how to draw manga vol. 29 - putting things in perspective
TRANSCRIPT
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Putting Things in PerspectiveBackgrounds/Crowds
HOWTO DRAW MANGA:
Putting Things in Perspective
by K's Art
Copyright O 1 997 K's Art
Copyright @ 1997 Graphic-sha Publishing Co., Ltd.
First designed and published in 1997 by Graphic-sha Publishing Co., Ltd.
This English edition was published in 2002 by
Graphic-sha Publishing Co., Ltd.
1 -1 4-1 7 Kudan-kita, Chiyoda-ku, Tokyo 1 02-0073 Japan
Production director: KatsuyaYamakami
Production manager: Hikaru Hayashi
Background aftist: Maguro
Finishing work artist: Nobuko Yuuki
English title logo design: Hideyuki Amemura
English edition layout: Shinichi lshioka
English translation management: Lingua frdnca, lnc. ([email protected])
Japanese edition editor: Motofumi Nakanish (Graphic-sha Publishing C0., Ltd.)
Foreign language edition project coordinator: Kumiko Sakamoto (Graphic-sha Publishing Co., Ltd.)
All rights reserved. No part of this publication may be reproduced,
stored in a retrieval system, or transmitted in any form or by any means,
electronic, mechanical, photocopying, recording, or otherwise,
without the prior written permission 0f the publisher
Distributed by Distributed Exclusively
NIPP0N SHUPPAN HANBAI lNC. ln North America by
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Tel: +81-(0)3-3233-4083 Tel: (310)- 604-9701
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S&i: 4-7661 -1 256-3P-n-ed ard bound in China
Backgrounds indicate wherecharacters are. They are drawnto illustrate places andsituations.
A cut with only the character
A cut with the background included
. Example without background
Vxl'm leavingtor schooll
: :i ,: ::: :i:
Ah.1omebodyjuet, aVpearedtrom aroundlhe cornerl
ln this scene, a girl in a hurry collides with someone at a corner. Thescene is much easier to grasp with the background.
tEfrE
PITTER-PATTER
Oelter Lake aehor\cuLl
1...1 can't etopl
. Example with background
/'1 D
.o9.
Table of Gontents
lntroduction:Why Draw Backgrounds?......,s . How to create height ditferences
- Raising and lowering the head
. An easier way to draw crowds
Basics: Standing on the Earth .........1r Creating Effects by Changing the
Begin Drawing Backgrounds Gomposition of a Picture...........................s0
with a Single Horizon Line.......................12 r Drawing upward views
. Drawing manga is just like filming a movie. r Three-point perspective drawing
r Presentation: Long shots and close-ups r Ariel view of scenery - Bird's-eye view
How to Draw in One-Point Perspective: r Perspective when the ground is curved
Let's Try Drawing while
Looki n g at a Photog raph ......... ..................23
r Drawings suited to one-point perspective
Let's Draw Outer Space ........65
. when to use two-point perspective Chapter 3Distance of natural obiects:Tree-Lined Roads/
Chapter 1
. Vanishing point
. Simple way to pick a vanishing point
r Making a group of buildings
in the distance look cool
Ghapter 2
Drawing the Outdoors: Howto DrawTrees.. ....................,08
From Everyday Scenery r Drawing roadside trees
to 0uter Space...... ..................2g r Drawing atree-lined road
How to Draw a Roof .,.......... .........30 n Drawing shrubbery
How to Draw Slopes ..............,......34 . Leaves of roadside trees
How to Draw Forked Roads .........36 How to Draw Shad0ws.....................................72
Drawing Houses . Sunlight
- When the Vanishing Point is Far Away .......38 ' Light from streetlights and indoor lights
Drawing a Gymnasium .................40
How to Draw Characters and Backgrounds.....42 Etfective Use of Backgrounds
r Placing multiple characters - Slide method Basic concepts and techniques..............74
r How to draw groups of students going to
or coming home from school
Light and Shadow/Sky .......67
8
Ghapter 4
How to Make a Narrow Hallway Look Wide.....80
Classroom: How to Draw Desks.......................83
r Common chair/desk composition
and the horizon
Distance Between Characters and Walls .........88
How to Draw lndoor Scenes (Living room) ......90
1. Drawing the opposite wall
2. Drawing a rough sketch
3. Drawing a couch.
4. Drawing a table.
5.DrawingaWstand.
Drawing Small lndoor Objects .........................95
r Small objects on tables and desks - 1
Drawing without using perspective
. Small objects on tables and desks - 2
Drawing using perspective
r How to draw cups: Circles on tables
r Drawing small objects
Using cellular phones as an example
Drawing Beds............ .................100
Drawing D00rs.......... .................102
r Structure of doors
. Opening doors
. Examples of open doors
Drawing Stairs.......... .................105
. Looking down a flight of stairs
r Side view of stairs
. Distinguishing features of stairs
Drawing lndoor Scenes How to Draw BackgroundsHallways/Stairs/Small 0bjects...........7e Learning by Doing. ..............10e
Chapter 5
Process of Drawing Manga Backgrounds.,....1 1 0
1. Drawing a residential area
2. Drawing a school
3. Pen drawing
4. Erasing and white correction fluid
5. Adding tone 1 - Residential area
6. Adding tone 2 - School
Gomparison of Characters and Objects .........122
Ghapter 6Special Etfects and CharacterRepresentation Using Perspective..l 25
Drawing Special Effect Lines and
Sound Words Using Perspective............. .............126
Creating a Greater Sense of Existence
Using Minor Techniques.. ................129
Drawing with Perspective Rulers ....130
Special Effects Usin g Perspective Techniques..... 1 32
Various wide angles. .......................135
Examples/Changing Camera Ang|es....................1 36
{
4
10
Chapter 1 Basics
Stondirgthe Eorrh
on
When you want to draw apicture with the main
character standing in awasteland, draw a dividing
line between the earth and
the sky (horizon). All
backgrounds begin withdrawing of the horizon.
The expanse of the earth differs
depending on the position of the
horizon.
Column: ln Japanese class, the dividing line between the earth and the sky is called chiheisen
(horizon) and the dividing line between oceans and the sky is called suiheisen (horizon), but both
are referred to as suiheisen in drawing.
4I
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12
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l
When drawing the horizon, pretend like you are filming amovie and think about where you will hold the camera.
o
ln manga, the height of the camera is the horizon.
Column:Why is the horizon on land also called suiheisen in drawing? lt is called suiheisen becauseit is a horizontal (suihei) line (sen).
13
Drawinq the horizon below (foot level) a character
-=-::=>
Drawing the horizon at foot level
expresses the expanse of the wasteland.
This is a low-angled composition.
--/ -
//Wi
The character will float in the air when the
horizon is drawn below foot level.
height of the horizon
\
Filming conditions
@ Dig a hole to film from ground
\
@ The edqe of a cliff is the
D
Drawing the horizon above a characterDrawing the horizon above the head of a character creates the sensation of looking down on thecharacter. The so-called bird's-eye view. This is a high-angteo composition.
:
.".:\\.-!1,, ,rz
Viewing height
-;:-:ally looking down on person (bird,s_eye view of character)
Filming from radio-controlled airplane or stepladder
Bird's-eye view ard the horizonWhen yoti take::'ii piciiire from'*ie nonnat
15
the horizon in a character
You draw the horizon somewhere between
the head and feet. This will create the
most ordinary view.
Filming conditions
@ Low angle
16
. This is often used in sceneswith dialogue.
. Draw the horizon at eye levelwhen a character is moving inthis direction or for close-upsof the face.
. ftis is often used for full-bodystrots.
" Draw the horizon at bustreight when drawing theartire body (down to feet).
. -lis is often used for dramatic:nesentation.
. lnaw the horizon below the*rnees of a character when you
rant to make a strongrnpression or give the picture
i sense of depth or vastness.
Here a character between a close-up of feet in the foreground and a character inthe distance create a good sense of depth.
# 4
.^-
Presentation: Long shots and cl
Think of the
difference between
long shots and
close-ups as a
difference in camera
work (presentation).
A cut using a long outdoor shot
There isn't much
need to think about
the perspective of
small objects in
scenes using long
shots.
Long shot...zoom oul Close-up...zoom in
18
,-llose-ups are used:r present hands or.nall objects.
-se a long shot whenr,t-- lvdflt to illustratelil:-irsfhing with an
:,,:-all view. Use a
: :se-up when you want: :nrphasize one part.
brprtdce-xf
rnqnifed;i',irrGEtss
G
@
orapstda::rXrgdemgst.lfiire
fii*angle
I"nnumn: Technically, wide angle is a word used in photography. A thicker lens than usual is used to makean impressive etfect by making a picture extremely distorted.
Vanishing point
The vanishing point is the point
where all perspective linesc0nverge.
A drawing technique that uses
one vanishing point is calledone-point perspective. Thereare also two- and three-pointperspectives, but let's learn
about the vanishing point usingone-point perspective f irst.
Changing the position of the vanishing
Column: When you draw a building, for instance, think about whether you want to see the building fromthe right or from the left. lf you want to see the building from the right, place the vanishing point
20 in tire position shown in the right frame.
Photograph used for reference
Vanishing point
point changes how the sides look.
lagine you are taking a
: cture. lf you stand directly in*cnt of your subject, the*anishing point is in the middle.
" iou move to the right, the,-rrishing point moves to the-,::t as well.
l
C1\
| ..t !
oo 30"-------r' Side view
--s is taken from the right side of the road. You can see more of the wall on the left side.
This is taken from the left. You can see more of the right side of the road.
'way to pick a
When you want to draw asimple building roof or other
objects behind characters, use
one-point perspective. The
vanishing point could be in avariety of positions, depending
on the diagonal lines of your
outline. Pick a vanishing point
by choosing an angle you like.
SubjectCompleted drawing
2. Draw horizon1. Draw outline
ll
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:-" *l*,\l
-(" 'r
Column: 0nce you have picked a vanishingpoint, draw a rough sketch. lgnore the
other perspective lines of the outline
and draw all the lines in the direction
of just the one vanishing point.
Regarding background and
perspective, once you get used to this,
you can begin drawing a rough sketch
by first picking a horizon and a
vanishing point when drawing the
outline of the image.
3. Pick vanishing point
Extend diagonal line of outline.The point where it meets the horizon line
becomes the vanishing point.
:Whil0:'..l0okingr,, 01,, n
ien drawing backgrounds,,: sts often refer to: -:tographs that they have
"..en. Perspective drawing is-, most efficient way to: -Juce a good drawing, so. s get comfortable with it.
sketch of the background and choose a horizon and
,,,' a rough drawing-; :hotograph while- ' : :re depth lines: - l ngs and the
t:
-:ortant to grasp-- .,:'all picture.
'. - :-..oso the road*.
,," :"awing the,,r r--.Jfld, simplifyr"-:parts
- :r - : 'lg 0n y0ur
, -,; tid needs (note" - *: chotograph is
, ": ':'reference
: L-r':nr Horizon and vanishing points - ln photographs the vanishing point is often not clear.It is important that you choose a clear horizon and vanishing point for your drawing.
23'lh
Reference photograph
ffi Completed rough sketch
ffi Ren drawing
Draw thin lines.
Start with the foreground.
Make foreground lines bold and lines in the distance thin.Leave windows and other details for last.
Contour lines
24
Drawing thin non-contour
lines creates a three-dimensional etfect.
ffi Completion of pen drawing, erasing and applying white-out
Erase completely after finishing the pen drawing.Correct protruding lines and other anomalies after erasing.
I .' -se solid colors if you wantto create an overallwhite drawing, '* . c'ht feeling.- - :',,,,,in9 is complete. Lighfly apply tone to shaded areas.- , .:cut where the light (sun)and shadows are when applying tone.,r' ; ! .,,, tone is applied under the eaves and to the sides of buildings.
25
Drawings suited to one-point perspective One-point perspective is short for "one-pointperspective drawing." This technique is suited
to drawing indoor scenes and creating a sense
of depth.
Road (main road and side roads, etc.)
Road with wall and buildings with windows, etc.
Vanishing point
ln a one-point drawing, you can only see thefront of an object when the vanishing pointcomes from within the object,
27
When to use two-point perspective
Two-point perspective drawing is
a technique suited to creating athree-dimensional effect or ademanding presence. Use two-point perspective drawing when
there are many building standing
side by side or when you can see
two sides of buildings.
0ffice buildings drawn with one-point perspective
Office buildings drawn with two-point perspective
Use a long shot when you want to illustrate something with an
overall view. Use a close-up when you want to emphasize one pafi.
28
vanishing point
Chopter 2DrqwingtheOffint
Frcm hrerydoyScenety iloOuter Spqce
Think of a roof as
being on top of a -71\box.Anybody can Rciraw a roof as
li:iff',i:t<nowQffilhow the eaves
overhang.ffi--.
diagonal lines
The "center" of the wall
ln the case of a square, the point where the twodiagonal lines intersect is the center.
Corner of wall
. Connect the slanted lines with the wallGOrnerc.
,r Slanted line
Roof height
Draw a vertical line from the
center of the wall. lt can be
whatever length you prefer (the
longer it is, the steeper the angle
of the roof will be).
The line drawn straight to theside of the apex of the roofmakes the roof look morerealistic.
ink this corner and theranishing point and then:rtend the line.
liwnsring point
Supplementary line
',I' Draw line @ from thepoint of intersection oflines @ and @.
Draw line @ right alongthe center.
line 6 parallelto
the slanted line on thisside of the roof.
,6@Line @ can be drawn only after the supplementary line @ has been drawn.
Thickness lines are at
right angles to the
slanted lines.
Judge the length witfyour eyes.
1=Ditferent types of roofs
Draw shadows under the eaves.
/0u can draw these kinds of roofs with this technique.
* urr-.ll in the samurai house style.
Create a vanishing point
for slopes in addition tothe normal vanishingpoint on the horizon line.
Buildings are drawnbased on the normal
vanishing point, whileslopes are based on theslope vanishing point.
Slope vanishing point
.&/
Points where vertical
building lines and the road
(slope) intersect. The
extended lines that linkthese points and the
vanishing point become tht
lines for the floors
(foundations) of buildings.
Guardrails are located
on the edges of roads,
so their lines converge
on the slope vanishingpoint.
.i..*:- Slope vanishing PointDrawn inconectly
t ar,,<(B'l{
When you draw two vanishingpoints veftical to each other,
make sure they are on a
straight veftical line.
Draw buildings in one-point,perspective using the
normal vanishing point.
Floor line ofthe building
Uphill slope
vanishing point ----.-
Fiil
Road line
ic'a,rhill slope
:rshing point For downhill slopes, place the downhillslope vanishing point below the horizon.
lrnurm: Characters on slopes - Draw characters above the horizon as if you were looking up atthem and characters below the horizon as if you were looking down on them.
Houses are not built slanted
is impoftant to draw a foundation so
that the house will stand straight up.
Express a slope by the difference
between the road line and the floorline of the building.
)eate a vanishing point for slopes in addition to the normalrenishing point.
35
Think of a forked road as an
intersection of two roads withdiffering vanishing points.
Vanishing point A of astraight road
Vanishing points B and AC of branching roads To vanishing
Point B
To vanishing point A
Aerial photograph
Roads B and C intersect at a right angle
O Choose road vanishing points
#@ Draw roads from each vanishing point
BA
The closer the road is to the horizon, the narrower it will look, so
be careful not to make roads B and C too wide.
B hamnlinuation
Buildings stand along the road, so
the road vanishing point serves as
the perspective.
Vanishing point
What do you do when the vanishingpoint of the building you want todraw is located off the paper? There
are three things you can do.
'1 . Add paper
2. Use a copier
3. Draw guidelines
H4.'
D--
@Attach temporarily
with masking tape,
etc.
O Draw a rough sketch in a size that is easy
to draw@ Make an enlarged copy
Use a copier to enlarge the rough sketch tothe desired size.
Put tracing paper or transparent PPC (copy) paper over the
enlarged rough sketch and draw with pen.
@ Trace
JO
3nce you have decided on the outer border oflte building, partition the vertical lines.
@ Start drawing using the lines as a guide
@ Link each partition point
gw
loilumn' One trick is to draw the partition lines using yellow or blue colored pencits (yellow andblue wiil not show up when printed). rt is usua[y on one side or the other that thevanishing point becomes so far away that you cannot reach it with a ruler.
liI
I13eiI
When drawing a
building, capture
the distinctivefeatures of the
building.
Draw widebuildings like agymnasium
using two-pointperspective.
O Give the gymnasium shape
When giving the gymnasium shape, enclosethe roof portion in a box.
How to align the oval template:
@ Draw the roof using an oval template
The type of oval you choose depends 0n yourpreferences and the image you have of the roof.
Distinctive features of gymnasiums
Exterior: Many are wide and have a round roof.
lnterior: Spacious. Try to present them in a way thatmakes them look spacious.
@ Find the apex of the arc
,Mne fie floor and wails big to express the spaciousness and height of tne nullng.
When you draw a scene close to a wall, create theatmosphere of a gymnasium by including windowsnear the floor, protective bars on windows and otherdistinctive objects.
You can present a wide-open space by putting thefloor lines higher and drawing windows smafler.
41
When drawing backgrounds, the
size of characters is very impoftant.
Here you will learn how to draw a
background from the perspective of
characters.
Sense of distance ofcharacters standing ina straiqht line
Let's try figuring out the vanishingpoint and horizon from the wall
drawn behind these characters
standing in a straight line.
i,,1
a
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I&v
I
I
o.MI\)v
The horizon is the
same height as the
face of Girl A. These
three characters are-* standing in a straight
line, so even if there is
a height difference
between the
characters, the
relationship of the
other two characters is
like that shown in the
side view.
The three characters are Pretty
much in a straight line when seer
from above.
When viewed from the side, GirlA is the only one that
fits in with the background.
tVanishing poi
1. Link the feet of GirlA with the vanishing
point.
2. Since the three characters are standing ir
straight line, move the other two character
to the same line as GirlA.
42
characters on the same perspective lineff: in a straight line.
-\- Perspective line
Vanishing point
/
43
lacing multiple characters - Slide method
point, link it to the character and
draw characters in front of and
behind the original character.
You can choose any number
of vanishing points forplacing characters.
Choose a vanishing point near the
original character.
Randomly choose
vanishing points
Column: Place multiple characters by slidint'one character. You can think of it as placement bylL reproduction/movement.
1. Draw the original character.
2. Choose an appropriate vanishing
Note:All the characters are the same height
0riginahharacterY
I
- - -1- - - - - - -- -L - - - *- - - -- - -,,tNew vanishing point New vanishing point
f oraw one character
Drawing groups of characters can be quite difficult. lf you
don't draw them carefully, characters can look like theyare floating or sinking or they will not fit in with thebackground.
Process:
1. Draw a character around which the other characters willbe based.
2. Choose a horizon and vanishing point and draw a roughsketch of the background.
3. Based on the first character you drew, begin placing allthe other characters from the vanishing point (this iscalled the slide method).
4. Lastly, draw the background.
fte other characters will be drawn based
rn the first character.
Column: lt does not matter if the background changes a littlelater on. When drawing the first character, it isimportant to choose the horizon and vanishingpoint, which are the core of the picture.
Draw a short horizontal line where you want toput the character.
t_*wView from above
Supplementary line to lind the"
When you want to draw a character
behind the first character
Column: Standing directly in front of or directly behind is the same as
standing in a straight line. This is called "characters on the
same line."
T-c domly place characters
tu -:'r you want to place
.:"-acters like this and not- . sfaight line, there arei,r : #0!S to do it.
Vanishing poinl
r, ::'zcter on this line will be \m '': with the original ---{lilTmiil?:?r in relation to the road. ',
Draw a placement vanishing point alittle to the left of the originat
7 vanishing point.
/&_--_FI]l-i:_)t)lt
III}
O Sliding backward and fonruard-Drawplacement vanishing point
Sliding from the new vanishing point
47
View from above
0riginal character
@
CWhere you want to
new:
J=-LllCamera
@ Parallel translation and sliding backwardand fonruard-0n the basis of dummy
.'\tI f ptacement
:I vanishing
I Point -
-r--Put a placement vanishing point
near the dummy.
*/"ryi{Y(l_---T_---i' \ l:4. i
'\i( l-/ I
-- - j*Slide the original character into aparallel position (height is the same).
i1;,l}ttK-
Column: For scenes of students going to school, place blocks of two or three students walking side by side ancplace a single student behind, in front of or beside them.
48
,-4
49
'': - rn;yl'il,H:iliT:iy,:f";t'rs in tne toiesr;nd,;;; i;;; l;A;;;;;;i;i;i;;t|1;
How to create height ditferenceS - Raising and towering the head
All the characters will be
the same height if you just
slide backward and
fonruard and use parallel
sliding. When you want toexpress height differences,
do so by raising and
lowering the head, leaving *
the feet as they are.
(-11. Bl in.)
A human head is about 30 cm
(11.81 in.). Use a height of 160 cn
(5.25 ft.).
1 +20 cm
| (+7.87 in.)
-30 cm
+15 cm
(+5.91 i"
2i3 head longer
Height about 18,
180 cm = 5,90 ft.
160 cm = 5.25 ft.
150 cm = 4.92 ft.
130 cm = 4.27 ft.
Not good
,J"--"***^z1 |
.L
Raising and lowering the feet make a
character float or sink.
50
0ne.hef,d shorter
Height about 130 cm
.a
Good
rT1\/I * r-***-r"-"48' i ,.-.* IY rTvl1i:r'ii.:fii
-.; - *.*-l*-.1 .-i-
\ll characters are the same height,
t,.6o r* lg*m ,'/
Column: Give each person in a crowd a different direction and
different clothes to make a picture come alive.
An easier to draw crowds
:: a measure of each person,s height.
- '.,,v various sized heads on the horizon-:. Then draw the bodies using the heads Draw various sized heads
. HorizonrCut with rough image of background
ffi,.orno.
Measure the length of
the head and multi
to get the total length
of the character.
Multiply by five if the
headto-body ratio is
1:5 and multiply by six
if the head-to-bodyratio is 1:6.
Length of head
Note:Always multiply the head length by the same
number for all characters.
After the
total length
has been
determined,balance the
charactersto taste.
ln this drawing, heights were determined using the
same head-to-body ratio before individual differences
in head-to-body ratio were added.
Head-to-body ratio of 1:5
Reference: ln the case of a headto-body ratio of 1:ti
All are multiplied by different number.
All are multiplied by five. Good
Characters drawn with a head-to-body
Headto-body ratio of 1:6
3,ack for bust shots of characters
-=^ drawing backgrounds for bust shots of characters, draw the
,-:': body of the character even if it won't all appear in the
. --'e.
--; ^eight of the building door and guardrail should be drawn in
I i,.,Perspective line \representing
the edge of the building
Drawing building on right
inino heioht of door
Slide character horizontally (draw
dummy)
@
\'
2m
' 1.8 m
door=2m(6,56ft,)
t*-*.
(adult male) = 1,8 m (5.90 ft.)
The height 0, the door is about one head higher than the characler
Edge of sidewalk(road side)
-----t I----'-l
I
Perspective line
indicating height
of door (2 m)
;, " rrrcnize the
illlill,."= :f the
( j'ound and
tf. 1 :fiaracter
--lllllti -: a dummy.
ll I lilll ,:
,":3ter
Column: Synchronize the scale of the character and the background. When drawing the
background, clearly show how high background parts are above the ground. When you
try to do it by eye, you end up with doors that are too big or houses that are to small
in relation to the character.
Rough image
ng guardrail 1
nining height of guardrail
The height of the guardrail is a little above
the thighs
I t,a :\ lt | 1
I ,' l\.lli ' t,. J:tl,t\ i1 \{\i l: \',;*'; \
-'t
o Slide the character to the edge of the
@ Draw a supplementary line horizontally
at a little above thigh height.@ You get the right guardrail heig'
in relation to the size of the
character.ng guardrail 2rail poles at even intervals
@ Draw a supplementary line.
,f \,Third pole
\ ,ono* or
second pole
'll2 supplementary/The interval betweenguardrail poles is uniform.You are free to choose anyinterval.
Divide at 1i2 the heightSupplementary line in
direction of vanishing point.
lj
I
i
@ Determine the position of
@ Determine positions
of remaining poles.
54
J JJJ
==2,
Do not use perspective drawingindiscrim inately when drawinglong shots of buildings and
upward and downward views,
etc. Simple ideas can createlarge effects.
Drawing upward viewsical two-point perspective
When drawing an upward view,
assume the location from theplacement of buildings in arough sketch. The techniqueyou will use is veftical two-point perspective.
Location proposal 2
Cut based on proposal 2building
ffiCharacter
tb I
1,,fr,,1
GE FD
Characl er Street
B
"*,1cA
56
_il3$
i
illt@s ranishing point:
k'edtbpotut
illtlwvanishing
r@As wasffi&m vani
two-point
Generally, in one_point perspective andtw_o-point perspective drawings thein vanishing point is always placed on thenorizon and objects i
perpe n d icu rai iil; iffi:T i:TJ".J ji ,'
two-point perspective, tne vanisfrrng ;inhare. placed near the top and Ootto*iiinu"picture
\
\ --xrtr..'\
. "r"'\ I\ .,...."\. \\ !\ ''...\"\\\\\X
\\/
/'.,, I .'r1..'{l,,.#rr, \ it I lt 1 , /\ ,,
i li-''*':'l b!11 ,l il ,-,/ '* -
'--i
g';g--- -ffi1 I Fil)=Q';:".+f":-:.-:;:i{S{,::--
I
r-:n picture ispracedon itssiol"""'" ,y1;33,:il,i:{i.li;ffi;;;H::[#:?l,lHJ:,#T::, $
I::,-*- lookins up ano'oown-ai;;,Xffi,ffise ]/'u are stopping ano
fu
Three-point perspective drawing
-,',0-point perspective is a technique for creating a cubic effect by giving a sense of
- stance to the left and right of a picture.
- three-point perspective, a third vanishing point is added to give a sense of
: stance to height. Unlike one-point and two-point perspectives, the usual vedical
,-i parallel lines are not present.ln addition, the horizon line and vertical lines- ::rsect perpendicularly.
Two-point perspective
Three-point perspective
allows you to drawpowedul pictures.
,fuwj
Aerial view of sceneryBird's-eye view
When drawing a bird's-eyeview and the horizon is notvisible, there is no perspective(vanishing point). Drawbuildings parallel lengthwiseand crosswise.
Do not think too much
about perspective inbird's-eye view pictures.
For placement o{ buildings,
r:,:::::
terill0i!0llpqf$:$rtelpsiilaralr*Iei,g&d$-6_:i,]ti.;lrt: :!,:,::::r:i::,::r,;ii::rr:::,,,. -r'.1-.rr...-..,
:i:lgri{r.c$rt*ixll,ber::]r:,:l:::i:':iii::ii:
Skyscrapers
try.drawing-a map
:nOii'iielg$iiSgi:
!.ri&i?,0ii1&:::i:i::il
column: when drawing a bird's-eye view of scenery using one-point perspective, freely place the vanishing pointin accordance with the objective of the piciure or the composition. 61
When drawing a group of buildings in the distance, reduce the
Making a qroup of buildinqs in the distance look cool
of the buildi
Reducing the depth of buildings is effective when the main subject is in the foreground and the buildings areused for pure scenery in the background.
This
ofa
Reference:Town in the distance
an obiec't is the less thieK
When drawing a line of buildings using one-point perspective,making the width (depth) of buildings narrower eliminates thecramped feeling.
6ct*Draw objects far away with thin lines. For lines thatrun into characters, draw them thin as if they fadeaway and do not make contact with the character.
There is a big difference even then the frames are the samesize and the vanishing points are in the same position.
Column: When you want to avoid drawing a confusing group of buildings in a long, narrow frame, draw buildingsas if they were in the distance using narrow depth lines.
Buildings drawn with reduced width Buildings drawn with normal width
when the is curved
Distorted ground
used for dramaticpresentation can
be used in apicture where you
are looking up
from a low place.
Place thevanishing point inthe middle directlyabove the picture.
Groupff:huildinge ; Wfien,dnwin usins, vertieal'hrrro.pint perspective
The amount of distortion of the
curved surface depends on
ndividual sensitivity. Draw freely.
ln fie case of a group of buildings,
rse vertical two-point perspective.
View from above
,'lhen depicting outer space in manga, compose picturesr a way that creates a sense of distance.
" Paft of a large planet in theforeground
- Many small stars in thedistance
: ln the middle, place planetsihat are just big enough for,,ou to can discern their:atterns.
How to splatter correction fluid
Put oil-based correction fluid on tip of pen
a7oa /a
0@ Ftick with brush
Dots will be large if you doit away from the paper.
Dots will be
small if you doit close to thepaper.
splatter white conection fruid for the dots representing very sma, stars.
column: correction fruid wi, spratter in the generar vicinity, so put tape aroundthe manuscript and frame to mask;;;.'65
Making planets realistic
Representation ofouter spacePresent the depth and
mysteriousness of outer
space using special tonepatterns and applying layers
of tone.
Use a template forplanet circles.
Give planets a touch of color and apply tone to make them round
and to make them look heavy.
otE r
03E(-)o3,--, (J 3! -, /--\ :!-r- 3
( )-:ooi
rul
Tree-lined Roqd slljght ond Shodow/Sly
Chqpter 3Disiqnce of Notu
Oblects
Drawinq roadside trees
To draw roadside treesplanted at even
intervals, choose thepositions of the first and
second trees and use
the technique to an even
interval. Think of treetrunks as poles,
O Draw one tree
lir,
Side view
@ Draw supplementary
line.
Draw vanishingpoint and
supplementary
€) Choose interval
between trees.
Place on sidewalk slightly
away from road line. lines connecting itwith tip of the tree
and the base.
ta....
Mark the spot
where you want toplant the next
tree.@ Draw "pole" for
second tree.
Second tree
@ Determine where to plant the
rest of the trees.
Fourth treeI
@ Turn into trees.
Draw trees by fleshing out
the poles.
Column:When drawing roadside trees and tree-lined roads, first clearly sketch the road
and sidewalk. (Needless to say, you need a vanishing point and horizon.)
.i,;'
a,',
.I
lraw a line of trees on
,re side of the tree-red road and slide it to
@ Draw a perspective line
where the trees willbe placed.
jI
::e opposite side.
- Draw a line of
trees on one side
of the road.
@ Slide to the opposite side.
The trick is to raise veftical lines from thererspective line where trees will be placed.
/Golumn:This technique can also be used for drawing opposiig doors in condominiums
and hotels and opposing windows on trains.
.w.
Perspective line where
trees will be placed 7tl
1' ---'-' Perspective line for road
69
Drawing shrubbery
Shrubbery can be round
or square. lt is best tosimplify it.
Square type
Think of square shrubbery as a
rectangular parallelepiped in perspective.
Round typeooo
Like tree-lined roads, round shrubbery is
often planted at even intervals.
ri,:
l ''s.
shrubbery, think about how
light is hitting them.
6'tA tree consists of leaves and a trunk.There is no need to draw everything. ln the case of both trunks and
leaves, do not draw the parts with light hitting them.Think about the direction of the light and draw the shadowed parts.
- Give the trunk the feel of a trunk and leaves the feel of a leaf.
:;:, nese parasol/Maple
$.i'-\)44: Y/
!^ \v//
1--l-**Sycamore
iN)N'\\( \N)
t\
CherrylZelkova
MffiffiAurNS, @ g"
Chinaberry/False acacia
kEler@-L@tesE
Example: Roadside trees drawn close together
Example: Boadside trees drawn far apaft
T-
had6illlsii.,iiii.....i..hil{ow,
1;. r:urself the following: - :S-rrons when drawing:* j[o''vS. 'What is the light-: -'ae?" "What direction is
:-n qlt coming from?"
[0rcr']-rng or evening:SiirEi,ow is long.
--: -,,r8I the sun is, the
: - : :" :te shadow will be.
Shining from directly above:
Shadow is short (around noon).
Shadows could be various
shapes depending on the
shape of the ground and thepresentation.
Shining from an angle:Shadow is somewhai long.
qI
Evening sun \ The lengths of shadows
-.*=€ -t created bY sunlight are
t:4^-^-r
++
East
18:00
West
6:00
different depending on the
time of day.
When drawing shadows in
manga, choose the length
and direction of shadows
by thinking about whattime of the day it is.
16:00 14:00
SunlightShadowsbelow eaves
Shadows are in line with the rays
of the sun.
summer - Make them
solid. 't,:,',',,,,.',,t'.,'.,
Rays are weak in spring and
fall. so shadows are also
kht - Use tone and
dagnnal lines.
Tle rays of the sun reach
te ea'tir as oarallel lines.
Shadows formed by small objects
When light source is
above, shadow is short.
When light source is above andto the side, shadow is long.
Shadow formed by
florescent light is faint.
When there are two sources of light,two shadows appear.
Perspective is
used forshadows createdby artificial light.
Dlace theranishing point
r the center of astreetlight and
determine theshape of theshadow bylonnecting it,,rith the object:eing Iit.
The candle is emitting light in altdirections. Shadows are formed inperspective to the center of the flame.The shadows are faint since the lightitself is not very bright.
-r-
At the heafi of thismatter is how toplace objects. Draw
objects in theforeground biggerand objects in the
background smaller,
and place mid-sizeobjects betweenthem.
For rain in t-own,'diawbuildings and shadows in
a free-hand using shorlIines.
lur,l_lr,,"llt"-- i,i rl
flwfl$rlj' l'
Technique for solid parts
Use slanted linesdrawn free hand.
Add rain lines using
white correction fluidon solid pafts.
Gradate parts in the distance.
Draw trees and other objects usingslanted lines.
:i#r-*_.li=lr_-
Rivers
Draw rivers using thetechniques for drawingroads. Choose avanishing point and
draw free hand.
I Add touches with pen in
accordance with the
direction and skength of&e current.
Vanishing point
Use two vanishing points formeandering river.
Horizon
Normal river(use technique for straight road)
1;-*:'-
Technique for river surface
)epending on the clouds, keep perspective in mind when drawing them.
Perspective and natural objectsYou can use the concept of perspective without alteration
for drawing rivers, rnountalns and other foreground '
objeets tlmt move ofi into the distance.
with a sense of distance or any object you want to give a
sense of distance.
77
Various
Scratch with the tip of a cutter.
CumulonimbusBlur by cutting out, erasing witha sand eraser and shaving.
Setting sun Apply layers of tone and shave.
iii:,,ti1ll|;tiiltl:iiitii,iiiitit
78
Chopter 4Drcrwing Indoor Scenes
Ho I lwoys/Silo its / Smq ll Obiects
There are two ways to make a hallway in anarrow frame look wide.
Hallway drawn using regularone-point perspective
Method towiden hallway
Vanishing point for right wall Vanishing point for left wall
[Jse rregular two-pointcerspective when the,',,'rr of the hallway is
fued due to the setting.
I
O Draw using irregular two-point perspective.
" ';,:",11
\:4..'l rrlt\i.,,/,f \|Z/Y' :ls#t,,,,,,fi,tr .lI ::,lil.
,.llitl:1:::I1t+:....:l:::!l
\i:{:i}/l:/r';Altl
i ,T,1,,/
t:i,H0.Y."E)
m
@ Widen hallway
-re farther apart the two points are, the wider the space will be.
When you
reverse thepoints the
walls are
drawn from, itbecomes
narrower thanone-pointperspective
(when the twopoints are
close
together).
Draw the right wall fromthe right point and theleft wall from the leftpoint.
Wide space
The closer the two points are, thecloser it will be to one-pointperspective.
:rr*
Narrow space
:E
I
. -se when you want to create tension or:'3SSUre.
E.
lrregular two-point perspective is a technique used to emphasizebuildings in the foreground.
Use this technique when drawing dead ends and T-shaped junctions.
Character background/Town
o This technique is often used for drawing
the background when you want to put the
character in the center.
. When drawing scenery alone, buildings
should end before and after the vanishingpoints. (unique to this technique)
Example: Dead ends, three-forked roads,
insides of cars and airplanes, etc., that
serve as a background to characters.
. When using this technique for T-shapedjunctions, draw a wall or house directly
ahead (on the horizon).
Example: T-shaped junction
lrregular two-point perspective comes in handy when you
want to make a narrow space (hallway, etc.) look wide ormake a scene in a narrow frame Iook wide.
82
i:i.iii
83
A character sitting at a desk in class. Firstimagine the composition you want and
draw a rough sketch.
View from above
Rough sketch
Find the vanishing point from the shoulder lineof the character and the desk line.
Vanishing point
\]"'J*xqa!\.
\r..
Shoulder
/
The horizon is determined after the vanishing point
has been determined.
After finding the vanishing point, draw a line directly to the side.
A character sitting at a desk.
The character, chair and desk are
usually parallel to each other.
Not drawn in perspective
You may draw round c,mers free hand, (6)
-
but trey will lmk sharper I you use an \__/-.ovartemprate. \ ]0, :1.0.r,0
arso draw the parts that wiil notbe visible.
The height of thechair is abouthalf that of thedesk.
Draw straightfrom around this t_egs angle
slightly.
l
it
.L
oui Side view
85 d
Common chair/desk composition and the horizon
Vanishing point
rii:. Horizon
The distance
between acharacter and a
wall is represented
by the relationship
between theposition of thecharacter's feetand that of thefloor line.
Near the wall
{<.')/,
//,
Rlndicate the presence of a wall by drawing a shadow.
lraw a line separating the ceiling and walls.
lraw a window or bookshelf behind a character.
Use shadows and
sense of distance
Give the wall a sense of presence bydrawing shadows on both the floor and wall.
the room layout to create abetween characters and walls.
89
When you want to draw a roomwith a person sitting on the couchwatching TV as seen from one wall,staft by drawing an outline of ther00m.
Draw the opposite wall and draw adoor, the ceiling, the floor and wallson either side.
Then draw furniture and the person.
1. Drawinq the ite wall
@ Draw door so itlooks natural relativeto the ceiling.
I'l
@ Determine horizon
and vanishing point
based on the height ofthe door.
Relationship between person,
camera and ceiling
You are standing
here with camerain hand.
Room plan
Ceiling height
240-270cm - * 270 cm
240 cm
160 cm
150 cm
80 cm
VIEWSide
Staft by drawing
this wall270 cm = 8.86 ft.240 cm =7.87 fi.160 cm = 5.25 ft.150 cm = 4.92 tt.
80 cm = 2.63 ft.
column:The perspective line that is the same height as the door acts as a guide fordetermining the height of furniture. Drawing a perspective line with a distinctheight is the key to drawing backgrounds in both indoor and outdoor pictures
90
O Draw shape of wall.
Draw wall lines from four corners.
. The room may be any width you choose.
. Since the view is that of a standing person, draw the horizon at about j50 cm.Placing the vanishing point a little to the left or right of center will make thepicture look better.
o The ceiling, floor and sidewalls are drawn using lines coming from the vanishingpoint and passing through the corners.
. Draw a perspective line on the left and right walls that are the same height asthe door.
2. Drawino a rouoh sketch
TI
{,,
l'aw the interior on the basis of the plan.
Reference: Completed drawing with character
O Draw a projection.
80 cm = 31.5 in.
40 cm = 15.75 in.
25 cm = 9.84 in.
15 cm = 5.90 in.
@ Draw thickness.
150 cm = 59.06 in.
80 cm = 31.5 in.
70 cm = 27.56 in.
@ Draw shape.
Vanishing point
Create the overall shape ofthe couch by connecting the
vanishing point and the top
of each vefiical line.
Determine the height of the couch
based on the 150-cm wall line (same as
height of horizon in this drawing).
Determine the thickness from this,
Make corners and edges
round to make it look like acouch.
92
- l:al'r a projection.
Vanishing point
i Determine height.
/, th the table against the wall,:;lermine the height of the table-:m the height of the couch.
80 cm = 31.5 in.
40 cm = 15.75 in.
@ Add thickness.
When drawing the legs, also drawthe portions that will not be visible.
Height is about half that of the couch.
93
5. Drawinq a TV stand Like the couch and table, start by
drawing a projection.
Determine the thickness and
width in relation to the couchdrawn earlier (they do nothave to be as exact as thedepth and height).
Completed drawing
Looking at the floor plan, draw it inIine with the table, for instance.
-
Column:Draw indoor scenes using one-point perspective. (Two-point perspective is not used very often.)
Small objects ontables and desks - 1
)rawing without using
-.erspective
- a scene where one side (or,,, o corners) of a table is not, s ble, draw without using: "'spective.
not
)/
Show this part of the table.
show this portion.
Small objects ontables and desks - 2Drawing using perspective
Use perspective for drawing objectswhen the edges of the table or deskvisible.
Small objects on a table drawn using one-point perspective each have their ownvanishing point on the horizon line (they all
share the same horizon line).
Tables are often drawn using one-pointperspective, but objects on a table seldom use
the same vanishing point as the table.
How to draw cupsCircles on tables
. When the top of the table and the horizon lineare close, use an oval that looks like this.
Thin ovals Iook like O are often used for long shots.
Long shots are used for explanatory scenes withalmost the entire body of a character and background.
Horizon
lncorrectly drawn
lncorrectly drawn
When the top of the table and the horizon line are far apaft,use an oval that looks like Q .
Horizon
B@0vals that are almost circles are often usedfor close-ups. Close-ups are used when you
want to make a strong impression or you
want to magnify something.
The farther away the circle is from the horizonline, the closer it becomes to being a perfect
circle.
Draw the bottom oval of
cans, etc., round.
K/\7
98
BB
Drawing small ,bfits--_l When drawing small objects made up of squares, simplyUsing cellular phones as an example I draw all vertical and horizontal lines parallel to each other.
Drawn using one-pointperspective
Drawn using two-pointperspective
ffiff$
The shapes of small objects will not lookgood if the vanishing point is not pretty faraway.
Use one-point perspective when perspective is
used from the standpoint of presentation.99
perspective when drawing beds. When
drawing a character sleeping on a bed,think of the cubic effect of the person's
body.
Build a simple model when it is difficult tocome up with the cubic effect of themattress and person.
You do not normally think very much about
-1-r,rr \tN;/ //lll\l_< ll, "
r/l[, ,,9
A doll made with a marble,
ballpoint pens and an eraser waslaid down on a handkerchiefmattress. Tissue paper was used
for the covers.
100Column: Use perspective when you want to create an impressive effect.
101
When drawing open doors, place separate
vanishing points for the frame and thedoor.
When viewed from above,
draw a circle with the axis
as the center. ,'/ffi\_v The doorknob is in the center.
The doorknob is
on the left. l"V
@,,
#I
Determining door width. Start drawing the width ol the door
from the side with the doorknob.o Make the width of a door drawn in
perspective slightly nanow. :Make the distance between the top of the door and the ceilingabout B0 cm, which is about half the height of the character.
ing height
i40 cm
I
I
I
I
_t
-\ r\, l\ /f-'+ I\l+ I
l,'re i1\i\
240 cm = 7.87 fi.180 cm = 5.90 ft.
160 cm = 5.25 ft.
80 cm = 2.63 ft.
O Draw the door as seen from
straight on.
of the height and draw the door
as seen from straight on.
@ Draw the door open at 1B0o
angle.
O Draw an oval (locus of door).
Draw an oval that passes through the
apexes representing the corner of the
door. (l-he oval path the door travels
when opened.)
Vanishingpoint ofopendoor \
indicating how far the door is
open.
Top of axis
@ You get an open
door drawn inperspective.
No matter what the perspective
of the door you want to drawis, make it look like this whenyou draw an open door.
@ 0pen the door.
Draw the bottom door line
Door locus
Door vanishing ,,'
lilf/Horizon
I
I
@Vanishing point
of open door
Vanishing point
of open door
-r_
/=The door
vanishingpoint is faraway.
Upper vanishingpoint
--l ^,rrhlL
Move the
vanishing point
to the left whenyou want tomake it look likeyou are
up from the left.
C Draw supplementary line for inclination.
@ Draw width.
line for determining step width.
Stairs are drawn in one-point perspective using
two vanishing points and two supplementary lines.
lnclination vanishing point
Like slopes, drawstairs using twovanishing points.
ffhe normal eye-
level vanishing point
and a vanishingpoint fordetermining theinclination of thestairs.)
Vanishing point
// toinctinatidon vantshing point
O Determine step height.
Width line comes from here
105
:Vanishing point
; (eye-level
vanishing point)
. Always draw the width linefrom the eye-level vanishingpoint.
. Draw the parts that will notvisible as well.
Loddng down a-- .x of there being-: -orizon when you
:-, r, stairs from the::: coking down.
-'.,,, them using
'.::'ral two-point:* "r:eCtive.
.' f},"-.1L/t*/,, *&.t,
i. i-I
l''0'iurnn You cannot see the horizon in a picture looking down a flight of stairs because of thecomposition of the picture.
107
When drawing a sideview of stairs, there is no
need for an inclinationvanishing point. Just pay
attention to the eye-levelvanishing point and
horizon.
The angle of inclination of the handrailand that of the stairs are the same.
Difference in appearance dependingon viewing location in relation tovanishing point
Right of vanishing point
Vanishing point
Difference in appearance dependingon viewing location in relation tohorizon
Above horizon Above horizon. Cannot see
upper surface
Below horizon. Can see upper surface
Left of
vanishing point
Right of vanishing point. Can see height of steps
Left of vanishing point. Can see width of steps
Below horizon
Chopter 5Howto DrqvnBockgrounds
leoming by Doing
-1"
Let's say you have a name and a character for your manga.All that is left to do is draw the backgrounds.Let's take a look at the actual process of drawing mangabackgrounds using perspective.
Draw town scene here
(residential area).
Proposal draft('neemu' in Japanese)
Draw school here.
1'10
r- ihe case of manga, you-:_rally draw the frame at the-::er left or the top row first.*-
s helps keep the page from:;:ring messy.
Vanishing point
= Draw road.
Reference photograph
- Determine horizon and vanishing point.
lolumn: when drawing, mask the frames you are not working on with paper to keep them asclean as possible.111
3 Draw buildings on the left.
Determine the height of the show windowand other buildings by sliding the
character over.
Raise the character to the level of the
sidewalk.
.*.- 240 cm
240 cm = 7.87 ll.220 cm =7.2211.200 cm = 6.56 ft.
190 cm = 6.23 ft.
180 cm = 5.90 ft.
160 cm = 5.25 ft.
200 cm *190 cm
---- - 220cn
180 cm
160 cm
The height of the show window is
between 200 and 240 cm
Think of the street entrance of the building as being 2 meters high
and the show window as being 2.4 meters high. Use thecharacter as a guide when determining the size of the building,i.e., the height of the character plus number of heads.
@ Draw buildings on the right
G y,l?t,i:H[i :3'Jffi 111,.,
r-
*
When there is a sidewalk, raise
ffie dummy to the level of tiesidewalk.
Slide the character to the right and determine the height of
the vending machine, which will be used as the basis for
Height of yending machine
180 cm
180 cm = 5.90 ft175 cm =5.74fL160 cm = 5.25 ft.lfi) cm = 3.28 fi-80 cm = 2.63 ft.
t--i €**-'-\- -....\
Comparison of character and
vending machine
180 cm
Reference photograph
mNext is a school. Therewill be no character in thescene, but start bydr'awing the foundationand a dummy character.
O-t Draw horizon at eye level(middle of ground{loor window).
O-2 Extend sloping line in rough sketch toget vanishing point (point of intersectionwith horizon line).
300 cm = 9.84 ft.
280 cm = 9.19 ft.180 cm = 5.90 ft.1 60 cm = 5.25 ft.120 cm = 3.94 ft.
100 cm = 3.28 tt.
90 cm = 2.95 ft.
O Draw a character next to the school and determine thehorizon and vanishing point.
/_y*,*
Even if it will not appear In thepicture, clearly draw the sudacewhere the character and theschool come into contact tomake sure they are balanced
conectly.
cm
@ Draw contour
t -*t"' 1'
i . -.."-{:"1- l'3-._ a aI11
lii. I'ittiI'Iaill
,, .&,.s ,r1t8': .l
,i :;j ,
i1 ;,irjYi
@-2 Divide eachfloor., ./
I
It
ffi
t ffi
fH
-..-..-_.-i-l
I---"'t.
I
ffi
@-1 Determine each floor by dividinginto four parts.
:
The eaves, window and wall ratios ofschools and other buildings are thesame for each floor.
into four parts startingfrom the first-floor contactsurface that is not visible.
Side view
3 Draw windows.
Clearly draw the overall windowborder (including parts not
visible).
Draw remaining
windows.
@-t Find center
by drawing
diagonal
lines.
@-g Draw
supplemen-
tary lines.The depth ratio of
windows is the same
for every floor as long
as the perspective is
not from above. Thus,
for the remaining
windows all you have
to do is extend the
window lines from
another floor.
@-4 Divide
each into
two (to
divide
windowinto four).116
3 Pen drawing I
Do not bring background linesinto contact with characters.Tape a thumbtack over the
vanishing point.
Masking tape
1./'Lir ';r tr;3*|nn lines in the direction of the;:- i.- r"rg point, tape a thumbtack over the;r-:il' ng point. Using a ruler with the'"
- -:-ack as the axis makes it easier to draw:::* -:,:gh sketches and in pen.
fi4Thumbtack
Erasinq and white correction fluid
0mit intricate parts. Representthem by making use of shadows.
Not joining the edge line to thecorner better creates the mood ofa building.
118
tr
Think of perspective when
determining tone cut.
Z,-N
Scrape uniform curve using
blade tip of cutter.
Soft touch: Use little tone.
rard touch: Apply tone discriminatingly.
119
Adding tone 2- Residential area
+reThe page is completeafter you have finishedadding detailed tone!
Soft touch: Use little tone.
Hard touch: Apply tone discriminatingly.124
:
#€*
\,
that you see around yourself
every day can all be used in your
drawings. lt will be very helpful whendrawing manga if you know the size
of objects around you. Rememberthe size of objects relative to the sizeof human beings (yourself).
270 Ceiling line
240
210
180
160 -
150
120
90
60
30
Average adult male
180 cmAverage adult female160 cm
t=
Height of first-floorAbout 3 m
Desk
70-80cm
330 (10.83 ft.)
300 (9.84 ft.)
270 (8.86 fr.)
240 (7.87 tt.)
210 (6.89 ft.)
180 (5.90 ft.)
150 (4.92 ft.)
120 (3.94 ft.)
90 (2.e5 ft.)
_-,60 (1.97 ft.)
I
ffilg'eft.t
122
One interval = 30 cm(about one character head)
135 cm (4.43 ft.)
Chest of drawers Mattress height
30-40cm
Low traffic signs and signals.
The signs are 3 meters (9.84 ft.) and
tall signals can be 5 meters (16.4 ft.)
0r more.
123
Adding reflection tone to windowpanes createsa more realistic atmosphere.
Shadow from opposite building
124
E.
Chopter 6Speciol Efhcrs qnd
Chorcclrer RryresenlqlionUsing
(n
Use of perspective
is not limited tobuildings and
backgrounds. lt can
be used foranything that ispafi of a picture.
That includes
special effect lines
and sound words.
€ ---- --- -./!L
'- 1-.t.\-l, ---.il
il
JHEU
SideThe sword in this picture was drawn inperspective, but the sound word and special
effect lines were not.
The special etfect lines (concentration lines) were drawn
from the sword's vanishing point.
This sword was drawn with a vanishing point farther away and
the special effect lines were drawn accordingly.
. Special effect lines
when the vanishingpoint is in the picture
. Draw them toward the
vanishing point.
. Special effect lines
when the vanishingpoint is outside thepicture
. Draw them away from
the vanishing'point.
llo
Front
i,
.:-t1rl
^y
,l
I
fume of the contour lines of this sword were represented by;anted lines pointed in the direction of the vanishing point. SHHHHRRRRRR
perspective inmind to make
them look
cool.
127
Special effect lines when the vanishing point isoutside the picture.
Draw them away from the vanishing point.
Design the word. Draw veftical linesin general direction of vanishingpoint.
W<*" '
*w4t#
W#
Sound words do not have to be drawn perfecfly in perspective.Draw them in a deformed, perspective-like manner whilethinking of depth and direction.
"BANG" was drawn with theinclination of thesldnted lines in
milld.
hating a Greater Sense,of ,rExbtBnceiusing,,, Minor {eehniquer-+- . :icture strictly
t': ' - !,vo-point- :::i::ve does not turn" .- :€ very interesting,- : :-: perSpeCtiVe
,.,, i"l3
,,- -; ,erlical lines
6": , -. anted will create
.',i.= -rf existence and
:I-
Vanishing point
'-\\
Do not go to the trouble of
marking a point. Draw a
house assuming that the
vanishing point is above
the house.
irianga and dratting techniques'.^y drafting techniques are used to draw manga, but
:-:;;ing manga is not dratting.lf it is effective to do so, use
:",ting techniques flexibly. For instance, you do not have to
-.= three-point perspective just because the vanishing point is
'-,:ve the picture.
af,_
129
Perspective rulers
fioo Corporation) are
transparent, plate-
type drawing toolswith floor and wallperspective lines.
,They come in one-point, two-point and
three point
perspective types.They allow you toeasily draw objectswith vanishing points
far away, so use thetype that matches theangle or image you
want.
lf you assume that onegraduation is 20 cm, thegraduations are designed so thatthe height of the horizon is 160
cm.
Ceiling heights and room
compositions are freelydetermined by choosinggraduation positions.
0ne-point perspective type
ffhe horizon line was added in this book.)
\-
.-\
When you align the dedicated
ruler that comes with it with theplate's curved surface, slantedlines and depth lines willconverge on the vanishing point.
The two-point perspective ruler can be used
as the basis of a one-point perspective
background,
130
Two-point perspective type
Dedicated ruler
Three-point perspective type
t)
@ Align horizon of perspective ruler.
----\P,
uil r: :. 3 graduations on
]tliirrcE itive rulers to
'tr'"r"'ill potential.
,, i' : ,:( Convenient tO
.iut,r{ :El'spective rulers
,r*,1' :rawing a rough
ilr: - ,
', "':ru a horizon line on
-r:-r 'rugh sketch when
..ril -,: ffie one-point and
"ililr,{- :,0int perspective
",:,r Serspective rulers.
Using a kacing box
Tracing paper is usuallyplaced over a perspective
ruler, but using a tracing box
will be more efficient.
@ Draw perspective liries
131
The horizon line is two steps downfrom the top of the stairs. The horizon
line is oblique relative to the picture.
lren if you draw a character normally, you will get a powerful
:,rmposition by tilting the horizon line,
Simple one-point perspective-
all the artist did was tilt the
horizon line.
The ground has been tilted.The buildings were drawnusing vertical two-pointperspective.
Eo,lumn: 0veruse ol this technique oftilting the horizon line relativeto the picture can result in apage that is confusing to lookat. Save it for specialsituations.
133
Looking straight up.
Simple one-point perspective.
One-point perspective where the horizonwas tilted and curved.Draw perspective lines and specialeffect lines using curved lines.
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PUTTING THINGS INPERSPECTIVE
lsBN4-7661 -1 256-3
COSTUME ENCYCLOPEDIAlsBN4-7661 -1 2s7-1
HOW TO DRAW ANIME & GAMECHARACTERS VOL.3tsBN4-7661 1 1 75-3
MORE ABOUT PRETTY GALStsBN4 7661-1242-3
HOW TO DRAW ANIME & GAMECHARACrERSVOL.I|SBN+7661 1120-6
HOWTO DRAW ANIME & GAMECHARACTERSVOL4tsBN4-7661 -1 254-7
PEN AND TONE TECHNIQUESl5BN4-7661 -1 258-X
HOW TO DRAW ANIME & GAMECHARACTERS VOL.2tsBN4 7661-1 174-5
HOWrc DRAW AI{IME & GAMECHARICIIRSVOT.slsBN+7661-',t 276-8
Gtr
II[il1
-II[IflJil
'ililflffiIm|ilJt
ISBN t{ - thl-Ia5b-3
BORONTA s7624099 HEALESVTLLE ........5962442sFTG ......._............... ... 9294 al/i} L|LYDALE g2s4 g12OKNOX................_...... 9801 .1422 MONTBOSE ......... ... 9728 4224KNOX MOB|LE........ 9762 4099 MOOROOLBABK . ... 9726 8200ROWVTLLE ............_.92941300 MT EVELYN ............ 9736 3851oHoYDON ._............ 9294 5640 RANGES MOBTLE .. s7547266RTNGWOOD ............ 9870 0177 VALLEY MOBTLE .... s2g4 3120BELGBAVE ......_...... 9754 7266 YARRA JUNCTTON 5967 1588