MANGA Vol.3 Unforgettable CharactersPurpose of This Book “Morita, could you draw the figure appearing in this photo in your own, personal style?” Do you mean so that it reflects the figure's physical appearance? Or do you mean so that it conveys the character of the individual in the photo?" Morita When you draw a character, do you find yourself automatically drawing one that you have drawn many times before? Or do you pause and first clarify your goal and intentions with respect to the character before drawing? ‘Most artists have probably found themselves at some point starting off planning to draw an “impressive” character, but then becoming absorbed in the superficial appearance of the various body parts and other details, resulting in an aver-drawn character that lacks focus. This results from artists forgetting their original plan somewhere along the drawing process, the information to be conveyed becoming distorted, and the artist adding too much extraneous information. ‘Sketching as an art form concerned with the quality and volume of information requires three skils: ski in communication, skill in composition, and skil in visual portrayal. The artist taps into these three skis while carrying outa clear plan. [Manga sketching, which goes one step further, involves the skill of making the fantastic saem plausible It also involves skils in determining the quality of te information to be conveyed and how much of it to ‘convey. These last two skills form the focus ofthis book HOW TO DRAW MANGA: Sketching Manga-Style Vol. 3 Unforgettable Characters by Hikaru Hayashi Copyright © 2007 Hikaru Hayashi Copyright © 2007 Graphic-sha Publishing Co.,Ltd. This book was first designed and published in 2007 by Graphio-sha Publishing Co.,Ltd. This English edition was published in 2007 by Graphic-sha Publishing Co.,Ltd 1-14-17 Kudan-kita, Chiyoda-ku, Tokyo 102-0073, Japan. Cover Art Kazuaki Morita Original Cover Design: Shigo Yamaguchi Design Office Editor: ‘Motofumi Nakanishi (Graphic-sha Publishing Co., Lid.) English Edition Layout Shinichi Ishioka English Transiation: Lingua franca, Ine. (http://www lingua-franca.co,jp) Publishing coordinator: Michiko Yasu (Graphic-sha Publishing Co.,Ltd.) Project management: Kumiko Sakamoto (Graphic-sha Publishing Co., Ltd.) All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. First printing: Octorber 2007 ISBN: 978-4-7661-1822-3 Printed and bound in China by Everbest Printing Co.,Ltd.Table of Contents Sketches Are Planned ...........00.n 4 Chapter 1: Drawing Faces in Any Direction... 7 Ciose-up Compositions as drawn by Kazuaki Morita ......8 Mastering a Face in 3/4 View. “ 14 Mastering Faces Composed at Low and High Angles ......18 Practice Composing Faces from a Wide Assortment of Angles so 6 Chapter 2: Kazuaki Morita’s Dojo of Sketching. 29 Experimenting with Manga Sketching 1~6..... 30 Developing a Single Character: Tricks in Making a Character Identifiable. 68 Chapter 3: Mastering How to Draw a Dynamic Figure 69 Studying the Neck and Shoulders through Close-ups .......70 Studying the Torso and Arms through Medium Close-Shots...86 Studying the Hips and Legs through Full-Figure Compositions on 98 Chapter 4: Portraying Emotions through the Body and Facial Expression .........111 “The Nitty-Gritty of Planned Sketching” ......nconenenT12 Profiles of Takehiko Matsumoto and Kazuaki Morita.......127, Chapter 5: Bringing Your Own Style to Each Composition .. sooo 129) The Manga Draft Production Process... 130 ‘Actual Manga Production 134 Color Based on the Planned Design 160 Revealing the Character's Personality through the COStUME nnn 170 Eleven Artists, Each with a Different Vision 178 This is the cutting | edge of sketchingSketches Are Planned When a sketch is created, what to draw, how to convey the subject, and other “planned” factors always go into the composition. Even doodles contain some planning, no matter how lightweight. Keeping all that in mind, the question still remains of how to put such planned factors into pictorial form in order to make a sketch more appealing. Contrast in Volume of Information Standing This ilustrates the character's hairstyle, face, costume, and other physical traits. However, it communicates nothing further than the physical. Posed This was drawn with the intention of incorporating elements of movement while projecting a vivacious, energetic atmosphere. Yet, this too seems lacking,Quality and Volume of Information to Convey The 3 elements that make a character more appealing are the face (facial expression), movement, and costume. Improving your sketching skills and sketching by maintaining awareness of these three elements and drawing with care will enhance the quality of the information conveyed as well as increase its volume, “Drawing with care” does not mean merely drawing slowly and striving to achieve beautifully executed strokes. t ‘means paying attention to specific parts as well as the overall figure. For example, in the case of the face, it refers to. ‘considering the direction ofthe gaze or the degree to which the mouth should be ‘open. Likewise, when designing the pose ‘or costume, it means showing ‘consideration to many other factors, such as the skeletal structure and musculature {body contours), fabric texture, crease volume, etc Returning to the topic of what to convey, in order to improve both the quality and volume of the information contained in your artwork, you must consider to what depth you should portray the three ‘elements when you sketch, Figure Proportioning Study LO ‘Artwork by Kazuaki Morita “lett that the costume was very important when | drew this character. | wondered what the clothes would end Up looking like when I crew her. That was what primariy beckoned my concern. For example, i | drew the blouse with a more snug fi, then she would come across even more attractive when she took off the jacket. Her eyebrows play a key role in the ‘overall facial expression. | made them stand out just alittle. Positioning them at a moderate distance from the eyes projected a brighter, more cheerful mood, ‘To portray movement, | added curves lines to her hair to emphasize the sense of flowing locks. | gave the skirt a soft, supple appearance and exaggerated the ripping inthe fabric.” MoritaGoing the Distance with Planned Sketching a ‘Surely this is the ultimate pose for portraying an energetic, bubbly personality. “The only thing | visualize when | think of the word “energetic” is a spread out form with the legs open wide. “Bubbly” makes me visualize a figure looking ‘upward. The facial expression should also convey cheerfulness. | would never visualize a downcast gaze, In that sense, it seems that having the reader visualizing the face even when iti not actually drawn is essential to drawing attention tothe figure’s overall movement. The figue's overall pose hints atthe ‘expression on the face The torso was what actually interested me most ‘compositionally. Of her costume, the clothing worn on her torso displays the most tension. The costume ‘almost seemed like the main character. | composed the figure from a moderately high angle. ‘Consequently, | foreshortened the torso when I drew it. Curved strokes wrapping around the hips evoke the ‘sense that the torso is a three-dimensional, cylindrical ‘object. also had to consider the postions of the jacket’ lapels, the postion of her chest, the deepness ofthe neckline, and the spatial relationship between the clothing and the body’s various pats as | drew. ‘The type of conceptualzation | descrie (.e. capturing the relationship between the clathing and the body underneath when drawing) will allow you to draw ‘thing on a character in any pose, even one that is Artwork by Kazuaki Morita ‘somewhat difficult.” MoritaChapter 1 Drawing Faces in Any DirectionClose-up Compositions as drawn by Kazuaki Morita The talented Kazuaki Morita, who many readers know from the ‘Sketching Manga-Style series, drew the close-up shown below. Composing a Face Faces in 3/4 view often appear in rough sketches, doodles, and manga, however, the neck and everything below is typically omitted in these contexts. To learn the basics of drawing the face, start by sketching a close-up of the face and body (limited to the neck and shoulders). ‘Adal line ‘al ine eyes Draw an X acrass an oval using a vertical (axial) and a horizontal bisecting line. Then sketch the face's silhouette contours. ‘The neck i vital when drawing face in 9/4 view. Sketch a layout of the ear in order to establish where to postion the top ofthe neck. ® ® s hen omitng the lover eel, et Ora the nse and mouth ong te . the bottom cure ofthe eye se ail ine 1 represent the loner ela loving oS J the reader fo imagine te e's \ y shape ands f/ | x The ail nei realy ine that ~ divides tent and ie ses of x the face and describes the faces sivete in pote From a ant fer drawing the eyebros, ade wien ts ne passes trough the ees, whe checking the veal face's center The body as well as e®posion. © hasan ail ine Draw the neck extending rom underneath the ea, while mantaning awareness that it connects tothe back of the head7) Establish the postion ofthe right shoulder while checking the right-to-left proportioning. Sketch a layout of the neck ‘and upper body so that it captures the positional relationships between the body parts. Shoulder contour layout ® S raw a layout ofthe shoulder contour so that the right and left shoulders lie parallel to one another. The shoulde's wil become foreshortened from a 3/4 perspective, so shorten the contour line connecting the shoulder tothe neck. Diagram ofa face and torso in 3/4 view ‘The axial ine ofthe face and torso shitt ‘al ine of the torso ® Drawing the chest cvs clearer form to the torso, Adda fe sketchy stokes unt You ae abl o determine where to poston the underarm and sie ofthe torso closer to the crecton in wich te toure ~ is acing Be avare that the al nes const the border between what fs The treats contours shifted more cenraly The Gavcles andthe shoulders aac, Make an ‘he foreground and whats ar from the than the cin and constutes a key effort to ensure thatthe shoulders pestoned so Picture plane, and take care to compose opmpostional element in portraying a 2/4 view. that the shoulder and clavicle appear to attach in the sketch so tha the subject anoears ‘natural fashion thre dimensionalThe space between the two eyes becomes. foreshortened when composed from a 3/4 ange. The shapes and widths ofboth the right an let ‘eyes change inthis view, so sketch the contours, ‘making minor adjustments as needed. Y 9 ® ® Ws ~~ ‘The proportional balance between the head and Sketch a stray wisp extending trom the crown of torso is crucial. Before embarking onthe torso, her head and the tall-ike locks extending from first sketch a layout to determine the area the the back. Remember the three elements that hair wl occupy. tA. ‘The torso must be clearty delineated before adding the arm. Draw sinuous lines from the shoulders and taling down tothe lower back, ensuring thatthe torso projects the feel of solid object. ® x Aust the contour dfn the ces. The pencil is pointing to where the underarm will be located 10 « Nm Draw the breasts as if they sat on top of the torso. Ensure that you clearly ‘maintain te toso's contours tile you deserite the swell ofthe breasts, ‘make a character more appealing? The hairstyle has the same effect asthe costume a 4 ‘Sketch the exterior contours running from the end ofthe ‘shoulder and down the back. Next, add the arm. Use a diagonal contour forthe line tracing from the neck to the shoulder when drawing a simly built young woman. This, contour is distinctive to /4 view compositions (From a front view this contour will have to be mare gradual, or the character's shoulder wil end up looking burly)@ Final Sketch: Note how the 3/4 heightens the sense of three-dimensionaity in the head and torso. Maintain awareness thatthe head and torso have volume as you sketch,Proof-Positive: 3 Elements That Make a Character More Appealing ‘The 3 elements that make a character more appealing, namely the face, movement, and costume, extend beyond drawing melodramatic facial expression, dynamic movement, and clothing. These 3 elements also play a role in close-ups of only the face. Let's take a look at how this works. 1 i f In the above, the face is almost complete. Movement shows up in the back Here, the contours of the torso and the shoulders have been adjusted, and a ‘muscles, which are extended, so that the git faces directly forward. Her stray wisp extending from the crown has been added. This stray wisp short hair serves as her “costume.” However, for some reason th git functions ina sense as a costume and gies the character an extra appears unstable, 2 if she might topple backward. In the case ofa clase- dimension. The forward curving wisp also gives the figure a Yorward up where there realy sno significant movement, it becomes important to moving” sense of moto, alleviating the lack of balance. capture movernent inthe form of posture (orto create an atmosphere of movement). a4 i l Face Movement Costume ‘The eyes constitute the key facial feature. ‘The proportioning of the head, neck, and Use the hairstyle as a form of costume. Showing te characte gaz ey torso creates a sense of overt. The nen composing a character, emember forward porte a sense ofthe characters _compaion ead imbued with that her coum dos ct compe bet wie “movernt even ats sae, ching and accessor aon, 12‘Many assume that a close-up means drawing the face alone, However, itis also important to ‘maintain awareness ofthe body. Likewise, tis essential to impart the elements of ‘movement ‘and ‘costume,’ even though the characteris nude and standing upright In the case of movement, the character may appear to be standing stil even though she is supposed to be waking, Often this is because the artist has lost any sense of movement, specifically through the character's posture or center of Gravity. Being conscious of creating the iluson of ‘movement wil make even a stil composition appear as if itis about to move, making the artwork lvlier and more appealing. ‘Movement’ oes not necessarily mean creating an action 3 scene, - | actually added the stray wisp of hai, because the sketch seemed lacking, and | thought that this All 3 Elements—the Face, Movement, and Costume—in Full Play it ft of hair might function dualy asa Accentuating he stray wisp reinforces the character's good posture, which in costume while giving the composton a sense of tum pls together the characters sense of presence. movement. ust because you have included all three elements Ina sketch does not mean that the resulting composition is successful. You should constantly ask yourself, ‘What am | trying to convey?" and 's this appealing?’ while looking over and revising what you have drawn. To me, this is what “planned design” means. Morita 13Mastering a Face in 3/4 View Compositions of a head seen from an angle make it appear three-dimensional. Such compositions fall into three types, depending on the angle at which the face is captured. Becoming competent at these three angles should allow you to compose any face from any angled perspective. 5°, 45°, and 70° 15° 45° This is the angle typically used At this angle, the reader has a sense of At this angle, the face appears When drawing a face tured away hich direction the character faces almost in profile. from the picture plane, Angles at Which to Compose the Face Ditferences in Axial Line Placement wo || super \- \ x } \ \ is 15° — f 15° (Most popuar angle) 10.0 Facing forward) { Shit the axial tine according to the angle desired Common Uses A 2 ‘a ® W Faces composed at 15° appear as if they are From a 45° angle, the direction the character The 70° angle causes the bridge of the nose to ‘almost facing forward. It shows off the face's _—_faces becomes obvious tothe reader, making it obscure the far eye. This composition is highly Droportons wel, making it optimal for showing _effectve for dramatizing the portrayal of a scene, dramatic an is used to portray emotional states ‘the reader the characters face. in a cinematic manner. 14Key Points in Composition Note How the Face and the Rear ofthe Head (Change in Appearance Note How the Ear Changes in Appearance Note How the Eyes Change in ‘Appearance AO oy y \ i \ ry <- \ { } ea / eer : \ The eye appears in its most 15° f \j ; commen form. \ The ear appears ng - and narrow, Aan | vy OY) } Now the eye has become 45° taller and narowee. = ‘The ex has become wider When composing the To achieve a more sketch, draw the outline of - reals rndtor, jhe oe at ene A show the eyeball bridge will obscure in the an / curving. final composition. { <1 Wy q * \ ~ 4 f i \ j 70° \ j The ear appears vitualy \ f x ‘the same as it would in - — 7 perfect profile view. Part of the eye becomes covered by the nose bide, iin the eye a nar, ong shape 15The Sketching Process 18° — | \ | ‘ The ear covers the exterior } contour ofthe Draw the axial ine slightly off \_ back ofthe head center NO 45° : Make the far eye f smal, while j simultaneously | tale and narrower | | than t would | ormaity appear. Draw the axial line, being conscious of wher it would ie ‘me nner comer of the eye and the bridge of Hyouwee to craw e Ness erase italy facing forward or tuned ata 15" a te same contour angle. _ - -_ 70° The back ofthe head comes into view, causing the head to change shape. - ‘low the nose to { extend beyond the cheeks exterior Draw the aval line loge contour. to the exterior (sithouette) , contour. ‘The gap between the ‘chin and the neck makes the head appear to be a three- imensional sol. 16Contrast between a Head Turned at 15° and a Head Composed at a Front View — Te eves appear Virtually the same, but the ears are diferent, Use an oblong elipse ‘The ear appears wider ‘Theis appears tobe The ear appears oblong, and forthe irises. at this angle. Be sure virtually a perfect the auricles interior is dicult to include the aurice's Circle from the front. to see without a close-up. interior. Contrast between a Head Turned at 70° and a Head Composed in Profile 2 e2"8 appear virualy the same in both views; However, the eyes andthe ises take on iterent ‘The lips do not break past the cheek’s exterior contours The lps’ shapes are larly event f te eae —— j / / Ve, I Y ‘tc ‘The irises take on ‘The ear has somewhat of a narrower ‘Now the iris has an Draw the ear at a slant. an oblong shape. appearance thn it does in perfect prof. exaggerated narrow shape.Mastering Faces Composed at Low and High Angles EEE Becoming competent at composing heads at both low and high angles will tremendously expand the variety of faces you are able to draw. : Slightly low and high angles are often casually mixed Moderate Low and High Angles together with eye-level angles of composition. To produce them, simply draw the horizontal guideline with a subtle curve. The various features do not require much modification. However, do take careful note of three particular areas: the top and back of the head, the ears, and the neck Drawing a Slightly Upward Arcing Curve to Produce @ Drawing a Slightly Downward Arcing Curve to Produce { Moderate Low Angle ‘a Moderate High Angle ee comes into view, and — — an axl ine forthe Stop of the head must \" \ From an eye-level angle, the horizontal, | guideline is straight rf ‘ite entra : Do not show a gap distance between the —> | |, between the chin and > chin nd the torso the oso / \e-a-3 / / \ =A \\ A \ From an yee hie | | ange, the ears ( 4 \ Ze y. almost lignes with | \ 7 K the ees. + \ Postion the ear 1) \ roaton te slighty lower than sight higher the eyes than the eyes. 18Key Points in the Sketching Process Moderate Low Angle j \ /] f f First, draw an oval with an X, Next, sketch the layouts ofthe neck and ‘Ad the ear, taking care to postin it ‘ving the horizontal line an torso, Draw a layout ofthe face's exterior lower than the eyes Upward curve. contours while adjusting the chin's form, —— Haine layout Draw the lacy headband so that it echoes the curve of the head, This denotes the choker collar's layout. Even if the neck does not have any accessories, you should sil raw a curved line (tipse) on the neck to capture the neck as a three-dimensional form as well as Identity the direction it faces. 4 ro ne sates atest ‘Add the hair and other detals to finish, 19Moderate High Angle Use a downward arcing curve {or the line along which the eyes vill be positioned Armen et ered ee, \— 4) muy anncttte al Determine where to position the ear, hile adjusting the shapes ofthe face the large side, This will emphasize the ‘and head. sense of a high-angle composition. _- To produce the hair's layout, draw a curved ine that echoes the head's layout 44/7 Tis insicates the distance between the hhead’s layout and the hair's layout \\\ Adjust the proportion occupied by the hair according tothe hair volume. Bsr me ma ars ta eta trishEffects of Combing the Head with the Body Head Composed at a Moderate Low Angle (_} iw | prop ye ] | i Il ‘This is how the figure appears when Now, the body is composed from an eye-ievel both the head and body are composed ‘angle. The character projects a sight stronger {rom a low angle. This isthe standard impression than she would if her head were pairing witha low-angle head. likewise composed from an eye-tevel angle, “This shows the body composed from a high angle. The impression the Character project isthe most striking ofthe three Head Composed at a Moderate High Angle This shows both the head "Now, the body is composed form an ‘and body are composed rom eye-level angle. The chin appears to high ange. be tucked in, When the body is composed from a low angle, the reader has the sense that the characteris moving toward him/her. 2Dramatic Low and High Angles Looking up: Low Angles Display the Underside of the Jaw oa fp ® \ ) if G = yy IN LUndersides of the Nose and Jaw as Triangles. ‘Pe \ / Underside ofthe nose Underside ofthe jaw 2 Exaggerating the curve of the horizontal guideline will result in a low or high angle composition with a heightened sense of three-dimensionality. _/ Tis line denotes the center ofthe head's side, \ \— raw an upward _ acing curve sightly high of center. Layout of the Head and Torso ~ Draw the hair's exterior contour close tothe head. ‘The lower eyelid should describe a curve that follows the ‘upward ar of| the face. ~ Draw the ear just behind the jaw line,Key Points in the Sketching Process Draw an oval with an X at an ‘obique angle. Draw the jaw as it carving away atthe ‘head's initialy round layout ‘Adjust the contour lines to achieve the desired head shape, ‘Sketch the ear’ layout. ‘Adjust the contour tines and draw the facil features and the hair to finish ‘Al ofthe facial features’ forms and vertical distances between facial features change when composed from a low angle. The same changes take place when composing ahead in 3/4 view (turned at an angle). ‘The forehead becomes narrower, The distance between iJ \ the eyes and the } a 4 eyebrows shortens. ead with X The eyes become more layout almond-shaped, ~The ears crop below the mouth, while the eaiobes appear larger, Head with ear and jaw layout “The bottom of the oal yout becomes the 7 juncture where the head meets ‘the neck. 23Looking Down: High Angles Hide the Nostrils / Veshaped Nose This technique is effective for making a ‘character come across ‘ 7 as “cute.” \ 1 Draw a sightly oblong oval o with an X. Next, draw the - | Ratsianatist sd paix my seed at ttwert wom oon Tl tata peony a tom ‘grange pcb a” \ Omit a contour \ defining the J noose Use this style of nose to create ‘characters with wel: defined facial features. = To produce the oval + X N= nl) a layout, cra the hocizontal LA ineattesanebentant — would appear ona head VY composed ata 70" angle, \ ‘ving the horizontal line 2 f dlvnward cuve 4 \ | igh angle compositions are rarely limited to just the ned, so adda layout ofthe boy as wel 24V-shaped Nose Tis shows an almost straight-on, 15° angled composition. —— These curves indicate were | ‘the bridge of the nose begins. A ‘The eyelids thickness becomes ‘evident when viewed from a high angle, so use two tines for the eyelid contour. Contrast with a Face in ProfileTorso Note the differences \ \ NGS \ and tracing tothe ips \ \ —— > as well as the changes \ ‘Start with a layout for { in appearance of the \ \ ahead composes ta | | eyes and ears. ) ee ‘A shadow was added ||) underneath the jaw to make te foe in profile appear thee dimensional \ S angle head, give the eyes Na along and narrow shape while drawing the earlobe onthe large side,Practice Composing Faces from a Wide Assortment of Angles Draw an oval with an X initially in order to compose it facing just about any angle imaginable.Starting with drawing an oval + X layout makes composing faces at any angle practically trouble-free, regardless of how dramatic the angle. a P ‘The head was initially drawn at [ sSand en ecomposed a a low angleChapter 2 | Kazuaki Morita’s _ Dojo of Sketching boUsing the Same Character Experimenting with Manga Sketching This section covers how to use common angles of composition to make a character appealing. Our target character for this exercise is a girl with short hair and a cheerful personality. Let's start with a close-up turned slightly askew from a { 1 } Close-up front view. This view is used to show the character's face and is commonly adopted when introducing a character to the reader for the first time. ‘The head's layout consists ofa roughly sketched circle ——The head to be ‘composed vitally faces forward, so the ‘axial lne is almost perfectly centered "Atists often draw close-ups, which tend not to display much movement, as a means of capturing a character inthe inital stage of a work of manga. The artists may use such a This horizontal close-up to introduce a character tothe ‘guideline establishes reader, r may use the close-up as a point of the postions ofthe ‘departure for composing views ofthe eyes and ears, character from other angles.” To produce the head's layout, ist draw an oval with ‘an X inside and then roughly sketch the contours of the facial features, Drawing a Layout of the Face and Upper Body ‘Sketch a layout of the upper body up Estabish the ears - to approximately Position, and then walst-ievel determine where to Place the eyes, nse, ; and mouth. A large Hi The sketch iis and pupil creates — demonstrates the impression of a — awareness ofthe 2 torso's axial in, bobby personaly - Draw the neck’s contour underneath where jaw and the ear meet Use an abiong form for the torso. 30This character has bangs that concentrate toward Morita drew plenty of hair around her cheeks, { the front of her head. As the bangs are portrayed This makes her face look narrower, accentuating | using sweeping, arched strokes that curl inward her large eyes. toward the axial tne the lines defining the har alone sufficiently evoke a sense of three A K | dimensonaliy } ti ‘After drawing the arms, add the har. Use curved lines that adhere tothe head when portraying straight hai. Use the axial nes of the head ‘and torso to estabish the direction the character faces. ‘Add the back hair that brushes the neck to fnish the rough sketch 3Adjusting the Lines to Clean up the Forms Carefuly lay one sketched line over another until you ative ata definitive, primary tne. Do not merely trace the shape already drawn. Draw the eyebrows, double-checking to ensure The manner in which the cheeks swell and the ‘Add stokes to build the desied form that thir roats or the arcs they describe are not chin's extent of angulaty affect the impression thrown off kite. the character projects. Take the utmost of care when drawing these features. Nal 4 S — { In a close-up, the neck can give the reader a This isnot intended to be a muscular character. Adding the clavicle makes the upper body seem sense ofthe character's build as a whole, so take Consequenty, a naturally flowing, curved line was solid and three-dimensionl extra care when drawing the contour running used for the upper arm's contour. {rom the neck tothe shoulder. ‘Adjusting the direction in which the head faces or the shoulders’ angles | allows you to heighten the sense of | ‘movement. However, you must be able | ‘to portray a common pose correctly if you plan on showing movement in \ an effective manner When drawing the breasts, take note cof how the sizes and shapes differ from lft to right and from which point they begin to swell. 32Final Sketch: Adding a shadow under the chin makes the face stand out.In this section, we will raw the full figure ofthe character Full-Figure Compositions featured in the close-up of the previous section. Full-figure compositions of a character standing are used to introduce that character or to make an impression on the reader. Take extra care not to draw a bolt-uprigh, stiff figure Drawing a Layout of a Full Figure ( When sketching the layout of a Draw an oval + X layout forthe head, full figure, try to use a and sketch the shoulders’ layout. \,__ proportioning of 70% figure to Remain aware of how wide the torso 30% joints, should be, ast attaches tothe shoulders. x y x y x Draw the arms while double-checking the appearance ofthe torso. In a standing pose 2 where the body is straight through the hips, the Imagining thatthe character is standing wrists donot fall below the groin, andthe ina sinuous, $-curve pose, draw the elbows le around waist-lvel tors0's layout at an oblique angle, The torso extends from the shoulder to the groin, Use the head's length as a ‘measurement guide for establishing where to position the groin 34~ ~ Use curved lines to define the knees as wel, Both the torso and the legs are cylindrical, so Draw eacr leg up tothe knee while visualizing use a curved line for the layout defining where how the legs are positioned. the legs attach to the torso. Use the head's ‘When one feg is positioned infront of the other, | length asa standard take careful note of how the knees and ankles ‘of measurement for are placed wen drawing determining the position ofthe knees ‘and the legs’ length. ‘The lag stepping forward should be positioned directly below the head. This wil make the figure appear stable ‘This shows the completed fll figure layout 35Reinforcing the Figure’s Contours Rather than merely tracing the lines you have already drawn, be conscious fading strokes that build the figure asa three-cimensional object. Basic Rules of Cylinder Sketching ‘The arms, legs, and torso are cylinders. Oraw their exterior contours ‘Start with the torso which has a large surface as if they are two curves facing one ‘area, Take note of the positions ofthe chest and another, such as illustrated by arrows hips as you draw, ‘Aad in the figure above Draw the thigh up tothe knee. ‘Draw the rest of the tigh’s contours, following the basic rues of cylinder sketching discussed above / \ \ gy 2 te meser Renrc the contour where team atachs to A oie the so matanin arenes of ow th op \ sisi af he am shoul pear Tio capture \ sear ‘full figure as a sithouette when sketching the ” head 36Drawing the Head and the Face, and Adjusting the Figure's Contours Overall raw the ful figure, capturing it in sihovette form. 4 eS ‘Add the facial features, using the horizontal ‘uideline as reference, Produce a careful outine ofthe head. ihovete, while carefully taking _—_Sketch general, large areas first and then ote of the figure's proportioning. When drawing the proceed to smaller, more detailed parts. ‘same character repeatedly, sketch the character fist in sihouete, This will rest in a sketch that preserves the proper impression for that character. \ Bog ocean pte forms te neck se an ae body Idsisain eeatunin’ of toni figure should appear as a solid ‘and folow the rules of cylinder sketching when drawing the lines ofthe final sketch, 37Completing the Head and the Body This stage is akin to inking when creating a work of manga. Let's take a look at all ofthe steps involved Adjust the contours ofthe face.Draw the iris and pupil ast. You have now finished round one ofthe sketch. Even when | take extra care with ‘the ketch, | stl find areas that didn’t come out the way intended or just elly mistakes “hie ie why | fel ie important ‘also to look at the sketch from ‘the fp side or to take a break from the eketch before coming back and looking It over again >\ from a more objective perspective. / This shows the sketch from the reverse sie. “ Looking at the reverse side allows you to check — for areas inthe sketching rn the proportioning that need tweaking from an objective perspective 39‘Adding the Last Details and Making the Final Touch-ups This shows an eraser being used to remove soiling of to clean up where needed. Reinforcing the line makes i thicker and accentuates it, This shows the muscles’ contours which in turn, heightens the sense of volume. being adjusted to make the arm from the elbow up appear more three- dimensional, Five Points in the Path to the Finished Product \When looking over each individual body ‘art, think about how that part fs inthe ‘body as a whole, and double-check the é ‘overall balance. I is important to look atthe figure overall as you check to see that the Various body parts connect correct A | { | Torso: Having the breas's lower contour ‘Bent Etow: The bent elbow forms the etd beyond the torsos contour makes deter “V" Take extra car to show the the character appear to havea si build. ‘muscles bulging A = \ iN aN VY ‘| | | | ene agente Ebon nen te nse tows Hos: A eats cnc ratte taste ‘slang ins wom 91 mes thes esa arte ton it easier to show how the elbow bends ‘the hips tothe legs. 40produce Final Sketch: The sinuous curve ofthe overall figure added tothe outward sweeping, tall-ike locks asymmetry, which enhances the compostion’s sense of movementClose-ups from the Hip and Up Artists typically use this type of close-up to show both the character's face and body. Assuming that a standard close-up and a medium-close shot are drawn on sketch paper of the same size, the latter will carry the stronger impact. Embark on your sketch with. \ a target fulcvody pose represented inthe close~p_| inn Thumbnail sketch ) Sketching the Pose Layout fi Y itis important to sketch the entire figure in the pose. Maintain awareness of how the head connect tothe torso and how the torso connects tothe arms while sketching Gradually the entire figure’s overall frm more clarity while ‘adding Quielines for the skeletal structure and other body parts 42Drawing the Face and Shoulders ‘Start by drawing the facial features andthe hai. shoulders, 80 maintain ‘awareness of how they attach i i The clavces attach othe I i as you draw. ‘Sketch the shoulders and add the ‘Sketch an eliptica layout to clavites. represent where the arm attaches tothe shoulder. Torso exterior. contour Line portraying where the underarm meets the chest. ‘Add a line showing where the chest meets the underarm. This gives the figure a sense of volume Use a gentle arc to descrive the arm's contour 43Capturing the Arms, the Face, and the Surrounding Composition ‘The below isa sketch ofthe arm. Folow the basic rules of ‘oylnder sketching to arrive at the desired form, @\ a Follow the basic rules of cylinder sketching, First draw contour and then draw contour 2. Draw a line to represent the name ofthe neck, ‘which connects tothe clavicle. Tis line serves to accentuate the face. Draw the hair as large clusters of locks. ‘Avoid making the locks appear to cluster with regularity. Take care to give them a random, 4This shows a completed sketch ofthe neck and its surrounding area. A sense of three-dimensionalty is vital tothe neck, When producing your own sketch, take care in capturing the spatial and connective relationships between the head, the neck, and the shoulders,Adjusting the Upper Body: Cleaning up the Contours oO ( eo = fxtend the arms contours, double-checking that Adjust the contours to arrive ata natural-looking Aer cleaning up the sketch with an eraser, adé they connect properly to the torso. form the hair | | ys > \ f | A ® Te Be aware ofthe bone underneath the flesh when Start by drawing the fingers hidden undemeath Follow the basic rules of cylinder sketching as drawing the knee. the arm, you draw. 46Drawing the Torso and Moving Down to the Legs Draw the breasts, giving them a sense of plumpness. VV \4 Vi i J Tis conor, which ataches othe ¥ Te breasts ae spheric nom, Use raey mars the ot rom nich the reas expands curved stokes asf cawing a cre. yw { ff ( / / | j |] Tis sho sin ering ters. maine j tat hese cova ar come othe | onda as ou caw \ \ Use agracet cure forthe wa, showing use a shuus, Scud the ety trace from underneath the ribcage, curving inward undulating forms of the abdomen atthe waist, and then moving on toward the ips. Visualize a high-leg swimsuit whien sketching the Sketch where the right leg attaches tothe torso, Give the posteio’s contour a nice, round form, guideline extending from the hips tothe legs. ‘while double-checkig the right-to-left, visual balance 4aAdjusting the Waist and Hips: Cleaning up the Sketch While Adjusting Contours =e r p the pels, / / areas Fi abdomen, ton te oe Draw a guideline where the bottom of a high-leg ‘swimsuit would appear. This wil glve the lower abdominal region a sense of three-dimensionalty © \ \ | : : y N N / N = \With the “high-eg swimsuit guideline,” the pelvic Slim down the thigh and make the leg Use a graceful, owing contour to portray the region now has a sense of sold, so adust the narrower. transition from posterior to thigh. This constitutes posterior’s shape key point in sketching slender legs. ‘Sketching the Tail-Like Locks and the Details To produce graceful, long strokes, move your hand back These are long, sweeping strokes, To produce sinuous, gracefully curving ines, make a conscious effort ‘on the pencil and angle itso to shift the sheet of paper around constantly to the angle you tind most comfortable for drawing. that ities close to the paper. 48‘Adding the Finishing Touches, Cleaning up with an Eraser, and Drawing the Details Lasty draw thei and pupil The sketch is now seconds ‘away trom completion. Reinforcing the Connective Contours of the Neck, the Clavicles, and the Shoulders “The contour connecting the neck. to the shoulder becomes shorter Clavile This shows how the neck, the clavicle, and the shoulders connect. Poses where the arms are raised in particular cause the contour portraying the clavicle, which connects tothe shoulder, to ‘appear shorter than it typically would. 50Final Sketch: The subtle shift in the contour underneath the riacage results from “stretching,” Raising both arms causes the breasts as well asthe entire upper body to rise.(4 High Angle Composition High angle compositions in particular require that the ‘shoulders’ placement and the \ head's proportioning be accurately | captured. Draw a thumbnail or study sketch on a separate sheet of paper first. Sketching Layouts of the Head and Face eee | ‘The face in a high-angle composition tends to ‘appear especialy large in contrast with a ful- figure composition, 0 take extra care in sketching the layout Fullfigure composition 52 High-angle compeston ‘sized sketch paper (21 x29.0m or 8 1/2" x11 76") This section covers how to draw a composition from an overhead angle of a character looking up. These compositions carry a strong impact and are frequently used on manga splash pages or inside covers. ‘Thumbnail sketch ‘The face appears big, so use long, sweeping arcs to draw the oval + X layout. Move your hand further back than usual along the pencil. This will allow you to produce long, curved strokes without applying pressure tothe pencil ‘Sketch layouts forthe eyes, nose, and mouth Size of face in the ful figure composition Size of face in the high: ‘angle composition ‘Sketch the face so thatthe reader can discern the atmosphere of the character's facial expressionSketching Layouts of the Shoulders and Torso ee ‘This prominent, curved tine functions as a guide Sketch the chest's layout in giving the upper body a sense of volume, Draw it, while capturing the ful figure es a silhouette. ‘Sketch the shoulders’ layout i Draw the shoulders while adjusting the contour defining the back. Be conscious of how the neck connects tothe rear of the head when drawing its contour Produce a rough sketch ofthe pose using general forms. 53Drawing the Clavicles and Adjusting the Form of the Upper Body as a guide, | ~ { | L ~ al f —T Naito te base i rules of cyinder t sketching when | drawing the arms, \ —2—> i pnw ip A (oe ee 2 a a ‘represents the breasts Aus te stapes of the lower ams while dobl-checking that they are represents the arms proportioned properly with respect tothe chest 54Drawing the Hair aad Part the hair so that it fs easy to capture in Draw the characte’ distinctive bangs as clusters A par that is too long wil change the impression chunks of locks, that the face projects, so take extra care when drawing it | Uf Draw he exterior ck in cuter Alering te cance between te wel hat andthe head wl cause the head to appear misshapen, so be careful when drawing, Ad finer, more detailed strokes after you have j \ fist ished capturing f the exterior contours. Draw the locks of hai iping forward from the back SSS of the head. This wil give the hair a sense of deptn raw the ong, sweeping locks asi they tralled down from the head. and make the head appear to be a three-dimensional Use long, acing strokes. Note thatthe pencil inthe photo above is held soli ditferenty than inthe photo tothe left. 56Drawing the Eyes and the Irises Ainge line is used to draw this contour when the eye sized normally. Sketch the contours to capture the eye's form. Sight shift in angle can cause the eye to project ‘different mood, so ensure that you ‘capture the form correct. Oraw te light efectos so AA A ‘that they lie along a diagonal A e ne eter side of the e's Draw he round pup ight high os 7 center (as if the light of center, within the iris. This will A ound ight elections tthe ns 2 = reflections were facing one evoke the feeling that the gaze is another Giected toward the reader. Draw theirs and light reflections. Draw the remaining eye, taking care to ensure that right and let eyes have the same form. Rotate the sketch so that you are able to Draw the second eye so that it projects the same mood as the ‘maintain control when drawing first. Sketch the exterior contours ofthe iis and eyelids, and then curves, ‘il them in wath hatching later 7Drawing the Face, Neck, and the Surrounding Features — \ \ Draw the auricle’ interior, using dashed lines and hatching to evoke a sense ——4 . of three-dimensionalty \ Clean up the contours of the facil features and then Draw the ear, taking careful note of how it reinforce the sihouette contours of the head attaches to the cheek area. When drawing a character's face on the large side, stand up and step back from the sketch 60 that you are able to | look over the composition. It ie important to double-check the / overall balance when drawing, / Draw the neck and the clavicle, using slighty thicker lines forthe neck than used forthe faces silhouette contours. i \While continuing to stand, clean up and add When the arms are held in trot ofthe body, depressions form near the Getails and touch-ups to any area that catch ‘shoulders. in actuality, the clavcls jut out more prominently; however, this your eye to finish the sketch, has been omitted to maintain the character's attractive appearance 58“Take extra care when drawing the body’ contours. Add the tale-Iike, sweeping locks to finish.5 ition | Seated on the Floor with the { 5 } Glossy Magazine Photo-Style Composition Legs Extended to the Side Dynamic poses arise primarily from how the neck, waist, and joints bend or twist. This section covers creating a composition that illustrates awareness of motion in the joints and the appearance of the figure’s contours as they reflect this motion. // Naturally, an artist should maintain, / awareness of how the body is structured \\ | when sketching ary pose. However, what | the artist actually draws is not the bone structure, but rather the contours of the | | figure’s pliant, supple muscles and flesh. | 50 it le essential that, you, as the artiet,/ \.be conscious of this fact. This layout reflects the legs Key Layout Points extended straight out. raw where Draw the shoulder the tops ofthe legs connect to the line and the chest torso. line so that they tie parallel to one another. The axial ne shifts ay direction from above pp the waist and below the waist, forming a 1" ‘ ——— Waist ine + This side of the hip stretches, Draw the torso as a linger, 60Capturing the Forms-Part 1: Drawing the Head and the Left Half of the Body 5 A ee \~. a s [TON \o OD = Ww | | ° al | <7 Wy I \ | | \ iv J ’ The techniques following the basic / mort acse fon Sieh eae enc ands soda ees Alt Oaw he wer am erg fan _—_—slatng he rou, dram, enact terry a Be o's oat thse ed en sah he toyr a hcl and oe Body mem pur was marinig eearest the figue’s overall balance, Adjust the exterior contours as you dra. The basic rules of cylinder sketching dictate that the side contours should be drawn as it facing one ‘another. This should faciitate cleaning up the figures forms. Estabish the forms ofthe ams, torso and thighs. Draw the leg while taking into consideration the proportioning ofthe thighs ‘Sketch the foot's underside and draw the foots length versus the aff's lena, and double-checking the positioning ofthe top top. of the leg, the knee, and the ankle, 6rr . Le ~ = 6 )’ | Qo * / conse teo, f \ maintaining , } \ | awareness of how 4 | = | ies ome 1 | } tote wea bro eet sirendg fe geen ‘aig sel be SF tered ota oe J opty conten sete _- legs attach to the torso is. Retain the shoulder’ roundness when Draw the chest to which the breasts wll ‘composing it attach, ‘The legs are cylinders attached to the torso, which is itself a cylinder. This ‘means that curved strokes should be Used to show where the legs attach to the torso, ‘Sketch guidelines indicating where the legs attach tothe torso to give the lower half f the body a sense of three-dimensionalty. This process is used when drawing a character seated ina chair or when imbuing the legs with some sense of mation. ¥ The rounded contour connecting tothe back of Use an °S" curve contour to render the thigh, the knee takes a ‘Attach the contour lines, double-checking in which directions the taking careful note of in which directions the ‘downward curve ‘curves’ origins and the terminations arc. This will result in undulating contour curves. Contours that imbue the legs witha thee-dimensional appearance. 62 Hold the pencil as you would wien drawing long, arcing stokes.‘ince the character has her hands wrapped around her legs inthis pose, Note where the bent elbow i — ‘draw the legs first, followed by the hands. positioned and sketch accordingly ‘Athis pont, the igue’s contour are almost complete 63Capturing the Forms-Part 3: Drawing the Hair wi ie. \ <7 SS 7 ‘Start by cleaning up the neck’s co rz the Ada the bangs, noting the deco in whieh Draw from the center, working your way aut surrounding rea, ‘the head tits & Be conscious of how the hair hidden behind the body lis. Once again, the pencil is held differently at this Point. Aways consider the most comfortable way of Grawing the typeof stroke o ine desired as you work,‘This page illustrates al ofthe steps followed at this stage of the process. ‘contours. Once you have finished drawing the oot's sole, draw the toes, beginning with = the litle toe 6Adding the Details to Finish at, This long lock of hair was not produced using a single, graceful stroke. To recreate it, built up ita eici stoies O oxi process: by connecting a series of shorter strokes. Carefully draw the eyes and the lips, and clean them up with an eraser to finish Final Sketch: When drawing a character in diferent poses, pay attention not only tothe eyes and the hai, but also to any special physical characteristics the character's body may have (in the case of female characters, this might include the shoulder width or breast size. 66Why is it a character is identifiable as a given Developing a Single Character character? Let’s compare five different faces. Tricks in Making a Character Identifiable figure (@)Medium-ciose —_[2)Moderatehigh- GFul-igure, fashion composition shat angle close-up modelesque composition ‘ie 4 cn Here we see the character as she makes ner (2 This is how her face appears in a panel in this panel showing her from the hips debut. The reader fist sees her in a close-up showing her entire figure. Her distinctive Jp, the inside of her eyes have been panel Her distinguishing features are her hairstyle and eye shape have been carefully rendered, giving a sense of hairstyle and eye shape. carefully retained. balance to the character. Faces change. However, in oder to ensure that a glen character is Identifiable each time she appears, those features that are the most salent must be made consistent in form. At the same time, any addtional features that absolutely make the character recognizable should also be early rendered. Give careful ‘consideration to where the hai’ part is positioned, how the hair curs, how {ar the eyebrows extend, and other such distinguishing deta.” 4 ‘This shows a close-up composed from a This full-figure, magazie-style compostion ‘moderately high ange. This composition retains the soft contours ofthe eyes seen in the Morita ‘maximizes her faces size, proportionally, so fist close-up. The chin has an overall roundish her hair and eyelashes have been carefully from, giving this version in general the rendered in somewhat fine detal. Her chin character's gentlest-ooking incarnation. has taken on a slightly rounded form. ‘© Make the character's eyes and hairstyle distinctive, and retain these distinctive features each time you draw the character. + Pay close attention to the positioning of the facial features and the face's proportioning, such as the distance between the eyes and the nose as well as where the eyebrows and hairline are located on the face. 68Mastering How to Draw a Dynamic Figure(1) Studying the Neck and Shoulders through Close-ups Close-ups provide compositions that draw attention to the face. However, close-up compositions do not ‘merely focus on the head (neck) and shoulders. They do not function exclusively to show the reader the character's face, Rather, they also enable the artist to evoke a sense of movement. This section covers how to create a composition that focuses on the directions in which the face and the torso are turned. - In the close-up below, both the head and Basic Close-up torso face the same direction. Note how the neck and shoulders connect. Figure Turned to the Left The torso plays a crucial role in close-ups. Maintain consciousness of the head, the axial lines, and the shoulder line s you draw. ‘The close-up can be likened to a bust portrait in that itis 4) generaly composed 7) | from the shoulders or “| chest and up. Where to set as the cut-off point has a significant impact onthe ccompostion's mood, 3 { 1 } 2 7 Draw the neck {{ \ Use anima coving } soninnsde Lo ray narrow neck. a4 The cacti KP > facing pertectty, f iN fwd he AA shoulder line rns | 1 LA practically parallel | if to the horizontal ~ | TF line ofthe head These guidelines ‘Sketch the head and draw Sketch the torso, drawing avout ‘define the figure's ‘uidelines for the shoulders the shoulders’ joints and Draw the arms and adjust Sant ‘and backbone as an “X". the axial line. their forms. 70Junctures of the Head, the Neck, and the Torso Drawing ene. ) tepeseing re rf bacon alos yout \ J) core vireo \ [cornea be ; ies V stave /// Ses — ssceetngy site)” — fount“ stape oI 7 curve df ~ 4 F } J { ) | | The neck attaches at an Draw the junctures where the head meets the neck and where Drawing the axial ines ofthe head and oblique angle. the neck meets the tors0 wen composing the figure. torso along a straight line ensures that the figure has good posture. Draw the shoulder ine parale tothe ground plane. Practical Application: Figure Turned to the Right ~~ \ Ng A / \ | » A ‘As when drawing a figure tured to Draw the igure all the way down to the lft, draw the axial lines and the hips, even when composing @ the shoulder line as you sketch the close-up panel. This will ensue that layouts ofthe head and torso the shoulders are wel-balanced. Taking Care When Composing the Neck ious seed a set eaneeroe [A thick neck makes the character 1ook = uh will make the character appear to have bad r posture, { Drawing the neck's | é contour descending 7 \ f ‘rectly trom the \ chin resus in a thick, muscular- ‘The layout above shows the A close-up of a This layout shows a character with good looking neck. Slender neck "EEK awn at an angle. The character wit bad | posture. The axial ines ofthe head and torso heads axial ine juts out in posture |_ and the neck’ layout ae all pertety straight front of the torso's axial ine. nLet's take a look at a close-up composition that shows Making the Shoulders and Neck Move movement in both the neck and shoulders. Composing the Shoulders at an Angle Shifting the direction ofthe ‘oval + X layout's horizontal line's downward curve and the ‘angle ofthe shoulder line \, allows for the creation of f ) wie range of eitterent I “} motions. er ki 7 WA a é ‘ a Draw an oval +Xayout, and draw the shoulder ne at an angle. ‘Sketch the neck’s layout, and Sketch layouts of the draw the ava neo the shoulders joints and the ‘body running perpendicular ‘torso. tothe shouts Practical Application Draw the shoulder tne at an * Ai ‘oblique angle and then draw the chest line so that it es Virtually parallel to the shoulder ine, UO) Schematic diagram 2Raising the Shoulders Draw the shoulder line at a regular, ‘oblique angle but ‘draw the shoulders above the shoulder line, A standard shoulder line uns parallel to the ground plane, ‘Shrugging the shoulders in laughter Draw the davies so that they form a wv Be conscious ofthe fact that the Adjust the contours. clavicles and the shoulders connect when you draw. // Foreshortenng parts far rom the picture plane evokes the sense ofthe body ats ying parallel to cach other.Tilting the Head Tilting the Head to the Left Draw the eye line | so that it rises to the right in contrast withthe shoulder ine, When the eye tine andthe shoulder ine are drawn, Virtually parallel to each other, the character appears to be looking down in an undramatized way. ‘The character has her head tured slighty downward, which causes the _/nage’s contour to A crcsyoree } Ht ‘completed the oe ; nase torso form a Sketching the layout Saye Practical Application Drawing the shoulder tine at an angle results in a dramatic, low angle-style ‘composition. - 4 Composed from a slighty low angle ™Titing the Head to the Right mat ts a Ja eye line and the shoulder line are drawn e - ‘rua paral to each ( ‘other, the character 4 appears tobe loking up in an undramatized way. Drawing the shoulder ne stan oblique angle (sng to the ight heightens the sense ot the character iting her head.Changing the Direction Faced Torso Facing Forward Head and Shoulders Tilted Practical Application: Slightly Turned Torso 76 Shifting the direction of the head with respect to the body creates a dynamic close-up. To achieve this, think about where to direct the torso. Establish the shoulders’ angle when sketching the layout. ‘The te of the head (neck) in this image isthe same as the one tothe lef, but the shoulders are angled ifferenty, and the head oes not face the same direction. The shoulders’ angle makes the pose fee dynamic. To ensure that the shoulders and chest le parallel to one another hen the torso faces forward, ‘raw the horizontal quielines as. you compose the layout. Draw the clavicles and the chest line along curved ‘Combining a subty turned torso with a ‘guidelines to make the torso to forward facing head is an effective way to make a character appear attractive. bbe a three-cimensional solidDrawing a Forward Leaning Torso ‘Sketch the layout of the torso and the ‘Sketch a layout ofthe torso and shoulders. shoulders (torso's upper surface) as an elpse and draw the torso's aval ine. Schematic diagram: Draw the ‘torso as an inverted triangle withthe waist as its tip and raw the pelvis as a circle Clean up the forms.Torso in Profile Elipses and circes constitute the basic forms of a torso in profile. Use a simple are to describe the figures front. Establish the direction the Fes 7 yeti tan te The secure canes pending onthe recon in which 78Impressions Resulted from the Posture as Affected by the How the Head and Shoulders Are Held | b ‘Showing the arms held out infront heightens the ‘sense that the characteris looking down slighty ‘She appears to be subtly hunched forward, even though she is holding herself erect. Looking Up In this image, where the arms are rotated toward the back, the character's head is tited down ‘mare exaggeratedly than inthe figure to the left, but the arms make her appear tobe putting out her chest The juncture where the back of the head and the neck meet shortens in this pose, Use a sharply curved contour, ‘Showing the arms rotated toward the back and then raising the chin makes the character appear ta be puffing out her chest even further than in the image to the let. Use the head's side ‘centerline as a quide for establishing where the head and neck meet. Use ain that curves Fe gently toward the outside | the figure to deine the \ contour leading rom the chin tothe throatAdjusting the Directions of the Head and Torso | Step-by-Step right (7 ‘ , The tors0's axial - {/ ine curves to the | | | | | Line denoting the underside of the Fj breasts, f \ f_ ‘ketch the arms while “To eproduce the above, craw ahead facing to the let and a aaa a oe torso facing tothe right. - torso. 7 \ V4 A / rs Dew a ine . denoting the underside 7 / ofthe treass as ithe e character were wearing } «a sports bra. This wll { ine trav te f cheteaser ‘This nude sketch was composed under the assumption thatthe figure ‘ould be wearing clothes. Less precision and detail than ‘ is usually used in a nude sketch will sutie, povided that the shoulder with, chest line, and the positions of other Draw the eye line at body parts have been an oblique angle. accurately established‘Adjusting the Tit of the Torso Use a curve for the chest line. fy K Use an upward curving chest line when the figure is leaning moderately back. Practical Application Head: Tumed tothe left + Tited up Torso: Facing forward + leaning (Draw the shoulder line at an angle) Use @ downward curving chest line wien the figure is leaning moderately forward. Establish in which directions the head and tors face and then sketch their layouts. Ao ‘Sketch the arms’ layouts while adding the shoulder ine and other body part guides. Draw the arms so that the elbows lie around waist level hy // Uv I a This shows the face composed from a low angle and the torso leaning sightl forward. Composing the head and torso from opposing angles, such ‘as seen above, resus ina highly dynamic composition. Draw the shoulders’ joints, and clean up the layouts’ forms. Adjust the overall frm. atMovement in the Shoulders: Shrugging SS / Draw the shoulder ‘ ‘uideine from the J LY save sion as the °V" ofthe Practical ApplicationHigh Angle Composition ( ™ Or i A! State ae, atertg te w in which f % The torso is oyincical, which means } 5 Meracteurssmme 2 Testes wn me i f be rendered as a downward curving tine.Looking Back Looking Back with the Head Tilted Slightly Up ( J, Sette aot ot heey ‘the torso (back) as an / f inert range Za ets Po axial line as the backbone Draw the neck and backbone so that they orm a hook (sideways °V") Tis creates the impression of a good posture 2. Draw te oy ne and 52 Str ine ara J toot aah Flesh out the figure | wile establishing the jointsDrawing the eye line so that it érops tothe left brings the chin close to the shoulder. This makes the character appear to be looking down somewhat, whichis effective When the overal figure is composed from a ‘moderately low-angle compasiton. Practical Application shitting the Shoulder Line and Eye Lir Schematic diagram \ Use similarly sized circles { i \ a the shoulders’ layouts. i / \ Toke care to ensue that the / tight andl arms ae equal / ingirt 4 siete ne layutso ‘that the torso (shoulder overlaps a Portion of the head. } 2. Capture the torsos soe, wie ting | ——tayouts ofthe neck, backbone, and shoulders. 43, Sttch a yut fe am and cleanup the | \ ‘vera form. Give depth to the torso and add the breast, 85(2) Studying the Torso and Arms through Medium-close shots The torso's height functions as a standard of measurement when drawing the arms. This section cavers how to portray dynamic arms through unconscious actions or gestures or the like, so that the arms give the character a sense of life. 5 7 5 In this section, we discuss the basics of Expressive Arms in a Walking Stance composing the arms from a walking position. The waist should be drawn approximately level with the elbows. tunderarms, which connect tothe breasts, to suggest to the reader that ine arm is being swung forward, while the other arm is being swung back. (nthe thumb-side, the forearm’s contour curves outward from the elbow. Note the appearances of the right and j | =~ | left underarms Use the contours of the wy «Cd Medium cose shots ‘Medium-close shots commonly ~\ | appear in magazines as A 3). _| photographs shot tom the hips up / { \ e ¢ The image seen tothe let woud / | j 4 ‘also be considered a medium- k ) f . ‘close shot, and this volume A f 2 } a A. eam Ne I cos seten of the arm just below the elbow The elbow les ‘approximately level with te” underside othe breasts Scarely any skin folds are present \~\ oe f storia » cut toward the NN back ‘The elbow is positioned lower than in the previous pose {level withthe pit ofthe stomach, just below the breastplate ‘The skin fold takes on an ‘upward curve Etbow jutting ‘ut directly to the sidebow jutting cout directly to the side the bone ofthe elbow {is present. eee { Draw the \ shoulders so that they form an Inverted “V" to suggest that the elbows are held oF being pulled close to each other of the upper arm so that i forms a \ kno. Drawing the head's axial ine at an ‘angle and rounding the backbone creates the impression thatthe characteris talking with her hands planted on her hips. 89pamper 5 Holding the forearms out and away from the body Arms Portraying Feistiness or Anxiety suggests pep, while holding the forearms in front of and against the body portrays fretfulness. Celebration Pose \ Pratuce acute i ‘sketches of even \ those parts ofthe ters that wil be hie nthe nal compasiton. - y \ 7 Te uper arm es \\ ita arenes that be paral tothe picture ety ‘ ‘bow is circular and that pane, causing he the arm sss neal adhesive bandage to when you draw, face the viewer, ‘Anxiety or Shock Draw the two elbows so that they fall along a tne that uns paral! tothe shoulder line.key Points in the Sketching Process ies, Normally, when the arms are ‘crossed, they push the breasts together towards the torso’s center. However, in the case of ‘modelesque, ong arms, the arms do nat squeeze together the breasts, andthe crossed arms have a more relaxed and less constricted fel. mrs flee Bo A determining t where to } pore \ oe etn tt ad ‘mom ase? placements. atew 4 {Sablsh ne poston ofthe shoulder lie, the axa line, the ches, and the waist. Use an inward ‘curving contour for the arm, ‘The arms support and push together the breasts. Normal, the arms would be held so that they appeared to rest ‘ontop of the chest. 2 Sketen the arms wile ‘maintaining consciousness of the writs locations. 1Poses where the underarm is exposed project a Arms Portraying a Sense of Liberation relaxed impression. Take careful note of the shoulders, the positions of the breasts, and changes in forms when drawing. Stretching the Arms above the Head or to the Side Draw the —L shoulders joint above the AF De suid tine. oy shoulder tn ‘The arms pul the breasts, causing them to change shape. ‘Sketch the shoulder line at an oblique \ ‘angle when drawing a character with Double-check the elbow's When portraying the arm bent atthe one arm raised. Draw the chest line at position as you draw, ‘elbow, draw the elbows just slightly / an angle as wel. higher than the head.Extending the Arms in Front and in Back ‘The varying lengths ofthe right and ltt arms portray the sense that they are extended in cierent directions. Profile View “ ‘Draw the joints along curves - = when the arms are not held 40 paral! to one another. — - TR. i Sk * — When both arms are held out in front parallel 5 to each ater, the elbows and wrists lie Aways double-check the postions practical paral o the shoulder ine x ofthe elbows and wrists when coy) portraying the arms extended. A? Aver ~~ ie ‘The breasts: i connect with the underarms, 80) ‘when the arms ‘move, the breasts change in shape.Grasping the Hands behind the When drawing the shoulders raised, ‘maintain awareness that not only do the breasts rise, but the underarm ‘contours that extend from the arms are pulled upward as wel. Using long contours forthe ‘forearms heightens the sense of the arms stretching Tip: The Facts of Cleaning up a Sketch When Focusing on Fleshing Out the Figure J Tis fst image shows a | standard torso with the arms ‘aied The curent siouete SD na unas Tl \ ‘rovded that a swimsuitor =} underarms and / cine frm of cting was _/ through the terso ~ be added later,‘The elbows end up cover the head when the figure is composed ‘While the elbow normally does ot extend above the head, ‘composing them inthis manner makes the character look attractive, Drawing the Head on the Small Side AL, Seton tne tu ges Se 7 layout, drawing the 7 Ce ‘head (face) slightly J Wi smaller than usual ( \(3) Studying the Hips and Legs through Full-Figure Compositions This section covers leg movement in standing and seated poses. ‘ a 7 ‘The impression projected in a standing position changes Making a Three-Dimensional Manikin Move according to how far apart the legs are held, which also offers a glimpse into the character's personality. Let's take a look at motion in the joints, focusing on the legs. Basic Form: Standing Normally In this typical, standing position, the figure stands with the legs held naturally straight. This pose is used forthe average character Hip tine Ss @! — Thehipsare Jesh \ | wineretre UA, hy | legs atach to the torso. __@ig i AN Visualize the AD) ccna Be ee) Composing a Foot from Front View \ |) sitouette contours. | | mee | TN fe 7 EE sme? | eens alows the leg | Anwebone a tobe composed [ saciid \ \] object. \ ER | Line constituting Tis cure gies (the base ofthe | the top ofthe k te extening dimensional M beyond the appearance. ma | others. Ky Capture the overall Adjust the for Finished fot ae fom. 98Sketching a Dynamic Figure Th MN iny | iN Sti tine Establish the distinguishing \ features of the figue's ) Vv \ Show the thigh \ ee ‘ posure an ten ‘tapering atthe etch. nt) Y knee. Common Mode of Composing the Foot from a Front View | 1 \ 5 | tsecunescninas \ | to connec the fot to Draw a cre to ‘the leg. represent the heel, | | / and clean up the ake \e 2 [form using curved Draw the back of the hee! S extending stright Finished fot own trom the “ \ anke,anduse t _SKOtch a cil for congo br the heels layout. \ ay ‘establishing the wy het rear.it This position, in which the legs are spread apart like a Standing with the Feet Held Apart ie aierroass. suggests a confident wf character \ | A \ \ | | Use strait contours cL : eon ‘ A £3 orceren \ are planted beyond the | \ \ . ~ shoulders. / \ The calf’ contour | curves toward the figure’ center. { strive to space the hips approximately the same asthe (shoulders. /4 View | up | { Q / ¥ c : / | Flesh out the } igh These sick igh / A) legsas it 4 tegs function 4 \ve, enveloping the “Tr as guides for \\ centerlines. termining \ the legs’ centers. / a 4 o ZA ‘gy Draw athumbnal a ¥ sketch, Take extra care when sketching | the layouts to ensure thatthe Y right and eft knees and ankles ‘are aligned properly.Knock-kneed To make the charactor ook anxious, show the wrists bending in silhouettes mimicking ‘those ofthe legs. - Ac nemeeae || brass oper feng ore uses sour) ie ome WP \ eestor \ \ The caif's | \ contours swell : ono oct ‘the leg. ee ee Follow the same steps when composing a figure from the rea. ‘This postion, in the knees are shown touching to exaggerate the look of being knock-kneed, suggests a weak, timid character. a — > ~/ go ES LAN | { I { i If \f 3} 0 Having the nes touch prevents the ) ankles from moving farther apart than the shouders. J é Composing a Foot from the Rear |) Daw the tion 2 |) 3 { lant \ ee. an () Use a curved { aes \ Zon raw the | d } w) oN Clearly establish a Flesh out the arms z Establish the figue’s ae can one and legs and ada A. sturein be f en (¢ the detach, {ayout. f proportions ofthe ars and os, 102Seated with the Legs Held Together ‘Appearance of the waist and hips ZH] When the legs are Rt] drawn ‘Hip joint Sa, pit Leterme wher the eg attaches tothe trso {/~ This quidetin provides alignment {or the tops of the legs. “The far leg is slightly shorter than the near leg 4 thighs touching the seat | ae expand outward 1 » 2 3 5 je a 2 Ay oY 4 spe ab < ae { 4) J \ th iw . eed \ x % Use an ellipse drawn NY ——S be = at an oblique angle oi for the torso. Use circles for Draw the breast \ thebuttocks. and adust the “ | bax’ con. ent Draw the logsasif standing and \ establish the knee's \ past. iSeated on the Floor: Legs the Project an Air of Freshness ‘Seated with the Legs Together and the Hands on the Knees 2 (4 draw te shoulder ine 8778) so tat ities almost 9 7 parallel tothe hip tne, Sketch alayout of form, we the upper bo 3 Pee ee 7 nate AN hip line intersects a line descending from NN the shoulder. Sketch each le layout. ~ Aa ine J Draw two circles as layouts and then sketch the legs. Leaning Back on the Hands 1, Sketch the torsos layout. 2. Draw the hip line so that it ies almost parallel to the shoulder line, 3, Draw a vertical ine descending from each shoulder and parallel tothe torso's axa ie. Draw a hip joint where each of these lines intersects with the hip line 4. Draw the legs as sticks to establish how they are posed 104Seated with the Legs Spread Apart Pose layout — The legs obseure the buttocks from view. Draw each leg as ciginating from ‘this point. aiways sketch \ be browne cma uot ave sie ernie Droste wey he Souter owe Seated with the Legs Extended Out in Front x Draw a curved contour as if you were \/ dressing the character in thigh-high stockings. This allows you to capture the roundness of the leg, “Take care to ensure that ‘the right and lft legs are the same length. To ‘determine the positions y of the knees and ankles, raw guidatines for each running paral! to the hip line. ¢ Knee guideline ‘Ankle guideline 105‘Seated with the Legs Tucked Underneath and ‘Seated with the Legs to Bent to the Sides — Draw the circle ' layout of where Draw a guideline to —/ (y es no ‘determine the knees! forthe positions. approximate gith of the thigh they le vitwaly Parall to one ‘another. Draw the lower half of the legs extending from the Y knees, bsSeated withthe Legs Tucked Underneath (3/4 Rear View) Before drawing the curved contour extending from the thigh tothe shin, first compose the figure in profile to ‘double-check its appearance. sy mune § ( \ ma) A Plump part of the calf Plump part ofthe thigh (_ i ./ oy ‘The shin does not plump out or swe ‘Sketch the thigh and Sy thee before drawing the leg’ lower hat. 107Kneeling Moderate Low Angle Draw the guidelines of the shoulders, Sketch a layout ofthe the chest, the waist, and the Bottom buttocks and use it when of the torso so that they lie virtually composing the pelvic region. Parallel to one another As the figure is composed from a slighty low angle, each ofthese guidelines takes an upward curve. ‘While visualizing the roundness ] ‘ofthe butock, sketch two J—{& celipses to produce the layout Drawing ines across the buttocks as if he character were wearing panties ora swimsuit ‘makes it easier to capture the corect *\, proportioning, \the indentation | ian “A apposite poston of \ se “ ay ee pe ‘to the thigh creates a visual distinction baer ne wo ‘Key Points in Adjusting the Posture "Drawing a diagonal ine extencing from the shoulder to the hip ¢ makes the figure appear. to be leaning back110 ‘Sketch the figure, including the parts ofthe leg that wil be obscured inthe inal sketch. Line establishing the figures posture (angle at which the figure eens) Draw a line connecting the neck’s center to the tailbone. This establishes the figur’s posture (.e. ‘the angle at withthe figure leans). Draw ines paral! tothe posture line to determine the hips’ positions 1} \ a Oy Jer 4 \w Sve | ey A NR i f _ Takehiko Matsumoto’s Manga Seminar _ Portraying Emotions through the Body and | Facial Expression“The Nitty-Gritty of Planned Sketching” Takehiko Matsumoto and Kazuaki Morita talk freely about sketching To find out about how to make a character recognizable to the reader and how to portray emotions when sketching a character using planned sketching methodology, we interviewed our two expert professionals from Sketching Manga-Style Vol.1 Interview Panel: Takehiko Matsumoto, Kazuaki Morita, Motofumi Nakanishi (Editing), and Hikaru Hayashi (Interviewer) 7 A ‘Sample Character Sheet: When artists design anime characters, they create a basc study sheet ike this for each character as well as another sheet that contains even more detailed facial expression studies for the character. Professional manga artists likewise create such character facial expression study sheets styled Imagine that you intend to start by drawing up a character (design) sheet. You would need to look ver the character ‘design and determine what the salient features of that ‘character were before composing the panel. Let's say, for example, that this wil be a highly stylized portrayal n this case, the face's profile would change completly Stlization dictates thatthe eyes would end up round and bulgy. However, the characte’ hairstyle cos- Hayashi: First, wonder if you could discuss giving a character the tum, nead-to-body ratio, and other body pats or salient same face, o, in other words, making a characte recog- features would remain constant, making the character rec- nizable. ognizable If the characteris stylized from the start, then the same set external features would have to be maintained to ensure “While every given character has the same face, doesn’t this face actually change?” ‘The Importance of Looking over the Character Design and Determining What the Salient Features of That Character Are before Composing the Panel Matsumoto: While a character naturally has the same face from scene 112 to scene, how an emotional state is portrayed affects how 2 face looks. For example, the face could be distorted or the reader is able to identity the character. In such a case, you, as the artist, should not stylize the character any fur-ther than you normally would the stylized character has big eyes, then you would nee to keep the eyes that size ‘and maintain the typical proportoning for that characte. In the case of this character, the positions of her eyes will always be as you see them here, her nose wil always be where itis now, and her hair wll always fp up as you see it Hayashi: The same can be said of manga, can't it? Matsumoto:. Sure. Since | am the only one drawing the artwork, my characters really don't deviate much in appearance. But, | still need to maintain the proper balance of proportioning between the various facial features. However, because a manga artists the only one producing the artwork, there isthe tendency for all faces to end up basically looking the same. Conversely, we sometimes find ‘tific to draw a character with an entirely new look. Hayashi: guess once you are able to make a character recogni2- able, even when you are just doing a quick drawing with- cut thinking about it much, then you've finally become a {ullfledged manga ats. Matsumoto: Yeah, | guess that's the case. While this point is realy basic, | only came to understand it wile I was designing ‘characters. You start to recognize what you need to do to make a character identfiable though his or her physical appearance. You come to realize “This sit." You become ware of which are the key, salient features. Morta: _Utimately, artists have to draw the characters they have designed in a variety of diferent scenes and situations This is how they mature as artists. Matsumoto: Absolutely, 4 Hy a ra ‘Atari the character seen here, was created specifically to show the acer how to portray a character's emotional state. Take a look atthe sample sketches to see what makes her identifiable, regardless ofthe facial expression worn i ie oA > “yp ‘The above samples show a character with clearly distinguishable features and where proportioning has been maintained in each version of her face. Even when her facial features (her eyes and mouth) are made exaggeratedly large, she stl is recognizable asthe same characte. 113The Trick to Portraying Emotional States Rests on the Shoulders Lo es} How Shoulders Move Up and Down to Express a Mood Hayashi: People often say that manga tells a story through pictures. But, what isthe trick to portraying a character's emotional state? Matsumoto: ‘Matsumoto: Solely looking atthe face, we have been stressing up to ‘now how important the eyebrows are, telling readers to ‘think about the facial muscles, and talking about how the ‘mouth and eyes move. Issues related to facial features are absolutely essential. However"***and the same holds true for anime-it's important that we don't forget that bodies can be expressive too, Hayashi: ‘Matsumoto: Hayashi: Do you mean how the body moves? Matsumoto: Well, kind of. Specifically, | mean using the character's sit- hhouette to express his or her mood. Hayashi; By silhouette,” do you mean the entire figure? ‘Matsumoto: Well, to be specific, | mean posture. Modifying the posture allows the artist use the character's physical appearance to convey quite easily his or her mood or emotional state Hayashi: Compositionaly speaking, do you mean how to capture the axial lines and center lines? Do you mean drawing the tor- so's axial ine at an angle? Matsumoto: Of course I mean that as well, but the real key point isthe shoulders. You can convey the character's mood by raising (Flowering the shoulders. For example, if the character feels happy or joyful, then the character would hold his or her shoulders slightly higher than usual. n the case of ‘drooped shoulders, draining them of tension suggests a dejected, depressed mood. Hayashi: When we say that there is tension in the shoulders, what ‘we mean is thatthe shoulders are raised. And when. describe someone breathing a sigh of relief or giving a @ Ox “| | The shoulders are normally held level to the ground plane When the shoulders become tense, they rise This can be used to convey nervousness or feat or lim. 114 When the shoulders relax, they ‘drop. The body appears relaxed deep sigh, what we mean is thatthe shoulders are low- ered. Taking a load off the shoulders refers to relaxing the shoulders, Exactly. While we'e talking along this vin, a composition showing the shoulders raised suggests that the character's body is ina tensed state. Conversely, wen the body is hel ina relaxed or lose manner, the shoulders lower. Is it that we become aware of tension or lack thereof inthe body when we draw the shoulders raised or lowered”? Yes, | think so. I's because our bodies and our emotions are inextricably entwined. Japanese has numerous verbal expressions used to describe emations, which contain reference to raising or lowering the shoulders. Since reading one of these expres- sions conveys the emotion, transforming that verbal ‘expression into pictorial form creates a character that communicates. The emotion is conveyed in a very direct sense, ea this passage not that ie outfcent merely to ohow the shoulders alee or Towored ae suggented by these | charac atetcheo Rather the reader | Should be svare that we expres cur ‘emotions using our entire upper body, | Sd that our shoulder ie an lower in ips ieee? \ eemumote‘States of High Tension: Happy (joyful), angry, frustrated, surprised (showing a figure tensed from surprise could portray a character raising both hands in shock, etc.) States of Low Tension: Dejected, relaxed, sad, surprised (showing a figure limp from surprise could portray a character who received a shock and is now feeling dejected, etc.) Please let 115How to Portray a Character in a Wallowing Emotional State Hayashi: | should think that portraying a character wallowing in or drunk with emotion would be quite a dfficutt emotional state to portray. Matsumoto: If you were to break “wallowing” into categories, then | think the particular emotional state would fall neatly into one of thase categorie. Hayashi: Is that right? Matsumoto: For example, it could mean that a characteris feeling ‘peaceful or is wallowing in an emotion ors sleepy. In all of these cases, the body becomes quite limp, and the shoul ders become lowered. Conversely, n the case of sadness, ‘anger, surprise, or pain, the shoulders usually become tensed Hayashi: Both observing the world around you on a regular basis and thinking about how to reproduce in artwork the things ‘that you see are very important, aren't they? “Relaxing or wallowing both ultimately requir thatthe fire be shown ina limp state, owing a character leaning works well toward achieving these moods.” “Even though the figue’s back might be straight, showing the head tited or using the shoulder line wil alow you to portray “wallowing in an eration’ o ‘giving into an ‘emotion.’ Infact, this might be an even better ‘means of prtraying the character's emtional “We do not necessarily allow our faces to reveal every single one of our emotions. There are times when a character's face is expressionless, ashe keeps his emotions bottled up inside.” 116Whether or Not the Shoulders Rise When We Apologize Hayashi: The other day, you were asked ia character should be shown with her shoulders up or dawn when drawing a sketch of her apologizing ‘Matsumoto: | am tempted to answer that the shoulders should normally be shown up in an apologizing scene, bu there ae ter ‘ent types of apologies, aren't there? Namely, when we have committed a particularly bad misdeed, we tend to throw our ete sees ito the apology, dont we? ‘Suppose we feel that we have to rectify a certain situation or have unwitinly spit cup of coffe. These ae situa- tions that call for a, “Gosh, I'm so sorry” type of apology, where we wil fe tense, because we feet that we have to do something to make the stuaton better n cases where the misdeed has already been committed and we feel resigned to suffer someone's wrath, then our shoulders will droop. In order for an artist to clarity what its that he or she intends or plans to draw, that artist must fist imagine as ‘many manifestations ofthat situation as possible and suss ut the pertinent information. Matsumoto: Absolutely. You have to delve deeply into any situation you intend to draw before actually drawing it. sa “Girls tend to have sloped shoulders, so in order to portray a female character with drooping shoulders, you really have to be conscious ‘about drawing the shoulders in an inverted "V" or the shoulders just won't look drooped. Also, showing the head subtly cocked or {ited up creates the effect of being ina relaxed or limp state.” apologizing or ie feeling dejected. But, the head is sagging If you ‘can adopt the pose yourself, then 440 In front of a mirror and watch V yourself do it. | highly recommend ‘experimenting with adopting the poses yourself \HE “The shoulders may be raised in tense situations, such as when a characteris ang.” 17Portraying Specific Emotions: Pain How to Portray Pain exist. When we feel pain, we might raise our faces, regardless of where it hurts or we might keep our faces Hayashi: Well now, you went one step further than the standard ‘turned down, or we might feel pain on the inside. emotions, “happy, angry, sorrowful, and joyful” and did an “agony” sketch for us, Hayashi: The artist has to dig for this information, select from amongst it, and then communicate itt the reader, right? Matsumoto: “Agony” or “pain” is a special emotion and tends to be ifferent trom the others, For example, even when its just Matsumoto: What all artists basically need to remember is that to the case that we feel pain in a specific location, we express “agony’ is that the muscles recoil atthe location instinctively adopt a defensive stance. “Pain” contains of pain, They contract. Also, we unconsciously attempt to these complex, layered elements of “emotion,” “instinctive protect where we feel pain. reaction,” and “how to respond.” Just to offera single situation, assume that a character hhas banged a body part. We then see the moment that pain {is encountered, followed by the spreading ofthat pain. Hayashi: The character might even scream or yell Matsumoto: Exactly. Agony is not the same as the other emotions. Ifa character were merely to yell, that character would extend his or her back muscles, and the mouth would form an “Oh!” But this is not so simple in the case of pain. ‘We might yell out upon experiencing this type of stress called “pain.” Or, we might yell as an expression of ‘wanting to escape this stress. Since we yell at the moment ‘that we have gained control over this pain, when the artist recreates this feeling, he or she has to be aware of this. ‘The shoulders rise. layering of pain on top of emotion bursting fort. Hayashi: Sensory perception, emotion, and action all merge, ste beck tachi (>) The head lowers x Matsumoto: “Ouch!” as an independent statement simply does not \ >< — Body's center “Te character ans foward, \ causing the font of he | )) Sore conc. Eg.: Banging the Leg against an Object and Reaction The foot is ragged. / While itis only the lag that / actually feels the pain, the character reacts with his entire body. Consequently, showing only the leg constricting does ren maintain gg LET) | eee BEE not ld conincing image. bangshis lea ecnmter rages te carater sno = >) Dra the entire gure ast ; longer able to stand | were being puled toward is ede eee ‘The pain spreads throughout conter, 5 the characters bowy he \ painis exciting. He can \. Matsumoto ‘no longer bear even sitting. N 118Clarifying Where it Hurts Hayashi: The artist has to portray through the pose specifically where the body fels pan, such as through showing the ‘muscles recoiling, the character reacting tothe pain, and the actions the character takes, corect? Matsumoto: Absolutely. Naturally, the facial expression is also important. Morita: The atist should also ask him or herself whether the character actually appears to be laughing rather than in pain, The atist needs to identity whether an outsider could look atthe character and realize that he or she feels pain, Matsumoto: The character might be trying to endure the pain****trying to pretend that it really doesn't hurt. Perhaps the character {is smiling and then notices that a bone is broken, Hayashi: Often in manga, anime, a movie, or even in a TV drama, showing a character trying to gain control over the pain might call fora close-up of the character's face think this ‘can be considered a common technique adopted inthe World of pictures. ‘Matsumoto: Exactly. On the other hand, if we do not see an image of the character holding his or her leg or touching where it ‘umn, in other words, if we have no visual indication ot ‘here it hurts, then as the viewer, we can’t possibly know. ‘Morita: ‘There are times when only showing a close-up of the face allows the viewer to imagine where it hurt. Showing character yeling ie \ Used to portray the moment“ of encountering pain or the moment that the pain increases in intencity (through tears). ft could euggest. a ‘gushing release of pain. Ae a \ reat artite tend to show ‘the character in a “etretched” ') or extended” wvDoes the Portrayal of a Reaction Constitute the Expression of Pain Matsumoto: Hayashi Morita: Matsumoto: Morita: Essential pan, tension around te point that hurts recoiling, and then awareness of pain are all alarm signals that the body gives off, and upon become aware of these signals, the tension fis the entire boo. The shoulders rise to an extent, and the body curls into itself, according to the degree of pain. The basic reaction of a human toward pain is to attempt to tuck it away or to conceal it within the boty, A a result, we tnd o hod the painful body part close to the torso. This is why a composition showing a. ‘person in pain curling up ends up more convincing. How should a character react when the calf ofa leg hurts? ‘The character would rll onto the ground in pain. At that point, the character would realize thatthe calf was cramped, which would be followed by the thought that the calf would have to be stretched to relieve the pain Uttimately the artwork would show the character reacting. So then someone who had never experienced or knowledge of this kind of pain would find it diticut to draw, | suppose Pertiaps, but this situation involves showing the character treating the pain more than showing the character in pai. wouldn't realy involve showing the character in pain. Right. The characteris trying to relieve the cat's pain Tlerating the pain typically transforms ito reacting ina painalevating manner. 0, this is not realy reaction to pain so much as a reaction in terms of what follows? This isnot a representation of agony. Hayashi: Matsumoto: Morita: Matsumoto: ‘ince the feeling of pain actually persists, the actions adopted in response might be to relieve the pain, but I can only presume thatthe character would still appear to be in pain. | think this is one definite way of portraying agony. It you consider what it takes to convey “agony,” “being in a state of pain,” or “looking painful” it might actually be ‘easier to represent “pain” as a reaction to pain. The gist really les in how the body reacts in such a situation. Precisely. There might be times when an artist might find it necessary to show a character reacting in a way that is not really feasible. | think what is important is to think about what the ideal reaction would be. 121Pain Does Not Necessarily Mean Contraction : Hayashi: Let's look at this gil whose finger is being pinched by a crab, ‘Matsumoto: | drew her to represent a reaction that isthe exact, ‘opposite of “drawing the point of pain toward the body's center.” Hayashi: Is she trying to shake off the crab? Matsumoto: We often try to move the point of pain away from our bodies or rather, move i from our fields of vision. This particularly occurs when the pain is persistent. The entire \ \ body becomes tensed. Consequently the artist needs to \ Consider showing the shoulders raised and similar \ compositional elements \ \ Nakanleht: © Whet about intentional demeeing Mss oa, he narrow Morita: Well, the face and body, as well as the situation all go into ‘side? That certainly conveys a sense of agony, doesn't it? “how to best convey what is going on.” You have to look at a variety of situations, analyze them, and extrapolate a large pe ae ee ea volume of information. Otherwise, you will never be able to silhouette she is striking is the diametric opposite of Comrie he ou Tred “shrinking back,” 80 though that tis touch might Crh Salta) Matsumoto: Stil, isn't there quite alot that we can't communicate? We are limited in what we can convey. We struggle with Morita: nthe case of this sketch, the cause of her pain is right ‘communicating before our eyes, so the sense of her pain is communicated loud and clear. | wonder how we would interpret her appearance if the crab were not present. Matsumoto: To be honest, she doesn't seem lke she isin all that ‘much agony to me. But this seems more a debate on performance portrayal Hayashi: The crab realy is essential for making the pain appear authenti, ist i? a // To euggest that a character ie enduring / pain artete tend to portray a pain that \ fe constant. Natural, the body and houldere tance upinreeponee to a persian pai. To yormy een greater | gory, artiste might show the character facing upward. W anaes onl anise, then toting yur the quo “hat pe semoccneoadnge wsones ot 7 tore important. _”~ 122Imagining Never Before Experienced Pain When Drawing Previously Unencountered Pain Hayashi Morita: Matsumoto: Nakanishi Matsumoto: Morita: Matsumoto: Morita: Matsumoto: Morita 124 {In Japanese, we have a saying that one should know ‘someone else's pain, But, does this play a role in composing a sketch? Uttimately,the artist can really only digest pain that he or she has experienced. We just can't imagine pain that we haven't experienced. Experienced pain and imagined pain wil exhibit diferences. For example, we ae unable to imagine the pain that one experiences when shot by a gun. That's true, Practically al of the sample sketches | drew show some form of pain that | have experienced myset. Well then please, by all means, try drawing someone suffering from being shot by a gun. Its definitly something | have not experienced (chuckle). Most likely, when an artist has to sketch something he or she has not actually experienced and can't imagine, the artist draws upon what he or she has seen. That would fall under things experienced during one's ie. ‘What | mean to say is that when portraying a character being shot by a gun, the artist digs into his memory of ‘movies where an actor is shot and then expands upon the actor's performance, Uttimately, we, as artists, can only draw what we have seen, ‘We also have to consider whether to portray the pain in a realistic manner or whether to go with an exaggerated, ‘dramatized portrayal Hayashi: Nakanishi: Hayashi: / Tre 6 a study sketch. Att Matsumoto: Suppose that the subject is being shot, and what you, the artist, portray isthe reaction to being shat. Say, for ‘example, that 2 man has been shot. Whois this man? is he middle-aged or young? How old is he? What kind of person is he? What sort of personality or character does he have? ‘What led to this man being shot? Was he the unwitting victim ofa crime of some sort? Or, conversely, did he rush into the scene lke a policeman in a movie or try to fle the ‘scene, but was shot inthe process? Is he a strong-willed ‘person or is he weak in character? Does the artst realy need to plan the scene to that extent? Encouraging artists to consider and play around with various scenarios just to draw a face in pain is the sort of trial and error or refinement that lies at the foundation of “planned design” as described inthis book, Matsumoto: That's exactly what its about. This can also be simply regarded as, “thoroughly designing a character.” How a character behaves depends on the character as well as \What sort of emotions that characteris capable of feeling Thus, to arrive at an appropriate sketch of “a face in pain” the atist cannot take the task lightly. | think what we are currenty talking about is nothing more than the volume and quality of information to communicate to the viewer. The volume of information that we thought of just considering the various aspects connected to “pain’ is ‘tremendous. If 1 could just go back to our discussion of “apologies” for a ‘minute, the artist relly needs to take into consideration a ‘wide variety of factors of the sort we just discussed even just to decide whether to draw the shoulders raised or lowered. So, | think the uttmate key to this process of trial and error is that the artist knows what his or her intentions are forthe sketch, ‘tage, | otll haven't decided whether ‘to shift the composition vertically or to add walls, Each would change | ‘the atmoephere of the sketch. How | ultimately angle his neck will also ‘greatly affect the sket.ch’s Impact cn the viewer. MoritaMatsumoto: | agree. The artist nas to consider what iis that he or she ‘wants to communicate. ttisnt easy though. Morita: This is my final sketch. (See sketch below.) Matsumoto: Hmm. Morita: Since this sketch ultimately comes from my imagination, can't shake the doubt that this might not necessarily reflect @ genuine reaction (grin), Matsumoto: (Laugh) Morita: You might doubt that this reaction is genuine, but | have no interest in experiencing this pain mysett. This sample sketch by Morita portrays the theme of “enduring pain.” This io my attempt at portraying “agony” through a stylized face. The basic concept wae a sad-looking vioage. MoritaPinpointing the Subject Matsumoto: Hayashi Matsumoto: Matsumoto: Hayashi: While as professional artists, we face this dilemma in carrying out our work, there remains the issue of which ‘comes firs, the scenario or the composition. Morita: What is it you're trying to say? In other words, having a subject to draw means thatthe scenario comes before the composition. But, does the Hayashi: artis think about various related factors frst? Or does this artist sit down and dive right into sketching without planning? So, and while this might seem kind of obvious, ‘the first thing of importance realy is thatthe artist clarity for him or herself what the subject wil be. ‘What | just drew was, “A character is shot and is in pain.” Orrathe,| drew the character's reaction. However, merely drawing, “A character is shot" would result in a different ‘composition. The philosophy really is thatthe subject should be Pinpointed, isn't it? we were to pinpoint the theme of pain, we would select as the subject, “pain plus escaping” or “pain plus cowering in fear” or “pain plus in a daze.” Naturally, what is drawn would change as well In other words, when an artist is considering what he or she intends to draw, the artist must pare the subject down to the key points ofthe reaction, including the character's. actions and facial expression, This is wiy the theme of “pain” wil vary in appearance, according to who draws it. Ithas tobe diferent for each artist. Well this concludes our discussion. Everyone, thank you very much for participating, Interview conducted atthe Kar-guse Stud, Tyo, pan This sample sketch by Matsumoto portrays the theme of “pain plus in a daze (the characteris in such agony that he is about to lose consciousness) 126Profiles of Takehiko Matsumoto and Kazuaki Morita Takehiko Matsumoto 1973: Born on February 9 in Shizuoka Prefecture 1992: Graduated from Japan Animation and Manga College 1992: Began apprenticeship as a manga ats assistant under Yu Knutani 1995: Joined the Society forthe Study of Manga Techniques and began participation in Graphic-sha's How fo Oraw Manga series 1998: Assisted in the production of publications on manga techniques produced by Go office and produced the fig ‘res and illustrations within this volume as well s the cover of How to Draw Manga: Mustrating Battles 2001: Became engaged with Logistcs's Team Tl Dawn 2003: Produced the character designs and original event artwork forthe PlayStation 2 game, EVE bust error PLUS 2004: Produced the character designs and was engaged as General Art Director forthe Pakistan chapter of Kids Station Yugo: The Negotiator 2005: Produced the orginal artwork and was engaged as Art Director for TV Tokyo Cho Positive! Fighters enisodes 10 through 13, 19, and 20 2006: Coauthored as well as was responsible forthe artwork and production of Sketching Manga-Stye VoL1 Pakistan 03 MIGOs Bp | Yugo: The Negotiator FHE NEGOFIATOR v's oe [© Shin Makar and Shu tana, Kodansha, Lid Je Yoga Production Commitee EVE burst error PLUS © Yugo Producton Commitee 1aKazuaki Morita 1972: 1991 1996: 1998: 2000: 2002: 2003: 2004: 2008: 2008: Born on December 26 in Shizuoka Prefecture Became engaged as an average corporate employee Began apprenticeship as a manga artist assistant under Shiro Ono ‘Assisted in the production of publications on manga techniques produced by Go ofice and has been responsible forthe How to Draw Manga: Costume Encyclopedia series cover ilustations Produced the character designs and original artwork for the PC game, Gakuen ojasama kitan (Mysterious Tales of Schoo! Gis") Began activities with Logistis's Team Til Dawn Produced the character designs and original artwork forthe PC game, Night Shift Nurses I Produced the character designs and origina artwork forthe PC game, Night Shit Murses i Produced the character designs and original artwork for Nanase Ren, © M no Violet Produced the character designs forthe PlayStation game, Berwick Saga coauthored Sketching Manga-Style Vol. as wall as produced the artwork and assisted inthe production of Sketching Manga-Stye Vol2 (Gakuen ojosama kitan (© Himeya Sof, ne ight Stit Nurses © M no Violet 128 Berwick Saga © Entertain.The Manga Draft Production Process This section covers the process of sketching manga to create a manga draft, starting with the panel layout. 1. Page Layout 2nd Panel This panel contains expositonal information about the setting and situation ox Panel | This panel serves to | SN i velop the plot. t { cris the stuaton + and fils inthe gaps y between events 4th Panel This constitutes the page's key panel. It draws focus tothe protagonist and is I intended to carry if impact. Leave a large amount of space to dedicate to this panel, Page Layout ‘+ Ths constitutes the intial stage of putting the intended work of manga into form, by sketching ‘down the panels and dialogue. The page layout functions as a springboard forthe under drawing + Use simplified figures and sketchy renditions for the page layout. Draw the layout so that you ‘are able to formulate a vision of the final work. 130 ‘st Panel This panel contains expositonal information about the setting and situation. Medium- sized Smal Medium o small Large The above shows the panel esign. Typically, three sizes of ppanels—large, medium, and small—are combined on a single ‘page to give the panel design variety,2. Under Drawing 3. Inking and Adding the Finishing Touches \c> \O}, | Ink the drawing dd the details, and make any . corrections necessary to fish 4, Final Draft ‘Sketch the under drawing using the page layout as reference. (AS the ‘age layouts typically are produced forthe entire work of manga, they are often redrawn over and over again. The above shows that the protagonist was changed from being right handed to lft handed, causing this character's pose inthe key pane! to become reversed.) Character Design ‘AS you produce the page layout, develop the designs of the main characters.133Actual Manga Production This section examines the manga production process trom character design to the completion of the manga dratt. The following lays out the steps up to the page layout. Character Design and Setting 1. Devising the Plot Write down the pot. Draft it on memo paper, using a screenplay format, or as @ novella. At this stage, the plot should be crafted to the extent that it sets forth the setting and the character designs, ‘The above shows storyboard-style sketches. Another effective / technique i to draw afew images fist and then to devise a plot. 2. Designing Characters Daisy Rough sketch ofthe protagonist Z = soma neprapaatten ot pest teats pre iro a ] angle to which you are accustomed. protagonist can be distinguished from the other characters. When designing | ote caaaheiataat eomeuern comes | acer oes eet seeee ena | Other Cast Members, ‘Make an effort to give the characters distinct physical ‘characteristics that alow them to be identified in a single glance.Creating the Character Design Once you have devised the plot, try drawing the costumes and the props. The above shows where the apron straps cross and te (eh ako z ‘The costume functions to elicit the character’ special tats. Establish the costume's detals so that you will be able to maintain consistency in the sihouette when drawing Praying around with varous facial ‘expressions will help you get a ‘clearer image ofthe character, hich wl in tun, fcitate Broducing the under drawingDesigning Characters That Are Full Here we see a sketch of a character with a distorted faced. This style of of Gistortion, which consists of shifting the chin away from the axial line, is. Personality ‘requenty used for anime, manga and game characters and isa popular “dezain kyara” or “design character" (i.e. style of drawing a character). ; Leave plenty of paco Ail no / en drawing te nai {if \ tut | 4 \ | . ‘The chin does not le along the @ | axial ine. en | a \] { \ \ i |} \ \ \ 4 | /The eyes are | | spaced far apart. The chin and mouth 7 lio to the near side of pr the ail ne 7 Ret: The eyes are located inthe same position as onthe previous head but i ‘the chin and mouth ie along the axial | i tne Key Points in Appealing Facial Feature Positioning —Oraw the chin, mouth, and eyes in citferent postions than is typically The abe stove i th Space te oes typical proportioning, ain \ f 2 (4A toe, cn es Pato ns Sistem ast || \ 4 naan tone position. This alone | ~ -) \ ) the face slightly aims he \y ~ fone sketch appeer schew. q ‘Bring the mouth and chin ‘loser together. 196The Page Layout and Under Drawing Process as Performed by Three Professional Artists Let's take a look at how the process differs in the hands of these three young manga artists. Standard Approach to Compositions itch’ work represents an example of shoo manga, whichis manga targeted Artwork by teh at young girs. The step Itch follows to produce the page layout and under ‘rawing is common, and manga artists from vitally every manga gente follow “ i tne same process. chi uses “coded characters” in the page layout, enabling | use coded characters in the page layout and os sane at cna a wel a ye stp lows in fully developed figures in the under drawing’ sketching fully developed figures. Drafting the Page Layout Devising the Panel Design ha 7 f Wy ‘ii | f } | i | oj ae The ove shows he tact deg of ew —‘chistars whale ook and des Rup, Nh sketches test pana, which sre an emer conne vile sein rena Intiuctory narate. Se double-check te overall visual balance as she sketches. ‘iad Itch sketches the close-up ofthe character's face featured in the large panel and adds the speech balloon ‘Sketching the Figure Layouts and Speech Balloons _ = teh fst establishes the | positions and esign of speech balloons for those panels that consist ‘She adheres tothe “The page layout process starts with establishing primarily of copy reading track as she ‘the positions, sizes, and distributions ofthe figures (text, aa sketches each panel. as well as the positions of the speech balloons. 138Drawing Coded Characters i Itch uses dots even to draw the eyes ofthe characters in the middle row of panels. The Positions ofthe dots indicate the direction the characters face, even without having included an axial tne Ichi jots down their eyes and facial ‘The above shows abstracted eyes and eyebrows that are completely expressions, ifferent from the ones that appeared inthe character design. However, these simpified versions stil indicate the characters facial expressions ‘and any other aspect that Itch intends to communicate jr \ * Aa Qa Yo eas ti tae br cece vb Saeco aaeoen eae aericenar eal Sr ae aatceeecctel ‘Take extra care when drawing coded characters to project the © / correct atmosphere and facial expression, even when sketching | t ~@ seemingly simple yes and mouth. cy ey ‘Any sketching style is sufficient fr the page layout, provided that it indicates in a Lesplenpacrre be ee cdiaaliny comprehensible manner to you as well as your editor (who represents the reader) who is ok yok hn ay copy) oing wat, and what facial expression he or she wears when doing it 139Sketching the Under Drawing Drawing the Pane! Borders To cary out tis step, set the page layout to the side, and using a straightedge, draw the pane! borders so that they match the page layout chi rotates the sketch around, placing it horizontally and in various other positions, so that its comfortable to draw. Some artists Itoi is using a 30 om (approx. 1) ruler as a straightedge, a ‘mechanical pencil (a regular pencil is aiso acceptable), an eraser, and BBA-sized (25 om ? 36 cm or apprax. 10° ? 14 3/16") drawing paper. Heh holds down the straightedge so that it wil not shift. Use ligt lines, a they wil be erased ater. sketch the panel layout lightly by hand first, before using a straightedge. Drawing the Speech Balloons Ine draws the shapes in vwihich the dialogue will appear. Sketch a circle that chi draws the speech balloons according matches the volume of 10 the positioning and sizing indicated in copy needed forthe the page layout. dialogue. Drawing the Character inside the Main Panel toh sketches a large oval + X layout and then draws the head's outline, 140 ‘Speech Balloon and Lettering Size Guides ‘Shonen manga (manga targeted at boys) and shojo manga, etc. ‘ypicaly feature lettering that is Seinen manga (manga targeted at young men in their teens to mid- twenties) and ladies’ ‘manga (manga targeted at young women of the ‘same age group), et. ‘The reading track progresses 7 mm in height. typically feature from the upper right to the lower lettering that is 5 mm left. Follow the reading track as in height yuan te copy ist a sine hese ballon, the dialogue will be hard to read, so keep the speech balloons nice and bg, tei Jef, swans tee | \ j ‘She draws the nose and the hands.tei gives the character the same sulky ‘expression indicated in the page layout, and sketches the eyes, eyebrows, and mouth. She takes extra care informing the eyebrows and ‘drawing the mouth. teh draws the hand first, as it serves as part of the face's outine. She next establishes the eyes’ positions, Itch draws the har starting withthe bangs, which are this character's special trait object (.e.has a spherical surtace). Hair who N Ichi draws around the Ba head's crown, while LZ J taking care to reflect / { the head's roundness and the hair's volume. i ‘When drawing the head's crown, remember that the hair grows out from 7 the who ‘After finishing the face, thi begins the sleeves, to the arm's contours and yet leaves ‘extra space around it gives the sleeve a sense of volume, Itch uses gentle curves to craw te hai, wile ‘maintaining awareness that the head is solid \ —S: 4 ‘The upper eyelids and irises allow the character ta-make an impression onthe reader and are key to creating a sense of presence, so Itch takes care in drawing the contours. t Wwe Itch draws strokes to describe the fine hairs to the character's front chi draws the shoulder contour and adds hair tothe back ofthe head to finish the boy's under drawing 1aDrawing a Pair of Characters a LE ‘Sketching normally proceeds {rom the composiion’s lft When drawing a par of characters, start withthe one tothe left Ba = Begin by sketching a layout that illustrates the ‘Draw an overall layout first. ‘Clean up the layout as you sketch. Ensure that spatial relationship between the two characters the facial expressions are clearly discernible, Draw the face and then the body. Draw the hands fast and adjust the contours. even when drawing a small composition. Completed Under Drawing ‘Draw the panels underneath this one folowing the same steps. Backgrounds are usualy added after Brush off any eraser bits to finish the character under drawing has been completed or afte having inked the figures, 142Completed Page Layout with Copy Final Dratt Coded Sketches and Under Drawings What does a coded sketch communicate and why is it coded? i The purpose ofthe small | | ane isto convey that ® ¢ ‘the two characters are facing each other and engaged in dialogue, be This represents the large ‘panel (key composition). ‘Compose the coded sketch so that it reflects the head faces and is tited inthe ssame direction and the figure is posed similarly to those in the final artwork.: eee i ‘Anazawa, wha is working in the vernacular of Taking the Individualistic Approach to Compositions ‘seinen manga as taken a B4-sizod sheet of ‘Artwork by Kazuki Anazawa ‘hotocopier paper and folded ito create a two age spread, which he wil use forthe page tayout “Both the page layout and the under drawing are layouts in ‘Anazawa uses character designs and regards the ; Pane Lnder drawing as layout for inking preparation for inking. =F =) Sketching the Page Layout Preparing the Drawing Paper for the Page Layout 2 I ‘nazawa takes a \ Bé-sied sheet of \ paper and folds itn | hat se as the | i rawing paper fr his i. =a ‘page layout. ‘The above shows the designs ofthe characters to appear in the work Drawing Panel Borders, Speech Balloons, and Character Layouts ‘Anazawa draws the panel borders freehand, while Anazawea sizes the panels based on his general Draw character layouts afte having completed a ‘adding speech balloons. He determines the speech impression of how the page layout should ook rough sketch ofthe panels, balloons’ sizes according tothe lengths of copy they wl contain ‘Anazavra vies the name of each character, so that it will be clear which figure represents which character. ‘Next he writs inthe copy. ‘Anazawa has now completed the page layout‘Sketching the Under Drawing ‘4, Using a Straightedge for the Panel Borders and Adding the le Speech Balloons | Anazawa sets the page layout tothe side and begins drawing, | ‘Anazawa carefully shits the straightedge, when the line he is ‘rawing extends beyond the straightedge (B4-sized paper is 36 cm or Approx, 14 3/16" in length. Anazawa ‘occasionally also keeps a 40 om oF 15 3/4” straightedge on hand, Lines are easier to draw veticaly than horizontal. When sketching a horizontal line, turn the drawing paper skawaye and then dee tebe layout as a masking sheet to keep the under drawing clean, ‘Anazawa ads the speech balloons and then begins to draw the characters, He uses the page 145‘Sketching the Character Layouts ‘Anazawa draws an oval + X layout for the face and a line forthe neck. He sketches square to represent the chest and draws a line representing the pelvis as itit were attached ina straight line to the neck. Establishing Forms While Sketching Anazawa draws the face's outine frst. 146 ‘Anazawa uses skeletal-stye layouts in order to capture the poses in general terms. oo Dp ‘ aa i (es i ‘ = } t This curves \ contour i represents the t rib cage. The 3 chest is This character has his left hand resting on his rendered as a hip, So where the arm bends isa vital aspect of solid object. the compostion. Anazawa sketches the elbow. Arazawa sketches the arms’ layouts after having jotted down a ful-igue layout The character is dangling his right arm by his side. Anazawa captures the general feel ofthe ose inthe layout “To draw the face, Anazawa jots dow the various ‘acal features’ layouts, establishing their positon. ‘Anazawa takes care to ensure the axial line is properly centered on the neck,‘Anazavwa sketches the hair's layout so that it lies away trom the head. Anazawa sketches the hairs contour so that they preserve the desired flow and atmosphere ©. He then draws the hair infront f the figure [2 and 3} He adds features and props appearing around the tors0's center, and draws the arms extending from the shoulders. He fleshes out the arm, = 4 Use the elbow as a guide for determining the arm's girth, ‘The plush toy that the git holds in her hand isa part ofthe figure. ‘Anazawa sketches the plush bunny, hile avoiding adding too much ‘etal to the hang ‘Anazawa reinforces the eyes’ contours after rawing the bangs. (Once the both eyes’ contours have been clearly defined, Anazawa adjusts the neck wile ooking ver the entice head Using the axa line as a guide, Anazawa draws the torsos contours while ensuring that the right and lft sides are propery balanced, Completed plush bunny 147‘Anazawa cleans up the contours describing He adds a few props. Using curved strokes, Anazawa draws the gown's the flowing locks. hem: Anazawa sketches the ripples of the hem in block units Lastly, Anazawa draws the outlines ot her shoes to finish The under erawing is now complete. ‘The Grawing i stil not quite complete. Anazawra is working from top to bottom, so the last features to add are her feet 148Completed Under Drawing RS as | 5 pia\ 1h 6 \ 1 Final Page Layout a “The under drawing does not have to look exact lke the final draft. Compose the under