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HOW TO DRAW series.
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BISHOUJO Around the World OCCULT & HORROR BODIES & ANATOMY
ISBN4-7661-1 149-4 ISBN4-7661 -1150-8 ISBN4-7661-1 238-5
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COUPLES MALE CHARACTERS MAKING ANIME
ISBN4-7661-1241-5 ISBN4-7661-1240-7 ISBN4-7661-1239-3
Distributed by Distributed
URL:tittp;//www.emanga.com/dmd/
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BODIES S ANATOMY
Human Body Drawings for Creating Characters
Digitized by the Internet Archive
in 2012
http://archive.org/details/howtodrawmangaOOsoci
HCWIODR/W
BODIES s ANATOMY
Human Body Drawings for Creating Characters
V>{ASHINGTO,\' VILLAGE
HOW TO DRAW MANGA: BODIES & ANATOMY
by the Society for the Study of Manga Techniques
Foreign language edition project coordinator: Kumiko Sakamoto (Graphic-sha Publishing Co., Ltd.)
All rights reserved. No part of this publication may be reproduced or used in any form or
by any means, graphic, electronic or mechanical, including photocopying, recording, or
information storage and retrieval systems without written permission of the publisher.
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When sketching from a Refer to this
variety of angles, you might
book to find
have doubte about how to 5CRIBBLE- something
draw the characters when SCKIBBLE
similar to what
the shapes of certain body
you are looking
parte change. for.
Table of Contents
Posing 10
Facial Three-dimensionality 20
Facial Expressions 24
Eyes 25
Neck Variations 32
Frontal View (Female) / Low Angle (Female) / Low Angle (Male)/ High Angle (Female)
Shoulder Area 48
Spreading BotfiArms 71
Hand Variations 84
Twisting (Female) 93
8
Draw boxes around the figure
from there.
A developed sense of characters is a must for
drawing cool looking live-action poses. The lines
that flow through the body are the key to this
technique. These lines are called curved lines of
motion and centerlines. They occasionally
compose the center of gravity.
Curved line
of motion
and
centerline
Center of
gravity
rO.
Weight on one leg Weight on the Weight on the Side view Weight on both legs
right leg left leg
The center of gravity is
11
Drawing Entwined Characters!
12
Once the rough sketch is finished,
place the tracing paper under the
drawing. Now, look at these
through a light box to better
compose the picture's balance
Also, when a part of the shot is In such cases, after giving shape
being used as a close-up, it is to all of the drawing on the
."-^
«^. Desks equipped with light
Clavicle
(collarbon
Scapula
(shoulder blade)
Humerus
(upper limb)
Sternum
(breastbone)
Vertebral column
Radius
— Pelvis
(hipbone)
Pubis
Sacrum (pubicbone)
Greater
trochanter
Femur
(thighbone)
Patella
(kneecap)
Tibia
(shinbone)
Mbula
Simplified Skeletal
Structure
simplified illustration.
This makes
visualization easier
Cervical vertebrae
(Seventh)
Be aware of the
The upper
seventh cervical Thoracic vertebrae
vertebrae when arm is the
(Twelve)
length of 1 .5
giving shape to
heads.
the sternum.
Then, draw as if
you were
hanging a circle Floating rib;
from there.
Lumbar vertebrae
(Five)
When the
fingers are
extended,
the length of
the lower
arm is equal
to two
heads.
15
Male and Female Proportions! N ^
^ l^.
<~H \
/ r '(.
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V /
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A The female
nipples are
positioned
slightly
lower.
The female
pelvis is
positioned
slightly
higher.
There are three kinds of model dolls: male, female and unisex. I
This is the definitive reference book for drawing human figures for manga, illustrations, and amine,
which can be used, at many levels. I am sure thatmany of you make use of photographs to
practice your techniques, which is great. However, photographs do not give an accurate picture of
how muscles are formed on the body.
In these situations, this book will manifest a great deal of power in your drawings. fVlaking use of
model dolls is another great way to improve your skills. If you already have a perfect picture of
what the human body looks like in your mind, then you may not need to use models. However, for
those of you who are thinking about studying with models, applaud your efforts. Go ahead and
I
give them a try. Just simply moving them around in a playful manner will improve your skills.
>^ (Female)
^^
A'
Model Doll (Unisex)
Chapter 1
Head Variations
Facial Three-dimensionality
upward
illustrates that
Cheekbon
The shadow
mixes with that
of the nose. \ (
Consider the shape of
Consider the shadow the chin.
produced from the nose
20
As cheekbones rise when the character Definite shadows appear
laughs or gets angry, this will create shadows above the mouth when lit
when lit from below. The same is true for from below.
characters with high cheekbones.
21
Facial Three-dimensionality - Part 2 I
23
Facial expressions are a result of facial muscle movement. From muscular
Facial Expressions
movements, the skin expands and contracts creating wrinkles.
From eyebrow movements, the eyelids are While facial wrinkles are not often drawn in
stretched creating expressions around the manga, they can be used between the
eyes. eyebrows to express anger by bringing out
a sense of force in drawings.
Improper
positioning of the
pupil
It projects out a
little due to the
cornea.
4
Frontal View
"IJ'IIIIHW »^
Even if the i
eye is i
"
I closed, this
line shows
Consider the position of the the shape
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k
26
1/arious Nose Shapes
|
27
II
Consider the
thickness of the
corners of the
mouth.
•^--^'^^Tfi-iiinrr'"-'
28
Various Ear Shapes
Viewed Directly
From Below
From Behind
Earlobe
29
For manga, while the sternocleidomastoid
Construction of the Neck and Shoulders muscle, collarbone and shoulder blades are
all you need to pull off the construction of
this area, learning about the make-up of the
Collarbone (clavicle)
the shoulder
sternocleidomastoid muscle
(tilts and turns the head)
Clavicle (collarbone)
30
Please Note
The connection of the
trapezius muscle flows into
Trapezius muscle
(maintains
shoulder position) Cervical vertebrae
(Seventh)
Deltoideus muscle
(lifts the arm)
31
Neck Variations
Frontal View (Female)
|
32
Low Angle (Female) |
33
Low Angle (Male)
34
lit
40
Looking Up at an Angle
]
Lowering the Head |
42
Chapter 2
Upper Body
Variations
I i
Illustration of Body Muscles
N(^
M. trapezius
C7
M. deltoideu
/^>.-^s\^
M. biceps (rotates and \ V
bends the forearm)
M. external abdominal
oblique (facilitates
movement of the abdomen)
M. jliacus
M. adductor longus
M. gracilis (bends
and twists the leg)
M. rectus femoris
Quadriceps femoris tendon
(straightens the leg)
Patella (kneecap]
M. gastrocnemius h
Tibia (shinbone)
M. tibialis anterior
M. peroneus longus
M. soleus
44 Male Female
M. trapezius
M. pectoralis
major (moves
the shoulder and
M. infraspinatus involved in deep
breathing)
IVI. teres
major
M. triceps
M. serratus
the arm)
(lifts
anterioris (supports
and involved
M. rectus
abdominis
— M. latissimus dorsi
(moves the shoulder
in coughing) and involved in
(strengthens the
coughing)
abdominal wall)
1.
M. gluteus
M. gracilis
maximus
(bends and
(facilitates
twists the
standing up and
leg)
climbing) Tractus iliotibialis
M. semltendinosus
(moves hips and
knees)
M. biceps femoris
M. gastrocnemius
(walking and
jumping)
M. soleus
(standing)
Achilles tendon
(connects
gastrocnemius to
the heel bone)
45
Construction of Frontal Body Musclesl
latissimus dorsi
M. latissimus dorsi
46
Muscles are constructed on the foundation of the
Balancing the Back Muscles skeletal framework.
Start by drawing a simplified skeleton. Then, draw the
key muscles.
The muscles expand and contract when the stretched. stretches when
body bends and the arms are raised. the shoulder
moves.
Eyebrow
48
The teres major and
latissimus dorsi
muscles extend
towards the armpit
like this.
M. latissimus
dorsi
49
Shoulder Area - Part 2
The infraspinatus is
Shoulder
blade
(scapula)
The serratus
Be careful of
anterioris is hidden
the movement
by the latissimus
in the
dorsi and is
latissimus
connected to the
dorsi.
shoulder blade.
revealed.
Learn the basic movements of the
Basic Construction of the Arm muscles and their positioning.
Biceps muscle
The connection
between the
brachialis and
deltoideus can be
seen when viewed
from the side.
Supinator muscle
51
Basic Construction of the Arm - Part 2
Flexor
muscles on
the side of
the back of
the hand.
with the flexor muscles. index finger come out between the
triceps and brachialis.
52
M. flexor
M. pronator
M. brachialis
M. infraspinatus
M. flexor
Elbow bone
53
Variations in Twisting the ^^^^ ^ '°°'^ ^^ ^^^ changes the muscles using
^
Arm 1
the
in
I first drawing as benchmark.
/^
'j^//
54
55
Variations in Twisting ttie Arm - Part 2
56
The shoulders move to the front and
Forward and Backward Shoulder Movement back depending on the pose. When the
shoulders are stretched, the chest
expands and the shoulders move closer
together In the back. When the back is
rounded, the chest contracts and the
shoulders move towards the front.
stretched.
J
Forward and Backward Arm Motion Variations
raised.
59
Side Arm Motion Variations - Part 2
|
collarbone
rises.
The latissimus
dorsi becomes
visible. The pectoralis
major is also
stretched.
60
L-wta
61
Side Arm Motion Variations - Part 3
]
t
L 63
J
Side Arm Motion Variations - Part 4
stretching in
64
Front Arm Motion Variations
65
Front Arm Motion Variations - Part 2
]
66
67
Front Arm Motion Variations - Part 3~j
69
Front Arm Motion Variations - Part 4 I
70
Spreading Both Arms
71
Spreading Both Arms - Part 2
72
Ik
73
Spreading Both Arms - Part 3 when Lying do^;^;^
| (
M. latissimus dorsi
M. triceps
Scapula (shoulder
blade)
Spreading Both Arms - Part 4
76
77
^
spreading Both Arms - Part 5
The deltoideus is
connected to the
collarbone and shoulder
blade.
78
The seven cervical
Clavicle (collarbone)
Deltoideus ;y
The area of the arm off
connection of the
collarbone and shoulder
blade.
Scapula (shoulder
79
Spreading Both Arms - Part 6
shadows.
80
Note the differences when
Folding Both Arms men and women fold
their arms.
Construction of the Hand
82
.1
83
Hand Variations
them.
Spread
84
Be aware of the
85
!
86
Chapter 3
Torso Variations
Leaning Forward (Female)
L
Consider also the hidden
abdomen when drawing.
89
Leaning Forward (Female) - Part 2
90
Bending Backward (Male)
91
Bending Backward (Male) - Part 2
92
Twisting (Female)
93
Twisting (Female) - Part 2
94
t
95
Check the perspective when viewing
Twisting (Female) - Part 3
characters from above.
96
Be sure and pay attention to the
twisting of the body when on its side.
Arm Thrusting Upward (Male)
98
The latissimus dorsi lifts
99
standing Variations (MaleT^
100
Be aware of the ground
and consider the figure.
101
Running and Twisting (Male)
Center of gravity
102
Curved line of motion
103
Running and Twisting (Male) - Part 2
104
When viewed from below, be aware of the differences
Looking Up at a Low Angle (Male) ir
106
Bending to the Side (Female)
107
Bending to the Side (Female) - Part 2
108
The weight is on the
shoulder, moving it
upward.
109
Throwing (Male) 1
110
I
111
Throwing (Male) - Part 2
112
When viewed from below, be sure to
check the shoulders and sides.
113
Throwing (Male) - Part 3
]
-y )\
% \:
X \'/,
X
\-
I
114
Chapter 4
Lower Body
Variations
m
Construction of the Lower Body
]
Pelvis (tiipbone)
M. iliacus
M. gluteus medius
M. pectineus
M. sartorius
M. adductor
magnus
M. rectus femoris
— M. gracilis
M. vastus
lateralis
M. pronator rectus
Patella ligament
Patella (kneecap)
,
M. gastrocnemius
M. peroneus
longus
Fibula
M. tibialis
anterior
I' 1
\ M. extensor
digitorum longus Tibia (shinbone)
116
M. adductor longus
,\V
M. gluteus maximus
,J§
Sn,
M. gracilis
M. satorlus
f I
.
Tractus
M. biceps femoris
iliotibialis
IVI. semitendinosu:
M. rectus femoris
.:^
M, semimembranosus
M. biceps
y^\ M. pronator rectus
femoris
» w
.semimembranosus
Patella ligament
-M. gastrocnemius
'.I :
II
M. soleus
Achilles tendon
PI
117
Construction of the Lower Body -Part 2^
M. gluteus medius
118
Bending the Leg
Thighbone (femur)
Shinbone
119
Crotch VariationsH
one below.
120
I
121
Center of gravity
Buttocks Variations
the buttocks.
Weight on the right leg Weight practically on both legs Weight on the left leg
122
Sitting Cross-Legged
|
Hipbone
(pelvis)
123
Sitting Cross-Legged - Part 2
124
Sitting at Ease
125
Doing the Splits
126
127
standing Splits^
128
Construction of the Feet
Achilles tendon
129
130
Consider the makeup of the
illustrate it.
\
131
Break all the parts into
blocks and build from
there when you draw.
132
/l
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^Sia3S!2lSE5ai3
COSTUME ENCYCLOPEDIA HOW TO DRAW ANIME & GAME HOW TO DRAW ANIME & GAME
ISBN4-7661-1257-1 CHARACTERS VOL.1 CHARACTERS VOL.2
ISBN4-7661 -1120-6 ISBN4-766M 174-5
HOW TO DRAW ANIME & GAME HOW TO DRAW ANIME & GAME HOW TO DRAW ANIME & GAME
CHARAQERS VOL.3 CHARAQERS VOL.4 CHARAQERS VOLS
ISBN4-766M 175-3 ISBN4 7661 1254 7 ISBN4-766M276 8
9 784766 1 12382
ISBN M-7bbl-123fl-S