HOW TO DRAW MANGA Vol.4 All about PerspectivePurpose of This Book Capture a Sense of Volume and Space to Create an Appealing Composition The field of Painting gave birth to perspective techniques, but today they grew to fully matured, perfected aketehing techniques in the fields of Architecture and Design as “drafting techniques.” However, manga is nat drafting. While compositions often lack perspective or have wonky perspectives, an image with a cleanly defined perspective is visually convincing. This book introduces perspective techniques suitable for use wren actually creating manga or book illustrations and teaches as methods far leaming how to use a sense of presence and volume to tell a stary on the paper's surface, Compositions that show an awareness af perspective refer to composing with an awareness of depth and space. Characters are three-dimensional objects. And, the setting or background is nothing more than & large, three-dimensional object called a "space," which contains the characters. Use this book to learn the techniques in drawing characters and settings suited to normal perspective ‘drawing and to ereating appealing compositions that have depth HOW TO DRAW MANGA: Sketching Manga-Style Vol. 4 All about Perspective by Hikaru Hayashi Copyright © 2008 Hikaru Hayashi Copyright © 2008 Graphic-sha Publishing Co., Ltd Originally designed and published in 2008 by Graphic-sha Publishing Co., Lid. First English edition was produced in 2008 by Graphic-sha Publishing Ca., Lid 1-14-17 Kudankita, Chiyoda-ku, Tokyo 102-0073, Japan Tol; [21] 3-3263-4218, Fax; (81) 3-3263-5297 First Asian dition published in 2014 by Page One Publishing Pte. Ltd, 20 Kaki Bukit View. Kaki Bukit Techpark II, Singapore 415956 Tel: [65] 6742-2088, Fax: [65] 6744-2088 enquiries@pageonegroup.com, vayw.pageonegroup.com Cover Art Kazuaki Morita Griginal Gover Design: 'Shigo Yamaguchi Design Office Editor Motofumi Nakanishi (Graphic-sha Publishing Co.,Ltd.) English Edition Layout ‘Shinichi Ishioka English Translation: Lingua franca ine. Publishing Coordinator Michiko Yasu ((Graphic-sha Publishing Co.,Ltd.) Project management: Kumiko Sakamoto (Graphic-sha Publishing Co, Ltd.) All rights reserved. No part of this book may be reproduced in any form or by any electranic ‘or mechanical means including information storage and retrieval systems without permission in writing from the publisher, except by a reviewer, who may quote brief passages in a review. Every effort has been made to ensure that canient and credits accurately comply with information supplied. We apolngize for any inaccuracies that may hawe occurred and wil resolve inaccurate or missing information in a subsequent reprinting of the book First printing: April 2011 ISBN 978-981-245-934-3 Printed and bound in ChinaPortraying Space and Volume + From Solids to Spaces Using diagonal lines to capture solid objects and three-dimensional spaces + Portraying a Space That Expands Infinitely into the Distance Using horizontal lines to convey the expanse of a space and vertical lines to convey a sense of depth = How “Horizon” Lines Divide Space into an Above and a Below «Telling the Story of a Space: The Evolution of a Two-Dimensional Space into Three DimensionsFrom Solids to Spaces Diagonal lines create the illusion of a difference between two-dimensional and three-dimensional objects. Below shows how to maintain an awareness af perspective when making a character appear three-dimensional, Egyptian Mural: Nate the figure’ refined, Nat portrayal Qo te arpa a as } vecome a teee-aimensional Bh characier } nw. If “Tho pan st socked 8 rearview Whmg Using Diagonal Lines to Capture Solid Objects and Three-Dimensional Spaces ‘Sketched lines are in reality clusters of lines evoking a sense of depth, Let's take a look at spaces through sketching characters (Wertcal HeiahwPortraying a Space That Expands Inti itely — into the Distance Drawing a figure that graually decreases in size creates the illusion of distance (depth). Moving toward the Horizongee USING Horizontal Lines to Convey the Expanse of a Space ups and Vertical Lines to Convey a Sense of Depth ‘The horizontal and the vertical portray a sense of ‘space. Consequently, you need to include diagonal lines to connect them when drawing, Moving Away from the Horizon A owe te HovironHow "Horizon" Lines Divide Space into (Experiencing a Horizon Line (Where the sea or the ground meets "| me sy is generaly refered tans, oe | ee “narizen gine.” The horizon tine correspands to the photographer's (viewer's) eye level, Generally peeking, the sotograpner ec art eatens | “\S) Betenin te amino at ec ecin shown in A when intending to r similarly to Wt Showa i evoke ateving otanersansve ESI \ | ee ae moma ‘space. ” evoke a feeling af depth, ‘general, he photographer or artistsan Above and a BeloW =e The horizon line divides the space into a warld above and a e a world below, Capturing the Worlds Above and Below | stove {most compositions comprise objects ___. | ie the viewer sees trom above or | alow | Up Horizon Line (Eye Level) The Worl Below - - ‘The Horizon Line: ‘The horzon ine may aso be reterred to 25 aye evel” ‘Think ofthe horizon lie as an imaginary Boe | ‘to use when sketching or when photopraphing. | ' The Borin line is meant as an aid wen ‘composing a skatch and as a generat rule is ‘dravn perfectly horizontal. Seen tram above x svi[Adding Diagonal Lines to the Worlds Above and Below to Create a Sense of Depth) fa drawing of a rom had no diagonal lines, it would laok like this: Here is the sarhé room with emphasized diagonal tines: -—Thisalone gives the campasition a sense of depth ob Now let's extend the diagonal lines ee 7 even further. ‘+ The diagonal lines all converge at a single point. + Note that this point is located along the horizon line (eye level). a 1 This point where the diagonal lines converge is called the "vanishing point." ‘0.® Space and Solid Objects: ‘Abone eye level, the upper surfaces of three-imenssonal objects are not visible ‘The bottom surfaces are visible. ‘The upper surfaces are visble. Below eye teres, battom surfaces of three sdimensional odjcts are not visible ‘The Same Rules Apply to Figures Eye Level ‘This shows atuman figure (enaracten captured as a cylin, mene AS ee Creating a sense of depth merely by adding diagonal lines toa composition divided by a horizon line generates the illesion of space and depth. Upased ‘cing Curve White the boxes? Bae cylinder's sections are to eye level the more they wi start into narrow ellipses, engi, they are actually the Downward arcing curve ‘The furtier the eyinder’s sections progress shea Troe the hocizo line (eye Veet, the imoee they appear to be pertect eines, © Characteristics of Spaces Making an object smaller creates the illusion that itis farther away from the picture plane. Sy Drawing a second ‘igure at hata me ‘wst's size and posiianing it by the | trstereates tne ¥ sion of distance. 41‘Telling the Story of a Space: The Evolution of a Two-Dimensional Part I: The Birth of Depth Let's look at the hat depth is born in a flat world. LTT GD) Here we ste a trae (@ This world has ao depth. The road the chavacter (@) Now a rectangle has appeared, This is a-verbicl dimensional, flat world ‘walks travels in an infinitely straight line, Tere (height) and horizontal (length) world, ae no beat edges o exer To | — | i Sneed | ~) 4 i _ bet @ Lines travel suaight up, cown, right, and let.A point ——_() Suanly, diagonal nes apaear sad coewerge at the has appeared. point. The diagonal lines converging at a single point create the illusion of depth, This is called “one-point perspective.” (© The ceagonal tines cause a-cons of ‘Gepth to emerge. generating 2 tnree- coamensional weet ioSpace into Three Dimensions One-Point Perspective at a Glance (Using One-Point Perspective to Create Depth) ag i GDA fist, these sisters appear to ave diferent heights. (@) This fat board positioned tothe sisters’ sie makes their cterenoe in height more obvious @ ‘Applying one-point perspective YP techniques transtarms the lst board intaatheee-dimensional sold box. @ ive extend a horizontal line trom the bax's tra ceneners, hen we discover something new, (B) The two sisters are actually the same height, x Direrenee inteight |r ‘These stick figure sockeups indicate the two14. Part Il: The Birth of Right and Left Diagonal Lines crcepn and anexpansing space, = ea J Foe our heroine glances to her side She sees a ste wal appeasing to shrink geod as travels inion distance, + a @ Susceny. a bent edpe appears. apanal ines emerging ror diferent directans create ‘the feoing of dap and an expanding space. Uniike the horizon line, which isdepicted using a perfectly horizontal line, the depth and wath lines are porvayed using dlagonals. The Diagonal lines ng at two points height is straight, eoa-ciagona, vertical na, iaganal lines converging af tw poi! ‘entrate the illusion of depth-and an expanding space. This is Kawi as “two-point perspective”Two-Point Perspective at a Glance (Using Two-Point Perspective to Vary Objects’ Heights ) Looking at the Same Box trom Different Angles Wiener a peareeege | The vaisning ‘point shifts to ett 1 ‘ewer As looking at By tens 8 stocking atthe ‘Viewer Chas shifted even further {he sod from straiont solid fam @ neutral angia, ta the side than Viewer B in order on. ‘ut slightly tothe sie, to see me sot object's side. The Vanishing Point Shifts to the Right or Left, Position human figures ina box According to the Viewer's Position Subject: and maintain awareness of how ‘he figure appears asa sod when sewing. ‘| i (>: ow that she | A} > has been [ic] 7 oven box, Le) Le ‘pleemncrces Solic's Anpearance: ‘Solid’s Appearance: Solid’s Appearance sphere, but she does: from Viewer A's, from Viewer Bs from Viewer Cs ‘Not Folk like ove. Fenpaciee Pepecbve perspoctieUsing Angles of Perspective Appropriately tocccingto me angect ee ato to capture the desired form. High Angle a Low Angle . ie \ Ul HY Neutral Postion, Prafite So Low Angle, Front 24 View, © Close-ups High Angles Are Also Bird's Eye Views Very Low Angles Are Also. Neutral Position/Composed Worm's Eye Views: Upward from the Chest fear 314 Vow Front 3 ew Foon 378 ew | PS No raw te top ofthe box. Vicualize tie batiom of the tox when Figures dapicted in profile may be crating. ‘compased! from 3 moderately laut or high angi U- 8)“The above stows a common close-up, Te hhorizon fine is positaned at the character's eye ‘evel. Compose the body tram 2 nigh angle. © Full Figure Compositions these are composed similar to the close-ups, Neutral Position High Angle ear 214 View Font 34 ViewLearning How to Portray Depth in a Corridor jects wmien maxe them an cat ——————_—_———_——_———— ry of the basic skills needed to draw (Re ee 7 anything from room interiors to (Drawing a Corridor Using One-Point Perspective roads, shop-lined streets, Maintain consciousness of the scale of characters and ather objects oe and spaces that house when drawing, characters. © Establishing the Horizon Line and Vanishing Point at the Rough Draft Stage / / | 2 Dravr te horizon ing, This vides the D Sketch a rough world abave tram the ‘rat world below. hy Once the corridor's width is established, then its general appearance becomes set. an (Unes Befining tne ‘Corridor Wicth » a \ Fr i 1 % , | Vanishing Paint | ~ \ fig | Hoeizan ine ~ id hte HT | Ne | — + Connect the \ Jr yh Drawadoorske angles four * = J YY octane, ‘vanishing point. f a * / 7 \ ? 5 Diagonal Lines Defining the Floor > 2) Establish wore the diagonal lines dining - the oeiing comverpe woth Ihase defing the Nao Coricor Wide Corridor: This coud be a wide floor This point of convergence becomes the LL vanishing paint a(Figures Are the Basis of Measurement for All Objects in a Composit ‘®@ Moving a Character around a Room's Floor: Transferring a Mock-up Figure around a Space Ceiling Floor ‘The above shows a eorrigor's most base form, However, it shows no indication of haw high to position the wingaws or doars, 2 Dravr tines connecting the vanishing pent to ‘he mack-up figure’s head anc feet. \ Tha line cannecting the D tap ofthe character's ead and the vanishing paint can be considered te “bela ine." 9 / ‘Did a mock-up figure “Height Une ¥ 2 rawr wera! ins extarting to the foot hae ithe postion where you intend to place the arate, Tis establishes the heii of he claracter when sha stands Gace to the poture sian, The “oot ine" connecting te character's Leet tthe varishing pint is ypialy calla te “ound ie The mock-up tigure tt represents the actual aes character. ‘Always make sure the feel touch the floor kine. +4 This method of connecting te vanishing point to the character's height Ene constitutes the mast Dbasie Wick for making skilful use of perspire ‘when positioning 2 character in a space,Whe mock-up figure is havering | ‘over the ground fine, tis wil affect the character's positioning. K This is ow fo craw a figure et 1 a wall cose to the picture plane. Incorrect 1 e mock-up tigure’s feet are Sawer than the floor, this will attect the character's positioning ‘This shows an imermagiate sketen orenappiag the {inal composition, When sketching, transfer the mock ‘up figure around the space to cstablish how high to make the wineows and Now tall make the doors. Use mock-up figures it place of a ruler ta zetablioh tha ocala of ebjects and bulldings im a composition. The character's foet become buried beneath the s hoor,Drawing Doors and Windows on the Sides of a Corridor) Te | don't know how high to ) draw the winsiows or F thow tll to mat Determine tne cueidor's width and dra Draw a straight-on view of door neat toa lines: from eae came to estabesh the | mock-up figure. -eeling, the two walls, and the fier. Us @ = Transferring a Mock-up Figure araund the Corridor to Establish the Door Line “The mock-up figure will look something: ; Boar haha arincny Hosa rome oe) ate eee ear Tortomamawy ( “ees | hte Satara a ee : to position one. At N Transter a mock-up figura aang the Exton 2 ine rom me op of the dace al the way ta the was end an era a dinganal ine t conneet where tho dar He mack te — jute ofthe two walls tothe vanishing point 2. Tis becomes the Draw vertical ines acoarding to hav wide you envision “door ine,” which represents the hei of any dons “i doors to be, Now you have fished the coe.@ Transferring a Mock-up Figure to Draw a Door on the Opposite Wall Transferring the Position of a Mock-up Figure 4) | Draw vertical lines where you imend ta nave characters stand, D \ Draw horizontal ines fora the top of the mockeup figure's head and feet Draw the | characters Drawing a Door on the Opposite Wall a tamer ‘ N s, a’ J =~} ® 2 Draw horizontal lines trom Comers A Dra & wertical ling tram the point and B. where Line GD intersects with the sro ie. Diagonal fine) connects the intersection of Lines and ‘3to the vanishing Paint, ts tbe gor line of the door on the opposite vl é Nos. craw horizontal Line a — ro rar a Tes astoesa Seer (vine droning cts ain aor on the opposite wal is |: ‘centr racatyarourcd hi mr | center atersiyarouna the | \ space,12 *® Sketching the Gamponents of a Corridor ‘All That Needs to Be Done Is to Establish the Heights of the Characters, the Doors, the Ceiling, and the Windows: ceing op of Window Top of Door Character's Hone Bottom of Mlindow 4 Sketch the doors, widows. and ceiling using ‘Simglfiod, abstract forms, Use the character's height as a yardstick to determine the seale-at the ther carmpanents, Jot down 2 mark indicating the pasition af each coridor component. Using the Character to Establish the Scale of the Doors and Windows Easy Technique for Setting the Doors’ and Celling's Heights ‘Sketch a mock-up figure and then des the to ofthe doot ‘me head: leagth above the iock-up fgute’s hea. This establishes h ® The ceiing is an ‘additional bo head- lengins abore te door. successfully de basse condor One you hive established the Dusitions of jects along ene wall, transter Bese objects ‘aterally to the opposite wall ‘Typically, artists will transfer an object that matches the character's helght. All that needs to ba dravin ere is a lock-up figure and lateral tines from ane focation to another — ye bevel ‘Connect the vanishing point to the marks indicating the bights of the various ‘corridor components. toute the as Make full use of your daly experience and ‘memories to establss the sizes and heights of objects. You might think ta yourself, "Haws high was the veindow whan | stood next to #2” wien posing the mock-up Figure, recalling the position (ofa windoer's uottom frame as you draw,This section discusses three drawing methods used 10 Drawing Corridor Components Successfully | e216 te dtusion af depth ettectively, This is a simple 5, drawing technique where diagonal ines are used to (Lear ing the ''X N Method" through Drawing Vi Windows Indows | connect comers; however, it is a basic technique that may be applied to a wide range of practical uses involving rectangles. Gorreet ” Incorrect A Correct Example Incorrect Example ++ The window panes have natural proportions. The closer ‘The window lacks natural proportions. The far window ‘window pane s larger, while the far pane is narrower. pane appears tno wide, '* The floor and ceiling tiles also become smalier as the eye ——_* The ceiling and floor tiles are randomly sized and fail 0 moves toward the back of the corridor. This evokes a ‘create the feeling of depth. sense of depth. © Comparison: Let's try drawing diagonal lines to connect the corners. utes Window Frame nt ee ee doe Fame The window panes verlag. ‘a L The above sows haw the window tneocrect | Poko! Garect L appears fromthe tant, Biaganal ines Exampie | Intersection ESATO teow te poate Single dean trough te wins nent to Windows” Center lesen ay lhe MEOH Pan2 Orerpeng Wind Coo te corer eset tbe wines” cent frames Centro the to pas. 44© Correcting Mistakes ‘The point where transverse diagonal lines intersect on a rectangle lies at that rectangle's exact center. tis @ precise method for bisecting a rectangle. For this book, we | will call it the" meth D Draw a rectangle. 12 Draven through the rectangle. - t | Drawing a verical ine at How. the window has 2 te Xs center. hate the natural sense of depth two diagonals intersect corrects the mistave 3 Draw a vertical ine trough Now the window is successuly the X's conte, vied int two, © Drawing a Four-Pane Window corridor. Fe position af the window an fs shape has been sketched in roughly. “Aer cecing tha wingow in 09, pont hal is now ave! into two, You have np drawn a window raw an through the fret hal Likowsse, draw an though the far hall. with four panes in perspectiveLearning the "Transverse Line Method" through Drawing Floor Tiles | | gms ot tine imersocis | 4 Draw a rough were the diagonal line intersects vith te dept tin, 2 raw howzontl ines, - ? - # Use the tiles’ original — (BDranw & cagoral line to form (Le, Gepmn ang ‘connect the corners. woth) a5 the Bas for ne rest Tiles grow smalter in areguiar |. ~| fashion as the eye travels back in. ‘space. This technique involves using transverse diagonal lines, so we refer to tin this book as the “transverse line method.” get beautifully drawn Foor ties as _/ arent ~ B fepeat tia " ‘5 Once you have reached the ast process over ana \ tle, change deections and craw a over agai, ew diagonal Bre,‘so thal they are paral, The / \, horizontal tines will 7 Witla weiss \\ indicate dar, me The '"'N Method" K Oraw horizontal tines: oP inecate haw tar back mh (2 Draw a transverse diagonal the first section willbe. As line through the comers. The venen rawing tes, iis resuling ies form an“, $0 seorsmaimtaas te \ SO! ene rota ‘scaling the remaining method.” Poor acho , © Draw a honzomtal line inrowgh ‘Bowe anter sagan), whete the secand diagonal fine through ths pot 50 \ \\itersocts me sae in. ‘that it runs. parallel to the \ ‘tat ape. / ‘S) Simply repeating this process allows ‘yay easy to draw horizontal lines saving gradually into the distance. ‘Shown here are basic lines of perspective, the distance between the ‘irst two trees, and the diagonal ines foxming the “A”,Typically, you would draw the characters before the setting. However, artists ne —_____________. aceasionally find themselves adding Transferring Mock-up Figures. and Transferring Objects Laterally | characters to a previously drawn setting, _ - This section discusses various. methods. @ Basic Method: Drawing Full Figures tor adding characters to a setting. oo Extnd the Height ines forthe tet tmack-up figures even further to Transfer Mock-up Figure A1b the location of establish tha neigh of Mock-un Mock-up Figure B fo estabsn B's height. 2 Figute ©, TansleeCtaterally to set Transfer Mock-up Figure B laterally to sat 8's _ “ ~ | G's position postion@ Practical Application: Using Mock-up Figure Heads to Position Characters: This technique is-ettective wien you cannet dravrthe character's ful gure. B ~ ay iy ces I L wre t i When the sefing’s vanishing pont vanihing ‘ronster @ moci-up-af be ehavacter shea wt ‘does rat ater a clear guide t a Point to the desired postion. This serves asa character's eight, designate a new guide far the sacona character's head \anishing point and connect itt the (Charset B), Oren Character 8's Bady ton head atthe frst igure (igure & above) the beadLine Connecting the Tops of the

ic Ir Ne a) EeCorridors Are Tunnels ¢ ee _ SS eee —~ Now we are lett with oniy the Noor. We wil ook at this Cowidors are spaces sucrounded by Lets take away the celing and wats, remaining foot 35 a "read” and uso that as our celings, floor, and wall. departure pom tor learning abaut the outsce word, 5)Narrow Streets and Broad Avenues | BroadiAventies) — algw the same steps to draw a read as when drawing @ cornicior. Narrow Streets® Positioning Characters: Using Mock-up Figures: / the Figure 4 3 _ I oe aa _ a" [ , ft [ = > peu Here, | have drawn a eharseter walling in a back alley.(Wide Streets ) ‘4s when drawing the coors and windows: of a corridor, use vertical lines to ‘create boxes for buildings. = Roference Phato: The artist used this ‘his Shae rama eonor ror aks pholo as reference foe the busidings ‘The artist used this one as relerence far how to porta the street,® Positioning Characters: Drawing Heads at Eye LevelBroad Avenues Reference Photo: Lok a the skyline in photos in capture hae the space expan. Correctly capture the scaling of objects along the avenue (guardrails, etc.) with respect to the mock-up figure. Pay attention whon drawing to ensure thatthe quardraiis 8 are parallel tone another and that the avenue les bebwoon them,18: Use the mock-up figure closa to the 4) Use the guardrail as a bass for ‘guardrail 10 determine havr ta taimake: sealing the mock-up figure and another mock-up figure Gat you wil use ‘the trees lining the street, aS a basis for scaling the bullings. Establishing the Scale of Common Objects Seen along a Street Use the Heights of Mock-up Figures to Establish the Scale of Large Objects. 34 the moight ‘of ane mock: up figuee 4 Estimate the mock-up figure to be between + 150-em and 160 em 1 pote 9 1716" to ly 2 937 {2x the height at ene mai J up figure ‘x the height ‘atone ‘mack-up ‘igure Sy fstinate he head to Level be betwen 20erand 24em fapm.7 778" Chest Love! {9 1596", Hip Level Kee Lowel‘® Positioning Characters; Drawing Characters’ Faces along the Horizon Line(@ Using the "X Method" to Draw Trees 2 Concelve ofthe tree as one ofthe rectangle's sides and sketch a ‘Seometical diagram Be that seen above, (4) Now we ave able to craw a thied wee at te micway point between the original twa tees. The next step isto create another geometric dlaprarn using tis new thied ee and the tree cose tothe picture plane to locate tha mica poi! for fourth tree tetwoen these tw. ‘The “x method” consists of crawing transverse Giageral ines across a rectangle gad hen using tha point where the two ines intersect todivde that rectangie int Pal nie gt <4 evtenn Line {1 Draw the harizon line and the trees elosest and tarthest from the picture plane. f the vanishing points position is predetermined, 25 when draveng an avenue, use ths point Sa sis fer drawing dept lines. ‘9 Use the "x methad to locate a point ericway between the two trees ‘8 Draw each wee as i plaming woe atter the ater, locer and ciaser to the picture plane, 89‘This is a modification of a one-street composition. Since it depicts Street Intersection in a Residential Area streets intersecting at 90° angles, It may also be applied to drawing corridors with 90° bends. and the lke. ‘Reference Proto: Use the reference photo ta ‘capture the width ofthe horizontally intersecting seat. e Guardrals of wide avenues come toa human's hip or groin in heist, ‘This was compased trom the street's Poles‘an tie sweet comers serve 2s nent, Draw the intersacting street (Quides for determining the mock-up —_arizontlly and narrower than me ene 7 figure’s neignt own the picture plane ‘The short pales should end approxirnately at ar sightly above the knees, @ Using the “N Method" to Draw Fences me (Draw the fence’s top and 2 Draw the fist iron rall it) Draw a diagonal ine 4) Draw a giagaral line parallet to the boitom ines originating from —willserve as basis for cormecting the top ener af ont first diagonal ie: Next, rave a westcal ‘ne vanishing pain scaling the remainder. rail withthe bottom earner of the tne from the point whore the second 7 ‘other. This should create an "N". diagonal ine intersects the top tne.