how to draw manga like a choice guy

8/11/2019 How to Draw Manga Like a Choice Guy

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What you see:

A) A nice, large,clean,flat,sturdy, well lit table.

B) A storage system forpaper, referencematerials, tools andother art related objects.

C) A tool rack withineasy reach.

D) a comfortable chair.

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The #1 important thing to consider when setting up your workspace is comfort. !emember , you will besitting here for hours at a time. Make sure your area is well lit and as clutter free as humanly possible. " liketo keep inspirational objects and reference material around my work area so " can stay juiced about what"m doing. $%otice the &anger'irl action figure set o(er the desk). " also like to keep all my tools withreaching distance so " dont ha(e to break my train of thought to grab a tool while working. " hang them onthe wall to keep my desk space clean and clear. " keep a large collection of *ideo 'ame mags and manga

on hand to use as layout or reference material.

"f you drink or eat at your desk make sure your food+drink items are secured. "(e accidentally spilled morecoffee on artwork than " care to mention so now " keep that stuff on a side stool away from my workspace.

omfortable, lean - Bright

/encils com in a wide array of options. 0ou can pick up a bo ofdesigner pencils like the ones you see to the left. 2r you can justindi(idually pick out 3 or 4 that will work for you. "ll try to eplain whatfactors should influence your decision.

http://www.polykarbon.com/tutorials/materials/materials.htm




The chart to the rightshows what thedifferent 'rades of

pencil are. 0ou(eseen the infamousyellow #2 or 2B pencilall your life at school.%ow looking at thischart you can seewhat that means. H =Hard lead. 5ard leadmakes a lighter lineand is used mostly for drafting. 65 is as hardas it gets.

2n the opposite side of the spectrum are the B grade pencils. B has a soft lead so itmakes a darker line. 6B is like mascara.

" choose the middleground. an 5B or 7pencil has a nice(ersatile grade.

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" use about 8 different pencils o(er the course of a drawing. " rough in with aphotoblue. lean up line art with a lead9holder pencil and then detail with a .:4mechanical.

"(e used Millions of erasers o(er the course of myart career but "(e finally whittled my choices downto 3 kinds.

A) Kneaded Eraser ;This eraser usually comes as a plain 'rey or Blues<uare. 2nce you open it from its wrapping youstart working it like silly putty. =<uee>ing it into aBall...pulling it into a ribbon..folding it, s<uishingit..?neading it, really. @hats the purpose @ell,you can s<uee>e it down into a fine point and erase

lines in hard to reach places without disturbing thepencil lines around it. Another handy feature is thatit doesnt completly erase lines..."f you just dab theeraser o(er the lines you can lighten them up forinking.

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B) White Nylon Eraser:This style is the best eraser " ha(e e(er used forcompletly remo(ing pencil lines without destroying your inks or gouging your paper. "t also has a low debrisfactor. &ebris is that rubb off you get from your eraser.

/ens are a difficult thing to reccomend since so much of what you chppse is based on how you ink. "mgoing to list the pens " personally choose to get the job done. They may or may not work for







you...eperiment as needed.

Sakura i!"a i$ron:

My personal fa(orite inking pen.They ha(e all the clean <ualities of

a techpen yet they also ha(e asemi9fleible tip. =2 the harder youpress the wider your line will be.*ariable line weight is (eryimportant for inking. 2therwise your drawings come out flat like acoloring book.

They come in .::8 $(ery fine) to .:$(ery thick)

These pens usually run aboutC13.:: for the whole set at yourlocal art store.

%he Sanford Shar&ie:

" use these pens to fill in large blackareas.

These pens are great but onlyuseful for a short period of time.@hen they are new they ha(e an

ecellent point and a (ery uniformBlack. " only use these for coloringlarge areas of black...ne(er for linework or detailing. They tend tobleed <uite a bit on regular paperso lea(e a space between yourblackline and fill area. 0ou can fill inthe gap between with a .: =akuramicron

=harpies are a(ailable almoste(erywhere.



%he %o"'o Brush en:

This pen takes a little getting usedtoo. "t acts like a brush but withoutall the hassle of cleaning a brush."ts not (ery good for inking

mechanical things like !obots,ships or cars. But its great forinking 5air, fur, trees..ect. 2rganicnatural objects.

This pens a little harder to find butshould be at most your major artstores.

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Templates come in a(ariety of shapes andsi>es and are sa(eyou a great deal oftime in precisedrawing . 'unMu>>les, arwheels..just aboutanything. "t alsosa(es you from usinga traditional compassand punching holesin your paper. 2ne

problemthough..They are flatso ink can rununderneath them andsmear your drawing.Tape pennies underthe edges of thetemplate to raise itfrom the surface anda(oid the ink smear.





A little searching canturn up some (eryuseful templates likethis one " picked upin Tokyo. " suck atdrawing wordballoons and before "purchased Adobe"llustrator this wasthe only way " coulddraw them withlooking like anamatuer.

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0ou cant really do a good job without these tools unless your some kind of machine. Dets see what they dofor us.

(ren$h Cures:

These tools come in se(eraldifferent si>es and shapes. " use atleast E on any gi(en drawing. 0ourotate them around on your drawingtill you find an egde that closelymatches the cur(e youre trying toink. 0ou can also purchase a7leible ur(e which looks like apeice of rubber railroad track. "ts no

good for tight cur(es but works niceon long cur(es.

%rian!les:

A must ha(e for omic bookpaneling and perspecti(e work. Thetriangle rest on your T9=<uare. Fsethe T9s<uare to draw 5ori>ontallines and the Triangle to draw*ertical lines. The E8 degee anglescom in andy for drawingperspecti(e lines back to the*anishing point. "ll co(er





perspecti(e in another tutorial.

*uler +ith ,nkin! Ed!e:

!eally, all your tools should ha(e aninking edge. %otice the diagram onthe left depicting the way an inkingedge works with a /en. The !uleredge is raised from the drawingsurface allowing the ink to applycleanly. "f that edge was flat on thepaper the ink would bleed betweenthe edge on the paper making anugly mess.

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" assume most of you are interested in comic style art so "m showcasing the comic type paper. "f youre into@atercolors or harcoal youll want a different type of paper than whats show below.

Bristol Board S"ooth:

Bristol board is a hea(y, bright whitepaper. "t comes in se(eral si>es andsurfaces. 7or comic book art youwant a fairly large si>e $111E) and asmooth surface. Bristol takes ink(ery well but because of itssmoothness it takes the ink a bitlonger to dry. Be (ery carefull wheninking not to drag your hand acrossthe page or youll end up withsmudges and smears. Also gi(e theink a while to dry before attemptingto erase your pencil marks.

Acid 7ree board will stay whiterlonger.$ Age can yellow the paper).

*ellum coating is ultra smooth andideal for inking.

This paper can be epensi(e sodont use it for sketching. "ts for finalpeices....course, if you buy it youcan do whate(er you want withit...see if " care.

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&rawing Aids and =tuff







the Du""y:

This can be an ecellent tool forhelping you keep anatomyproportions correct. The only thingthat kinda sucks about the dummy isthat hes not really all that poseable."(e found that " get more out of5ighly detailed action figures $likeTodd Mc7arlanes). =till, G(eryoneshould ha(e a dummy.

the Brush:

5ow many times ha(e you gone toswipe off the eraser debris with youhand an smear the inks on yourpicture with your big sweaty mits.The brush is the elegant answer todebris remo(al. "t protects your artand remo(es a lot more crap thanyour hand does. Most drafting supply

stores carry the brush.

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-. Those of you who are (eterans to the wonderful world drawing faces will recogni>e this set up right away. "tspretty much your standard layout for a face with some minor tweaking based on anime rules.lick here for details.

2. 5ere we start cleaning up and detailing. now that we know where e(erything is supposed to go we can makeit look like its supposed to look.lick here for details.

.. 'etting finali>ed and deciding which lines are going to be hea(y and which lines are going to be light so youknw what your doing when you finally get to the inking stage.lick here for details.

We' Desi!n / Art 02111 atri$k Shettles+orth: Studio Ato"i$a

http://www.polykarbon.com/tutorials/frontview/frontview1.htm



http://home.earthlink.net/~patric242/







The Head itself should be 4 big eyes wide:Half an eye on the left, eye, eye, eye, half on theright.

The Ears should be located on horizontal linesdrawn out from the eyebrows and the nose.

OK..Here we are at the beginning. The humanhead is pretty much an "egg" shape. the set up

for this is to draw a circle representing the topof the head and an inerted cone for the chin.

!nimechins

are much sharper than standardchins. on#t go ma$ing an arrowhead out of thechin but thin$ more along the lines of thebottom half of a heart. %the cartoon $ind ofheart..not the biologically correct heart&

The placement of the nose should be locatedon a horzontal line between the eyeline and the

chin line

On a normal human face, the width of the

mouth would be determined by the center

point of the pupils of the eye. !nime mouthsare somewhat smaller so ' use the insidecorners of the eye as a guide. ()periment with

whateers best for you.

s

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Web Design & Art ©1999 Patrick Shettlesworth: Stuio Ato!ica









s

" draw mouths different than most Anime designers. " alwaysliked the presence of lips. "f your shooting for a moretraditional anime style.."d study some manga. Theres notmuch to mouths.

=tarting to shape up a bit, eh 5eres where itstarts getting into =tyle. Dots of cluelessfolks say all that japanese stuff looks alike .."beg to differ.

" belie(e the eyes set the styles apart fromeach other. "ts like a fingerprint. you can tellwho did what just by looking at theconstruction of the eyes. But " will admit ..AllHapanese anime eyes share similar traitsacross the board.

1. They must be big and ha(e the ability towater up at any moment

3. The shape is more catlike than just o(al.

4. for females...the upperlash line is hea(y,

The lower lashline is also hea(y and definesthe cur(e of the eye.

E. The upper edge of the cheeks gets dashedwith lines to define the edge of the eye socket.

Next!

@eb &esign - Art I1666 /atrick =hettlesworth; =tudio Atomica

Tada...well, almost.

A little more pushing, sho(ing, erasing andcleaning brings us to stage 4.

The big deal to this stage is defining the hairand a rele(ant light source so you know whichlines to make hea(y and wear to put shadowsn stuff.

5air is tricky business. &o what you want but just make sure you sweep some of it into theeyes. "t should ha(e highlight s<uiggles $forlack of an actual term) that makes it look likehair from a pantene pro * commercial. Animehair comes in all sorts of colors so go nuts.

Ba$k to %utorials@eb &esign - Art I1666 /atrick =hettlesworth; =tudio Atomica











5ere is the first in a series of 5A%& tutorials. This first step is important to understandinghow the hand is constructed and were the pi(ot points are. 2nce you are comfortable withthe proportions of the hand it will be easier to draw it in different positions. 7or now letsconcentrate on the basic =pread 7ingered hand. 7ollow along and study your own handas you go.

Hands : Ste& - the oal

&raw an o(al. Much like the one you see to theleft.&esignate a point on the lower center line ofthe o(al. This is the anchor point well use forour fingers.




Hands : Ste& 2 radials

Draw " lines raiating out #ro! the anchor

$oint.

%he longest line will be the !ile

#inger...!ake it ust slightl' shorter than (

o)al lenghts.

Hands : Knu$kle &la$e"ent

The remaining finger lengths fall on an arcfrom the height of the middle finger. Theknuckle closest to the tip of the finger is slightlyless than 1+4 the way down from the finger tip.The net knuckle splits the difference between

the remaining length to the top of the palmo(al.

The thumb has 4 knuckles as well but theanchoring is hidden inside the palm.



Hands : (leshin! in

7lesh in the fingers as shown here. The fingersstart narrow at the base..widen at the firstknuckle then taper down again toward the tip.

Belie(ability is added by drawing creases inthe places the hand bends the most...at theknuckles and along the palms. Dook at yourown hand for reference. G(erybodys hand isslightly different. This hand is definately mine.

$%otice " am !ight handed and thats why myhand model is a Deft hand)

Hands : %he o&&osa'le %hu"'

The thumb kinda has its own thing going on. "trotates around on its own ais. The thumbswings inward on its Anchor ?nuckle andbends down at its second knuckle to point atthe base of the !ing finger. The thumbs arc

peaks at the middle knuckle of the inde finger.



Hands : (in!er len!ths

The "nde finger and the !ing finger are nearlythe same height..about the halfway point of themiddle finger tip. The !ing finger is just

slightly longer.

The /inky finger comes up to the last knuckleline of the !ing finger.

%otice how the hand is not =<uare but @edgeshaped.

%et up; The hand in action

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http://www.polykarbon.com/tutorials/hand2/hands.htm








5ands are a nightmare for most artist...myself included. "ts hard to contruct it in basic shapesso " dont really try. "nstead " break it up into major forms and really pay attention to where itfolds and bends. MA?G =F!G 02F 5A*G !GA& T5G 7"!=T 5A%& TFT2!"AD This one

doesnt deal with proportions like the other did. This is more the form of the hand.

The hand is kinda like a sho(el...thatswhat we use it for somtimes. 0oure palmgi(es you the lines you need to see wereit bends. Abo(e the top blue line is thefirst row of knuckles.

&ont make the hand a flat wedge. "t

cur(es and follows the contours of thelines on the palm. %otice how the thumbside of the palm pi(ots from the center.

e(en when drawing the hand from theback..pay attention to the fold lines inthe palm. "t will help you draw morenatural positions for the thumb andfingers.

Below is a series of hand studies " drew based on the abo(e diagrams. " kept some of mystucture lines in tact so you could see what " was thinking when " drew them



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%he ,nste&

2kay, this foots a bit wide but you see the important structures.G(eryones seen foorptints in the sand. The heel and Ball of thefoot are linked by the outside edge of the foot. The arch of the

foot doesnt come into contact with the ground.

asterin! for"s in &ers&e$tie

2nce you understand how a foot is put together you can startgetting creati(e with action poses. Take a good look at thosebasic shapes " drew in step one and see if you can find them inthis drawing to the left.

/ractice /ractice /ractice

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HA,*: 7irst you may want to download and print out the template " made just for class soyou can follow along. "t includes a bald female and male head. Fse it to de(elop your ownhairstyles.

1) &ownload Template $adobe acrobat /&7)3) &ownload Adobe Acrobat !eader

Ste& -: Define the Hairline

The hairline is located on a line that etends from ear toear at a E8 degree angle up from the eyeline. 2r..bisectsthe forehead hori>ontally between the eyes and thecrown of the head. This characters har parts down themiddle so " add another guidline to represent the partitionfrom front to back.

Ste& 2: Define the strands

5air grows up and out of the head like spikes on a sea9urchin. $uni anyone hah, sushi joke). Gcept hair isntrigid like a spike. "ts soft so it falls back downwardbecause of gra(ity. &raw the hair in smooth sweeps fromthe hairline and part. !emember..hair is indi(idualstrands.. "ts not a helmet made of playdoe. 2b(iouslyyou arent going to draw a million strands but do drawenough the gi(e body and depth to the hair.

Ste& 2: Define the 'ody

After you ha(e your strands figured out. &efine theoutline of the hair. Trim away stray lines you arent usingand add shading where the hair is farther away from the(iewer or deeper toward the scalp. %otice the darkershade of purple " used and how it rounds out the hair$granted this is a (ery simplified piece).

Ste& 5: Create the hi!hlites

5ighlites gi(e hair that healthy Anime /antene glow. Theanime highlite is usually like a halo sitting on the upper1+4 if the hair. This all depends on the a(ailable lightyoure using and whether or not this person would ha(e=hiny hair.

Dook in fashion maga>ines and comics for more styleideas

=ee the 5air in Motion =ee how to draw MADG 5A"!

http://www.polykarbon.com/tutorials/hair/hairtemplate.pdf

http://www.adobe.com/products/acrobat/readermain.html

http://www.polykarbon.com/tutorials/hair/motion.htm

http://www.polykarbon.com/tutorials/hair/man.htm



http://www.polykarbon.com/tutorials/hair/motion.htm

http://www.polykarbon.com/tutorials/hair/man.htm



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HA,*: 7irst you may want to download and print out the template " made just for class soyou can follow along. "t includes a bald female and male head. Fse it to de(elop your ownhairstyles.1) &ownload Template $adobe acrobat /&7)3) &ownload Adobe Acrobat !eader

Ste& -: Define the Hairline

The hairline is located on a line that etends from ear toear at a E8 degree angle up from the eyeline. 2r..bisectsthe forehead hori>ontally between the eyes and thecrown of the head. This characters hair doesnt really partdown the middle but " use the center line to help me keepthings e(en.

Ste& 2: Define the strands

Male hair is typically shorter....at least in M0 world.Donger hair would be drawn similar the the female styleon the other page. " still make sure the hair strands grow2FT from the scalp and flow along in a natural direction.5ere " chose a easar cut style. Maga>ines are your bestreference material. get a collection of style and study thehairgrowth pattern.

Ste& 2: Define the 'ody

=ee how it kinda works like connect the dots " work thebody of the hair into the flow lines " created in the laststep. " make hair closer to the (iewer lighter to add thatsense of depth.










Ste& 5: Create the hi!hlites

'uys hair isnt usually shiny like girls hair. A ceasar cut is

a bit rough and spikey so " dont use the halo highlite. "will, instead, add a highlight to the cowlick area to helpdefine space and depth.

Back to 7emale 5air

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http://www.polykarbon.com/tutorials/hair/girl.htm







Hair in A$tion:

5air can be a (ery useful (isual cue

for describing motion and adding adynamic element to your art. The trickis to show how the hair follows thedirection of the head. "f the characteris falling..the flow of the hair is theopposite direction. if the character isblown backward, the hair shootsforward...see

$p.s. forgi(e the high <uality cocktailnapkin art o(er here.." just wanted touse this to make a point)

Back

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%e!$late *or Practicing ex$ressions+







5ere is the long awaited epression tutorial.This tutorial is(ery similar to the tutorial a(ailable in the 5ow to drawManga book...since its so hard to find " thought "dcon(ert the lesson using my own art and post it up herefor you. lick on the face to the left to download a blanktemplate you can use to follow along.

@hat follows below is a guide...My methods (ary a littlebut " want to put across a generic a(erage for you to buildyour own styles on.

An!ry 6okatta)

*eally ad; The eyebrowscome down. the pupils shrinkand you get a little on yourforehead. 7anged teeth helpcon(ey the emotion.

Kinda "ad; /upils back to normalsi>e but the eye brows are still down.%o popping (eins or fanged teeth.

iffed: Mouth goes up in an upsidedown lopsided u. Gyebrows arestill down but not as far.

Sad 6kanashii)

Su&er sad; @aaAAAAA555Gyes s<uee>ed shut. Mouth wide

open..tears of shame and griefstreak the face. Gyebrows up.

7&set: Gyebrows up, mouth not aswide open..eyes ha(e more sparkles

in them to con(ey wet. Tears still(isible in corners of the eye

distrau!ht; Gyebrows up...eyes alla9sparkle with tears. Mouth in

upside down F mode.

Ha&&y 6ureshii)

http://www.polykarbon.com/tutorials/expression/facetemplate.gif



8oyous: Gyes shut from smiling.!ays of blushy joy on cheek.Mouth in sideways & mode.Gyebrows up.

9leeful: Gyebrows up. A thin linegoes follows the upper cur(e of theeye to con(ey a relaed state. Thelower eyelid co(ers the bottom of thepupil to mak it s<uinty happy. Mouthis a sideways & but a bit smaller.

Content: =ame as gleeful but theeyes are a bit wider open. Mouth isa small bow cur(e.

thers 6sono u$hi)

%hou!htful; My personalfa(orite.. one eyebrow down, oneup. Mouth is an upside down *.Gyes usually looking up and tothe side.

Su&rised; Gyebrows F/..eyes widebut pupils small. Mouth in alopsided2.

si$k or dis!usted: 7eatures aredrawn in a minimalist way to con(eyhumor. Mouth is a s<uiggle low onthe face. eyelids and eyebrows area flat line. maybe add a sweat drop.

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A ti& on (oreshortenin!:7oreshortening is ne(er really easy and its something you will ha(e to get comfortablewith o(er time with practice...but heres a tip. "f youre really stuck, try drawing yourcharacter from the side then use a ruler to draw lines from key parts off the the sidelike " did below. Fse these lines as a guide to draw your character from the front








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A big part of de(eloping a character is knowing what kind of body language they use. A big mistakebeginners make when drawing pin9ups of their characters is ignoring the personality of the character theyare doodling. " often see pics posted by others that ha(e a character standing with a weapon like they aresitting in a =ears studio for family photos...%2 Try and a(oid a using the normal stance. Think about yourcharacter..think about what it is your character does..what effect would that ha(e on the way they carriedthemsel(es. Are they graceful Are they clumsy &o they laugh, skip, play or mope, drag and cry. /icturethis in your head before you put the pencil to paper. heck these eamples to help you along your way.

%ormal =tance Ad(enturous+ ourageous =linky+=ey

%ot much to it.you ha(e no ideawhether or notthis person isgood, bad, happy,sad. ompletelyneutural stance.

5ere a little personalityshows through. =tanceis wide and /osture isopen gi(ing theimpression ofconfidence.

7igure is =shaped... = isfor =ey. 5ipsand shouldersare suggesti(eof a seducti(enature.

As you can see. you can say a lot with just a stick figure. 'et your stick figure eactly right before you fleshin your character. A good foundation is important if you want your piece to ha(e the right impact.

Theres some more figures o(er here

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http://www.polykarbon.com/tutorials/characters/chara2.htm




Gyes and shape of the face goes a long way to portray the personality of your character...you may recogni>esome of the cast of owboy Bebop below..."ll use my <uick sketches of them to illustrate my point.

G(il 5eroic "nnocent

Gyes are thin anddark. the pupil issmaller the more e(ilthe character is tilltheres no pupil at all.7ace has sharp,angular features.

=trong jawline,Gyes are biggerand rounder.7eatures are lesssharp.

Gyes are huge.Gyebrows hardlye(er down. 7aceis softer androunder

?inda get the idea These rules arent set in stone.." just want to gi(e you the idea of what to shoot for whenyou are making characters. 0ou ha(e to really close your eyes and imagine your character in action. 5owthere face needs to look when saying the lines you will gi(e them.

"ll cut you face off rolls much easier off of the left characters tongue than the character on the rightwhereas, 'ee, whats that works better for the character on the right than on the left. "(e had enough ofboth of you.."m going home works just fine for the center character.

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(i!htin!: A sho+ of (or$e4



http://www.polykarbon.com/tutorials/characters/chara2.htm





un$hin!

BAD 7NCH:"ts not horrible, it just lacks a certain force. G(en though the form is goodon both characters theres something that needs to be done to show thispunch packed a wallop.

9D 7NCH:This is MF5 better. The force of the punch is shown in the shape of an arrow. The hori>ontal line coming from the attacker and the linesof the targets body bending at the point of impact. Making the fist ablur of lines helps gi(e a sense of speed and power to the punch.

Ki$kin!

BAD K,CK:=ame deal here. with the target being stick as a board it tells us this kickwas nothing special. the attacker appears to be merely raising her foot at

the target

9D K,CK:%ow T5AT had to hurt Again..the hori>ontal line of force crumplesthe targets body around the point of impact. 5e probably wont begetting up for a while. Also the attackers body is much more a part of this kick. all the balance is thrown into it gi(ing the impression of amighty deli(ery.

Addin! details:

@hen you get to the stage of cleaning up your workand adding in details be sure and incorporate linesthat translate the action taking place. The edges ofher fist and arms are <uick strokes following thedirection her arm is tra(elling. his head is knockedback from the point of impact. 5is hair and spitshow the continuance of the force of the punch. "put cur(ed lines on his check to show an

indentation where her fist connected.

%GJT /A'G; hoosing a camera angle

http://www.polykarbon.com/tutorials/fighting/fight2.htm

http://www.polykarbon.com/tutorials/fighting/fight2.htm



(i!htin!: Choosin! an An!le

Bad An!le

"ts not that her position isntdynamic. "t just doesnt do justice to the action beingshown. Too flat and lifeless. thebare minimum for translatingthis throw.

Better

This is much better in the

sense that you can really tellthe target has been thrown.The composition is morepleasing and lea(es room forbackgrounds, sound effects orspeech balloons....but still itcould be better. "d use thisangle if the target was going tohit something important or wasgoing to get out of the damageby landing on his feet.

To show this mo(e took himout of commision, we needsome closure.

Best




Booooom hoosing an angle that shows the moment of impact really pullsthis action together..in one frame you can see that the target was

thrown...tra(elled a long distance..and landed hard. Arms and legs akimbo Again..cur(ed motion lines along the trajectory of the throw parlay the action.

Back to 7ighting

http://www.polykarbon.com/tutorials/fighting/fight.htm


http://www.polykarbon.com/tutorials/fighting/fight.htm



(ront ;ie+ : Ste& - the oal

&raw a circle. The circle is the foundation of the head for any (eiwpoint. "t doesnt need to be a perfect circle like

this. A basic o(oid shape will do nicely.

(ront ;ie+ : Ste& 2 the $hin

Add the chin. Manga faces, espescially femal ones, areheart9shaped. "magine cutting off the top round parts ofa (alentine heart shape and attaching the lower part to asphere...Thats how we got what you see to the left.

(ront ;ie+ : Ste& .(a$ial Diisions

=plit the face shape in half (ertically and hori>ontally.These ais lines are the %ose line $(ertical) and theeyeline $hori>ontal).

&i(ide the lower portion in half again hori>ontally. Thisline is the bottom of the ear and nose line.

" draw an additional o(al shape inside to help me keepthe facial features centered on the front plane of thehead. The inner o(al goes from hairline to chin.

%et

Back to Tutorials

http://www.polykarbon.com/tutorials/newface/frontview2.htm






(ront ;ie+ : Ste& 5 (eature la$e"ent

&i(ide the lowest portion into 4rds. 1+4 down from thehori>ontal noseline is the mouthline.

The ears should be placed on the same line that thebottom of the nose is on. Gars span from the lowernoseline to just abo(e the eyeline.

The Mouth should be as wide as the space between theinside corners of the eyes.

(ront ;ie+ : Ste& < the eyes

Gye proportions depend on the ute le(el of thecharacter youre drawing. " do more serious stuff so myeyes arent as large as some other styles of Manga. "(enoticed cute or comical story characters ha(e largereyes.

" place the corners of the eyes on the hori>ontal eyeline.The eyes should be appormately 1 eye length apartfrom each other and half an eye length in from the edge

of the face.

Back

Back to Tutorials

.

.



http://ad.doubleclick.net/jump/polykarbon.com/howto;sub=none;sz=468x60;tile=1;ord=7438335748897076?

http://www.tokyopop.com/






1. /rofiles are a bit easier than front(iew and way easier than 4+E (iew. =et up still starts with a ball and acone.lick here for details.

2. More clean up and detailing.lick here for details.


http://www.polykarbon.com/tutorials/profile/profile1.htm










2k..0ou got yer ball for the head. you got your cone forthe chin. 0ou know the eyes get located on the middlehori>ontal bisecting line....so whats new

well...we put on what " call the gas mask. " start theslope outward from just below the eyeline and run itback down to the chin. This 'asmask shape will gettweaked into the nose and mouth on the net page.

The other thing to note is that the head gets bisected(ertically. this is for GA! placement. The ear is stilllocated on the hori>ontal aises pro(ided by the eyeand the mouth.

2nce you ha(e this youre ready for some detailing.

Next!

@eb &esign - Art I3::: /atrick =hettlesworth; =tudio Atomica










@hoa Thats a bad gif. "ll ha(e to rescan it. =orry for theess....but you still get to see the basic underlying structure

sed to get here.

"n detailing this image..thing to note are;

The upper lip is smaller and darker than thelower lip.

The eye is located on a gentle upward cur(efrom the edge of the mouth.

The forehead is smooth and rounded.

The nose is slightly upturned.

'a$k to tutorials

@eb &esign - Art I3::: /atrick =hettlesworth; =tudio Atomica








rofile : Ste& - the oal



rofile : Ste& 2 the $hin

Add the chin. The chin will come down from the center

point of the outside edge of the circle to about half thatlength below the bottom edge of the circle. The Hawlineshould come back towards the center of the bottom edgeof the circle as shown here.

rofile : Ste& .(a$ial Diisions

=plit the face shape in half (ertically and hori>ontally.These ais lines are the ear line $(ertical) and theeyeline $hori>ontal).

%et

Back to Tutorials

http://www.polykarbon.com/tutorials/newface/profile2.htm






rofile: Ste& 5 ore Diisions

&i(ide the space between the eyeline and the chin in

half. This is the Bottom of the Gar and %ose line. &i(idethe space below the noseline into 4rds. the upper 4rd isthe Mouth line.

%otice the ear sits in the (erticle ais toward the back ofthe head and rest between the nose line and the browline.

rofile : Ste& 2 the eye

&i(ide the space between the front of the head and the(ertical earline ais. This is where we place the eye onthe eyeline. The outside corner of the eye should hit thisnew di(ision line and the inside corner should be justinside of the outer edge of the mouth.

rofile: Ste& .Hair ine

The 5airline is located by drawing a E8 degree anglefrom the intersection of the hori>ontal eye line and the(ertical ear line.

Back

Back to Tutorials







(e"ale head: .>5 ie+Sta!e-

2kay...here we ha(e the basic setup for the head. As with most other

setups, this one also starts with aegg+sphere set up. The difference iswhere you bi9sect it. 5ere " chose abasic 4+E bisect. The middlehori>ontal line for the eyes and the(erticle line tell us which ways shesa lookin.

"f " chose to put the eye9line higherthan center " could make her lookup..the opposite is true for lookingdown.

*how me more about the set+up please -orget this...where#s the features

(e"ale head: .>5 ie+

=tage19 &etail

=tart with the blue circle. "ts a good

5ere you will ha(e to figure on what

is halfway between the ear planeand nose plane to decide eyeplacement. &raw a line from the

http://www.polykarbon.com/tutorials/quarter/3quarterdetail.htm

http://www.polykarbon.com/tutorials/quarter/3quarter2.htm





idea to decide wich way shell belooking at this point since you cant putthe chin on till ya know.

Bisect the sphere (ertically in half alongthe directional ais. " use 1 (ertical lineto decide the eye+nose mouth planeand 1 to decide the ear plane $notairplane..GA!plane...wa ha ha)

The mouth line is halfway between thechin and eyeline. %ormal proportionssay that line is for the nose..but this isanime and the face is smaller. The noseline is a little less than halfway betweenthe mouth and eyeline..closer to themouth.

mouthline to the newly appointedeye placement point on thehori>ontal eyeline. make a triangleto figure where the other eye shouldgo.

This triangle also ser(es as a niceguide to keep the features all snugand secure in the head.

!eady to mo(e on to stage 3

(e"ale head: .>5 ie+

=tage3

=tartiing to get the idea All thatframework we did before is so thispart would be easy. Theres manydifferent styles and (ariations in Anime. "m trying to be a generic aspossible here.

Gyes go on the points of the trianglewe established in the detail section.The =peculars or glinty things inthe eye should be used to gi(esome sense or direction for wichway the eyes are looking. "f youdont get them eactly e(en $Dikewhat " did here for illustrati(epurposes) you get the impressionthat shes cross9eyed. ?eep thosespeculars e(en

=he still doesnt <uite look like ahotty yet so we need to imbelish onthe established lines a bit. Make theupper eyelash line thicker. Add more

detail to the eyes and ears. &rop onsome wild Anime hair do





*how me those details again Hair /ie me Hair

(e"ale head: .>5 ie+=tage4

@hoa @hat a difference a few linesmake, eh At this point you kinda

know what shes gonna look like butto keep your drawing from lookingas flat and unappealing as apokemon coloring book we need toadd weight to some lines and fadeup on others.The Gyes and heek+chin gi(e thecharacter mass and depth so theyshould be hea(ier and detailed. Tokeep her dainty we need to keep thelines of the nose and mouth thinner.5air is also kinda whispy so becareful with the line weight there.

=hadows go well under the nose,lowe lip and under the chin.

*how me those details again 0ac$ to tutorials












.>5 ;ie+ : Ste& - the oal



.>5 ;ie+ : Ste& 2 the $hin

Add the chin. Manga faces, espescially femal ones, areheart9shaped. A little gues work is in(ol(ed here as far

as were to bow the cheek cur(e in at the eyeline andhow sharp an angle to do the Hawline. Dittle adjustmentswill ha(e to be made o(er the course of the drawing.

7or now just make something like you see here.

.>5 ;ie+ : Ste& .(a$ial Diisions

=plit the face shape in half (ertically and hori>ontally.These ais lines are the %ose line $(ertical) and theeyeline $hori>ontal). The %oseline should etend in acur(ed line from the top of the head to the point of thechin.

%otice how the jawline meets up with the (ertical earline

%et

Back to Tutorials

http://www.polykarbon.com/tutorials/newface/3quarter2.htm







.>5 ;ie+ : Ste& 5 (eature la$e"ent

&i(ide the lower portion of the face in half hori>ontaly topro(ide the bottom of the nose line. 7ollow the cur(e of

the face toward the back to see that the bottom of theear sits on this same line. 1+4 down from that is themouth line.

The top of the ear should etend just abo(e the Gyeline.The top of the ear indicates the Brow line.

A E8 degree angle between the eyeline and the (erticalearline is where we place the hairline.

.>5 ;ie+ : Ste& < the eyes

Gyes are to be placed on the eyeline $imagine that). " set

the corners of the eye on that line. %otice that the eyefather away from the (iewer is shorter in length. This isto simulate the cur(ature of the head. "t takes a little bitof practice to make this look right but if you laid out allyour proportion lines correctly it will make the task offeature placement much easier. After lots of practice youwont need to draw as many setup lines.

Back

Back to Tutorials







The Female Body

5ere we are at stage 1;%othing fancy. Hust a fast loosestick figure that will ser(e as our foundation piece. %ote that theform is ? heads high.

=houlders are a 5ead and ahalf from the top. =houlders and

hips are 3 heads wide.

5ips are 4 heads down.

?nees are 8 heads down.

?eep it loose at this stage butbe wary of your proportions.

%GJT

http://www.polykarbon.com/tutorials/body/stick2.htm

http://www.polykarbon.com/tutorials/body/stick2.htm



The Female Body

sti$k fi!ure sta!e 2:

%otice that you can draw a linestraight up and down from thetop of the head to the bottomof the feet. Body mass isdistibuted e<ually on bothsides of this ais for balance.

A*S3 and a half heads down iswhere we locate the bellybutton. This is also where theelbow goes if the arm ishanging naturally at her sides.The arm starts at the shoulderand ends with the handsaround mid9thigh.

E9S"n A%"MG, the legs are slightlylonger than the upper half ofthe body. The ?nees arelocated halfway between thetop of the hip and the bottomof the foot.

%*SThe female torso can bedefined in casual, sey stanceby slatning the shoulders and

hips in different directions.lick here to see what " mean.

%GJT

http://www.polykarbon.com/tutorials/body/


http://www.polykarbon.com/tutorials/body/sketch1.htm





The Female Body

Sket$h fi!ure sta!e -:

%ow we start to flesh her out abit. 0ou ha(e to be good atdrawing cylinders and o(als todo this right.

=tudy muscle groups to get anidea of how the shoulders, armsand legs are formed. The Breast

are located at the halfway pointof the upper torso.

Try to use only cur(ed lines.%othing on a human being isruler9edge straight but that goesdouble for a female. ur(y,ur(y, ur(y

A good study model is =hirowsM9KK unit from Black Magic. "thas the female form all brokendown into its basic shapes and

was a powerful influence for meas far as getting my sketches tothis stage.

%ows where you starttightening up your art. 'rab akneaded eraser and startblotting away the fine sketchylines and keep only the linesyou wish to use for your finalpiece. The cleaner you get atthe end of this stage makes thenet stage that much easier.

%GJT

http://www.polykarbon.com/tutorials/body/m66.htm


http://www.polykarbon.com/tutorials/body/m66.htm




0ac$

, --





The Female Body

Sket$h fi!ure sta!e 2:

" gradually start to build her byoutlining my fleshed out sketchfrom the last stage andsmoothing o(er all the Ball andone joints " used to build herwith.

The ?neaded eraser is my bestfriend at this point as " blot o(erher, remo(ing my stray linesand getting a nice, clean,usable piece of art. " go o(erand start correcting mistakes "made in the building processand get the art really tight forinking.

Theres nothing worse thaninking sloppy pencils so BGDGA%

%GJT

http://www.polykarbon.com/tutorials/body/final.htm

http://www.polykarbon.com/tutorials/body/final.htm



The Female Body

(inal (i!ure:

...and here she is. %ot my bestink job but it gets the pointacross. All traces of pencil are

remo(ed at this point and " takethe final inked sketch to thescanner and get her all coloredup. $" just so happen to ha(e atutorial eplaining how to dothat L/)

This tutorial is to ser(e as areference guide to gi(e you anidea of how to construct a body."t shouldnt be used as an A to Bto tutorial because that justshows you how to copy stuff.

Try to use the rules here tomake different poses andcharacters.

5ope this helps somewhat. " willha(e another tutorial on thefemale in action and e(en a5ow to draw males class.

As always...let me know if " caneplain anything further to youand "ll do my best to assist.

Back to Tutorials





Ste& 5: on!@ ush ashes

Fp until now the eye was kinda Blah. 7lesh out theeyelids with some hea(y duty, fluttering lashes. Thisadds weight to the eye so its not ust floating around onthe face. "t also draws the (iewers attention. Thethickness of the lashes will depend on a character.2b(iously Male characters wont ha(e this trait andyounger females should also ha(e a thinner line. Thiseye is more for the sey adult female

Stroke rder:

" didnt really ha(e this part down until " started studying?anji. Hapanese ?anji is produced by a series of

strokes in a specific order and pattern. " find this orderalso works well for eyes.1) start light and press harder as you mo(e to theoutside.3) =tart harder and lighten pressure as you mo(e down4) =tart medium and lighten pressure as you mo(e downE) =tart light and increase pressure as you mo(e to theoutside.

Ste& <: S&e$ta$uar S&e$ulars

A =pecular is the reflection of light on a reflecti(esurface. "n this case, the eye. The placement of the

specular on the eye should be indicati(e of the lightsource.."f the light is coming from the upper left..thespecular should be on the upper left of the iris. in thiscase, The light enters the eye from the upper left andeits through the lower right."n Manga, =peculars are also used to add emotion to thecharacter. "t adds sparkling life to happy eyes and<ui(ering tears to sad eyes..






Traditionally, Anime+Manga characters are portrayed as lipless. 5owe(er, it is possible toha(e characters with full, e(en pouty, lips. The trick is to draw the mouth in the traditionalanime way then apply the lips to it. "f you keep the proportions right it will look good..."llshow you.

7nderstand the Sha&e

The mouth has a Bow shape to it. The upper lip is likethose seagulls you used to draw when you were a kid.The lower lip is more like a Bow from a bow and arrowset.

&en and shut $ase

These shape principles remain the whether the moust isopen or shut. 5owe(er, The wider open the mouth..themore streched the lip therefore you should draw it thinner if it is @"&G open.

Ste& -: %he setu&

%ow that you now the difference between the top andbottom lip we can begin to apply that to our traditionaanime mouth.

5eres a low detail anime mouth. "f there was an upperrow of teeth (isible and maybe a small shadow to definethe lower lip we would be done...but we are going toepand on this.

Ste& 2: 'o+ in the to& li& a 'it

=tart to work in that =eagull shape to the top lip. Begin to(isuali>e this as a 4& object. " ha(e made a fewcenterlines here to help me define the correct angle ofthe lips for the net step.

Detailin!

@ork in the lips as shown here and in the first 3 pics. Addsome teeth and darken the interior of the mouth $if(isible) to gi(e it some depth.

"f you are coloring the piece..its best define the lipsthrough color shading. Fpper lip should be darker thanthe lower lip.




Kee&in! it Ani"e

Traditionally, if a person is looking straight ahead youcould draw a dotted line from the middle of their eyedown their face and find the corners of the mouth. Thatshow you would normally determine width. BFT, since thisis anime, Mouths are only as wide as the inside corner of the eyes $for women).

" intentionally drew this pic in Fltra9=hirow mode since=hirow is one of the few manga artist that actually drawlips.

heck out Adam @arrens stuff too. 5e tends to draw lipson his characters as well ..a little too big sometimes but itstill looks good.







Chi'i Art 6a4k4a Su&er Defor"ed): hibi is a Hapanese term for small. hibi art is used

a lot to con(ey humour or cuteness $kawaii mono). "ts a decepti(ely simple process "ll takeyou through now.

Ste&-: %+o heads are 'etter than -

hibi characters are only 3 heads high. =tart yourdrawing by stacking 3 same si>ed o(als on top of eachother.

Ste& 2; Bi! head@ ittle 'ody

%ow that you know how little space you ha(e to makethe body sketch in some cute little pose. Fse similartechni<ues to construct this body as you do a regular

si>ed body. Build a manne<uin out of basic shapes. Thearms and legs taper to a rounded point.

Ste& .a: Hands dos and donts

D; make a small, well formed hand like a babys hand.

hubby forearms tapering into dainty little fingers.

DN%; Make a Mickey Mouse styled cartoon hand



Ste& .': (eet dos and donts

&2; Taper the leg down to a tiny nub. 0ou dont really

need to define the knees. Make a small line to separatethe foot from the leg. Dike a tiny balerina foot.awwwwww.. dats so cute.

&2%T; Make a &isney9es<ue little Du Du foot. The legshould come straight down into the foot. &ont actuallydefine the typical wedgey foot.

Ste& 5: Define the key features4

7rom here its pretty easy. =lap on some clothes andstart adding details. The mouth is like the letter &turned on its side. The nose is not defined as a strongline. "ts best to lea(e it out all together or define iy withshading if you decide to color it in.

Ste& <: Cleanin! u&:

Fse a kneaded eraser $see Materials) and blot awayyour lighter support lines while darkening in the lines youwish to keep. *oila

http://www.polykarbon.com/tutorials/materials/eraser.htm





And there we ha(e it. A nice littlehibi friend to call your own..aintshe sweet

Maybe "ll make a keychain out ofher.

Back to Tutorials

.





The Male Body

5ere we are at stage 1;%othing fancy. Hust a fast loosestick figure that will ser(e as our foundation piece. %ote that theform is ? heads high.

=houlders are a 5ead and a

half from the top. =houlders are3 or more heads wide.$more for heroic types..less fordweebies)

5ips are about a head and ahalf wide. 5ips should benarrower than the shoulders.

5ips are 4 heads down.

?nees are 8 heads down.

?eep it loose at this stage butbe wary of your proportions.

%GJT

http://www.polykarbon.com/tutorials/body/male/stick2.htm



http://www.polykarbon.com/tutorials/body/male/stick2.htm



The Male Body

sti$k fi!ure sta!e 2:

%otice that you can draw a linestraight up and down from thetop of the head to the bottom ofthe feet. Body mass is

distibuted e<ually on both sidesof this ais for balance.

A*S3 and a half heads down iswhere we locate the bellybutton.$mouse o(er the imageto see the guides)This is alsowhere the elbow goes if the armis hanging naturally at his sides.The arm starts at the shoulderand ends with the hands aroundmid9thigh.

E9S"n A%"MG, the legs are slightlylonger than the upper half of thebody. The ?nees are locatedhalfway between the top of thehip and the bottom of the foot.

%GJT

http://www.polykarbon.com/tutorials/body/male/sketch1.htm

http://www.polykarbon.com/tutorials/body/male/






The Male Body

Sket$h fi!ure sta!e -:

=tudy muscle groups to get anidea of how the shoulders, armsand legs are formed. 5eres alittle help for the chest. D"?

5G!G

The Male figure carries itselfdifferent than the female.Gmphasis is placed on theshoulders rather than the hips.

%ows where you starttightening up your art. 'rab akneaded eraser and startblotting away the fine sketchylines and keep only the linesyou wish to use for your final

piece. The cleaner you get atthe end of this stage makes thenet stage that much easier.

%GJT











The Male Body

Sket$h fi!ure sta!e 2:

" gradually start to build him byoutlining my fleshed out sketchfrom the last stage andsmoothing o(er all the Ball and

one joints " used to build himwith.

The ?neaded eraser is my bestfriend at this point as " blot o(erher, remo(ing my stray linesand getting a nice, clean,usable piece of art. " go o(erand start correcting mistakes "made in the building processand get the art really tight forinking.

Theres nothing worse thaninking sloppy pencils so BGDGA%

%et

http://www.polykarbon.com/tutorials/body/male/final.htm



http://www.polykarbon.com/tutorials/body/male/final.htm



The Male Body

(inal (i!ure:

This tutorial is to ser(e as a reference guide to

gi(e you an idea of how to construct a body. "tshouldnt be used as an A to B to tutorialbecause that just shows you how to copy stuff.Try to use the rules here to make different posesand characters.

As always...let me know if " can eplain anythingfurther to you and "ll do my best to assist.

Back to Tutorials







" was looking at some books and going through some basic animation re(iews when " sawan old trick on doing cartoon character bodies using the 7lour =ack method. " modified it abit to fit in with a more realistic look. " call it the Bean method...there may already be abean method but "m unaware of it. 5eres my take;

Dra+ a 'ean

0ou sit down to draw and you think hmm..maletorso...complicated..but if you think..hmm..kidney bean..ThatsGasy

&raw a bean shape and di(ide it (ertically down the center. /ayattention to its contours. &i(ide it hori>ontally abot 3+4rds of the

way down. @ell call that the waist line.

Balloon ani"als

2?..so its not really a bean..just (aguely bean shaped. "maginenow that its inflated and you can twist it like a balloon animal. %otethat the centerline twist with it. This will help you make actionsposes in later steps. That center line is G==G%T"AD to keeping your bodies from looking lopsided.

A ne+ ie+

"magine now that its your old school '.".Hoe doll with the head,legsand arms popped off. =ee how well attach the limbs

$note; you should make the bean o(er an eisting stick figure. &ontstart your drawing with the bean.)

A finished +ork

The fact that " used a bean shape to make this torso would be allbut unoticable if " hadnt greyed it in. "t was <uick, easy and " didntspend an hour working on the upper torso and waist as seperateentities. The work has a more fluid feel to it. Try this method out ifyour finished art is looking too blocky.

$&oes it look like !yo 5a>uki to anyone else)




A 'ean at any an!le:

/ractice drawing the beanshape from differentangles and imagining howthe limbs would attach toit in that position. Becreati(e. &ouble checkyour proportions. TheTorso in its entirety isabout 4 heads high $fromcollar to groin) The uppertorse being 3 heads and

the waist being 1 headtall.







.>5 ;ie+ : Ste& - the oal

&raw a circle. The circle is the foundation of the head for any(eiwpoint. "t doesnt need to be a perfect circle like this. A basic

o(oid shape will do nicely. Measure out the face by figuring the topof the head..the bottom of the chin and the eyeline about halfwaybetween.

.>5 ;ie+ : Ste& 2 the $hin

Add the chin and Hawline. Male faces arent as round and heart9shaped as female faces. "t seems there are more (ariations

a(ailable for the male face than the female face. "ll stick with astandard type here. Make the angles sharper and the chins<uare..dont come to a point.

7or now just make something like you see here.

.>5 ;ie+ : Ste& .(a$ial Diisions

5ere " decide the facial planes. "t helps me keep the features

together and tight.

%otice how the jawline meets up with the (ertical earline

.>5 ;ie+ : Ste& 5 *ou!h it in

5ere " lightly figure where the feeatures go using the same rules youlearned in my other head tutorials. Gyes approimately 1 eye9widthapart. the bottom of the nose sits on a line halfway between theeyeline and the chin. The mouth about 1+4 the way down from that.The ear is placed (ertically between the browline and the noseline.



.>5 ;ie+ : Ste& 5 %hat ale (a$e

The heekbones and Hawline is what really helps differentiate yourcharacter from other male characters you will create. "t also helpsdefine your character as distictly male if your ha(ing problems withyou males looking to feminine $2r maybe you draw bishoujostyle..in which case, ne(ermind).

.>5 ;ie+ : Ste& 5 Clearin! it u&

%ow you can start to erase your support lines and concentrate ondetailing the features. Male eyes arent as large and sparkly asfemale eyes. They are more rectangular than almond shaped and

the lash lines arent as hea(y. Make the eyebrows strong and dark.The nose should not be tipped up like on female faces. Make themmore @edge shaped.

.>5 ;ie+ : No+ you !ot it

5eres what " came up with for a final (ersion $granted a messyone). " made the halftone in photoshop to gi(e it that manga feel

'ood Duck

Patrick

Back to Tutorials





reSte&: Sti$k (i!ure Hero3

This is as complicated as you should get whenmaking a stick figure...stay fast and loose. Make

little circles to show where the joints and headare. &ont worry about fingers and toes. Hustmake a solid stick man.

Ste& -: Sti$k fi!ure setu&

5ere " got a Hohn@oo set9up. The character is

crouched down behind a bar ready to jump outand fight 'un>9a9bla>in. " just concentrate onmaking the gesture belie(able and dynamic.

Ste& 2: Ho+ do , "ake it Dyna"i$

The first thing " draw $and " shoulda shown thisfirst) is the Dine of motion. This line is a smoothcur(e that goes from the top of the charactershead, through the body (ia the spine and out . "build the stick figure on this line.






Ste& .: (leshin! it out

"n my 3 prior tutorials " show you how to drawbody parts using balls, cones and cylinders. " justposted another tutorial on 7oreshortening..checkthose out for help on this step.

?eep the integrity of the stickfigure and lightlywork in the body shapes.?eep fast andloose..dont press to hard with the pencil here.

Ste& 5: (inishin! u&:

Fse a kneaded eraser $see Materials) and blot

away your lighter support lines while darkening inthe lines you wish to keep. *oila

=ee another figure in action

Back to Tutorials

http://www.polykarbon.com/tutorials/body/male/stick.htm


http://www.polykarbon.com/tutorials/foreshort/foreshort.htm



http://www.polykarbon.com/tutorials/action/action2.htm











5ere " got a superhere type set9up. The character is ready tothrow a punch and defend justice. " just concentrate onmaking the gesture belie(able and dynamic.


The first thing " draw $and " shoulda shown this first) is theDine of motion. This line is a smooth cur(e that goes from

the top of the characters head, through the body (ia thespine and out . " build the stick figure on this line.


"n my 3 prior tutorials " show you how to draw body partsusing balls, cones and cylinders. " just posted anothertutorial on 7oreshortening..check those out for help on this

step.

?eep the integrity of the stickfigure and lightly work in thebody shapes.?eep fast and loose..dont press to hard withthe pencil here.


Fse a kneaded eraser $see Materials) and blot away your

lighter support lines while darkening in the lines you wish tokeep. *oila

=ee another figure in actionBack to Tutorials
















5ere " got a spy type set9up. The character issneaking into the head<uarters of 'lobohem tosteal the plans for the eperimental biotoin. " justconcentrate on making the gesture belie(able and

dynamic.


The first thing " draw $and " shoulda shown thisfirst) is the Dine of motion. This line is a smoothcur(e that goes from the top of the charactershead, through the body (ia the spine and out . "build the stick figure on this line.


"n my 3 prior tutorials " show you how to drawbody parts using balls, cones and cylinders. " justposted another tutorial on 7oreshortening..checkthose out for help on this step.

?eep the integrity of the stickfigure and lightlywork in the body shapes.?eep fast andloose..dont press to hard with the pencil here.













Fse a kneaded eraser $see Materials) and blot

away your lighter support lines while darkening inthe lines you wish to keep. *oila

(inal Note: %othing helps with out action drawing like good reference material. 'et your friends to pose foryou or clip pictures from action mo(ie maga>ines. Anytime you see a pose you like '!AB "T 0ou ne(erknow when you might need it. After a while youll be able to draw right out of your own head.

Back to Tutorials








2k..so heres my first tutorial "m doing under protest. "m not really a great mecha artist so "feel a bit uncomfortable showing others how to draw one. "ll try to eplain some of myphilosophy on designing one which may spark an idea or two for you. 5opefully this will beworth the effort.

e$ha : Ste& -the stru$ture

Dike e(erything. " start with a stick figure. @ith Mechsyou can be more creati(e with the proportions. 0oudont e(en ha(e to make them humanoid. "m sticking

to the basics here so "m going to draw a humanoidmech.

" make sure " lea(e the shoulders wide and the legsset apart for balance.

e$ha : Ste& 2 rou!hin! in

%ow heres where " do mechs different than humans." dont really do the Ball - one setup. "f " do " alwaysend up with a Transformer type mech and those aretoo blocky and old school.

"nstead " think bulky and powerful. Darge bulges thathouse machinery, Armored joints, sensor arrays...ect.

" try and make sure the joints, though armored, canmo(e freely. @hat good is a mech if it cant make itshands meet in front of it.

Think about the function of the mech...is it for urbanuse =pace &oes it doe hea(y lifting &oes it needto be fast &oes it need to withstand harshen(ironments






e$h : Ste& .detailin!

After " get to a shape "m happy with " start erasingunecessary lines and and darkening the ones " wantto keep. " add seam lines and tiny access panels all

o(er the me" made the chest ca(ity large cu>because thats where the engine would ha(e to be.

This mechs about 6 ft tall and unmanned

e$h : Ste& 5 inkin!

"(e added a few more details and got the the inkingstage. " use a realati(ely thin line for the details.Machines look better with a hea(y outline and finelines on interior details.

"f youd like to see a large (ersion of thisdrawing..click here.

Big Mech

Back to Tutorials

http://www.polykarbon.com/tutorials/mecha/mechabig1.jpg


http://www.polykarbon.com/tutorials/mecha/mechabig1.jpg




" was asked to put together a tutorial on clothing. " figured my goal shouldnt be to show youhow to draw clothes. Theres too many styles. =o " thought it would be more useful to showyou how clothes beha(e on the body. That way you can at least get the physics right anddesign whate(er you want.

Ste& -: Dra+ a 'asi$fi!ure

@hen you first drawyour character dontworry about puttingclothes on yet."nstead, make sureyou ha(e themfleshed out correctly$see the body tutorial if you need help withproportions).

5ere "(e includedlines to help me placethe waistline, bootsand slee(es but nodetails yet.

/rint this picture outand grab a pencil tofollow along


http://www.polykarbon.com/tutorials/body/stick.htm


http://www.polykarbon.com/tutorials/clothes/clothes2.htm




http://www.polykarbon.com/tutorials/body/stick.htm




Ste& 2: tra$k the"otion4

lothes flow o(er thebody like water. Thefolds on clothes aredetermined by kineticforce and gra(ity.

/oly is twisting at thewaistline and the partof her shirt thatstucked in is pinned inplace but her chestand shoulders ha(erotated to the left $our left) and pulled thefabric along withthem. @hat resultsare sweeping linesfrom the shoulders tothe tuck point.

5er right leg isforward which pullsthe fabric tight o(erher upper leg andcreates a fabric flowin the direction ofmotion.

Dets see how thisworks.








Ste& 5: Clean u&

"f you lept to the rightwearing the hoolahoop. 0ou wouldnotice the hoop wouldtouch our waist onthe right side andhang towards thearea you lept from tothe left. @hen youlanded the hoopwould carry the forceback to the righttrying to continue inthe direction youleapt towards.lothes can be drawnin the same manner.They bunch up andhang in the oppositedirection of themotion.

"tll take somepractice to get it tolook right. Burne5ogarth has aneceptional book onthis subject called

&ynamic @rinklesand &rapery

%eed help withBuckles and laces'o 5ere

Ba$k to %utorials


http://www.amazon.com/exec/obidos/ASIN/0823015874/qid=962248313/sr=1-6/002-2943930-8096028













0ou would think the buckle is simple but mostpeople represent it as a s<uare bo on a thickline. A little attention to detail will make yourpics looks sharper. &raw the buckle as shownhere with the strap o(erlapping the back end of

the buckle and ticking into the loop.

5eres a uick !elease buckle..used formilitary type characters. The strap is made ofwebbing instead of leather. The buckle isundone by pressing the tabs toward each other and pulling the ends apart.

Nippers are usually represented as a >ig9>ag if

you are distanced from your character. but forclose ups, try and make it like you see here.Gach tooth is a small s<uare with a circle ontop of it..they interlock as shown here. "t takesa little etra time but people notice the effort.

=naps are pretty straight forward and you dontreally get to see the 3 hal(es together unlessthe jacket is open. Again, good for detail in aclose up. =how the one docking end smallerand rounded on the lip.

=orry for the messy o(als.." cant find mytemplate.

Daces are often represented as criss crosslines. "t looks better if you draw the laces as 4&objects rather than a <uick line. =how themo(erlapping each other and passing throughthe eyelets. Also, since the laces are pulligtoward each other there will be buckling in thematerial around the stress points. %otice how "cur(ed the material around the eyelets to showthat. The tongue of the shoe+boot should push

through the criss cross a little bit to gi(e theimpression that the laces are cinched down on




A little Detail

%otice "(e added a be(el to the slide and put the(erticle grips on the rear of the slide. "(e

contoured the grip and made the trigger well a bitmore comfortable. Again, reference material helpsa lot. Build up a scrapbook of guns to whip outwhene(er your stuck.

@anna see more

%et; The Basic !e(ol(er

Back to Tutorials

http://www.polykarbon.com/tutorials/guns/revolver.htm



http://www.polykarbon.com/tutorials/guns/revolver.htm




%he Basi$ Sha&es

The !e(ol(ers has a few different partsthan the /istol. The most important

difference is a ylinder$ shown in red)instead of a clip.

The trigger ratchets the cylinder aroundto bring the net full chamber up to thebarrel. /ulling back on the trigger alsoreleases the $green) hammer..depending on single or doubleaction...dont worry about it...andsmacks the butt of the bullet and sendsthe lead flying down the barrel.Makesure the top of the barrel lines up withthe top of the cylinder so the bullet can

eit the gun safely...fo you.*eloadin!

Theres a few styles of re(ol(er. =omeha(e the cylinder flip out to the side.=ome, like this one, pi(ot foward for<uick loading $ala T!"'F%). 0ou couldtake off the whole empty cylinder andslap another loaded one in there.

Detailin!:

5a(e fun with it. " ga(e this one a lasersight under the barrel and a niceergonomic grip so it doesnt look like an

old cowboy gun.

Theres some really sweet %ew =tylere(ol(ers. heck out the gunmanufacturer links on the pre(iouspage.



olyKar'on=toryBoards

/age1

Page(=toryboards are essential for laying outaction and deciding camera angles. "start by just ha(ing a grid of K s<uares.@orking from the script " draw eachimportant action in its own s<uare. 2nly1 action per s<uare

7or eample; =cript says haracterpulls a coin from pocket and eaminesit

There are 3 important actions there.1) haracter pulls coin from pocket3) haracter eamines it

$The journey of the coin from the pocketto being in front of the face is notimportant)

=o " would ha(e 1 panel being thecharacter rummaging for the coin andthe net panel being the coin held up infront of the character...=ee

After "m happy with the roughs " canstart concentrating on how they wouldpanel out on a page..which panelsshould be big...which panels should besmall..ect...make sure my perspecti(eis correct..yadda yadda

" lay the new roughs on a light table andrepencil them in a =F/G! cleanfashion.

.

02111 atri$k Shettles+orth: Studio Ato"i

http://www.polykarbon.com/gallery/storyboards2.htm

http://www.polykarbon.com/gallery/storyboards2.htm



olyKar'on=toryBoards

Page1/age3

=toryboards are essential for laying outaction and deciding camera angles. "start by just ha(ing a grid of K s<uares.@orking from the script " draw each

important action in its own s<uare. 2nly1 action per s<uare

7or eample; =cript says haracterpulls a coin from pocket and eaminesit

There are 3 important actions there.1) haracter pulls coin from pocket3) haracter eamines it

$The journey of the coin from the pocketto being in front of the face is not

important)

=o " would ha(e 1 panel being thecharacter rummaging for the coin andthe net panel being the coin held up infront of the character...=ee

After "m happy with the roughs " canstart concentrating on how they wouldpanel out on a page..which panelsshould be big...which panels should besmall..ect...make sure my perspecti(eis correct..yadda yadda

" l th h li ht t bl d

http://www.polykarbon.com/gallery/storyboards.htm

http://www.polykarbon.com/gallery/index.htm

http://www.polykarbon.com/gallery/storyboards.htm

how to draw manga like a choice guy

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