How to Draw Manga - Anime and Game Characters Volume 1

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Basics for Beginners

and Beyond

Tadashi Ozawa



ISBN 4-7661-1120-6

- - - - - - ' ,+ , ' - - - - - -- - - -- - -- - - - -- - ~ - -- - - - -- - - - - - -

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Basics for Beginners

and Beyond

Tadashi Ozawa

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-~,

~'!~~r Beginners

and Beyond



Introduction

"I want to have a go at drawing ani me and game

characters." "I want to draw manga." Or, "I want a job in

Graphic Design." If you bought this book, you are

probably thinking along these lines. "But I can't draw as

well as so-and-so from my Art club, and I am no match for

that guy who researches manga and has started his own

coterie magazine." There are a lot of people out there

who would like to give it a try but don't because they think

it looks too difficult and don't know how to go about

improving their drawing.

I wrote this book to help these kind of people. Those

around you who are good at drawing were not born that

way. You too could draw if you could just change your

way at looking at things slightly. It is surprising how many

people actually draw from memory (off the top of their

head). Instead of concentrating on the difficulties involved

in drawing the human body, start by taking a long look at

how the professionals approach it.

The fo llow ing is a lis t o f sp ec ia l te rm s

and abb rev ia tio n s used in th is book .

Bishoujo:

Bishounen:

CG:Gakuen Genre:

OVA:

RPG:SO:Shoujo:

Shoujo manga:Takarazuka:

Young, pretty girl

Young, attarctive boy

Computer GraphicsSchool Life GenreOriginal Video Anime

Role-playing GameSimple Deformed (Exaggerated)Young girl

Girl's comicsAn all-women theatrical company in Japan



An important

thing to

remember

about

drawing ---'0'/",/1

...to be exact

Doneit! Perfect!

Errr ...errrr ...

I candraw it.

/'

//

Conguratulations!

Mr. future anime -.........

artist.

Is great fun.



CONTENTS

Introduction ··2

C h a p t e r 1 L e t 's g e t d o w n t o th e b a s ic s !

1-1 Where are you going wrong? ··81-2 The points to start with ·········10

1-3 Where am I going wrong? ·12

1-4 What makes a "good picture?" ··16

1-5 If you can hold a pen and draw straight lines in pencil,

you will be able to draw ····18

1-6 Start drawing for real! But before that. ·20

1-7 Now flesh out the outline! ······················22

1-8 It is time to think about body proportion now. ····..··..···············..···..···..···..····24

C h a p t e r 2 D if f e r e n t W a y s t o D ra w C h a r a c t e r s ' E x p r e s s io n s2-1 Think polygons : ·28

2-2 Drawing For Real! Parts of the Face and Position ..·..···················.·······..·..··30

2-3 Cross-Lines For Different Characters' Foreheads···· 33

2-4 Draw Faces from Several Directions. ·..········..········..··········· ············..·· ·34

2-5 Introduction to Different Types of Characters······················· ..················· ·37

2-6 Characters' Expressions by Type/ Head

Exaggerated Type A/Girl········ ..··············..···..···························.···..······38Exaggerated Type A/Boy ··············-40

Exaggerated Type B/Girl············ ..···········································.····.... ·..-42

Exaggerated Type B/Boy ···..···-44

Exaggerated Type C/Girl················································.···..···..··········-46

Exaggerated Type C/Boy ·········48

Simple Type A/Girl·····················································.··..······················50

Simple Type A/Boy ··························52

Simple Type B/Girl················..·····················································.········54

Simple Type B/Boy ············..·········56

Real Type: Shoujo Manga Genre/Girl ..···· ·58

Real Type: Shoujo Manga Genre/Boy· ···..60

Real Type: Game Genre/Girl··· ·62

Real Type: Game Genre/Boy" 64

Real Type: Game Genre/Anti-heroine ················.·································66

Ad v ic e f ro m a Yo u n g Cre a to r · ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·. . . . ·68

C h a p t e r 3 D r a w in g B o d ie s3-1 The Body······································································································0

3-2 Using Cylinders for the Body Parts'" ···..··72

3-3 Draw Cylinders from Any Angle ·········74



3-4 The Direction of the Body

3-4 A Girl's Body·······························································································

3-5 A Boy's Body······························································································9

3-6 Characters' Expressions by Type/ Body

Exaggerated Type A/Girl·······································································8Exaggerated Type A/Boy ················82

Exaggerated Type B/Girl·······································································8Exaggerated Type B/Boy ··86

Exaggerated Type C/Girl·······································································Exaggerated Type C/Boy······ ·90

Simple Type A/Girl·············································..· ··..···..···..···..···..92

Simple Type A/ Boy ·..················94

Simple Type B/Girl·················.···..· ····..···..··· ·..···..····..···..···············96

Simple Type B/Boy' ··98

Real Type: Manga Genre/Girl···················.··················.··..·······.··..····100

Real Type: Manga Genre/Boy ..······.·· ···..····..·· ··..················.······102

Real Type: Game Genre/Girl' ·····..·· · ·..104

Real Type: Game Genre/Boy ······106

Real Type: Game Genre/Anti-heroine·········· ······108

Advice from a Young Creator·······································································.·110

Chap te r 4 D raw in g D e ta il4-1 Drawing Supporting Characters············································ 112

4-2 The Design of the Supporting Characters:

Looking at Height·····································································.·..· ··..··114

4-3 Hairstyle a la Carte· ..·········.····························.···..········· ·116

4-4 Practice Drawing Eyes ··········119

4-5 Practice Drawing Feet. ·123

4-6 Practice Drawing Hands ···············126

4-7 Character Arrangement and the Scene············· ·· ·..········.··..·······129

4-8 Go for the 3600 Challenge! ..······································································133

Chap te r5 N ow , Ills T im e fo r th e R ea l T e s t5-1 A Critique: Example 1· ···134

5-2 A Critique: Example 2········.· ·..·..· ·························.··..···..··..·136

5-3 A Critique: Example 3..····························.··································.·· ····..·138

5-4 A Critique: Example 4····· ···140

5-5 A Critique: Example 5·····..····..· ·..····..···..····..· ······································142

5-6 A Critique: Example 6·········.····..··..···················.··..··..·..·· · · 1445-7 A Critique: Example 7 · 146

5-8 A Critique: Example 8·········· ·148

5-9 Finding the Best Pose ·150



H OW T O D RA W A N IM E & GAM E CHARACTERSVo l. 1

B as ics fo r B eg in ne rs a nd B ey on d

b y T ad as hi O z aw a

Copyr igh t © 1 99 9 T ad as hi O z aw a

Copyr igh t © 1 99 9 G r ap hic -s ha P u blis hin g C o . , Ltd .

F irs t p ub lis he d in 1 99 9 b y G ra ph ic -s ha P ub lis hin g C o., L td .

T his E ng lish ed ition w as pub lished in 200 0 by

G r ap h ic -s ha P u blis hin g C o ., L td .

1 -9 -1 2 K ud an -k ita , C hiy od a-k u, T ok yo 1 02 -0 07 3 Ja pa n

O rig in al d es ig n: M o to i Z ig e

E n glis h e d itio n la yo ut: S h in ic hi Is hio ka

E n g lis h t ra n sla tio n : L in g ua f ra n ca , I nc . ( an 3 y -s km t@a s a h i- n et .o r. jp )

J ap an es e e ditio n e dito r: S ah ok o H ya ku ta ke ( Gra ph ic -s ha P ub lis hin g C o., L td .)

F or eig n la ng ua ge e ditio n p ro je ct c oo rd in ato r: K um ik o S ak am o to (G ra ph ic -s ha P ub lis hin g C o ., L td .)

A ll rig hts re se rv ed . N o p art o f th is p ub lic atio n m a y b e re pro du ce d,

s to red in a re trie va l sys tem , o r transm itted in any fo rm o r by any m ean s,

e le ctr on ic , m e c ha n ic al, p h oto co py in g, r ec or din g, o r o th er w is e,

w ith ou t th e p rio r w ritte n p erm is sio n o f th e p ub lis he r

D i st ri bu te d b y

N I PPAN IPS CO . , L TD .

1 1 -6 , 3 C h om e , lid ab a sh i,

Ch i y o da - ku, To k yo

1 02 -0 07 2, J ap anTe l : +81 - (0 )3 -3238 -0676

Fax : +81 - (0 )3 -3238 -0996

E-ma i l : ips03@nippan- ips.co . jp

D i s tr ib u te d Exc lu s iv e ly

in N o rth A m er ic a b y

D IG ITALMANGADISTR IBUT ION

1 12 3 D om in gu ez S t., U n ite " K"

C a rs on , C A 9 07 4 6, U .S .A .T e l: ( 31 0 ) 6 0 4- 9 70 1

F a x : ( 3 1 0) 6 0 4 -1 1 34

E-ma i l : d i s t r ibu t ion@emanga .com

URL :h t t p : / /www.emanga .com/dmd /

F irs t p rin ting : A ugus t 2000

Second p rin ting : M arch 2001

Th ird p rin ting : M ay 2001

Fou rth p rin ting : A ugus t 2001

ISBN : 4 -7 661 -1 120 -6

P rin te d a nd b ou nd in C hin a b y E ve rb es t P rin tin g C o., L td .

mailto:[email protected]






C ha p te r 1

L e t 's g e t d ow n to th e b a s ic s !



.Let's get down to the basics!

W h e r e a r e y o u g o in g w ro n g ?

T a k e fo r e x a m p le th e t h re e p a in ts A , B a n d C b e lo w .

W h a t a re y o u lo o k in g a t w h e n y o u d ra w th e s t r a ig h t l in e A -+B a n d t h e c u r v e d l in e A -+C -+B ? A t t h e p e n c i l? O r a t p o in ts C

o r B ? c

W h e n y o u a re d ra w in g a p ic t u re , y o u m u s t v is u a l i z e t h e d ir e c t io n o f t h e l in e y o u a re d ra w in g , lo o k in g n o t ju s t a t t h e p o in t o f t h e

p e n c i l b u t e q u a l l y a t t h e th re e p o in ts A , B a n d C P e o p le c a n n o t d ra w s h a p e s p ro p e rl y i f t h e y a re J u s t lo o k in g a t t h e p e n c i l p o in t.

0 X,\

\

\

\

\

• ~

• • •

N e x t , lo o k a t t h e 7 r a n d o m p o in ts b e lo w . W h a t c a n y o u s e e?

J u s t a c lu s te r o f p o in ts ? O r c a n y o u fa in tly d is c e rn a s h a p e ? Y o u h a v e n ' t g o t i t y e t, h a v e y o u ?

•• •

•• •

•

•• •

• ••

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L e t ' s n um b e r t h e P O in ts a t r a n d om . Y o u s t i l l n a v e n ' t g o t i t y e t . h a v e y o u ?

.5

.1

.3

5

•

if.

6.

L e t ' s r e n u m b e r t h e p o in ts t o g iv e th em m e a n in g . Y o u s e e , y o u r e y e s a u to m a t ic a l l y f o ll o w th e p o in ts in

o rd e r . T h o se w h o c a n m a ke o u t t h e s h ap e f r o m lo o k in g a t p o in ts in t h is w a y a re a b le t o d ra w s h ap e s .

•8

1·

2·

3·

:1 .

• 2 3

• •J . j

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5' •• 6

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F in a l l y t h e p o in ts a re jo in e d u p . R a n d om l in e s jo in t o f o rm a s h a p e . T h o se ta le n te d a t d ra w in g c a n p e r c e iv e

h id d e n l in e s w it h in a p ic tu re a n d t r a ce th em s m o o th ly . Y o u r a b i l i t y t o d ra w s h a p e s d e p e n d s o n w h e th e r o r

n o t y o u c a n v is u a l i z e th e p o in ts in t h e c o rr e c t o rd e r .

I



T h e .p o in ts t o , s t a r t wlth• •• . .. l'

H a ve y o u h e a rd o f t h e p h r a se mo t io n c a p tu re t h a t is c o m m o n in th e w o r ld o f c o m p u te r g a m e s a n d C o m u p u te r

G r a p h ic s (C G ) ? I t i s a u s e fu l s y s t e m w h e r e b y th e c o m p u te r r e a d s a p e r s o n 's m o v e m e n ts u s in g t r a n s m it t e rs p la c e d a t

c e r t a in p o in ts o f t h e h um a n b o d y .

A c tu a l l y t h is s a m e fu n c t io n is a ls o e v id e n t in p e o p le w h o c a n d ra w w e l l . T h in k b a c k to th e m e th o d o f d ra w in g l in e s A - B

e xp la in e d o n th e p re v io u s p a g e . A n e n t i r e b o d y o r f a ce is m a p p e d o u t u S in g p o in ts s i t u a te d a t th e co rn ers o f th e

e ye s , th e b r id ge o f th e n ose , a rm jo in ts e tc . T h is e n a b le s a p ro p o r t io n a l p ic tu re t o b e d ra w n . P u t a n o th e r w a y , i f

y o u c o n c e n t r a te a n d lo o k h a r d , y o u to o c a n d e te c t w h e r e s u ch p o in ts a re o n th e fa ce a nd l im b s .

T h e p ro c e ss

1 . S k e tc h a r o u g h im a g e o f t h e e n t i r e p ic t u re y o u w a n t

t o d ra w .

2 . D ra w th e p o in ts f o r t h e p o s i t i o n o f t h e e ye s ,

e y e b r o w s a n d s ho u ld e r s , t a k in g c a r e t h a t t h e y a re

s y m m e t r i c a l .

3 . D ra w a n o u t l i n e b y jo in in g u p th e p o in ts .

4 . I n c r e a s e t h e n um b e r o f p o in ts t o d e c id e th e e ye s ,

n o s e , b e a rd , s h a p e e tc .

5 . Y o u h a v e d o n e !



\ . , 1 \ . \1

I



W here am I go ing w rong?

I

irs t, w he re yo u a re g oin g w ro ng ? L e t ' s c o m p a re a n a m a te u r d ra w in g w it h t h e w o r k o f a p ro fe ss io n a l. I t is n o t ju s t a

m a tt e r o f t h is p ic tu re is g o o d a n d th is o n e is b a d . A p ro fe s s io n a l' s w o rk d e m a n d s m a n y th in g s : a tt e n t io n to m i n u te d e ta il ,

k n o w le d g e o f t h e s u b je c t m a tt e r, t h e a b i l i t y t o c o n c en tr a te , a n d s m o o th l in e s tr o ke s . C o m p a re y o u r d ra w in g s w it h t h efo llo w in g p en c i l d ra w in g s a nd t im e h ow lo n g y o u ta ke .

Ab s olu te B e g in n er B eg in ne r: Yo u·v e g o t th e

p ers p ec tiv e r ig ht b u t. ..

________ It IS m o re im p orta nt to g et th e

o utlin e r ig ht th an d ra w e ac h

s tra nd o f h air.

___ - - - { T he neck is too fa r back . } ~ ~ ~Wh a t h a pp e ne d

to th e s wo rd

d es ig n? It is

n o t f in is h e d

ye t . _ _ _ _ The shou lde rs a re too

s ma ll a nd to o h ig h.

T he h an d p ose is m ea nin gle ss . -

T he p urp os e o f

th is b elt is n ot

ev iden t .

U n n e ce ss a ry c re a s e s.

W h e n d ra w in g fro m

th e h ea d d ow n , th ere

is no room to d raw the

fe et a t th e bo tto m o f

th e p ap er. S ta rt b y

w o rk in g o ut th e le ng th

o f th e w ho le b od y.



Th e ch a ra c te r d e s ig n p h a se

Emp h a si ze in d iv id u alit y b y

t hi ck e nin g a n d d a rk e nin g t he

u p p e r e y e la s h e s.e f in e t he c o n to u rs

o f th e fa ce .

P e r se v e re a n d p a ti en tl y

d ra w th e d e ta ils .

R e v ea l t he n a ve l

t o i nc re a s e

sex iness .

T hin k o f th e

s wo rd a s

th ree-

d imens iona l .

J,,I D ra w e ve ry th in g a t th e

d ra ft s ta g e, e v en th in g sb eh in d th e b od y th at y ou

c a n't s e e.I,,,I,,,,

M a ke th e c ha ra cte r lo ok

s tr on g e r b y p o s it io n in g

h an d o n h ip .F ix th e p os it io n o f

th e sw ord a nd g un -

b elt s o th at th ey

fo rm a c le ar c ro ss

sec t ion .

C re ate a n a ir o f

" roughness . C ut o ff one o f

th e le gs o f t he jea ns to

ja zz u p th e d es ig n. D o n'td ra w s ho rts b ec au se th ey

w ou ld n ot b e s uita ble fo r

t h is p a rt ic u la r c h a ra c te r .

T he p ro fes s io na l's w o rk

le t's m a ke s om e c ha ng es b ec au se

th e s et o f p os es la ck s s om e th in g .I

Mit ,UM

W h at yo u n ee d is c on ce ntra tio n, p ers eve ra nc e a nd a g oo d d es ig n.

You canno t do a good d raw in g w itho u t an im age in m ind (th e des ig n ) o f

how you a re go ing to d raw the cha ra c te r. If yo u d raw bad ly , yo u w ill lo se

yo ur a bility to co nc en tra te a nd y ou r p atie nc e. Y ou w ill f in d yo urse lf s tu ck

in a v ic iou s c irc le because a good de s ig n w ill no t com e to you if yo u

h av e lo st y ou r c on ce ntra tio n. S o , th e d es ig n firs t.



D o n 't d ra w

unnecessa r y

ges tu res .

~ """ ', In te rm ed ia te : T h e lin es a re s till n o t r ig h t

n(),f", l V ' \ " ' "- - "- / ~ I f

(L in es a re s lo pp y. D ra w th em m o re s m oo th ly .

',~-----,

T he e ar is to o fa r b ac k.

H a nd s a re v ery

im p o rta nt to ols to

e x pre s s th e

character 's

persona l i t y ,

------ -- T h e p atte rn is n ot s uita b le .

A b ette r p os e w ou ld b e a n

a rc h ed b a ck .

- - - - - - P ay a tte n tio n to the pose and

th e w ay th e le ft h an d is d ra wn .

Th e p r o fe s s io n a l's

wo r k

A n gu la te th e fe et to

m a ke th em th re e-

d imens iona l .



Advan ced : At a g la n ce itlo o ks go od b u t. ..

S lim d o w n th e fin g ers

to m ak e th em m o re - _ - _

f em in i ne .

P a y a tt en ti on t o t he p o s it io no f th e h an d. M o ve th e h an d

to o ne s id e b ec au se it is

d iff ic u lt to s e e p ro p erly if it

is o ve r th e b od y.

M a ke e ye bro w s a nd e ye s

- sym m etr ica l.

'V"-'"_....._------

__Wa v y h a ir lo o ks s ofte r.

T h e p ro f e s s i ona l IS wo rk

T he c hin is s lig htly o ut.

" V a ry th e th ic kn es s o f th e lin e s to

m a k e th e c h ara c te r m o re th re e -

d imens i ona l .

T h e a c ce s so ry d e sig n is

im p orta nt b ut a ls o p ay

a tt en tio n t o t he d e ta il s.

E x pre ss a s e ns e o f w e ig h t

b y fla tte n in g o u t th e

b otto m w he re it is in

c o nta c t w ith th e g ro u nd .

I

I

III

T he le gs a re s lig htly to o lo ng .

B ro ad en th e fe et to g iv e th e

c o m po s it io n m o re b a la n ce .



I

h a t m a k e s a g o o d p ic tu r e ? T h e s k e tc h ? C a r e fu l d e t a il ? T h e d e s ig n ? T h e t h e m e ? T h e c o m p o s it io n ? A l l o f t h e s e

c o m p o n e n ts a r e im p o r t a n t . B u t i f y o u w a n t to h a v e y o u r w o r k s e e n b y o th e r s , y o u m u s t c re a te a n im p r e s s io n a n d

c om m u n ic a t e y o u r f e e l in g s . I n o th e r w o rd s , y o u n e e d t o b e a b le t o c om m u n ic a t e in a s u b lim i n a l w a y w i t h t h o s e w h o s e ey o u r w o r k .

S ta rt b y d raw in g a squ a re b o x .

1 . T h e f r o n t a l v ie w

4 . I n p e rs p e c t i v e

7 . A m e c h a n ic a l p a t t e rn

2 . T h e d ia g o n a l v ie w

5 . A s e n s e o f h e ig h t

8 . O n e b o x b e c o m e s tw o

3 . A s h a d o w c a s t o n n o . 2 .

6 . A p a t t e rn

I n n o s . 1 - 6 , n e w in fo rm a t io n is

a d d e d t o t h e b o x . S im i la r t o t h e

r e v is e d d ra w in g s f e a tu r e d o n

t h e p re v io u s p a g e s , t h e a m o u n t

o f in fo rm a t io n c o n ta in e d in t h e

d ra w in g s d o n e a t t h e le v e l o f a n

a b s o lu te b e g in n e r is d i f f e r e n t t o

th a t in a d v a n c e d w o rk . T h is is

i l l u s t r a t e d b y t h e d i f f e r e n c e

b e tw e e n n o s . 1 a n d 8 .



T h e o b s e rv e r ( t h e p e r s o n w h o s e t t h e ta s k o f d ra w in g th e b o x e s ) w o u ld b e e xp e c t in g o n ly t o s e e w h a t w a s a sk e d fo r,

t h a t is , a s q u a re b o x . N o s . 6 to 8 e xc e ed th e se e xp e cta tio n s. Y o u c a n no t s a y th a t n o s . 6 to 8 a r e m is t a k e s . I n

f a c t, e a c h o n e is a n e ff e c t i v e c lu e th a t s h ow s in d iv id u a lis tic in te rp re ta t io n .I

I t is I n v a lu a b le t o g iv e th e d ra w in g an e lem e nt o f su rp ris e a n d in c o rp o r a te e x t r a in fo rm a t io n in to i t t h a t w o u ld

m a k e i t m o r e in t e r e s t in g . O f c o u rs e , t o d o th is y o u n e e d to b e a b le t o s k e t c h . B u t o n to p o f t h a t , y o u m u s t a ls o c o m e

u p w it h a n in g e n io u s th em e , c h a ra c te r p o s e a n d d e s ig n .

A lt h o u g h th e c h a r a c te r in n o s . 9 a n d 1 0 is o n e a nd th e s a m e , y o u c a n s e e h o w th e y d i f f e r n o t o n ly in d e s ig n b u t

a l s o In p e r s o n a l i t y It is a su bc on sc io us p re re qu is ite in th e re ad er's m in d f o r m a in a n im e a n d m a ng a

c h a ra c te r s t o b e a t t r a c tiv e . It is w ha t is e xp ec te d. B y a d d in g d e p th to t h e ir a tt r a c t i v e n e s s , w e can su rp rise th e

re ad er b y s urp as sin g th eir e xp ec ta tio ns . I t m a rk s th e f i r s t s t e p w h e n s o m e o n e s a ys y o u r d ra w in g is " g o o d , "b u t a r e a l b e g in n in g w h e n th e y s a y i t is " g re a t "

Y o u c a n a ls o d ra w in a cc ord an ce w ith re ad er's e xp ec ta tio ns l ik e in t h e c o te r ie m a g a z in e s .

F o r in s t a n c e , lo o k in g a t t h e b o x e s o n th e p re v io u s p ag e , a lt h o u g h th e a n im a to r c a n d ra w u p to le ve l 8 , h e o r s h e

d o e s n 't b e c a u s e r e a d e r s a re e x p e c tin g to s e e a le v e l- 6 d ra w in g . S im i la r ly , a n a n im a to r , in s t e a d o f d ra w in g a r e a l i s ti c

i l l u s t r a tio n , d ra w s m a n g a w i t h s im p le s tr o k e s a n d c re a te s

s u i t a b le c h a ra c te rs s u c h a s th e S imp le d e fo rm e d (S D )

Character .



· . .

If y o u c a n h o '.d a p e n a n d d ra w straig~t l i n e s in p e n c i l , y o u w i l l b e a b le t o d ra w ., . .. . _ .'~ _ '-- . .....'" .;"~~ __~J.. . ,,_'. _ ,' .! , ,_ =L_ ._ _..

I

r a c t ic e d r a w in g t h e 8 b o x e s ( c u b e s ) o n t h e n e x t p a g e f r e e h a n d .

T h e se b o x e s a re d ra w n f r e e h a n d w i t h o u t t h in k in g a b o u t p e r s p e c t i v e

a n d t h e v a n is h in g p o in t . U p c lo s e , t h e y m a y lo o k a l i t t l e s t r a n g e . B u t

t h e y p a s s f o r t h re e - d im e n s io n a l s h a p e s .

T h e p ic t u r e a b o v e is s im p ly a n

a r r a n g e m e n t o f p a ra li e ll i n e s

d r a w n w it h o u t u s in g a r u le r . I t

lo o k s f i n e t o y o u , d o e s n ' t i t ?

T h e s a m e m e th o d c a n b e u s e d

f o r d ra w in g a c h a r a c t e r ' s f a c e .

A s lo n g a s i f y o u v is u a l i z e t h e

im a g e in s t r a ig h t l i n e s , y o u r

l i n e s w il l n o t b e o u t .



F irs t o f a ll, d raw th e s q u a re b o xe s .

A v iew from be low

A v j . e w r r o m . a b o v . e

A v iew from above

A v j . e w f r o m .a b o v . e

H ow to d ra w w ith a cc ura te p ers pe ctiv e

is e xp la in ed in s pe cia lis t b oo ks b ut y ou

don 't h ave to be ab le to d raw w ith

p re cis io n lik e a n a rc hite ct. O nc e yo u g et

u sed to it, y o u w on 't n e ed to u se a ru le r

o r th in k a bo ut th e v an is hin g p oin t.

T o d ra w s tra ig ht lin es fre eh an d ... D ra w

a lin e o n a b lan k shee t o f p ap e r from

o ne po in t to an oth er, im ag in in g th e en d

re su lt in y ou r m in d a nd re m ain in g

a wa re o f the pe nc il p oin t. Y o u do th e

sam e w ith yo u r ske tch es , ju s t o n a A v iew from g ro und le ve l

la r g er s c a le .

A s id e v iew

A v jew from p round JeveJ

A v iew from above



Before you begin ...

S ta rt d ra w in g fo r re al! B ut b efo re th at...

I t ' s O K s a y in g y o u ' l l s t a rt d ra w in g , b u t w h a t a re y o u g o in g to d ra w ?

D o y o u g e t h o ld o f t h e p e n c i l wil ly-ni l ly? A re y o u g o in g to d ra w a R P G (R o le P la y in g G a m e ) C h a r a c te r ? A m a ng a

c h a r a c te r? A c ha ra c te r in a f ig h t? O r , a re y o u p la n n in g to d ra w a n i l l u s t r a tio n o r a p o s te r? C h a r t s o f c h a r a c te rs ' B a s icE x p re s s io n s ? I t d o e sn ' t m a t te r i f w h a t y o u d ra w is a s c r ib b le . O n ly , m a k e s u r e y o u h a v e a c o n c r e t e im a g e o f t h e

c h a ra c te r , t h e s ce n e a n d th e p o se .G o o d p ic tu re s s ta r t w i t h c h a ra c te r d e s ig n .

O n ce th is i s d e c id e d , y o u d ra w th e o u t l i n e o f t h e m o v e m e n t t o c r e a t e a g e n e r a l im a g e . Y o u d o n ' t h a v e t o w o r r y a b o u t

d r a w in g t h e h a n d s o v e r a n d o v e r a g a i n o r i f t h e r e is e n o u g h r o o m fo r f e e t o n t h e p a g e . A g oo d p ic t u re h a s

a s o l id o u t l in e . T h is i s t h e f i r s t s t e p in a s k e tc h .



S e v e ra l p o s e s a re s h o w n b e lo w . P a y p a r t i c u la r a tt e n t io n to th e b en din g o f th e b ackb on e. T he h u m a n b o d y is

q u i t e f le x ib le a n d th e b a c k b o n e is c u r v e d e v e n in a s ta n d in g p o s i t i o n .

A c h a ra c t e r ' s in d iv id u a li t y is e v id e n t e v e n w it h o u t s u c h d e ta il s a s h a i r s ty le , e y e s a n d c re a s e s in c lo th e s . Y o u r jo b is

n o t s im p ly to d ec id e t h e p o se . I t i s a ls o t o d ir e c t a n d th e r e b y in c o rp o r a te m o r e in fo rm a t io n a b o u t t h e c h a ra c te r

in to t h e d r a w in g . T his is s ub lim in al in fo rm a tio n.

F o r t h o s e o f y o u w it h d o u b ts o n y o u r a b i l i t y t o d ra w , t a ke a lo o k a t t h e s k e t c h e s b e lo w . W h e n I t c o m e s to u s in g

o n ly l i n e s a n d c i r c le s , i t i s n o t r e a l l y a m a t t e r o f m a k in g ju d g e m e n ts a b o u t s k i l l le v e ls . B u t t h e s e s k e t c h e s d o

a c tu a l l y d e c id e a b o u t 4 0% o f w h a t m a k e s a g o o d d ra w in g .

Don't iust look at

these poses. Thinkabout the outlines

for your favorite

animators' and

artists' illustrations, a~nddrawings too.



N ow fle s h ou t th e o utlin e!

I

e n e ra ll y , p e o p le t h in k th a t g e t t in g th e b a la n c e r ig h t in a s ke tc h is h a rd . B u t i t i s n ' t r e a lly . T h in k 0 1 t h e s im p l e s t p o ly g o n .

W h e n y o u a re d ra w in g a n i l lu s t r a tio n , y o u d on 't h a v e to d ra w a s q ua re . H o w e v e r, y o u m u s t d e c id e w h ic h d ir e c t io n e a c h

p a r t 0 1 t h e b od y is la c in g . A n d o n c e y o u h a v e g o t t h is y o u w il l b e l in e .

I



A s lo n g a s yo u ca n d raw squa reb o xe s , yo u w ill b e a b le to d rawcha rac t e r s .

I

'I

@



W h ic h o f t h e s ix t y p e s s h o w n b e lo w a p p e a ls t o y o u t h e m o s t?

T h e O V A (O r ig in a l V id e o A n im e ) ? M a n g a ? I l lu s t r a t i v e ? Y o u m a y h a v e t r ie d t o im i t a te t h e s ty le o f y o u r f a v o r i t e m a n g a

a r t i s t o r a n im a t o r , b u t i t ju s t d o e s n ' t lo o k t h e s am e .

S o f a r , t h e c h a ra c t e rs y o u h a v e s k e tc h e d d if f e r in b o d y p ro p o r t io n s a n d d e s ig n t o th e c h a ra c t e rs y o u l i k e .

W e d o n ' t h a v e t o a n a ly z e t h e b o d y p ro p o r t io n o f c h a ra c t e rs in g re a t d e ta il . A l l I a s k is t h a t y o u a re a w a re o f w h ic h t y p e /s

y o u w a n t t o d ra w .

1.

1-1-I---I

1

~I-

I-1-

1 . C om ic al A n im a tio n C h ara cte r

L a r g e h e a d , h a n d s a n d f e e t . N o t

m u c h d e f in it io n o f jo in ts a n d

m u s c le s . L im b s lo o k s m a ll

c o m p a re d w it h t h e h e a d .

2.

3 . B i s h o u jo ( Y o u n g , p r e t t y g ir l )

A t h in w a is t a n d s l ig h t

d e fin it io n o f b o d y c o n to u rs .

J o in ts a n d m u s c le s a re d e f in e d .

2 . S D C ha ra cte r

A s m a l l b o d y w it h a

la rg e h e a d . N o t

p a r t i c u la r l y c o m i c a l o r

c u t e .



4 . S ho ujo M an ga (G a l's

C om ic s) c h ara c te r

O ve ra ll ve ry th in w ith lo ng

le gs . F or g ir ls , b od y c on to urs

a re de fin ed bu t th e head is

sm a ll. B oys a re d ra wn a lm os t

the sam e bu t w ith b roade r

shou l de rs .

5 . C o m ic al S O Cha r ac t e r

U nlik e the S O C ha ra cte r o n th e

p re vio us p ag e, th is ty pe lo ok s

funny w ith th in a rm s bu t b ig

h an ds , le gs a nd fe et.

6 . R ea l T yp e

T he leng th o f th e body to rso

and leg s a re rough ly th e sam e.

G ir ls d o n ot h av e e xa gg era te d

n a rr ow w a is ts .



I t is t im e to th in k abou t body p ropo rtio n s now .~. .. .. ... '

Ih a r a c t e r d ra w in g d if f e rs w i th th e s u b je c t . I t i s n o t s im p ly a b o u t b o d y p ro p o rt io n . D e p e n d in g o n w h e t h e r i t i s m a n g a o r

a n i l lu s t r a t io n , f o r e x a m p le , t h e s am e c h a r a c te r w i l l h a v e v e r y d if f e re n t f e a tu re s . C o m p a re th e d if f e re n t d ra w in g s o f t h e

s a m e c h a r a c t e r b e lo w , e s p e c ia ll y lo o k in g a t t h e w a ys t h e e y e s a n d h a n d s h a v e b e e n d ra w n . D o y o u n o t ic e h ow s o m efe a t u re s h a v e b e e n d ra w n in d e t a il w h ile o th e r s h a v e b e e n o m i t t e d .

C o m ic a l t y p e

I

I

R e a l t y p e

P o p u la r t y p e

S O M a s c o t t y p e



C ha p te r 2

D if fe re n t W a y sto D raw C h a ra c te rs - E xp re s s io n s



Different Ways to Draw Characters' Expressions

T h in k p o ly go n s.

H a v e y o u e v e r lo ok e d a t a d r a w in g y o u 'v e d o ne th ro u gh th e b a c k o f t h e p a p e r ?

Y o u c a n e a s i ly s e e d is to rtio ns in a s ke tc h i f y o u d o . E s p e c ia lly t h o s e fa ce s lo o k in g s tr a ig h t o u t .

T h e se d is to rt io n s c o m e a b ou t w h e n y o u a r e p re o cc u p ie d w ith f la t o u t l in e s a n d n o t n o t t h in k in g in 3 -D . .W h a t c a n b e d o n e a b o u t i t ? T he a n s w e r is th in k p o ly g o ns . T he d r a w in g b e lo w , a c o m m o n o n e in v id e o g a m e s , i s l ik e a

p ie c e o f s c u lp tu re , is n ' t i t ? Y ou d o n ' t h av e to b e a b le t o d r a w it . W h a t ' s m o r e im p o rt a n t is t h a t y o u a cq u ir e a fe e l f o r i t . I t

is v e r y a b s t r a c t . B u t th e fe elin g is im p orta nt I f y o u h a v e th is , y o u r d ra w in gs w il l h a ve th e p o w e r t o m o v e p e op le .

T h in k b ac k to th e s q ua r e b o x e s in C h a p te r 1 . T h e y a re th e s im p le s t p o ly g o n s . N e x t , w e w il l ta ke a lo o k a t h ow c h a r a c te rs '

b o d ie s c a n b e m a d e u p 0 1 p o l y g o n s .

T he co m p le ted d ra w in g :T he p ro fe ss io na l's w o rk

You can 't p u t you r fin g e r on it b u t

som e th in g is w ro ng w ith th is

d r aw i ng .

T h is is th e firs t s ta ge . T ake ca re A s im ple r p o lygo n lo o ks lik e

w hen d raw in g the m ou th . T h e lip s th is .

ju t ou t bu t a re n o t cu rve d . S o it

lo oks a s if th ey a re ju s t s tu ck on .



Ih e d ra w in g w e n t w r o n g a t th e in it ia l s ta g e . L o o k a t t h e e y e s . F ir s t, lo o k a t th e s iz e o f th e m . T h e le ft a n d r ig h t e y e s

a re s lig h tl y d if f e r e n t. T h e n , lo o k a t w h e re t h e y a r e . The pos itio n o f th e eyes is o ff a n d th is is th e m o s t c o m m o n

r e a s o n f o r a p ic tu re lo o k in g o d d . T h e h e ig h t o f t h e e y e s is u n n a tu ra l b e c a u s e t h e y a re n o t a lig n e d p a ra lle l w i t h th e

in c l in a tio n o f t h e fa c e ( t h e o u tl in e o f th e h e a d ) . I t w o u ld b e t h e s am e c u r v e d . L o o k a t t h e c om p le te d d ra w in g b e lo w .

. ----- ,----- ~

..----- ~----

. - - - - - t - - - -- - - _ - - :- - _ -

:,,

T h e l in e s f o r t h e h e ig h t o f t h e

e y e s s h o u ld b e p a r a lle l. T h e

c ro s s - l in e s o n th e fa c e s h o u ld

c r o s s th e m i d lin e a t r ig h t

a n g l e s .

\

\

\,\

\

T h e m i d lin e is o ff c e n te r .

T h e e y e s a r e n o t th e

s am e h e ig h t . T h e

c ro s s - l in e s o n t h e f a c e

a r e a t c o m p l e te ly

d i f f e r e n t a n g l e s .

~'- I . - - - - - - - - -

= : : _ - _ ~ : . : - - - -,1 _

- .-:';,,

-



· . . ' . . - - . . , , ; . .~ . o : ,_ , " ' , - : : " " - ; : ~ c- . ~ , -- _...

Z -Z Different Ways t o ' Draw Characters' Expressio.ns ._____ --L._____ ' , .:: :--'--~?L_ ;'.';-~.;:. '_

D ra w in g F or R ea l! P arts o f th e Fa ce a nd P os itio n

I

s exp la ined on the prev ious page, w hen draw ing the face , the m ost im portan t line tha t you draw is the cross-line . It is

the firs t one you draw and decides p osition and d irection . D raw ing the fea tu res, the eyes and the ha irs ty le m ay be m ore

fun bu t it is the cross-lines tha t dec ide the characte r design . S o, p ick up a penc il and have a go at d raw ing the rea l th ing .

R e al T yp e Ch ara cte r

1 . F irs t o f a ll, th e h orizo nta l

cross-line decides the he ight o fth e e ye s.

E xa gg era te d T yp e Ch ara cte r

2 . N ex t, the m id line is d raw n

vertica lly on the fu ll face . T his

line m arks the bridge o f the

nose .

3. T hen, the horizonta l lines tha t decide

the pos itions o f the mouth and

eyebrow s are draw n. T he d istance

betw een these tw o lines decides the s ize

of the eyes. The knack when draw ing the

character below is to draw these lines

w ide apart so tha t the eyes are b ig .



4 . T he p os itio n fo r th e n os tr ils

is m arked on the line fo r the

b r id ge o f the nose . T he eyes a re

d raw n o n th is line a nd th eir s ize

ro ug hly e stim a te d. T he g en era l

ru le is th at th e low er the

po sition o f the e yes , the m ore

c hild is h th e fa ce (S ee th e

d ra w in g b elo w ).

5. A bo ve th e lin e th at d ec id es

the he ig ht o f the eyes d raw

ano the r line to d ec ide the s ize o f

the ea rs . T he he ig ht o f the ea rs

is abou t w he re the fram e o f a

p air o f g la sse s w ou ld s it.

N orm a lly th e p os itio n fo r th e

co rn er o f the eye s is a bou t

w he re the ro o t o f the ea r is . B u t

the m ore you ge t used to it, the

m ore you can p lay a round w ith

the pos ition ing to m ake m ore

e x agge ra te d c ha ra c te r s.

6 . T he o utlin e b etw ee n th e e ye bro w

lin e and the eye line ho llow s ou t.

Th is m akes the dep ress io ns fo r the

eyes . M is ta kes a re o ften m ade a t

th is p oin t. E ve n th os e p eo ple w ho

a re fa ir ly g ood a t d raw in g end up

d raw ing th e b ase o f the nose from

the eye line . H ave a look a t the

b ridge o f yo ur nose in the m irro r.

S ee ho w it s ta rts be tw een the

e ye bro ws , d ep re ss es in b etw ee n th e

e ye s, a nd th en s tic ks o ut.



7 . T he w id th o f the lip s is m arked on the ho rizon ta l line fo r the m ou th . Take e x tra

ca re w ith the eyeb row s because it is e asy to d raw them uneven . T he sam e w ith the

lip s . If they w ere uneve n, even a sm ile w ou ld look con to rted . T he ch in is tape red .

T he R ea l Type C ha rac te r has a b road ch in and the E xagge ra ted Type , a ch in

conce ntra ted a t the cen te r o f th e face . B e aw are o f the jaw bone in the R ea l Type

C ha rac te r. ~ ~~ , /\..'''''v\.\o...

~'-.:l ~II

_ / - P "V

)~'P-~t,'VI \

I~ ,~ i;(~-.:::::::.--'

M a ke s ure th is ,w id th is rig ht.

, .-------------~

~----

F i n i s h ed !



Different\Yays to Draw Characters' Expressions

E xa gg era te d T yp e

C ro ss -L in e s F o r D iffe re nt C h a ra cte rs ' F o re h ea d s

S im p le T yp e R ea l T yp e



D ra w F ac es fro m S eve ra l D ire ctio ns .

I

n a rea l s to ry, you have to be able to draw not just faces in p ro file bu t faces in a ll so rts o f positions such as looking up

an d d ow n. T he fo llo win g vie ws a re d ra wn w ith th e cro ss -lin e.

B elow w e have the basic set o f head p ositions for the characte rs fea tu red in th is book. O nce you can draw these , you canp ro ba bly c re ate y our ow n w ork.

B as ic 2 (P ro file ) : L e ve l o f d if f ic u lty 1The knack is to d istance the base o f the nose and

eyeballs furthe r apart than you w ou ld firs t th ink . Take

in to consideration the he ight of the nose be tw een the

eyes. The bo ttom lip p ro trudes less than the top .

B as ic 1 (F ro nta l) : L e ve l o f d if f ic u lty 1A sym metry is m ost obvious in th is position .

The w id th to the le ft and right o f the vertica l

m id line m ust be the sam e.

O bliq u e fro m b eh in d: Le v e l o f d if fic u lty 3

Don 't fo rge t the th ickness of the ears . M ake

sure the horizon ta l eye-line rem ains leve l.

O bliq u e le ft : L e ve l o f d if f ic u lty 2

Even though th is is one tha t peop le can draw , it is

a lso easy to ge t the p erspective ou t. P ay a tten tion

to the size of the eyes.



I

F rom b e lo w : Le v e l o f d iff ic u lty 5

Pay a tten tion to the lin e from the tip o f the ch in

to the eyes . T he p os ition o f the nos trils is h ighe r

th an yo u w ou ld firs t th in k.

F rom abo ve : L e v e l o f d iff ic u lty 5

The po s itio ns fo r the to p o f th e nose and th e

m ou th a re a lm os t exac tly the sa me . T he an gle o f

th e e ye bro w s c ha ng es th e d ow n- lo ok in g

po sition o f the hea d. R efe r to th is p os ition fo r

e ach c ha ra cte r in th e p ag es to fo llo w.

O bliqu e le ft a nd rig ht + F ro m s lig h tly a bo ve :

Le v e l o f d iff ic u lty 3

Ta ke ca re w ith th e s ize o f th e head . P eop le ten d to d raw the

ea rs and the nose too c lose toge the r. T he d raw ing w ill be

_____ -"un ba lan ced if the head isn 't th ick enough .



O b liq u e le ft + F rom be low : Leve l o f d iff ic u lty 5

O nce you can d raw th is , you can im pro ve the va ria tio n in you r

d raw ing s d ram a tica lly . T his an gle m us t b e p ra ctice d b eca use it

is com mon ly u sed . M ake the cu rve s o f th e eyes and the head

pa ra lle l so th a t the eyes don 't d roop . Take ca re w he re you d raw

th e h air lin e b ec au se it d iffe rs d ep en din g o n th e c ha ra cte r.

O bliq u e r ig ht: L e ve l o f d if fic u lty 4

T his a ng le o fte n ap pea rs in in te rv iew tes ts a t a nim atio n s tud io

com pan ies . H ow the pa rts on the o the r s ide o f th e nose -line

(the che eks , e yes , e ye lid s a nd e yeb row s) a re d raw n is ve ryim po rta n t. It is a good ind ica tio n o f you r d raw ing ab ility . P ay

a tte ntio n to the d is tan ce b etw een th e eye s an d ea rs .

O b liq u e r ig h t + F ro m s lig ht ly b e low : Leve l o f

d iff ic ulty 4

The in c lin a tio n o f th e eyes is d iff icu lt to ge t

r ig ht. M ake the ch in an d fo reh ea d pa ra lle l. D o

the sam e w ith the eyeb row s and eyes .

F rom s lig h tly ab ov e : Le ve l o f d if fic u lty 2

Th is is a t a n ang le so it is no t exa c tly a fu ll v iew from

ab ove . N eve rthe less th e n ose an d m ou th a re d ra wn

c lo se to ea ch o the r. R igh t-h an de rs ge ne ra lly te nd toh av e d iff ic ulty in d ra win g th is p os itio n p ro pe rly .




In tro d uc tio n to D iffe re n t T y pe s o f C h a ra c te rs

Which type of

characters do you wantto draw? The next

pages introduce the

basic poses for the

diHerent characters.




C h a r a c t e rs ' E x p r e s s io n s b y T y p e / H e a d E xa gg era te d T yp e A/G ir l

I

h is c h a r a c te r i s a m ix b e tw een T aka ra zu ka (an a ll-w om en th ea tr ic a l com pan y in Jap an ) an d G aku en

(S ch o ol L ife ) g e nr es . H e r t r a it s a re th e e xa gg era te d h airs ty le a nd e ye s. O n c e y ou h a v e m a s te re d th e s e tw o

c ha ra c te ri s ti c s , y o u s h o u ld h a v e n o p ro b le m d ra w in g th is t y p e o f c h a ra c te r . T a ke c a r e w i t h h e r g lo s s y h a ir , h ig h l ig h te dl ip s a n d l iq u id e y e s .

~ ~ T he fo re he ad v is ib le m a kin g h er lo ok u ns op his tic ate d.

//~r-' - ' ~ ~-' - : The fringe is so ft an d w avy .

I

~ M ore than ha lf o f the eyeb row is d raw n a s one line . T he

~ ~ ~ d is tance be tw een the eyes and eyeb row s w idens ou t.

~~ -- T he eye la shes a re long and cu rly .

T he e ye s a re b ig , p artia lly h id de n b y th e u pp er a nd lo we r

e ye lid s. D on 't d ra w th e m id dle o f th e e ye s. M a ke th em

s lig htly d ro op y. T he b otto m h alv es o f th e e ye s a re h ea vily

h ig hlig hte d to g iv e h er liq uid e ye s.

L oo se s tr an ds o f h air a re a ls o d ra wn . J

/ / Q u ite a th in neck .Hea v il y h i gh l ig h te d .

/

/

/

/

I

/

/

I

/

/

/

/

I

/

I

I

T he lip s a re

h ig h li gh te d . T h e y

h av e a p lu m p

fu l lness.T h e f or eh e a d

p ro tr u d e s s li g ht ly .

T he b ridge o f the nose is

, -1_on_g_Q_u_ i t_e_p_r_om_i_ne_n_t_o_se_ - - - - - - - - - - - "

I--~-.....-------=

- - - - IT he b otto m lip tu rn s

d ow n w ar ds s lig htly . T h e

lip s lo ok g lo ss y u sin g

s h ad e a n d h ig h li gh t. - - -

[T he c hin lin e is s tra ig ht

I n o t c u rv e d.

I

I

i i i



2 - 6 Different Ways to Draw Characters' Expressions

. . . ' ~ '> ' _ " , ' ,_,·,'.c:·~:~·~~::·:"/';" ii7·~~!"~~~~~~;"--··-· , .'"

. .C~aracterr .~~.p~~~sJ~~.~iby;Typ~!;~l~:!.r . :: t ; : ,J;;~:,~~~Exaggeratedy p . _ e \ N B o y . . ' "_ '~.:.:"...............'>~-~H.':".·.!.."Ic"k_;_~~a...::~.~..o...!.c""~~,l:.l::r..~.u:..&- , - - '. -_,·':_._,C~.-_.~·.._~

H is p e r s o n a l i t y d if f e rs d e p e n d in g o n th e s to ry . H e is flash y and trie s to b e coo l b u t m o s t o f t h e t im e h e h a s a c o m ic

r o le . H i s d ro o py e ye s a re e v id e n ce o f t h is . H e is o ft e n u p to s o m e th in g d e v io u s b u t h is p la n s u su a l l y b a c k f i r e . H e 's a

c h a r a c t e r t h a t y o u c an n o t h e lp b u t l i k e t h o u g h H e a lw a y s f a ll s f o r t h e le a d in g h e r o in e .

,/ /" T he ha ir is pa rted in the p ropo rtio n 7 :3 .

T h e lin es fo r th e e ye s a nd e ye lid s a re W i de a pa rt. T he re a re d efin ite

d ou ble e ye lid s. T he lin es fo r th e e ye lid s a nd e ye bro ws m e et a t t he b ro w.

T he e ye s a re d ro op y a nd w id e. A bo ut 1 /3 o f th e p up il is h id de n.

C on ce alin g m uc h o f t he lo we r p art m ak es h im loo k a s if h e is

sm ilin g . M u c h h ig h lig h tin g .

~ _ D ra win g th e b rid ge o f t he n ose w ith a th ic k lin e m ak es th e n os e p ro min en t

~~ // M ake su re the nos tr ils a re draw n d iffe ren tly from the g irl 's .

// T h in , o va l-shaped fea tu re s .

A lth ou gh th e c ha ra cte r is a b oy , h e h as w ell-

c on dit io ne d b ob be d h air. T he re a re h ig hlig hts in it

T he m ou th is Q uite

w id e w ith th ic k

lip s . T h er e is

s h ad in g b e ne a th

th e b otto m lip .

V ie w e d f ac e

o n, the c hin is

po in ted .

T he p artin g is d ra w n

w ith o ne lin e.

,,/

T he c orn ers o f th e

e y es t urn d o w nw a rd s .

H a ir is

casua l l y

t uc k e d b e h in d

//'\A prom inen t, ,,/ ' t -r ia ngu la r W es te rn ' In o se . N o s tri ls a re

~n=o td=ra=wn=.=~ ~_T he c hin is s lig htly

th ick. ,/,,,,

D ra w th e ja w bo ne s qu are .T he e ars a re th in

a n d p o in te d . D o n 't

fo rg e t th e e a rrin g .



I

I--.. . -

I



Charac ters ' Ex ,p r es~ i onsby T yp e ! H ead E x a g g e r a te d t y p e B /G i r l

I

h e is n a tu ra ll y f r ie n d ly a n d in m o s t s c e n e s s h e is s m i l i n g D r a w h e r w i t h d ro o p y e ye s to e xp re s s h e r c h e e rf u l, g e n tle

p e r s o n a l i t y . H e r h a i r s ty le i s e x a g ge ra te d b e ca u s e s he is a F a n ta s y G e n re C h a ra c te r . D o n 't w a s te t im e t r y in g to f ig u r e o u t

w h y s h e h a s th is h a ir s t y le . J u s t a c c e p t i t a s o n o f h e r t r a it .

T he h airs ty le is h er b ig ge st tra it. S tra nd s

- - - - o f ha ir cu rve back ove r he r head .

S om e th in g s ym b olic lik e a b in di is o n h er

fo re h ea d fo r em p h as is .

T he e ye s a re d ro op y a nd p os it io ne d Io wa n h er fa ce .T h e e ye s a re v ery w id e a pa rt g iv in g h er a fis h-lik e

fa ce . T he re a re s pa rk lin g h ig hlig hts in h er e ye s.

C u rly e ye la sh es a re d ra w n o n h alf th e e ye lid ,

le ng th en in g to w ard s th e c orn ers o f th e e ye s.

A re th es e d ro ps o f s we at? N o, th ey a re s ym b ols .

T he lip s a re d ra w n

w ith o ne lin e. T hen os e a nd lip s a re

v e ry c lo s e

toge ther .

T ak e c are w h en

d ra w in g t he h a ir lin e

o n th e te m ple h ere .

T h e c h ee k s a re fu ll.

T he n os trils a re d ra w n w ith

a s ho rt lin e. T he n os e is

sm a ll a n d s lig h tly u p tu rn e d.

D o n't fo rg et th e lo os e

s tra nd s o f h air . T he y c url

inwards .

D e f in e t he j aw b o n e .T he h air is lo ng a nd

fa ste ne d a t t h e b ac k

o f th e n ec k.



Ch ara cte rs ' E xp ress io ns b y T yp e! H ea d E x a g g e r a te d T y p e B /B o y

I

c o o l B is h o u n e n (Y o u n g , a tt r a c t i v e b o y ). H e h a s h id d e n s ub tle ty a n d c o ld n e s s . E x p re s s h is a n d ro g y n o u s b e a u t y w i t h a

f lo u n c y f r in g e a n d g lo s s y h a ir . L ik e th e g ir l , h e h a s a s y m b o l d e c o r a tin g h is f o re h e a d . W i t h h is e y e s p o s it i o n e d lo w , h e

h a s th e lo o k o f a y o un g b o y a b o u t h im . B u t h e is m a tu re r t h a n h is a p p e a ra n c e s u g g e s t s .

T he h ig hlig hts in th e h air in dic ate th at th e h air h as b ee n

s lick ed d ow n. T he h air co ntinu es do wn to th e n ape o f h is

n ec k. T his c ha ra cte r u su ally h as d ull b lo nd h air.--

-I »>- H is h air lin e is n ot d ra wn a s o ne lin e u nlik e th e g irl's .c-:_ - ,

- H is fo re hea d is th e sa me sh ap e a s th e g ir l's .

F ie rc e a lm o nd e ye s. T he lin es fo r th e w hite s o f th e

e ye s s tre tc h a s w id e a s p os sib le . N o e ye la sh es .

_- - - -L- - - -~M-u-s- tw-e-ar -e-ar - r i -ng-s- .u-s-ua- l l -y- th-ey_a_re_s_i lv_e~r .

T hic k lip s. H is m o uth is w id er th an th e g ir l's .

,,!,!,

T his is n't p art o f th e

c he ek . It is th e

!

!

J

The fr in ge fa lls [ A po in ted Ch in .]

g en tly to o ne s id e

a nd c urls in .

U s ua lly to a b ou tchin- level .

T h e c o rn e rs a re s lig h tly

u ptu rn ed in a g rin .

- - - - - - - - ~ - -

----

I

\~T he b ridg e o f th e n ose is

qu ite p rom inen t bu t v iew ed -

fa ce o n th is is n ot o bv io us .

B e a w are o f th e ja w bo ne .

H is e a rlo b es a re b ig g er

th an tha t o f th e T ype B

g ir l's , b u t n o t p a rt ic u la rly

th ick.



A l iv e ly , e n e rg e t ic g ir l . S h e o ft e n p la ys th e r o le o f c h ild h o od p la ym a te to t h e h e r o . S h e is c o u r a g e ou s a nd n e v e r g iv e s u p .

T h is c h a r a c te r h a s e xa gg e r a te d e ye s . T a k e c a r e to g e t th e s iz e a nd h e ig h t o f e ye s r ig h t e sp e c ia lly f a ce o n .

- - - - - - - - - - 1 L in es a re d ra w n to a cc en tu ate h er fa ce .

~ ~ ~ ~ - - - - - - - lh e n os trils a re s ha de d. J

T he c orn ers o f th e

m o u th a re s lig h tly

u p tu rn e d. T h e

s ha din g b elo w th e

b otto m lip g iv es th e

l ip s f u ll n e ss .T he b rid ge o f th e

n os e is c ur ve d.

A s m all, p rim

no se .

T he lin es fo r th e e ye br ow s a nd e ye lid s a re p ara lle l.

D r aw a d e fin ite e ye lid lin e .

T his p ar t is a d if fe re nt c olo r.

T he e ye s a re d ra wn v ery la rg e a nd o ne e ye ta ke s u p a bo ut a

qu arte r o f th e fa ce . T he c orn er o f th e e ye s p oin t u pw ard s a nd

o u t. T h e ir is e s a re h e av ily h ig h lig h te d .

( T he s id es a re d ra wn fro m th is lin e. J

- - - - - rFu l l c h ee ks .]

I

I

T he re is a s te p in th e

b ac k o f h er h air . T h e

b ac k o f h er h ea d

p ro tr u d e s con s id e ra b ly .

T he re is a line o n he r

n ec k in dic atin g s he is a

l iv e l y ch a ra ct e r.



I

I



•O u t o f a ll t h e b o y s fe a tu re d in t h is b o o k , t h is c h a ra c te r h a s th e r o u n d e s t f a c e . L ik e th e g ir l , h e is l i v e ly a n d c he e r f u l. H is

e n e rg y is e x p re s s e d in h is la rg e u p tu rn e d m o u th a n d s pa rk li n g e y e s . H e is q u i t e m i s c h ie v o u s .

I

II

I

A la rg e m o uth . T he

b otto m lip is

d ra wn w ith a

d e fi n it e l in e .

Q u ite a lo ng fr in ge . T he

s im p le b un ch in g o f h air is

co mm on in A nim e

charac te r s .

T he c hin is

s li gh t ly b r oa d .

,. T he e ye bro w s s ta rt w ith s ev era l v ertic al lin es . T h ey tu rn

,," u pw ard s a nd th eir d is ta nc e fro m th e e ye s w id en s a t t he e nd s._ , .".

""."

T he d ou ble e ye lid lin e [o in s th e e ye bro w a bo ve th e

. . . . . . in s i d e c o r n e r o f t h e e ye .

""

"T he lin es a t t he to p o f th e e ye s tu rn d ow nw ard s. A

" lo t o f the w hite s a nd the ir ise s a re v is ib le . M ake su re

to d ra w th e w ho le e ye .

_______ The tr ia ngu la r shapes a t the b ridge o f the nose a re

d ra w n fo r e m p ha sis .

---

/

",I

T he ja w bo ne s a re c le arly d ra w n.

Lin es a re d ra w n

s ho w in g th e h air

s lic ke d d ow n a t t he

back .



C h a ra c t e rs ' E x p r e s s io n s b y T y p e l H e a d S im p le T yp e A/G ir l. . .

A n d ro g y n o u s , b o y is h a n d e n e rg e t i c A d ip lo m a t ic a lly c h e e rf u l g ro u p le a d e r . D r a w h e r w i t h n ic e ly v a rie d c le a r l in e s . S h e

o ft e n w e a r s s im p le a cc e s s o rie s t h a t a re c o n ne c te d to th e s to ry l in e in s o m e w a y r a th e r t h a n a s d e c o r a tio n . T h e l in e s fo r

t h e u p p e r e ye lid s , e ye b r o w s a n d c h in a re d ra w n in th ic k s t r o n g c u rv e s to e xp re s s h e r l iv e li n e s s . H e r g ir l i s h f e m in in it y i se x p re ss e d in a n a tu ra l w a y in t h e th in n e s s o f h e r c h in a n d n e c k , t h e a b s e n ce o f th e ja w b on e a nd th e l in e s d ra w n b en ea th

th e eves

T he h air s tic kin g u p s ho ws h er e ne rg y.

,I

I

T he ir is is v ertic ally lo ng . H er p up ils a re m a de u p o f s ev era l l in es .

I

I, , T he e ye la sh es a re lo ng a nd c urv e o utw ard s,I

I

I,,

,I

I

T he e ye lin e is d ra wn th ic kly fo r e m ph as is .

A d e fin ite d ou b le e ye lid .

T h e n os trils d ra w n h oriz on ta lly m a k es th e n os e lo ok fo rw a rd fa cin g,

_ - - -- w he re as ve rtica l no str ils m ake it lo o k as if it is s tic k ing up , (R efe r to p . 6 2).

- N ot p artic ula rly fu ll c he ek s. R ath er b oy is h fe atu re s.

T he n ec k is th in

.> sugges t in g f rag i li ty .

"

,I

I

I

I

T he re i s s h a d in g

u n de r th e b o ttom

lip . T he lip s a re

s li gh t ly t hi ck . T h e

m ou th tu rn s u p a t

t he e d g e s c o n v e yi ng

l ive l iness.

D is tin g ui sh in g h e r

c hin fro m th e T h e e y eb ro w s s ta rt

boy 's , it la cks the o ff th ic k and th in ou t

boy 's b read th and tow a rds the ends .

i s p o in t ed .

B old co nto urs fro m th e tip o f

th e n os e to th e tip o f th e c hin .

T he re is a b re ak in th e lin e

a t th e e nd o f th e n os e.

T he c hin lin e is

b o yis h a n d s tr aig h t.

I

S oft w avy h air. I t is ana tu ra l - look ing

h a ir st y le . F e a th e ry h a ir

c o nv e ys l iv e lin e ss . N o

highl ights

T h e n ec k is c le a rly s ha de d .


http://slidepdf.com/reader/full/how-to-draw-manga-anime-and-game-characters-volume-1II



Different Ways to Draw Characters' Expres~ions .

. .

. C h a r a c t e r s ' E x p r e s s io n s b y T y p e l H e a d . . . S i .m p le T y p e A /B o y. - " ~~ - ,-' . . . . . _ _ . . . . . ~.

I

h e o p p o s i t e o f t h e " F le e t in g B is h o u n e n . " H e is c h e e r f u l, l i v e ly , b ra v e a n d to u g h . D r a w s p a r k li n g e ye s a n d a t ig h t ly

c lo s e d m o u th to a c c e n tu a te h is b o y is h y o u th fu ln e s s . T h e la rg e , r o u n d je t- b la c k i r is e s e m p h a s iz e h is p o s it iv it y a n d t r u s t in

p e o p le . T a k e c a re to d is t in g u is h h im f r o m th e c h a r a c te r o n p ag e 5 4 w h o is a ls o a n E x a gg e r a te d t y p e o f t h e A n im e g e n re .T h is i s t h e s im p le s t c h a ra c te r in t h e b o o k b u t g e t t in g h is e xp re s s io n r ig h t m a y b e q u i t e d if f i c u lt .

H is b oy is h y ou th fu ln es s is e xp re ss ed in h is s ho rt, m e ss y,

u n con ven ti o n al h a i rs t y le .

T he th ic k s tr aig ht lin es o f h is e ye bro w s d en ote g alla ntry . D o n't c olo r th e

e yeb ro ws b la ck be ca use th is w ou ld m ake h im lo ok like an o ld m an .

C le ar ly d efin ed e ye s. H e s ee m s to b e lo ok in g s tra ig ht a t y o u

b ec au se th e m id dle b la ck p art is c om p le te ly v is ib le . D o ub le e ye lid s.

T he lin es fo r th e w hites o f th e ey es d o no t cov er the lo we r

- pa rts o f the e yes . T he c lea r lin es m ake the eyes w id e open .

- : - The b r idg e o f the nose IS d ra w n . T h er e IS s ha do win g a t th e e nd o f th e n os e.

- E gg -sh ap ed fea tu re s. H e is s till a yo un g bo y

s o th ere is a tra ce o f fu lln es s in th e c he ek s. T he e ye la sh es m a ke th e e ye s

lo ok w id e o pe n.

N o h ig hlig hts in th e

h air . If a ny th in g it is

shaggy .

T he m ou th is

d rawn re a li s ti c a ll y

w ith 3 h o riz o nta l

l in e s . T h e s h a di ng

b e lo w t he b o tto m

lip s h ow s fu lln e ss .

T h e b r oa d n es s

o f th e c hin

deno tes

s tr en g th o f w ill.

)~f'/

A s m all u ptu rn ed n os e. T he

,-t~iP _O_ f_h_eno_s _eis_d_ra_w_n... / - - - - - - - \. __w ith a b ro ken lin e . " ' ~

A n i nt el li ge n t f or e he a d .

In p ro file th e m o uth tu rn s

d ow n a t th e e nd s.

T h e e ar s a re b ig ge r

th an th e e ye s. T h ey

a re fle sh y. T he y a re

n e v er p ie r ce d .

T h e ia w bo ne is c le arly

d r awn .




Ch ara cte rs ' E xp re ss io ns b y T yp el H ea d S im p le T yp e B /G ir l

I

h e is q u ie t, a n d d oe sn 't s a y m u c h s o y o u d on 't k n o w w h a t s h e is t h in k in g . S h e is s l i g h t o f b u i ld a n d e ve ry t h in g a pa rt

f r o m h e r e ye s is d ra w n s m a ll a n d th in . S h e is w e l l m a n n e r e d a nd n o t r e b e ll io u s . S h e is e xp re s s io n le s s a nd

u n c om m u n ic a ti v e . E x p re s s h e r c lo s e d h e a rt b y d ra w in g d ow n - t u rn e d e ye b r o w s a n d th in i r is e s , a n d u s in g a v a g u e c o lo rf o r h e r e y e s . H e r e a r s a n d e y e s a re n o t c om p le te ly v is ib le .

~ The eyeb row s a re fa r be low the top o f the head .

T o g iv e th e im p re ss io n o f fin e h air, d iv id e it in to fin e tu fts .

T his is a rra ng ed n ea tly to e xp re ss h er g oo d m a nn ers .

, T he e yes a re qu ite fa r a pa rt. T he iris es a re n arro w. T he to p a nd b otto mp arts o f h er ir is es a re n ot v is ib le . D ra w a th in d ou ble e ye lid lin e.

T he e ye bro ws a re c lo se to th e e ye s. T he th in e ye bro ws in dic ate a

l ac k o f a s s e rt iv e n e ss .

Down- tu rned

e ye la sh es g iv e h er a

d ow n ca st lo ok . C u rl

th e c orn ers o f th e

e y e s u pwa rd s .\\

\,,

A s ma ll d ow n-

tu rn ed m o uth w ith

a v ery s ho rt lin e

fo r th e b otto m lip .

T he m o uth is

e x t reme l y na r row .

T he c hin is a cu te ly

po in ted .

T he b rid ge o f th e n os e is fla t.

T he n os e o nly p ro tru de s v ery

sl ight ly. //')// \~

/

,.---------.'

A s lig h tly u p tu rn e d

n os e. N o str ils a re n ot

d rawn.

I

I

I

I

T he c hin lin e is s lig htly

ro un de d. T he ja w bo ne is

n e v e r d r aw n .

Keep accesso ri e s

s imp le .


http://slidepdf.com/reader/full/how-to-draw-manga-anime-and-game-characters-volume-1I



· 2 -6 Different Ways to Draw Characters' Expressions

C h a ra c t e rs ' E x p r e s s io n s b y T y p e l H e a d S im p le Type B /BoyA

I

g ir l is h , d e l ic a te , q u ie t b o y . L ik e th e g ir l , h e is in tr o v e rt e d , u n c om m u n ic a t iv e a n d s e l f - e f f a c in g . D r a w h im w i t h a lo n e ly

e xp re s s io n o n h is f a ce a s i f h e is a lw a ys w o rr ie d a b o u t s o m e th in g . H is d e l ic a te n a tu re is e v id e n t in t h e s h a rp ly p o in te d

fe a tu re s s u c h a s th e c h e e ks , c h in , e ye s a n d n o s e . D r a w h is n e c k th in l ik e t h e g ir l ' s . O u t o f a ll t h e c h a ra c te rs f e a tu re d inth is b o o k , i t i s p ro b a b ly m o s t d if f ic u l t t o d is t in g u is h b e tw e en b o y a n d g ir l i n S im p le T y p e B .

D ra w in g a

w r in k le - li ke l in e

on th e b ro w

m a ke s h im

l oo k wo r ri ed .

A c o n s er v at iv e h a ir s ty le .

L on elin es s is e xp re ss ed in th e d is ta nc e b etw e en th e e ye s.

T h e e ye lid lin es s ho w th e d elic ate s kin o f h is e ye lid s.

~ N arro w ir ise s. T he ou tl ine o f th e e ye s is a ngu la r.

_ T he to p a nd b ottom o f the e ye s a re n ot v is ib le , T he line s fo r

th e b otto m o f th e e ye s a r e n ot fu lly d ra wn . T he ir is es a re th in .

D ra w in g o nly th e b eg in nin g a nd e nd o f th e n os e in dic ate s

th at th e n os e e le va te s s ha rp ly in b etw e en .

T he c he ek s a re d ra wn w ith a th ic k lin e to m a ke th em lo ok s qu are .

/_ /{ A v e ry th in n e ck .

T h e s e e y e b row s

a re th ick fo r th is -

ty pe o f

cha rac te r .

T h e e ars a re r ath er

po in ted .

A ra th er d ow n -

t ur ne d , c lo s ed s a d-

lo o kin g m o u th .

Shad ing

le n gt hw a y s m a k es

th e m o u th p ro tr ud e

s lig htly a s if h e is

a bo ut to s ay

some th ing . ___)~~T he b r id ge o f t he n ose IS a s fla t a s It c an b e.

In p ro f ile the no s trils a re no t d raw n . - - - - - - - - - ~

:--.

T h ere is s ha din g b elo w th e

c hin a nd u nd er th e h air .

II



I

, I




C h a r a c t e rs ' E x p r e s s io n s b y T y p e / H e a d R ea l T yp e: S ho ujo M an ga G en re /G ir l

M o s t im p o r t a n t is t h e p u r i t y o f h e r im a g e b e c a u s e s h e is n o t o f t h is w o rld . W h a te v e r is s a id , s h e is a n u ne m o t io n a l a n d

s t r o n g -w i l le d g ir L I t s e e m s a s i f s h e is a lw a y s s t a rin g fa r in to t h e d is ta n c e . S h e is g e n tle a n d s pe a k s l i t t l e . D r a w h e r

c a re fr e e a s i f s h e is f lo a t in g a bo v e th is w o rld u n to u c h e d b y m u n d an e th in g s . Y o u m u s t d ra w e ve ry t h in g in f in e d e ta il . Y o uv e ry r a re ly v ie w h e r f r o m b e lo w . B u t p ra c t ic e d ra w in g h e r b e c a u s e s h e f e a t u re s in m o m e n to u s s c e ne s o f g ra ce a n d

r e s o lv e . W h e n s h e fa c e s d o w n w a rd , h e r e y e s c lo s e s lig h tl y .

__ D ra w th e fin en ess o f h er h air T he c are fu lly a rra ng ed

h a irs ty le in d ic a te s t he y o un g g ir l's v irg in it y.

,/' T h e m ark ings on he r fo rehea d sugges t e xo tic ism .

"

//) A hi,h . " W , . _ _) - - - ,'" I T he e ye s a re n ot d ro op y. D ra w th em s im p ly w ith ou t

ir is es ta kin g c are to m a ke th em s ym m e tric al. T hin k o f

- them as g la ss ba lls , E yes w ith som e o f the top

c on ce a le d lik e th is g iv e th e c ha ra cte r a fa ra w ay lo ok .

T he lo w er e ye la sh es a re d ra w n to o .

H e r n os e a re d ra w n sm all to e xp re ss e xo tic is m .

- G iv e th e c he ek s a g irl is h fu lln ess .

N e ve r d ra w th e ja w bo n e.

I

I

I

I

Ma k e t he h a ir lin e

l oo k q u it e r e al is ti c.

I

I

I

I

A sm all an d p lum p [R ound the C h in .]

m o u th . N e ve r h av e

th e m o uth o pe n

w ide .

A p rim a nd s le nd er

nose . ---

" E ye la shes i n the

c orn ers o f th e e ye s

te nd to g iv e th e

c h ar ac te r a d o w nc a st

e x pr es s io n . T h e y c u rl

o utw a rd s a t th e

c o rn e rs . T h e y a re

lo n g a n d v o lum in o us .



" .. ,"'.. ,-. • .. #"";!<., "" I


C h a r a c t e rs ' E x p r e s s io n s b y T y p e l H e a d R ea l Type : Shou jo M an ga G en re /B oy

I

h e p ro m in e n t n o s e a n d f in e fe a tu re s s u g g e s t c o o ln e s s a n d h id d e n g e n tle n e s s . H e d o e s n o t r e v e a l h is f e e l in g s a n d

a c tu a l l y h e is s h y . H e is s tr o n g -w i l l e d a n d p a s s io n a te . O f t e n th is c h a r a c te r i s h a u n te d b y th e p a s t. E x p re s s h is s e n s e o f

r e sp o n s ib il i t y a n d s to ic n a tu re in h is b ro a d c h in a n d s t r o n g n e c k . H e d o e sn 't c a re fo r a d o rn m e n t s o d o n 't d ra wa c c e s so r ie s s u c n a s e a r r in g s , D o n ' t p u t h ig h l ig h t s in h is h a i r .

D is he ve lle d lo ng h air th at h e h as ru n h is fin ge rs th ro ug h. It lo ok s a s if h is h air is

d ra wn a ny wa y h ow b ut th ere a re a bo ut th re e s tra nd s o f h air th at a re m a de to fa ll

a cro ss h is fa ce a nd th e re st is a rra ng ed a ro un d th os e. V o lu m in ou s h air,

T h ere a re lin e s o n h is fa ce s h ow in g m u s cu la r d e fin itio n .

S h ad in g o n th e b ro w e m p ha siz es th e s h arp ly c h is e lle d fe a tu re s .

T he e ye bro ws tu rn u p a nd n arro w o ut to wa rd s th e e nd s. T he ye xte nd a s fa r a s th e o utlin e o f th e fa ce .

T h e e ye s a re Q u ite re a lis tic in s h ap e a n d s iz e. H e lo o ks m a tu re b e ca u se t h e

e ye s a r e p os it io ne d h ig h o n h is fa ce a nd o cc up y a s m all p ro po rtio n o f h is

fa ce . C o ve rin g th e u pp er h alv es o f h is e ye s g iv es h im a w a tc hfu l s ta re .

T h e n o se is s tra ig h t a n d b o ld . S h a din g e m p ha s iz e s its h e ig h t.

A c le a rly d e fin e d lo n g fa c e.

M u s cu la r d e fin it io n o f th e n e ck .

T he lip s a re qu ite fu ll a nd

w id e. T he to p a nd

b o tto m lip s a re c le a rly

d ra w n. T h ere is s h ad in g

u nd er th e b otto m lip .T h e p ro n ou n ce d b ro w

b e tw e en th e fo re h ea d a n d

th e n os e m a ke s h im lo ok

d is t ingu ished .

T he n os e is n ot e xa gg era te d s o

d o n't m a k e it p o in te d .

T ig ht lip s g iv e h im a d ow n-

tu rn ed m o uth . T he e nd s a re

d r aw n t h ic k ly .

A th ic k, s o lid n e ck . S lig h tly

th in n er th a n th e o u tlin e

Ind ica tes .

T he h ai r h an gs d ow n p as t

th e n ap e o f h is n ec k.




C h a r a c t e rs ' E x p r e s s io n s b y T y p e / H e a d R e a l T y p e : G a m e G e n re /G i r l

A g e n tle , c h e e r f u l g ir l w h o d o e s n 't t a lk m u c h . H e r n a iv e t e is e x p re s s e d in t h e la rg e b a b y e y e s . D r a w h e r w i t h f la t f e a tu re s

a n d fe w c o n to u r s , a s m a l l u p tu rn e d n o s e a n d t in y m o u th l ik e a J a p a n e s e fe s t i v a l d o l l . E v e ry t h in g is r o u n d e d . T h e u p p e r

p a r t s o f t h e e y e s a re s lig h t l y c o v e r e d b y th e e y e lid s a n d th is g iv e s th e fa c e a p o s it iv e e x p re s s io n . T a ke c a r e n o t t o c o n c e a lt o o m u c h o f t h e u p p e r e ye s o r t h e f a ce w i l l b e c o m e s e ve re a n d c h e e ky (R e fe r t o t h e A n t i - H e ro /in e ) . I t i s b e s t t o im a g in e

h e r a s s o m e o n e y o u 'd b e h a pp y to h a ve a ro u n d .

--- A s lig ht d ep re ss io n o n th e to p o f h er h ea d.

A ra th er d ow n -

tu rn ed m o uth m a ke s

h e r lo ok a lit tle s ulk y.

D on 't d ra w a lin e fo r

th e b otto m lip .

T he fr in g e fa lls s lig htly o ve r th e e ye bro w s. T h e

e ye b ro w s a re n ot h ea vily d e fin ed .

T hin e ye bro ws . T he lin es fo r th e e ye bro ws a nd e ye s a re p ara lle l, w ith th e

d is ta nc e b etw ee n th em th e s am e fro m th e in sid e to th e o uts id e c orn ers .

_ The eyes a re w id e apa rt. T he b ridge o f the nose is no t d raw n.

,- - - - 1 - - - - - -

T he c irc ula r iris es a re rig ht in th e m id dle o f th e e ye s. N ot

m uc h o f th e w hite s o f th e lo we r p arts o f th e e ye s a re

s ho wn (If th ey w ere , th e c ha ra cte r w ou ld lo ok c he ek y).

A lth ou gh h er e ye s a re th e s am e s iz e a s th os e 0 1 th e A nti-

H e ro in e , th ey lo o k b ig ge r b e ca u se th ey a re n ot p artly

h id de n b y th e e ye lid s.

- T his cha rac te r a lw ays has a round la ce and chubby cheeks .

_ / /[ A long neck . N ot too th in .

A d ee p fo ld fo r th e e ye lid s.

A s m all, u p tu r ne d n os e.

N o b rid ge o f th e n os e.

,,,,"

,,

" t R o u nd e a rs .

T he m ou th is d ra wn sm a lle r th an th at o f t he A nti-

H e ro in e . T h e lip s d o n't p ro tr ud e .

N o lin es o n th e n ec k.

T h is c h a ra c te r

a lw a ys h a s s ho rt

h air . F in e lo ck s o f

h air a re d ra w n to

m a ke th e h air lo ok in

g o o d co n d it io n .

,,,,

,,,,r--------<




C h a ra c t e rs ' E x p r e s s io n s b y T y p e / H e a d R ea l T yp e: G am e G en re /B oy

I

l t h o u g h h e is c h e e ky a nd s a rc a s t i c , h e is b a s ic a ll y a g o o d g u y . H e is s le n d e r a n d a th le tic b u t d o e sn 't f a ir w e ll a t h is

s tu d ie s . C o n t r a ry t o e x p e c ta tio n s h e is e a s il y m o v e d t o le a r s a n d h a s a h e a rt o f g o ld . H e o ft e n h a s s is t e rs . G e n e ra ll y

s p e a k in g , d ra w h im w it h t h e im a g e o f a b a nd m e m b e r in m in d .

T h e b ro w p ro tr ud es

... . . . f_urt_h_e_r_h_an_t_he_f_o r_e_he_a_d./~ ~ ~ ~ _ ~

r- E_y_e l_aS_h_es_a_re_n_o_t_ r_aw_n_. - -) - - - riffThese lines a re d rawn to m ake h is nose - - - 7h

look bOny ,-. -.;//~ ~

/

/f\ - . . : : : : : : ; : : : : :

~-

A b ig m ou th tha t su its

a g rin . N eve r d ra w th e

lo w er lip .

L ar ge n os tr ils in dic ate s tr on g

emo t ions .

A th ic k m a sc ulin e n ec k.

F le sh y e ye bro w s o n th e b ro w.

A lm ond eyes . H e has a cheeky look abou t h im because the w hites a t

th e s id es an d lo we r p art o f th e e ye s are v is ib le . C he ek in es s is e as ily

e xp res se d if a la rg e a re a o f th e w hite s o f th e e ye s is v is ib le b elo w th e

/ irises . N o h igh ligh ting . T he eyes a re pos itioned Q uite h igh on the

fa ce . V ie we d fro m a bo ve th e ou te r co rn ers o f th e e ye s tu rn u p.

_ T he ea rs a re no : rea lly exagge ra ted .

A p ro min en t no se w ith th e b rid ge

d ra wn w ith a th ic k line .

I

: I

Punk is h ea r ri n gs .T he n ap e o f th e n ec k is b old ly d ra wn .



2 - 6 Different Ways to Draw Characters' Expressions

C h a r a c t e r s ' E x p r e s s io n s b y T y p e / H e a d R e a l T y p e : G a m e G e n re /A n t i - h e r o in e

I

a c h in e r y / g a d g e tr y o n h e r b o d y is h e r t r a it . S h e h a s a m e la n c h o li c , lo n e ly e x p re s s io n . L e t h e r s p e a k th ro u g h h e r e y e s .

U s u a l ly s h e h a s n o p a r e n t s a n d fa lls f o r o ld e r m e n . E v e n fo rw a rd fa c in g , t h e e y e lid s c o v e r h e r e y e s s lig h t ly . T h e p a r t ia ll y

c o n c e a le d ir i s e s in d ic a te h e r la c k o f o p en n e s s .

T he fr in ge fa llin g a cro ss h er fa ce in dic ate s h er im m a tu rity .///~--------------------------------~

/

E y es u p tu rn ed a t th e c orn ers a re p os it io ne d Q u ite lo w o n

/ he r fa ce . H er ir ise s a re lo nge r ve rtica lly than the

H e ro in e 's . H e r in so le nc e is in dic ate d b y th e la rg e p art o f

th e w hite s o f th e e ye s th at a re v is ib le . Im a gin e c at's e ye s.

I I I

_ _ _ T he e ye s a re w ell d efin ed w Ith lo we r e ye la sh es d ra wn .

I--- ---

I

____ - - - - -I V ery s lig ht d efin itio n o f th e b rid ge o f th e n os e.

I T hIs is b as ic ally th e s am e a s th e H ero in e.

--------T he fa ce is s ha pe d lik e a s mo oth e gg .

----- A p oin te d c hin . I--- --- -----

I

H er h air is m e ss y a nd u ne ve n

- su gges tin g tha t she is n o t

l oo k e d a ft e r p r op e rl y.

T he m o u th is s lig htly

la rg e r t ha n th e

H e ro in e 's . It is sm a ll,

ti gh t a n d d o w n- tu rn e d.T he lip s a re n ot d ra wn .

I----

I

T he tip o f th e n os e is sm a ll

- and s lig h tly round ed .

M a ch in ery is a tta ch ed to h er b od y s o

th es e k in ds o f m a rk s a re v ery c om m o n.B o bb ed h a ir w ith h er



TOSHIO KOBAYASHI

N a m e : T o sh io K o b a y a s h i

B i r th p la c e : G i fu P r e fe c tu r e . J a p a n

D a te o f B ir t h : 1 8 D e ce m b e r 1 9 73

A f te r g ra d ua t in g f r o m te c hn ic a l c o l le g e , K o b a y a sh i s ta r te d

w o r k in g a t a G a m e s c o m p a n y w h e r e h e is n o w w o r k i n g o n

C h a ra c te r D e s ig n f o r a n o r ig in a l a n im a t io n .

T h e m o s t im p o r t a n t th in g w h e n y ou a re d ra w in g is the

feeling. H o w a r e y o u g o in g t o e x p r e s s w h a t y o u a r e

th in k in g ? T h a t is w h a t c o u n t s . Y o u r d ra w in g s o pe n ly e xp re ss

y o u r l ik e s a n d d is lik e s , y o u r p e r s o n a l i t y a n d e m o t i o n s . Y o u

a re n o t r e a l ly a w a r e o f y o u rs e l f w h e n y o u g o a bo u t y o u r d a i ly

l i f e b u t d ra w in g m a k e s y o u ta k e a lo o k a t y o u rs e l f .

I e n te re d th is p ro fe s s io n b e c a u se e ve r s in ce I w a s a s m a ll b o y ,

I h a d a s p i r e d to b e c o m e a n a rt is t. I t a l l b e g an tw e n t y y e a r s a go

o n e d a y w h e n o n t e le v is io n , I s a w a n o ld m a n p a in t in g o n a

s t r e e t c o rn e r in E u r o p e . T h a t' s w h e n i t a ll s ta rte d a nd w h y I a m

d ra w in g n ow .

T h e re a re n o s ho rt c u ts to im p ro v in g y o u r d ra w in g s k i l ls .

T h e m o re y o u p e r s e v e r e , th e b e t te r y o u r d ra w in g s w i l l b e . H a ve

a g o a t d ra w in g e ve ry t h in g a ro u nd y ou , n o m a tt e r w h a t. C o p y

th e d ra w in g s d on e b y s k i l f u l a rt is ts . I t ' s O K to d o i t ju s t f o r t h e

fu n o f i t . D o i t o ve r a n d o ve r a g a in u n ti l t h e r e se a r c h y o u 'v e

d on e p a y s o ff a n d y ou h a ve th e m a te ria l t o d ra w w h a t y o u

l ik e .O b s e rv e e v e r y th in g in y o u r e v e r y d a y l i f e . W a tc h e v e r y th in g

a ro u n d y o u : p e o p le 's e x p re s s io n s , th e i r g e s tu re s , th e w a y t h e y

ta lk , t h e w a y t h e y m o v e , t h e w a y th e y d re ss e tc . D o t h e s a m e

w i th t h in g s . O b s e rv e th e p o s it io n o f t h e l ig h t s o u rc e a n d th e

s ha d o w s , c o lo rs , s h a p e s , s iz e , te x tu re s . B e f o re y o u k no w i t

y o u w i l l f in d y o u rs e l f w a tc h in g e v e ry th in g w i t h o u t e v e n

th in k in g . W a tc h , t h in k a n d d ra w . T h e m o re , t h e b e t te r. B o t h

q u a li t y a n d q u a n t i t y a re im p o r ta n t b u t t h e m o s t im p o r ta n t o f a ll

is t h e f ee lin g . I f a l l t h a t y o u d ra w is v o id o f fe e l in g , i t is e a s y

to g e t in to t h e d o ld ru m s . I f y o u d o e nd u p f e e l in g l ik e th is , y o u

m u s t s ta rt f r o m n o t h in g a g a in a n d r e c o n s id e r e v e ry th in g , a ll

t h e w o r k y o u h a v e d o ne o ve r th e y e a rs , t h e p ic tu re s y o u l ik e ,

y o u r s k e tc h e s , r o u g h d ra ft s a n d r o u gh i l lu s tr a tio n s .

L a s t ly , I w a n t to s a y t h a t I la ck b o th t h e te ch n iq u e a nd

k no w le d g e to d ra w a te n th o f w h a t I im a g in e . B u t a n a m a te u r

c a n b e c o m e a p ro f e ss io n a l. A n d I a m th in k i n g m o re l ik e a

p ro fe s s io n a l n o w th a n e v e r b e fo re .



C h a p te r 3

D raw in g B o d ie s



~~"".".-""~;Drawing:Bodies -

~~.~ '-t"~ ~. .'. -

IT h in k in p o ly g o n s w h e n d ra w in g th e w h o le b o d y , ju s t a s y o u d id w h en y o u d re w th e h ea d s . I n t h e p ic t u re b e lo w th e b o d y

is d ra w n a s b o x e s . T h o ug h I s a y i t a g a in , i t i s t h e q u ic k e s t w a y to im p ro v in g y o u r a b i l i t y t o d ra w in th re e d im e ns io ns .

O n c e y o u m a s t e r t h e b a s ic s p ro p e rly y o u c an g o o n to e x a g g e r a te t h e c h a ra c te f d e s ig n a n d p ro d u c e g o o d d ra w in g s ,

1.

N e c k

S h o u ld e r jo in t ~

C h e s t ( s o la rp l e x u s )

W a i s t/ h ip s

G r o i n / t h i g h

- - - - - - K n e e

- - A n k le

_ - - T o e s a n d th e s a leo f t h e fo o t

1 . T h e b o d y is d iv id e d in to m o v in g p a r t s (m a in ly a t t h e

jo in ts ). R o u g h ly s p e a k in g , t h e b o d y is s e p a ra te d in tot h e h e a d , n e c k , c h e s t, w a is t, b u tt o c k s , t h ig h s , c a lv e s

a n d fe e t . M a ke s u re y o u d iv id e th e c h e s t in to tw o . I f t h e

c h e s t is s tr u c k , t h e s o la r p le x u s c a v e s in . S o th in k o f i t

a s a la rg e jo in t. A lw a y s r e m e m b e r w h ic h d ir e c t io n th e

f r o n t p a r t a n d s id e s o f t h e b o d y a re fa c in g .

I

2.

2 . A d d in g o n th e a rm s , N a tu ra ll y , t h e y c o m e o u t a t

t h e s id e s . T h e k n e e is jo in e d a t t h e f r o n t .P r o fe s s io n a ls d ra w th e k n e e jo in ts a s c ir c le s in

t h e ir r o u g h s ke tc h e s . T a k e c a r e t o g e t t h e

th ic kn e s s o f t h e in s te p a n d to e s r ig h t . D r a w th e

h e ig h t o f t h e in s te p a nd a dd th e m o v in g p a r t f o r

t h e to e s .



3 . I t is h e lp fu l t o t h in k o f t h e a n k le a n d s h o u ld e r

jo in ts a s b a l ls a s i f t h e h um a n b od y w a s a r o b o t.

T h e s o le s o f t h e f e e t a re n o t f la t b u t a t a n a ng le .

T h e s h o u ld e r s d o n ' t ju s t c o m e o u t a t t h e s id e s . .

T h e y a re c o n n e c te d to th e n e c k a t a n a n g le a t t h e

f r o n t o f t h e b o d y a s w e ll . N o te th a t t h e c a lv e s

b u l g e .

4 . I

,, E lb o w

B a c k o f t h e

h a n d

4 . T h in k o f t h e a rm s a s m o v in g o n b a l ls . B a s ic a lly ,

s h a d in g d e p e n d s o n th e d ir e c t io n o f l ig h t . R e fe r t o

t h e s h ad in g o n th e f la n k s o f ( 1 ) . R e m e m b e r t h a t

e v e n th e f in g e rs s h o u ld b e s h a d e d . J u s t b y lo o k in g

a t t h e s h ad in g in ( 4 ) , y o u c a n s e e h o w g e tt in g a

fe e l f o r s h a d in g u s in g ( 1 ) im p ro v e s t h e d ra w in g .



, : ' U s . i n g C y l in d e r s f o r t h e B o d y P a r t s~ _ . . - - : : . ~,

I t i s h e lp fu l to d ra w c y l in d e rs f o r t h e c u r v e d p a r t s o f th e b o d y s u c h a s t h e a rm s , h ip s a n d a n k le s . I n t h e la s t s e c ti o n , w e

c o v e r e d b a s ic s ha p e s . T h e n e x t s t e p is t o t h in k o f s m o o th c u r v e d s u r f a c e s .

T a k e c a re w h en d ra w in g c y l in d e rs b e c a u s e th e c u rv e s c h a n g e d e p e n d in g o n th e d ir e c t i o n o f t h e b o d y Y o u d o n 't h a v e t o

s ta rt w i t h c u r v e s w h e n y o u a re d ra w in g s om e th in g . B u t i t e n a b le s y ou q u ic k ly f ig u r e o u t t h e p h y s iq u e o f t h e c ha ra c t e r a n d

d ra w i t r e a l is tic a l ly f r o m a n y a n g le . L o o k a t t h e f o llo w in g e x p la n a to ry d ra w in g s s ho w in g y ou h o w to d ra w t h e b o d y f r o m

a b o v e a n d b e lo w .

T h e v ie w f r o m b e lo w

B e a w a r e o f t h e e y e l in e .

T h e v ie w f r o m a b o v e .

T h e f u r t h e r a w a y , th e s m a l le r t h eo b je c t b e c om e s .

S t a r t b y d r a w in g t h e b o d y ins q u a r e s .



T he la rge r th e su rfa ce a re a o f the

c irc le s (th e c ro ss -s ec tio ns in b la ck ),the g re ate r the ang le o f th e v iew s

from above and be low .

o

x

, I

, I\ I _

B oth th e b elt a nd th e s ho uld er b la de s a re p ara lle l

to th e b lack c ross -sec tion . A lw ays d raw w ith an

a wa re ne ss o f th e c ro ss -se ctio ns . If yo u d on 't,

y ou e nd u p w ith a s up erfic ia l p ic tu re .

~o

o

x



Drawing Bodies

I

D r a w C y lin d e rs f r o m A n y A n g le .

P ra c t ic e d ra w in g th e s e c y l in d e rs e ve n i f y o u c a n ' t s e e th e p o in t o f i t y e t.

T h e c u rv e d e d ge s a nd th e p a tt e rn a re a lw a y s p a r a lle l . O n c e y o u c a n d r a w a g oo d c i r c le w it h ou t u s in g a c o m p a s s , y o u a re

r e a d y to d ra w m o re e x a g g e r a te d s h a p e s .


http://slidepdf.com/reader/full/how-to-draw-manga-anime-and-game-characters-volume-1II



Drawing Bodies

The D irec tio n o f th e Body

1.

T o p ra c tic e t hre e -

d ime n s i on a l d r aw i n g,

t he a n gle c om b in e s

p e rs p ec tiv e a n d s p ac e .

A lth ou gh th is is a

d iffic ult a ng le to d ra w ,

it is g oo d p ra ctic e fo r

d ra w in g s ha pe s a nd

co n s id e ri ng t h e

th ic kn es s o f th e b od y.

D ra w o ne h an d c u rv ed

to s tu dy th e ' b as ic w a yo f d ra win g. T his is

b ec au se th e w rin kle s in

c lo th e s a re a ffe c te d b y

d i ff e re n t p o s e s.

D ra w th e o th er h an d so

th at y ou c an s ee it a ll.

D o n't d ra w it ro ta te d

back o r he ld up in the

D ra w th e fe et b y

im a gin in g h ow th e

fig ure is s ta nd in g o nth e flo or/g ro un d a nd

th e w ho le u sin g th e

im a ge o f th e fe et a s

boxes .D on 't d ra w th e

c h a ra c te r s ta n d in g

u prig h t. P u t m o re

w eig ht o n o ne le g th an

t h e o t he r .

2.

1 . T he fro nta l v ie w (B as ic )G am e and A n im ation is no t ju s t th e w o rk o f one

ind iv idua l . It in vo lve s the jo in t e ffo rts o f a g roup o f

peop le . T he re fo r e e v e ryon e m us t b e ab le to

u n de rs ta n d th e c ha ra cte rs ' e xp re ss io ns . T h is fr on t

p ose is a s tanda rd one tha t e ve ryone can w ork from .

2 . The v iew from above (O blique v iew from beh ind )You m us t be ab le to d raw th in g s from the dow n-loo k in g

ang le . O fte n you need to se t th e scene and show you r

c ha ra cte rs in th eir e nv iro nm e nt. In d ire ctio na l te rm s ,

th e v iew from above is u sed in s cene s w he re the

c ha ra cte r is d ep re ss ed . D ra win g th e c ha ra cte r fro m

b eh in d in cre ase s th e sa dne ss o f the sce ne .

I I



3. 4.

---

- - -

G o m pa re s uc h th in gs a s

th e s iz e o f th e h ea d, th e

a pp ea ra nc e o f th e n ec k a nd

th e s ho u ld ers , a n d th e

le ng th o f th e a rm s w ith th e

fro nta l v ie w in (1 ).

D o n't fo rg et th e p arts

th at a re n ot v is ib le in

/ the fron ta l v iew such a s

th e u n de ra rm s .

, D raw the cu rve o f the

w ais t th e o pp os ite w ay

to the w ay it is d raw n

fro m b elo w .

I

I

I

T he re is s om e

e x ag g e ra tio n . T h e l eg s

a re m u ch b ig ge r th an

in th e fro nta l v ie w. T he

p arts o f th e b od y

n e are st y ou a re th e

b igges t .

.. . -----

3 . T he v ie w fro m a bo ve (fro nta l)

A s in (2 ) th is p ose is o ften u sed in exp lana to ry

s ce ne s in re la tio n to th e c ha ra cte r.

4 . T he v iew from be lowTh is v iew is used to e m p h as iz e th e c h ara c te r's

s iz e a nd s tre ng th , a nd to e xp re ss e xu lta tio n

a n d a H r ac liv e n es s .

I



A G i r l 's B _ o d y

.1M a ke s u re y o u d ra w g ir l s ' b o d ie s s o ft a n d s m o o th , n o t h a r d lo o k in g . I n t h e p o s e b e lo w , t a ke c a re to g e t a n e x t r e m e ly

n a tu ra l p o s e w i t h t h e k n e e s c lo s e to g e th e r , t h e fe e t n o t w i d e a p a r t a n d f is ts u n c le n c h e d .

A lw a ys b e a w are o f th e s id es a nd c ro ss -s ec tio ns

(th e d ark s ha de d a re as ) w h en y ou s ta rt d ra w in g.T he m id lin e fo r th e e ye s.

T he lin e fo r

T he m id lin e fo r th e b od y.


T he m id lin e fo r th e h ea d.

Q 8 (A s le nd er n ec k.

U N a rro w s ho uld ers . --

di~

T he lin e fo r

p o s it io n in g t he

,,,

,',",,------,'I S le nd er a rm s . )

( A n arro w w ais t. )

Sm a ll fe e t

c om pa re d w it h

th e b o ys '.(S lim ank le s . } _

- - -L itt le d e fin itio n o f

t he c a lv e s .

A s m oo th lin e

fro m th e h ip s to

t he t h ighs .



A B o y 's B .Q d Y

•M a k e s u re y o u d r a w th e b o y s ' b od ie s w it h m u sc u la r d e f in it i o n . In th e p o se b e lo w , th e c h a ra c te r i s d ra w n w it h o ne h an d

o n th e h ip , o n e f is t c le n c h e d , t h e k ne e s o p e ne d o u tw a rd s a nd th e ' f e e t fa c in g o u tw a rd s .

T h e m id lin e fo r

th e e ye s.


_____ - - - - - - T he lin e s fo r pos it io n ing the eyes .-----

T he m id lin e fo r th e fa ce .

T he m id lin e fo r th e fa ce .

( A th i ck n ec k.

M u s c ula r s h ou ld e r jo in ts . M u sc ula r u pp er

a rm .

M u s c ula r c h es t.

K n ee s o pe n w id er

t ha n t he g ir ls '.

M u s c ula r c a lv e s.

~ ------{ B ig fee t. )



E x a g g e r a t e d T yp e A /G i_ r l

I

h e is a d e s ce n d e n t o f t h e t r a d i t io n a l p rin c e s s d re s s e d a lo n g th e l in e s o f T a k a ra z u k a c o s tu m e s . E n d o w h e r w i t h p le n t y o f

a c c e s s o r ie s s u c h a s b ra id s , b o o ts a n d g lo ve s . E v e ry t h in g is c lo s e f i t t i n g . S h e is e x t r e m e ly e x a g g e r a te d , d ra w n w i t h a

v e r y , v e r y t h in b u i ld a n d e x t r a o r d in a r i ly lo n g l im b s . S h e is u s u a l ly in G a k u e n s to rie s , s o i t is v it a l t h a t s h e w e a r s au n i f o r m .

P u ff s le ev es m a kin g h er lo ok

f em i n in e a n d f lamb o y a nt .

B ra id o n th e u n ifo rm

Ho r i zo n t a l w r i n kl e s

- cau sed b y the pu llin g o fth e to p b utto ne d a t th e

f ront .

,,,,,,,. .,,,,,,,

\

L o ng h a ir is p re re qu is ite

fo r a B is h ojo c ha ra c te r.

It s ee m s o dd th at s he w ea rs b oo ts

(e ve n in th e su mm er) w ith a

u nifo rm , b ut s he d oe s. T he y a re

s im p le a n d f ittin g .

T he b oo ts h av e a s lig ht h ee l. S la ck

_ _ a round the ank le s , exp re ss in g the

s le n de rn e ss o f th e a n kle s .

N a rr ow s ho u ld e rs , a b ou t

th e sa me w id th a s t he

b an gs in h er h air. A n

e x tr em e ly s le n de r n e ck .

/

I

I

/

/

I

I

/

A n o pe n c olla r

e m p ha s iz e s h e rf em i n in it y. T r imm i ng

_ ~ a ro und the edges .

Uncharacter is t ica l ly

la rg e b re a st s s o t he re

a re m a n y w r in k le s

a c ro s s h e r c h es t.

V e ry n arro w w a is t.

A lm o st n o h ip s.

T he lim b s a re s tra ig ht

. . . . l i n e s wi th n o c o n to u rs .

T he k ne es a re s ho w n

a s th e v er tic a l lin e s.

T he g lo ve s, lik e th e

b oo ts , a re d es ig ne d to

fit tig h tly . T h e g lo v esa re s la ck a ro u n d th e

w ris ts lik e th e b oo ts

a re a ro un d th e a nk le s.

A s kirt is th e s ta nd ard

u nifo rm fo r th is

c h a ra c te r , a p le a te d

m in i s kirt. M a ke s ure

y ou d ra w th e p le ats

p ro pe rly in th e v ie w

fr om b elo w .



- -. I



,It· , •I I· I : I

Drawing Bodies - - .

I

s o f t u n i f o rm w i t h a s ta n d - u p c o l la r . T h e d e s ig n w i t h d e ta il s s u c h a s e p a u le tt e s is r e m in is ce n t o f m i l i t a ry u n i f o rm s .

V is u a ll y , i t i s m o r e in t h e s ty le o f t h e N a z i u n i f o rm th a n t h e J a p a n e s e s ch o o l u n i f o rm . P h y s ic a l ly , t h e c h a ra c t e r h a s

e x t r e m e ly lo n g l im b s l i k e th e g ir l , a n d h is s h o u ld e r s a n d h a n d s a re n o t m a s c u lin e . H e is a B is h o n e n , w i t h a s l ig h t b u i lda n d s m a ll c h e s t .

H air d ow n to h is b ack . H is h air

is n ot th e s am e le ng th a ll o ve r

b ut s ho rte r a t th e s id es .

A s m art s ta nd -u p c olla r. Q u ite a

s le n de r n e ck .

T h e e p au le tt es fo llo w t hec u rv e o f th e s h ou ld e rs .

, S ma ll shou lde rs .

W r in k le s in d ic a ti ng a

p in c h e d- in w a i st .

N o m u s c ula r d e fin iti on

o f t he b u tto c ks .

T he o utlin e fo llo w s th e

c on to urs o f h is c alv es .

H o riz o nt al w ri nk le s a b ov e

th e tu rn -u ps o f h is p an ts .

---

H e h as th e s ta nd ard

_ h aircu t fo r a B is ho ne n,

s tr ai gh t h a ir w ith

highl ights.

H is lith e b od y is

e m ph as iz ed b y h av in g a

z ip f as te n er in s te a d o f

b utto ns d ow n th e fro nto f th e ja c ke t.

S le nd er u pp er a rm w ith

n o mu s cu la r d e fi ni ti on ,

T h e J a c k et i s c lo s e f it ti ng

a ro u nd th e w a is t.

H o r iz o n ta l w r in k le s s h ow

th e p os itio n o f h is w a is t.

F o r a boy , he has af em i n in e p in c h e d- in

wa is t .

T rim m in gs o n th e c uffs

ma t c hi ng t he e p a u le tt e s,

J1 T he o utlin e o f th e p an ts

fo llo w s th e c on to urs o f

th e c alv es , T he p an ts a re

b ag gy a ro un d th e

a n kl es , s h ow in g t he

s le n de rn e ss o f t he



I I

I



I

Exagge r a t ed T y p e B /G i ~ 1 .• • . . , .. . . . ~ _ .. _ ' ~", - : .o

T h e e th n ic c lo th e s s h e w e a r s a re S o u th A m e r ic a n o r A f r i c a n in s t y le r a th e r t h a n A s ia n . D e s p it e h e r c lo th e s b e in g

v o lu m in o u s , s h e h a s s e x a p p e a l b e c a u s e Q u it e a lo t o f h e r b o d y is e x p o s ed . G i v e h e r s e v e r a l f la m b o y a n t a c c e s s o r ie s .

M a k e s u r e o th e r i t e m s s he is w e a r in g a re c o -o rd in a te d w i t h t h is k in d o f e th n ic p a t t e rn e d g a rm e n t. O t h e r w is e i t w i l l l o o km e s s y . H e r b o d y is d ra w n w it h s m o o th l in e s s h o w in g h e r f e m in in e c o n to u r s . H e r t r a it i s a n k le - le n g th h a i r .

S h ad e u nd er th e fo ld s

a cro ss h er c he st to s ho w

th e th ic kn es s o f th e

mate r ia l .

S le n de r c o lla rb o ne s . In

th e v ie w fro m a bo ve ,

s ho w in g s om e c le av ag eg iv es h er s ex a pp ea l.

T he s ho uld er b la de lin e.

T ak e c a re to d ra w th e

h air s o th at it lo ok s s ofta nd in g oo d c on ditio n.

D ra w s tra nd s o f h air, n ot

- ju s t the ou tlin e .

M a tc hin g p atte rn o n th e

b ra c ele t a n d t he c lo th e s.

S e v e ra l s li g ht w r in k le s

a ro un d th e w a is t. T he fro nt o f th e d re ss is

o pe n q uite h ig h,

re ve alin g s om e o f th e

l in in g i ns id e .

W r i nk le s f ol low i ng

th e b od y c on to urs

fro m th e b u tto ck s

d ow n to th e th ig hs .

I

II

I

C o -o rd in a te th e s h oe s

w ith th e d re ss . S oft

fa bric s ho es a re b es t

s uite d to h er im a ge ./

/

F old s in th e m a te ria l

b elo w th e k ne e. In th ev ie w f rom above ,

d ra w o bliq ue lin es to

s ho w th e p os it io n o f

th e k ne es .



1 _ _ -

-I

_ I

I

i _ ' II

1 __

1

.,

I _

I



I

h e c o s tu m e is d ra w n in th e s ty le o f t h e V is u a l g e n re . P a y a tt e n t io n t o m i n u te d e ta il i n t h is c h a r a c te r ' s d re s s b e c au s e h e

is s ty lis h a n d fla sh y ( f o r e x a m p le , t h e fo u r b u t t o n s o n h is ja c k e t c u f f s , t h e f lo u n cy f r in g e , tw o e a r r in g s in o n e e a r , t h e

le a th e r s h o e s w it h a s l ig h t h e e l e tc . ) . T ie d b a c k a t t h e n ap e o f t h e n e c k , h is h a i r f lo w s v e ry lo n g d ow n h is b a c k .

S h or t h o riz o nta l lin e s a c ro ss

th e s ea m s m a ke th e ja ck et

l oo k t ig h tl y f it ti ng .

T he ja ck et b utto ne d a t

th e fro nt p ulls th em a te ria l fo rw a rd s w h ic h

g iv es r is e to lo ts o f

h o r iz o n t al w r i n k le s .

A b ac k s lit in th e [a ck et,

P ay a tte ntio n to th e

w rin kle s in th e p an ts . T he

tu rn -u ps o f th e p an ts a re

baggy .

f/

/

I

I

I

A p re ss ed c re as e d ow n th e fro nt o f th e

p an ts . T he re a re b ig w rin kle s a t th e k ne es

b ec au se th e p an ts a re m a de o ut o f s oft

m a te ria l a nd a re b ag gy .

N o d efin itio n o f th e c alv es .

L in e s in d ic a tin g th e g o od

q ua lit y o f t he le a th e r s h oe s .

T he tie is w o rn p ro pe rly .

N ev er w ea rs a b ow tie .

Ho r i zo n t a l w r i n kl e s

s ho win g th e p os itio n o f

th e w ais t. T he c oa t h as

a p in c h ed - in wa i st li ne .

L ik e a u nifo rm , th e s hir t

c uffs p ee p o ut o f th e

s le e ve s o f th e ja ck e t,

l o o ki n g soph is t ic a t ed .

I

On l y a s tr a ig h t, v e rt ic a l

p re s se d c re a se d o w n

th e fro nt o f h is p an ts

s in ce th e m a te ria l is s oft

b u t h e av y .

N e ve r e ve r s ho w s oc ks .

T he p an ts a re b ag gy

e no ug h to res t on theshoes .



•II· •. I I·

T h is c h a ra c t e r i s l iv ely , h e alth y a n d s e xu a lly a p pe alin g S h e is q u i t e lo u d w e a r in g t ig h t - f i t t i n g to rn je a n s a n d a

b ik in i t o p w i t h a t r a n s fe r l ip - s h a p e d ta tt o o o n h e r u p p e r a rm . D r a w h e r w i t h la rg e b re as ts a nd a p in ch ed -in w a is t.

H e r le g s a re s m o o th a nd s le n d e r f r o m h e r t h ig h s d ow n to h e r c a lv e s . S h e a ls o h a s s le n d e r a n k le s . H e r je a n s a re h ip s te rst h a t r e ve a l h e r n a v e l . S h e is s l ig h t o f b u i ld s o d ra w h e r e lb o w s , n e c k a n d c o l la rb o n e s m a ll . P a y a tt e n t io n to d e ta il s u c h a s

th e t ie s o f t h e b ik in i t o p .

G iv e s oftn es s to h er fu ll b re as ts .

,r,,,,

T he lin e a t th e b re as tb on e s ho w s

th e th in ne ss o f th e s kin b etw ee n

h e r b r ea s ts .

A lin e s ho w in g h er s ho uld er

m u s c le s . S le n de r s h ou ld e r b la d es .

D o n't lo rg et th e n ec k m u sc le s.

T he s to m ac h lin e s ho w s

h e r f em i n in e s o ft ne s s .

( A cu te nave l. )

A th in e lb ow b on e. T ak e

c are w h en d ra w in g th e

d ir ec tio n o f th e e lb o w s.

D on 't d ra w th e top 0 1 th e je an s a s a

s tra ig ht lin e. M a ke it c urv e a ro un d

th e c on to urs o f h er s to m ac h

T he s ea m s o f th e je an s a re d ra wn

ins rde t he o u tl in e .

,,

B o ld lin es fo r th e b utto ck s. D ra w th e

s pin e c urv e to w ard s th e b utto ck s.

W r in kle s b eh in d th e k ne es .

J T h e a n kl e b o ne .]

S he is th e a ctiv e ty pe s o h er s ho es

a re f la t s li p- e ns .

A lin e s ho win g th e s oft

s kin o f h er u nd era rm s .

D a rts u n de r t he b re a st s

a nd a t t he m id dle o f th e

... b ik in i top to show the

fu lln e ss o f h e r b re a st s.

T he lin e d ow n h er s id e

d oe sn 't jo in th e h ip lin e

b ut g oe s a litt le w ay

t ow a rd s th e s tom a ch .

W r in k le s i n th e j ea n s in d ic a tin g

a fla t s to m ac h. T ak e c are w h en

d ra w in g th e w rin kle s fro m

a bo ve a nd b elo w (S ee th e n ex t

p a ge ) b e ca u se t he y lo o k

d if fe re n t d e pe n din g o n th e

ang le .

T he te ars s ho uld c urv e

a ro un d h er th ig hs . T he ye x p re s s h e r l iv e li ne s s .

L in es s ho w in g th e

c on to ur o f th e k ne e in

t h e t ig h t- fi tt in g j ea n s .

H e r a n k le s a re th in s o

t he b o ne s a re v is ib le .



II -



I

r a w t h is l iv e ly jo k e r w i t h a ro ugh and casu al s ty le . H e h a s th in le g s w it h h is th ig h s a n d c a lv e s a b o u t t h e s a m e

th ic k n e s s . D r e s s h im in s im p l e , f i t t i n g c lo th e s w i t h o u t c om p l ic a t in g h is d re s s w i t h a c c e s s o r ie s . T h e s h o r t - s le e ve d T - s h ir t

n e x t t o h is s k in is th in n e r t h a n h is le a t h e r ja c k e t s o p u t lo ts o f w r in k le s in i t . Im a g in e h im as an ag ile , s len derShounen a lw a y s o n th e m o v e .

N o fa t, s o th e sk in is

T he lin e o n h is ch es t sh ow s tha t h equ ite tig ht o ve r th e

co l la rbone .is m u s cu la r d e sp it e h is th in n es s.

/

,,,, H e i s a young boy so

H is le ath er ja ck et is s ho rt a nd h is s ho uld ers a re n ot

s tr aig h t w it h f ew w rin k le s . b road .

H e h as m u sc ula r

a rm s s o d on 't d ra w

th em to o th in .

T ak e c are w h en

d ra w in g fro m a bo ve

a nd b elo w b ec au se th e

p o c ke ts l oo k d if fe re n t

d ep en din g o n th e

ang le .

,,

H e d oe sn 't w e ar a b elt.

B e a w are th at h is e lb ow s

a re s tic k in g o u t.

,\

H is b utto ck s d on 't s tic k o ut,\

\\ much . ,\ ,\

\\

\\,\

\

\

M a sc ulin e w ith a..." ------\

T he b ac k p oc ke ts a nd s id e\

s ea m s h av e d ou b le c le n c h ed f is t.\

\

\

\ st i tch ing.\

\

/,\

A z ip to a diu st th e ja ck et

s leeves . '1

rc urv ed o utlin e to s ho w th e

c a lf m u s c le s .



/

1



I

h e n y o u a re d ra w in g th is e th n ic d re s s , y o u m u s t c o n s id e r t h e to ta l d e s ig n o f t h e s h o e s , e a r r in g s a nd c lo th e s i f y o u w a n t

i t t o w o rk . Y o u m u s t h a v e h e r c o -o rd in a te d to s h ow th a t s h e c o m e s f r o m a v e ry d if f e re n t w o rld f r o m th a t o f t h e H e ro in e . If

a n y th in g , d ra w t h is t y p e o f c h a ra c te r a s g e n d e r n e u tr a l w i t h o u t e m p ha s iz in g h e r f e m in in it y . H e r d re s s m u s t b e d e s ig n e d toe n a b le l iv e ly m o v e m e n t .

S ea m s o n th e s ho uld ers .

S lig ht fu lln es s o f th e b re as ts

shown b y t he l in e s .

G iv e th ic kn es s to th e c uffs .

D o n't d efin e th e h ip lin e.

T he con tou rs w ou ld no t b eo bv io us b ec au se s he h as a

s m all b utto ck s c ov er ed b y

t h ic k c l ot h in g .

W r in kle s s ho w in g th e

c on to urs o f h er th ig hs .

E a rr in gs e xp re ss in g h er

f em i n in it y i n mo d e ra ti on .

A c ce ss or ie s a re o fte n

r ela te d to th e s to ry lin e.

T he la cin g a cro ss th e

~ che s t is an e ffec t ive w ay

to m a ke th e c lo th es lo ok

ethn ic .

T he top is m ade o f th ick

m a te ria l s o th ere a re

fe w w rin kle s in it

, R athe r than a be lt, it is a

s as h a ro un d h er w a is t.

F ro m th e s ho ela ce s a nd

s e am s , th e se lo ok lik e

h a nd -m a d e ta n le a th er

shoes .



\/I

- I

I



Y o u h a v e to t r y a n d m a k e c o s tu m e lo o k r e a l w h en th e c h a r a c te r w ea rs s uc h a c om p le x o rig in al d es ig n t h a t y o u

c a n ' t b u y o n th e s t r e e t s , T h is c h a r a c te r is q u i t e m u s c u la r s o w h e n h e w e a r s s o m e th in g m a d e o u t o f t h in m a te ria l t h e r e w il l

b e w r in k le s s h o w in g h is m u s c u la r d e f in it i o n , H e h a s a l i v e ly p e r s o n a li t y a n d m u s t b e a b le t o m o v e f r e e ly in t h e c lo th e s ,S o s im u la te h o w h is c lo t h e s w o u ld fe e l b y a s k in g q u e s t io n s s u c h a s " W i l l h e b e a b le t o m o ve i f I t ie i t h e r e ? " a n d t r y in g i t

o u t y o u r s e lf . W i t h t h e s a sh a n d la ce s , m a k e s u re y o u d ra w th e w h o le th in g p ro p e rl y f r o m th e k n o t t o t h e e n d s , I f y o u m a k e

th e e n d s s o s h o r t t h a t h e w o u ld n ' t b e a b le t o d o th em u p , y o u lo se th e r e a l is m o f t h e c h a r a c te r.

I

D o n ot m is ta ke th is a s th e

k n ee s s tic ki ng o u t.

I ns te a d , t he s e a re f ol ds

c re ate d b y th e s la ck ne ss o f

th e p an ts . D ra w s ev era l.: w rin k le s show ing the

/,/ th inness o f t he fab ric .

/

S h ow th e m u sc ula r

d e fin it io n o f th e c a lv e s.

B ut, re me m be r h e is o nly

-------1- a b oy s o d on 't m ake th em

to o m u s cu la r, G a it er s a re

tie d tig htly w ith la ce s s o

d o n't d ra w to o man y

w rin k le s b e ca u se it w o uld

m a ke th em lo ok lo os e,

H is s h ou ld e rs a re w id e r,

tha n th ose o f T ype B . T he

s h ou ld e rs a re n 't s lo p ed .

W r in kle s s ho w in g th e

I c on to urs o f th e s ho uld er

" b lades ,

-, T he seam s a t the

fron t a nd ba ck a re no t

s tr aig h t b e ca u se o f

th e th in m a te ria l,,",,,,,, W rin kle s s ho win g the

p in c h ed - in w a is t.

T he ta n le ath er s ho es

a re tie d a t th e a nk le s,

D o n't m a ke th e a nk le s

to o s l im ,

A J a p an e s e -s ty le j ac k e t.

_ D on 't ha ve it tig htly c lo se d

a c ro s s th e c h es t ( be c au s e

h e m o ve s a lo t). S tro ng

lin e s fo r th e c o lla rb o ne s .

~ The w ais t is no t na rrow , J

T he h an ds a re c ov ere d.

W a tc h p erio d d ra m as to

/ s tudy th is k ind o f covering .



( I I

\1r



I

I

S im p le T yp e B /G ir l

" '

S h e is o ft e n u s e d in G a k u e n s to rie s s o y o u u su a l l y s e e h e r in a u n i f o rm . I t i s b e s t t o p ra c t ic e d ra w in g th e s e ve ra l

v a r ie t ie s o f u n i f o r m s . T h e b la z e r i s m o r e fa s h io n a b le t h a n t h e s a i lo r s u i t a t t h e m o m e n t. I t i s s a f e r t o a v o id c e r t a in f a d s

s u ch a s lo o s e s o ck s b e c a u s e t h e y w i l l g o o u t o f f a sh io n to o q u ic k ly . S h e is a S h o io , t h in a n d s l ig h t o f f r a m e .

\~ I

I

S h e h a s e x ag g era te d

n arro w s ho uld ers . A th in

n e ck . S h e h a s tr imm i ng

a ro un d th e c olla r m a kin g

th e ja ck et lo ok lik e p art o f

a u n if orm .

F ac e o n th ere is a lm o st n o

d e fin it io n o f h e r b re a st s.

D o n't fo rg et th e

.> d e co ra t iv e b u tt on s .

S he is a young g ir l so it is

b es t to h ave n o h ip

con tours .

T he lin e s ho ws th e k ne e

s tic k in g o u t.

W h ite c uffs p ee p o u t o f th e

b la z e r s le e v e empha s iz in g

t he u n if o rm ' s c le a n li ne s s .

S he is a s tud en t so sh e is w earin g

l oa fe r s ( le a th e r s h o e s) .

I----

I

,

,,,

C h ec k o ut th e re al th in g

b e fo re a tt em p tin g to

d ra w su ch ite ms a s th e

r ibbon .

T h e ja c ke t is c lo s e fit tin g

to e m ph as iz e h er

s le n de rn e ss . D ra w th e

, ja cke t bu ttoned up and

i nc lu d e t h e b u tt on h o le s

too .

T he s ta nd ard u nifo rm is

a p le ate d s kir t. D ra w it

shor t .

H e r th ig hs a re a lm o st

- s tra ig ht lin es an d a bou t

th e s am e th ic kn es s a s th e

c a lv e s. H e r le g s a re re a lly

lo ng . D ra w th e h eig ht o f

th e b od y 7 .5-8 tim e s th e

le ng th o f th e h ea d.

I

A lm o st n o m u sc ula r

d e fin it io n o n t he c a lv e s.

T he s oc ks c om e h alf w ay

_ up he r c a lves . T hey a re

wh i te .

I

I_---II

How to Draw Manga - Anime and Game Characters Volume 1

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Transcript of How to Draw Manga - Anime and Game Characters Volume 1