HOW TO DRAW MANGA Vol.4 All about PerspectivePurpose of This Book Capture a Sense of Volume and Space to Create an Appealing Composition The field of Painting gave birt to perspective techniques, but today they grew to fully matured, perfected sketching techniques inthe felds of Architecture and Design as "drafting techniques.” However, manga is not drafting While compositions often lack perspective or have wonky perspectives, an image with a clearly defined perspective is visually convincing, This book introduces perspective techniques suitable for use when actually creating manga or book ilutrations and teaches as methods for leaning how to use a sense of Dresence and volume to tela storyon the paper's surface. Compositions that show an awareness of perspective refer to composing with an awareness of depth and space. Characters are thee-dimensional objects. And, the setting or background is thing more than a large tree- dimensional object called a "space," which contains the characters. Use ths book to lear the techniques in drawing characters and settings suited to normal perspective rawing and to creating appealing compositions that have depth HOW TO DRAW MANGA: Sketching Manga-Stle Vol. 4 All about Perspective by Hikary Hayashi Copyright © 2008 Hikaru Hayashi Copyright © 2008 Graphic-sha Publishing Co, Ltd. Originally designed and published in 2008 by Graphic-sha Publishing Co, Lo Fist English edon was produced in 2008 by Graphic-sha Publishing Co.,Ltd 1-14-17 Kudankita, Chiyoda-ku, Tokyo 102-0073, Japan Tok: [Bt] 3-3263-4318, Fax [Bt] $-3263-5297 First Asian edition published in 2011 by Page One Publishing Pe. Ltd 20 Kaki Bukit View, Kaki Bukit Techpark I, Singapore 415956 Tek: [65] 6742-2088, Fax: [65] 6744-2088 ‘enguiries@pageonearoup.com, wwrw.pageonegroup.com Cover Art Kazuaki Morita Original Cover Design: _‘Shigo Yamaguchi Design Otfice Editor: Motofumi Nakanishi (Graphic-sha Publishing Co.,Ltd.) English Editon Layout: Shinichi Ishioka English Translation Lingua franca nc Publishing Coordinator: Michiko Yasu (Graphic-sha Publishing Co, Ltd) Project management Kumiko Sakamato (Graphic-sha Publishing Co, Lt.) ‘Al ight reserved. No part ofthis book may be reproduced in any form or by any electronic, or mechanical means including information storage and retrieval systems without permission in writing from the publisher, except by a reviewer, who may quote brief passages in a review. Every effort as been made to ensure that content and credits accurately comply wit information supplied. We apologize for any inaccuracies that may have occurred and vill resolve inaccurate or missing information in a subsequent reprinting of the book First printing: Apel 2011 ISBN 978-981-245-934-3, Printed and bound in ChinaPortraying Space and Volume mE RE RE eee + From Solids to Spaces Using diagonal lines to capture solid objects and three-dimensional spaces Portraying a Space That Expands Infinitely into the Distance Using horizontal lines to convey the expanse of a space and vertical lines to convey a sense of depth ‘* How "Horizon" Lines Divide Space into an Above and a Below * Telling the Story of a Space: The Evolution of a Two-Dimensional Space into Three DimensionsFrom Solids to Spaces Diagonal ines create the illusion of a difference between two-dimensional and three-dimensional objects. Below shows how to maintain an awareness of perspective when making a character appear three-dimensional Egyptian Mura: Note the igre’ refined, fat portrayal. Now the Egyptian mural has become a tree-dimensional character, (eight ve the figure a sense of depth transforms the //// character, ff) tleatas lacked area view. WAL ‘The Egyptian muralll Using Diagonal Lines to Capture Solid Objects and Three-Dimensional Spaces ‘Sketched lines are in realty clusters of lines evoking a sense of depth. Let's take a look at spaces through sketching characters, (Cetical eon) (Hovzen Line) Drawing a three-dimensional character engenders a sense of spacePortraying a Space That Expands Infinitely = into the Distance Drawing a figure that gradually decreases in size Creates the illusion of distance (depth) Moving toward the HorizonUsing Horizontal Lines to Convey the Expanse of a Space gupepmmme and Vertical Lines to Convey a Sense of Depth ‘The horizontal and the vertical portray a sense of space. Consequently, you need to include diagonal Moving Away from the Horizon lines to connect them when drawing, Fes [figures heads along horizon line and drawing ‘each Fgure gradually \ decreasing in size naturally rates a sense of depth, / y Horizon Line scenic phot, all of J le shorter than you} | ld appear inthis / { perspective / 4 Below the Horizon | Xe - aHow "Horizon" Lines Divide Space into Experiencing a Horizon Line) _| Where the sea or the ground meets te shy is generally reered to as — the “horizon lin)” The horizon ine corresponds to the photographer's (viewer's) eye level. ‘Generally speaking, the photographer or artist postions In general the photographer or ats positions the horizon line sinily to that shown in B when intending to evoke a feting of depth ‘he horizon line similarly to that shown inA when intending to ‘evoke a feeling ofan expansive spacean Above and a Below === The horizon line divides the space into a world above and a world below. (Capturing the Worlds Above and Below ) Aoove Most compositions comprise objects hich the viewer sees from above or below. Above Seen from below Seen from above Below Below ‘Scone ofthe Inside of Room Horizon Line (Eye Level) The World Below “The Horizon Line: + Deaton nny abode ere os || «Tota ne maybe cso a beach Besos hetea '* Think of the horizon line as an imaginary line ‘to use when sketching or when photographing. The tunel me as ld wen Conon ooh ef ne pr perfectly horizontal, ‘Seen trom above ae(Adding Diagonal Lines to the Worlds Above and Below to Create a Sense of Depth ) | drawing ofa room had no diagonal ines, it would look ike this: Here is the same room with emphasized diagonal lines: St “This alone gies the composition a sense of depth, ¢ ie is Now let's extend the diagonal lines e ‘even further. ‘The diagonal lines all converge at a single point. « Note that this point is located along the horizon line (eye level). « This point where the diagonal lines converge is called the “vanishing point."© Space and Solid Objects Creating a sense of depth merely by adding diagonal lines to a composition divided by a horizon line generates the illusion of space and depth, J ‘Above eye level, the upper suraces of three-cimensional objects are not visible pnt ‘cng Curve The bottom surfaces are / visible While the boxes ‘The closer the sides are drawn 's sect sine finders sections are to eye lev the ‘more they wit itor into narrow lipses. lengths, they are ‘actually the ‘Downward Arcng SS cu ‘The further the cylinde's sections progress Beow eye lve batt surfaces of thee vay om the orion ne ee lve, the <émensional objects are nat visible tore they appear to be pert cles The Same Rules Apply to Figures a Above | / © Characteristics of Spaces Making an object smaller creates the illusion that itis farther away from the picture plane. ye Level Drawing a second Seow figure at half of the fr sie and This shows a human fur (carat ; postning by he captured asa — | trstreats the eying thon of stance "Telling the Story of a Space: The Evolution of a Two-Dimensional Part |: The Birth of Depth Lets look a the hat depth is born ina flat world Re AZ |__| @ Here we see a two- @ This word nas no depth. The road the character @ Now a rectangle has appeared. This isa vertical Seta Ae ota aimee rove Te gt an ee enh as are no bent e6ges or comers, KY @ Lines travel stag wp, down, ight and et. point G) Sudenty, agonal ines appear and cowerge atthe has appeared. poi. ‘The diagonal lines converging at a single point create the illusion of depth. Ths is called “one-point perspective." \, © The diagonal ines cause a sense of dentro emerge, generating a tree- = Ye ea Hor be Ape tube copa ‘owen ome i. xy von es one 2 ‘Two-point perspective is a blending of two one-point perspectives. Viewer 8Above sete test of dentin an wars WE direction, emphasizing a sense of height Part Ill: The Birth of Diagonal Lines Converging ® square stones appear stacked ontop of each oer all @) As she approaches, vertical lines that should the way into the distance. run straight up instead appear diagonal. The 1 stones aso seem to gradually shrink in size Furthermore, agonal lines running off othe right and eft appear to take on more acute angles as our heroine's ey travels up the wall @ Lines dfring wit, depth, and height area diagonals, accentuating the sense thatthe space comprises three -imensons. al Diagonal ines create the ilusion ofan object's length and depth traveling int the distance. This is known as "thee- ont perspective,” a technique frequenty used when Portraying an objector scene trom alow, side angle. Drawing atid point below underscores a sense af distance, creating the impression ofa high-angle * composition.Three-Point Perspective at a Glance (Use Three-Point Perspective to Create the tlusion of Looking up or Down at an Object from an Exaggerated Angle ) Consider the Appearance of a Solid Object When Drawing in Three-Point Perspective a = fr : Have a clear idea of the Shimano’ sx Use three-point perspective when showing buildings or a stret lined with buildings from alow ora high angle. Ths gives them the appearance of being gigantic object Position a point 7 — somewhere above ‘Avoid Using Three-Point Perspective to Draw Objects ‘eye level and then raw the object Falling along Eye Level (That he Haan Line tracts) = en , rd \ Eye Level = — —t Se ~~ A ~ Seen from \ Above 9 \ This is how a sold objct at eye level Correct appears when drawn in three-point Poston a point perspective. Note how it des not High Angle ‘somewnere below appear to have right angles, even ‘though it shoul eye level and then ‘raw the object. ‘Subject: The Vanishing Point Does Not Vanish ‘Vanishing points are referred to as such, because they appear to disappear. However, they do not really vanish. A hole originating fom a single point appears to Eye Level be an endless tunnel # Below shows an enlargement / of area intersecting at eye level (.e.the vanishing point, a Try to recall ow a ladder Whe tis hard to see, the point ‘appears when you look up a it or actualy has four corer, how train tracks appear running of into the distance, While these ‘objects appear to come to far of points, they donot actually vanish a18 Contents Purpose of This Book sn Portraying Space and Volume 3 From Solids to Spaces Portraying a Space That Expands infinitely into the Distance How “Horizon Lines Divide Space into an Above and a Below The Evolution of a Two-Dimensional Space into Three Dimensions Chapter 1: Basic Compositions Begins with One-Point Perspective. 19 1. The Basi of One-Point Perspective 20 Differences between Flat and Solid Objects / Solid Drawn. Using One-Point Perspective / Where to Position the Horizon Line / Where to Position the Vanishing Point Using Angles of Perspective Appropriat2Y ....nnmeennen 24 Learning How to Portray Depth in a Corridor. 6 Drawing a Corridor Using One-Point Perspective / Drawing Corridor Components Successfully / Drawing Characters ina Corridor From Corridors tothe Outside World 50 Narrow Streets and Broad Avenues / Street Intersection in a Residential Area / Shopping District Using One-Point Perspective to Draw Bends and Slopes in Roads... 64 Bending Roads / Sloped Streets / Steps Chapter 2: ‘Two-Point Perspective for Practical Composition Creation. 79 ‘The Basis of Two-Point Perspective. 80 Differences between Solids Drawn in One-Point and ‘Two-Point Perspective / Tips for Drawing Buildings in ‘Two-Point Perspective Drawing Architectural Structures. co BA Drawing Buildings and Houses / Drawing Houses and Streets / Drawing Room Interiors Schools 128 Exterior View / Classrooms / Nurse's fies / Gymnasiums Drawing Famiiar Establishments, 46 Family Restaurants / Fast Food Restaurants / Convenience Stores Chapter 3: Advanced Compositions Using Perspective... 159 The Basics of Three-Point Perspective, 160 Compositions Portraying High or Low Angles ‘Seated Characters Drawn in Perspective, 174 Drawing While Using Photos as Reference. 184 1. Tracing Photos /2. Making Corrections While Drawing Methods for Creating the llusion of Depth without Using (One-Point,Two-Point, or Three-Point Perspective Techniques 190 Beyond Perspective 192Chapter 1 Basic Compositions Begins with One-Point PerspectiveThe Most Basic of the Techniques for Portraying Depth and Distance This is a drawing technique used to make objects appear three-dimensional. It employs. The Basics of One-Point Perspective «gona ines to generate an iusion of depth and evoke a sense of space. tansrtah eee = a so _ | - So | vertical [ em vein | J {L | l |__| ee Flat Objects Have Two Dimensions Solid Objects Have Three Dimensions normaly. Note that only thre sides are 4) ¥ ee y ; Via / H \ g » Sees Heir feepetepecinny eee esac nesrel il be hidden inthe fra compositon helps you to capture a space with depth, Point This points referred to as the "vanishing point.” In one-point perspective, al depth ines converge ata single pint (you may 7 i ‘so craw the nes asi they appear to / ‘emerge trom a singe point This emphasizes the sense of depth and ‘The above shows aso object makes sutaces close tothe picture vt all dept nes drawn ‘ane appear tobe juting forward Darl to eachother. While the creating three-cimensionalty with object appears three- sual impact, cdmensionl the far sutace appears wider than the front(The Sketching Process } ro) [aR PB OD draw a square. (B) a the horizon ine © craw pont sorwre along te harizon @ caw agonal ines ognatg tom line (Tis estabishes the vanishing point) the square's corners and converging at the vanishing point © Acta siole vertical ine. Giving an Object Perspective as the Eye Moves Back in Space: Part II Postonng the vanishing point around # here creates te effect shown. Draw the horizon ne above 2raw a point (Establish the Tne resutis a sold object Bringing the horizon tne below the object the box. vanishing pont) awn ata high angle makes us think we are seeing a solid object viewed from alow angle. aEstablish where to position the horizon line (the viewer's eye level) ‘according to what angle you intend the viewer to view the subject ‘matter. When you intend for the subject matter to be viewed from above, then position the horizon line (eye level) high on the composition. When you want the subject matter to be viewed from below, then position the horizon line (eye level) ow on the composition Assorted Eye Levels ih < @R suet or tntscane KR (abject to Be Foray | Nowa << ye level may be divided into | three angles: low (worm's eye 4 view), high (bird's eye view), feel feats aw fe tow < and neutral (straight on). herzon ine ey eve at) any poston on he sheet ot pape. . Composing from a High Angle/Bird's Eye View ja) The viewer looks down, io = i > | . Pratform The front, one sie, and the ‘This ls considered a "igh top ae visite. angle” or "id's eye view.” Composing from a Neutral Position/Straight On ‘The viewer looks trom the sie ise » ‘The top and bottom ae obscured rom L view. the viewer were able to see even ‘Astraight-on view i referred ‘a small orton of the op, then tis would to.asa "neutral" positon or become a high angle composition angle. Composing from a Low Angle/Worm's Eye View This is referred as a ‘The bottom i visible angle" or "worms eye view:To establish where to position the vanishing point, consider from what angle the viewer is looking at the composition (ie. how much of the subject's surfaces should be visible). 7 i \ j O\ — —— 8 og From aneutal, However, moving the side & AYE veverc straight on position, ‘brings the box's side into \ a nether the top nor the view. TA Viewer 8 sie veble Vener A Vanishing Vaniing Vanishing Point Vanishing Point Point Vanishing Point Point Posion for Viewer Peston for Viewer B > | ‘The vanishing | point shits to the right y A Week stokig at ewer Bis ooking atthe VewerC has shied even ure the sol from straight sol ftom a neta angle, tothe side than Viewer Bin odor on but sgh to th sie. to ee the sold object’ sce. The Vanishing Point Shifts to the Right or Left, Subject: svsensn poses ne 2 JECt: and maintain awareness of how According to the Viewer's Position saigim wpeeeera call cian raving { \/ | 8 1 1 ( Now tat she | | } Cy, haben Lay bo) “ischaracter isa wo can soe tat Sol's Appearance Sols Appearance So's Appearance sphere, bt se does feunyke from Viewer 8's from Viewer B's ftom Viewer Cs at ok tke oe. eae Perspective Perspective Perspective “ 3Using Angles of Perspective Appropriately ‘crc *omainee cranoes composition. Draw figures in a box to capture the desired form. High Angle meme |) ot PI ®) Low Angle aN (i¢ Nh Neutral Poston, Profile 7 % Bre Low Angle, Font 3/4 View © Close-ups High Angles Are Also Bird's Eye Views Very Low Angles Are Also ‘Worm's Eye Views ear 34 View Front 3/4 View Front /4 View Draw the tp of he box. Visual the bottom of the box when rawing. composed from a moderately lw or high angle 24Ts te sews acormen cos. horizon tne is character's fo ope hoon Ca ear 3/4 View Front 9/4 View Front 3/4 ViewLearning How to Portray Depth in a Corridor (ore i ee oon al tra of the basic skills needed to draw aE) anything from room interiors to (Drawing a Corridor Using One-Point Perspective) roads, sho ned street, Maintain consciousness of the scale of characters and other objects a and spaces that house when drawing. @ Establishing the Horizon Line and Vanishing Point at the Rough Draft Stage \ TI \ | YY Ih I | \ . \ ride ff Yat ff he ft Ng Cll ef Hel t A Ui - 1h 7 4 | 2 Draw the horizon line. Tis Ses the D sketch a rough world above from the ‘raft world below. (Once the corridor's width is established, then its general appearance becomes set. Cans With Diagonal Lines Defining the cling Vanishing Point | <> Horizon Line {ft 0) Connect the so rectangle's four \ is comers tothe \ vanishing point Draw a door-thke rectangle Diagonal Lines Defining the Foor 3 Establish where the dagonal ines defining the celing converge wit those defining the Narrow Corridor Wide Corridor: This coud bea wide | tice: The pvc irvarpeca boca ho cord, a hallo even a room. venting pole 628 (Figures Are the Basis of Measurement for All Objects in a Composition | © Moving a Character around a Room's Floor: Transferring a Mock-up Figure around a Space Floor “Te above shows a cotidor's most basic form, However, t shows no indication of how high o position the windows o dors SN 2 raw tines connecting the vanishing point the mock-up figures head and feet ‘Te ine connecting the top ofthe character's had andthe vanishing point can be considered ‘the “height ine. ‘The mock-up figure _t represents the actual character. / ‘Aways make sue the feet touch the for ine {Draw a vertical ine extending to the foot ine inthe postion where you intend to piace the characte. This establishes the height of the ‘character when she stands closer tote picture plane. ‘The “foot ine” connecting the character's feet to the vanishing point is typically calle the “ground i \ 4 This method of connecting te vanishing point to the character's height ine constitutes the most basic trick for making sil use of perspective ‘when postionng a character in a space4 tthe mock-up figure is hovering _ over te grou in, tis will affect the characters pestoning,| A 7 11 This is how to draw a figure nest toa wal close to the picture plane. It the mock-up fgure's feet are ‘ower than the oor, this wil tect the character's positioning, ‘This shows an intermediate sketch overlapping the final composton When sketching, transfer the mock- ‘up figure around the space to establish how high to ‘make the windows and how tal to make the doors , \ se mock-up figures in The hrc fet ere bre bret he V ace of a riler to an } {estab he scat of a composition, ) objects and buildings in a " Canal Ey(Drawing Doors and Windows on the Sides of a Corridor ) (isceumaneiat\ [how tall to make the wee } Draw a straght-on view ofa door net toa mock-up figure. ‘orl acon ; meangte [> rarowanns ( (@ oor approximately “E> / d where you intend | 4 toposton one. tend alin from the top of the dor al the way tothe wal's end ‘and craw a agonal ine to connect where the door ine meets the Juncture of the two walls tothe vanishing point 2 This becomes the "door ne" which represents the height of any dor. 30 Ditterence in Height between the Door and the Character Horizon Line pera Determine the corridor’ width and craw lines trom each comer to establish the cling, the twa walls, an the for. “The mack-up figure wl look something lke tis. However, don't worry. Remember | she serves only a a guide while you are )) sketching Draw vertical ines according to how wide you envision the doors to be, Now you have finshed the dor.© Transferring a Mock-up Figure to Draw a Door on the Opposite Wall Transferring Mock-up Figure Dmivamtiookmivwe | eG \ Somatetucrnercceee | et | LAU om J 2 oes. / \/ a ® Draw a vertical ine frm the point and. wher Line ) intersects with the rund ine Diagonal tine ) connects the intersection of Lines 2 and @ to the vanishing Point Its the door ine of ‘the door on the apposite wal. Next, draw horizontal Line 5) ‘rom Gomer C and then ‘raw vertical Line 6). The ‘oor on te opposite wali ow frished, (nen danira knobs, again \ ‘transfer the width and | yh center lteraly around the | Wee SY 3132 © Sketching the Components of a Corridor “ypc, arts wil transfer an obect that matches the All That Needs to Be Done Is to Establish the Heights of the character's height Al hat noeds tobe drawn here is @ Characters, the Doors, the Ceiling, and the Windows Heel TTL) cating >| Top of Window >|— Top of Door S QD characters Heiant > Battom of Window _— ye Level _ | | Jot down a mark ingicating the poston of each eoridor component ‘Sketch the doors, windows, and celing using simplified, abstract forms. Use the character's hight as ayardstck to determin the scale ofthe other components ‘Connect the vanishing point to the mars indicating the ‘eights ofthe vaious coridor components These techriques let you successfully distribute the component \o fete, around the space, 7 (Once you have estabished the postions of objects along one wall, transfer those objects laterally to the opposte wal, Using the Character to Establish the Scale of the Doors and Windows Easy Technique for Setting the Doors’ and The caing san - Rona nce cra r lengths above the doo. ‘Sketch a mock-up igure and then craw the top of the door ‘one head-ength above the ‘mock-up i establishes 5 7 ‘Make full use of your dally experience and Do ‘memories to establish the sizes and heights of objets. You might think to yours, "How high vas the window when I stood nett i?" when posing the mock-up figure, recaling the poston (ofa window's bottom frame as you draw.This section discusses three drawing methods used to create the illusion of depth effectively. This is a simple ———__________ ~, drawing technique where diagonal lines are used to (Learning the "X Method" through Drawing Windows ) connect corners; however, itis a basic technique that may be applied to @ wide range of practical uses involving rectangles. —t Correct Example Incorrect Example ‘© The window panes have natural proportions. The closer ‘+ The window lacks natural proportions. The far window ‘window pane is larger, while the far pane is narrower. ane appears too wide. ‘© The floor and ceiling tiles also become smaller as the eye __® The ceiling and floor tiles are randomly sized and fall to moves toward the back of the corridor. This evokes a create the feeling of depth. sense of depth. © Comparison: Let's try drawing diagonal lines to connect the corners. Cuter Window Frame center / ier Window Frame ] >< > | ! The window panes vera 4 ° H LL U Tagen ptr a Incorect | Pointof Correct i 7 appear trom te front. agonal ines Example | Intersection Exam ote now the point of Single LF ‘ravn trough the window's interior Windows’ Center imersecton es at te Window Pane verpping Window canect he comers intersect atthe windows’ conte. Frames centr ofthe two panes, 34© Correcting Mistakes Now, the window has a natural sonseof depth Drawing a vertical line at the X's centr, were the ‘wo oiagonas intersect corrects the mistake © Drawing a Four-Pane Window e Se ) ‘The point where transverse diagonal ines intersect ona rectangle lies at that rectangle's exact center. tis a | precise method for bisecting a rectangle. For this book, we will call tthe "X method.” Draw a rectangle. {2 Draw an X through the rectangle i 4 | Now the window is successfully vided into two. ‘Draw a vertical ine through the X's center Eg. A Four-Pane Window Drawn in Perspective This shows a simplified cori The position of the window and its shape has been sketched in rougiy ‘DAltercvdng the window in ran an X through te front hat. The front has now dvided into two, You have now drawn a window Likewise, draw an X though the far hal. with four panes in perspective 35(Learning the “Transverse Line Method" through Drawing Floor mee, i, [ana divide the comidore wath L Soar) 7 i Draw diagonal ines toward the vanishing point 7] y recom | | BP vith @ dot ine ) in through the cor when caving es, tis ( ) red tines oan sere asthe bas for we wil cl this meth "the scaling he remaining meth." coridor flor sectons. 0raw a horizontal ine through where the second diagonal Intersects the side tine. ‘Boraw antes diagonal) ine eng ts portso_/ atts poe. / first agonal / , &/ J. \_7 pF / ‘5 simply repeating this process allows you esi to craw horizontal ines ‘moving gradual into the distance. © Examples of Practical Application ‘Shown here are basic les of perspective, the distance between the first two res, andthe diagonal ines forming the "NTypically, you would draw the characters before the setting. However, artists oS ______ +, occasionally find themselves adding (Transferring Mock-up Figures and Transferring Objects Laterally } characters to 2 previously drawn setting. This section discusses various methods @ Basic Method: Drawing Full Figures for adding characters to a setting, —~ Ore ‘\ Extend the height ines forthe mock-up figures even further to establish the height of Mock-up Figuee ©, Transfer C laterally to set © poston. Lateral Tanser _| Transfer Mock-up Figure A to the location of Mock-up Figure 8 to establish 8s height. Transfer Mock-up Figure B lateral 0 set B's poston.© Practical Application: Using Mock-up Figure Heads to Position Characters ‘This technique is etective when you cannot draw the character's fll igure. 9 hat (Character 8). Draw Character 8's body from the head————___ Drawing Close-ups © Finding a Vanishing Point for Drawing the Characters Une Connecting the Tops ofthe Characters . Oo | _ | 7 \ | | 1 tine ' CConecting the Characters! (/ ] sows ( | ) { Use diagonal tines to contect / ~ the tos ofthe characters! i 7 ~ heads and ther chins f \ ( nmin tw one ( \ \ intr Tis determines how high je eel the {\ via ine) es. Z 4 i Bye Level A - '3 Once you have established the horizon line, oughly a seth the setting and ad the vanishing point. Vw La) { This method assumes that \ | both characters have the | | same height. Manga artiste) S\ typically use this meet / 40‘Al of the characters’ eyes should leat eye © Matching up the Characters' Eyes at Eye Level level (ef along the horizon tn). Mosityng the sizeof the characters’ heads results in large or small character. This allows you to generate a sense of depth easily ‘The Same Techniques for Matching up Characters’ Eyes at Eye Level Applies to Full Figures | Nn oO enim Yi Y D Sketch the characters’ heads at eye level asf they were beads thread along a string, 4 v (B Use diagonal tines to AN \ 2 Draw a stack of circles ‘connect the characters’ feet lines intersect becomes the head-to-body ratio. Use circles that are the same size as the "anishing point ‘igure's head to determine the Ratio figure's ful Height, an | ‘according to the character's and heads Where these wo J aDifferentiating Characters' Heights | © Designing Characters to Appear Young or Old, Male or Female Ditferences in height become apparent looking at only half he character's head-o-body ratio 1:45 16 Ww 18 “18 1:7 when standing 175 up saight) Approximate Height Equivalents for Drawing Characters, “Aprox. Seo he Average Hed: 20 om to 24 om Apo. 7 7/8 to 915/16") 1:4.5 Head-to-Body Ratio~90 cm to 100 cm (Approx. 35 1/2" to 39 3/8") 1:6 Head-to-Body Ratio—120 cm to 150 om (Approx. 3° 9 1/4" to 4’ 91/16") 1:8 Head-to-Body Ratio—160 cm to 180 cm and up (Approx. 53" to 5° 8 7/8" and up) Considering the Head-to-Body Ratio When Sketching ‘Tk tout fou rooting (2 te veal proportening, wheter ‘the torso or legs shoud be longer, et.) when drawing your characters. Tit | {| ¥ HY coin Typical, the groin fs dann ‘The groin fals along one ofthe _ hata along te igure’ full head-engths compesing the (Character with 21:3 Head-o-Body Ratio height nthe case ofa stick gure’ ull height, thereby Character with a 1:7 Head-to- figure, haway along the stick). establishing the figue's Body Ratio 2Sa ‘ode so that they a ~~ Produce a rough sketch ofthe characters Final Composition: This section explains how to draw the characters so that they appear to have ‘tlerent highs, while maintaining a sense of depth istoted throughout the setting, © Positioning Characters 1. Establish One Character as the Main Mock-up Figure and the Desired Positions of the Other Characters’ Feet PT Mock-up Figure Used y i | ‘When Sketching the Seting Establish the main — mock-up figure to use asa basis for f postoning the other ———elderty Man character. 82. Transferring the Main Mock-up Figure to the Drawing the Main Mock-up Figure in the Elderly bh Transferring the Mock-up Figure to All of the Characters’ Positions Main Mack-up Fue ‘Te above shows & mock-up figure positioned where each ‘ofthe characters wil stand, ® ‘Doraw a tne connecting the feet ofthe main mock-up figure to thse of the elderly man (e Other Characters' Positions Man's Position Vanishing Point where the elderly mans feet wil be once he is actually drawn) and establish a vanishing pont |2Connect the vanishing point to the head of the main mock-up figure. ‘The above shows the mock-up (Draw a vertical line from the elderly man's fire standing inthe ederty man's feet. This lets you know the height of the place. ‘mock-up figure curently in the elderly man's position Following the same steps, ‘raw the mock-up figure in postions through 6 | where the other characters wil eventually be craw. [the tiele bay fe | the main mock-up | establish a location of a vanishing point for each character as you draw ~ / i pron -\ wil ake the Race hor sorter rater) 0 appropiate and rw) cach character the way (7 Ae or she should oo» i L iS oy This shows basicaly wat you have drawn up to this Point, with the man character in each ofthe other characters’ postions in lieu of the mack-up figures that represent her.A Al | 117 Headeto-Body qe a Body Ratio ‘The young man is one head Jength taller than the main The elderly man and he tle boy are each one hea-ength a fected as cee sancaveae positions of the others, and then to vo" ee b asnnias oo A &y | | | | CT i. Sere aaa So oe ST erp etty eee eaten orccmeceees© Height Differences amongst Couples ‘This represents = - the boy. whois ~ also the taller of the two, \ ‘This represents then o te man characte, wns ed te ao craving ough Sketch | Add one more head-tength to the Main Mock-up Figure (8) height of Main Mock-up Figure (8, = other characters bk dD 2s hopin ang he man moc-p fous ad he Spee, conceal Presb a vee sae ‘height, Figures a, ¢, and d are all tall figures and have the sane botFgute Cis eter short in stature or bending ‘orwari i rn Distinct differences appear in how figures’ shoulders and hips slope Drawing According to the Angle of Perspective Dic tines sper re a Characters are composed ether rom a high or low angle whe the horizon line is centered inthe composition .. composed trom a neutral positon). ‘The hips sloe in a downvard curve. The cols have gente, dovmward curves. ‘When the horizon line ispostioned low inthe composition, the ‘When the horizon line is postioned high inthe composition, then characters are ewe drawn from a low angle, ‘the characters are drawn from a high angleIncorrect the ast became caught ry ratios and positioning the | characters inthe setting | so.as to suggest depth. As a resui, they 1 composed trom a neural | ange, an they look ike they are about to careen tor ‘The above shows characters crawn from alow angle. The his and colar slope in upward curves. The heads are crawn proportionally smal from a neal angle || Tey ook aa, i ey are about to topple backwards, ‘These characters are drawn from a high angle. The hips and collars sope in downward curves. Te clase the characters ae tothe picture plane (oc camera lens), the more the tops of ther heads become visibleFrom Corridors to the Outside World —v.sis.esh coun fe condor ing BL ALPE WG (EYL | IW aH EeeW W4 ~~ SS Now we ate let with only the for We wil ook at this Corridors are spaces surrounded by Let's takeaway the oeling and wal remaining Noor a a “road,” and use tata celigs, floors, and wals. epartre pont for earn about te outside word stNe s Broad Avel Follow the same steps to draw a road as when drawing a corridor. (Narrow Streets }© Positioning Characters: Using Mock-up Figures Follow the same steps for positioning characters lines & and) above. ina cotidor to ora Here, have drawn a character walking ina back aly(Wide Streets) Reference Photo: The arist used this photo as reference forthe buldings. refer ste© Positioning Characters: Drawing Heads at Eye Level Po (@ Now the figures waking along the wide avenue are fished.Correctly capture the scaling of objects along the avenue (guardrails, Broad Avenues | ee) wn eset nop Reference Poo: Look at he shin in | \, photos to catire how the space Horizon Line — a ee Pay attention when drawing to ensure that the guardrails and characters are paall to one another and thatthe avenue lies between them,{@ Use the mock-up figure close tothe = Use the quarcal as a bass for Quardral to determine how tal to make scaling the mock-up figure and another mock-up figure that you will Use the trees lining the street as a bass for scaling te bulings. ___ Establishing the Scale of Common Objects Seen along a Street Use the Heights of Mock-up Figures to Establish the Scale of Facet one mock: Large Objects Soe HF state the mock-up figure tobe between 180 mand 160 em are ee 7) | approx. 4 9176" ae A iy 2908.53 up figue Y J. tthe height * atone mock-up figure Body Part Lengths to Establish the Scale of Small Objects Sk Ay Estate the head to be between 20 em and 24 cm (aporox.7 7/8° Chest Level to9 15/16). Eye Level Hip Level kee Level 7© Positioning Characters: Drawing Characters' Faces along the Horizon Line oh,© Using the "X Method" to Draw Trees (2 Conceive of the tree as oe of the rectangles sides and sketch a ‘geometrical diagram Ike that seen above. 1 Now we are able to draw atid tree atthe midway point between the ‘tga two tres. The next step iso create anther geometic daoram using this ew, third tree and te tree close to the picture planet locate the midway pont for a fourth ree between these two, (3 Use the "x method” to lacat a point miway between the The "x method” consists of raving transverse agonal lines ‘across a rectangle and then using the point where the two tines intersect to dvde that rectangle into nat orion Line | Draw the horizon tine and the trees closest and farthest ‘rom the picture plane. the vanishing points poston is ‘redetermined, as when drawing an avenue, use this point as a bass fr crawing depth lines, F | { Draw ezch tee as if planting one after the oer, closer and cose to the picture plane. 59Poles on te street comers serve as uides for determining the mock-up figue's height. @ Using the "N Method" to Draw Fences (eee 4 Draw the fences top and bottom tines originating from the vanishing point. 2 Draw the fst ion ral. t vil serve asa basis for scaling the remainder ‘This was composed fromthe stea's center. raw the intersecting street 7 horizontally and narrower than the one ) toward the picture plane. streets intersecting at 90° angles, it may also be applied to drawing corridors with 90° bends and the like. rat Fees oti eee poo Cre te wan oe ay icecig set ae Tresor gos Sowson iS) mina ora ve tele ‘uardals of wide avenues come to a human's hip or ‘goin n eight. sinng ral, oe steps. {3 Draw a diagonal ine connecting the top corner of one ral ith the bottom corer ofthe other This should create an "N 4) Draw a dagonal ine paral tothe {4.3 first ciagonal ine. Next, raw a vertical ~~) ) line from the pont where the second “SS ‘agonal ine intersects the op line© Drawing Characters: Maintaining Awareness of the Horizon Line and Height Differences When Distributing Characters | (St i nein )\ look like a long-range | snapshot, 60 most of the characters have the | ea sized heads, Characters A and D (as, well asthe mock-up figure) ae the same eight. Draw Character b about tw head-lenths (approximately 40 om or 15 3/4") ‘Make Character cone head-ength tar than shorter than Character A o make Character b lok convincingly ikea chi. (Character D to make him appear taller. aa Use eaves, overhanging roofs, awnings, etc. to make the store fronts look convincing. Also, incorporate fancy street lights and other ‘accessories to evoke the authentic feel of a shopping district. (T-shaped Intersection } Reference Photo: Use te street lamp forms and the storefronts as reerence ‘when drawing. Fe! fee to eliminate street sign andthe tke, © You must accurately draw the streets depth lines that move toward the vanishing point in ‘order to draw objets and goods placed a the store fonts and wals propery. Raising the store clerk's height suggests a store with an elevated register counter. | Use tines moving toward the vanishing point to craw the street lamps as wel.Single Street Reference Phato| noting toward he nist pot establish he pst of tig ct eves, awning, adn and telah he beighs of bung second soes © Positioning Characters: Transferring Mock-up Figures { yeUsing One-Point Perspective to Draw Bends and Slopes in Roads 2hshina on ————_—_—_—_————— vanishing points. (Horizontally (Right and Left) Positioned Vanishing Point: Bending Road } i Horizon Line Vanishing Point Envision buildings along te street. ‘Atunne drawn in one-point perspective is straight. 4) Tis shows a single street, traveling infinitely along a straight ne. aA We have now added a < street othe fist. Picture bulsing ‘along te set. = s a J he The second stet and ge second set of buings all move tovard a second vanishing point. / Follow the same 7 Te onal street peer 4 and egal | muttiple vanishing ’ bulngs al move points to draw toward te rial nding roade, a vanishing point. 7 Des <3 Mosity te directions faced by the buildings lining the street. It te road bends in three l rections, then use three vanishing points(Vertically Positioned Vanishing Points: Sloping Roads and Steps } Vanishing Point of he Tunnels Uphill Siping Section ‘The tunel has a significantly raised orzo ine Vanishing Point ofthe Orginal Horizon Line cd ‘The Same Applies to Downhill Sloping Tunnels a ~ [bo shen devi a vending J r00d, use multiple vanishing — (points to compose each \ vag atte (Seon an hier ombal_) Ifeveareeet sloping road in one-poine.—_/ | \ ernie \ Tw +. Vanishing Point ofthe Downhit | Soping Secton | Starting with an Uphill Sloping Tunnel | aa Portraying Tunnels or Roads with > ast Poet ues Uphill and Downhill Sloping Sections <7 ot he Upil | Sting Secon — | Drawing this scton lone makes it appear fo be | ‘atypical tunnel drawn from a high angle. | NY ‘Vanishing Point | of the Downhill | Sloping Seton 65Use one-point perspective with multiple vanishing points distributed horizontally. streets cure or bend House B doesnot flow the bend inte treet so much as ities turned sight futher away rom the picture plane | Howe as House's | Vanishing Vanishing Point Print ‘This technique may also be used to craw a road forking into a straight branch and a bending branch,© Positioning Characters: Aligning the Characters along the Horizon Line ‘Snap-Shot Style Composition |} ‘Dynamic Composition Inctuging a cse-up of one the composition more dynamic,© Conceiving of Curves in Roads as Many Intersecting Roads in One-Point Perspective Steps to Drawing a Curve in a Road Roughly sketch tree roads traveling toward (2 Use arcing lines to connect the points where the roads three efferent vanishing pains. intersect with each other Gentle Curves Sharp Curves The vanishing points The vanishing points efning the curve's Aefning the curve's beginning and end are beginning and end are closely spaced. widely spaced. The artist intended to raw a curve ina rod. Instead, oks ke sop. /\inen drawing curves in »\ roads, make oure that you | | \ \ have correctly established L Lo \ y b coe ein is Ta wo ae, rectecmmmburs oredr pato Towne Set(Drawing Rivers (AIL f Establish the horizon tine and draw a curve (2 Give depth tothe curve's sides. Giving Depth to a Curve Creates a River he Ditference in Hight between th Riverbank and the Water's Surface ‘large S-curving river comprises three ‘rections, Be conscious of where the three vanishing points are lacated when drawing ‘Be bold in defning the river's sides, maintaining awareness of how the edges have depth beneath the water's sutace, 6r Establish te slope's vanishing point Toward tne Soe's \ ‘NN Vanishing Font Se ft Ground } Te snes nctne orion Line beoins here Vanishing Point Draw a single soe Draw no distinguish where the slope begins to incine. 7 Use one-point perspective with two vanishing points along a single direction. Moving up the Slope Fat round] Site Sketch Reterence Phot: Note thatthe ‘vanishing slope ofthe road and ‘he houses’ walls move toward iterent vanishing points, Incined Section % Frat Ground ‘The above shows roughly the form ‘ofa sloped street moving from a single, flat road toward an incined vanishing point—— Draw al ofthe buildings! depth ines moving Draw the horizon line and two vanishing toward a vanishing pont along the horizon ine points, Sketch the composition in general tems. The telephone and electrical poles disappear towards the ret vanishing point. Ns * S NN 1.) sass figure at the gate. © Positioning Characters: Mock-up Figures and Lateral Transferring cere vane Port imaginary Horizon Line Incined Secon Fat Ground Imaginary Horizon Line Horio Line Fat round Fatcromd | | Sexton orion Line Y Vi ] © To position characters on the inclined section, establish the imaginary horizon line and transfer the characters around the space using mock-up figures. Jneture Wher the ncn Slope and Fat Ground Meet — @ To position characters on the flat ground section, use the horizon line for the flat ground. nRterence Photo Establish the azo ine and the location of two vanishing pins. Then, produce a rough skatch ofthe scene, © Key Points in Sketching: Draw One Vanishing Point for the Road and Another for the Houses Uphill slope Downhill Slope Correct Incorrct we wT “Two cient vanishing points Using the same vanishing point for ‘The above shows the slope and Using the same vanishing point, wer used forthe slope and forthe muses as forthe slope makes the houses craw with diferent fore houses a forthe slope the houses. the scene appear merely craw vanishing pints. makes the scene appear merely ‘rom a high angle rather than an awn rom a neutral poston. phil lope The road appears lve‘ ‘The elecc and telephone poles move toward the vanishing point _ . z Horizon Line = imaginary Horizon Line Draw a vertical line connecting the two vanishing Points. Make sure that the vertical line es Perpendicular to the horizon line, ‘raw the houses depth lines moving toward the vanishing point postioned along the horizon line. Ab 4 ave most ofthe objets cose to he objects farnest ine background dog thing and darkening te the picture plane fishes bear are made too igh en the veal wovgrune objet ite ences preceding to abjets inne Compostion wi appear hazy. the composition’ sense of depth and background pal together @ Positioning Characters: Mock-up Figures and Lateral Transferring C Imaginary ! -(senon ine To ranster a mock-up figure lateral st position a vanishing point along the Imaginary horizon tne. i4 ‘Apply the same process for drawing an uphill slope. Draw the scene in one- point perspective, using two vanishing points located one above the other. Stops’ Vanishing Pont Horizon Line Neutral Vanishing Pint there were no [[ steps, then this {would bea plain, © Steps Fundamentals Line Cennectng The Sketching Process‘ Steps’ Edges Repeat the same depth and height % mE TZ S — Une cme te i ny Sts tases 4 al< > wot] “Denn 7 { j SQ conor oue man ‘The line connecting the steps’ edges and the line connecting the steps’ bases should run paral to ‘ne another, ile nes of Sten Sa a ‘The first and second steps serve as a basis for ‘Shallow Steps ‘Standard Steps ] drawing the remaining steps. Sketch two lines ‘30.om (Apprpe. 20 cm (ABBE connecting the edges and bases of the first sem, ie) rom SD and second steps. ot \asorox 7 \Boprox.7 2 (5 7/8") ¥ | 7) oy q Height: 15 om Approx. § 7! Height: 20 cm (Approx. 777 © Z Dep: 0m Aprox. 1 1318") Depth: 20 em prox? ary Shallow steps have a Standard steps“ ‘yadualneine have a steper ST incine. Fst Step Inreal ite each stp's Draw a hoizontal ine rom the ede ( — # [esi srw. 2 rs ont ne sh bt wih ene comet ct (1) But coamod antuse he oss tases. ' fa aot bases when you draw them. Draw a vertical line from tis pont. This creates atid step,Establishing the Appearance of a Given Step Using the Steps’ Depth to Establish the Horizon Line and the Vanishing Point Vaile Surace Sx Hotzon Line Depth afm — Height of a Single Decide how deep to make sep the steps and establish — hereto postion the harizon line and the vanishing point Sketch step showing the height, depth, and the sible surtac. Using the Slope to Establish the Sketching the Steps Line Connecting the . Steps Bases ‘teps' Vanishing Point fpr the Steps’ Eopes Steps’ Vanishing > Point Use the slope of the Horizon Line steps to establish the steps vanishing Point This isthe parton ‘raw ist Drawing Order tr) Downward Steps Mock-up Fue i i sp Pston the mock-up 2 The banister shold figure next to the test slighty above gro: banister tee Drawing Order for Upward Stops * Depth lines should all move toward the vanishing point. ‘* Height lines should all be vertical. ‘* Horizontal lines should all be » absolutely horizontal. f— Stns { ] Horizon Line 4 Poston the fours! vanishing pont along the steps’ horizon ne and then transfer the mock up gue. 1 — A. ‘Transfer the mock-up ¥ figue tateraly, 75