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fimuml$uffliluiluu[iluufiuuil rn

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Go Office
L-+-+:1.
tovxSDR# Vol.l : Compiling Characters
Chapter 1 Drawing the Face
Chapter 2 How to Draw Bodies

ffi
Chapter 3 Drawing Characters
lsBN4-7661 -1 473-6

Vol.2: Compiling Techniques

Chapter'1 Background Management Basics
Chapter 2 Tone Techniques
Chapter 3 Expressing Light and Shadows
lsBN4-7 661 -1 47 4-4

Vol.3: Compiling Application and Practice

Chapter 1 How to Draw lnteriors and Exteriors
Chapter 2 How to Draw Machines
Chapter 3 How to Create a Short Story MANGA
lsBN4-7661-1475-2

Vol.4: Dressing Your Characters in

Casual Wear
Chapter 1 Underwear and T-shirts
Chapter 2 Sweatshirts and Skirts
Chapter 3 Jackets and Jeans
tsBN4-7 661 -1477 -9

Special: Colored Original Drawing

(Copic Sketch Pen)
Chapter 1 Copic Sketch Pen
Chapter 2 Copic Airbrushing System
Chapter 3 Try Using Different Painting Materials with Markers
lsBN4-7661-1479-5

Vol.5: Developing Shoujo Manga

Techniques
Chapter I How to Draw Characters
Chapter 2 How to Draw Backgrounds
Chapter 3 How to Create Stories
Chapter 4 How to Create Manga
Manuscripts
1SBN4-7 661 -1 47 6-A

Hru Vol.6: Martial Arts & Combat Sports

Chapter 1 ..ludo
Chapter 2 Karate

Btr; Chapter 3 Kendo

Chapter 4 Boxing

{F
^44\
+-F
Chapter 5 Street Battles
lsBN4-7661-1478-7

Distrlbuted by
JAPAN PUBLICATIONS TRADING CO,,LTD.
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-,
ffi TODRAS/

Vo!.3
Enhancing a Charaeter's
Sense of Presence
MoRE HoW T0 DRAW MANGA Vol. 3: Enhancing a Character's Sense of Presence
by Hikaru Hayashi, Rio Yagizawa/ Go 0ffice

Copyright @ 2003 Hikaru Hayashi, Rio Yagizawa/ Go 0ffice

Copyright @ 2003 Graphic-sha Publishing Co., Ltd.

This book was first designed and published by Graphic-sha Publishing Co., Ltd. in Japan in 2003.
This English edition was published by Graphic-sha Publishing Co., Ltd. in Japan in 2004.

Artwork and Production: Kazuaki Morita, Yumiko Deguchi, Hiroko Shioda, Akira Gokita, Haruto,
Kozue Onishi, Ushio, Kei Asagi, Ru'u, Mayumi Tomaru, Kento Shimazaki,
Rio Yagizawa

Assistant:
Production Takumi Takahashi, Kozue 0nishi, Haruki Takahashi
Support:
Production Julie Asakura
CoverArtwork: Kazuaki Morita
English Main Title Logo Design: Hideyuki Amemura
Composition and Text: Hikaru Hayashi, Rio Yagizawa (Go Office)
Article Conhibutor : Yoshihiro Yonezawa
Reference Photography: Go 0fiice
English Edition Layout Shinichi lshioka
English Translation Management: Llngua fr6nca, lnc. (an3y-skmt@asahi-net.or.jp)
Planning Editor: Motofumi Nakanishi (Graphic-sha Publishing C0., Ltd.)
Foreign Language Edition Project Coordinator: Kumiko Sakamoto (Graphic-sha Publishing Co., Ltd.)

All rights reserved. No paft of this publication may be reproduced or used in any form or by any means
- graphic, electronic, or mechanical, including photocopying, recording, taping, or information storage and
retrieval systems - wlthout written permission of the publisher and the copyright holders.

Distributor:
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Telephone: +81 (0)3-3292-3751 Fax: +81 (0)3-3292-0410
E-mail: jpt@jptco.co.jp
URL: http://wwwjptco.co.jp/

First priniing: August 2004

tsBN 4-7661-1484-1
Printed and bound in China
 Vol. 3
Enhancing a character's sense of presence

\\

[\
(v
 Table of Contents

Chapter 1
The lmportance of Tone Work
Tones Attached to Characters Serve 2 Purposes: Shading and C010r.........8
7 Panelization Styles Used to Enhance the Character's Sense of Presence ...........1 0
Composition Samples Using the 7 Panelization Sty|es..............................12
3PanelizationStylesSuitedtowardShading.... .,...,..............13
The Fundamentals of Light and Shadow ...........14
3 Types of Shadows Connected to Light Standard, Bright, and Soft Light.....16
The Shading Process .........,.,.........18
The ABC's of Tone .......20
Attaching Tone:Tools and the Process...... .........22
Sample Uses of Gradation T0ne.....,.,... ......................28

Ghapter 2
Character Shading and Tone
The ABC's of Facial Shadows ............
Shadows under the Chin ...........
The Basics of Cheek Shadows ..............31
Dark and Light Shadows: Bright and 32
When to Keep the Face Shadow-Free ..............34
Guidelines in Suggesting Color
Planning According to Value

40
Rendering the Hair....... 41

Profile .........
Moderate Low Angle ...........Y

Common Body Shadows .............

Principles in Figure Shading.......
Shad0ws.............
Tricks to Drawing Body .........54
Male Characters............. ............54
Female Characters... ...................58
Shadows at the Feet .............,........62
Creating a Composition without Using Tone:
Sample Compositions in Pen .........64
Ghapter 3
Movement with a Sense of
The Key Points to Portraying Natural Movement
Shoulder Basics
Juncture of the Shoulders and Neck (Shoulder
The Bust Shot Drawing Process
The Side Centerline Gives the Torso 72
The Clavicle ls Another Vital Point to Giving ttreft-rsb ..,...76

Sample Clavicles .......................78

Showing a Figure Extending and Contracting Allows

The Waist and Back.....

Bending Over and Hunkering Down .......... ..................,,92
Arcing the Back/Leaning Back ................100
Leaning to the Side: Fashion Model Poses ...................106
Twisting and Turning ...........108
Adding the Finishing Touches to
a Hot "Backward Glance" Pose with Torsion ................,.....112

Ghapter 4
More Manga
The Fundamentals of Manga Portrayal:
Making the Composition Obvious at a Glance ............... ....1 16
4 Basic Elements..... ....,............116
Telling a Story Visually ..............1 17
Panel Design (Ihe ABC's of Page Composition) ..................1 18
Giving the Panel Design Variation .................,120
Figures and Cars: How to Draw Comfortably Scenes of
Figures Getting in and out of Cars........... ........122
Special Effects That Enhance a Character's Sense of Presence .............124
I Obiectives of this Book

mil
tKt
l) ll
v

This volume
reveale all
of Nhe key
techniqueo.
 The lmportance of
Tone Work

[:i:.i.:.:.:.: : ::.:

::::::l.::i'

I..,.""
Shading is a technique used to evoke a
sense of 3-dimensionality when added to
the face or figure. lt is primarily used in key
panels or shots. (
--a\
G*
I Wi:iiiiin

Close-up
Close-ups are
used to give
impact to a
character's facial

,/

#51, 61, 7'1, etc. are the toness commonly

,,,',,:,,,,,:,:':.,,:,,.,:':.,,:r,,,:':-.:,:r,:rr::,,
used for shadows on the face and figure.
: ||, --j: : -'i:|:, |:,,,||,||,,:.,,|:||:,,
 Color Colors are portrayed by contrasting values
of black, white, and grey, distinguishing
lighter values from darker ones.

r_I
b= l'--o\
o II
il

Fll
Tone Guides for Portraying Color

Darker values are often used to

portray red or blue.

/ \/ \
\ /\ /

Lighter values are commonly used to

portray yellow or pink.
iflflflflilt1," :tEi,,

"ilirumr .sed for Both Shading and Color

o The same tone is attached in layers

to portray shadow.
o This technique, which creates a
look common to anime, works well
with close-ups and with
lustration -style artwork.
i I
7 Panelization Styles Used to Enhance the Gharacter's Sense of Presence
While manga artists seem to draw faces in countless
different sizes, in truth they use only 7. Once you are
able to distinguish properly these 7 different paneliza
styles you will finally achieve success in enhancing your
characters' senses of presence.

@ rult Figure: Large

(Fig. height approx. 22 cm
or 8 5/8")

This is an impressive
shot, used when the
character is making his
or her appearance on
Here we see a cut using faces' sizes used with O
the scene. The head is
@. Bust shots like these are often used with
about 3 cm (1 1/8") in
conversation scenes. The faces appear at various
height.
sizes, according to the facial expression or
dimensions of the face within the panel.

Full Figure:Medium
(Fig. height approx. '14 cm or 5 1/2")
This height is used for
showing the characteris Long Shot: Large
full figure. This height is (Fig. height approx.

still considered on the 7 cn or 23/4")

large size for dramatic
portrayal. The facial
shadows are optional. Long Shot
The figure below shows Mid-length
a character of the same (Fig. height
height seatedi approx. 4 cm
or 1 1/2")

Long shots of a
character are primarily
used in backgrounds
and settings in order to
establish the scene.
(i.e. they appear in
panels focusing more
on the background
than the character.)
 i--

t+-

h
l

,{

lllllltrruum $fmrlr:

iiltrlm il _rm r-s; of fie large full figure

t[mmltuu]tr *# e.-. lt is the most frequenily
{rttmltt llrfim r 3 character used in manga. Use
rir 'lmlutllr lm f;r nce is optional. Shadows on
llilr lttlltili,lr* ;r' ailfective.

*[,i,J ,i \I

fh i, \
\;..;lti./

ffiJ
t'\\ \i
@ wlio-sizeo
Close-up \
{

\
 Use tone for uniforms and other areas where the color is
predetermined. As shadows are added when the face or
the 7 Panelization figure size is large, the tone gives tonal balance, drawing
out the character.

1:t::

l:titiil

O Full figure (large): Tone added for shadows on the face and figure and for the uniform's colors @ Full figure
(medium and larger): Tone added only for shadows on the face and for the uniform's colors @ Long shot (large): Tone
added only for the uniform's colors @ Bust shot: Tone added only for the uniform's colors @ Close-up (mid-sized):
The face is cropped, and tone is added for shadows in the face and the uniform's colors @ Close-up: Tone added for
shadows in the face and the uniform's colors Note: Actual size of drawing approx. 1.2 times (120%) that shown in
, figgre.
 Adding shadows to the face and figure
$ Fanelization toward Shading are more effective when used with the

FullFigure
(Large)
Try to keep
tone use on
the face
simple (i.e. do
not use much).

rilltrlM
ilfimffilillurllut :re used
mr iiritiltru :nm-mitions,
ruumfl m rt-,oductory scenes for
flmrr,illu[ms as well as major scenes.
llrililrl(1ir :me
-rlst to overuse tone by
i,rfilmurilrlflilnq :h every single character,
m ,lrll]|lufl fi:rrB could have the counter
'rfrlillillfiinllllll
!r i messy, busy composition.

Glose-up (Mid-sized)
Perfect for when a
moderately large face is
desired, this is half the size
of a regular close-up and
twice the size of a bust shot.

tlti
:{.1:.r.
l.1r': \:
l !:it.:l
f::::::::::::
\::i:::;:r
 The Fundamentals of Light and Shadow
Since volume is portrayed using light and shadow,
Average Light use shadow to create a sense of 3-dimensionality.

Normal indoor
lighting, sunlight, etc.

Light Source

While film and paintings require minute

direction in terms of the light source's
position or the placement of lighting, its
intensity, number of lights/light sources,
elc., in manga only the position of the light
source need be decided (e.9. whether to
place it to the character's upper left or righl
Here, the rays of light following parallel
side, etc.).
lines are referred to as "directional light."
Clothing: 10% tone
Shadows: 20% tone
14
 The spotlight is the most well known 'light ray." ln contrast to
:: pecial Lighting Etfects the Sun, which is a directional light source, the spoflight is
also referred to as a point light source.

Spotlight Double spotlight

,:illilrilifl ;r":

Combined Here we see light coming from 2 sources (combined lighting) -in
:r," :.- 1: ri
light off a spotlight tends to
Lighting this case from a streetlight and from a gate light. While in reality,
: r -*:-s; use solid black ink instead of
most lighting is combined, in mangaconuention leans toward
n.-,. ": :':cuce a dramatic effect. point sources or spotlights. Combined lighting is used when
seeking an out-of-the-ordinary mode of portrayal 0r effect.

14
 3 Types of Shadows Connected to Light:
Standard, Bright, and Soft Light

Shape with Standard Lighting

Without Shadow Typically rendered in grey

\@
\.-

While this style appears clean, it makes for an overly

simplistic image up close.

Bright Lighting
Use black or a dark gradation tone.
This is extremely common shading and works w.
for outdoors and indoors alike.

\/

t I

Shadows rendering in
hatching and crosshatching

Shadows rendered in black

16
 Soft Lighting
Use tone with fine dots or
a light value (shade).

rc@
Use #71, fine-dot tone.
Tone unetched: The small
area occupied by the shadow
suggests "soft lighting."

illtMfrrung Solid Blacks to Boost the Sense of Presence

Layering tone to produce dark

shadows instead of using solid
blacks creates a look common
'1,-r' to anime. This style works well
: :(-Se 0l pfesenOe.
with illustration-style artwork.
The Shading Process
Penned Direction
drawing ol lisht

The plotted
shadows will simply
serve as guidelines
for where to attach
tone, so avoid filling
them in.

@ Determine the light source. @ enttheshadows.

Use a non-photo blue or yellow
pencil to jot down the shadows.

Spotting Blacks a

Fill in any solid blacks before :

attaching tone. Standard practice !
dictates adding blacks under the !
jaw line and underarm. a
a
a
a
a
a
a
O
a
a
w"' o
a
a
,:' j a
a
a
a
a
a
a
a
a
a
a
a
a
a
a
o
a
a
a
o
a
Lead markings of non-photo blue and yellow pencils disappear when the drawing is put into
print form or photocopied, so they are frequently used tools. A mechanical pencil may be used
1 8 instead, provided that the lead color is light blue or yellow.
 ,rir,,rummmre Shading

iilrfiM rilll]iilfffir3 and Tone

I
mtillilllIr:

ullillt I litl **l:rr,lst {

fliLlll]rlllllill]]' -,a:'ia I
lt
:llrirnlfl:- igin x

t' illliiill(fi: il! itifl] I

l
I l ll|illlj:r i-Jtead
r'

iilltiltiili: -.; ::te.

i
:i

" '1 1l ri -- PnqtI Take care when

hatching that the
strokes do not end up Hatching and Tone
in different directions.

19
The ABG's of Tone
Composition created Figure created using tone of
using solely 10% uniform saturation but with
(saturation) tone varying dot sizes

Nos.11to91

The most
common form
tone, pictured
here, is known
"dot tone."

61 -- The 1 refers to

t ,o% saturation.
The ten's place refers to the dots'

I..-.-.-'-'-.-'-.-.-.-.-'-l 0l

'11
l-'-.-.-'-._.-.-.-......1
t....-.-.......-..'.'...1

r_.-.-.-.-. -.-...-.-.-l 21
F..-.-.-...-..........1

31

While each of
41 these tones
a different feel,
5t we can see from
their numbers
they are in fact
61
the same
li: ::':':': : : :':': ' ' : : : : :::: :::ill "saturation. "
71 larger the figure
the ten's place,
1.1: ,, :. .: r'1: r':l
rr:----ii-::t:= 81
the smaller the
dot size, and
tfu numbers like 60.
70, and over haw.,
very tiny dots.
 " l: " :: Cfeated This figure was created using
. "::1090% tones solely of the 50s range.
r -- :0ne (i,e. all of the dots are the same
size.)

54

52

54
53
ill
55

llHr 50

Tones between 50 and 55

Tones with the same number in the

ten's place have the same dot size.
The difference lies in the density
(saturation level).

[-------l
lt
sr tmai
t................ ._. I J!
t-....-............l
L
tl I (10%) I. -. - -..-,.,. ._._I
t. ....
t .
. .
.
-. -........t. .
. . . .,.,.,.,. . . t

[:'t,:,:,:,:.,,t,t,,,,,tit,:.t,t,t.,t,t,,] tZOoZA

[::iiiii:iii:il:i:iii:iiii::ii:!iilil] (30%)

fl:8"*II*:;rIEll s+
t:t::::::::::::::::::::::: :::r:r:::rl!::::l

li:iiiiii::::ii::iiiiii::i!:ii!il
(40%)
[::I:::I::::i:::::i:::::i::::::::::::::l
l::i:!:i:::::!:j:i:::::i:!:i::::::::::::::::l

Ea..tY.r,tr.rH :th
[ijii:lir:!:i:ilr:i]li:il_:i:i:i::i:1 /qn0,{^\ N
Itttt{df,itttti
[tf,ttttttttfl
Et[H{t{I[!*]
ffit-^
w"o
WWffi$O%I
W
50s series tone
ffi,,
30s series tone

r - i:r ln these 2 pages are lC Screen. Slight differences do appear from brand to brand
r'
: I :i : : r the spacing between dots, even-When the tone numbers are identical.
21
 AttaChing TOng -Tools and the process-
E Getting Started @efore Attaching Tone)

Attaching Dot Tone to

a T-Shirt (lC-51 Used)

Non-stick paper
Matching up the Tone Size

Adhesive

O Lay the tone with the backing attached

over the panel.
@ Trim the tone to the
New tone has a paper backing. desired size (cut it slightly
on the large-side).

.-\\ \
\21 \
When attaching tone to the whole panel,
some artists will slide the panel
v\,r.
@^b
between the tone and its backing. The tone may be trimmed
Caution: the adhesive back of the tone wilh the backing still
does pick up specks easily. attached.
22
 Points Goncerning Tone
Alignment
' ,huut llhn :rr: :r top of the panel and press lighfly.

llilnm,.qffi#r 1 i[] i}?r Jc entire target area.

L
Do not press down too hard on
portions you plan on removing.
i:i:i::l
o_a_a_ol o-O-
-E:t
It is important Except for when a
-at-l
that you align the pafticular effect is
tone squarely desired, tone is
against the panel rarely attached at
or drawing. a skewed angle.

ET

Press down on Another good idea is to

areas to be check the alignment with a
permanently
straightedge before pressing
attached. down on the tone.

Common Pitfalls
i,'ri,3 X',. tone is supposed to cover the T-shirt, trim it
I :':end slightly over the target area in all directions.
:i: :iot use the panel as your guide to trimming.
;q,h?ys remember that the target area is the area to
urr,:h the tone will be attached.)

The tone fails to cover the

entire target area. Take
careful note of edges and
c0rners.

t*:#;H"thetone A Word on Soiled Tone

V
Paper backing
j?j
---_--.-.t

The adhesive backing easily attracts

particles, and once the particles
flur Particles attached
attach, they will not come off,
iflmlllrnfl to soiled tone will
Always leave on the paper show up during the
lrii ilii -:l never remove the paper
printing process,
iliilri r
-: -T"ll the entire tone when
luiiiiitil r'' "-,- :rne to a small target area.
backing.
ry; The particles are
"''ll :Ljl-P-:S ve still evident even
baCk eaSily attraCtS dUSt
after greatly
i' r:1r " r1,r:ES. WhiCh COUId ruin almost
reducing the
, : - 1U..,
image.
29
fl Trimming the Tone
The knife is held similarly mr
pencil, but more erectly.

Replace the blades as they

become dull.

Craft knives
Not god

Blades with 600

.r I. angles do cut better,
but they are sharp,
ill ,,1 !. ,.
,:al so be careful when
,ar,'::,,.,,,:
:L:::'::l. using them.

450 angle 600 angle

Hold the knife as upright as possible.

Rotate the drawing,

cutting along the
penned lines.

Take extra care with

corners and areas where
the knife direction
changes, as they are often
not fully cut.

Contour line (main line)

Tone

Knife path

Try to trace the contour lines

with the knife.

24
m, msmrmurng the Tone

d--

r-
#F
*d
a
&u.- Lift up the edge.

,lirffi,tiril lflr'mr- :a ::-3. lift up an edge using

- nlrllll liillfa

ilffiiilrliifi]llflll -f :..S: be USgd.

,::: * :i :-:'31tS the

,iB!'ilirlril! ',a:. cf the tone
-"-T lil
a::, ::,tChing
Remove the excess tone while holding down the target areas.
:itiiiirtrltltrlt: i :-':iects the back
'''-- il l -;l lrce you have
'firirlll ir.-;-,s:!med to this
' r'-,/ .-ra\ \
,r1.:t :- ,,,ill become ',6 t' I

' :*:,::',e in handling r'r-l . -

\.i I

. l: r-:

r
. ;l --'.
tl

/)\il
&- \ "
trj\
q
'l '-\
),,
kffis',"
q.\ 1., q--

l' \
\\\.-.-
Removing the tone can be lots of fun if it
has been cut properly.

lf you accidentally cut

all the way through the
drawing, reattach it by
affixing cellophane
-: rts are peeled up easily. However, they are often not tape to the back.

- so take extra care with corners or points where the knife

:
- changed when peeling off the tone.
25
E Rubbing the Tone Tone Burnisher

Correct way to hold the

The burnisher burnisher (Front)
ensures that the
tone securely
affixes to the
drawing. Press the
tone down on the
drawing and rub
with the burnisher
to ensure it will
not detach.

Lay the tone's paper backing

or a sheet of photocopy paper
over the tone and rub. There
' are rare occasions when
rubbing directly the tone's
surface that the tone rips or
\ becomes damaged, so I

.-) recommend using a buffer

paper to those who tend to
press down hard.
Hold the burnisher at a low unsh ;iih.ir;prrt
to the paper.

1. Rub the center region. 2. Rub the edges of the tone and areas with major contour lines.
,
t

I
 The stylus is used to
press down securely
tiny trimmed areas,
corners, etc.

The stylus is used

when adding the final
ri f"r:rii1: ce of the stylus allows
touches, such as going
lir; t,tdrr firmly; howevel you
, ,-:= -g the original drawing, over one extra time
areas that detach
,ir",- r: .- a buffer sheet.
easily.
The stylus is held almost the same as
a pencil,

f,i
rl
\

Hold the stylus at an angle Here, the stylus is held too

close to the paper. veftically,

Points requiring repeat

rubbing.

i5,uns;ttr,E Knowledge in Removing Tone and Handling After Removal

2. After removal 3. Removing residual glue

/-\

Use a clean regular or kneaded

eraser to rub the residual glue
After the tone is removed, some glue will
off the drawing. Keep a kneaded
,- -,. remain. This tends to collect dust and grime if
tone that has been really securely eraser on hand specifically to
n, -': neatthe tone lightlywith a
left as is, plus it could become inadvertently
use for any finishing touches
, -',' stuck to drawings or other paper laid on top.
needed by your tone work.
 Gradation tone generally comes in 2 types: dark gradation, whicr
le Uses of Gradation Tone gradates from black to white, and light gradation, which gradaEi
from grey to white. There is a diversity of gradation lones on tlu
market, coming in varying widths, etc.

Gradation Tones

WI
| -t
;
-H
re;
I
-r.
2-level
gradation
(vertical) 3-
tu
gri

BBffi
rcretffi
BGIffi
2-level (horizontal) 3-
gradation gri

Light gradation

Dark gradation

The "1" is an abbreviation for "line," an:

Just what does that "1" mean at the end of the tone number?
it refers to the number of lines (rows) o'
dots. This acts as a guideline when
layering tones.

Patterns, including a moir6 effect, may appear whn

.l ,,
= 2.54 cm tones are overlapped.

t-...-,-..'-.-,-.-.-...-.-.J l!:.:.1:.!:.:.r:.:.:.:.r.:.r:.1:{ [
t.'.'.'.'.'. . .'.'.'. , , J t.:.tt:.tt: :: :i t:.ttt ! .I l\
[::::::::::::::::::::::::::l{[:,;,:,:,:,;,;,:,:,:,:,:,:,:,:,:,:,:,:,1
l:.:.:.:.:.:.:.:.:.:.:.:.:.1 [::;.:::.:::::;:::.::::l
|)
-7
t....-,.......,.,.......,.,J t.t:.;.:.i:.::.i:.:.ii::.::il
t....-........,.,.....'..,J [::.:]:::.:jj.i:jj.::.:r:l
42.5L 601
1 cm
" = 2.54 1 sq. in. contains 60 lines Although these are both 10% saturation, when
'I sq. in. contains 42.5 in all directions.
overlapped, the different numbers of dot lines
lines in all directions.
causes a pattern to form.

Layering to Darken the Tone without Creating a Pattern

il
42.5L(10o/o)

0verlapping tones with differing numbers A pattern can be

+ + of dot lines at various angles affects the created by layerin;
appearance of the pattern formed. tones with the san{
number of dot linei
at an angle.

28 These patterns, including the moir6 effect, may be used as print patterns *
Character Shading
and Tone Portraval
 The ABG's of Facial Shadows

The neck is a cylinder, causing

the shadow underneath the chin
to have a curved contour.

qa
/-\.-
Straight on
Light Source ffir @N
Shadows form under the L,
\
\ ,//
- \ I II ll

,/T\
l/ I\l
I
nose and the chin when \
alightsourceshines \7.f]\ \\
\ {l//

I \-' 1,,.0,,,.n
from straishtahead.
(/rj# )\
I U lLishtsource
Shadows also form
underneath the lower
lip and the bangs.

3 main types of shadows form underneath the chin.

Use all of them at your discretion.
 Front Left
Light Source

mr
'rllllfiI
lXitrrtr :'he eye as
,llllxillllllrir.itr [r :ositioning
llfrfililtrii llfiiil,l]ii:sis

Upper Left
Light Source

A shadow echoing the jaw line

forms under the chin.

31
 Dark and Light Shadows: Bright and Soft Light
A shadow's darkness depends on the intensity of the ligfi
Bright Light source. Differences in the value used for a shadow vane:
according to the brightness of the lighting.

Dark shadow

Black shadow

/-),
<}I/
l=/\
Lit surface

==rf-l-l'/
Sofi Light Lioht shadow

A I
v I l+46) l:L.Greyshadow When the image is small.
use a black shadow for
underneath the chin,
\--l regardless of the light's
brightness.
The shadow's edge
may be bluned.

0
Shadows
Rendered in
Black
Use black shadows with
spotlights or with bright,
midsummer sunlight.
Black shadows are used to
create a striking
impression or when
seeking a specific effect. Shadow created with
dark gradation tone

/-
['1
V
\

Shadows
,,t,

Rendered in
Halftones

Halftone shadows are

used to give the face 3-
dimensionality and draw
focus to the character,
regardless of whether
l
indoors or outdoors.
Shadows created
l
using penned lines I
lieu of tone appear
{
frequently in realisili
32 manga. I
 ,rlillllfl'

d{slulll] [
rlillil

r\. \
\\.
\-
..!s-\

\\-
\=<
lh.- _

Here, I attached dot

tone over diagonal

;.i lriui I - .: -: rs effective for

hatching.

tl -: : r:-ie 0f Skin.
I created a sense of 3-dimensionality in the lips
by attaching and etching standard dot tone.

Backlighting is when the light source is located in back ol

the subject. Shadow is added to the front of the subject,s
face, generating a dramaflc mood.

Filling in the figure with

solid black creates a black
silhouette. The key point
here is that the eyes were
left white.

For this figure, tone was attached t0 the

entire face but the eyes, left white. This
ireatment could be used to suggest flames
burning behind the figure or other
situations with low lighttng. 33
 Shadows do not work well on faces when the imag:
When to Keep the Face -Free tiny. Use tone on clothing, hair, shoes, and other mamnr
colored areas. I limited the figures on this page to
that look better without shadows on their faces.

Standard Long Shot

This figure is approx. 3 E
or 1 1/8" to 1 1/2" tall. A
size, the facial features
barely discernible, and
is viftually just an outline

Bust Shot Long Shot Large

The head (including hair) measures at Here, the figure is approx. 6 to 7 cm
approx.3 cm. (1 1/8"). Shadows may or 2 318" lo 2 314" tall. For this size,
be added to the body. I opted to render her "red" bangs
using solid black in lieu of tone.
Full Figure:
Medium
(Fig. height approx.
10 to 12 cm or These are
3 7/8" to 4 5/8") sized head
Add shadows to While
the skift, etc. hair volume
them appear
extremely d
in size, the
features are :
same stze.

Figure 83% of original print sizr

34
 in Suggesting Color through Tone:
lirrMruurmliffies

4mmnng According to Value Contrast I Tone Values and Corresponding Colors

Flesh tone shadows: 1 0%

o
Red&blue:30t050%
@ &
Deep colors; Black (Solid)
(Deep red or blue)
o
Here we see the cover
illustration rendered in
Pale colors: 10 to 20%
(Pink or light blue) \.-, o
o
black and white (grey
ireen, ZO'2.
scale). Colored images
(Use solid black for dark green)
are rendered using light
Ljott! 01e9n, 1 079
and dark values when

I *rr*ing Hair colors

printed in black and
white. Yellow: 5 to l0o/o {)
o

Jet black Red (30%) Red (20%) Red hair using

diagonal hatching

Different Colors Suggesting Using the Same Tone Value

A flush to the cheeks Suntan

Grey values are contrasted with black and shaded areas,
creating the illusion of a color palette. (Ihe same 10% tone
was used for both figs,)

-a .G:
lark brown
@@@
Blue Red , Violet

35
Gommon Facial Shadows
Let's look at the following 5 light
positions: Front, right, side, low, and

r'',,4fs
r:
: ' ::__
tA
.:'.: lb)i,
1
, Fl
i.ilil:i
rii::irii

,qv+,.ii
ffi rj
-, 1

37
A broad range of facial shadows
are created by modifying the
angle o{ the face inside the
panel or the way it is trimmed,
or by switching the shadows
from the right to the left side
of the face, etc.

Here, no light is shown touch

the face, and the tone was ci;
so as to leave the eye white.

A solid black shadow may be

used for the shadow underneatt
38 the chin in lieu of tone.
 .ffililil
lllllll,

Nere we see use of shadows formed from a backlight. Be The mood of the image changes
conscious that the figure is backlit and use broken external depending on the tone value and

m. contour lines to create the illusion of glowing light. pattern used. Solid black may be
used instead of tone.

ffi,,i',,, Below is an image

created using j-gpe
facial shadows as a
point of depafiure. I
omitted the cheek

I shadow and added

shadows underneath
#' the nose and to the
lips.

g
These are essentially g-type
shadows, Depending on how
prominent the facial {eatures,
shadows may be added
underneath the brows and
eye sockets.

39
4 View

Ref. Fig. e
(Shown lacing
Shadows form in basically the
same manner, whether the figure
faces right or left.
-
ffiniimg the Hair

Tone used for

shadows (in areas
opposite the light
source)

41
d-type shadows also work well in close-ups.
Shadows may be added to the eyes.

Here we see an image

using b-type shadows. Use
shadows with sharp angles
with long faces. Gently
curving shadows work well
with more typical faces as
seen below.

42
ffiu
-ffi
\rtrt
\

e-types have the fewest shadows, with shading

solely located at the hair, the nose, and the chin.
This works well with clean, cheeful compositions.

This combination of e and d shadows can be used to Fonruard facing figure using f-type shadows
accentuate a particular mood.
Profile

,4

r/^
ffip

Expanding the negative space in the direction faced by the figure adds to the
effectiveness of e-type shadows. This technique is suited toward long panels.
 Low Angle

rfi
,qi,il
': l. ;., W rh
$'
{u
li' H

rfi
@ ::
fi
,
-l
a-i
\J? i
 .*
'rr t
m-,n+
,rdi[,
tru, I

tllttr-
ilfilllt,

rii\\\\\lft,, v
c

The shapes of the hair

shadows are intricate.
Contrary to what you might
expect, duplicating the
exact shape of the hair in
the shadows will make the
composition unnatural.

47
Moderate High Angle
ffimUons to Pamts {|.-l!od.erate tli$l}..*d$

,,,m
Y
,,,/

k //

ril

,il11

: ilitilt ! : ,,,rich fall across the forehead

ti

ilr I ,, :-:,:ijve in CIOSe-UpS.

W
Shadows are added to the body primarily to
the figure a sense of volume or to accentuah
forms. Consequently, poses and compositions
that draw attention to the figure's contours or
musculature tend to be favored.
 \
l/
t-/

Adding to the girths of \,I

Yi
*, the arms and thighs

t
D generate a weightier

ffi
feel.

The key to exquisite,

lithe muscles is to draw
the arms and legs on
the lean side and
maintain balance.

il
,l

ill

Action scenes, which

primarily comprise
martial arts scenes, tend
to draw attention to
male characters'
muscles. Have a look at
pro-wrestlers and body
builders for reference.
To draw handsome, lean
muscles, look to the
bodies of dancers.

51
 I
Gradation tone is
often used for
.\

#\
black or red. Since
there is no set rule
regarding the
direction the tone
should be attached
(e.9. black to white
or vice versa), use
your own
discretion.

Note: Traditional bunnies

@@ffiffi
have cotton tails.
 When applying
shadows to male
characters or figures
with different builds,
the concept remains
the same; although,
the shapes of the
shadows may change.

Drawing diagonal hatching

in the direction of the light
source clearly establishes
the direction of light and
serves as a guide when
attaching tone,

-rere should usually be

: single light source.

lM Eood
irllllli

i iilllllii ru]5

l,,trau
rllll i-F'

ril'r

:i;ading the face and body with
.ladows indicating different light
:i:!rces results in an unacceptably
:,rkward composition.
]
);:
Here, I drew the body's shadows to Here, I drew the lacial shadows to
match those on the original face. match those on the original bodV.
53
 Tricks to Drawing Body Shadows
Even masters at sketching find it difficult to identify with absolute certainty how shadov,':
Male Characters form depending on the lighting.

Figure with upper

/vl Good
left light source ( I

Draw the neck, arms,

and legs as cylinders.

Not good ./\

A light source from

Use a
the upper right /
makes it difficult I
block for to give this figure
the torso.

The key to having shadows form

-.44 3-dimensionality.

the body's surfaces is to establish

the position of the light source.
Playing around with the light r-L.,
n source will cause them to become
unmistakably odd-looking, such as
,}iS;i
n
when drawing an indoor scene
where the position of a light is
predetermined or when the
.(\.#
Jot down the body's in relation io the sun is clearly Figures with
parts as blocks when established. ln these cases, average shading
laying out shadows. shadows must be clearly drawn
according to positional
relationships. However, you may
establish a special light source
when drawing shadows specifically
to "make the character look good"
Common Shading for the sake of character portrayal.
Patterns

Shadows
instead of
lines were
used to
delineate
the stomach
muscles.
Figure with an abundance Moderately abundan

Figure with an abundance of Figure wlth minimal shading lit

of shadow (e.9. Sun to shadows
figure's back; light source
shadow (e.9. Sun to figure's from the upper left (Light
back)
at upper left back)
source at upper left front)
r,r.rrrillrrflil ililnunilfTE SIdleS

Standard shadow volume

Shadows rendered in hatching

Shadows form on clothed figures

--:
o\ would on a nude.
,\
"
-\
,\@

Standard shadow volume

 Shadows rendered in hatching
Shading the Back

M
tr
Add shading
to the small
of the back.

To accentuate the
back, add a
shadow to the
small of the back.

Overhead light source

Upper right light so-r-r

Upper left light source

56
 lrmrllflllllrilullri: m jte Back of a Jacket

Special etfect:
Strong lighting
from front of
figure

, lr llLl

i jtufl llnlU'
Upper right light source

Special effect:
Lower back light source

=
t-
(*
>\
:;rtr
) -- -,/

This lighting is
lXli' -; suited to dramatic
r,rlr-ar: ight source scenes such as sci-
fi related or on the
roof of a building.

\
V
I'eL,1,0wS 0n
t-*:osterior

Close-ups of a male
character's derriere are
not common, and
shadows are not
typically added,
 The female figure is composed of curves,
Female Gharacters
causing the edges of shadows to curve as weit
Figure Study

Upper left light source Upper right light source Upper left light source Upper right light sourc,.

Study how shadows {orm on spherical objects when adding

2 Common Shadow Types Used to
them to the chest and backside. The most common styles
Accentuate the Chest and Posterior
are crescent-shaped shadows and bottom shadows.

Upper light source at

oblique angle
0verhead light source

j +
/\
()
\_-/
Crescent-shaped Bottom Shadov,

58
 muent Shadows z--.,
Y Bottom Shadows
,;

Hatched shadows Hatched shadows

Shadows in tone Shadows in tone

59
 Side Shadows

Front light sources are suited to

emphasizing the chest.

Combined Lightin;
Front Light Source key shadow.

Back Lrght Source

This light source is great

for drawing attention to the
backside,

Combined lighting from both the front ar:

back is used to accentuate the feminine
charms of a female character.
ifilili]tirir( :lrffioows

Use these shadows to accentuate

a posterior clad in tight jeans.

Guideline for positioning shadows

on the backside.

Shadows form underneath the areas

that project outward the most.

61
 Shadows at the Feet
These shadows are primarily added
Shadows at the Feet (Puddle Shadows) to shots of characters ranging from
medium full figure to long shots.

Use gradation tone. Feel free to rLr

the edge of the "shadow."
Long Shadows
This is effective for
poftraying scenes with
a setting sun.

When drawing a long

shadow, jot down parallel
guidelines for the
1\ Although the character's skirt is
rippled, the shadow at her feet shoulders, elbows, waist,
remains simple.

Not good

lntersecting Shadows
Here we have light shining
from multiple directions.

Leg shadow
Silhouette Shadows Created by Backlighting
Solid black in lieu of tone makes for a more dramatic
portrayal.

Shadoivs at the feet are normally omitted from

manga artwork. However, they are included in
long shots or when seeking to create a striking
effect,
 drxiiullrrst Fuddle Shadows

#M Tone

Use an elliptical form for

shadows at the feet. Be sure
to draw as well portions that
will not be visible in the final
composition,

lliffiril go0d

Crosshatched
' u rraoow is too
lrurir rE should
lurL,r+
'e*er ripples.

ttumfitlr.:-lr3ns Gradation tone

iri ilr'il,:w-style executions to portray the luster of a floor.

Diagonal hatching

lrurs:ral EffeCtS
,rlrr-l :ceed lines are used to portray shadows

Use a straightedge to draw fine,

horizontal lines.

63
Creating a Composition without Using Tone: Tone used to portray colors an:
shading by contrasting dark an:
Sample Gompositions in Pen light shades originate from dia;.
hatching created using pen.

Facial shadows

Tapered lines drawn using Hatching portraying the color Crosshatching is often used This hatching used under:r
a sfaightedge and texture of hair or boots to portray the texture of chin and on the floor crea:e,
clothing or blackness. Here a gradation etfect.
it is used for clothing.
Movement with a
Sense of Presence
 The Key Points to Pofrraying Natural
Movement Lie in the Shoulders
Normally, when a figure is portrayed standing straigt--
a line connecting the right and left shoulders (shoulce"
oulder Basics line) is horizontal.

Good Not good Not good

Here, the shoulders are not properly Here, the neck broadens : 'itt'r'

aligned, and the base of the neck base, and the right shou,:+
A natural bust shot (marking the top of the shoulder missing.
Iine) is also tilted.

Line connecting
C
^L
The shoulder line is a
line drawn from the to:
of each shoulder,
the right and left connecting the two.
sides of the
base of the
Horizontal shoulder line

\
Here we see guide
i\ lraming for a bust shot
A bust refers to a portra-
from chest up; however
Scapula line
in Japanese manga,a
bust shot usually means
The scapula is a
a portrait that stafts
key element for
somewhere above the
giving the body
chest. The shoulders
volume.
should be visible.
tLrilllllllniltillll,rtifl Je arms up and down causes
'rir tfirnuder line and the chest line to shift.

The shoulder line and

chest line should be
parallel.

Shoulder line

While the shoulders may

be skewed in this
manner, the chest line
should be similarly
angled.

Raising one arm causes

the breast on that side to
rise as well.

Here, the angle of the chest

line is natural for when an
arm is raised, but the
shoulder line is not.

Bad example:
Here, the two shoulders
are even. \.-
Raising an arm causes the base of the
neck's position and the shoulder line to
shift. Raising the right arm causes the
right shoulder to rise. The shoulder of
the lowered arm is likewise low.
 Draw the enh=
ncture ol the and Neck base of the ne:r
even portions :rilt
This figure was drawn Neck and shoulder juncture
at a moderately high ' \- - will not be visr,r
angle. From a 3/4 in the final

view, lhe comlgsition. Ar

-10
appear askew. keep the lin:
connecting fie
juncture point
Shoulder line -' parallel to the
shoulder line.

Chest line

------\r \/ Base chest I "r

Here we see a leaning pose. The Raising an arm causes the chest Raising both arms causes the
shoulder and chest lines are on that side to also rise, figure to return to its original
parallel. eliminating the angled feel. angled pose.

Successful Drawing Tips

Use this line to confirm
Provided that you keep
that the neck and
the shoulder line and
shoulder junctures are
chest line parallel, you
angled parallel to the
should be able to draw
other lines.
any bust shot.

'-**

68
,ltlmrrlffemmq Mlstakes
Bring the neck
contour in from
the ea( closer to
theface. ----+
tliltltt!; illllllfll'lffi Move this contour so that
il0rudflilNfl s[( it is underneath the chin.
The left shoulder and
llluffili l|il]ffiflxT !
chest seem to be
ro,,ir tfllriifltiliur. Draw the shoulder line
turned to the right. @ Conecting the neck

. ihe neck is too thick

. The ilght shoulder is ambiguous
. The torso seems to part in profile
and part in 3/4 view.

rili|r]gf.l :e torso is
r I "r r€w, the
mnmu|:err ShoUld

mr ;ar:nlly
I ltsi|:rE
Torso in profile Torso in 3/4 view, facing to
the right

The shoulder is in
clear view when the
torso faces the right.

/,*-

Final Drawing FinalDrawing 69

 Detailed Example of Using Knowledge of the Body s
Bust Shot Drawing Process Structure to Draw

oy,::. Figure in a
standard pose

{1\
ft%J*: t Neck bones
6xis)
\'/ \/ shoulder
-\,*l-
is straight
Draw the face
(Crossed lines indicate
/.:\
/ /ra't
-,\

rrH\
\ry
the direction the head
faces).

The arcs of
these lines are ldentify how the clavicle flows in:
critical. Raising the left the shoulder and how they con:;e:
Sketch in the shoulder line arm causes the
and a layout of the torso. shoulder line to
tilt. Since the breas
* begins at the
ra,
/'-\ Itle
Draw the
UfaW \ same point as :r
Adjustment of the
shoulder line
I chest and thet underarm, the
arms. underarm alsc
Sketch in the
/ underarm (where
The top of the marks the top .

breast begins the breast

the arm connects
with the same
to the torso) and
contour as the
determine the
underarm's
arm's girth.
origin.

0nce you have sketched in

the left underarm, connect
the two with a line (the i<i-
underarm line) parallel to I

the shoulder line. i

I

The chest line

--! -r- I
falls midway
Gonnect the neck to the shoulders using smooth between the
contours and position the underarms. underarm line
and the base
chest line.

@ Cl.un up the torso's contours using the chest as a guideline. Sketch in the
face's layout

Adjust the shapes of the lower areas ,:

the chest, the shoulders, and the

breasts. Clean up the back's contours
Use layout guidelines to arrive at a lin.
drawing of the torso.
 .,|
*ft ni{m tfl0l
Top of fie chest
.-\ f,-/./'^
-/'
|
''' flnttm@i&
Bust line
l,

il,
u.,,r
lllltl]llr JuuS-.

ltlutttmlfi*litn'tli
lrE
Sketch the face, filling in the
facial features and hair. Add
clothing adhering to the
torso's contour lines.
({
To accentuate the chest, ler
chest at the same position,
r lf the
leave the trtop of
st's
ift the) breast
rn, but shift I

peak upward.

Voluptuous build

@ ffi1,,,,n

Finished with Tone

 The Side Genterline Gives
the Torso Uolume
The side of a torso is long and narrow and is not visible from the
front or back. Yet, the side constitutes a vital point when drawing
most poses. The side also contains a "seam" connecting the fron:
and the back. This seam is called the "Side centerline."

/
I
Draw the arm's
thickness at about
the same as the
width of the areas of )',
the side not visible.

(+
The torso's
silhouette
changes fro:-
wiwis the front to :rail
views. The s,:iri

centerline is'r
Border dividing The side centerline appears as visible.
those areas visible "seam" in the majori\i of
from those not
visible from the
Loose fit
front

The side
centerline and
areas visible from
the front joint join
at the leg.

While in actuality, clothes do add a bit more girth to the torso all
around, in manga,it is perfectly acceptable to use the same
layout for the character's figure nude as for it clothed.
72
 iiirutttnm fuld

lrfil|lil rffiiflke Contrast with an average

rxm .l:l'T build figure

ffi,ry,w*&&

Border dividing those

areas visible from
those not visible from
the front

Draw the torso of a slim

build on the narrow side
while retaining distinct,
separate curves for the
chest and rear.

u{niaJ,e Characters

,
'li ,tsible
rq* front

The thickness and appearance of the body should be

handled similarly to that of a female character.
6 Lines Vital to Successful Drawing

Practical -\
I \
Application L/
--v Shoulder seam

@ Shoulder line

Front closure of a sa,:r' ill

Shoulder seam

Waist (line)

@lS06llli,er6al

The centerline
serves as a guide
for drawing the
button front =---
closure.

Side centerline of
the skirt

\, \
=\

\"I i

\\
\ Side centerline

The side centerline serves

as guide to facilitate
i-shirt without a Including the side attaching tone.
side centerline centerline gives the torso
clearer definition.

74 Note: Some T-shirts lack the side seams from the underarm down.
 The side centerline along with the
torso's thickness gives the torso
clear definition.

,$itirB,€6ni6itiii6

iEim.M:tsliiia

Loose{itting
clothing

Tailored{it
clothing

r,,l

When seeking to add simple

shadows using tone, sketch
in a side centerline to use as
a guide.
The Clavicle Is Another Uital
Point to Giuing the Torso Uolume
The clavicle is key to constructing
the upper front of the torso.

,$ A\
; i)t/

*1,
4, t{
\i
L-1 t\ \
\1
\ \\

The clavicle forms an S-curve

when seen from overhead.
 and Movement the Clavicles

Raising both arms From a normal stance,

the clavicles do not really
ifitllmmimms ihat Make the
change in appearance even
iilillm{ffiss Stand Out when an arm is raised.
Jutting the neck
out and down

wz

The more the neck is Clavicles often become

rotated to the side from
the front, the more the
clavicles and the neck
muscles (tendons)
protrude.
prominent accompanying
neck movement, or when
both shoulders are rotated
fonruard or when the
shoulders are tensed.
77
 The clavicles are prominent on
Sample G
thin builds and relatively hidden
Female Characters on fleshy figures.

Clavicles
rendered in
detail

/-

-\
1--

Because the clavicles allow you to portray the maleness,

femininity, or adultness in a character, they are often
included when the aftist intends to draw out these traits.

lncorrect Clavicles

The levels and positions of the two

Leave out the clavicle do not correspond.
when drawing children
(this will make them
more "childlike").

\
Here, the length and position do not match

78
llllt|lll|]111u ll'E,nacters

,itiiiil tI"JLL.:rr:

I
L- \

)a \ /-,

The developed
(l )
muscles prevent
shadows from
forming
underneath the
clavicle.

\----/'J
IIlrrnguishing Male and
h**rare Characters Draw the clavicles so that the reader
can distinguish the character's gender
at a single glance, even when wearing
a T-shir1 and only a portion of the
figure is visible.

\
 Showiltg a Figure Extending and Contracti
Allours for Dynamic Expression: Il.[ff jltHi::l:
This distance is Our hands, legs, and torso extend and
equal to or contract. Being aware of how far a limh
greater than the bends fonruard or back will allow you b
head's length. draw your characters' movements
convincingly.

,\,2, The torso

stretched
{
Ref. Fig.: Spine Ref. Fig. Knee

The Principles behind

Bgt fi,fu
Hard bones are connected to each other by soft
cartilage. Cartilage has elasticity that can be likere:
to rubber.

Sketching and Contracting

Caused by Bending
The figures height Stretching the body to the
expands by the length extent possible lengthens
of the feet when even further the torso and

The arms also stretch.

standing on toe tips.

i
upper body and the arms.

,,,ffi**.
Stretching and contracting both occur
during the act of "bending."

\ Stretching occurs at the shoulder (joint).

 Clothing is designed with movement (the body extending) in mind. While some
'lrlrlllililllLLrrt
l- othing
;11
clothing is made of fabrics capable of stretching and contracting (stretch fibers),
typically, clothing is pulled with the body, altering its silhouette.

7\ \
--Z

: r. - Fitted Clothing

s
ANH
With both arms With the arms
raised extended to
the max

The length of
the torso

\ exposed is the
same as that it
The shoulders
extends.
and arms pull at
the shirt, causing
it to rise.

z
81
 Stretching and contracting of the neck is
Bendinq the Neck
a frequently used, key motion.

Common Stretching and Contracting of the Neck

Normal pose

Stretching and Contracting to the Side

({

& (
ts

Head held relatively uprigtr

with shoulders raised

Looking down/Looking at one's feet

At this angle, the

neck is obscurec

This is a combination of leaning

fonrvard and looking down. The Here, the character is
back is rounded, and the neck looking down with her
underneath the chin is extended. chin tucked under.
This pose is almost
identical to the above
"looking down" pose.

82
ilfitffiflmilltq flhe Head up Bad example.

),e..)'

The head should The neck should

be tilted more. be longer.

\ Changing the direction

of the face creates a
"glancing back" pose.

./\

The trick is to give the neck

a dramatic angle.

*ffiuml'rg Forward with the Body Not good

The neck-to-shoulder
contour is too short.

The contour from the neck

to the shoulder is critical.
 Scenes in manga of a character toting a heavy load require that you take
The Arms extra care with drawing the arms in an extended position.
Carrying a Load of
NormalWeight Lifting a Moderately Lifting an Utfa
Heavy Load Heavy Load

The shoulderu
drop even furfimr

The body hunches

fonruard.
Draw the amu
While the arms' length do just a tad
not change dramatically, (about 5% E
giving the muscles a 100/o) longe
moderate bulge shows
that the arms are being
stretched.

The legs are

. ----__/ .a
Another nice touch would/
be to show the feet
sinking into the ground.

Not good
----'>

Drawing the back

and neck straight
suggests either Emphasizing the
that the load clavicles suggests arr
Contrast of
canied is light or straining. lengths: Draw
that the character the forearm aru
is strong. wrist narrower

il(

The body is pulled

to the right by the
bag, causing the
v) character to want
to lean toward the
left, and the head
to tilt to the left.

84 \
 Etrbow and Wrist

Since the wrist is

capable of bending
toward the front as
well as the back,
wrinkles form around
all sides.

\'v-

;b ---\
\i
\ A wrinkle

Here, the wrist is bent unaffectedly,

illustrating the wrist's natural movements.

-rt@
The wrist
<-->

These poses are suited for atfected,

contrived gestures.

rdrshng on the Elbows

The elbows and wrists
become key elements
when the hand is brought
to the face.

85
 The stretching and contracting of the hands and fingers is tied irr
Hands and Fingers the opening and gripping of the hand.

5 Poses Where the Hands Play a Key Role

Speaking (with the hand

held to the face)

Hand unconsciously
draped over knee

?
t-a
\p

86
 ,iiiitilril
l,:ln.h in Drawing the Hands and Fingers: Artists tend to concern themselves with the shape of
iilllillfliltffrlr'-,; - ; Th icknesses and Lengths the hands. Still, you should be able to produce a
satisfying hand even if you do botch up the shape
somewhat, provided that the fingers' thicknesses,
lengths, and nail shapes match.

r'rfl' :,:':ucing a rough drawing, sketch the

iLmltu'-- l *3te positions, shapes, and sizes of the
iiiii r -:! should establish the image in general
il r"- j

3r) F
, ('1't Simple Rendition
Here we see a clean
line drawing.

:: - -,lers are
i
-,r rn thicknesses
..\are
," : :i nalls Realistic Rendition
-.-=-t sizes. Showing the muscles
around the fingers and
bones in the hand
(drawing the tendons
Here are 9 common
protruding) gives the
pitfall points.
hand a realistic flavor.

87
The Hand Held Unaffectedly The hands add to expression of the character's emotional state. lt is
Use these gestures when drawing a figure held naturally
important to distinguish gestures. To portray a normal or casual atmosp:er
or when standing normally.
show the hands in a relaxed state. To portray tension, show the hands
Standing Normally clenched in fists. Take care when drawing the hands, as both natural an:
contrived or awkward compositions show up clearly to the viewer.

Not good

This strongly clenched fist suggests

that the character is either about to
engage in battle or is feeling oddly
tense.

This is a better facial

expression for suggesting
readiness to fight or
determination.
Character in relaxed state

Lightly Clenched Fist

Not good

Here, not only is the hand in a fist, but the

wrist is bent back. This generates an even
more awkward image. Hands drawn like
this should only be used in special
circumstances or with an odd, eccentric
character. lt could also be used in combat
scenes.

Use this face to show that a Character in normal state

character is alefied to something
or feeling tense.
 fr
Awkward
+
Natural

of the intent or The hand held lightly Here, the hand is held
feeling of tension in clenched when the open in a normal state.
the owner. The character feels slightly The hand is unconsciously
unconscious tense or when deep in relaxed. The fingers are
clenching of the hand thought. The character is bent into gentle curves.
acts as evidence that unconsciously tensing
the character is her hand. However, since
tense. the hand is not balled
into tight fist, the thumb
-re $e hands to show a character's is slack.
:-,:tonal state when glancing back

E Differences in the
impression the character
projects or her
personality vary with
how the hands are
drawn, even in the same
"glancing back" pose.

The lightly gripped fist is

works well when
portraying the moment a
The open hand suggests
character glances back The clenched fist works
that a limply held hand.
and is slightly surprised well when showing the
This hand is suited to
or experiences a little character in mid-sprint
suggesting
jolt. This is the hand
disappointment. or to suggest a
most suited to looking determined state ('You
back unaffectedly. can't make me!" etc.)
 Extension and contraction of the legs are primarily

The Legs allocated to kick scenes. The prevailing trend is to

indicate that the leg is extended using special effects
lines or other means to blur the foot.

There is no way the kick can be

delivered from this distance.

ffi

When showing a foot that has

delivered a kick pulling back,
add diagonal lines to the knee
to portray movement. This
Yet, somehow it is. Here, the tip of the foot is
effectively creates the
not drawn, but rendered in diagonal hatching
impression of a kick
(suggesting a bluned foot too fast to be
delivered from the knee.
captured in a photo). Leaning back of the
kick's recipient indicates where the kick was
delivered-in this case, on the forehead. Use broken contour
lines, adding diagonal
lines. This will create
Trajectory of
Tip of the foot a senSe of speed.
the left arm

Concentrating diagonal lines Using diagonal lines to render

around the tip of the foot is the entire foot. This creates a
a standard technique for "shadow, " suggesting extreme
suggesting speed. blurring.
90
 This page shows key points in the bending (extending and contracting)
The Feet of the ankle and tip of the foot. There is not a wide range for
portraying the toes themselves bending and stretching.
The big toe bends
more than the others.
\
I
xtaas)
) I
_/
F--- I
Here we see the extent to which
the tip of the foot rises with the
heel used as a pivot.

;ffir iflE portrayed bending primarily

I' uaBng scenes.

Painting the toenails

i- r- rrawing the feet in shoes, the feet

- t,i :,e drawn the same size as when
:"i:'irt or made bigger all around.

The bending fonivard

and back of the toes
are key elements of
this p0se.

h::: fflat the foot

::{:S on a different The toes are \\

u
:-:.:e when clad in actually crammed
" -- heels. tightly together in
the shoe.

\_fl

91
 Bending over causes skin folds to form in the abdomerr
The Waist and Back

Bending 0ver and Hunkering Down

Common Poses with the Back Rounded

Wrinkles and
skin folds
appear 0n
the sides
Pay careful that contract.
attention to
"stretching"
at the hips. The back of
the neck also
stretches.

Putting on or
removing socks
and shoes
 the
then fie back is rounded, Pav careful attention to how
shoulders rotate fonruard and
back'
tle $oulders roll lorward
/ r\
lt\
Li
)D\,
The back
becomes
rounded when
the shoulders
)x
/M
Drawing the shoulders back
causes the chest to thrust
outward and the back to arc
rearuvard.

r\l I
are rotate
fonruard.

\-+
ln a normal stance,
Leaning fonruard
the shoulders are
fairly much
centered.

The muscles along

The small of the the spine follow a
back stretches. natural curve.
Deep Bow

Skin lolds
appear in the
abdomen.

Here, furrows deePer

than in a regular bow
form, as if the uPPer
body were
Bow in Greeting swallowing the bellY.

While hardlY anY folds are

visible from the front,
failing to draw them will
prevent the figure from
appearing to be bowing'

Drawing the head inward

causes the back to round'
The waist is stretched to
its limits, and the furrows
in the bellY are at their
deepest.

ln disappointed and tired backs'

the shoulders are rotated forward'
and the back is rounded'
Exaggerate the look of the sloPing
shoulders when drawing'

93
 When sitting in a relaxed
position, the back forms a
gentle arc.

The same holds true for

sitting in a chair.

The key to drawing a

seated pose is to plan out
the knees'positions.

<_______> i <:__________>

When dressed, creases at the abdomen vary

according to the clothing worn.

Suit skirt and jacket

T-shirt and jeans

94
 ln both the back study diagram and the high, oblique angled study
qeEularly, But Slightly Hunched Forward
,iiillfMnnl diagram, the roundness of the back looks best when not
overemphasized. Use a gentle curve for the slope of the back.

Study Diagram:
Front View

A key point here is

the fold that forms
in the abdomen.

rllr'rrri- 'Lrched fon/lrard, the upper

riii: ?r"5 approximately the same
"r-- '.-;-ner seated on the floor or
A key point when drawing
the figure facing the picture
plane is to draw the
centerline of the hips facing
forward.

Study Diagram
for Practical
Application

Seated on a Stool

- all 3, the contour from the shoulder to

:: back is the same. flhe only difference
. Jre thickness of the clothing or towel.)
Sitting While Hugging a Knee Establish fie
shapes of fie
waist and
abdomen, ever
though the anrs
and leg will
obscure them ir
the final
drawing.
ldentifying the
body's entire
structure will
help you balance
the legs.

Line drawing

Study Diagram

Study Diagram

\
This skin fold in the
back is a key point. \

Failing to include a skin fold in the

back will make the character appear
contrived, causing her to lose her
sense of presbnce.
: ,:stures for Sitting on the Floor with the Knees Bent

The 2 postures
overlapped

The key points in

distinguishing sitting
up straight and
hunching over lie in
the shoulder line and
waist.

Differences in the back contours

\
With characters of identical height, the 2
postures result in a half-head difference in
height.

,tlll
1

97
Key Points in Distinguishing the 2 Postures
The shoulders are rolled
The shoulders are
forward, and the knees are held the same as
Hunched 0ver casually grasped.
when standing.

Straight Back

The curve at the waist

is clearly evident.

This disguises the

ln this pose, the
tapering of the waist.
curve at the
Pulling the shoulders back brings waist is
the hands behind the figure. emphasized ever
further.

When the back is

straight, torso pretty
much remains the same
height whether sitting or
standing.

The waist (line) is

clearly visible.
Straightening the
back causes the
rear to roll slightly
fonmrd.
 Balling up to the extent
that the chin rests on the
knees molds the back into
a semicircle.

Curled up Hunched over Back straight

normally

Variations on Sitting on the Floor

with the Knees Bent

99
Arcing the BacULeaning Back The upper back contour is usually convex.

:-r

Bending back to
this extent causes
the upper back
contour to take on
a concave curve.

character is shot or hit in the back

with an object, etc.
Not good

The upper back

contour retains
virtually the same
convex curve.

The waisVlower
back region
constitutes a key
point in this pose.

\\
fft
'V
\\

The snugly fitting

jean-clad rear may
be drawn just a
hair smaller than
on the figure nude.

100
Te $tandard Convex Curve ofthe Upper Back
The upper back rarely
curves inward.

(,
i

\]
I

Special Cases for Drawing the Upper Back with a Convex Curve

When drawing the

composition from a high
When drawing the angle, and the chest is
composition from a low thrust out and the back
angle and the shoulders arced
are rotated back

101
Uses ofArcing the Back 1: Cheering

lncorrect
These samples lack
movement.

Showing the wrist arcing

back evokes the feel of
the arms unconsciously
raised, creating the
impression of jumping
for joy.

Keep the wrist straight

when suggesting that the
This stiff cheering pose
(-_ character is consciously
leaves little impact on the
celebrating.
reader.
l,02l
 Practical Application Samples

Tilting the head down turns

this into a "yawning" or

<

fie character
-]ow
mes her arms
rdicates subtleties
n her personality
:n feeling of joy.

(J

The pose and angle are the same

as in the cheering poses, but
changes have been made in the
direction of the face and the way
the arms are raised.
Uses ofArcing the Back 2:
Escaping (Unwanted Grasps, etc.)

When the muscles are

/-\N
flexed, the body moves in k-i|
)./
Shrunken state
a burst from a shrunken
state to an expanded
state. L:J
:
rT
Expanded state

\\A
..\ v
,l/
/-.,,

Shrunken state

Direction of the
upper body
Expanded state

Direction of
Elements of twisting
the lower
are being mixed in
body
with the arcing the
back action.

A character and shaking off her assailant's grasp

I'
\-l Spreading the legs far apart
would make the character seem
like a martial arts expert, so
position them on the close side.

104
-:s.es of Arcing the Back 3:
i;"n nin g/Escaping: Running
Away Scenes

,1'2
(\*
',
Showing the back
arced is also
effective in scenes
where a character
has been locked up
and is begging to
be released.

When the wrist is

grabbed, etc., the
back will arc when
kying to escape that
grasp.

105
Leaning to the Side: Fashion Model Poses These S-curve poses are afiected poses the character adopts when
intentionally attempting to make herself appear attractive and are,
consequently, used for scenes when a character makes a first entrance
The waist is to give that scene impact.
stretched on
The upper part
one side. This is typically
of the torso
an exercise
stretches.
pose, and just
a means of
moving the
body. However,
it has wide
applications in
key compositions.

Contrast of S-Curve Poses

+ Skin folds

Chibi character in pose

Here the
Leaning Forward Leaning to the Side
character, seen
from a
moderately low
angle, leans to
one side.

Here, the character,

seen from a
moderately high
angle, leans
forward.

Common pose:
While these two S-curve poses are Figure arcing back
Figure arcing the
similar, they differ in that one leans toward one side
back while leaning
foruvard, while the other, to the
fonruard
side.
iiurding S-Curve Poses

:"-
'r\
1\i\\
@
--\

0
19

r\\
\\
n \
\\\\
- \l

.-\

zz-'/
 act of walking' this
While torsion does appear in
the waist during the common
principally in
Iwisting and Turning torsion becomes important i"tlntt of u ch-aracter running and

The fundamental asPect of

showing twisting or turning
are changes in the directions
of the uPPer bodY
and lower body.

Glancing back Establishing a stance

M an g *StYle StYl ization :

Figure with OnlY the Chest Turning

rs

7\
Fioure in Perfect Figure with the
pr"ofile (Normal view) chest turned

lf there is no need to
adhere to actual
physical structure, a
character maY be
drawn in Profile, but
with her chest turned
slightlY. This
technique, unique to
manga, enhances the
character's sense of
presence once she is
dressed in clothing.
krrast of Figures in S-Curve Poses and with Torsion

Giving the figure

Figure leaning
torsion is etfective
to the left with
lower body when showing a
character breaking
into a run.

This work6 well with

The upper body
static poses.
and lower body
face difterent
directions.

109
Twisting and Turning Are Key Factors in Combat Scenes: Torsion Symbolizes Combat

Study figure illustrating

the conventional "twist."

The centerline from the upper

body to lower body is straight.
Her backside seems to be jutting
out, causing the figure to loose
force.

Good example

Here, the upper body and

lower body face different
directions, forming the
centerlines into an S-
curve.

110
l,e. ;r 3 simple back view, a bit This figure has no torsion and is Changing the direction of
:r E-slofl evokes the look of a standing bolt upright. Nou the the head on twisting/turning
::ria1 expert. character appears unaccustomed poses allows the creation of
to fighting. limitless new variations.

Add fine, diagonal lines, symbolic of

movement to enhance a dynamic
composition's impact.

'.W
v

Without the diagonal hatching, even

though the figure has been given
Here, the hand's
torsion, it still lacks force.
contours are rendered
in diagonal hatching.

Alternative Styles

111
 Adding the Finishing Touches t0 a Hot "Backward Glance" Pose with Torsion
(Ihe Steps in Attaching Tone)

C
a-a(
I\?(1
\-
Ir\N\
D\\
Study Figure

ru Line drawing

Attach 2 sheets
of layered tone
to the blouse.
Use tone with
identical line
numbers to
avoid a moir6
effect.

Attach a light gradation tone to the shoulders, shorts,

gloves, and boots. Mixing gradation tone with regular dot
tone could result in a moir6 effect even if both tones have
the same line number. Verify beforehand that you are
using 2 compatible tones.
 -r inish, rub with an eraser those areas
,,,xere you wish to show highlights.

Ref. Fig.: Same image without shading.

Shading is optional in small panels and
compositions.

This figure was created digitally. The creation process and points oJ caution are the same as when attaching regular tone.
Both the figure delivering and receiving the slap
Here,ltakearunning
have more impact with torsion at the waist.
figure and shift the
right hand to the front.

The result is a
figure putting her
Here, both figures are drawn standing waist into
bolt upright and lack torsion at the waist. delivering a punch.

Here, the figure delivering the slap retains the

same stance, but the figure receiving the slap
is twisting at the waist.

114
More Manga
 The Fundamentals of Manga
Po rt raya I : Uf,f[,fl,'lf ,t3llpositi on
ln manga, the reader figures out the story by seeing how the pictures flow. That is what
characterizes the medium. Any dialogue or narrative text is supplementary t0 add to the

4 Basic Elements reader's understanding. We say that in manga, pictures tell the story, and the significance
of heightening the characters' sense 0f presence lies in that statement. But, let's first start
with telling a story (communicating) through pictures.

What do they look like? What are their personalities?

What will they say?
When (Time)

Where (Location)

Actions
Something done for
someone's behalf
These are the 4 points that need to be clarified in
order to convey the situation to the reader and have
him or her understand.

116
hxlg fi SmnT blflralfy fte key rs to decide your theme-i.e. what to
communicate-and what must be drawn-i.e. )inql
ivhat rnformation to draw.
n11nmrnr IIli:1-,: -I :"a-:

Mangacan be anything: even

your thoughts or daily activities.

What panels will you select for your theme,

"waiting in a caf6"?
o A character waiting
. The characters meeting
r A character waiting, and then the
characters meeting
You will need to decide beforehand what
types 0f panels you will draw. This is what
it means to "decide a theme."
Bad example.:
. The setting does not necessarily look like
a caf6.
. We have no idea what kind of person the
character is.
. We are not sure what she is doing.
Good example.:

lndicators that the location is a caf6: a receipt, a menu, a window, etc. "Waiting" indicators: a paftially read
book, half drunk water. Character indicators: a cigarette dangling from the mouth, smoke drifting from cigarette
butts in the ashtray. The indicators we see in the panel suggest an uncouth character type. 117
Panel Design (The ABC's of Page Composition) Panel design begins with deciding what needs to be drawn. Clear
panel design will lead to poftraying characters with presence.

Underlying Theme: "He's here!"

Main Storv Points
Theme:
The 4 Elements The Adist's Conceotion

il
Gaf6
The protagonist Character: character desion
Rendezvous
Durino the evenino When: oortraval of evenino
ln a caf6 Where: oortraval of cafe
Analysis
Has a rendezvous Action: meeting, talking, etc.

"Waiting" as the Main Theme:

Once these 4
#ffi
\_sl, elements have been
protagonist clarified, determine
specifically the main
point you wish to
make.

For what purpose are

you drawing a
rendezvous in a caf6?
What do you hope to
communicate using
this theme? You need
to establish the
underlying theme.
Evening
0ftentimes, if you fail
to clarify this point,
you may find yourself
1,,r4 accidenl.
unable to compose
your theme, even if
you try.

"Waiting," "worrying, "

and other acts relating
J -(lr- to "meeting": the
el,(
\...g ways of executing the
simplistic theme,
Caf6
"rendezvous at a Thankheavene, ?
caf6" are limitless.

@% Here the third panel,

Meeting
where we see the
protagonist's
imagination let fly, is
recomposed so that
the visuals dominate.
Now, the panel has
more of a manga
flavor, and we can tell
at a glance what is
The protagonist's reaction reveals her
taking place. However,
personality through "action." These 4 panels the original panel
form an "incident" that illustrates the coveys more strongly
protagonist's personality. the protagonist's state
118 of "anxiety."
 Waiting on a Friend: Character lntroduction Scene

Well, I've
nolhinA to
do. \,4iqhr, ae
well bues lhe
table myaelf.

blah

an my way Lo lhe 3o,I lold hlm, buL he Blah

5td(ta". L- b +o-e q-er didtr underata. a. eo
cafie ta and, aEKea I \aA to t ake ' r Ard, you know whaL?
me il 1l'new a qood lherc' lle wao )ike lhia ?rince
who came l:o Ja?an
auahi bar,
incoqrito trom hi6
Olah cauntry)

abh

aerioue?l

Then you can

finioh off w 1ut
wanted
I

to finieh
eo, Lhen
wake u? ana
1

%
yaur dream the realizei it
by trakinq me dream,
wae all a
Lo LhaL so I tell
baak Lo dream and
6ubhi bar. eleep. t had,
over6le?L.

#,,,;,,10;.

Here, the relationship between the two becomes

clear immediately (explained by the 11 scene). I
 GMng the Panel Design Variation This refers to modifyins the
Readjustment of "He's here!"
3frfff ;;',fiJlIlJf;"un'''
Readjustment of "Waiting on a Friend',: Character lntroduction Scene

--T-:a---7---.v-z-l
*-4& I

' ----rff:M/V
-ffi=ffi5fi
-:--]Hk''l
.............=_-rhF-.l;h
*l

Tardon,
Since the idea that the mademoiaelle,
friend finally arrived is Whereis zeea
fie main point, her aushi bar, a'il

appearance panel is vouo plairl

made the largest.

,6)1 Thankheaveno, p
P_

v\r, you're alivel :

Ihenyou can
finioh oft your
dream by taking
rne la that
aushi bar,

For this scene, to emphasize the

character's personality, the "Thank
heavens!" panel should be made larger,
as shown above. To introduce the "late
friend," lay out the panels as seen
below. Since the fifth panel illustrating
the protagonist's worrywart wanderings
was drawn rather large, the first example
120 works better within the flow.
,ftriril Jtsqr n=qrrtening the
mtmfirlMi Ssse of hesence
Gry-r-.-
Y

fhen aqain, he'e

,------q

Good Example
i';::)::';*,
, _\r-d )
('-\r';

a
nap?ened.
--7

Here, the panel

design has
been given
variation by
making the
largest the
panel
introducing the
boyfriend, who
is the focus of
the scene.

Here, each panel is viewed

fhank
as equally important, and, heavens,
therefore, all are drawn the you're alivel
same size.

For this, I took the original 4-panel scene and

redesigned the panels, making his appearance the
key panel. Varying large and small panels turns thls
4-panel scene into a full-fledged 1 -page episode.

The same theme can appear greafly different

(i.e. give the reader an entirely different impression)
simply by modifying the panet design. With ail
panels the same size, the reader is unclear oJ
the scene's gist.

You, the artist, must determine what point you want

to make, what you want to tell to the reader, and
what it is you need to communicate. Failing to do
s0 could easily result in a monotonous panel design.

Your main point rests in the key panel. Draw your

key panels the largest.

121
 ,r ^ _- _ How to Draw Comfortably
Figures and UafS: Scenes of Figures Gettin!
in and out of Cars
Mangaconuenlion dictates using sound effects of car doors opening and closing to portray
getting in and out of a car.

The door handle

should be situated
about the same
level as the hand
when hanging.

I
tI
,rhr,

Here we see the door closed.
A figure assumes this fonivard
leaning pose when opening the
door (getting in the car) and
when closing the door (getting
out of the car).
t+1
Here we see the door open
and the figure in a fashion
model pose. Even with the
door open, the fonruard
leaning pose would look
Here we see a character getting into
more natural.
a car. Without the sound effects, this
could also be interpreted as a
disembarking scene.

With the same composition, the

ditferent sound effects indicate
whether the door is being
opened ("click") or closed
("slaml").

122
 Normally, artists are limited to the page space
muilMillMm lk a Sample Scenes: Getting in and out 0f a Car
0r number of panels they can use to poftray
q rilrtlrtttilri, flltnltilr m t-r* :pr ar6 dose-up of the front windshield explain the scene.
characters getting into a car. Here we have
samples illustrating that minimal aftwork, using
II
few panels (1 to 2) allows you adequately to
-u portray "getting into or out of a car."
" provided that a shot of the front, side, or rear
of the car has been included.
&"r1
Scene poftrayed using a front view of a car and partial door shots

The sound effect "slam" may be added to the third panel if desired.
Drawing the female character instead the male in panel 1 would have
altered the scene so that she was the one boarding. Turning the vehicle
1wE : rew of the car is used, and any shot of opening
:i{xE
into a foreign car (i.e. switching the steering wheel to the left side) would
)r ril. :E!'r' tas been omitted. Still, we understand that the
suggest that the male character is the one boarding. Alternatively, it
:|Tffia:En lave gotten into the car.
could be that she was driving the car but turned the wheel over t0 him.

-8"? ie iar is stopped, and

:r*c -,ders get out. Showing
i.ti'tr

tr$ :er l,:o1'open in the second

rfl-e s i iine with common
tl?;:r:: n portraying scenes of
mrr-'; i and out of a car.

...S
:':*ersing the images in the last
r,!,: 3anels cOuld be used to
that the character emerged
*:r
"-';s.est
a rear passenger seat or that
:e driver had emerged and is
still. Portrayal using the rear view and partial views of a car
=nding
 Special Effects That Enhance a
Character's Sense of Presence
Attaching a Simple Tone as a Character Backdrop
Good Example
The manner in which tone is attached as a character
backdrop allows you to suggest movement by using a bit of
ingenuity, thereby enhancing his or her sense of presence.

Here, the composition is open

in back of the character. This
creates a sinister mood, as if
something might creep up
from behind.

Keep the composition open in

the direction the character
faces.

Front view tone effect

Even if the character's body is facing one direction, keep

the composition open in the direction the head faces.
Alternative Styles

Donut clip Donut clip + accent

&mr I -fffle Creativity When Attaching Tone
'u a ffitr,mn'aoter

(
Here, the tone is cut Here, the tone is cut
closely along the just a tad over the
contour lines, in line contour lines.
with standard
practice.

Detailed effect Shadow falling

across the iris

€h-
-y.; :ren though the tone has been cut along
:E :,:ricur
as uil.
lines, it still evokes a distinctive
SF
suggesting brown or blue
--
Emotional Portrayal and Tone Effects:
Create a Mood Using Backdrops of CutoutTone

Vivaciousness/mirth

Tension/nervousness
 More Tones: Composition Using Popular Tones 0ther than Standard Dot and Gradation
Tone comes in a mynad
of patterns, the most
common of which
outside of dot and
gradation may be
roughly grouped into tfr
following 6 categories.

When using random dot or

patterned tone, keep a
slight gap between contour
lines and the tone. ln
particular, when using
motif tone for cloth
patterns, having the
pattern continue without
interruption at, say where
a dip in a ripple. etc.
should occur, results in a
visually awkward image.
You can easily show dips
in a ripple or crease by
etching the tone along the
crease line.

ICW ,/^-til *,
'-* .o
" '1'o -.i-
.!l
nit
;l
t-:*#,s nn',

Random dot
Qrc:' ^y

Random dot gradation DigitalTone

126
 lu:um's Frofile

-lr*a,:.., Hayashi
;,ft" 1:r n Tokyo.
,ri$i i*aluted with a degree in the Social Sciences and Humanities from Tokyo Metropolitan University.
{$nr a major in Philosophy.
;N[": ;*:elted a hortative award and honorable mention for his work on Shueisha lnc.'s Buslness Jumpand served as
isss:ant to Hajime Furukawa.
:ilEll iln!:&ed 0n shueisha's shukan Young Jump while apprenticing under Noriyoshi lnoue.
lU r.c,shed his debut work based 0n a true story, "/fi Kongu Monogatari'
["The Story ofAja Kong"] in Beafs Ctub.
,1{s; =:r-niedthemangadesignandproductionstudio,Gooffice.Producedillustrationsfortheworks Butsuzoni ai ni ikolon
i-E ilpreciation of Buddhist sculpturel by Hiromichi Fukushima (published by Tokyo Bijutsu lnc.)
.--'il$d rr:,ored How to Draw Manga: Female Characters, How to Draw Manga: Male Characters, How to Draw Manga: Couples,
r,c :tow to Draw Manga: lllustrating Batiles.
]l${r* rr-:rcred How to Draw Manga: Bishoujo around the World, How to Draw Manga: Bishoujo/Pretty Girls, How to Draw
l{a'$a: )ccult and Horror, and How to Draw Manga: Mue about Pretty Glas ; promoted, produced, and wrote lhe manga
r:!cr r0r Koki lshii's Kokuhatsu manga riken refto (b00k on the wasteful spending of Japanese politicians), published by
Ns:s:r Co.. Ltd.; and produced the corporate identity mascot characterforTaiyo Group driving school.
Jr [r[ !u:,ved How to Draw Manga: Animals; produced and initiated the release o'f Bishoujo Fighting, a dojinshi (tanzine or
:i-a 3ress comlc) for pro wrestling fans under the name of Meto (a fanzine specializing in woman's wresfling and cat
''riy: ?ldeos, published biannually when matches occur; fifth issue on sale
as of 2002).
f:rlli 1 l":a-Jtored How to Draw Manga: Marlial Arts and Combat Spotts, How to Draw Manga: Giant Robots, and How to Draw
hta'pa : Co stu m e En cycl o p e d i a, Eve ry d ay Fashi o n.
lll,iflflI ,,;amored More How to Draw MangaVol. 1 and How t0 Draw Manga: Costume Encyclopedia, tntimate Apparet,
:r-f,, shed by Graphic-sha. Mr. Hayashi continues the planning and production of original Go Office fanzines.

:ur rEgizawa
lfiilL f;il;3ta'i'ras born in Tokyo on January 8. She is a Capricorn with an A blood type. She first started doodling in pencil in
rur:mr a;;'r:ol and made her first attempt at drawing mangain pen during the fifth grade. ln junior high, she began to produce
.ilzulrilrsn t,;E rflafileworks with friends from upper grades and in her class.

il' ' $tl- s-l: debuted as an illustrator with Minori Shobo's monthly publication, Gekkan 1tJT. She acted as an illustrator, an
iirflrtrffir 3:r -aton parody) and manga artist, an anime writer, etc., contributing illustrations to Minori Shobo's Aniparo Comics,
{liulirr }*[r s] rg' s My Ani m e, Tokuma Shoten's An i mage, elc.

ilr ' IiM $-r. teblrted as a full{ledged nangaafiisl in Kobunsha's Comic Val. Since then, she has contributed series and single
)rullnlrrEnrr r,trks to Kobusha's Pretty, as well as cover and page illustrations for paperback editions targeted toward young
'mmn :r.r'stled by Seishinsha, Kadokawa Shoten, Shogakkan, and other publishers. She has authored 9 manga volumes and
luumi:ae: --re fian 25 paperback books.

n ' I${ s-e negan to participate on the production side with Graphic-sha and Go office, starting with H\w to Draw Mangq;
.I;urimr* rrd sontinues such efforts today.

&u Office Profile

Ilu lffic; *r,as founded in May '1997 and has been specialzing in the production of tutorial resources using manga and
illlu]5il:iinrll s i,,.trich include publications on How to Draw Mangaseries.
 CI
9 .

Graphic:sha Publiihitig

RUGTIO}I
....MA]{GA MASTERS!
DRAW MANGA
--< )-:Y9
Vol.7: Amazing Effects
}IAIB Crapter ' The Basics in Composition
Chapter 2 The Basics in Character Portrayal
Chapter 3 The Basics in Voice Portrayal
Chapter 4The Basics in Panel Design
Chapter 5 The Basics of Manga Portrayal
rsBN4-7661 -1 480-9

Vol.8: Super Basics

Chapter 1 Materials and Simple Means of Usage
Chapter 2 Creating Manga
Chapter 3 Drawing People and Animals
J:3J i='
Chapter 4 Manga Techniques
5 Depicting Greenery and 3-Dimensional Objects
.g -;::
Chapter
'"h. a
Chapter
lsBN4-766
6 Creating Well-composed Manga
1 -1 481 -7
{c,
= *'r-+tr
6"

More Howto Draw Manga

Vol. 1 : The Basics of Character Drawing
Chapter 1 Drawing in Pencil
Chapter 2 Drawing Faces
Chapter 3 Drawing the Figure
Chapter 4 Manga Miscellaneous
lsBN4-7661 -1 482-5

More How to Draw Manga

Vol. 2: Penning Characters
Chapter 1 Pen Fundamentals
Chapter 2 Making Characters Distinctive
Chapter 3 Facial Expressions
Chapter 4 Manga Miscellaneous
tsBN4-7661 -1 483-3

More How to Draw Manga

Vol.3: Enhancing a Character's Sense of Presence
Chapter 1 The lmportance of Tone Work
Chapter 2 Character Shading and Tone Portrayal
Chapter 3 Movement with a Sense of Presence
Chapter 4 More Manga
lsBN4-7661 -1 484-1

More How to Draw Manga

Vol.4: Mastering Bishoujo Characters
Chapter 1 Twelve CharacterTypes
Chapter 2 Making the Figure Move
lsBN4-7661 -1 485-X

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