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MMAANNGGAAMMAANNGGAAMANGADISCOVERDISCOVERDISCOVERDISCOVER

DRAWINGDRAWINGDRAWING

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MANGAMANGAMANGADISCOVERDISCOVERDISCOVER


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MARIO GALEA

MANGAMANGAMANGADISCOVERDISCOVERDISCOVER


30303030basic lessons for drawing guys and girls

MA

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A D

RA

WIN

GDISCOVER

GALEA

DRAWING

You can draw manga! And you'll have fun doing it as you create

dozens of guys and girls in a variety of costumes. The easy lessons

in this book make drawing in the world's most popular style as easy

as picking up a pencil.

Start with the basics of drawing heads and bodies, then learn

ways to customize each character, from the looks on their faces to

the clothes they're wearing. Make your people old or young, happy

or angry, sweet or sinister. Hundreds of illustrations and easy step-

by-step demos show you how to:

• Give your people feeling with facial expressions

• Bring them to life with dynamic action poses

• Personalize them with hairstyles, clothes, weapons and props

• Pull it all together to create popular character typesincluding bishoujo (beautiful girls loved by all) andbad boys. Dress them up as space samurai, sorcer-

esses, spies, skateboarders and more.

Before long, your imagination willkick in and you'll be drawing cool,cute and 100 percent original charac-

ters of your own creation. Excited yet? Youshould be–you're about to draw some

real manga!

UPC

Endorsed by the ISBN 978-1-58180-697-7

EA

N

33356US $16.99

(CAN $18.75)

ISBN-13: 978-1-58180-697-7ISBN-10: 1-58180-697-3

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Mario Galea

30 Easy Lessons for Drawing Guys and Girls

Discover MANGA DRAWING

CINCINNATI, OHIO

www.impact-books.com


http://www.impact-books.com

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Discover Manga Drawing. Copyright © 2006 by Mario Galea. Printed in China. Allrights reserved. No part of this book may be reproduced in any form or by any elec-tronic or mechanical means including information storage and retrieval systems

without permission in writing from the publisher, except by a reviewerwho may quote brief passages in a review. Published by IMPACTBooks, an imprint of F+W Publications, Inc., 4700 East GalbraithRoad, Cincinnati, Ohio 45236. (800) 289-0963. First Edition.

Other awesome IMPACT Books are available from your local bookstore, art supplystore or direct from the publisher.

10 09 08 5 4 3

DISTRIBUTED IN CANADA BY FRASER DIRECT100 Armstrong AvenueGeorgetown, ON, Canada L7G 5S4Tel: (905) 877-4411

DISTRIBUTED IN THE U.K. AND EUROPE BY DAVID & CHARLESBrunel House, Newton Abbot, Devon, TQ12 4PU, EnglandTel: (+44) 1626 323200, Fax: (+44) 1626 323319Email: [email protected]

DISTRIBUTED IN AUSTRALIA BY CAPRICORN LINKP.O. Box 704, S. Windsor NSW, 2756 AustraliaTel: (02) 4577-3555

Library of Congress Cataloging in Publication DataGalea, Mario.Discover manga drawing : 30 easy lessons for drawing guys and girls / MarioGalea.—1st ed.

p. cm.Includes index.ISBN-13: 978-1-58180-697-7 (paperback)ISBN-13: 978-1-60061-382-1 (EPUB)ISBN-10: 1-58180-697-3 (alk. paper)1. Human beings–Caricatures and cartoons-–Juvenile literature. 2. Cartooning–Tech-nique–Juvenile literature. 3. Comic books, strips, etc.–Japan–Technique–Juvenile lit-erature. I. Title.NC1764.8.H84G35 2006741.5–dc22 2005017696Edited by Christina XenosDesigned by Wendy DunningProduction art by Joni DelucaProduction coordinated by Mark Griffin

METRIC CONVERSIONCHARTTo convert to multiply byInches Centimeters 2.54Centimeters Inches 0.4Feet Centimeters 30.5Centimeters Feet 0.03Yards Meters 0.9Meters Yards 1.1Sq. Inches Sq. Centimeters 6.45Sq. Centimeters Sq. Inches 0.16

About the AuthorMario Galea is a character designer and animator living in northeastern Pennsylvania. He has art degrees fromPennsylvania State University and the Art Institute ofPhiladelphia. Mario works mainly in the digital medium,and is strongly influenced by Japanese animation. Hiswork has been sold internationally, and can be seen on his website <www.mariogalea.com>.

AcknowledgmentsI’d like to thank God; His consultations were very helpful.Thanks to my mom and dad for all the love and support.Thanks, Aunt Adele, for orchestrating the events thatinspired this book. Thanks to Josh Menas, a great artistand a great friend. A big thank you to Pam Wissman forgiving me a chance, and Christina Xenos for making publi-cation fun and easy! Last, but not least, thank YOU forpicking up this book. Get another for a friend; they’ll loveyou for it.

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http://www.mariogalea.com


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Table of ContentsSalutations! 4

Materials 6

Basic Drawing Advice 8

Inking 10

Shading 11

Using Color 12

Heads 14

Bodies 40

Clothes and Props 60

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5


Salutations!Welcome to the beginning of the book. The style of drawing featured here is

based on popular Japanese styles of manga and its animated form, anime.

Perhaps that is why you picked up this book. These days this art is every-

where—on television, in theaters and in many video games. But remember

that manga and anime are not so much styles as they are a genre, and my

style is offered as merely one among many within the genre.

If you can draw a circle and some lines, then I will show you how to use

them. If you can’t, there are books on how to draw circles and lines out there.

I remember we had one in kindergarten. I hated it. Whenever the teacher

passed it out, I would hide under the table.

I wrote this book so that others could learn to draw like I do, and when I

have created enough clones I will be able to take over the art industry and later

the world. Uhh… no, actually, that’s not it.

Although these pages give step-by-step

insight into my own drawing techniques,

you shouldn’t feel as though your drawings

have to mimic mine exactly. I can, how-

ever, give you a place to start on

your way to developing your own

style, or if you already have a pre-

ferred drawing style, I can offer you

another to compare with. You can

never be too versatile. So come

out from under the table, and

we can create some art together.

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MaterialsThere’s a tool for every job, so let’slook at some of the tools that will helpmake your drawing easier and morefun. Obviously, some sort of writingutensil and something to make markson must be had, but not everythingtalked about here is absolutely neces-sary. The two important things to con-sider are what you feel comfortableusing and what will give you theresults you want.

PENCILSA basic number-two pencil is all youneed to get started. Of course, pencilsvary in hardness. The softer the pencil,the darker and heavier the line will be.For our purposes, youdon’t want too dark aline so you can stillerase parts of thedrawing that youdon’t need. A pencillabeled HB should pro-vide just the right lineweight.

OTHER PENCILSA nice thing to have is amechanical or technicalpencil. It will give you aclean, precise line. Butbe careful: That’s notalways such a goodthing. The idealline, in most cas-es, is an expres-sive one thatvaries in thick-ness.

Many professional artists use color-erase pencils, especially in the anima-tion industry. Typically, they come ineither red or blue, and make easilyerasable lines. The red or blue colortakes don’t show up when you photo-copy or scan your paper. When theimage is shot, only the ink lines showup. This is the kind of pencil I usuallyuse.

PAPERIf you’re like me, you like to doodle inthe margins of your notebookand on any scrap ofpaper you can find,

and that’sOK. How-

ever, when you want to dosome serious work, please

leave the lined paper behind.You don’t want ledger linesrunning through the work youought to be proud of. Simplyuse ordinary 20-lb. (40gsm)letter-sized 8-" × 11" (22cm ×28cm) paper, the kind you can

find in any office supply store.It’s cheap and usually all you reallyneed. If, on the other hand, youwould like to do some more seri-ous artwork, such as makingyour own comic books, trysomething more substantial.The professionals typicallyuse 100-lb. (210gsm) tabloid-sized 11" × 17" (28cm × 43cm)bristol board, found in many

art supply stores.

PENSAs your drawingsimprove, you will definite-ly want to invest in a setof good inking pens.

Find a set that gives you a wide rangeof sizes or line weights. Be careful ofthe pens you choose; depending onthe pen and the paper you apply it to,some bleeding or smudging mayoccur. My favorite pen is a size 005Pigma Micron pen, but that maychange in time. You shouldn’t beafraid to try different types to find outwhat you like best.


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ERASERSIf you think being a good artist meansnever having to erase, don’t kid your-self. Artists do lots of erasing, andthere are different erasers for differenttasks. The small eraser you may haveon the end of your pencil lends itselfto correcting small mistakes in tightcorners; however, for a larger area, youneed a larger eraser. A white vinyleraser works well and doesn’t eat away

at the paper as much as a pinkrubber eraser. But for real con-

trol, I recommend the kneadederaser. It is a hunk of pliable gray rub-ber that can be molded into variousshapes for different effects. You keep itclean by stretching and folding(kneading) the rubber.

COLORED PENCILSIf you want to bring color to yourdrawings, the easiest way is with colored pencils. Softer pencils blendwell to create subtle shadows andhighlights. They are ideal for begin-ners because of their ease of use andlower cost.

MARKERSMy mother says don’t use markers oryou’ll ruin the good furniture. But mymother isn’t writing this book; I am.So take a look at different sets and trythem out. Just be aware thatsome markers do bleedacross and even throughpaper. Also take care not to workon one area too much, as you willoversaturate the paper and could endup tearing a hole in it. A good set of

design markers can be expensive,but they can give your work a clean,finished look to be proud of, if you’revery careful.

WATERCOLORSSome manga artists achieve impres-sive results using watercolors overtheir pencil work. If you have littleexperience with manga, then perhapsthis is best left until you are more con-fident. But if you do try it, rememberto use special watercolor paper.

STRAIGHT EDGESAlthough figure drawing should be amore free-form expression, there willbe occasions when you desire a per-fectly straight line. A simple ruler maywork fine, but also consider using adrafting triangle for help creating per-pendicular lines.

COMPUTER SOFTWAREBy no means is a computer necessaryto create great art. With that said, welive in a technological age, so I’d liketo make mention of it here. You canuse any decent computer with a scan-

ner to enhance your inked drawings.Most professionals use a programcalled Adobe®Photoshop® in theirwork, which comes at a hefty price.There are less expensive productsavailable, but they have fewer features.Many books have been written toteach Adobe®Photoshop® tech-niques, so I’ll mention only a fewpointers. Scan your inked images inbitmap or line-art mode, scan at ahigh enough resolution (200 to 300dpi) and learn all the possible waysthe program offers for selecting pixels.


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Basic Drawing AdviceFor now, if you have at least a penciland paper, we can get ourselves readyto work. First, I’ll ask you to considerthe following tips for making the expe-rience a pleasant and fruitful one.

Some people say artists must suf-fer for their work; nevertheless, yourown comfort plays a critical role in theproduction of good art. This meansfinding the right environment in whichto work. You will need to draw on asturdy, flat surface. Some artists preferto work on a surface that tilts towardthem. You can find a drawing board or art table like this in any art supplystore, but your kitchen table or coffeetable may suit you justas well. It’s all aboutfeeling comfort-able. Thiscomfort

also extends to your eyes. Having tostrain to see the details of your drawingcertainly isn’t beneficial, so that makesworking in a well-lit area a must. Oneother part of your environment worthconsidering is what you can hear. Tryto reduce noisy distractions, or playsome of your favorite music. Listeningto an inspiring tune can do wondersfor your creativity!

When you are actually drawing,try to think about how you makeyour lines. Stay loose, and keep alight touch in the beginning of eachdrawing. Don’t think that the firstmarks you make on the page haveto be permanent. Your grade schoolteacher probably taught you the same

thing when you learned to write. Iremember we practiced making

ovals and sweeping lines in pen-manship class. The same is true

here. If you are a raw beginner,I suggest spending time just

tracing some of the examples

in this book. This willtrain your hand to make the

necessary movements needed for thisparticular type of drawing.

Last, but not least, be observant. In the same way that a writer mustcontinually read to improve his craft,so too must a visual artist look at otherart. So watch your cartoons and readyour comic books, and do so with anartist’s eye.


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Once your pencil drawing looks the wayyou would like it, you will probably wantto ink it so that it will appear more fin-ished. Inking takes skill and patience. Inthe professional world, there are artistswho specialize in inking, and that’sreally all they do. So don’t feel bad ifyou can’t get the hang of it right away.

Pen TypesThere are many types of ink pens from which to choose. Some allow you to change the linethickness by varying the pressure, and otherscome in sets of different line weights. Whateveryou feel comfortable using, the desired outcomeis the same: clean lines with varying line quality(or thickness). A good rule of thumb is to simplyuse a heavier line in areas that are in shadow(A) or are rounded outward (B).

Cleaning UpMake sure that the ink is dry first, and then use a kneaded eraser to removeyour pencil lines. BE CAREFUL. Heavy areas and the ends of line strokes areusually the last to dry completely. Also, if you get overzealous, you may endup tearing or wrinkling the paper. Try framing the area you are erasing withthe thumb and index finger of your other hand. While holding down thepage this way, stroke the eraser lightly on the paper between your thumband finger.

Just RelaxWhen inking, it is important to be relaxed. If you tense up, your handwill shake, and the clean line you want will be a jagged mess. Try tomove the pen in smooth, natural strokes. Best results come fromusing the natural movements of your fingers and wrist; therefore,turning the paper to find just the right angles can be helpful.

Inking

AA

B

B



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Discovering DepthThe gradation from lightto dark may be hard orsoft, but the main thing is that it is consistent.This means that all theshadows and highlightsmust be in correct rela-tion to the light source.

Shadow

Light source

Light reflected offthe ground strikingthe ball

Highlight

Cast shadow

ShadingAlthough manga is traditionally printed in black and white,inking the outline of your drawing may be only part of thefinishing process. You can give depth to your creation byadding color and shading. There are many different stylesof doing so. I’ll show you just a few.

CrosshatchingShading can be accomplishedthrough crosshatching. Thismethod really is an extension of the inking process, as it is done with a pen.

Halftone ScreenAnother printer-friendly shadingtechnique is called a halftonescreen. It involves cutting andplacing areas of plastic filmprinted with a pattern of dots or lines. Today, this can be donewith a computer.

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Using a Hue WheelEvery color has three characteristics: hue, valueand saturation. Color, or hue, is often represent-ed by the color wheel. When dealing in pig-ments, red, yellow and blue are often referred toas primary colors. The colors between them,obtained by mixing the right amountsof the colors on either side, areknown as secondary colors. Colorsthat lie on opposite sides of thewheel are complementary colors.Mixing complementary col-ors in the right amountsgives you a neutral gray,represented by the circlein the middle.

ValueValue is a measure of how light or dark a particular hue is.

Solid ColorIn most anime, cells are painted in solid blocksof color. This makes it far easier to animate.

Saturation Saturation characterizes the intensity of a hue, or how gray it is.

Using Color

KAWAII! This is the Japanese wordfor cute, and cute is whatit’s all about. In Japan, idealbeauty is measured in cute-ness. Keep this in mind whendesigning attractive characters.

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USE COLOR TO CREATE EMOTION

No ColorThe choice of color palette cango a long way to establish mood.Consider this uncolored scene.It evokes little emotional responsefrom the viewer. It is neutral.Now see what happens as soon as we add color.

Warm ColorAll of a sudden, it is a warmsummer evening filled, perhaps,with romance. But what if we hadchosen a different set of colors?

Cool ColorNow we see something com-pletely different. It is a cold andfearful night. The same scenewith contrasting color schemesgives us two different moods.

Soft EdgesColor and/or shading can be applied with softeredges using a variety of media, from airbrushesto pencils.


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HEADSNow is the time to get excited. We are about to start drawing

some real manga. In this chapter, we will be concerned mainly

with drawing heads. You will learn how to construct a char-

acter’s head from three main points of view, and then you’ll

find out how to breathe life and feeling into your creations

through facial expression.


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One of the most distinctive features of a manga character is the eyes. Youcan sense a wide range of emotionsjust by looking into someone’s eyes,so it is easy to understand theirimportance. Let’s take a closer, step-by-step look.

Drawing Eyes

It’s a good idea to sketch a hori-zontal line across the middle ofthe head to show where the eye

level is. Make the tops of the eyes twoevenly spaced arcs just above the eye-level line. The bottoms of the eyes gojust below the line. The top of the eyeshould be at the same level as the topof the ear.

Add the irises (the colored parts)to the eyes. Whether you makethem vertical ellipses (stretched

circles) or more circular shapes, noticethat the bottom edges rest tangentiallyto (that is, touch at only one point) thelower lids of the eyes and the tops ofthe irises are partially obscured by theupper eyelids.

Add a smaller oval near the topof each iris. Make sure the ovalsare off-center. These will be high-

lights—the reflective shine of the eyeball.

Add a smaller, narrower oval inthe center of each iris. This ovalis the pupil; it and the highlight

should overlap slightly.

Darken the pupils where they lieoutside the highlights. Next, addsome shadow on either side of

each pupil.

Create the final details, such as eyelashes, lids and eyebrows.Also, notice how the bridge of the

nose makes a sweeping curve into theeyebrow. You don’t have to add this toyour drawing, but it is good to be awareof because it will help you create amore natural-looking relationshipbetween eye and nose. This way itdoesn’t look as though you just threwthe nose in anywhere.


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Gallery of Eyes


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Creating HairWhen creating your character, there isa virtually unlimited selection of hair-styles from which to choose.

Attach Your Hair to a ScalpAll the hair on a head is attached to the scalp. It grows out from the wholescalp. This may seem like an obvious statement, but you need to think ofthis when deciding how the hair should hang. As in the drawing, aboveleft, each strand starts from someplace on the scalp (the shaded area).This becomes evident when the hair is lifted up in back.

Draw Hair as One ShapeIn general, hair does not get drawn one strand at a time, but rather in oneor more shapes, like these. The texture of these shapes gives them theappearance of being made up of individual hairs. Notice that the texturepoints in the same direction as the flow of the hair.

Give Your Hair GravityLike clothing, hair—especially long hair—isaffected by gravity pulling down on it. Long hairalso may flow over solid objects like the shoulders,the same way a cloth may drape over a chair.

Have Your Hair Follow the WindAnother important factor to consider is the wind.If wind is blowing the hair, all of it should bemoving in the same direction.


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Hair ColorIt’s not uncommon to find unnaturalcolors in anime, such as green or pur-ple—but why, when most Japanesepeople have dark hair? Keep in mindthat traditional manga is published inblack and white. Many readers don’tknow what color a character’s hair issupposed to be until the animatedversion is released. Combine this withthe fact that Japanese color terms tendto be very different from those of theWest, and you end up with a widepalette of sometimes unexpectedshades. Some sources associate dif-ferent hairstyles and colors with per-sonality traits; then again, some haircolors seem to have been picked atrandom. I’ll show you some of theseassociations, but in the end, youshould just go with what feels right.

BlackSuggests a regular, more traditional character.

Red or OrangeShows a wild and energetic personality, especiallyif it is spiked or wild in style.

Blonde or YellowIndicates that the person is trouble, either inten-tionally or not.

PinkOften is associated with gender confusion, suchas a tomboy or a girlish male.

White Traditionally belongs to the supernatural world.In Japan, it’s the color of mourning and demons.


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When you’re learning to draw faces, it is always best to start with a frontview. It is usually the simplest to envi-sion, and if you can draw one side of something, you should be able to draw the other. So, think positive!These steps also will introduce you to some of the key ingredients that go into head construction.

Face, Forward-Looking

Start by drawing a circle. Keep itlight and loose. Now divide it inhalf vertically, and extend the line

beyond the circle roughly the same lengthas the radius (the line that runs fromthe middle of the circle to the edge ofthe circle). This line is the height of theentire head.

Draw curved lines from bothsides of the circle down to theend of the vertical line. This is

the jaw line and chin. Next stretch ahorizontal line between the top ends of the jawline. This is where you willplace the eyes.

Draw the tops of the eyes as twoevenly spaced arcs just above theeye-level line. The bottoms of the

eyes go just below the line. Add the noseand mouth on the centerline. The nosecan be a small pen stroke or triangle.The top of the ear should be at thesame level as the top of the eye, andthe bottom of the ear around nose level.

Add the irises to the eyes, anddon’t forget the eyebrows on topof the eyes. Darken the pupils

and put in some highlights. There arelots of other details you can add, suchas eyelashes, lids and wrinkles or foldsof skin. Different styles of mangaemphasize different details—you’ll no doubt have your own preferences.

FROM GRAFFITITO BOOKSManga as an art form has been around forcenturies, appearing on the walls of Japanesetemples. Today it is printed in the form ofJapanese comic books.The word mangaliterally means“whimsicalpictures.”


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Hairstyles vary widely, so why not be creative? Firstthink about how the hair will frame the face, and thenbuild the rest of the hair around that. Oh, and just so

your head doesn’t appear to be floating through space, add aneck and shoulders.

Now you can clean up the construction lines and inkyour drawing. If you’re not happy with the way yoursturned out, don’t worry; it may take more than one

try—it may take more than thirty tries. If you are satisfiedwith your work, try it again anyway. You can always do better.

Finished Forward-Looking Face


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Face, Three-Quarter

Draw a round shape. Think 3-D;this is not a circle, but a sphere.As with the forward view, divide

the sphere in half vertically, but sinceyour sphere (which is really your head)is turned to the side, the centerlinebecomes a curve. Next, add the jawlineand chin to the bottom of the sphere.

Split this shape down the middlejust like the sphere. Then sketchin the eye line so you’ll know

where the eyes go. Place the ear at thetop of the jawline; the back of the neckalso slants downward from this point.

The top and bottom parts of theeyes appear just above and belowthe eye-level line. Notice that one

eye is drawn narrower than the other.That is because it’s on the far side ofthe face, and it is curving away fromyou. (Remember, you’re thinking in 3-D.) The nose extends out from thecenterline, with the mouth right below.

Add irises, pupils and highlightsand then start framing the facewith hair.

This point of view is a little more difficultthan a forward-looking face. However,once you learn how to draw it, thethree-quarter face will be your newbest friend. You’ll use it often becauseit is a more natural-looking pose.


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Add the remaining hair, and you’re finished! Darken your lines and erase any pencil lines. If thisface was tricky to draw, keep practicing the first fewsteps and they eventually will become second nature.

I promise. Once you get the hang of thinking in 3-D, evenyour forward-looking faces will have more depth.

Finished Three-Quarter Face


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Face, ProfileThe good news about a face in profileis there is only one of everything: oneeye and one ear. The bad news is thestructure of the face is much moreimportant. You need to have a goodstructure so your character can beeasily recognized by a silhouetted face in profile.

From this point of view, it will beeasy to see how your beginningcircle (or sphere, if you like) forms

the top of the skull. Start outlining theshape of the face from top to bottom.The forehead follows the edge of thecircle about two-thirds of the way down.The bridge of the nose slopes awayfrom the face and comes to a point.Then the line curves back in to form the upper lip.

The eye gets placed between theforehead and nose. Even thoughhair or a hat may hide the ear,

it’s a good idea to sketch it anyway forreference; you can always erase it later.It goes above the end of the jawline;the top of the ear lines up with theeyes, and the bottom with the nose.

Define the lower lip with a smallcurve just below the mouth;curve inward and back out again.

Notice how the chin protrudes a bit.The line ends with the jawline curvingup toward the top of the head.

Are you getting better at drawinghair? Sometimes it helps to thinkof hair as one or more solid

shapes. Just sketch an outline first.

MANGA FOR ALLIn Japan, manga as a literary art form is takenmore seriously than the comic books of Westerncountries are. It is not just for children. People

of all ages read manga relating to a wide variety of subjects. In

Japan it would not beuncommon to find

a serious eco-nomics book

written in a mangaformat.


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Once you have the overall form drawn, you can addthe details like bangs and shine.

Darken your lines and erase any construction lines. Ifyou are not used to it, drawing a profile outline can bedifficult. Remember to break it down into its individual

parts. With practice, you can achieve the proper proportions.

Finished Profile


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Face, Other AnglesHere is a quick look at drawing thehead from more dramatic angles. Thetrick here will be thinking 3-D andbeing able to rotate the basic con-struction shapes in your mind’s eye.This may take some getting used to.

There are infinite angles from whichto draw, but once you are proficient at rotating objects in your head, theprocess will become easier. Then youcan handle drawing heads from anypoint of view.


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If you want the characters you draw tostir any emotion in the viewer, then afirm grasp of facial expression isimperative. Many artists study theirown faces in a mirror when trying tocapture a particular look. Creating anexpressive face is mostly about under-standing the muscles around the eyesand mouth. In the following examples,pay close attention to the interplaybetween these two areas.

This is a standard, almost neutralexpression. The character is neitheroverly happy nor anxious. The subduedgrin indicates some little thing hassomehow satisfied these characters.

PleasedExpressions

FAN ARTIf you are a fan of a particular manga, thenyou might like to create your own comicsbased on the real thing. Amateur art of thisnature is known as doujinshi (doh-jeen-shee),

and is quite popular.Roughly translated, it

means “same stuff, different people.”


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ExpressionsIn a happy smiling face, the upwardspreading of the corners of the mouthpushes the cheek area below the eyesupward as well.

Amused


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A character looks excited because his eyes are wide open, eyebrows are raised and the mouth is gaping.Draw the irises small to emphasizethe wideness of the eyes.

ExcitedExpressions


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ExpressionsIn an irritated expression, the eyelidsdroop, and the eyebrows either arehorizontal or slant inward some. Theeyes may be caught in midroll, as ifthe character is looking off to somedistant spot trying to remain calm.The look is completed with a slightlypouted mouth.

Irritated


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You can show anger by slanting down the middle of the forehead.Notice the little buckle between theeyebrows. Clenched teeth also indi-cate anger. However, you do not needto draw individual teeth. Draw themas one shape.

AngryExpressions


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ExpressionsWhen your character is surprised, hiseyebrows are raised, his eyes widen andthe irises appear smaller. An openmouth completes the picture.

Surprised

FACE FAULTSIf you really want to emphasize shock or sur-prise, take the expression to its extreme. This isoften called a face fault, and is accompanied by

exaggerated features like bulging eyesand a dropped jaw. In manga,

a face fault usually resultsin the character

falling on his face.


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When frightened, a character’s eyeswiden, and the middle of the foreheadscrunches upward. The corners of themouth push downward; some peoplemay bite their lower lip.

FrightenedExpressions


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ExpressionsDraw a sad expression simply by raisingthe middle of your character’s forehead.Frowning has the opposite effect assmiling on the cheek area. Don’t beafraid to show tears. Oversized irisesevoke a feeling of pity in the viewer fora little extra punch.

Sad

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A mischievous character is up to nogood. Draw your mischievous charac-ters with partially closed eyes that haveeyebrows with a slight downwardslant. Create the mouth with acrooked smirk.

MischievousExpressions


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ExpressionsMake this “come hither” look by drawing slightly closed eyes, a widegrin and a sideways glance at theobject of affection.

Alluring


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Achieve a tired look by drawing theeyes nearly shut—the irises seem towant to roll back under the lids. Little“bags” under the eyes really empha-size the look. Notice the limp mouthon each character.

TiredExpressions


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ExpressionsHave you ever just wanted to crawlunder a rock? The embarrassed char-acter’s eyes are turned away. Eithershe is afraid to make eye contact, orshe’d rather not show her face. Herethe brows can go way up. Don’t forgetto add some blush to the cheeks. Ablush, more than any other detail, givesaway the feeling of embarrassment. Afew hatch marks convey blushing justfine if you are working in black andwhite. As for the mouth, you havesome room to experiment. Often abig sheepish grin will do the trick, ortry a small rounded mouth.

Embarrassed


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BODIESNow that you’ve got your heads straight, it sure would be nice

to have something for them to rest on, like shoulders or a

whole body. In this chapter, we’ll examine what goes into

the construction of a human figure from an artist’s stand-

point. We’ll take it a step at a time.


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I’m sure your drawing hand is itching to get moving, but before we do any moredrawing, let’s take some time to look at a few important body parts. You knowthe ones I mean…BONES and MUSCLES! Here is just a brief overview of thebasics. For a more in-depth study, try looking at an artist’s anatomy book.

Anatomy

Fibula

Tibia

Patella

Pelvis

Iliac crest

Spine

Rib cage

Scapula

Clavicle

Cranium

Femur

Fibula

Tibia

Patella

Pelvis

Iliac crest

Spine

Rib cage

Scapula

Clavicle

Cranium

Femur

Ulna

Radius

Humerus

BONES


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Latissimus dorsi

Gluteus maximus

Trapezius

Gastrocnemius (calf muscle)

Vastus medialis

Rectus femoris

Brachioradialis

Biceps and triceps

Deltoid

Sternocleidomastoid

MUSCLES

Pectoral


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The human body is quite complex, butyou can represent parts in less detail,and let the viewer’s knowledge ofwhat should be there fill in the rest.Start with the front so everything willbe symmetrical, the way it was whenyou learned to draw faces. Remember?

Body, Front View

Start with the head. It’s not nec-essary to render it fully at thispoint. Bring the neck down to

the shoulders. As a guide, it is useful to sketch a line across the shoulderswhere the right and left clavicle wouldbe. This gives you a sense of directionfor the rib cage; draw that next.

Place a small circle at the end of each shoulder. These willapproximate the shape of the

deltoid muscles. Next, lightly draw thespine as a straight line running downfrom the ribs. At the end, sketch in thehip area as a circle.

Connect the ribs and the hips.Notice the navel is close to thenarrowest part of the waist. Begin

the upper arms with two sausage shapes.The elbows will end about waist level.

When drawing the forearm,allow the upper part to bulge abit. It may be helpful to sketch in

a small oval for this purpose. Also adda small oval at the end of the arm tobegin the hand.


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Define the hand a bit more bystarting with a mitten shape.Next work in the thighs as two

large sausage shapes. The small circlesat the ends are, of course, the kneecaps,and they will give you an idea of wherethe knees will bend.

Extend the lower legs just as youdid the arms. If it helped makingthose small ovals before, use them

again to show the calf muscles. Twosmall circles at the ends of the legs give shape to the ankles. Use them as a guide when pivoting the feet,which you’ll add last.


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Drawing in three-quarter view lets the viewer interpret boththe front and the side. Usually when you look at someone,you don’t see him or her directly from the front or directlyfrom the side, so the three-quarter view gives the viewer abetter sense that the subject is in real space. In otherwords, it is more natural.

Body, Three-Quarter View

Draw the head, and slope the neckdown into the shoulders. To bet-ter visualize how the rib cage sits,

as before, sketch a line across where theclavicle will be. Add the rib cage, makingsure it is tilted slightly backward.

Lightly draw the spine for refer-ence. See how it curves aroundthe back of the rib cage, turns in

at the waist and makes a final curvearound the back of the hips? Whilewe’re at it, sketch in the hip area as acircle. If you’re making a female body,wider hips are better.

Connect the hips and rib cage,and then add the arms.

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Begin the legs with two sausage-shaped thighs. Don’t forget touse the kneecaps to define the

lower halves of the legs.

Since this is a female body, I’llgive you a word on drawingbreasts. Keep in mind that

breasts are not part of the musculature.They are lumps of tissue that actuallysit over top of the pectoral muscles.


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If you were able to get through drawing faces in profile, therest of the body should be easy. I almost never draw a fig-ure in direct profile. Usually I turn the body ever so slightlytoward or away from the viewer. This results in a more nat-ural-looking pose.

Body, Profile

Draw a slanted oval rib cagebelow the neck. Then add a spinethat curves in and out again.

Draw a circle for the hips at thebottom of the spine, and a smallercircle at the shoulder to start the

upper arm.

A curved line from ribs to hipsforms the stomach. Next, finishthe forearm.


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Join the thigh to the hip, and addthe kneecap. From this view, theknee is a flattened oval rather

than a circle.

Draw the bottom of the leg,noticing how it curves back from the knee joint.


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Body TypesAlthough most every human body hasessentially the same parts, not everyperson has the same build. The anato-my may be the same, but there are dif-ferences in size and proportion acrossvarious body types.

The femaleform is bestdefined by

round curves.

The male body istriangular in shape,with a broad chestand shoulders.

The male formis more angular.

Males generallyare taller thanfemales.

Note that thefemale neck is

slender, while themale’s is wider—almost as wide as

the head. Thefemale is, overall,

more delicate-look-ing, and the malemusculature seems

more defined.

The female body usuallyhas an hourglass shape,with the hips beingproportionally wider.

CHIBI STYLENot all manga characters are drawnwith realistic proportions. Anotherpopular style within the manga tradi-tion is the chibi (chee-bee). The worditself means small or cute, and that’s

how these characters look. A chibi isshort with a small body and large head.Simplified details and abnormallylarge eyes enhance their cuteness.


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Older PersonAn older person may appear shrunken or hunched.Notice that the nose and ears are quite large,since these parts never stop growing throughone’s lifetime.

ChildrenYoung children have much larger heads in pro-portion to their bodies. The younger the child is,the greater the difference.

Big GuysAdding poundage to a figure may be as easy as creating stockier limbs and a round gut.

ChibisAlso called super-deformed, the chibi typically stands twoto three heads tall. When drawing the head, the jaw lineand chin should not drop down too far. This way youwill have a more circular head rather than an egg-shapedone. Remember to keep the features simple. The eyesare quite large, but the nose is practically nonexistent.As for the body, the chest and hip areas seem fusedtogether, with the torso tapering in toward the bottom.Arms and legs, too, get drawn with a taper, while thehands and feet become very simplified shapes.


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You can draw hands in countless positions and angles.Practice drawing a basic hand, and then try to find someillustrated examples of other hand positions. If you can’tfind an example of a specific position, have someone handmodel for you, or use your own.

Hands

Draw a small circle at the end of the arm. Sketch in the segments of the four fingers as simplelines. Depending on the positions of the fingers andyour point of view, it also can be good to block in the

hand as a larger shape like a mitten.

When you are happy with the finger configuration,flesh them out.

Draw a rough circle at the base of the index finger;this serves as the pivoting point for the thumb. Addthe thumb just as you added the other fingers.

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Hands From All Angles


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People have a fear of drawing feet, so they find ways to hidethem, like having their subject stand in tall grass. There isreally nothing to worry about—just think of feet as simpleshapes.

Feet

Begin with a small circle at the end of the leg. The footwill pivot here at the ankle.

Add a rounded L shape below the ankle for the heel.In the front, the foot slopes down to the floor. Use anarrow plane as a reference. The wedge shape of the

foot should be apparent now.

In the bottom corner of the rectangular plane, draw thebig toe. Next complete the instep between toe and heel.

Finally, add each of the remaining toes. Notice, fromthis position, that the toes appear to be curving away.Take care that they do not end up looking all the same

length or in a straight line across the front of the foot.


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Feet From All Angles


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Figures in PerspectiveDrawing a single figure in the middle of an empty piece ofpaper may be fine, but what if you want to show a group ofpeople, and you want to place them in a setting? In thiscase, it is important to understand something about per-spective. Perspective deals with the figure’s relative sizecompared to everything else around it. For instance, if acharacter is standing in a room, you want him to look as ifhe will fit through the door behind him.

One-Point PerspectiveThe first type of perspective is called one-point because there is only onevanishing point on the horizon or eye-level line. Lines that meet at thispoint show how an object’s apparent size shrinks as it moves away fromthe viewer.

Two-Point PerspectiveIn two-point perspective there are two vanishing points. One point connects with the length, and theother with the width of an object. The third dimension, the height, is represented by parallel linesthat run up and down.

PERSPECTIVETERMSHorizon Line: The line where the Earth andthe sky meet. It is also your eye-level line.

Vanishing Point: Thepoint(s) where all parallel

lines meet on thehorizon line.

Horizon LineVanishingPoint A

VanishingPoint B

Vanishing Point Horizon Line

VanishingPoint A To Vanishing Point B

Horizon Line

Use the Horizon Line as a GuideRemember that anything that lies on the horizon line is at the sameheight as the viewer’s eyes. For example, a standing character whoseeyes are on the horizon line is the same height as the viewer, no matterhow close or how far away they are. The eyes of taller people areabove the horizon, and shorter people are below.


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GOOD BOOKSThere are entire books dedicated to teachingperspective. I only touch on the basics here, so

if you are a serious art student itis a good idea to pick one of

these books up. Check outpage 94 for some recom-

mendations.

Running FigureLooking at this running figure gives you someidea of how foreshortening is used in a drawing.Both the upper arms are foreshortened. Thebody is leaning forward, so the chest appearsflattened. And the free leg is at such an anglethat we no longer see the lower half of it. Fore-shortening is a powerful tool for creating depthin your drawings, but there are right and wrongways to use it.

Bad ForeshorteningConsider the first figure here with his fingerpointed at the viewer. Because the pointing armis aimed directly at us, we can hardly see any ofits length. While this may be technically correct,it is visually poor. This view makes it extremelydifficult to even identify that as his arm.

Good ForeshorteningNow the arm is pointing slightly off to the sideand down. This lets us see enough of the lengthto read it as an arm, but still gives the impres-sion that he is pointing at us.

Practice Basic ForeshorteningImagine an arm in a cylinder. As we turn thetwo, notice how the cylinder and the arm tapertoward the back. The farther end gets smaller, shrink-ing as if toward a vanishing point. Note also that as the armpoints away from you, you tend to see less of the length. Itappears to get shorter. This effect is known as foreshortening,and it is a very important concept for any artist to master.


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Drawing Dynamic FiguresCreating figures that seem to movethrough space will bring far moreinterest to your drawings. The humanbody can bend and stretch itself intomany different positions, so there canbe no step-by-step method to coverthem all. Your best bet is to study howthe body moves by observing actualpeople. Make quick sketches of any-one performing some task or sittingin some position. While doing so,keep in mind what you know aboutthe anatomy of the body. Here aresome examples for you.

LeapingThis woman appears to be inmid-leap. Notice the graceful curvethat starts at the tip of her right handand runs down her arm, waist, hips andright leg.

BalanceNotice how this figure is trying tokeep its balance? The head wants to be directly over the engaged, orgrounded, leg. To achieve this, thecharacter has to throw its right armup in the air to counterbalance theweight of the rest of the body.

Contrapposto One subtle type ofbody dynamic is thecontrapposto posi-tion, which consists of one “engaged” legsupporting the weightof the body and onefree leg. The effect is a sway in the hips that is balanced by an opposite tilt in the upper body.

CONTRAPPOSTOHISTORYThe contrapposto pose originated in the classi-cal Greek period, and carried over to theRenaissance. Perhaps the most famous exampleof this is Michelangelo’s David.


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JumpingThis character may be getting readyfor some kind of jump. His body iscocked back, and there isstored energy in his left leg,waiting to be released.

BalanceHere, again, it’s all about balance. The feet arepulled together in the middle, and the head isdirectly above them. With the rear end hangingout behind the feet, the chest must lean forwardto compensate. The right hand touches the floorto account for the narrow base created by thefeet being so close together.

Natural WalkIf you want a figure onthe move, rememberthat, in a natural walk,when the right leg comesforward, the right arm swingsbackward. The arm swingsforward again as the right leggoes back.


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CLOTHESAND PROPS

What a character wears and carries says a lot about him, and,

like hairstyle, the sky is the limit. Get inspired from the folks

you see on the street or draw completely from the wildest

depths of your imagination. In this chapter, you’ll discover

the details that help make a character unique. First you’ll

learn the tips and tricks of construction, and then I’ll show

you how to pull different outfits and accessories together to

create specific character types.


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All the different types of shirts thatexist would fill another book, so let’slook at one of the most basic forms,the T-shirt. Spread flat on the floor, the T-shirt, with its armlets stretchedoutward, resembles a letter T, hencethe name. Now few people go aroundwalking with their arms stretched out.It makes doors a problem. So let’s seewhat happens when we stuff a bodyup in there.

Drawing a T-Shirt

Keep in mind that the body onthe page represents a solid 3-Dform, and that clothing drapes

over and around that form, conformingto its shape.

The collar of a T-shirt is a goodexample of this conformity.Drape it around the shoulders

much as you would a necklace. Makethe sleeve a flexible tube that hangsdown around the arm.

Usually, when fabric bends itbuckles. You can show this inyour drawing with lines leading

away from the bend. Notice the bucklinghere at the armpit and across the chest.

When drawing any loose-fittingclothing, consider how gravityaffects it.

Basic T-Shirt


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JeansAs with most other clothing, a pair ofjeans can be drawn using the sameguidelines. Here, you can see thematerial buckling at the crotch andknees. Study many types of clothing,and pay close attention to details likestitching and folds.

Basic Jeans


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Clothing GalleryTake a look at these examples, andnotice how the form of the body isapparent even under layers ofmaterial.

Tight ClothesEven tight-fitting outfits can have wrin-kles and buckling. This shiny effectcomes from highlighting thosewrinkles with hard-edged shapes.

Ancient DesignsInspiration for an outfit can come from anywhere,even a history book. There’s nothing that says youcan’t alter an ancient design to fit your own needs.

Drawing GravityRemember that gravity pulls down on clothing,too. Gravity often affects how a garment hangsand folds.

Drawing the WindLoose-fitting clothing is affected by motion. Payattention to the way the character is movingand the direction of the wind.

Modern StyleFashion cata-logues are greatsources for mod-ern apparelstyles. Keep afew on hand.

Finer DetailsAccumulatingsmall details,like lace aroundthe edge of askirt, can add

up to a bigeffect.


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Showing the FigureEven with most of the body covered, youshould be able to see the figure’s form beneath.Always sketch the full figure before drawingclothing.

Creating PatternsAdding a pattern to a relatively simple design can give more interest and, dare I say, drama to your character.

Drawing Folds andStitchingWith any cartoon, youdon’t have to get thisrealistic, but it helps tounderstand the realitybehind all those buckling lines you make.


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Designing Weapons and Props

Study the Simple ShapesThe first thing to consider when drawing any object is how to break itdown into simple shapes. A drinking glass may be as easy as a cylinder,but more complex items might require a combination of several basicforms. Let’s examine some now.

Basic Staff Shape To begin this staff, start with a box to representthe head of the staff. Then sketch a rough line toshow its length.

Designing the StaffCreate the curved shape of the head inside the box. Add extra details such as the spikes lining the top.

Adding the DetailsStaves come in a wide variety of styles, so be creative!

A prop is any item that a characterhandles or uses. By this definition, aweapon is just a type of prop. Hereare some examples of weapons andother objects. Pay close attention tothe construction methods involved,just as you did with drawing figures.


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Basic Sword ShapeAt the heart of this sword, you will find a num-ber of simple shapes. The most important arethe plane on which the blade lies, the box shapeof the hilt and the cylindrical handle.

Designing the Sword Once these guides are laid out, youcan begin the actual form ofthe sword. Inscribe anykind of blade you like intothe plane. Designing aweapon is one occasionwhere you can set yourimagination free.

Adding the DetailsFinishing up is just a

matter of adding moredetail to the shapes you have created. Swordscan be encrusted with jewels, engraved withmystic symbols or have leather-wrapped handles.

Basic Gun ShapeFirearms come in assorted sizes and shapes, butmost consist of a barrel and a handle for gripping.Represent both of these with long boxes.

Designing the GunRefine these boxes and meld the two together toachieve this gun’s look.

Adding the DetailsAlthough it is useful to draw with a loose, freehand when sketching the general shape, gunsoften have straight, clean lines. So, it is a goodidea to use a straight edge for your finishing line.

YOUR OWNMANGA MORGUEStart building a morgue. No, this doesn’t

mean you’ll be keeping dead things. Anartist’s morgue is a collection of refer-

ence materials, photos, drawings andarticles. If you happen to see a

cool-looking car or a fancy dressin a magazine, just clip it out

and save it. That way, if you everwant to draw something, but you aren’tsure what it should look like, you may have

something like it in your morgue.


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Basic Crossbow Shape The first sketch may not look much like a cross-bow, but by now, you should be getting the ideabehind this method of construction.

Designing the CrossbowRefine the side members of the bow to fit withinthe confines of the box.

Adding the DetailsAdding more details builds the completed picture.Remember a crossbow needs a trigger and adrawstring. Don’t be afraid to embellish as withthe sword.

Basic Backpack Shape Basic construction of this pack is simpleenough—just a large rectangular box and a smaller one for the little pouch in front.

Designing the BackpackHere, we added some flaps and straps.

Adding the DetailsThe details of this item are very similar to whatyou would do for clothing. Use folds and stitchingto tie it all together.

Basic Teddy Bear Shape As you can see, starting this bear is much likedrawing a character. It’s mostly circles andsausage shapes.

Designing the Teddy BearSimply add a face here, and define the arms andfeet more.

Adding the DetailsThe major difference between a toy bear and acartoon character is that the toy is full of stuffing.So, remember to add details like seams andbutton eyes.


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Basic Skateboard Shape The construction of this skateboard is deceptivelysimple. Draw the board itself within a narrowplane. Draw a cylinder for reference for each setof wheels.

Designing the SkateboardBe careful where you locate the wheels and thehardware that goes with them. Draw them evenlyspaced so the board looks balanced. Curve upthe board on the ends.

Adding the DetailsJust for fun, you can decorate the bottom sidewith—what else—MORE MANGA!

Basic Phone Shape The basic shape of this phone is two rectangularboxes. Technology has a way of changing ratherquickly. This cellular phone might look a bit out-dated by the time you read this, but the basicrules of construction for high-tech equipmentshould stay more or less the same.

Adding the DetailsLike the gun, mass-produced items oftenrequire a straight edge to give your finished linesa clean appearance. Use this when you add thefinal details.

Designing the PhoneFor this device, larger boxes just get detailedwith smaller boxes and squares. Here, you canalso round out the corners.


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Scho

ol G

irl

Shoujo is a genre of manga directed toward young girls. Many shoujo

stories have a young school girl as the main character. Examine some

of the features present in the two examples shown here.

EYES Large, wide eyes give her a look of excitement anddisplay the exuberance of youth. HAIR Straight and bobbed; hair adds some seriousness

to her personality, suggesting she might be a littlemore studious than some of her friends. BODY This girl has skinny arms and legs, a slightly larger

head and just a hint of an hourglass shape to herfigure. Due to her young age, a school girl may notbe fully developed. Try to create a blend of featuresfrom a young child and a grown woman. FASHION

Of course, no school girl would be complete withouta school uniform. The one pictured here is typicalof those worn in Japan, but you might try a moremodern outfit with a blazer.

• SCHOOL GIRL •

STAT

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SAILOR SUITSThe seifuku or sera fuku is what is commonlyreferred to as a “sailor suit,” and is wornmostly by young people in Japan as a school

uniform. The idea of dressing childrenin sailor suits began in Europe, butwas adopted by Japanese culturein the early twentieth century as a

symbol of social changes takingplace at the time. Few kids wear sailorsuits in the West today, but in Japan thetradition continues. The seifuku is a

reminder of growing up that many youngpeople hold dear.

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Many a tale have been spun about the beautiful girl whom everyone

loves. In Japanese, these girls are called bishoujo. One type of bishoujo,

the beach bunny, spends her days on warm coastal sands.

HAIR Long red hair makes her seem wild and untamed.BODY More mature than the school girl, she has curvier

legs and a well-defined hourglass body. She is likelyathletically toned from all the surfing and volleyballshe enjoys.

FASHIONSwimsuits come in a variety of styles. Most areformfitting, which means you’ll really need to honeyour figure-drawing skills for this one. A prop, suchas a beach ball, shows her playful side.

• BEACH BUNNY •

STAT

S

Bea

ch B

unny

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Nic

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oy

Manga for young boys, or shounen, is very popular with children as

well as some adults. The shounen often represents a nice boy, positive

in nature, who continually tries to better himself. His adventures are

a metaphor for growing up and finding a positive place in society.

EYES Large eyes give away his relative innocence.HAIR His unkempt hair shows he is still only a kid.

BODY An upright posture and determined grin express hisgrowing self-confidence.

FASHIONBig, clunky sneakers give a feeling of awkwardness.

• NICE BOY •

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PICK A BLOODTYPEWhen creating characters, it is fun to thinkabout what type of personality you will givethem. One way to show this is by blood type.In Japan, there is a superstition that a person’sblood type can tell you what that person islike, much the way zodiac signs do. You willoften find blood type listed among a mangacharacter’s biographical statistics for this reason.

Type A: Calm, down-to-earth and intellectual.

Type B: Active, excitable and having many interests.

Type O: Peaceful, easygoing and lovable, but prone to mistakes.

Type AB: Considerate and sentimental,yet strict and cautious.


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He’s unsocial, wild and cool. He’s a plain old bad boy! His rugged

good looks and air of mystery make him strangely appealing, espe-

cially to women. In Japan, they are called bishounen, or handsome

young men. The bad boy often stands out as one of the most favored

characters in any story.

EYES Narrow, unexpressive eyes make him seem cold ordistant.

HAIR Long hair that conceals the face suggests he maywish to hide something, perhaps his true feelings.

FASHIONA leather jacket, spiked collar and metal chain sayhe is dangerous and unapproachable.PROPS

This bad boy rides an equally “bad” motorcycle.Don’t let the complexity of such things scare you.As with any object, you should break down themotorcycle into simpler shapes, and build uponthose until you have the detail you desire. Remem-ber, it will be a big help if you can find an exampleto use as a model.

• BAD BOY •

STAT

S

Bad

Bo

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In ancient times, special warriors trained long and hard for sporting

combats that entertained the bloodthirsty masses. The Romans outfit-

ted their gladiators to mimic the fighting styles of the peoples they had

conquered, so many different types of fighters existed. Some were small

and quick, while others were large and powerful—like our friend here.HEAD/FACE Before drawing the helmet, lightly

sketch the whole head and face. You want to makesure everything lines up right and that there isenough room for features like the nose.BODY Full of manliness, this big boy has a broad chest and

thick, powerful limbs. He works out, so make his pec-toral and abdominal muscles well-defined.FASHION Pay attention to the folds of his loincloth.

See how the material buckles and drapes down overthe thighs? Shade the shiny metal parts from light todark. Next, add solid highlighted spots near thelighter edges. This shows how the light source is beingreflected toward the viewer. Opposite that, create sol-id dark shapes to give the impression that a distortedimage of the surroundings is also being reflected.

• ROMAN GLADIATOR •

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Advanced technologies play an ever-increasing role in modern warfare.

Nowhere is this more apparent than in the world of video games.

Many games today adopt a manga/anime art style because hi-tech

is a manga/anime specialty. Here you can learn how to start with a

bare figure and then build upon it.

EYES Position the eye shielding so the character’s eyescan see through it.

FACE There is a human head inside the helmet. It’s agood idea to sketch in a face for reference.

FASHIONOne by one, add all the elements that make upthis suit, then fill in the spaces with circuit linesuntil you cover the entire body in detail.

• TECH WARRIOR •

STAT

S

Tech

War

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Magical people also appear often in manga, and the feats they perform

vary quite broadly. For this reason, the look and style of a sorceress can

go in any direction. For instance, a sorceress specializing in fire magic

might have a flaming red dress, and a sorceress of the dark arts could

have jet-black hair and wear a pair of skulls on her shoulders.HAIR She has unusually long, wavy hair, possibly the

source of her powers. BODY If the hair covers parts of her body, as it would from

behind, be sure to sketch the hidden parts as wellto ensure a convincing pose. The same goes for herlegs, which remain mostly underneath the skirt.FASHION

Our magic user here seems fairly neutral. Almostgypsylike, she wears a long, flowing skirt with abright pattern, and she is adorned with jewelry.

•SORCERESS •

STAT

S

Sorc

eres

s


83

1 2

3


4

1 32

84


Spac

e Sa

mur

ai In keeping with Japanese heritage, many manga stories involvesamurai, and, as you know, manga also deals with futuristic technology.

So why not combine the two? A large part of being creative involves

seeing connections between things that at first glance do not appear

connected. In this case, a legendary warrior of the past is connected

with hi-tech equipment and materials.

HELMETThe helmet of a samurai has a distinctive shape, so keeping the form similar while changing thematerials makes it clear this is a samurai, but no ordinary one.

WEAPONRYHow would a samurai of the past create armorand weapons if he had access to technology of thefuture? The sword is the “soul of the samurai,” so it is doubtful it would be replaced with a ray gun.Instead, the blade might be enhanced with somesort of energy force that causes it to glow.

•SPACE SAMURAI •

STAT

S


85

1 2

3

dr_60-96.qxd 2/29/08 2:19 PM Page 85

SHOWINGRESPECTIn Japanese culture it is very important toshow the proper respect to others. This notionis reflected in the adding of suffixes to thenames of those you address. For instance,“Hello, Mario-san.”-chan: Used toward a friend or someoneyounger than you.-dono: Used for showing very polite respect.-kun: This indicates someone close to you.Usually it is used for males, but can be usedfor females who are somewhat masculine.

-sama: Used when speaking about gods,an emperor or a king.-san: Used for someone who is

your equal or higher.-sensei: It means “born earlierthan I.” Usually used toward a master

or teacher.


6

1 32

86


As any good agent will tell you, a spy must be physically fit, have

good aim and be dressed to kill. This male spy has suave sophistication

with just a touch of the “bad boy,” making him a type of bishounen.

EYES His narrow eyes give him a look of concentration.BODY He has broad, shoulders and chiseled features.FASHION

Combine the tuxedoed spy of intrigue with the mili-tary recon spy.

PROPSOutfit him with a small concealable pistol, and afield knife for the silent kill, and let’s not forget acarnation for his lapel.

• SPY •

STAT

S

Spy


87

1 2

3


8

88

1 2


Ant

hro

po

mo

rphi

c Ch

arac

ter

(Nek

o)

Anthropomorphism means giving human characteristics to inanimate

objects and animals. This, of course, leaves open a wide range of

possibilities. We have been talking about the creative combination

of seemingly unrelated things. This character could not be a better

example of that idea.One common anthropomorphic character merges a human

being with an almost catlike creature. In fact, the Japanese word

for cat, neko, also is used as a name for such characters.EYES She’s usually meant to be cute; large eyes come

standard.NOSE It can be more human, but more often it resem-

bles a cat’s.EARS The position of the ears also can vary. Sometimes

they come out from the usual place, but typicallythey are mounted higher up on the skull.BODY The body usually takes a human form, but with

the addition of a tail. Think of the bones in the tailas a graceful extension of the spine. It’s fun to tryout different animal patterns when coloring theskin. This is a creature of pure fantasy. Feel free to experiment.

• NEKO •

STAT

S


89

3

1 2

3


0

90


Here is a group of character rotations. Each character is shown in the samepose and from four different views: front, profile, three-quarter front and three-quarter back. The horizontal lines illustrate how many heads tall the characterstands for purposes of proportion. Drawings like these give an artist an idea ofhow a character looks so he or she can draw it from any angle and in any pose.

We have explored many techniques used by manga and anime artists to creategreat drawings. I hope my instruction has been of some help to you; however,there is only so much one can learn from any book. In the art of drawing manga,the best teacher will be your own eye. Keep looking at real life, for inspiration,and try to recognize how it translates into your own style.

Rotation Gallery

Sumo Wrestler


91


Cowgirl


2

92


Butterfly Girl


93


Robot


4

94


IndexAdobe®Photoshop®, 7Alluring expression, 37Amused expression, 29Anatomy, 42-43Angry expression, 32Anime, 5Anthropomorphic character (neko), 88-

89

Backpack, 68Bad boy, 76-77Balance, 58-59Beach ball, 72-73Beach bunny, 72-73Bishoujo, 72Bishounen, 86Blood type, 75Blushing, 39Body, 41-59

anatomy, 42-43feet, 54-55 front view, 44-45hands, 52-53profile, 48-49three-quarter view, 46-47types, 50-51See also Female body; Figure; Male

body

Bones, 42Butterfly girl, 92

Cast shadow, 11Cat. See NekoChibi, 50-51Children, 51Clothes

ancient design, 64bad boy, 76beach bunny, 72folds and stitching, 65form of figure under, 65jeans, 63loincloth, 78modern style, 64nice boy, 74patterns in, 65Roman gladiator, 78sailor suit, 70-71school girl, 70-71sorceress, 82swimsuit, 72tech warrior, 80tight, 64T-shirt, 62tuxedo, 86

Coloremotion and, 13hair, 19solid, 12using, 12-13

Color wheel, 12Colored pencils, 7Computer software, 7Contrapposto, 58Cool color, 13Cowgirl, 91Crossbow, 68Crosshatching, 11Cuteness, 12

Depth, 11Doujinshi, 28Drawing advice, 9

Dynamic figures, 58-59

Edges, soft, 13Embarrassment, 39

Emotioncolor and, 13eyes and, 16

Erasers, 6-7, 10Excited expression, 30Expressions

alluring, 37amused, 29angry, 32embarrassed, 39excited, 30frightened, 34irritated, 31mischievous, 36pleased, 28sad, 35surprised, 33tired, 38

Eyesbad boy, 76“bags” under, 38bulging, 33chibi, 50drawing, 16emotions and, 16expressions and. See Expressionsgallery of, 17neko, 88nice boy, 74school girl, 70spy, 86tech warrior, 80

Faceforward-looking, 20-21other angles, 26-27profile, 24-25three-quarter, 22-23

Face fault, 33Fan art, 28Fashion. See ClothesFeet, 54-55Female body, 50

beach bunny, 72-73breasts on, 47butterfly girl, 92cowgirl, 91neko, 88-89school girl, 70-71

GOOD BOOKSFor figure drawing:Constructive Anatomy by George B. Bridgeman, ISBN 0-486-21104-5Figure and Form by Lu Bro, ISBN 0-697-03059-8

For perspective:Perspective MadeEasy by Ernest Norling, ISBN 0-486-40473-0


95

dr_72.84.86.88.94.95R1 image ctp.qxd 2/26/08 9:18 PM Page 95dr_60-96 text ctp.qxd 2/26/08 12:07 PM Page 95

sorceress, 82-83See also Body; Figure

Figuredynamic, 58-59form of, under clothing, 65in perspective, 56-57running, 57

Foreshortening, 57Frightened expression, 34Frowning, 35

Gladiator, Roman, 78Gravity

clothes and, 62, 64hair and, 18

Gun, 67, 86

Hairbad boy, 76beach bunny, 72color, 19creating, 18hairstyles, 21nice boy, 74as one shape, 18, 24school girl, 70sorceress, 82

Halftone screen, 11Hands, 52-53Heads, 15-39

expressions, 28-39eyes, 16-17. See also Eyesface, 20-27hair, 18-19. See also Hair

Helmet, 84Highlight, 11 Horizon line, 56

Inking, 10Irritated expression, 31

Japanese cultureschool uniforms, 71showing respect in, 85

Jeans, 63Jumping, 59

Kawaii, 12Kneaded eraser, 7, 10

Leaping, 58Light, reflected, 11Lines, 9, 10

Magical people. See SorceressMale body, 50

bad boy, 76-77fat, 51nice boy, 74 Roman gladiator, 78-79space samurai, 84-85spy, 86-87sumo wrestler, 90See also Body; Figure

Manga, 5as Japanese art form, 24meaning of word, 20

Manga morgue, 67Markers, 7Materials, 6-7Mischievous expression, 36Mood, 13Motorcycle, 76-77Muscles, 43

Natural walk, 59Neko, 88-89Nice boy, 74

Older person, 51One-point perspective, 56

Paper, 6Pencils, 6. See also Colored pencils Pens, 6-7, 10Personality, 75Perspective, figures in, 56-57Phone, 69Pleased expression, 28Props, 66-69, 86

Respect, showing, 85Robot, 93Roman gladiator, 78-79Rotation gallery, 90-93Running figure, 57

Sad expression, 35Sailor suits, 71

Saturation, 12Scalp, attaching hair to, 18School girl, 70-71Seifuku, 71Sera fuku, 71Shading, 11Shadow, 11Shoes, 55Shoujo, 70Shounen, 74Skateboard, 69Soft edges, 13Software, 7Sorceress, 82-83Space samurai, 84-85Spy, 86-87Staff, 66Straight edges, 7Sumo wrestler, 90Super-deformed. See ChibiSurface, 9Surprised expression, 33Sword, 67, 84-85

Tech warrior, 80-81Teddy bear, 68Tired expression, 38T-shirt, 62Two-point perspective, 56

Value, 12Vanishing point, 56

Walk, natural, 59Warm color, 13Warrior

Roman gladiator, 78-79tech, 80-81

Watercolors, 7Weapons, 66-67

space samurai, 84spy, 86

Windclothes and, 64hair in, 18

6


Be sure to visit our website, www.Impact-Books.com for more information on these and other upcoming titles from IMPACT!

If you’re going to draw—draw with IMPACT!

This is the perfect starting point for begin-ning artists to learn how to capture the styleand dynamics of Manga art. Over fiftybasic lessons, using step-by-step instruc-tions, on how to draw characters andscenes are included, as well as tips for improvingyour work. Also sidebars on Japanese terms,traditions and character types help you keepyour work authentic! This is the one book youmust have on the hottest art form incomics today!ISBN-13: 978-1-58180-534-5, ISBN-10: 1-58180-534-9, Paperback, 128 pages, #32888

Over 50 quick lessons with step by step instruc-tions for drawing people, creatures, places andbackgrounds. Lea Hernandez is one of manga’smost popular artists and this book is filled withhundreds of her illustrations that will inspire you todraw your own comics. Perfect for beginning andadvanced artists.ISBN-13: 978-1-58180-572-7, ISBN-10: 1-58180-572-1,

Paperback, 112 pages, #33029

Draw superheroes and other characters withthis illustrated guide. Go up, up and awaywith your art learning to create the most pop-ular themes in comics today. David Okumteaches you to draw a variety of charactersstarting with the basics of heads and faces,taking you up to figures, proportions anddynamic poses. You’ll learn to draw settingsand vehicles, including spaceships, gadgets,armor and more. Whether you want to drawyour characters in cool poses or explore visualstorytelling, you’ll find it right here!ISBN-13: 978-1-58180-559-8, ISBN-10: 1-58180-559-4, Paperback, 128 pages, #33015

You’ll love draw-ing the outrageous monsters lurkingin Manga Monster Madness. There’s no need tofear putting your pencil to paper with 50 easy-to-follow lessons for drawing everything from aliensand mutants to the supernatural. Get tips andadvice on drawing basics like color theory, shadingand anatomy. Read the fun sidebars listing eachmonster’s name, origin and legend. This bookwill teach you everything from basic drawingskills to achieving a cutting-edge manga look.

ISBN-13: 978-1-58180-606-9, ISBN-10: 1-58180-606-X, Paperback, 128 pages, #33164

Look for these other titles from IMPACT at your local art or book store, comic book store or where ever artinstruction books are sold.


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