HOW TO DRAW Vol.5 Sketching PropsContents eoecocoo5e The Elliptical World of Manga. If You Can Draw a Mug, You Can Draw Anything! There Are Fixed Rules Guiding How an Object Appears. Chapter 1: The Basics in Drawing Characters and Props. 15 Capturing Objects Using Circles, Triangles, and Squares. sn — re ‘The Angle of Perspective Is the Key to Compositing Objects / The Basic Rules of Eipses Drawing Elipses: How to Use a Template : ee 20 Drawing a Can Hatching... 26 Using Light and Shadow to Suggest Three-Dimensionalty / Ligt-and-Snadaw Produced "Light, Medium, and Dark Shades" / Portraying Texture Chapter 2: Letting the Props Narrate about the Character. 31 What is Meant by "Props Narrating about a Character" 32 Building a Character from Solid Stapes The Head... soon Eyeglasses / Goggles / Headbands and Other Headpieces: Wraparound Headpieces / Hats / Heimets / Headphones Props That Tell about the Arms, Legs, and Body 60 ‘The Basics of Clothing / Belts and Buckles / Suspenders ‘Arms and Hands 68 Wristwatches / Celi Phones / Bags” Footwear 82 The Slipper Is the Most Basic Shoe / Common Footwear That Tells about a Character Chapter 3: Letting Props Narrate a Scene ” 7 ss os - 87 What Is Meant by "Props Narrating @ Scene"? 88 Sketching Characters Drinking 0 Drinking Glasses / Holding a Glass / Mugs / Coffee Cups and Teacups / Yunomi/ Kyusu and Dobin / Stemware / Plastic Bottles and Beer Bottles ‘Making Props Look Authentic. os o 114 Composing Cooking, Eating, and Dining SoeNES ..0.nmnnn or « 116 Pots and Pans / At the Table / Serving Food / Desserts Activity Scenes 132 Tennis Racquets / Shinai Bamboo Swords) / Guitars / Taiko (Traditional Large Drums) Stepping Out. _ : es . 140 Umbrellas / Bicycies / Motoreycies / Scooters / Cars Chapter 4: Spicing up a Scene with Weapons 163 Weapons That Narrate a Setting. - v - 164 ‘Sketching Swords and Blades “ ‘ “ 7 166 Japanese Swords / How to Draw a Hand Gripping 7 Stafis and ‘Spears Bows, Arrows, and Weapons with Chains 174 Bows and Arrows / Weapons with Chains Firearms 178 Handguns / Shotgun / Fully Automatic Rifles ("Machine Guns") Echoing Elipses. 192 ‘The Myriad Props of Manga Characters..0.0. cranes a : . 194 eeoeeovecccsThe Elliptical World of Manga Oks DD ee z SS Ye PP)The Secret to Drawing Appealing Composition Lies in Circles (Curves) ‘Manga in addition to book and magazine illustrations are full of circles. The spaces people inhabit in their daily existences come abounding with round objects and rounded corners.If You Can Draw a Mug, You Can Draw Anything! Round objects visually become ellipses. This is best represented by the all-familiar drinking mug. A handle-less mug constitutes the base form of all “elliptical objects" and curves. This includes the portrayal of spaces, solid objects created using ellipses, and of thicknesses and volumes formed using combinations of ellipses. (CA pun on “yunom:" or @ handl-ess mug, which is the cup picture, and “nomi” hich refers to fishing with a cormorant) Yunomi (CA handle-less mug used to drink hot tea) Tray witha wine bottle, wineglass, and bow!(s 7 >) From Fashion to Personal Effects and Weapons—Character Props Chapter 1: From Two to Three Dimensions This book focuses on personal effects or objects that surround a character, particularly targeting | objects located below eye level. (Objects above eye level constitute the background or setting) { sine geoneic sages» |. idk. Both circles and ellipses sold objects and elipses. /< ((°- @))\ are to-do /y Dp Ae inde open tree. Simenoral wer an tise ose tortay Ts us secion Basic cre, triangle, and square finder (tube), cone, and rectangular Break up complex solids into simple solid solids are the base form of almost any forms to make drawing them easier a object. 2 = CChapter 2 covers how to draw “Chapter 4 discusses how to draw items personal effects that round out | ~ that primarily appear in action scenes ‘a character's sense of | Chapter 3 covers props.» || and which entance the worl you are attempting to create, such as swords or presence, ike glasses, hats, used to portray daily \ guns, ee ‘shoes, and bags. / | scenes, such as small . / items lke cups and trays 0 large items lke bicycles.There Are Fixed Rules Guiding How an 1. Dividing the Composition into a World Above and a World Below {An object's shadow changes according to the angle at which itis seen or the type of lens used to capture it. Looking up: The world above Looking down: The word below / \ Above \ Eye level \ Below \ HA it wi 4 \ \ EN Cree i rhb dagreah-ortaredniiarngachio al \\ surface is obscured from view. The top of objects below eye level is - visible, Most objects drawn witha character fall into one of those two categories. (When drawing the background, establish where eye level is \, located and divide the background into a world above and a word below.)Object Appears Lea ne ‘The cup's bottom Tz is visible. Objects located in the world above are seen from a *worm's eye" or “low angle" perspective, The above shows a teacup In perfect profi. We rarely encounter this wew in ether ‘eal ite or artwork However, you should have arm grasp oan object's proti inorder to capture its orm when (raving, The top ofthe cup is visible XN Objects located in the world below are seen from a "bird's eye" or “high angle perspective. This is how ‘our now familiar teacup appears. Position the character's face or chest at eye level to pull the reader's eye to him or her, thereby showing off the character. When composing a figure inthis manner (particularly wien positioning the face at eye level), all body parts etc. below the face fall into the world below and shoul, therefore, be drawn from a high angle.2. Using a Standard Solid In this book, we refer to solid objects not drawn in perspective as “standard solids." Artists often draw objects held in the hand or dishes resting on a table as reference objects and use them in compositions where they do not intend to emphasize the perspective. Standard Solid Standard solids are not drawn in perspective. Sides that face each other may be drawn parallel to one another, so the objects appear to be solids, even though they are not in perspective. oy ‘The cup held by the git isnot drawn in perspective Objects naturally seen from above or automobiles drawn ata distance are rendered as standard solids. Drawing Ellipses draw an ellipse using a central axis and a straight, vertical ine Viewing an elipse from various angles makes it obvious that the elipse is distorted, Rotate your paper when drawing ellipses. @Estadish the @ Draw a vertical ® Sketch a layout of an @ Clean up the elipse so central axis ofan line intersecting the ellipse around this central_that its symmetrical from abject. central axis. paint. top to bottom and side to sie. 103. Capturing Objects in Perspective This book refers to solid objects drawn in perspective as "objects in perspective." Artists use objects in perspective to create impact like that found in photographs taken with a wide-angle lens. ‘Object in Perspective Objects in perspective are drawn with an exaggerated sense of perspective to accentuate a three-dimensional feel. Objects are typically drawn in one-point perspective. ‘Actual size whe baseball bats come in varius ses, draw one wth a length and with that fit the character's image Inthe wide-angle ens style figure above, the ‘sense of perspective is heightened, and forms are likewise exaggerated Ret. When portrayed from a distance, the figure is drawn as a standard solid, nd no sense of perspective is emphasized. A ‘igure lke this would typically appear in an expostional scene Using a square as a guide winen drawing a circle will give you a clean, freehand circle. However, there are Draw elipses using a central axis and a vertical line wen portraying both standard objects and objects in perspective. Objects in Perspective and Ellipses Standard object Object drawn in perspective problems with this technique. Elipses Use one-point Arawa in perspective for the same the sidelines. perspective The bottom It you use a cube to draw an elipse in this enn eae, ellipse should ‘manner, you will end up with a distorted should be rounder i be rounder than ellipse, This technique can not be used for an the top. the top. ellipses. "This is a typical technique used to give Drawing a Corridor Using One-Point Perspective impact to a key composition. © Create a Sense of Depth Using Large and Small-scaled Objects Ay ‘Actual size WW ‘Make objects close to the picture plane large. | f and stant obects smal Tis ges he { Use he fiue's head as ‘composition’s center a sense of depth. reference when drawing the | 1 ra vee rN | amaimeeraeth ), (create a sense of depth \ Even though this J | Soomustinow tr epete | oneat4 ew object actually is. drawn at alow \ angle, itis stil not in £- perspective Fount canon tt nd, (( ‘ttn soc ay [ swtennat mis even a} cement org sr \ \ owes comes into play. /© Using Depth to Create Impact High Angle, Wide Lens Rendition ‘This portrayal emphasizes a sense of weight and luxury inthe ca. Simulated two-point perspective 's used to accentuate the sense of pth and breadth. The addition of speed lines creates a sense of movement Making an ect held out or pointed ‘toward the picture plane large gives ‘the composition impact. This technique Is used in scenes where fists, guns oF swords are thrust forward, ‘Tne above is drawn from a maderate low angle as it ‘scene through a wide-angle lens. This imbues objects ‘moving toward the picture plane wit a sense of speed and power4 ‘Artwork and Production: Production Assistant Productn Suppar Cover Artwork Cover Design: Layout and Text: keto Assistance: (tn random order) Kazuaki Morita, KawaraYane, Itch, Akira Kato, "Naomi Toya, Koya Nozawa, Izumi Midorkawa, Hirosuke Terama, Yo Hinara, Junko Takahashi, Kou Kizaki, Shirokuro Yuk, Arue Nina, Wataru Hisatomi, ASK, Izumi Yukno, Kyoya Uzuki, Kanata, Hajime Tsuzuki, Yuki Namiki, Rima Ayatsuki, Hiroshi Nishiuch Siny tsuki Murakumo, Yuzuri Azusa, Miharu Kawa, Rika Hoshino, Sakura Mugen, Yu Shinozaki, Marco, Minami Oyaizu, (0219 (Zeroni Juku), Shichi, Gaku, Sakaki, Takuya Shino, Kiakira Shir, Ryo Ktakami, and Hikaru Hayashi Mino Hamada Hideko Miyamoto Kazuaki Morita ‘Shigo Yamaguchi Design tice Hikaru Hayashi (Go office) Motofumi Nakanishi (Graphic-sha) (in random order) Logistics Inc. Team Til Dawn, and the Manga ‘and Animation Department of Nippon Engineering CollegeChapter 1 The Basics in D awinBefore making yourself aware from the start of the Capturing Objects Using Circles, object as a three-dimensional solid, try to capture its Triangles, and Squares basic form using simple geometric shapes. ——————— Circle: A circle can represent a tabletop or a dish. also constitutes the base form of an elipe. “Tangle: triangle can represent a cup ora piastc bottle. =~ Square: A square (or rectangle) can represent a handbag, a cel phone, oc other similarly shaped object. ‘Atuman figure can also be expressed as a combination of circles and squares.Using Circles, Triangles, and Squares to Capture a Composition Glasses NY Te to tenses are captured asa unit Hand represented witha rectangle yr . Thelenses and the rame {| can be grouped together and : represeried using a block ce Cental axis z ey I, Lh Gets, squares, and rectangles can be used to capture the AW; basic forms ofthe remaining objects around the human J J fgue. The up's right andi sides Layout captured as a must have uniform sopes. standard solid Imagine the cup asa tangle Cell Phones, Bags ‘As is obvious ata glance, cellphones are basicaly rectangular in form. Rounding the comers makes the cell phone appear ‘authentically mechanical Elipses: A circle becomes an ellipse ‘when viewed from an oblique ange To draw a bag, start with a standard sold Do not be overy concemed with perspective {Le diagonal ines indicating depth), Circles with de-emphasized perspectives postioned on a tabletop just appear diferent in size, Draw all as ellipses positioned atthe same 7Being aware of the angle of The Angle of Perspective Is the Key to Compositing Objects perspective allows you to draw triangles, rectangles, and squares as solids. ‘Shapes in Profile \, MAP an aca. these shapes wos on never ook ke is ures you saw them om a seat stance ce ere viewing tem trough @ teescai ns. OC). a a Looking Up—Low Angle Ge Ks Looking Down—High Angle Cylinder ~ Box or Block Top ‘Adding shadow to itis difficult to draw clearly detineated sides on a Boxes have clearly delineated circle creates a ‘cane ora cylinder. Render them from a high or low sides, making them easy to sphere. ‘angle to show them as solids. render as solids. / st tte ooeets ve (SS /hos ye, you wit fd | fi os ‘surprisingly frequent) ( feaincusirunéngs ) |S cinerea) aromas om fom 8 ) \ high angie. 1830° Object viewed from 2, irecty overhead C) CEllipse Template ) Ellipse Template ) ‘There are templates with elipses rom common angles (25%, 35°, 45°, 60°, There are also templates with elses ranging trom 5° to 15°. When drawing manga, first sketch the ‘composition under drawing in pencil an then 90 overt wth technical pen. 60° ‘oy. a moderately high position Ellipse Template ‘Ata distance Objects that appear to be circles when seen from directly overhead —for example, cups—will appear elliptical when viewed from an angle. ) << ‘Seen from directly overhead ‘The lengths are virally identical {rom top to bottom and side to side, 45° from a common - SLA). ja seen tom 0s, Theat vowed a. standing position << ‘Seen from an oblique angle ‘The object has shortened trom top to bottom, turning it into an elise, Fyn POT (yf The onject viewed {tom an extremely NS low position ‘The lower the position, the more the circle appears squashed ‘and flattened out, ‘Ata greater distance Even though the second figure is standing, the distance from the desk causes her to view the cicce from the same 25° angle 2s the crouched figure. Atigure standing even farther from the desk causes the circle to become an even more flattened elipse (10° to 15°), 18 19. . The techniques for drawing curves for the top or Drawing Ellipses How to use a Template bottom of a can are the same as those for a cup, plate, or car wheel. Here, we examine the steps in drawing a can to learn how to use a template. Drawing a Can Centertne dividing the ellipse A. Capturing the Form ) vertically é = If | treats 1 ronal | Draw two tines approximately establishing the elipses vertical and horizontal centers. _-This means a ctcle seen from a 25° angle. Foughiy sketch the ellipse. Use the shor lines of tothe side The vertical to align the vertical and horizontal ang horizontal centers centerines intersect, ata 90° angle. @ Sketch a rectangle to match the ) Sketch a layout of the can's @ Draw a vertical centerine that is elipse's desired shape and then sketch sides paral tothe layout's side the elipses layout within the rectangle. Draw a horizontal ine that indicates 5) Draw a horizontal tne indicating the @ Draw the elise representing the can’s approximate height center ofthe can's top. the can's bottom, 20(2. Drawing the Top Ellipse) Template elipses rarely perectly match the image you have in your ‘mind, Select an elipse whose height > Lay the template in the Caretuly align the template tothe and width most closely match your target position. Lay the paper so that it lies perpencicular tothe image. template inthe target position, ‘composition TO ae grnrg @ Firmly hold down the template so that it does not sip around, @ Eelipses have two sharp curves on each side, Start drawing the long, gentle curves fis © Draw caretuly to prevent the template from shifting © This shows the finished top ofthe can. a2 (3. Drawing the Bottom Ellipse _) } Once again lay the template in the target position forthe top ellipse and ‘raw points at the top and bottom of the ellpse's center. IZ ssiisens Draw a straight line to connect the top vertical centertne. © Only the front, center ofthe bottom elipse will be visible, so draw the elipse from the horizontal centerine, G. Drawing a Cylinder > ® Draw line from the tp of the elipse. You may use the template's side as a straightedge instead ofa ruler ‘and bottom points, This constitutes the can's 5) Lightly sketch in the remainder ofthe elipse to create a three-cimensional object. The front curve is touching a base, so use thicker strokes. 3) Match the horzontal centerline tothe vertical centerine, Select the same-sized ellipses from the template. ( — ) © This shows the finished top and bottom ellipses & > Caretuly raw the line so thatthe ellipse and the can's side are not of. Carefully ‘connect the elipse and the side, while checking to make sure you do not leave a gap and to make sute they touch correc @ This shows the finished conlinder, which is the can's basic shape.(GB. Adding the Rim) When drawing the smal ellipse, aligning its horizontal centerline with that ofthe frst ellipse will have a fattening effec. Horizontal centertine of the fst elise Correct 3 the fist ellipse a ij Y Use an elipse thats Draw the smaller elipse ‘lightly smaller than 0 that it is shifted slightly 1 the gaps lying tothe right Draw a smaller elpse just inside the fist ellipse. the frst elipse forward from the first. and left seem too wide Do not shift the vertical then shift the template centerine, around closer to the frst Shift the template horizontally about ellipses sides as you craw 4 milimete, the second elipse Shift the template about two hit the milimeters. template downward, Start by drawing the back rim. Keep a slight @ Shit the template slighty @ Position the template so that gp between the second and first elise. You will downward and draw the curved sides the foreground inner curve will be need to alter the ellipses size, Start by drawing 0 that the ellipse that it connect closer to its corresponding outer the upper halt. cleanly withthe rim curve. curve than the two far curves @ Adjust the curves so that they connect smoothly In order to give the rim of @ cup or can the ilusion of volume, adhere exactly tothe template when drawing ony the outer elipse, Draw detailed or short curves ofthe inner elipse using freehand in order to create a sense of thickness, 23(Adding Thickness to the Rim) Establish the rims height so that the ‘back room is thinner than te front. \ The rim's side ying toward the picture piane should be thicker than the far side > Draw a freehand curve as guide ‘to give thickness to te rim. @ Tithe template and look for a curve that ‘matches the image in your mind's eye the height and width ofthe rer rim, (7. Cleaning up the Sides ) <> ‘Clean up the sides, erasing any sketched, tentative lines. sight. 24 3 Establish an angle that matches the mage in yur mind and raw a curve that leat indicates © The can's rim juts out just barely futher than its sides, 0 bring the template in ‘This line gives te rim its width and height. The rear rim shouldbe wider than the portion close tothe picture plane. ‘These marks indicate where @ vertical line les on the original circle. allows you to determine the angle at which te elipse tits, “Use the tempat as oo for ‘raving clean nes wie you ‘starch forthe curve that best ‘sits your image @ Adjust the two ends ofthe curve freehand When drawing a close-up, look for a curve on the template that best matches this area and use that < Having the rim jut fut too much wil throw off the can's proportioning, so take care when aligning the template @ Hold the tempiate down so that it will not slip and draw the line using a single stroke.@ Follow the same process for the can's other sie. Clean up the lines freehand, as you did for the top rim, (®B. Adding the Bottom Rim to Finish ) 1d an inner curve that matches the outer curve. Above, the artist 's using an ellipse that is one size smaller than the firs elipse used ® Connect the tne to the rim so that no ps form. Carefully ad the portion ofthe rim that juts out Tip Use thicker strokes for the portion touching the base, This allows you to portray the can's shadow, caused by the rounded rim. Adding thick lines like this imbue objects with stability. ) Sketch a layout ofthe bottom rim, adding thickness. @ Final mage 2526 ; ‘wo vital elements in portraying objects are suggesting Hatching three-dimensionality and suggesting texture. Let us look at ————s using hatching to suggest these two elements The presence of light is key to Using Light and Shadow to Suggest Three-Dimensionality suggesting three-dimensionaly, The play between light and shadow allows Objects you to create a sense of solidness. Light source = Shadow rest rom the 2 presence of light. The positon of . ‘the lighting is called the “light /) source." Shadow occur onthe | side opposite te ight source When it tight is present, objects melt nto When light is present, a strong contrast Shadow becomes dark when a strong shadow and do not have a strong sense of develops between ight and dark areas, light source is present. Here, white is three-cimensionaly. ‘evoking a lok of three-dimensionalty used to portray the area light touches. Characters ‘Without the presence of a set ight source, there are ‘Alame fares up on our git’ fingerti. Now shadows no shadows, appear, and she looks three-dimensional Ret.: Mountains ~ Even ifthe light source does not physically appear in the composition, ‘applying shadows in a fixed manner indicates to the viewer wire light and the light source are located. Tis is known as “establishing a light source." A ve Ly LZ ‘light source is located inthe upper lef. Aight source is located in the upper right.| Light-and-Shadow Produced "Light, Medium, and Dark Shades" | ‘The contrast between light and dark causes objects and figures to look three-dimensional "Medium" shades occurs between "light" and “dark” shades and allows for enhanced ‘The above shows a weak Coase igh and Dare) (Basic Light and Dark) three-dimensional portrayal and richer suggestion of texture, Light shadow sugests Light Weak ight source the primary shade is grey Dark ‘The contrast of light and dark cause the circle to look tke a sphere. Dark shadow suggests a strong light source (the primary shade is black Why Light, Medium, and Dark Shades Develop — my gy ASS AQ ‘Medium’. A NI B.S orga caer” YB SL crea eon Dark (ase Tone) Dark (Shadow) ‘* Three-Dimensionality through the Interplay of Light, Medium, and Dark Shades Light, Medium, Dark ‘Simpitication an Gradation Correct We perceive that this box has, three sides owing tothe ight, medium, and dark shades. ‘The above shows only light and dark shades, Light Medium Dark Medium light-and-dark contrast, which yields a soft, gentle atmosphere. \ ~ te A! When the light-and-dark contrast i strong, the sense of three-timensionaity becomes heightened, resulting in a cold, hard image. Using light, medium, and dark shades on a human figure projects a gente impression ‘Interplay of Light, Medium, and Dark Shades ‘The "medium" shade appearing after the ‘sequence of “ight,” “medium,” and "dark" ‘suggests reflected light. t enhances the ‘sense of three-cimensionaly,5 Suggestion of texture is essential to drawing Portraying Texture a character with props. Hatching suggests soft hair. Hatching, such as the straight strokes appearing on the can, appears on other objects as well to suggest texture.Collar (Thick fabric) Use primarily diagonal stokes Glass Champagne Flute Use primarily straight: “\ black enter rate a iprant dot omrat Cnr ay so Bre diners Theor shows ¢ross-hatcing | Black Leather Skirt Knife Handle Since the sit is the same material as Omitting any areas of white the brassiere, cross-hatching is again suggests a material with a the prominent form of shading. Her matte finish ‘wristband is also the same material however, since itis clinical, primarily straight strokes were used to portray light, medium, and dark shades. istinguishing Use of Hatching According to Materials and Their Textures ) Incorporate hatching using short stokes as / wel Cargo Pocket (Same fabri asthe colar Use thicker strokes for the button’s shading to give it athree- ‘dimensional look Regular vertical and horizontal strokes produce hatching that Creates an inorganic, hard texture, Wood Grain Hatching was used to create the ilusion of wood grain 2930 Materials Observation and Analysis Te ht om the This ithe source passes ete! The white tables. ough the ace Reflects light source Faneted caning ss reflecting eeue celing this portion ofthe. the shape of thon an has sphere to become light source. nothing on wt Tis isthe seta Thesptee's —ctlg.ng Palas memes apart tom reflects back Sete, the roses against the ay or cong through the ‘sphere, making ea sphere and White Sphere (Styrofoam) Metalic Sphere isareaack, psige-down Glass Sphere poe The region touched by light is not ‘The sphere’s surroundings are totally reflected on the sphere’s The light source is small aie visualy istic. The lgho-dak onthe sphere's sure. raw in Dlck tie lower sure. and round fos a oe contrasts somewhat Gl ceing, people, and oter objects onthe of ght within a shaw on Soer's sure This shee as @ stp the str’sonost sie Te profile contour isa thin ne that ight o-dark contrast aps around rom te spheres ngs sie a Light and medium shades of Crosshatehng and sold back accentuates Fine stokes sugest ight passing cxossttching prague the lok ofa the contrast oft and dark. The back trough the shee bgtt materal produces te heaviness of metal (Ref. How Differences in the Light Source Affect the Material's Appearance ) ‘The profile contour and the light-o-dark contrast changes, depending on where the light source is lacated, ts shape, and its intensity. Indoor Light Located Directly Above Is Sole Source ‘Natural Light from Window Is Sole Source (High Angle) _- Backlighting causes this human figure to The window's appear black. shape is re’ eoae =, The table has “s rag ont Te tar oe ~ re ec comshe ae coin rans = Heer Tim pon pee Tishiy cer Te dart weak ght Spa's stad Doan te mle Soibw bcos ues posed en sorom ak weak insouce, igen S JChapter 2 Letting the Props Narrate about the CharacterWhat Is Meant by "Props Narrating about a Character" A single pair of glasses can alter a character's impression. Shoes, bags, hats and other props alltel the reader more about a character's personality and lifestyle than words.Building a Character from Solid Shapes Head: Sphere Face: Flat i ° “UG ‘Neck: Cylinde & GZ A Toso and hes: ck Chest Sphere a sphere) 1? f Backside and hips: Sphere . \ x Z rowing ) : / a} f a 9 ) g re 4 if [ / widening cylinders axe) £ L/ Positioning a joint in ioe fj, Barman LL easier caw. 1 er GF sae 0 Hand ae fogs: satin te pal Ne Feet: Tangle, - circle, and rectangle \ Blocks and cylinders ~~ \ and fingers.The Head Capturing the depth and roundness of the head is vital to drawing other ace worn o ne iieving (1) Vertical and Horizontal Centerline: Use a Circle and X Layout fire Dimensional (>) Head Depth: Use the Face(A_Look at the Parts of the Face and Head_ sect th rece —— — i + otread \ 1 Puy noting 5 =< | saint come . ' Ser Facil feature lines The head consists of the face plus a spherical base. Since the neck is a cylinder, the connections between the head and torso tothe neck form circles. This shows the hair Using curved strokes, maintaining ‘awareness ofthe head's curved surface allows you to create a sense of volume \ using solely the hai.Nose pad: This partis ‘typically omited © Tip 1: Be certain that the glasses proportionally match the face ‘when composing them. _ The glasses should flare out atthe temples. The temple tip sips around the eat ‘The rims should be as wide as the face, 36 Glasses are such a popular accessory in manga that there is Frame (The front of even a type of character known in Japanese as a "meganekko,” the frame is called roe) which is a non-derogatory word referring to a young character who wears glasses. Make certain that you have established where the eyes and ears are positioned when drawing glasses. / The tick here i to draw the lasses asa standard sold | \ ater than actualy tofotow |, the rules of perspective.The horizontal centering serves asa guide fr positioning the eyes, Sketching Steps i \ @® Sketch the \ @D Sketeh the \ fims' layout as @ head, block. Z \ /~ Establish the rims! height according to hat you pictured in your mind's eye. Using the comer of an eraser, erase a narrow area following the rim’s curve. ‘@® Draw the glasses while adding in the @ Carefully add the details to finish. Make sure that eyes and nose, the right and left sides of the rims and temples match in thickness Basic Points on Eyeglass Part Shapes °° me U { v f__ ‘um attaches any Sy tobotom of ens Honig Lowe ~ a = ¢ Full rim (Rim wv were SY LJ sures en NIV) ster sparen pe < wy frames; although, oer materials are used as well Cut, ed ames are made ot plastic 7You must dramatize the hands touching the glasses. Pay careful attention to how the fingers bend. When drawing the act of iting gasses, make sure \, thatthe temple tips )\ stay on the ears This is a ificut J teat actualy to perform in real ite Liting glasses: ‘This pose could be used for manga or ‘a magazine or book iMustration When drawing a character removing glasses, Use a high angle and have the character look down. The above drawing shows a iow bridge, 0 the boy grasps the frame by the hinge (intentionally drawn in |, perspective to preserve my expression. ‘This character is pushing up \, her glasses withthe inside of \ her fingertips. The act has a ) reserved ait Draw the fingers ‘touching the frame. Making the hands smalish projects @ feminine atmosphere. ( Te act of gasping the frames wt the Mer ian ‘ afectaton mento iin, Be sre to make the tan bi 38Adding Hands This characteris pushing up his glasses with his middle finger. While the act serves to adjust ‘The above could be used to suggest a character puting on glasses, removing them, or adjusting the glasses’ positon. The ring finger typically benes in conjunction the glasses, placing the hand infront ofthe face with the middle finger. However, adjusting the point of functions to create an intimidating air o heightens view allows the artist to show movement the character's presence. Portraying Characters in Glasses (Eyeglasses Effects) Rectangular lenses suggest an honest, upright character. ‘These goggle-stye frames have tal lenses. Frames lke these typically come colored or are }) used as sunglasses. The eyes are obscured to ‘people looking directly at the wearer, making this jj | style suited to creating a suspicious atmosphere, These glasses have oval lenses. The temples attach tothe hese are simply rendered, rund frames. Project a ‘ims’ bottoms, projecting a gentle impression. Ths look works characte’ personality by adcng simple eyes for & ‘wel with bishonen iterally "beatiul boy’) style character. regular character or omit the eyes to create a geek.Goggles are an advanced application of glasses. Instead of flat lenses, draw boxy or tubular lenses onto a headband. The above shows a rough sketch capturing the shape. The depth ‘and width of the frontpiece are generally estabished {uty the font pee’ dept, the band's with, and whee attaches whether ataches toward the ot pace's centr, top, or bottom). This centerine /— Sto a band to funetons asa guide for functen a layout determining te band's ue ote font pice placement, This functions as a (uide for aligning the lenses' lower This shows a layout ends. ofthe headband, ‘Show the headband ee ‘wrapping around the ‘trap buckle head, forming a lop. Sketching Tips Capturing the Front Piece's Form Capturing the Lenses’ Width NX lens centerline Trapezoid ~ Part that | touches the Lens height } ‘face (back) (ron Front piece ‘The above sketch opt Eq. Swimming Goggles establishes the headbvand's width 40© Sketch a headband-stye layout establishing the goggles’ wn, > ‘The same applies to lenses laying at att orto round lenses,~Eachinn Arreeenry Goggles as a Fashion Accessory / Z vine wom atappoxiatey 7, 30°, the goggles just touch 7 the eyebrows. The goggles qf ie close tothe eyes, making LS S ita practical way of wearing p> them fo When worn at approximately 45°, the goggles le over the forehead. Tis isthe most ‘common way to fashionably This characteris wearing her ‘goggles at approximately 60° Rather than being practical or fashionable, an artist would choose this style of wearing ‘ogg to reflect the character's individuality. Ths style also works effectively wth magazine rook ilustations.These are fashion accessories that reflect the head's curved surface. These are rendered using curves that Cloth Headbands originate from ellipses. ~ Headbands and Other Headpieces: Wraparound Headpieces (When drawing accessories fr the head, be sure that you cortectly position the head's crown (the head a ‘top/center) and the ears. Xn ‘The headband is a swath of cloth that stretches and contacts. At ) | Front view: The headband takes Profile: The headband takes a ‘moderate downward curve. moderate upward curve. The curve changes crectns at is i point (it changes into the face line) Head's crown A Head's horizontal \ Face line centetine ( 3/4 view: Upward curve High angle: Downward curve Low angle: Upward curve To the right isa retin recta 7” stitfer fabric. To suggest 7 a si fabric, use straight lines to create a curve constructed of angles This shows a headband made of supple fabric. The headband follows the head's curved surtace, b/ ~ iY 44The hachimaki tapers toward The wicth does 4a aA 1 the knot / Hachimaki (Narrow stp of cloth worn around the head and ted atthe back) Use the face line as a guide to adjust the with, Face line | The hachmaki touches theca '* Sketching Tips Te curve of the hea’ se —— Ons 22MIN. Ore pass feces eo foe J, Waive uide ® Add the hachimaki ater first establishing the volume of the hai. The curve ofthe forehead Daler shtching We layout 26d the forms a gentle arc that lies virtually parallel to the (1 horizontal centerine, @ Add facial features, hair, and other details to finishStiff Headbands ‘Thisis a standard headband, which may consist of fabric ‘covering wite or plastic. The ‘ends grip behind the ears. “The headband may be worn ‘toward the front ofthe head, over ‘the center, oF rear of center “The headband describes a half circle that Headbands project an athletic follows the curve of the head, Draw a front view atmosphere, even when the and a profile view to establish its posiioning. wearer has long hair Headpieces The headpiece pictured here, which come adorned with ribbons, serve a decorative ( function more than as a means of keeping the hair n place, ke the more functional, sti headbands pictured above ‘Above shows ribbon ends. ‘The ends may be cut at a bias or notched. ‘These headpieces may come with fills or ribbons or in tiny checkered print. Most are used to create a girish ir. ‘The headpiece ties under the chin, 46Maid Headpieces The maid headpiece has cloth ruffles; although, there are versions like the ribbon headpieces Pictured on the previous page. sketching 4 (© Use a radiating form for the layout, making the lines equidistant. os ‘® Use a wavy line for the top contour, a @Add V's (both right side up ‘and upside down) to finish, ‘The ruffles stand atti 7 Portion ranatescsoge Ys trons eng one | Headband with Kitty Cat Ears wan ‘Wis ean as aina ears {ints case ity cater) These are typically used as a costume. ___Nerss with ead ate at on te fead ke ose shown on he pres page aa ext Crowns and Tiaras Crowns are placed on the head. This functional characteristic causes ‘hem tobe categorize wt ats \\ However, since crowns are nt an item we encounter in our day ives, they are mor acastume ite, ike JK. \ the kitty cat ears ais shown, We might wear a crown ora tiara ta patty oF weding a48 re Hats are a wonderful accessory making a character look cute. ee They enable the artist to indicate that a characteris stepping out using solely the costume. Maintain awareness of the head's (Baseball Caps ) shape when drawing hats, Hats comprise a crown and a brim. ean The brim describes \ Profile View a gente wave, Curve top Remember to include the brim's slope. Note how the curves change appearance depending on the angle of perspective. Directly Above Moderate High Angle Note how the juncture where the brim and crown attach change Kf) appearance » curve V-shape The brim’s tip Imagine a square with describes a normal rounded corners wien curve > >| ‘The brim is approximately the same length from front to back and right to let. ‘above the head. it makes the head look too big, (he brim’s ellipse and // the hatband's elipse te |, atthe same angle. Only | \. their izes are atferent/ When showing the hat worn at an ange, draw the elipses forming the hatband ‘and the brim so that their centertines do not align Brim elipse Py = Brim ellipse : Tareas | A —>|<—__ >| Hatband oa CO jae | apy Sim \ Brim | \ ‘The vertical centerline remains a 30°angle. unchanged, ating sng cred nesta flow \ tne aro eee create he ok a \ stan Straw isa sot, natural material, so remember to » create a flexible shape. ‘Sketch the face's horizontal centerine and layouts of the eyes to achieve the corect look ofthe brim'selipseCowboy Hats) conboynattrms cut wat both ses, andthe crown tas a tapeznialom Brim's projection ‘This shows the brim tited upward in font, This shows the brim worn level, Establish whether or nt the bi widens and te extent to wich the sides curl up this cas, to about athe hight ofthe crown, Brim worn level rom alow angle Brim worn level Brim wor level from a high angleThe helmet's silhouette reflects that roundness of the head. ‘Some helmets, called “full-face helmets,” cover the entire head, while others, called “half helmets," cover only a portion. When donned, a helmet makes the wearer's head look oversized. Visors (shield) come in ip-up and snap-on —_ versions. Tinted visors are also available Sitch the helmets utine that it folows the head's contours. Make the helmet two sizes larger than the head, Why Helmets Are So Large aS : \ ~ A ~.\ fn ¢ { al \) wy p Helmets contain sponge Zine to neta as 2 butfer and sor shock Incorrect Incorrect example: The helmet is too omy AN he ‘lyaway hair ocks function as guides forthe helmets smal ‘Aways craw the head fst layout before drawing the helmet.Using a Circle and Curve Template to Produce a Clean Sketch Helmets are assemblages of gentle curves. If you intend to do an accurate close-up ofa helmet, use ‘a curve o large ellipse template ® oe @ In manga, artists generally use technical pens instead of dip nib Curve tempiate A These templates contain curves of incrementally aitferent curvatures. These ‘may also be called “large ellipse” templates curve template A — Modular helmet (This Common Helmets f _ & includes afip-up \\ sor \ Full-Face fo™ PT ‘Shorty helmet: These are typically worn with SOce soooters and mopeds or tandem bicycles, Full-face and off-road helmets include coverage for the chin. When the helmet | donned, only the wearer's eyes are visible, andthe wearer's facial expression is obscured, Open-face helmet: (Tis version ‘comes with a removable visor ‘or without a visor) Unie fll face helmets, these have no chin coverage allowing view ofthe wearer’ facial expression, 55Think of headphones as a headband with hamburgers Headphones attached The hamburger- + shaped elipses are ear pas. Headphones inoue a headpiece calle a "headband ‘hati reminiscent of a fashion headband Below shows 2 finshed headohones sketch Headphones and Parts Headband Pad made of sponge or other soft material Hinge arpad Sketching Steps —— The headband is worn against the top of the head. Give volume to the headband, “he hinge is centered along the car pad © Sketon the fgure's head pus the headpnones Some ear pats have ® Clean up the shapes Wiles inthe pad and add the details. pooes @ Final image