More_How_to_Draw_Manga_Vol_1_The_Basics

Iris Movement in Upward Slanting and Drooping Eyes Standard eyes Gaze shifted to the right Here, circular light reflections are used. While each individual eye appears natural, gaze directions do not match up. Adding large, circular light reflections results in a mismatched gaze. 49

Dimple In a realistic drawing, The corners are the most The junction where the upper the upper lip protrudes and lower lips meet is more than the lower. important aspect of amouth. rendered as 1 line and constitutes the \"mouth.\" Mouths as a line Raising or lowering the comers suggests the character's In manga, the bottom lip's lower contour is the most frequently personality or emotional state, manipulated feature for making the mouth expressive. establishing the viewer's impression. This mouth was rendered using a single Here, lip contour lines Using a realistic style fer line plus a shadow formed underneath were omitted. the profile would make the lower lip. The key feature of this the character seem a style, which Is the most popular mode for different person, so use shonen manga, is that the lips have not your ingenuity to avoid been defined. Modifying the way the connecting lines. shadow under the lip is rendered will change the mouth's look. Mouth with lower lip contours Rather than opting for a monotonous In the profile, since single line for the whole mouth, here this the lower lip must line becomes an abbreviation of the be clearly defined, upper lip. A g~ntle curve is then used to clearly delineate the suggest the plumpness of the lower lip. upper lip as well. This is not a realistic drawing employing meticulous detail. 50

Fleshy, voluminous mouths Here, we see a realistic depiction, The dimple emphasizing the lips' volume. The dimple above the upper above the Cupid's bow is suggested with lip Is suggested a line. using a short, downward curve. Lips in lipstick Clearly delineate the upper and lower lips' Clearly defining the .._~. •. ;f.· contours. Since the composition is flat lips' contours allows and all parts clearly visible, modulate you to emphasize that When drawing a profile, lines and shapes used for the mouth's the lower lip Is keep U1e lower lip line comers, the center, and the shadow for plumper than the starting from U1e comer the lower lip. upper. of the mouth short, cutting It off. The mouth style indicates age in female characters. Single line: lipstick: a young young girl of professional of about 10 yrs. about 25 yrs. 51

(Three Common Nose Types) There is a depression where the bridge of the nose starts. When drawing the bridge, be sure to \"\"- include this depression. ~ Bridge of the nose The nose itself is made of bone but of cartilage. Manga-esque noses (no bridge) Here, only the tip has been drawn. The nostrils are usually omitted in this style. 52

Realistic noses Use contour lines that are relatively faithful to an actual nose. Omit the fleshy part of the ----- nostril and this wrinkle. 53 This line indicates where the nose begins to swell. .,

Somewhere between a manga and realism (intermediate style) The bridge of the nose is drawn from where the cartilage starts. Nostrils are usually omitted. .l The bridge of the nose is defined using a contour lines 54 not found on a real nose.

Sample realistic (aquiline) noses Again, the contour lines are clearly delineated. The nostril faces downward. ... ....... ~· .. .· -.::.~ ·) Assorted Styles Darken the nose's lower surface and Realism Manga-style Nose indicate to what extent the nose protrudes. Nose Rendered in Shading This nose is rendered entirely f - - - - - - - - - w i t h shading. 55

(Two Common Ear Types) The manga ear (the \"6\" ear) and the realistic ear (the wave ear) Realistic ear Base of the This line forms the base auricle of the ear's design. Earlobe Mangaear Backside of the concha Earlobe The ear from afrontal view is about 1/2 as wide as when seen from the side. These lines indicate the angle of the ear and the thickness of the helix (fold). 56

Mangaear The manga ear consists of a \"6\" drawn within an oval. Take note that for the opposite ear, the image becomes reversed . As with the realistic ear, the manga ear in a frontal view is about half the width - - - - as in profile. Use a tallish, 6-shaped whorl for the interior. At an angle, the ear forms an oval. The curve of the auricle follows the jaw line. Points of Consideration When Drawing the Ear When the contents of Earlobes the auricle are clearly The ear appears to follow the side of the face. visible from a frontal view, it means the ears Nose are sticking out. When designing the ears, study how they look from above and other angles. Overhead view Ea~_(\\_ When drawing simplified ears, take ~tgood care not to forget the earlobe, or your ears may not look like ears. 57

(The Eyebrows as an Extension of the Bridge of the Nose) Tthheeberyoewbrn~dwgefo.llows eyebrows Upper eyelid ~. ~'\\\",> .,L -~ .~. / ,~~---·=~=~--:-.-. --....~ · ~~- ··· ' . .~- . ~ Lower eyelid The eyebrow follows bridge of the nose. Keep in mind where the brow ridge. the bridge of the nose Eyebrows come in would be even when various shapes and omitting it from the thicknesses. character. Usa the same distance eyebrow to forehead distance in the front view as in the profile. The eyebrow begins Here, the expanse close to the glabella. between the forehead and the glabella is broad. The distance from the face's The distance from the center line to where the face's center line to where eyebrow starts is short. the eyebrow starts is long. 58

Distances between the eye and eyebrow Long Average Here, the eye and Different combinations of eyebrow almost touch. distances between the eye Four common eyebrows and eyebrow, and then the shape and thickness of U1e Thick eyebrows eyebrow yield a limitless number of possible faces. Thin eyebrows ~ ~!\"~ . w. ~ ~· ~ · This gracefully arc.ing eyebrow This almost perfectly straight mimics the line popular amongst =::- eyebrow is commonly used on women who use eye pencil. Yet, this manly characters. line is not limited to women and is Combination thick/thin eyebrows occasionally used on male This eyebrow tapers near the characters. glabella but thickens as it approaches the comer of the eye. Arched eyebrows Draw eyebrows on characters with long bangs Not good if the forehead is visible. Good Here, a thin eyebrow is drawn Without any eyebrows, the mouth between hair strands.While the eyebrow was added in after the hair, and eyes do provide a certain degree it still supplies plenty of expression. of expression, but the image still seems lacking. 59

( Drawing Hair ) CD Draw the face's basic layout. If you draw the face taking up all of the paper, then you may run out of room for the hair, so be sure to anticipate how the hair will lie. The crown whorl actually lies toward the back of the head. ® Build up the target hairstyle Lines for main body '. . of hair and bangs all while maintaining awareness originate at the crown of U1e hairline. whorl In the back of the head. Common Pitfalls: Flat Faces and Scooped-out Heads Hair layout ® Draw in the hair to finish. The hairline should have been drawn here and not the hair layout. The crown whorl was drawn toward the inside, making it seem like the hair was growing from inside the head.

How the hair grows: The hair originates from the crown The crown whorl is located at the back of the head. whorl. Drawing thehair flowing from somewhere In the back of the head ~ creates the look of 3-dimensional, voluminous hair. The hairline is drawn above the head contour. Maintaining awareness of the crown whorl when drawing the hairline will enable you to produce a head that is round and has volume-even with short hair. Draw the hair radiating Draw the hair using arced Positioning the crown whorl at the out from the crown whorl. strokes following the head's back of the head means that long, curved surface. curved strokes must be used for the hair In the front, allowing you to suggest the head's curved surface. Keeping the Crown Whorl to the Back Positioning the crown whorl toward the front will cause your character to have dWeeby hair. Despite that the crown whorl will not be visible from the front, still draw the hair as If growing from somewhere In the back. Moving the crown whorl to the Here, the head contour and Positioning the crown front may cause the head to hair layout have been whorl at the back of lose its sense of volume. handled the same as in the the head will, at the figures above. very least, giVe the Not good hair visually Positioning the crown whorl at the consistent roots. very top or toward the front of the ~ head will cause the curved strokes Positioning the crown used for the front hair to shorten, whorl at the very top or while those for the back to become toward the front of the longer, flattening the head. head will make the roots Q.e. how the hair grows) appear awkward. 61

( Maintaining Awareness of the Direction of the Crown Whorl ) The crown whorl may swirl to the right or left. Think about how to direct the swirl when drawing the crown whorl in the back of the head and when designing the hairstyle. Swirling to the left Swirli!lg to the right Here, the whorl's center flows to the right. The hair flows in the opposite direction on the left side. The more open the whorl, the This whorl, located at the back gentler the curves. Use S- of the head, flows to the right. shaped, undulating strokes. Swirling hair From the front view, the From the back view, the ·hair swirls to the left. 62 hair swirls to the right.

Swirling hair with realism When sketching the hair layout, assume that the crown whorl will be positioned in the back. Single-length hair Hair to the back and opposite side flow in the reverse direction. Here, the hair falls straight downward. These strands fall toward the viewer. Draw single-length hair as if flowing in 3 directions. Where the hair is parted When drawing the back of the 63 head, first draw the head's contour and the ears, using these as guidelines for determining the hair's volume and flow.

Hair grows like grass. Ahead will increase in size according to the volume of the hair drawn. This is because hair actually grows from the scalp outward, covering the head's contours. Grass always grows upward and then falls over from its own weight. Hair grows in a radiating The amount of volume created by the hair Think of hair as enveloping pattern from the root. depends on its stiffness and weight. The the head's contours, forming Think of the crown whorl more strands and stiffer the hair, the more a \"layer of hair.\" as basically the hair's voluminous it becomes. The fewer the root and Individual strands and softer the hair, the more the hair Good strands as grass blades. appears plastered to the head. When consideration is not given Not good to the hair's volume Here, the hair layout has been The resulting head appears flat Here, the hair was drawn with the part to the drawn against the head's and distorted. Not a pleasing sight. top left (character's perspective). While the contour. identical face was used on both figures, this head has been given extra volume. 64

Hair with 2 parts: Back part for hair Front part Back part Primarily for hairstyles with bangs flowing to the sides and along the head's Creating 2 Parts contours Drawing hair falling along The bangs radiate from the front part. the sketched hair layout The sides fall in gentle, almost parallel gives the hair volume. curves. The back part is located at the crest of the head. Drawing hair from the back Give the hair overall volume matching it to that of the bangs. Draw the hair growing from the part and then falling straight down. 65

( Profiles and Hair Movement ) Draw the crown whorl as a slight Shoulder-length with bangs indent. The ear's helix forms ·-~~ the beginning of the flow of the hair in the back. Having the front tress of hair divide at the ear's center. This will give the flow a natural feel. The lock in front of the ear Note that normally when the forms an S-curve when looking head is tilted up, this lock will up. not lift like this. Crown whorl Draw the hair parting in a gentle curve, flowing from the crown whorl. When looking down, To start, draw just the general shape of the hair the ear becomes the and fill in the details last. Increase the level of point of reference for detail, using more strokes as you approach the movement in the hair. 66 ends of the hair.

Bending back causes the hair to flip back, potentially making the character look like another person. In manga, albeit unrealistic, the bangs are occasionally drawn lying on the forehead to rectify this. \\- ' Bending back reveals the forehead, which is usually concealed by the bangs with this hairstyle. Here, the original hairstyle was emphasized. The ends of the hair fan out, offering variation on the look.TI1e forehead is concealed. Merely concealing or exposing the forehead results in an entirely different look. 67

Short hair without bangs Draw the hair roundish In the profile, the hair Tilting the head back makes overall and tucking under should have little volume the hairline prominent. the chin. and hug closely to the head's contours. I Tiling the head back exposes the ear.This strand is defying With the hair flipped back, the gravity. hair should appear to flow from this point. t\" .\\ /. . ( \\ \\ I I ./ -- ~/ The ear peeks through, indicating supple hair. -..+tt<r--You may keep the ear concealed, depending on your preferences or intentions with portrayal. Looking down causes \\v the hair to divide at the ear's helix. Unlike with the head tilted back, here the ends of the hair all face the same direction. 68

Big, curly hair In the case of big hair, use dramatic The tight curls in the curves to render bangs maintain their /the crown whorl. positions even with the head tilted back. The bangs are parted down the middle. Show a bit of the bangs on the far side even in the profile view. ! The thick hair tapers in a conical shape. For hair long enough to cover the back, draw the area concealed first and then the hair over that. 69

The ear is rarely exposed with this type of hair. However, since it is the key factor in determining the flow of the hair, make sure you include it. The falls from the neck .--down the back, following its contour. The hair flows from the hairline Here, we catch a glimpse of the eyes at the base of the neck. and mouth, normally hidden by hair. Draw the eyes and mouth and erase ~-- the hair where necessary. This is a realistic depiction, where the hair obscures the eyes and mouth, hiding her facial expression. A deep bow causes the hair to cover the majority of the face, but with the nose and chin visible. The hair does not fan out over Draw the hair fanning out the head much. d_ramatically across the face. 70

Kinky bob cut Direction of the hair growing The hair fans out like a conical cap. The hair's kinkiness gives It an unexpected amount of volume in a bob cut. Draw the distance from the center of the ear to the front of the bangs the same as that from the ear to the very back end of the hair. The individual hairs are fine The end of the hair forms almost a perfectly but stiff, so the shape is straight line with the chin. retained in profile. Unlike the other styles, this hairdo pretty much maintains its shape whether looking up or down. When composing from a In the back view, bring the hair 71 moderately low angle, draw the to a length that allows view of volume of the ends of hair. the hairline.

The pompadour The front pouf is The temple is combed back. shaved into a wedge-shape. The hair is held in place The hairline is exposed, with grease or gel and owing to the flipped back, does not lose its form. front. Slicked back hair 'j; Since the emphasis lies on I keeping the hair slick against the skull, the artist Since the hair is slicked must make sure the head entirely back, there is no need drawn properly. to draw the crown whorl. The bangs tend to fall as When switching the time passes and may be direction faced, maintain suggesting by drawing awareness of the hairline several strands falling and take care that the down in front. forehead's expanse does not change. 72 k3 with the pompadour, grease is used with this hairstyle, so it rarely loses its form.

Chapter 3 Drawing the Figure

(Key Points in Drawing the Figure) Legs occupy half the total height.----- For the figure•s basic layout, - - - - - - • start with a sewing pin. Making the legs half the total height will give the 0 character an attractive appearance. CD Draw a straight @ Draw a line at ® Draw the the top of the head line ending in a and at the feet to halfway mark.This circle. determine the will determine the height. figure's upper and lower halves. Tricks to plotting the head•s layout - - - - • when drawing the figure Legs Hair Hairline Face Draw an X through the Draw a line face. indicating the hairline. @ Draw the joints: use circles for the shoulders, the elbows, and knees. ' This is the halfway mark. ·- There are rules for Shifting this just above plotting the elbows and the groin will result In a knees: the elbows lie moderately leggy halfway along the arms, character. while the knees lie halfway along the legs. 74

(The Basic Proportions) ---(--·------~he neck is at .__ an angle. The distances from Position the (- ) elbows about waist level. (-.{-~lJ-\\ (_)~\"r· A hand hanging ··· The hand is down should almost the same come to about groin level. size as the face. The knee is bent, The hand is smaller putting the leg at than the head. a wide V-shape. () The foot is the . ., same length as -\"\"\"\"\"to-~o_ the head. _______ -----------------~c:.- Ankle ' )------- --------~ ______ _ ( ___ ) _ The elbows and knees are plotted the same, regardless of the rendering style or character .t ~· ·~t- y > Regardless of the head's size, the Shifting the groin up Shifting the groin down Here, the legs are 75 shoulders' breadth, the hips' results in a somewhat results in a short-legged located about midway position·. the feet's size, etc., the long-legged character. character. along the body. elbows and knees are still plotted in the same positions.

~he Process for Drawing the Figure) (Drawing from a Frontal, Standing Position) ® Sketch a basic Render the neck as a joint, layout of the figure marking it with a circle. fleshed out. Shoulder \\ The elbow is about waist-level and located \\) \\__ midway between the shoulder and wrist. CD The pose layout is Wrist a basic stick figure. Use circles, squares, and other simple geometric shapes to begin fleshing out the figure. C2> Mark the joints with For a male circles. Sketch in the feet character's pelvis, at this stage as well. use a rectangle. ® Cleaned-up version of the Circles and curved lines are used for the joints, because the arms and body basic figure layout are basically cylinders.You will find it easier to attain a sense of volume 76 using curved lines than with straight.

@ Define the chest muscles and joints, @ Dress the nude figure in clothing. giving the figure clear 3-dimensionality. Clothing does not come plastered to The above is a basic nude sketch. the body, so draw the clothing outside the body, leaving some space. I ~~ 'j I Creases form where hills and ® Rnished! valleys appear on the body. (/)A cleaned up line drawing Put to use here the basic nude sketch you drew earlier. 77

The Female Form @ Basic layout of the figure fleshed ') out f1 Sketch in the -i 1' waistline as a downward curve. ,I \\ .~ i \\$ I @ Cleaned-up version of the basic figure layout I I \\ )\\ \"\"'<D Draw the basic stick figure, posing the figure and plotting the joints the same as you would with a male figure. Use an oval to render the pelvis of a female character. Add creases at the Use the waistline as a reference for positioning the belt and determining its Lines you used v~ ® Finished! to lay out the groin may also ' be used without modification as ~ a girdle. / '_/ @ Dress the nude figure in clothing. @·Draw in the clothing's details. 78

(Drawing Side Views) @ Layout of the figure fleshed out ·'.~+When planning on ~~)-~ Shoulder .1(\\J T dressing the feet ' · Elbow (drawn in shoes, draw the foot at an angle, at waist level) anticipating where \\Above the groin _ L _\\ the heel will go. Knee <D Pose Layout The posterior should have less ~' depth than the ® Layout with joints chest. ® Cleaned-up version of the basic figure layout @ Use contour lines to @ Dress the nude figure Use creases running toward the (f) Finished! give the figure volume. in clothing. underarm and from the waist to suggest a fit figure underneath 79 the clothing.

The Female Form @ Basic layout of the figure fleshed out The posterior should have more depth than the chest. CD The basic stick ® Cleaned-up figure is drawn the version of the basic same as with a male figure layout figure . Side view Skewed side view Side view ® Dress the nude figure @ Draw In the ® Anished! clothing's details. in clothing. The skewed side view has a slightly more \"fashion magazine\" type feel and is more flattering to the chest. Skewed side view 80

(Back View) @ Layout of the figure fleshed out CD Posed stick figure Make the shoulder I breadth wider than the and layout with joints hips. Using a trapezoidal '1 ) shape will give the back a masculine feel. · j· I ' .L.\\-·.\\_;..\\ @ Cleaned-up version of the basic figure layout The shoulder blades become a key point in drawing clothing creases. ,I !'·.\";/ ·-...-..4 I I ® Use contour @Add clothing. I lines to give the Clothing rumples around major joints ® Rnished! figure volume. other than the wrists and ankles. 81 Imagining the creases forming in a \"coiling\" pattern when drawing them will give the muscles volume.

The Female Form ® Basic layout of the figure fleshed out .- ... CD The basic stick figure is drawn the same ® Cleaned-up as with a male figure. version of the basic figure layout --. The trick to drawing a female figure Sketch in the hair is to make the waist the same width layout from the as the head and the hips the same width as the shoulders. start. @ Nude sketch @ Add clothing. Be sure to draw the collar, even though it will ultimately be hidden by the hair. Drawing the waist narrower than the shoulders and hips will 82 create that feminine ® Rnished! hourglass form.

(Assorted Pose Layouts) You ~an draw any pose by startmg with a layout. 83

(froportioning Characters ) (The Body-to-Head Ratio Is the Key) The balance between the arms and legs and the torso constitutes the key to designing a good- looking character. To achieve this, artists use the head as a reference measurement for the figure overall. The body-to-head ratio refers to how many head lengths measure the figure's total height. A character that is 6 heads tall has a 6:1 body-to- head ratio. One that is 8 heads tall has an 8:1 ratio, and so on. Character with a 6:1 body-to-head ratio In a character with an 8:1 body-to- head ratio the character's height is equal to 8 heads piled one on top of the other. Here is a contrast between an 8:1 character and a 6:1 character. The differences in head sizes causes 2 characters of identical height to have different body-to-head ratios, 84 affecting the characters' appearances and atmospheres projected.

Use a ruler to plot the body-to-head ratio. The body-to-head ratio is the total height divided by the head length. The body-to-head ratio of the character to the left is- 10.5 em 7 1.3 em =8 Thus, this character has a body-to-head ratio of 8:1. 8:1 ratio vs. 6:1 ratio 10.5 em (approx. 4 3/32\") Measure the character's height and divide It by the number of heads (for the target body-to-head ratio) to determine the head's length. Eg. For a character 16 em tall: • At an 8:1 ratio The head is 16 7 8 or 2 em • At a 6:1 ratio The head Is 16 7 6 or approx. 2.7 em What happens if the character•s body-to-head ratio suddenly changes within awork? At first glance, these appear to be the same manga page. Here, character looks the same Here, the head is bigger than it should. as when he first appeared on the When the character first appeared, his body-to-head ratio was 8:1 but now it is and nothing seems unusual. 5:1.The reader senses something odd.

(Balancing Proportions ) The figure's proportions are balanced by adjusting the positions of the waist and groin. Characters with the same body-to-head ratio can be All three figures are the same height and their distinguished by the positions of their waists and groins. heads are the same length, giving them a body-to-head ratio of 6:1 . Line marking the base of the neck and _L___ _ _ _ _shoulder __ ___ _ _ _ _ _ _ _ _· '! :-=- / . Waist .......................... · \\ -- · - - - - - - - - - Halfway mark for total height Standard figure Long legs long torso (The legs constitute 1/2 of the total height) (The groin and waist are located high (The groin and waist are located low on the figure.) on the figure.) Sample proportion balancing by to body-to-head ratio It is not necessarily true that all characters must be drawn with the groin positioned halfway along the figure. Characters with body-to-head ratios of 5:1 look awkward with their legs taking up half their bodies. A5:1 ratio is ideal for boys and girls in the 9 A4.5:1 ratio works A 4:1 ratio means a large head. This is to 12-year range.The groin Is positioned just well for 5 to 8 year suited to preschoolers around 3 to 5. The low of the halfway mark, making the legs olds. legs are short slightly on the short side. 86

Differences in Height vs. Note that changing a character's height means Differences in Body-to-Head Ratios that you will also have to change that character's body-to-head ratio. A 6.5:1 ratio may be used for older An 8:1 ratio IS suited A 4.5:1 ratio Is used for A 7:1 ratio is used for elementary school students.This can be used toward high school for boys and girls alike who are aged about 9 student and adult male young elementary middle to high school to 12 years. This ratio may also be used with and female characters. middle school girls about 13 to 15 years. school students around students, both boys and 5 to 6 years. girls alike, between 13 and 17 years. Characters with different heights but identical body-to-head ratios Putting a7:1 160 em ···- ·- · All three figures have a 7:1 ratio 6:1 ratio character and a (approx. 6:1 character of 62 7/16\") different heights side by side 140 em ········ gives the (approx. - ·- ·- · appearance of 54 518\") only a difference in height 120 em ········ .· existing. (approx. - · - - ·--;- ~ 4613116\") 80 em .:::::: ········;:;..1'\\ ''''''''''''''i'''''':·,·······- '\\;1 1' ;1 (approx. ,rr,c.>:\\ r-- ~ 311/4\") 'Rl,r\\ \\~--~-~;I~'I .,'~1·, -: f'.,,I,, ·,j,\\l i)n) :1 j I , ...CJ. ..,).. ..~·.:.:~:C:),._ When we stand a 7:1 character and a 6:1 Setting the height to 180 At this height, Now the figure This figure character of the same height side by side, em, the same proportions the figure just appears to may be used for high- looks like a be the 160-cm appears to be an the two characters immediately appear school aged characters leggy boy. character seen and older. from a distance. elementary different. (This Is also because normally, school to middle these characters would be drawn with school aged boy. different faces and hairstyles as well.)

(Keeping Male and Female Characters Distinct) Male character The groin is The chest is usually located about 1-head usually located length below the head. halfway along Position the waist the figure; between the chest and the groin. The however, when pelvis (hips) should be drawn wider when you intend to the waist is positioned higher and make the narrower when the waist is positioned character a lower. little leggy (like this one), move it north of the ~ halfway mark. · -··· Since the groin has been Halfway mark raised, the knees likewise have been raised by the same ..·· · · ··\\ - ----\\:::~ ;:~~:~';: , A 7:1 ratio is suited to Halfway mark adolescent boys to adult for the legs male characters. Female character The chest is situated close to the waist, The breasts start to ············································· swell about here. compressing the upper While they are body, giving the positioned a bit higher character a \"cute\" look. than they would in creuatelit,ym, tahnisgao-fifsehrslaook. ~ _ For this figure, I ··· ·· \"\"' This marks the waist. moved the groin \"\"'Since the groin has been above the halfway drawn higher than its mark, making her normal position, the hips a little leggy. ...................~ are likewise made A 6:1 ratio Is suited toward \" \" 'narrower. cutesy characters from about elementary school to Halfway mark high school in age. -~ Halfway mark for the legs

Key points in distinguishing male and female characters The woman's eye comes to Adjust the height about the man's chin. Usually when drawing a couple, it is a good idea to make the female Male character: 8:1 character shorter than the male. Use about a half or full head Female character: 7.5:1 shorter in height as your rule of thumb. Adjust the proportional balance Give your male For both male and female characters broad characters, draw the shoulders about twice waist about 1 head's the head's length to get length above the groin. a properly masculine look. .----r Give your female characters narrow shoulders about 1.5 times the head's length. Adjust depths ············F ::::..:::..::·. ·- ·- ·- ·- ·-·- ·...// / The heads are equal in depth Female characters have for both male and female shallower chests. Aim for characters. However,the about 3/4 that of the male male character has athicker character (excluding the chest about the same depth breasts). as his head. 89

Differences in layouts for male and female characters Adjust the size of the circles used for the joints. Male character Female character Lines for male Lines for female characters tend to characters tend be straight. Use to be curved. squares and Use circles and trapezoids. ovals. Give male characters larger joints and female I ....:--..:1I characters smaller ones. At this stage, the shoulders and pelvis may be drawn the same ..<:t / size for both sexes. The male torso is an inverted triangle. The female torso is a triangle. Using large circles for the Using small circles joints will facilitate drawing for the joints will muscular, masculine arms. help you produce slender, feminine Waist Waist _, II (( ~ ~\\ II I II I . \\ \\I ) / / ,' \\\\ \\ . C../ ' .~-·' \\..._.) The torso broadens The torso tapers toward the expansively from the waist, waist, and the hips are and the hips are wide. narrower than the shoulders. 90

(Using the Body-to-Head Ratio to Draw Characters without Bounds) Measure body-to-head ratios. Just what do you think the body-to-head ratios for the figures on this page are? When you find a character in a work of manga that appeals to you and think you would like to draw it, take a careful look not only at the character's face or clothing, but also the body and head's proportions. These are the key ingredients to drawing a visually pleasing character. 91

Measuring body-to-head ratios Head: 8.3 mm (approx. 5116\") :;:::~~:._, Torso to toe: 60.7 mm (approx. 2 3/8\") r\\~.j\\·~ Body-to-head ratio: height .;- head = 7.9 - approx. 8 heads (8:1) Head: 10.6 mm (approx. 215\") Torso: 30 mm (approx. 1 1/5\") Legs 1: 14.7 mm (approx. 9/16\") Legs 2: 27.6 mm (approx. 1 1/16\") Head: 10 mm (approx. 215\") Chin to waist 23 mm (approx. 7/8\") Waist to knee: 25.5 m (approx. 1\") Knee to foot: 27.7 mm (approx. 1 3132\") Try drawing those Body-to-head ratio: height .;- head = 8.2 parts you cannot see. - approx. 8 heads (8:1) 92

Making a seated character stand You might feel a bit confused to be told to make a seated character stand. However, basically this means, for example, drawing a seated 8:1 character standing. )-v... r·.\\ . J. i This is not to establish the head's length. Now the head's CD Draw a layout at ® Since the target /\\ If you establish first the target head ····;.:;' \"'.:;~·· · length is the target height. ratio is 8:1, divide \\. ...I the height into eight length, then the ....\\, .,/ ..J established. equal parts. total height becomes eight times that. Torso -+-....I. Groin Halfway mark ........................ Legs ® Decide the groin's ® Once you have position. Here, I set the established the groin's position, the torso and groin halfway along the legs are also figure. automatically set. @ Draw according to the ® Rnal under drawing proportion layout. 93

Drawing yet another pose The key point here is the posterior. You need to know the distance from the head to the posterior to draw this pose. I To start, draw a stick figure side The posterior (hips from Target pose view to help you understand the the front) is located about \\ pose. four heads down. Side view Now your proportion layout is set. Draw a proportion layout using a 4:1 ratio. The distance from the knee to the foot is 2.5 heads. Use 2 1/2 circles in your proportion layout. Here we see the final drawing. It has been drawn so that the body is visible from underneath. Normally, the body is not drawn in such detail, but I intended on this serving as reference for studying the relationship between figures and clothing. 94

Drawing a Character within Defined Parameters (Frame or Panel) Position a 1 ............................................................... character's full figure on a sheet ' of paper, like this. 20 em (approx. 7 4/5\") 22 em 15em 20 em (approx. 8 9/16\") (approx. 5 7/8\") (approx. 7 4/5\") 17 em <D Determine the inner (approx. 6 5/8\") margins. .~ ® A height for the @ Decide the character that fits exactly body-to-head ratio within these dimensions is for the character. then automatically set. _-t-_ . . . . . . . . . . . ... . . . . . . In the case of an 8:1 ratio: 20 em .;. 8 = 2.5 em Panel length divided j by the number of heads (from ratio) If the head is drawn at @ Draw a proportion layout for ® Build up the figure based on :.......~...................................i 2.5 em, then an 8:1 a 8:1 ratio figure. the layout. ratio character should ® Calculate the length of 1 head. be able to fit on this paper. ;..:····························· ·····························...:;: .: ....~ ...~. .: .: 1 em :: (approx. 2/5\") ..... ..... Note that the head size should include the hair. The actual measurement of the face In I..: I..: this instance is about 1 em or 2/5\". ...~ ..~ .:..~. ....:~ .::............ ............... ........................:: (f) Rnished! Suppose you were to The head {or rather the hair) draw the face at 2.5 em. would stick out of the panel. Check to see what body-to-head ratio you normally use for your characters. This will help you when you absolutely must draw a full figure within a panel. 95

(Drawing from a Photograph) When using a photograph or print as Drawing a woman from a photograph of a man reference for a drawing, use the body-to-head ratio and proportion- balancing techniques. Analyze the proportional balances of a man seated in a chair. r'~ ---- Center line The forehead or top of the head 'I Shoulders Lines marking I the figure's width 1.: --- Seat edge Bottom of the foot Let's say you would like to draw G) Do a rough layout of the Create a silhouette a woman seated in a chair but overall figure. image of the figure. all you have is this photo. Head Shoulder Elbow Wrist Waist (Hips) Lett knee ® Sketch a layout Right knee Lett ankle of the whole figure Right ankle while referring to the photo. @ Roughly mark down Key points in the layout @ Capture the positional relationship of where the joints lie to the joints as accurately as possible.The determine their positional • The position of the knee of the top leg trick is to draw while picturing the relationship. contours of the body underneath the • The face (head), knees and right clothing. 96 foot are aligned along the vertical center line. • The positions of both hands

Transform the layout of the man into a woman. Make the shoulders narrower. Slim the waist. @ Adjust the layout of the Be careful not to ,~f(,r )1 1 Round out the man into awoman. The key thighs. points here are the shoulder change the f·It ' · breadth, the girth of the (J) Adjust the layout to neck and arms, and the size positions of the ,'.~.1~1I ~.~ · . give the figure a of the feet. Try to make use feminine form. of the hip width as is. rf. elbows. (You could I @ Shrink the joints' \\ sizes and adjust the figure to make it potentially cause slenderer. · . 1/1 them to \"not rest\" ·r\\ ( .' on the armrest.) @ Draw the details. Accentuate ® Add the face, hair, clothing, ® Rnished! the arms, legs, waist, chest, etc. etc. Use the photo as reference for how the clothing sags or creases form. 97

Drawing a boy from a photograph of a woman The distance from head to hips is approximately Here, your goal is to 2.5 heads. draw a back view of the boy to the right seated on the floor. What you have is this photo of a woman for reference. The hips (groin) are critical in drawing seated poses. This boy has a body- to-head ratio of 5:1 Refer to the body parts in the photo while drawing. -· . !:=-\"\"\"' ® Sketch the layout according @ Sketch the shoulders, arms, and back. The key point here is CD Use the upper body as the to the body-to-head ratio that the wrists and hips rest on planned for the seated almost the same line. front side of a block and sketch character. (The distance from the layout. Use a block with angles that are as faithful to head to hips is 2.5 heads.) those in the photo as possible. Think of the elbows and waist as visual points of reference. ® Note the positional relationships @ Sketch the left leg. The f _ between the knees, the shoe toes, trick is to use angles faithful and the left arm. to those in the photo. 98