Plan Using the Frog in the Can This brand-new volume offers a brand-new “sketching to plan" tin can crammed full of the fundamentals of manga sketching as well as suggestions and ideas to help the reader improve. This book is a condensed can of artwork, jam- packed with a wide range of styles, ranging from realistic renditions to stylized "abstracted" and "exaggerated" renditions. Now that is Sketching Manga-Style! HOW TO DRAW MANGA: Sketching Manga-Style Vol. 1 ‘Sketching to Plan by Hikaru Hayashi, Tekehiko Matsumoto, Kazuaki Morita ‘Copyright © 2005 Hikaru Hayashi, Takehiko Matsumoto, Kazuaki Monit Copyright © 2005 Graphic-sha Pubishing Co.Ltd. ‘This book was fist designed and publised in 2005 by Graphic-sta Publishing Co., Lid This English edition vas frst designed and published in 2007 by Graphic-sha Publisring Co. Lt. 4-14-17 Kudan-kita, Chiyoda-ku, Tokyo 102-0073, Japan (Cover art Keruakl Morita Original Cover Design: Hammer: Co, to Layout and Text Takehiko Matsumoto, Kazvaki Morita, and Hikaru Hayashi (Go Office) Editor: Motofum Nakanishi (Graphic-sna Publishing Co., Lt.) English Edition Layout Shinicht Ishioka English Translation: Lingua fra, Inc. (itp Jw lingua-tranca cop) Publishing coorcinatr: Michiko Yasu (Graphic-sha Publishing Co. LY) Project management: Kumiko Sakamoto (Graphi-sha Publishing Co, Lto,) Al rights reserved. No pat of this publeation may be repraduced sored ina retrieval system, o rasmited in any form a by any means, electronic, mechanical, photocopying, recording o otherwise, without the price writen permission of te pusher. Fest printing: February 2007 ISBN: 978-4-7661-1709-7 Printed! and bound in China by Evesbest Printing Co, LiTable of Contents Chapter 1: Sketching While Planning............0.5 Differences between Standard Sketching and Manga Sketching... A Look at the Manga Sketch Frontline Part 1 Drawing a Female Character Standing Drawing a Close-up of a Female Character’s Face......12 A_Look at the Manga Sketch Frontline Patt 2.......0.00.16 Drawing a Male Character Standing 16 Drawing the Figure in Reverse on ‘Manga Sketching Forms the Foundation of Paming sone Chapter 2: The Fundamentals in Sketching a Face Manga-Style. 23 The Basics of Sketching a Face Layout (Using Circles and X's)... nh Reduction of the Head Rendered Using a Circle and X Layout a 26 The Steps in Drawing a Face. 28 Drawing the Same Face... 29 Drawing an Assortment Of FACES ...nenmnsnsnnen BO The Basies in Drawing the Head. 36 Conceiving of the Head a$ @ Sdld.....soesnnennenenn The Basics in Drawing the Head 38 The Face's Musculature, and Expressions .....0.0neAT Drawing Facial Expressions Based on Muscle Movement .. 42 Chapter 3: The Fundamentals in Drawing a Figure Manga-Style ... eA The Backbone Forms the Base of Composition ‘The Backbone Travels the Length of the TOrS0 nx... The Backbone Is the Source of MovEMENt.......eeu0AB Adding Arms and Legs after Completing the Toso.......49 The Steps in Drawing a Figure 50 Guideline Defining the Backbone from the Front. 56 Drawing a Standing Pose Using ‘the Backbone and the Axial Line........... since Using the Axial Line to Draw a Front View Standing Pose with Presence Standing Poses and the Center of Gravity ne Noting the Spacing between the Feet When Drawing 60 The Body's Structure. Major Body Parts and Their Names...... 64 Muscles Affecting the Exterior Contours 66 Rendering Exterior Contours... 69 Distinguishing the Genders. aarseoraaa iD Figure Drawing... 13 76 80 80 88 Proportional Differences Makeup of the Primary Joints and Movement. 1. Basic Neck Structure and Movement 2. Basie Spine Structure and Torso Movemert.... 3. Basic Shoulder and Arm Connections and Movemert....... 4, Basic Leg Structure and Movement 5, Basic Hand and Finger Structure and Movement 108 6. Basic Leg Structure and Movement M2 Chapter 4: From Sketch to Design. a7 The Fundamentals of Stylzation... 118 Character Design Techniques Using Stylization. 120 Stylized Face Design... 122 Stylized Figure Design... sais OB Techniques for Designing Distinctive Chevoctrt 130 Thin and Trim Build... Powerful, Muscular Bulli... Grotesquely Muscular Build Slender Female Characters : Friendly Super-Deformed (Uitra-Stylized) Characters The Reality behind Key POSES... Composition Technique: Imagining a Box... What Constitutes a Three-Dimensional Figure?.. Placing a Figure in @ BOK ..ncnnnnnsns 148 ‘The Steps in Drawing a Figure from a Box. 148 Techniques in Dressing CharactErs...nn.ussnsesn 15D The ABCs of Drawing Clothes... 150 The Reality behind Dressing Characters. 155 Drawing Dynamic Poses... 158 Cover Character Designing Frontline. AGS Coloring Characters ......... Coloration Improvement Techniques... The Improved Palette. Improved Finished AMtWOEK ou. Att Discuss the True Netureof Mange Sketching ..178Introduction to make fiction seem real. (Matsumoto) The essence of manga and anime is portraying something totally fictitious or fantastic to make it seem real. (Morita) These are the techniques that allow the artist Excerpts from a Téte-a-Téte Interview Conventional sketching techniques lead toward realism as a style. Manga | and anime do not employ "realism" per se, but rather are worlds of | "realistic" versus "stylized" artwork. The realistic styles differ from reality. Rather than observing the actual object and sketching it, in order to render ‘the subject realistically, the artist must devise a way of drawing it to make it look convincing. This is what we describe in the book as "super manga sketching." ‘Artwork and Production: Takehiko Matsumoto and Kazuaki Morita Production Assistant ‘Takumi Takahashi and Haruki Takaliashi Production Support: Rio Yagizawa Cover Artwork: Kazuaki Morita Cover Design: Hammerz Co., Ltd. Layout and Text Takehiko Matsumoto, Kazuaki Morita, and Hikaru Hayashi (Go Ofice) Text Support: Hiroaki Yano Photography: ‘Yasuo Imai Editor: Motofumi Nakanishi (Graphic-sha) Support Logistics Inc., Seiji Kishi, Hokkaido Nippon-Ham Fighters, TV Tokyo Corporation, Himeya Soft, Inc., M no Violet, Kodansha Li. Enterbrain, Inc. 4Chapter 1 Sketching While Planning Sketching is a basic exercise in painting. To capture the subjects form, the artist typically draws while looking at a plaster figure, a still life arrangement, or human model positioned right in front of him or her. Sketching consists of carefully studying the suiject. In contrast, manga sketching consists of drawing without viewing the subject. (Manga arrists do occasionally use photograph or figure models as reference while sketching manga-style. However, the artist's task when working in a manga or anime context is essentially to produce a large volume of high-quality artwork within a limited time. Consequently, manga sketching is a technique where the artist produces artwork in an environment that does not consistently allow him or her to use a sample or reference when drawing, This technique was achieved through the artist devising his or her artwork while using logic and experience. It is possible that the origins of manga sketching may be traced to children's drawings, However, that manga sketching entails incorporating a variety of experiences as well as basic artwork techniques such as the head-to-body ratio make it a true art form, rendering comparisons to “children’s drawings” inappropriate Let us now take a look at actual manga sketching, where an artist gives birth to something out of nothing.Differences between Standard Sketching and Manga Sketching The sketchbook contains a wide variety of sketches: character studies, doodles, sketches of scenes from TV ‘or movies, studies drawn using pictures from photography collections as reference, etc. Samples from a Professional Manga Artist's Sketchbook Jam XN \ \ y \ Xe ‘ 41> \ r; Character Design Studies: The { artist congeals the character's A personaly, actions and behavior, if and overall look by sketching the f/ character in a variety of poses. \ / = cy \ i Action Study: Abundant use is made of manga techniques like special effect Ines and hatching to suggest speed ‘Manga Doodles: Sketching favorite manga and anime characters and scenes constitutes anather important exercise in drawing for the artist. Building experience in drawing expands the artist's range of skills‘Action Scene: These sketches are studies of ‘motion and composition. If you happen to notice a visual striking, key scene or pose wile ‘watching a TV drama or movie, etc. take the ‘opportunity to practice drawing it. Even a sketch of the figure’s outline or the general composition ill prove helpful in producing your own work. Not only is it helpful to create a careful rendition of a selected, target subject, but producing an abundance of casual doodles and sketches also proves beneficial. If you constantly and copiously sketch subjects that capture your interest, your ‘manga sketching skills will improve. This is carefully rendered study copied from a photography ‘book or other reference material f a background appears in, the reference material, include the background in your study as well as the subject. Focial Feature Study: Make a point of drawing ample studies of the iris, pupil, and eyelashes, et.A Look at the Manga Sketch Frontline Part 1 From Kazuaki Morita's Desk This section takes a close look at how an artist uses manga sketching to render a character when drawing (Akira Hayashi) Drawing a Female Character Standing Morita sits at his desk and immediately starts to draw First, | draw a rough sketch of ) the character in a pose, based on how | picture the character in my mind, | already have a visual concept in my head. Drawing a Rough Sketch This refers to producing a rough sketch generally showing only outer contour lines. The figures on this page show Morita's rough sketch ®@ The head and the upper body rapidly take form. The only one who knows how the head will look and what the pose will be is Morita, who is drawing the sketch. We observe in silence. But then within the span of a few seconds, a full igure takes, form on the paper. Not once does Morita use an eraser. He produces the drawing almost immediately using solely his ‘mechanical pencil fa ,, Morita continues to move his mechanical pencil,In the blink of an eye, an enchanting face and beguilingly curved figure appear. @ | © Here, Morita traces over lines he has already Morita adds breasts to the previously board- Without even once using an eraser, Morita drawn in order to make lightly penciled like chest. At this point, the artist is free to swiftly adds in the eyes as the face's exterior strokes more visible. In manga, this can be choose the sizes and shapes of the breasts. contour takes shape. considered akin to inking, { pees The bald head looks odd tothe neophiyte, ® = The head looks lke an egg. Since all that I've realy drawn isthe head's layout, | can adjust the shape as | add the hai” We are able to observe Morita adjust the size of the head's rear region. Moving the penci's tip, Monta add the character's supple hai. Ifthe hair comes out well, then the entre composition becomes imbued with movement, which makes the character look more appealing. The hai is vital to portraying @ character.” Perhaps having a congealed concept of how the character shoul look made the hair so critical to the composition 9“In manga, what follows from this point on is in theory similar to inking." tt surprised me that Morita essentially drew the contours three times. First, he sketched the contour layout, then he traced the contours, adjusting them, and then he adjusted them once again. Finally, after five minutes had past since starting, Morita completed the under drawing, "Having the fingers arc back makes the hands look attractive and charming in a ish way. tis extremely difficult to maintain an ever thickness for al the fingers, 90] take extra care when drawing them, lo iff Upon hearing me whisper, “Oh, it wasn't finished yet?” Morita responded, "If you manage to draw the lines carefully at the under drawing stage to approximately this extent, then you should be able to go through the contour clean-up stage without much hassle." Professionals are always thinking about the next step, regardless of their particular occupation, ‘Adding the eyelid contour and the iris and pupil heightens the sense that the characteris alive. "tt certainly looks much more finished now, doesn't it?" "All ight." al sit finished?® Morita draws the hair last and adds tines to the irises. The under drawing is finally "Well for now iis." ‘complete, and approximately ten minutes have passed since Morita started drawing. 10“Once | have completed what in manga we call the ‘under drawing’, | step back and take a look at the composition and then add corrections." Key Points in Adding Finishing Touches A “When drawing the shoulder, leaving ‘a gap between the contour coming down from the neck creates the illusion of roundness." f | “when drawing the waist, allowing Lf the stroke from the upper porn to Wh / ccut through the contour gives the Ay tas a sense of woume.” Ahi “Wile the toes might seem tke a minor detail, fang to draw them / / property wil ruin the entire / ‘composition, so | take extra care { / with ther." \ / { “you didn’t once use an erase, did you? wy ' wil. 'm planning on adjusting the waist and the legs.” = ‘Morita reports that he normally repeats the steps of correcting and redrawing ‘The entre process takes between an hour toa half day to complete. "it would be misleading ifthe readers thought | only spent ten minutes on each drawing,” explains Morita anDrawing a Close-up of a Female Character's Face ‘The Steps to Completing the Face's Contours @ @ Using extremely ight strokes, Morita draws a Lite by litle, Morita bulls up pencl strokes. Morita draws @ faint cross on the face and circle, which bacomes the face's layout. then ads @ layout forthe neck ® Morita adjusts the contour from the cheek to the aw ® he © ! \ ‘The face's exterior contours are almost finished. Morita traces the neck’s contours while adjusting the face's shape. 12Drawing the Facial Features and the Hair Layout @ Atthis stage, you should use sight darker fg) strokes than wen drawing the face's layout Avoid applying too much pressure, and use Morita craws the contours ofthe left eye, ‘Morita cleans up the face's contours. strokes that can be easily erased while paying careful attention tothe right oyo's size and share. ® o / The impression the character generates changes greatly according to whether the hair covers or does not cover the forehead, so the bangs should be drawn while checking the effect on the character's appearance, Adjusting the Neck's Contours \ : S77 | Morita draws precise shoulder contours The clavicle gives the character a sense of three-dimensionaity. 13 while carefully adding the hair.The Steps to Completing the Face's Contours Thickening and darkening the upper eyelé's Here, Morita reinforces the hai's contours contours accentuate the eye and strengthen starting with the bangs jst as whan he the impression projected by the character. sketched the layout. Try to draw the exterior contours of the pupil approximately the same thickness as the upper eyelid. This creates the sense of round eyeballs and Gives the character a clearly defined gaze. ‘Adding shadow underneath the chin gives the Take care to avoid making the mouth’s contours too thick. Ciealy delineating head a sense of three-dimensionalty. the corners of the mouth creates the appearance of a tightly closed mouth. Drawing the Figure's Interior Contours When a layout line is making the ‘composition appear sloppy and is The chest should be drawn as becoming distracting, erase the line ‘Marita has finished the under drawing, needed. taking care not to erase the final outlines 14 and contours.Completed Under Drawing The layout li particular under draw ines stil remain, When producing your own under crawing, make an effort to draw iy light ines in the layout stage So that te final outlines and contours wil stand ou in the ng stageA Look at the Manga Sketch Frontline Part 2 From Takehiko Matsumoto's Desk This section takes a look at how another artist approaches drawing at his desk. The reader should take note of commonalities in the drawing capacity afforded by manga sketching, Drawing a Male Character Standing “First, I do a little thinking,” Waist guideline Matsumoto carefully considers how to approach the drawing. While relaxing, he ‘summons his power of concentration, as would opetd se i left wondering when he Groin guideline ‘After deliberation, Matsumoto slowly picks up his pencil Matsumoto draws the figure's contour in highly ‘and begins to sketch a layout ofthe head and the skstohy manner while adding informal quidelines to shoulders. Matsumoto layers one fine stroke upon establish the postioning of the waist and groin. another, and as his hand moves to build up the form, | begin to see the upper body of a human figure emerge } Height of one head Target position ofthe waist Target postion ofthe groin Ait tums out, Matsumoto had been double-checking the figure's proportions based on how he planned the character's head-to-body ratio." ‘make rough approximations while I'm drawing, but the concept ofthe head- to-body rato is essential to drawing.” 1:8 Hoad-to- | Body Ratio ~ ‘Matsumoto casually uses his fingers to check the figure's ‘overall proportions. While | watch him absentmindedly, he ‘makes a number of other indiscernible movements, 16“Lines Sought" "Lines Drawn" ‘refer to these as my hesitation lines. Really what they represent is ‘my seeking the perfect positioning of the line that will appear inthe final : drawing,” asserts Matsumoto. Upon hearing this, Morita comments, "So, ‘tore are lines we use to seek and lines we ultimately craw. Strictly speaking, the two are impossible to cistinguish, The lines form as we draw." ® ® ‘The character's full igure gradually takes shape as Matsumoto weaves his internal vision onto paper. The images below show the actual transformation, Watching the Legs Actually Take Shape @ ‘The layout sketched inthe first stage ‘The legs in an intermediate, formed state An almost completed under drawing of the legs “Why are you erasing it?" For those who are actually right-handed, hoiing the "Because the hands aren't positioned pencil in the right hand and property.” the eraser inthe left Upon drawing the forearm and hand speeds up the drawing ‘extending from the upper arm, Matsumoto process. Having to put unceremoniously erases them. Artists down the pencil and pick make split-second decisions based on up the eraser means that a ‘extensive experience. iis then that | break ooours in the notice another detail drawing process. Not “You hold the eraser with your left hand?" Jf raving 0 make the switch “Yeah. This way, I don't have to put down allows the artist to the pencil. just got used to doing it.” ‘maintain momentum, 7“The following is the process by which lines sought evolve into lines drawn." "Some artists start withthe nose or Matsumoto draws the second eye "You prefer not to draw the jaw's contour tine?" mouth, but | always begin with the using the first eye as reference. "Using hatching to shade the underside ofthe chin eyes.” “W's vital that the artist maintain seems more effective for generating the feel of awareness to ensure the right and looking atthe face from a low angle." left sides are balanced." Series of Images Showing the Figure Develop ‘The above are a time-elapse series of images showing Matsumoto build up the inside ofthe atm, the underarm, and the arm itself extending all the way down to the hand. “Wile the arm and hand are both body parts, visualizing the arm as connected to the torso when Arawing does rutin a mare reliably satsying figure.” EF? (Feaaega eaten ot = x 's0 you should take care to step back a | every now and again while you draw ‘and take a look at the composition as | a whole to ensure that itis balanced." “I maintain awareness of how the neck and Matsumoto later goes back shoulders connect when | draw the clavicle. This add emphasis to the elbow. ‘bone is not something that merely sits below the "This constitutes the final ‘neck. It really forms the linchpin of the upper body.” touch for the figure." 18Completed Under Drawing Key Points in the Finishing Touches es Using dark strokes creates the look of a taut abdomen. "Since this is a male character, ‘accentuating the angular look of the fist's knuckles results in a more satisfying image." Final image 19‘Manga sketching is an artistic technique entailing the creation of something from nothing. This time, we show how an artist uses a reference source (a model) to create something from something. On this page, Matsumoto will use the standing male character drawn in the previous section to create a mirror image of that figure. Drawing the Figure in Reverse @ Here, Matsumoto produces a layout of the overall figure. Since he has a ‘completed drawing to use as reference, the pose is already determined, and the drawing progresses rapidly. At this stage, ‘Matsumoto devotes approximately ‘80% of the time paying attention to the overall figure and the other 20% noting the individual parts, 20 Bs ) of? x Matsumoto draws the arms while adjusting the ines. Since he has already completed the layout, he now spends 80% o his attention Aevoted to where to postion the various body pars. } $ Original drawing (approx. 40, ‘minutes to completion) ‘While sketching the figure’s layout, Matsumoto draws igo: tng ‘waist, and groin. ‘When sketching the layout, the artist should spend about 80% of the time looking at the overall figure." Completed reverse image (mirror image): The reverse image is composed at a slightly higher angle than the original drawing, and the figure seems more stably balanced (approximately 10 minutes to completion) ‘Manga sketching is a technique that allows artists to breathe ‘more life into their characters, Using a layout to capture the figure provides the advantage of enabling the artist to produce the sketch even more rapidly when an original rawing or other form of reference material is avaiable.Using Circle and X Layouts for Close-ups of the Face as Well as the Full Figure Both Takehiko Matsumoto and Kazuaki Mora started ther drawings wi layout sketches. A circle and X layout is the type used for the face, and this form of layout is fundamental to mange-style sketching. Circle and X Layout: Basic Close-up of the Face Element in Manga ‘Sketching & ‘i / | 1 - \ re 7 a & 4 i ) | o eo | | The above figure shows a \ | recon motandn’ \ Rasta gem Tia eaee es and crosses (ie. X's). positioned, marks are added as close-up ofthe face that fits on the \, guides for determining the thet size. sheet of paper. \ Fu Figue = When drawing a {ull figure image, Rar thetrickisto | A sketch fist the head's layout, taking into consideration (Matsumoto) "I fee pressure the character's being photographed white 1 esired build «draw. My occupation is more } | and head-to- behind-the-scenes work body ratio i.e. | Artists like myself compete figure through figures moving in an | | proportions). animated film or computer [ay monitor that we have drawn, | Arist labor to produce satistying artwork. I sae itas a y way of imoroving and hope Blank space | that, ikewise, the reader wil also find the struggle a step to bl becoming a better artist." Here, the circle and X layout establishes The head-to-body ratio may be altered, a size forthe face that allows the entre reducing the sizeof the body relative tothe figure oft on the sheet of paper. (The head. This would allow for a larger head while above image shows a character drawn at stil ensuring thatthe full figure fits on the 8 1:6~1:7 head-to-body ratio) page. (Morita) “I second what Matsumoto said. Both Takehiko Matsumoto and Kazuaki Morita are outstanding artists | take a fairly matter-of-fact approach to who have been engaged in character design for anime and games as Imy artwork, 80 my work pace tends to well @s have been involved inthe artistic process from genga (drawings ‘appear rapid. But | don't want to give the reflecting Key scenes in a sequence of cells or motion) production to impression that | just crank out my artwork direction. Matsumoto and Morita were classmates attending the| ‘drawing. | am constantly drawing a wide Same junior high and high schools and chronicle a history of rivalry variety of subjects, and my artwork is the dating back some 20 years. Both boast experience in producing manga product of repeated trial-and-error, tol, Manuscripts and are receiving attention ina field that cultivates talent sweat, and tears. as well as effort 21Manga Sketching Forms the Foundation of Planning What is generally referred to as "sketching" involves looking at the subject and drawing it. Therefore, "sketching," emphasizes one's powers of observation. However, anime and manga characters are stylized. Even when based on an observed \ subject, such characters are not rote, unadulterated recreations of the artist's observation but rather formed according to the artist's descriptive ability coupled with expressiveness. The field of commercial artwork, which includes manga and anime, was never based solely on the artist's sketching ability. However, the talent to sketch has gradually of ‘grown less of a basic requirement as time passes. In addition to talent in sketching, the abilities to stylize character, to give a character different looks, and to imbue the character with versatility in ‘movement have become desired skills for an artist. Manga sketching is a production technique that meets these demands. All artists, even professionals, hesitate and change their minds while producing artwork, including single- panel works. Hesitation might be considered a condition toward improvement. Perhaps you, the reader, will find that if you are able to master manga- style sketching, you will boost your awn ability to create a new world that reflects your personal styl. 22Chapter 2 The Fundamentals in Sketching a Face Manga-Style ‘Manga sketching is not a special technique but rather an extremely common tool artists use to draw. This chapter begins by teaching how to draw a face, The most fundamental of these basic techniques is the circle and X layout. Those who have only a passing knowledge of ‘manga and anime will stil recognize this technique. All manga sketching originates from this basic circle and X layout. 23The Basics of Sketching a Face Layout (Using Circles and X's) "Seeking lines" Give Birth to the Character The character takes shape as the artist layers stroke upon stroke, including those of the circle and X layout. The artist plans while drawing and draws while planning. Many “seeking lines" become layered one on top of the other as a result. However, these lines function as guides in drawing the face's contours and individual features. To the let is an extremely general circle and X layout. This {s sufficient for an initial layout Circle _—— Layout cirdle Lines forthe cross { (be. the "x" f Cross ‘These strokes result from layering lin upon line and ll ae a duster of “seeking lines" or “sketchy lines." f Circle and X Completed under drawing Use care when drawing these general, layout lines. They assist in the creation of the final character. 24Common Methods of Stylizing a Character Gircle and x Layout This is common to all faces. In arealistc drawing, the \ second ear would not be included if t were normally obscured from that angle of composition. Realistic Rendition with Minimal Stylization This style is used for realistic drawings, realism manga with dramatic plots, etc. Ina manga-style rendition, the second ear might be included: although, realistically speaking It ‘would be obscured from that ange. Abstracted and Stylized Version This style appears in jido manga (manga targeted to young children), shonen manga, and four-panel = manga. ‘Simplifying or abstracting a character JAX allows for infinite variations and ‘constitutes the mast basic and / effectives technique for portraying an ‘emotional expression in an easily recognizable way. Facial features, including the eyes, nose, ears and the shape of the face may be divided into four general categories, according to the degree of stylization Slightly Abstracted Version ‘This style appears in shonen manga (manga targeted to boys), seinen manga (manga targeted to young, post-adolescent men), ladies' manga (mranga targeted to women), etc. Highly Abstracted Version This style appears in four-panel manga and in solitary panels or drawings, etc 25Reduction of the Head Rendered Using a Circle and X Layout Starting from a General Sketch ‘The Circle and X Layout Functions as a General Guide The head (rendered using a circle and X layout) constitutes the foundation determining the head's size and direction it faces. This center line runs ‘through the nose's center This line runs along center, dividing the head's upper haf and lower halt. Ref. Fig: Facial Feature Guidelines Approximate n= centerline | = Hairline guide: Marks the position halfway between the head's _ { ‘crovm and the eyes \ i « ie t Eyes: Lie halfway between the \ i HSS ets ern an te cin \ L | we © General guide tor eed General size of = the eyes! t the head position mt 26 / Nose: Lies halfway between the eyes and the chin Mouth: Lies hatfway between the nose and the chinThe Circle and X Layout Determines the Direction Faced The layout establishes the size ofthe head and the cirection it faces. Ensuring thatthe circle and X layout clearly indicates the head's size and direction faced, even in a general sense, is more critical than rawing a precisely drawn layout. Circle and x layouts effectively indicate the head's size and direction faced even on a small scale Drawings that include the body tend to be more ‘common than those of just the face. Panels of two ‘or more characters also frequently appear. ‘Sketching a figure layout and then designing the panel is essential to producing a comprehensible ‘composition Panel designs that incorporate figure layouts are Key to determining Whether the composition will work or needs tweaking o7The Steps in Drawing a Face Layout First, draw the exterior Starting with the Exterior Contours - ‘contour and then readjust Once you have drawn a layout, it does not matter if you begin the formal under drawing from the outside (the exterior contours) or the inside (the facial features). ‘Add the eyes, nose, and ther facial features, \ \ ‘the eyes' postion. Starting with the Eyes and Nose First, draw the eyes and ‘nase along the cross (X) layout and then add the exterior contours. Draw the hair, ears, and other details. Completed under drawing Adjusting the Shape of the Face from the Initial Layout Circle This example illustrates how to draw a character with an oblong face. 28 Technique A Technique B we . r || A i y @ atad ow! layout. layout, the eyes’ guideline. reflect the desired face shape forthe character. Faces come in a range of shapes: circle, triangle, and rectangular. In addition to determining the character type, you as the artist must also decide what face shape to give the character. A variety of face shapes will expand your production range when it comes time to modify or design a character.Drawing the Same Face Drawing the Same Character from a Variety of Angles Decide -the silhouette line represented by the circle, ~the shapes of the eyes, nose, and other features, -where to position the features along the cross (X), and -the proportions according to the individual character. Front View This angle constitutes the SD foundation for the position and size of the eyes, the volume of the hair, etc. Low Angle ‘The layout of the head aligns almost perfectly with the hair's sithouette contour. High Angle 3/4 View Facing the Left The top of the head should occupy a greater The eyes become narrower in width. portion overal than the face, y~Face Layouts Drawing an Assortment of Faces e 2 Three Common Using an oval, a rectangle, or a circle for the face's layout allows the artist to produce an abundant array of character-types. As the most common layout, the oval may be used in a wide range of ‘characters, trom uitra- stylized manga ‘characters to realistic renditions, Uitra-stylized: Manga Character The eyes are large and the nose is de-emphasized. The neck should be slender. Uttra-stylized: Anime, Shonen Magazine Character ‘The eyes and nose have a definitive ‘shape and the eyes are moderately ‘small ‘Minimally Stylized: Realism Manga Character or Realistically Rendered Figure ‘The eyes are drawm at a size proportionally simiar to reality. The nostrits are included. 30Assorted Oval Heads val Layered with Additional Geometric Forms Oval Layout This face shape is etfectve for creating a Here, a rectangular jaw was added character with a to the original ova. stem visage, Tapered Oval This face shape works well when creating a bony or Here, parts of the oval have been = gaunt look. ‘iittled away to create a pointy jaw. ‘Truncated Oval This face shape is, ‘The entire face suited to creating should be shorted chiidren and mintiiae 7 . ¥ mange ese shape. characters. orga a ut 31| (C2. Rectangular Layout: Effective for Realistic Renditions and Large-boned Characters Rectangular faces are suite to realistically rendered male characters (trom post-adolescent males al the way to old men) and large-boned characters. Giving the character a slender neck allows the atist to Create a middle-aged woman or model-esque woman with defined bone structure. Realistic Renditions Manga syle Character ‘The facial features _-— a are stylized. <7 * Kas ——"~ 'Y Example of face with highly abstracted facial featuresRound Layout: Effective for Manga-Style Characters ‘This face shape suggests @ character that ‘has been stylized right from the start with the head's silhouette. Effective with highly stylized manga characters, this layout is suited to roundish characters, children, and infants. ‘Manga-Style Character with a Dash of Realism The eyes are small and the nose has been clearly delineated. The face's ‘proportioning is also realistic. Round layouts prove effective with chubby characters, such 2s this one. Using distorted proportioning creates @ ‘unique manga character. IMustration or Single Panel Composition ‘The eyes are dots. The nose has been omitted, The neck is exceedingly thin, ‘Manga-Style Character Big eyes, @ de-emphasized nose, and slender neck generate a cute, lovable ‘ook, making it an ideal style for shonen ‘manga, jido manga, and four-anel ‘manga. Highly Realistic Toddler or Infant Toddlers and infants have roundish heads in realty. Consequenty, merely drawing realistic eyes and nose produces the appearance of a lifelike character. 33Uses of Round Layouts: Overweight Characters and Infants Overweight Character An almost perfectly SL round layout Use an ellise to add a ‘sagging double chin, - A penda \ - The figure should be «drawn so it appears the =f Een er torso comes up right to ow aretha made the underside ofthe chin, “ aon The neck should be de- In the case of female Enlarging the eyes and exceedingly small dopbocirat characters, an almost Giving the head @ slender — perfectly circular layout may neck transforms the r be used without modification character into a child. to create the appearance of On overweight characters, a _ «chubby character. The trick patios a a fn ao is to minimize the neck re back ofthe neck. /\ Ma SS Infants Use a round layout for babies regardless ‘of the angle of composition. 34Key Points in Drawing Elderly Characters ‘Wrinkles form at the comer of the ‘eyes owing to sagging skin, wich causes the eyes to appear smaller. On elderty characters, skin tends to sag in the directions the arrows indicate. The flesh of the lower lip sags Using Wrinkles and Sagging Flesh at the Mouth ‘causing the distance underneath the to Portray Elderly Characters ‘nose to lenathen. Vertical wrinkles indicate that the characteris elderly even ‘rom a rear view. 7, In addition to wrinkles j on the face, the Jf Saracen shuld be i siven a slender neck f and drawn with | aocentuated bones and veins.ics in Drawing the Hi The human form lies at the very foundation of manga ThelBasics awing the Head sketching. The reader should make an effort to learn the basic forms and rules in proportioning. Conceiving of the Head as a Solid Mi ~~ An adult's face is narrower In profile, the distance from the ‘The hairline at the back of the nack than it is long. forehead to the back of the head is should fall below that ofthe chin, longer than the head's width when viewed trom the front. The Head's Contours 3/4 View Facing the Lett 3/4 View Facing the Left; Low Angle Front View; Low Angle an - a indertaion yc appears at \ «the eyes. / - ~ / X ; The jaw's contour becomes longer. 3/4 View Facing the Left; High Angle 3/4 Rear View; Level Angle Noie where the neck's contour meets the underside of the chin. Drawing this contour indicating Shading the underside of Drawing across where the head the jaw andthe side of the on the head's meets the neck face creates the crown will make it helps to give the appearance ot solid, easier to head a sense of proportion the three- head correctly dimensionality / 36Layouts Reflecting Solids Layouts this involved are rarely used in the drawing process, However, artists should always maintain Layouts Taking into Account Three- awareness that the head is proportioned as shown below. Dimensionality Pep eaten slong te ‘ / P| vertical axis dividing fi | / \ the headin two / \ vi “ypical layout \ \ d 1, 4 oS se coteine Brow guideline Guidetine marking the eye's poston (tthe side's center) Eye guideline (Lies, halfway along the head's vertical ais), Guideine indicating the eye's vertical XX - Guidotine J indicating the —_ eye'spostion =. Underside of the jawr Side centerline Guideline used to ‘dotermine the eya's position Side centerline Guideline indicating the eye's vertical position 37The Basics in Drawing the Head The face comprises gently curved surfaces. The eyes, nose, and mouth all rest on curved surfaces. nae comet (Gteide comer Insice comer Outside corner Upset eyed ‘ ; From a low angle, the ; ) (oro\ Sa \ tower, creating the 7 ~ 00K of downward ‘ sloping eyes Normally, both the t+ o { inside and outside = + F comers of he eyes tower: - m whe would be paral. eye isa sphere. The eyelid is The eyebals sit inside sockets, which apie of skin covering cured are oorngs on a.cuved surge. y Raia surace. Consequently renderng Because this surace scuved,tte | @h_| GD) | tees a the eyelid as a curved tine eyes’ exterior contours change i saceeiad™ ‘suggests the roundness of the according to whether they are drawn seri ei eye. from a front, ow, or high angle. ‘High Angle ‘The contours of both the upper ‘The upper eyelid’s contour forms and lower eyelids form siniar a gentle "S" curve ‘bowlike shapes. Leaving a Gap between the Eyebrow and Eye f Og Acs Apsarance of tee }\ fF” , =a ‘When Frownit as 7 “®) " —— Eyes with the eyebrows attached to the eyelids ‘The flesh does furrow, but es this does not cause the - ‘eyebrow to touch the aye. ‘The eye is actually set deeper than the eyebrow, so, the eyebrow and eyelid should be drawn touching when composing from a moderately high angie. 38The nostris are stil visible from a front view. Curved surtace Common Nose Renditions } ‘The nose rendered solely as nostri When creating a realistic rendition, give the nose a rounded tip. inthe case of a ‘manga-esque character, the nose's tip may be pointed. Using the Lower Jaw to Define the Mouth The jaw lowers when the mouth is open, The Contour Defining the Dip underneath the Lower Lip Depression From above, the nose appears to take the shape) | of an arrow. . y ‘The nose’s tip is not \ pointed. | @_%) The lower portion ofthe nose forms a trapezoid When composing from a 3/4, low angle view, draw the Contour defining the bridge of the nose sloping from the brow between the eyes tothe tin of the nose. When composing from a front, low angle view, include the underside of the nose. The Changing Jaw Line When the Mouth Is Open _ / Incorrect ~\ ( Here, the mouth i } is open, but the jaw line did not , \./ change shape. Rounded ja Rounded jaw - Correct In this figure, the ‘mouth is open, causing the jaw The jaw tine \—/ ine to change becomes slighty shape. The chin narrowed. narrows. ‘The lower lip's contour Depression 39of the Ear LUnike the other facial features, the ears are not located on the front of the face. Conceive ofthe ears as protuberances juting cut from the sides ofthe head. Positioning the Ears Yl 7 x 4 | Theearsare ~~~ y Positioned level 4 ‘Wil BO. Th base ofthe ear, which attaches to the head lies at Ear ut Shapes ‘an oblique angle. : j | ’ i} ? / / Y () Use an obliquely ‘The ear is onty seen ‘This is a rounder ellipse anced eliose when straight on from a tan that used forthe composing from a profile view of the front view. The angle is Guideline denoting the ‘front view. head. also not as vertical. angle at which the ear protrudes from the head. Common Pitfalls a, Incorrect / / The shape of the ear drawn here The ear drawn here is The back of the ear becomes {s too similar to that composed —_—_that composed from a Visible from a 3/4 rear view. from a front view of the head. straight-on rear view. Common Ear RenditionsThe Face's Musculature and Expressions he next few pages cover the natural depressions and protuberances in the human skull and the facial expressions Learning from the Musculature croeted ta tha faon' rac, The parietal bone is a _ p of the head To pontil almost tet << tes an most fit, vine _ geil curving are. socket. we — Ts line denotes an — ) atea of shadow formed Thi cistes tale an the recessed region cored e. re Make an effort to FA troineterces cervical vertebrae or master the basic ¢ mec bones attach to recesses and = Be The nose primarily the rear hai of the protuberances of the Ree Ny comprises the nasal sul, three-cimensional sku. / 9f —— bone and cartage. Without the cartiage, the skull undemeath is recessed The muscles around the eyes, the forehead (the region above the eyes), Note thatthe hitched around the mouth, and the jaw region denotes a portion (generate facial expressions. of the skull that does ‘ot move. ‘The white regions denote areas of muscle related to the creation of facial expressions. There are also muscles behing the ears that affect the face's appearance, but itis ‘not particularly necessary for an artist ‘0 be concerned with ‘hese muscles. Line denoting a ‘boundary between ‘The brow between the eyes comprises three muscles connected tothe ees and to the forehead, giving rise to intricate furrows, creases, and wrinkle. ‘Multiple muscles at the side of the cheek wrap around to attach underneath the jaw. The jaw's ‘motion pulls atthe facial muscles.Drawing Facial Expressions Based on The motion caused by muscular expansion and contraction creates our facial expressions. It also causes Muscle! Moverent bulges or mounds in the flesh as well as wrinkles and creases. These should be rendered using hatching or contour lines, giving variation to a character's expression. Tension collects atthe brow. ‘Muscles pull the flesh, causing the eye to slope downward ‘Muscular contraction around * the eyes causes the cheek to tise, ‘The corners of the mouth are pulled outward. The upper eyelid sags. ‘The center ofthe face (brow) tenses, while The lower eyelid rises. ‘muscular contraction becomes directed from the ose tothe face's side, an - A5Z amis y Muscular tension pulls the flesh toward the face's J OX sides. y When drawing even a character stylized in a manga manner, ‘maintain awareness of the direction of muscular contractions and ‘where the muscles bunch when the face smiles. A dynamic ‘character wil result. 42‘Smiling with the Mouth Closed the flesh outward, shift downward, generating ~»-—- \ — - ‘The comers of the eyes ‘a warm expression, The comers of the mouth rise equally. A lopsided grin \ Would result in a sardonic = / j look. i The muscles above and Surprised below the eye's center extend, opening the eyes. Neary all of the ‘mouth’s muscles ‘contract around the mouth.‘Winking Winking is occasionally abstracted or symbolized in manga using an ‘upside-down V The eyes do not form an upside-down V when closed. ‘The head is tited by contraction of the neck muscles, ‘When winking, effort must be Shutting an eye involves not only the When smiling, the direction of expended to keep the other eye eyelids. The muscles in the cheeks tension folows a radial projection ‘open. The muscles underneath the an¢ nose bunch into mounds with the comers of the mouth as the ‘eye contract toward the left and right, accompanying this movement. centers, The nostils also expand ‘while the upper eyelid is pulled upward. ‘owing to the movements of the ‘meuth’s muscles. 44Chapter 3 The Fundamentals in Drawing aFigure Manga-Style Artists use a variety of angles and movements to dramatize manga and anime characters. Often an artist is required to make a realistic character perform like a character in a movie as the plot or production demands. Artists need to learn basic human skeletal structure, musculature, how the bones and muscles affect the figure as a solid, and how they move. However, strict attention to anatomy or locomotion does not readily lend itself artwork production. This chapter contains an overview of key points in human skeletal structure, musculature, and movement that are pertinent to cultivating drawing skills in a context dedicated to artwork production. The reader should make an effort to acquire the specific knowledge forming the foundation to artwork production and master drawing techniques, 45The Backbone Forms the Base of Composition The spine is like a column that originates at the head, extends through the torso, including the waist, and ends at the pelvis. The spine, which runs along the figure's center, supports the body, and movement in the entire body expands from the spine. Taking care to compose the figure's motions around the spine will allow you to create characters with a sense of presence. Even lizards who are unable to sit erect have spines. qt , rc ‘The spine's presence is difficult to detect from a front view. The spine runs along the ‘body's center. Try drawing figures from the rear to learn to conceive of the spine as the body's cantertine, the back’s centerline Kv tna layout, the spine becomes pes ( The Spine as the Torso L\ 24 | In these diagrammatic stutis of f ‘ i A | poses, the torso is represented / i i symbolically in stick form by the f byl | spine. The spine appears 2s a f | straightforward representation in / simplified, abstracted figure. 46The Backbone Travels the Length of Showing consideration of the spine when drawing even the Torso an unaffected pose allows you, the artist, to imbue your character with a sense of presence. Sitting and Looking Back Maintain consciousness ofthe spine as an *S" curve. The "S" curve becomes even more pronounced when <<: the character looks back or makes another such twisting motion ar } Straight-on, | / Sitting While ) | Use a moderately | Grin te arced line to Gefine a gently curved back. [/ .\ \ “ / ) a | ( FW / { >\ ct \ / = )| « ¢ Ne Ya Humans rarely adopt a perfectly straight, From a straight-on, back view the spine _UPright pesture. When showing the figure cs ‘adopting a natural, leaning postion, rendering taces.asnuaus“S" cuve Uvough the the spines layout as an "So sideways "V" will acitate drawing the pose. 47The Backbone Is the Source of Movement The spine plays a key role in portrayal of three motions: bending, stretching, and twisting. Bending, Leaning Forward Render the spine as a gently curving arc when drawing @ rounded back, as seen in this pose. Stretching, Leaning Back Twisting, Turning yj Bw h Here, the back takes. f thetorm of an arcing | plane. Draw the spine in & hooked shape with) the waist atthe bend’s / _/ ¥, In this pose, the back “°° forms a twisted surface, Use an "S" curve for the backbone, 48Adding Arms and Legs after Completing the Torso Once you have drawn the head and the torso, simply adding the arms and legs allows you to create a wide range of poses. ‘Adding arms and legs to the basic head and torso layout pictured above allows you easily to create a standing or seated figure. Kneeling with the Body Held Erect Take careful note of the angles of the shoulders and pelvis when ‘drawing the arms and legs. Moderately adjusting the torso ‘according to the arms and legs will consistently allow you to produce appealing poses. 49The Steps in Drawing a Figure The Figure from Behind ® Whenever drawing a figure, first determine the centerline's appearance. Since the back contains what is the body's natural centerline, these steps show how to draw the figure maintaining awareness of the spine. ( f The centertine * s f also serves as the ‘uideline for the Draw across (4) 09 the imme ne i head, even when y - ‘composing from a rear This guideline indicates view. Use the horizontal the shoulders’ breadth. \y << line as a guide forthe \ a This ine marking the | torso's bottommost \ Guldatine Point also indicates the indicating the Draw the head and then groin’s position, a | sketch the guideline | posi fF Seatiene: / When drawing from a directly frontal or Next, estabish the rear view, the shoulders become situated shoulders’ width and _at even distances from the centerline. | the torso lenath @ - ‘The neck’s layout @y extends into the head. ‘Sketch the layout forthe overall torso while balancing the right and left sides, ‘The arms and legs are not yet added at this point 50 Once the torso, including the neck and shoulders, has finished taking shape, sketch layouts for the arms and legs. Adjust the contours and add the scapulae and other details to complete the under drawing.Unculations in the torso's contours appear when drawing a figure from a ‘moderately high angle, making curved lines essential to the drawing. Below is an actual example of using a layout with an "S" curved spine. ® ‘ Rouncness of the head (which imparts a sense of volume) is vital. In order to ensure that the overhead angle is easy to Capture visually, first sketch a cirle-and-x = layout ofthe head, adhering to the head's) rounded surface, and then draw a layout of the neck. Use the top of the arc of the “Use an extremely light line to sketch an “S" curve "S" curve as a guide for the spine guide. Next, draw the shoulder guideline at waist ‘an oblique angle. Note that the shoulders sould ‘ot be equidistantly spaced from the spine. ™“ | Adjust the torso's contours | ‘while emphasizing the line of ® | the spine. | Drawing lines at the side makes it easier to determine the torsos thickness. Draw the torso's layout, including the exterior Contours. This angle of composition accentuates the tapering atthe waist and the swelling ofthe buttocks, requiring a sideways "V" shaped curve for the spine. 51~ Once the torsos form has bean captured satistactriy, then go ahead and ad layout for the arms and legs. Adjusting the Contours and Adding the Details to Finish ay = Continue to complete the entire figure while drawing light guidelines to ensure proper balance and proportioning, Emphasizing the spine, especially at the waist, gives the figure a clearer sense of three-dimensionallty. ‘The exterior contour from the ‘Apply shadows in an inverted ‘waist to the pelvis is a relatively shape to portray the protruding straight line, contrasting with the _scapulae. roundness of the posterior. 52The Essentials in Capturing the Form Draw the spine ‘uidetine | extending from the head's rear. f | { Navel (Waist) Pelvis Groin Use a circle forthe heac's Establish the positions ofthe layout in profile as you shoulder, navel, and grin would fora front view. and draw an °S" shaped ‘uideline denoting the Seated \ “Shoulder est — Spine | wo o o ‘Sketch the head and torso's Sema tamtewoos—_Peet n mae of e ‘spine's guideline. Omit the ‘the exterior contours of the. pelvis's layout, but add a layout figure overall. ccepturing the leg's form. Adjust the shapes of the head ‘When adding clothes, use a rude under drawing as the layout and draw the clothes ‘on top ofthe figure. ‘Add layouts forthe chest and the pelvis over the ‘curved spine to capture the figure's overall form. = IX <== Elbow \ | aati cid } \ \ ‘Addin layouts for the capturing the chest and pelvis. torso's overall shape, add layouts for the shoulder and elbow. Adust the shape ofthe head For the figure above, the face, hair, breast, and other details were added next, thus ‘completing the nude under drawing, ® Completed Dressed Under Drawing (Wearing a Kimono) 53In this view, the "S" curve of the spine forms a gentle Sho nn sai fe pion an eg fe shoulder guideline C 4 The Essentials in Capturing the Form _ Shoulder guideline ( ( il v | {| \ | Ww f \ k \ j { ® @ @ @ j First draw the head Decide temporarity ‘Draw the torso’s layout Draw the arms and layout and spine ‘where to position the and adjust the shape of adjust the contours. uate shoulders an¢ draw the the head shoulder guideline, ~~ Ref. Fig: Running ( rea Shoulder ‘The guidelines for the shoulders and groin are ‘not visible in profile (i.e. when viewed from the side), Hip joint (groin) A, shoulder guideline shoulter Sf N Groin guideline > Using the spine guideline to draw the shoulder and groin guidelines wil ciarity ‘the positions of the near and far shoulders 8 well as the positions ofthe legs. In turn, ‘this wil make the twisting motion easier to capture.Kal + i . ! | | {\/ | i \ | } | { | ® @ ! Pay attention to balancing Layout showing major in terms of the right and exterior contours left shoulders and the orev ver drawing the torso's layout. ‘The spine is straight as when drawing a back view; however, itis ‘completely obscured in the front view. The centertine passing through ‘the front of the figure is known as the “median” or “axial line.” fo eX ‘Adding the axial line will immediately clarity whether oF not the two sides are balanced, | ® compete under sawing Noting Differences in Figures’ Breadth Female figures have narrower shoulders ‘and slenderer bodies overall ‘An ati rarely is called upon to draw a figure standing ina sti, bolt-upright position. However, when the artist is designing characters and sooks to identity differences in body types, drawing the figures standing in a bolt upright, trontal pose wil clarity differences in 1 shoulder breadth or the torso's width or thickness, —S | Ie | | | i Male figures have \ broader shoulders: \ and thicker, burr \ bodies overall. : 2} ‘ s ‘When intending to draw two male characters with contrasting builds (in this case lean versus muscular) the torso's width will vary. 55Guideline Defining the Backbone from the Front The Axial Line The centerline of the figure's front is known as the axial line or median and is used to correspond to the spine, which appears on the back. __ Where the clavicle oi * 2 attaches to the / sternum Center of the hips (ar0in) Draw a single line traveling from where \ | the clavicles meet the sternum to the } Center of the sternum and down to the { navel. This constitutes the axa line, % Drawing the axial line facilitates én achieving symmetrical balance and ‘makes the figure easier to compose, Connecting the centerines on the front and rear sides itustrates the torso's thickness. When the body bends into] ‘The axial line corresponds sideways "V",the axial ine to the spine, takes on a sideways "V" shape as welDrawing a Standing Pose Using the —_‘The steps in drawing layouts for the head, torso, and overall figure are the same as when drawing a rear view. Since the figure's front is visible, the axial line is drawn at the step as the spine. This allows you to grasp the body's thickness and capture the figure as a solid object, resulting in a character with a sense of presence. Backbone and the Axial Line ‘Sketch the head and the layout for the entire figure. Draw the spine's guideline and the axial line. Add layouts for the arms, legs, and joints. Adjust the contours. ‘An almost complete under drawing 57Using the Axial Line to Draw a Front Rendering the spine with an "S" curve or arced line breathes View Standing Pose with Presence 58 life into a standing figure. The figure's contours shift to match the sinuous spine. A figure with a straight spine seems rigid and lacking in movement Spines in a sinuous "S" Curve appear on people standing in an unaffected, ‘unconscious manner. Often, the individual wil shift his or her weight to either the lett or right.Standing Poses and the Center of Gravity Noting the Spacing between ‘We adjust the positions of our heads, torsos, spines, arms, and legs ‘to maintain balance to prevent us from falling over. When drawing, paying attention to the center of gravity will generate an overall ‘sense of balance. Being aware of the space between the feet when drawing enhances the character's sense of presence. the Feet When Drawing 1 ‘standing igure's center of aravity is | | situated between the two feet. | Ay | Regardless of which leg bears / : the figue's IAL tl weight, the i center of gravity / | is always located | 4 (<> between the to j k i wh feet. I { ~*~ i ‘center of aravity }} The Distance between the Feet and the Try drawing a perpendicular line ) = gs Position of the Head Hold the Keys from the head. 4 J <=) Correct \ Correct ie, r \ | { Incorrect \ ve ‘ t k | 1G) | /f| i hr yo eA , y oa y ' In the figure above, the ‘Even in the case When drawing a It the head is not feet are spread widely, of a chibi (.e. character running with located between the projecting a commanding _ultra-styized) —‘the arms swinging and feet, the figure will atmosphere character, legs kicking forward and appear asi itis ensuring that the backward, the figure will about to tip over. heads situated stil appear stable even However, ina single between the feet ifthe head is not panel or drawing 2 produces a sense positioned between the visually unstable of balance. feet figure might create 60 ‘an impressive effect.Positioning the Head Outside of the Feet Looking Down 5 - EG ("8 thy The center of gravity is pi { located over the tip ofthe \ left foot. ds il EN tet sty fos located between the two bE feet, preventing the figure he from topping over. Center of “s~ Gravity cent of Gravity The head, upper body, and lower body {including the posterior) are all located outside of the feet. However, because the torso's center is located over the feet, the figure does not topple over. 61Balanced on One Leg Compose the figure so that a straight line could be drawn connecting the head to the foot planted on the ground. When portraying a running figure, the center of oravty is constantly shifting. Consequently, drawing the torso at a Standing on One Foot dramatically oblique angle will make the figure appear balanced, GP s vn | When standing stil 1 (on one foo, the ‘The above is the In this incorrect In this corrected version, | conter of aravty is image to the lft example, the center shifting the upper body ||| Iovated over that drawn from a front of gravity isnot allowed the center of \ | fot view. located above the gravity to be brought foot touching the over the load-bearing oe round. in realty, the foot Torsion inthe upper \ isk S> feta ere figure would tip over, body results in a more ~ foot’s center dynamic-looking ‘composition. ‘The center of gravity is, located toward the figure's When portraying running, front. ‘the center of gravity may be located outside of the ‘eet, provided that the ‘igure is depicted moving. 62Leaning Forwards and Backwards Balance is achieved in the same manner, regardless of whether or not the figure ‘is carrying a load. Leaning Backwards Leaning Forward This bag weighs 3 gon." When composing a figure leaning back, the head should still be located somewhere between the two feet. When drawing a character leaning ee. , forward, positioning the I posterior somewhere behind the feet will make a the figure appear visually balanced,The Body's Structure Make an effort to learn the basic makeup of the skeletal structure and musculature. Major Body Parts and Their Names Sterodaviouar fot tere ne —_— Cranium scapula a f Neck Covel - Be mm a ‘Scapula ‘Scapula \ ‘Humeral - <> Upper arm aricvaton (Shoulder joint) rete vertebra) Spine (Lumbar vertebrae) the shin ‘comprises two bones, but the shin may be rendered as a single bene.) ‘Shin (Skeletally, | | | — Metatarsophalang al articulation (ankle) ‘This part ofthe foo is capable of mation. Indicate that in your artwork, 64The joins allow turning and twisting motions and possess a certain amount of flexibility, which makes minor stretching possible, ‘The neck and spine are series of small bones and, joints, allowing arcing, ‘curved movement, ‘The tp of the knee or patel is attached to the joint. The ligaments and tendons connecting the tps ofthe tibia ‘and femur stretch, allowing us to sit with our legs folded 65Muscles Affecting the Exterior Contours The contours on the front surface of the figures define undulations in the muscles. Make an effort to learn the names of the major muscles, especially those appearing in Front View Showing the Major Muscles bold print. neh muscle % ae | Trapezius ek \ / | muscle ‘Sternocteldomastoid muscle i 1 Greater pectoral ee Dettoid muscie Brachial musce (Triceps Saree brachii muscle) = anterior myscle ’ nse tin ff sii ect pear iwi nse canpane \/enatacr roc aoe This depression at the side marks the Pronator teres muscle + [intersection where Flexor carp radials muscle muscle Gluteus medius muscle shoulder's muscles, Aadominal muscle (Rectus aboominis muse) Inguinal ligament pes tenors muse A AY on A | Soto me yi \ Medial vastus muscle (Medial rectus muscie) Patella z | Serr tit mise 7” Gastrocnemial muscle ‘The figure above shows the ‘major muscles appearing in ‘a front view, arranged in ‘The line running down the reer ee ae center ofthe abdominal N\ muscles suggests a \y | moderately taut stomach. \ | K ‘The image to the left is an ) ‘anatomically correct rough sketch of { \ the muscles. Not only are the muscles es ) Gificut to identity accurately, but itis . also difficult to apply and draw anatomically correct musculature. 66Profile View Showing the Major Muscles Serratus anterior muscle ‘adominal Stemosleidomastis muscle TWapezus muscle Detoid muse “eaps bach muse Coracbracials muscle Biceps brachil muscle Latisimus dorsi muse <= These muscles are \\_wsible from a front view. ‘Anconeus muscle + Extensor carpi vnaris muscle + Flexor carpi ty ‘ulnaris musce ‘Supinator muscle Brachioradiais muscle ‘Common digtal extensor muscle Gluteus maximus Sartorius muscle Howia! bana Lateral vastus muscle Rectus femoris muscle Biceps femor's muscle Wiofbular muscle Gastrocnemial muscle Anterior tibial muscle Soleus muscle Draw the kneecap © (patel) as if it were projecting ‘outward from between the muscles. 67Back View Showing the Major Muscles Splenius muscle { \ 4p Trapeius — } ! \ Na i ; Saou y chine Wen drawing a female A i ~ i\ /—Inaspinatus character, aocentuate the sci + TTiceps brachii muscle inward curve ofthe back to homed major create the appearance of a muscle + Tees Biceps brachii muscle timber back 7 menses Flexor capi uraris | Latiscimus dors muscle fa,™ | / Bulge ereatod by te cet Adomial IJ texor digtorum external obique profundus muscle + mmusce + Gute 7 VY tor carp radials medius muscle | || muscle + paimarts iA longus muscle Accentuate the scapula and the elbow. “Tendon ofthe zbove © tree muscies Gluteus maximus Gracis muscle tbl tact ‘Adductor magnus’ muscle + Semitendinosus muscle Gastrocremial muscle Soleus muscle ‘The figure above ‘shows a realistic rendition of the back's elaborate musculature.Rendering Exterior Contours Use undulations in the contours to suggest volume in the body and muscles. X Bulging region Sunken region Bulging region x \ , \ Maintain awareness of the muscular structure forming rises and falls when drawing such undulations on the figure's surface. Accentuating regions of bulging and depression create the illusion of flesh and muscle, Omission of the contours extending into the areas where When omitting such undulations on the arm attaches tothe the body's surface, using contour shouider and atthe elbow lines to portray where the arm fe ae antes eee ‘completely loses any sense of ‘volume, resulting in a flat aloow alow youto mantan asense your” “=a of three-cimensionalty Muscles Are Like a Mountain Range ‘The far mountain is hidden behind the near mountains, rendered in outline. Objects close to the picture pane blocking objects far from the picture plane create a sense of depth. ‘The face and neck constitute a close mountain. The right shoulder i afar ‘mountain. Layering solid objects allows ‘you to establish the spatial relationships between objects, even when using simple outines S, ‘Muscles are actually mounds of layered ‘muscle. Consequently, maintaining awareness of which objects are close to the picture plane and which objects are far and hidden will allow you to generate a sense of three-dimensionalty. Inthe above, itis q tunclear which object, is close and which i | | far, eliminating any N\ \ Moo sense of three- dimensionality.Rendering Exterior Contours Average Build Muscular Build ky Thin Build | No particular portrayal {This character displays ¥ | Since this character / \ of musculature is i | contours denoting | ‘| lacks adipose | necessary. Imagine { muscles all over his J | 4 tissue, draw | ‘this character's *f body. Adding lines: ‘contour lines to muscles as being } [| rand te dove, {| stggest parts of te obscured under layers. / | the abdomen, and the \ | musculature ana of fat. | \ | knees in particular \ skeletal structure | \ | accentuates the { ‘appearing through { } | | | siorstectunm: Mette i é& ts é Ss . aig 3 Portraying a Muscular Build 4 Detaled Muscle Minimal Muscular . Contours Added vo Defined A {oT \ | The numerous muscle contours accentuate the muscular appearance. 70 ‘Simply drawing ) contours to define bulges inthe muscles and accentuating the chest muscles sufficiently suggest a muscular build,This figure illustrates the All characters, regardless ofthe artistic style in portrayal of back which they are drawn, have muscles underneath muscles, Accentuating the “ ‘heir fesh. Therefore their muscles move in the bulge over the scapula Hatching o accentuate same way with respect to ther own actions. and back muscles seg a muscle over the Scapuia ‘Maintaining awareness ofthe musces' presence generates the brawny INS, even to @ minor extent winen drawing a figure wil appearance of a martial 2 imbue that character with a sense of presence and arist's devel \ amis, neice jf « . Shading used to emphasize bulging Lines accentuating the latissimus dorsi ‘muscles at the shoulder Round forms used to portray muscle Using a small bulge to accentuate the shoulder constitutes 2 key point in rendering muscles ona female character, while still maintaining a sense \, of airishness, ) When portraying a professional wrestle's ‘muscles, rather than using contours to accentuate every single muscle as you ‘might with a body builder, instead use ‘rounded, bulging forms to suggest muscles in the chest and arms. 7”Distinguishing the Genders Perceiving male characters as having "hard bodies" with generally well-defined musculature and female characters as having "supple bodies" covered with soft fat will allow portrayal of a wide range of characters. Hard Bodies for Male Characters Sinews and muscles should be exaggerated on male Soft Bodies for Female Characters Downplay portrayal of muscuiature in female characters. Suggestion of fatty radding Stow a valoy ite ‘underneath the skin evokes a siky, supple ‘ mises hee te imresson \/ arm wy ff ( \s | ae eer) 5 Give female characters slender arms. Exaggerating the bones of the eltows and knees creates the sense of a big-boned figure. Portraying a pliant roundness inthe thighs and calves suggests layers of sot fatty tissue Underneath 72Figure Drawing Male Characters: Suggestion of Musculature Portrays Masculinity Exaggerate the Sane appearance of ft Undeveloped Build he ahi Defined Musculature (Soft Body) ‘on the abdomen (Hard Body) Accentuate the and arms. ey Avoid adding too The exterior sori ere ars many contours to coro etn Give the figure a the chest and waist shoub narrowed waist. abdomen, : be straight or 4 \. curving signuy outward. Use a generous Hotei ‘amount of contour ! lines to portray a ; muscutarly developed } Use a minimum of figuee. contour tines to / \ portray an f undeveloped build, { suggestin \ generally smooth lf flesh. \ \ 4 “f The backs of both The addition of 4 \ muscularly muscle detail in | developed and the back suggests j ie undeveloped an athlet with | pd AA characters may be hyper-muscular ES similarly portrayed. ‘definition j 73Female Figures: Suggesting Fat to Create a Feminine Appearance ‘Women tend to carry more adipose {issue than men in the bodies overall, which gives women supple, pliant 1 tty exh round muscles. Draw female characters the knee. while envisioning a soft form. Remember to give even characters with slim builds a sense of soft fat ‘underneath the skin and give these figures ample breasts and buttocks. ‘Adipose tissue collects readily around the posterior, so draw the buttocks with 74 curved contours.Muscular Female Figures \ { ‘Maximum muscle size for & sy female character Drawing 2 female character with defined ‘muscles will make her look masculine, enhancing the apoearance of strength, “| EF I \ i) /™\)\ (qe 4 ‘When a woman exercises, she tends to lose adipose tissue rather than gain ‘muscle mass. Consequently, the silhouette of a female character does not lend itsef to showing off that she has developed muscles. ‘Aman with only moderate exercise should be able to achieve the same size as.@ rmuscularty developed woman, 75Proportional Differences Front View Male Figure Fee Rs <= Shoulder Breadth f Hip Width These proportions apaly to both the front and back views. Female figures should Be certain to establish distinctions between male and female builds Profile View at the layout stage. Male Figure Female Figure S| a | oa chest Thickness Ly ff Distance to Yo */ \ Posterior i ‘The chest and waist should be shallow on a female figure. Draw female characters with c have narrower shoulders and waists. Hip slender chests and waists. There is no need to nh width on male and female figures is draw female characters withthe back of the LI virtually identical Posterior ata greater distance from the front. \ Differences in Profile Silhouettes dk / Roundness of the Posterior f i Diagram Showing Male figures have generally flat buttocks. Curvature in the spine tends to be similar for both male and female characters. However, note the significant difference in the roundness of the buttocks. 76 (5) i WN yA Female figures have generally round buttocks. ‘The spine is evident on The posterior protrudes ‘a male figure. on a female figure, Take note of musculature around the spine and of the posterior when drawing the figures.Back View Male Figure 423 an, The figure is angular overall and The figure is round overall and rendered using relatively straight contours. Differences in Girth Male rom /} : Female Figure i rendered using curved contours. is + / os Female Figure ff %, Differences in Thickness Female Figure \. Male Figure ‘ The male figure has 'arge, ‘The female figure has small, prominent joints. understated joints. In addition to the torso, neck, arms, and legs, also maintain awareness when. tferences in Height sawing tat the » shoulders and scapulae \, are smal on a woman ¢ a {than on a men, as | eA! | Hi \ 1B ’® Drawing the height of female characters to come about level with the eyes of male characters makes ‘the two distinguishable at a glance ‘even in “long-shot" (small), compositions. 7Differences in the Arms and Hands Maintain an image of smoothness when drawing ‘the surface of a female character's arm and omit skin folds and sinew contours. ‘Adding skin folds and muscle contours to a male ‘character's arm creates the appearance of a Slender, long, and thin j [ Long and Slender Female Hand = \ = Slender ih ‘Thick Male Hand | | fS ae i { —s Longer i distance ft ae eS SS. ‘Thick Y Masculine Fingers Making the joints bony and projecting generates a nigged look 78Differences in the Neck pews / Men tend to have ‘more developed ‘The shoulder muscles Differences in the have less volume, sree musce \ tmeking te nck shat es volume as well as the appear longer. meen ‘absence of an Adam's < ae apple make the neck . of a female figure y \ appear longer than 4 \ that of a male “ / { LY he \ “\ Thick ‘ rn - The Aas apples 7” Tiesca'espiets 7 barely perceptible on 2 * 2 female figure. tiny, but it does jut pt \ | Differences in the Elbow AA distinction should be made in tone thickness between male and female characters. Female ‘characters should be aiven ¢iminutive elbows. 79Makeup of the Primary Joints and Movement 1. Basic Neck Structure and Movement muscle Ne ~ ‘Adding muscle contour lines tothe neck ‘ives the head and the neck the illusion of ‘three-dimensionaiity Head and Neck from a Low Angle ‘The underside of the jaw comes into view, ‘making this angle the best for representing the head as a solid object. Contour ‘generating a sense of thee- ‘dimensionality ‘The muscles to the neck's side ‘extend fram beneath the ear to the clavicle 80 This contour at the base of the neck represents bulging ‘Make an effort to master the basic motions of the joints in order to create a natural portrayal or illustrate movement effectively. Learn how the head and neck connect and the way the neck moves. Muscle bulging, —thvough the nock's surface ‘The back and front of the neck have different lengths. A ys. fi | f Ke | ‘The jaws of male and female figures display no difference in width. Give ‘male figures thicker necks and add | more contour ines.Contour extending from underneath the neck Contour traversing to the rear of the head Zi Two muscle contours portray the neck. Contour extending Z ‘rom underneath L . the neck Contour traversing to the rear of the head From a 3/4 angle, the t ‘two contours obscure the jaw. Inthe case of a female character, using inward arcing curves for the exterior contours creates the appearance of a slender neck. Rendering the neck using these ‘wo contours allows you to give the neck and head a sense of volume,‘There are three primary muscles that are pertinent to the neck's movements and contour lines. Major Muscles of the Neck ‘The ABCs of the Neck's Muscles 1. Thick muscle extending trom undemeath the ear to the neck's front 2. Narrow muscle extending from behind the ear to the neck's front 3. Wide muscle extending from the rear of the head to the neck's front All three connect to the clavicle, 1. Thick muscle extending from 7 XY ‘underneath the ear to the neck’s front 2. Narrow muscle extending from behind the ear to the neck's front 3, Wide muscle extending from the rear of the head to the neck's front ‘This muscle may be omitted when ‘drawing the human figure. The Fundamental Structure of Movement: Muscle Extension and Contraction fh A) )_Acomvacts Extends Extends / g Se } if? ES) J Right and Left Motions: Right and Left Forward and Back Motions: Front and ‘Turning Motions: Combination of Muscle Extension and Contraction Rear Extension and Contraction Extension and Contraction ‘The muscles extending to the shoulders ‘extend and contract to match the motion. 82the Hea and Left Motion ned Winen the shoulders are ‘ held ina relaxed postion, the head can tito approximately a 30° angie. The thick muscle extending from undemeath the ear tothe necks front contracts, becoming wider. C wae ‘ Raising a Shoulder While Facing Forward When raising a shoulder (1 Z When the head drawing the shoulder guideline ae ae ee =” twists in the at an oblique angle), said fake (>< opposite shoulder may rise so that it / pertecty Vie <<, ditection, the Just gazes the ear. However, sideways motion, (‘head becomes ths maton does have amis, f Pea est { i) ee Shoulder guideline A involves torsion. i S/ the shoulder. BAN, i ~ ay ; \ i va of the spine SY) 4p + ; St faced j Shoulder guideline |The face is incapable of j sl positioning in perfect profile if the torso is facing forward. Guide indicating the \ fig extent to which the neck Ae OW is capable of turning 83Up and Down Motions Looking Up ~ ? ‘ad fr (fi of i r 4 y \ “f x aa f* \ =~ * f } / a AJ Exaggerating the Adam's apple ‘S a distinguishes the male Wit | j {contacts character from a female f characte, even when the neck is slender. Extends This contour appears in conjunction with the { \ muscle's contraction. i \ Looking Down ~ & ‘The rear muscle stretches dramatically, puling the ‘muscle extending trom the shoulder to the neck, causing a large bulge The chin does not —— ‘ouch the chest. / / | ‘The chin does not touch the chest even : when the mouth is open. Show the head On overweight characters, the ‘neck might appear buried. rising from the upper jaw, using the lower jaw’s position as a reference point.Ina front view, avoid exaggerating the Adam's apple and instead accentuate the neck muscles, ‘The muscles to the neck's front extend, causing ‘the muscles’ contour lines to become ‘dramatically prominent. The clavicles also become prominent, Facing Down “ASS pen Ss Sf \ / q f \ f Ooh WAV el 5 veg yA Ro ks ed — \ & | fs i fl aN iL é 7 N/A! Both contraction and extension i ™ fh \. ote the force of paling Both A 1eneck's cor a ( “Rees the meck’s contours and th f NWS pronounced Fi extends /f % ~ an SNe yr \ onvactsConceiving of the Head, Neck, and Torso as a Unit Head in Profile = a Vf . Korn, \ ‘The neck appears longer when both the head and torso are turned in profile. Note that the torso may shit positions according to which | direction the head faces When the face turns in perfect Profile, the torso tends to turn slightly sideways as well (the {orso should not face perfectly forwar). Correct When both the head and torso face forward, the neck attaches. ‘normally to the head and torso, ‘\ Incorrect Torso facing forward When turing the head | = = from a perc profile = i 1) position toward the pM P + pete pla, he as forso should shit slightly toward the a, picture plane as well, eet ‘causing the neck's Note that the head can | silhouette to take on a aoe Label / idoways "V" shape. forward while the Torso facing | Nah \ Oo rai in ; perfect profil, 86The Torso Follows the Direction of the Head 7 o> \Ag a) a o \ / ‘The same applies to When naturally turning toward ‘when the figura's back the picture plane from a rear- faces the picture facing position and the plane. The head never majority of the face comes turns in perfect profile. into view, the torso turns until it is almost in perfect profile. The neck functions to connect the head to the torso. The Assorted Neck Silhouettes nneck's shape and contour lines change according to the direction faced by the torso, even if the head is positioned at a consistent angle. ea XM Z a i = a A} j \ } ae / a Vy A ~ Ne PINES { f é ‘ * Toe ON i J / Lh > ‘an i \\ A hf | 2s ' \ A / 872. Basic Spine Structure and Torso Movement ‘Make an effort to master the torso's basic motions with the spine at their core. ‘Studying the Spine from a Rough Sketch of the Skeleton When standing ina ry Ina high-angle |), moderately relaxed » composition loking at | ie bent) position, the kg the figure's back, the = \Nx_L 7) spine ares. ¥ i spine appears \e Z perfectly straight < | s & BE 5 S From a rear, 3/4, ‘The manner in which the spine curves changes according to the figure's pose and angle of composition. How you raw the spine’s curve also helps determine the pose. 88 ‘overhead angle, the spine takes on an "S" curve, Diagram Showing the Head, Spine, Chest, and Waist The spine appears arced\ when viewed from a front, »\ 3/4, moderately overhead angie.Figure Layout Based on a Rough Sketch of the Skeleton When sketching @ full-figure layout, draw a centerine to equate the spine. Drawing this tine to ‘match the axial line wil facilitate achieving visual balance and allow you to capture the figure as a three-dimensional ebject. z Draw the curves of the axial ine to match almost perfectly with those of the spine. { / ‘The back's centerline \ aligns with the spine. ‘Axial line (Le. chest centertine) A sketchy, curved line is sufficient, since you wil not actually be dravving ‘the spine itself, 89Right and Left Motions co y, The entire spine bends a lite between each vertebral segment, The waist constitutes a key point when drawing, The spine itself bends little. Rather, conceive of the body as bending dramatically at the waist. | The human body does not bend perfectly tothe side. A 45° ‘angle seems to be the limit. Forward and Backward Motions Bending Forward = ‘The hip plays an important role in dramatic motions. Note that The back stretches ‘te spine does not form a “U". dramatically. Use a gentle curve for the spine. 2 e-tey_ The sine doesnot Al it bend from the waist oO (/) iva straigttine 90Arching Back |The skin covering the stomach Fr. and the abdominal muscles are pulled and stretch, causing the Ribcage/Ribs ‘ribs to stick out. ‘The body is capable of arching backward to approximately || 48? angle Pp ‘When sketching the layout, use ‘curved lines to draw the chest and the pelvis. ct When lying on the stomach, the The front ofthe body seams to be The inverted "V" shape of Say we back arcs. held erect, making the back the sihovette makes the \ . ‘appear significantly arced. backward arc appear As = ‘even more pronounced.Looking Back A Full-Body Action Involving Coordination of the Waist, Shoulders, and Neck ‘The shoulder Note that while the chest remains in an almost pert profile position, the hack and spine do remain visible, | toates. he S L | SA rwpais A/c When drawing, take careful note ‘The direction faced ‘changes according ‘The spine forms a wavelike curve from the back to the posterior. 92Throwing (~The pelvis remains Y [facing forward In this under drawing, hatched shadows were added in strategic positions to create a sense of three-dimensionality.Motions Created by Bendi and Twisting This imbues unaffected, unconscious actions as well as Movement Resulting from a Syneray of the Spine, Neck, Waist, and Hip Joints Seeinchie ih asa movement Neck Waist ‘ Hip joint (Where the leg attaches to the pelvis) Dramatic backbends result from coordination ofthe neck, waist, and hip joints as wel as the spine. Twisting and Bending Motions S.Torsion in the neck fits the head to the side. Direction in which The forward | bending of the i the neck twists, ting the head Direction in which Ay ene his Rel. Fig. The above image shows bends fwd Bending occurs at tyisung inthe opposite direction slightly | hele. as the one tothe let. Fe om A \ ) | SO, causing the upper fovast | Tee Z| YA\\\ ) body to lean forward Significant bending occurs ‘twisting subtly. |__| Ny £ at the hips | \ (AN, / : \ Ss \ Ni upper body | |) | originates at the } \ || hip joints } } The spine bends. \ \ \ VA eA ,\ bh ‘Someone with training might be capable of +) pi bending to the extent shown in the image \ cj) above. However the key points to note are ee f£)} €&3 cs the neck and the hips.