how.to.draw.manga.volume.5.pdf

7/23/2019 How.to.Draw.Manga.Volume.5.pdf

1/136

eveloping

Shoujo

anga Techniques

T HIE SOC II TY FOR THE STUDY OF SHOUJO M NG TIECHN QUES


2/136

Vol .1: Compiling Characters

Chapter 1 Drawi

ng

the Face

Chapter 2 How to Draw Bodies

Chapter 3

rawing

Characters

ISBN4-88996-042-2

Vol.2: Compiling Techniques

Chapter 1 Background Manage

ment Bas

i

cs

Chapter 2 Tone Techniques

Chapter 3 Expressing

Light

and Shadows

ISBN4-88996-044-9

Vol.3: Compiling Application and Practice

Chapter 1 How to

raw Int

eriors a

nd

Exteriors

Chapter 2 How to

raw

Mach ines

Chapter 3 How to Create a Short Story MANGA

ISBN4 -88996-045-7

Vol.

:

Dressing Your Characters in Casual Wear

Chapter 1

Underwear

and T-shirts

Chapter 2 Sweatsh ir t

s and

Sk ir t

s

Chapter 3 Jackets and Jeans

ISBN4-88996-046-5

Special: Colored Original Drawing

Copic Sketch Pen)

Ch

apter

1 Copic Sketch

Pen

Chapter 2 Copic A

irbru

sh ing

Sys tem

Chapter 3 Try Using

ifferent

Painting Materials w ith Markers.

ISBN4-88996-047-3

Distributed by

JAPAN PUBLICATIONS TRADING CO.,LTD.

1-2-1

Sa

rugaku-cho Ch

iyo

d

a-

ku Tokyo 101-0064 Japan

Phon

e:

81 -3-3292-3751 Fax: 81-3-3292-0410 E-mail: [email protected]


3/136

OWTO

DR W

YO

eveloping Shoujo

Manga

Techniques


4/136

Study of Manga Techniques

ing .

Ltd

.

-

"E;J

-sha

Publishing Co .

Ltd.

in 2002 by

':r :;-a

Study of Shoujo Manga Techniques:

Ku

do ,

Ryo

Kagami

Kaoru Kajiwara

Studio Pinewood Inc.

Hideyuki Amemura

Yasuo lmai

Shinichi

lshioka

Shinichi

lshioka

Lingua franca, Inc

.

([email protected]

.

jp)

Motofumi

Nakanishi (Graphic-sha Publishing Co .,

Ltd

.)

Kumiko

Sakamoto (Graphic-sha Publishing

Co . Ltd

.)

li

catio

n may be

reproduced

or used in any

form

or by any means -

udi

ng

photocopying

,

recording,

taping, or

information

storage and

permissi

on

of the publisher.

in this book were screen tone

and

IC tone

manufactured

by Letraset.

"'"' 'an on T

OO

manga paper.

101 -0064

10)3-3

292-041

0


5/136

Table of Contents

How to Draw

Characters ...

. . .. ..

...

.. . .4

ra Faces .......... ............. .... ....... . ....................... .... ............. .......... ..................

.......

..... ........ ........ ......... .

.....

...6

x :>s as

Seen a ariety of Angles/Balance Between

Head

and Neck/Let's try

giving characters

expressions How

to

D

raw

Ha ir

e .................

................

....... ........

....... ................... ....... ...........

..............

. .......... ................... .... ..... . ..... ......

18

Angles/Let's give c

haracters

movement

::.

Fee ....

...... ..... .............. .... ...................

........ .

...... ......

........... ............

......

.

....

.....

.......... .................... .....

.....

25

-

of

Common

Mistakes

C

othin

g

.......

....... .

........

.

.....

....

... ...

..... ........... .

... ........

..

...

...

..

......

.

...

....

... .....

.

.......

.....

...

......

................. 28

2

How to

Draw

Backgrounds

..

..

..

. .

...

.

.. .. .. .. .. .. ..

..

...

32

ds

.........

..............................

.....

......... .

.

.

...

.

............ ..

.....

..

...... ...

..

..... ......

.

.......... ....

...

.

...

....

....

.....

...

.

.....34

Persp

ective

......

.....

..

..........

...

.... ....

..... ...

........

.

..............

.

......

.......

...

..........

.....

...

.............

...

.....

.......

......... .

36

Perspective

.... .

..

..... .

..

..

..

.........

...... ......

.......

.......

..... ....

...........

.

.......

.... ..... .........

......

..... .

......

.

.......

...... ..

40

nt E erspective

....

..... .....

.

...... .... ..

... ..... .... .

.......

.

..... ... ........ .

............... ............ .....

...

..... ..... ...

.

...

......

46

_::r:; Repro

ducing Photographs ....

........

......

............ ......

.................

...

........ .........

.......

........

...... ...

.............

............ ... 48

e

of Circles

..........

..

.......

................ ............

.....

...

...

......

..........................

...... .........

.........

................

......

.................. ,

..

52

nd

Tec

hniques

1 Round

Arch-Shaped

Windows .........................

......

...................

......

......... ...

...... ......

... ................... .54

nd

Tec

hniques

2 Opening and Closing of Doors

......

........ .......... ..........

...... ......

...... .... ..... ...... ............ ......................56

k Techniques 3

Stairs

.......... ............ ...

..............

... ..... ............ ......

......

........ ...... .......

.....

..... ....

.....

.

.....

........ .

.....

.60

::

und Techniques 4 Buildings and Sloping

Roads

...... ........

..............

.......

... ........ ........ ..........

.......

.........................

.......

63

Draw Natural Objects ......

.

.....

.......... .

...

.

.....

.........

.

......

.... .

.... ...

.

...... .

..........

....

...

.......

.

.

...

.

......

....

....

.

... ...

.

...

.

.....64

= ng M

orning

, Afternoon , and

Night... ......

.....

.............

.............. ......... .... .......... ....

.....

................... ... ....... ... ..... .... ...

66

::::.-

ng

Spring

,

Summer

,

Fall

,

and Winter ...... ..........

.

..........................

.

......... ...

........... .

.....

.

... ....... ...... ... ...... ......

...........

68

ers and

Natural

Phenomena .......

.

.......

....

.......

.

........... ........ ...... ...... ...

.....

...

....

.................

.

.... .

....

......... ............ ........72

::.'?::..

ne

s

1 How to Draw Mesh ....... .... ....... .........

.

........ ...

....

................ ......

.

... ...... ......

.

.... .....

.

.....

....

.

.............. ... .....74

::. =:

ne

s

2

How to

Draw Rope ......

....

.

.....

.

.

....... ....... ...

..

...

.

..... ...

.............

....... ...... ... .......

.

....... ..........

....

...... ........ .....76

= ~ L i

3

How to

Draw Parallel Lines

and Flashes

(Converging

Lines

)

......

.

.

....

......

...............

......

..............

....

.

??

::.-..rl

Lin

es 4

Others

.... .

......

....

...

............

..............

.......... ...

...

...... ..................

.

...

.

...

.

...

.

...

..

........

.

...

.

...

.

...

.

...

.

...

..... .

.79

=--=- ng

..

.... ... ......... ..........

...

..... .

....

.

.....

...

........

.......

.....

.........

.......

...

......

.........

..... ...............

........

......

.............

.....

...80

-

Black and Whitening

.... ....

..

....

...... ......

....................

......

....

.

.

................

.....

.....

...........

............ .

.......

....

......

... ...

........82

ea

ch you the

trick to

applying/cutting

tone .........

...............

.....

.

.......

. ....

.........

.....

............ .............. ......

.......

.. ............... .84

Effects

and Tone ........... .....

......

........ .........

..............

........

....

.........

.... .......... ...... ...... .

........

..... ... ..........

............87

pt

er 3

How to

Create Stories o

3e'g

in w

ith something you

are interested

in

...... .. .... ...................... ........ .......................

.................... ......... ...

.......

..........

.....

...92

. Set character

parameters

.............. ....... ........ .

.......

.... ... ..... ....

............ ........

...

.....

.......... ........

........

........

......

... 93

Spec

ial

Effects Used in Girls' Comics 1/

Appeal of

Characters/Something only possible

in

a girls' comic

Demands made

on the

boy

Psychological Characterization

Ch oose aTheme

.....

.... ................. .... ................. ... ........ ......... .... .... ......... ......... . .......... ......

.....

........... . ... .........100

Spec ial Effects Used in

Girls

'

Comics

2

- . Write a Story .................. .... ........ .............................. .... ...... . ..........

.......

...

....... ..... .....

....

...

.......

. ...........

....

... ..........102

Cho ose a subject (genre) Example

of

Romance

Comic/Hints for Stories/How to Make the Story Development

Interesting

/Element of Surprise _

(A

tracting

the Reader)/Growth and Development

of

the Heroine/Special Effects Used in Girls' Comics 3

l i m a x

..

.............. ........ ..............

.

... .......

.....

....

.

...

.... ..

....

.

.

...... ....

...

.........

.

.............. .... ........

..

...

.

...

.

...

.

...

.

...

.

...

.

...

.

..

.....

...

110

5 Props .........

.

.

...

.

.....

..

...... .....

.

..... ...... .... ................ ....

.

...........

...........

...

.

...................... .......

.

... ........

.

.....

............

...

.

111

apter

4

How

to

Create

Manga Manuscripts

2

Writing a Plot/Storyboarding/lnner Margin and Bleeding/Speech Balloons and Letter Size/How to Draw aTwo-Page Spread/Borders , Speech

Balloons, and Drawn

Letters

/Frame

Allocation

/

Picture

Composition/

Shift of

Scenery/Page Turning/Shot T ~ p e s N a n t a g e Point and Angle in

Scenes

with Characters/

Cut-Back/How

to Attach Tracing Paper/Title Page/Basic Tools/Example

of

Pen Work

P

rocess

from Beginning to Completion

of Manuscript

.... ...............

............. .................. ... ...............

.

.........

.......

.

...... ...... 129

3


6/136


7/136

apter

wtoDraw

h r ders


8/136

Basics of

How

to Draw Faces)

o not think of the face

as

being

flat.

Think of it

as

a

rounded sphere

as

you draw. The

eyes, nose,

mouth,

eyebrows,

ears, and other

parts

all

have their

proper

positions, so

be

careful.

The position

of the eye

is

about

in the middle.

_


9/136

art

as

Seen from a

Variety

of Angles.

~

attention

to the balance between the

ears

, nose, and neck

e cheekbone

by

the nose.

The

eyebrows

are n o t ~

visible.

The

The nose

is

slightly visible.

Not good

The ear

and

head

line

are

about the same.

Neither the tf

eyelashes

nor

the nose

is

visible.

Good

\

The

ear extends

beyond

the

head line.

/

The

back of the

ear

is

visible.

Isn't the neck line

attached to the

base of the ear?

At

this angle The angle of

The mouth

is

out of

position.

Not

good

o not make

the

nose and

chin too

pointy

the nose

is

the nose is

not visible. wrong

The

upper lip sticks

out

a

little

more

Face in Profile

than the

lower

: : :lip: : ~ . : . . ~ ~ ~ \ - - - - - - - - - - - - - l t - - - - -

7


10/136

1 Balance

Between

Head and Neck

I

Length of Neck

Shoulder

line

What s the

matter

The neck is

too

thin. The neck is

too thick.

Th

eneck doesn 't

bend

is ar

;.

Y HH

Looking Back

Not good

The neck bone

protrudes

slightly.

Wrinkles form on

the neck

.

Looking Up

mkl

This is about the limit

requires bending

backwards).

Looking Down

This

angle is impossible to

attain without bending the

back.


11/136

Let

's try drawing faces from a variety of angles.l

The size of

the

eyes and

the

position

of the nose are

wrong

on the face marked with X

The

far eye

is smaller.

Some ways

to check to

see if adrawing is

distorted are

to look

at it in a

mirror, look

at it upside

down,

and

asking

a friend or

other

third

party to look

at it.

X

Not good

............................................................................

erentiating

Faces

I

e

the eyes

of

children

k

about

the

difference in

: e

structure

between

fat

= thin people.

e

amount of hair

:acr

eases with

age.

- _e case of elderly

cters,

do not

just add

les

to

a young face

Draw

the face

a

little

lower than the

center

line.

Middle-aged woman

The tails

of

the eyes and

cheeks

are

low.

There

are

more

wrinkles

.

The shoulder

line is

also

lower.

Middle-aged man

Neck m u s c l e ~

Elderly woman

Elderly man

9


12/136

I

Lets

try giving

characters expressions

Facial

expressions

differ

depending

on

height of the eyebrows, size of the &

~ ~ ~ f ; , g ~ d h ~ ~ ~ ~ ~ ~ ; ; ~ ~ ~ r a ~ ~ " ~ , n e d ~ ~ ~ M i

- m T \ \

~

make

the face more

express1ve.

f(f;f"

'

~

~ ~ 0

It

's

so

funny there

are

-

W {

Grin

~

AHH

Standard

smile

-

,f,

tears in his eyes.

~ ) \

u ~ ~

\\ ti ~

He appears

to

HAH ~

4

be

bursting out

/ ' laughing .

There

is saliva in

the

air.

\ ~ ~ ~

1

open wide

~ \ ~

.

Smile

d

d sl

anted

li

nes

and tone

to th

e face .

Looking down

The

eyebrows

are the key.

Troubled

look


13/136

'::Ju son

a

:;

:.ch

.

I tried

is hand

makes it

look

e

he

character is

:t in

i

ng

Try

your est

to

exp ress things

wi

thout relying

too

much on drawn

l

etters

and

dialogue

Folded arms are

a

standard pose

His eyes are

white

She

is fighting

back

something

She

has

a

pained expression

11


14/136

IHow to Draw Hair Hairstyles)

Adding

a

few stray

hairs

will make the

hair

look

natural.

ooks

l

ike it was hardened

with hair

spray

.

I

Straight Hair

I

This female parts

her

hair

in

the

middle.

The hair is dry and straight.

Not

good

The hair

looks

s

because there

are -

:.

-

:::_

strands.

The

lines

~

monotonous

and

har

.

The

inner

side

is

shaded.

Use tone in this instance.

Draw the

hair

one

size larger than the

sketch of the head.

Adding volume to the hair

will make

it

look

like

a

wig.

Large head

When

penning

in the

drawing

do

not

get hung up

on

the

lines of the

rough

sketch

.

Relax and

draw

in

light

sustained bursts

without

stopping the pen

midway through

lines.


15/136

e

aware of the hairline

and

whirl

of

hai r

Solid Hair

Solid hair is black

hair with India i

nk

in

it. There

are

various types depending

on how it is rendered.

a i r l i ~ Part where

light hits

the

hair.

Do not add

sheen to the inner side

because it

is

shaded

[

Use

a

pencil

to

draw guidelines

for adding

sheen

[IJ

Use

a

pen or

brush

to draw

lines

while

noting

the flow of

the hair

make

the

ends

of the lines

narrow).

]

Paint black making

use

of the

lines

drawn in

Step

2A

thin brush

is

best.

' E Use

a

stiff

brush

where

the ends will

not split.

Add

sheen

so

that

it

appears to

be

wrapping around

the other

side.

If you

ignore the

shape

of the head

when

you add the

sheen,

the head

L - - - - - - - - - will look flat.

There should not

be

a

clear

border

between

the sheen

and

the solid

block.

Other

Types

of Solid

Hair

~ d d

white or

leave some

white

in

the

shape of the

sheen.


16/136

I Permed

Hair I

Hold the pen lightly

and

draw

in a relaxed

and nimble fashion

in

order to get the

fluffy

The

hair

looks

hardened

with hair

spray and heavy

at ends

.

Hol

d t

he pen

lightly

Adding several

strands

of thin hair

to the

outside will make

it

look

natural

Not

good

and draw

with a flick It will

look outdated

the closer you

get to and

hard

if the lines

the end of the

hair

are

uniform

and the

The lines will be thickness

of

the lines

uns

teady and hard

if

is constant

you draw slowly

look of

a

perm

.

Monotonous lines

are

not

good

Too many lines make

the

hair look outdated

.

eing aware

hair

the

.

and

how

It is also good to

add

tone to

some

parts

Adding thin hair on

the

outside will

make it

look

fluffy

Make the outer

haded portion


17/136

e

key to short

hair

is the cut

Short

Hair

I

expression

differs

depending on

the

forelocks.

Pay

attention to the

part in the hair

.

air

with Tone

::ca

te

sheen by scraping

In this instance,

it

is

best

to

avoid dark

tones.

In

the case of

sheen

think about

how

the

light hits the hair.

Light

Not good

Sheen

like

an

angel's

halo.

There are a variety

of types

depending on

the type

of

tone

and

how the

tone is scraped.

Sol

id black and tone

Paint

the hair

black,

add

tone

after

the ink

has dried

completely,

and

scrape. Pay

attention

to

the

balance

between

the

black

and

tone

.

5


18/136-;::::

I

Other airstyles

Make sure the

hair

looks braided

Be sure to

keep

up with

the

l test

hairstyles


19/136

ront

7


20/136

Body as aWhole)

The position

of

the

head

and

heels

is

determined

after

deciding the

height.

If

the

character is to have a

head-to-body

ratio of 1:7,

then

divide the

body

into

seven

parts

based on the size of the

head.

Note

that this

rule

of

thumb

changes

if

the

head-

to-body ratio changes.

7

The

hair

volume

is

separate

from

the head

to-body

ratio.

It is best for females

to

have a head-to

body

ratio of 1:7 or 1:8

the

character

below

is

1 7).

Eyes

7

Shoulders

/ -........ / Shoulder width is two / -..._ \

. head lengths

f r t

'___,_----+-' 'f-b_::''\\-'-

1 1 1

0

.Chest \

I

IJ

4

Crotch

\

3

\

2

=-

-=.-

\

\

I

\

I

The waist and elbow

are

f t the same position.

The wrists are located

at

I f he

crotch line.

1

Knees

I

The region below

the knees is

longer.

A

\

I

I

)

v

-I\

lf}}i

\

I

I

I

I

I

\

r\

jlij

3

I

\ I ) I

2

The calves

fall

outside the

I

center line.

I

1

\

I

H

J


21/136

ld

ers

than

es. Don t forget

to

It is best for

males

to

have

a head-to-body

ratio of 1:8 or 1:9.A ratio of 1:10 is

stretching

it

(the

character

below

is

1

8)

.

/

I /

/

h r o a t ~

/

- - \ _

i

~ ~

~

I

~ \ I

\

J

:;;

L

1 \

I

\

-..,.,...

l \

\

I

'

i

,_

~ i

\ I

I

\ l

, I

I

I \

\

\

vWrists

/

I

Buttocks

Knees

The region

below

the

knees is longer.

)

\

~

I

I

I

1

t l

II

\

(

I

\

I

\J

II

v

5

I

\

v

v

;

. /

-

I

J

~

4

~

3

\ ( I (

II.

\

2

\

I

1 1

I

19


22/136

It can be difficult to draw

short people

and

children if

they have

a

head-to-body

ratio

of

1 7

or

1 8.

4

3

The

arms

and

legs

are on

the

fat side

~ r r

1 ~ ~

~ ~

her grades

of

elementary school

rati

oof about

1:5.5

to 17

Lower

grades

of elementary school

head-to-body

ratio

of

about 1 4 or 1

5

Comical head-to-body ratio

of 1

3

Toddlers should also be a ratio of 13

The

length

of the arms when extended is the

same as

the length of the

body.

enter

of Gravity

The

opposite

shoulder is lowered.

Weight

rests

on

the right leg.

This

shoulder

is

t is

true

that there


23/136

} Draw a

rough

sketch

]] Divide

by the number of ]) Add

the

character.

heads based

on

the

center

High Angle (Looking Down

From

Above)

le ooking Up From Below)

7

- - - - - r - ~ - - - - - - -

The

head

is

large.

. - - - - - - - - - + -

- r - - ~ - - - - - - - - . 8

6

- - - - - ~ . , _ _ - - - - \

e I I e I e I e e

I e

e

--

r

awi

ng

from

a

::..-ety

The

feet are small.


24/136

I Let's give

characters

movement

[

Pay

attention to

the movement

of the chest.

Basic Walking

Motion

I Basic

Running

Motion

f Leaning forward makes it

look

like

. . . - - . . . . the character

is

running fast.

[

Flying

pebbles addJo____. :

the

atmosphere


25/136

- -

\

I

I

I

Walking

The knees always

bend

a ittle while walking

ot good

o

not

bend the leg

joint

in the opposite direction.

One

of the

feet

is on the

ground

at all

times.

When taking a

long step, both

knees are

pretty

much locked.

I

Running

You can use

these for walking

th t looks

uncoordinated

aution

This

looks unnatural

The weight rests

on this

foot

-------,

View /

/

Exaggeration makes the

picture

interesting

This knee is lower


26/136

Variety of

ctions

I


27/136

sed

,;e

ll.

e of angles ,

,

width

,

and

Ring

finger

Little finger

0

indicates joints

.

The

bone protrudes

slightly.

---

Midd

le

inger

Index

finger

0

0

,

The

fingers

could

be

,, longer

.

\

Thumb

Fingertips

are round

and

not pointy

fingernails

are

exception).

o not add too

many

creases.

Drawing the

hands

too

realistically will

look

unnatural.


28/136

The large one is

the male hand.

Not

good

Good

Male hands

have

sharp joints and

muscles.

The long

thin

fingers o

fema les are

beautiful.

When

holding

a can or

other

object

you

can strike

the

right

balance

by

also drawing the parts

of the

hand

and can that are not visible.

r

: ommon

Mistake

I

I

I

I

I

I

Little

Thumb

It is a

mistake

to

have the base of

the

thumb

and the base of the little

finger at the same

level.

d

Not good

oo

pointy

Try

drawing

feet in a

variety

of

poses

as

well.

: ~ S h o e s are one

size

larger

than the feet.


29/136

From the Neck to the Shoulders and Arms

Are

a

Position of Shoulders

Good

Not

good

Good

h

e

h

i

ghs

Raised

Arm

Not good

are attached

~ - - - - - - - - ~ ~ = - - - ~ - - - - - - - - - ~ ~ ~ - - ~ ~ - - - - - - ~

The groin

is odd

The

right knee

is

s t i c k i n g ~ u t

The elbow

is

too

high

It

looks like

there is no

~ s h o u l e r joint


30/136

Textures

of Clothing)

The

texture of

clothing differs

epending on

the

type of .

material. Actually touch

clothing

. . .

and look at

magazines

and

photo .

collections for

ideas. Ribbon

Dull luster

R U i / ~ ~ ~ \ ~

iJ

.

h

,.,.,, _

....

................................

.

... ...

Fur

imitation

fur

Gingham

check

Corsage

Enlarged

Print

Frill

Kimono long-sleeved

ki

m

The

nee

left o

right.

Lightly sketch

the

lines

of the body

even

when the

character

will

be

wearing clothes that

will hide

them.

The

position

of

the

feet

and

the balance of the charact

e

will be off if

you

draw just

clothes without thinking ab

the

lines

of the

body.


31/136

Ladies'

jackets (right

over

left)

7 E Some ladies' jackets are

left

over

right.

------------------------

Sleeve[ l

I

I

. n the

Sleeve

]]

.ear

Far

. .J

Be carefu l It s s y

make

these

mista kes.

Remembering t hese will

come

in

handy later.

eans

Jeans rendered

with

a

pen.

Jeans done

with tone.

Side


32/136

T

here

will be

more

w

rin

k

les

near

bent

joints.

..,

g shadows

es

it

more

re-


33/136

There

are almost no

wrinkles when

standing

straight up

Wrinkles on a

sweatshirt

Sunglasses Glasses Caps

stems so

that

they

lean toward

It will

look

silly if

the eyebrows

are

above

the frame

of

the glasses

kirt wrinkles

are

/ soft

Hem

Jumping

he dotted line

indicates the head line

The

cap rests

on


34/136


35/136

1: 7

C )

C )


36/136

~ a c k g r o u n d s

Many

of

you may think that backgrounds do not have to be

drawn clearly since

it

is a girls

comic.

However,

that

is not true.

If

you

know

the

basics , It

will be

surprisingly easy to

draw any

kind

of background and it will be effective for

the

girl s

comics.

We

hope

th

at

by

all

means

you

will

give

it

a

shot.

Y do l

:-ea lly have

;o

dr

aw a

s etch?

, e

ll

, what

r aopens if a

s r ort person is

:.he

::;-:;ground and

; ; I oerson is

Very

embarrassed

.

.

.

give

you

an

idea of the

rail

atmosphere.

You

can also

look

at

photos.

Think about

perspect

i

ve

when

drawing

backgrounds.

Simple queetion

Isn

t

it

opposite

of perspective?

You

can creo

a space

by

drawing

obj

e-

nearby bigg e

and

object

s

away smalle


37/136

Spread

out a box

that is

missing

one

side.

Divide each side

into

nine

equal

parts.

A t ll person is

in the back.

ou

can

see in perspective

when

you

put

the

box

back

together. Adding characters

a

door,

a table, and a

window

results

in the

next

picture.

I wi

ll

explain

it in a way

th t

is easy

to understand.

I

forgot

t tell

you

, but

there re

three

rules of

perspective: one-point

perspective

two-point

oersoec1 ve

and three

Apoint this is called

the vanishing point)

is

drawn

in

the middle to make it easier

to comprehend.

perspective.


38/136

one Point Perspective)

This is

conv

e

ni

ent

for drawing

pictures

that

show depth. You

estab lish one vanishing point and draw depth lines toward the

vanishing point it is

called

one-point

perspective because

the

lines all

conv

erge on one point).

First

, choose

the vantage

point

of

the camera. ye level is the

height

of the

eyes

of the person

viewing the picture

or

the height

of

the camera lens.

The

vanishing

point

was placed

in the

center

in order to make it

easier to understand

.

Let s

try adding characters.

Good

example

Poor example

I see.

called

e


39/136

T

_y_

7

Ceiling Lights

_ /

ood

/

r

ou need to be careful

then

it

co

mes to the

size

I

f wind ows

and

doors

They

s

hould

match

the

ize of characters

.

I

I

l

The lines will meld

together

as

they get

nearer the vanishing

point

Yes. Its

prett

y

fun

once

you

give

ood

xample

/

,

rf o:

0

f

i i

I

ii I I

I

I

I

l11 I

1

1

1 I

I

I


40/136

Even

if

a

picture is drawn

using

one-point

perspective

it

will feel

odd if it is

taken

too

far.

Incorrect

example (Figure

A)

Correct

example (Figure B

For instance

take

the top

of

the

desk. t

will

look squashed

if the depth

lines are

not

correct.

If is close to

how

a human

would see it.

I>

>

>

D

I>

>

>

>

\

I> >

>

l2

I

Low and High

ngles

Before we move on to two

point perspective, let s

familiarize

ourselves

with

low

and high

angles.

One

-point

perspective

Low

angle

Eye l

eve

l

Cube

f

\

..... .......

\

>

ii

I

>

>

>>

>>

>

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