Draw the lar tress ol hair, matching it with tile near side. Lastly, add fine flow lines to finish. I t Sketch the basic layout of the Here, we see the basic layout of Draw the side silhouette of the head. Note that the neck's the eye and nose. For side views, entire head, including the face. Sketch the eye, eyebrow, ear, and hairline. II While the eyelashes of the far Layout for the eye eye are in actuality virtually hidden, they are included in Use a gentle curve for the manga tor the effect.
Take care hairline. The hairline should not to make them too long. Draw the hair Draw the ear. Sketch the general Draw the bangs and side wisps.
Draw the silhouette line and flowing layout of the hair. Add the fin. I :nw hair strands from the riJht side. Add the iris, and the nostril. Adjust the apes of the lips, jaw, etc. Always use curved lines for the basic layout. Good use of these guidelines will allow you to draw a 3-dimensional face. Good Not good The basic layout makes any angle possible. Since the low angle. The horizontal top of the head is visible, draw the lines, which function as vertical guideline first crossing the puidelines for the eyes front and then the top of the head.
Here, despite that the features are Using a gently curving line to connect shifted to the side, the silhouette where the nose attaches to the face to line suggests a normally angled the nose's bottom reveals that the chin face. Here, despite that the features are shifted to the right, the silhouette line suggests the head is facing left. Good Face drawn with guidelines Not good The eyes are not aligned and the nose and mouth are shifted off center.
Modifying distances between facial features allows you easily to create different character types. Basic layout of a long face Guideline for eyes Guideline for mouth The eyes are located in the center of the face and the mouth somewhere between the eyes and the chin. A sheet of paper has physical limits. Keeping the composition's dimensions in mind should help you successfully frame it. Plot the head's basic layout maintaining consideration for the final size.
Try using a basic layout when drawing within a postcard frame. Here we see a basic This basic layout reflects layout without the hair's volume. Basic layout for The head's outline is head alone also the hairline. The hair has not been included in the basic layout. Childlike or chibi characters The eyes are located just south of center to make the head appear larger.
Here, we look at Views composing a front view from a target profile. Take careful note of how much the nose projects from the face in both the profile and frontal views. Cutie with a button nose Noses should be consistently prominent from both the front and profile. Regardless of whether the If a character with a button hairstyle and eyes are the nose is given a defined nose same, with a button nose in the profile view, then she this becomes a different becomes a different character.
Facial feature placement Artists often find when they draw lines through the two views that the faces do not match up. Try this once for the sake of taking control over your own style. Use almond-shaped eyes with small, black pupils and irises, straight noses, and smallish mouths to suggest a mature face.
Nostrils may be included. Thickening the eyebrows and adjusting the hairstyle results in a boy character. Enlarging the irises and giving the eyes a moderate downward slant produces a tomboy. ChildJen's faces do not protrude much, so keep the features relatively flat. Here, we have Child Faces a tiny button nose and no prominent bridge. The differences between profiles lie primarily in the nose.
Since the nose is used to Four Profile Types distinguish the character's age e. Both male and female characters share almost the same nose.
The nose has virtually no bridge and is small and angular, comprising primarily straight lines. Iris In manga and ani me, the corner of the eye is often rendered unconnected. The most favored eye shape is. CD Draw the upper eyelid. Draw the lower eyelid. Draw a circle for the iris, almond.
An eye! Assorted Shapes Eyelids The eye is the most important facial feature when drawing a character. Gives the character a sense of presence and projects an impression of his or her personality. In manga, the eye can be considered the most difficult as well as the Here, a single line was Here, multiple, sketchy most crucial feature. Here, the iris is small, only eyelid are touching.
This is The iris occupies half or occupying less than half of suited to children and more of the total height. This is. Contour a large light reflection occupies light reflections. This eye sports an enormous Here, the entire iris has been Here, radiating strokes were used pupil, an oddly shaped iris, and rendered using sketchy strokes.
Shading also defines spots of hatching, the lower eyelid. This basic, smallish iris has been Here is a squinted eye, where the The lower eyelid was omitted on drawn without light reflections. Instead, only light The eyelid's contour lines have Extra thick strokes were used for reflections were added to the iris. Minimal eyelashes Plain iris Relatively straight contour lines Drawing Steps - - - - - - - - - - - - - - - - - - - - - - - - - - - - Draw the pupil and eyelashes.
The iris and lower eyelid are touching. Sketch in the iris. The basic layout-the eyelid is The completed under lowered, so draw the exposed area of drawing-light reflects off the iris the iris as if more covered than usual.
Use Use small, delicate strokes Stress light and shadow by larger, plumper eyebrows and iris to build up the eyelid and iris. The light reflections should likewise be larger. Do not draw the eyelashes individually but in clusters. This will produce a more pleasing image. Side Views and Gazing Upward. Follow the same drawing steps: I.
Light reflections Adding delicate hatching to the corner of the upper eye produces n glistening, moist effect. Add triangular reflections. Draw the Iris to finish. Do not define the outline of the Iris and light reflection too strongly, but simply sketch them lightly. Il for the entire interior of the is solidly filled in, ris. The key is to sketch roughly using strokes that any light reflections. Build up the hatching Fill In with delicate build outward.
Here is a rather realistic drawing. Radiating strokes were used for lhe iris and eyelids. Draw the iris and the pupil. There are Side reflections 2 basic types: those located centrally on the iris and those to the right or left. Adding a small reflection opposite a large reflection suggests 2 opposing light sources a small and large.
The character is gazing off to the left from the viewer's perspective. The light reflection in the upper left of the iris creates this effect. Central reflections This is a light reflection drawn in almost the center of the iris.
The gaze is directed left. Draw a large light reflection on the same side as the gaze is directed 48 i. While each individual eye appears natural, gaze directions do not match up. Adding large, circular light reflections results in a mismatched gaze. Mouths as a line This mouth was rendered using a single line plus a shadow formed underneath the lower lip.
The key feature of this style, which Is the most popular mode for shonen manga, is that the lips have not been defined. Modifying the way the Using a realistic style fer shadow under the lip is rendered will Here, lip contour lines the profile would make change the mouth's look.
Rather than opting for a monotonous single line for the whole mouth, here this line becomes an abbreviation of the upper lip. This is not a realistic drawing employing In the profile, since meticulous detail.
Fleshy, voluminous mouths Here, we see a realistic depiction, emphasizing the lips' volume. The dimple above the Cupid's bow is suggested with a line. The dimple above the upper lip Is suggested using a short, downward curve. Lips in lipstick Clearly delineate the upper and lower lips' contours. Clearly defining the When drawing a profile, lips' contours allows keep U1e lower lip line you to emphasize that starting from U1e comer the lower lip Is of the mouth short, plumper than the cutting It off.
The mouth style indicates age in female characters. Single line: young girl of lipstick: a young about 10 yrs. When drawing the bridge, be sure to ""- include this depression. Manga-esque noses no bridge Here, only the tip has been drawn. The nostrils are usually omitted in this style. Omit the fleshy part of the nostril and this wrinkle. Nostrils are usually omitted. Sample realistic aquiline noses Again, the contour lines are clearly delineated.
The nostril faces downward. These lines indicate the angle of the ear and the thickness of the helix fold. Take note that for the opposite ear, the image becomes reversed.
As with the realistic ear, the manga ear in a frontal view is about half the width - - - - as in profile. Use a tallish, 6-shaped whorl for the interior. At an angle, the ear forms an oval. The curve of the auricle follows the jaw line. When designing the ears, study how they look from above and other angles. Eyebrows come in various shapes and thicknesses. Keep in mind where the bridge of the nose would be even when bridge of the nose. Usa the same distance eyebrow to forehead distance in the front view as in the profile.
The eyebrow begins Here, the expanse close to the glabella. The distance from the face's center line to where the The distance from the eyebrow starts is short.
Draw eyebrows on characters with long bangs if the forehead is visible. Good Not good Here, a thin eyebrow is drawn Without any eyebrows, the mouth between hair strands.
While the and eyes do provide a certain degree eyebrow was added in after the hair, of expression, but the image still it still supplies plenty of expression. If you draw the face taking up all of the paper, then you may run out of room for the hair, so be sure to anticipate how the hair will lie. The crown whorl actually lies toward the back of the head.
Lines for main body '. The hairline should have been drawn here and not the hair layout. The crown whorl was drawn toward the inside, making it seem like the hair was growing from inside the head.
How the hair grows: The hair originates from the crown The crown whorl is located at the back of the head. The hairline is drawn above the head contour. Maintaining awareness of the crown whorl when drawing the hairline will enable you to produce a head that is round and has volume-even with short hair.
Positioning the crown whorl at the Draw the hair radiating Draw the hair using arced back of the head means that long, out from the crown whorl.
Keeping the Crown Whorl to the Back Positioning the crown whorl toward the front will cause your character to have dWeeby hair. Despite that the crown whorl will not be visible from the front, still draw the hair as If growing from somewhere In the back. Positioning the crown whorl at the back of the head will, at the very least, giVe the Moving the crown whorl to the Here, the head contour and hair visually front may cause the head to hair layout have been consistent roots.
Think about how to direct the swirl when drawing the crown whorl in the back of the head and when designing the hairstyle. Swirling to the left Swirli! The hair flows in the opposite direction on the left side. The more open the whorl, the gentler the curves. Use S- shaped, undulating strokes. This whorl, located at the back of the head, flows to the right. Swirling hair From the front view, the From the back view, the 62 hair swirls to the right. Swirling hair with realism When sketching the hair layout, assume that the crown whorl will be positioned in the back.
Hair to the back and opposite side flow in Single-length hair the reverse direction. Here, the hair falls straight downward. These strands fall toward the viewer. Draw single-length hair as if flowing in 3 directions. Where the hair is parted When drawing the back of the head, first draw the head's contour and the ears, using these as guidelines for determining the hair's volume and flow.
A head will increase in size according to the volume of the hair drawn. This is because hair actually grows from the scalp outward, covering the head's contours. Grass always grows upward and then falls over from its own weight.
Hair grows in a radiating The amount of volume created by the hair Think of hair as enveloping pattern from the root. The the head's contours, forming Think of the crown whorl more strands and stiffer the hair, the more a "layer of hair.
The fewer the root and Individual strands and softer the hair, the more the hair strands as grass blades. Good When consideration is not given Not good to the hair's volume Here, the hair was drawn with the part to the The resulting head appears flat Here, the hair layout has been top left character's perspective.
While the and distorted. Not a pleasing sight. The sides fall in gentle, almost parallel curves. The back part is located at the crest of the head. Drawing hair falling along the sketched hair layout gives the hair volume. Give the hair overall volume matching it to that of the bangs. Drawing hair from the back Draw the hair growing from the part and then falling straight down.
Having the front tress of hair divide at the ear's center. This will give the flow a natural feel. Note that normally when the head is tilted up, this lock will not lift like this. The lock in front of the ear forms an S-curve when looking up. Crown whorl Draw the hair parting in a gentle curve, flowing from the crown whorl. When looking down, To start, draw just the general shape of the hair the ear becomes the and fill in the details last.
Increase the level of point of reference for detail, using more strokes as you approach the movement in the 66 ends of the hair. Bending back causes the hair to flip back, potentially making the character look like another person.
In manga, albeit unrealistic, the bangs are occasionally drawn lying on the forehead to rectify this. Here, the original hairstyle was emphasized.
The ends of the hair fan out, offering variation on the look. TI1e forehead is concealed. Merely concealing or exposing the forehead results in an entirely different look.
Tilting the head back makes With the hair flipped back, the the hairline prominent. This strand is defying gravity. The ear peeks through, indicating supple hair. The bangs are parted down the middle. Show a bit of the bangs on the far side even in the profile view.
The tight curls in the bangs maintain their positions even with the head tilted back. The thick hair tapers in a conical shape. For hair long enough to cover the back, draw the area concealed first and then the hair over that. However, since it is the key factor in determining the flow of the hair, make sure you include it. The falls from the neck. Here, we catch a glimpse of the eyes and mouth, normally hidden by hair. Draw the eyes and mouth and erase the hair where necessary.
This is a realistic depiction, where the hair obscures the eyes and The hair flows from the hairline mouth, hiding her facial expression. The hair does not fan out over Draw the hair fanning out the head much. The hair's kinkiness gives It an unexpected amount of volume in a bob cut. Draw the distance from the center of the ear to the front of the bangs the same as that from the ear to the very back end of the hair. The individual hairs are fine but stiff, so the shape is retained in profile.
Unlike the other styles, this hairdo pretty much maintains its shape whether looking up or down. The end of the hair forms almost a perfectly straight line with the chin.
When composing from a In the back view, bring the hair moderately low angle, draw the to a length that allows view of volume of the ends of hair. The hair is held in place The hairline is exposed, with grease or gel and owing to the flipped back, does not lose its form.
Since the emphasis lies on keeping the hair slick against the skull, the artist must make sure the head drawn properly.
When switching the direction faced, maintain awareness of the hairline and take care that the forehead's expanse does not change. The bangs tend to fall as time passes and may be suggesting by drawing several strands falling k3 with the pompadour, down in front.
Making the legs half the total height will give the character an attractive 0 appearance. This circle. Draw the joints: use circles for the shoulders, the elbows, and knees.
The knee is bent, putting the leg at a wide V-shape. The hand is smaller than the head. The elbow is about waist-level and located midway between the shoulder and wrist.
CD The pose layout is a basic stick figure. Sketch in the feet use a rectangle. You will find it basic figure layout easier to attain a sense of volume using curved lines than with straight. Clothing does not come plastered to The above is a basic nude sketch. Use an oval to render the pelvis of a female character. The skewed side view has a slightly more "fashion magazine" type feel and is more flattering to the chest.
Using a trapezoidal Cleaned-up version shape will give the back of the basic figure layout a masculine feel. The shoulder blades become a key point in drawing clothing creases.
Clothing rumples around major joints other than the wrists and ankles. Imagining the creases forming in a "coiling" pattern when drawing them will give the muscles volume. CD The basic stick figure is drawn the same as with a male figure.
Sketch in the hair layout from the start. Add clothing. Be sure to draw the collar, even though it will ultimately be Nude sketch hidden by the hair. To achieve this, artists use the head as a reference measurement for the figure overall. The body-to-head ratio refers to how many head lengths measure the figure's total height. A character that is 6 heads tall has a body-to- head ratio. One that is 8 heads tall has an ratio, and so on.
Character with a body-to-head ratio In a character with an body-to- head ratio the character's height is equal to 8 heads piled one on top of the other. Here is a contrast between an character and a character.
The differences in head sizes causes 2 characters of identical height to have different body-to-head ratios, affecting the characters' appearances 84 and atmospheres projected. Use a ruler to plot the body-to-head ratio. The body-to-head ratio is the total height divided by the head length. The body-to-head ratio of the character to the left is- At first glance, these appear to be the same manga page. Here, the head is bigger than it should. Here, character looks the same When the character first appeared, his as when he first appeared on the body-to-head ratio was but now it is and nothing seems unusual.
The reader senses something odd. The figure's proportions are balanced by adjusting the positions of the Balancing Proportions waist and groin. Characters with the same body-to-head ratio can be All three figures are the same height and their distinguished by the positions of their waists and groins. Sample proportion balancing by It is not necessarily true that all characters must be drawn with to body-to-head ratio the groin positioned halfway along the figure.
Characters with body-to-head ratios of look awkward with their legs taking up half their bodies. A ratio is ideal for boys and girls in the 9 A 4. This is to year range. The groin Is positioned just well for 5 to 8 year suited to preschoolers around 3 to 5. The low of the halfway mark, making the legs olds. This can be used toward high school young elementary middle to high school for boys and girls alike who are aged about 9 student and adult male school students around students, both boys and to 12 years.
This ratio may also be used with and female characters. This Is also because normally, school aged characters leggy boy. Keeping Male and Female Characters Distinct Male character The chest is usually The groin is located about 1-head usually located length below the halfway along head.
For this figure, I Halfway mark moved the groin above the halfway mark, making her a little leggy. Key points in distinguishing male and female characters The woman's eye comes to Adjust the height about the man's chin. Usually when drawing a couple, it is a good idea to make the female Male character: character shorter than the male. Use about a half or full head Female character: 7. Adjust the proportional balance Give your male characters broad For both male and female shoulders about twice characters, draw the the head's length to get waist about 1 head's a properly masculine length above the groin.
Aim for characters. Lines for male Lines for female characters tend to characters tend be straight. Use to be curved. Give male characters larger joints and female characters smaller ones. At this stage, the shoulders and pelvis may be drawn the same size for both sexes. The female torso is a triangle. These wide range of expertise stems from the Japanese's steadfast yet humble nature. The Japanese have Manga to counter the west's comics, anime to trump western cgi-driven animation, they even have pachinkos to offset the global popularity o In this page we feature the deep art of manga creation.
Manga embodies everything that is good about Japan. It's a mirror of their culture and a representation of their society. Drawing manga requires patience, determination, and a passion to bring out the creative juices in you. Techniques for Drawing Female Manga Characters will teach you all the necessary techniques to hone the needed skillsets for manga creation.
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