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Автор: Hikaru Hayashi
Теги: manga
Текст
Techniques for Drawing •- </■« v$m. Written by Hikaru Hdyashi II I
Techniques for Drawing Female Manga Characters
Table of Contents Cnapler 1 Dre«wng to Female Figure. The Baste Rules .... ... 5 The Three Basic Rule* lor Drawing the Female Flgu... .6 The Hunan Body .... _ 6 CharacteristicsoliheFemale Figure.. _ 10 SoergtwBodyas a Wire FramoandwWi Contour Shadow*. 12 Drtereneasng Body Types _ - M Some Tip* (or DBIororilbatrng to Three Physical Types.. 16 ftrleiences n Figure According lo Age , , 17 Dflartron ol Face According lo Ago. _ is OS A » Chapter 2 Drawing to Female Figure: The Paris ol the Body _21 TruHO-LHevs Manga YrtKtoEMO^atearHjWhsltoStmplrty .... 22 Ti« Breast* _ » EiecbVouCanAchievoWiniBioeraatav ... _ 36 Bust line Fashion Statements _ 36 TheBuOods 40 DfleremVtewsol the Buttocks _ _ 4t Tbt Contour ol to Buttocks - .42 EntctsYaiC^AcNevewnhtheBunocks « Tr«Crofch _ _ .... _ 46 UsngCurwdUnesloShowDrrivntlonlntieCroUh 4$ Iht Lower Body in Acton ... 52 TntRelat>xiB«tvwentheOunocl(*.Crotcri.andLegs _ .54 The Legs _ _ 56 ThtNock-r^nnectingtheHeadlotheBody 64 The Bant Back -When You Cant Draw a TaporodWaitt 66 T>*EtlectoiyndcivvearandBathlngSuiraontoFemaleFigure 6B Water Droplets and Beads ol Snoot 70 Wire Frames -Getting a Grasp ol the Body's Curves . 72 ligng Wte Frame* 74 O&A .._ — 76 Cnapter3 Drawing the Female Figure: Usmg Dotal lor Effect Mkxent Types oINaHs _ Elw.EyeW*. andCyotasnes. The Mouth and Lpe.. Effects You Can AdMve with Black and Shaotog... The Ears and Earrings .. The Mali _ 64 86 86 87 Coloring the Mair _ _ A Catalogueol Undergarments 05 A _ The Female Figure Goes to School , t Getting Dressed: The Btouse. 2 Ge*ng Dressed: Shoes and Socks 3 Getting Orotsed: In From ol the Mrraf. .. 4. Rumng Down the Halway S.SrrungonaChalr... 6 On the Playground al Noon- In UnMorm.. 7. kitheLocfcerfloom _..., 8 Dressed (or Gym Class 9. More Tips tor Drawing Gym Clothes .... 10. ReguMson Bathing Sua* _ it RidingeBicycle 12. On the Way Home- Wafting Outdoor* Ctiapter 4 Learn (rom the Pros Girl m MKWy Uniform (Masaru Kaku)... Beauty wnh Bouquet(Jun Matsubara) Aluring Adutl (Yasuo Matsumoto) Dream Fantasy (Mono Haroda) —_.. Girl AMete (Bancho Hoshmo) _ Sexy Babe (Ganma Suzuki) Humorous lustration (ShokoAndo). Coqucttsh Maiden (YuManabe). _ Clamourous Beauty(Nortyoshl Inoua) 90 96 97 97 96 99 100 101 ..KJ2 -103 104 105 .106 .107 103 108 110 112 114 116 118 ...120 122 124 ..126
Chapter 1 Drawing the Female Figure: The Basic Rules
The Three Basic Rules for Dr g e Female Figure Avoid Straight Lines | The female figure is soft and supple. In order to express Ihrs quality, use rounded Imes as much as possible. ►Envision a Triangle | Shoulder and Hip Width ol the Male Figure The lemale hgure characteristically / has a larger petas than the male figure The nips should be drawn wide. Mien blocking out you drawing it's helpful to think ot a triangle whose base «s the width ot the peftts and whose apex rs the top ot the head Mien drawng ihe male figure, the shoulders should be wttx than the hips When draw ng a woman with broad shoulders . Even when b man has narrow shoulders, the hps should tie drawn narrower than lho shoulders A woman with wide shoulders becomes mote lommlno it drawn with her hk> sticking out.
^Envision a Figure Eight \ First draw the heat) it helps to draw a guide line down the center. The secret to drawing a shapely female figure is to give her a slender waist and broad hips. In essence, you want to think ot a ligure 8 2 Orawa ligure 8 tor the body under the head. 3. Draw small circles where the arms and legs w>l be atlached. These wi become the joints 4 Flesh out the watst and draw the arms and legs ■ You can vary the body type by drawing a tall y and sScndcr 8 or short and squat 8 ■ The size ol the circles drawn tor the rOirtts determines Ihe thickness of the arms and legs
The Human Body The tlesh is essentially clothing tor the bones. Ask "What kind ot clothes do I want these bones to wear7* You can creale an endless variety ol ligures by changing howyou "dress* Ihe bones wflh llesh Wearing overcoat In skirt and blouse In undergarments 8
The human body is built upon a skelelon of bones, which are covered wth muscle, lal and skin Bone structure and the llesh (muscle and Cat) altachcd to it vary trom person to person. Nude Transparent view Skeleton 9
Characteristics of the Female Figure The lemale hgure is defined mosl prominently by the bust, the waist, and the tips Neck A thick neck makes the liguco look like a small child: (or a grown woman, draw a long, slender neck Breasts. Shape, size, position, and preferences among breasts are as vaned as their owners See page 22 Ribs" A lightly-drawn r*> line gives the stomach and torso a mm look (but be carelul: i the line is too heavy. fl creates a gaunt look). Hips: From the tront. the widest part ol the hips are determined by the bones Crotch: There is arnays a space between the thighs at the crotch even when standing with knees together. 10
Tho shoulder, upper arm and armpit are crucial m Showing maturity. Immature figure: Even when the arms are idled, a single Ine IS adequate lor showtng the armpit. The tapering ot the ribs Mature figure The armpit must be drawn to show three-dimensional contours 1 he wxjih ol the pelvis The difference between tlw tapering ol the ribs and the width ol the pelvis determtnes the sue ol the waist Note that the position ol the waist is slightly di tcrenl when viewed tromihe from and the side The line leading down to the navel expresses the subtle curve ot Ihe stomach and lower abdomen Fromthc navel down to the crotch should appear as a gently rounded curve. Youcan achieve this mpression from the Ironl by applying scrcentoncs Tho position of lire navel should be a tUe below the waist and one hand up from ttie crotch. The curve ol the crotch can be either flat or mounded 11
Seeing the Body as a Wire Frame and with Contour Shadows 12
Shadows Formed by the Body's Contours When Illuminated 13
Differentiating Bod T «es II you understand how the deferences in bone structure and body type affect their proportions, you'll be able to draw a wide variety ol female figures Qhe Average Figure) 14 ■ The stomach and lower abdomen are both slightly rounded. ■ The chest and body as avifioteare curvaceous, and the torso is quite short ■ The shoulders, arms, and legs arc al somewhat tieshy. even when me legs and arms are long, they have a fullness to them ■ The sides of the chest and raps forma shapely curve. ■ The hips arc broad.
(The Athletic FgureJ The neck is long and slim The shoulders are narrow. the chest is thin, and the waist is small The torso is relatively long The arms and legs are long and thin, without excess muscles. The sides ot the chest and hips form a much gentler curve. ■ A prominent breastbone - Broad shoulders to house well-developed lungs ■ Limbs are drawn more tapered at the efcows and knees, wrists and ankles (but be careful not to overdo it. or you wll create a booty look) ■ Although the thighs are thick, the muscles taper at the knee creating the sharpest curve.
Some Tips for Differentiating the Three Ph slcal T es The key points to note are l The curve Irom Ihc back to the hips 2. Tne line from the shoulder c<own the arm 3. The it) line below the breast t The thickness ol the thighs An athletic ligure superimposed on an average figure A sienoef figure superimposed on an average figure. 16
Differences In Figure Accordin to Age Fuger length represents one ol the most prominent differences between the tigurcs ol adult and chM Also, tor adoiescont g»ts you can create a youthlul appearance by drawing the body ol an adult, but wtlh more rounded hies overall. Nock: Thick and relatively short Shoulders. Rounded I mtos' Fven when long. not lufly extended Wnsts 8 ankles, relatively thick An adult iigure An adolescent hand Large head Thick neck Flat chest and hips Barcty tapered wrists and ankles ,.<} An adolescent figure Some Rules of Thumb A child's figure Age range Height by head size Curvature of body Wrists & ankles Limbs Drawing tips Adult 18 and up 7-8 heads or more Yes Slender Long and fully extended Draw the head small; make wrists and ankles slim Adolescent 131017 S-7 heads Some Average Not fully extended Draw the pelvis relatively thin, keep arms and legs relatively short Child 1? and under 5 heads or less Almost none Thick Not fully extended Draw head large. arms and legs are like sticks child's hand Note: Wbmen m the 18 to 19-ycar-oM range will have etements of both the adult and adolescent figure. 17
ifferences of Face According to Age Todriterentiate the (aces ol adults and children. pay attention to these two elements: 1. The distance between 2. The bridge ol the nose the eyes and the mouth Proiiies m manga-styte drawings Proliles in lustrator-slyle drawings Adull Some Rules Ol Thumb Distance between eyes and mouth Shape of (ace Eyes Bndgeofnose Neck Head Adult Featurea Farapart Slightly longer Small Draw clearly Slender and long Smal Child Featurea Close together Bound Large Don't emphasize ThicK Large
Byadiustmg trie distance between eyes and mouth, you can driterenliate between an adult and a child with or wflhout the bridge tine drawn in.
What if you want to draw an older woman Q& A with a round face, or a child with a slightly longer face and pointy chin? Answer i>w|(haioundface i Keep the eyes small 2 Maintain distance between eyes and mouth ■ Answer 2 A cJitW with agrown-up face tf^fy ■ For a somewhat bafoy-taced look, make the eyes larger. ■ Round faces tend to look too large, so t helps to reduce the amount or hair 1 Draw large eyes ? Tighten the distance between eyes and mouth 3 Minimize the nose 4 Make the head larger hy gwing more volume to the hai ■ Smaller eyes always make the tace look more grown-up ' It also helps to draw large ears and make the neck shod and thick A Grown Woman wilh a Round Face In order to make a woman vrtn a round lace, large eyes, and big hair look more grown-up i Give her along neck, and draw in the collarbone 2 Drarwhor hgurc to aduH proportions 3. Broaden the shoulders and use other means to make the head look smaller 20
Chapter 2 Drawing the Female Figure: The Parts of the Body
True-to-Life vs. Manga VWiat to Exaggerate and What to Simplify When using a photograph or other model lor your drawing, exaggerate or simplity various aspects oi the model to create a ligurc that suns your own taste Tip # 1 The distance from shoulder to breast II you lefflow the model too closely, the breasts can seem oddly distant Irom the lace Unless you arc striving lor a realistic ellecl. position the breasts a tie higher than they really are. Torso line lip f2 Oiv>:ng the breasts in real ite. breasts seldom protrude beyond the torso lines unless they are very large Bui to represent this accurately makes lor an unappealing Irontal view, so Extend curve ot breast beyond line Short Long Tip»4 Knees Keep the knees simple A single arc is al (l takes to create cute knees tip»3 The legs In general, the thigh and the shin arc roughly equal n length, but drawing the sh n slig illy longer makes 2 > a more attractive leg Taper waist to \v^ inside ol line ^5
c The Back The contour ol the back ncludcsmany bumps and dips, but normally only the lotowing need be drawn. 1. Lines for the some and shoulder blades 2 The buttocks Tip »S: The neck Draw the neck longer and slimmer than the model At some angles a longer neck may look odd. (hough, so care is needed Back lip*l. Creases Tip #6 Taper the waist sharply The angle Irom armpit to waist will olten leave the figure waistless 4 drawn realistically, so it almost always calls lor exaggeration Follow imaginary lines drawn Irom the armpits to ihe crotch Many creases tend to lorm around the neck and shoulder blades as well as al Ihe waist. but you should omt most ol them lor a prettier back Tip $7. The position ol Hie waist For the cutest look place the waist about one brcast-hclghi bctow the breasts A mure realistic distance is about one head below the breasts Actual Mnnga BackTp(2 The bullocks A simple standing pose cannot fully iHusliale manga-style bullocks See page 38 T<> «8 The distance from waist to crotch The waist and crotch are normally about one head apart. It this distance is too short. the hapsJpclvis writ look too slight and the ligure unbalanced
The Breasts The Structure of the Breasts, and How They Attach ) The breasts growd rcclly Irom the armpit line. Theie is a space between the breasts The nipples turn outward
Mew Irom owrhoatl Thcbrcasis and nippies lace ounward at roughly a 90 angte lo one another In 3/4 view one breast faces slraighl toward.
Profile Views } Because bicasls arc soil and pliable, you can achieve very dilferenl ellecls by how you dress the ligure. t\ <°v ^ *° ni\ ^ ^c\ \ \ /1 Bound tight w*h muslin Enhanced Clothing that acceniuates siie and shape Bra-less / The Rib Cage and the Breasts \ \ . i—i i ' The breasts are made ol laity tissue resting atop (he grcalci pectoral muscles ol the chest. The muscular structure 2fc ofihearmpn <V<s
Differentiating the Size of the Breasts y- This line is crucial lor establishing the curvature ol the breast, as well as a sense ol solidity ant] weight, so it must be drawn with special care. The larger the breasi the more it sags under ■is own weight Somewnat large Very large Adiust the size ol the breasts in Iromal view by raising or lowering the underside ol the breast. The larger the breast, the more heavily the line under the breast should be drawn
( Breasts of Different Shapes ) In general, breasts tail into three basic shapes, but countless variations arc possible among them <^ The Posision of the Breasts ) ] The impression created vanes greatly by how the breasts are positioned Breasts that arc predominant among Westerners 28 Breasts that are predominant among Asians
(Creating a Sense of Solidity^ —I \—' Apply shad ng with scrccntoncs to cicatc a feci ng ol solidity Wncr\ the figure is dessert >. you can cicatc a more provocalwc "— yjp5) spnse ol dimension with / / solid black fill and pen touch-ups Scraping away some ol trie screenlones enhances the appearance ol skin The Breas from ""•^ Diagonally Behind Typically. Irts p the breast e visible (though sae e a lector). GooeraDy. the mppte is not visible" in a 3M rear view, but 11 depends on ' thctypcoftxeast. With sciccmoncs added 29
Since the areola is in ellecl a circle drawn on a sphere, it must be drawn with care in order to maintain proper perspective. When ihe areola Mill be toward the side, draw a circle on a ball first to see exactly what shape it needs to be on paper. { Some Examples I Pen woik only Pen work combined with screentones handled with relative simphcfly Screentones only, without any pen work 30 Combining pen woik and layered screentones gives the drawing more dimension and makes the nipple and areola appear more real
( Showing Movement of the Breasts The nipples arc generally ai tttc same height on both sides, so they provide iisel ul refcence points when blocking, out your drawing or determining Hie position ol trie breasts Movemenl is shown by changing the shape the breasts and the position ot the nipples
< Bending Forward > Remember that the nipples and arcolas lace upward Theluiief the breasts, the more they droop I torn the pull ol gravity
/ From On All Fours to Lying Face Down \ The breasts press aga>nst the tioor and are Itatlened by the weight ofl Ihe body The shape oi the breasts is aitccied by how much weight is being placed cxi them (or not). It the breasts arc large, they take the shape o« a llatlened ban 33
( How Moving the Shoulders and Arms Affects the Shape of the Breasts WHh arms raised, the chest thrusts lorward V*en the arms are raised, the muscles m the chest arc also pulled upwards, and the breasts change shape. Subtle differences between when the arms arc down and when they are raised can be seen clearly in side view drawing Slender Arms VAten a ligure rs given broad shoulders, the arms also tend to grow thicker Todrawslender arms, tighten up Ihc shoulder muscles and reduce the height between shoulder and armpit Wien drawing a ligure with A slender upper'torso raised arms, keep the upper that gives a more torso relatively thin. muscular impression ./ 34
(The Shape of the Breasts When Lying Face Up) W>en a woman lies (ace up. tier breasts nalurally flatten under their own weight You can show this eflect by how you position Ihe nipples. The nipples still point outward, even when lying lace up. The ime under the breasis gives shape lo breasis seen Irom below Smai breasis do not iiatten as much. but you should still draw Ihc nipples The llattened effect is shown The larger the breasts. a Kite lo the outside. by drawing the nipples tarther apart, the more unattractively they Iiatten out when lying m this position Thickness Ol Upper Torso Large breasts Petite breasts Small but shapely breasts 35
Effects You Can Achieve With the Breasts (The Differences In Line) Doth the angle and the pose emphasize _ the breasts. Special attention to ■ the curves bungs out the soilness and fullness ol the breasts ^Covering or Holding a Breast) A small breast covered wlhahand A larger breast A small breast held tirmly 36 Flesh pressing between the lingers shows the fullness of the breast The heavier lines of a feN-tipped pen f*ppte peeking slightly through the lingers Shift the position of the nipple 10 snow softness or lorcelul manipulation of the breast.
Squeezing the Breasts Together; The fullness ol Ihe breasts can be accentuated by drawing them close together. - Create ample cleavage by squeez ng the breasts together with arms across the chest ■ desired, the nipples may be shown peeking faxn beneath the arms i II the breasts are squeezed j wry tightly, ihe nipples need not j be shown even vriih an extremely | low-cut neckline like this Focusing only on the cleavage can produce lopsided results v*en drawing a bust with cleavage, be sure to keep Illustration mmnd the position ol the Thecnect of using a push-up bra to delfcerately accentuate breasts cleavage 37
Bust Line Fashion NO<\ Statements (1. Show the Natural Shape Dress 2. Exaggerate and Highlight for Effects M<XJy Blouse
Styles of Neckline/
The Buttocks The key to attractive buttocks is in how you draw the Crevice. Think ol it as an extension ol the spine. Viewed trom noad on. the crevice ol the buttocks is virtually a straight line There is an opening betweei the thighs at the crotch. Different Types of Buttocks) Firm, smooth, well-modulated curves make the best looking buttocks. Uneven curves create less appealing results \ Not sagging, but somewhat flat buttocks Slightly sagging bullocks F«m well-rounded bullocks
Different Views of the Buttocks Realistic buttocks^ Buttocks and Hearts Naked buttocks arc remarkably simple. Man a buttocks ,"Covered" buttocks) ^ Buttocks are often said to resemble an upside down heart. eslnthisHustration. Cb Buttocks actually look like this only when the Ikjuro s seated or viewed Irom above. Leather pants T-thontjs Ordinary panties
The Contour of the Buttocks how to Draw the Buttocks The secret to drawing an attractive bullocks is in thinking ol the crevice as an extension ot the spine. 2. Draw the tegs. The buttocks oo not really lake shape yet 3. Extend Ihe line ot the spine along the curve ol the buttocks f~ Why Getting the Crevice Right is So Wal Knowing how to draw Ihe crevice Is Important when drawing Ihe buttocks in slacks or jeans as well. The crevice follows along the Ine ol ihe spine, and represents the center ol the lower body ./ 4. Finished 4i
* The Buttocks from a Low Angle) | suiting Fiamewo* tor PeMs _ J Centet line The becomes the crevice. Oval that determines the thickness ot ihc tegs V^k ^ 11 2 Draw the legs. 3- Remove the corners and lilt in Hie curves • Jhe Buttocks When Walking) When standing wflli leys apart ) With lite Ictl loot forward With ihc tegs together Willi Ihe right loot toward 4i
Efffec s You Can Achieve wi e u ocks (Different" Views) view featuring the back 44
( Techniques of Expression) Apply screentones 10 bnng out the curvature and fleshiness Use underwear lo accentuate the sense ol reality. Use angle and shading to draw the reader's interest. 45
The Crotch Using Curved Lines to Show Dimension in the Crotch (1. Standing on Knees) The secret to drawing the town abdomen and crotch lies m ho* you capture the gentle slope ot the abdomen m the curved lines ol the underpants. From view from a slighlly elevaied angle 3/4 view Drawing these Tines straight will matte <l look more like a mate crotch. The lines in the underwear show the contours ol the crotch
(2. Sitting on Knees) Side view. The crotch does not touch the tloor The buttocks are soil, so the heel digs in. When the legs turn outward. the buttocks are puled apart and the crevice opens up Wear ng high-cut or string bikini-type underwear View trom below: the thighs and the buttocks press Hat against the floor. 47
f5TSquatting on Toes and Knees ) 3/4 front view Irom a slightly 4$ elevated angle Theaotch ol a standing figure looks much the same when viewed Irom above
4. Sitting on Buttocks, Part 1 Depending on what the ligure is weaiing and how it Ms. the crevice d the buttocks may need to be shown Ordinary panties Note Ihe deference in the curves
<^ 5. Sitting on Buttocks, Part 2 ) Even lor essential y the same silting position, the appearance ol the crotch \Mi be ddlerem OcperKbng on whether the ligure is leaning forward or back II you diaw the crotch area m too much detail, the ellect win be obscene
^6. Falling Over Backwards^ r Falling w«h legs pressed together An even harder tail (such as when tailing ott d a bed) For greater reahsm, leave a t tile space between the seam ol the underwear and the crease ot the thigh joint You can create Ihe Impression ot more dynamic movement by drawing muscle lines m Ihe thighs < SI
The Lower Bod in Action f rom an even lower angl andmoreiothelront
The Relation Between the Buttocks,Crotch, and gs The enteral lines. Wthoui ihese lines. the buttocks will appear Hat. 54
On a hard lloor. there wtn be a gap between the waist and the lloor 55
The Legs (Drawing the Legs With an Understanding of Their Bone Structure) n The bones X-ray view II you extend the (high ectly oil oJ the buttocks. * win (end to be quite I at. when you want to draw a less beefy thigh, draw the thigh lirsl m the desired prooorton and then adjust the buttocks as necessary lor a natural lil. <^A Side View of the Leg at the Hip; The thickness ol the thigh where it attaches to the petvis determines the shape ol the buttocks Thick thigh Average thigh Thn thigh 56
(The Relation Between Pelvis and Legs") The bones X-ray view Bullock Thigh High-cut style underwar reveals the Hugh |omt Even lor legs Ihat look skinny Irom the ; Iron, the thighs wfl look lat when viewed in dillerent poses or Irom J cy drllerenl angles
^Different Types of Legs) Shapely, sexy legs Thick-set Irom thigh to loot Legs thai are quite shapely m spite of thick-set thighs. Drawing the call wth heavy lines creates a muscular look. Slender but pretty legs, with smooth curves. Sexy thighs Skinny shapeless legs Excessively skinny thighs 58
A superimposed view. The hips and bullocks are small The tups and buttocks are small but the legs are heavy-set and the legs are slim 59
^Examples of Pretty Legs^ 60
Vanous ways to Draw Knees Focus on the Knees Side view o( curvaceous leg
{ The Softness of the Buttocks The buttocks and thighs are quite soil, and they change shape according to how weight is being placed on them as wel as how hard or sort the underlying surface is Sitting on the Ucot with legs emended lorward Pressure points where the body weight latls Supporting the body on hands and leet. wflh buttocks lilted off the floor \f Pressure points where the body weight tails. Sitting on a Chal: Howthe Thighs Change Shape Vicwud irom above 62
The Neck Connecting the Head to the Body Looking Down From Above") The relative positions ol head, neck and torso are easier to see il you draw them Irom an overhead perspective. Draw the iigu e in stages, adding one element at a time. 4. Finished 3. Add the head. 2 Add the neck. 1. Drawlhebody. 64
Showing the Neck and'Nape of the Neck")
The Bent Back When You Can't Draw a Tapered waist When a woman bends Toward win a rounded back, creases lorm across her stomach no matter how trim she might be. Reaching to pick something up Structurally speaking one side constricts viMe the other stretches Tl is side constricts and the body bends forward. ^Bending Over in Other Ways\ When knocked lorcetully oil one's lecl 06
Depending on the posture and the angle, the stomach creases may or may not show To avoid the appearance ol a tat belly, keep the creases to a minimum in your drawing
The Effect of Underwear and Bathing Suits on the Female Figure You can show the soilness ol the llesh In how it yields to the pressure ol various items ol clothing. tn the case ol underwear or bathing suits. It may be either the elastic along the edges or the labric rtseU that presses into the skin ( 6fi Some kinds Ol labric provide a glove-like tit that mattes virtually no impression on the skr
^ Other Examples^ Some body suits alter the person's entire ligure. Natural ligure Wrth body suit Long tights pressing into thighs A bathing suit that's one size too small 69
Water Droplets and Beads of Sweat Always keep tne contours of the body in mind when drawing droplets ol water or sweat ^1. Water flows along body contoursT) Oont simply draw little round circles. Always remember that the Deads ol water or sweat be on a curved surface. O It you simply draw little round circles, they wa look like drops ol water resting on a shed ol glass in iron! ol the figure The llow ol water or sweat should lollow the body's curves (2.. Water obeys the rules of gravityT) , A ^\ \ Beads ol water and sweat arc drawn 1 \\ J I downward by the pull 01 flravity. / \J 0
/ 3. Water is affected by \ the direction of motion. / Beads ol water and sweat aie atteded by the now ot air or the speed ol an action as they flow along the contours ol the body The basic technique is essentially the same wnelher the ligurc is to be shown w*h a tew beads 01 sweat, sweating profusely. or drenched w*h water. Heavy sweat itying in every direction 71
Wire Frames Getting a Grasp ot the Body's Curves 72
{ From Low Angle")
Using Wire Frames Undergarments and clothing ol al k nds generally conlocm to (he contours ol the body Wire Irames are especially helpful when drawing the ovoid curves al the neckline, the cull of a sleeve, or tno nemo! a skirl The basic shape ol a T-shirt and skirt Clothing is in essence a tiguie's second skin. (l. Drawing clothing"^ When drawing a V-neck use ihe vertical lines lor rclcience. 2. Drawing a figure In water ^ 3. Drawing logos^) Refer to the wire Irame when drawing logos and other designs on the clolhing The surface ol the water should loaow the curves ol the body 74
^4. Drawing underpants^ (5. Drawing skirts) Relet to the wue Iramc to tigure out the curve cA the skirt as seen Irom below. Choosing a lower Ine g ves a more ordinary cut
Q&A What if you want to draw a female figure without drawing attention to the bust or hi • s? Answer O s/ 1 Diawa long, slender neck. 2. Even il you don't draw breasts or hips, do taper the wast to give the (igure a cerlam amount ot conlour 3. Give the llgurc narrow shoulders. 4. Make the head relatively small, and draw a body about 7 to 9 heads high Answer Orawthe ligure as slim and delicate, in this case, the shoulders can sun be somewhat broad. Answer Draw a clear collarbone Answer \4y 76 A boyish girl) When drawing children, there is almost no dfflerence between male and lemale iigures 1. Use racial features. ha» style. or clothing lashions to disungursh grown women and little girts. 2. Drawstraight. skinny legs.
Chapter 3 Drawing the Female Figure: Using Detail for Effect \ / <_ l^D)
Different Types of Nails Uncanny lingemails Trimmed 1 ingernails Eftptical lingeinails Rounded lingemails A) ("Examples of Hands and Nails) 78
^Showing Manicured Nails) Spoiled black Spotted block with white tor rejected light Using screentores to represent ditlerent colors Customu ty. red and eieeo nails are spotted black or icprcsofltod w."h a graduated pcieonlonc. ligni ptoik and yelow nails are represented with a light screentone mine (10 to '19 range. While Woe nous a o represented with a «42 or «S2 screentone. Lighl pink Blue Rod Toenails^ Neatly clipped Front view View Irom above
Eyes, Eyelids, and Eyelashes ^The Structure ot the Eye ) Pupil Exposed portion oi the eye { How Eyelashes Grow UppMoyohd Lower eyelid Pud I *R f" \ (A Selection ot Eyelids with Folds) Contoured Simple TK 80 Heavy Realistic
Slanted eyes are slanted even when viewed Irorn the side ^Different Types of Eyelashes ) 1 Slanted eyes with thin eyelashes t^ M> Or nary eyes with ordinary eyelashes l -te Ordinary eyes with ihick eyelashes ^ Heavily made-up eyes with lour-way latse eyeiasnes Eyelashes from Different Angles 1& ^ i?^ ^ -*$ / \ T&s- 81
( Different Types of Eyes ) neakslic Eyes VMeEyes Open ^r^s ,^> ^7> ^hr Han-closed -i-<J' Closed Closed lightly ■^^^K^^^ | ^^" ~^*fc Srraling ^^^ <S&y Loo* ng skJcways Winking 82 ^^- "^ <5£ ^r Manga Eyes Tal Eyes *Q. £v v>*V >^ ^^ ^ ^e ">
^Pen-Drawn Shading^
The Mouth and Lips (The Shape of the Lips) k You can achieve many dfflereni effects wflh ihc mouth according to what aspect you choose to highlight @© (Special Effects) VAten sccVing a particular ellect with the mouth, locus attention on it by cropping the frame to exclude the eyes. 84
Effects You Can Achieve with Black and Shading Accenting the outline^ Solid black plus hatching igy Solid black plus screentones > ^Z3 P 85
The Ears and Earrings Since earrings are smell, they are almost always drawn to obtain a very particular effect. It's nportanl to lh«* carelully about what view ol the ear will otter the desired ollccl Some Tips on Ears and Earrings The top ol the ear is on the same level as the eyebrows, and the bottom ol the ear is level with the base ol the nose An ear w*h a pierced earring at dilferert angles When viewing the side of the head, the ear rs at the center. 86
The Hair ] Har styles are determined primarily by two characteristics: how still the hair is. and how much of I there » ( The Difference Between Coarse Hair and Fine Hair V ^ r II the hair ts line and solt. «tends to he flat against the scalp \t/" II Ihe hair is coarse and still. it lends to grow outward from • the scalp Fine ha> Coarse Typical hair styles ha* Hair Density ) Fine and thin Fine and dense Coarse and lull headed' dense 87
Coloring the Hair Outline only Solid black Graduated screenlones. sciaped Pen work only Black with wtnte highlights Layered screenlones /' HttW/ ■V »' Pon work and screenlones Black w*h while highiighis Black with scraped screcniones 88
.Tips for Drawing Hair") Shaved hairlines use Iranstef screens or sceenlones
A Catalogue of Undergarments (1. Underpants T-ihongs Higli-cirt Ordinary 90
Miscellaneous
C 2. Bras~)
Sporty Miscellaneous
C 3. Other Items") Bodysuit Variation 94
Underpanis: The Different Look of Different Fabrics Wicn not being worn Light weight puckering fabric Standard weight cotton-symnelic mi* Silt ■ Hugs body curves faithfully. - Wrinkles appear as veiy detcate lines. Standard weight cotton-synthetic mix ■ Orawonty the outline and seams of the panties - A plain look, wtti the teeHng that the panties hug the contours of the body. Light weight puckering tabric - Drawwrinkles along the top and bottom hems. • A 1ewwnnktes1c*jw the contours at the crotch and hips. 4 95
y" Q&A What are the secrets to drawing faces in profile? "\ C^AnswetV Based slnclty on bone structure. it b strange for the eyes to be set too lar back Iromthe nose, but in drawings, such a style may still be perfectly acceptable There arc many dfflcrcnt ways in which Ihe eyes. nose, and moulh can be distorted or exaggerated to good eitect. so you can develop your own style without being loo worried protile. but ihe eye gazes about actual bone structure straight out at the viewer In Egyptian drawmy style the lace is presented Outhnc ol the head even the mouth protrudes quite a bit Cone structure, the lace is nearly Hat
The Female Figure Goes to School \1. Getting Dressed: The Blouse) Wrinkles «Ihe blouse should be drawn wth sharp, dynamic lines. The bu&l wlh dfflerent btouses Fastening the bra 97
(2. Getting Dressed: Shoes and Socks") When ihe (igure is seated, the surface ot the bed or cushion conforms 1o the shape ot the buttocks. How Ihe nvisibte part ot Iho buttocks presses into the mattress or cushion. Some loose socks Sipping into her shoe in a sealed position 98
^3. Getting Dressed: In Front of the Mirror' Even when Ihe character is simply standing or srtling straight, avoid making the figure completely rigid
{^Running Down the Hallway^ A sudden stop: momentum makes her skirt lly up. 100
5. Sitting on a Chair 101
(, 6. Jumping up In Joy: In School Uniform
7. in the Locker Room) Bunched up gym clothes should be drawn with soft, genlle lines lo rellect the softness ot the labnc Bra straps aie usually madool sturdy material Use sharp but relatively lew lines lo draw wrinkles ■> the gym trunks Loose socks should appear solt how you draw the wrinkles depends on Ihe kind ol labnc. 103
{a Dressed for Gym Class With icrsey hanging loose With jorsey lucked-* 104
9. More Tips for Drawing Gym Clothes The jersey 13 smooth, but also has a certain weight. A senes ol wrinkles cascading Irom the breast tine shows I he thrust ol the bust The lower abdomen' You can use black and graduated screentones to achieve a sense ol dimension Wrinkles on the back typically appear around Ihe shoulder blades and the waist Black, with the lines ol the buttocks shown in while. The way Ihe buttocks appear to bulge out beneath the seams creates a reakstic ellect It is besl not to draw loo many wrinkles m the crotch Using transfer screens to show rellected Ught can give Ihe buttocks ol the trunks a reeling ol volume. 105
^10. Regulation Bathing Suits) Drawmg all the seams makes the bathing suit look more realistic Seams are normally lound on the shoulder straps along the skies, and across the crotch Tight wrinkles penned in along the side seams bnng out the curvalurc ot the body 106 Use Mack and screen tones to creale the mpression ol a wet balhing suit retlecting light
11. Riding a Bicycle") The skirt curves according lo the posilen and roundness ol the thighs. 107
12. On the Way Home: Walking Outdoors) Distinctions should be made between summer and winter uniforms. The sumrnef labnc is light and shews more wrinkles. white the winter blouse should be drawn wrlhout many wrinkles Winter unitorm the wind Mts the garments as a whole instead ol merely wrmWing them n spots Summer unitorm' the wind creates localized wrinkles 108 Wnen showing a strong gust, summer and winter unKoims should both be drawn (lapping in the wind Whenaskut gets blown up n the wind, the arc ol the hem shows the weight ol the fabric.
Chapter 4 Learn from the Pros
( Girl in Middy Uniform ) Narrow Shoulders lor a Youthful Effect ♦ Narrow shoulders and a trim figure offer the unage of a cute young teenager. Since narrow shoulders make the head look larger. A typically leads to a childish look But give her some curves and long, shapely legs, and she becomes a vivacious teenager ♦ A waist narrower than her shoulders and the hnes that show her breasts swelling against her blouse lei us see her shapely hgure even through her clothes. Also. Ihe lines of her thighs suggest the well-rounded buttocks Irom which they grow. 110
Beauty with BouqueT) *\ Drawn by Jun Malsubara Cu led hair ts a hallmark ol girts comics (shojo manga). Here, a dozen or so knes twist together to lorm each tress, and you can see how the delicately curving knes and the varying widths ol while space between thorn combine to give the curls a remarkable leokng ol volume. V Rough sketch Preserve Your Original Conception through Attention to Detail Start by blocking out the overall image, and Ihen work up a complete rough sketch II you go ahead and rough in the llowers and other accessories at this stage, you should be able to proceed with confidence and lirwsh with a drawing that remains quite laithlui to your original conception When you pick up your pen to complete a rough sketch like this, you must have a dear vision ol the linal drawing you wsh to create, and your pen must be controlled by a very precise sense ol where each line must go. 112
( Alluring Adult ) Drawn by Yasuo Matsumoto Draw the lines showing the swelling of the breasts sharp, thin, and smoothly in order to bring out the natural soltness and vitality oitheiiesh Rough sketch Achieving a Natural Balance When deciding on the ligure's composilion and overall proportions, use your gude lines to maintain the proper balance. Focusing too much on the proportions can often result in a fietess hgure. but the drawing w* come alive Hie this so long as you develop the composition with a clear visual image. 114
( Dream Fantasy ) Drawn by Mono Harada lite lock ol hair sweepmg forward Irom m Iront ol the ear subtly suggests the lemmine shoulder line Some may even visualize the Ine ol a rising bust Even something as simple as a strand or two ol hair can trick the eye to create slarltng ell MS drawing Your Most Cherished Dreams are the Soul ol Manga ♦ Even in this simple line drawing, ihe artist has meticulously detailed the lace at Ihe sleeve and around the hem Out the drawing takes on a whole new wbrancy wflh the addition ol a black bodice and an elegant skirt border created with screcnlones The black nbbon at the ankle provides another elegant accent ♦ The tmished drawing seems loo real to be a dream, yet loo imaginary 1J (, to be real, and perliaps m tliat we can see Ihe very essence ol manga.
Drawn by Bancho Hoshino From Ihe very oeginning. the artist ■•.os preparing lite way lor black hair with white iHghlighling to show the reflecting iKjhi Such elliciencies are the ma k ol a true prolessional Line drawing IIS A Medley of Cheerful Faces lor a Drawing Bursting with Fun ♦ II lakes lime to draw an initial skelch thai is close lo Iinished quality bul Ihc advantage is lhat « simpl ics your linal pen work When the pen work can move swt My. it energizes Ihe characters and lends sponlaneousness to iheir expressions ♦ A template was used to draw ihe circle lor ihe ban. and carelul altenlion to details such as shoe str ngs and soles, even with simplification, helps give the drawing a Iceling of balance
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( Sexy Babe ) Exaggerate Boldly ♦ Draw the ligure with large breasts and buttocks lo create a wdl-endowed woman (URol vim and vigor The eye-pooping voluptuousness ol the body is counterbalanced by a cute, slender neck and a slighlly longer than normal torso, and the serene expression on her lace adds to an impression ot Ircshness and mvihng soltness In poses that lealure the buttocks, it's olten easy to get excessrvety caught up tn the shape ol the two cheeks. 120 but always keep in rmnd as you draw that the buttocks are where the legs grow Irom.
[Humorous Illustration') Drawi by Shoko Ando r Cven hnes thai look simple and artless can show movement and space Draw as if you have become the object you are drawing, rather than as a person looking at rt from the outside ^/ Rough sketch Simplified Features, but Drawn with Warmth ♦ The laoat teaturos nave been simptriied to an extreme, arx) the body is distinctly styli/ed Bui by applying the same style to each character, a certain lechng ol rhythm is born between them The unadorned dots and hnes actuaRy reveal a remarkable amount ol expression. When drawn with a clear image and distinct sense ot mood, even the simplest figures can be Mied with heart. 122
For Proper Balance and Struciure. Sketch Even What Won't Show ♦ By choosing a pose that provides a leeling ol depth all by rtself. you can create a powerful illusion of physical presence even in a standalone lig re without any background The secret to getting the right balance in this Ijgure les in nduding details of the loin area in the rough sketch, even though that pari is slated to be spotted in black ♦ The logo on the shorts provides an important accent It may seem like a timat ihing. but drawing the logo neatly and sharply contributes to a leeling of tartness, and ntensif les the leeling ol physical presence. 124
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Pursue Your Own ideal ol Beauty-Without Compromise ♦ On the way to a finished drawing, you have only so much time to decide on the composition, facial expression, accessories, and any special motifs you wish to include In this case, the hand drawn so prominently in the rough sketch ultimately got removed Since a significant amount ol cflort goes into even a rough sketch, ihe natural tendency would be to keep the hand even n the linal pen work. but there is a valuable lesson in this example In order to achieve the best possAlc rendering of your vision, you must sometimes be wiling to change course, even A it means additional wo k it is the refusal 126 over to compromise your vision that will ultimately bear the finest results.
( V ^ ■*v/ ¥ .*> *S* ,. m / ■1] J O NonyoslN inoue and Jun Uptani/ Sasono/nogannpheLast Goddess"). Sltueisha Business Jump
9 ro* oo111*o ISBN 4-7tbl-imb-X