HOW TO DRAW Vol.5 Sketching PropsContents eoecocoo5e The Elliptical World of Manga. If You Can Draw a Mug, You Can Draw Anything! There Are Fixed Rules Guiding How an Object Appears. Chapter 1: The Basics in Drawing Characters and Props. 15 Capturing Objects Using Circles, Triangles, and Squares. sn — re ‘The Angle of Perspective Is the Key to Compositing Objects / The Basic Rules of Eipses Drawing Elipses: How to Use a Template : ee 20 Drawing a Can Hatching... 26 Using Light and Shadow to Suggest Three-Dimensionalty / Ligt-and-Snadaw Produced "Light, Medium, and Dark Shades" / Portraying Texture Chapter 2: Letting the Props Narrate about the Character. 31 What is Meant by "Props Narrating about a Character" 32 Building a Character from Solid Stapes The Head... soon Eyeglasses / Goggles / Headbands and Other Headpieces: Wraparound Headpieces / Hats / Heimets / Headphones Props That Tell about the Arms, Legs, and Body 60 ‘The Basics of Clothing / Belts and Buckles / Suspenders ‘Arms and Hands 68 Wristwatches / Celi Phones / Bags” Footwear 82 The Slipper Is the Most Basic Shoe / Common Footwear That Tells about a Character Chapter 3: Letting Props Narrate a Scene ” 7 ss os - 87 What Is Meant by "Props Narrating @ Scene"? 88 Sketching Characters Drinking 0 Drinking Glasses / Holding a Glass / Mugs / Coffee Cups and Teacups / Yunomi/ Kyusu and Dobin / Stemware / Plastic Bottles and Beer Bottles ‘Making Props Look Authentic. os o 114 Composing Cooking, Eating, and Dining SoeNES ..0.nmnnn or « 116 Pots and Pans / At the Table / Serving Food / Desserts Activity Scenes 132 Tennis Racquets / Shinai Bamboo Swords) / Guitars / Taiko (Traditional Large Drums) Stepping Out. _ : es . 140 Umbrellas / Bicycies / Motoreycies / Scooters / Cars Chapter 4: Spicing up a Scene with Weapons 163 Weapons That Narrate a Setting. - v - 164 ‘Sketching Swords and Blades “ ‘ “ 7 166 Japanese Swords / How to Draw a Hand Gripping 7 Stafis and ‘Spears Bows, Arrows, and Weapons with Chains 174 Bows and Arrows / Weapons with Chains Firearms 178 Handguns / Shotgun / Fully Automatic Rifles ("Machine Guns") Echoing Elipses. 192 ‘The Myriad Props of Manga Characters..0.0. cranes a : . 194 eeoeeovecccsThe Elliptical World of Manga Oks DD ee z SS Ye PP)The Secret to Drawing Appealing Composition Lies in Circles (Curves) ‘Manga in addition to book and magazine illustrations are full of circles. The spaces people inhabit in their daily existences come abounding with round objects and rounded corners.If You Can Draw a Mug, You Can Draw Anything! Round objects visually become ellipses. This is best represented by the all-familiar drinking mug. A handle-less mug constitutes the base form of all “elliptical objects" and curves. This includes the portrayal of spaces, solid objects created using ellipses, and of thicknesses and volumes formed using combinations of ellipses. (CA pun on “yunom:" or @ handl-ess mug, which is the cup picture, and “nomi” hich refers to fishing with a cormorant) Yunomi (CA handle-less mug used to drink hot tea) Tray witha wine bottle, wineglass, and bow!(s 7 >) From Fashion to Personal Effects and Weapons—Character Props Chapter 1: From Two to Three Dimensions This book focuses on personal effects or objects that surround a character, particularly targeting | objects located below eye level. (Objects above eye level constitute the background or setting) { sine geoneic sages» |. idk. Both circles and ellipses sold objects and elipses. /< ((°- @))\ are to-do /y Dp Ae inde open tree. Simenoral wer an tise ose tortay Ts us secion Basic cre, triangle, and square finder (tube), cone, and rectangular Break up complex solids into simple solid solids are the base form of almost any forms to make drawing them easier a object. 2 = CChapter 2 covers how to draw “Chapter 4 discusses how to draw items personal effects that round out | ~ that primarily appear in action scenes ‘a character's sense of | Chapter 3 covers props.» || and which entance the worl you are attempting to create, such as swords or presence, ike glasses, hats, used to portray daily \ guns, ee ‘shoes, and bags. / | scenes, such as small . / items lke cups and trays 0 large items lke bicycles.There Are Fixed Rules Guiding How an 1. Dividing the Composition into a World Above and a World Below {An object's shadow changes according to the angle at which itis seen or the type of lens used to capture it. Looking up: The world above Looking down: The word below / \ Above \ Eye level \ Below \ HA it wi 4 \ \ EN Cree i rhb dagreah-ortaredniiarngachio al \\ surface is obscured from view. The top of objects below eye level is - visible, Most objects drawn witha character fall into one of those two categories. (When drawing the background, establish where eye level is \, located and divide the background into a world above and a word below.)Object Appears Lea ne ‘The cup's bottom Tz is visible. Objects located in the world above are seen from a *worm's eye" or “low angle" perspective, The above shows a teacup In perfect profi. We rarely encounter this wew in ether ‘eal ite or artwork However, you should have arm grasp oan object's proti inorder to capture its orm when (raving, The top ofthe cup is visible XN Objects located in the world below are seen from a "bird's eye" or “high angle perspective. This is how ‘our now familiar teacup appears. Position the character's face or chest at eye level to pull the reader's eye to him or her, thereby showing off the character. When composing a figure inthis manner (particularly wien positioning the face at eye level), all body parts etc. below the face fall into the world below and shoul, therefore, be drawn from a high angle.2. Using a Standard Solid In this book, we refer to solid objects not drawn in perspective as “standard solids." Artists often draw objects held in the hand or dishes resting on a table as reference objects and use them in compositions where they do not intend to emphasize the perspective. Standard Solid Standard solids are not drawn in perspective. Sides that face each other may be drawn parallel to one another, so the objects appear to be solids, even though they are not in perspective. oy ‘The cup held by the git isnot drawn in perspective Objects naturally seen from above or automobiles drawn ata distance are rendered as standard solids. Drawing Ellipses draw an ellipse using a central axis and a straight, vertical ine Viewing an elipse from various angles makes it obvious that the elipse is distorted, Rotate your paper when drawing ellipses. @Estadish the @ Draw a vertical ® Sketch a layout of an @ Clean up the elipse so central axis ofan line intersecting the ellipse around this central_that its symmetrical from abject. central axis. paint. top to bottom and side to sie. 103. Capturing Objects in Perspective This book refers to solid objects drawn in perspective as "objects in perspective." Artists use objects in perspective to create impact like that found in photographs taken with a wide-angle lens. ‘Object in Perspective Objects in perspective are drawn with an exaggerated sense of perspective to accentuate a three-dimensional feel. Objects are typically drawn in one-point perspective. ‘Actual size whe baseball bats come in varius ses, draw one wth a length and with that fit the character's image Inthe wide-angle ens style figure above, the ‘sense of perspective is heightened, and forms are likewise exaggerated Ret. When portrayed from a distance, the figure is drawn as a standard solid, nd no sense of perspective is emphasized. A ‘igure lke this would typically appear in an expostional scene Using a square as a guide winen drawing a circle will give you a clean, freehand circle. However, there are Draw elipses using a central axis and a vertical line wen portraying both standard objects and objects in perspective. Objects in Perspective and Ellipses Standard object Object drawn in perspective problems with this technique. Elipses Use one-point Arawa in perspective for the same the sidelines. perspective The bottom It you use a cube to draw an elipse in this enn eae, ellipse should ‘manner, you will end up with a distorted should be rounder i be rounder than ellipse, This technique can not be used for an the top. the top. ellipses. "This is a typical technique used to give Drawing a Corridor Using One-Point Perspective impact to a key composition. © Create a Sense of Depth Using Large and Small-scaled Objects Ay ‘Actual size WW ‘Make objects close to the picture plane large. | f and stant obects smal Tis ges he { Use he fiue's head as ‘composition’s center a sense of depth. reference when drawing the | 1 ra vee rN | amaimeeraeth ), (create a sense of depth \ Even though this J | Soomustinow tr epete | oneat4 ew object actually is. drawn at alow \ angle, itis stil not in £- perspective Fount canon tt nd, (( ‘ttn soc ay [ swtennat mis even a} cement org sr \ \ owes comes into play. /© Using Depth to Create Impact High Angle, Wide Lens Rendition ‘This portrayal emphasizes a sense of weight and luxury inthe ca. Simulated two-point perspective 's used to accentuate the sense of pth and breadth. The addition of speed lines creates a sense of movement Making an ect held out or pointed ‘toward the picture plane large gives ‘the composition impact. This technique Is used in scenes where fists, guns oF swords are thrust forward, ‘Tne above is drawn from a maderate low angle as it ‘scene through a wide-angle lens. This imbues objects ‘moving toward the picture plane wit a sense of speed and power4 ‘Artwork and Production: Production Assistant Productn Suppar Cover Artwork Cover Design: Layout and Text: keto Assistance: (tn random order) Kazuaki Morita, KawaraYane, Itch, Akira Kato, "Naomi Toya, Koya Nozawa, Izumi Midorkawa, Hirosuke Terama, Yo Hinara, Junko Takahashi, Kou Kizaki, Shirokuro Yuk, Arue Nina, Wataru Hisatomi, ASK, Izumi Yukno, Kyoya Uzuki, Kanata, Hajime Tsuzuki, Yuki Namiki, Rima Ayatsuki, Hiroshi Nishiuch Siny tsuki Murakumo, Yuzuri Azusa, Miharu Kawa, Rika Hoshino, Sakura Mugen, Yu Shinozaki, Marco, Minami Oyaizu, (0219 (Zeroni Juku), Shichi, Gaku, Sakaki, Takuya Shino, Kiakira Shir, Ryo Ktakami, and Hikaru Hayashi Mino Hamada Hideko Miyamoto Kazuaki Morita ‘Shigo Yamaguchi Design tice Hikaru Hayashi (Go office) Motofumi Nakanishi (Graphic-sha) (in random order) Logistics Inc. Team Til Dawn, and the Manga ‘and Animation Department of Nippon Engineering CollegeChapter 1 The Basics in D awinBefore making yourself aware from the start of the Capturing Objects Using Circles, object as a three-dimensional solid, try to capture its Triangles, and Squares basic form using simple geometric shapes. ——————— Circle: A circle can represent a tabletop or a dish. also constitutes the base form of an elipe. “Tangle: triangle can represent a cup ora piastc bottle. =~ Square: A square (or rectangle) can represent a handbag, a cel phone, oc other similarly shaped object. ‘Atuman figure can also be expressed as a combination of circles and squares.Using Circles, Triangles, and Squares to Capture a Composition Glasses NY Te to tenses are captured asa unit Hand represented witha rectangle yr . Thelenses and the rame {| can be grouped together and : represeried using a block ce Cental axis z ey I, Lh Gets, squares, and rectangles can be used to capture the AW; basic forms ofthe remaining objects around the human J J fgue. The up's right andi sides Layout captured as a must have uniform sopes. standard solid Imagine the cup asa tangle Cell Phones, Bags ‘As is obvious ata glance, cellphones are basicaly rectangular in form. Rounding the comers makes the cell phone appear ‘authentically mechanical Elipses: A circle becomes an ellipse ‘when viewed from an oblique ange To draw a bag, start with a standard sold Do not be overy concemed with perspective {Le diagonal ines indicating depth), Circles with de-emphasized perspectives postioned on a tabletop just appear diferent in size, Draw all as ellipses positioned atthe same 7Being aware of the angle of The Angle of Perspective Is the Key to Compositing Objects perspective allows you to draw triangles, rectangles, and squares as solids. ‘Shapes in Profile \, MAP an aca. these shapes wos on never ook ke is ures you saw them om a seat stance ce ere viewing tem trough @ teescai ns. OC). a a Looking Up—Low Angle Ge Ks Looking Down—High Angle Cylinder ~ Box or Block Top ‘Adding shadow to itis difficult to draw clearly detineated sides on a Boxes have clearly delineated circle creates a ‘cane ora cylinder. Render them from a high or low sides, making them easy to sphere. ‘angle to show them as solids. render as solids. / st tte ooeets ve (SS /hos ye, you wit fd | fi os ‘surprisingly frequent) ( feaincusirunéngs ) |S cinerea) aromas om fom 8 ) \ high angie. 1830° Object viewed from 2, irecty overhead C) CEllipse Template ) Ellipse Template ) ‘There are templates with elipses rom common angles (25%, 35°, 45°, 60°, There are also templates with elses ranging trom 5° to 15°. When drawing manga, first sketch the ‘composition under drawing in pencil an then 90 overt wth technical pen. 60° ‘oy. a moderately high position Ellipse Template ‘Ata distance Objects that appear to be circles when seen from directly overhead —for example, cups—will appear elliptical when viewed from an angle. ) << ‘Seen from directly overhead ‘The lengths are virally identical {rom top to bottom and side to side, 45° from a common - SLA). ja seen tom 0s, Theat vowed a. standing position << ‘Seen from an oblique angle ‘The object has shortened trom top to bottom, turning it into an elise, Fyn POT (yf The onject viewed {tom an extremely NS low position ‘The lower the position, the more the circle appears squashed ‘and flattened out, ‘Ata greater distance Even though the second figure is standing, the distance from the desk causes her to view the cicce from the same 25° angle 2s the crouched figure. Atigure standing even farther from the desk causes the circle to become an even more flattened elipse (10° to 15°), 18 19Drawing Ellipses How to use a Template Drawing a Can A. Capturing the Form ) &5 Foughiy sketch the ellipse. © Sketch a rectangle to match the elipse's desired shape and then sketch the elipses layout within the rectangle. Draw a horizontal ine that indicates the can’s approximate height 20 5) Draw a horizontal ne indicating the center ofthe can's top. ‘The techniques for drawing curves for the top or bottom of a can are the same as those for a cup, plate, or car wheel. Here, we examine the steps in drawing a can to learn how to use a template. Centertne dividing the ellipse vertically Centering vii the ellipse horizontally Draw two tines approximately establishing the elipses vertical and horizontal centers. _-This means a ctcle seen from a 25° angle. ela Use the shor lines of tothe side The vertical to align the vertical and horizontal ang horizontal centers centerines intersect, ata 90° angle. ) Sketch a layout of the can's sides @ Draw a vertical centerine that is paral tothe layout's side @ Draw the elise representing the can's bottom,(2. Drawing the Top Ellipse) Template elipses rarely perectly match the image you have in your ‘mind, Select an elipse whose height > Lay the template in the Caretuly align the template tothe and width most closely match your target position. Lay the paper so that it lies perpencicular tothe image. template inthe target position, ‘composition TO ae grnrg @ Firmly hold down the template so that it does not sip around, @ Eelipses have two sharp curves on each side, Start drawing the long, gentle curves fis © Draw caretuly to prevent the template from shifting © This shows the finished top ofthe can. a(3. Drawing the Bottom Ellipse _) } Once again lay the template in the target position forthe top ellipse and Draw a straight line to connect the top 3) Match the horzontal centerline tothe vertical centerine, raw points atthe top and bottom af the and bottom points, This consttutes the can's Select the same-sized elias from the template. ellpse's center. vertical centerine. ( — \i7 a z \ © Lightly sketch inthe remainder ofthe elipse to & aD create a three-cimensional object. The front curve is touching a base, so use thicker strokes. © Only the front, center ofthe bottom elipse 6) This shows the finished top and bottom will be visible, so draw the elipse from the ellipses horizontal centerine, G. Drawing a Cylinder > > Caretuly raw the line so thatthe ellipse and the can's side are not of. Carefully ‘connect the elipse and the side, while checking to make sure you do not leave a gap and to make sute they touch correc ® Draw line from the tp of the elipse. You may use the template's side @ This shows the finished as a straightedge instead ofa ruler conlinder, which is the can's basic shape. 2(GB. Adding the Rim) When drawing the smal ellipse, aligning its horizontal centerline with that ofthe frst ellipse will have a fattening effec. Horizontal centertine of the fst elise Correct fhe istelinse ——j— Y Use an elipse thats Draw the smaller elipse ‘lightly smaller than 0 that i is shifted slightly f the gaps lying tothe right Draw a smaller elipse just inside the fist ellipse. the frst elpse forward from the first. and left seem too wide Do not shift the vertical then shift the template centerine, around closer to the frst Shift the template horizontally about ellipses sides as you craw 4 milimete, the second elipse Shift the template about two hit the milimeters. template downward, Start by drawing the back rim. Keep a slight @ Shit the template slighty @ Position the template so that gp between the second and first elise. You will downward and draw the curved sides the foreground inner curve will be need to alter the ellipses size, Start by drawing 0 that the ellipse that it connect closer to its corresponding outer the upper halt. cleanly withthe rim curve. curve than the two far curves @ Adjust the curves so that they connect smoothly In order to give the rim of @ cup or can the ilusion of volume, adhere exactly tothe template when drawing ony the outer elipse, Draw detailed or short curves ofthe inner elipse using freehand in order to create a sense of thickness, 23(Adding Thickness to the Rim) “This line gives the rim its width and Estabishthe i's height so that the _eight. The rear im should be wider than backroom shiner than the front the potion cose tothe picture plane. \ The rim's side ying toward the picture piane should be thicker than the > Draw a freehand curve as guide far side ‘to give thickness to te rim. ‘These marks indicate where @ vertical line les on the original circle. allows you to determine the angle at which te elipse tits, “Use the tempat as oo for ‘raving clean nes wie you ‘starch forthe curve that best ‘sits your image Adjust the two ends of the curve freehand When drawing a close-up, look for a curve on the template that best matches this area and 3 Establish an angle that matches the mage in yur mind and raw a curve that leat indicates the eight an with ofthe rear im @ Tithe template and look for a curve that ‘matches the image in your mind's eye use that (7. Cleaning up the Sides ) < <> Having the rim jut fut too much wil throw off the can's proportioning, so take care when aligning the T template ‘Clean up the sides, erasing any sketched, @ The can's rim juts out just barely futher @ Hold the tempiate down so that it tentative lines. than its sides, 0 bring the template in will not slip and draw the line using a single stroke. sight. 24@ Follow the same process for the can's other sie. Clean up the lines freehand, as you did for the top rim, (®B. Adding the Bottom Rim to Finish ) 1d an inner curve that matches the outer curve. Above, the artist 's using an ellipse that is one size smaller than the firs elipse used ® Connect the tne to the rim so that no ps form. Carefully ad the portion ofthe rim that juts out Tip Use thicker strokes for the portion touching the base, This allows you to portray the can's shadow, caused by the rounded rim. Adding thick lines like this imbue objects with stability. ) Sketch a layout ofthe bottom rim, adding thickness. @ Final mage 2526 ; ‘wo vital elements in portraying objects are suggesting Hatching three-dimensionality and suggesting texture. Let us look at ————s using hatching to suggest these two elements The presence of light is key to Using Light and Shadow to Suggest Three-Dimensionality suggesting three-dimensionaly, The play between light and shadow allows Objects you to create a sense of solidness. Light source = Shadow rest rom the 2 presence of light. The positon of . ‘the lighting is called the “light /) source." Shadow occur onthe | side opposite te ight source When it tight is present, objects melt nto When light is present, a strong contrast Shadow becomes dark when a strong shadow and do not have a strong sense of develops between ight and dark areas, light source is present. Here, white is three-cimensionaly. ‘evoking a lok of three-dimensionalty used to portray the area light touches. Characters ‘Without the presence of a set ight source, there are ‘Alame fares up on our git’ fingerti. Now shadows no shadows, appear, and she looks three-dimensional Ret.: Mountains ~ Even ifthe light source does not physically appear in the composition, ‘applying shadows in a fixed manner indicates to the viewer wire light and the light source are located. Tis is known as “establishing a light source." A ve Ly LZ ‘light source is located inthe upper lef. Aight source is located in the upper right.| Light-and-Shadow Produced "Light, Medium, and Dark Shades" | ‘The contrast between light and dark causes objects and figures to look three-dimensional "Medium" shades occurs between "light" and “dark” shades and allows for enhanced ‘The above shows a weak Coase igh and Dare) (Basic Light and Dark) three-dimensional portrayal and richer suggestion of texture, Light shadow sugests Light Weak ight source the primary shade is grey Dark ‘The contrast of light and dark cause the circle to look tke a sphere. Dark shadow suggests a strong light source (the primary shade is black Why Light, Medium, and Dark Shades Develop — my gy ASS AQ ‘Medium’. A NI B.S orga caer” YB SL crea eon Dark (ase Tone) Dark (Shadow) ‘* Three-Dimensionality through the Interplay of Light, Medium, and Dark Shades Light, Medium, Dark ‘Simpitication an Gradation Correct We perceive that this box has, three sides owing tothe ight, medium, and dark shades. ‘The above shows only light and dark shades, Light Medium Dark Medium light-and-dark contrast, which yields a soft, gentle atmosphere. \ ~ te A! When the light-and-dark contrast i strong, the sense of three-timensionaity becomes heightened, resulting in a cold, hard image. Using light, medium, and dark shades on a human figure projects a gente impression ‘Interplay of Light, Medium, and Dark Shades ‘The "medium" shade appearing after the ‘sequence of “ight,” “medium,” and "dark" ‘suggests reflected light. t enhances the ‘sense of three-cimensionaly,5 Suggestion of texture is essential to drawing Portraying Texture a character with props. Hatching suggests soft hair. Hatching, such as the straight strokes appearing on the can, appears on other objects as well to suggest texture.Collar (Thick fabric) Use primarily diagonal stokes Glass Champagne Flute Use primarily straight: “\ black enter rate a iprant dot omrat Cnr ay so Bre diners Theor shows ¢ross-hatcing | Black Leather Skirt Knife Handle Since the sit is the same material as Omitting any areas of white the brassiere, cross-hatching is again suggests a material with a the prominent form of shading. Her matte finish ‘wristband is also the same material however, since itis clinical, primarily straight strokes were used to portray light, medium, and dark shades. istinguishing Use of Hatching According to Materials and Their Textures ) Incorporate hatching using short stokes as / wel Cargo Pocket (Same fabri asthe colar Use thicker strokes for the button’s shading to give it athree- ‘dimensional look Regular vertical and horizontal strokes produce hatching that Creates an inorganic, hard texture, Wood Grain Hatching was used to create the ilusion of wood grain 2930 Materials Observation and Analysis The light from the source passes: ‘The white table is through the Reflected light source reflected, causing 91888, electing Ceitng this portion ofthe the shape of thes sphere to become light source vate This isthe This is the tabletop. The reflected table is white and has nothing on it. Te ght Thespesia na emit ees transparent bela reflects back Sete, the roses against the ty 0 Com ‘through the sie, akng DMS tee a this ik «= i te sper ots) state sree Saale (poedom Gas Sper eto The region touched by light is not The sphere's surroundings are totally reflected on the sphere’s The light source is small "derneat visualy distinct. The light-dark onthe sphere’ surface, Draw in back tte lower surface. and ound foms ace conta somevat cl ceiing, pope and ater abject on the of ght within a shaw on spheres surface This sphere has asap the sphere’ opposes. ‘The profile contour is a thn line that jight-o-dark contrast. ‘wraps around from the sphere's opposite side — Light and medium shades of CCrosshatching and sold black accentuates Fine strokes sugges ight passing crosshatching produce the look ofa the contrast of light and dark. The black through the sphere. light materia. produces the heaviness of metal (Ref. How Differences in the Light Source Affect the Material's Appearance ) ‘The profile contour and the light-o-dark contrast changes, depending on where the light source is lacated, ts shape, and its intensity. Indoor Light Located Directly Above Is Sole Source ‘Natural Light from Window Is Sole Source (High Angle) _- Backlighting causes this human figure to appear back. Table's edge The table has nothing on it. The ‘weak light source causes the table to appear ary, ‘The portion of the sphere This fuzzy circular The distant, weak light ‘Sphere's shadow touching the table shadow indicates a source produced this dim appears black. Weak light source. light reflection. — The window's shape is ~ Table's edge — The reflected cling appears tobe a shadow.Chapter 2 Letting the Props Narrate about the CharacterWhat Is Meant by "Props Narrating about a Character" A single pair of glasses can alter a character's impression. Shoes, bags, hats and other props alltel the reader more about a character's personality and lifestyle than words.Building a Character from Solid Shapes Head: Sphere Face: Flat i ° “UG ‘Neck: Cylinde & GZ A Toso and hes: ck Chest Sphere a sphere) 1? f Backside and hips: Sphere . \ x Z rowing ) : / a} f a 9 ) g re 4 if [ / widening cylinders axe) £ L/ Positioning a joint in ioe fj, Barman LL easier caw. 1 er GF sae 0 Hand ae fogs: satin te pal Ne Feet: Tangle, - circle, and rectangle \ Blocks and cylinders ~~ \ and fingers.The Head Capturing the depth and roundness of the head is vital to drawing other ace worn o ne iieving (1) Vertical and Horizontal Centerline: Use a Circle and X Layout fire Dimensional (>) Head Depth: Use the Face(A_Look at the Parts of the Face and Head_ sect th rece —— — i + otread \ 1 Puy noting 5 =< | saint come . ' Ser Facil feature lines The head consists of the face plus a spherical base. Since the neck is a cylinder, the connections between the head and torso tothe neck form circles. This shows the hair Using curved strokes, maintaining ‘awareness ofthe head's curved surface allows you to create a sense of volume \ using solely the hai.Nose pad: This partis ‘typically omited © Tip 1: Be certain that the glasses proportionally match the face ‘when composing them. _ The glasses should flare out atthe temples. The temple tip sips around the eat ‘The rims should be as wide as the face, 36 Glasses are such a popular accessory in manga that there is Frame (The front of even a type of character known in Japanese as a "meganekko,” the frame is called roe) which is a non-derogatory word referring to a young character who wears glasses. Make certain that you have established where the eyes and ears are positioned when drawing glasses. / The tick here i to draw the lasses asa standard sold | \ ater than actualy tofotow |, the rules of perspective.The horizontal centering serves asa guide fr positioning the eyes, Sketching Steps i \ @® Sketch the \ @D Sketeh the \ fims' layout as @ head, block. Z \ /~ Establish the rims! height according to hat you pictured in your mind's eye. Using the comer of an eraser, erase a narrow area following the rim’s curve. ‘@® Draw the glasses while adding in the @ Carefully add the details to finish. Make sure that eyes and nose, the right and left sides of the rims and temples match in thickness Basic Points on Eyeglass Part Shapes °° me U { v f__ ‘um attaches any Sy tobotom of ens Honig Lowe ~ a = ¢ Full rim (Rim wv were SY LJ sures en NIV) ster sparen pe < wy frames; although, oer materials are used as well Cut, ed ames are made ot plastic 7You must dramatize the hands touching the glasses. Pay careful attention to how the fingers bend. When drawing the act of iting gasses, make sure \, thatthe temple tips )\ stay on the ears This is a ificut J teat actualy to perform in real ite Liting glasses: ‘This pose could be used for manga or ‘a magazine or book iMustration When drawing a character removing glasses, Use a high angle and have the character look down. The above drawing shows a iow bridge, 0 the boy grasps the frame by the hinge (intentionally drawn in |, perspective to preserve my expression. ‘This character is pushing up \, her glasses withthe inside of \ her fingertips. The act has a ) reserved ait Draw the fingers ‘touching the frame. Making the hands smalish projects @ feminine atmosphere. ( Te act of gasping the frames wt the Mer ian ‘ afectaton mento iin, Be sre to make the tan bi 38Adding Hands This characteris pushing up his glasses with his middle finger. While the act serves to adjust ‘The above could be used to suggest a character puting on glasses, removing them, or adjusting the glasses’ positon. The ring finger typically benes in conjunction the glasses, placing the hand infront ofthe face with the middle finger. However, adjusting the point of functions to create an intimidating air o heightens view allows the artist to show movement the character's presence. Portraying Characters in Glasses (Eyeglasses Effects) Rectangular lenses suggest an honest, upright character. ‘These goggle-stye frames have tal lenses. Frames lke these typically come colored or are }) used as sunglasses. The eyes are obscured to ‘people looking directly at the wearer, making this jj | style suited to creating a suspicious atmosphere, These glasses have oval lenses. The temples attach tothe hese are simply rendered, rund frames. Project a ‘ims’ bottoms, projecting a gentle impression. Ths look works characte’ personality by adcng simple eyes for & ‘wel with bishonen iterally "beatiul boy’) style character. regular character or omit the eyes to create a geek.Goggles are an advanced application of glasses. Instead of flat lenses, draw boxy or tubular lenses onto a headband. The above shows a rough sketch capturing the shape. The depth ‘and width of the frontpiece are generally estabished {uty the font pee’ dept, the band's with, and whee attaches whether ataches toward the ot pace's centr, top, or bottom). This centerine /— Sto a band to funetons asa guide for functen a layout determining te band's ue ote font pice placement, This functions as a (uide for aligning the lenses' lower This shows a layout ends. ofthe headband, ‘Show the headband ee ‘wrapping around the ‘trap buckle head, forming a lop. Sketching Tips Capturing the Front Piece's Form Capturing the Lenses’ Width NX lens centerline Trapezoid ~ Part that | touches the Lens height } ‘face (back) (ron Front piece ‘The above sketch opt Eq. Swimming Goggles establishes the headbvand's width 40© Sketch a headband-stye layout establishing the goggles’ wn, > ‘The same applies to lenses laying at att orto round lenses,~Eachinn Arreeenry Goggles as a Fashion Accessory / Z vine wom atappoxiatey 7, 30°, the goggles just touch 7 the eyebrows. The goggles qf ie close tothe eyes, making LS S ita practical way of wearing p> them fo When worn at approximately 45°, the goggles le over the forehead. Tis isthe most ‘common way to fashionably This characteris wearing her ‘goggles at approximately 60° Rather than being practical or fashionable, an artist would choose this style of wearing ‘ogg to reflect the character's individuality. Ths style also works effectively wth magazine rook ilustations.These are fashion accessories that reflect the head's curved surface. These are rendered using curves that Cloth Headbands originate from ellipses. ~ Headbands and Other Headpieces: Wraparound Headpieces (When drawing accessories fr the head, be sure that you cortectly position the head's crown (the head a ‘top/center) and the ears. Xn ‘The headband is a swath of cloth that stretches and contacts. At ) | Front view: The headband takes Profile: The headband takes a ‘moderate downward curve. moderate upward curve. The curve changes crectns at is i point (it changes into the face line) Head's crown A Head's horizontal \ Face line centetine ( 3/4 view: Upward curve High angle: Downward curve Low angle: Upward curve To the right isa retin recta 7” stitfer fabric. To suggest 7 a si fabric, use straight lines to create a curve constructed of angles This shows a headband made of supple fabric. The headband follows the head's curved surtace, b/ ~ iY 44The hachimaki tapers toward The wicth does 4a aA 1 the knot / Hachimaki (Narrow stp of cloth worn around the head and ted atthe back) Use the face line as a guide to adjust the with, Face line | The hachmaki touches theca '* Sketching Tips Te curve of the hea’ se —— Ons 22MIN. Ore pass feces eo foe J, Waive uide ® Add the hachimaki ater first establishing the volume of the hai. The curve ofthe forehead Daler shtching We layout 26d the forms a gentle arc that lies virtually parallel to the (1 horizontal centerine, @ Add facial features, hair, and other details to finishStiff Headbands ‘Thisis a standard headband, which may consist of fabric ‘covering wite or plastic. The ‘ends grip behind the ears. “The headband may be worn ‘toward the front ofthe head, over ‘the center, oF rear of center “The headband describes a half circle that Headbands project an athletic follows the curve of the head, Draw a front view atmosphere, even when the and a profile view to establish its posiioning. wearer has long hair Headpieces The headpiece pictured here, which come adorned with ribbons, serve a decorative ( function more than as a means of keeping the hair n place, ke the more functional, sti headbands pictured above ‘Above shows ribbon ends. ‘The ends may be cut at a bias or notched. ‘These headpieces may come with fills or ribbons or in tiny checkered print. Most are used to create a girish ir. ‘The headpiece ties under the chin, 46Maid Headpieces The maid headpiece has cloth ruffles; although, there are versions like the ribbon headpieces Pictured on the previous page. sketching 4 (© Use a radiating form for the layout, making the lines equidistant. os ‘® Use a wavy line for the top contour, a @Add V's (both right side up ‘and upside down) to finish, ‘The ruffles stand atti 7 Portion ranatescsoge Ys trons eng one | Headband with Kitty Cat Ears wan ‘Wis ean as aina ears {ints case ity cater) These are typically used as a costume. ___Nerss with ead ate at on te fead ke ose shown on he pres page aa ext Crowns and Tiaras Crowns are placed on the head. This functional characteristic causes ‘hem tobe categorize wt ats \\ However, since crowns are nt an item we encounter in our day ives, they are mor acastume ite, ike JK. \ the kitty cat ears ais shown, We might wear a crown ora tiara ta patty oF weding a48 re Hats are a wonderful accessory making a character look cute. ee They enable the artist to indicate that a characteris stepping out using solely the costume. Maintain awareness of the head's (Baseball Caps ) shape when drawing hats, Hats comprise a crown and a brim. ean The brim describes \ Profile View a gente wave, Curve top Remember to include the brim's slope. Note how the curves change appearance depending on the angle of perspective. Directly Above Moderate High Angle Note how the juncture where the brim and crown attach change Kf) appearance » curve V-shape The brim’s tip Imagine a square with describes a normal rounded corners wien curve > >| ‘The brim is approximately the same length from front to back and right to let. ‘above the head. it makes the head look too big, (he brim’s ellipse and // the hatband's elipse te |, atthe same angle. Only | \. their izes are atferent/ When showing the hat worn at an ange, draw the elipses forming the hatband ‘and the brim so that their centertines do not align Brim elipse Py = Brim ellipse : Tareas | A —>|<—__ >| Hatband oa CO jae | apy Sim \ Brim | \ ‘The vertical centerline remains a 30°angle. unchanged, ating sng cred nesta flow \ tne aro eee create he ok a \ stan Straw isa sot, natural material, so remember to » create a flexible shape. ‘Sketch the face's horizontal centerine and layouts of the eyes to achieve the corect look ofthe brim'selipseCowboy Hats) conboynattrms cut wat both ses, andthe crown tas a tapeznialom Brim's projection ‘This shows the brim tited upward in font, This shows the brim worn level, Establish whether or nt the bi widens and te extent to wich the sides curl up this cas, to about athe hight ofthe crown, Brim worn level rom alow angle Brim worn level Brim wor level from a high angleThe helmet's silhouette reflects that roundness of the head. ‘Some helmets, called “full-face helmets,” cover the entire head, while others, called “half helmets," cover only a portion. When donned, a helmet makes the wearer's head look oversized. Visors (shield) come in ip-up and snap-on —_ versions. Tinted visors are also available Sitch the helmets utine that it folows the head's contours. Make the helmet two sizes larger than the head, Why Helmets Are So Large aS : \ ~ A ~.\ fn ¢ { al \) wy p Helmets contain sponge Zine to neta as 2 butfer and sor shock Incorrect Incorrect example: The helmet is too omy AN he ‘lyaway hair ocks function as guides forthe helmets smal ‘Aways craw the head fst layout before drawing the helmet.Using a Circle and Curve Template to Produce a Clean Sketch Helmets are assemblages of gentle curves. If you intend to do an accurate close-up ofa helmet, use ‘a curve o large ellipse template ® oe @ In manga, artists generally use technical pens instead of dip nib Curve tempiate A These templates contain curves of incrementally aitferent curvatures. These ‘may also be called “large ellipse” templates curve template A — Modular helmet (This Common Helmets f _ & includes afip-up \\ sor \ Full-Face fo™ PT ‘Shorty helmet: These are typically worn with SOce soooters and mopeds or tandem bicycles, Full-face and off-road helmets include coverage for the chin. When the helmet | donned, only the wearer's eyes are visible, andthe wearer's facial expression is obscured, Open-face helmet: (Tis version ‘comes with a removable visor ‘or without a visor) Unie fll face helmets, these have no chin coverage allowing view ofthe wearer’ facial expression, 55Think of headphones as a headband with hamburgers Headphones attached The hamburger- + shaped elipses are ear pas. Headphones inoue a headpiece calle a "headband ‘hati reminiscent of a fashion headband Below shows 2 finshed headohones sketch Headphones and Parts Headband Pad made of sponge or other soft material Hinge arpad Sketching Steps —— The headband is worn against the top of the head. Give volume to the headband, “he hinge is centered along the car pad © Sketon the fgure's head pus the headpnones Some ear pats have ® Clean up the shapes Wiles inthe pad and add the details. pooes @ Final image‘Sketching Tip: Draw the Ear and Then an Ellipse Covering the Ear Profile View Give the ear pad a vertical centerline when sketching te figure in profile 3/4 View When drawing the figure in 3/4 view, shift the elipse's centerine LZ Draw a curve that {allows the head's curved surface. This is the N centerine of the elipse for where the hinge connects to the ear pad cup. ‘The centetine should lie at the same angle as the eat. {moat centerline Rear 3/4 View, Moderate High Angle Randomly disperse shor, fne strokes around the ear pad to create wrinkles. Far te centers, fst cow vertical line @) at the same ane sees Nr, an centerline (2) perpendicular to ‘vertical line so that the two ies iibnect, 37aN (Re ing Headphones and id Hanging Headphones arc “Te character holds The headphones are shifted behing the the headphones in her you ea the nck with volume hands as she < fi \ This character has | headphone set | hanging around her \ eck | Front view ‘The headphones are pulled apart to take ‘Sketching Steps them of © Sketch the headphones as Attach hamburgers slightly wider than a fashion to each side, headband, ‘The headband describes an elipse as It wraps around the neck,‘Some headphones are not merely functional a (Designer Headphones ) bata aire ‘Some headphones display logos or other decorative artwork, These ha ear pads. ‘These are headphones es (Headsets) ind meroprones nat es come attached as 2 single et‘When using a prop or article Props That Tell about the Arms, Legs, and Body ——otcdthing io tela story about a character, start by sketching the torso and limbs as three- The Basics of Clothing } “na is designed to envelope the body. This section gimensionaloylnders. discusses how the sleeves, neck holes, and other areas ‘rom which body parts protrude are circular in form Placket _7 allay pro: _ The armhole marks the juncture where the sleeve ‘and shoulder meet. It reflects the upper arm's ith andthe torso's depth. gives the torso. Ne the appearance of // volume, cuts: —_/ This isa circle that surrounds the wrist Pants: — / The style shown here could also be called slacks" or "trousers." * Hem Use elses forthe The crease line Pant legs are tubular, is centered \aist and the hem to reflecting the three- ‘along the leg make a skirt look three dimensional volume of «dimensional ‘the legs undemeath, ‘These curves 7 Ribbing adhere to the torso's contours, | cP \ Hem \ { ~ | Knee highs Sole of sockClothing Is a Second "Skin" ‘Tne most asi of thing bases sa wrapped ace | atch enmerey | waging act around | the bdy causes the fbi \ to form a cyinercal sold, / ‘Adding diagonal hatching to the aliases forming the waist and hem makes a skirt fA, appear tvee-simensionl ‘Sketch the torso and draw the clothing around it, making the clothing just slighty larger than the torso ‘Since Clothing Is a "Skin," Bending or ‘Stretching It Causes Creases ‘These wrinkles reflect sagging fabric. Ot for longish curves wen portraying wrinkles and creases around the pant’s hemline. ‘rom bending Greases from pulling ered” crease) The front and rear creases body's contours change, double 2s centertines. 6— Sketch a figure with stripes across his or her body, ir Mummy » ifthe figure were a mummy. The direction that a curve ~~~ takes (upward curve or downward curve) indicates how a given body partis positioned. (Learning How to Draw the Human Figure from Yc Figures Are Stacks of Cylinders Standard Standing Pose Angle ‘Ata standard angle, the entire body should be drawn using downward curves, These curves are Hin reflected in the downward curve ofa skirt and other clothing. Virtual all parts are short cinders seen ‘rom a high angle (the tops are visible) ‘The bottoms ofthese oulnders are visible, ‘The figure to the rights rendered in oyfinders. Capturing [] FEL as |. l the upper and lower From a low angle, | -| ih \er3 surfaces gives a the igue's curves ; | | clear picture of| shit upward i A { | how body parts are Lo ol Qe “Tistowe srentredasa Peston basic block manikin, 62Rendering Body Parts as Cylinders Indicates How They Are Positioned “Try sketching the arm as, cylinders. This offers you a clear view of cross-sections ® The arm has a tremendous ® range of motion. Do you ever of the elbow and wrist, which find yourset contused as to firmly establishes how the \hich direction the arm is. _ — ‘arm Is positioned. supposed to be extending of \ bending? a ® Toke careful note ofthe elipses defining the cut /The directions ofthe \ curves on a figure's | surface ae not superficial | They are segments of \__elipses that reflect the \ figure asa sold object ‘Once you understand the positional relationship between the elpse defining the cuff and the elipse defining the wrist, you can start by drawing the cut to establish the forearm's positioning and then move on to the upper arm. / { coxtcing ee |. is to control a three- (ener om / 6364 Belts and buckles tell about the torso. These are Belts and Buckles typically drawn using downward curves. (They are ike the edges of a pipe seen from a high angle.) From a stand (ane a bey parts \ underneath the head ‘are drawn from a high angle, looking down. A, mwas un, ( {> andoicies | atnaystakeon \S = sour canes / (Conversely ats and DD, (bucks ake on upuars | { ey curves when drawn ey, This is drawn using a “fashion curve.” Belts ‘raw inthis manner drawn using a standard downward loosely hang around curve, Belts the waist, requiring that typically seve they take on a more "cinching" pronounced downward Sketching Tips Draw the buckle wider than te bet. Thisis ock-shaped. The inside ype sata back on the was blackened to suggest depth. auc’ ular pais. Bett with ‘Sketch a centrine to ensure thatthe holes through which “The above shows a block-shaped buckle, Use the buckles hook passes are centered along the bet. iagonal hatching to create lght-and-cark contrasts,You can create a hos of ferent belt styles by changing the bets thickness, (Common Belt Designs cal, buckle shape, or ather feature Narrow belt with buckle closure (00k visible) Edging gives the belt a classier appearance. ‘Buckles come in an enormous variety of shapes, sizes, and materials (metal, cameos, plastio, et. \, The above shows a |\ thick, heavy belt with \ intricately detailed | decorations ‘The belts above function more as fashion accessories than to "cinch."‘Suspenders consist of straps that stretch and contract. They are more flexible than belts, allowing ease of movement. ‘Suspenders take a gradual ‘curve that follows the Bartenders and } others occasionally / wear cummerbunds. / cover suspenders, | 8 depicted here. Draw adjusters ‘onthe right and left sides at approximately the same level The clip attaches slightly further from center than the tuck. Clips ‘The metal adjusters oS, contol the straps" lenaths. The clip attaches the suspender to the pants,Fashion Trends in Suspenders whe Z Suspenders worn hanging own ‘The *X" formed (Chubby characters find belts inthe rear ‘uncomfortable and often opt for constitutes a key suspenders instead. Suspenders | fashion point also give the wearer a more ignited, sophisticated ai This character is wearing ‘one suspender over the shoulder and the other hanging down, Ds | Pay careful attention i Z ; se tote length when j v ) & § ' <8 drawing hanging MrT \ AY CG TOV ANS] sponte TT 7/7 emcause ese suspenders ar not ] ak Hy stot / 1 HI] i // tetera atachesto | L \ J/g tre wearera ‘button, [7] \ J [soppy appearance. These are fat saps 3 1] At eran 4 | KA one Ba - gf ; \ 2 é ry \\ o7Give characters accessories on their arms and props Arms and Hands in their hands. Wristwatches Draw the wrist as a solid (sketch the wrist ellipse). ‘Arm centerline Horizontal centerine of the watt face ellipse Horizontal centrtine of t the watchband elise ‘Sketching Tips j f f \ The shirt cuff and Both the watch the watchband take fe elipse andthe the same curve, watchband elpse lie ‘Sketch the wrist layout perpendicular tothe You may draw the am, vwatehband elipse using the same elpse that you ‘would a shirt cut Posing to Show off a Watch: Watch Face Worn on the Outside Wristwatches are smal items, 0 artists often pose a character to show off a watch, 68Posing to Show off a Watch: Watch Face Worn on the Inside Wrist elipse This isa bracelet watch. Use Virtually the Same Ellipse for ‘the Wristwatch and the Wrist Wrist etipse This isa somewhat farge fob with a This isa somewhat small fob without Artists use the characters’ poses ‘and chains to show of pocket watches, drawing a character #ftaoking at his or her watch. 69Most cell phones are approximately the size of the palm of your hand. Draw them as blocks with just a shallow depth. Common Cell Phone Dimensions When open, cel Co) penn de ‘Sketching Tips ‘The phone's surface Ths ine estabishes the generally is atthe ear's angle. ‘same angle athe ear. ‘The transmitter is located inthe top section. The speaker holds the top section ‘ofthe phone against | his or her ear. Draw the cel phone as a standard solid, Avoid ding an accurate visual perspective 4 \ The key isthe angle at which the phone is held against the ear and its position Sketching Steps @ Draw a block, keeping the vertical, @ Round the comers and fl horizontal, and depth lines paral, in the details, accordingly 70Ht the characteris tiny or it you are composing a Drawing the phone Jong compostion, draw _aocording to the the cellphone onthe Jaws of perspective large-side. would make it appear deformed ‘and visualy awkward, Use the hand as yardstick when establishing the cell phone's size. — |, This horizontal f | centerine \ Ld) en \\ ee halt a x“ \ Use a standard sold, regardless ofthe angle \ at which the cel phone \ nel or viewed. a This te AL cetsrae' | norco tut Ie. To make a character ook ata cell phone, raw the character's face's horizontal centerline and the cell phone's horizontal ccenterine parallel to one another. This Creates the impression thatthe character ‘and the cel phone are facing each other.A bag is an indispensable prop that illustrates a given character's lifestyle. Draw bags as standard solids, using a block as the base form. Bags with Straps or Handles on Top / | Attaché cases, et ‘Bags with Straps or Handles on the Front and Back Handbags, shoulder bags, ete. Backpacks and Bags with Adjustable Straps // Bags ae essentially NC / “blocks.” Establish the proportional size ofthe \, character tothe bag when \ crewing Ve _7/ Convertible bags, et. (bags that function as, Ciutehes or handbags, backpacks, and/or shoulder bags) Backpacks, one-shoulder packs, etc.| (Bags with Straps or Handles on Top ) © Attaché Cases the case's overall size, Handle and case = > The case's length is double the hand's length fal “The above shows a standard solid with each sie facing each ‘other. The top is visible Leather briefcases, armor plated attaché cases, trunks, and Use the human fique as a basis for determining other sturdy cases emphasizing function, Scale Comparison with Human Figure Handles height. Case's height Shoulders Height The bottom les high ‘onthe waist. The case is shoulder-width in lenath. Cases run between 5 cm (approx. 2") and 10 cm (approx. 4") in depth; although, deeper cases exist J L To give the case dept, the artist ot caught up in drawing the side in perspective but utimately forgot to draw ‘the top in perspective as wel, ————_—. When you intend to make a case appear big or want 2 Composition wih impact, draw the case in perspective, 3Sketching Steps —— while estabising the | positions of the handle. \ con = Handle postion a Handle pos ‘guide Use the "x method" ‘to locate the center ‘and draw the case. “X Method": Dividing the Case Horizontally into Four [Center Horizontal center v The juncture where the lines Drawing parallel vertical and horizontal tines Repeating this process allows you to create intersects the shape's center from the center produces the vertical and lines that function as guides in establishing horizontal centertines. the postions ofthe case's parts Cases with Handles on the Top [Lb Schooltag* Suitcases ‘0 that the fingers of both hands wil fi Handle height \ The pul handle is _ never longer than the height ofthe ean suitease tse. ‘The handle is long enough The roller height is approximately the same asthe handle height ‘Aim for about 45° when determining the ‘angle to draw 2 pulled suitcase The suitcase should touch the ground Guide for Incorect example: The approximately one establishing the artist made the suitcase step behind its owner, distance between appear too far behind its suitcase and ts owner, owner. 75‘tremendous variety of bags ranging from functional to fashionable come with straps and handles attached to the front and back, such as shopping bags, tote bags, school bags, and many more. Designers exploit this, type of bag's visible front, adding patterns or shapes to make the ag more syish ‘Functional Bags ‘These are primarily sturdy ‘and comfortable to use. ‘ Functional and Fashionable ‘The bag shown here comfortably ‘hangs from the woman's arm, allowing her two free hands. Portray the arm's curve when ‘sketching the bag Sketching Tips —Correctty depict aitferences in handle and strap types. Straps Pn ‘These straps do not twist, so their with is virtually uniform, ‘The straps are thick and rounded. Because they twist, the underside becomes J visible, and the straps’ width appears to vary.* School Bags~\ (/ These include handbags, \, | casual bags, shoulder begs, } ute bags, and a wide Variety of other bags. Sketching Tips Capturing the Form ‘Sketching the Details Use a dashed line to suggest stitching Draw the strap so that its width is even Hf Use thicker nes where the f leather is supposed to overlap. Cleaned-up Sketch ‘Add solid black tothe buckle, * Rough sketch Use a standard sold to ensure ‘This evokes a sense of three- Draw the portion ofthe strap touching the arm to establish how that the let and right widths are simensionalty and gives the the strap connects, the same, buckle a metallic lok.* Shoulder BagsProfile Right Side Backpacks ) il * Backpacks (Day Packs) Front Side facing back» This shows the right, side. The right and ||| let sides of some ‘backpacks (day fy packs) citer. Front This portion \)\ is visible trom the \ XC wearer's front. Left Side Magnetic fastener —_Snap-lock clasp Buckle This area ‘should form aside" as reflection ofthe shoulder's volume, The edge of the right shoulder strap is just barely visible J ess cies Dinter tenesso | San fownniconesamie, OSSketching Tips: Draw the Character as a Standard Solid volume, Clavicle tine Chest uidetines <—— ¥ \ Use a block as ‘Make sure that the shoulder a the backpack’s| rm, straps taper. ‘uideline base for ‘Sketch the trso's layout Use the horizontal layout lines as asa block, ‘guides to proportion the shoulder straps corect. © Schoolbags Make the bag’s depth equal to or (eater than the wearer's head. Shoulders The upper halt is wide. Chest Position the schoolbag's bottom lower than the waist © Sketch the layout Adjust the forms. © Clean up the ines and add the deals to finish 81Footwear The Slipper Is the Most Basic Shoe Key Points in Portrayal \ or ‘This tne defines the toe as While the foot is a more complicated shape, the slipper forms a simple elise. top ofthe shoe. Steps to Sketching a Slipper Draw the ine Draw the sipper line the covering the ‘curved line denoting the back of the foot beginning ofthe vamp), covers the toe. ‘well as describes the arc ofthe @ _ Draw the cover tne, which Footwear creates an impression of the character. Shoes reflect the shapes of the feet they envelope but in simplified form. If you can draw a slipper, then you can draw a shoe. ‘This portion covers the top ofthe foot Slipper Line This curved line denotes the 7 beginning ofthe vamp. Cover Line This curve covers the toe. = \ (You can daw any typeof fotwear towing ese @ Draw he oe Give thickness to the sole © Frished sipper Names of Parts ankle ‘Anklebone 82 The sole's contours of the right and let sides do ‘not look the same. i Big toe side: The sole's contour Lite toe side: The sole's a SS \ AR 7 { Back conance| fe (Vege sideCommon Footwear That This section discusses tricks to drawing 2 a Tells about a Character footwear and sketching steps. (Penny Loafers”) _ P2nv laters are popula aices fr portraying schol (Penny Loafers ‘students. Artists tend to use them with school uniform-sporting femal unor high and hgh schol students, Sketching Tips @ Wis slope forms ® raw a stip of the typical vamp. leather at the slipper line, ® cover tne @ This zigzag line is the heel line, tt is present in shoes with heels Sketching Steps © Locate the center of te @ Using the center as a ® Drawing te sipper ine slighty top ofthe fot This marks the guide, draw the sipper ine. above the visual center rigs it dose visual contr to the actual center. 3/4 Rear View (Starting with a Slipper) Key Points in Portrayal ‘The leather Draw @® and (2 stip is located Sea and add the foo's approximately atthe cee © Stipper ine sole shoe's center. / way 0k Draw the shoe's sole ‘The toe rises when there The heel is 1/4 the and give it depth is nofotin te soe and fot's ttl ent toni. The same falls somewhat when applies to the loafer. worn. 83(Athletic Shoes) Sketching Tips @ These slope lines enable you to raw the eyelets and tongue. ® Use the slipper tine to achive a sense of three-dimensionalty, ® the ane ine Ie isacurve that ® Cover tine Ek follows the rounded ankiebone Sketching Steps 3/4 View ‘The eyelets le in two parallel ows tothe right and lf. You would normally draw a shoe as a standard sol. © After sketching an tine ofthe foot, ada the centrine of the foot's top ® Draw the slipper tne. Front View Use the visual center, the slipper line, and the cover line to draw the shoe(High-heeled Shoes ) ’y Points in Portrayal Draw the centertine of te foo's back and establish the toe's Sept, Quarter Hoot: Play around Rear 3/4 view with the heet's height and Ly thickness, Toe Sketching Tips | \ Make the quarter sketch the / rounded and have foot's layout. X iP it protrude. \\ he sine’ oe extends c ‘slightly beyond the foots acta es € The quarter and iF hee! should form an Make the toe narrow to KGS S" sihouete the degree that it does ‘nat become pointy. Assorted Heeled Shoes Shoes with Enclosed Toes Because no pat of the vamp ./ olds down the toe, the shoe requires a back strap. ‘Shoes with Open Toes | aa \ evwten 5A sronsaces A. going up the leg. ‘These open-toed ‘sandals have no rear ») strap,Differences in Form Filed boots: ‘These boots taper as the eye ‘moves from the top to the ankle. They adhere to the leg's natural form Sketching Tips This line defines a cross-section of the leg according to the “angle of perspective. Itallows you to create the boots top. Play Around with the Forms Simply te toes ofthe fet Leave the length alone but widen Keep the narrow anes to and sketch the boos’ outines the ankes to creat scrunch ‘maintain the fted boot ook, boots. but lengthen the boot. ‘This design features a fold atthe top and a belt around the ankle, Scrunch boots: ‘Above-the-knee Knee boot: This _Mid-calf boot: This boot Ankle boot: This boot Tse bots retain aboot: This boot ens just below tends to midway rise round the ‘eatvely uniform width) extends above the knee. -—‘beween the knee and ankle ‘rom the top tothe ankle. the knee the ankle,Chapter 3 Letting Props Narrate a SceneWhat Is Meant by "Props Narrating a Scene"? Placing dishes and utensils on a table or a motorcycle or car on a road tells the reader at a glance where the character is and what he or she is doing. The prop explains the character's situation. ‘* Indoor Scene / nthe panel to the lft the characters are merely (me present. The scene is unclear i tothe reader. They couldbe | ea Waiting for a meal or waiting for someone else to arrive. // Bat, if the artist has Clearly included food and rinks, now the reader immediately realizes, "An hat t's a dinner scene,"* Outdoor Scene rv panel shows asst soon [and a person. There is no sense \ of people inhabiting the space. | Ithas the feel ofa ghost town. \\ The woman seems more tke a / \ tao tan a person, : / ; “ar Pr a a ew he scene noses Dime ater ‘and the woman holds an | umbrella, The panetnow tease Pons inte / \\_ a composton mith ife._/ fo /90 Sketching Characters Drinking Drinking Glasses Sketching Steps centering aaa! - Height | | "narrow! ter sketching the layout and determining the gass's height, draw the right and left sides equidistant trom the centertine, This section teaches how to draw glasses, cups, mugs and other drinking vessels held in the hand. The rim and the thickness of the glass's base become important when drawing a thin glass. ‘The base i thick. eee Sizing a Glass bre bese vibe Deteine he sal ot the gass in comparison o a hand before begining tera ries ue ie forte base ® Draw etipses forthe lip and ® Draw lines fr the sides base. After drawing the base, add and add an ellipse forthe 1 guide to establish the base's base to finish thickness.Drawing Ellipses for the Lip Sketching Tips Daxken the far hat ofthe elise @® draw an etipse. . : face et | al 2 | The gap between the | i two elipses constitutes —o I eget \ ® = oy ‘When sketching the layout, establish = eee emo enenen eae \ Sea a ee i you to achieve an accurate drawing ‘where the glass touches the eres omen i also tilt the center. \ | bran a tne \ [tee (fetes Y y [ The rules of drawing interior ellipses dictate that drawing a second ellipse ! inside a first gives the illusion of thickness to a glass or cup. Portraying Water and Other Liquids Use wavy lines to create Portraying Liquids the son of apa water, Incorrect Use ratchig| = saws ae oer tocreaea | 7 pjeatsanpear Glass — play of light bent when viewed ae 4p | an care from outside a Be caret Liquids €o not that evokes tu ; TIT have comers. the some of Wavy lines form at various different a liquid angles on the lqui's surface 1‘The character may hold the glass in one hand or two. © Holding a Glass or Cup in One Hand Ifthe character has big hands or long fingers, then he or she might hold the lass with the balls ofthe fingers and @D The fingers A tego ard Othe tes ot wap arund ne \ 288 and ori. the thumb ‘supports the glass. Draw four fingers ‘wrapping around the lass and the thumb ‘supporting the glass. Paper cup © The tour fingers merely rink inking rest against the cup, 4 3 ® The thud aoc While our typical image of person holding a gass in a hand is one of “gripping,” the style of holding a glass depicted here Contains the nuance of “offering” the glass. ‘Show the fingers of both hands wrapping around the cup, The lip’ exterior elipse. Shitting the exterior and and its interior elipse interior elipses' centers, share the same center, so that they do not align resuits in a cup ip that {oes nat look right 92