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HOW TO PRACTICE. By/Alexandros tsios & Monique Blaize INTRODUCTION HI WELCOME TO "HOW TO PRACTICE MANGA FOR BEGINNERS.” THIS BOOK IS MEANT TO BE A GUIDE TO HELP YOU BECOME A SELF-TAUGHT MANGA ARTIST. THIS BOOK 1S NOT A COLLECTION OF DRAWINGS, OP DIFFERENT POSES OP CHARACTERS BY THE ALITHOR. IT 1S AN INSTRUCTION MANUAL WHICH BREAKS DOWN HOW TO DRAW CHARACTERS CORRECTLY. About the Authors ALEXANDROS ITSIOS BORN ON THE 2320 OF DECEMBER 1985, IN TRIKALA GREECE. HE RLINS A BLOG WITH TUTORIALS ON HOW TO DRAW MANGA. HowToDrawMangas.com ANO HE'S PLIBLISHEO HIS OWN MANGA ‘SOUL CREAMER’, HIS PASSION IS TEACHING PEOPLE HOW TO DRAW MANGA AND HE’S RECENTLY STARTED DOING SO AS A HOBBY. MONIQUE BLAIZE SHE IS A FREELANCE MANGA ARTIST AND ILLUSTRATOR WHO SELF-PLIBLISHES HE OWN COMICS, ONE OF WHICH BEING: ‘JOSEPH & YUSRA’ SHE HAS 6 YEARS OF FORMAL ART EDUCATION WITH A BFA IN FINEART. YOU CAN SEE HER WORK AT Sakura02.net TABLE OF CONTENTS CHAPTER 1... Important Tips For Improving. CHAPTER 2.. Getting The Right Tools. CHAPTER 3... Drawing The Body. Drawing Heads. Closer Look: Eyes, Noses, Mouths. Hands, Feet, Limbs & Muscles. Drawing Hair. Aging Characters. Characters in Action. Clothes and Folds. ..Basics of Making Comics. Environments and Perspective. Test Answers. Chapter 1 Before we dive into drawing, important tips for how to improve HI, AND WELCOME TO "HOW TO PRACTICE MANGA FOP BEGINNERS!" WHEN YOU HEAR THE WORD ‘PRACTICE’ YOU MAY WANT TO RUN AWAY, BUT THE HARD TRUTH IS THAT DRAWING IS A DISCIPLINE, AND YOU NEED TO STUDY IT TO IMPROVE YOUR SKILLS. EVEN THOUGH THIS BOOK IS FOP BEGINNERS, I WANT TO TALK TO YOU AS IF YOU WERE AIMING TO BE A PROFESSIONAL ARTIST REGAROLESS OF YOUR ASE! MANY OTHER "HOW TO DRAW" BOOKS JUST SHOW YOU SOME CIRCLES, ANO THEN EVENTUALLY EXPECT YOU TO MAGICALLY E ABLE TO ORAW JUST LIKE THA AUTHOR. GUIDELINES AND PROPORTIONS ARE IMPORTANT. HOWEVER, THERE IS FAR MORE TO MANGA THAN OUST OPAWING CUTE, SEXY "ANIME" CAT GIRLS. EACH ARTIST ALSO HAS UNIQUE PROBLEMS THAT "HOW TO'‘DRAW" BOOKS WON'T TELL YOU HOW TO AOORESS, SO THIS BOOK IS DESIGNED TO DO THE FOLLOWING: HOW TO IMPROVE, HOW TO PRACTICE, HOW TO LOOK OUT FOR BAO DRAWING HABITS, AND MOST IMPORTANTLY- WHAT MAKES MANGA, MANGA. THE MORE KNOWLEDGE YOU HAVE, THE BETTER ACTIST YOU WILL BECOME. IF YOU SURVIVED THIS LONG BLOCK OF TEXT, CONGRATULA- TIONS! T KNOW NOW THAT YOU AGE SERIOUS. ALLOW ME TO SHOW YOU WHAT MY OLD ART LOOKED LIKE, AND HOW IT COMPARES TO TODAY, BECAUSE MANY PROFES- SIONALS OON'T LIKE TO AOMIT THAT THEY WERE ONCE BEGINNERS TOO. | When I first started drawing manga! Beginner Mistakes TEN YEARS MAY SOLINO LIKE A LONG TIME, UT IF YOU GET 6000 ADVICE AND PRACTICE REALLY HARO, YOU CAN SHORTEN THE AMOUNT OF TIME IT TAKES TO IMPROVE. THEREFORE, T AM PASSING ON TO YOU WHAT I HAVE LEARNED OVER THE PAST DECADE. HERE IS A LIST OF A FEW THINGS THAT STIFLES IMPROVEMENT: NEWBIE MANGA ARTIST TRAPS DO NOT copy WHAT YOU SEE BECAUSE IT LOOKS COOL, FIND OUT WHY IT LOOKS COOL, DO NOT oust copy OFF OF Your FAVORITE ARTIST, STUDY PHOTOS OR REFERENCES FROM THE REAL WORLO, DO NOT DeAW SOMETHING FROM MEMORY IF YOU ARE LINSUIPE WHAT YOU ARE OOING. THIS 1S ES- PECIALLY TRUE FOR PROPS AND ENVIRONMENTS. DO NOT THINK THAT FORMAL TRAINING WILL NOT HELP, IT WILL. DO NOT THaT YOU ARE "6000," OR CHANCES ARE YOU WILL STOP IMPORVING. DO NOT Let COMPLIMENTS GET TO YOUR HEAD, FRIENDS AND FAMILY WILL HESITATE TO POINT OUT MISTAKES. DO NOT cet GENT OUT OF SHAPE OVER CON- STRUCTIVE CRITICISM OR TURN AROLIND AND: DEFEND YOUR APT, LISTEN TO WHAT SOMEBODY HAS TO SAY ABOUT YOUR Aer. DO NOT Limit YouRrsELF TO ONE ASPECT, SUCH AS OPAWING GIRLS, BOYS, HUMANS, ETC, EX- PLORE AS YOU CAN TO EMPOWER YOURSELF FURTHER AS AN ACTIST. WORDS OF WISDOM Becoming a manga artist is like weight lifting, you might think you can dive right into it and you can do it, but it takes a lot of training and practice to do it right! Just make sure you never give up. Inspiration vs. Copy Cat THINK ABOUT YOUP FAVORITE MANGA APTIST OP FAVORITE ANIME. CHANCES AGE THAT YOUR ART IS VERY SIMILIAR IN STYLE. MAYBE IT’S THE EYES, OR THE CHARACTER PROPORTIONS. HOWEVER, THINK ABOUT THIS... HHOW MANY OTHE? PROFESSIONAL ART- ISTS 00 YOU SEE OPAW JUST LIKE YOUR IDOL ODES? CHANCES APE NOT MANY, ANO THIS IS WHY YOU LOVE THEM: BECALISE THEI? ACT AND STYLE STANDS OUT FOI THE REST. MAKE NO MISTAKE, EVERY ARTIST ORAWS INSPIRATION FROM SOMEWHERE. AND FROM THIS, THEY MOLO IT INTO SOMETHING OF THEIe OWN, MANGA IS OFTEN ACCUSED OF BEING GENERIC, AND THAT IS BECAUSE MOST ‘MANGA ARTISTS’ AGE COPYING, RATHER THAN FINOING THEMSELVES BEING INSPIPED BY SOMETHING. HOW TO TELL IF YOUR ARTIS A COPY CAT = IF SOMEONE HAS EVER TOLO YOU “HEY YOUR ACT LOOKS JUST LIKE...” ~_IF YOU FIND YOURSELF CONSTANTLY LOOKING. AT ONE PARTICULAR ARTIST FOR INSPIRATION, ANO NOBODY ELSE. = IF YOU HAROLY LOOK AT OTHER ACTISTS FROM DIFFERENT GENRES OP TIME PERIODS, DID YOU KNOW? ‘The large eye anime look was par- tially inspired by Disney cartoons because they liked how expressive big eyes were. However, now they look completely different - now that’s being inspired and not copying, Chapter 1: Test and Practice TEST 1. NAME SOME BAD PRACTICES YOU SHOULO AVOIO AS A NEW APTIST. 2. WHY SHOULO YOU STUDY FROM REAL LIFE INSIDE OF CAPTOONS? 3, WHY IS IT IMPORTANT TO CREATE YOUR OWN STYLE? 4, WHY APE ANIME EYES LAPGEP 5. HOW CAN YOU TELL IF YOUR ART IS COPYING TOO MUCH? ©. WHAT'S THE SECRET TO BECOMING A BETTER ARTIST? PRACTICE 1, DRAW SOME PICTURES ANO FIGURE OLIT WHERE YOUR STYLE COMES FROM? WHAT ARTISTS? WHAT ANIMES? 2. ORAW SOMETHING ANO MAKE A MENTAL LIST OF WHAT YOU WISH YOU WOULO BE BETTER IN. 3. DRAW A SCENE FROM YOUR FAVORITE MANGA, BLIT ONLY LOOK FOR A SECOND AND CLOSE THE BOOK ANO TRY TO RECREATE IT. THEN COMPARE THEM, ARE THEY TOO SIMILIAe’ U4, ORAW SOMETHING THAT IS REALISTIC FROM A PHOTO, CHECK TO SEE IF IT LOOKS TOO ANIME-LOOKING. 5. ORAW SOME MORE. Chapter 2 Getting The Right Tools BEFORE WE BEGIN OPAWING, YOU WILL PROBABLY WANT TO KNOW WHICH TOOLS ARE THE BEST TO WORK WITH. GUESS WHAT? YOU HAVE A TON OF OPTIONS! COMICS ARE USUALLY DONE TRADITIONALLY WITH PENS AND PAPER BUT YOU CAN ALSO. BECOME A DIGITAL AGTIST TOO, BOTH HAVE THEIR PROS AND CONS, ANO I'M GOING TO BREAK THEM DOWN FOR YOU. Z TRADITIONAL VS, OLEITAL ATTENTION! DO NOT! | REPEAT! DO NOT Buy those How to Draw Manga Kits. ‘They are very gimmicky. You don't have to buy ‘manga’ paper eithe those are also gimmicky and a ‘meant to exploit you for your money ‘and passion for manga. Traditional LET'S TALK ABOLIT TRADITIONAL APT FIRST. HERE ARE SOME PROS AND CONS FOR TRADITIONAL AT: PROS: 1. YOU CAN ALWAYS HAVE YOUR ORIGINALS. MANY FAMOUS ARTIST AGE ABLE TO MAKE EXTRA MONEY Y SELLING THE ORIGINALS IF THEI2 WORK BECOMES POPLAR. 2. TRADITIONAL LOOKS ANDO FEELS MORE NATURAL THAN DIGITAL. 3, TRADITIONAL TRAINS YOU TO BE MORE ACCURATE SINCE YOU CAN'T OUST INDO YOUR MISTAKES. CONS 1, TT IS VERY EXPENSIVE SINCE YOU HAVE TO CONSTANTLY BLIY ANO REPLENSISH YOUR SUPPLIES; PENCILS, PAPER, PENS: eTC. 2. IT’S HARD TO LINDO MAJOR MISTAKES OR BLEMISHES ON YOUR WORK ANO YOU MAY NEEO TO START OVER. 3. YOU HAVE TO SCAN YOUR WORK TO SHAE IT DIGITALLY ANYWAY. WHICH CAN BE A PAIN IF YOU DON’T HAVE MONEY FOR A SCANNER. What materials should | buy? THE FIRST MISTAKE NEW ARTISTS MAKE IS TO ASSUME THAT THEY NEED TO BLIY SPECIAL MATERIALS IN ORDER TO ORAW LIKE A PROFESSIONAL. YOU OON'T! USE WHAT FEELS THE MOST COMFORTABLE WORKING WITH, AND WHAT MAKES YOUR ART LOOK THE BEST. THESE APE MATERIALS THAT ARE INDUSTRY STANDARD ANO APE PECOMMENDED, HOWEVER, PRACTICE IS REQUIRED IN WHATEVER YOU CHOOSE TO LISE. PENS ARE NOT INDUSTRY STANDARD ‘BUT ARE USE BY THOSE WHO ARE OlP PENS AGE INDUSTRY STANOARO NOT USED TO THE DIP PEN. KEEP IN AND If YOU TRAIN USING A DIP PEN YOU MIND PENS, WHILE EASY TO USE WILL SAVE A LOT OF MONEY. THE LINE ARE VERY EXPENSIVE TO REPLACE, WEIGHT WILL ALSO HAVE MORE VARIETY. MARKERS WATERCOLORS MARKERS AQE INOUSTRY STANDAGD WATERCOLORS HAVE A SUNLIA® LOOK TO NAQLEDS, HOWEVER THEY AGE HABOE? TO BUT THEY AGE VERY EXPENSIVE, IT'S. G2 USED TO. eT SOLIO WATERCOLORS IN USED BY MANY PROFESSIONALS ANO ‘fre Sauces, NOT THE ONES IN THE THEE, ARE EASY TO USE, ‘THEY WiLL LAST YOU Years. Digital LET'S TALK ABOUT DIGITAL, WHICH IS A GROWING TRENO AMONG INDIE ARTISTS: PROS: 1, YOU PAY FOR A TABLET ONCE AND. YOU'RE DONE WITH EXPENSES FOR A FEW Years. 2. EASY TO BACK-IP ANO SHARE YOUR WORK SINCE IT'S CREATED ON THE COMPUTER. 3. NO SET UP, JUST JUMP ON YOUR TABLET, BOOT’ UP YOUR SOFTWARE AND YOU'RE GOOD TO GO. YOU CAN PUMP OUT WORK FASTER. CONS 1, 600 FORBID YOUR TABLET, COMPLTER OR SOFTWARE OOESN'T WORK, 2. DOESN'T HAVE THE SAME FEELING AS: TRADITIONAL. 3, A LARGE INVESTMENT AT ONE TIME VERSUS BUYING A FEW DOLLARS IN SUPPLIES EVERY FEW MONTHS. Where can a get hardware and software? 1. GET ASKED THIS QUESTION, ANO IT’S HARD TO GIVE A GOOD ANSWER BECAUSE | CAN ONLY GIVE YOU SUGGESTIONS BASED ON MY PERSONAL EXPERIENCE. I’M NOT EINE PAID TO ENDORSE ANY COMPANY BUT THESE APE HIGHLY RECOMMENDED AS WELL AS ROUGH PRICE ESTIMATES. OBVIOUSLY IF YOU HAVE THE BUIOGET TO SPEND GO FOR IT. HOWEVER, ASK APOLIND AND GET OTHER OPINIONS. TABLET TABLET PEN MANGA SOFTWARE DRAWING SOFTWARE DRAWING SOFTWARE I HIGHLY RECOMMEND THE BRAND WACOM. THEY SELL PROFESSIONAL GRADE TABLETS. | WENT FOR ANOTHER BRAND AND QUICKLY REGRETTEO I. quncice {T2EAt YoUuP pens Le YouP anaes. rey gomeany your | sTasier Trey OsvOUSLY CONE Wit A it TORLED WAGES PEN, BUT AN EXTRA ONE OOES NOT HUeT PSs Endeences MANGA STUDIO IS AN EXCELLENT MA adrinase desieneo seecitty Fop INGA DRAWING MANGA UINLIKE OTHER STUDIO eedeeanes HAS REALLY GOOD PEN OPTIONS AND TONES: MANY PEOPLE WHO HAVE ACCESS 10 PHOTOSHO? FREQUENTLY Use 1, GUT IT'S NOT DESINED FOR ORAWING MANGA. IT'S FREEWARE (FREE SOFT- WARE) AVAILAGLE ONLINE THAT OH easy! Let's MAKE SWEET SWEET ‘ART TOSETHER! Chapter 2: Test and Practice TEST 1. WHAT AGE SOME ADVANTAGES TO TRADITIONAL VERSUS OIGITAL? 2. WHAT APE SOME ADVANTAGES OF DIGITAL VERSUS TRADITIONAL? 3, WHICH IS CHEAPER, SINGLE PENS OF A DIP PEN? 4, WHY AGE O1P PENS MORE PROFESSIONAL THAN STANDAGD PENS? 5. WHICH IS FASTER, WATERCOLOR OR MARKERS? ©. WHICH IS MORE IMPORTANT, THE TOOLS OP THE SKILLS OF THE APTIST? PRACTICE 1, 6O ONLINE ANO WATCH SOME VIDEO TUTORIALS IN WHICHEVER MEOILIM YOU'RE USING. THEY APE MLICH BETTER THAN STILL PROGRESS IMAGES. IT IS REALLY IMPORTANT TO WATCH OTHER PROFESSIONALS OPAW. 2. PRACTICE. 3, PRACTICE SOME MORE. 44, IF YOU HAVE THE BUDGET TO TRY MULTIPLE MATERIALS DO SO AND SEE WHICH ONE SPEAKS TO YOU MORE. S. DRAW SOME MORE. ©. WHAT AGE YOU TIREO ALCEAOY? RINSE REPEAT. Chapter 3 Drawing The Body NOW THAT WE HAVE OUP TOOLS, LET'S GET ORAWING! HERE ARE SOME THINGS TO KEEP IN MIND WHILE YOU ARE PRACTICING: PRACTICE TIPS! Try to draw full bodies! NEW ARTISTS WILL OFTEN ORAW CHARACTERS FROM ‘THE BUST ANO UP ONLY, SO THE FACE IS IMPORVED. WHILE THE PEST OF THE’ BODY IS NESLECTEO. AND WHAT HAPPENS WHEN IT IS TIME TO ORAW A FULL BODY? LITTLE IMPROVEMENT. Don’t be satisfied! AS YOU PRACTICE DON'T @€ SATISFIES WITH YOU FORMULA FOR ORAWING MANGA. KEEP LOOKING FOR. DETAILS TO IMPROVE AND COMPARE YOU ART WITH PROFESSIONALS. Don’t get discouraged! TRUST ME, THERE APE REASONS AS TO WHY PROFESSIONALS HIDE THEIR OLO ARTWORK. OON'T FEEL LIKE YOU WON'T GET TO THE LeveL THAT YOU. WANT TO BE AT, THIS TAKES YEARS AND THE ONLY THOSE WITH A THIRST TO IMPROVE WILL 00 SO. Ask for help! OON'T BE AFRAID TO ASK FOR FEEDBACK. OON'T OUST BEE FOR COMPLIMENTS, ASK SOMEONE. STRAIGHT OUT WHAT LOOKS WEIRD ANO WHAT YOU CAN FIX A IT MORE, IT’S VERY HARD FOR ARTISTS TO. SEE THEIR OWN MISTAKES! Be hardcore! A PERSONAL PULE OF MINE THAT HELPEO ME INPEOVE. QUICKLY WAS, ALWAYS DRAW A PICTURE EVERYDAY, EVEN I IT WAS JUST A COCOLE OURINE CLASS, OR REQUESTS FEOM THE INTERNET. EVERY DRAWING, OOOOLES WILL HELP YOU IMPROVE. IT IS SO IMPORTANT TO KNOW CORRECT ANATOMY BEFORE YOU START TO STYLIZE IT. IF YOU OUMP RIGHT INTO ORAWING MANGA WITHOUT UNDERSTANDING WHAT PORPOTIONS ARE CHANGED YOU'RE ART WILL LOOK WEIRD. SO HERE IS A COMPARISON OF REAL BODY ANATOMY ANO MANGA ANATOMY. IT IS IMPORTANT TO KNOW BOTH. THE MEASUREMENT IS ALL IN THE HEAO. IT IS IMPORTANT TO USE THE SIZE OF THE HEAD FOR ACCLIPACY. HUMAN ADULT MALE te heads) MANGA ADULT MALE ¢e heads) we NEASURENENT NOTE: FOR AOUILT MALE HUMANS THE HEIGHT CAN GE BETWEEN 7-8 HEADS. FOR MANGA IT CAN BE 6-8 HEADS DEPENDING ON THE ACTIST PREFERENCE. NOTICE THAT IN MANGA THAT MALES USUALLY HAVE TALL LESS. THE SHOULOERS ALSO OON'T HAVE TO BE AS WIOE AS THE HEAO, GUT IT HELPS THE CHARACTER LOOK MORE LIKE AN AOULT. HERE IS A FEMALE COMPARISON. WOMEN IN MANGA AGE SKINNIER, WITH LARGER HEADS. NOTE THAT BECALISE MANGA IS A CARTOON STYLE, THERE ARE NO CLEAR-CUT WAYS TO GOAN BRASOMIGALLY CORRECT. {1 16 WNPORTANT TOMBE THe CIZE OF THE HEAD ROP exo weasurencot HUMAN ADULT FEMALE (75 heads) MANGA YOUNG FEMALE (7 heads) Of Jaan § MINI TEST: = WHAT IS THE DIFFERENCE IN THE LENGTH BETWEEN THE CHIN ANO CROTCH BETWEEN MANGA AND REAL LIFE? = HOW MANY HEADS WIDE AGE THE SHOULDERS IN BOTH? = WHERE DOES THE TIP OF THE FINGERS FALL IN BOTH? = HOW LONG ARE THE LESS IN BOTHP THERE IS A KNEE-JERKING RESPONSE FROM NEW MANGA APTISTS WHEN THEY APE CON- FRONTED WITH CRITICISM ABOUT THEIR WEIRD PROPORTIONS. IF SOMEONE MENTIONS SOMETHING LOOKS OFF WITH YOUR PROPORTIONS, TAKE IT TO HEART. A TRUE STYLE LOOKS NATURAL BY ITSELF. CAN YOU SPOT WHAT IS WRONG WITH THESE TWO CHARACTERS? oS te > TEST 1, HOW MANY HEADS TALL IS AN AVERAGE AOULT IN REAL LIFE? 2. IN A REAL HUMAN, WHERE DOES THE 320 HEAD MEASUREMENT FALL? 3, NAME 3 DIFFERENCES BETWEEN REAL ANATOMY AND ANIME ANATOMY, U4, HOW MANY HEAOS AGE IN AN ANIME CHARACTER FROM THE HEAD TO CROTCH? 5S. WHY IS IT IMPORTANT TO KNOW REAL ANATOMY? 6. NAME SOME SIMILIARITIES BEWTEEN ANIME PROPORTIONS AND REAL LIFE. PRACTICE 1, DRAW A REAL PERSON AND AN ANIME PERSON NEXT TO EACH OTHER USING THE MEASUREMENTS. 2. ORAW A REAL LIFE ADULT FROM THE FRONT, SIDE, AND BACK ANO MAKE SURE THEY'RE THE SAME HEIGHT. 3. ORAW AN ANIME CHARACTER FROM THE FRONT SIDE AND BACK AND MAKE SURE THEY'RE THE SAME HEIGHT. LU, ORAW A REAL LIFE FIGURE THAT IS EIGHT HEADS TALL. CHINT, THE CHANGE IS IN THE LESS NOT THE TORSO) S, ORAW AND ANIME CHAPACTES THAT ARE DIFFERENT HEIGHTS BUT SAME AGE. Chapter 4 Drawing Heads NOW THAT WE'VE TALKEO AGOLIT BODIES (WHICH APE OFTEN NEGLECTEDD, LET'S MOVE ON TO HEADS, MOST APTISTS FOCUS MUCH MORE OETAIL ON THE HEAO SO THEY UNDERSTAND IT VERY QUICKLY. HOWEVER, T WOLILO LIKE TO POINT OUT SOME COMMON IMISTAKES., QUICK TIPS FOR HEADS. = MAKE SURE YOU CHECK IF EVERYTHING IS STRAIGHT. = MAKE SURE ALL YOUR FACES AGEN'T THE SAME. = DON'T ALWAYS RAW your HEADS FROM ONE ANGLE TRY DIFFERENT ONES. = MAKE SURE YOU PAY ATTENTION TO OETAILS LIKE THE INSIDE OF THE EARS AND EYELIDS. = MAKE SURE YOU CAN TELL WHO YOUP CHAPACTER ACE BY THEIR FACIAL FEATURES AND NOT @Y OIFFERENT HAI2, Check the Head Proportions MOST HOW TO ORAW BOOKS ALWAYS STAT OFF WITH A BLINCH OF CIRCLES, HOWEVER, WE'LL GET TO THOSE IN A MINUTE, | WILL SHOW YOU THE CHARACTERISTICS OF AN ANIME FACE. THERE AGE MANY WAYS TO OPAW A FACE, SLIT HERE APE SOME THINGS YOU SHOULO KEEP IN MIND. MAKE SURE THE TOP OF THE HEAD IS ROUND. IT SEEMS STUPIO, BUT SOME ARTIST OPAW HAI WITHOLIT CONSIDERING THE SKULL. B: cive Your CHARACTER A FOREHEAD. C: THe eves Ace ONE EYE WIOTH APAGT. D: MAKE SURE THE EYES ARE ALIGNED ‘STRAIGHT. HE EARS NEEO TO BE EVEN AS WELL. F: THE NOSE NEEDS TO BE CLOSE TO THE MOUTH. : WHEN ORAWING THE MOLITH CLOSED PAW IT AWAY FROM THE CHIN TO GIVE THE CHARACTER ROOM TO OPEN HIS/HE® MOUTH. H: MAKE SURE THE CHIN IS CENTERED BETWEEN THE EYES. I eve THE Neck AN APPeOPRIATE THICKNESS WHERE IT’S NOT TOO THIN OP TOO THICK. J & K: MAKE SUE THE NOSE AND LIPS. AREN'T FAR FROM EACH OTHER, ALSO ORAW THEN L; THe eve SHOULO ge CLOSE TO THE FORHEAO. |: MAKE SUE IN PROFILE VIEW THE CHACACTER HAS A SKULL. ORAWING A CIRCLE BEFORE DRAWING THE HAIR. Drawing The Head From Different Angles ILCANNOT STRESS HOW IMPORTANT IT IS TO PRACTICE ORAWING CHARACTERS FROM DIFFERENT ANGLES. THIS IS WHERE YOU USE THE BALL TO HELP YOU FIGLIRE OUT WHEE THE EYES AGO, WHEN POSSIBLE AVOID THE THREE MAIN ANGLES (PROFILE, FRONT AND 3/4. A: TILTING THE HEAO UP IS A. 6000 WAY TO @€ EXPRESSIVE. WHEN THE HEAO IS TILTEO UP THE EARS COME DOWN. B: TILTING THE HEAD DOWN IS ALSO A GOO0 WAY TO BE EXPRESSIVE. WHEN THE HEAO IS. TILTEO DOWN, THE EARS GO UP ‘TO ALIGN WITH THE EYES. ALSO ORAWING THE SHOLILOERS HIGHER GIVES IT A GOOD ANGLE, C: Tike THIS ANGLE BECALISE I'S ALMOST A PROFILE VIEW UT NOT QUITE. YOU CAN SEE A GIT OF THE OTHER SIDE OF THE NOSE, BUT NOT QUITE ENOLIGH WHERE YOU WOULD NEED TO. ORAW AN EYE. D: THis Looks Like A PESULAe PROFILE VIEW, LIT NOTICE THAT HER CHIN IS SLIGHTLY TILTED. AVOIO ORAWING HEAD ANGLES THAT APE STRAIGHT AHEAO, TRY LEANING THEM LIP OR DOWN A. LITTLE err, What's wrong with these faces? IT’S VERY HARD FOR ARTISTS TO CATCH THEIS OWN MISTAKES. HERE APE SOME INCORRECTLY ORAWN FACES, CAN YOU FIGURE OUT WHAT'S WRONG WITH THEM? IF YOU CAN, ORAW THEM CORRECTLY. Chapter 4: Test and Practice TEST 1. WHY SHOLILO YOU USE A CIRCLE WHEN ORAWING THE HEAD? 2. WHY THE DOES MOUTH HAVE TO BE AWAY FROM THE CHIN? 3, WHAT IS PROFILE AND 3/4 VIEW? 4, HOW FAP APART AGE THE EVES? 5. WHEN A CHARACTER LOOKS DOWN WHAT HAPPENS TO THE EARS? ©. WHY SHOULO YOU ORAW CHARACTER HEADS AT DIFFERENT ANGLES? PRACTICE 1, DRAW A HEAD AT THE FOLLOWING ANGLES: FRONT, 3/4, ANO PROFILE VIEW. LINE THEM UP NEXT TO EACH OTHER TO MAKE SURE THEY APE ALL THE SAME HEIGHT. 2. ORAW 3 HEAD ANGLES THAT AE DIFFERENT FROM NUMBER 1 3. ORAW A MALE AND FEMALE HEAO WITHOUT HAIP AND SEE IF YOU CAN TELL THE DIFFERENCE. (YOU CAN'T AOD EYELASHES ON THE GIRL THAT'S CHEATING) 44, ORAW TWO CHARACTERS TOGETHER, BLIT TILT THEIR HEADS TO DIFFERENT ANGLES, 5S. DRAW A CHARACTER LOOKING UP, AND ONE LOOKING DOWN, 6. ORAW A CHARACTER TILTING THEI2 HEAD TO THE SIDE LIKE AN OWL, NOW LET’S ZOOM IN A LITTLE CLOSER AND TAKE A LOOK AT THE FINER OETAILS. THESE FEATURES ARE VERY IMPORTANT, IT MAKES A LARGE DIFFERENCE BETWEEN MAKING YOUR ART LOOK LIKE THE REAL OEAL. Ittakes a lot of practice to get faces to look absolutely correct. Make sure not to get too comfortable with how you draw faces. Keep observing and trying different things. Anime Eyes THERE IS NO SET WAY TO OPAW ANIME EYES. HOWEVER, THERE APE A FEW SMALL THINGS. BEGINNERS MISS WHEN DRAWING, A: ooN’T FORGET A LINE FOR THE EYELIO ABOVE THE EYES. B: THERE APE VAGEED EDGES ON THE TOP LINE REPRESENTING THE LASHES, C: make THE TOP LINE THICKER THAN THE BOTTOM LINE. D: iv cLose-uPs OON’T OUST PAW A LINE FOR THE EvEaROW ENE IT SOME THICKNESS EVEN IN 12S. E: ONn'T FORSET THE TOP LINE CURVES INWAGO AT THE EDGE. E: IN PROFILE VIEW THE EYE IS THINNER, BECAUSE OF THE ANGLE OF THE PUPIL. COMPARE THESE NOTES WITH THE EYE ON LEFT AND SEE IF YOU MAY BE MISSING THESE DETAILS.) MINI TEST Certain types of manga have certain styles of drawing eyes. Shoujo manga are manga for for girls, and shonen manga are manga for boys. can you tell which eyes are suited for which. Anime Noses and Mouths THE NOSE IS A GOOD WAY TO SHOW THE AGE OF A CHARACTER. OLOER CHAPACTERS. HAVE MORE DEFINED NOSES WHILE MORE YOUTHFUL CHARACTERS HAVE SMALLER DOTS. DON'T FORGET TO ADD SHADOW LINDE? THE CHIN AND OON'T FORGET TO ADD A SECOND LINE FOR THE LOWER LIP. DON'T SKIP OUT ON DRAWIING EARS I've notice some new artists when drawing characters using ‘front view’ they don't draw ears. If you truly want to hide the characters ears, draw hair coming in over the cheek. don't use the sides of the cheek as a place where the hair stops. Preferably you should draw ears, at least poking out from the hair. It's Allin The Details Y VERY SUBTLE THINGS YOU CAN 00 MAK: THERE AGE MANY VE E YOUR FACES LOOK PROFESSIONAL ANO OETAILED. HERE APE SOME FACES THAT ARE MISSING SOME THINGS OR THE EYES AE INCORRECT. CAN YOU FIGLIRE OLIT WHAT'S MISSING ANO FIX THEM? Chapter 5: Test and Practice TEST 1. WHICH LINE IS THICKER IN THE EYE, THE TOP OP BOTTOM? 2. WHY 00 THE EYES HAVE JAGGED EDGES ON THE TOP LINE? 2, WHY OOES THE BYE SHAPE CHANGE WHEN THE CHARACTER IS TURNED TO THE i 4, THE SIZE OF A CHARACTERS NOSE LISUALLY DEPENDS ON WHAT? S, JUOGING BY THE EYES OF THE CHARACTERS IN THIS BOOK DOES THE AUTHOR DRAW SHONEN OP SHOUJO MANGA? PRACTICE |. ORAW FIVE CHARACTERS WITH FIVE DIFFERENT SHAPED ANIME EYES. 2, ORAW SOME CHARACTERS LOOKING IN DIFFERENT DIRECTIONS. EXAMPLE: RIGHT, LEFT, UP AND DOWN. 3. ORAW A CHARACTER WITH MEAN-LOOKING EYES. LL, ORAW A CHARACTER WITH SWEET-LOOKING EYES. 5S. ORAW TWO CHARACTERS, ONE YOLINGER WITH BIG EYES ANO ONE OLDER WITH SMALLER EYES, 6. ORAW A CHARACTER IN PROFILE VIEW. 7. ORAW FIVE FEMALE CHARACTERS WITH DIFFERENT EYES, 8, ORAW FIVE MALE CHARACTER WITH DIFFERENT EYES. Chapter 6 Hands, Feet, Limbs & Muscles AS | MENTIONEO BEFORE, SOME MANGA ARTISTS AE SO OBSESSED WITH DRAWING CHARACTERS FROM THE BUST LP AND FACES THAT THEY SELOOM PRACTICE DRAWING ARMS AND LEGS PROPERLY. AS YOU IMPROVE WITH DRAWING YOU FACES, YOU WANT TO IMPROVE EVERYWHERE ELSE AS WELL. THERE APE MANY TUTORIALS ON HANDS ANO FEET BLT YOU NEEO TO PRACTICE TO GET BETTER, GECALISE THERE AGE INFINITE GESTURES AND POSITIONS OF THE HAND, NOT TO MENTION PERSPECTIVE. WHEN IN DOUBT USE A MIRROR! IF YOU AGEN'T SURE WHAT THE HANOS OP LIMES ARE: SUPPOSE TO LOOK LIke, OON’T BE AFRAID TO GET UP FOR A MINUTE AND Ogseeve YOUP OWN HANDS ANO LIMBS IN THE MIRROR. USING A MIReOR IS ESPECIALLY IMPORTANT WHEN YOU WANT TO 00 PERSPECTIVE WITH THE LIMBS BECAUSE THEY CAN LOOK SHORTER THAN THEY REALLY ARE. IF YOU OON'T HAVE A LONG MIPEOR SOMETIMES ASKING THE NEAREST PERSON TO 00 A POSE FOR YOU CAN ALSO HELP, I PERSONALLY 00 THIS. ALL THE TIME WITH MY FRIENDS AND FAMILY. THEY'LL BE CONFUSED AT FIRST AWHILE, BUT TRUST ME IT'LL HELP YOU. WITH HANDS IT TAKES A LOT OF PRACTICE TO GET USE TO, BUT YOU CAN AVOID SOME COMMON MISTAKES. HERE IS A BREAK DOWN OF THE HANO. TAKE NOTE THAT FEMALE AND MALE HANDS ARE DIFFERENT. YOU SHOULO GE ABLE TO TELL THE GENDER OF A CHARACTER BY THE SIZE AND SHAPE OF THEI HANDS ANO FINGERS. A, THE FINGERS MAKE AN ARC WITH THE TALLEST FINGERIN THE MIDDLE, ¢, CENENSEO THE FINGERS HAVE CONTS, G. THE PALIAIS ALARSE AREA THAT THE FINGERS GROW FROM. FIN MALE HANDS, YOU USUALLY SEE THE KNUCKLES, THE HAND IS LIKE A PAN, THE WRIST IS A NARROW ARE. 0. THE THLUNG IS LOWER THAN THE GEST OF THE FINGERS. MITTEN TECHNIQUE BEFORE DRAWING FINGERS: YOU CAN OPAW A SIMPLE SHAPE LIKE A MITTEN THEN ORAW THE FINGERS: AFTERWARDS. COMMON MISTAKES! A, _ FORGETTING TO DRAW THE WRIST. THE HANO. DOESN'T OUST G2OW OUT OF THE ARM. B. SASUAGE FINGERS. THIS IS MORE A CARTOONY STYLE THAT IS NOT COMMON IN MANGA C._NOT ENOUGH PALI AGEA, THE FINGERS DON'T OUST SPROLT OUT OF THE ARM. D. POINTY FINGERS APE ALSO NOT COMMON. SEEING FEET IN MANGA ILLUSTRATIONS IS AN EVEN BIGGER RARITY. HOWEVER, THEY ACE IMPORTANT WHEN YOU WANT TO ZOOM OUT AND SHOW CHARACTERS WALKING, OP IN OTHER ACTIVITIES THAT MAY INVOLVE SHOWING THE FEET. Ne I A, THERE IS A SLIGHT BUMP ‘ON THE TOP OF THE FOOT WHERE THE GONE IS. B. THE BOTTOM OF THE FOOT MAKES ARC. CC. THE GALL OF THE FOOT O. THE ANKLE GONE E,, THE TOES SHRINK AT AN ANGLE. F, THERE IS A LAREE TENDON AT THE BACK OF THE FOOT. G, THE PAO OF THE FOOT. AVOID DUCK FEET When characters stand their feet face forward. Do not draw the feet at 90 degree angles. It's uncomfortable to stand like that. Don't believe me? Try it AVOIO SIMELIFYING THE A2MS ANO LEGS AND OPAWING THEM LIKE STIFF TUBES. YOU MUST REMEMBER THERE IS MUSCLE AND FAT IN THE AQMS AND LEGS THAT GIVE THEM A BEAUTIFUL ORGANIC SHAPE. A, THE SHOULDERS SLOPE ‘At AN ANGLE. B, DELTOID MUSCLE, C._ THE APM CONNECTS TO THE BODY LIKE THIS, CREATING THE APMPIT, D. aicees, E. TeIcees. F. COMES IN TO FORM THE waist. G. THE UPPER ARM IS ‘SHOOTES THAN THE FOREARM, H, If YOU ORAW THE ARMS BENT, TRY TO IMAGINE THE ARM ROTATING DOWN TO THE SIDE TO CHECK IF YOU INGHT HAVE ORAWN IT TOO. LONE. A GB. THEE APE TWO LARGE MUSCLES IN THE UPPER Les. CC. THEN ARE APE TWO. SMALLER MUCLES: LOCATED IN THE LOWER Les, D, THE LES CLIRVES INWARDS FORMING THE ANKLE HERE APE A FEW BASIC MUSCLES YOU SHOLILO KNOW WHEN OPAWING THE TORSO AND GACK. GEFORE JUMPING INTO DETAILS, CONSIDER THE MUSCLES AS CIRCLES AND USING WHAT YOU'VE LEAPNEO, CAN YOU SPOT WHAT IS WONG WITH THESE LIMBS, HANDS. ANO FEET? APE YOU MAKING THE SAME MISTAKES? TEST 1, WHAT AGE THE TWO MAIN MUSCLES IN THE UPPER APMP 2. WHICH FINGER IS THE TALLEST? 3, WHAT ARE THE TWO LINES YOU ORAW IN THE BACK OF THE FOOT? 4, HOW MANY JOINTS DOES EACH FINGER HAVE? S. WHAT IS THE DIFFERENCE IN LENGTH BETWEEN THE HPPER AND LOWER ARM? PRACTICE 1, ORAW A PAIP OF FEMALE AND MALE HANDS, COMPARE THEM, AND SEE IF YOU OR SOMEONE ELSE CAN SPOT A DIFFERENCE. 2. ORAW 20 PAIRS OF HANDS DOING DIFFERENT THINGS. 3, ORAW IO PAIRS OF FEET AT DIFFERENT ANGLES. U4, ORAW A FULL BODY OF A CHARACTER, WALKING AND RUNNING. 5S, DRAW A CHARACTER IN POSE WHERE THEI? ARMS ARE BENT. 6. ORAW THE MUSCLES IN A REAL APM. 7. ORAW THE MUSCLES IN A REAL LEG, 8. ORAW 10 HANDS HOLOING DIFFERENT OBJECTS. , ORAW A CHARACTER IN A POSE WHERE THE LEGS ARE VIEWEO FROM THE BACK OF SIDE. Chapter 7 Drawing Hair Hale IS QUITE FLIN TO ORAW, BLIT BEFORE OIVING RIGHT INTO ORAWING THE HAIR, MAKE SURE YOU UNDERSTAND THE SHAPE OF THE HEAD FIRST. THERE IS NO ONE WAY TO ORAW HAIR, MANY DIFFERENT STYLES ORAW HAIe DIFFERENTLY. JUST FINO ONE YOU LIKE @esT. COME ‘AND GO ‘Anime hair has evolved over the years. 90s anime had very big spiky, crazy hair, but modern anime characters have more realistic hair that obey gravity. Even various hair colors lke blue ‘and pink are phasing out. Keep this in mind when drawing hair and looking at the hairstyles of other artists. SOME MANGA STYLES HAVE VERY SIMPLISTIC HAIR WITH JUST BASIC SHAPES. UIT IF YOU ORAW SHOUJO-INSPIREO MANGA IT LOOKS GOOD TO DRAW VERY FINELY DETAILED HAIR, IT'S UP TO YOURS PREFERENCE WHICH TYPE OF HAIe YOLI PREFER, SIMPLE COMMON MISTAKES UNLESS YOUR CHARACTER IS USING LOTS OF HAI? GEL, THIS TYPE OF HAIG IS VERY AMATEURISH. THE HAI NEEDS TO HAVE A FLOW. NOT LOOK UKE JAGGED TEETH AVOID DRAWING THE HAIP STANDS LIKE STRAW, THE LINES NEEO TO ALWAYS CONNECT TO THE END OF THE HAI@ AND NOT FLOAT WITH NO ENO. KNOW THE HEAO SHAPE. IF YOU JUST ORAW. THE HAI WITHOUT LINDERSTANDING THE HEAD SHAPE, THE HAIG WILL BE EITHER TOO Lagce, OP BE MISSHAPEN. IN THIS ILLUSTRATION THE HAIG IS TOO LARGE IN THE BACK, NOTICE WHERE THE SKULL ENDS. SHONEN MANGA IS VERY EOGY AND THE HAIRSTYLES OF THE CHARACTERS APE USUALLY VERY SPIKY. LINLIKE SHOUJO YOU DON'T PEALLY NEED TO OPAW ALL THOSE OELICATE HAIG STRANDS. HOWEVER, IF YOU'RE GOING TO ORAW THOSE CHAPACTERS WITH THE HAI? STICKING UP YOU'RE GOING TO NEED TO KNOW HOW TO ORAW THE HAIRLINE. BAD PRACTICES MAKE SURE THE CHAPACTER’S HAIR LOOKS LIKE AS IF IT IS ATTACHE TO HIS HEAO. IN THIS ILLUSTRATION THE HAIR JUST LOOKS LIKE IT’S SIMPLY SITTING ON TOP OF HIS HEAD. MAKE SUPE YOU KNOW WHERE THE HAIG LINE IS. DEPENDING ON THE STYLE FOREHEADS: CAN BE LARGER THAN LISUAL GUT MAKE SUPE YOU HAVE AN APPOPROATE SPACE. LIKE | SAID A GOOD WAY TO SEE IF HAIC MIGHT LOOK WEIRO IS TO IMAGINE YOUR CHARACTER BALO. Different Hairstyles THERE APE MANY DIFFERENT TYPES OF HAIRSTYLES, SOME OF WHICH APE MORE COMMON IN ONE STYLE/GENRE OF MANGA THAN OTHERS. SHONEN MANGA APGUAGLY HAS A WIDER VARIETY OF HAIP THAN SHOLIOO WHICH HAS VERY FEW HAle VARIATIONS. BE AWAGE IF YOUR HAI? STYLES ALL LOOK TOO SIMILIAR, SHONEN OR SHOUJO HAIRSTYLE? TEST 1. IS SPIKY HAIe A SHOUIO OR SHONEN CHARACTERISTIC? 2. ARE CHARACTERS WITHOUT BANSS COMMON IN ANIME? 3, WILL ADDING DETAILED STRANDS OF HAIR MAKE YOUR DRAWING BETTER? 4, DOES HAIe HAVE A CERTAIN FLOW TO IT? PRACTICE 1, DRAW FIVE SHOLUO CHARACTERS WITH OIFFERENT HAI STYLES. 2. DRAW FIVE SHONEN CHARACTERS WITH DIFFERENT HAIR STYLES: 3, ORAW A BALO CHARACTER FROM THE FRONT, 3/4 AND PROFILE VIEW. LU, ORAW A MMALE AND FEMALE CHARACTER WITH DETAILED HAIR STRANDS. 5, ORAW A CHARACTER WITH SHORT HAIe AND A CHAPACTER WITH LONG HAI2. , ORAW FOUIP FEMALE CHARACTERS WITH OIFFERENT HAIR ETYLES: WITHOUT, BANGS. 7. ORAW A CHARACTER WITH BRAIDED HAIR. 8. ORAW FOUR AFRICAN CHARACTERS WITH DIFFERENT HAIRSTYLES, O, ORAW A CHARACTER WITH VERY CURLY HAIR. 10, DRAW A CHARACTER WITH FRIZZY HAI2 Chapter 8 Aging Characters WHEN WAS THE LAST TIME YOU DREW A CHARACTER THAT WAS 6 YEARS OLD? OF EVEN 28 YEARS. CHANCES APE ALMOST NEVER BECALISE YOLING ARTISTS TEND TO ORAW CHARACTERS AGES 13-16. YOU CAN'T DRAW A COMIC WITH ONLY TEENAGERS; YOU HAVE TO HAVE PARENTS, ELDERLY PEOPLE, YOLING CHILOREN, AND SO ON, USUALLY WHEN AN AGTIST FINALLY ATTEMPTS TO DRAW COMIC, THEY SUDDENLY REALIZE THEY HAVE TO ORAW THE MOM OP OAD AND THEY HAVE NO IDEA WHAT TO 00. THEN WHAT HAPPENS IS THE ADULTS END LIP LOOKING LIKE 16-YEAP OLOS WITH WRINKLES. INSTEAD THE ADULTS ALL LOOK LIKE THEY AGE 16 GUT WITH WRINKLES, "S FIX THAT. HOW NOT TO AGE CHARACTERS = ADULT CHARACTERS 00 NOT HAVE THE SAME FACIAL OR BODY PROPORTIONS AS TEENAGE CHARACTERS! = YOUNG CHILOREN AREN'T SINPLY CHieI! = WRINKLES DON’T AUTOMATICALLY MAKE YOUR CHARACTERS LOOK LIKE AN OLOER PERSON! = WRINKLES IN OLOES PEOPLE DON’T BECOME APPARENT TILL IN THEIR 4OS- SOs! = YOU NEEO OLOER PEOPLE IN YOUR COMICS YOU CAN'T ALWAYS ORAW TEENAGE cHaRAcTees! = A GOOD ARTISTS CAN ORAW SOMEONE OF ANY AGE, ANO HAVE SOMEONE CORRECTLY GLIESS CLOSE ENOUGH TO AGE INTENDED! IF SOMEONE CAN'T GUESS THE CORRECT AGE OF YOUR CHARACTER YOU'RE DOING IT weone! From Baby To Young Child THERE APE A FEW KEY FEATUPES TO KEEP IN MIND ABOUT A CHARACTER’S AGE. THE LOWER THE EYES ARE TO THE FACE THE YOLINGER THEY LOOK, AS WELL AS THE ROLINONESS OF THE CHIN. AGE 4 AGE 6 AGE 8 AGE 10 NOTICE HOW THE EYES MOVE UP A LITTLE BIT ON FACE, ANO HOW THE CHIN GETS SLIGHTLY MORE POINTED, ALSO YOUNGER CHARACTERS TEND TO HAVE LARGER EYES THAT GET SMALLER AS THEY GROW UP. Pre-teen to Young Adult FROM PRE-TEEN TO YOLING ADULT EVEN MORE FEATURES CHANGE. THE CHEEKS STACT HIGHER? ON THE FACE AND THE EYES CONTINUE TO MOVE UP ANO GET SMALLER TILL THEY HIT AGOLIND 18 YEARS. THE NECK ALSO GETS WIOEP ONCE THE CHARACTER REACHES AROUND AGE 16. THE NOSE ALSO BECOMES MORE PRONOUNCED. AGE 12 AGE 14 EYE LINE CHEEK LINE AGE 16 CFEMALE) AGE-IB CMALE) EYE LINE CHEEK LINE AS YOUNG WOMEN AGE, THEY RETAIN SOFTER FEATURES WHEREAS MEN HAVE A MORE ANGULAR FACE. Young Adult to Old Age FROM AGES 24 TO LATE 305, THERE ISN'T MUCH OF A CHANGE. WHEN A CHARACTER IS. BETWEEN THE AGES OF HO AND 5O, WRINKLES AND OLO AGE BEGIN TO SET IN. AGE 20 AGE 30 WRINKLES DEVELO? IN A CERTAIN ORDER: UNDER THE EYES, THEN APOLINO THE MOUTH, ANO THEN THE FOREHEAO. WOMEN HAVE VERY FEW WRINKLES, AND FOP EVERY WRINKLE YOU GIVE AN OLDE? WOMAN, SHE AGES APPROXIMATELY IO YEARS. AOLILT WOMEN, TEND TO LOOK YOUTHFUL FOP A LONE TIME. Vhat’s wrong with these? SOMETIMES YOU CAN TELL IF AN AGTIST IS ATTEMPTING TO MAKE A CHARACTER LOOK OLDER, BUT DOES NOT NECESSARILY KNOW HOW. HOW WOULO YOU MAKE THESE CHARACTERS LOOK THE AGE THEY ARE TRYING TO MAKE THEM. CAN YOU REORAW THEM PROPERLY’ Chapter 8: Test and Practice TEST 1, WHAT IS AVERAGE AGE MOST YOLING ARTISTS TEND TO MAKE THEI CHARACTERS? 2. CAN YOU NAME THE ORDER IN WHICH WRINKLES START APPEARING? 3. WHAT HAPPENS TO THE EYES AS THE CHARACTERS GETS OLDER? 4, WHAT HAPPENS TO THE CHIN AND CHEEKS AS THE CHARACTER EGTS OLDER? S. WHAT'S THE DIFFERENCE BETWEEN THE NOSE OF A YEAR OLD AND A 16 YEAR OLo: 6. 00 WOMEN ANO MEN AGE THE SAME? PRACTICE |, ORAW THE SAME CHARACTER AT THE AGES OF: 4, 8, 15, 20, 30. 2. ORAW A FEMALE CHARACTER AGE 30 AND A MALE CHARACTER AGE 30. 3, DRAW A CHARACTER AGE 15 AND DRAW A CHARACTER AGE 17. 4, DRAW A MOTHER HOLOING A gaa. 5S, ORAW A MOTHER HOLOINS A TODDLER. ©. DRAW A GRANOMOTHER AND GRANOFATHER BOTH AGED ABOVE 6O YEARS, Chapter 9 Characters in Action YOU NEED BE ABLE TO ORAW YOUR CHARACTERS DOING THINGS; WALKING, PINNING, OUMPING, SITTING, EATING, FISHING, SLEEPING, ETC. IF YOU ARE ONE OF THOSE: AGTISTS WHO ALWAYS ORAWS YOUR CHAPACTE? COMPELTELY STIFF AND NOT DOING ANYTHING EXCEPT STANDING THERE LOOKING CLITE, YOLIR COMIC WILL NOT WORK. DON'T BE AFRAID TO: = TRY NEW POSES = TRY PERSPECTIVE - BE CREATIVE - VARIETY - EVERY DAY POSES The Line of Action THE “LINE OF ACTION’ IS A CURVED LINE THAT SHOWS THE CHAPACTER’S MOVEMENT. IT CAN BE THE SHAPE OF THE SPINE OP IT CAN FOLLOW THE CHEST’S MOVEMENT. MAKE SURE THE LINE OF ACTION FOP YOUR CHARACTER ISN'T TOO STRAIGHT, IF YOU CAN'T MAKE A STICK FIGLIRE LOOK “ALIVE’ CHANCES APE YOUP CHARACTERS: OON'T LOOK ALIVE EITHER. ALSO PAY ATTENTION TO THE SHOLILOERS AND HIPS. BORING Characters in the Same Space OFTEN WHEN OPAWING MULTIPLE CHARACTERS TOSETHER, SOMETIMES NEW APTISTS WON'T REALIZE THAT THE HEADS AGE DIFFERENT SIZES OR EVEN THE BODIES. MAKE SUPE YOU USE CIECLES AS A BASE FOR THE SKULL TO ESTIMATE HOW BIG THE :AOS ARE. EVEN WHEN A chapacTee 5 TURNED TO THe Se, THe Head Size SHOULD BE THE SANE COM THE TO? OF THE HEAD TO THe CHIN, FO ‘60TH cuapactees, WHEN DRAWING CHILOREN WITH OLOEP CHARACTERS, THEIP HEAD SIZES APE A GIT SMALLER GUT AREN'T ZA THAT MUCH DIFFERENT. SOME ARTISTS HAVE A TENDENCY TO MAKE THE HEAD REALLY SMALL. Activity List SOMETIMES WE'RE NOT SURE WHAT TO DRAW OUP CHARACTERS DOING ANO WE HIT AN ART BLOCK OF SORTS. HERE ARE SOME KEY WORDS THAT MIGHT TRIGGER SOME IDEAS. TT IS IMPORTANT TO ORAW CHARACTERS IN DIFFERENT POSES ANO SITUATIONS TO PRACTICE ANATOMY ANO MAKE YOUP PICTURES LOOK INTERESTING. PLACES EMOTIONS Beach Sad Nall ‘Angry House Depressed Fantasy Room Excited Outdoors Disappointed Gardens ‘Anxious Houtains Loving Space Edgy Restaurant Pouty Bathroom Insane Exotic Funny Park Indifferent Playground PEOPLE ACTION ROMANTIC Lovers Running Kissing Parents Jumping Hugging Family Kicking Cuddling Siblings Punching Dating Rivals Dodging Holding Hands Friends Taking ahit Emborassed Enemies Falling Over Sexy Aquaintance Shooting ‘Trying too hard Comrades Defeated Having Fun Teammates Power Up —_Caressing Grandparents Rage Classmates OTHER Art fusic Science Gardening Studying Playing HischieF Games Swimming Running Eating Chapter 9: Test and Practice TEST 1. WHAT IS THE LINE OF ACTION? 2. WHY IS THE LINE OF ACTION IMPORTANT? 3. WHY IS IT IMPORTANT TO DRAW A STICK FIGURE AS A GUIDE BEFORE DRAWING THE REAL CHARACTER? 44, WHY IS IT IMPORTANT TO PRACTICE DRAWING A VARIETY POSES? S. WHY SHOULO YOU MEASURE CHAPACTER’S HEAOS IF THEY APE IN THE SAME SCENE: PRACTICE |, ORAW IO STICK FIGURES AND ORAW THE LINE OF AN ACTION IN EACH OF THEM, 2. ORAW A CHARACTER PLAYING A SPORT. 3, DRAW 4 CHARACTERS IN THE SAME SCENE WITH DIFFERENT POSES. 4, ORAW A CHARACTER SITTING, KNEELING OP SITTING CROSS-LEGEED. S, DRAW TWO CHARACTERS FIGHTING EACH OTHER. 6. ORAW THREE CHARACTERS DOING SOMETHING FLIN TOGETHER Chapter 10 Clothes and Folds CLOTHES ANO FOLOS AGE IMPORTANT BECAUSE THEY MAKE THE CLOTHES LOOK MORE REALISTIC. CLOTHING WITHOUT A WRINKLE OP FOLD JUST LOOK LIKE THEY'VE BEEN STARCHED BEYOND ALL REPAIR, UNLESS YOUR CHAPACTER IS WEARING SKIN TIGHT CLOTHES THERE IS NO REASON FOR THERE NOT TO GE WRINKLS. CLOTHES AND FOLDS TIPS! = FOLOS SHOW WHAT MATERIAL THE CHARACTER IS WEARING. FOR EXAMPLE A LARGE SWEATER WILL HAVE OIFFER- ENT FOLOS THAN A REGULAR T-SHIRT. = A SWISH OF A SKIRT OP MOVEMENT OF A T-SHIRT EMPHASIZES MOVEMENT - USE THEM SPARINGLY, IF YOU USE TOO MANY THE CLOTHES WILL LOOK TOO WRINKLY. USE TO LITTLE AND THE FAGRIC WILL LOOK STIFF. = CONSIDER GRAVITY, FOLD LINES. FOLLOW THE FLOW AND DIRECTION OF eeaviry. = FOLOS CAN ALSO SHOW THE SHAPE OF A CHARACTER. IF A CHARACTER WEARS A CLOSE FITTING T-SHIRT YOU NEED TO KNOW TO THE SHAPE OF THE BOY BEFORE YOU ORAW THE FOLDS. = 00 SOME RESEARCH ABOUT CLOTHES TO FIT THE ERA AND STYLE THE CHARACTER IS IN. TO THEM. HERE APE LOW sT ORAPPED OVER OBJECTS. FABRICS 1AVE AF WAY TO ORAW FOLOS IS TO PAW FABRIC JUST MAAK MANY LOVELY FOLDS THAT FOLLOW GRAVITY AND Hi of . ME DIFFERENT FOLD: THE gEST YOU SHOULO ALWAYS DRAW A NUDE/ PLIPPET VERSION OF YOUP CHARACTER BEFORE YOU PUT CLOTHES ON THEM, THAT WAY YOU CAN SEE HOW THE CLOTHES GO ON THE CHAGACTER AND THE SHAPES IT MAKES. MARKED AGE IMPORTANT AREAS WHERE FABRIC USUALLY BLINCHES UP. JOINTS: DON'T FoRser 6RAuTy! ‘MOST OF THE TIME YOU <—_— Witt see THe Insioe OF A.CHARACTER’S SLEEVE. HIPS CFOR WOMEN) <—— 8 0TTOM OF sHieTS Where is this | arm attached? What happens when you draw limbs that grow aut of the clothes and don’t draw tthe body first then clothes. Where is this leg attached? HERE APE SOME CHARACTERS THAT OO NOT HAVE FOLOS ON THEI? CLOTHES. WHERE SHOULD YOU PUT THE FOLDS? ALSO, THINK ABOUT THE SHAPE OF THE FOLDS. SEE IF TEST 1. NAME THREE PLACES IN THE BODY WHERE FOLOS OFTEN OCCUR. 2. WHY IS IT IMPORTANT TO ORAW THE BODY BEFORE THE CLOTHES? 3, HOW D0 FOLDS SHOW MOVEMENT? 4, WHAT IS A DIAPER FOLOP 5. CAN TOO MANY FOLDS MAKE CLOTHES LOOK TOO SMALL OR WRINKLY?. 6. WHY IS A PIPE FOLO CALLED BY THAT NAME? PRACTICE 1, ORAW TWO CHARACTERS, ONE WITH CLOTHES THAT ARE TOO BIG AND. ONE WITH CLOTHES THAT ARE TOO SMALL OP TIGHT. 2. DRAW A CHARACTER WITH WET CLOTHES. (WET CLOTHES HAVE MANY V-SHAPED WRINKLES). 3, ORAW A CHARACTER WITH AN OUTFIT THAT HAS MANY DIAPER FOLDS. 4, ORAW A CHARACTER MOVING AND HAVE THEIR CLOTHES REACT TO THEIR MOVEMENT, S, LOOK UP SOME REFERENCES OF PHOTOS AND HOW OTHER PROFESSIONAL ARTISTS ORAW FOLDS AND STUDY THE SHAPE ANO WHERE THEY PLT THEM. Chapter 11 Basics of Making Mange Comics MOST PEOPLE JUST DRAW "ANIME" ACT, POST THEM ON THE WEB ANO CALL THEM- SEVES "MANGA ARTISTS." WHICH THEY AREN'T. MANGA IS JAPANESE FOR ‘COMICS’ AND ANIME IS JAPANESE FOP ‘WHIMSICAL PICTURES.’ IF YOU DO NOT PUT YOR ANIME KNOWLEDGE INTO MAKING SEQUENTIAL STORIES THEN YOU AGE NOTHING MORE THAN AN ILLUSTRATOR. MAKING COMICS IS A COMPLEX FEAT THAT INVOLVES: SKILLFLIL STORY TELLING, CAMERA ANGLES ANO THE ABILITY TO COMMUNICATE AN 1OEA THINGS NEW ARTISTS DON'T CONSIDER ABOUT MANGA = MANGA IS OONE IN BLACK ANO WHITE BECAUSE IT’S CHEAPER ANO FASTER TO PROOUCE. THEY WOLILO LOVE TO 00 IT IN COLO® IF THEY coun. = MANGA ACTISTS IN JAPAN NEED TO PRODUCE AN AVERAGE OF 20 PAGES PER WEEK, THINK YOU CAN 00 THAT? = THERE ARE MORE SOLIND EFFECTS IN JAPANESE THAN IN THE ENGLISH LANGUAGE. = MANGA IS PEAO RIGHT TO LEFT BECAUSE THAT IS HOW THE JAPANESE WRITTEN LANGUAGE 1S READ. NO NEEO TO MAKE A MANGA READ RIGHT TO LEFT IF YOU'RE AUDIENCE IS ENGLISH. = THERE MANY THINGS IN MANGA THAT AGE SPECIFIC IN UAPANESE CULTURE. THERE IS NO POINT TRYING TO COPY ‘THEM WITHOUT UINOERSTANOING WHY, T'S BETTER TO 00 A “MANGA” SET IN THE COUNTRY you Live. Good and Bad Manga Habits IT 1S GOOD TO OBSERVE MANGA TO BETTER LINDERSTAND HOW IT WORKS. MAKE SUPE YOU AVOID THESE BAO HABITS THAT NEW ARTISTS OFTEN PICK UP AND DON'T REALIZE, BAD MANGA HABITS = AVOID DOING FORMULAIC PREDICTABLE STORIES. SHOUIO. MANGA AGE ESPECIALLY BAD AGOUT TH = AVOID CHARACTER DESIGNS THAT YOU'VE SEEN IN MANY MANGAS. IT’S OOO TO ORAW A CHAPACTES ANO ASK A FRIEND IF THEY LOOK LIKE ANY OTHER FAMILIA® CHARACTER. = ORAW BACKEROLINDS! MANY MANGAS ARE BAO ABOUT BACKEROLINDS. BTHEY WILL ALWAYS MAKE YOUR AGT LOOK MORE IMPRESSIVE OON'T USE TOO MANY CLOSE UP SHOTS OF THE CHARACTER’S FACE, YOU NEED TO SHOW THEIR FEET TOO. GOOD MANGA HABITS = ARTISTS ARE NOTORIOUS FOR: BEING LAZY QUIT JAPANESE MANGA ARTIST DRAW AVERAGE 20 PHEES A K, = THE USE OF PERSPECTIVE ANO OYNAMIC MOVEMENT. = CREATIVELY LAYING OUT PANELS. = USE OF BLACK PLACEMENT AND INTRICATE LINEAGT. = ATTENTION TO SMALL OETAILS: YOU MAY MISS UINTIL YOU REAO 4. SECOND TIME. Speech Bubbles and Dialogue MANGA-STYLEO SPEECH BUBBLES ARE VERTICAL BECAUSE THAT IS HOW KANJI IS WeIT- TEN, IT IS NOT PRACTICAL IN ENGLISH, HOWEVER, IT DOES HELP YOUR COMIC LOOK MORE MANGA-ESQUE. ALSO BE SURE TO USE APPROPRIATE FONTS FOR YOUIP COMICS. GOOD COMIC THIS IS NOT “HAVE Seelrs. FONT BECAUSE NE eee IT HAS SERIFS FONTS WITH THESE AT THE END ARE CALLED SERIF FONTS AND ARE NOT SUITED FOR COMICS. SPEECH BUBBLE RULES = GIVE THEM Ale TO BREATHE, OON’T CROWD THEM AROUND THE E06E. = ALWAYS HAVE A TAIL POINTING TO THE CHARACTER’S MOUTH, - SPEECH auBaLES ARE ALWAYS IN FRONT. - MAKE SURE YOU HAVE AMPLE SPACE TO PUT DIALOG, Don’t be Lazy THE FACE IS ALWAYS THE MOST FUN TO OPAW, HOWEVER IN COMICS YOU NEED TO PRE- TEND AS IF IT WERE A MOVIE. YOU NEED TO ZOOM\ IN AND OLIT AND SHOW THE CHARAC- TER FROM ALL ANGLES ANO DISTANCES. Chapter 11: Test and Practice TEST 1. WHY AGE SPEECH BUBBLES VERTICAL? 2. HOW MANY PAGES ODES A MANGA-KA NEED TO DO IN A WEEK ON AVERAGE? 3, WHAT ARE SERIF FONTS? 4. WHY IS MANGA IN BLACK ANO WHITE? S. 00 GRADIENTS COUNT AS A BACKGROLINDSP PRACTICE | ORAW A FEW TEST PANELS OF DIFFERENT SHOTS AND SCENES. 2, RESEARCH FONTS THAT MAY BE APPROPIATE FOR MANGA, OR PRACTICE HANO WeITINGS FONTS. 3. TRY TO DRAW A SCENE WHERE THE ENVIRONMENT IS THE FOCUS ANO NOT THE CHARACTER. 4, PLAN AN IDEA FOR A SHORT S-IO PAGE MANGA AND DRAW IT OUT, Chapter 12 Environments and Perspective WHEN OPAWING COMICS, YOU WILL ENVITABLY HAVE TO ORAW BACKGROUNDS, BE THEM BUILDINGS, INTERIORS OP SOME SORT OF ENVIRONMENT. THESE CAN BE HARD TO DRAW FROM OFF OF THE TOP OF YOUR HEAD, FOR BUILDINGS AND ROOMS THE BEST WAY TO ENSURE ACCURACY IS TO USE THE PERSPECTIVE GRIDS, HOW TO MAKE BACKGROUNDS LOOK GOOD! = USE A PERSPECTIVE GRID WHEN POSSIBLE, - FIND REFERENCE PICTURES. = OBSERVE LITTLE DETAILS THAT MAKE UP AN ENVIRONEMENT. = THINK ABOUT HOW A SPACE FUNCTIONS ANO WHAT IS. NECESSAGY TO PIT IN IT. = MAKE SURE THE CHARACTER FITS IN THE ENVIPONMENT PROPERLY. = OPRAW CROWDS WITH SUBTLE FACIAL FEATURES INSTEAD OF SHADOWS. = FIND REFERENCES FOR OBvEcTS. 2 POINT PERSPECTIVE 3 POINT PERSPECTIVE ob How Perspective Grids Work THERE APE TWO MAIN COMPONENTS OF A PERSPECTIVE GRID, THAT IS THE HORIZON LINE AND HOW IMANY ‘POINTS ARE ON THE HORIZON LINE. ne Hoozou une can ee cescoeo 7" PSR ELSA aches eons Fie ONS Ge He SoSuNo) WOMEN, beat ‘THE POINT IS THE WHEE ALL THE LINES OF A PERSPECTIVE EPID RADIATE, € ( | Ly THE LINES PAOIATE ALL ACOUINO THE POINT THUS FORMING A PERSPECTIVE GRID. THESE LINES ARE USED AS GUIDELINES TO ALIGN THINGS PROPERLY AND CONSISTENTLY. One Point Perspective “ONE POINT” PERSPECTIVE IS WHEN YOU ONLY USE ONE POINT, OF COURSE. “ONE POINT” PERSPECTIVE HOWEVER IS PRETTY BORING ANO THIS IS THE PERSPECTIVE MOST ARTIST OEFAUILT TO USING WITHOUT KNOWING THEY ARE USING IT. WHAT "ONE POINT’ PERSPECTIVE LOOKS LIKE maruneeee EEE Re Rees, $348 oe Two Point Perspective “TWO POINT" PERSPECTIVE IS OBVIOUSLY WHEN YOU SE TWO POINTS. THIS IS WHERE YOU CAN GET SOME PRETTY OYNAMIC PERSPECTIVE THAT LOOKS MORE COMPLEX THAN “ONE POINT’. NOW WE HAVE TWO SETS OF RADIAL LINES THAT INTERSECT. WHAT "TWO POINT* PERSPECTIVE LOOKS LIKE IMPORTANT! I-TWO PONT Pepspective ‘He PONTE ape UsuaLLy OFF" SCREEN. F THE TWO POINTS A2€ TOO. cose T0seTHee OP ve'a0rH ape ON ScoeeN “out 661700 Act = aaa . NOW IF YOU REALLY WANT TO BE COOL, YOU CAN TRY "THREE POINT” PERSPECTIVE. THE BEST WAY TO DESCRIBE THIS VIEW, IS A COMBINATION OF “TWO POINT”, AND LOOKING EITHER LIP OP OOWN, THIS IS WHERE THE LINES CAN GET A LITTLE Ceazy. ———_ ‘THeEe POINT PeRspEcTIE IS gest WHEN ILLUSTPATING BUILONES IT’S VERY EASY TO TELL IF A OPAWING IS DONE WITHOUT A PERSPECTIVE GRID. CAN YOU SPOT WHAT'S WRONG WITH THE ITEMS IN THE ROOM? THIS IS A TWO POINT PERSPECTIVE, BUT INSTEAD OF LOOKING AROUND A CORNEP WE'RE LOOKING AT A CORNER. Chapter 12 Test and Practice TEST 1, DOES A POINT IN A PERSPECTIVE GRID NEED TO BE ON THE SCENE? 2, WHICH PERSPECTIVE IS THE MOST THE OYNAMIC, ONE TWO OP THREE? 3, IS IT OK TO OEVIATE FROM THE PERSPECTIVE GRID? 44, CAN YOU USE THE PERSPECTIVE GRID FOR PEOPLE? 44. CAN YOU USE TO PERSPECTIVE GRIS TO PLACE OBJECTS? 5. CAN YOU LSE A PERSPECTIVE 6210 OLITOOORS? PRACTICE |. DRAW A ROOM USING ONE, TWO ANO THREE POINT PERSPECTIVE. 2. DRAW A CITYSCAPE LISING ONE, TWO, AND THREE POINT PERSPECTIVE. 3, DRAW A PARK SCENE USING ONCE, TWO, ANO THREE POINT PERSPECTIVE. 4, ORAW A ROW OF CHARACTERS USING A PERSPECTIVE GRID. 5S, ORAW FLOATING BOXES IN A ONE, TWO AND THREE POINT PERSPECTIVE 6. ORAW A SCENE LISING TWO POINT PERSPECTIVE BLIT NEITHER POINT IS IN THE SCENE THE MOST IMPORTANT THING IS TO NEVER STOP PRACTICING. YOU NEED TO PRACTICE OAILY FOR YEARS BEFORE YOU BECOME REALLY GOOD, OP EVEN BETTER THAN YOU. ALREADY ARE. OUTSIDE OF "HOW TO ORAW MANGA” BOOKS, HERE ARE SOME OTHER GOOD PLACES TO PRACTICE. GOOD WAYS TO LEARN TO DRAW = WATCH HOW TO DRAW VIDEOS ONLINE. = WATCH LIVE STREAMS OF AgTISTS. = ASK OTHERS FOR OPINIONS ANO HELP. = MAKE COMICS. = ORAW FROM LIFE = STUDY Your FAVORITE AGTIST ANO FIGLIE OUT HOW THEY DRAW. = STEP OUTSIDE YOUR COMFORT ZONE. CHAPTER1 CHAPTER2 CHAPTER3 CHAPTER 4 1. RefertoChapter1 1. RefertoChapter2 1. 7.5 or heads 1, To keep the roundness. of the head. 2. Because youneedto 2.RefertoChapter2 2. Naval know proportions and 2, In anime the jaw does details before you sim- 3. Dip Pen 3. Head size, Torso not move when the ify or stylize it. Length, Leg length. character talks so you need 4. Better line quality with enough to space, if the 3. To stand out from a single nib. 4, Average 3.5 heads character opens their everyone else. mouth. 5. Watercolor 5, To understand how 4. They are more proportions work, so 3. Profile is a side view, 3/4 expressive than small 6. The Skills when you stylizeit_ is in between profile and, eyes, and cuter. doesn't look weird. front 5. If someone says your 6. Arms, Legs, Hands, 4. One eye apart art looks like °X" Feet 5, The Ears get angles 6. Practice, Practice! higher up on the head. 6. Because it's more interesting. CHAPTERS CHAPTER 6 CHAPTER 7 CHAPTER 8 4. Top 41, Triceps, Biceps 4, Shonen 4 teens (14-16) 2. Eyelashes 2. Middle 2.No 2. eye wrinkles, side of the mouth, the forehead. 3, the circular shape of the 3. Tendon 3. Not necessarily, just pupil seen at the side be- more details. 3, smaller and higher up comes narrow. 4. 3 including the knuckle Con the face 4. Yes 4. Age 5. Upper arm is shorter 4. chin gets narrow, and the cheeks are higher 5, Shoujo cn the face 5. in the 9 year old the nose would be small aand in a 16 year old the nose would be larger. 6.No. CHAPTER 9 1. Aline that shows the movement of a character through either the spine or the curve of the chest. 2. Ithelps to determine if your character poses are too stif. 3. To get a better and more accurate idea of the anatomy and pose. 4, Makes a character more life-like and less boring. 5. To make sure they are Proportion to each other. CHAPTER 10 4. Waist, Joints, The Chest 2. To fit the clothes on to the character properly. 3, The direction the lines flow towards. 4. Cloth that is draped from two high points. 5. Yes. 6. Because the folds look like pipes at the bottom, CHAPTER 11 1. Because the Japanese language reads that way. 2.20. 3. Fonts with litle things on the ends. 4, Because manga in Japan needs to be produced at a fast rate, and black and white is. ‘cheaper to print 5. NO! CHAPTER 12 1.No. 2. Three. 3.No. 4. Yes. 5. Yes. 6. Yes. A. LIMGS APE TOO LON. . TORSO 15 100 LONG, C. NO KNEES, LESS TOO SkINNY. 2. Oulck FEET, FEET OON'T POINT OUT LIKE THIS. . AP IS TOO LONE. SHE HAS NO KNEES, THE LEGS APE JUST snices. 2, FEET CANNOT PONT 40-DE6REES INWARD Ghee Tis: A. MOUTH OUTS OUT TOO MUCH. NO LIPS, 2. EYES ARE TOO Fae APAET. C. SHE LOOKS LIKE A FISH 2. eyes TOO cLose. &, £ABS DON'T STICK OUT, THEY LIE FLAT SeAINST THe HEAD. F.NO PROSLENS, THIS WAS SWHPLY A TEST. 6. CHEEK IS NOT ALIGNED PROPERLY. H. Hale IS TOO Lage AND POOFY. |, MOUTH 1S TOO LOW, HOW CAN SHE OPEN HER OUT TO TALK? ‘A. THE TOP LINE OF THE EYE IS NOT THICK eNousH. 8. NO LOWER LiP, OR EYELIDS. ._ THe Stack OOTS IN HEP 1216 ARE FACING. SieFEGENT OIRECTIONS. 2. NOUTH IS TOO Low. E, EYE NEEDS TO GE FLATTER/THNNER TO ACCONODETE FOR PERSPECTIVE F,_NO EARS, THE WINKING EYE 1S TOO HIGH AND Ne€0s TO e¢ Where THe GOTTOM LINE OF THE: Eye wouLo ee. A, BRM1S TOO LONE, @. THE BOTTOM OF THE FOOT IS TOO FLAT. , INDOLE FINGE® NEES TO Ge SLIsHTLY Fiuten. D, B2M IS TOO LONG. E, HEAD IS TOO B16, TORSO IS TOO SKINNY. F. NO RPOLEMS, IT WAS A TEST. 6. LEGS APE TOO SKINNY. H. MISSING TENDON LINES. 1, LESS ACE TOO LONS. THE HAND IS FLOATING NMio-Ale.| ‘SHONEN OR SHOUJO HAIRSTYLE? A. SHOU, 8. USUALLY SHONEN, . USUALLY SHOUJO. 2. SHONEN, sHous0, F. SHONEN. 6. em. 1. SHONEN, 1. EITHER SHOUJO OP SHONEN, A, THE FACE LOOKS LIKE A.15 YEAP OLO WiTH WaINKLES. Hep eves NEED TO BE SNALLED, HES Face LONBeR. 8, 16 YEA OLO WITH WOINKLES. His eves NEED TO GE SMALLEP AND HEHED UP ON THE PACE. HIS CHEEK GONE NEEDS TO Be NEHER ANO His MOuTH Neos TO Ge FARTHER FEOM ‘THE CHIN, MEN HAVE ST2ONG CHING, MEANING THE SPACE BETWEEN THE MOLTH AND THE CHIN SHOW ACE. C.HE LOOKS MORE LIKE A CHIGI THAN & KID. THE Eyes NEED TO Be FuIPTHED OOWN THE FACE ANO HE NEEDS A Laser FOREHEAD. 0. WHY OOES A¢ YEAR OLO HAVE BREASTS ANO Hies? Neeo T SAY Nowe?

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