout makes any angle possible. Here we see a somewhat low angle.The horizontal .\\ lines, which function as puidelines for the eyes - - ~-?':·f'.'I, i and nose, take on an /, upward curve. . .... ; • f ._ .·\"- ... .,..... ~ .,. Here is a face seen from a somewhat high angle. Since the top of the head is visible, draw the vertical guideline first crossing the front and then the top of the head. The horizontal lines assume a downward curve in angles where --.0~- .. --Ar \\ the top of the head IS VISible)., / Here we have a face looking Here ls a face seen from a. downward and seen in full downward looking, oblique profile. The horlzontal lines · angle.The vertical line serves 11r{~r/ • drawn almost completely . ' f'to indicate where the face is / straight create the feeling of \\. directed as well as a·guideline a total side view. Angling the(:i for ho~ much volume to give verticall~ne results in a /.~~ -< the head. \\. head facmg . · • \\ \\ \"·· ·-~~ AI. downward. .·• _ / .if/ .... _ 32

What happens when the basic layout is ignored.-The fundamentals of basic layouts The vertical guideline is the key to drawing the head•s silhouette line. Here, despite that the features are Using a gently curving line to connect shifted to the side, the silhouette where the nose attaches to the face to line suggests a normally angled the nose's bottom reveals that the chin face. needs to be shifted more to the left. Here, despite that the features are Good shifted to the right, the silhouette line suggests the head is facing left. Not good Face drawn with guidelines The eyes are not aligned and the Face drawn without guidelines nose and mouth are shifted off center. 33

Distinguish between long and round faces. Modifying distances between facial features allows you easily to create different character types. Basic layout of a long face Guideline for eyes Guideline for mouth The eyes are located in the center of the face and the mouth somewhere between the eyes and the chin. Basic layout of a round face Distance divided into three equal parts Guideline for eyes Guideline for mouth 34

frame the composition neatly. A sheet of paper has physical limits. Keeping the composition's dimensions in mind should help you successfully frame it. Plot the head's basic layout maintaining consideration for the final size. Try using a basic layout when drawing within a postcard frame. Here we see a basic This basic layout reflects layout without the hair's volume. consideration shown to Basic layout for the hair's volume. head alone The head's outline is also the hairline. The hair has not been included in the basic layout. --- The eyes are located The face is large north of center. and has impact, but the hair Is cut Basic layout Hairline LL...c......t!=--~[....._-.LL.._ _ _ ___..:~ out of the frame. • uding the hair ---_; ....... ..... --- The eyes are The hair fits centered on within the the face. composition's l!......l~c.l....l....--------__...J frame. 35

Make the different characters• ages distinct. Childlike or chibi characters The eyes are located just south of center (to make the head appear larger). Standard or shojo (girl) characters The hair constitutes 1/3 of the total head. Realistic or adult characters The hair constitutes 1/4 of the total head. 36

wing a Face from a Snapshot CD Draw an Xacross an oval to establish CV Roughly sketch the shoulders and hand. the direction faced. ® Add the hairline and space allotted for ® Sketch in the the hair. eyes, nose, and mouth. ~------------~~~------------~ @-A Realistic Style @- B Manga Style Use dark lines for the eyes' contours and The eyes and nose are abstracted. draw the bridge of the nose faithfully. 37

Designing Faces There are occasions where the From Profile profile and frontal view of the face Views will seem to be from 2 different characters. Here, we look at composing a front view from a target profile. Take careful note of how much the nose projects from the face in both the profile and frontal views. Cutie with a button nose Noses should be consistently prominent from both thefront and profile. Regardless of whether the If a character with a button hairstyle and eyes are the nose is given a defined nose same, with a button nose in the profile view, then she this becomes a different becomes a different character. character. Facial feature placement Artists often find when they draw lines through the two views that the faces do not match up.Try this once for the sake of taking control over your own style. Top of the hair - - -- - - - -~===--\"\":::?-y-=::=-~:: - - - - - ------ - - -: ::: ::;;;;=-=; ;;; ;;; ;;: :~::::-~- - -- - _,..-- (;/·/- ~-, ~\\ L/~ /-~ --~~Crown -----~\"\"-----~,..--~-==--~------------:;,.L------,==--\"'\"<----- ..Bangs--------,~'----,.....,.,.----:---.--:-.....---,-~t--''t-------.f~'-;f--rr----n----:---.--........,.---\"\"'----'\\\\-- .·lf/l 1/1 \\~ \\~\\ ~ l ,,r //1/ I \\ \\ \\ u/ ~ ~Eyebrow arch \\\\ .ri 1/ ( ,· ,l \\ \\\\ \\ I . ._ ,-:::==f1}-qr,~\\~i-.\"!~~~~~S~ft==~~~-~~ft(;!;1f/J(pr1~=f~~TopSotafretyoeffnooldses (Startoreyes) '/ /~:·~\\ -4.'1'~- J''¥~( - -..._ll ~- · 1 , \\ /1 -'..i/.}/jj '\"rn,-.'.\\'.]\\ I, Bottom of eyes ',c'!'\\ - .X~L ...J!!:l_ t:- ,., Tip or nose A) / I I\\ I Il1 Bottom of enrs \\ \\ \\\\ \\ ' )1 [JottornUoprpenroslipe =~~!· ~~~~lj\\la.:.~~§~g' -~~~~ ~~~~~;{~~u~~g'-.~..~§~~~~(m<-./·.(~l@$1t1~ II i I 1\\\\ ,I \\ \\ }JiJ ~\\~~ \\ \"\"- Mouth l1 / II / / l iP.VJ)Lower lip --~ /)} \\/ j}Jij -~ -l Chin Base of neck- - - - --/-,4--/_ _ _ _t-..~.,---\"----------/-f------\\-\\--------'O

G) Adult Faces Design the nose, eyes, and mouth to have \"adult\" attributes. Use almond-shaped eyes with small, black pupils and irises, straight noses, and smallish mouths to suggest a mature face. Nostrils may be included. ~ Shounen {Boy) and Shoujo Faces-1 ® Shounen and Shoujo Drawing the bridge of the nose as a short, straight line and making the chin pointed creates a harder-looking character.Thickening the eyebrows and adjusting the hairstyle results in a boy Faces-2 character. Enlarging the irises and giving the eyes a moderate downward slant produces a tomboy. @ Child Faces ChildJen's faces do not protrude much, so keep the features relatively flat. Here, we have a tiny button nose and no prominent bridge.The eyes occupy about 1/2 of the face.

( Four Profile Types ) The differences between profiles lie primarily in the nose. Since the nose is used to distinguish the character's age (e.g. a grown up, a child, etc.), a distinction is made 1 in the facial features according to the character's supposed age. -~ Adult Face The bridge of the nose Is straight and clearly defined. Both male and female characters share almost the same nose. 2 Shounen/Shoujo Face-1 The bridge of the nose arcs, and the nose small. 40

3 ··---.._...,....-. Shounen/Shoujo Face-2 The nose has virtually no bridge and is small and angular, comprising primarily straight lines. On a female character, · would be a tomboy's face. 4 Child Face The nose has no bridge to speak of and is round-a tiny, button nose. 41

Facial Features {Eyes, Mouth, Nose, Ears, and Eyebrows) (The Basics of the Eyes) fold Inside corner . wJ:.·-.:-~. ==---Light /:;_'---------',________,\\_, reflection .. In manga and anime, Including this wrinkle is ~~~~;:) the corner of the eye guaranteed to age any Iris is often rendered unconnected. character. In manga,the lower eyelid is usually rendered with a single line. The most favored eye shape is . CD Draw the upper eyelid. @ Draw the lower eyelid. @ Draw a circle for the iris, almond. and presto! An eye! Assorted Shapes ...~.... .......~····· ··· ~ ············· , ·····················, ·························· · ·············································· tr ~'.t.f........~......., ;.......~~ ~ Leaving both corners Modifying the distances and Eye with the upper eyelid unconnected results In a curves of the upper and accentuated more manga-esque eye. lower eyelids produces a multitude of eye shapes. Eyelids Here, multiple, sketchy The eye is the most important facial feature strokes were used. when drawing a character. Gives the character Here, a single line was a sense of presence and projects an impression used for the eyelid. of his or her personality. In manga,the eye can be considered the most difficult as well as the 42 most crucial feature.

The Basics in Iris Size ··~ '-..... .- ·- _..... :.ere, the iris and the lower .- Here, the iris is small, only eyelid are touching. This is occupying less than half of suited to children and This is the standard iris size. the total height. This is .mocent characters. The iris occupies half or suited to adults and villains. more of the total height. is eye features a squarish iris Here, the upper eyelid is thick, and This tall iris features compound and is sans eyelashes. Contour a large light reflection occupies light reflections. the pupilless eye. s are straight. This eye sports an enormous Here, the entire iris has been ,,. pupil, an oddly shaped iris, and rendered using sketchy strokes. loog eyelashes. Shading also defines spots of : ,\"'-;~: ~· · h\" . • . reflected light. Here, radiating strokes were used to render the iris and delicate hatching, the lower eyelid. This basic, smallish iris has been Here is a squinted eye, where the The lower eyelid was omitted on drawn without light reflections. corners have been emphasized. this eye. Instead, only light The eyelid's contour lines have Extra thick strokes were used for reflections were added to the iris. been rendered simply, producing the iris's outline, and cross- a realistic effect. hatching was used for the inside. Creating Anime-esque Eyes CD Use clear, solid lines for ® All in the contour lines and contour lines, outlines, and the outlines with ink. eyelashes. 43

( Masculine Eyes ) Frontal View Characteristics of masculine eyes ___.,.. .. Minimal eyelashes Plain iris Relatively straight contour lines Drawing Steps - - - - - - - - - - - - - - - - - - - - - - - - - - - - - .. ...r'\" ® Sketch an outline of the iris. (1) Start with the contour lines, using relatively straight strokes. ~<.:r-~ ® Draw the lower eyelid and the @ Add an extra light reflection. ·::.-:, ~- ...,..,.. main light reflection. (3) Draw the upper eyelid and the fold line. ~ ~~Doootda~enany lines falling inside of ., ~- light reflections. @ Draw the pupil and eyelashes. ([) Finished! The lower eyelid determines the eye•s shape, ua&./-~77.' ,~.· so take care in rendering them. ·''\"\"t . / Good ·- o ·r;,;jjji- - - - _..,., When designing the lower eyelid, try drawing Not good a dotted line and connecting it with the upper. 44 Mismatched eyelids

Side View Take care with the lris•s size. Not good 'l! steps to drawing are almost :.:.:cz: : .:~:UGood -~·····r:i·>··-·····-····· - same as with frontal views. \\___)__ .. ····- ··········· ············· The iris and lower eyelid are not Here, the irises in the lront touching. and side views are different ····n· ············~·-···· ········Good sizes. ........ ...................... The iris and lower eyelid are touching. 1 Draw the contour lines. @ Draw the upper eyelid and ® Draw the iris and the fold. Sketch in the iris. lower eyelid. \"4 Add light reflections and the @ Here we see an under oopil to finish. If you draw two light drawing that is pretty close to ·eflections in the front view, be sure how the inked drawing will appear. also include them in the side view. Gazing Downward --•r • When the character is looking downward, the upper eyelid should swell in a downward direction, so take extra care when drawing. @ The basic layout-the eyelid is @ The completed under Here, the iris is covered to the lowered, so draw the exposed area of drawing-light reflects off the iris extent that light just barely the iris as if more covered than usual. and should be included even if reflects off the eye. the iris is more abbreviated than usual. 45

( Feminine Eyes ) Frontal View _ ,~..... Characteristics of Feminine Eyes Draw well-defined eyelashes. ~·'.. Volume is given to the upper and lower lids. The iris is large. _.'{ _/ _( : )_-.' Contour lines are .. , . -~ \\'·.·t.'}·,> rounded. '•-.~::~~~y ~~- -~·' '\\ (( \\ I ~. .':.:'\". . ' (, , . ·. . I ·._ . ,. ' .- t, I .. :. '7,· • i ·.·~ · Drawing Steps - - - - - - - - - - - - - - - - - - - - - - - - - - - - CD Sketch the basic layout. Use @ Use small, delicate strokes @ Stress light and shadow by to build up the eyelid and iris. darkening the center of the larger, plumper eyebrows and iris eyelid contour, while lightening than you would for a masculine eye. the corners. (4) Make the iris larger than you @ Add the eyelashes to finish. would for a masculine eye. The light reflections should likewise be larger. Do not draw the eyelashes individually but in clusters.This will produce a more pleasing image. Side Views and Gazing Upward . ·X ) ' f.••Y!:--. ' \\ ,/ \"\" .'f / J.,.· . Follow the same drawing steps: rJ.\\-:~;.: basic layout -+ contours and outlines -+ the iris and pupil ..',l . -+ reflected light -+ the eyelashes .. ' ..'~ :- .. ... : ('•.I\\.'.: C . ·.r ! ..· .. <. . ) · ·., . 46

( Rendering the Eyes and Movement) Methods of Rendering Distinct to the Iris Eye1 ;r D - =<-~ ,_ _ _ . . , . 1) Adding delicate <D The basic layout (g) Contours and outlines hatching to the ..,__,_____ . corner of the upper eye produces n @ Light reflections glistening, moist effect. For the triangular -~~ \\ . _ You may add more reflections, use ~ ..~---------...::_-_ eyelashes than shown here. curved lines that ~~ e we see common light reflections follow the iris's @ Draw the Iris to finish. am reflections of the surrounding rounded surface. @ Add triangular reflections. ·ronment rendered as triangles other geometric shapes. Do not definethe outline of the Iris and light reflection too strongly, but simply sketch them lightly. <D Basic layout (g) Outlines and contour lines Make sure the --~~~. reflection's delicate, sketchy strokes in surrounding area ;IE!Il for the entire interior of the ris. The key is to sketch roughly is solidly filled in, any light reflections. using strokes that @ Build up the hatching @ Fill In with delicate build outward. from the eyelid. strokes, leaving light reflection white. ~­ Draw the light reflections' outlines <D Basic layout using bolder lines than you used for the pupil's. (g) Outlines and contours Here is a rather realistic drawing. Feel free to add @ Completed drawing Radiating strokes were used for extra lines lhe iris and eyelids. radiating from the iris's center. @ Draw the iris and the pupil. 47

Using Light Reflections to Reinforce the Reflections of light on the eyes indicate the Direction of the Gaze direction of the character's gaze. There are 2 basic types: those located centrally on the Side reflections iris and those to the right or left. Add a light reflection just right ..~i- - ... ·.<· · or left of or diagonally above or below center. Adding a small reflection Here, the character is gazing at the viewer (i.e. to the opposite a large reflection right). The light reflection in the upper left of the iris suggests 2 opposing light creates this effect. sources (a small and large). The character is gazing off to the left (from the viewer's perspective). ~~-*1~~. A light reflection is drawn in the opposite direction of the character's gaze (the right side). Central reflections This is a light reflection drawn in almost the center of the iris. The gaze is directed left. Draw a large light reflection on the same side as the gaze is directed 48 (i.e. to the left).