What you see:

A) A nice, large,clean,
flat,sturdy, well lit table.
B) A storage system for
paper, reference
materials, tools and
other art related objects.
C) A tool rack within
easy reach.
D) a comfortable chair.
Back to Materials
The #1 important thing to consider when setting up your workspace is comfort. !emember , you will be
sitting here for hours at a time. Make sure your area is well lit and as clutter free as humanly possible. " like
to keep inspirational objects and reference material around my work area so " can stay juiced about what
"#m doing. $%otice the &anger'irl action figure set o(er the desk). " also like to keep all my tools with
reaching distance so " don#t ha(e to break my train of thought to grab a tool while working. " hang them on
the wall to keep my desk space clean and clear. " keep a large collection of *ideo 'ame mags and manga
on hand to use as layout or reference material.
"f you drink or eat at your desk make sure your food+drink items are secured. "#(e accidentally spilled more
coffee on artwork than " care to mention so now " keep that stuff on a side stool away from my workspace.
,omfortable, ,lean - Bright.
/encils com in a wide array of options. 0ou can pick up a bo1 of
designer pencils like the ones you see to the left. 2r you can just
indi(idually pick out 3 or 4 that will work for you. "#ll try to e1plain what
factors should influence your decision.
The chart to the right
shows what the
different 'rades of
pencil are. 0ou#(e
seen the infamous
yellow #2 or 2B pencil
all your life at school.
%ow looking at this
chart you can see
what that means. H =
Hard lead. 5ard lead
makes a lighter line
and is used mostly for
drafting. 65 is as hard
as it gets.
2n the opposite side of the spectrum are the B grade pencils. B has a soft lead so it
makes a darker line. 6B is like mascara.
" choose the middle
ground. an 5B or 7
pencil has a nice
(ersatile grade.
Back to Materials
" use about 8 different pencils o(er the course of a drawing. " rough in with a
photoblue. ,lean up line art with a lead9holder pencil and then detail with a .:4
mechanical.

"#(e used Millions of erasers o(er the course of my
art career but "#(e finally whittled my choices down
to 3 kinds.
A) Kneaded Eraser;
This eraser usually comes as a plain 'rey or Blue
s<uare. 2nce you open it from it#s wrapping you
start working it like silly putty. =<uee>ing it into a
Ball...pulling it into a ribbon..folding it, s<uishing
it..?neading it, really. @hat#s the purposeA @ell,
you can s<uee>e it down into a fine point and erase
lines in hard to reach places without disturbing the
pencil lines around it. Another handy feature is that
it doesn#t completly erase lines..."f you just dab the
eraser o(er the lines you can lighten them up for
inking.
Back to Materials
B) White Nylon Eraser:
This style is the best eraser " ha(e e(er used for
completly remo(ing pencil lines without destroying your
inks or gouging your paper. "t also has a low debris
factor. &ebris is that rubb off you get from your eraser.

/ens are a difficult thing to reccomend since so much of what you chppse is based on how you ink. "#m
going to list the pens " personally choose to get the job done. They may or may not work for
you...e1periment as needed.
Sakura i!"a #i$ron:
My personal fa(orite inking pen.
They ha(e all the clean <ualities of
a techpen yet they also ha(e a
semi9fle1ible tip. =2 the harder you
press the wider your line will be.
*ariable line weight is (ery
important for inking. 2therwise your
drawings come out flat like a
coloring book.
They come in .::8 $(ery fine) to .:B
$(ery thick)
These pens usually run about
C13.:: for the whole set at your
local art store.
%he Sanford Shar&ie:
" use these pens to fill in large black
areas.
These pens are great but only
useful for a short period of time.
@hen they are new they ha(e an
e1cellent point and a (ery uniform
Black. " only use these for coloring
large areas of black...ne(er for line
work or detailing. They tend to
bleed <uite a bit on regular paper
so lea(e a space between your
blackline and fill area. 0ou can fill in
the gap between with a .:B =akura
micron
=harpies are a(ailable almost
e(erywhere.
%he %o"'o Brush en:
This pen takes a little getting used
too. "t acts like a brush but without
all the hassle of cleaning a brush.
"t#s not (ery good for inking
mechanical things like !obots,
ships or cars. But it#s great for
inking 5air, fur, trees..ect. 2rganic
natural objects.
This pens a little harder to find but
should be at most your major art
stores.
Back to Materials


Templates come in a
(ariety of shapes and
si>es and are sa(e
you a great deal of
time in precise
drawing . 'un
Mu>>les, ,ar
wheels..just about
anything. "t also
sa(es you from using
a traditional compass
and punching holes
in your paper. 2ne
problem
though..They are flat
so ink can run
underneath them and
smear your drawing.
Tape pennies under
the edges of the
template to raise it
from the surface and
a(oid the ink smear.
A little searching can
turn up some (ery
useful templates like
this one " picked up
in Tokyo. " suck at
drawing word
balloons and before "
purchased Adobe
"llustrator this was
the only way " could
draw them with
looking like an
amatuer.
Back to Materials


0ou can#t really do a good job without these tools unless your some kind of machine. Det#s see what they do
for us.
(ren$h Cur)es:
These tools come in se(eral
different si>es and shapes. " use at
least E on any gi(en drawing. 0ou
rotate them around on your drawing
till you find an egde that closely
matches the cur(e you#re trying to
ink. 0ou can also purchase a
7le1ible ,ur(e which looks like a
peice of rubber railroad track. "t#s no
good for tight cur(es but works nice
on long cur(es.
%rian!les:
A must ha(e for ,omic book
paneling and perspecti(e work. The
triangle rest on your T9=<uare. Fse
the T9s<uare to draw 5ori>ontal
lines and the Triangle to draw
*ertical lines. The E8 degee angles
com in andy for drawing
perspecti(e lines back to the
*anishing point. "#ll co(er
perspecti(e in another tutorial.
*uler +ith ,nkin! Ed!e:
!eally, all your tools should ha(e an
inking edge. %otice the diagram on
the left depicting the way an inking
edge works with a /en. The !uler
edge is raised from the drawing
surface allowing the ink to apply
cleanly. "f that edge was flat on the
paper the ink would bleed between
the edge on the paper making an
ugly mess.
Back to Materials

" assume most of you are interested in comic style art so "#m showcasing the comic type paper. "f you#re into
@atercolors or ,harcoal you#ll want a different type of paper than what#s show below.

Bristol Board S"ooth:
Bristol board is a hea(y, bright white
paper. "t comes in se(eral si>es and
surfaces. 7or comic book art you
want a fairly large si>e $1111E) and a
smooth surface. Bristol takes ink
(ery well but because of it#s
smoothness it takes the ink a bit
longer to dry. Be (ery carefull when
inking not to drag your hand across
the page or you#ll end up with
smudges and smears. Also gi(e the
ink a while to dry before attempting
to erase your pencil marks.
Acid 7ree board will stay whiter
longer.$ Age can yellow the paper).
*ellum coating is ultra smooth and
ideal for inking.
This paper can be e1pensi(e so
don#t use it for sketching. "t#s for final
peices....course, if you buy it you
can do whate(er you want with
it...see if " care.
Back to Materials

&rawing Aids and =tuff
the Du""y:
This can be an e1cellent tool for
helping you keep anatomy
proportions correct. The only thing
that kinda sucks about the dummy is
that he#s not really all that poseable.
"#(e found that " get more out of
5ighly detailed action figures $like
Todd Mc7arlanes). =till, G(eryone
should ha(e a dummy.
the Brush:
5ow many times ha(e you gone to
swipe off the eraser debris with you
hand an smear the inks on your
picture with your big sweaty mits.
The brush is the elegant answer to
debris remo(al. "t protects your art
and remo(es a lot more crap than
your hand does. Most drafting supply
stores carry the brush.
Back to Materials



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-. Those of you who are (eterans to the wonderful world drawing faces will recogni>e this set up right away. "t#s
pretty much your standard layout for a face with some minor tweaking based on anime rules.
,lick here for details.
2. 5ere we start cleaning up and detailing. now that we know where e(erything is supposed to go we can make
it look like it#s supposed to look.
,lick here for details.
.. 'etting finali>ed and deciding which lines are going to be hea(y and which lines are going to be light so you
knw what your doing when you finally get to the inking stage.
,lick here for details.
We' Desi!n / Art 02111 atri$k Shettles+orth: Studio Ato"i$a
The Head itself should be 4 big eyes wide:
Half an eye on the left, eye, eye, eye, half on the
right.
The Ears should be located on horizontal lines
drawn out from the eyebrows and the nose.
OK..Here we are at the beginning. The human
head is pretty much an "egg" shape. the set up
for this is to draw a circle representing the top
of the head and an inerted cone for the chin.
!nime chins are much sharper than standard
chins. "on#t go ma$ing an arrowhead out of the
chin but thin$ more along the lines of the
bottom half of a heart. %the cartoon $ind of
heart..not the biologically correct heart&
The placement of the nose should be located
on a horzontal line between the eyeline and the
chin line
On a normal human face, the width of the
mouth would be determined by the center
point of the pupils of the eye. !nime mouths
are somewhat smaller so ' use the inside
corners of the eye as a guide. ()periment with
whateers best for you.
s
Back / Next
Web Design & Art 1999 Patrick Shettlesworth: Stuio Ato!ica
s
" draw mouths different than most Anime designers. " always
liked the presence of lips. "f your shooting for a more
traditional anime style.."#d study some manga. There#s not
much to mouths.
=tarting to shape up a bit, ehA 5ere#s where it
starts getting into =tyle. Dot#s of clueless
folks say all that japanese stuff looks alike .."
beg to differ.
" belie(e the eyes set the styles apart from
each other. "t#s like a fingerprint. you can tell
who did what just by looking at the
construction of the eyes. But " will admit ..All
Hapanese anime eyes share similar traits
across the board.
1. They must be big and ha(e the ability to
water up at any moment
3. The shape is more catlike than just o(al.
4. for females...the upperlash line is hea(y,
The lower lashline is also hea(y and defines
the cur(e of the eye.
E. The upper edge of the cheeks gets dashed
with lines to define the edge of the eye socket.
Next!
@eb &esign - Art I1666 /atrick =hettlesworth; =tudio Atomica
Tada....well, almost.
A little more pushing, sho(ing, erasing and
cleaning brings us to stage 4.
The big deal to this stage is defining the hair
and a rele(ant light source so you know which
lines to make hea(y and wear to put shadows
n# stuff.
5air is tricky business. &o what you want but
just make sure you sweep some of it into the
eyes. "t should ha(e highlight s<uiggles $for
lack of an actual term) that makes it look like
hair from a pantene pro * commercial. Anime
hair comes in all sorts of colors so go nuts.
Ba$k to %utorials
@eb &esign - Art I1666 /atrick =hettlesworth; =tudio Atomica

5ere is the first in a series of 5A%& tutorials. This first step is important to understanding
how the hand is constructed and were the pi(ot points are. 2nce you are comfortable with
the proportions of the hand it will be easier to draw it in different positions. 7or now let#s
concentrate on the basic =pread 7ingered hand. 7ollow along and study your own hand
as you go.
Hands : Ste& -2 the o)al
&raw an o(al. Much like the one you see to the
left.
&esignate a point on the lower center line of
the o(al. This is the anchor point we#ll use for
our fingers.
Hands : Ste& 22 radials
Draw " lines raiating out #ro! the anchor
$oint.
%he longest line will be the !ile
#inger...!ake it &ust slightl' shorter than (
o)al lenghts.
Hands : Knu$kle &la$e"ent
The remaining finger lengths fall on an arc
from the height of the middle finger. The
knuckle closest to the tip of the finger is slightly
less than 1+4 the way down from the finger tip.
The ne1t knuckle splits the difference between
the remaining length to the top of the palm
o(al.
The thumb has 4 knuckles as well but the
anchoring is hidden inside the palm.
Hands : (leshin! in
7lesh in the fingers as shown here. The fingers
start narrow at the base..widen at the first
knuckle then taper down again toward the tip.
Belie(ability is added by drawing creases in
the places the hand bends the most...at the
knuckles and along the palms. Dook at your
own hand for reference. G(erybody#s hand is
slightly different. This hand is definately mine.
$%otice " am !ight handed and that#s why my
hand model is a Deft hand)
Hands : %he o&&osa'le %hu"'
The thumb kinda has it#s own thing going on. "t
rotates around on its own a1is. The thumb
swings inward on its Anchor ?nuckle and
bends down at its second knuckle to point at
the base of the !ing finger. The thumbs arc
peaks at the middle knuckle of the inde1 finger.
Hands : (in!er len!ths
The "nde1 finger and the !ing finger are nearly
the same height..about the halfway point of the
middle finger tip. The !ing finger is just
slightly longer.
The /inky finger comes up to the last knuckle
line of the !ing finger.
%otice how the hand is not =<uare but @edge
shaped.
%e1t up; The hand in action

Back to Tutorials

5ands are a nightmare for most artist...myself included. "t#s hard to contruct it in basic shapes
so " don#t really try. "nstead " break it up into major forms and really pay attention to where it
folds and bends. MA?G =F!G 02F 5A*G !GA& T5G 7"!=T 5A%& TFT2!"AD. This one
doesn#t deal with proportions like the other did. This is more the form of the hand.
The hand is kinda like a sho(el...that#s
what we use it for somtimes. 0ou#re palm
gi(es you the lines you need to see were
it bends. Abo(e the top blue line is the
first row of knuckles.
&on#t make the hand a flat wedge. "t
cur(es and follows the contours of the
lines on the palm. %otice how the thumb
side of the palm pi(ots from the center.
e(en when drawing the hand from the
back..pay attention to the fold lines in
the palm. "t will help you draw more
natural positions for the thumb and
fingers.
Below is a series of hand studies " drew based on the abo(e diagrams. " kept some of my
stucture lines in tact so you could see what " was thinking when " drew them

Back to Tutorials
%he (oot: Kno+ your 'asi$ for"s3
Dike e(erything else you draw, the foor also consist of basic
forms. " break it down into 4 parts.
1) a cylinder for the shin
3) a half a peanut for the front
4) A roundish shape for the heel
Side )ie+
5ere you can kinda see those basic shapes beneath the foot.
The shin comes into the ankejoint which then branches back for
the heel and forward to the toes. %otice the foot does not sit
7DAT on the ground plane..there#s an arch between the toe pads
and the heel pad.
,f the shoe fits444
A shoe is basically just a wrap for the basic foot shapes. Dooking
at pictures of shoes will gi(e you ideas for styles. 5ere " chose a
modified F= Army Hungleboot. Make sure you make the =ole of
the shoe go below where the bottom of the foot would be. There#s
about a 1+E of an inch to E of rubber between the bottom of the
foot and the bottom of the sole.
,f your stu$k444
&raw the foot first. That will gi(e you a better idea on how to wrap
the shoe around the foot form.
the Wed!e
%otice how the foot is shaped like a rounded wedge the bend "%
towards the body#s center. The toes are also arced like the
fingers of the hand...the middle toe is usually the longest.

%he ,nste&
2kay, this foots a bit wide but you see the important structures.
G(eryone#s seen foorptints in the sand. The heel and Ball of the
foot are linked by the outside edge of the foot. The arch of the
foot doesn#t come into contact with the ground.

#asterin! for"s in &ers&e$ti)e
2nce you understand how a foot is put together you can start
getting creati(e with action poses. Take a good look at those
basic shapes " drew in step one and see if you can find them in
this drawing to the left.
/ractice /ractice /ractice.

Back to Tutorials

HA,*: 7irst you may want to download and print out the template " made just for class so
you can follow along. "t includes a bald female and male head. Fse it to de(elop your own
hairstyles.
1) &ownload Template $adobe acrobat /&7)
3) &ownload Adobe Acrobat !eader
Ste& -: Define the Hairline
The hairline is located on a line that e1tends from ear to
ear at a E8 degree angle up from the eyeline. 2r..bisects
the forehead hori>ontally between the eyes and the
crown of the head. This characters har parts down the
middle so " add another guidline to represent the partition
from front to back.
Ste& 2: Define the strands
5air grows up and out of the head like spikes on a sea9
urchin. $uni anyoneA hah, sushi joke). G1cept hair isn#t
rigid like a spike. "t#s soft so it falls back downward
because of gra(ity. &raw the hair in smooth sweeps from
the hairline and part. !emember..hair is indi(idual
strands.. "t#s not a helmet made of playdoe. 2b(iously
you aren#t going to draw a million strands but do draw
enough the gi(e body and depth to the hair.
Ste& 2: Define the 'ody
After you ha(e your strands figured out. &efine the
outline of the hair. Trim away stray lines you aren#t using
and add shading where the hair is farther away from the
(iewer or deeper toward the scalp. %otice the darker
shade of purple " used and how it rounds out the hairA
$granted this is a (ery simplified piece).
Ste& 5: Create the hi!hlites
5ighlites gi(e hair that healthy Anime /antene glow. The
anime highlite is usually like a halo sitting on the upper
1+4 if the hair. This all depends on the a(ailable light
you#re using and whether or not this person would ha(e
=hiny hair.
Dook in fashion maga>ines and comics for more style
ideas.

=ee the 5air in Motion. =ee how to draw MADG 5A"!
Back to Tutorials

HA,*: 7irst you may want to download and print out the template " made just for class so
you can follow along. "t includes a bald female and male head. Fse it to de(elop your own
hairstyles.
1) &ownload Template $adobe acrobat /&7)
3) &ownload Adobe Acrobat !eader
Ste& -: Define the Hairline
The hairline is located on a line that e1tends from ear to
ear at a E8 degree angle up from the eyeline. 2r..bisects
the forehead hori>ontally between the eyes and the
crown of the head. This characters hair doesn#t really part
down the middle but " use the center line to help me keep
things e(en.
Ste& 2: Define the strands
Male hair is typically shorter....at least in M0 world.
Donger hair would be drawn similar the the female style
on the other page. " still make sure the hair strands grow
2FT from the scalp and flow along in a natural direction.
5ere " chose a ,easar cut style. Maga>ines are your best
reference material. get a collection of style and study the
hairgrowth pattern.
Ste& 2: Define the 'ody
=ee how it kinda works like connect the dotsA " work the
body of the hair into the flow lines " created in the last
step. " make hair closer to the (iewer lighter to add that
sense of depth.
Ste& 5: Create the hi!hlites
'uys hair isn#t usually shiny like girls hair. A ceasar cut is
a bit rough and spikey so " don#t use the halo highlite. "
will, instead, add a highlight to the cowlick area to help
define space and depth.

Back to 7emale 5air
Back to Tutorials

Hair in A$tion:
5air can be a (ery useful (isual cue
for describing motion and adding a
dynamic element to your art. The trick
is to show how the hair follows the
direction of the head. "f the character
is falling..the flow of the hair is the
opposite direction. if the character is
blown backward, the hair shoots
forward...seeA
$p.s. forgi(e the high <uality cocktail
napkin art o(er here.." just wanted to
use this to make a point)

Back
Back to Tutorials
%e!$late *or Practicing ex$ressions+
5ere is the long awaited e1pression tutorial.This tutorial is
(ery similar to the tutorial a(ailable in the 5ow to draw
Manga book...since it#s so hard to find " thought "#d
con(ert the lesson using my own art and post it up here
for you. ,lick on the face to the left to download a blank
template you can use to follow along.
@hat follows below is a guide...My methods (ary a little
but " want to put across a generic a(erage for you to build
your own styles on.
An!ry 6okatta)
*eally #ad; The eyebrows
come down. the pupils shrink
and you get a little 1 on your
forehead. 7anged teeth help
con(ey the emotion.
Kinda "ad; /upils back to normal
si>e but the eye brows are still down.
%o popping (eins or fanged teeth.
#iffed: Mouth goes up in an upside
down lopsided u. Gyebrows are
still down but not as far.

Sad 6kanashii)
Su&er sad; @aaAAAAA555.
Gyes s<uee>ed shut. Mouth wide
open..tears of shame and grief
streak the face. Gyebrows up.
7&set: Gyebrows up, mouth not as
wide open..eyes ha(e more sparkles
in them to con(ey wet. Tears still
(isible in corners of the eye
distrau!ht; Gyebrows up...eyes all
a9sparkle with tears. Mouth in
upside down F mode.

Ha&&y 6ureshii)
8oyous: Gyes shut from smiling.
!ays of blushy joy on cheek.
Mouth in sideways & mode.
Gyebrows up.
9leeful: Gyebrows up. A thin line
goes follows the upper cur(e of the
eye to con(ey a rela1ed state. The
lower eyelid co(ers the bottom of the
pupil to mak it s<uinty happy. Mouth
is a sideways & but a bit smaller.
Content: =ame as gleeful but the
eyes are a bit wider open. Mouth is
a small bow cur(e.

:thers 6sono u$hi)
%hou!htful; My personal
fa(orite.. one eyebrow down, one
up. Mouth is an upside down *.
Gye#s usually looking up and to
the side.
Su&rised; Gyebrows F/..eyes wide
but pupils small. Mouth in a
lopsided2.
si$k or dis!usted: 7eatures are
drawn in a minimalist way to con(ey
humor. Mouth is a s<uiggle low on
the face. eyelids and eyebrows are
a flat line. maybe add a sweat drop.
back to tutorials.
We' Desi!n / Art 02111 atri$k Shettles+orth: Studio Ato"i$a
A ti& on (oreshortenin!:
7oreshortening is ne(er really easy and it#s something you will ha(e to get comfortable
with o(er time with practice...but here#s a tip. "f you#re really stuck, try drawing your
character from the side then use a ruler to draw lines from key parts off the the side
like " did below. Fse these lines as a guide to draw your character from the front
Back to Tutorials

A big part of de(eloping a character is knowing what kind of body language they use. A big mistake
beginners make when drawing pin9ups of their characters is ignoring the personality of the character they
are doodling. " often see pics posted by others that ha(e a character standing with a weapon like they are
sitting in a =ears studio for family photos...%2. Try and a(oid a using the normal stance. Think about your
character..think about what it is your character does..what effect would that ha(e on the way they carried
themsel(es. Are they gracefulA Are they clumsyA &o they laugh, skip, play or mope, drag and cry. /icture
this in your head before you put the pencil to paper. ,heck these e1amples to help you along your way.
%ormal =tance Ad(enturous+ ,ourageous =linky+=e1y
%ot much to it.
you ha(e no idea
whether or not
this person is
good, bad, happy,
sad. ,ompletely
neutural stance.
5ere a little personality
shows through. =tance
is wide and /osture is
open gi(ing the
impression of
confidence.
7igure is =
shaped... = is
for =e1y. 5ips
and shoulders
are suggesti(e
of a seducti(e
nature.
As you can see. you can say a lot with just a stick figure. 'et your stick figure e1actly right before you flesh
in your character. A good foundation is important if you want your piece to ha(e the right impact.
There#s some more figures o(er here
Back to Tutorials

A good amount of people watching will help you disco(er new poses and postures. 'rab you sketchbook
and head out to the park, airport, mall...where(er. Dook around..sketch <uick.
=ecreti(e ,ombati(e Do(estruck
=tance is closed. Arms
are crossed. Back is
almost turned from the
(iewer.
This figure cries ,ome and get
some.. 7ist are raised in challenge.
=tance is wide to assert dominance
5ands
clasped
together as
whistful and
goofy with
lo(e.
5opefully, this wet your appetite and now you ha(e some food for thought...but now you want to put some
details on it...how can " use anime+manga features to con(ey the personality of my ,haracterA you ask...
"#ll gi(e you a good start right here. ,lick the %e1t button
Back to Tutorials

Gyes and shape of the face goes a long way to portray the personality of your character...you may recogni>e
some of the cast of ,owboy Bebop below..."#ll use my <uick sketches of them to illustrate my point.
G(il 5eroic "nnocent
Gyes are thin and
dark. the pupil is
smaller the more e(il
the character is till
there#s no pupil at all.
7ace has sharp,
angular features.
=trong jawline,
Gyes are bigger
and rounder.
7eatures are less
sharp.
Gyes are huge.
Gyebrows hardly
e(er down. 7ace
is softer and
rounder
?inda get the ideaA These rules aren#t set in stone.." just want to gi(e you the idea of what to shoot for when
you are making characters. 0ou ha(e to really close your eyes and imagine your character in action. 5ow
there face needs to look when saying the lines you will gi(e them.
"#ll cut you face off rolls much easier off of the left characters tongue than the character on the right
whereas, 'ee, what#s thatA works better for the character on the right than on the left. "#(e had enough of
both of you.."#m going home works just fine for the center character.
Back to Tutorials
(i!htin!: A sho+ of (or$e4
un$hin!
BAD 7NCH:
"t#s not horrible, it just lacks a certain force. G(en though the form is good
on both characters there#s something that needs to be done to show this
punch packed a wallop.
9::D 7NCH:
This is MF,5 better. The force of the punch is shown in the shape of
an arrow. The hori>ontal line coming from the attacker and the lines
of the targets body bending at the point of impact. Making the fist a
blur of lines helps gi(e a sense of speed and power to the punch.
Ki$kin!
BAD K,CK:
=ame deal here. with the target being stick as a board it tells us this kick
was nothing special. the attacker appears to be merely raising her foot at
the target
9::D K,CK:
%ow T5AT had to hurt. Again..the hori>ontal line of force crumples
the targets body around the point of impact. 5e probably won#t be
getting up for a while. Also the attacker#s body is much more a part of
this kick. all the balance is thrown into it gi(ing the impression of a
mighty deli(ery.
Addin! details:
@hen you get to the stage of cleaning up your work
and adding in details be sure and incorporate lines
that translate the action taking place. The edges of
her fist and arms are <uick strokes following the
direction her arm is tra(elling. his head is knocked
back from the point of impact. 5is hair and spit
show the continuance of the force of the punch. "
put cur(ed lines on his check to show an
indentation where her fist connected.

%GJT /A'G; ,hoosing a camera angle
(i!htin!: Choosin! an An!le
Bad An!le
"t#s not that her position isn#t
dynamic. "t just doesn#t do
justice to the action being
shown. Too flat and lifeless. the
bare minimum for translating
this throw.
Better
This is much better in the
sense that you can really tell
the target has been thrown.
The composition is more
pleasing and lea(es room for
backgrounds, sound effects or
speech balloons....but still it
could be better. "#d use this
angle if the target was going to
hit something important or was
going to get out of the damage
by landing on his feet.
To show this mo(e took him
out of commision, we need
some closure.
Best
Booooom. ,hoosing an angle that shows the moment of impact really pulls
this action together..in one frame you can see that the target was
thrown...tra(elled a long distance..and landed hard. Arms and legs akimbo.
Again..cur(ed motion lines along the trajectory of the throw parlay the action.

Back to 7ighting.

(ront ;ie+ : Ste& -2 the o)al
&raw a circle. The circle is the foundation of the head for
any (eiwpoint. "t doesn#t need to be a perfect circle like
this. A basic o(oid shape will do nicely.
(ront ;ie+ : Ste& 22 the $hin
Add the chin. Manga faces, espescially femal ones, are
heart9shaped. "magine cutting off the top round parts of
a (alentine heart shape and attaching the lower part to a
sphere...That#s how we got what you see to the left.
(ront ;ie+ : Ste& .2(a$ial Di)isions
=plit the face shape in half (ertically and hori>ontally.
These a1is lines are the %ose line $(ertical) and the
eyeline $hori>ontal).
&i(ide the lower portion in half again hori>ontally. This
line is the bottom of the ear and nose line.
" draw an additional o(al shape inside to help me keep
the facial features centered on the front plane of the
head. The inner o(al goes from hairline to chin.

%e1t
Back to Tutorials

(ront ;ie+ : Ste& 52 (eature la$e"ent
&i(ide the lowest portion into 4rds. 1+4 down from the
hori>ontal noseline is the mouthline.
The ears should be placed on the same line that the
bottom of the nose is on. Gars span from the lower
noseline to just abo(e the eyeline.
The Mouth should be as wide as the space between the
inside corners of the eyes.
(ront ;ie+ : Ste& <2 the eyes
Gye proportions depend on the ,ute le(el of the
character you#re drawing. " do more serious stuff so my
eyes aren#t as large as some other styles of Manga. "#(e
noticed cute or comical story characters ha(e larger
eyes.
" place the corners of the eyes on the hori>ontal eyeline.
The eyes should be appor1mately 1 eye length apart
from each other and half an eye length in from the edge
of the face.

Back
Back to Tutorials
.
.
1. /rofiles are a bit easier than front(iew and way easier than 4+E (iew. =et up still starts with a ball and a
cone.
,lick here for details.
2. More clean up and detailing.
,lick here for details.

We' Desi!n / Art 02111 atri$k Shettles+orth: Studio Ato"i$a
2k..0ou got yer ball for the head. you got your cone for
the chin. 0ou know the eyes get located on the middle
hori>ontal bisecting line....so what#s newA
well...we put on what " call the gas mask. " start the
slope outward from just below the eyeline and run it
back down to the chin. This 'asmask shape will get
tweaked into the nose and mouth on the ne1t page.
The other thing to note is that the head gets bisected
(ertically. this is for GA! placement. The ear is still
located on the hori>ontal a1ises pro(ided by the eye
and the mouth.
2nce you ha(e this you#re ready for some detailing.

Next!
@eb &esign - Art I3::: /atrick =hettlesworth; =tudio Atomica
@hoa. That#s a bad gif. "#ll ha(e to rescan it. =orry for the
mess....but you still get to see the basic underlying structure
used to get here.
"n detailing this image..thing to note are;
The upper lip is smaller and darker than the
lower lip.
The eye is located on a gentle upward cur(e
from the edge of the mouth.
The forehead is smooth and rounded.
The nose is slightly upturned.
'a$k to tutorials
@eb &esign - Art I3::: /atrick =hettlesworth; =tudio Atomica

rofile : Ste& -2 the o)al
&raw a circle. The circle is the foundation of the head for
any (eiwpoint. "t doesn#t need to be a perfect circle like
this. A basic o(oid shape will do nicely.
rofile : Ste& 22 the $hin
Add the chin. The chin will come down from the center
point of the outside edge of the circle to about half that
length below the bottom edge of the circle. The Hawline
should come back towards the center of the bottom edge
of the circle as shown here.
rofile : Ste& .2(a$ial Di)isions
=plit the face shape in half (ertically and hori>ontally.
These a1is lines are the ear line $(ertical) and the
eyeline $hori>ontal).

%e1t
Back to Tutorials

rofile: Ste& 52 #ore Di)isions
&i(ide the space between the eyeline and the chin in
half. This is the Bottom of the Gar and %ose line. &i(ide
the space below the noseline into 4rds. the upper 4rd is
the Mouth line.
%otice the ear sits in the (erticle a1is toward the back of
the head and rest between the nose line and the brow
line.
rofile : Ste& 22 the eye
&i(ide the space between the front of the head and the
(ertical earline a1is. This is where we place the eye on
the eyeline. The outside corner of the eye should hit this
new di(ision line and the inside corner should be just
inside of the outer edge of the mouth.
rofile: Ste& .2Hair =ine
The 5airline is located by drawing a E8 degree angle
from the intersection of the hori>ontal eye line and the
(ertical ear line.

Back
Back to Tutorials
(e"ale head: .>5 )ie+
Sta!e-
2kay...here we ha(e the basic set
up for the head. As with most other
setup#s, this one also starts with a
egg+sphere set up. The difference is
where you bi9sect it. 5ere " chose a
basic 4+E bisect. The middle
hori>ontal line for the eyes and the
(erticle line tell us which ways she#s
a lookin#.
"f " chose to put the eye9line higher
than center " could make her look
up..the opposite is true for looking
down.
*how me more about the set+up please,,, -orget this...where#s the features.

(e"ale head: .>5 )ie+
=tage19 &etail
=tart with the blue circle. "t#s a good
5ere you will ha(e to figure on what
is halfway between the ear plane
and nose plane to decide eye
placement. &raw a line from the
idea to decide wich way she#ll be
looking at this point since you can#t put
the chin on till ya know.
Bisect the sphere (ertically in half along
the directional a1is. " use 1 (ertical line
to decide the eye+nose mouth plane
and 1 to decide the ear plane $not
airplane..GA!plane...wa ha ha)
The mouth line is halfway between the
chin and eyeline. %ormal proportions
say that line is for the nose..but this is
anime and the face is smaller. The nose
line is a little less than halfway between
the mouth and eyeline..closer to the
mouth.
mouthline to the newly appointed
eye placement point on the
hori>ontal eyeline. make a triangle
to figure where the other eye should
go.
This triangle also ser(es as a nice
guide to keep the features all snug
and secure in the head.
!eady to mo(e on to stage 3A

(e"ale head: .>5 )ie+
=tage3
=tartiing to get the ideaA All that
framework we did before is so this
part would be easy. There#s many
different styles and (ariations in
Anime. "#m trying to be a generic as
possible here.
Gyes go on the points of the triangle
we established in the detail section.
The =peculars or glinty things in
the eye should be used to gi(e
some sense or direction for wich
way the eyes are looking. "f you
don#t get them e1actly e(en $Dike
what " did here for illustrati(e
purposes) you get the impression
that she#s cross9eyed. ?eep those
speculars e(en..
=he still doesn#t <uite look like a
hotty yet so we need to imbelish on
the established lines a bit. Make the
upper eyelash line thicker. Add more
detail to the eyes and ears. &rop on
some wild Anime hair do..
*how me those details again,, Hair,, /ie me Hair,,
(e"ale head: .>5 )ie+
=tage4
@hoa.. @hat a difference a few lines
make, ehA At this point you kinda
know what she#s gonna look like but
to keep your drawing from looking
as flat and unappealing as a
pokemon coloring book we need to
add weight to some lines and fade
up on others.
The Gyes and ,heek+chin gi(e the
character mass and depth so they
should be hea(ier and detailed. To
keep her dainty we need to keep the
lines of the nose and mouth thinner.
5air is also kinda whispy so be
careful with the line weight there.
=hadows go well under the nose,
lowe lip and under the chin.


*how me those details again,, 0ac$ to tutorials

.>5 ;ie+ : Ste& -2 the o)al
&raw a circle. The circle is the foundation of the head for
any (eiwpoint. "t doesn#t need to be a perfect circle like
this. A basic o(oid shape will do nicely.
.>5 ;ie+ : Ste& 22 the $hin
Add the chin. Manga faces, espescially femal ones, are
heart9shaped. A little gues work is in(ol(ed here as far
as were to bow the cheek cur(e in at the eyeline and
how sharp an angle to do the Hawline. Dittle adjustments
will ha(e to be made o(er the course of the drawing.
7or now just make something like you see here.
.>5 ;ie+ : Ste& .2(a$ial Di)isions
=plit the face shape in half (ertically and hori>ontally.
These a1is lines are the %ose line $(ertical) and the
eyeline $hori>ontal). The %oseline should e1tend in a
cur(ed line from the top of the head to the point of the
chin.
%otice how the jawline meets up with the (ertical earline

%e1t
Back to Tutorials

.>5 ;ie+ : Ste& 52 (eature la$e"ent
&i(ide the lower portion of the face in half hori>ontaly to
pro(ide the bottom of the nose line. 7ollow the cur(e of
the face toward the back to see that the bottom of the
ear sits on this same line. 1+4 down from that is the
mouth line.
The top of the ear should e1tend just abo(e the Gyeline.
The top of the ear indicates the Brow line.
A E8 degree angle between the eyeline and the (ertical
earline is where we place the hairline.
.>5 ;ie+ : Ste& <2 the eyes
Gyes are to be placed on the eyeline $imagine that). " set
the corners of the eye on that line. %otice that the eye
father away from the (iewer is shorter in length. This is
to simulate the cur(ature of the head. "t takes a little bit
of practice to make this look right but if you laid out all
your proportion lines correctly it will make the task of
feature placement much easier. After lots of practice you
won#t need to draw as many setup lines.

Back
Back to Tutorials
The Female Body
5ere we are at stage 1;
%othing fancy. Hust a fast loose
stick figure that will ser(e as our
foundation piece. %ote that the
form is ? heads high.
=houlders are a 5ead and a
half from the top. =houlders and
hips are 3 heads wide.
5ips are 4 heads down.
?nees are 8 heads down.
?eep it loose at this stage but
be wary of your proportions.
%GJT
The Female Body
sti$k fi!ure sta!e 2:
%otice that you can draw a line
straight up and down from the
top of the head to the bottom
of the feet. Body mass is
distibuted e<ually on both
sides of this a1is for balance.
A*#S
3 and a half heads down is
where we locate the belly
button. This is also where the
elbow goes if the arm is
hanging naturally at her sides.
The arm starts at the shoulder
and ends with the hands
around mid9thigh.
=E9S
"n A%"MG, the legs are slightly
longer than the upper half of
the body. The ?nees are
located halfway between the
top of the hip and the bottom
of the foot.
%:*S:
The female torso can be
defined in casual, se1y stance
by slatning the shoulders and
hips in different directions.
,lick here to see what " mean.
%GJT
The Female Body
Sket$h fi!ure sta!e -:
%ow we start to flesh her out a
bit. 0ou ha(e to be good at
drawing cylinders and o(als to
do this right.
=tudy muscle groups to get an
idea of how the shoulders, arms
and legs are formed. The Breast
are located at the halfway point
of the upper torso.
Try to use only cur(ed lines.
%othing on a human being is
ruler9edge straight but that goes
double for a female. ,ur(y,
,ur(y, ,ur(y.
A good study model is =hirow#s
M9KK unit from Black Magic. "t
has the female form all broken
down into it#s basic shapes and
was a powerful influence for me
as far as getting my sketches to
this stage.
%ow#s where you start
tightening up your art. 'rab a
kneaded eraser and start
blotting away the fine sketchy
lines and keep only the lines
you wish to use for your final
piece. The cleaner you get at
the end of this stage makes the
ne1t stage that much easier.
%GJT
0ac$
, --
The Female Body
Sket$h fi!ure sta!e 2:
" gradually start to build her by
outlining my fleshed out sketch
from the last stage and
smoothing o(er all the Ball and
,one joints " used to build her
with.
The ?neaded eraser is my best
friend at this point as " blot o(er
her, remo(ing my stray lines
and getting a nice, clean,
usable piece of art. " go o(er
and start correcting mistakes "
made in the building process
and get the art really tight for
inking.
There#s nothing worse than
inking sloppy pencils so BG
,DGA%..
%GJT
The Female Body
(inal (i!ure:
...and here she is. %ot my best
ink job but it gets the point
across. All traces of pencil are
remo(ed at this point and " take
the final inked sketch to the
scanner and get her all colored
up. $" just so happen to ha(e a
tutorial e1plaining how to do
that L/)
This tutorial is to ser(e as a
reference guide to gi(e you an
idea of how to construct a body.
"t shouldn#t be used as an A to B
to , tutorial because that just
shows you how to copy stuff.
Try to use the rules here to
make different poses and
characters.
5ope this helps somewhat. " will
ha(e another tutorial on the
female in action and e(en a
5ow to draw males class.
As always...let me know if " can
e1plain anything further to you
and "#ll do my best to assist.
Back to Tutorials.
Ste& 5: =on!@ =ush =ashes
Fp until now the eye was kinda Blah. 7lesh out the
eyelids with some hea(y duty, fluttering lashes. This
adds weight to the eye so it#s not ust floating around on
the face. "t also draws the (iewers attention. The
thickness of the lashes will depend on a character.
2b(iously Male characters won#t ha(e this trait and
younger females should also ha(e a thinner line. This
eye is more for the se1y adult female
Stroke :rder:
" didn#t really ha(e this part down until " started studying
?anji. Hapanese ?anji is produced by a series of
strokes in a specific order and pattern. " find this order
also works well for eyes.
1) start light and press harder as you mo(e to the
outside.
3) =tart harder and lighten pressure as you mo(e down
4) =tart medium and lighten pressure as you mo(e down
E) =tart light and increase pressure as you mo(e to the
outside.
Ste& <: S&e$ta$uar S&e$ulars
A =pecular is the reflection of light on a reflecti(e
surface. "n this case, the eye. The placement of the
specular on the eye should be indicati(e of the light
source.."f the light is coming from the upper left..the
specular should be on the upper left of the iris. in this
case, The light enters the eye from the upper left and
e1its through the lower right.
"n Manga, =peculars are also used to add emotion to the
character. "t adds sparkling life to happy eyes and
<ui(ering tears to sad eyes..
We' Desi!n / Art 02111 atri$k Shettles+orth: Studio Ato"i$a

Traditionally, Anime+Manga characters are portrayed as lipless. 5owe(er, it is possible to
ha(e characters with full, e(en pouty, lips. The trick is to draw the mouth in the traditional
anime way then apply the lips to it. "f you keep the proportions right it will look good..."#ll
show you.
7nderstand the Sha&e
The mouth has a Bow shape to it. The upper lip is like
those seagulls you used to draw when you were a kid.
The lower lip is more like a Bow from a bow and arrow
set.
:&en and shut $ase
These shape principles remain the whether the moust is
open or shut. 5owe(er, The wider open the mouth..the
more streched the lip therefore you should draw it thinner
if it is @"&G open.
Ste& -: %he setu&
%ow that you now the difference between the top and
bottom lip we can begin to apply that to our traditiona
anime mouth.
5ere#s a low detail anime mouth. "f there was an upper
row of teeth (isible and maybe a small shadow to define
the lower lip we would be done...but we are going to
e1pand on this.
Ste& 2: 'o+ in the to& li& a 'it
=tart to work in that =eagull shape to the top lip. Begin to
(isuali>e this as a 4& object. " ha(e made a few
centerlines here to help me define the correct angle of
the lips for the ne1t step.
Detailin!
@ork in the lips as shown here and in the first 3 pics. Add
some teeth and darken the interior of the mouth $if
(isible) to gi(e it some depth.
"f you are coloring the piece..it#s best define the lips
through color shading. Fpper lip should be darker than
the lower lip.
Kee&in! it AAni"eA
Traditionally, if a person is looking straight ahead you
could draw a dotted line from the middle of their eye
down their face and find the corners of the mouth. That#s
how you would normally determine width. BFT, since this
is anime, Mouths are only as wide as the inside corner of
the eyes $for women).
" intentionally drew this pic in Fltra9=hirow mode since
=hirow is one of the few manga artist that actually draw
lips.
,heck out Adam @arren#s stuff too. 5e tends to draw lips
on his characters as well ..a little too big sometimes but it
still looks good.
We' Desi!n / Art 02111 atri$k Shettles+orth: Studio Ato"i$a
Chi'i Art 6a4k4a Su&er Defor"ed): ,hibi is a Hapanese term for small. ,hibi art is used
a lot to con(ey humour or cuteness $kawaii mono). "t#s a decepti(ely simple process "#ll take
you through now.
Ste&-: %+o heads are 'etter than -
,hibi characters are only 3 heads high. =tart your
drawing by stacking 3 same si>ed o(als on top of each
other.
Ste& 2; Bi! head@ =ittle 'ody
%ow that you know how little space you ha(e to make
the body sketch in some cute little pose. Fse similar
techni<ues to construct this body as you do a regular
si>ed body. Build a manne<uin out of basic shapes. The
arms and legs taper to a rounded point.
Ste& .a: Hands 2 doBs and dontBs
D:; make a small, well formed hand like a baby#s hand.
,hubby forearms tapering into dainty little fingers.
D:NB%; Make a Mickey Mouse styled cartoon hand
Ste& .': (eet 2 doBs and dontBs
&2; Taper the leg down to a tiny nub. 0ou don#t really
need to define the knees. Make a small line to separate
the foot from the leg. Dike a tiny balerina foot.
awwwwww.. dats so cute.
&2%#T; Make a &isney9es<ue little Du Du foot. The leg
should come straight down into the foot. &on#t actually
define the typical wedgey foot.
Ste& 5: Define the key features4
7rom here it#s pretty easy. =lap on some clothes and
start adding details. The mouth is like the letter &
turned on it#s side. The nose is not defined as a strong
line. "t#s best to lea(e it out all together or define iy with
shading if you decide to color it in.
Ste& <: Cleanin! u&:
Fse a kneaded eraser $see Materials) and blot away
your lighter support lines while darkening in the lines you
wish to keep. *oila
And there we ha(e it. A nice little
,hibi friend to call your own..ain#t
she sweetA.
Maybe "#ll make a keychain out of
her.

Back to Tutorials
.
The Male Body
5ere we are at stage 1;
%othing fancy. Hust a fast loose
stick figure that will ser(e as our
foundation piece. %ote that the
form is ? heads high.
=houlders are a 5ead and a
half from the top. =houlders are
3 or more heads wide.
$more for heroic types..less for
dweebies)
5ips are about a head and a
half wide. 5ips should be
narrower than the shoulders.
5ips are 4 heads down.
?nees are 8 heads down.
?eep it loose at this stage but
be wary of your proportions.
%GJT
The Male Body
sti$k fi!ure sta!e 2:
%otice that you can draw a line
straight up and down from the
top of the head to the bottom of
the feet. Body mass is
distibuted e<ually on both sides
of this a1is for balance.
A*#S
3 and a half heads down is
where we locate the belly
button.$mouse o(er the image
to see the guides)This is also
where the elbow goes if the arm
is hanging naturally at his sides.
The arm starts at the shoulder
and ends with the hands around
mid9thigh.
=E9S
"n A%"MG, the legs are slightly
longer than the upper half of the
body. The ?nees are located
halfway between the top of the
hip and the bottom of the foot.
%GJT
The Male Body
Sket$h fi!ure sta!e -:
=tudy muscle groups to get an
idea of how the shoulders, arms
and legs are formed. 5ere#s a
little help for the chest. ,D",?
5G!G
The Male figure carries itself
different than the female.
Gmphasis is placed on the
shoulders rather than the hips.
%ow#s where you start
tightening up your art. 'rab a
kneaded eraser and start
blotting away the fine sketchy
lines and keep only the lines
you wish to use for your final
piece. The cleaner you get at
the end of this stage makes the
ne1t stage that much easier.
%GJT
The Male Body
Sket$h fi!ure sta!e 2:
" gradually start to build him by
outlining my fleshed out sketch
from the last stage and
smoothing o(er all the Ball and
,one joints " used to build him
with.
The ?neaded eraser is my best
friend at this point as " blot o(er
her, remo(ing my stray lines
and getting a nice, clean,
usable piece of art. " go o(er
and start correcting mistakes "
made in the building process
and get the art really tight for
inking.
There#s nothing worse than
inking sloppy pencils so BG
,DGA%..
%e1t
The Male Body
(inal (i!ure:
This tutorial is to ser(e as a reference guide to
gi(e you an idea of how to construct a body. "t
shouldn#t be used as an A to B to , tutorial
because that just shows you how to copy stuff.
Try to use the rules here to make different poses
and characters.
As always...let me know if " can e1plain anything
further to you and "#ll do my best to assist.
Back to Tutorials.

" was looking at some books and going through some basic animation re(iews when " saw
an old trick on doing cartoon character bodies using the 7lour =ack method. " modified it a
bit to fit in with a more realistic look. " call it the Bean method...there may already be a
bean method but "#m unaware of it. 5ere#s my take;
Dra+ a 'ean
0ou sit down to draw and you think hmm..male
torso...complicated..but if you think..hmm..kidney bean..That#s
Gasy.
&raw a bean shape and di(ide it (ertically down the center. /ay
attention to it#s contours. &i(ide it hori>ontally abot 3+4rds of the
way down. @e#ll call that the waist line.
Balloon ani"als
2?..so it#s not really a bean..just (aguely bean shaped. "magine
now that it#s inflated and you can twist it like a balloon animal. %ote
that the centerline twist with it. This will help you make actions
poses in later steps. That center line is G==G%T"AD to keeping your
bodies from looking lopsided.
A ne+ )ie+
"magine now that it#s your old school '.".Hoe doll with the head,legs
and arms popped off. =ee how we#ll attach the limbsA
$note; you should make the bean o(er an e1isting stick figure. &ont
start your drawing with the bean.)
A finished +ork
The fact that " used a bean shape to make this torso would be all
but unoticable if " hadn#t greyed it in. "t was <uick, easy and " didn#t
spend an hour working on the upper torso and waist as seperate
entities. The work has a more fluid feel to it. Try this method out if
your finished art is looking too blocky.
$&oes it look like !yo 5a>uki to anyone elseA)

A 'ean at any an!le:
/ractice drawing the bean
shape from different
angles and imagining how
the limbs would attach to
it in that position. Be
creati(e. &ouble check
your proportions. The
Torso in it#s entirety is
about 4 heads high $from
collar to groin) The upper
torse being 3 heads and
the waist being 1 head
tall.
We' Desi!n / Art 02111 atri$k Shettles+orth: Studio Ato"i$a

.>5 ;ie+ : Ste& -2 the o)al
&raw a circle. The circle is the foundation of the head for any
(eiwpoint. "t doesn#t need to be a perfect circle like this. A basic
o(oid shape will do nicely. Measure out the face by figuring the top
of the head..the bottom of the chin and the eyeline about halfway
between.
.>5 ;ie+ : Ste& 22 the $hin
Add the chin and Hawline. Male faces aren#t as round and heart9
shaped as female faces. "t seems there are more (ariations
a(ailable for the male face than the female face. "#ll stick with a
standard type here. Make the angles sharper and the chin
s<uare..don#t come to a point.
7or now just make something like you see here.
.>5 ;ie+ : Ste& .2(a$ial Di)isions
5ere " decide the facial planes. "t helps me keep the features
together and tight.
%otice how the jawline meets up with the (ertical earline
.>5 ;ie+ : Ste& 52 *ou!h it in
5ere " lightly figure where the feeatures go using the same rules you
learned in my other head tutorials. Gyes appro1imately 1 eye9width
apart. the bottom of the nose sits on a line halfway between the
eyeline and the chin. The mouth about 1+4 the way down from that.
The ear is placed (ertically between the browline and the noseline.
.>5 ;ie+ : Ste& 52 %hat #ale (a$e
The ,heekbones and Hawline is what really helps differentiate your
character from other male characters you will create. "t also helps
define your character as distictly male if your ha(ing problems with
you males looking to feminine $2r maybe you draw bishoujo
style..in which case, ne(ermind).

.>5 ;ie+ : Ste& 52 Clearin! it u&
%ow you can start to erase your support lines and concentrate on
detailing the features. Male eyes aren#t as large and sparkly as
female eyes. They are more rectangular than almond shaped and
the lash lines arent as hea(y. Make the eyebrows strong and dark.
The nose should not be tipped up like on female faces. Make them
more @edge shaped.

.>5 ;ie+ : No+ you !ot it
5ere#s what " came up with for a final (ersion $granted a messy
one). " made the halftone in photoshop to gi(e it that manga feel
'ood Duck.
Patrick

Back to Tutorials
re2Ste&: Sti$k (i!ure Hero3
This is as complicated as you should get when
making a stick figure...stay fast and loose. Make
little circles to show where the joints and head
are. &on#t worry about fingers and toes. Hust
make a solid stick man.
Ste& -: Sti$k fi!ure set2u&
5ere " got a Hohn@oo set9up. The character is
crouched down behind a bar ready to jump out
and fight 'un>9a9bla>in#. " just concentrate on
making the gesture belie(able and dynamic.
Ste& 2: Ho+ do , "ake it Dyna"i$C
The first thing " draw $and " shoulda shown this
first) is the Dine of motion. This line is a smooth
cur(e that goes from the top of the characters
head, through the body (ia the spine and out . "
build the stick figure on this line.
Ste& .: (leshin! it out
"n my 3 prior tutorials " show you how to draw
body parts using balls, cones and cylinders. " just
posted another tutorial on 7oreshortening..check
those out for help on this step.
?eep the integrity of the stickfigure and lightly
work in the body shapes.?eep fast and
loose..don#t press to hard with the pencil here.
Ste& 5: (inishin! u&:
Fse a kneaded eraser $see Materials) and blot
away your lighter support lines while darkening in
the lines you wish to keep. *oila

=ee another figure in actionA
Back to Tutorials
Ste& -: Sti$k fi!ure set2u&
5ere " got a superhere type set9up. The character is ready to
throw a punch and defend justice. " just concentrate on
making the gesture belie(able and dynamic.
Ste& 2: Ho+ do , "ake it Dyna"i$C
The first thing " draw $and " shoulda shown this first) is the
Dine of motion. This line is a smooth cur(e that goes from
the top of the characters head, through the body (ia the
spine and out . " build the stick figure on this line.
Ste& .: (leshin! it out
"n my 3 prior tutorials " show you how to draw body parts
using balls, cones and cylinders. " just posted another
tutorial on 7oreshortening..check those out for help on this
step.
?eep the integrity of the stickfigure and lightly work in the
body shapes.?eep fast and loose..don#t press to hard with
the pencil here.
Ste& 5: (inishin! u&:
Fse a kneaded eraser $see Materials) and blot away your
lighter support lines while darkening in the lines you wish to
keep. *oila

=ee another figure in actionA
Back to Tutorials
Ste& -: Sti$k fi!ure set2u&
5ere " got a spy type set9up. The character is
sneaking into the head<uarters of 'lobo,hem to
steal the plans for the e1perimental bioto1in. " just
concentrate on making the gesture belie(able and
dynamic.
Ste& 2: Ho+ do , "ake it Dyna"i$C
The first thing " draw $and " shoulda shown this
first) is the Dine of motion. This line is a smooth
cur(e that goes from the top of the characters
head, through the body (ia the spine and out . "
build the stick figure on this line.
Ste& .: (leshin! it out
"n my 3 prior tutorials " show you how to draw
body parts using balls, cones and cylinders. " just
posted another tutorial on 7oreshortening..check
those out for help on this step.
?eep the integrity of the stickfigure and lightly
work in the body shapes.?eep fast and
loose..don#t press to hard with the pencil here.
Ste& 5: (inishin! u&:
Fse a kneaded eraser $see Materials) and blot
away your lighter support lines while darkening in
the lines you wish to keep. *oila
(inal Note: %othing helps with out action drawing like good reference material. 'et your friends to pose for
you or clip pictures from action mo(ie maga>ines. Anytime you see a pose you like '!AB "T. 0ou ne(er
know when you might need it. After a while you#ll be able to draw right out of your own head.

Back to Tutorials
2k..so here#s my first tutorial "#m doing under protest. "#m not really a great mecha artist so "
feel a bit uncomfortable showing others how to draw one. "#ll try to e1plain some of my
philosophy on designing one which may spark an idea or two for you. 5opefully this will be
worth the effort.
#e$ha : Ste& -2the stru$ture
Dike e(erything. " start with a stick figure. @ith Mechs
you can be more creati(e with the proportions. 0ou
don#t e(en ha(e to make them humanoid. "#m sticking
to the basics here so "#m going to draw a humanoid
mech.
" make sure " lea(e the shoulders wide and the legs
set apart for balance.
#e$ha : Ste& 22 rou!hin! in
%ow here#s where " do mechs different than humans.
" dont really do the Ball - ,one setup. "f " do " always
end up with a Transformer type mech and those are
too blocky and old school.
"nstead " think bulky and powerful. Darge bulges that
house machinery, Armored joints, sensor arrays...ect.
" try and make sure the joints, though armored, can
mo(e freely. @hat good is a mech if it can#t make it#s
hands meet in front of it.
Think about the function of the mech...is it for urban
useA =paceA &oes it doe hea(y liftingA &oes it need
to be fastA &oes it need to withstand harsh
en(ironmentsA
#e$h : Ste& .2detailin!
After " get to a shape "#m happy with " start erasing
unecessary lines and and darkening the ones " want
to keep. " add seam lines and tiny access panels all
o(er the me" made the chest ca(ity large cu>
because that#s where the engine would ha(e to be.
This mechs about 6 ft tall and unmanned
#e$h : Ste& 52 inkin!
"#(e added a few more details and got the the inking
stage. " use a realati(ely thin line for the details.
Machines look better with a hea(y outline and fine
lines on interior details.
"f you#d like to see a large (ersion of this
drawing..click here.
Big Mech

Back to Tutorials
" was asked to put together a tutorial on clothing. " figured my goal shouldn#t be to show you
how to draw clothes. There#s too many styles. =o " thought it would be more useful to show
you how clothes beha(e on the body. That way you can at least get the physics right and
design whate(er you want.
Ste& -: Dra+ a 'asi$
fi!ure
@hen you first draw
your character don#t
worry about putting
clothes on yet.
"nstead, make sure
you ha(e them
fleshed out correctly
$see the body tutorial
if you need help with
proportions).
5ere "(e included
lines to help me place
the waistline, boots
and slee(es but no
details yet.
/rint this picture out
and grab a pencil to
follow along
We' Desi!n / Art 02111 atri$k Shettles+orth: Studio Ato"i$a
We' Desi!n / Art 02111 atri$k Shettles+orth: Studio Ato"i$a
Ste& 2: tra$k the
"otion4
,lothes flow o(er the
body like water. The
folds on clothes are
determined by kinetic
force and gra(ity.
/oly is twisting at the
waistline and the part
of her shirt thats
tucked in is pinned in
place but her chest
and shoulders ha(e
rotated to the left $our
left) and pulled the
fabric along with
them. @hat results
are sweeping lines
from the shoulders to
the tuck point.
5er right leg is
forward which pulls
the fabric tight o(er
her upper leg and
creates a fabric flow
in the direction of
motion.
Det#s see how this
works.
We' Desi!n / Art 02111 atri$k Shettles+orth: Studio Ato"i$a
We' Desi!n / Art 02111 atri$k Shettles+orth: Studio Ato"i$a

Ste& 5: Clean u&
"f you lept to the right
wearing the hoola
hoop. 0ou would
notice the hoop would
touch our waist on
the right side and
hang towards the
area you lept from to
the left. @hen you
landed the hoop
would carry the force
back to the right
trying to continue in
the direction you
leapt towards.
,lothes can be drawn
in the same manner.
They bunch up and
hang in the opposite
direction of the
motion.
"t#ll take some
practice to get it to
look right. Burne
5ogarth has an
e1ceptional book on
this subject called
&ynamic @rinkles
and &rapery
%eed help with
Buckles and lacesA
'o 5ere.
Ba$k to %utorials

0ou would think the buckle is simple but most
people represent it as a s<uare bo1 on a thick
line. A little attention to detail will make your
pics looks sharper. &raw the buckle as shown
here with the strap o(erlapping the back end of
the buckle and ticking into the loop.
5ere#s a Muick !elease buckle..used for
military type characters. The strap is made of
webbing instead of leather. The buckle is
undone by pressing the tabs toward each other
and pulling the ends apart.
Nippers are usually represented as a >ig9>ag if
you are distanced from your character. but for
close ups, try and make it like you see here.
Gach tooth is a small s<uare with a circle on
top of it..they interlock as shown here. "t takes
a little e1tra time but people notice the effort.
=naps are pretty straight forward and you don#t
really get to see the 3 hal(es together unless
the jacket is open. Again, good for detail in a
close up. =how the one docking end smaller
and rounded on the lip.
=orry for the messy o(als.." can#t find my
template.
Daces are often represented as criss cross
lines. "t looks better if you draw the laces as 4&
objects rather than a <uick line. =how them
o(erlapping each other and passing through
the eyelets. Also, since the laces are pullig
toward each other there will be buckling in the
material around the stress points. %otice how "
cur(ed the material around the eyelets to show
that. The tongue of the shoe+boot should push
through the criss cross a little bit to gi(e the
impression that the laces are cinched down on
the shoe.

Back to Tutorials
D,SC=A,#E*: 'uns and 0ouths are a contro(ersial topic today and " reali>e many of my readers are young
adults. My intent is only to show you how to draw guns for comic book purposes. "f you are under 1B, please
check with your parents before (isiting the handgun websites or continuing with this tutorial. /lease, 5elp
keep !osie 2#&onnell off my back.
%he Basi$ istol
The best way to draw a gun is to look at pictures of
guns. These aer a(ailable on most major gun
brand websites;
http;++www.glock.com
http;++www.sigarms.com
http;++www.ruger9firearms.com
http;++www.hecklerkoch9usa.com+
Beats getting the suspicious looks when buying a
gun maga>ine. 5ere we ha(e a 'lock 3K or Baby
'lock 6116
Basi$ Sha&es
Break the gun down into basic shapes. The more
you know about the mechanics of guns the better
if your a detail freak. " like to just get by. The major
parts of a pistol is the =lide, the 7rame and the
'rip $handle).
%he 9uts
My father#s a gun aficionado so he#ll laugh his
head off when he sees my lame cross9section and
e1planation...but it#s more detail than a comic book
artist usually needs ;)
The handle should be wide and long enough to
accomodate the clip. /ulling back on the slide
pulls the first bullet out of the clip and into the
chamber. @hen the trigger is s<uee>ed, the firing
pin $not shown) smacks the back of the bullet and
sends the lead part flying down the barrel..the
brass casing ejects out the top of the gun. The
force of the bullet lea(ing slams the slide back and
loads the ne1t bullet into the chamber.
%he estheti$s
%ow that we now the basic shap and what
components are needed to make a gun it#s time to
pretty it up a little with some sleek lines. The 'rey
area is the basic shape we already had..the red
sillouette is more or less the actual shape of a
'lock3K. 2nly reference material will help you
here...after you get more comfortable with styles of
pistols you can start getting creati(e with the
lines...just look at =hirow#s =eburo sidearms.
A little Detail
%otice "#(e added a be(el to the slide and put the
(erticle grips on the rear of the slide. "#(e
contoured the grip and made the trigger well a bit
more comfortable. Again, reference material helps
a lot. Build up a scrapbook of guns to whip out
whene(er your stuck.
@anna see moreA

%e1t; The Basic !e(ol(er
Back to Tutorials
%he Basi$ Sha&es
The !e(ol(ers has a few different parts
than the /istol. The most important
difference is a ,ylinder$ shown in red)
instead of a clip.
The trigger ratchets the cylinder around
to bring the ne1t full chamber up to the
barrel. /ulling back on the trigger also
releases the $green) hammer..
depending on single or double
action...don#t worry about it...and
smacks the butt of the bullet and sends
the lead flying down the barrel.Make
sure the top of the barrel lines up with
the top of the cylinder so the bullet can
e1it the gun safely...fo you.
*eloadin!
There#s a few styles of re(ol(er. =ome
ha(e the cylinder flip out to the side.
=ome, like this one, pi(ot foward for
<uick loading $ala T!"'F%). 0ou could
take off the whole empty cylinder and
slap another loaded one in there.
Detailin!:
5a(e fun with it. " ga(e this one a laser
sight under the barrel and a nice
ergonomic grip so it doesn#t look like an
old cowboy gun.
There#s some really sweet %ew =tyle
re(ol(ers. ,heck out the gun
manufacturer links on the pre(ious
page.

Back to Tutorials
olyKar'on
=toryBoards
/age1
Page(
=toryboards are essential for laying out
action and deciding camera angles. "
start by just ha(ing a grid of K s<uares.
@orking from the script " draw each
important action in its own s<uare. 2nly
1 action per s<uare.
7or e1ample; =cript says ,haracter
pulls a coin from pocket and e1amines
it
There are 3 important actions there.
1) ,haracter pulls coin from pocket
3) ,haracter e1amines it
$The journey of the coin from the pocket
to being in front of the face is not
important)
=o " would ha(e 1 panel being the
character rummaging for the coin and
the ne1t panel being the coin held up in
front of the character...=eeA
After "#m happy with the roughs " can
start concentrating on how they would
panel out on a page..which panels
should be big...which panels should be
small..ect...make sure my perspecti(e
is correct..yadda yadda
" lay the new roughs on a light table and
repencil them in a =F/G! clean
fashion.
.
02111 atri$k Shettles+orth: Studio Ato"i$a
olyKar'on
=toryBoards
Page1
/age3
=toryboards are essential for laying out
action and deciding camera angles. "
start by just ha(ing a grid of K s<uares.
@orking from the script " draw each
important action in its own s<uare. 2nly
1 action per s<uare.
7or e1ample; =cript says ,haracter
pulls a coin from pocket and e1amines
it
There are 3 important actions there.
1) ,haracter pulls coin from pocket
3) ,haracter e1amines it
$The journey of the coin from the pocket
to being in front of the face is not
important)
=o " would ha(e 1 panel being the
character rummaging for the coin and
the ne1t panel being the coin held up in
front of the character...=eeA
After "#m happy with the roughs " can
start concentrating on how they would
panel out on a page..which panels
should be big...which panels should be
small..ect...make sure my perspecti(e
is correct..yadda yadda
" lay the new roughs on a light table and
repencil them in a =F/G! clean
fashion.
.
02111 atri$k Shettles+orth: Studio Ato"i$a