MANGA Vol.3 Unforgettable CharactersPurpose of This Book “Morita, could you draw the figure appearing in this photo in your own, personal style?” Do you mean so that it reflects the figure's physical appearance? Or do you mean so that it conveys the character of the individual in the photo?" Morita When you draw a character, do you find yourself automatically drawing one that you have drawn many times before? Or do you pause and first clarify your goal and intentions with respect to the character before drawing? ‘Most artists have probably found themselves at some point starting off planning to draw an “impressive” character, but then becoming absorbed in the superficial appearance of the various body parts and other details, resulting in an aver-drawn character that lacks focus. This results from artists forgetting their original plan somewhere along the drawing process, the information to be conveyed becoming distorted, and the artist adding too much extraneous information. ‘Sketching as an art form concerned with the quality and volume of information requires three skils: ski in communication, skill in composition, and skil in visual portrayal. The artist taps into these three skis while carrying outa clear plan. [Manga sketching, which goes one step further, involves the skill of making the fantastic saem plausible It also involves skils in determining the quality of te information to be conveyed and how much of it to ‘convey. These last two skills form the focus ofthis book HOW TO DRAW MANGA: Sketching Manga-Style Vol. 3 Unforgettable Characters by Hikaru Hayashi Copyright © 2007 Hikaru Hayashi Copyright © 2007 Graphic-sha Publishing Co.,Ltd. This book was first designed and published in 2007 by Graphio-sha Publishing Co.,Ltd. This English edition was published in 2007 by Graphic-sha Publishing Co.,Ltd 1-14-17 Kudan-kita, Chiyoda-ku, Tokyo 102-0073, Japan. Cover Art Kazuaki Morita Original Cover Design: Shigo Yamaguchi Design Office Editor: ‘Motofumi Nakanishi (Graphic-sha Publishing Co., Lid.) English Edition Layout Shinichi Ishioka English Transiation: Lingua franca, Ine. (http://www lingua-franca.co,jp) Publishing coordinator: Michiko Yasu (Graphic-sha Publishing Co.,Ltd.) Project management: Kumiko Sakamoto (Graphic-sha Publishing Co., Ltd.) All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. First printing: Octorber 2007 ISBN: 978-4-7661-1822-3 Printed and bound in China by Everbest Printing Co.,Ltd.Table of Contents Sketches Are Planned ...........00.n 4 Chapter 1: Drawing Faces in Any Direction... 7 Ciose-up Compositions as drawn by Kazuaki Morita ......8 Mastering a Face in 3/4 View. “ 14 Mastering Faces Composed at Low and High Angles ......18 Practice Composing Faces from a Wide Assortment of Angles so 6 Chapter 2: Kazuaki Morita’s Dojo of Sketching. 29 Experimenting with Manga Sketching 1~6..... 30 Developing a Single Character: Tricks in Making a Character Identifiable. 68 Chapter 3: Mastering How to Draw a Dynamic Figure 69 Studying the Neck and Shoulders through Close-ups .......70 Studying the Torso and Arms through Medium Close-Shots...86 Studying the Hips and Legs through Full-Figure Compositions on 98 Chapter 4: Portraying Emotions through the Body and Facial Expression .........111 “The Nitty-Gritty of Planned Sketching” ......nconenenT12 Profiles of Takehiko Matsumoto and Kazuaki Morita.......127, Chapter 5: Bringing Your Own Style to Each Composition .. sooo 129) The Manga Draft Production Process... 130 ‘Actual Manga Production 134 Color Based on the Planned Design 160 Revealing the Character's Personality through the COStUME nnn 170 Eleven Artists, Each with a Different Vision 178 This is the cutting | edge of sketchingSketches Are Planned When a sketch is created, what to draw, how to convey the subject, and other “planned” factors always go into the composition. Even doodles contain some planning, no matter how lightweight. Keeping all that in mind, the question still remains of how to put such planned factors into pictorial form in order to make a sketch more appealing. Contrast in Volume of Information Standing This ilustrates the character's hairstyle, face, costume, and other physical traits. However, it communicates nothing further than the physical. Posed This was drawn with the intention of incorporating elements of movement while projecting a vivacious, energetic atmosphere. Yet, this too seems lacking,Quality and Volume of Information to Convey The 3 elements that make a character more appealing are the face (facial expression), movement, and costume. Improving your sketching skills and sketching by maintaining awareness of these three elements and drawing with care will enhance the quality of the information conveyed as well as increase its volume, “Drawing with care” does not mean merely drawing slowly and striving to achieve beautifully executed strokes. t ‘means paying attention to specific parts as well as the overall figure. For example, in the case of the face, it refers to. ‘considering the direction ofthe gaze or the degree to which the mouth should be ‘open. Likewise, when designing the pose ‘or costume, it means showing ‘consideration to many other factors, such as the skeletal structure and musculature {body contours), fabric texture, crease volume, etc Returning to the topic of what to convey, in order to improve both the quality and volume of the information contained in your artwork, you must consider to what depth you should portray the three ‘elements when you sketch, Figure Proportioning Study LO ‘Artwork by Kazuaki Morita “lett that the costume was very important when | drew this character. | wondered what the clothes would end Up looking like when I crew her. That was what primariy beckoned my concern. For example, i | drew the blouse with a more snug fi, then she would come across even more attractive when she took off the jacket. Her eyebrows play a key role in the ‘overall facial expression. | made them stand out just alittle. Positioning them at a moderate distance from the eyes projected a brighter, more cheerful mood, ‘To portray movement, | added curves lines to her hair to emphasize the sense of flowing locks. | gave the skirt a soft, supple appearance and exaggerated the ripping inthe fabric.” MoritaGoing the Distance with Planned Sketching a ‘Surely this is the ultimate pose for portraying an energetic, bubbly personality. “The only thing | visualize when | think of the word “energetic” is a spread out form with the legs open wide. “Bubbly” makes me visualize a figure looking ‘upward. The facial expression should also convey cheerfulness. | would never visualize a downcast gaze, In that sense, it seems that having the reader visualizing the face even when iti not actually drawn is essential to drawing attention tothe figure’s overall movement. The figue's overall pose hints atthe ‘expression on the face The torso was what actually interested me most ‘compositionally. Of her costume, the clothing worn on her torso displays the most tension. The costume ‘almost seemed like the main character. | composed the figure from a moderately high angle. ‘Consequently, | foreshortened the torso when I drew it. Curved strokes wrapping around the hips evoke the ‘sense that the torso is a three-dimensional, cylindrical ‘object. also had to consider the postions of the jacket’ lapels, the postion of her chest, the deepness ofthe neckline, and the spatial relationship between the clothing and the body’s various pats as | drew. ‘The type of conceptualzation | descrie (.e. capturing the relationship between the clathing and the body underneath when drawing) will allow you to draw ‘thing on a character in any pose, even one that is Artwork by Kazuaki Morita ‘somewhat difficult.” MoritaChapter 1 Drawing Faces in Any DirectionClose-up Compositions as drawn by Kazuaki Morita The talented Kazuaki Morita, who many readers know from the ‘Sketching Manga-Style series, drew the close-up shown below. Composing a Face Faces in 3/4 view often appear in rough sketches, doodles, and manga, however, the neck and everything below is typically omitted in these contexts. To learn the basics of drawing the face, start by sketching a close-up of the face and body (limited to the neck and shoulders). ‘Adal line ‘al ine eyes Draw an X acrass an oval using a vertical (axial) and a horizontal bisecting line. Then sketch the face's silhouette contours. ‘The neck i vital when drawing face in 9/4 view. Sketch a layout of the ear in order to establish where to postion the top ofthe neck. ® ® s hen omitng the lover eel, et Ora the nse and mouth ong te . the bottom cure ofthe eye se ail ine 1 represent the loner ela loving oS J the reader fo imagine te e's \ y shape ands f/ | x The ail nei realy ine that ~ divides tent and ie ses of x the face and describes the faces sivete in pote From a ant fer drawing the eyebros, ade wien ts ne passes trough the ees, whe checking the veal face's center The body as well as e®posion. © hasan ail ine Draw the neck extending rom underneath the ea, while mantaning awareness that it connects tothe back of the head7) Establish the postion ofthe right shoulder while checking the right-to-left proportioning. Sketch a layout of the neck ‘and upper body so that it captures the positional relationships between the body parts. Shoulder contour layout ® S raw a layout ofthe shoulder contour so that the right and left shoulders lie parallel to one another. The shoulde's wil become foreshortened from a 3/4 perspective, so shorten the contour line connecting the shoulder tothe neck. Diagram ofa face and torso in 3/4 view ‘The axial ine ofthe face and torso shitt ‘al ine of the torso ® Drawing the chest cvs clearer form to the torso, Adda fe sketchy stokes unt You ae abl o determine where to poston the underarm and sie ofthe torso closer to the crecton in wich te toure ~ is acing Be avare that the al nes const the border between what fs The treats contours shifted more cenraly The Gavcles andthe shoulders aac, Make an ‘he foreground and whats ar from the than the cin and constutes a key effort to ensure thatthe shoulders pestoned so Picture plane, and take care to compose opmpostional element in portraying a 2/4 view. that the shoulder and clavicle appear to attach in the sketch so tha the subject anoears ‘natural fashion thre dimensionalThe space between the two eyes becomes. foreshortened when composed from a 3/4 ange. The shapes and widths ofboth the right an let ‘eyes change inthis view, so sketch the contours, ‘making minor adjustments as needed. Y 9 ® ® Ws ~~ ‘The proportional balance between the head and Sketch a stray wisp extending trom the crown of torso is crucial. Before embarking onthe torso, her head and the tall-ike locks extending from first sketch a layout to determine the area the the back. Remember the three elements that hair wl occupy. tA. ‘The torso must be clearty delineated before adding the arm. Draw sinuous lines from the shoulders and taling down tothe lower back, ensuring thatthe torso projects the feel of solid object. ® x Aust the contour dfn the ces. The pencil is pointing to where the underarm will be located 10 « Nm Draw the breasts as if they sat on top of the torso. Ensure that you clearly ‘maintain te toso's contours tile you deserite the swell ofthe breasts, ‘make a character more appealing? The hairstyle has the same effect asthe costume a 4 ® ‘Sketch the exterior contours running from the end ofthe ‘shoulder and down the back. Next, add the arm. Use a diagonal contour forthe line tracing from the neck to the shoulder when drawing a simly built young woman. This, contour is distinctive to /4 view compositions (From a front view this contour will have to be mare gradual, or the character's shoulder wil end up looking burly)@ Final Sketch: Note how the 3/4 heightens the sense of three-dimensionaity in the head and torso. Maintain awareness thatthe head and torso have volume as you sketch,Proof-Positive: 3 Elements That Make a Character More Appealing ‘The 3 elements that make a character more appealing, namely the face, movement, and costume, extend beyond drawing melodramatic facial expression, dynamic movement, and clothing. These 3 elements also play a role in close-ups of only the face. Let's take a look at how this works. 1 i f In the above, the face is almost complete. Movement shows up in the back Here, the contours of the torso and the shoulders have been adjusted, and a ‘muscles, which are extended, so that the git faces directly forward. Her stray wisp extending from the crown has been added. This stray wisp short hair serves as her “costume.” However, for some reason th git functions ina sense as a costume and gies the character an extra appears unstable, 2 if she might topple backward. In the case ofa clase- dimension. The forward curving wisp also gives the figure a Yorward up where there realy sno significant movement, it becomes important to moving” sense of moto, alleviating the lack of balance. capture movernent inthe form of posture (orto create an atmosphere of movement). a4 i l Face Movement Costume ‘The eyes constitute the key facial feature. ‘The proportioning of the head, neck, and Use the hairstyle as a form of costume. Showing te characte gaz ey torso creates a sense of overt. The nen composing a character, emember forward porte a sense ofthe characters _compaion ead imbued with that her coum dos ct compe bet wie “movernt even ats sae, ching and accessor aon, 12‘Many assume that a close-up means drawing the face alone, However, itis also important to ‘maintain awareness ofthe body. Likewise, tis essential to impart the elements of ‘movement ‘and ‘costume,’ even though the characteris nude and standing upright In the case of movement, the character may appear to be standing stil even though she is supposed to be waking, Often this is because the artist has lost any sense of movement, specifically through the character's posture or center of Gravity. Being conscious of creating the iluson of ‘movement wil make even a stil composition appear as if itis about to move, making the artwork lvlier and more appealing. ‘Movement’ oes not necessarily mean creating an action 3 scene, - | actually added the stray wisp of hai, because the sketch seemed lacking, and | thought that this All 3 Elements—the Face, Movement, and Costume—in Full Play it ft of hair might function dualy asa Accentuating he stray wisp reinforces the character's good posture, which in costume while giving the composton a sense of tum pls together the characters sense of presence. movement. ust because you have included all three elements Ina sketch does not mean that the resulting composition is successful. You should constantly ask yourself, ‘What am | trying to convey?" and 's this appealing?’ while looking over and revising what you have drawn. To me, this is what “planned design” means. Morita 13Mastering a Face in 3/4 View Compositions of a head seen from an angle make it appear three-dimensional. Such compositions fall into three types, depending on the angle at which the face is captured. Becoming competent at these three angles should allow you to compose any face from any angled perspective. 5°, 45°, and 70° 15° 45° This is the angle typically used At this angle, the reader has a sense of At this angle, the face appears When drawing a face tured away hich direction the character faces almost in profile. from the picture plane, Angles at Which to Compose the Face Ditferences in Axial Line Placement wo || super \- \ x } \ \ is 15° — f 15° (Most popuar angle) 10.0 Facing forward) { Shit the axial tine according to the angle desired Common Uses A 2 ‘a ® W Faces composed at 15° appear as if they are From a 45° angle, the direction the character The 70° angle causes the bridge of the nose to ‘almost facing forward. It shows off the face's _—_faces becomes obvious tothe reader, making it obscure the far eye. This composition is highly Droportons wel, making it optimal for showing _effectve for dramatizing the portrayal of a scene, dramatic an is used to portray emotional states ‘the reader the characters face. in a cinematic manner. 14Key Points in Composition Note How the Face and the Rear ofthe Head (Change in Appearance Note How the Ear Changes in Appearance Note How the Eyes Change in ‘Appearance AO oy y \ i \ ry <- \ { } ea / eer : \ The eye appears in its most 15° f \j ; commen form. \ The ear appears ng - and narrow, Aan | vy OY) } Now the eye has become 45° taller and narowee. = ‘The ex has become wider When composing the To achieve a more sketch, draw the outline of - reals rndtor, jhe oe at ene A show the eyeball bridge will obscure in the an / curving. final composition. { <1 Wy q * \ ~ 4 f i \ j 70° \ j The ear appears vitualy \ f x ‘the same as it would in - — 7 perfect profile view. Part of the eye becomes covered by the nose bide, iin the eye a nar, ong shape 15The Sketching Process 18° — | \ | ‘ The ear covers the exterior } contour ofthe Draw the axial ine slightly off \_ back ofthe head center NO 45° : Make the far eye f smal, while j simultaneously | tale and narrower | | than t would | ormaity appear. Draw the axial line, being conscious of wher it would ie ‘me nner comer of the eye and the bridge of Hyouwee to craw e Ness erase italy facing forward or tuned ata 15" a te same contour angle. _ - -_ 70° The back ofthe head comes into view, causing the head to change shape. - ‘low the nose to { extend beyond the cheeks exterior Draw the aval line loge contour. to the exterior (sithouette) , contour. ‘The gap between the ‘chin and the neck makes the head appear to be a three- imensional sol. 16Contrast between a Head Turned at 15° and a Head Composed at a Front View — Te eves appear Virtually the same, but the ears are diferent, Use an oblong elipse ‘The ear appears wider ‘Theis appears tobe The ear appears oblong, and forthe irises. at this angle. Be sure virtually a perfect the auricles interior is dicult to include the aurice's Circle from the front. to see without a close-up. interior. Contrast between a Head Turned at 70° and a Head Composed in Profile 2 e2"8 appear virualy the same in both views; However, the eyes andthe ises take on iterent ‘The lips do not break past the cheek’s exterior contours The lps’ shapes are larly event f te eae —— j / / Ve, I Y ‘tc ‘The irises take on ‘The ear has somewhat of a narrower ‘Now the iris has an Draw the ear at a slant. an oblong shape. appearance thn it does in perfect prof. exaggerated narrow shape.Mastering Faces Composed at Low and High Angles EEE Becoming competent at composing heads at both low and high angles will tremendously expand the variety of faces you are able to draw. : Slightly low and high angles are often casually mixed Moderate Low and High Angles together with eye-level angles of composition. To produce them, simply draw the horizontal guideline with a subtle curve. The various features do not require much modification. However, do take careful note of three particular areas: the top and back of the head, the ears, and the neck Drawing a Slightly Upward Arcing Curve to Produce @ Drawing a Slightly Downward Arcing Curve to Produce { Moderate Low Angle ‘a Moderate High Angle ee comes into view, and — — an axl ine forthe Stop of the head must \" \ From an eye-level angle, the horizontal, | guideline is straight rf ‘ite entra : Do not show a gap distance between the —> | |, between the chin and > chin nd the torso the oso / \e-a-3 / / \ =A \\ A \ From an yee hie | | ange, the ears ( 4 \ Ze y. almost lignes with | \ 7 K the ees. + \ Postion the ear 1) \ roaton te slighty lower than sight higher the eyes than the eyes. 18Key Points in the Sketching Process Moderate Low Angle j \ /] f f First, draw an oval with an X, Next, sketch the layouts ofthe neck and ‘Ad the ear, taking care to postin it ‘ving the horizontal line an torso, Draw a layout ofthe face's exterior lower than the eyes Upward curve. contours while adjusting the chin's form, —— Haine layout Draw the lacy headband so that it echoes the curve of the head, This denotes the choker collar's layout. Even if the neck does not have any accessories, you should sil raw a curved line (tipse) on the neck to capture the neck as a three-dimensional form as well as Identity the direction it faces. 4 ro ne sates atest ‘Add the hair and other detals to finish, 19Moderate High Angle Use a downward arcing curve {or the line along which the eyes vill be positioned Armen et ered ee, \— 4) muy anncttte al Determine where to position the ear, hile adjusting the shapes ofthe face the large side, This will emphasize the ‘and head. sense of a high-angle composition. _- To produce the hair's layout, draw a curved ine that echoes the head's layout 44/7 Tis insicates the distance between the hhead’s layout and the hair's layout \\\ Adjust the proportion occupied by the hair according tothe hair volume. Bsr me ma ars ta eta trishEffects of Combing the Head with the Body Head Composed at a Moderate Low Angle (_} iw | prop ye ] | i Il ‘This is how the figure appears when Now, the body is composed from an eye-ievel both the head and body are composed ‘angle. The character projects a sight stronger {rom a low angle. This isthe standard impression than she would if her head were pairing witha low-angle head. likewise composed from an eye-tevel angle, “This shows the body composed from a high angle. The impression the Character project isthe most striking ofthe three Head Composed at a Moderate High Angle This shows both the head "Now, the body is composed form an ‘and body are composed rom eye-level angle. The chin appears to high ange. be tucked in, When the body is composed from a low angle, the reader has the sense that the characteris moving toward him/her. 2Dramatic Low and High Angles Looking up: Low Angles Display the Underside of the Jaw oa fp ® \ ) if G = yy IN LUndersides of the Nose and Jaw as Triangles. ‘Pe \ / Underside ofthe nose Underside ofthe jaw 2 Exaggerating the curve of the horizontal guideline will result in a low or high angle composition with a heightened sense of three-dimensionality. _/ Tis line denotes the center ofthe head's side, \ \— raw an upward _ acing curve sightly high of center. Layout of the Head and Torso ~ Draw the hair's exterior contour close tothe head. ‘The lower eyelid should describe a curve that follows the ‘upward ar of| the face. ~ Draw the ear just behind the jaw line,Key Points in the Sketching Process Draw an oval with an X at an ‘obique angle. Draw the jaw as it carving away atthe ‘head's initialy round layout ‘Adjust the contour lines to achieve the desired head shape, ‘Sketch the ear’ layout. ‘Adjust the contour tines and draw the facil features and the hair to finish ‘Al ofthe facial features’ forms and vertical distances between facial features change when composed from a low angle. The same changes take place when composing ahead in 3/4 view (turned at an angle). ‘The forehead becomes narrower, The distance between iJ \ the eyes and the } a 4 eyebrows shortens. ead with X The eyes become more layout almond-shaped, ~The ears crop below the mouth, while the eaiobes appear larger, Head with ear and jaw layout “The bottom of the oal yout becomes the 7 juncture where the head meets ‘the neck. 23Looking Down: High Angles Hide the Nostrils / Veshaped Nose This technique is effective for making a ‘character come across ‘ 7 as “cute.” \ 1 Draw a sightly oblong oval o with an X. Next, draw the - | Ratsianatist sd paix my seed at ttwert wom oon Tl tata peony a tom ‘grange pcb a” \ Omit a contour \ defining the J noose Use this style of nose to create ‘characters with wel: defined facial features. = To produce the oval + X N= nl) a layout, cra the hocizontal LA ineattesanebentant — would appear ona head VY composed ata 70" angle, \ ‘ving the horizontal line 2 f dlvnward cuve 4 \ | igh angle compositions are rarely limited to just the ned, so adda layout ofthe boy as wel 24V-shaped Nose Tis shows an almost straight-on, 15° angled composition. —— These curves indicate were | ‘the bridge of the nose begins. A ‘The eyelids thickness becomes ‘evident when viewed from a high angle, so use two tines for the eyelid contour. Contrast with a Face in ProfileTorso Note the differences \ \ NGS \ and tracing tothe ips \ \ —— > as well as the changes \ ‘Start with a layout for { in appearance of the \ \ ahead composes ta | | eyes and ears. ) ee ‘A shadow was added ||) underneath the jaw to make te foe in profile appear thee dimensional \ S angle head, give the eyes Na along and narrow shape while drawing the earlobe onthe large side,Practice Composing Faces from a Wide Assortment of Angles Draw an oval with an X initially in order to compose it facing just about any angle imaginable.Starting with drawing an oval + X layout makes composing faces at any angle practically trouble-free, regardless of how dramatic the angle. a P ‘The head was initially drawn at [ sSand en ecomposed a a low angleChapter 2 | Kazuaki Morita’s _ Dojo of Sketching boUsing the Same Character Experimenting with Manga Sketching This section covers how to use common angles of composition to make a character appealing. Our target character for this exercise is a girl with short hair and a cheerful personality. Let's start with a close-up turned slightly askew from a { 1 } Close-up front view. This view is used to show the character's face and is commonly adopted when introducing a character to the reader for the first time. ‘The head's layout consists ofa roughly sketched circle ——The head to be ‘composed vitally faces forward, so the ‘axial lne is almost perfectly centered "Atists often draw close-ups, which tend not to display much movement, as a means of capturing a character inthe inital stage of a work of manga. The artists may use such a This horizontal close-up to introduce a character tothe ‘guideline establishes reader, r may use the close-up as a point of the postions ofthe ‘departure for composing views ofthe eyes and ears, character from other angles.” To produce the head's layout, ist draw an oval with ‘an X inside and then roughly sketch the contours of the facial features, Drawing a Layout of the Face and Upper Body ‘Sketch a layout of the upper body up Estabish the ears - to approximately Position, and then walst-ievel determine where to Place the eyes, nse, ; and mouth. A large Hi The sketch iis and pupil creates — demonstrates the impression of a — awareness ofthe 2 torso's axial in, bobby personaly Draw the neck’s contour underneath where jaw and the ear meet Use an abiong form for the torso. 30This character has bangs that concentrate toward Morita drew plenty of hair around her cheeks, { the front of her head. As the bangs are portrayed This makes her face look narrower, accentuating | using sweeping, arched strokes that curl inward her large eyes. toward the axial tne the lines defining the har alone sufficiently evoke a sense of three A K | dimensonaliy } ti ‘After drawing the arms, add the har. Use curved lines that adhere tothe head when portraying straight hai. Use the axial nes of the head ‘and torso to estabish the direction the character faces. ‘Add the back hair that brushes the neck to fnish the rough sketch 3Adjusting the Lines to Clean up the Forms Carefuly lay one sketched line over another until you ative ata definitive, primary tne. Do not merely trace the shape already drawn. Draw the eyebrows, double-checking to ensure The manner in which the cheeks swell and the ‘Add stokes to build the desied form that thir roats or the arcs they describe are not chin's extent of angulaty affect the impression thrown off kite. the character projects. Take the utmost of care when drawing these features. , Ne | | L In a close-up, the neck can give the reader a This isnot intended to be a muscular character. Adding the clavicle makes the upper body seem sense ofthe character's build as a whole, so take Consequenty, a naturally flowing, curved line was solid and three-dimensionl extra care when drawing the contour running used for the upper arm's contour. {rom the neck tothe shoulder. ‘Adjusting the direction in which the head faces or the shoulders’ angles | allows you to heighten the sense of | ‘movement. However, you must be able | ‘to portray a common pose correctly if you plan on showing movement in \ an effective manner When drawing the breasts, take note cof how the sizes and shapes differ from lft to right and from which point they begin to swell. 32Final Sketch: Adding a shadow under the chin makes the face stand out.In this section, we will raw the full figure ofthe character Full-Figure Compositions featured in the close-up of the previous section. Full-figure compositions of a character standing are used to introduce that character or to make an impression on the reader. Take extra care not to draw a bolt-uprigh, stiff figure Drawing a Layout of a Full Figure ( When sketching the layout of a Draw an oval + X layout forthe head, full figure, try to use a and sketch the shoulders’ layout. \,__ proportioning of 70% figure to Remain aware of how wide the torso 30% joints, should be, ast attaches tothe shoulders. x y x y x Draw the arms while double-checking the appearance ofthe torso. In a standing pose 2 where the body is straight through the hips, the Imagining thatthe character is standing wrists donot fall below the groin, andthe ina sinuous, $-curve pose, draw the elbows le around waist-lvel tors0's layout at an oblique angle, The torso extends from the shoulder to the groin, Use the head's length as a ‘measurement guide for establishing where to position the groin 34~ ~ Use curved lines to define the knees as wel, Both the torso and the legs are cylindrical, so Draw eacr leg up tothe knee while visualizing use a curved line for the layout defining where how the legs are positioned. the legs attach to the torso. Use the head's ‘When one feg is positioned infront of the other, | length asa standard take careful note of how the knees and ankles ‘of measurement for are placed wen drawing determining the position ofthe knees ‘and the legs’ length. ‘The lag stepping forward should be positioned directly below the head. This wil make the figure appear stable ‘This shows the completed fll figure layout 35Reinforcing the Figure’s Contours Rather than merely tracing the lines you have already drawn, be conscious fading strokes that build the figure asa three-cimensional object. Basic Rules of Cylinder Sketching ‘The arms, legs, and torso are cylinders. Oraw their exterior contours ‘Start with the torso which has a large surface as if they are two curves facing one ‘area, Take note of the positions ofthe chest and another, such as illustrated by arrows hips as you draw, ‘Aad in the figure above Draw the thigh up tothe knee. ‘Draw the rest of the tigh’s contours, following the basic rues of cylinder sketching discussed above / \ \ gy 2 te meser Renrc the contour where team atachs to A oie the so matanin arenes of ow th op \ sisi af he am shoul pear Tio capture \ sear ‘full figure as a sithouette when sketching the ” head 36Drawing the Head and the Face, and Adjusting the Figure's Contours Overall raw the ful figure, capturing it in sihovette form. 4 eS ‘Add the facial features, using the horizontal ‘uideline as reference, Produce a careful outine ofthe head. ihovete, while carefully taking _—_Sketch general, large areas first and then ote of the figure's proportioning. When drawing the proceed to smaller, more detailed parts. ‘same character repeatedly, sketch the character fist in sihouete, This will rest in a sketch that preserves the proper impression for that character. \ Bog ocean pte forms te neck se an ae body Idsisain eeatunin’ of toni figure should appear as a solid ‘and folow the rules of cylinder sketching when drawing the lines ofthe final sketch, 37Completing the Head and the Body This stage is akin to inking when creating a work of manga. Let's take a look at all ofthe steps involved Adjust the contours ofthe face.Draw the iris and pupil ast. You have now finished round one ofthe sketch. Even when | take extra care with ‘the ketch, | stl find areas that didn’t come out the way intended or just elly mistakes “hie ie why | fel ie important ‘also to look at the sketch from ‘the fp side or to take a break from the eketch before coming back and looking It over again >\ from a more objective perspective. / This shows the sketch from the reverse sie. “ Looking at the reverse side allows you to check — for areas inthe sketching rn the proportioning that need tweaking from an objective perspective 39‘Adding the Last Details and Making the Final Touch-ups Reinforcing the line makes i thicker and accentuates it, which in turn, heightens the sense of volume. This shows the muscles’ contours being adjusted to make the arm from the elbow up appear more three- dimensional, Five Points in the Path to the Finished Product. =|) \When looking over each individual body ‘art, think about how that part fs inthe ‘body as a whole, and double-check the é ‘overall balance. I is important to look atthe This shows an eraser being used to remove soiling of to clean up where needed. Faure overal a you check ose that he various body parts connect correctly. ) | / / | 4 ‘Torso: Having the breast's lower contour: Bent Elbow: The bent elbow forms the extend beyond tetas contour makes ‘eer °V. Take entra cae to show he the character appear to have a slim build. ‘muscles bulging, A — . IX | \ #7 an] | 1] | | Chest Use a gente cure to Etbow When the inside of he ebow is Hips: A relatively straight contour create the ison of volume. visible, adcng Hines to form a“V" makes traces the smooth anston trom 40 it easier to show how the elbow bends ‘the hips tothe legs.produce Final Sketch: The sinuous curve ofthe overall figure added tothe outward sweeping, tall-ike locks asymmetry, which enhances the compostion’s sense of movementClose-ups from the Hip and Up Artists typically use this type of close-up to show both the character's face and body. Assuming that a standard close-up and a medium-close shot are drawn on sketch paper of the same size, the latter will carry the stronger impact. Embark on your sketch with. \ a target fulcvody pose represented inthe close~p_| inn Thumbnail sketch ) Sketching the Pose Layout fi Y itis important to sketch the entire figure in the pose. Maintain awareness of how the head connect tothe torso and how the torso connects tothe arms while sketching Gradually the entire figure’s overall frm more clarity while ‘adding Quielines for the skeletal structure and other body parts 42Drawing the Face and Shoulders ‘Start by drawing the facial features andthe hai. i i The clavces attach othe I i shoulders, so maintain ‘awareness of how they attach as you draw. a ‘Sketch the shoulders and add the ‘Sketch an eliptica layout to clavites. represent where the arm attaches tothe shoulder. Torso exterior. contour Line portraying where the underarm meets the chest. ‘Add a line showing where the chest meets the underarm. This gives the figure a sense of volume Use a gentle arc to descrive the arm's contour 43Capturing the Arms, the Face, and the Surrounding Composition ‘The below isa sketch ofthe arm. Folow the basic rules of ‘oylnder sketching to arrive at the desired form, @\ a Follow the basic rules of cylinder sketching, First draw contour and then draw contour 2. Draw a line to represent the name ofthe neck, ‘which connects tothe clavicle. Tis line serves to accentuate the face. Draw the hair as large clusters of locks. ‘Avoid making the locks appear to cluster with regularity. Take care to give them a random, 4This shows a completed sketch ofthe neck and its surrounding area. A sense of three-dimensionalty is vital tothe neck, When producing your own sketch, take care in capturing the spatial and connective relationships between the head, the neck, and the shoulders,Adjusting the Upper Body: Cleaning up the Contours end tears contours dovble-checking that Aust he cots io ave ata natra-oking Aer ling u teste wth an easy, a they comet poet tte tan farm thea f ‘Be aware ofthe bone underneath the flesh winen Start by drawing the fingers hidden undemeath ‘drawing the knee, the arm, 46 5 i Fe bess le seating os you draw.Draw the breasts, giving them a sense of plumpness. Drawing the Torso and Moving Down to the Legs a Vi i J Tis conor, which ataches othe ¥ Te breasts ae spheric nom, Use raey mars the ot rom nich the reas expands curved stokes asf cawing a cre. ENA ; { { { This shows the skin covering the rib. Imagine that these contours are connected tothe underarm as you draw. ‘ x Use a sinuous, S-curve to define the softly Lndulating forms ofthe abdomen. Use a graceful curve forthe waist, showing it trace from underneath the ribcage, curving Inward atthe waist, and then moving on toward the ips. ‘Sketch where the right leg attaches tothe torso, Give the posteior's contour a nce, round form. hile double-checkig the right-to-et, visual balance Visualize ahigh-eg swimsuit when sketching the guideline extending from the hips tothe legs. 4aAdjusting the Waist and Hips: Cleaning up the Sketch While Adjusting Contours =e r p the pels, / / areas Fi abdomen, ton te oe Draw a guideline where the bottom of a high-leg ‘swimsuit would appear. This wil glve the lower abdominal region a sense of three-dimensionalty © \ \ | : : y N N / N = \With the “high-eg swimsuit guideline,” the pelvic Slim down the thigh and make the leg Use a graceful, owing contour to portray the region now has a sense of sold, so adust the narrower. transition from posterior to thigh. This constitutes posterior’s shape key point in sketching slender legs. ‘Sketching the Tail-Like Locks and the Details To produce graceful, long strokes, move your hand back These are long, sweeping strokes, To produce sinuous, gracefully curving ines, make a conscious effort ‘on the pencil and angle itso to shift the sheet of paper around constantly to the angle you tind most comfortable for drawing. that ities close to the paper. 48‘Adding the Finishing Touches, Cleaning up with an Eraser, and Drawing the Details Lasty draw thei and pupil The sketch is now seconds ‘away trom completion. Reinforcing the Connective Contours of the Neck, the Clavicles, and the Shoulders “The contour connecting the neck. to the shoulder becomes shorter Clavile ae This shows how the neck, the clavicle, and the shoulders connect. Poses where the arms are raised in particular cause the contour portraying the clavicle, which connects tothe shoulder, to ‘appear shorter than it typically would. 50Final Sketch: The subtle shift in the contour underneath the riacage results from “stretching,” Raising both arms causes the breasts as well asthe entire upper body to rise.: This section covers how to draw a composition from an High Angle Composition overhead angle of a character looking up. These compositions catty a strong impact and are frequently used on manga splash pages or inside covers. (4 High angle compositions in particular require that the ‘shoulders’ placement and the \ x head's proportioning be accurately | captured. Draw a thumbnail or study sketch on a separate sheet of paper first. / , ‘Thumbnail sketch Sketching Layouts of the Head and Face eee | ‘The face appears big, o use long, sweeping arcs Sketch layouts forthe eyes, nose, and mouth, to draw the oval + X layout. Move your hand further back than usual along the pencil. This will allow you to produce long, curved strokes without applying pressure tothe pencil ‘The face in a high-angle composition tends to ‘appear especialy large in contrast with a ful- figure composition, 0 take extra care in sketching the layout Size of face in the ful figure composition Size of face in the high: ‘angle composition Fullfigure High-angle ‘sized sketch paper ‘Sketch the face so thatthe reader can discern the composition composition (21 x29.0m or 8 1/2" x11 76") atmosphere of the character's facial expression 52Sketching Layouts of the Shoulders and Torso ee ‘This prominent, curved tine functions as a guide Sketch the chest's layout in giving the upper body a sense of volume, Draw it, while capturing the ful figure es a silhouette. ‘Sketch the shoulders’ layout i Draw the shoulders while adjusting the contour defining the back. Be conscious of how the neck connects tothe rear of the head when drawing its contour Produce a rough sketch ofthe pose using general forms. 53Drawing the Clavicles and Adjusting the Form of the Upper Body ‘Shoulder Upper arm Draw the clavicles, using the cure ofthe layout j asa guide, k | \sm Draw the chest, which functions as a base Draw the arms, Use graceful, curved strokes to ‘board forthe breasts. evoke a sense ofthee-dimensionaliy bi on ‘Sketch the breasts, using the arms' layout Since the character's arms are Draw the breasts as if they were fying ontop of as.a guide, rapped underneath her chest in this the chest ose, draw the breasts resting on top of her arms. —1 Naito te base i rules of cyinder t sketching when | drawing the arms, \ —2—> i pnw ip A (oe ee 2 a a ‘represents the breasts Aus te stapes of the lower ams while dobl-checking that they are represents the arms proportioned properly with respect tothe chest 54Drawing the Hair aad Part the hair so that it fs easy to capture in Draw the characte’ distinctive bangs as clusters A par that is too long wil change the impression chunks of locks, that the face projects, so take extra care when drawing it | Uf Draw he exterior ck in cuter Alering te cance between te wel hat andthe head wl cause the head to appear misshapen, so be careful when drawing, Ad finer, more detailed strokes after you have j \ fist ished capturing f the exterior contours. Draw the locks of hai fipping forward from the back of the head. This will give the hair a sense of depth and make the head appear to be a three-dimensional soli Draw the long, sweeping locks as if they traled down from the head, Use long, arcing strokes. Note thatthe pencil inthe photo above is held ditferenty than inthe photo tothe left. 56Drawing the Eyes and the Irises Draw the light reflections $0 that they lie along a diagonal ‘one either side ofthe eye's center (a ifthe light. reflections were facing one another) A ‘Add round light reflections to the irs. Draw theirs and light reflections. Draw the remaining eye, taking care to ensure that right and let eyes have the same form. Rotate the sketch so that you are abe to ‘maintain control when drawing curves, Ainge line is used to draw this contour when the eye sized normally. Sketch the contours to capture the eye's form. Sight shift in angle can cause the eye to project ‘different mood, so ensure that you ‘capture the form correct. Draw the round pupil slightly igh of center, within the iris. This wil evoke the feeling thatthe gaze is directed toward the reader. Draw the second eye so that it projects the same mood as the first. Sketch the exterior contours ofthe iis and eyelid, and then ‘il them in wath hatching later 7Drawing the Face, Neck, and the Surrounding Features — \ Clean up the contours of the facil features and then reinforce the sihouette contours of the head Draw the neck and the clavicle, using slighty thicker lines forthe neck than used forthe faces silhouette contours. When the arms are held in trot ofthe body, depressions form near the ‘shoulders. in actuality, the clavcls jut out more prominently; however, this has been omitted to maintain the character's attractive appearance 58 Draw the ear, taking careful note of how it attaches to the cheek area. Draw the auricle’ interior, using dashed lines and hatching to evoke a sense of three-dimensionalty When drawing a character's face on the large side, stand up and step back from the sketch 60 that you are able to look over the composition. It ie important to double-check the / overall balance when drawing, / \While continuing to stand, clean up and add Getails and touch-ups to any area that catch your eye to finish the sketch,“Take extra care when drawing the body’ contours. Add the tale-Iike, sweeping locks to finish.5 ition | Seated on the Floor with the { 5 } Glossy Magazine Photo-Style Composition Legs Extended to the Side Dynamic poses arise primarily from how the neck, waist, and joints bend or twist. This section covers creating a composition that illustrates awareness of motion in the joints and the appearance of the figure’s contours as they reflect this motion. // Naturally, an artist should maintain, / awareness of how the body is structured \\ | when sketching ary pose. However, what | the artist actually draws is not the bone structure, but rather the contours of the | | figure’s pliant, supple muscles and flesh. | 50 it le essential that, you, as the artiet,/ \.be conscious of this fact. This layout reflects the legs Key Layout Points extended straight out. raw where Draw the shoulder the tops ofthe legs connect to the line and the chest torso. line so that they tie parallel to one another. The axial ne shifts ay direction from above pp the waist and below the waist, forming a 1" ‘ ——— Waist ine + This side of the hip stretches, Draw the torso as a linger, 60Capturing the Forms-Part 1: Drawing the Head and the Left Half of the Body A ee \~. a s [TON \o OD = Ww | | ° al | <7 Wy I \ | | \ i J ’ The techniques following the basic / mort acse fon Sieh eae enc ands soda ees Alt Oaw he wer am erg fan _—_—slatng he rou, dram, enact terry a Be o's oat thse ed en sah he toyr a hcl and oe Body mem pur was marinig eearest the figue’s overall balance, Adjust the exterior contours as you dra. The basic rules of cylinder sketching dictate that the side contours should be drawn as it facing one ‘another. This should faciitate cleaning up the figures forms. Estabish the forms ofthe ams, torso and thighs. Draw the leg while taking into consideration the proportioning ofthe thighs length versus the aff's lena, and double-checking the positioning ofthe top ofthe leg the knee, and the ankle, ‘Sketch the foot's underside and draw the foots top. 6rr . Le ~ = 6 )’ | Qo * / conse teo, f \ maintaining , } \ | awareness of how 4 | = | ies ome 1 | } tote wea bro eet sirendg fe geen ‘aig sel be SF tered ota oe J opty conten sete _- legs attach to the torso is. Retain the shoulder’ roundness when Draw the chest to which the breasts wll ‘composing it attach, ‘The legs are cylinders attached to the torso, which is itself a cylinder. This ‘means that curved strokes should be Used to show where the legs attach to the torso, ‘Sketch guidelines indicating where the legs attach tothe torso to give the lower half f the body a sense of three-dimensionalty. This process is used when drawing a character seated ina chair or when imbuing the legs with some sense of mation. The rounded contour connecting tothe back of Use an °S" curve contour to render the thigh, the knee takes a ‘Attach the contour lines, double-checking in which directions the taking careful note of in which directions the ‘downward curve ‘curves’ origins and the terminations arc. This will result in undulating contour curves. Contours that imbue the legs witha thee-dimensional appearance. 62 Hold the pencil as you would wien drawing long, arcing stokes.‘ince the character has her hands wrapped around her legs inthis pose, Note where the bent elbow i — ‘draw the legs first, followed by the hands. positioned and sketch accordingly ‘Athis pont, the igue’s contour are almost complete 63Capturing the Forms-Part 3: Drawing the Hair wi ie. \ <7 SS 7 ‘Start by cleaning up the neck’s co rz the Ada the bangs, noting the deco in whieh Draw from the center, working your way aut surrounding rea, ‘the head tits & Be conscious of how the hair hidden behind the body lis. Once again, the pencil is held differently at this Point. Aways consider the most comfortable way of Grawing the typeof stroke o ine desired as you work,‘This page illustrates al ofthe steps followed at this stage of the process. ‘contours. Once you have finished drawing the oot's sole, draw the toes, beginning with = the litle toeAdding the Details to Finish at, This long lock of hair was not produced using a single, graceful stroke. To recreate it, built up ita eici stoies O oxi process: by connecting a series of shorter strokes. Carefully draw the eyes and the lips, and clean them up with an eraser to finish Final Sketch: When drawing a character in diferent poses, pay attention not only tothe eyes and the hai, but also to any special physical characteristics the character's body may have (in the case of female characters, this might include the shoulder width or breast size. 66Why is it a character is identifiable as a given Developing a Single Character character? Let’s compare five different faces. Tricks in Making a Character Identifiable figure (@)Medium-ciose —_[2)Moderatehigh- GFul-igure, fashion composition shat angle close-up modelesque composition ‘ie 4 cn Here we see the character as she makes ner (2 This is how her face appears in a panel in this panel showing her from the hips debut. The reader fist sees her in a close-up showing her entire figure. Her distinctive Jp, the inside of her eyes have been panel Her distinguishing features are her hairstyle and eye shape have been carefully rendered, giving a sense of hairstyle and eye shape. carefully retained. balance to the character. Faces change. However, in oder to ensure that a glen character is Identifiable each time she appears, those features that are the most salent must be made consistent in form. At the same time, any addtional features that absolutely make the character recognizable should also be early rendered. Give careful ‘consideration to where the hai’ part is positioned, how the hair curs, how {ar the eyebrows extend, and other such distinguishing deta.” 4 ‘This shows a close-up composed from a This full-figure, magazie-style compostion ‘moderately high ange. This composition retains the soft contours ofthe eyes seen in the Morita ‘maximizes her faces size, proportionally, so fist close-up. The chin has an overall roundish her hair and eyelashes have been carefully from, giving this version in general the rendered in somewhat fine detal. Her chin character's gentlest-ooking incarnation. has taken on a slightly rounded form. ‘© Make the character's eyes and hairstyle distinctive, and retain these distinctive features each time you draw the character. + Pay close attention to the positioning of the facial features and the face's proportioning, such as the distance between the eyes and the nose as well as where the eyebrows and hairline are located on the face. 68Mastering How to Draw a Dynamic Figure(1) Studying the Neck and Shoulders through Close-ups Close-ups provide compositions that draw attention to the face. However, close-up compositions do not ‘merely focus on the head (neck) and shoulders. They do not function exclusively to show the reader the character's face, Rather, they also enable the artist to evoke a sense of movement. This section covers how to create a composition that focuses on the directions in which the face and the torso are turned. - In the close-up below, both the head and Basic Close-up torso face the same direction. Note how the neck and shoulders connect. Figure Turned to the Left The torso plays a crucial role in close-ups. Maintain consciousness of the head, the axial lines, and the shoulder line s you draw. ‘The close-up can be likened to a bust portrait in that itis 4) generaly composed 7) | from the shoulders or “| chest and up. Where to set as the cut-off point has a significant impact onthe ccompostion's mood, 3 { 1 } 2 7 Draw the neck {{ \ Use anima coving } soninnsde Lo ray narrow neck. a4 The cacti KP > facing pertectty, f iN fwd he AA shoulder line rns | 1 LA practically parallel | if to the horizontal ~ | TF line ofthe head These guidelines ‘Sketch the head and draw Sketch the torso, drawing avout ‘define the figure's ‘uidelines for the shoulders the shoulders’ joints and Draw the arms and adjust Sant ‘and backbone as an “X". the axial line. their forms. 70Junctures of the Head, the Neck, and the Torso Drawing ene. ) tepeseing re rf bacon alos yout \ J) core vireo \ [cornea be ; ies V stave /// Ses — ssceetngy site)” — fount“ stape oI 7 curve df ~ 4 F } J { ) | | The neck attaches at an Draw the junctures where the head meets the neck and where Drawing the axial ines ofthe head and oblique angle. the neck meets the tors0 wen composing the figure. torso along a straight line ensures that the figure has good posture. Draw the shoulder ine parale tothe ground plane. Practical Application: Figure Turned to the Right ~~ \ Ng A / \ | » A ‘As when drawing a figure tured to Draw the igure all the way down to the lft, draw the axial lines and the hips, even when composing @ the shoulder line as you sketch the close-up panel. This will ensue that layouts ofthe head and torso the shoulders are wel-balanced. Taking Care When Composing the Neck ious seed a set eaneeroe [A thick neck makes the character 1ook = uh will make the character appear to have bad r posture, { Drawing the neck's | é contour descending 7 \ f ‘rectly trom the \ chin resus in a thick, muscular- ‘The layout above shows the A close-up of a This layout shows a character with good looking neck. Slender neck "EEK awn at an angle. The character wit bad | posture. The axial ines ofthe head and torso heads axial ine juts out in posture |_ and the neck’ layout ae all pertety straight front of the torso's axial ine. nLet's take a look at a close-up composition that shows Making the Shoulders and Neck Move movement in both the neck and shoulders. Composing the Shoulders at an Angle Shifting the direction ofthe ‘oval + X layout's horizontal line's downward curve and the ‘angle ofthe shoulder line \, allows for the creation of f ) wie range of eitterent I “} motions. er ki 7 WA a é ‘ a Draw an oval +Xayout, and draw the shoulder ne at an angle. ‘Sketch the neck’s layout, and Sketch layouts of the draw the ava neo the shoulders joints and the ‘body running perpendicular ‘torso. tothe shouts Practical Application Draw the shoulder tne at an * Ai ‘oblique angle and then draw the chest line so that it es Virtually parallel to the shoulder ine, UO) Schematic diagram 2Raising the Shoulders Draw the shoulder line at a regular, ‘oblique angle but ‘draw the shoulders above the shoulder line, A standard shoulder line uns parallel to the ground plane, ‘Shrugging the shoulders in laughter Draw the davies so that they form a wv Be conscious ofthe fact that the Adjust the contours. clavicles and the shoulders connect when you draw. // Foreshortenng parts far rom the picture plane evokes the sense ofthe body ats ying parallel to cach other.Tilting the Head Tilting the Head to the Left Draw the eye line | so that it rises to the right in contrast withthe shoulder ine, When the eye tine andthe shoulder ine are drawn, Virtually parallel to each other, the character appears to be looking down in an undramatized way. ‘The character has her head tured slighty downward, which causes the _/nage’s contour to A crcsyoree } Ht ‘completed the oe ; nase torso form a Sketching the layout Saye Practical Application Drawing the shoulder tine at an angle results in a dramatic, low angle-style ‘composition. - 4 Composed from a slighty low angle ™Titing the Head to the Right mat ts a Ja eye line and the shoulder line are drawn e - ‘rua paral to each ( ‘other, the character 4 appears tobe loking up in an undramatized way. Drawing the shoulder ne stan oblique angle (sng to the ight heightens the sense ot the character iting her head.Changing the Direction Faced Torso Facing Forward Head and Shoulders Tilted Practical Application: Slightly Turned Torso 76 Shifting the direction of the head with respect to the body creates a dynamic close-up. To achieve this, think about where to direct the torso. Establish the shoulders’ angle when sketching the layout. ‘The te of the head (neck) in this image isthe same as the one tothe lef, but the shoulders are angled ifferenty, and the head oes not face the same direction. The shoulders’ angle makes the pose fee dynamic. To ensure that the shoulders and chest le parallel to one another hen the torso faces forward, ‘raw the horizontal quielines as. you compose the layout. Draw the clavicles and the chest line along curved ‘Combining a subty turned torso with a ‘guidelines to make the torso to forward facing head is an effective way to make a character appear attractive. bbe a three-cimensional solidDrawing a Forward Leaning Torso ‘Sketch the layout of the torso and the ‘Sketch a layout ofthe torso and shoulders. shoulders (torso's upper surface) as an elpse and draw the torso's aval ine. Schematic diagram: Draw the ‘torso as an inverted triangle withthe waist as its tip and raw the pelvis as a circle Clean up the forms.Torso in Profile Elipses and circes constitute the basic forms of a torso in profile. Use a simple are to describe the figures front. Establish the direction the Fes 7 yeti tan te The secure canes pending onthe recon in which 78Impressions Resulted from the Posture as Affected by the How the Head and Shoulders Are Held | b ‘Showing the arms held out infront heightens the ‘sense that the characteris looking down slighty ‘She appears to be subtly hunched forward, even though she is holding herself erect. Looking Up In this image, where the arms are rotated toward the back, the character's head is tited down ‘mare exaggeratedly than inthe figure to the left, but the arms make her appear tobe putting out her chest The juncture where the back of the head and the neck meet shortens in this pose, Use a sharply curved contour, ‘Showing the arms rotated toward the back and then raising the chin makes the character appear ta be puffing out her chest even further than in the image to the let. Use the head's side ‘centerline as a quide for establishing where the head and neck meet. Use ain that curves Fe gently toward the outside | the figure to deine the \ contour leading rom the chin tothe throatAdjusting the Directions of the Head and Torso | Step-by-Step right (7 ‘ , The tors0's axial - {/ ine curves to the | | | | | Line denoting the underside of the Fj breasts, f \ f_ ‘ketch the arms while “To eproduce the above, craw ahead facing to the let and a aaa a oe torso facing tothe right. - torso. 7 \ V4 A / rs Dew a ine . denoting the underside 7 / ofthe treass as ithe e character were wearing } «a sports bra. This wll { ine trav te f cheteaser ‘This nude sketch was composed under the assumption thatthe figure ‘ould be wearing clothes. Less precision and detail than ‘ is usually used in a nude sketch will sutie, povided that the shoulder with, chest line, and the positions of other Draw the eye line at body parts have been an oblique angle. accurately established‘Adjusting the Tit of the Torso Use a curve for the chest line. fy K Use an upward curving chest line when the figure is leaning moderately back. Practical Application Head: Tumed tothe left + Tited up Torso: Facing forward + leaning (Draw the shoulder line at an angle) Use @ downward curving chest line wien the figure is leaning moderately forward. Establish in which directions the head and tors face and then sketch their layouts. Ao ‘Sketch the arms’ layouts while adding the shoulder ine and other body part guides. Draw the arms so that the elbows lie around waist level hy // Uv I a This shows the face composed from a low angle and the torso leaning sightl forward. Composing the head and torso from opposing angles, such ‘as seen above, resus ina highly dynamic composition. Draw the shoulders’ joints, and clean up the layouts’ forms. Adjust the overall frm. atMovement in the Shoulders: Shrugging SS / Draw the shoulder ‘ ‘uideine from the J LY save sion as the °V" ofthe Practical ApplicationHigh Angle Composition ( ™ Or i A! State ae, atertg te w in which f % The torso is oyincical, which means } 5 Meracteurssmme 2 Testes wn me i f be rendered as a downward curving tine.Looking Back Looking Back with the Head Tilted Slightly Up ( J, Sette aot ot heey ‘the torso (back) as an / f inert range Za ets Po axial line as the backbone Draw the neck and backbone so that they orm a hook (sideways °V") Tis creates the impression of a good posture 2. Draw te oy ne and 52 Str ine ara J toot aah Flesh out the figure | wile establishing the jointsDrawing the eye line so that it érops tothe left brings the chin close to the shoulder. This makes the character appear to be looking down somewhat, whichis effective When the overal figure is composed from a ‘moderately low-angle compasiton. Practical Application shitting the Shoulder Line and Eye Lir Schematic diagram \ Use similarly sized circles { i \ a the shoulders’ layouts. i / \ Toke care to ensue that the / tight andl arms ae equal / ingirt 4 siete ne layutso ‘that the torso (shoulder overlaps a Portion of the head. } 2. Capture the torsos soe, wie ting | ——tayouts ofthe neck, backbone, and shoulders. 43, Sttch a yut fe am and cleanup the | \ ‘vera form. Give depth to the torso and add the breast, 85(2) Studying the Torso and Arms through Medium-close shots The torso's height functions as a standard of measurement when drawing the arms. This section cavers how to portray dynamic arms through unconscious actions or gestures or the like, so that the arms give the character a sense of life. 5 7 5 In this section, we discuss the basics of Expressive Arms in a Walking Stance composing the arms from a walking position. The waist should be drawn approximately level with the elbows. tunderarms, which connect tothe breasts, to suggest to the reader that ine arm is being swung forward, while the other arm is being swung back. (nthe thumb-side, the forearm’s contour curves outward from the elbow. Note the appearances of the right and j | =~ | left underarms Use the contours of the wy «Cd Medium cose shots ‘Medium-close shots commonly ~\ | appear in magazines as A 3). _| photographs shot tom the hips up / { \ e ¢ The image seen tothe let woud / | j 4 ‘also be considered a medium- k ) f . ‘close shot, and this volume A f 2 } a A. eam Ne I cos seten of the arm just below the elbow The elbow les ‘approximately level with te” underside othe breasts Scarely any skin folds are present \~\ oe f storia » cut toward the NN back ‘The elbow is positioned lower than in the previous pose {level withthe pit ofthe stomach, just below the breastplate ‘The skin fold takes on an ‘upward curve Etbow jutting ‘ut directly to the side