Vol.l: Compiling Characters Chapter 1 Drawing the Face Chapter 2 How to Draw Bodies Chapter 3 Drawi ng Characters ISBN Vol Compiling. More How to Draw Manga: Vol. 1 The Basics of Character Drawing - Free download as PDF File .pdf) or read online for free. An awesome art reference book by. 1 How to Draw Manga Vol.1 (Compiling Characters).pdf. DownloadReport. Published on Jan View Download AddThis Sharing Buttons .

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How to draw MHNGHCOMPILING CHARACTERS Power up MRNGR techniques for beginners HOW TO DRAW MANGA Volume 1: Compiling. What genre do Chapter 1 o ooo&o What are " Super-deformed Characters "? .. I I { HOW T0 DRAW MANGA: Super-Deformed Characters Vol. Download the Book:How To Draw Manga Boys Step By Step Volume 1 PDF For Free, Preface: As the mermaid princess of the North Pacific (one of the seven.

You may use light screen tones for combat robotlike, heavy armor to create the light texture of reinforced plastic. Adding dark tone or shadows to strategic points results in a well-balanced composition. Once you have drawn your mecha, add special effects. Effects intended to show movement, such as speed lines streak lines or radiating lines are called "special effect lines.

Radiating lines are geared toward suggesting movement toward or running away from the picture plane. Use a stiff saji-pen, etc. Attach a thumbtack to the center. To create a well-formed, tapered stroke, hold the pen at a consistent angle, drawing it quickly in the direction in which you want the line to taper. Guidelines-Pencillines that indicate how far to draw.

Note 2: Tapered lines- Lines with tapered ends. Lay masking tape over the thumbtack in an X. This allows you to establish the center without piercing the paper. A flat-bottomed straightedge will cause the lines' ink to smudge and bleed under the straightedge.

There is a danger you will not notice until your drawing has a jet-black smear on it, so be very careful. Pen Paper. Speed Lines There are four common types of speed lines. They suggest right and left motion across the picture plane. The artist controls the sense of speed by the concentration of lines.

CD Average These are randomly interspersed lines that continue to the edge of the composition. They are suited toward suggesting average speeds. They work well for showing high velocity race scenes, etc. Tapered Lines These are randomly taper either to the right or interspersed lines left. They work wellthat for suggesting acceleration or deceleration.


For the former, have the lines as the car see right fig. They are suited toward representing sudden acceleration in that they suggest ultra fast power bursts. Radiating Lines Radiating lines refer to tapered lines radiating from the panel lines toward the center. They suggest movement from the center toward the picture plane or vice versa. Having the lines taper toward the center, forming a circle results in pleasingly formed, evenly distributed lines.

Here, solid blacks have been added in between sporadically spaced lines, producing a more dramatic effect. Fill in with black. Burst effect on black ground Creating a burst effect on black ground delivers an electrifying impact. Draw lines toward the center, creating wedgeshaped forms. The trick at this point is to tighten the space in between adjacent lines so that they touch. To finish, fill in the triangular spaces with ink or a magic marker.

To create a burst effect on solid ground, simply connect the wedge-shapes. Evenly distributed radiating lines are not only effective for suggesting speed but also for capturing a fleeting facial expression. Expanded Version Here, the center vanishing point is positioned somewhere outside the panel's lines, expanding the composition beyond its boundaries.

When drawing a car or airplane in perspective, positioning the center outside the panel's lines creates the impression of passing another vehicle.

Blank area Perspective line. When depicting a falling or floating motion, position the center somewhere above or below the panel and lightly add in the lines. The forms taken by explosions can be roughly divided into the moment that the explosion occurs and immediately after. In addition , including debris of the object s blown apart results in a more convincing picture.

Including fragments of a robot, building, etc. Now let's look at how to draw black smoke expanding after an explosion and how it is carried by the wind. Draw surging masses of smoke as individual spheres. Use solid black for shadows resulting from a light source located in the center.

CDUse a cm. To create black smoke being carried in the wind, dab the gauze onto the drawing according to how the wind should flow. Attach a light screen tone that is slightly larger than the target area and etch, blurring the perimeter. Using a brush , allow ink to soak into the gauze and then dab the gauze onto the drawing, rotating the gauze as you work. There is light other than that from the sun.

There are car lights, lamps lighting a robot's eyes, and rocket flames: Representation also changes according to the situation. Etch the exterior of the circles lights in a radiating pattern.

Also, etch a double-lined X through each light to intensify the sense of speed. Low beams shine on the road in front of the car. Cut circles in the screen tone somewhere in front of the car and lightly etch the front and back of the circles. High beams shine off to a distance. Cut the tone in fan shapes originating from the car's headlights and add light gradation tone. Consequently, etching at these angles will result in an awkward-looking product.

When the eyes shine brightly or for any other scene with movement or impact, use two layered sheets of tone. Superimpose another sheet of the same tone, shifting it slightly to adjust Attention!

Be sure to use screen tones from the 50's series. If you fail to use tone with the same number of lines, a moire effect will result, which will not look nice.

As long as the number of lines are identical, a moire effect can be prevented despite differing values dot size I density. Depicting the Light from a Blast of Flames Use layered tone to render the flames erupting from a rocket engine nozzle. This will give the image depth. Rather than merely cutting the tone, etch the target shape using a craft knife, blurring the edges. This will give you a light with a natural feel. Moire effect occurs when screen tone dots interfere with one another, resulting in a pattern.

Since the number of lines is identical, a moire effect does not result, even though the tones have different values. Being imaginative and modeling the rocket blast after the moment water spurts from a spigot will give the effect of light softening after it blasts from the nozzle. Give It a Bang with Lettering Display lettering gives the final touches to the artwork. Add lettering that matches the scene as a sound effect.

This will make the reader feel he or she is really there and give the scene greater depth. Explosions Having one set overlap the other like a concentric circle makes the lettering appear to be blown debris, giving a sense of reality.

Furthermore, I intentionally extended the lettering beyond the panel to give the entire composition the feel of an expanding explosion. Next, attach screen tone to each letter. This will allow you to indicate that the letters are overlapping in space. Lettering with Perspective Drawing sound effect lettering in perspective and extending beyond the panel gives the whole panel depth.

Moreover, it also causes the viewer to imagine that something happened somewhere outside the panel. This creates the effect of being illuminated by a bright light. The layered tone effect described on p.

How to Draw Manga Vol. 1 Compiling Characters.r.pdf

Here, screen tone of a similar type to that used in the background was cut in the shapes of the letters and attached over the original tone. The letters were then outlined in white. Because the special effect lines are still visible through the lettering with the layered tone, the sense of speed is not lost.

Stick a thumbtack at the vanishing point see right fig. Draw the background radiating lines. Also, if the vanishing point is located off the original paper, use another sheet, attaching it to the first with masking tape. Adding special effect lines to the car itself will enhance the sense of speed even further. Use fine, even lines for the car's shadows, attaining the appropriate shading.

This will balance the car with the background, while simultaneously giving the car senses of both volume and speed. For the above scene, position the radiating lines' center at the explosion's core instead of the fighter jet's.

The viewer's eye is drawn to the explosion, making it obvious that fire from the fighter jet in the foreground caused the explosion. Mask the fighter jet with masking film, etc. Etch around the outside of the lit area of the canopy to suggest brightly reflected light. This adds dynamism to the fighter jet.

Adding debris from the destroyed enemy plane around the explosion illustrates that the scene is directly after the attack. Use large-dot 50's series tone for the fighter jet and fine-dot 60's series for the background. The screen tone evokes a nse of depth. Attach a thumbtack to the station's center. Cover the shuttle with masking film, etc. Touching the end of a straightedge to the thumbtack, draw sporadically spaced radiating lines to attain a sense of velocity.

Use 60's series gradation tone for the background, 50's series for the station, and 40's series for the shuttle. The differentiated use of tone will give the image depth. This will make the overall composition dark, so add highlights to the shuttle to balance the contrast between the light and dark areas.

Etch the background tone with a craft knife to create white radiating lines. This will add to the sense of speed. Draw lightning bolts around the space station in white correction fluid using a spoon pen. The addition of the modulated, dynamic lines gives the impression of the station moments before exploding.

To suggest blasting flames, apply white to the thruster nozzles using either gauze or an airbrush. This adds a sense of tension.

If you are using an airbrush, loosen the needle, To finish , add white shadowed lettering enlarging the paint droplets. See p. This will make the scene feel more real. See right fig. Pay careful Craft knife attention to the knife's angle. Also, you will not be able to etch the tone if you press too lightly, while if you press too much, the tone will rip. Etched radiating lines Note: Masking is necessary, because it eliminates the need to touch up with correction fluid after drawing the lines.

Drawing in perspective requires that you determine the center point. The center can be easily determined by dividing the initial box into two or three equal parts. Draw diagonals onto a halved rectangle as shown above. Draw a vertical line where the diagonals intersect with the center line, dividing the rectangle into four. The rectangle can be divided into eight parts using this same principle i.

Drawing both diagonals for halving and for quartering the rectangle allows you easily to divide the rectangle into three parts.

Applying the techniques for dividing into halves or thirds to this rectangle yet again allows you easily to create six or nine equal parts. Draw a diagonal across each of the sub-rectangles created in the foregoing quartered rectangle.

Next, draw a single diagonal across the entire rectangle and then a vertical line where each of these diagonals intersects. This will divide the original into five parts. I highly recommend mastering these techniques, because they will allow you to divide up almost any object.

Even seemingly difficult rspectives can be made easy to understand i you are familiar with these techniques. The house may look fine if you simply draw the windows as you think fit. But, once you are done, you may later find yourself thinking, "Oops! I made the far window bigger than the near one.

Try avoiding this by drawing the windows correctly from the start. The center line line equally dividing the top and bottom can be plotted by drawing a line from the diagonals' intersection marked with a circle toward the vanishing point.

In addition, drawing two diagonals whose vertex is above the Center line diagonals' intersection and then drawing a vertical line through this intersection divides the rectangle into four parts. No part of this publication may be reproduced , stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher December r I -: Lit area no shading added The ground Chrome-plated sunglasses make a good example for how to portray a metallic texture.

Intermediate Reflections Unlike with chrome objects, a sense of luster can be created by adding a light gradation tone. P Rendering scenes viewed through glass as distorted will enhance the feel of glass. Tree Sj Light source Picturing the effects of ice will make this concept easier to understand. The scene is distorted and pushed to the perimeter of the glass. Add solid blacks for reflections and light screen tone to generate a metallic luster.

Weak light Lit from both sides Since these substances do reflect light, extensive use of highlights is appropriate. Weak light The lit area is narrow with faint shadows. Androids Light source from the upper left Light source 0 o o Light source Sharp line Human Light source With the exception of rubber parts, this android is made almost entirely of reflective materials. Adding highlights to the lower lip produces a sense of plumpness. Applying a dark gradation tone with a clearly defined edge generates a metallic look.

The addition of ovoid highlights produces a sense of sheen. Even the addition of wavy highlights generates the look of glass. I Rubber should have no sheen: Rubber absorbs light, so avoid adding highlights and instead apply dark gradation tones overall.

Use it for silhouette lines and the like. Saji-pen Spoon pen The Saji-pen nib has a firm point, appropriate for drawing even strokes. Line pen! Sphere Sky Reference Scene Used in Reflections Cylinder House Not good Drawing the reflections directly touching the silhouette line robs the object of any sense of volume. Good Encasing the reflections drawn toward the sphere's perimeter in highlight produces a sense of volume indicative of a sphere.

Red Body Paint Draw a reflection of the ground line down the cylinder's center. Metal Girl 3alancing out the contrasting hts and darks and adding , adation tone finishes ott the - gure , replete with a sense of rome.

Lips and neckband: Vambrace arm covering: Body silver-colored metal Headlights clear glass Bumper black plastic 22 Front windshield glass Seat upholstery red fabric Fender black plastic Wheel silver-colored aluminum 23 Making Use of Blacks to Gain Weightiness Dark machines seem naturally to contain a sense of weight.

Solid black used for the tire's underside Adding profuse amounts of solid black to the tires and car's underside, and then finishing the car off with light screen tones will also generate a sense of weight. Solid black used for the car's underside Here, the entire underside, including the tires, are rendered in solid black, while highlights have been added to the mechanical parts of the wheels, creating a heavy, mechanical feel.

Adjust the shapes. Fine-tune the shapes. Take simple shapes Create complicated machines 0 B[Jb B[ftjf6 0 D D D Chop here and divide there Even a simple building block man can be transformed into a complex automaton simply by slicing and carving each geometric shape. Bend straight parts Simply modifying the lamp's neck produces a stable, appealing form. Here, we have a cold, inanimate car. However, by modifying the shape Points and edges are rounded.

A cold, highly angular car Rounding corners and edges overall makes for a gentler image. Elevating portions of a flat hood allows for the transformation of Simply drawing air intakes on a basic car body adds to form as well as function.

Rounding the corners of previously pointy headlights offers a softer appearance. A new, beautiful form is born. Widening an object also makes it appear more stable, resulting in a more pleasing form. Lights Communications antenna Solar panel Add supplementary parts Attaching supplementary parts to a female android makes her appear all the more real.

Supercharger This device forces air into the car's engine, boosting engine power. Front spoiler This functions by adjusting airflow to reduce resistance. Thruster - a small rocket used to propel an object forward 31 Draw in the Details Once you have established the general form, draw the details.

Add a few details. A camera Transform a girl Into an android You can transform anything simply by adding details. Is this an inner tube? A doughnut? First, draw a circle. Next, we draw lines for windows and add legs to make it look more like a spaceship. J Geometric Shapes Trim the Shapes Just as you would when drawing a human, divide the figure into the various parts: Adjust the shapes of the waist, ankles, etc.

Final touches Spot blacks, add screen tones, and you're done! Sight Muzzle Safety catch! Grip Add Parts Add the trigger, hammer, front and rear sights, safety catch, and other supplementary parts. B One-Point Perspective Cube in two-point perspective While each figure is drawn at a different size, they are actually supposed to be identical in height. This technique allows you to suggest depth more naturally than one-point perspective.

Far From a great distance, a cube does not seem foreshortened. Note that the gun muzzle should never look like this. Horizon - - - - - - - - - - - - - 40 point Basic Image Side Car in One-Point Perspective - s e, the car appears to be moving - uard the viewer. Front Car in Two-Point Perspective When an object has sufficient breadth, like a car, two-point perspective can enhance the sense of depth. Building from a high angle I The objects appear small. Building from a low angle Vanishing point The objects appear large.

Tip When drawing from a low or high angle, if the subject is not something that naturally has much height, there is no need to draw it in perspective i. High and low angles refer to downward and upward angles, respectively. Tip Picturing a triangle when drawing helps objects to fall naturally into perspective vertically, and it allows you to emphasize their sizes.

How to Draw Manga (Graphic-Sha)

Two bisecting lines and a center line 1. Drive Shaft This is a shaft connecting the transmission to the differential. Differential The differential acts to diverge the rotating motion of the drive shaft to the two rear tires.

Tires The tires use friction with the road's surface to facilitate motion. While minivans do come with increased air resistance, they also have comfortable rides D Boxy shape Visualize the Design You can portray a sense of comfort and stability by drawing a large cabin and windows.

Large side windows Generous side mirrors -: Drawing the tire less thick indicates to the viewer that its position has shifted.

CJ D Land Sedans and coupes, which have balanced passenger to cargo space, come in an evenly proportioned, trapezoidal shape. A Play around with what sort of composition in "';;;:? Having the hood slope forward gives a sense of stability. Vanishing point Drawing the horizontal lines of the car parallel to the horizon results in an ugly car. I The tail rises The front lowers. Tilt the side windows inward. B-pi liar Headlight I Side mirror Air intakes Sketch in lights, mirrors, pillars, air intakes, etc.

The illusion of spinning tires suggests the car is moving rapidly. Visualize the Design Circle The rounded body offers little air resistance, making it suited to driving fast. Air intake for cooling the engine Air intake for cooling the brakes Front grill air intake for cooling the radiator Devise the Composition and Draw the Sports Car Two-Point Perspective Two-point perspective results in a dynamic perspective and, consequently, allows you to enhance the sense of speed.

Center line of the ellipse 52 Horizon Draw the lines converging on a single point on the horizon. Round off the tail. Air intake Fender flare Draw the interior. Compact steering wheel Stick shift Allows the driver to shift gears when changing speeds Note: Land Know the Minimum Parts Necessary Unlike the car, which is covered with an exterior, the working parts of a motorcycle are exposed. Motorcycle height midpoint Determining what parts fall in which section will help you Motorcycle when it comes time to lay out the composition.

Tire hefght Motorcycle height midpoint -- - illustrates how the tires are positioned. Picture this as the motorcycle's center.

Build up the tires equally from side to side to give them volume. Intake Drawing the intakes allows you to portray the curved surfaces. Two rear wheels The large displacement volume engine embodies the concept of bulk. First, lay out the map and check which parts go where. Drawing a Trike The center point is toward the gas tank's rear. The entire trike is four tires in length. Each cell is one tire in size. CS tank Fender Erase sharp edges.

Round off the edge. Round off all corners and edges composed of geometric shapes and adjust the overall form. Transforming the shape of the tire as shown above will make it easier to draw. Enlargement - - - Caterpillar Track causing the caterpillar track to rotate, allowing movement.

Remove the tank's gun turret. Show Consideration toward Stability These links are connected in a series, forming the track. Center line The wider and shorter the robot, the better its stability.

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Machine-gun equipped arm Shields to protect the caterpillar tracks from fire. Adding assorted artillery results in a bulkier overall form. JL Fan This model functions in a similar way as a hovercraft, allowing it to glide through the air.

Back Roller Model This model is unable to glide through th.: Side The plating covering the internal booster rocket hinders attack. Fumes are released from the nozzle, allowing for explosive acceleration. Back view The backpack should be easy to draw if you picture an oldfashioned, leather school backpack.

More How to Draw Manga: Vol. 1 The Basics of Character Drawing

The aero-helmet is akin to cycling helmets worn by professional riders. Completed backpack eel s 2 Rollers e heels" by merging high-heeled skates. A sense of balance can be achieved by copying the forward leaning pose of skaters. Earth's atmosphere c Space Shuttle While not necessary in space, the space shuttle possesses large wings, designed for use in its return to earth. Thrust is gained, pushing the plane forward.

Air hits the wing, generating life. The aircraft then flies. Propeller Jet Engine The jet engine is an advanced version of the propeller. The rotating propeller creates wind, generating thrust. Air Passenger Planes: Upward arc Engine mount Draw the main wings and tail. Add in the windows to finish. Wing reflection -: Rather than drawing the windows one by one, another alternative is to draw them as solid strips. Tip --, move in three-dimensions. Forward RCS module with vernier jets Forward Reaction Control System Mid fuselage for load carrying Front Shuttle with the mid fuselage open Ultra-large vertical stabilizer Ceramic coating was used to withstand the heat of reentry into the atmosphere.

I Engine Booster Rocket engine This engine is designed to move the shuttle in space. Three blades These are tandem rotors, which are often used for cargo transport, etc. Leave these areas white. AHA Apache Overhead When the fuselage is complex in form, always determine where the center lies first. Side Tail rotor This is an auxiliary rotor designed to prevent the fuselage from spinning in reaction to the motion of the main rotor.

High power jet engine designed to enhance mobility Automatic cannon: Given that this is a combat helicopter, it has been armed. The vertical stabilizer provides stability when flying forward. Sensor 8 Solid black for shadows Jrawing a Combat Helicopter rtts: Make bold use of! CD Still mode: The folded wings expand. The wings are folded and tucked away. The wings' positions and angles adjust according to the propulsion speed.

Backpack with wings expanded Primarily used for acceleration, subthrusters act as auxiliaries to boost the propulsion of the main thruster. Vernier Back A propulsion device designed to change direction 80 Note: Backpack is propulsion device.

Back view of leg Base of foot - 'oreshortening to create the illusion of flying. Perspective layout Positioning the wings low on the backpack when flying causes the form to broaden similarly to a fighter jet.

Back Propulsion Device Wings Adjustable Wings The angles of these wings change when flying , allowing for control over lifting power. Boxy backpack with internal boosters This joint connects to the backpack. Retractable Wings A smaller model, these wings are folded and tucked away when not in use.

Rounded backpack with external boosters Shoulder-mounted armor Shoulder-mounted Wings Here, the wings and booster rockets have been combined intc a single unit and are worn on thE shoulders.

Cockpit The wings twist goo and rotate to th e front.

This flips up. The wings open. Overhead view Shifting the wings back causes speed to accelerate. Showing the hands and feet visually reinforces that the plane is a transformed robot.

Refer to p. Wing base line Center line. Flight armor guideline triangle The cockpit is The rear thrusters equivalent to the flight constitute the largest part armor's face. Use cubes to give each part three- 86 dimensionality. Adding lines where needed will make the product look more like a "mecha. Wind power allows the hovercraft to float. Using the Principles of Movement of a Hovercraft Motorcycle Car By having the vehicle hover, you will eliminate friction with the ground, resulting in an extra-fast mecha.

Simply attaching a fan to each side results in a futuristic design. All you need is some tweaking of the original mechanics to produce a fun design.

Fast Mecha There is a host of car types tailored to various purposes. Today's Fastest Car: Lamborghini Diablo The car is long, wide, and low to the ground. Front Spoiler Like the rear wing, this adjusts airflow into the car. Slick Tire Tire without tread designed for racing Muffler Exhaust pipe Merely the addition of these parts to a common sports car transforms it into a muscle car.

Fast Mecha Designing CJ. J Draw the axles and position the wheels. Large rear wheels emphasize speed. Maru-pen Crow quill pen As this nib is suited to fine lines, use it when detailed hatching, etc. Saji-pen Spoon pen The Saji-pen nib has a firm point, appropriate for drawing even strokes.

Use it with special effects, etc. Line pen! Using Combined Techniques to Depict Grime and Rust imply affixing screen tone to a plain pen drawing will create the pression of a pristine object see fig. Take care in that overdoing it could result in a messylooking drawing. Combination of Hatching and Screen Tone The "grime" or "rust" effect is magnified upon etching a screen tone over a hatched drawing.

Etching to the artwork. Screen tones can be found The cutting stationery and art-supplies stores. Let's play around with using reflections on a sphere or cylinder and try to create a threedimensional, metallic object. We'll also use a car as a practical application example.

Sphere Reference Scene Used in Reflections Cylinder House Not good Drawing the reflections directly touching the silhouette line robs the object of any sense of volume. Practical Application Not all metals are plated chrome. Cars with colored paint jobs may also be easily rendered using the same means for producing a chrome-plating effect.

Good Encasing the reflections drawn toward the sphere's perimeter in highlight produces a sense of volume indicative of a sphere. Attaching gradation screen tone of a density matching i.

Each person has own preference in pen nibs. Try out different types of pen points from different manufacturers in order to determine what works best for you. Pilot ink for writing documents is water-resistent, and used for drawing in color. Nowadays, many other good inks have also become available. The strength of the black, including Cartoon Black, is much higher than Pilot or Kaimei Bokuju, and they provide a spotless finish. Do not 3 Do not reverse roll to avoid the drawing. It is not necessary to dissolve it in water, and it spreads well.

Correction ink is convenient to have. Simple mistakes can be corrected. Some cartoonists use fine point for black masking. For large areas, thepens as they are easy to obtain and easy to brush pen on the right in the photo is moremaintain.

This pen will be also good for drawing highlights in hair.

Correcting can be very precisedepending upon the brush used. RULERS Basically, you should choose beveled rulers for lines, and rulers with measurements will be more convenient to use. You should have at least three different types of rulers: Rulers with metal edges are also useful because you will not damage the ruler when using a cutter. The pen should be positioned as in the left diagram, so that the ink does not come below the edge of the ruler when drawing with pens.

See the diagram on the right for the correct positioning of pencils. Round chipfloating discs are usedfor preventing seepageyou attach them to theback of the ruler, liftingit slightly from the paper.

Make sure that the manuscript paper is free from dust and erase residue. If it sticks to the tone paper you wont be able to use it. The sheets are packed individually in clear plastic bags. Theyshould be put back after use. This 61 refersto Letraset 61 and tone of this dot size is calledScreen-Tone. Letraset looks like sand;therefore, it is called sandy dot. There are also different types of tones such as tone for use in backgrounds and or for garments and other textures.

The cut and paste type is not the only kind of tone. Transfers are also available. Which type you use will depend on the situation. You should start with a standard type. Cutter blades quickly wear out and become dull. As a result, it affects on your work. Make sure to break off the blade edge as often as possible so that you have always a sharp blade.

An art cutter is useful for special techniques. Standard cutters should be gripped the same way as you hold pencils. A Clear Mat is useful and protects your desk when placed under the manuscript paper when cutting and pasting. Feather brushes sweep off not only eraser residue but also tone trimmings. As you do so, think about the drawing and the shape. Figure 1You will see how flat the side of the humanface is when eye position and ear positionare connected with lines.

Figure 2 Also, if the ear position is carried up by line, you see it will intersect the center of the bisecting line of the head. Figure 3 If you understandThe human skull is figures , you cancomposed of two parts, draw simple, skeletalthe upper portion of the structure basedskull and the lower jaw.

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These two get togetherand become one. Check with the center line ifthe right and left side arebalanced. Often, people draw a circle and a crossing, see left, when drawing a face. It simplifies the upper skull, head and upper face. Figure 3 You may just draw on the circle and the intersecting lines.

However, if you want to get a little bit closer to the skeletal structure, then use something like the diagram on the left as your base. Ear positioning lineEye and ear linesshould be positioneda little bit lower,considering that you will Eye and ear positionadd the lower jaw. Side of plane of faceWhen you have drawn the basic skeletal nosestructure, calculate where to draw the Lower jaw see Figure 1 eyes, nose and mouth and draw them.

As long as the basic skeletal structure and positioning of eyes, nose and mouth have been correctly placed, the proportions will not be affected by any change of angle.

I wonder if the eyes shouldbe positioned in the centerof the center line. Side and front views of basic skeletal structure You see the vertical line from the ear. The hairline The hairline The standard distance between the eyes is the end to end length of another eye. Draw it and adjust later on. Think of adding glasses when decidingeye and ear positioning. As the next step, draw positioning lines as in the diagram as if the entire face were the side of a box.

Now angle the lines. Faces with different anglesWith different perspective, facial proportions will change accordingly. Assume that the eye position comes to the center. When the figure on the left is angled, you will get the figures below.

This is a figure seen from above and from below. You will see that if you draw from near to far then the proportion of the forehead will become different. Eye line You do not have to The distance between eyes and formally draw out brows becomes wider when all the structures looking up at the figure from while drawing. Eye line Lets draw figures that 41 appear quite natural. There will be no problem divide it in youras long as the skeletal structure offace.

Some patterns do not requiredrawing a plane of the side ofthe face. By the way, the waythat Mr. M draws is this. The circle alone forms the basis of the entire facial pattern. Add the lower jaw and adjust the outline Adjust the shape of of the face. The way Mr. M draws can be applied to many other drawings.

How to draw skeletal structure differently. Just as in the cartoon by Mr. M many different skeletal structures can be obtained by just changing the lower jaw. The jaw structure is very stalwart. Facial EHpression When the expressions of the character are drawn vividly, your work will be impres. The laughter, the eyes narrow.

Being upset.. A useful tip is tothinking, you see that draw sweat in order totheir gaze is averted. Expression is composed of movements of eyebrows, eyes and mouth. Even in cases of deformation, you will be able to express what you want if you understand the basic shapes of those movements. The difficulty of creating expression is that there are slight differences in even laughing depending on each situation. Studying how to position the eyes46 The proportions of eyes and nose aredifferent between adults and children.

Basic partitioning of the headThe eyebrow line falls at in infal" cy, Dont miss the pointsbut the eye line position becomes higher of skeletal structure thatwith maturity. Adult partitioning starts from age Facial eHpression at different ages fItt;. Cheeks and jaws loosen downwards, and the skeleton starts to show through.

Depending on the age, you. By drawing the mouth and nose alittle bit smaller, the effect is moredelicate and cute. In order to drawmanliness, draw the mouth and nosea little bit larger. Movement can also create windand floating hair. A so-called head-wind is created from thedirection the movementgoes into. Hair moves and follows later Direction of the movement of the body.

Braiding hairYou may want to draw girlswearing braided hair. Once you start drawing, however,you may have difficulty with theway it is braided at the back ofthe head. Here are some examples for yourreference.

Brush Pen When you draw highlights, you should use less than 1mm of the brush pen tip. Sharpness is the G Think about the hair movement key point. If your grip is not correct, you may not be able to draw lines well.

Keep your thumb f ixed. A fine, broken-in brush with a rough tip gives the best results. A light blue pencil doesnt show up in Completed drawing print if you use it gently.

You roughly cover it because a pen or brush. Also,If you do not have a used brush, you can avoid cutting adjacent tone. If you are using a new brush tip with a tissue When you use India ink,Be careful not to brush, dip it in India and squeeze with your make sure that you justburn the tip too much. About O. Smm is enough. Use India ink or specialized ink only, other types of ink may damage the brush. Place the tone. Draw the hair flow in blue before you start cutting.

Hold the cutter in the same way you hold a pencil. When you cut the tone, place a piece of paper on top of it,in order to avoid spoiling the tone or the white area when tril!

Basically, any type Qf paper can be used as long as it does not spoil the drawing but a semi-transparent paper may be convenient. Draw a rough copy in blue and paint in white.

White liquid exclusively designed for drawing cartoons does not require an eraser, and if you do not thin too much, you can use it on the tone and it will not lift. Replacing with white Use the eraser beforeThis means painting in white and replacing black white liquid on the tone. For clearer hair outlines, If you make a mistake in A shine in the eye can be use this technique after white, use a brush pen to drawn with white liquid.

As long as they look good to the eye and or are interesting to see, then everything is OK. Diuiding the facial proportions You may use the facial proportions of children even for adults for a cute look. Why eyes are drawn large You may draw eyes big not only because they look cute but also because sometimes the character looks small depending upon the cut, yet you may still want to have the character stay as a. Delicate angling of the faceAs you can see in the illustration,even if drawing eyes is difficultbecause of the angle As tong as people can recognize it as a face, any shape is OK.

Lets think about different deformations. Funny faces provide some of the most interesting aspects of cartoons. Eyes looking down often lift up at the outer corners.While the tail would normally be drawn at step of the process, I was not able to include it with the explanation of how to find the circles' centers, so I added it here.

Any flying mecha that you design will need wings. Here, we have Child Faces a tiny button nose and no prominent bridge. Sketch the facial features. Tne Ears Reflect the Artist's Personality ;ooilfltfltilrn "mmm tr assume fiat the ear is the part most difficult to distinguish the: Draw only the bases of the blades.

Cut the tone in fan shapes originating from the car's headlights and add light gradation tone.